Framed Landscape Drawings and Watercolors

Eugène Cicéri (1813 - 1890) The Mill Signed lower right Monogrammed AE, probably a collector's mark as it appears on numerous drawings by Cicéri 30.5 x 22.5 cm In good condition : ...

Henry Ottmann (1877-1927) "Etal de Marché", A Market stall signed lower leftt pastel on paper 18 x 24.5 cm (view) In good condition Framed : 37 x 42 cm Published under n°580 of t...

French school of the nineteenth century, LW (?) Harbor scene, animation around a skiff Pencil on paper Signed LW (?) Bottom right 15 x 21 cm Framed : 27 x 34.5 cm This very fine ...

George Grosz NYC City Scene Modernism Watercolor German Expressionism Weimar George Grosz (Germany, 1893-1959) "City Scene," 17 x 12 inches, signed and dated “33” lower left, watercolor on paper. This drawing, created while Grosz was living in NYC. Period frame, It has been authenticated by Ralph Jentsch, the globally recognized Grosz expert. Provenance: Hirschl & Adler and 511 Gallery...

Max Kuehne (1880 - 1968) Train Station, circa 1910 Watercolor on paper 8 1/4 x 10 1/4 inches Signed lower right Provenance: Private Collection, Illinois Max Kuehne was born in Halle, Germany on November 7, 1880. During his adolescence the family immigrated to America and settled in Flushing, New York. As a young man, Max was active in rowing events, bicycle racing, swimming and sailing. After experimenting with various occupations, Kuehne decided to study art, which led him to William Merritt Chase's famous school in New York; he was trained by Chase himself, then by Kenneth Hayes Miller. Chase was at the peak of his career, and his portraits were especially in demand. Kuehne would have profited from Chase's invaluable lessons in technique, as well as his inspirational personality. Miller, only four years older than Kuehne, was another of the many artists to benefit from Chase's teachings. Even though Miller still would have been under the spell of Chase upon Kuehne's arrival, he was already experimenting with an aestheticism that went beyond Chase's realism and virtuosity of the brush. Later Miller developed a style dependent upon volumetric figures that recall Italian Renaissance prototypes. Kuehne moved from Miller to Robert Henri in 1909. Rockwell Kent, who also studied under Chase, Miller, and Henri, expressed what he felt were their respective contributions: "As Chase had taught us to use our eyes, and Henri to enlist our hearts, Miller called on us to use our heads." (Rockwell Kent, It's Me O Lord: The Autobiography of Rockwell Kent. New York: Dodd, Mead and Co., 1955, p. 83). Henri prompted Kuehne to search out the unvarnished realities of urban living; a notable portion of Henri's stylistic formula was incorporated into his work. Having received such a thorough foundation in art, Kuehne spent a year in Europe's major art museums to study techniques of the old masters. His son Richard named Ernest Lawson as one of Max Kuehne's European traveling companions. In 1911 Kuehne moved to New York where he maintained a studio and painted everyday scenes around him, using the rather Manet-like, dark palette of Henri. A trip to Gloucester during the following summer engendered a brighter palette. In the words of Gallatin (1924, p. 60), during that summer Kuehne "executed some of his most successful pictures, paintings full of sunlight . . . revealing the fact that he was becoming a colorist of considerable distinction." Kuehne was away in England the year of the Armory Show (1913), where he worked on powerful, painterly seascapes on the rocky shores of Cornwall. Possibly inspired by Henri - who had discovered Madrid in 1900 then took classes there in 1906, 1908 and 1912 - Kuehne visited Spain in 1914; in all, he would spend three years there, maintaining a studio in Granada. He developed his own impressionism and a greater simplicity while in Spain, under the influence of the brilliant Mediterranean light. George Bellows convinced Kuehne to spend the summer of 1919 in Rockport, Maine (near Camden). The influence of Bellows was more than casual; he would have intensified Kuehne's commitment to paint life "in the raw" around him. After another brief trip to Spain in 1920, Kuehne went to the other Rockport (Cape Ann, Massachusetts) where he was accepted as a member of the vigorous art colony, spearheaded by Aldro T. Hibbard. Rockport's picturesque ambiance fulfilled the needs of an artist-sailor: as a writer in the Gloucester Daily Times explained, "Max Kuehne came to Rockport to paint, but he stayed to sail." The 1920s was a boom decade for Cape Ann, as it was for the rest of the nation. Kuehne's studio in Rockport was formerly occupied by Jonas Lie. Kuehne spent the summer of 1923 in Paris, where in July, André Breton started a brawl as the curtain went up on a play by his rival Tristan Tzara; the event signified the demise of the Dada movement. Kuehne could not relate to this avant-garde art but was apparently influenced by more traditional painters — the Fauves, Nabis, and painters such as Bonnard. Gallatin perceived a looser handling and more brilliant color in the pictures Kuehne brought back to the States in the fall. In 1926, Kuehne won the First Honorable Mention at the Carnegie Institute, and he re-exhibited there, for example, in 1937 (Before the Wind). Besides painting, Kuehne did sculpture, decorative screens, and furniture work with carved and gilded molding. In addition, he designed and carved his own frames, and John Taylor Adams encouraged Kuehne to execute etchings. Through his talents in all these media he was able to survive the Depression, and during the 1940s and 1950s these activities almost eclipsed his easel painting. In later years, Kuehne's landscapes and still-lifes show the influence of Cézanne and Bonnard, and his style changed radically. Max Kuehne died in 1968. He exhibited his work at the National Academy of Design, the Art Institute of Chicago, the Carnegie Institute in Pittsburgh, the Memorial Art Gallery of the University of Rochester, and in various New York City galleries. Kuehne's works are in the following public collections: the Detroit Institute of Arts (Marine Headland), the Whitney Museum (Diamond Hill...

