Watercolor Landscape Drawings and Watercolors

Abraham Walkowitz (1878–1965) A Sailing Ship at the Port, 1909 Watercolor on cardboard Signed lower right 'A. Walkowitz', in pencil '1909' Dimensions: 33.5 x 56 cm Born: Tyumen, Ru...

This is an exclusive handprinted limited edition cyanotype. "Deep Blue Sandy Shore" is a minimal cyanotype diptych that shows a smooth wave reaching the coast of Puerto Escondido. ...

On the Lea River attributed to Peter de Wint (British 1784-1849) signed lower right corner, titled verso original watercolour painting on paper, unframed painting: 11 x 14 inches C...

Title: Collection of Historic Bristol Scenes and Maritime Watercolors by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements: 7.25 inch...

Original mid-century illustration for the children's book "Good Work" by John G. McCullough, Young Scott Books, N.Y. It depicts a busy harbor filled with commercial and leisure traffic. Notice all the charming little people, busy at work - dotting the docks and boats. Ipcar masterfully designed the work so that your eye effortlessly travels from more prominent foreground elements to more minor elements in the distance. But her color scheme limited only to two colors sets "Harbor Scene" apart from the humdrum and elevates it to a sophisticated children's book illustration. The suspension bridge in the back of the composition is modeled after the Golden Gate. The illustration bears the hallmarks of modernism with its flat shapes and quick painterly style. "Harbor Scene" represents the artist's early style. By the '60s and '70s, her work began to take on a new direction with intricate patterns and depicting animals. Signed lower right with the artist's label on verso. Dahlov Ipcar...

"Yellow Flower" is an original watercolor on paper by Sylvia Spicuzza. The artist stamped her signature in the lower center. 6 3/4" x 10 1/4" art 14 1/2" x 17 1/2" frame Born in 1...

Jurmala 1965, paper/watercolor, 19.5x35.5 cm Herberts Mangolds (1901-1978) Graphic, army officer. In 1920 he graduated from the Artillery Cadet School of Latvian and many military courses. In 1933 he graduated from the Arts Academy of Latvia, Graphic workshop under the guidance of R. Zarins. He participated in the exhibition since 1924. He painted mostly military themes. And also painted landscapes and compositions with oriental motives in watercolors technique. He drew sketches for the plates painting to porcelain factory of Kuznetsova and faience factory. One of the first drawer of Latvian journeyman army in 1922. He i san author of Viesturs Order sign...

Title: Historic Miniature Watercolor of St Bartholomews Gate with Various Figures by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measuremen...

Title: Shakespeare Inn and Temple Church Bristol Historical Street Scene by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements: 3.25 i...

Paul Feeley Rafina II Greece, 1961 Watercolour on paper Hand Signed, titled and dated lower front In 1961, color field painter Paul Feeley created a series of watercolors - Rafina an...

Title: Trio of Watercolors of Frenchay Church Quaker Meeting House and Unitarian Chapel by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measu...

Signed lower left, 'Bonnaure' for Alain Bonnaure (French, born 1941) and painted circa 1995. When he was a young artist, Alain Bonnaure's work was purchased by the renowned French p...

An original watercolour landscape by Wilfred Robert Coast (1884-1950), depicting a small flock of sheep grazing a farmer's field. Signed 'W.R. Coast' to the lower left. Well presente...

A very striking image of the Pyramids of Giza at sunset with a felucca drifting by on the Nile. A most attractive palette and image with the ripples on the surface of the river and w...

Title: Historic Miniature Watercolor of Church of Holy Trinity and St Edmund Hatfield by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measure...

Gouache and pencil on paper Unique work Hand-signed and entitled lower right by the artist

'Raining in Formosa on the Tamsui River' by Taiwanese artist, Ran In-Ting (Lan Yinding, 藍蔭鼎) (1956-59). Although elements of landscapes often appear in paintings produced by various cultures, before the 17th century in the West they were only peripheral. In 5th century China, shan shui or landscape painting developed, expressing harmony and natural beauty. These were among the first paintings to make landscape their subject (ref: 'The Short Story of Art...

