New York - Still-life Drawings and Watercolors

Eve Nethercott, American (1925 - 2015) - Bouquet of Flowers (P4.8), Year: 1960, Medium: Watercolor on Paper, Size: 19.5 x 13.5 in. (49.53 x 34.29 cm), Description: Illuminate...

The artist has covered New York collections for over 16 years and has interviewed, as a journalist, several fashion designers and personalities for different publications. He loves t...

"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

Eve Nethercott, American (1925 - 2015) - Flowers (P6.48), Year: 1948, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Set on a deep red surface...

Eve Nethercott, American (1925 - 2015) - Red and Yellow Flowers, Year: circa 1960, Medium: Watercolor, Size: 20 in. x 14 in. (50.8 cm x 35.56 cm), Description: Flowing out of t...

Eve Nethercott, American (1925 - 2015) - Bouquet of Flowers II, Year: circa 1960, Medium: Watercolor, Size: 20 in. x 13 in. (50.8 cm x 33.02 cm), Frame Size: 30 x 21 inches, De...

Eve Nethercott, American (1925 - 2015) - Flowers (P6.34), Year: 1960, Medium: Watercolor on Paper, Size: 18 x 13.5 in. (45.72 x 34.29 cm), Description: Vibrant and festive, E...

Eve Nethercott, American (1925 - 2015) - Flowers (P5.57), Year: 1960, Medium: Watercolor on Paper, Size: 20 x 15 in. (50.8 x 38.1 cm), Description: Bursting with color and ba...

Eve Nethercott, American (1925 - 2015) - Flowers (P6.33), Year: 1960, Medium: Watercolor on Paper, Size: 20 x 15 in. (50.8 x 38.1 cm), Description: Draping over the side of t...

Eve Nethercott, American (1925 - 2015) - Red Flowers in Basket (P1.7), Year: 1957, Medium: Watercolor on Paper, Size: 22.5 x 15 in. (57.15 x 38.1 cm), Description: Set agains...

Eve Nethercott, American (1925 - 2015) - Flowers (P5.9), Year: 1948, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Set on a small wooden tabl...

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

Eve Nethercott, American (1925 - 2015) - Red Flowers (P5.38), Year: 1960, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Held within a small r...

Eve Nethercott, American (1925 - 2015) - Roses and Irises in Vase (P1.22), Year: 1957, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38...

Eve Nethercott, American (1925 - 2015) - Flowering Plant (P1.33), Year: 1957, Medium: Watercolor on Paper, Size: 22 x 16.75 in. (55.88 x 42.55 cm), Description: Set against a...

Eve Nethercott, American (1925 - 2015) - Still Life with Walnuts (P6.27), Year: 1948, Medium: Watercolor on Paper, Size: 13 x 10 in. (33.02 x 25.4 cm), Description: This Eve ...

Eve Nethercott, American (1925 - 2015) - Red Flowers in Green Vase (P1.6), Year: circa 1960, Medium: Watercolor on Paper, Size: 22.5 x 15 in. (57.15 x 38.1 cm), Description: ...

Eve Nethercott, American (1925 - 2015) - Still Life (P3.24), Year: 1960, Medium: Watercolor on Paper, Size: 13 x 17 in. (33.02 x 43.18 cm), Description: Set across a white ta...

Eve Nethercott, American (1925 - 2015) - Still Life (P5.56), Year: 1960, Medium: Watercolor on Paper, Size: 15 x 20 in. (38.1 x 50.8 cm), Description: Eve Nethercott's still ...

Eve Nethercott, American (1925 - 2015) - Still Life with Fruit (P1.29), Year: 1960, Medium: Watercolor on Paper, Size: 15 x 22 in. (38.1 x 55.88 cm), Description: Scattered a...

Eve Nethercott, American (1925 - 2015) - Red Flowers in Vase (P1.9), Year: circa 1960, Medium: Watercolor on Paper, Size: 22.5 x 15 in. (57.15 x 38.1 cm), Description: Washed...

Eve Nethercott, American (1925 - 2015) - Red Flowers in Vase (P1.21), Year: 1956, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Reflecting the sunlight, the apple green vase...

Eve Nethercott, American (1925 - 2015) - Vase of Flowers (P3.19), Year: 1960, Medium: Watercolor on Paper, Size: 17 x 13 in. (43.18 x 33.02 cm), Description: This stunning di...

Eve Nethercott, American (1925 - 2015) - Vase of Pink Flowers (P3.22), Year: 1959, Medium: Watercolor on Paper, Size: 17.5 x 13.5 in. (44.45 x 34.29 cm), Description: A uniqu...

