Manhattan - Still-life Drawings and Watercolors

This Three Small Sunflowers still-life by Beulah Stevenson (1890-1965) is a joyful modernist composition. With just touches of color she indicates a window and colorful curtains blow...

Margot Glass reimagines color with her newest specimen, anemones, using luminescent ink to translate vivid shades into bursts of white-gold. Ever-interested in fragility and ephemera...

"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 ...

Unidentified/ Unknown Artist, "Untitled: Still Life with Cauliflower, Orange and Pepper", Monogrammed Still Life Watercolor on Paper, 16 x 20, Late 20th Century Colors: Brown, Blue...

"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 ...

Yookan Westfield Dancing Pears (art about food), 2024 Ink drawing done with pigment liner on Saunders Waterford 300 GSM Cold Press Watercolor paper Signed in ink on the front Unique ...

Ross Bleckner (American, b. 1949) Untitled Graphite on Paper 13 3/4 x 11 in. Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware that o...

"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 ...

Jonas Wood Original basketball drawing bound in monograph (Hand Signed Book), 2017 Original drawing. hand signed and dated. held in limited edition hardback monograph. Boldly signed ...

This graphite drawing by Mary Reilly captures the delicate beauty of blossoms she encountered on a walk in Vermont. Reilly, known for her mastery of graphite pencil, transforms ordin...

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...

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...

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.

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...

Robert Kipniss (American, b. 1931) At Dawn, 1975 Pencil on paper 10 1/2 x 7 1/4 in. Framed: 14 2/3 x 11 1/3 in. Signed upper right: Kipniss '75 Verso bears Hirschl & Adler Galleries Label Robert Kipniss, painter and printmaker, was born in New York City in 1931. He creates essentially monochromatic*, stylized vistas with natural and architectural elements intended to evoke an elegiac, nearly surrealistic mood in haunting, silent landscapes; the melancholy of nostalgia. Trees, in mid and far-distance, form clusters or act as misty individuals containing a haunted, indefinable presence, witnesses to the foreground drama of more specific shape, form and detail, often a close-up tree. Kipniss studied at the Art Students League* in 1947; Wittenberg University in Springfield, Ohio, 1948-50; and the University of Iowa, receiving a BA degree in English literature in 1952, and an MFA in painting and art history in 1954. The artist employs a meticulous technique combining a multiplicity of specific strokes, whether with brush, pencil or print-maker's needle and burin*, to create the essence of his generalized, non-specific forms. Light and darkness are clearly Kipniss' compositionally constructive elements. They also exist as contestants in the emotional drama at the heart of each work of art. The contrast, and sometimes combat, between these two opposites, symbolically represent with blackness -- ideas of threat, fear, trouble, evil; with whiteness safety, redemption, fulfillment and good. In Kipniss' 1995 mezzotint*, Clear Vase and Landscape, with a foreground image of precisely leafy stalks, the vase holding them, nearly invisible in its transparency, suggests an almost Salvador Dali-like surrealist device. This central image dominates but seems to invite association with, and commentary from, the surrounding clumps and individual round-topped, yet cedar-like trees. His mezzzotint, For Stella," 1997, depicts a gently twisting, curving, pale and smoothly-barked foreground, leafless tree limb or trunk, like a female human body, suggesting weakness, fatigue, an inability to deal with the staccato background screen of textured bush that seems to uncomfortably impinge upon it. This print is arguably a metaphor for a delicate soul struggling to overcome the prickly difficulties of domineering life. The classic mezzotint process, invented in the middle of the 17th Century, is the reverse of most of the other print-making media, since the artist works from a black ground to increasingly lighter areas. The copper plate is first roughened by a "rocker," creating a burr over the entire surface (the more burr left intact, the more ink it holds, the darker the final finished print). The artist, Robert Kipniss, in this instance, gradually burnishes, smoothes down the burr in varying degrees to produce the gradations of lights and darks of the final design. The deepest darks in the final picture are those areas on the plate that have been little touched after the initial roughening. Mezzotint relies on shade and tone rather than outline for its effect, which fits the Kipniss style of atmospheric* masses of value. A recent oil painting by Robert Kipniss, Hillside Silhouettes, 2001, 40 x 29, is somewhat more complex in composition than many, with four cubically-constructed houses each set in their own zones, seemingly unrelated to one another, with receding hills and similarly isolated, increasingly misty trees beyond. In his career, Robert Kipniss has had over 40 one-man shows since the first in New York in 1951, including an important retrospective exhibition at the Associated American Artist Gallery, New York in 1977. Many of these one-man exhibitions have been mounted by over 50 museums in the United States, South America and Europe, including the Chicago Art Institute, Metropolitan Museum of Art, Museum of Modem Art, Whitney Museum of American Art, Library of Congress and British Museum in London. Robert Kipniss is represented in the permanent collections of the institutions above, among many others, as well as the Philadelphia Museum of Art; New York Public Library; Museum of Fine Arts, Boston; Detroit Art Institute; Yale University Museum; National Collection of Fine Arts, Smithsonian Institution; Museum of Fine Arts, Houston; Los Angeles County Museum of Art; Portland Art Museum; and the New Orleans Museum of Art. He was elected to the National Academy of Design* in 1980, and to the Royal Society of Painter-Printmakers, London in 1998 Robert Kipniss can be referenced in numerous publications, including Who's Who in American Art from the 1950s to the present, and multiple reviews in periodicals like Art News, Art in America and Art Forum. There are also three important catalogues raisonne published on his work. Robert Kipniss has received many awards: 1965 - Ohio University National Drawing Show, Purchase Prize 1976 - National Academy of Design, New York City, The Ralph Fabri Prize 1978 - The Print Club of Philadelphia, Charles M Lea Prize 1979 - Charlotte Printmakers Society, Purchase Award 1979 - Society of American Graphic Artists, Printmaking Award 1979 - Wittenberg University, Springfield, OH, Honorary Doctorate 1980 - Elected to the National Academy of Design, New York City 1980 - Audubon Artists, New York City, Silver Medal 1980 - National Academy of Design, New York City, The Leo Meissner...