This watercolor painting is distinguished by the special atmosphere of the pre-spring forest, the glare of the sun and the dense shadows of the pine needles. The watercolor landscap...

WOODED LANDSCAPE WITH HOUSES Signed original brush and ink on wove paper, circa 1950. WOODED LANDSCAPE WITH HOUSES is an original watercolor brush and ink on paper, hand signed in ink pen by African-American artist, teacher, and printmaker Ronald Joseph (1910--1992) Artwork depicts an abstract landscape, is in good condition, paper tape remaining on reverse side edges, mounted in an archival acid-free mat, unframed. Artwork paper size - 18 x 21.5 in. Year created - c. 1950 About the artist - Ronald Joseph (1910 -1992) was born on the island of St. Kitts, West Indies In 1910. When he was very young, his mother decided to move to the United States but she could not afford to take him with her. Mr. and Mrs. Theophilus Joseph, a childless couple who were friends of Joseph’s mother, adopted him. Afterwards, the Joseph family moved to the Island of Dominica, where they stayed for ten years. In 1921, his foster parents also decided to come to the United States. In New York, Joseph met his mother but remained living with his foster parents. In 1926 Ronald Joseph received a scholarship for the Ethical Culture School, were he spent two and half years of his high school period. At this time he obtained an art scholarship through Dr. Henry Fritz, with whom he became acquainted through his art teacher in public school. Joseph was taken into the Saturday art class, where he was the only black participant. An artistic prodigy, Ronald Joseph had his student works shown at the Metropolitan Museum of Art. Ronald Joseph graduated from Ethical Culture Fieldston School in 1929. He was honored as “the most promising” young artist in New York City’s schools. He began his study at Pratt Institute in 1931 and graduated in 1934. During the 1930s and 1940s, Joseph participated in many exhibitions of African-American art, the Works Progress Administration mural project, and the Harlem Artists Guild. Ronald Joseph enlisted in the U.S. Army Air Corps at the declaration of World War II and was posted as a member of the ground crew in Tuskegee, Alabama, and in Michigan. At the end of the war in 1945, he received his G. I. Bill of Rights scholarship. In 1948, he was presented with the Rosenwald Fellowship. The funds allowed him to live and work abroad – first in Peru for two years, then in Paris. Joseph used the G.I. bill to study in Paris at the Grande Chaumière. He described this period of his life as being “independent of economy”. His work from these travels is largely undocumented; according to Rosenwald scholar, Daniel Schulman, many pieces of art are undated or simply dated “1948-1952”. After this period he came back to New York without money and work and indicated this as period of hardship. Ronald Joseph left the U.S. in 1956, disappointed in the unreceptiveness of the art world to his work with mixed feelings about this. On the one hand, he felt guilty for having left the U.S. during a period when blacks were struggling for their civil rights; on the other, he felt “lucky” to have been able to live and work in place where he did not feel discrimination as intensely. He emigrated to Belgium and later settled permanently in Brussels. Ronald Joseph was married to Claire Joseph and they had a son, Robin Joseph. In 1989 Joseph returned to the United States after an absence of thirty-three years to attend the Lehman College exhibition and symposium and to renew his old friendships. Afterward, he returned to Brussels where he continued to work as a painter, living there for the remainder of his life. Ronald Joseph started his artistic career in Harlem, New York City at the Harlem Community Arts Center, where he was one of the youngest pupils. Joseph studied lithography and other printmaking techniques with Riva Helfond, who taught him many aspects of the process based on simple techniques, including how to operate the press, and how to prepare the stones. Helfond played a significant role as a teacher of lithography at the Harlem Art Center. Joseph produced his first lithographs under her supervision, and this was at a time when she was just beginning to learn the medium herself. At the Harlem Community Arts Center Joseph met Robert Blackburn, who was his classmate. In 1937 Ronald Joseph depicted Blackburn, in one of his most famous works, that is now located at The Metropolitan Museum collection. Experimenting with lithography and etching, as well as woodblock and silkscreen printing, Joseph explored the techniques of printmaking alongside his friend Robert Blackburn. Joseph described the Harlem Art Center as a “healthy and lively” place, where he had made wonderful friends. In the late thirties, he also served as a teacher at the Harlem Community Arts Center. There Joseph met younger artist Jacob Lawrence and Gwendolyn Knight. They formed a friendship, where they enjoyed conversations and visiting museums together. Both Joseph and Knight would hire Lawrence to pose for them. Jacob Lawrence considered Ronald Joseph to be a very intellectual artist. In the 1930s, Joseph became chairman of the Harlem Artists Guild and represented it in Washington with Stuart Davis and Hugo Gellert. Ronald Joseph was also a participant in the mural section of WPA and a representative of the Harlem Artists’ Guild to the New York World’s Fair (1939-1940). Joseph’s early oil paintings were influenced by Picasso, Braque and other European artists while most of his contemporaries focused on social realism. By 1943, he was hailed by art historian James Porter as New York’s “foremost Negro abstractionist painter”. His pastels and gouaches from the late forties and early fifties showed a highly structured abstraction combined with a studied spontaneity. Ronald Joseph’s finely tuned abstractions often incorporated representational elements along with apparently “purer” forms. He described this aspect of his work in these terms: “It’s not abstract and abstract at the same time. It’s pure creation.” His works from the 1950s employed both still life and landscape as pretexts for masterly exercises in nearly abstract pictorial construction related to cubism and fauvism. During World War II, Joseph was drafted. After the war he formed “a kind of a group” with Robert Blackburn, Charles White, Larry Potter, and Reginald Gammon...

