Still-life Drawings and Watercolors

Sonia Delaunay - Original Watercolor on paper Dimensions: 21 x 21 cm. Authentified by her son Charles Delaunay on the back. Sonia Delaunay was known for her vivid use of color and her bold, abstract patterns, breaking down traditional distinctions between the fine and applied arts as an artist, designer and printmaker. Born Sarah Stern on November 14, 1885 in Gradizhsk, Ukraine, she was adopted in 1890 by her maternal uncle, Henri Terk, a lawyer in St. Petersburg, where she grew up, exposed to music and art, and learning several foreign languages. In 1903, she moved to Germany to study drawing with Ludwig Schmidt-Reutler (1863–1909) at the Karlsruhe academy of fine arts; Arnold Schoenberg (1874–1951), composer-to-be, was among her classmates there. In 1905, she traveled to Paris where she attended art classes at the Académie de la Palette, learned printmaking from Rudolf Grossman (1889–1941), and met Amédée Ozenfant (1886–1966), André Dunoyer de Segonzac (1884–1974), and Jean-Louis Boussingault (1883–1943). Sonia spent much of her time at exhibitions and galleries in Paris, which showed works by Paul Cézanne, Vincent Van Gogh, Pierre Bonnard, and Edouard Vuillard, as well as Les Fauves, Henri Matisse and André Derain. She did, however, maintain contact with Germany, exhibiting at the Galerie Der Sturm, Berlin, in 1913, 1920 and 1921. During her first year in Paris, Sonia met the German collector and art-dealer, Wilhelm Uhde (1874–1947), whom she married on December 5, 1908, and whose Montparnasse gallery, the Galerie Notre-Dame des Champs, showed her first solo exhibition. Through Uhde, Sonia encountered many painters, including Pablo Picasso, Georges Braque, Maurice de Vlaminck, and Robert Delaunay (1885–1941). In 1910, Sonia divorced Uhde by mutual agreement, married Delaunay that same year, and gave birth to their son, Charles, in January 1911. Together Sonia and Robert Delaunay pursued the study of color, influenced by theories of Michel-Eugène Chevreul (1786–1889). Sonia’s interest in simultaneous contrast, as evidenced in her early collages, book bindings, small painted boxes...

Artist: Darrell Fusaro, American (1962 - ) Title: Outside with Parents from Grown Ups Year: circa 1990 Medium: Pastel on Paper, signed l.l. Size: 22 x 29.5 in. (55.88 x 74.93 cm) Fra...

DONALD SULTAN 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...

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 ...

Named for its red fruit that tends to bloom during the Holiday Season, the Christmas Palm is shown here with all its beautiful flowers. Drawn in colored pencil with fine detail, thi...

Xiao Wen Xu is a Chinese-born Canadian artist based in Toronto, Canada, Her artistic practice is deeply influenced by her profound appreciation for the natural world. In her series, ...

'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...

Daisy Craddock's The World in a Tomato is an abstracted red and green still life of an heirloom tomato, rendered in oil pastel. Drawn from life, Craddo...

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...

Still life with a basket 1970's, watercolor on paper, 76x55 cm Jekabs Arturs Springis (1907– 2004) Painter, Latvia 1924 – 1927 – he learned at Aizpute Secondary School 1927 – 19...

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...

Nancy Lasar’s work is described as “drawing with light”, “condensed energy and flow”, “calm and crazy”, and “organized chaos”. The lines in Lasar’s works that are electrifying. They ...

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.

Provenance The artist; Collection of Henry Dubin, Philadelphia until 2018 Exhibitions Avery Galleries, Bryn Mawr, Pennsylvania, Living Color Modern Life: Hugh Henry Breckenridge and Arthur B. Carles, October 5-November 2, 2018. The Philadelphia modernist Arthur B. Carles was a brilliant colorist and an extraordinarily innovative painter. Though Carles trained initially at the Pennsylvania Academy of the Fine Arts, soaking up the more conservative teaching of William Merritt Chase and Thomas Anshutz, he was deeply influenced by the avant-garde art scene in Paris during his first trip there in 1905. In 1907, Carles won the prestigious Cresson Traveling Scholarship, which enabled him to return to Paris for several more years. This experience had a profound impact on Carles as an artist; he was extremely affected by modern French painting, especially the work of Cezanne and Matisse, and by the time Carles returned home to Philadelphia in 1912, he was a confirmed modernist. This small landscape sketch was probably painted early during Carles's career, and yet, it already reveals his strong interest in abstraction. Indeed, Landscape Abstraction demonstrates both his daring exploration of lyrical color harmonies as well as his interest in two-dimensional surface design. Painted loosely in the spontaneous medium of watercolor, Carles used thin washes and delicate pools of paint to suggest the foreground area and surrounding trees. His color palette is rich and expressive, ranging from pale greens and blues to deep red, yellow, and even purple. In addition to his remarkable career as an artist, Carles was also an incredibly gifted teacher. He taught at PAFA from 1917 to 1925 and had a very deep impact on a number of his students such as Morris Blackburn, Quita Brodhead, and Jane Piper...

Golden Lotus I is a mixed media drawing. The drawing is being framed in a finely crafted gilded lacquered wood frame. The inner gilded lacquered wood frame and the Thai silk in magen...

Nancy Lasar’s work is described as “drawing with light”, “condensed energy and flow”, “calm and crazy”, and “organized chaos”. The lines in Lasar’s works that are electrifying. They ...

Bernard Myers (British, 1925 – 2007) Still life with HyDrangeas and Fruit Pastel on paper Signed ‘B. Myers’ (lower right) 24 x 31.3/4 in. (61 x 80.7 cm.) (including frame) From the e...

