Tri-State Area - Still-life Drawings and Watercolors

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)

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...

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...

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

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

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

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 ...

James Nares Untitled flower monotype, 1988 Monotype on hand made paper Pencil signed and dated by James Nares on the lower right front Frame included: floated in the original wood fr...

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

Original drawing by Elizabeth McGhee Elizabeth McGhee (b. 1985, Southern California) completed her BFA in 2009 at the Laguna College of Art and Design, Laguna Beach, CA. She continu...

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)

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

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:...

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...

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 ...

Allium Pop is a Cyanotype by Cynthia MacCollum. It is 30x22 on archival paper. It is currently unframed. It is a beautiful botanical artwork, an Allium Flower, filled with a range...

Jozsef Rippl-Ronai (Hungarian, 1861-1927), Interior Scene with Potted Plant, Pastel on Paper, signed lower center, Herbert Feist carved giltwood frame. Image: 9.25" H x 13" W; frame:...

Artist: Ian Hornak (1944-2002) Title: (Abstract Still Life) Untitled Year: circa 1964 Medium: Acrylic on illustration board Size: 10 x 9 inches Condition: Good Provenance: Estate of ...

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 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...

Jeff Koons Original Flower Drawing (signed twice), 2016 Original, hand signed drawing inscribed to Nadine, done with silver sharpie, and held in hardback monograph with dust jacket, ...

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 ...

Artist: Ian Hornak (1944-2002) Title: Still Life Year: 1964 Medium: Ink on vélin paper Size: 14 x 12 inches Condition: Good Provenance: Estate of Ian Hornak, East Hampton, NY IAN HO...

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...

Eve Nethercott, American (1925 - 2015) - Still Life with Pitcher (P4.4), Year: 1960, Medium: Watercolor on Paper, Size: 13.5 x 18 in. (34.29 x 45.72 cm), Description: Bathed ...

Eve Nethercott, American (1925 - 2015) - Still Life with Squash and Basket (P5.62), Year: 1956, Medium: Watercolor on Paper, Size: 15.5 x 22 in. (39.37 x 55.88 cm), Descriptio...

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...

Eve Nethercott, American (1925 - 2015) - Still Life with Cigarette (P5.65), Year: 1949, Medium: Watercolor on Paper, Size: 13 x 16.5 in. (33.02 x 41.91 cm), Description: Arra...

Eve Nethercott, American (1925 - 2015) - Still Life with Plate (P6.61), Year: 1957, Medium: Watercolor on Paper, Size: 15 x 20 in. (38.1 x 50.8 cm), Description: Set against ...

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 ...

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

"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 ...

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...

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...

"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...

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...

"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 ...

"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...

"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 ...

Artist: Ian Hornak (1944-2002) Title: Apple Study Year: 1985 Medium: Graphite on vélin paper Size: 12 x 10 inches Condition: Good Provenance: Estate of Ian Hornak, East Hampton, NY ...

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...

This stunning study of George Washington's hands is a unique and remarkable drawing pair. Mora was noted as an exceptional draftsman and actually traveled america giving lectures ab...

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...

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...

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

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...

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...

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. ...

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...

A painting of instruments and flowers by Charles Cobelle. This piece features bright, almost neon colors and bears his signature in the lower right front corner. Size: 22 x 28 in. (...

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

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...

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...

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...

Artist: Ian Hornak (1944-2002) Title: (Abstract Still Life) Untitled Year: circa 1965 Medium: Charcoal on archival paper Size: 11 x 14 inches Condition: Good Provenance: Estate of Ia...