1830s Figurative Drawings and Watercolors

Jean-Victor ADAM known as Victor ADAM Paris, 1801 – Viroflay, 1866 Watercolor on paper 14 x 18.5 cm (30.5 x 34.5 cm with frame) Signed lower left “V. Adam” Framed Very beautiful wat...

Precious Watercolor attributed to James WARD (1769-1859) - England, 1830-1840. The Fisherman' S Family. Measurements : View : 20"x14.6" (51x37 cm), With frame : 26.6"x21.5" (67.5x54....

"West Point from the East Bank of the Hudson" Antique Drawing on Paper Delicate and detailed drawing by Hartford, Connecticut artist Edward Watkins Wells (1819-1898) The viewer looks out past a gate at the Hudson River, with its characteristic mountain banks. A shepherd is driving a flock of sheep towards the gate and viewer. The scene appears to have been copied from a drawing book published in 1827, based on the inscription at the bottom edge. Presented in white archival mat Mat size: 12"H x 12"W Paper size: 7.5"H x 9.25"W Notes of interest on Edward Watkinson Wells Our most significant acquisition this year came from a dealer in Philadelphia. It is a 450-page diary written over 10 years (1841-1851) by Hartford artist and dilettante Edward Watkinson Wells (1819-1898), one of the many nephews of our founder, David Watkinson (1778-1857). Edward was immersed in Hartford’s cultural life in the 1840s, exhibited his works at local fairs and gave lessons to the locals. He portrays an active involvement with with his large extended family, which often crossed and re-crossed the other prominent families of Hartford (i.e., Barnard, Channing, Dexter, Ely, Gallaudet, Gill, Goodrich, Hudson, Rockwell, Silsbee, Tappan, Terry, Tracy, Trumbull, Van Renselaer, and Wadsworth). Edward describes dancing and costume parties, soirees, teas, dinners, and receptions in private homes and public venues. He meets Charles Dickens and his wife when they come through Hartford in 1842, and describes brushes with other luminaries, such as Col. Thomas L. McKenney (who lectures on American Indians), and the Unitarian clergyman Rev. Henry Giles, who gave a pro-Irish speech. Other entertainments included a balloon ascension, exhibitions of mesmerism and hypnotism, parades, and performances by well-known groups. He also chronicles the progression of the construction of the Wadsworth Atheneum, and touches on his father’s far-reaching interests in the business world–canals, railroads, factories, and real estate. The cost of this valuable document of mid-19thC Hartford was generously underwritten entirely by a member of the Watkinson Trustees. Trinity College and the Watkinson Virtual Library has content on Edward Watkinson Wells. Yale College also: Edward Watkinson Wells also kept a diary, of which three volumes are preserved (folder 32). He describes a trip by steamboat to Florida, ca. 1855-1860, and the social life and customs he observed there. The other two volumes detail his daily life in Hartford during 1856-1860, and record the deaths of his father and David Watkinson in 1857. Other items contained in the William Wells...

A astounding portrait of a society beauty by Adele Grasset (active ca 1830-1850). With an open face and and lightly smiling lips, she is wearing a gown typical of the romantic period. Drawn in graphite and heightened with white, the drawing is dated 1836 As often with woman artists of the 18th and 19th century, there is little biographical information available on Adèle Grasset. We do know however, that she had studied with the highly prominent artist François Gérard (1770-1837) , known also as the Baron Gérard...

Louis-Alphonse DAVID (1798-1849) Le Moulin de la Butte aux Cailles, Paris, (The Mill at la Butte aux Cailles) signed lower left Pencil and white chalk on paper 22,5 x 36 cm Framed : 40,5 x 55 cm Louis-Alphonse David is known for a relatively small body of work, including portraits and large compositions. In any case, in this work he shows a remarkable mastery of drawing, with particularly suggestive and subtle plays of light and shadow. The Butte aux Cailles, now part of the 13th arrondissement of Paris, was a hill covered in meadows, vineyards and woods, built with several windmills and overlooking the river Bièvre. It was named after Pierre Caille...

L’amour Croise des Races (Agence matrimoniale) is an original drawing with watercolor, Ink, pencil on paper, realized by Jean-Jacques Grandville in 1833, from provenance by descent...

