19th Century Landscape Drawings and Watercolors

A watercolour scene in the village of Nidd in North Yorkshire. Presented glazed in a wash line mount and a distressed gilt-effect wooden frame. Unsigned. On watercolour paper.

A fine mid 19th Century watercolour of impressive size, showing a beautiful summary landscape with an old watermill and cottage nestled next to a rocky river among rolling green hill...

A charming summer scene of a thatched cottage on a country lane. A figure with a walking stick can be seen walking down the lane to the right of the composition. Presented in white w...

A painting of charcoal gatherers at work in a beech wood with cattle in the background. Presented glazed in a wash line mount and a distressed gilt-effect wooden frame. Signed to the...

A beautiful watercolour of English country cottages. Presented in a cream double mount. Signed to the lower-right edge. On wove.

A far-reaching landscape depicting a winding country road that leads the eye through trees to a house and hills beyond. Presented glazed in a cream mount and distressed gilt-effect f...

A pretty rural church, overgrown with ivy with a path winding through its graveyard. This watercolour has been signed and dated by the artist in the lower right corner. The painting...

An atmospheric, rural landscape under a grey, overcast sky. A group of carts pulled by horses process long the dirt track. The artist has signed to the lower left corner. The paintin...

A fine and charming watercolour painting with graphite details by James Orrock. The scene depicts a river view with boats and small houses to the right-hand side. Signed and dated to...

A wonderful example of a watercolour work by acclaimed British artist Edward Tucker. The scene depicts a river view with two figures on a small boat and ...

A truly charming watercolour finished with graphic black hatching, showing children gathering yellow Wintercress flowers in a bare branched wood. This pret...

A charming watercolour painting with gouache details by the British artist Alexander Wellwood Rattray. The scene depicts a female figure holding a small basket, walking along a rural...

A fine and delicate watercolour painting with gouache details by E. Nevil. The scene depicts a countryside lane with a cottage and figures. Signed to the lower left-hand corner. Arti...

Conducted with soft, striking brushwork and a pronounced, radiant palette, Middleton's works are often failed by words, a cut above the rest. This watercol...

An extremely fine portrait of three dogs by the well-listed animal portraitist Marjorie Cox (1915-2003). Cox captures intricate expressive features of well-loved pets, and this work ...

A captivating watercolour with gum arabic by the artist Alfred H. Vickers (1853-1907), depicting a street scene with figures washing clothes in the street. The study has highlighted ...

Victorian Cornish Sunset Landscape with Young Lady on a Coastal Path near Bude, Cornwall. A Watercolour and gouache painting on Paper, laid on board with mount, Framed and Glazed. J...

Tour d’Oudon, View on the Loire Watercolour on paper Dimensions without frame: 31.5cm x 38cm This delicate 19th-century French watercolour depicts a tranquil view of the Tour d’Oudo...

S.R.E Windsor Castle and Eton College with a Punt of Scholars Beforehand Pencil drawing 25 x 42 cm Signed and dated to the bottom right. Nineteenth-century pencil drawing of Wind...

James Herve d'Egville c1810 - 1880, d'Egville was an British born watercolourist the exact date of his birth is currently under research by our authoritative colleagues and further i...

Lovely 19th century watercolor painting with an angler in a mountain stream landscape painting, this is signed William Bradley with a place and date on the lower left hand corner. Mists fall over the central mountain rising above the stream with rocks and boulders. A mountain ridge is on the left, and trees above boulders on the right. William radley Lamond was a self taught artist flourishing from mid to late 19th century. This would be a later work by this artist. The attribution is based on the period, the style the landscape subject and signature. The painting is presented in an attractive new wooden frame with fresh glass...

Eugène Cicéri (1813 - 1890) The Mill Signed lower right Monogrammed AE, probably a collector's mark as it appears on numerous drawings by Cicéri 30.5 x 22.5 cm In good condition : ...

A picturesque watercolour scene by artist David Hall McKewan (1817-1873), depicting a valley landscape with a high bridge crossing. To the right of the bridge, two walkers can be see...

This charming landscape by the artist Albert George Adams (fl. 1854-1887) depicts a serene valley vista with rolling hills and mountains stretching into the distance, while children ...

An exquisite and tranquil portrayal of haystacks amidst the idyllic 19th Century Sussex countryside in the southeastern region of England. This enchanting watercolour captures the es...

Vivid early 19th century French watercolor painting of mill house water wheel , 1876. Signed and dated lower left. Original artwork on paper displayed o...

