Drawings and Watercolor Paintings

"Interior of a House" is an original pencil, china ink and pastels drawing on ivory paper by Anonymous Artist of XIX Century. In very good condit...

Graphite on laid paper, signed verso and paper watermarks and atelier stamp Image size: 23 ¾ x 16 ¾ inches (60.25 x 43.5 cm) Gilt Whistler frame Leon Bellemont Born on August 20, 1866, in the family home on rue du Grand-Cloître, Léon Bellemont studied from 1875 to 1883 at the Diderot college, where he was an excellent student. At the same time, he joined the municipal drawing school, where his exceptional predispositions were very quickly noted. In 1884, at the age of 18, Léon Bellemont left Langres to join Paris and its National School of Decorative Arts, then the prestigious Ecole des Beaux-Arts. There, he followed the teaching of Léon Bonnat, a renowned portraitist, and obtained his first rewards and several prizes. It was in 1892, however, that his artistic career took off, with his first participation in the Salon des artistes français, where he exhibited until 1956. A landscape and impressionist painter, particularly impressing marine worlds, Léon Bellemont stayed more and more regularly in Brittany at the beginning of the 20th century, where he painted numerous paintings. His notoriety grew, as did the profits from his sales, and the State itself ended up placing a few orders with him. His work “The Breton Faith” was, for example, acquired by the museum in Buenos Aires (Argentina). Subsequently, always in search of inspiration, Léon Bellemont travelled extensively. He was in Bruges from 1907 to 1909, then traveled across France for several years participating in exhibitions. During the First World War, he settled in Algiers where he remained for several years. He then returned to Paris, worked extensively there and achieved great fame. A socialite, he frequented salons and regularly received his friends Jules Adler...

Woman is an original artwork realized between the XIX century and the XX century by Henry Somm. Original black and white pencil drawings on paper. The artwork represents a portrait...

The Kiss is an original drawing in Pencil realized by Alfred Grévin in the Late-19 Century. Applied on a Passeprtout: 50 x 32 cm. In good conditions. Alfred Grévin (1827- 1892),w...

Embrace is an original drawing in pencil on paper, realized by the Anonymous artist of the XIX century. From an illustration with an inscription on the rear related to the school of ...

People and Animals is an original drawing in pencil on paper, realized by an Anonymous artist of the XIX century. With a drawing of a cat and its kitt...

This beautiful watercolour study with gum arabic depicts two affluent gentleman shooting with hounds before a landscape. In swift flight a woodcock can be seen to the right of the co...

Interesting and well-drawn French late 19th-century landscapes sketch, in pen and ink . Emile Cagniart was born in Paris where he would remain for his sixty years. Like many young a...

The Feline is an original pencil drawing on paper realized by Ernest Rouart by the turn of the XX century. This drawing is hand-signed by the artist in red pen on the lower left. In...

Louis-Eugène Lambert (1825-1900) La Montagne qui accouche d'une souris (The Mountain and the mouse) Pen and black ink, ink wash on paper Signed lower ...

"Coats of Arms" is an original drawing in pen and watercolor on paper, realized by an Anonymous France Artist of the XIX Century. The state of pre...

A charming 19th century study of a yacht with a red duster flag passing through a city on the river. The yacht passes a parish church on the river bank with a spire at the centre. Th...

Abandoned Dog is an original pen and pencil drawing on paper by Gabriele Galantara (1865-1937). In good conditions except for a cutaway on the top margin. Sheet dimension: 26 x 10....

"And wasn't it good for a boy to be Out to old Aunt Mary's" Charcoal and watercolor on artist illustration board, 1900 Initialed and dated lower right: H.C.C. 1900 by the artist (see...

A wonderful study of a elegant white horse in a farm stable. The artist has used touches of white gouache to highlight the horses healthy coat and particular attention has been given...

Theatrical Costume is an original pencil, pastel and watercolor drawing realized by Alfredo Edel in 1895. Good condition, the artwork is with watercolor and biacca. Hand signed with pencil by the artis. Alfredo Leonardo Edel (1856–1912), sometimes credited as Alfredo Edel Colorno, was an Italian costume designer popular during the late 19th and early 20th century. He worked at the La Scala opera...

A landscape view in a mountain valley with a figure passing through a gate in the foreground. Presented glazed in a white and beige double mount and a gilt frame with bead courses to...

An impressive watercolour study by listed British artist James Vivien de Fleury (1847-1902). The scene shows a group of labourers returning from a days work on the fields. Precise an...

