19th Century Landscape Drawings and Watercolors

Drypoint etching rawing of a coastal scene with figures drawing a net or boat form the sea by Sir Francis (Frank) Job Short (British, 1857 - 1945) Sir Frank Short, Royal Academy*, was a printmaker and teacher of printmaking. He revived the practices of mezzotint* and aquatint* engraving, and also wrote about printmaking to educate a wider public. Signed "Frank Short" lower right with monogram in the print "S within a shield" Titled lower left "Rough Weather at Blatchington" Lower left "Trial Proof" Image, 8.5"H x 10.88"W Mat, 16"H x 20"W x 0.13 Professionally cleaned and ph nuetral washed by our paper conservator. (new images posting) Francis Job Short was born on 19 June 1857 in Britain, at Stourbridge, Worcestershire. He was educated to be a civil engineer. He was engaged on various works in the Midlands until 1881, when he came to London as assistant to Mr Baldwin Latham in connection with the Parliamentary Inquiry into the pollution of the river Thames. In 1883 he was elected an associate member of the Institution of Civil Engineers. Having worked at the Stourbridge School of Art in his early years he joined the South Kensington School of Art*, in 1883. He also worked at the life class under Professor Fred...

This early 19th-century watercolour by British artist Paul Sandby Munn RWS (1773-1845) depicts a riverside view at Mallevy in North Wales. Amid a hasty world where technology consumes our waking hours, few of us find the time to consider the subtle beauties of quiet watercolours. Yet, during the late 18th century, when Munn began producing his skillfully-rendered views, this style of drawing was considered an act of rebellion. Indeed, to such an extent that, together with several associates, Munn contributed to one of the most vital artistic circles in British history - the “Brothers” sketching club. Held every Saturday, the sketching club sought to raise the status of landscape watercolours from their lowly position as mere copies of nature. Fellow artists such as John Varley, Thomas Girtin and John Sell Cotman...

Ink and wash in sepia and brown on heavy wove paper, 5 13/16 x 8 1/2 inches (146 x 215 mm). Scattered uniform age tone and discoloration throughout. Brown ink spot with associated sp...

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

Late 19th century mauve ink drawing on paper of fishing boats at harbour by noted French artist Georges Ricard-Cordingley. The drawing is signed bottom left and carries various annotations and another small sketch. The drawing is presented in a period wood frame under glass with a double card mount. Provenance: This drawing came from the estate of the artist's daughter who had acquired it directly from her father. A charming drawing capturing the scene fishing boats at harbour with extensive detail of the rigging and sails. It seems to be a preparatory sketch as it carries extensive colour and other annotations. There is also a smaller sketch bottom right which shows the boat from a different perspective. The figures are well annotated and Cordingley has achieved great detail but with a lightness of touch. The sketch is even more interesting as it is completed in mauve ink. This was a fashionable and technical innovation at the time as the colour was only 'invented' in the late 1850s. A really interesting, lovely and evocative drawing. Georges Ricard was born on January 30, 1873 in Lyon, son of Prosper Louis Ricard and Georgina Marie Cordingley. He spent part of his childhood in Lyon and Boulogne-sur-Mer. He displayed early gifts for drawing. He lost his father in 1885. He began his training around 1887, becoming a pupil of Jean-Charles Cazin, a landscape painter from Pas-de-Calais and the Côte d'Opale. He then joined the School of Fine Arts in Lyon and remained there from 1888 to 1889. He moved to Paris in 1890, where he studied at the Académie Julian as a pupil of Benjamin Constant, Louis Martinet and Jules Lefebvre. He lost his mother around 1892, went to England to his maternal family and added his mother's name to his name. He embarked for the North Sea with the Royal National Mission to Deep Sea Fishermen and carried out his first studies. In 1894, he met with great success at the court of Queen Victoria. He embarked a second time, in 1895, still for the North Sea and produced numerous studies of waves of clouds, of the port and of portraits of fishermen which he exhibited in Paris and London. He embarked a third time, around 1896, in the North Sea and the Atlantic Ocean with the Société des Travaux de Mer and was shipwrecked in Newfoundland. In 1901, he set up his studio in Boulogne-sur-Mer. He divided his time between London, Paris and Boulogne-sur-Mer and painted portraits and seascapes. He realized the decoration of the casino of Wimereux. He travelled to Australia, where he exhibited from 1909 to 1910. In 1911, he married Suzanne Giraud-Teulon, the daughter of historian Alexis Giraud-Teulon, and had three children, Éliane, Louis and Gabrielle. During the First World War, he was assigned to Lyon as a stretcher...

A wonderful 19th century watercolour depicting a herd of hardy sheep sat amongst bracken and heather on a picturesque hillside. The watercolour has been well-presented in a crisp whi...