Substantial and period mid-century modern American Scene watercolor of the Oakland, California countryside by Erle Loran (American, 1905-1999), 1944. Signed lower right "Earl Loran...

42nd Street NYC 1923 Deco WPA Ashcan American Modern Cityscape Realism Broadway. 10 x 7 1/2 inches. Graphite on paper. Signed, titled "42nd Street" and dated July 26, 1923, lower l...

Eizo Kato: 1906-1972. Well listed Japanese artist with auction records for watercolors over $8500. This is a magnificent tropical scene, probably in Japan or another pacific island. ...

Sailboat in the night. 1989. Oil on cardboard, 65x50 cm

This illustrative watercolour has been painted in the delicate style of renowned genre artist, Myles Birket Foster (1825-1899). The scene carefully depicts a mother teasing a mischie...

Claude Muncaster (British, 1903-1974) Cowdray ruins, West Sussex Pencil and watercolour 12.1/2 x 9 in. (31.7 x 22.8 cm.) Provenance: Garton & Cooke, New Bond Street, London Exhibitio...

A delightful continental scene depicting figures travelling a winding mountain path. Illegibly signed. Dated 1849. Presented in a gilt frame. On paper.

Wonderful watercolor landscape of Finland countryside in Winter during WWII by O. Makela (Finnish/American, 19/20th Century), 1942. Signed and dated lower right corner. Condition: ve...

Cottage scene in ink and watercolour. Well presented in a gilt effect frame. Unsigned. Labelled verso. (Provenance: S Bugby, 2009). On paper.

CURIOUS PHENOMENA 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, Wisconsi...

Ranulph Bye (American, 1916-2003) Rocks and Trees (Doylestown, PA), 1958 Watercolor on paper 14 x 21 in. Framed: 23 1/8 x 30 1/4 in. Signed bottom: Ranulph...

Detailed watercolor of Monument Valley by Albert DeRome (American, 1885-1959). The viewer is looking out over the valley from a high vantage point, with towering mesas in the distance. In the foreground, there are some shrubs and a small tree to the right side of the composition. DeRome has created a sense of vast distance by rendering the far background with a hazy quality while keeping the foreground in clear focus. Signed "Albert DeRome" in the lower right corner. Inscription on verso as a gift to the artist's mother. Purchased from the estate of the artist Patterson's Antiques, Los Gatos. Presented in a wood frame with a new white mat. Image size: 5.75"H x 8"W Frame size: 11"H x 14"W Born in Cayucos, California, Albert De Rome (American, 1885-1959) became a California landscape painter, especially of natural landscapes formations, seascapes and marine scenes near Carmel and Monterey. Usually his palette was bright in both oil and watercolor, but he did the occasional nocturne. Scholars have compared his painting style and subjects to those of Thomas Hill and Albert Bierstadt. However, Albert De Rome never affiliated with any formal group of painters, although he had many close friends including Percy Gray, Gunnar Widforss and Will Sparks. As a young man, Thomas De Rome worked at the Congress Spring Hotel in Saratoga, and in San Francisco at the Globe Foundry, owned by an uncle. He studied art under Arthur Mathews, John Stanton and Lorenzo Latimer...

