Ifpda International Fine Print Dealers Association Still-life Drawings and Watercolors

Glenny created beautiful miniature watercolors, mostly still life. This image of a bronze teapot with red onions is a unique work of art. Glenora Rich...

"White Eggplant on Red Table" is a color pencil drawing on paper by artist Emilio Sanchez. The drawing is to the paper edge and initialed "ES" in the lower right. There is an Emilio...

Unsigned Graphite and colored pencils on laid paper

Trompe-l'Oeil Study Watercolor on heavy wove paper, 1943 Signed with the artists initials, lower center of image; Dated 1943, lower center of image Provenance: Swann Galleries, 2007, realized $2,640 Condition: Excellent. Fresh colors. Framed with conservation glass. Sheet: 14 3/4 x 11 1/4" Frame size: 20 3/4 x 17 Berman brothers (painters) From Wikipedia, the free encyclopedia Eugene Berman in Italy in the 1960s Eugène Berman (Russian: Евгений Густавович Берман; 4 November 1899, Saint Petersburg, Russia – 14 December 1972, Rome) and his brother Leonid Berman...

Untitled, Still Life of Shell Graphite on paper, 1945-1951 Signed lower right in pencil "Bisttram" (see photo) Condition: Excellent Sheet size: 9.63 x 7 .5 inches EMIL BISTTRAM (189...

Still Life with Tromp L'Oeil Graphite and watercolor on a book page. Signed in ink by the artist lower right corner (see photo) Provenance: Estate of the artist (Estate No. 00916 verso) Ray Sommer (the artist's son) Joseph M. Erdelac (No. 18 JME verso) Book page verso is an illustration of a Durer woodcut...

Surrealist landscape with skull and red daisy Watercolor on paper, 1960-1970 Unsigned Stamped with the artist's estate stamp verso (see photo) Provenance: Estate of the artist Refere...

"Red Peppers" is a color pencil drawing, circa 1995, is by Emilio Sanchez. It is drawn to the paper edge and unsigned. Noted "Emilio Sanchez Foundation" on verso. EMILIO SANCHEZ (1...

"Red Peppers" is a color pencil drawing by artist Emilio Sanchez. It is drawn to the paper edge and initialed "ES" in the lower left. "Emilio Sanchez Found...

Chrysanthemums and Tiger Lilies Signed and dated lower left (twice), see photo Watercolor on paper, 1935 A symbol of the sun, the Japanese consider the or...

Barrer, Gertrude (American, 1921-19920. UNTITLED. Pencil and ink on paper. 8 3/4 x 11 3/4 inches, 223x298 mm., framed to 16 x 19 inches. Provenance: The Artist; Gary Snyder Fine Art, NY. This work was exbibited at Snyder Fine Art, NY, Works on Paper from the 1940s by Gertrude Barrer...