Eve Nethercott, American (1925 - 2015) - Vase of Flowers (P3.20), Year: 1960, Medium: Watercolor on Paper, Size: 19.5 x 13 in. (49.53 x 33.02 cm), Description: Illuminated by...

Eve Nethercott, American (1925 - 2015) - Still Life with Carrots (P6.3), Year: 1949, Medium: Watercolor on Paper, Size: 18 x 20.5 in. (45.72 x 52.07 cm), Description: Set on ...

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 vocabulary. This practice allows her to contain the...

Mary Reilly's "Cherry Blossoms 4" (2025) is a 24 x 18-inch graphite pencil drawing that captures the delicate beauty of cherry blossoms. Reilly's meticulous technique involves layeri...

"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, ...

Manfred Schwartz (American, b. Poland, 1909-1970), Still Life of Seashells, Charcoal on Paper, with the artist's signature stamped lower right, unframed. 20" H x 25.75" W. Provenance...

28.25 X 25.75 Inches framed This piece is featured in A’Court’’s 2024 solo exhibition at Susan Eley Fine Art titled, “Keeping Memories”. Artist Biography:...

An original mixed media drawing by American artist A.J. Fries.

Marilla Palmer Kissing the Stamen, 2025 watercolor, sequins, pressed petals, Durabrite prints, stitching on Arches cold press paper 30 x 22 in. (pal255) Marilla Palmer lives and wo...

Artist: Arman Title: Watch Gears Year: circa 1979 Medium: Ink on Paper Drawing, signed l.r. Paper Size: 25 x 19 inches Frame Size: 34 x 27.5 inches

Unknown Artist - Flower in a Field, Year: 1964, Medium: Marker on Paper, signed and dated in pencil, Image Size: 14 x 18.5 inches, Size: 16 x 20 in. (40.64 x 50.8 cm), Description: ...

An original mixed media painting of a portrait and still life images by Israeli artist, Michael Eisemann. The artwork is hand-signed and dated in ink...

Figurative, still life chalk drawing of black high heels on vintage collaged music sheets. Artwork measures 29 x 33 inches 30 x 37 inches framed, deckle edge paper is floated in natural wood moulding with glass. This modern, graphic chalk drawing on collaged vintage music sheets...

Eve Nethercott, American (1925 - 2015) - Mandolin Still Life (50), Year: 1958, Medium: Watercolor, Size: 14 in. x 20 in. (35.56 cm x 50.8 cm), Description: Set on a table befor...

Eve Nethercott, American (1925 - 2015) - Spotted Lilies in Vase (P1.16), Year:, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), ...

Eve Nethercott, American (1925 - 2015) - Vase of Spring Flowers (P2.48), Year: circa 1960, Medium: Watercolor on Paper, Image Size: 21 x 13.75 inches, Size: 22 x 15 in. (55.88...

Eve Nethercott, American (1925 - 2015) - White Vase of Flowers (P2.47), Year: 1960, Medium: Watercolor on Paper, Image Size: 19 x 13 inches, Size: 22.5 x 15 in. (57.15 x 38.1...

Eve Nethercott, American (1925 - 2015) - Flowers (P5.55), Year: 1960, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Pouring over the edge of ...

Eve Nethercott, American (1925 - 2015) - Flowers (P6.50), Year: 1948, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Eve Nethercott's colorful...

Eve Nethercott, American (1925 - 2015) - Flowers (P6.23), Year: 1958, Medium: Watercolor on Paper, Size: 22 x 29 in. (55.88 x 73.66 cm), Description: This cropped still life ...

Manfred Schwartz (American, b. Poland, 1909-1970), Still Life of a Waste Bin, Charcoal on Paper, with the artist's signature stamped lower right, unframed. 25.75" H x 20" W. Provenan...

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...

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...

"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...

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...

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

A happy and bright floral painting with artist-painted frame by Irish artist Amanda Watt. Anthurium Amanda Watt, Irish (1960) Date: 1991 Acrylic on Paper, signed l.r. Size: 48 x 60 i...

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...

Manfred Schwartz (American, b. Poland, 1909-1970), Still Life of Seashells, Charcoal on Paper, with the artist's signature stamped lower right, unframed. 20" H x 25.75" W. Provenance...

Van Amerige - Carrot, Year: 1969, Medium: Color Marker and Pencil Drawing, Image Size: 13.75 x 10.75 inches, Size: 22.25 x 15 in. (56.52 x 38.1 cm)

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...

'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 ...

This watercolor painting by New York artist Thomas Broadbent depicts a tall stack of books with an open book on the top mimicking architectural constructions. Broadbent has shown ex...

Watercolor on handmade Richard de Bas "fleurs" paper Agnes Murray has an extensive exhibition history and she is represented in both private and public collections. Ms. Murray is a p...

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...