View of the Brooklyn Bridge at night. Oil pastel on archival paper by the American artist, Leon Dolice. Signed lower right. Circa 1950. Condition: exc...

The Bridge is an original Contemporary artwork realized by Nazareno Gattamelata in the 1975. Original colored oil pastels on paper. Hand signed by the artist on the lower left mar...

Snowy landscape by Maine artist Fannie Mae Cunningham (American, 20th Century). Tags on verso from previous backing have been preserved. Presented in a new grey-blue mat...

Rowboat Outing - Fall Landscape with Rowboats in Watercolor on Paper Serene lakeside landscape by an unknown artist (20th Century). Two birch trees with bright yellow leaves are gro...

Mid 20th Century French drawing of Fishermen bringing in their catch. The work is unsigned but annotated to the back of the paper 'Mars 7...

France 18th Century, Pastorale (Arcadian Landscape) Black chalk and heightenings of white gouache on blue-grey paper 19 x 31 cm Framed : 34.5 x 46.5 cm The atmosphere and the subje...

Original Painting Life Mag Published 1953 Birds Animals Illustration Mid Century Antonio Petruccelli (1907 - 1994) The World We Live In Birds of Paradise Life Magazine Illustration ...

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

Here for your consideration is a beautifully executed watercolor of a bucolic New England series of village houses by the American artist, Gary Shepard. ...

HELEN ALLINGHAM, RWS (1848-1926) The Woodland Path Signed Watercolour 27 by 20 cm., 10 ¾ by 8 in. (frame size 47 by 42 cm., 18 ½ by 16 ½ in.) Helen...

Lively depiction of Cannes, France by California artist Shelley Lazarus (American, b. 1936). Artist's info on verso (redacted for privacy). Presented in a red wood frame with a double mat. Paper size: 10.5"H x 7"W Shelley Lazarus (American, b. 1936) is a Los Angeles based artist who studied at Syracuse University, Pratt College, and Parsons School of Design, and has been teaching art for over 20 years. Lazarus’ main goal as an artist is to bring a sense of movement and a sense of emotion to her paintings through the use of color. Her landscapes are done mostly on location, where she can feel the power of the atmosphere around her and through the use of color, composition and the movement of space, capture the subtle nuances that reflect in the light. Lazarus was born and educated in New York, where as a teenager she began her art studies at Pratt College while still attending Lincoln High School. She later was a student at Syracuse University and Parsons School of Design. In 1973 she relocated to the Los Angeles area with her husband and their three sons. Although her art career was interrupted for a time, in 1981 she became involved with the Brentwood Art Center. Since then, she has been actively pursuing her art career. Her works have been shown annually in both local and national shows. These works have received numerous awards including a Diptych and a Triptych that were in the International Art Competition for the Olympics in 1984, first place from the San Fernando Valley Art Club for a watercolor in the Santa Monica Mountain Celebration, and the recent Oklahoma National Watercolor investment award. She is a member of the Watercolor Honor Society and a signature member of the Oklahoma National Watercolor Society. Her paintings are in the collections of private, corporate, and public sectors in the US and abroad, including the library at Los Angeles County Museum of Art. She is an active participant in Women Painters West, Valley Watercolor Society, Gallery 825 and Valley Institute of Visual Arts (VIVA). Lazarus has taught art to both children and adults. At the present time she is teaching advance watercolor painting studies to adults at the Brentwood Art Center. She also teaches plein-air painting during the summer months and has given private lessons to those in the entertainment industry as well as to royalty. In 1993 she became involved in the formation of TAG Gallery, a co-op gallery located in the Miracle Mile...