Jules Noel (1810-1881) Landscape with a manor and a traveler Signed lower left Pencil on paper 27.5 x 44.5 cm Framed under glass : 43 x 59.5 cm This drawing shows more particularly...

Nineteenth century French watercolor painting of farm house, circa 1890. Original artwork on paper displayed on a white mat with a gold borde...

Capriccio painting in a greek or Italian style with women around a river. Capriccio is a fanciful architectural landscape painting. It was popular in Italy in the 18th Century. Most ...

Superbly detailed 19th century French drawing of a mill at a rivers bend, titled "Moulin de Bicheret", 1864. Dated lower right. Origina...

Delightful 19th century French drawing of thatched cottage on country lane in the village of Montsoreau in the Pays de la Loire, titled "Chaumière à ...

Hercules Brabazon Brabazon 1821-1906, was an English watercolour painter. He was born Hercules Brabazon Sharpe his father was Hercules Sharpe and his father in-law was Sir Anthony Br...

Dreamy antique watercolor landscape of a picturesque scene of a church steeple rising from the foliage as a female figure rests under the shade of...

William Beattie-Brown is a 19th century Scottish artist, and a master landscape painter using tonal color in a naturalistic style. 'Old Bobbin Mill on ...

Untitled Watercolor on paper, c,. 1890 Unsigned Provenance: Estate of the artist Image/Sheet size: 3 1/4 x 4 1/8 inches From Wikipedia "Francis Augustus Lathrop (June 22, 1849 – Oct...

Conditions : Very good overall conditions, original canvas with no minor retouching, except on the dress 12mm ( as seen on picture under UV light). The signature is dated 1852 or 53....

Rufus Way Smith Winter Forest Landscape Watercolor c.1880 Beautiful 19th century watercolor by listed American artist Rufus Way Smith (1840-1900). Or...

JAMES UWINS EL PATIO DE LOS NARANJOS, SEVILLA titled, located, signed and dated "La Giralda Sevilla. / James Uwins 1882" (lower right) watercolor on paper on wood panel 37 x 29 inche...

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Evelyn De Morgan (British, 1855 – 1919) Study of a tree pencil on paper 19 x 11.3/4 in. (48.2 x 30 cm.) Provenance: The Clayton-Stamm Collection. Dom...

Francesco Paolo Michetti Period Italian Landscape Signed Drawing Beautiful and evocative work assigned to Francesco Paolo Michetti, one of the greatest Italian artists at the turn of...

Jules Noel (1810-1881) Landscape with a fisherman, Signed lower right Pencil on paper 27.8 x 44 cm Framed under glass : 43 x 59.5 cm We find in this drawing everything that makes...

Conditions: Painting in good general condition. Canvas relined and protected on the back. Signed lower left. We are thankfull to Expert Michel Rodrigue for confirming the authenticit...

French Romantic School beginning of the 19th Century View of Arriccia, 1828 located and dated, "Arriccia 1828" on the lower right Pencil on paper 23 x ...

France middle of 19th century (1843 ?) A set of 6 drawings Landscapes, trees, farms Brown ink and brown ink wash on paper Dimensions vary : Farms and buildings ( x 3) : 27 x 34 cm A...

A listed 19th century British artist and Barbizon School painter, Thomas W. Morley's Figure by the Sea captures the color, technique, softness of form and tonal qualities indicative ...

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Alexander Frenz (1861 Rheydt - 1941 Düsseldorf). Plant impression in Locarno. Gouache and watercolour. 35 x 23,5 cm (visible size), 49,5 x 38,5 cm (fra...

signed "Emile Noirot 1893" at lower right overall dimensions, including frame, are 19 3/4 x 23 5/8 inches

French School 19th Century, Peasants and donkeys at the fountain, in Italy watercolor with heightenings of gouache on paper 27.5 x 34.5 cm No frame, no mat A charming, well-execut...

French Romantic school, 19th century View of a citadel Pen and ink, watercolor and heightenings of white gouache on brown paper 18 x 29.5 cm In good condition, some stains and traces...