John Francis Branegan (1843-1909) - original watercolour. Evening on the Medway. Signed and inscribed to the lower right. Presented in a gilt-effect frame with a wash-line mount. Lab...

Saint-Louis is a beautiful original pencil drawing on paper, realized by a French artist of XIX century. hand-signed in black ink on lower right margin, signature not completely rea...

Original watercolor with graphite tracings by the well known German artist, Peter Von Halm. Signed in pencil lower right. Condition is good. Several tiny foxing spots with small areas of mild wrinkles on the outer corners. Matted but not framed. He was the son of an innkeeper and brewer. Initially, he wanted to become an architect and, in pursuit of that goal, attended the Technische Universität Darmstadt. After 1875, he studied copper engraving with Johann Leonhard Raab and general art subjects with Ludwig von Löfftz, at the Munich Academy. From 1883 to 1885, he lived in Berlin at the invitation of his friend, Karl Stauffer-Bern, where he created graphic versions of the Old Masters for Wilhelm von Bode...

This late 19th-century watercolour by Scottish artist George H Hay RSA (1831-1912) depicts four young ladies, wearing outfits synonymous with the 1820s, spinning wool within a simple...

Alexandre Bida (1813-1895) A Young Woman in Profile Signed with the monogram lower right Pencil on grey-blue paper 17.7 x 11.5 cm Framed : 36.5 x 27 cm This drawing shows Bida's tec...

Scottish Highland mountains, river rapids and heather on the hill with cows, this 19th century impressionist watercolor is bright and fresh. Sign...

Achille Devéria (1800-1857) "Allez au diable, la femme est à moi" (Go to hell, This woman is mine) pencil on paper annotated on the upper border "Alle...

Transport of Dead Christ is a drawing realized by the French painter Lucien Alphonse Gros (1855-1913) in the late 19th century. The state of preservation i...

A Shakespearean scene featuring Mistress Quickly, Sir John Falstaff, and Bardolph. The characters appear together in 'Henry IV Part I', 'Henry IV Part II', and 'The Merry Wives of Wi...

The Forum is an original artwork realized by a French artist between the end of the XIX and the beginning of the XX Century. Original drawing on paper. Mint conditions. Fresh and...

Robert Winchester Fraser (1848-1906). Original late 19th century watercolour. Signed to the lower right and dated, 1988. Presented in a gilt frame and slip with several delicate runn...

"Camp of soldiers" is an original pencil drawing on ivory paper by Anonymous Artist of the 19th Century. Very good condition. Not signed.

Anatomical Studies is an original artwork realized by an artist of the 19th Century. Good conditions, only some stains on the back of the yellowed paper.

Woman Portrait is a beautiful drawing in pencil realized by Adolphe-Félix Cals (1810-1880) The state of preservation of the artwork is good. Included a Pa...

Interesting and well-drawn French late 19th-century landscape sketch in pen and ink . Emile Cagniart was born in Paris where he would remain for his sixty years. Like many young asp...

Finely executed watercolor and gouache landscape with figures by the Swiss artist, Louise Clauseau (Swiss). Signed under the mat by the artist and dated June, 1852. The watercolor ...

Antoine-Baptiste PETIT Paris, 1800 – Versailles, 1864 Watercolor 18 x 27 cm Antoine-Baptiste Petit was a decorative painter and teacher of perspective. He produced views of Paris in...

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...

A striking 19th Century pastel, showing a rustic farm building with a bonfire raging behind it. The sparks can be seen flying up over the top of the thatch against the night sky. A g...

British, December 1879 After John Tenniel (1820-1914) A philatelic cover depicting Alice, the White King and his messenger, with a ham sandwich An adaption of the illustration to Le...

Portrait of Man is a beautiful drawing realized by a French anonymous artist active in the early 19th century. On the lower right, there are the initials “J.G.” that do not allow the...

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

Studies for a Female Nude is a fascinating drawing realized by the French artist Pierre Andrieu in the 19th century. The state of preservation is very good, except for two small rips of the paper on the lower and higher right margins. Pierre Andrieu (1821-1892) was a pupil of the famous painter Eugène Delacroix from 1844 and his colleague until 1863. He worked with him at the town hall of Paris, at the Senate, at the Chamber of Deputies, at the Angels Chapel at the Saint-Sulpice Church, and they restored the ceiling of the Apollo Gallery at the Louvre. In 1868, he restored the paintings at the Senate library realized by Delacroix ruined by infiltrations. In 1871, he opened his art studio and realized copies of Delacroix’s artworks, original paintings with genre scenes and animals (one is currently at the National Gallery in London) and a great number of orientalist drawings...

