Manhattan - Still-life Drawings and Watercolors

JEFF KOONS Original Flower drawing on Michael Jackson and Bubbles poster (Hand Signed), 1992 Drawing done in marker on offset lithograph 25 × 39 inches Hand signed and dated '92 in b...

Salvador Dalí Mandolin, ca. 1930 Graphite on paper 6 × 8 in l 15.2 × 20.3 cm Frame included - 11 x 13 in l 28 x 33 cm The authenticity of this artwork has been confirmed by Mr. Desc...

Mixed Media Boxed Set includes original signed and inscribed drawing plus limited edition plate held in bespoke Bernardaud presentation plate Jeff Koons ...

This beautiful and vibrant 19th century American watercolor is an hommage by Paul de Longpré to the Alps, as it features a rich variety of Alpine flowe...

Tess Michalik Thicket, 2025 oil on Yupo paper 38 x 25 in. (mic030)

Samantha Haring Crystal Clear, 2024 Chalk pastel on paper 15 x 15 in. (hari026)

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.

Home / Couple / Pair / Domestic / Still Life A’Court begins each painting with a broad, color plane—red, blue, pink or yellow—which acts as a table for the artist’s still life vocab...

Tess Michalik Birfday Cake, 2023 oil on panel 25.5 x 30.25 in. (mic039AP)

"I make quiet paintings in a noisy world. My work is an intimate meditation on humble objects and the detritus of studio life. I aim to promote a reengagement with the mundane while ...

Tess Michalik Sunkist Sherbert, 2025 oil on Yupo paper 38 x 25 in. (mic029)

Mary Reilly’s laborious method of toning her paper serves as the starting point for her intricate compositions. She begins by covering the entire sheet with up to eight smooth, unmod...

"After years of nature-based artwork, in Spring 2020 I became an Anthomaniac. Covid was raging in NYC so I retreated with my family Northwest Connecticut. Nature, for so many of us, ...

In the 1950s and 60s Grambs worked on many commissions. The symmetrical nature of the drawing suggests it was for a book or magazine project with facing pages -- possibly a cookboo...

In the 1950s and 60s Grambs worked on many commissions. This ink drawing with a lobster, crab, and a shrimp, was probably for a cookbook; the sheet is cut in a free-form, modernist...

"I make quiet paintings in a noisy world. My work is an intimate meditation on humble objects and the detritus of studio life. I aim to promote a reengagement with the mundane while ...

Arlene Shechet Summer Set 8, 2005 Watercolor monoprint on dieu donné hand made paper 21 × 27 1/2 inches Signed and dated in graphite on the front Exquisite watercolor monoprint on di...

"I make quiet paintings in a noisy world. My work is an intimate meditation on humble objects and the detritus of studio life. I aim to promote a reengagement with the mundane while ...

"I make quiet paintings in a noisy world. My work is an intimate meditation on humble objects and the detritus of studio life. I aim to promote a reengagement with the mundane while ...

Signed (at lower right): Bailey 1977

David Morrison's freshly bloomed Magnolia and Iris drawings further his play with artifice and hyperrealism. Cream and rose-colored blossoms seem to jump boldly from their branches. ...

In the 1950s and 60s Grambs worked on many commissions. This was probably for a cookbook. The dimensions are for the drawing. The sheet is somewhat larger, 7 x 6 1/2 inches.

British-born, New Jersey-based, George Drittler was primarily know for landscapes. In this still life that expansive approach serves him well. Richly drawn, with pottery, books 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...

Jeff Koons Original tulips in landscape drawing, 2011 Original drawing done in ink across the title pages of Gagosian Gallery monograph Signed, dated and warmly inscribed to Jennifer...

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’s new series of drawings are regal in their naturalism. Morrison uses his extreme attention to detail to give equal weight to both the fruit's delicate features and si...

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...

Shiri Mordechay's paintings are a whirlwind of emotion and complexity, drawing the viewer into a vibrant and dynamic world. Each piece is packed with countless details, your eyes are...

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...

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

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.

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...

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...

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

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...

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

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...

Boy Kong (b. 1993, Orlando) is a self-taught multi-media artist. Raised in Orlando and of Chinese-Vietnamese heritage, his growing body of work draws inspiration from a vast array of...

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.

Colored Pencil on Museum Board Signed and Dated; Impressed with artist's stamp lower right

Donald Baechler Untitled (Rose), 2015 Original Graphite drawing on archival bond paper. Framed, with museum provenance Signed and dated in graphite pencil on the front Provenance: Do...

Charles Buckley received an MFA from Hunter College a BFA in painting from California College of Arts in Oakland. Buckley’s progression paintings and drawings, often on multiple canv...

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...

Tess Michalik H.D, 2025 oil on yupo (mic036)

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.

Lowell Nesbitt Untitled Rose, 1983 Graphite on Lanaquarelle Watercolor Paper Signed and dated on the front Framed Unique, poignant, exquisitely rendered graphite drawing on watercolor paper with deckled edges. This work is framed and ready to hang; frame bears Alan Brown Gallery (Hartsdale) label verso. It was acquired from the Estate of Noel Frackman, renowned art historian, scholar, writer, and professor with a lifelong passion for 20th Century Art - and a close personal friend of Lowell Nesbitt. She earned a M.A. from Sarah Lawrence College in English Literature and a M.A. and Ph.D. in Art History from the Institute of Fine Arts of New York University. She was an art critic for the Patent Trader Newspaper and the Scarsdale Inquirer, contributing editor for Arts Magazine, author of numerous catalogs including ''John Storrs'', for the Whitney Museum of American Art. For 19 years she was a faculty member at Purchase College, State University of New York. Measurements: Framed: 13 inches by 13 inches x .5 Artwork: approx. 10.5 inches by 10.5 inches Lowell Nesbitt Biography: Lowell Blair Nesbitt, painter, printmaker, draughtsman, and sculptor, was born in Baltimore, Maryland on 4 October 1933. He studied at Tyler School of Art at Temple University in Philadelphia and at the Royal Academy of Arts in London. Nesbitt worked in abstraction until Robert Indiana suggested in the early 1960s that he explore realism in his paintings. As subjects for his work he favored studio interiors, articles of clothing, piles of shoes, his Rottweiler, the Neo-Classical facades of 19th century cast iron buildings, and Manhattan's bridges. He was also famous for his enormous paintings and prints of roses, lilies, irises, and other flowers. In 1980, the United States Post Office issued...

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

Tess Michalik Seafoam Honey, 2022 oil on canvas 20 in. tondo (mic038AP)

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

Katie DeGroot YAY!, 2025 watercolor on paper 72 x 52 in. (groo119)

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

Joe Brainard Eucalyptus Leaves/Bolinas, 1971 Collage on thin board (with original labels from Fischbach Gallery, The Denver Art Museum and University...

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

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

Katie DeGroot Cocktail Party Vlll (couples), 2023 watercolor on paper 48 x 72 in (groo117)