19th Century Still-life Drawings and Watercolors

An accomplished watercolour study by the well-listed British artist William Hough. Painted in fine detail, the artist uses his signature style to create a realistic still life of gra...

A dainty watercolour study of primula auricula flowers, often known as auricula, mountain cowslip, or bear's ear. Presented in a slim black frame. Unsigned. On paper.

A fine early 19th century botanical study depicting a stunning array of flowers rendered in exquisite detail. Initialled 'J.C' and dated to the lower margin. Well presented in a wood...

This exquisite floral still life presents a lush bouquet of mixed flowers including pansies, roses, and other garden blooms arranged against a warm, neutral background. The compositi...

This delicate still life scene depicts an elaborate arrangement of white roses, lilies and delicate blue flowers in a ceramic vase. Presented in an ornate gilt frame with intricate m...

A beautiful watercolour composition by Sophia Katherine Charleton (1789-1844) depicting a vase brimming with a vibrant assortment of flowers. Float mounted in a vintage wooden frame....

An original 19th-century botanical study from 'Köhler's Medicinal Plants', a German herbal published in the later half of the century. Unsigned. Inscribed to the lower margin. Well p...

Artist/ School: English/ American School, 19th century, circa 1860's. Title: Isabella Grapes on the vine. Interesting inscription telling the history of the drawing and how the orig...

[ANON.] Collection of Watercolour Designs for Silverware. South Germany, [Late 19th century]. A series of 9 watercolours, each framed and glazed, ...

This finely painted still life showcases a thoughtful arrangement of books, fruits, and a decorative bowl, creating a harmonious balance between academic pursuits and natural abundan...

Unsigned. Acquired with other signed works by the same hand. Presented in a gilt frame. On paper.

Here are four rare and historically important watercolor drawings on paper of St. Croix. Painted in a topographical style by L.J.Harboe, effectively transporting us to a time and pla...

A delicate watercolour illustration of yellow Helianthus, inscribed with famous quotes by American poets Bayard Taylor and James Russell Lowell. Presented in a beautiful gilt-effect ...

Evelyn De Morgan (British, 1855 – 1919) Narcissi Pencil on paper 5.1/2 x 15 in. (14 x 38 cm.) Provenance: The Clayton-Stamm Collection. Dominic Wint...

Charles De Wolf Brownell (American, 1822 - 1909) Watercolor on paper depicting several plants in close proximity Hand dated and inscribed "Br...

BRITISH SCHOOL (19th Century) Blackberries Watercolour and bodycolour, circular Unframed, in mount only Diameter 8 cm., 3 ¼ in. (mount size 21.5 by 21 cm., 8 ½ by 8 ¼ in.)

Unsigned. Presented in a gilt frame and wash-line mount. On paper.

A fine study in watercolour and gum arabic depicting a goldfinch and its nest. Signed to the lower right. Presented in a gilt frame. On paper.

A fine watercolour study with gum arabic details depicting apples and berries in under bush. Signed and dated to the lower right. Presented in a silver gilt frame. On paper.

A fine watercolour study of a game bird and hare in a pantry interior. Signed to the lower right. Presented in a part gilt frame.

A fine watercolour study depicting a blue tit by a nest of eggs and primroses. Signed to the lower right. Presented in a gilt frame. On paper.

A fine watercolour study depicting a nest of hedge sparrow eggs with cherry blossom . The artist uses an expert hand to capture the fine details of the intricate birds nest and delic...

A fine and detailed watercolour painting, depicting a still life composition with several fruits, nuts, a pumpkin and a white jar. Monogrammed to the lower right-hand corner. Well-pr...

This charming watercolour scene depicts a vibrant flower market in Dieppe, France. Figures with large baskets browse the selection of bright flowers on the narrow French Street. Pain...

A fine watercolour and gouache flower study, monogrammed 'K.S.' and dated '1889' to the lower right-hand quadrant. Well-presented in a double washline ...

A delightfully vibrant early 19th century botanical study by the artist Sophia Katherine Charleton (1789-1844) depicting Rosa gallica, commonly known as French Rose. Unsigned. On paper.

A delightfully vibrant early 19th century botanical study by the artist Sophia Katherine Charleton (1789-1844) depicting 'Diplacus Aurantiacus', commonly known as 'Bush Monkey Flower...

A finely detailed watercolour study of a dead robin in a snowy landscape. An exhibition label to the reverse reveals that this painting - as well as another by the same artist of a s...

A finely detailed watercolour study of a dead sparrow. This painting - as well as another by the same artist of a robin, also listed on our website (sr717) - was exhibited at the Lon...

A detailed early 19th century botanical study by the artist Sophia Katherine Charleton (1789-1844) depicting a plentiful summer bloom. The edges of the artwork have been delicately e...

A delightful floral study by Sophia Katherine Charleton (1789-1844) including an anemone and a rose, as well as several other small flowers. Faint preliminary sketches are visible in...