Work on paper Golden wooden frame with glass pane 58 x 72 x 3.5 cm

Two Mid Century Rural Landscapes in Watercolor on Paper Two lovely watercolors by Beverly Lyons (American, 20th Century). In the top watercolor, an expansive sky sits above a strip ...

Warm Water, Framed Original Contemporary Impressionist Seascape Painting 12" x 24" (HxW) Pastel on Paper 15.5" x 27.5" x 1" (HxWxD) Framed Hand-signed by the artist. A soft color palette of blues, greens, and purples is used to depict the clear ocean water as it begins to curl over, cresting into a subtle wave, just enough to make a satisfying crashing sound of water-on-water. The entire artwork is overtaken by the water of the sea, with no land or sky to divert your focus from the vastness of the ocean's depths. Artist Commentary: As an artist, I just love being able to take creative license and paint what my mood dictates. The photo reference for this painting was of New England waters and the day I painted this it is was cold and rainy. I was looking for warmth, not 20 degree temps! I took out my set of pastels that remind me of warmer climates and painted this in that palette. The luminosity of pastels really comes through in this painting and just like that, I'm transported under a palm tree watching...

This artwork titled "Pond #4" 1984 is an original soft pastel on paper by Swiss/American artist Ursula Schneider, b.1943. It is unsigned. The artwork size is 15 x 22 inches, framed size is 17.25 x 24.5 inches. Custom framed in a black metal frame. It is in excellent condition. About the artist: The work of Ursula Schneider include pastel drawings, paintings, small-scale sculptural paintings and woodcuts, working on one medium at a time. These processes complement and enrich each other by stimulating a fresh approach and allowing for experimentation. Drawing from observation in the landscape has been the basis for the work. She attended Kunstgewerbeschule in Zurich and Keramische Fachschule in Bern and holds an Undergraduate Degree in Ceramics from Switzerland. In 1968 she moved to the United States and graduated in 1972 with an MFA in Painting from the San Francisco Art Institute. She lived and worked in New York from 1980-2004 and taught painting at the San Francisco Art Institute, Cooper Union and Sarah Lawrence College. Grants And Awards: 1985 National Endowment for the Arts. Major Fellowship Grant 1976 San Francisco Art Festival Award 1974 The Oakland Museum. The New Talent Award 1968 Swiss Government Grant: Kunststipendium Selected Solo Exhibitions: Kunstmuseum Bern Switzerland UC Art Museum Berkley, CA Oakland Museum, CA Forum Febicus, Switzerland Selected Group Exhibitions: Museum of Fine Arts, Forth Worth, TX Biennial Exhibition Whitney Museum, NY San Francisco Museum, CA Los Angeles Institute of Contemporary Art, CA Rockland Center for the Arts, NY. Collections: UC Berkley Art Museum, Di Rosa Preserve in CA, U.S. Department of State, Auditorium Netzwerk, Germany, The Union Bank of Switzerland, UBS Security, Bell Savings Art Plus, Security Pacific Bank, CA, Swiss Bank...

House Beautiful Cover Proposal. American Scene Social Realism Industrial WPA Antonio Petruccelli (1907 – 1994) Mixing Mortar 12 1/2 X 14 3/4 inche...

Bridge Painter WPA American Modernism Mid 20th-Century Realism Industrial Worker. Sight size: 18 x 23 1/4 inches. Estate stamped verso. This drawing is the study for a large oil we ...

On paper.

River in winter. 1987, oil on board, 40x50 cm Winter landscape by the river Edgars Vinters (1919-2014) Edgars Vinters is working in oil, watercolor and monotype techniques. He paint...

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...

Autumn is an original is an original drawing in watercolor on cardboard realized by Jean-Raymond Delpech (1916-1988) in 1958. Hand-signed and dated on the lower right. The state of...

Bricklayers House Beautiful Cover Proposal American Scene Modern WPA 1930s Industrial Workers Antonio Petruccelli (1907 - 1994) Brick Layers House Beautiful cover proposal, c. 1939 ...

Framed 15.75 x 13.13 in Signed to margin

Autumn Landscape. 1976. Oil on cardboard, 22x31 cm Edgars Vinters (1919-2014) Edgars Vinters is working in oil, watercolor and monotype techniques. He paints landscapes in different...