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...

In the 1950s and 60s Grambs worked on many commissions. This drawing was probably for a magazine, perhaps House and Garden or House Beautiful. It is signed and dated in pencil on the...

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

David Morrison has extended his brand of hyperrealism to the artificial, capturing the intricate lithography that decorates his collection of vintage Kohler wind-up birds. His drawings are often mistaken for a photograph from afar - on approach, they dissolve into a mesmerizing display of mark-making.This new body of work plays with the boundaries between organic and manufactured: the metal imposters are resplendent as they perch, pert and expectant, on wilting greenery. Yet another layer of irony, the toy birds...

Margot Glass reimagines color and tone, using luminescent ink to translate vivid shades into bursts of white-gold. Ever-interested in fragility and ephemerality, Glass lingers over t...

"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...

In his hyperrealist drawing, "Paper Wasp Series No. 2," David Morrison uses colored pencil to render, in overwhelming detail, an abandoned wasp nest. He crea...

In "Firewood Series No. 3," David Morrison uses colored pencils to capture the finest details of a frayed and peeling piece of birch wood. With his careful and methodical handling of...

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...

Untitled Graphite on paper 18 1/2 × 27 3/5 in / 47 × 70 cm Nikos Kanarelis was born in Athens, Greece in 1975 where he now lives and works. Βetween 1999 and 2004 he studied at t...

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...

Gouache and tea on masking tape Signed and dated, l.l. This artwork is offered by ClampArt, located in New York City. Born in New York City and educated at the Maryland Institute C...

Echo Eggebrecht Marin, 2005 Watercolor on paper 11 x 17 inches (image) 16 x 23 inches (sheet) 17 x 24 inches (frame) Signed on back

Graphite on museum board This work is offered by ClampArt in New York City.

Colored pencil on vellum Signed, l.r. This drawing is offered by ClampArt, located in New York City. Elsie Driggs (1898-1992), was an American painter known for her contributions to...

Margot Glass reimagines color with her newest specimen, anemones, using luminescent ink to translate vivid shades into bursts of white-gold. Ever-interested in fragility and ephemera...

Fresh from the summer harvest, we’re delighted to serve a new crop of demure fruit and vegetable diptychs from Abstractionist, Daisy Craddock. Daisy’s lush pairings of skin and flesh...

Ever-interested in delicate and often toiling labor, David Morrison’s newest body of work stems from his practice as a master gardener. David’s methodical cultivation of irises and bonsai plants...

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...

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...

In "Firewood Series No. 2," David Morrison uses colored pencils to capture the finest details of a frayed and peeling piece of birch wood. With his careful and methodical handling of...

"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 ...

Dina Brodsky uses gouache and watercolor on paper in "Brown-Hooded Parrot," to depict the multi-hued bird hanging precariously from a thin branch. The li...

Margot Glass explores the fragility of communication, and people’s natural drive to find narrative in even the most ordinary of objects. In her Envelopes series, Glass works in water...

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

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...

"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...

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...

"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 ...

Craddock’s floral paintings are loci for memory, spanning more than a decade and various dwellings. Sharing a kindred spirit with such artists as Jane Freilicher and Lois Dodd, Cradd...

"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...

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...

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...

Ever-interested in delicate and often toiling labor, David Morrison’s newest body of work stems from his practice as a master gardener. David’s methodical cultivation of irises and bonsai plants...

David Morrison has extended his brand of hyperrealism to the artificial, capturing the intricate lithography that decorates his collection of vintage Kohler wind-up birds. His drawin...

David Morrison has extended his brand of hyperrealism to the artificial, capturing the intricate lithography that decorates his collection of vintage Kohler wind-up birds. His drawin...

Daisy Craddock's Moros is an abstracted still life of a Blood Orange, rendered in oil pastel. Drawn from life, Craddock considers her diptychs to be literal depictions of her fruit a...

This original graphite drawing by Alan Bray captures a meticulously stacked woodshed in a tranquil forest setting. With fine detail and precision, Bray’s work evokes the quiet beauty...

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

Original Painting Published Fortune Mag Cover 1935 Jewels Jewelry Illustration Antonio Petruccelli (1907 – 1994) Fortune cover published, Decembe...

Mary Reilly explores the full tonal depth of graphite in her nature drawings and landscapes. She finds all of the soft subtleties of gray as she shifts seamlessly from branch to pebb...

David Morrison has extended his brand of hyperrealism to the artificial, capturing the intricate lithography that decorates his collection of vintage Kohler wind-up birds. His drawin...

In her photorealist graphite drawing "Toke," Mary Reilly elegantly merges weed culture with high art. Her drawing is a graphic homage to cannabis culture. Mary Reilly works with both...

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