Flower Drawings and Watercolor Paintings

Not only the cultivated ones in parks and gardens, unfolding immaculate petals on a terrace or trellis, and not just the wild ones, kissed by elegant birds in jungle foliage, or ...

My studio painting :: Painting :: Impressionist :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: Yes :: Signed: Yes :: Signatur...

A substantial and vibrant watercolor still-life showing a loose group of pink and red dog-roses informally arranged in an ivory-field, satsuma vase, set on a floral-pattern tableclot...

Dancing Stems by Jo Haran [2020] original Gouache, watercolour ink and gesso. Image size: H:53.2 cm x W:62 cm Complete Size of Unframed Work: H:56 cm x W:64.5 cm x D:0.01cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look 'Dancing Stems' by Jo Haran is an original paitnng of lively rose stems and dark inky leaves in a dynamic composition. I used touches of neon pink acrylic...

Margot Glass’s rendering of detail demands close attention. Her play with positive and negative space—the almost imperceptible shade of translucence between leaf veins, or the rich p...

Original oil pastel on archival paper by the renowned New York artist, Mary Abbott. Signed lower right. Untitled. Circa 1970. Condition is very good. Presently unframed. Sheet size ...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) set of 2 watercolour on paper, unframed top painting : 5 x 7.75 inches, signed bottom right bottom painting: 5...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) set of 3 watercolour on paper, unframed Left: 8.25 x 5.5 inches, signed lower right Top Right: 3.5 x 5.25 inch...

Johannes Friedrich Heinrich Hänsch (1875-1945), Red blooming war landscape with dead soldier, 1918. Watercolor and gouache on paper, 15 x 24.5 cm (image), 27 x 37 cm (sheet size / frame), monogrammed and dated "19JH18" at lower left. - Paper slightly darkened About the artwork Despite the relatively small format, the watercolor with an internal frame depicts a panoramic view of a flat landscape stretching to the horizon. As far as the eye can see, the poppies bloom in flaming red. The flowers are not rendered individually, however, creating an almost cohesive red surface. The bright red is interspersed with vegetal green. A complementary contrast that creates an intense color effect. In this color contrast, a white area breaks through from the middle ground, widening towards the foreground and surrounding a brown hole. Next to it, in blue, is the actual protagonist of the painting, the first thing that catches the eye: a dead soldier. Next to him is his helmet, revealing the empty interior. The brown, hollow shape corresponds to the hole in the ground. A shell funnel is surrounded by bright ash, which, like the inverted helmet, becomes a sign of death. The soldier's arms point to the funnel, while the empty helmet paraphrases the calotte of the skull and, like the funnel, thematizes the empty darkness of death. The soldier's body, however, is intact and not - as in Otto Dix's triptych "The War" - a dismembered corpse. Instead, Johannes Hänsch activates the landscape, especially the color, to illustrate a blooming landscape of death that extends from the shell funnel in the foreground to the rising column of smoke on the horizon. If the soldier's body is intact, the tangle of barbed wire emblematically placed over the empty helmet also appears tattered. On the right side of the picture, the barbed wire even seems to stretch its arms to the sky in horror. Against the background of this allegory, the content of the bright red also becomes clear: the landscape is drenched in blood, literally a sea of blood, and the single unknown soldier stands pars pro toto for all those who died on the battlefield. Dying in war is not dying in community, but in solitude. In order to emphasize the isolation in death, Johannes Hänsch has set the blue of the soldier in the axis given by his body in the middle ground of the picture into the red sea. A master of landscape painting, Hänsch succeeds in creating a natural-looking landscape allegory that illustrates the horror and death of war, without depicting the brutality of war itself. This singular 'war memorial' of the unknown soldier is the opposite of heroization and yet the dignity of the deceased soldier is preserved through the integrity of his body. About the artist As the son of the sculptor Adolf Haensch, the young Johannes received his first artistic training in his father's Berlin studio. However, he eventually decided to become a painter, and in 1897 he entered the Berlin Academy of Arts. He initially studied under Paul Vorgang and Eugen Bracht, and was particularly influenced by Bracht's increasingly colourful landscape painting. In 1901 he moved to the class of Friedrich Kallmorgen, with whom he spent several weeks on excursions into nature. In 1905 he became a master pupil of Albert Hertel, who taught him watercolour painting. From 1903 to 1933 he exhibited annually at the Great Berlin Art Exhibition, the exhibitions of the Berlin Artists' Association and the Munich Glaspalast. In 1905 he was awarded the Carl Blechen...