Gorla swimming pool is an original artwork realized in 1930s by Cesare Breviglieri. Black and white pencil drawing .Hand signed on the lower right margin. The artwork represents a...

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...

"Ridge Oak" Northern Mt Tamalpais California Watercolor 1991 Perfectly executed plein air watercolor looking out towards Mt. Tamalpais in spring by J. Gal...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Ronald T Horley c.1905-? (active 1930s - 1960s) The Gateway to Cornwall Charcoal heightened with white 76 x 53 cm Signed and inscribed lower right 'Architect's Office, 83 Marlborough Place NW8 Marylebone'. Horley attended Radley School, joining in 1918. He painted architectural watercolours. This was produced whilst working for the GWR's own Architect's Office. The Great Western Railway commissioned a series of posters promoting train travel around the UK. This charcoal drawing of the Royal Albert Bridge at Saltash is the artist's original design for a poster encouraging rail travel to Devon and Cornwall. The bridge is known fondly as the 'Gateway to Cornwall'. The Royal Albert Bridge was designed by Isambard Kingdom Brunel...

Original Painting. New Yorker Cover Proposal Baseball c. 1939 Modern Cubist Deco Antonio Petruccelli (1907 - 1994) Play Ball New Yorker cover proposal, c. 1939 12 x 8 inches (sight) Framed 18 1/2 X 14 3/4 inches Gouache on board Estate sticker verso BIOGRAPHY: Antonio Petruccelli (1907-1994) began his career as a textile designer. He became a freelance illustrator in 1932 after winning several House Beautiful cover illustration contests. In addition to 24 Fortune magazine covers, four New Yorker covers, several for House Beautiful, Collier’s, and other magazines he did numerous illustrations for Life magazine from the 1930s – 60s. ‘Tony was Mr. Versatility for Fortune. He could do anything, from charts and diagrams to maps, illustrations, covers, and caricatures,’ said Francis Brennan, the former art director for Fortune. Over the course of his career, Antonio won several important design awards, designing a U.S. Postage Stamp Commemorating the Steel Industry and designing the Bicentennial Medal...

Untitled, c. 2000 Watercolor on paper Sight: 8 1/4 x 11 in. Framed: 12 1/8 x 15 x 1/2 in. Signed lower right: Bintinaye-Farey

This artwork "Untitled III" 2001 is a graphite drawing on paper by Japanese/American artist Tadashi (Tagashi) Hayakawa, b.1941. It is hand signed and dated at the lower left by the artist. The artwork size is 13.5 x 16.5 inches, framed size is 19.35 x 22.35 inches. Custom framed in a wooden black frame, with fabric matting. It is in excellent condition. About the artist: Tadashi Hayakawa...

"Umbria" is a landscape pastel by American artist Wolf Kahn. Green hills and trees dominate the composition as a light blue sky evens it out almost exactly in the middle. Titled and ...

SALE ONE WEEK ONLY "Song of Songs Watercolor" renders an important bibilical story that is celebrated during Jewish Passover. Song of Solomon, also called Canticle of Canticles, or Song of Songs, an Old Testament...

Peter de Wint (British, 1784 – 1849) Fishing boats at low tide Pencil on watercolour 10.3/4 x 16.3/8 in. (27.3 x 41.7 cm.) Peter de Wint was born in Stone in Staffordshire, the son ...

Assertive (2018), 6 x 6 inches (framed size: 7.5 x 7.5 inches), watercolor on gesso on panel by Lindey Carter. $560 Lindey Carter’s delicate watercolor ...

Charles Edward Brittan (1870-1949). Original watercolour. A moorland scene with sheep grazing. Smartly mounted in a wooden frame. Signed to the lower left. On paper.

