Landscape Drawings and Watercolors

Very fine original antique English watercolour painting. The work came to us from a private collection in Surrey, England and had been part of an album of works assembled by the arti...

Very fine original antique English watercolour painting. The work came to us from a private collection in Surrey, England and had been part of an album of works assembled by the arti...

Reginald Marsh Tugboat at Dock, circa 1937 Signed lower right Watercolor and pencil on paper 13 3/4 x 20 inches Housed in a Lowy frame. Provenance: Sotheby'...

Watercolor signed in the lower left corner. The piece measures 19.25" x 23.25" including the frame and features a clipper ship at full sail. Provenance: Bradbury Art and Antiques,...

Jogen Chowdhury - Flower Vase 7 x 5 Inches Mixed media on Paper 2023 Style : He has immense contribution in inspiring young artists of India. Jogen Chowdhury had developed his indiv...

Landscape is a modern artwork realized by Camille Adrien Paris. Pencil drawing. Includes frame. Camille Adrien Paris (1834-1901) Born in Paris, died in Barbizon. Student of Ary S...

Richard Harry Carter. English ( b.1839 - d.1911 ). West Country Trawling Smacks, circa 1904. Watercolor. Signed. Image size 15.2 inches x 12.2 inches ( 38.5cm x 31cm ). Frame size 2...

Interior is a beautiful artwork in pen realized by the artist Maxime Juan. Hand-signed on the lower right and dated "43", titled on the lower left in French. The state of preservati...

This lovely 1940s French polished brass frame is perfect for paintings, drawings, lithographs, mirrors, or any creative decoration. The frame has a large proportion and can be hung i...

French Landscape by Guy Nicod (French 1923 - 2021) watercolour on artist paper, unframed painting : 8 x 10 inches provenance: artists estate, France conditio...

French Landscape by Guy Nicod (French 1923 - 2021) watercolour on artist paper, unframed painting : 18 x 15 inches provenance: artists estate, France conditi...

French Landscape by Guy Nicod (French 1923 - 2021) watercolour on artist paper, unframed painting : 18 x 15 inches provenance: artists estate, France conditi...

French Landscape by Guy Nicod (French 1923 - 2021) watercolour on artist paper, unframed painting : 15 x 17 inches provenance: artists estate, France condition: very good and sound c...

This painting is part of our exhibition America Coast to Coast: Artists of the 1940s. Untitled (Cars), 1940, watercolor on paper, signed and dated lower right, 15 x 18 1/2 inches, ...

Pompei is a modern artwork realized by an Anonymous artist in 1893. Pencil on paper. Dated on the lower Good conditions with slight foxing and folding.

Landscape is a modern artwork realized by Robert Fontené in the mid-20th century. Watercolor and ink on paper. Hand-signed Good conditions with folding.

French Landscape by Guy Nicod (French 1923 - 2021) watercolour on artist paper, unframed painting : 15 x 17 inches provenance: artists estate, France condition: very good and sound c...

A wonderful example of the rare and intricate work of John Cantiloe Joy (1806-1866) Shipping off the Norfolk coast with figures on the shore Watercolour over traces of pencil 6½ x 1...

French Landscape by Guy Nicod (French 1923 - 2021) watercolour on artist paper, unframed painting : 15 x 16.75 inches provenance: artists estate, France condition: very good and soun...

Malcolm Edwards. Welsh ( b.1934 ). Welsh Sheepdog, Shepherd and Sheep Watercolor. Signed. Image size 8.9 inches x 19.7 inches ( 22.5cm x 50cm ). Frame size 16.7 inches x 27.2 inches...

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Very good quality work by this renouned English artist. Watercolour on paper on board. David Cox 1783-1859 David Cox was an English landscape painter, one of the most important memb...

This work is part of our exhibition - America Coast to Coast: Artists of the 1940s Untitled (Industrial Street), c. 1940s, watercolor on paper mounted on illustration board, estate stamp verso (signed by Peter Corbridge, the artist’s son); 14 x 21 inches; unframed Edgar Corbridge was a Massachusetts-based precisionist painter who mainly worked in watercolor. In 1916, three years after immigrating from England, Corbridge completed a course of study in sign painting at the Fall River, Massachusetts Technical High School and obtained an apprenticeship with the Armour Sign Shop. Throughout his career, Corbridge was mainly self-taught as a fine artist. In 1918, Corbridge received his first recognition as an artist for his entry in a Fall River Women’s Club poster competition. During much of his professional life, Corbridge worked as a self-employed window trimmer and operator of the Corbridge Display Service, supplemented by income from the occasional sale of his paintings. Corbridge gleaned the subjects for his works in and around his home in Fall River, Massachusetts, as well as Provincetown. In the 1940s, Corbridge began to exhibit frequently, including at the annual exhibitions at the Jordan Marsh Company...

