New York City - Still-life Drawings and Watercolors

Marilla Palmer Intertwining Vines, 2025 watercolor, embroidery, pressed flowers, Durabright prints on Arches paper 30 x 22 in. (pal265) Marilla Palmer lives and works in Brooklyn, N...

Wayne Ensrud, American (1934 - ) - Yellow Bouqet, Year: circa 1980, Medium: Watercolor on Paper, signed, Size: 32 x 22.5 in. (81.28 x 57.15 cm), Frame Size: 41.5 x 32 inches

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...

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. ...

Marilla Palmer Euphoria, 2025 watercolor, gold leaf, pressed flowers, sequins, holographic vinyl, Durabrite prints, mushroom spores, millinery velvet, stitching on Arches cold press ...

Elisabeth Condon’s Memorial Flowers series reimagines the still life as a meditation on memory, impermanence, and renewal. Using gouache and ink, she stages vibrant floral arrangemen...

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...

"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, ...

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...

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

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 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...

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

Eve Nethercott, American (1925 - 2015) - Flowers (P6.49), Year: 1948, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Set against a washed back...

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...

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, ...

Katie DeGroot Caught, 2025 watercolor on paper 40 x 26 in. (groo122)

Katie DeGroot This Way More Than That, 2025 watercolor on paper 50 x 60 in. (groo121)

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

Eve Nethercott, American (1925 - 2015) - Vase of Flowers (P3.15), Year: 1960-61, Medium: Watercolor on Paper, Size: 13 x 17 in. (33.02 x 43.18 cm), Description: Filled with l...

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

"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 striking colored pencil drawing by David Morrison showcases his unrivaled mastery of the medium. Rendered with extraordinary precision, this larger-than-life section of pomegran...

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...

Eve Nethercott, American (1925 - 2015) - Lilies (44), Year: circa 1958, Medium: Watercolor, Size: 15 in. x 11 in. (38.1 cm x 27.94 cm), Description: Set against a minimal white...

Robert Kulicke, American (1924 - 2007) - Pear Still Life, Medium: Gouache on paper, monogramed on top in pencil, Image Size: 8 x 6.5 inches, Size: 8.5 x 7 in. (21.59 x 17.78 cm)

Eve Nethercott, American (1925 - 2015) - Flowers (P5.13), Year: 1960, Medium: Watercolor on Paper, Size: 20 x 14.5 in. (50.8 x 36.83 cm), Description: Arranged tightly around...

Eve Nethercott, American (1925 - 2015) - Vase of Flowers (P3.25), Year: circa 1960, Medium: Watercolor on Paper, Size: 17.5 x 13 in. (44.45 x 33.02 cm), Description: Cast aga...

This black and white abstract drawing features a beautiful floral. Framed in a vintage gold frame, wired and ready to hang, 11 in. wide x 13 in. high

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) - Still Life with Fruit (P3.17), Year: 1960, Medium: Watercolor on Paper, Size: 13 x 17 in. (33.02 x 43.18 cm), Description: Beside the...

Eve Nethercott, American (1925 - 2015) - Flowers (P6.47), Year: 1948, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Comprised of various flow...

Eve Nethercott, American (1925 - 2015) - Flowers (P6.30), Year: 1960, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Eve Nethercott's lush sti...

Eve Nethercott, American (1925 - 2015) - Flowers (P5.60), Year: 1956, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Turning their heads to th...

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...

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. ...

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...

Eve Nethercott, American (1925 - 2015) - Flowers (P5.39), Year: 1960, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Casting a shadow across t...

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) - 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 (P5.37), Year: 1960, Medium: Watercolor on Paper, Size: 20 x 15 in. (50.8 x 38.1 cm), Description: Hanging down over the ...

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...

Artist: Darrell Fusaro, American (1962 - ) Title: Outside with Parents from Grown Ups Year: circa 1990 Medium: Pastel on Paper, signed l.l. Size: 22 x 29.5 in. (55.88 x 74.93 cm) Fra...

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) - 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...

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...

Biagio Civale, Italian/American (1936 - ) - Pink Flowers with Greenery, Medium: Tempera on paper, signed lower left, Size: 19 x 25 in. (48.26 x 63.5 cm)

Biagio Civale, Italian/American (1936 - ) - Pink Flowers, Medium: Tempera on paper, signed lower left, Size: 18 x 24 in. (45.72 x 60.96 cm)

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

Cornelis Johannes de Bruyn (c. 1763- c. 1828) A lovely pair of 18th century Dutch still life watercolors depicting assorted flowers in a glass vase. Watercolor on paper 13 5/8 x 9 5/8 inches (34.6 x 24.4 cm) each Framed: 23 x 18 1/2 inches each Signed: J.C.J. Bruyn 1797 G (Please request photos of the actual frame) Johannes de Bruyn made his debut as a flower and fruit still life painter in the 19th century in Utrecht. He was a student of the painter G.J. van Hulstyn. In our pair of flower still lifes, Cornelis Johannes de Bruyn has depicted two bouquets of colorful flowers set in a stone niche. They are delicate, highly detailed, realistic pieces painted in the vein of seventeenth century Old Master works. Each bouquet is arranged in a low glass bowl on a small marble pedestal...

Adela Smith Lintelmann, American (1902 - 1996) - Still Life with Flowers and Copper Platter, Medium: Pastel on Paper, Size: 19.5 in. x 25 in. (49.53 cm x 63.5 cm), Frame Size: 30 x ...

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

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 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...

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

This charcoal and acrylic flower drawn from life, taken from the amazing flowers at the Armory Show in NYC that the artist went home with. The renowned art fair is one of the most a...

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) - 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) - 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...