Drawings and Watercolor Paintings

Study of a Kneeling Figure, from the Circle of Enrico Reffo Charcoal on lightly toned paper 47 x 32 cm Late 19th – early 20th century From the atelier of one of Reffo’s pupils This ...

Academic studi of girl’s head. Charcoal on colored paper. By Enrico Reffo. This artwork is part of a collection of approximately twenty preparatory drawings, figure studies, and ske...

Original watercolor on archival paper of a mother and her children by the Japanese artist, Takashi Nakayama. Signed in watercolor lower left...

Watercolour on ivory colored paper, 1828. Representing a woman in typical Italian costumes of XIX century. Good conditions with some light stains. The year of composition is hand-wri...

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 ...

Attributed to Francis Philip Stephanoff (1790-1860), miniature watercolour on card. The Bridal Morning. An intimate interior scene depicting ladies-in-waiting gathered around a young...

A charming watercolour study depicting a European girl leaning on a fountain and staring wistfully into the distance. Label verso attributing the painting to John Absolon R.I. Prese...

The Big Tree is an artwork realized by Carlo Ferrari (1861-1950) in 1899. Pencil drawing, dated and signed by the artist in the lower right. Good condition.

'Portrait of Jean', pencil on art paper, by French artist, Guillaume Dulac (circa 1920s). An artist known for his exquisite drawings - many are sketches for his larger oil paintings ...

Original Vintage 1920's Ink and Watercolor Fashion Illustration by listed New England artist Harriette (Nutting) Cooper (1901 - 2002). The illustration depicts a lovely young flappe...

French School 19th Century Episode of the Franco-Prussian war of 1870, a cantonment of soldiers during the siege of Paris Pen and brown ink on paper 15 x 23 cm Annotated on the lower...

A Collection of Botanical Watercolours: Drawings of British Plants Emily Stackhouse (1811-1870) perfectly illustrates the Victorian fascination with the countryside in this remarkab...

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 very fine 19th-century miniature watercolour depicting a rosy-cheeked Victorian lady. Rendered in impressive detail, the artist has given great attention to the facial features. Un...

A fine, large period watercolour which is attributed to John Linnell or one of his circle. It certainly is a stunning painting. The dappled light glowing through the trees and the fi...

Charles De Wolf Brownell (American, 1822 - 1909) Watercolor on paper depicting a pumpkin on a flowering vine Hand dated and inscribed "Lyme ...

A pillow book was meant to teach a young bride about the art of lovemaking. This rare museum-quality 19th century example is composed of 12 masterfully pai...

Venice Landscapes is a modern artwork realized in 19th Century. The artwork consist in three pencil drawings depicting glimpses of Venice. Fair cond...

Wonderful mid-century watercolor seascape of the Carmel coast by California artist John O'Shea (American, 1876-1956), c.1940s. Signed "John O'Shea" lower left corner. Exhibition label on verso from 1993 Carmel Art Association Exhibition, John O'Shea and Friends, with artist name and title "Coastal Scene". Displayed in custom giltwood frame. Image, 18.50"L x 24"W. Provenance: John O'Shea estate; Gerry Byrne Collection; Steven Hawk Gallery Collection; Robert Azensky Fine Art Collection. This piece is listed in the 1993 exhibition catalog, "John O'Shea and Friends" (not pictured) and will be included gratis in purchase. (A note about the catalog: there is a typo in the catalog which in error states the size of the piece is 16" x 20"). Artist Bio: John O’Shea was born in Ireland and immigrated to New York at the age of 16 where he studied at the Adelphi Academy and the Art Students League. O’Shea moved to the Monterey Peninsula circa 1917 where he was busy in the local art community, serving as the President of the Carmel Art Association. O'Shea was a versatile artist painting in oil, watercolor and charcoal, his bold, vibrant paintings...

Ernest Lessieux (1848 - 1925) The sea in calm weather, signed lower left watercolor on paper 16.5 x 24 cm Framed : 35 x 41 cm This rather atypical work is a remarkable addition to...

A fascinating allegorical scene by French master Paul-Louis Delance (1848–1924), an artist known for the allegorical and history paintings. His grandfather was the Count Joseph van R...