Thomas Cooper Moore. English ( b.1827 - d.1901 ). Prospect of Nottingham Castle from The Park. Watercolor. Signed. Image size 12 inches x 17.3 inches ( 30.5cm x 44cm ). Frame size 1...

This is a rare watercolor by Mykola Krychevsky - his first impressions when he arrived to New York in 1955. It is possible that this is the skyline he saw from Empire State Building....

Beautiful gouache on paper, Moody atmospheric landscape in shades of black, blue green and gold by French artist, Roger Etienne Everaert Ret, signed on top right. Roger Etienne, Fren...

Horses is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight foxing. The art...

Soldiers is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight foxing. The a...

A beautiful watercolor depicting Saint-Germain-des-Prés by Mykola Krychevsky. It is in excellent condition, in original frame.

Departure of Soldiers is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Hand-signed and. dated on the lower. Good condition...

Soldiers Preparation is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight fo...

Soldiers Campsite is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight foxin...

Soldiers is a drawing realized by  Paul Emile Colin in the Early 20th Century. Pencil on ivory colored paper Stamped on the lower. Good conditions with slight foxing. The artwork...

Soldiers is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight foxing. The a...

Soldiers In the Tent is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight fo...

Soldiers Resting is an drawing realized by Paul Emile Colin in the 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight foxing. Th...

Planning in the War is a drawing realized by  Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight fo...

Soldiers in the lines is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight f...

Soldiers in the Camp is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight fo...

Soldiers  in the Campsite is an original drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions...

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Landscape is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight foxing. The ...

Destructed Houses is al drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight foxi...

The Road is a drawing realized by Paul Emile Colin in the early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight foxing. The a...

War Zone is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight foxing. The a...

Dynamites is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight foxing. The ...

Cornelius Pearson b.1805 – d.1891 & Thomas Francis Wainewright, b.1794 – d.1883 English Crymlyn Bog and Neath River Estuary Swansea Bay, 1872 Watercolor. Signed & Dated 1872. Image size 7.9 inches x 15.9 inches ( 20cm x 40.5cm ). Frame size 15.2 inches x 23 inches ( 38.5cm x 58.5cm ). Available for sale; this original painting is by Cornelius Pearson with a significant contribution by Thomas Francis Wainewright, and is dated 1872. The watercolor is presented and supplied in a sympathetic pinned corner frame dating from the 1950s or 1960s (which is shown in these photographs), mounted and behind glass. This antique painting is in very good condition whilst the frame is in a good condition, commensurate with age. It is ready to hang and display. The watercolor is signed by both artists and dated 1872 lower left. The mount is titled and attributed by hand. Cornelius Pearson was an accomplished landscape artist. He was born in Boston, Lincolnshire but moved at an early age to London where he became apprenticed to a copper-plate engraver. He soon abandoned engraving however to devote himself to being a watercolor painter. Although he lived in London throughout his career, he travelled for his work to paint in Kent, Ireland, Wales, the Lake District, Scotland, on the Thames and Devon. He was a regular exhibitor at the Suffolk Street Galleries, and also exhibited at the Royal Academy, the New Watercolor Society and elsewhere. He was one of the oldest members of the Langham...

Henry Charles Fox. English ( b.1855 - d.1929 ). Driving Sheep. Plaisters Lane, Sutton Poyntz, Dorset 1918. Watercolor. Signed & Dated 1918. Image size 18.9 inches x 28.3 inches ( 48...