Plum Branches and Flowers watercolor on wove paper, 1985 Signed and dated in pencil lower right corner From the artist's 1985 sketchbook Inspired by O'Sickey's love of Japanese and Chinese art and calligraphy. Provenance: Estate of the artist Condition: Excellent Image/Sheet size: 13 5/8 x 17 inches Joseph B. O’Sickey, Painter 1974 CLEVELAND ARTS PRIZE FOR VISUAL ARTS The title conferred on him by Plain Dealer art critic Steve Litt in a 1994 article, “the dean of painting in northeast Ohio,” must have pleased Joseph O'Sickey. It was more than 30 years since he had burst onto the local (and national) art scene. O’Sickey was already in his 40s in that spring of 1962 when he had his first one-man show at the Akron Art Museum and was signed by New York’s prestigious Seligmann Galleries, founded in 1888. In the decade and a half that followed, he would have seven one-man shows at Seligmann, which had showed the work of such trailblazing figures as Seurat, Vuilliard, Bonnard, Leger and Picasso, and appear in all of the group shows. O’Sickey took the Best Painting award in the 1962 May Show at the Cleveland Museum of Art (CMA). He and would capture the same honor in back-to-back May Shows in 1964 and ’65, and again in 1967. The remarkable thing, noted the Plain Dealer’s Helen Borsick, was that he accomplished this sweep in a variety of painterly styles, even using that most hackneyed of subjects, flowers. “The subject doesn’t matter,” he told her, “what the artist brings to it is the important thing.” O’Sickey’s garden and landscape paintings were big and bold, eschewing delicate detail in favor of vitality and impact. The great art collector and CMA benefactor Katherine C. White, standing before one of O’Sickey’s vivid garden paintings, compared the sensation to “being pelted with flowers.” Though he might represent an entire blossom with one or two smudged brush strokes or a stem with a simple sweep of green, O’Sickey rejected the moniker of Impressionist—or Pointillist or Abstract painter or Expressionist. “My work,” he said, “is a direct response to the subject. I believe in fervor and poetic metaphor. I try to make each color and shape visible and identifiable within the context of surrounding colors and shapes. A yellow must hold its unique quality from any another yellow or surrounding color, and yet read as a lemon or an object, by inference. It does not require shading or modeling—the poetic evocation is part of the whole.” “The subject,” O’Sickey used to tell his students at Kent State University, where he taught painting from 1964 to 1989, “has to be seen as a whole and the painting has to be structured to be seen as a whole.” He liked to think of it as “a process of controlled rapture.” When, in the 1960s, fond childhood memories drew him to the zoo, he found himself responding to the caged animals in their lonely dignity (or indignity) with sharp-edged, almost silhouette-like forms that evoked Matisse’s paintings and cut-paper assemblages. One observer was left with the impression that the artist had “looked at these animals, past daylight and into dusk when they lose their details in shadow and become pure shapes, with eyes that are seeing the viewer rather than the other way around. This is a world of shape and essence,” wrote Helen Borsick. “All is simplification.” O’Sickey attributed his ability to capture his subjects with just a few strokes—in an almost iconographic way—to a rigorous exercise he had imposed upon himself over a period of several months. Limiting his tools to a large No. 6 bristle brush and black ink, he set himself the task of drawing his pet parakeet and the other small objects in its cage (cuttlebone, feeding dish, tinkling bell) hundreds of times. The exercise gave him “invaluable insights into painting. . . . Because of the crudity of the medium, every part of these drawings had to be an invention and every mark had to have its room and clarity.” Then he began adding one color at a time—“still with the same brush and striving for the same clarity”—and headed off to the zoo where “the world opened up to me. I learned how little it took to express the subject.” Born in Detroit at the close of the First World War, O’Sickey grew up in St. Stanislaus parish near East 65th and Fleet on Cleveland’s southeast side. (The apostrophe was inserted into the family’s proud Polish name by a clerk at Ellis Island.) An early interest in drawing and painting may have been kindled by the presence on the walls of Charles Dickens Elementary School, one of only three grade schools in the district with a special focus on the arts, of masterful watercolors by such Cleveland masters as Paul Travis, Frank N. Wilcox and Bill Coombes. As a youngster O’Sickey took drawing classes at the Cleveland Museum of Art, and he and his brother spent hours copying famous paintings; while a student at East Tech High School in the mid-’30s, he attended free evening classes in life drawing with Travis and Ralph Stoll at the John Huntington Art and Polytechnic Institute, and Saturday classes at the Cleveland School (later the Cleveland Institute) of Art, where he earned his degree in 1940 under the tutelage of Travis, Stoll and such other legendary figures as Henry Keller, Carl Gaertner, William Eastman, Kenneth Bates...

Aka Beni Kosh Still Life with Flowers Colored pencil on paper Unsigned Signed with the estate stamp on reverse (see photo) Estate No. 716 Condition: Soft fold through image, wri...

Trompe l'oeil [untitled]. Homage.... Ink drawing, multimedia, 1837. Paper size 13.13 x 16.44" (33.3 x 41.8 cm). On watermarked paper "Blauw and Briel." Overall good condition. Small tears and the occasional bit of paper missing at the paper edge. Original color. Center paper crease - as issued. We believe the artist created this artwork on a sheet of paper that had been previously bound in a book. Dutch trompe l'oeil drawing with pen & ink, pencil, sepia, and black chalk, wax seal, and painted pigment. This montage of early 19th century ephemera depicts sheet music, scenic views, a sealed letter, cards, a portrait of an unknown sitter, and a penned sheet noting ... van S. G. Wezel Wassenaar, October 1837. Is this a homage to the individual portrayed, a metaphorical self-portrait, or just a random assortment of ephemera beautifully composed? The artist keeps us wondering and visually appeased by a striking harmony created through contrast. This piece starts with sheet music entitled; Romance Larghetto No 2. There is a Psalm and Op Jezus Geboorte (On Jesus Birth...

Homage to Morandi Watercolor, c. 1990 Signed lower right: Sloane An important exhibition size watercolor by the artist. Acquired by the Cleveland Clinic, de-accessed in 2021 Conditio...

Unknown Artist, Japanese, 20th century Unsigned Inscription in Japanese that repeats the English

[recto];untitled (Sketches for Still Unsigned 9 1/2 x 12 inches (24.2 x 30.6 cm.)

Provenance: Estate of the Artist Peter Marks (1935 -2010) Peter Marks was born in New York City on January 18, 1935. A lifetime New Yorker, Marks gradu...

Ben-Zion. STILL LIFE WITH BOWL OF FRUIT AND PITCHER. Watercolor on paper. Signed within the image, right. 2 3/8 x 3 3/4 inches. In excellent c...

"White Eggplant on Black Table" is a color pencil drawing by artist Emilio Sanchez, circa 1995. It is drawn to the paper edge and initialed "ES" in the lower right. The "Emilio Sanch...

Signed "Rhonda V" in memory of the artist's mother From the series: Baggage Claim, inspired by the death of the artist's mother. The reference to "Baggage" is symbolic to all the emotion and hurt one accumulates through life and how the accumulations weights down on the spirit. Watercolor on Yupo paper...

Created in 2017 this series, Baggage Claim, speaks to the symbolic emotional weight one accumulates through life and how the accumulations weigh down the spirit. The artist used handbags...