English Graphite Sketch of a Female Nude, Seated (with additional image attached) by Henry George Moon (British 1857-1905) on yellowed thin artists paper, unframed measurements: she...

Jozsef Rippl-Ronai (Hungarian, 1861-1927), Interior Scene with Potted Plant, Pastel on Paper, signed lower center, Herbert Feist carved giltwood frame. Image: 9.25" H x 13" W; frame:...

Lithograph on vélin pur fil des Papeteries du Marais, realized by Cocteau in 1929. Belongs to the suite "25 Dessins d'Un Dormeur", published by H. L. Mermod, Lausanne. Edition of 2...

The Carpet Seller depicts a man in a domed Fez hat as he is approached by three women and a child. Middle eastern architecture floods the scene. The way the pa...

Léa Lafugie (1890–1972) was a painter who traveled extensively across Asia. She was renowned for her portraits. She studied at the School of Decorative Arts, followed by the École de...

Gravure Full Page in Woman's Home Companion Magazine A wonderful and very detailed full page art supplement for the September 1922 issue of the Woman's Home Companion. Charles Sheldon's exquisitely detailed portrait of fashion designer Peggy Hoyt...

The Little Siren of the Arts Bridge is an Original Etching and aquatint realized by Edouard Chimot in 1922. The artwork is in good condition on the yellowed paper, included a cardbo...

William Richardson (British fl.1842-1877). Original watercolour depicting a full coach and guards outside Fountains Hall - Ripon, North Yorkshire. Signed and dated (1832) to the lowe...

A delightful early 19th century gouache depicting a rural scene with busy figures and livestock roaming freely. Very fine brushwork defines this artwork and the artist has paid great...

An original watercolour scene by the well-listed British artist Henry Earp Senior (1831-1914). Cattle watering in a pond with ducks amongst the herd. Well presented in an ornate gilt...

A bucolic and delicate watercolour study by Richard Pratchett Noble (fl.1836-1860) depicting cattle watering in a stream or pond. Wonderfully presented in a gilt effect frame. Signed...

A charming watercolour by the artist Herbert Menzies Marshall (1841-1913). The artist captures a peaceful moment by the quay, using delicate brushwork and muted tones to capture the ...

This painting depicts a man in traditional rural attire carrying a large woven oyster basket back from the sea front. The artist captures the charming details of the man's work gear,...

This delicate 19th-century watercolour with gouache depicts a young girl posing with a book in hand. The artwork is presented in a beautiful wash-line mount with a unique marbled bor...

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.

A delightful watercolour after Joshua Reynolds (1723-1792), depicting Lady Caroline Spencer, the Duchess of Marlborough and her King Charles Spaniel. The original painting is held by...

A charming late 19th century watercolour by the artist George Goodwin Kilburne (1839-1924) depicting a tender moment between mother and child. The figures sit at the dining table pee...

A fine late 19th century watercolour depicting Act IV, Scene VI from Shakespeare's 'King Lear'. Unsigned. Well presented in a gilt frame. On paper.

A fine 19th century watercolour copy of Italian Renaissance painter, Moretto's, Portrait of a Man. Dated in Roman numerals to the lower right (1562). Presented in an ornate gilt effe...

A delicate 19th-century oval pastel study of a young girl dressed in white. The girl holds a striking gaze whilst elegantly drawing the viewer's attention to her fine jewellery. Pres...

A charming Neapolitan School gouache depicting the bay of Naples. The artist has used vibrant pastel hues to reflect the serenity of the scene. Unsigned. Well presented in a gilt fra...

A charming late 19th-century watercolour depicting a tender moment between husband and wife. Presented in a gilt frame with a beaded inner. Unsigned. On card.

