Late 19th Century Landscape Drawings and Watercolors

The cityscape of Ardenza, Livorno is an original drawing in pencil on paper realized in 1870 by an Anonymous artist of the 19th century. Titled and dated at the top center. The st...

Inscribed 'Thames' to the lower right. Presented in a simple gilt frame with grey coloured matte. Indistinctly initialled. On watercolour paper.

Pisa Baptistery is a drawing in pen realized by an Anonymous artist of the late 19th century. Sheet dimension: 48 x 37 cm. The state of preservation is good. The artwork presents ...

"Italian Piazza" is an original watercolor painting attributed to Gabrielli Carelli, an Italian artist. This piece is from the Rothschild Collection...

An original watercolour painting by Francis George Coleridge (1838-1923), depicting an Egyptian hill fort guarded by Scottish soldiers. Unsigned. The co...

Conditions : Very good overall Conditions. Signed by the artist. Provenance: Family of the artist, studio sale. Signed in pencil lower right. Complementary shipping worlwide by DHL,...

A fine watercolour painting with touches of body colour, painted by 19th century artist William H. Wallis. The scene depicts the soaring twin spires of Quimper Cathedral with figures...

A particularly fine watercolour by the listed British artist Frederick E Valter. The scene depicts a drover moving cattle to summer pastures. A heifer can be seen trailing behind, wh...

A dynamic watercolour by British artist John Keeley, depicting two woodland cottages side by side in a landscape. The watercolour has been signed by the artist to the lower right. We...

A fine early 20th century watercolour by Henry Charles Brewer RI (1866-1950), depicting a country landscape with spinning windmill and church tower. Elegantly mounted in a gilt-effec...

A delightful watercolour scene depicting a busy corner of Genoa Harbour on a sunny day. The large sails of the ships cast shadows over the scene, covering the men moving barrels and ...

A delightful evening scene depicting a busy market place in Furness, Belgium. Women buy and sell produce from the quaint market stalls and a nun can be sc...

House temple in Singaradja, 1904 Signed with initials upper centre and described with location and date, lower centre (vaguely in pencil 11 oct.). Pencil, ink and watercolour on pap...

A late 19th century watercolour from artist Henry Hilton, known for his pastoral scenes and English landscapes. This piece depicts a quaint village street with a cottage and figures ...

Xanthus Russell Smith (American, 1839-1929) Army Transport "Neptune" Ink on bristol board, 9 x 14 1/4 inches Framed: 16 x 22 (aprox.) Signed at lower left: "X.S.” Inscribed: (on pap...

Apparition des Premiers Habitants by Lucien Pissarro Watercolour on paper 23 x 26.5 cm (9 x 10 ⅜ inches) Signed with monogram, lower right Executed mid 1880s – 1890 This work is ac...

Conditions : Excellent overall condition. A large Watercolor enlighted with tempera. Signed and Dated Dibdin 1863. Complementary shipping worlwide by DHL, FEDEX. Returning customer...

Born on a small island near Martha's Vineyard, R. Swain Gifford and his family moved to the New Bedford, Massachusetts, area when he was two years old. The Dutch marine painter Alber...

George Cochran Lambdin (American, 1830–1896) Goldenrod in the Sand Watercolor on paper, 19 x 12 inches Framed: 27 x 20 inches (approx.) A son of the portraitist James Reid Lambdin, ...

Gustave David (British, 1824-1891) Tasting the Soup Oil on paper, mounted; 9 1/2 x 7 inches Signed at lower left: "G. David" Inscribed on verso: "GUSTAVE DAVID 1824-1891"

Lucius Rossi (1846-1913) was an Italian portrait and figurative painter who worked and lived in Paris. He was a friend and painter of many of the High Society people in Paris. A pain...

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...

David Bates Watercolour Landscape 19th Century Double-Face Beautiful and intense watercolour representing, on both faces, a landscape shot with rare expressive force although it is ...

Conditions : Excellent overall, oil on board framed in an original period frame. Minor 3 mm retouching under UV light. (As seen on picture) Complementary shipping worlwide by DHL,...

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...

CHARLES JOHN WATSON (1846-1927) Row No.142, Great Yarmouth Watercolour over pencil, heightened with white Framed 23.5 by 9 cm., 9 ¼ by 3 ½ in. (frame...

Lucius Richard O'BRIEN (1832-1899) Paysage Canadien, 1889 Watercolor on paper Dimensions: 25 x 42 cm Signed and dated 1889 lower left Provenance: Private collection, Dieppe Waterc...

Carlo Brancaccio ( Naples 1861 – 1920 ), The visit of the King of Persia Mozaffar al-Din Shah Qajar to the Ostend hippodrome Watercolor on paper cm 74,5...

Graphite on paper, numerous pencil inscriptions Image size: 5 1/2 x 21 1/2 inches (14 x 55 cm) Period style hand made gilt frame Provenance The collection of Ernest Pearce (1930-20...

Norberto Pazzini (Verucchio 1856 - 1937), Villa of Claudius of Lorraine Watercolor on paper 34 x 56 cm signed and dated "91" lower left, at the back: inscribed "Norberto Pazzini 18...

Orientalist Watercolour Painting of a Man Riding a Camel by Alphons Leopold Mielich Austrian, late 19th Century Frame: Height 46cm, wi...

Medium: Ink, Graphite, and Watercolor on Paper Mounted Signature: Signed Lower Right circa 1881 Exhibited: Kennedy Galleries, with their label suggesting the creation date of 1881.

Eugène Galien-Laloue’s gouache works, such as Quai de Louvre, are sublime examples of Belle Époque artistry, showcasing the elegance and vibrancy of Paris at the turn of the 20th cen...

Maurice Utrillo (1883-1955) "L'Eglise" (Petrides No 25.562) Created 1937 Signed and Dated Lower Right Without Frame: 11" x 8.75" With Frame: 21" x 17.5" Provenance: Galerie Gilbert ...

An exceptional early watercolor by Scottish artist Andrew Black. "Scottish Marine", is an original watercolor, signed, c.1885, with an image dimesnion of 4 x 6 inches.