This is one of my studio paintings. I love watercolor because it’s a very challenging medium. I used Daniel Smith Extra Fine Watercolors with world-class acid-free Arches 300gsm wa...

This is my studio painting :: Painting :: Impressionist :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: Yes :: Signed: Yes :: ...

Aida experiences resilience: she paints, she breaks and she rebuilds. Watercolor, subtle and delicate, turns into great sculpture. The beauty of scars in her work — imperfect and fra...

'Spring Composition no. 2' watercolor on paper. Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and s...

Margot Glass’s rendering of detail demands close attention. Her play with positive and negative space—the almost imperceptible shade of translucence between leaf veins, or the rich p...

A charming watercolour with white body colour of a floral study. Well presented in a mount and patterned frame. Unsigned. On wove.

Wayne Ensrud, American (1934 - ) - Yellow Bouqet, Year: circa 1980, Medium: Watercolor on Paper, signed, Size: 32 x 22.5 in. (81.28 x 57.15 cm), Frame Size: 41.5 x 32 inches

ARTHUR WARDLE (1864-1949) Study of a Water Hyacinth Signed Watercolour and bodycolour on linen, framed 33.5 by 23 cm., 13 ½ by 9 in. (frame size 52.5 by 43 cm., 21 ¾ by 17 in.) A...

This exquisite watercolor, titled "Little Garden Flowers (Still Life)", by renowned artist Elisabeth Spalding (1868-1954), beautifully captures a delicate arrangement of flowers in v...

Reilly uses a toning technique to endow her graphite works with a smooth, seamless quality. Rather than distinct outlines, her flower petals glide gracefully into the surrounding spa...

A new series inspired by architecture, décor and stylish personalities of the world of interior design. The worlds of fashion, society and pop culture are captured in the illustrati...

Ellen Williams Anemone II Original drawing Pencil on 150gsm Paper Sold Unframed (Please note that in situ images are purely an indication of how a piece...

In creating this work, I delved into the quiet mystery of a moonlit pond, the way the light hits the water and leaves, inviting self-questioning. March night fragrance with color pal...

White and Grey By Jo Haran [2020] original Watercolour, gouache and gesso Image size: H:63.5 cm x W:51 cm Complete Size of Unframed Work: H:66 cm x W:64 cm x D:0.001cm Sold Unframed...

Acrylic & watercolor on paper with wood panel Minako Asakura is a Japanese artist born in 1973 who lives & works in Tokyo, Japan. As graphic designer & art director, she was involv...

'Iris in a tall vase' watercolor on paper. Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and size. ...

Zigmunds Šņore was born in 1942 in Latvia. His works has been exhibited since 1969 and are held in private collections in Latvia, USA, Sweden, Australia and Germany. He is a member ...

Jo Haran Petals In Monotone Original Floral Painting Watercolour, Gouache and Gesso on paper Image Size: 73cm x 53.5cm Sheet/Canvas Size: 75.5cm x 56cm Sold Unframed Free Shipping Pl...

Pencils on paper mounted on panel Tomo Sakurai is a Japanese artist born in 1987 who lives & works in Tokyo, Japan. She had an awakening of her talent in pencil drawing as a teenage...

Flowers is a drawing realized by Albert Fernand-Renault in the early 20th Century. Pencil on paper. Stamped signed. Good Conditions with diffused foxing. The artwork is realized ...

Acrylic & watercolour on marouflaged paper with wooden panel

This exquisite graphite drawing by Mary Reilly captures the delicate beauty of cherry blossoms with striking realism and atmospheric depth. Known for her masterful pencil work, Reill...

'Romantic Composition is a tall vase' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, i...

Reilly uses a toning technique to endow her graphite works with a smooth, seamless quality. Rather than distinct outlines, her flower petals glide gracefully into the surrounding spa...