The River Barge Pen and ink on paper on laid paper, mounted in English drum mount , c. 1810 Unsigned Condition: Slight sun staining to sheet and mount in the window (see photo) Image/sheet size: 5 1/4 x 6 11/16 inches Sight: : 5-3/4 x 7-1/4" Frame: 13-3/8 x 14-3/8" Provenance: Colnaghi, London (see photo of label) David Cox (29 April 1783 – 7 June 1859) was an English landscape painter, one of the most important members of the Birmingham School of landscape artists and an early precursor of Impressionism. He is considered one of the greatest English landscape painters, and a major figure of the Golden age of English watercolour. Although most popularly known for his works in watercolour, he also painted over 300 works in oil towards the end of his career, now considered "one of the greatest, but least recognised, achievements of any British painter. His son, known as David Cox the Younger (1809-1885), was also a successful artist. Early life in Birmingham, 1783–1804 Cox's birthplace in Deritend, Birmingham, illustrated by Samuel Lines Cox was born on 29 April 1783 on Heath Mill Lane in Deritend, then an industrial suburb of Birmingham. His father was a blacksmith and whitesmith about whom little is known, except that he supplied components such as bayonets and barrels to the Birmingham gun trade. Cox's mother was the daughter of a farmer and miller from Small Heath to the east of Birmingham. Early biographers record that "she had had a better education than his father, and was a woman of superior intelligence and force of character." Cox was initially expected to follow his father into the metal trade and take over his forge, but his lack of physical strength led his family to seek opportunities for him to develop his interest in art, which is said to have first become apparent when the young Cox started painting paper kites while recovering from a broken leg. By the late 18th century Birmingham had developed a network of private academies teaching drawing and painting, established to support the needs of the town's manufacturers of luxury metal goods, but also encouraging education in fine art, and nurturing the distinctive tradition of landscape art of the Birmingham School. Cox initially enrolled in the academy of Joseph Barber in Great Charles Street, where fellow students included the artist Charles Barber and the engraver William Radclyffe, both of whom would become important lifelong friends. At the age of about 15 Cox was apprenticed to the Birmingham painter Albert Fielder, who produced portrait miniatures and paintings for the tops of snuffboxes from his workshop at 10 Parade in the northwest of the town. Early biographers of Cox record that he left his apprenticeship after Fielder's suicide, with one reporting that Cox himself discovered his master's hanging body, but this is probably a myth as Fielder is recorded at his address in Parade as late as 1825. At some time during mid-1800 Cox was given work by William Macready the elder at the Birmingham Theatre, initially as an assistant grinding colours and preparing canvases for the scene painters, but from 1801 painting scenery himself and by 1802 leading his own team of assistants and being credited in plays' publicity. London, 1804–1814 In 1804 Cox was promised work by the theatre impresario Philip Astley and moved to London, taking lodgings in 16 Bridge Row, Lambeth. Although he was unable to get employment at Astley's Amphitheatre it is likely that he had already decided to try to establish himself as a professional artist, and apart from a few private commissions for painting scenery his focus over the next few years was to be on painting and exhibiting watercolours. While living in London, Cox married his landlord's daughter, Mary Agg and the couple moved to Dulwich in 1808. David Cox Travellers on a Path, pencil and brown wash. In 1805 he made his first of many trips to Wales, with Charles Barber, his earliest dated watercolours are from this year. Throughout his lifetime he made numerous sketching tours to the Home Counties, North Wales, Yorkshire, Derbyshire and Devon. Cox exhibited regularly at the Royal Academy from 1805. His paintings never reached high prices, so he earned his living mainly as a drawing master. His first pupil, Colonel the Hon.H. Windsor (the future Earl of Plymouth) engaged him in 1808, Cox went on to acquire several other aristocratic and titled pupils. He also went on to write several books, including: Ackermanns' New Drawing Book (1809); A Series of Progressive Lessons (1811); Treatise on Landscape Painting (1813); and Progressive Lessons on Landscape (1816). The ninth and last edition of his series Progressive Lessons, was published in 1845. By 1810 he was elected President of the Associated Artists in Water Colour. In 1812, following