Hans Richard von Volkmann (1860 Halle (Saale) - 1927 ibid.), Clay jug on a bench. Pencil and Watercolour on paper. 20 x 26,7 cm (visible size), 37 x 45 cm (frame), dated and monogrammed lower left "Februar 1890 - HR. V. V." - Minimally tanned. Framed behind glass in a passepartout. About the artwork Using the technique of his early youth - pencil and watercolour - Hans Richard von Volkmann depicts a still life. However, this is not a conventional indoor still life, but an open-air depiction, painted outdoors and not in the studio. It is therefore an open-air painting, characteristic of von Volkmann's oeuvre, which could have been painted in the Willingshausen colony of painters, where open-air painting was programmatically practised there and the artist stayed there that year. And indeed, this painting is a manifesto of open-air painting. Von Volkmann demonstrates that leaving the studio for the light of nature leads to an entirely new quality of art. To prove this, he uses the genre of still life, which can be described as the studio subject par excellence. Moreover, light plays an essential role in the classical still life. It is the real protagonist of the still life. And it is precisely this moment, essential to the still life, that von Volkmann exploits to demonstrate the potential of plein-air painting: He presents the objects as they appear in the sunlight. The date of February and the bare branches in the foreground make it clear that this is a clear winter day in bright sunlight. The delicate plant in the foreground casts a clearly defined shadow, as does the jug. However, the shadow is most pronounced on the jug itself: The underside of the handle appears almost black, making the top, and therefore the jug itself, shine all the more brightly. The shining of the objects in the sunlight is also visible on the bench. As complementary phenomena to the shadow zones, light edges can be seen on the boards of the seats and the upper foot of the bench shines entirely in the light. To achieve this intensity of light, von Volkmann activated the bright white of the painting ground. By depicting the objects in glistening sunlight, von Volkmann demonstrates that this quality of light is only to be found outdoors. And this light leads to a new way of looking at the objects themselves. The jug on the bench seems like an accidental arrangement, as if the artist had stumbled upon this unintentional still life and captured it with fascination. And in this fascination there is a moment of realisation that refers to the objects themselves. It is only when they shine brightly in the sunlight that their true nature is revealed. In this way, sunlight allows the objects to come into their own, so to speak. Sunlight, which is not present in the studio, gives the still life an entirely new dimension of reality, which is also reflected in the colours interwoven by the sunlight: The bench and the jug stand in a harmonious grey-pink contrast to the green of the implied meadow. The emphasis on the jug as the central subject of the picture also implies that the watercolour has not been completed. This non finito inscribes a processuality into the picture, making it clear that something processual has been depicted, the temporality of which has been made artistically permanent. This is why von Volkmann signed the painting and dated it to the month. About the Artist Von Volkmann made his first artistic attempts at the age of 14. He painted many watercolours of his home town of Halle. This laid the foundation for his later outdoor painting. In 1880 his autodidactic beginnings were professionalised with his admission to the Düsseldorf Art Academy. There he studied under Hugo Crola, Heinrich Lauenstein, Johann Peter Theodor Janssen and Eduard von Gebhardt until 1888. Von Volkmann then moved to the Karlsruhe Academy, where he was Gustav Schönleber's master pupil until 1892. In 1883 he came for the first time to Willingshausen, Germany's oldest painters' colony, at the suggestion of his student friend Adolf Lins...

Romantic School, circa 1860 A pavilion in a garden , an animated view Pen and black ink, black ink wash on paper 19.5 x 26.5 cm In good condition, slightly undulating. Framed : 39 x ...

To see our other views and maps of England, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. John Chessell Buckler (1793 - 1894) Horham Hall, Essex (1830) Watercolour 25 x 34 cm Signed and dated lower right; titled below. Horham Hall was built in Thaxted, Essex by Sir John Cutte in the early sixteenth century. The original hall was a timber-framed moated manor house built circa 1470, but it was largely demolished by Cutte, who built the present house between 1510 and 1515. Cutte was under-treasurer in the households of Henry VII and Henry VIII. The mansion was built in brick in two storeys in a quadrilateral layout with a gatehouse and incorporated some elements of the former building. The house was visited three times by Elizabeth I as the guest of Sir John Cutte. It is believed that the Tower was built for her to watch the local hunt. It was while staying at Horham in 1578 that the Queen received the envoy of the Duke of Alençon proposing marriage. John Chessell Buckler was a British architect, the eldest son of the architect John Buckler. His work included restorations of country houses and at the University of Oxford. Buckler received art lessons from the painter Francis Nicholson...

This monochromatic artwork depicts a design for an ornate country house. In the 19th century, "Maison de Campaigne" (French for "country house") referred to a rural house, typically ...

A rare early 19th-century watercolour landscape depicting an expansive view of Georgian Bath with the Royal Crescent & Abbey in the distance. In the foreground, a cart horse can be s...

With touches of body colour. Well presented in a fresh white mount and gilt-effect frame. Unsigned. On paper.

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Wolverhampton School of Practical Art Original artwork for engraving published for London Illustrated News (25 June 1853) 17.5x29cm Watercolour