This is an exclusive handprinted limited edition cyanotype. This cyanotype shows a desert palm tree from the banks of the nile River in Egypt. Details: + ...

Title: Historic Miniature Watercolor of Minster House and Bristol Cathedral circa 1833 by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measur...

Summer Bridge, Nice Tony Minartz (French, 1873 - 1994) watercolour on artist paper painting : 12.5 x 16.75 inches Provenance: private collection in the South of France, Condition: ...

Title: French Watercolor of Château de Chenonceau with Figures and Garden Well by Robert Lepine (French, 1929 - 2017) Signed: Yes Medium: Watercolor painting on artists paper, unframed Size: 14.25 x 20 (height x width) Condition: Very good Provenance: From the artists atelier collection, South of France Description: This stunning watercolor depicts the renowned Château de Chenonceau, one of the most iconic landmarks of the Loire Valley, in all its architectural splendor. Set against a vibrant sky, the painting highlights the château’s intricately detailed façade, a manicured garden, and a wrought iron well...

Title: Brittany Watercolor of Rustic Stone Cottage Overlooking the Coast by Robert Lepine (French, 1929 - 2017) Signed: Yes Medium: Watercolor painting on artists paper Size: 9 x 12.25 (height x width) Provenance: From the artists atelier collection, South of France Description: This stunning watercolor captures the rugged beauty of the Brittany coastline, featuring an old stone cottage overlooking the Atlantic Ocean. The traditional thatched-roof house, weathered by time, stands alone against a backdrop of rolling cliffs, golden sands, and deep blue waters. The sky is alive with swirling clouds, adding a dynamic and atmospheric feel to the composition. Key features include: Authentic Breton Setting: The coastal landscape and rustic architecture evoke the charm of Brittany’s traditional fishing villages. Richly Textured Stone Cottage: The weathered stone walls, wooden shutters, and thatched roof reflect the region’s historic craftsmanship. Breathtaking Coastal Views: The sweeping seascape, rocky inlets, and sandy shores create a serene yet dramatic composition. Vivid Sky & Atmospheric Lighting: The interplay of light and shadow on the clouds and water adds a sense of movement and depth. A captivating tribute to Brittany’s coastal heritage, this painting is perfect for collectors who appreciate seaside landscapes, rustic French cottages, and the untamed beauty of the Atlantic...