the demise of the Associated Artists, he was elected as associate of the Society of Painters in Water Colour (the old Water Colour Society). He was elected a Member of the Society in 1813, and exhibited there every year (except 1815 and 1817) until his death. Hereford, 1814–1827 In the summer of 1813 Cox was appointed as the drawing master of the Royal Military College in Farnham, Surrey, but he resigned shortly afterwards, finding little sympathy with the atmosphere of a military institution. Soon after that he applied to a newspaper advertisement for a position as drawing master for Miss Crouchers' School for Young Ladies in Hereford and in Autumn 1814 moved to the town with his family. Cox taught at the school in Widemarsh Street until 1819, his substantial salary of £100 per year requiring only two-day's work per week, allowing time for painting and the taking of private pupils. Cox's reputation as both a painter and a teacher had been building over previous years, as indicated by his election as a member of the Society of Painters in Water Colours and his inclusion in John Hassell's 1813 book Aqua Pictura, which claimed to present works by "all of the most approved water coloured draftsmen". The depression that accompanied the end of the Napoleonic Wars had caused a contraction in the art market, however, and by 1814 Cox had been very short of money, requiring a loan from one of his pupils to pay even for the move to Hereford. Despite its financial advantages and its proximity to the scenery of North Wales and the Wye Valley, the move to Hereford marked a retreat in terms of his career as a painter: he sent few works to the annual exhibition of the Society of Painters in Water Colours during his first years away from London and not until 1823 would he again contribute more than 20 pictures. Between 1823 and 1826 he had Joseph Murray Ince as a pupil. London, 1827–1841 He made his first trip to the Continent, to Belgium and the Netherlands in 1826 and subsequently moved to London the following year. He exhibited for the first time with the Birmingham Society of Artists in 1829, and with the Liverpool Academy in 1831. In 1839, two of Cox's watercolours were bought from the Old Water Colour Society exhibition by the Marquis of Conynha for Queen Victoria. Birmingham, 1841–1859 Greenfield House in Harborne, Birmingham – where Cox lived from 1841 until his death in 1859 . In May 1840 Cox wrote to one of his Birmingham friends: "I am making preparations to sketch in oil, and also to paint, and it is my intention to spend most of my time in Birmingham for the purpose of practice". Cox had been considering a return to painting in oils since 1836 and in 1839 had taken lessons in oil painting from William James Müller, to whom he had been introduced by mutual friend George Arthur Fripp. Hostility between the Society of Painters in Water Colours and the Royal Academy made it difficult for an artist to be recognised for work in both watercolour and oil in London, however, and it is likely that Cox would have preferred to explore this new medium in the more supportive environment of his home town. By the early 1840s his income from sales of his watercolours was sufficient to allow him to abandon his work as a drawing master, and in June 1841 he moved with his wife to Greenfield House in Harborne, then a village on Birmingham's south western outskirts. It was this move that would enable the higher levels of freedom and experimentation that were to characterise his later work. The elderly Cox pictured by Samuel Bellin in 1855. In Harborne, Cox established a steady routine – working in watercolour in the morning and oils in the afternoon. He would visit London every spring to attend the major exhibitions, followed by one or more sketching excursions, continuing the pattern that he had established in the 1830s. From 1844 these tours evolved into a yearly trip to Betws-y-Coed in North Wales to work outdoors in both oil and watercolour, gradually becoming the focus for an annual summer artists colony that continued until 1856 with Cox as its "presiding genius". Cox's experience of trying to exhibit his oils in London was short and unsuccessful: in 1842 he made his only submission to the Society of British Artists; one oil painting was exhibited at each of the British Institution and the Royal Academy in 1843; and two oil paintings were exhibited at the Royal Academy in 1844 – the last that would be exhibited in London during his lifetime. Cox showed regularly at the Birmingham Society of Arts and its successor, the Birmingham Society of Artists, becoming a member in 1842. Cox suffered a stroke on 12 June 1853 that temporarily paralysed him, and permanently affected his eyesight, memory and coordination. By 1857 however, his eyesight had