Frank Charles Peyraud

Frank Charles Peyraud River Landscape With Boatmen, Drawing

c. 1881

This early 20th-century watercolour by English artist Henry Robertson (1848-1930) depicts the beach at Hastings. Nets sprawl from a dormant fishing boat before dapples of beachfront...

This peaceful 19th-century landscape by English artist Charles Branwhite (1817-1880) evokes the elemental romance of a picturesque river at sunset. A moment of calm at the end of a l...

This late 18th-century gouache by British artist John Inigo Richards RA (1731-1810) depicts a picturesque landscape with track, figures and distant cottages. Immersed in the raucous drama of London’s 18th-century theatre scene, Inigo Richards sought solace in the British countryside. As the principal scene painter at Covent Garden Theatre, his bucolic backdrops brought colour and context to numerous plays featuring leading actors. For inspiration, he’d escape to the delights of rural England, often sketching in Kent and the home counties. Charming cottages and churches accompany dappled trees and far-reaching views. All brought back to the studio before working up a design. Alongside his ‘day job’, Inigo Richards produced landscapes in watercolour and gouache. His beautifully rendered views capture a pastoral idyll in miniature, each composition rendered with dexterity and fine detail. Note the weight of the figures here, the cattle drover...

This early 20th-century watercolour by Belgian artist Victor Wagemaekers (1876-1953) depicts a view across an open field towards several cottages. It’s an accomplished naturalistic work. Here we see the characteristically flat farmland of the low countries. A wide view with a distant vanishing point. Note the rendering of the furthest trees in near-white as they disappear from view. And the smoke gently rising from the cottage chimneys. Wagemaekers was a realist and sought to capture nature as it was - in a traditional style inspired by the Flemish old masters. He was part of a movement known as ‘Le Sillon’, comprised mainly of students from the Brussels Academy. This group of traditionalists were anti-impressionism and looked back towards the glory days of Flemish artistry. His naturalistic views were usually captured in the broad fields around Brussels, particularly in Grimbergen. Signed lower right and held within a period frame. Victor Wagemaekers trained under Franz Courtens (1854-1943) and his works are held in several public collections including at the Royal Museum of Fine Arts, Antwerp, Museum Taxandria and Jakob...

This charming late 19th-century watercolour by British artist E Wood depicts a beautiful 15th/16th century farmhouse near Godalming in Surrey, England. As chickens rummage for food ...

This beautiful late 19th-century watercolour by British artist Lily Bristow (1864-1935) depicts a picturesque autumnal view. The crunch of Autumn peppers a winding track as windswep...

Boat at the Dock, Alviso Bay Area Tonalist Landscape Watercolor by Iku Nagai Lovely Tonalist watercolor landscape of Alviso, California by Iku K. Nagai (Japanese/American, b. 1932)....

John Francis Murphy (1853 - 1921) Saratoga, 1876 Graphite on paper Sight 8 3/4 x 10 1/2 inches Titled and dated to lower right Provenance: Babcock Galleries, New York Spanierman Gallery, New York In his lifetime, John Francis Murphy (1853-1921) was known as “the American Corot.” He was renowned for his small, intimate views of nature, especially barren fields and farms, bare trees, and lonely marshland. More than a century later, the power of Murphy’s landscapes has not waned. One contemporary critic wrote, “It was Murphy’s unique accomplishment to achieve an absolute realism without a loss of that mystic, indefinable quality which transfigures realism.” John Francis Murphy was born at Oswego, NY in 1853 but his family moved to Chicago in 1868 where he worked painting theater sets. Murphy was basically a self-taught artist; his only formal training was a few weeks of instruction at the Chicago Academy of Design. In 1875, Murphy moved from Chicago to New York, eventually rooming with the painters Dennis Bunker and Bruce Crane above a bakery shop. Murphy’s early work was typical of the Hudson River school but he soon fell under the sway of the loose brushwork and moody style of French Barbizon painting...

Signed lower right, 'Arthur Dawson' (American, 1857-1922) and painted circa 1915; additionally inscribed, verso, 'The Stream'. Bearing old framing label: Ferguson Art Shop, Flint, Mi...

Charles Harry Eaton Summer Landscape Signed lower right Watercolor on paper 9 1/2 x 13 1/2 inches Inspired by the Barbizon style of painting and devoted to the Detroit landscape...

ARTHUR WESLEY DOW (American 1857-1922) IPSWICH SHANTIES ca. 1892 ink wash on paper, 13 7/8 x 11 inches (sheet). Signed lower left “Arthur W Dow”. Ex. co...

PEDRO J. LEMOS (American, 1882-1954) FOOTBALL STATUE THROUGH THE TREES - UC BERKELEY 1921 - THE ORIGINAL YEARBOOK PASTEL Pastel drawing on colored paper 12 5/8 x 9 5/8 inches. Full signature in pastel, Pedro J Lemos. In good condition. A few bits of old tape at the corners, verso. THE 1921 UC BERKELEY YEARBOOK CONTAINED SEVERAL LEMOS PASTEL REPRODUCTIONS. Pedro de Lemos was an important proponent of the Arts and Crafts Movement. He produced some of the finest color woodcuts of the period as well as fine pastels, paintings and architecture. He was also an instructor and director of the Stanford University Art Department, From Wikipedia: Pedro Joseph de Lemos (25 May 1882 – 5 December 1954) was an American painter, printmaker, architect, illustrator, writer, lecturer, museum director and art educator in the San Francisco Bay Area. Prior to about 1930 he used the simpler name Pedro Lemos or Pedro J. Lemos; between 1931 and 1933 he changed the family name to de Lemos, believing that he was related to the Count de Lemos (1576–1622), patron of Miguel de Cervantes. Much of his work was influenced by traditional Japanese woodblock printing and the Arts and Crafts Movement. He became prominent in the field of art education, and he designed several unusual buildings in Palo Alto and Carmel-by-the-Sea, California..... In 1911 he began teaching decorative design at the San Francisco Institute of Art.[8] In late 1912 he was one of the founders the California Society of Etchers, and the following year he started offering the Institute's first classes in printmaking. Some of his students, such as William S. Rice and John W. Winkler (1894-1979), went on to achieve significant fame as printmakers. He helped organize the California print...