Bernard Myers (British, 1925 – 2007) Study of flowers with oranges and pears pastel on paper Signed ‘B. Myers’ (lower right) 24 x 31.3/4 in. (61 x 80.7 cm.) (including frame) From th...

Italian Floral Wallpaper Fragment 19th Century Italian hand painted floral design wallpaper lined with linen, in gold leaf frame.

Artist Commentary: This painting was generated purely by imagination and imagery that I am drawn to. Keywords: Landscape & nature Artist Biography: Judith grew up 15 miles north o...

The drawings and paintings of David Edward Byrd are legendary. If you were producing a Broadway play or top Rock and Roll concert in the 1970's, David Byrd was the artist you wanted to create the imagery. He created for Broadway the classic art for, Godspell, Follies and Jesus Christ Superstar to mention only a few. For the Rock and Roll industry David created all of the iconic artwork for the Fillmore East including their classic and highly valued posters and programs. The Who's "Tommy" art was David's as was The Rolling Stones 1969 World tour artwork, and the 1969 Jimi Hendrix American concert tour, along with the very first version of the art for the original 1969 Woodstock Music Festival poster...

'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,...

A wonderful still life of sunflowers and salvias, captured in a few simple brushstrokes. Well-presented in a distressed gilt-effect frame with a white inner window and glazing. Unsig...

A scroll and a small lantern depicted in this 19th-century painting suggest the romantic notion of a Chinese scholar painting in the evening hours. Re...

"The Gift," an original watercolor on paper by William Verdult, is a piece for the true collector. The artist's genius reflects a fiery artistic approach that inspires unexplored fee...

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...

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...

MEDICINAL PLANTS, PAPAVER SOMNIFERUM L. (OPIUM), 2013 Tempera on paper 49,5 x 38,5 cm Born in 1967 in Trikala, she grew up in Athens, Greece, where s...

Untitled Still-life, 2014 Graphite on paper, 44 x 60 cm Nikos Kanarelis was born in Athens, Greece in 1975 where he now lives and works. Βetween 1999 and 2004 he studied at the...

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 ...

Untitled Still Life, 2014 Graphite on paper 17.4 x 20.85 / 44 x 53 cm Nikos Kanarelis was born in Athens, Greece in 1975 where he now lives and works. Βetween 1999 and 2004 he s...

'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...

A sheet of woven boasts equally compelling watercolors on both sides. Both paintings' subjects focus on ceramic ware and are executed with beaming and vivid palettes. Unsigned. On w...

Howard Halbert (Born 1957) Texas Artist Image Size: 20 x 14 Frame Size: 30 x 24 Medium: pencil on paper "More Than Pretty" HALBERT - Biography Halbert was born and raised in North Ce...

Howard Halbert (Born 1957) Texas Artist Image Size: 16 x 26 Frame Size: 34 x 24 Medium: Graphite Drawing "Trusted Friends" HALBERT - Biography Halbert was born and raised in North Ce...

Figures in the Countryside is an original artwork realized by Augustus Koopman (1869-1914) during the early 20th century. Good condition apart some tear on the edge. Pencil drawing.

'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...

Artist Commentary: A drawing of a canopy of leaves. Keywords: landscape, trees, nature Piece Details: Hand-painted, watercolor on archival paper. Ready to hang with wires. Made in...

Presented in a contemporary frame. Signed illegibly. On wove.

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...

Jan Grégoire (1887-1960), watercolour with gouache. Still life of anemone flowers in a decorative delft vase. Well presented in a modern gilt effect frame. Signed to the lower left. ...

A vibrant still life arrangement painted in gouache, depicting pears and purple grapes on a white plate. Well presented behind glass, in a distressed wooden frame. Illegibly signed t...

Broken Fist, 2016 Charcoal on paper 30 x 40 cm Signed and dated Kanarelis presents a journey towards the truth, a truth bound to a genuine subjective point of view of the familiar a...

Original watercolor on archival paper by Rosalind Oesterle. Circa 1970. Signed lower left by the artist. Oval format. Condition is excellent. Profe...

Strawberries, Original Still Life Study of Fruit Painting, 2018 9" x 12" (HxW) Watercolor on Paper Hand-signed by the artist. A simple composition of warm-toned fruit including an orange persimmon and clementine, a pomegranate in a deep pink, and two ruby red strawberries, this representational still life study by artist Ingrid Dohm...

'Jungalow' 2021 by Kate Roebuck. Ink and watercolor on handmade watercolor paper with decked edge. 30 x 22 inches. This work features a classic botanical ...

Untitled - skull By Damien Hirst Damien Hirst is a British contemporary artist known for his provocative and often controversial works that explore themes of life, death, and the ...

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...

Xiao Wen Xu is a Chinese-born Canadian artist based in Toronto, Canada, Her artistic practice is deeply influenced by her profound appreciation for the natural world. In her series, ...

'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...

Medium: Pencil on paper Size: 5 inches (height) x 8 inches (width) Signed: No Condition: Good condition, with slight wear on the edges Provenance: From the artist's estate Description: This pencil drawing by K. B. White features a conceptual illustration of the Alfa Romeo 8C Monza, one of the most iconic racing cars of the 1930s. The artwork captures the front view of the vehicle, highlighting its signature wire mesh grille and aerodynamic bodywork. The Alfa Romeo 8C Monza was not only a symbol of speed and power but also a masterpiece of automotive design, making it a significant subject in vintage car...

Xiao Wen Xu is a Chinese-born Canadian artist based in Toronto, Canada, Her artistic practice is deeply influenced by her profound appreciation for the natural world. In her series, ...

"Umbrella Drawing II" is an original oil pastel drawing on paper by Tom Shelton. The artist signed the piece lower right. It depicts four leaning red umbrellas. 23" x 25" art Tom ...