deteriorated. An exhibition of his work was arranged in 1858 by the Conversazione Society Hampstead, and in 1859 a retrospective exhibition was held at the German Gallery Bond Street, London. Cox died several months later. He was buried in the churchyard of St Peters, Harborne, Birmingham, under a chestnut tree, alongside his wife Mary. Work Early work In the spring of 1811 Cox made a small number of notable works in oils during a visit to Hastings with his family. It is not known why he didn't continue working in this medium at the time, but the five known surviving examples were described in 1969 as "surely some of the most brilliant examples of the genre in England". Mature work Cox reached artistic maturity after his move to Hereford in 1814. Although only two major watercolours can confidently be traced to the period between Cox's arrival in the town and the end of the decade, both of these – Butcher's Row, Hereford of 1815 and Lugg Meadows, near Hereford of 1817 – mark advances on his earlier work. Later work Cox's later work produced after his move to Birmingham in 1841 was marked by simplification, abstraction and a stripping down of detail. His art of the period combined the breadth and weight characteristic of the earlier English watercolour school, together with a boldness and freedom of expression comparable to later impressionism. His concern with capturing the fleeting nature of weather, atmosphere and light was similar to that of John Constable, but Cox stood apart from the older painter's focus on capturing material detail, instead employing a high degree of generalisation and a focus on overall effect. The quest for character over precision in representing nature was an established characteristic of the Birmingham School of landscape artists with which Cox had been associated early in his life, and as early as 1810 Cox's work had been criticised for its "sketchiness of finish" and "cloudy confusion of objects", which were held to betray "the coarseness of scene-painting". During the 1840s and 1850s Cox took this "peculiar manner" to new extremes, incorporating the techniques of the sketch into his finished works to a far greater degree. Cox's watercolour technique of the 1840s was sufficiently different from his earlier methods to need explanation to his son in 1842, despite the fact that his son had been helping him teach and paint since 1827. The materials used for his later works in watercolour also differed from his earlier periods: he used black chalk instead of graphite pencil as his primary drawing medium, and the rough and absorbent "Scotch" wrapping paper for which he became well-known – both of these were related to his development of a rougher and freer style. Influence and legacy By the 1840s Cox, alongside Peter De Wint and Copley Fielding, had become recognised as one of the leading figures of the English landscape watercolour style of the first half of the 19th century. This judgement was complicated by reaction to the rougher and bolder style of Cox's later Birmingham work, which was widely ignored or condemned. While by this time De Wint and Fielding were essentially continuing in a long-established tradition, Cox was creating a new one. A group of young artists working in Cox's watercolour style emerged well before his death, including William Bennett, David Hall McKewan and Cox's son David Cox Jr. By 1850 Bennett in particular had become recognised as "perhaps the most distinguished among the landscape painters" for his Cox-like vigorous and decisive style. Such early followers concentrated on the example of Cox's more moderate earlier work and steered clear of what were then seen as the excesses of Cox's later years. During a period dominated by sleek and detailed picturesque landscape, however, they were still condemned by publications such as The Spectator as "the 'blottesque' school", and failed to establish themselves as a cohesive movement. John Ruskin in 1857 condemned the work of the Society of Painters in Water-colours as "a kind of potted art, of an agreeable flavour, suppliable and taxable as a patented commodity", excluding only the late work of Cox, about which he wrote "there is not any other landscape which comes near these works of David Cox in simplicity or seriousness". An 1881 book, A Biography of David Cox: With Remarks on His Works and Genius, was based on a manuscript by Cox's friend William Hall, edited and expanded by John Thackray Bunce, editor of the Birmingham Daily Post. There are two Blue Plaque memorials commemorating him at 116 Greenfield Road, Harborne, Birmingham, and at 34 Foxley Road, Kennington, London, SW9, where he lived from 1827. It can also be seen at the David Cox exhibition in Birmingham. His pupils included Birmingham architectural artist, Allen Edward...

