New York - Still-life Drawings and Watercolors

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...

"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 ...

Polaroid transfer drawing of a Classical column base on Rives BFK paper by Mark Beard 7 x 9.5 inch image size 22 x 15 inch paper size Ed. 1/6, Polaroid Transfer on Rives BFK paper, u...

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 ...

Tess Michalik Heavy Bounty, 2025 oil on yupo 38 x 25 in. (mic035)

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...

"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 ...

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...

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...

ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking fantasies. His whimsical works are alive with boundless imaginat...

This etching, titled Mickey's Dining Car, is a mezzotint by John Baeder, hand-signed and numbered in pencil out of an edition of 200. Known for his dedicati...

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...

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

Vertical charcoal drawing on Arches paper 18 x 13 inches unframed 25 x 20 inches in black metal frame with AR non-glare glass & 8-ply mat This contemporary, abstract charcoal drawin...

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...

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...

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...

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.

colored pencil and postage stamp on paper 11 x 12 inches unframed 15 x 16 inches framed This modern, intricately drawn color pencil drawing was made by American artist, Andrea More...

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 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...

"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...

"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...

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...

Otto Münch (German-American, 1885-1965) Design for Teacups, c. 1920 Watercolor on paper 9 1/8 in. diameter Frame: 16 7/8 x 16 7/8 x 1 in. Provenance: Chamberlin Gallery, New York ...

Beautiful floral watercolor and gouache on paper with musical instruments by the German artist, Friedrich (Frederick) Jungling. Signed lower right and dated 1908. Excellent condition...

Install images by Em Joseph Artist Statement Rachel Burgess makes autobiographical works on paper of landscapes and domestic scenes. Window-like in scale, her pieces combine elemen...

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...

John Urbain, Belgian/American (1920 - 2009) - Three Fruit, Medium: Watercolor on Paper, signed in pencil, Size: 11.25 x 17.5 in. (28.58 x 44.45 cm)

John Urbain, Belgian/American (1920 - 2009) - Orange, Pear and Lemon, Year: circa 1975, Medium: Watercolor and Graphite on paper, signed in pencil, Size: 11.5 x 16.5 in. (29.21 x 4...

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 25.5" W. Provenance:...

A unique hand-painted lithograph of a colorful Bouquet of Flowers by Wayne Ensrud, American (1934). Quiet Sunday (Blue) Wayne Ensrud, American (1934) Date: 1980 Hand-Painted Lithogra...

Install images by Em Joseph Artist Statement Rachel Burgess makes autobiographical works on paper of landscapes and domestic scenes. Window-like in scale, her pieces combine elemen...

Here for your consideration is a beautiful watercolor still life on heavy paper by the German artist, E. Riehle. Signed and dated lower right, 1903. In good condition with it's orig...

Artist: Eugene Baboulene, French (1905 - 1994) Title: Flower Pot Year: circa 1960 Medium: Gouache on Paper, signed and dedicated l.r. Size: 20 in. x 13 in. ...

This is a charcoal on paper still life is by St. Julin Fishburn. It features a simple pile of fresh pears atop a paper bag. Still Life St. Julian Fishburne, American (1927–2011) Dat...

A still-life painting of wine and fruit by Charles Cobelle. This piece features more muted and neutral colors than his other works and bears his signature in the lower right front co...

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...

ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking fantasies. His whimsical works are alive with boundless imaginat...

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’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...

Eve Nethercott, American (1925 - 2015) - Lilies (45), Year: circa 1958, Medium: Pencil on Paper, Size: 15 in. x 11 in. (38.1 cm x 27.94 cm), Description: A unique graphite draw...

Eve Nethercott, American (1925 - 2015) - Pitcher with Vegetables (P2.43), Year: 1960, Medium: Watercolor on Paper, Image Size: 14 x 21 inches, Size: 15 x 22 in. (38.1 x 55.88...

Eve Nethercott, American (1925 - 2015) - Squash Still Life (P5.18), Year: 1960, Medium: Watercolor on Paper, Size: 8 x 10 in. (20.32 x 25.4 cm), Description: Placed alongside...

Eve Nethercott, American (1925 - 2015) - Still Life of Pantry Items (P5.15), Year: 1961, Medium: Watercolor on Paper, Size: 14 x 20 in. (35.56 x 50.8 cm), Description: Arrang...

Eve Nethercott, American (1925 - 2015) - Vase of Flowers (P3.8), Year: 1960, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Eve Nethercott's s...

Eve Nethercott, American (1925 - 2015) - Still Life (P4.25), Year: 1960, Medium: Watercolor on Paper, Size: 13 x 20 in. (33.02 x 50.8 cm), Description: Placed alongside one a...

Eve Nethercott, American (1925 - 2015) - Vase of Flowers (P3.18), Year: 1960, Medium: Watercolor on Paper, Size: 18 x 13.5 in. (45.72 x 34.29 cm), Description: Set against a ...

Eve Nethercott, American (1925 - 2015) - Still Life with Drape and Box (P6.58), Year: 1952, Medium: Watercolor on Paper, Size: 15 x 19 in. (38.1 x 48.26 cm), Description: Cas...

Eve Nethercott, American (1925 - 2015) - Still Life with Corn (P6.31), Year: 1960, Medium: Watercolor on Paper, Size: 10 x 22 in. (25.4 x 55.88 cm), Printer: , Description: R...

Eve Nethercott, American (1925 - 2015) - Still Life with Books (P6.26), Year: 1948, Medium: Watercolor on Paper, Size: 10.5 x 14 in. (26.67 x 35.56 cm), Description: Eve Neth...

Eve Nethercott, American (1925 - 2015) - Still Life with Basket and Statue (P6.53), Year: 1948, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: ...

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...

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

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...

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...