Antique Horse Study "Heads, Hooves and Rump, 1838" Wouterus Verschuur (Dutch, 1812-1874) Pencil on paper Signed and Dated "W Verschuuur 1838" 10 x 6 1/2 (17 1/2 x 14 frame) inches In his time Wouterus Verschuur was an acclaimed and celebrated painter of horses. Through careful observation he learned to capture their physique and movement to perfection. As a true-born romanticist he was also interested in their character, thereby painting powerful carthorses in their stable, thoroughbred saddled horses during an afternoon ride or harnessed horses in action. He was born to an Amsterdam jeweler and received his training from the landscape and cattle painters Pieter Gerardus van Os and Cornelis Steffelaar. As part of this education Verschuur had to copy works by the 17th century painter Philips Wouwerman. Like Wouwerman, Verschuur's subjects consist mostly of stable scenes, landscapes with horses and coastal landscape. These works reflect the enduring influence of the northern Baroque masters on nineteenth century art, revealing the artist's close study of his Dutch and Flemish predecessors harking back to Peter Paul Rubens. Showing talent from a very early age, at 15 Verschuur had a painting exhibited at the "Exhibition of Living Masters" at Amsterdam in 1828. In 1832 and 1833 he won the gold medal at the annual exhibition at Felix Meritis. In 1833 he was appointed a member of the Royal Academy in Amsterdam. In 1839 he joined the artists' society, Arti et Amicitiae. His reputation was also considerable abroad. He was often featured in the annual exhibitions which travelled the large European cities at that time. In 1855 Napoleon III purchased one of his paintings at the Exposition Universelle* in Paris. The Verschuur horse revels in its physicality, like a quintessential Baroque horse...

The History of Amelia is an original modern rare book engraved by George Cruikshank (London, 1792 – London, 1878) and written by Henry Fielding in 1832. Published by James Cochrane ...

Antique Horse Study "Legs and Rumps, 1838" Wouterus Verschuur l (Dutch, 1812-1874) Pencil on paper Signed and Dated "W Verschuur 1838" 10 x 6 1/2 (17 1/2 x 14 frame) inches In his time Wouterus Verschuur was an acclaimed and celebrated painter of horses. Through careful observation he learned to capture their physique and movement to perfection. As a true-born romanticist he was also interested in their character, thereby painting powerful carthorses in their stable, thoroughbred saddled horses during an afternoon ride or harnessed horses in action. He was born to an Amsterdam jeweler and received his training from the landscape and cattle painters Pieter Gerardus van Os and Cornelis Steffelaar. As part of this education Verschuur had to copy works by the 17th century painter Philips Wouwerman. Like Wouwerman, Verschuur's subjects consist mostly of stable scenes, landscapes with horses and coastal landscape. These works reflect the enduring influence of the northern Baroque masters on nineteenth century art, revealing the artist's close study of his Dutch and Flemish predecessors harking back to Peter Paul Rubens. Showing talent from a very early age, at 15 Verschuur had a painting exhibited at the "Exhibition of Living Masters" at Amsterdam in 1828. In 1832 and 1833 he won the gold medal at the annual exhibition at Felix Meritis. In 1833 he was appointed a member of the Royal Academy in Amsterdam. In 1839 he joined the artists' society, Arti et Amicitiae. His reputation was also considerable abroad. He was often featured in the annual exhibitions which travelled the large European cities at that time. In 1855 Napoleon III purchased one of his paintings at the Exposition Universelle in Paris. The Verschuur horse revels in its physicality, like a quintessential Baroque horse...

Wonderful Early Victorian English watercolor of a little girl. The piece is full of quality and precise brushwork giving the painting a great feeling. I think the frame is later poss...

French Romantic School circa 1830 "Le Baiser" The Kiss, A hunter and a girl flirting, study of the girl in the upper register pencil, pen and black ink 19.5 x 13 cm (view) Framed ...

Jules Coignet (1798-1860) Lago di Guarda, 1837, Inscribed "Lago di Guarda 9 8bre 1837" Graphite on paper 24 x 35 cm Framed : 37 x 48 cm Provenance : Galerie Paul Prouté, Autumn 1...

A stunning portrait of a Parisian beauty from the romantic period by Adele Grasset (active ca 1830-1850). With her intelligent eyes and determined look, doesn't this lady bear great resemblance to Chopin's paramour George Sand? The sitter is Jeanne Marie Vidal, wife of Claude Auguste Seguin, from a prominent family in Avignon, as the family tree attached to the back for the frame indicates. Research in old annals has also revealed that Madame Seguin was a modern and independent lady: she worked in lady's fashion in Paris, and patented wrapping mechanism that protected lady's hats during their transport! As often with woman artists of the 18th and 19th century, there is little biographical information available on the artist, Adèle Grasset. We do know however, that she had studied with the highly prominent artist François Gérard (1770-1837) , known also as the Baron Gérard...