Wonderful Fauve Landscape with blocky areas of punchy bold reds and yellows. This was done the same year of the Armory Show in which both William Zor...

Title: French Watercolor of Le Roc-Martin and Seaside Café by Robert Lepine (French, 1929 - 2017) Signed: Yes Medium: Watercolor painting on artists paper, mounted Size: 11.75 x 15.7...

An early Devonshire landscape, ex-collection West Collection of British Watercolors & the Fine Art Society, London. Circa 1800 Ink and brown wash on paper, 7 1/8 x 10 1/4 inches (...

Modern Impressionist gouache on paper view of London and the river Thames by M K Meyer. The painting is signed bottom right and titled to the backboard 'Londres'. Presented in a plai...

Title: Quimper Watercolor of Historic Houses Along the Steir River by Robert Lepine (French, 1929 - 2017) Signed: Yes Medium: Watercolor painting on artists paper Size: 11.25 x 15 (h...

Title: Historic Miniature Watercolor of Wine Street Looking to Corn Street in Bristol by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measure...

River Eure, Lyons la Forêt by Paulémile Pissarro (1884-1972) Watercolour and crayon on paper 31.5 x 48.5 cm (12 ³/₈ x 19 ¹/₈ inches) Titlted, signed and dated lower left, Lyons la Fo...

Title: Historic Miniature Watercolor of St Peters Hospital in Bristol by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements: 4 inches ...

This expressive gouache painting depicts an array of houses surrounded by power lines. The artist Fritz Brunner (1908-1996) uses bold, expressive brushstrokes to capture the scene. W...

Alley. Watercolor, signature and date to decipher. Paper laminated on cardboard. 28 x 32 cm.

The painting shows a typical Scandinavian style house. Timber buildings are monuments in Norway. This building is typical for middle part of Norway. Time destroys these houses, but t...

Beautiful watercolor and gouache painting of waves crashing on the rocks along the shore by the renowned American artist, Edmund Darch Lewis. Signed lower left and dated 1908. Condition is excellent. The painting is housed in its original art nouveau frame recently restored. Under UV glass. Overall framed measurements are 21.75 by 33.75 inches. Edmund Darch Lewis (1835-1910) Edmund Darch Lewis was born in Philadelphia on October 17, 1835 to a successful, wealthy, well-connected family. He studied with Paul Weber...

Harvest Moon 12:32pm is a watercolor work on paper by Cynthia MacCollum. This original artwork is 12x9 on archival paper. It is currently framed to 14 x 11. It was part of a 2020 ...

William Gould (American, 1930-2017) Bridge in the Flats, 1990 Watercolor on Arches paper Signed and dated lower right 21 x 28.5 inches 28 x 35.5 inches, framed Cleveland Arts Prize ...

Original watercolor of Monhegan Island, Maine on archival paper by the well known American watercolorist, Ted Davis. Signed lower right and dated 1950. Cond...

Wilhelmina Barns-Graham (1912-2004) Monreale, Sicily (1955) 48 x 58 cm Pencil and wash on paper Provenance: Barns-Graham Charitable Trust, authentication no 1665. A heady evocation of summer in Sicily, characterised by burnt oranges and yellows. Wilhelmina Barns-Graham, known as Willie, was born in St Andrews, Fife, on 8 June 1912. Her parents were second cousins, and their respective families were well established representatives of minor Scottish gentry from both the east and west of the country. As a child, Barns-Graham showed very early signs of creative ability. It was at school that Wilhelmina decided that she wanted to be an artist, stating later in life that "painting chose me, not I it". After school she set her sights on Edinburgh College of Art where, after some dispute with her father (who was an emotional man prone to uncontrolled anger), she enrolled in 1931. During her time at Edinburgh College, Barns-Graham was taught by tutors including portrait painter David Alison and painter William MacTaggart. Her friends there included the influential Scottish painters Robert MacBryde, Robert Colquhoun...

