Vertical Landscape Drawings and Watercolors

Grenville Cottingham RSMA RBA (1943-2007)- original watercolour. Signed and dated (1981) to the lower right. Presented in a large gilt-effect frame with double card mount. On waterco...

PHOTO SNEAK is an original oil pastel drawing on brown paper grocery bag by the self taught African American artist Reginald K. Gee, born April 28, 1964, in Milwaukee, Wisconsin. Gee...

A stunning mid-century Nordic watercolour by the artist Eric Vasstrom (1887-1958). The effortless nature of Vasstrom's work displays his talented handing of the medium, with washes o...

A delightful watercolour study of the Church of Notre-Dame in Louviers, Normandy. Figures sell and buy from market stall on the cobbled street to the foreground in the shadow of the ...

Signed lower right, 'Elizabeth Gowdy Baker' (American, 1860-1927) and painted circa 1910. Exhibited: New York Watercolor Club, Circa 1900 After graduating from Monmouth College, Elizabeth Gowdy Baker furthered her studies at New York's Cooper Union...

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...

Untitled_Dead Body on the Field #1, 2022 coloured pencils on paper 39 3/8 H x 27 9/16 W inches 100 H x 70 W cm Signed on reverse Zsolt Berszán embodies in ...

Body in the Field #10, 2022 coloured pencil on canvas 9.84 H x 6.29 W in. 25 H x 16 W cm Signed on reverse Zsolt Berszán embodies in his works the dissolution of the human body thro...

Body in the Field #7, 2022 coloured pencil on canvas 9.84 H x 6.29 W in. 25 H x 16 W cm Signed on reverse Zsolt Berszán embodies in his works the dissolution of the human body throu...

Body in the Field #15, 2022 coloured pencil on canvas 9.84 H x 6.29 W in. 25 H x 16 W cm Signed on reverse Zsolt Berszán embodies in his works the dissolution of the human body thro...

Body in the Field #14, 2022 coloured pencil on canvas 9.84 H x 6.29 W in. 25 H x 16 W cm Signed on reverse Zsolt Berszán embodies in his works the dissolution of the human body thro...

Ede Halápy (Hungarian, 1891-1962) Tavasfall (Spring wall), c. 1940 Watercolor on paper Sight size: 11 1/4 x 10 1/2 in. Framed: 22 1/4 x 21 1/2 in. Signed lower right: Halápy Hungar...

A charming watercolour scene depicting a river flowing between banks with fallen trees. Perched on a rock in the center of the river a heron looks for fish in the stream. Signed and ...

SOPHIA MILLIGAN 'Prye' Original Artwork, Unframed _________________ Plein air contemporary watercolour painting from the series 'Stone and Air'. A wo...

Signed lower left, 'Roberta Loach' and dated '79'; additionally signed verso and dated. An enigmatic and whimsical drawing of a young woman in swimming costume and cap preparing to...

Early 20th C. Watercolor Portrait of an Elegant Young Woman at Gardens Gate c.1910 Absolutely beautiful watercolor by A.D. Turner. This elegant young woman stands in a country lands...

Subject : Bruyère sur un rocher (Title - FR) / Heather on a rock This diptych reads like a visual meditation on the link between sky and earth, between the ephemeral and the grounded...

In "Firewood Series No. 2," David Morrison uses colored pencils to capture the finest details of a frayed and peeling piece of birch wood. With his careful and methodical handling of...

Remains (Body in the Field 5), 2022 oil on paper (signed on reverse) 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body...

Remains (Body in the Field 8), 2022 oil on paper (signed on reverse) 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body...

Remains (Body in the Field 6), 2022 oil on paper (signed on reverse) 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body...

Remains (Body in the Field 9), 2022 oil on paper (signed on reverse) 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body...

Remains (Body in the Field 7), 2022 oil on paper (signed on reverse) 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body...

To see our other views of London and our other architectural perspective drawings , scroll down to "More from this Seller" and below it click...

Remains (Body in the Field 10), 2022 oil on paper (signed on reverse) 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human bod...

Jayashree Chakravarty - Untitled - 27 x 39 inches (unframed size) Mixed Media on Board, 2017 Free shipment in a roll form all over the world. Style : Jayashree’s distinctive art pra...

Remains (Body in the Field 21 ), 2022 oil on paper 16 17/32 h x 11 13/16 w in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body through the prism...

