Gifts For Him 2014

Artist David Morrison creates hyperrealistic, yet abstracted, finely detailed pencil drawings of found natural objects, both by observing the object itself under magnification, and a...

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...

Framed: 10.5 x 10.5 in. In her ink on paper miniature still life, Tree No. 120, July 30, 2016, Dina Brodsky replicates the texture of the tree bark in uncompromising detail. Brodsk...

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...

David Morrison challenges the idea of what is cherished in nature by celebrating the beauty of the over-looked and the imperfect. Found broken branches, a peeling sycamore tree, bug-...

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...

Mary Finlayson "Spring Equinox 3" Flashe, Gouache, Spray Paint, Oil Stick on Canvas 25.25 x 21.25 inches, framed Mary Finlayson’s interest in painting ...

Mary Finlayson "Spring Equinox Diptych" Flashe, Gouache, Spray Paint, Oil Stick on Canvas Total Diptych Size: 25.125 x 42.125 inches, framed Mary Finla...

The murder of John Lennon. The birth of my children. Nixon’s resignation. Brain surgery. Driven by the desire to express myself, and leave a physical record of my life and times, I’v...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) signed bottom right watercolour on paper, unframed painting: 9.75 x 14 inches Delightful early 20th century F...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) watercolour on paper, unframed painting: 4.25 x 6 inches Delightful early 20th century French watercolour dep...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) signed bottom right watercolour on paper, unframed painting: 5 x 7 inches Delightful early 20th century Fren...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) set of 2 watercolour on paper, unframed Leftpainting : 5 x 7 inches, signed bottom right bottom painting: 5.5 ...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) signed bottom right watercolour on paper, unframed painting: 6 x 9.25 inches Delightful early 20th century Fr...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) set of 2 watercolour on paper, unframed top painting : 3.5 x 5.5 inches, signed bottom right bottom painting: ...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) signed bottom right watercolour on paper, unframed painting: 6.25 x 8.75 inches Delightful early 20th century...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) signed bottom right watercolour on paper, unframed painting: 5 x 7.25 inches Delightful early 20th century Fr...

Signed, titled & dated in pencil along the left edge of the paper. In excellent condition Provenance: McIntosh/Drysdale, Washington, D.C. 1988; Private Collection, Bethesda, Maryland; Private collection, San Diego, CA Exhibition History: The Corcoran Museum of Art, Washington, D.C. "Donald Sultan: In The Still Life Tradition" May 10-July 7...

Alberto Morrocco OBE RSA RSW RP RGI LLD DUNIV (Scottish, 1919 – 1998) Tomatoes gouache on board 11 x 15. ¾in. (28 x 40cm.) Provenance: Alberto Morrocco Studio Sale, Dundee

Derrick Latimer Sayer (British, 1917 – 1992) A vase of summer blooms Watercolour on board 24.3/4 x 16.3/4 in. (60.3 x 42.5 cm.) Sayer studied at the Chelsea School Art under Henry Mo...

Evelyn De Morgan (British, 1855 – 1919) An olive branch Watercolour on paper 9 x 7.1/2 in. (22.8 x 19 cm.) Provenance: The Clayton-Stamm Collection. ...

Eduard Xavier Kapp (British, 1890 – 1978) What’s the Time? Pen and crayon, tondo Signed and dated ‘Kapp 75’ (in the centre) 8.1/2 x 8.1/2 in. (21.6 x 21.6 cm.) Edmond Kapp was born in Islington, London, on 5 November 1890, of American and German Jewish parentage. He gave himself the middle initial ‘X’ – sometimes said to stand for Xavier – to distinguish himself from his father Emil Kapp, who was a wine merchant. However, his parents called him ‘Eddie’ while his wife and friends knew him as ‘Peter’. During his early years, Kapp was continually ill and, while convalescing, entertained himself by drawing at home. As his health improved, he attended Dame Alice Owen’s School, Islington (1903-10), with periods at Berlin University (1909) and L’Institut Français pour les Etrangers, Paris (1909). He then read Languages at Christ’s College, Cambridge (1910-13), though spent most of his time writing and drawing. Kapp took a studio in London, and worked intensively until the outbreak of the First World War, contributing to the Daily News, the Onlooker and other periodicals. During the war, he served as a 2nd Lieutenant in the Royal Sussex Regiment on the Western Front, and then in Intelligence, rising to the position of Staff Captain on Haig’s Staff. Finally, he founded and directed the Neutral Press Counter-propaganda Section. In 1919, Kapp returned to London and, after abortive periods at three art schools, worked alone. In that year, he made his name with an exhibition of caricatures, held at Furst’s Gallery, London, and accompanied by a catalogue introduced by Max Beerbohm. This soon led to contracts with three London periodicals and a book of caricatures, Personalities, published by Martin Secker. Through the 1920s and 30s, his drawings of musicians and other personalities appeared in a wide variety of periodicals, most notably Time & Tide; were collected in further volumes; and were exhibited at the Leicester Galleries. He considered himself to be a ‘character-portraitist’, producing images of psychological not satirical power, and disliking the term ‘caricature’. Between the wars, Kapp developed other aspects of his artistic talents, the desire to study and the search for subject matter often taking him abroad. For instance, work at the British Academy, Rome, under Antonio Sciortino...