This monochromatic artwork depicts a design for an ornate country house. In the 19th century, "Maison de Campaigne" (French for "country house") referred to a rural house, typically ...

Title: Historic Miniature Watercolor of John Wesley’s Kingswood School by Jack Grunwell, 20th century British artist Medium: Watercolor on thin c...

A stunning sky and cloud study by Gaston Prunier. Originally from Le Havre, the sea port where the Seine empties into the English Channel, Prunier was c...

Signed LL Recognized as one of America’s leading etchers and watercolorists during the early twentieth century, Sears Gallagher depicted a variety of subjects ranging from New England landscapes and European subjects to views of Monhegan Island, Maine. Born in Boston in 1869, Gallagher has impressive family lineage extended back to the Pilgrim fathers and to the first Governor Bradford. He began his art education locally, studying drawing with the Italian artist, Tomasso Juglaris, and watercolor painting with the Samuel P.R. Triscott. He made his first submission to the annual exhibitions at the Boston Art Club in 1887, exhibiting a drawing entitled "Evening News." Gallagher later refined his skills at the Académie Julian in Paris, working under Benjamin Constant and Jean-Paul Laurens during 1895-96. During his three-years abroad (1894-96), he made summer visits to popular artists’ colonies such as Grèz-sur-Loing, where he painted and sketched en plein air. He also spent time in Italy and England. Gallagher began his career in Boston, working as an artist-reporter for a local newspaper and illustrating textbooks for the publishing firm of Ginn and Company. However, by the early 1900s he had established himself as a professional artist specializing in etchings and watercolors. By 1920, he had produced 138 etchings of the historic streets and landmarks of Boston, such as Copley Square, the Old State House, and Trinity Church. He was also fond of marines, producing etchings as well as oil and watercolor views of Monhegan Island, Maine, where he spent his summers, as well as Plymouth and Nantucket on Cape Cod. His work includes landscapes painted during autumn trips to Jackson, New Hampshire, as well as views of New York, Venice and England’s Cornish seacoast. Gallagher exhibited at the major national annuals in United States, and had several solo shows at Doll and Richards Gallery in Boston. His work also appeared at the Paris salons and at the Paris Exposition of 1900. Gallagher’s memberships included the Guild of Boston Artists, the Boston Society of Water Color Painters, the Brooklyn Society of Etchers and the Chicago Society of Etchers. He won several awards and prizes, among them the Logan Prize for etching at the Art Institute of Chicago in 1922 and the City of Boston Tercentenary medal...

'Le Pont Neuf', gouache on fine art paper, by Lucien Génin (circa 1930s). The Pont Neuf is the oldest standing bridge across the river Seine in Paris, France. It stands by the western point of the Île de la Cité, the island in the middle of the river that was, between 250 and 225 BC, the birthplace of Paris. It is called 'The New Bridge' because at the time of its inauguration (built 1578-1607), it embodied a very modern look compared to other bridges which spanned the Seine. Lucien Génin has captured its beauty in this lively depiction from the 1930s. Just before the bridge is a 'Bateau Mouche' an open excursion boat that provides visitors with a view of the city from along the river. The artwork is in good overall condition commensurate with age and medium used. It has been newly frame with anti-reflective glass. Please enjoy the photos accompanying this listing. Signed by the artist in the lower left hand. Upon request a video may be provided. About the Artist: After the devastation of the First World War, Lucien Génin (1894 - 1953) left his provincial home in the autumn of 1919 to find his fortune among the lively Parisians in the heart of Montmartre. Génin befriended the painters Frank Will, Gen Paul, Émile Boyer, Marcel Leprin...

Oval Watercolor Landscape watercolour on artist paper, stuck on black paper painting: 12.75 x 10 inches provenance: private collection condition: very good and sound condition

Original, vibrant watercolor on archival paper of a quaint Peruvian village nestled in the foothills of a large mountain. Two figures, a woman and young child are seen walking down t...

