Graphics Drawings and Watercolor Paintings

American Scene Industrial Modern Lamp Magazine Illustration Mid-Century Antonio Petruccelli (1907 - 1994) Oil Terminal Lamp Magazine, published, c. 1930s. 15 3/4 X 12 inches (image) 18 X 14 inches board Gouache on board Signed lower right unframed BIOGRAPHY: Antonio Petruccelli (1907-1994) began his career as a textile designer. He became a freelance illustrator in 1932 after winning several House Beautiful cover illustration contests. In addition to 24 Fortune magazine covers, four New Yorker covers, several for House Beautiful, Collier’s, and other magazines he did numerous illustrations for Life magazine from the 1930s – 60s. ‘Tony was Mr. Versatility for Fortune. He could do anything, from charts and diagrams to maps, illustrations, covers, and caricatures,’ said Francis Brennan, the former art director for Fortune. Over the course of his career, Antonio won several important design awards, designing a U.S. Postage Stamp Commemorating the Steel Industry and designing the Bicentennial Medal...

WŁODZIMIERZ KARCZMARZYK (born in 1930) Painter and an architect. He studied at KUL in Lublin, Academy of Fine Arts and University of Technology in Warsaw. Long-term professor of draw...

Welcome to Heritage, our carefully curated collection of French vintage and antique paintings. We scour the flea markets and fairs for these gems: poignant portraits of long-gone Me...

An exuberant multi coloured still life of floral blooms, arranged in a decorative gold lustre urn, positioned on a marble mantlepiece. The painting is signed to the lower right-hand ...

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...

Woodland Stems on Dark by Jo Haran [2021] original Gouache, watercolour ink and gesso. Image size: H:64 cm x W:47.3 cm Complete Size of Unframed Work: H:67 cm x W:50.7 cm x D:0.01cm...

To see our other Architectural Drawings, scroll down to "More from this Seller" and below it click on "See all from this Seller." V A Hards (British, c. 193...

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...

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...

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...

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...

Made with passion and painting-embroidery details, hand-painted. For Dog lovers community. The Perfect Artdeco Gift! The dogs are truly one of the best companions that you could ever wish to have. Juliette and her lovely Greyhound. Juliette also wear the Casadei sophisticated glamour shoes...

'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 Floral Escapades 1 & 2, 2025 Oil on yupo 38 x 25 in. (mic032)

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

A. E. Halliwell (1905-1987) Pansies Gouache 30 x 47 cm c.1930 Label to reverse 'Baynard Press', Signed lower right, further signed in pencil and dated 1929. Provenance: Family of the...

Tess Michalik Lava Plume, 2025 oil on Yupo paper 38 x 25 in. (mic027)

Unsigned Graphite and colored pencils on laid paper

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

Real Cubism This pastel Golden Cubism – 21-02-21 is the first real cubist drawing in my Golden series. After my last pastel drawing Lakshmi – 16-02-21 I realized I only made pastels in my Roundism style. The last one in that style was ‘Golden Lilac – 07-02-21’. What if I would return to the initial form of cubism I employed back in 2014. Besides that, once in a while my preference is to put the stress on angular forms rather than round ones. Variety is the spice of life...

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...

Acrylic & watercolour on marouflaged paper with wooden panel

34.5 X 35 Inches framed This piece is featured in A’Court’’s 2024 solo exhibition at Susan Eley Fine Art titled, “Keeping Memories”. Artist Biography: A...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." S Clapham (active 1940 - 1960) Design for a Stained G...

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...

Linda Stein, Profile Notation 418.010 - Signed Feminist LGBTQ+ Ink and Graphite on Paper Drawing Profile Notation 418.010 is from Linda Stein's Profiles series--drawings, collages ...

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.

'Fish & Flowers', Chinese Hopei Folk Art, 1956. Paper-cut with watercolor, mounted on cream, wove backing paper, with fresh, vivid colors, in excellent condition. Matted to museum st...

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.

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

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 ...

'Flowers', Chinese Hopei Folk Art, 1956. Paper-cut with watercolor, mounted on cream, wove backing paper, with fresh, vivid colors, in excellent condition. Matted to museum standards...

Tess Michalik Butterfly Altar, 2025 Oil on yupo 38 x 25 in. (mic033)

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

'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...

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...

Tess Michalik Birdvine Tangles, 2025 oil on yupo 38 x 25 in. (mic034)

From the series “Tetrisâ€

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.

Tess Michalik Plush Petals, 2025 oil on yupo 38 x 25 in. (mic037)

John York Thomas the Tank 'Seeing Signals' Ink on cel 41 x 30 cm This black-and-white ink illustration is from the Thomas & Friends episode "Seeing Signals." This episode features...