Orange Poppies in a Vase, Modernist Still Life in Watercolor on Paper A vibrant watercolor still life with a vase filled with orange poppies on a carnation pink background with abstract leaves of teal blue and purple, by California artist, Lucile Marie Johnston (1907-1994, American). Signature, "L. Johnston '74" at the bottom left and "Lucile Johnston" on the back. Presented in a new cream mat with foam core backing. Mat size: 24"H x 20"W Paper size: 16"H x 12"W Born in Santa Rosa, California on May 26, 1907, Lucile Johnston settled in Glendale 1930-1939, later moving to Carmel and then Pacific Grove in Monterey County, California where she remained. she managed Marsh's Oriental Antiques Shop...

In this small painting, Sylvia Spicuzza presents the viewer with a simple trillium flower, the white petals framed by blue-green leaves. 10 x 7.25 inches, artwork 19.75 x 17.25 inch...

Unsigned Graphite and colored pencils on laid paper

Charles Demuth was one of the most complex, talented, and deeply sensitive artists of the American modern period. Whether he was painting floral still lifes, industrial landscapes, or Turkish bathhouses, art was, for Demuth, fraught with personal meaning. A fixture of the vanguard art scene in New York, Demuth navigated the currents of Modernism, producing some of the most exquisite watercolors and original oil paintings in twentieth-century American art. Demuth was born in Lancaster, Pennsylvania, the only child of a well-to-do family. He had an awkward and introverted childhood shaped by a childhood illness, Perthes, a disease of the hip that not only left him permanently lame, but, as part of the “cure,” bedridden for two years in the care of his mother. This long period of incapacitation had a deep impact on Demuth, who came to see himself as an invalid, an outsider who was different from everyone else. It was perhaps during this period of indoor confinement that his keen interest in art developed. Several relatives on his father’s side had been amateur artists, and, following his convalescence, his mother encouraged his artistic pursuits by sending him to a local painter for instruction. The majority of his early pictures are of flowers, a subject for which Demuth maintained a lifelong passion. Following high school, Demuth enrolled at the Drexel Institute of Art in Philadelphia, a school renowned for its commercial arts program. He advanced through the program rapidly, and, in 1905, at the encouragement of his instructors, he began taking courses at the Pennsylvania Academy of the Fine Arts. The two leading teachers then at the Academy were William Merritt Chase and Thomas Anshutz. Anshutz, himself a former student of Thomas Eakins, was well liked by his students, and is best known as the teacher of Robert Henri, John Sloan, and several of the other artists of the Ashcan School. Demuth, too, adopted a similar idiom, working in a controlled, realistic manner while at the Academy, where he remained until 1910. In 1907, Demuth made his first trip to Europe, staying in Paris. He spent time on the periphery of the art scene composed of the numerous American artists there, including John Marin and Edward Steichen. He returned to Philadelphia five months later, and immediately resumed courses at the Academy. Despite his introduction to advanced modern styles in Europe, Demuth’s work of this period retains the academic style he practiced before the trip. It wasn’t until he had summered at New Hope, Pennsylvania, in 1908 and 1911, that his style began to evolve. New Hope was a prominent American Impressionist art colony whose members were largely affiliated with the Pennsylvania Academy. Demuth dropped the conservative tone of his style and adopted a freer and more colorful palette. Although he remained based in Philadelphia, Demuth frequently went to New York during this period. Many of the same American artists of the Parisian art scene Demuth had encountered on his earlier European trip now formed the nucleus of New York’s avant-garde, which centered around Alfred Stieglitz’s 291 gallery. It wasn’t long before Demuth began to apply modernist-inspired strategies to his work. He was particularly influenced by the watercolor work of John Marin, also a former student of Anshutz, whose bold use of color in the medium Demuth freely adapted into looser washes of color. In 1912, Demuth again left for Paris, this time studying in the Académie Moderne, Académie Colorossi, and Académie Julian. In Paris Demuth met the American modernist Marsden Hartley. Hartley, a principal figure in the expatriate art circle, acted as a mentor to Demuth, and introduced him to the wide array of modern styles currently