Charles HORTIN (Attributed to) (XIX) Black chalk and white gouache Signed lower right 12 x 16 cm

Themistokles von Eckenbrecher (1842 Athens - 1921 Goslar), Norwegian pine grove, 1901. Watercolor on blue-green paper, 30 x 22 cm. Signed, dated and inscribed in his own hand "TvE. Fagermes [i.e. Fagermes]. 26.6.[19]01." - Slight crease throughout at left margin, otherwise in good condition. About the artwork Themistokles von Eckenbrecher often traveled to Norway to study the nature that fascinated him there. On June 26, 1901, near the southern Norwegian town of Fagernes, in the summer evening sun, he saw a small pine grove, which he immediately captured in a watercolor. He exposed the trees growing on a small hill in front of the background, so that the pines completely define the picture and combine to form a tense motif. The tension comes from the contrast of form and color. The trunks, growing upward, form a vertical structure that is horizontally penetrated by the spreading branches and the pine needles, which are rendered as a plane. This structural tension is further intensified by the color contrast between the brown-reddish iridescent trunks and branches and the green-toned needlework. Themistokles von Eckenbrecher, however, does not use the observed natural scene as an inspiring model for a dance of color and form that detaches itself from the motif and thus treads the path of abstracting modernism. Its inner vitality is to be brought to light and made aesthetically accessible through the work of art. It is precisely in order to depict the inner vitality of nature that von Eckenbrecher chooses the technique of watercolor, in which the individual details, such as the needles, are not meticulously worked out, but rather a flowing movement is created that unites the contrasts. The trees seem to have formed the twisted trunks out of their own inner strength as they grew, creatingthose tense lineations that the artist has put into the picture. The inner strength continues in the branches and twigs, culminating in the upward growth of the needles. At the same time, the trunks, illuminated by the setting sun, seem to glow from within, adding an almost dramatic dimension to the growing movement. Through the artwork, nature itself is revealed as art. In order to make nature visible as art in the work, von Eckenbrecher exposes the group of trees so that they are bounded from the outside by an all-encompassing contour line and merge into an areal unity that enters into a figure-ground relationship with the blue-greenish watercolor paper. The figure-ground relationship emphasizes the ornamental quality of the natural work of art, which further enforces the artwork character of the group of trees. With the presentation of Themistokles von Eckenbrecher's artistic idea and its realization, it has become clear that the present watercolor is not a study of nature in the sense of a visual note by the artist, which might then be integrated into a larger work context, but a completely independent work of art. This is why von Eckenbrecher signed the watercolor. In addition, it is marked with a place and a date, which confirms that this work of nature presented itself to him in exactly this way at this place at this time. At the same time, the date and place make it clear that the natural work of art has been transferred into the sphere of art and thus removed from the time of the place of nature. About the artist Themistocles' parents instilled a life of travel in their son, who is said to have spoken eleven languages. His father, who was interested in ancient and oriental culture, was a doctor and had married Francesca Magdalena Danelon, an Italian, daughter of the British consul in Trieste. During a stay in Athens - Gustav von Eckenbrecher was a friend of Heinrich von Schliemann and is said to have given him crucial clues as to the location of Troy - Themistokles saw the light of day in 1842. After an interlude in Berlin, where Themistokles was educated at the English-American School, the journey began again. From 1850 to 1857 the family lived in Constantinople, after which the father opened a practice in Potsdam, where Themistokles, who wanted to become a painter, was taught by the court painter Carl Gustav Wegener. In 1861 the von Eckenbrechers left Potsdam and settled in Düsseldorf. There Themistokles received two years of private tuition from Oswald Aschenbach, who greatly admired the talented young artist. After his artistic training, he undertook extensive travels, often accompanied by Prince Peter zu Sayn-Wittgenstein, which took him to northern and eastern Europe, but above all to the Middle East and even to South America. The paintings that resulted from these journeys established his artistic reputation and led to his participation in large panoramas such as the 118 x 15 metre Entry of the Mecca Caravan into Cairo, painted for the City of Hamburg in 1882. 1882 was also the start of a total of 21 study trips to Scandinavia, most of them to Norway, and the unique Norwegian landscape with its rugged fjords became a central motif in his work. Along with Anders Askevold and Adelsteen Normann...

Signed to the lower right. Presented in a light wooden frame and washline mount. On paper.