Remains (Body in the Field 22), 2022 oil on paper 16 17/32 h x 11 13/16 w in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body through the prism ...

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Sandy Litchfield brings her magical abstracted landscapes to a new medium in her recent colored pencil drawings. Loose, delicate lines scramble over one another, bringing a diffuse, ...

A jolly pen and ink study of Sally Lunn's Tea Shop, Bath, finished with watercolour washes. The artist has signed and dated to the lower right corner...

Baruch Nachshon, was born in Mandatory Palestine in 1939, in the city of Haifa. Nachshon began to paint in early childhood, and developed his relationship to art and to artists throu...

Unsigned. On watercolour paper.

A peaceful depiction of a Venetian canal. Presented in a gilt-effect frame with elegant foliate mouldings and a white card mount. Signed by the artist to the lower left. On paper.

The Tree is an drawing realized Henry Lerolle in the Early-20th Century. Watercolor. Good condition. Hand-signed.

A wonderful gouache depicting the colourful streets of Venice with magnificent flower stall at one end. Signed by the artist to the lower left .Well-presented in an elegant gilt-effe...

This fantastic 1920's oil crayon drawing is by Dutch artist Adriaan Lubbers. It shows a birds eye view of New York. The view is of the river and boats towards Manhattan. A really ic...

STELLATA MAGNOLIA 2 is a new watercolor on Arches paper by Fleur Thesmar. The artwork measures 30x22". Note the fluid precision of the tree, blossoming into...

"Melody of the River" (2024) by Mo Myra is a watercolor painting on paper that depicts a snowy landscape with a river running through the middle. Mo Myra, born in 1990, is a Connect...

ink and pastel on paper

The painting is ready to hang, the painting has no decorative frame. Brass Evening Jazz — a piece from the "Mosaic of Time" series, where time is presented as a flow, transforming e...

Work on watercolor paper Gray wooden frame with glass pane 94 x 73 x 3 cm

Watercolor, Acrylic Painting and Charcoal on paper. Contemporary Painting, Seaside Work Title : Ecueils Artist : Fabien Granet (FR) The work is signed, titled and dated verso. Unique work. Size : H26xW21cm. Museum matting & backing included, framed in a 30x24 cm standard aluminium frame. Born in 1970 the artist lives and works in France. The majority of his drawings and paintings are inspired by the wild landscapes of Brittany in France. " The drawing as a gesture allows me to exploit a (re)mise-en-scene as so many possibilities in the making. Through the quality of drawing as a marker of thought, it is not a question of constructing "dream worlds" but rather of setting up a device that would allow for a conscious dialogue of a certain perception of the real." Fabien Granet is pursuing a research on the perception of the landscape, on our ways of trying to represent it, to understand it, to understand its structures. The drawn "landscapes" are thus as many projections of the artist, which convene and reveal his artistic path, the influences of his culture, his utopias, his dystopian fantasies. Another shift where the quasi scientific concern of objective rigor and the mental construction of an construction of an individual course. The drawing appears in this sense as an act as much as a work which The drawing appears in this sense as an act as much as a work which is registered in a research and a quest to pierce the enigma of the real. In his landscapes, Fabien Granet evokes a process of the mind, where shreds and fragments become entangled in a re-arrangement of of reality. Snippets of architecture and geometrical figures draw human and his gaze into it. The landscape is a human creation, but how does human try to perceive it, how does he understand its constructions? what is his mental image of it? Chaos and structure intersect in a paradox of our vision of the world: the artist picks out the sensitive elements in a reflection on the possibilities in the making. Solo exhibitions : 2023 "GRAND ERRE" with Galerie Jean-Louis Ramand, Aix en provence / 2021 "Les Indestinés" (Drawing Now Art Fair) Galerie Jean-Louis Ramand - Paris / 2017 "mise-en-paysage" galerie Tokonoma - Paris / 2015 "Shiftings" galerie White Project - Paris / 2012 "Risée" galerie G&G - Paris / 2011 "Transistoires" galerie P&Z - Angoulême / 2010 "Tandis que? Group exhibitions (selection) : 2021 " SUMMER TALENTS " - Galerie Jean-Louis Ramand / 2019 " FEEL GOOD " Galerie Jean-Louis Ramand - Paris / 2019 " Naturalia " Mexico / 2019 " (re) mise-en-scène " Galerie Jean-Louis Ramand - Aix-en-Provence / 2019 " ScapeLand " Galerie Jean-Louis Ramand - Paris / 2019 " Blanc Ciel " espace d'art associatif La Perception - Creuse/ 2018 " Angle Mort " Ici. Gallery - Paris/ 2018 " Drawing in Gallery " Galerie ALB - Paris/ 2017 " Where form meets Art " Antwerp Art...