The painting is ready to hang, the painting has no decorative frame. Triptych "Symphony of the Elements" "Symphony of the Elements" is a triptych that immerses the viewer in a medit...

Tess Michalik Count on me, 2025 oil on Yupo paper 38 x 25 in. (mic028)

Movies, TV and magazines are constant source of inspiration. Fame, as fleckring and shallow it can be sometimes, is very intriguing to him. The worlds of fashion, society and pop cu...

Woman With Red Poppies, 1905, by Philip Boileau (1863-1917) Pastel on paper 35 ½ × 22 ¾ inches unframed (90.17 x 57.785 cm) Signed, dated, and inscribed...

French technical drawing of geometric shapes, c.1980. Academic drawing of geometric shapes and perspectives on hand laid paper. Original artwork on...

Spring flowers :: Painting :: Fine Art :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: No :: Signed: Yes :: Signature Locati...

'Birds & Flowers', Chinese Hopei Folk Art, 1956. Paper-cut with watercolor, mounted on cream, wove backing paper, with fresh, vivid colors, in excellent condition. Matted to museum standards, unframed. Image size 4 7/8 x 3 1/8 inches; sheet size 8 7/8 x 6 1/4 inches; mat size 14 x 11 inches. ABOUT THIS WORK Hopei or Hebei is a province of North East China, on the Gulf of Chihli near Beijing that is home to Chengde Mountain Resort, the imperial summer residence of the Qing-dynasty emperors. Chengde contains 18th-century palaces, gardens, and pagodas ringed...

'Flowers', Chinese Hopei Folk Art, 1956. Paper-cut with watercolor, mounted on cream, wove backing paper, with fresh, vivid colors, in excellent condition. Matted to museum standards...

The Skull-and-Crossbones flag flies atop this illustration of a Pirate Ship. Two palm trees flank it, and it floats in a cropped stylized sea. A single hatted figure is seen looking ...

Classic Turrey "With God I Shall" coat-of-arms in gouache c1950s Art Sz: 11 3/4"H x 9 3/4"W Frame Sz: 13"H x 11"W

'Butterfly & Flowers', Chinese Hopei Folk Art, 1956. Paper-cut with watercolor, mounted on cream, wove backing paper, with fresh, vivid colors, in excellent condition. Matted to museum standards, unframed. Image size 5 1/8 x 3 1/8 inches; sheet size 8 7/8 x 6 1/4 inches; mat size 14 x 11 inches. ABOUT THIS WORK Hopei or Hebei is a province of North East China, on the Gulf of Chihli near Beijing that is home to Chengde Mountain Resort, the imperial summer residence of the Qing-dynasty emperors. Chengde contains 18th-century palaces, gardens, and pagodas ringed...

Art Sz: 23"H x 14 1/2"W

Gail Norfleet earned her BFA at The University of Texas at Austin, and her MFA at Southern Methodist University. She has had solo exhibitions at The McKinney Avenue Contemporary and ...

'Fish & Flowers', Chinese Hopei Folk Art, 1956. Paper-cut with watercolor, mounted on cream, wove backing paper, with fresh, vivid colors, in excellent condition. Matted to museum standards, unframed. Image size 3 3/4 x 2 1/2 inches; sheet size 8 7/8 x 6 1/4 inches; mat size 13 x 10 inches. ABOUT THIS WORK Hopei or Hebei is a province of North East China, on the Gulf of Chihli near Beijing that is home to Chengde Mountain Resort, the imperial summer residence of the Qing-dynasty emperors. Chengde contains 18th-century palaces, gardens, and pagodas ringed...

'Bird & Flowers', Chinese Hopei Folk Art, 1956. Paper-cut with watercolor, mounted on cream, wove backing paper, with fresh, vivid colors, in excellent condition. Matted to museum standards, unframed. Image size 5 1/4 x 3 1/4 inches; sheet size 8 7/8 x 6 1/4 inches; mat size 14 x 11 inches. ABOUT THIS WORK Hopei or Hebei is a province of North East China, on the Gulf of Chihli near Beijing that is home to Chengde Mountain Resort, the imperial summer residence of the Qing-dynasty emperors. Chengde contains 18th-century palaces, gardens, and pagodas ringed...

'Butterfly & Flowers', Chinese Hopei Folk Art, 1956. Paper-cut with watercolor, mounted on cream, wove backing paper, with fresh, vivid colors, in excellent condition. Matted to museum standards, unframed. Image size 4 5/8 x 3 1/8 inches; sheet size 8 7/8 x 6 1/4 inches; mat size 14 x 11 inches. ABOUT THIS WORK Hopei or Hebei is a province of North East China, on the Gulf of Chihli near Beijing that is home to Chengde Mountain Resort, the imperial summer residence of the Qing-dynasty emperors. Chengde contains 18th-century palaces, gardens, and pagodas ringed...