Pencil and watercolour on paper Paper size: 10 x 14 inches Framed size: 20 x 23.75 inches Initialled lower right

Title: Woodes Rogers Expedition 1708 Naval Historical Watercolour Painting by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements: 2.5 ...

Title: Historic Miniature Watercolor of St John’s Gate and City Wall in Bristol by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements:...

Gouache and color pencil on paper Unique work Hand-signed by the artist The red necklace of the naked Queens “My artistic research has expanded over the years, crossing paths alre...

"Duomo" is a watercolor painting featuring subtle hues of blue and orange. McLean Jenkins is inspired by the work of JMW Turner, Richard Diebenkorn and Louis Khan. McLean Jenkins is a practicing architect with McAlpine and his work derives from and celebrates the classical forms of his trade. Working in graphite, ink and watercolor, McLean employs a gestural approach that frees his hand to explore a subject’s essence. His compositions rely on the quick, decisive sketch and are then given over to the whims and splashes of watercolor. Spontaneity, movement and spirit are all emphasized and his drawings collectively form their own narrative of his passion for architecture. The city of Venice has captured McLean’s imagination since his first trip there as a 12 year old boy. Over the years a kind of courtship with the city has evolved, and its impact has motivated and sustained his development as both architect and artist. His work depicting the city has been recognized within the architectural profession by the Georgia Trust for Historic Preservation in its award to McLean of the J. Neel Reid...

Watercolor and gouache on cream wove paper. Signed and titled in watercolor in the lower right image area. Small circular pea-sized damp stain in the top center image area (visible in the are of the sky), and some additional small spots of unobtrusive foxing in the upper left sheet area. Otherwise in very good condition with fresh colors and intricate brushwork. Henri Schäfer...

Watercolour on toned paper. Mounted in a pale blue and gilt frame. Signed. On fibrous paper.

This watercolor of New York City bursting with energy in the 1960s is typical of Lersy's colorful and exuberant style. His work combines mid-century Modern abstraction with subjects...

Painting measures 22" x 28" and framed 26" x 32" x 2" Hand-signed "J.E. Costigan NA 1952" lower left. About this artist: John Costigan was a self-taught painter distinguished by h...

In BOOM BUST REPEAT17, Peña creates a silhouette of house and fills it with sharpe-edged shapes that contain gradients and saturated hues of red, green, and violet. He balances these colors with muted tones of orange and yellow . The viewer can create a house that is yet to be built in between the gaps here. In "Boom, Bust, Repeat", Peña remarks on a house and landscape that has yet to take place. The painting is created with watercolor and acrylic paint on paper. In the foreground we see Sintra board or flattened PVC that has been CNC routed. In the "soil" beneath the house are small circular lines that have been hand drawn with India ink. The Sintra board has been cut to reveal arrows in the negative space pointing upwards as to hint at a boom in the market. Peña’s works range from painting to multimedia installations that question the ever-changing psychological landscape of America; asking the viewer to re-examine their perceptions of the “American Dream” and the affects that pursuit has on our environment and national psyche. The realization that both the idealistic pursuit of happiness and the relevance of painting in a technologically driven world informs his practice. With each composition the labor begins with digital composites of a fragmented American landscape in peril —where tension lies in the contrasts between past and present, analog and digital, representation and abstraction, and stability and instability. In his most recent series the American home (stability) and fragmented and shifting landscape (instability) are veiled by a digitally produced mat. Traditionally a mat is, by definition, a flat, thin piece of paper based material included within the picture frame and serves as additional decoration when framing artwork. He activates this commonly overlooked material by using a non-traditional material, Sintra (flattened sheet of PVC), that has a negative digitally drawn image cut-out. This cut-out might, at first glance, look hand cut however, a more astute viewer would realize the precision is mechanical. The mat has been transformed from inactive decoration to digitally produced veil that represents the technologically anxious precision we surround ourselves with. Nick Peña...