Four outrigger proa’s on the beach of Kusambe, Bali, 1937 Signed with initials, dated and described with location bottom left Pencil and ink on paper, 29.7 x 35 cm In ebonized frame with white mount WILLEM OTTO WIJNAND NIEUWENKAMP (1874-1950) Nieuwenkamp was born on July 27th 1874 in Amsterdam. His father owned sailing ships sailing to Indonesia and hearing the stories of the returning captains evoked in the young Nieuwenkamp an obsession for distant lands and adventure. After a failed attempt by his father to have his son make a career in his business, Nieuwenkamp attended the Academy for Decorative Art in Amsterdam. However, he left within one year to go his own way. He was an autodidact and a great experimenter with new techniques, particularly in the art of etching. Nieuwenkamp was a very focused man with the discipline of a scientist tempered by the sensitivity of an artist, a lust for adventure, a natural appreciation for ethnic arts and an enormous ambition to tread new paths. In 1898 he visited Indonesia for the first time and on his second visit in 1903-1904 he went on to Bali and became the first foreign artist to love Bali and the Balinese with a passion. Having secured agreements with several museums in the Netherlands to obtain Balinese art and objects for their collections, Nieuwenkamp immediately started to purchase and order a wide range of ethnographic art and objects from local artists and craftsmen. Through his drawings and books, he gave an excellent impression of Balinese art and culture at that time. Since 1854 Northern Bali was under Dutch...

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 ...

Johannes Friedrich Heinrich Hänsch (1875-1945), Red blooming war landscape with dead soldier, 1918. Watercolor and gouache on paper, 15 x 24.5 cm (image), 27 x 37 cm (sheet size / frame), monogrammed and dated "19JH18" at lower left. - Paper slightly darkened About the artwork Despite the relatively small format, the watercolor with an internal frame depicts a panoramic view of a flat landscape stretching to the horizon. As far as the eye can see, the poppies bloom in flaming red. The flowers are not rendered individually, however, creating an almost cohesive red surface. The bright red is interspersed with vegetal green. A complementary contrast that creates an intense color effect. In this color contrast, a white area breaks through from the middle ground, widening towards the foreground and surrounding a brown hole. Next to it, in blue, is the actual protagonist of the painting, the first thing that catches the eye: a dead soldier. Next to him is his helmet, revealing the empty interior. The brown, hollow shape corresponds to the hole in the ground. A shell funnel is surrounded by bright ash, which, like the inverted helmet, becomes a sign of death. The soldier's arms point to the funnel, while the empty helmet paraphrases the calotte of the skull and, like the funnel, thematizes the empty darkness of death. The soldier's body, however, is intact and not - as in Otto Dix's triptych "The War" - a dismembered corpse. Instead, Johannes Hänsch activates the landscape, especially the color, to illustrate a blooming landscape of death that extends from the shell funnel in the foreground to the rising column of smoke on the horizon. If the soldier's body is intact, the tangle of barbed wire emblematically placed over the empty helmet also appears tattered. On the right side of the picture, the barbed wire even seems to stretch its arms to the sky in horror. Against the background of this allegory, the content of the bright red also becomes clear: the landscape is drenched in blood, literally a sea of blood, and the single unknown soldier stands pars pro toto for all those who died on the battlefield. Dying in war is not dying in community, but in solitude. In order to emphasize the isolation in death, Johannes Hänsch has set the blue of the soldier in the axis given by his body in the middle ground of the picture into the red sea. A master of landscape painting, Hänsch succeeds in creating a natural-looking landscape allegory that illustrates the horror and death of war, without depicting the brutality of war itself. This singular 'war memorial' of the unknown soldier is the opposite of heroization and yet the dignity of the deceased soldier is preserved through the integrity of his body. About the artist As the son of the sculptor Adolf Haensch, the young Johannes received his first artistic training in his father's Berlin studio. However, he eventually decided to become a painter, and in 1897 he entered the Berlin Academy of Arts. He initially studied under Paul Vorgang and Eugen Bracht, and was particularly influenced by Bracht's increasingly colourful landscape painting. In 1901 he moved to the class of Friedrich Kallmorgen, with whom he spent several weeks on excursions into nature. In 1905 he became a master pupil of Albert Hertel, who taught him watercolour painting. From 1903 to 1933 he exhibited annually at the Great Berlin Art Exhibition, the exhibitions of the Berlin Artists' Association and the Munich Glaspalast. In 1905 he was awarded the Carl Blechen...

A fine early 20th century watercolour depicting inquisitive cattle grazing by the river. The pastoral landscape looks luscious and green, situated behind a long manor farm...

Auguste Mayer (1803-1890 A seascape with a boat signed with the initials on the lower left Pencil and heightenings of white gouache on paper 17.5 x 26 cm...