practiced in Europe. Hartley also introduced Demuth to many of the members of the Parisian avant-garde, including Gertrude Stein. Demuth was an aspiring writer, and he spent many hours in conversation with Stein. He wrote extensively during this period, and published two works shortly after his return to America. He also developed an interest in illustrating scenes from literary texts. From 1914 to 1919, Demuth produced a series of watercolors of scenes from books such as Emile Zola’s Nana and Henry James’s The Turn of the Screw. Upon his return to America, Demuth settled in New York. In 1914, Demuth had his first one-man show at Charles Daniel’s gallery, which promoted emerging modern American artists, including Man Ray, Rockwell Kent, Yasuo Kuniyoshi, Stuart Davis, and Max Weber. Demuth drew closer to the artistic vanguard in New York, becoming friends with many in the Stieglitz and Daniel circles, including Georgia O’Keeffe, Marcel Duchamp, Carl Van Vechten, and Edward Fiske. New York’s cosmopolitan atmosphere and active nightlife appealed greatly to Demuth. In a sketchy style well suited to watercolor, he painted many vaudeville and circus themes, as well as nightclub, café, and bathhouse scenes. Often with Duchamp, Demuth took part in an urban subculture replete with nightclubs, bars, drugs, and sexual permissiveness, which, for a homosexual artist like himself, allowed room for previously unattainable personal expression. Demuth’s pictures of sailors, bathhouses, and circus performers embody a sensual and sexual undercurrent, expressing the artist’s sense of comfort and belonging in the bohemian subculture of New York. Simultaneously, Demuth deepened his interest in floral pictures, painting these almost exclusively in watercolor. His style evolved from the broad color washes of his earlier pictures to more spare, flattened, and sinuous compositions, inspired by the drawings of Aubrey Beardsley and other artists of the Aesthetic Movement. Demuth’s flower watercolors are moody and atmospheric, sensuous and elegant, introspective and yet full of expressive power. Moreover they are beautiful, and are unequivocally among the finest still lifes in American art. Despite numerous subsequent artistic undertakings that led him in a variety of directions, Demuth never stopped painting flower pictures, ultimately adding fruits and other still-life objects to his repertoire. In 1916, Demuth began to develop a style later known as Precisionism, a form of landscape painting infused with Cubism, in which space is divided into precisely drawn geometric regions of color. Demuth first began to paint the landscape in an appropriated Cubist mode while on a trip with Hartley to Bermuda. In these early landscapes, in which the curvilinear forms of trees intersect the geometrically articulated architectural forms, Demuth explored ideas that shaped the future development of modernism in America. The full realization of Demuth’s explorations came after his return to America in 1917, when he turned his attention to industrial subjects. These works derive from a “machine aesthetic,” espoused by New York artists such as Francis Picabia, Joseph Stella, Albert Gleizes, and Duchamp, by which artists viewed machines as embodying mystical, almost religious significance as symbols of the modern world. Rather than painting the skyscrapers and bridges of New York as did most of his like-minded contemporaries, Demuth returned to his home town of Lancaster, where he painted factories and warehouses in a Precisionist idiom. The titles for these pictures are often contain literary references, which serve as clues for the viewer to aid in the decoding of the artist’s meaning. In 1923, Demuth planned a series of abstract “poster portraits” of his friends and contemporaries in the New York art and literary scene. In these “portraits,” Demuth combined text and symbolic elements to evoke the essential nature of his sitters’ distinguishing characteristics. In this fashion, he painted portraits of such artists as Georgia O’Keeffe, John Marin, and Arthur Dove. His most famous poster portrait, I Saw the Figure 5 in Gold...

Anna Kudriashova, born in a small town in Russia, has always been an artist at heart. From her youngest years, she was passionate about painting, spending her days immersed in the wo...

Robert Reinhardt Von Liski was born in Prussia in 1908. He immigrated to the United States and worked in Chicago as a commercial artist. He is best known for his strong sense of Art ...

Colored Pencil on Museum Board Signed and Dated; Impressed with artist's stamp lower right Archivally framed with black float mount and bleached maple surround.