The painting is ready to hang, the painting has no decorative frame. The Scents of Summer Flowers" explores fragility and strength through abstract forms. The work addresses the the...

Mainau, 19th Century Watercolor on paper 7 1/4 x 5 1/8 in. Mat: 11 x 8 3/4 in. Inscribed lower left: Mainau IV.12 Inscription verso Mainau is an island in Lake Constance (on the Sou...

A charming watercolour scene by the listed Dutch artist Louis Van Staaten. The scene shows an idyllic river landscape with a drawbridge in the background, parting ways for two oncomi...

A charming watercolour scene depicting a street scene in Nuremberg, Germany. Figures and animals are shown before a beautiful staircase in the city centre. Signed and dated to the lo...

This 19th century watercolour depicts a busy middle eastern street with figures walking in the town's ancient quarter. The watercolour has been signed and dated to the lower left. We...

LAST HOUSE ON KENCH AVE. is an original oil pastel drawing on brown paper grocery bag by the self taught African American artist Reginald K. Gee, born April 28, 1964, in Milwaukee, Wisconsin. Gee is known for his Visionary Art filled with comical, expressive faces, figures, and colorful, surreal landscapes and seascapes. He is of African and Native American (Blackfoot/Choctaw) descent. LAST HOUSE ON KENCH AVE. is a mysterious cliffside landscape scene depicting a lone modern style ranch house...

An original watercolour by Alan Nutbeam. Signed and dated to the lower right. Signed, dated and titled to the reverse. On paper.

To see our other views of Oxford and Cambridge, 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 ...

Study of an Italian Town with Women in a Doorway Graphite on cream wove paper, c. 1960 Signed by the artist in pencil lower right (see photo) A master of "Magic Realism," French was ...

A delightful 19th century watercolour depicting a group of local women washing clothing round the town's well. Elegantly presented in a reeded gilt-ef...

Idealized landscape painting with a waterfall and mountains fading into the distance. The work is signed by the artist in the bottom corner. It is framed in a wooden frame with black...

A delicate and detailed watercolour view of an idyllic canal in the Belgian city of Ghent. The artist has captured the golden light shafting between the buildings with an expert hand...

A charming watercolour scene showing the power of natures rivers compared to the small figures sat overlooking it. We can just see them amongst this vast landscape whilst trees tower...

William Black (British, fl.66-69) Three boats Watercolour and ink pen Inscribed with title, signed and dated `Three Boats William Black 68’ (lower edge) 8 x 5.3/4 in. (20.3 x 14.7 cm.) William Black is a little known and underrated member of the St Ives artist group who, having worked as an architect after the Second World War, went on to work as an artist following the inheritance of money in the early 1950s. He was a self taught artist, producing numerous deconstructivist sculptures in the 1960s. He moved to St Ives in Cornwall where he knew artists such as Ben Nicholson, Barbara Hepworth and Naum Gabo. There is a clear architectural element to the sculptures that he made . They illustrate an assemblage of fragmented shapes and forms of a deconstructivist nature. William Black’s artwork is very much rooted in the time and Cornish School...

PAMELA MARY SPENCER (1924-2012) The Hen Coop Signed and dated 1946 Watercolour and pencil, unframed in conservation mount only 30 by 28 cm., 11 ¾ by 11 in. Provenance: The artist’s estate. Pamela Spencer was the niece of Sir Stanley Spencer RA and Gilbert Spencer...

A charming watercolour painting by J. Cox, depicting a street scene with figures in York. Location and signature to the lower right-hand corner. Well-presented in a card mount and in...

Manfred Schwartz (American, b. Poland, 1909-1970), "Falaise d'Aval", Pastel on Paper, 1960, signed and dated in pencil lower right, giltwood frame. Image: 11.5" H x 9.5" W; frame: 23...