Untitled (Taos Pueblo) Ink on paper, 1985-1990 Signed by the artist in ink lower right (see photo) An early New Mexico period work, created shortly after the artist moved from New York. Provenance: estate of the artist Dehn Heirs Condition: Excellent Image/sheet size: 13 1/8 x 18 1/2 inches Virginia Dehn From Wikipedia, the free encyclopedia Virginia Dehn Virginia Dehn in her studio in Santa Fe Virginia Dehn (née Engleman) (October 26, 1922 – July 28, 2005) was an American painter and printmaker. Her work was known for its interpretation of natural themes in almost abstract forms. She exhibited in shows and galleries throughout the U.S. Her paintings are included in many public collections. Life Dehn was born in Nevada, Missouri on October 26, 1922.] Raised in Hamden, Connecticut, she studied at Stephens College in Columbia, Missouri before moving to New York City. She met the artist Adolf Dehn while working at the Art Students League. They married in November 1947. The two artists worked side by side for many years, part of a group of artists who influenced the history of 20th century American art. Their Chelsea brownstone was a place where artists, writers, and intellectuals often gathered. Early career Virginia Dehn studied art at Stephens College in Missouri before continuing her art education at the Traphagen School of Design, and, later, the Art Students League, both located in New York City. In the mid-1940s while working at the Associated American Artists gallery, she met lithographer and watercolorist Adolf Dehn. Adolf was older than Virginia, and he already enjoyed a successful career as an artist. The two were married in 1947 in a private ceremony at Virginia's parents house in Wallingford, Connecticut. Virginia and Adolf Dehn The Dehns lived in a Chelsea brownstone on West 21st Street where they worked side by side. They often hosted gatherings of other influential artists and intellectuals of the 20th century. Among their closest friends were sculptor Federico Castellón and his wife Hilda; writer Sidney Alexander and his wife Frances; artists Sally and Milton Avery; Ferol and Bill Smith, also an artist; and Lily and Georges Schreiber, an artist and writer. Bob Steed and his wife Gittel, an anthropologist, were also good friends of the Dehns. According to friend Gretchen Marple Pracht, "Virginia was a glamorous and sophisticated hostess who welcomed visitors to their home and always invited a diverse crowd of guests..." Despite their active social life, the two were disciplined artists, working at their easels nearly daily and taking Saturdays to visit galleries and view new work. The Dehns made annual trips to France to work on lithographs at the Atelier Desjobert in Paris. Virginia used a bamboo pen to draw directly on the stone for her lithographs, which often depicted trees or still lifes. The Dehns' other travels included visits to Key West, Colorado, Mexico, and countries such as Greece, Haiti, Afghanistan, and India. Dehn's style of art differend greatly from that of her husband, though the two sometimes exhibited together. A friend of the couple remarked, "Adolf paints landscapes; Virginia paints inscapes." Virginia Dehn generally painted an interior vision based on her feelings for a subject, rather than a literal rendition of it.] Many of her paintings consist of several layers, with earlier layers showing through. She found inspiration in the Abstract Expressionism movement that dominated the New York and Paris art scenes in the 1950s. Some of her favorite artists included Adolf Gottileb, Rothko, William Baziotes, Pomodoro, and Antonio Tapies. Dehn most often worked with bold, vibrant colors in large formats. Her subjects were not literal, but intuitive. She learned new techniques of lithography from her husband Adolf, and did her own prints. Texture was very important to her in her work. Her art was influenced by a variety of sources. In the late 1960s she came across a book that included photographs of organic patterns of life as revealed under a microscope. These images inspired her to change the direction of some of her paintings. Other influences on Dehn's art came from ancient and traditional arts of various cultures throughout the world, including Persian miniatures, illuminated manuscripts, Dutch still life painting, Asian art, ancient Egyptian artifacts...

Charles Gregory. English ( b.1849 - d.1920 ). Summers Day at Steyning Bowl, West Sussex, South Downs Way. Watercolor. Signed. Image size 17 inches x 25.2 inches ( 43cm x 64cm ). Fr...

Frederick Williamson. English ( b.1835 - d.1900 ). Fishing Boats & Fishermen on Beer Beach, East Devon. Watercolor. Signed. Image size 5.9 inches x 8.9 inches ( 15cm x 22.5cm ). Fra...

Clarence Holbrook Carter (American, 1904-2000) Volcano and Arch, Taormina, 1961 Watercolor on scintilla paper Signed and dated upper right 11 x 11 inches "My last year in art schoo...

A 1926 ink on paper drawing of a Cedar tree and northern lake by artist Harold Haydon. Harold Emerson Haydon was born in Fort William, Ontario, Canada in 1909. Haydon came to Ch...