School of the second half of the 19th century Pen and wash drawing 21 x 27.5 cm Inscription on the verso "Champigny rue St Jean"

A delightful Grand Tour style study of Florence from a distance. Signed to the lower right. Well presented in a gilt frame with oak leaf strapwork. On paper.

A delicate and alluring watercolour. depicting a farmer taking a break from her cattle. The painting is beautifully framed in an ornate moulded and gil...

Untitled (Musician with clarinet) Watercolor on paper, c. 1844 Created on J Whatman Turkey Mill Watermarked paper Signed lower left: Gavarni (see photo) Condition: very fresh colors ...

JOHN DA COSTA (1867-1931) Lillie, the Artist’s Wife Signed l.l. Coloured chalks on tinted paper Framed 61 by 48.5 cm., 24 by 19 in. (frame size 80 by 69 cm., 31 ½ by 27 ¼ in.) Jo...

This little gem of a compact artwork was executed in the Arts and Crafts style for an interior illustration for "The Wise Book," J.M. Dent & Co, London, 1906. "You can't eat your ca...

Signed lower left "John Faulkner, RHA" (Anglo-Irish, 1835-1894), titled, 'Return from the Meadows' and painted circa 1880. A substantial nineteenth century watercolor and gouache s...

H. Fluiss Cotherstone with stud groom "Wilson" (1862) Watercolour 30 x 39 cm A late-nineteenth century watercolour depicting Cotherstone, the British Thoroughbred racehorse and sire...

To see our other views and maps of England - including London, Durham, Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" -...

JOHN GEORGE SOWERBY (1849-1914) Phoebe - The Open Window Watercolour heightened with white Unframed, in mount only 8 by 7 cm., 3 by 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.42. The current work was reproduced in Sowerby and Crane’s 1881 children’s book, At Home, where is accompanied by the following verse: All the morning, all the morning, Sat she till her tasks were done; While without were birds and blossoms, And the pleasant sun. And the leaves in ev’ry rustle, And the birds in ev’ry song:- “Phoebe, Phoebe, are you coming? Phoebe, don’t be long!” Whispered thro’ the open window Gentle breezes, passing by:- “Phoebe, are you coming, Phoebe? Come before we die!” Till the clock, with joyful measure, Struck the hour when work is o’er; Crying “Ponto’” Phoebe vanished Through the open door. Whither sped out nimble Phoebe? She is in the study now; Ponto heard her with she called him, - Answered back “Bow-wow!’ “Ponto, tho’ the birds and garden, Called me all the morning thro’ I had first to do my lessons – So I think should you.” Poor old Ponto! He is longing, Longing for his game of play, And the garden – ah: but Phoebe Has a word to say. “Beg then – beg, sir – do you hear me? No, no, Ponto, that is wrong; Paws up! Steady! Ah, that’s better! Good dog, come along!” John George Sowerby was born into a prosperous Gateshead family of glass manufactures and artists. He inherited the family business, the Ellison Glass Works, one of the world’s largest producers of pressed glass, where he introduced designs inspired by the Arts and Crafts movement. Initially he combined his energies at the glass works with his work as an illustrator and painter of landscapes and floral subjects with a Pre-Raphaelite intensity, strong colours and rich detail. He exhibited many of these paintings at the Royal Academy. In the 1880s he collaborated with Newcastle artist, Henry Hetherington Emmerson, on illustrations for the children’s books Afternoon Tea (1880) and The May Blossom (1881). Although were critically very well received but the publications were attacked by Kate Greenaway who considered them too close to her own work. Sowerby then went on to produce highly aesthetic illustrated books At Home (1881) and At Home Again (1883), with decorations by Thomas Crane. Gleeson White, editor of The Studio magazine stated that in Afternoon Tea Sowerby “set a new fashion for ‘aesthetic’ little quartos’ (The Studio, 1897). Roger Dixon in Belfast Publishing (Oxford University Press, 2011, p.79) considered these At Home and At Home Again to be “among the loveliest books ever produced.” Never very wise as a business man, in the early 1880s he left Ellison Glass Works being declared bankrupt in 1884. He returned to the works again as a paid employee. Sowerby’s daughter, Millicent Sowerby...

French school 19th Century A Muskeeter Pencil on paper 26.5 x 17 cm Bears a signature "F. Roybet" in the lower right In quite good condition, bears some visible foxings, In an old mount (some damages) (not framed) Even if the style, execution and of course subject are those of Ferdinand Roybet...

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...

A fine watercolour portrait depicting a mother and her infant child seated in armchair. The composition takes inspiration from the delicate portraiture work of early 19th century art...

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 ...