My studio painting :: Painting :: Impressionist :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: Yes :: Signed: Yes :: Signatur...

Acrylic, watercolour, crayon & pencils on marouflaged paper with wooden panel & signed on reverse

Acrylic & watercolour on marouflaged paper with wooden panel

I was born in Manhattan, but the most important places in my life have been here on Long Island by the ocean and in the mountains and forests of Vermont. I love to surf, I love to sk...

'Yellow tulips in a tall vase 1' watercolor on paper. Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity,...

How I love my little garden, where I sit and contemplate. My perfect piece of paradise inside my garden gate. Hanging baskets, pretty pots, the flowers are brimming over. The grass so green, the buttercups, the daisies, and the clover. Honeysuckle and jasmine giving off its sweet perfume. Pretty lilies open wide, rose bushes in full bloom. In summer they stand tall and proud as the buds turn into flowers. I sit and watch as they all flourish and while away the hours. I see the little fledglings nesting high up in the trees. Bees in and out the bushes with their variegated leaves, Where they gather all the pollen, then soar into the sky. They're heading home at speed, returning to the hive. The melody of the wind chimes as they tinkle in the breeze Interwoven with gossamer cobwebs, at night the spider weaves. The sunshine sparkles on the pond where the water lilies grow. Golden fish and tadpoles swimming safely down below. It's all so very peaceful relaxing in the sun Where the butterflies flutter by having so much fun. The sun goes down and darkness falls, the moon is big and bold, Where all that live in the garden have a story to be told. The little gnomes are watching the pixies and the sprites Dancing by the wishing well, aglow with fairy lights...

This watercolour is hand signed and dated in pencil by the artist "Heckel 48" [1948] in the lower right image. It is also hand titled in pencil “Gelbe Blüten” [Yellow Flowers] in th...

Zygmund Jankowski (1925–2009) painted traditional subjects with exuberant irreverence for traditional rules of color, composition, and perspective. He disparaged imitation and deligh...

Mary Finlayson "Spring Equinox 1" Flashe, Gouache, Spray Paint, Oil Stick on Canvas 25.25 x 21.25 inches, framed Mary Finlayson’s interest in painting ...

'Composition with Tumbling Vases - Screen I', by Gary Bukovnik. Watercolor on mulberry, 28 1/2 x 68 inches, 2019. Hand painted folding screen created with watercolor on mulberry pape...

'Flame Vine Screen', by Gary Bukovnik. Watercolor on mulberry, 14 1/4 x 68 inches, 2019. Hand painted folding screen created with watercolor on mulberry paper within a minimal dark w...

Tess Michalik Sparkle Dust, 2025 oil on Yupo paper 38 x 25 in. (mic025)

Cherry Blossom No. 12, Original Minimalist Floral Still Life Study, 2020 20" x 16" (HxW) Watercolor on Cold Pressed Paper A simple and minimalist nature study, this botanical watercolor painting features a large, pink cherry blossom caressed by a delicate sprig of leaves in a deep olive green. A gray and blue shadow indicates depth, allowing the flower to appear as if it is popping out of the composition. The soft color palette and brush strokes, along with the bleeding nature of the watercolors, gives this work an expressive and impressionist feel. Images with frames are examples only; this work comes unframed. Artist Commentary: Original watercolor painting on 140 lb Arches cold pressed paper (2019). About the Artist: Elizabeth Becker...

"Fringed Gentians" is an original watercolor by Alicia Czechowski. The artist signed the piece in the lower right. This artwork depicts purple flowers in a lush green garden. 12 1/...

Artist Commentary: This piece is a watercolor floral still life painting. Keywords: flowers, floral, still life, vase, bouquet, African Violets, purple...

Barbara Regina Dietzsch, 1706-1783 White Primrose, Japanese Quince, a Beetle, and a Butterfly, ca. 1730 Opaque watercolor painting inscribed on...

'Cherry blossoms in tumbling asian vases' watercolor on paper. Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, i...

"Pond Dream #2" is an original pastel and gouache on paper by Victoria Ryan. This piece depicts a number of pond plants and flowers in bright colors and realistic detail. 31 1/2" x...