Romain de Tirtoff, called ERTE (Russian/French, 1892-1990) Tasse a Café et Bol a The Ink, gold paint and watercolour with pencil Inscribed with detai...

Edmond Xavier Kapp (British, 1890 – 1978) Isaac Stern at work Inkpen Signed, inscribed and dated ‘Isaac Stern at work Kapp 51’ (lower right) 17.1/8 x 13.7/8 in. (43.3 x 35.3 cm.) Edmond Kapp was born in Islington, London, on 5 November 1890, of American and German Jewish parentage. He gave himself the middle initial ‘X’ – sometimes said to stand for Xavier – to distinguish himself from his father Emil Kapp, who was a wine merchant. However, his parents called him ‘Eddie’ while his wife and friends knew him as ‘Peter’. During his early years, Kapp was continually ill and, while convalescing, entertained himself by drawing at home. As his health improved, he attended Dame Alice Owen’s School, Islington (1903-10), with periods at Berlin University (1909) and L’Institut Français pour les Etrangers, Paris (1909). He then read Languages at Christ’s College, Cambridge (1910-13), though spent most of his time writing and drawing. Kapp took a studio in London, and worked intensively until the outbreak of the First World War, contributing to the Daily News, the Onlooker and other periodicals. During the war, he served as a 2nd Lieutenant in the Royal Sussex Regiment on the Western Front, and then in Intelligence, rising to the position of Staff Captain on Haig’s Staff. Finally, he founded and directed the Neutral Press Counter-propaganda Section. In 1919, Kapp returned to London and, after abortive periods at three art schools, worked alone. In that year, he made his name with an exhibition of caricatures, held at Furst’s Gallery, London, and accompanied by a catalogue introduced by Max Beerbohm. This soon led to contracts with three London periodicals and a book of caricatures, Personalities, published by Martin Secker. Through the 1920s and 30s, his drawings of musicians and other personalities appeared in a wide variety of periodicals, most notably Time & Tide; were collected in further volumes; and were exhibited at the Leicester Galleries. He considered himself to be a ‘character-portraitist’, producing images of psychological not satirical power, and disliking the term ‘caricature’. Between the wars, Kapp developed other aspects of his artistic talents, the desire to study and the search for subject matter often taking him abroad. For instance, work at the British Academy, Rome, under Antonio Sciortino...

Edward Ridley (British, 1883-1946) An oblong design featuring ivy in blossom Gouache 10.5/8 x 4.3/8 in. (27 x 11.2 cm.) This design was one of 5 submitt...

Evelyn De Morgan (British, 1855 – 1919) Narcissi Pencil on paper 5.1/2 x 15 in. (14 x 38 cm.) Provenance: The Clayton-Stamm Collection. Dominic Wint...

This is a beautiful and fine avant-garde finished drawing of herbs by the French female artist, Dora Maar. Dora Maar was a distinctive artist in her own right marked by striking pho...

Edward Ridley (British, 1883-1946) A squared design featuring ivy in blossom Gouache 9 x 9 in. (22.8 x 22.8 cm.) This design was one of 5 submitted for ...

Sir Matthew Smith CBE (British, 1879 –1959) Dahlias Pastel 22 x 16.1/4 in. (56 x 42 cm.) Provenance: Sotheby’s London, 20th Century Art, 03 Oct 2001, lot...

Romain de Tirtoff, called ERTE (Russian/French, 1892-1990) Service a The et Café 1 Ink, gold paint and watercolour on grey/blue paper Inscribed with deta...

Evelyn De Morgan (British, 1855 – 1919) Study of a tree pencil on paper 19 x 11.3/4 in. (48.2 x 30 cm.) Provenance: The Clayton-Stamm Collection. Dom...

A beautiful and peaceful abstract still life painting done in pastel. Vibrant colours such as red, yellow, blue and green burst through the picture to create a living and loving peac...