The Retreat of Constantine is a Lithograph realized by Auguste Raffet in 1836. Signed on the plate. Good condition with foxing.

The Board is a Lithograph realized by Auguste Raffet in 1836. Beautiful proof on chine appliqué. Signed in the plate. Good condition

Costume of Napoli is an original Ink and Watercolour drawing on ivory-colored stuck on paper, 1830 c.a. Signed. Image Dimensions: 24.5 x 15 cm. The original title is written at the...

Richard de QUERELLES Neuviller (Bas-Rhin), 1808 - Paris, 1846 Drawing Pen and ink 17.5 x 19 cm (28 x 37.5 cm with the frame) Signed "R. de Querelles ” and untitled“ Barraque ” Henri...

Jules Boilly (1796-1874) Portrait of a young man, in uniform, signed and dated 1837 on the lower left charcoal and heightenings of blue, red and white chalk on paper 27.5 x 21.5 cm Framed : 41.8 x 36 cm This drawing is a good illustration of Jules Boilly's own style, obviously very different from his father's realistic acuity. There is something softer, more velvety, lighter, and we can see it clearly in the way he renders the features of this young man. Julien-Léopold Boilly (30 August 1796 – 14 June 1874), also known as Jules Boilly, was a French artist noted for his album of lithographs Iconographie de l'Institut Royal de France (1820–1821) and his booklet Album de 73 portraits-charge aquarellés des membres de l'Institut (1820) containing watercolor caricatures...

Woman Dreaming On The Water is an original drawing in pencil and watercolor on cardboard realized by Achille Devezie (1802--1857) in the 1830s. In good conditions. The artwork is d...

Landscape is an original drawing in ink on paper applied on cardboard realized by an Anonymous artist of the XX century. The State of preservation is very good with some stain alon...

Costume of Ischia is an original Watercolour drawing on ivory-colored stuck on paper, 1830 c.a. Not-signed. Good Conditions. Image Dimensions: 18.5 x 14 cm. The artwork represen...

Barouche is an original watercolor drawing on ivory-colored stuck on paper, realized in 1830 c.a. Good conditions except for the trace of glue at the four angles. The artwork repre...

Camille ROQUEPLAN Mallemort 1803 - 1855 Paris Romantic landscape, View of an imaginary palace on the banks of a river Pastel on strong paper Signed lower left 26.5 x 38 cm 38 x...

Trompe l'oeil. [Punch and Judy]. Watercolor and drawing, undated, circa 1830. Paper size 10.25 x 14" (26.1 x 35.6 cm). On "J. Whatman" watermarked paper. Unidentified artist. A 19th-century visual montage of Cruikshank's "Punch & Judy." The images are taken from the book "The Tragical Comedy, or Comical Tragedy of Punch and Judy." As told to John Payne Collier by Giovanni in 1827, illustrated by George Cruikshank and published by S. Prowlett, London 1828. The central circle illustrates a drawing showing two allegorical female figures with two putti. The text under this image: “E Musao Hugonis Howard Armig, from Guercino.” On top of that illustration is a handsome painting of a flintlock pistol. Trompe l’oeil is an art of illustration – the name translates to ‘Trick of the Eye.” The puppet show of Pulcinella or Punch and Judy has a long and fascinating history. “A puppet play that would have featured a version of Punch was first recorded in England in May 1662 by the diarist Samuel Pepys. He noted seeing it in Covent Garden, London, performed by the Italian puppet showman Pietro Gimonde from Bologna, otherwise known as Signor Bologna. The earliest script of a Punch and Judy show...

"Funchal, Madeira Franciscans Convent" Antique Drawing on Paper Watkinson Delicate and detailed drawing of Funchal, Madeira by Hartford, Connecticut artist Edward Watkins Wells (181...

Costume Party is an original drawing in pencil on ivory-colored paper realized by a French anonymous artist in 1836. Includs a white passepartout: 49 x 34 cm. Hand-signed at the bo...

Costume of Bisaccia, from the province of Montefusco is an original drawing in watercolor on paper realized in 1830 ca. by an anonymous artist of the XIX century, it represents a fol...

To see our other views of Oxford and Cambridge , particularly suitable for wedding and graduation presents, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. Attributed to Richard Bankes Harraden...