Elizabeth Rosemary Ziar. English ( b.1919 - d.2003 ). The North Coast of Cornwall, West Penwith. Watercolor. Signed. Image size 15 inches x 19.1 inches ( 38cm x 48.5cm ). Frame size ...

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Watercolour on paper, signed and dated 'Sept '60' bottom right Image size: 26 x 19 inches (66 x 48 cm) Handmade frame In this painting, Banks has managed to effectively convey the scorching heat of a Mediterranean summer. It is likely that this work depicts a town in Italy, a country where Banks spent a considerable amount of time travelling. His paintings of this country almost exclusively focused on sections of it's architecture. This unwavering focus of subject reflects Bank's passion for architectural forms that was also put into good practice through his position as a town planner. Robert Louis Banks Banks was born in Cheltenham, Gloucestershire. An architect and artist, Banks studied at the Architectural Association  between 1928 and 1933. Following military service in the Second World War, during which he was awarded the Military Cross...

A ca. 1931 charming watercolor forest scene; a study in yellow by artist Harold Haydon. Harold Emerson Haydon was born in Fort William, Ontario, Canad...

John Marin New York from the Ferry, 1914 Signed and dated lower right Watercolor and graphite on paper 11 x 12 3/4 inches Provenance: An American Place, New York Kennedy Galleries, Inc., New York Christie's, New York, March 16, 1990, Lot 278 Private Collection (acquired from the above) Sotheby's New York, American Paintings, Drawings, & Sculpture, October 2, 2014, Lot 10 A major figure in early twentieth-century modernism, John Marin captured the colliding energies of the American urban scene and the vibrant contrasts of natural elements in the coastal landscape of Maine and other countryside locales. As one of the premier watercolorists of his era, Marin developed a light, spontaneous style ideally suited to conveying the freshness and flux of city and country experience -- his watercolors are often considered to match in strength those created by Winslow Homer in previous century. At the same time, Marin's sensitivity to mass, form, color, and line and their dynamic interchanges provided a precedent for the Abstract Expressionist movement of the late 1950s. Marin was born in Rutherford, New Jersey, to a family of European descent. After studying mechanical drawing and mathematics for half a year at the Stevens Institute of Technology in New York, Marin worked as a draftsman for several architects. It was not until he was almost thirty years old that he began to study art. He enrolled at the Pennsylvania Academy of the Fine Arts in Philadelphia from 1899 to 1901, and at the Art Students League in New York from 1901 to 1903, where his teachers were William Merritt Chase and Frank Vincent Dumond. While Marin was attending the League, the radical ideas of Arthur Wesley Dow were being disseminated and had an impact on the direction Marin would soon take in his art. Marin left for Europe in 1905. The next five years, which he spent abroad, were of tremendous importance to his career. He became a significant figure in the expatriate community in Paris, frequenting the Dôme, a café that served as a meeting place for artists and writers. While in Europe, Marin visited the Louvre and the Rijksmuseum in Amsterdam and, despite his claims that he had been indifferent to the Paris art world, he undoubtedly became aware of the art of Paul Cézanne and Henri Matisse. The works Marin created in Europe most strongly reflect the influence of James McNeill Whistler, especially the pastels he rendered in Venice. In the summer of 1909, Marin met Alfred Stieglitz in Paris. In February of the next year, Marin's work was shown along with that of Alfred Maurer at Stieglitz's gallery, 291. After returning to America in the following year, Marin became one of the most consistent members of Stieglitz's inner circle, showing at all three of his galleries -- 291, The Intimate Gallery, and An American Place. After 1910, Marin developed the routine that he would follow for the rest of his life, creating paintings, drawings, and prints in New York City and surrounding areas during the winter, and in the summer, traveling to the country, where he focused on the particular characteristics of the regions that he visited. He worked mainly in watercolor until 1928, when he began also to use oil. Marin never became purely abstract. He formulated a unique style melding influences of the art of the French Fauves, Cézanne, Matisse, and the French Cubists with a personal style of luminescent colors, agile brushwork, and a simultaneously delicate and strong handling. In city views, he used broken lines, a light touch, fluid color, and rhythmic compositions to convey what he described as the "great forces at work." He expressed the warring of the great and the small through relationships between masses. As he said, he sought to express the "pull forces" of the modern urban scene. Often portraying the new tall buildings of New York seen...