Eduard Xavier Kapp (British, 1890 – 1978) Rose in bottle Ink pen Signed, inscribed and dated ‘For Paby, no7 out of 7 Kapp. 59’ (lower edge) 11 x 8.1/4 in. (28 x 21 cm.) Edmond Kapp ...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) signed bottom right watercolour on paper, unframed painting: 7.25 x 9.5inches Delightful early 20th century F...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) set of 2 watercolour on paper, unframed top painting : 5.25 x 8.25 inches, signed bottom right bottom painting...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) signed bottom right watercolour on paper, unframed painting: 9.75 x 14.75 inches Delightful early 20th centur...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) signed bottom right watercolour on paper, unframed painting: 5.5 x 8 inches FREE SHIPPING The work is signed...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) signed bottom right watercolour on paper, unframed painting: 9.25 x 14 inches Delightful early 20th century F...

Neo Impressionist Still Life by Louis Bellon (French 1908-1998) signed lower right gouache painting on paper, unframed measurements: 10 x 12.75 inche...

White Roses in a Glass Stem Vase by Henri Miloch (1898-1979) signed lower left watercolour painting on artist's paper, unframed sheet: 13.5 x 9.75 inches Very pretty still life pa...

"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) signed bottom right watercolour on paper, unframed painting: 8 x 5.5 inches Delightful early 20th century Fre...

"Buildings" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) set of 2 watercolour on paper, unframed Left painting : 5.25 x 3.25 inches bottom painting: 4.5 x 3 inches ...

Joseph Stella was a visionary artist who painted what he saw, an idiosyncratic and individual experience of his time and place. Stella arrived in New York in 1896, part of a wave of Italian immigrants from poverty-stricken Southern Italy. But Stella was not a child of poverty. His father was a notary and respected citizen in Muro Locano, a small town in the southern Appenines. The five Stella brothers were all properly educated in Naples. Stella’s older brother, Antonio, was the first of the family to come to America. Antonio Stella trained as a physician in Italy, and was a successful and respected doctor in the Italian community centered in Greenwich Village. He sponsored and supported his younger brother, Joseph, first sending him to medical school in New York, then to study pharmacology, and then sustaining him through the early days of his artistic career. Antonio Stella specialized in the treatment of tuberculosis and was active in social reform circles. His connections were instrumental in Joseph Stella’s early commissions for illustrations in reform journals. Joseph Stella, from the beginning, was an outsider. He was of the Italian-American community, but did not share its overwhelming poverty and general lack of education. He went back to Italy on several occasions, but was no longer an Italian. His art incorporated many influences. At various times his work echoed the concerns and techniques of the so-called Ashcan School, of New York Dada, of Futurism and, of Cubism, among others. These are all legitimate influences, but Stella never totally committed himself to any group. He was a convivial, but ultimately solitary figure, with a lifelong mistrust of any authority external to his own personal mandate. He was in Europe during the time that Alfred Stieglitz established his 291 Gallery. When Stella returned he joined the international coterie of artists who gathered at the West Side apartment of the art patron Conrad Arensberg. It was here that Stella became close friends with Marcel Duchamp. Stella was nineteen when he arrived in America and studied in the early years of the century at the Art Students League, and with William Merritt Chase, under whose tutelage he received rigorous training as a draftsman. His love of line, and his mastery of its techniques, is apparent early in his career in the illustrations he made for various social reform journals. Stella, whose later work as a colorist is breathtakingly lush, never felt obliged to choose between line and color. He drew throughout his career, and unlike other modernists, whose work evolved inexorably to more and more abstract form, Stella freely reverted to earlier realist modes of representation whenever it suited him. This was because, in fact, his “realist” work was not “true to nature,” but true to Stella’s own unique interpretation. Stella began to draw flowers, vegetables, butterflies, and birds in 1919, after he had finished the Brooklyn Bridge series of paintings, which are probably his best-known works. These drawings of flora and fauna were initially coincidental with his fantastical, nostalgic and spiritual vision of his native Italy which he called Tree of My Life (Mr. and Mrs. Barney A. Ebsworth Foundation and Windsor, Inc., St. Louis, illus. in Barbara Haskell, Joseph Stella, exh. cat. [New York: Whitney Museum of American Art, 1994], p. 111 no. 133). Two Wood Ducks...

Signed (at lower right): FJK

Signed (at lower right): FJK

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

Graphite and watercolor on a book page. Signed in ink by the artist lower right corner 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.

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...

Unsigned Graphite and colored pencils on laid paper

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...

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...

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

Stanton Macdonald Wright (1890-1973) was one of the most prolific and important modernist artists and co-creator of the Synchronist movement. ...

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...

Study of Corn with Nicotaina Signed with the artist's monogram and dated lower left Crayon on paper laid down on support paper by the artist Inscribed with title, date and dimensions...

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...