Civic Guard is a china ink and watercolor artwork on paper realized by an Anonymous artist in 19th century.  Good condition.

Medium: Pen and Ink on Paper Signature: Inscribed and Signed

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

Siebe Johannes Ten Cate (1858-1908) A Garden in Zurich, 1898 Signed, located and dated "Zurich 98" lower right Pastel on paper 28.5 x 41.5 cm in good condition, trace of a small t...

Nu (Standing Female Nude) Red chalk on wove paper, c. 1925 Signed lower right: C Despaiu (see photo) Sheet size (folded format): 12 1/8 x 8 5/16 inches Condition: Very good Sheet fol...

Portrait is a drawing realized by an anonymous artist in 1872. Pencil drawing on paper. Hand-signed by the artist, illegible. Good conditions, aged with foxing. The artwork is re...

Paul Gavarni (1804-1866) Portrait of a young man leaning on a Chair Signed lower right Black pencil on paper 23.7 x 17.6 cm In good condition Framed : 40 x 34 cm This fine portr...

French Romantic school, circa 1840 Portrait of a young man, charcoal on paper 22.5 x 17 cm In good condition, however, there is a restoration of the paper in the upper right-hand qu...

Provenance: Atelier of the artist Notes: Studio stamp on the verso of this important, early work by Gromaire. Over the years there has been an ever-widening interest in the work o...

Soldier is a modern artwork realized by Isidore Pils in the Mid-19th Century. Pencil drawing. Good conditions.

Frank Nelson Wilcox (American, 1887–1964) Home in the Village, Mt. St. Michel, France, c. 1926 Watercolor on board Signed lower right 21.75 x 28 inches 30.5 x 36.5 inches, framed Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox was a respected librarian. In 1906 Wilcox enrolled from the Cleveland School of Art under the tutelage of Henry Keller, Louis Rorimer, and Frederick Gottwald. He also attended Keller's Berlin Heights summer school from 1909. After graduating in 1910, Wilcox traveled and studied in Europe, sometimes dropping by Académie Colarossi in the evening to sketch the model or the other students at their easels, where he was influenced by French impressionism. Wilcox was influenced by Keller's innovative watercolor techniques, and from 1910 to 1916 they experimented together with impressionism and post-impressionism. Wilcox soon developed his own signature style in the American Scene or Regionalist tradition of the early 20th century. He joined the Cleveland School of Art faculty in 1913. Among his students were Lawrence Edwin Blazey, Carl Gaertner, Paul Travis, and Charles E. Burchfield. Around this time Wilcox became associated with Cowan Pottery. In 1916 Wilcox married fellow artist Florence Bard, and they spent most of their honeymoon painting in Berlin Heights with Keller. They had one daughter, Mary. In 1918 he joined the Cleveland Society of Artists, a conservative counter to the Bohemian Kokoon Arts Club, and would later serve as its president. He also began teaching night school at the John Huntington Polytechnic Institute at this time, and taught briefly at Baldwin-Wallace College. Wilcox wrote and illustrated Ohio Indian Trails in 1933, which was favorably reviewed by the New York Times in 1934. This book was edited and reprinted in 1970 by William A. McGill. McGill also edited and reprinted Wilcox' Canals of the Old Northwest in 1969. Wilcox also wrote, illustrated, and published Weather Wisdom in 1949, a limited edition (50 copies) of twenty-four serigraphs (silk screen prints) accompanied by commentary "based upon familiar weather observations commonly made by people living in the country." Wilcox displayed over 250 works at Cleveland's annual May Show. He received numerous awards, including the Penton Medal for The Omnibus, Paris (1920), Fish Tug on Lake Erie (1921), Blacksmith Shop (1922), and The Gravel Pit (1922). Other paintings include The Trailing Fog (1929), Under the Big Top (1930), and Ohio Landscape...

A very good English Impressionist charcoal and pencil drawing of two male heads, by the celebrated British artist Sir George Clausen R.A. (1852-1944), the drawing circa 1905. Clausen was a very well respected British artist based in London in the late 19th & early 20th century, stylistically he managed to meld Romanticism and Impressionism with great success. This very handsome drawing depicts a study of two male heads, most likely related to the 1905 painting "Binding Sheaves" or another harvest painting from that period. This work of art was exhibited & sold in 1976 by the "New Grafton Gallery 42 Old Bond Street London W1", exhibition to the verso, the gallery specialized in showing major 20th century British artists. The drawing is in excellent condition and is ready to hang. At sight without frame 5.50" x 8.50" Biography George Clausen was born at 8 William Street in the Regents Park district of London on 18 April 1852, the son of a decorative...

ERNEST ARTHUR ROWE 1863 - 1922 St Peter's Rome Watercolour Signed lower left Image size: 9 ¾ x 7 inches Original gilt frame