A delightful early 19th-century botanical study by the artist Sophia Katherine Charleton (1789-1844) depicting a burst of violet Primulas. Unsigned. Beautifully presented in a thin w...

This lovely floral is an original and very rare to find large watercolour. It is a stunning floral arrangement by famous Italian floral artist Ermocrate Bucchi. Bucchi is a well list...

'A Buginese boat, Semarang 1898’ Signed, dated, and annotated, upper right Pen, brush and ink on cardboard, H. 11.4 x W. 26.3 cm Literature: Venselaar, 2019, p. 69 (ill.)

An original 19th-century botanical study from 'Köhler's Medicinal Plants', a German herbal published in the later half of the century. Unsigned. Inscribed to the lower margin. Well p...

A stunning 19th Century antique gouache on paper still life by an unknown artist. This beautiful work comes in its original antique frame with new archival mat presentation.

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...

JEBEZ BLIGH (1832-1900) Mushrooms in a Basket Signed and dated l.r.: J BLIGH / 74 Watercolour Framed 22.5 by 31.5 cm., 9 by 12 in. (frame size 42.5 by 51 cm., 16 ¾ by 20 in.) Jeb...

JOHN GEORGE SOWERBY (1849-1914) Tailpiece for “A Rainy Day” Watercolour heightened with white, circular Unframed, in mount only Diameter 7 cm., 2 ¼ in. (mount size 25.5 by 20 cm., 10 by 8 in.) Reproduced: J G Sowerby & Thomas Crane, At Home, Marcus Ward & Co, 1881, p.17. The current work was reproduced in Sowerby and Crane’s 1881 children’s book...

A scroll and a small lantern depicted in this 19th-century painting suggest the romantic notion of a Chinese scholar painting in the evening hours. Re...

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...

Elizabeth Jenkins was born in New Brunswick, Canada, in 1841. By the early 1870s the artist was living in Yuba County, California. In 1873 she exhibited at the California State Fair.

Porcelain service is an original china ink and watercolor drawing on ivory-colored paper realized by a French Anonymous Artist of the late 19th Century. In very good conditions. This artwork represents porcelain drinking service...

A particularly fine Victorian botanical study depicting a two toned dahlia from two sides. Well-presented in a complimenting oak frame with mount. On paper.

Still Life with Lemon and Hat is beautiful original oil pastel and chalk drawing on ivory-colored paper, realized by an anonymous French artist of the end of XIX century. On a table...

Unknown Artist (American, nineteenth century) Shells and Seaweed Watercolor on paper, 6 x 8 inches FRAMED: 11 x 13 inches

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 charming 19th Century still life study depicting a seashell, dog roses and a pansy carefully placed before a rock. The artist captures the delicate flowers and their textures in gr...

Architectural Floral Wallpaper Fragment 19th Century Italian hand painted floral design wallpaper lined with linen, in gold leaf wood framed as is.

A delightful early 19th-century graphite and watercolour study of agricultural equipment. Inscribed with the location 'Delphi and the date 1834', Cromek was known to have been tourin...

A still life depicting vines and grapes beside an urn. Well-presented glazed in a blue card mount with a gilt-effect border and a gilt-effect wooden frame. Signed and dated to the lo...

A fine and delicate watercolour painting, depicting a short vase with yellow flowers. Unsigned. Well-presented in a double card mount and in a speckled gilt effect frame. On watercol...

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, ...

19th century Hungarian artist. Possibly, by the Hungarian "Sculptor" Lohr Franz, 1874-1918. Measures: 26"H x 35" W, tempera and watercolor on paper. Overall size is 30" x 39". Signed...

Paul Friedrich Meyerheim (1842 Berlin - 1915 ibid.). Sketch of a female torso with hands and an umbrella. Pencil on paper, 27.5 x 22.5 cm (visible size)...

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...

Ellen Weigall’s From Nature is a captivating still life that showcases her remarkable attention to detail and her skill in composition. The painting presents a sumptuous arrangement ...

Blanche ODIN Troyes 1865 - Bagnères-de-Bigorre 1957 Throw of flowers, nasturtiums Watercolor on paper Signed lower right 25 x 16.5 cm sheet 37 x 30.5 cm frame

A Pair of Drawings, Framed Signed and dated 1855 Chalk in black, brown wash, heightened with white, on paper each sheet, 46 x 31 cm . Framed. Two Landscape and Sea View Old Master Drawings, Paris, 18th Century, by Mozin Charles Louis Mozin (* 12 March 1806 in Paris; † 7 November 1862 in Trouville-sur-Mer) was a French painter. He is the grandfather of the Post-Impressionist Fernand Piet. The brother of the composer Théodore Mozin was a pupil of Xavier Leprince. He is considered the "discoverer" of Trouville-sur-Mer, which developed into a popular seaside resort at the end of the 19th century. At the age of nineteen, he first came to the fishing village on the coast...

Fine Watercolour Drawing by Alexandre Jules Monthelier. He was a French Artist who worked in France and created many drawings of famous landscape and sceneries (e.g. the cathedral of...