An original mid-19th-century watercolour by Charlotte Vawser (fl.1837-1875), depicting a landscape view at Virgil's Tomb, Naples. The painting is inscribed to the reverse with the ar...

An attractive river scene painted in watercolour by 19th century artist Henry Jutsum (1816-1869). In the foreground a mother and daughter can be seen preparing to cross stepping ston...

Late 19th century drawing on paper of a French marine scene by noted French artist Georges Ricard-Cordingley. Carrying the atelier stamp to the bottom left and with full annotation a...

Jean-Franck Baudoin (1870 - 1961) was one of the last great French post impressionist painters."Jean-Franck Baudoin was one of the last great French post-impressionist painters. He g...

A charming late 19th century watercolour of a pastoral landscape, with agricultural workers bringing in the last of the hay at dusk. The artist has signed the scene to the lower righ...

Very well executed original watercolor and gouache marine painting on archival paper by the well known American artist, Edmund Darch Lewis. Signed lower left and dated 1899. Conditio...

Artist: August Töpfer Work: Original Watercolor painting, handmade artwork, one of a kind Medium: Watercolor on Satin Paper Year: 1834-1911 Style: Classic Art Title: Tower, Size: 12...

The Man With Turban is an original drawing in black ink, realized by an Anonymous artist in the 1970s. Hand-signed on the rear, illegible. Good conditions. The artwork is realized...

A charming pastoral scene, showing a young shepherd resting on a grassy bank as his sheep rest alongside with an expansive view into the hazy distance behind. The painting is unsigne...

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 of ships moored inside a port with figures and buildings on the right-hand side. Unsigned. Well-presented in an elegant gilt frame with a new card mount....

A delightful depiction of a half timbered cottage in a rural village A woman leans out of the window to talk with two women passing by. the rest of the scene captures charming detail...

Streaking across the night's sky is this stunning depiction of a red sunset falling behind trees. The artist has signed the landscape to the lower left, and the watercolour has been ...

A charming rural scene showing figures walking along a winding country path that leads towards a small village. The artist has signed, dated and inscribed to the lower left corner. T...

Landscape with Shepherd is a drawing in watercolor and pencil, realized by an Anonymous artist in the late 19th century. Hand-signed, illegible. Good conditions. The artwork is re...

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...

A charming late 19th century watercolour showing an old medieval street with figure wondering past piles of unwanted furniture from the local inn. The watercolour has been indistinct...

A charming late 19th century watercolour of Arabian horses resting with a groom in a middle eastern landscape. Unsigned. Elegantly presented in a contemporary gilt frame with a new c...

English School, 19th century. Baths at Caracalla, Rome. 1852. Ink wash in brown ink on cream wove paper, 9 7/8 x 13 inches (250 x 330 mm), titled and dated in brown ink, lower right...

A fine late 19th century watercolour depicting a flock of Suffolk sheep grazing in a tree lined landscape. The artist has captured the scene in a soft impressionistic style, delicate...

Setting off on a morning errand, this delicate watercolour depicts a mother and child walking through woodland on a winter's day. In the background sits the gamekeeper's cottage, cos...

Two farmers relax in the sun whilst overlooking the best country landscape. With pristine detail, Luker captures the warm beams of sunlight escaping through the cracks in the clouds....

Work on paper Golden wooden frame 72 x 61 x 7 cm

A particularly fine 19th century watercolour by John H. Scott (1829-1886), depicting two inquisitive setters retrieving grouse in the glorious moors of Scotland. Signed and dated to ...

A charming watercolour scene attributed to19th century artist James Duffield Harding (1798-1863). In the foreground a mature tree is growing from rocks to the side of a majestic moun...

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 In fairly good condition, ma...

This peaceful 19th-century landscape by English artist Charles Branwhite (1817-1880) evokes the elemental romance of a picturesque river at sunset. A moment of calm at the end of a long day. Signed/dated in the lower right and framed. Established in 2017, Brave Fine Art...

A charming Victorian watercolour landscape, showing a winding river heading towards a distant church steeple. A figure punts a boat along the sparkling water with a rustic dilapidate...

A fine landscape painting by Charles Brooke Branwhite (1851-1929), depicting a view along the River Thames towards the village of Goring, with punting boats moored along the river ba...

Signed lower right, 'Laurence Bell' (British, died 1916) and painted circa 1910. Bell studied at the Bushey School of Art in Hertfordshire in England. His preferred subject was land...

An original mid-19th-century watercolour by Charlotte Vawser (fl.1837-1875), depicting figures leaving the woods at dusk. The painting is inscribed to the reverse with the artist nam...

Hans Richard von Volkmann (1860 Halle (Saale) - 1927 ibid.), Clay jug on a bench. Pencil and Watercolour on paper. 20 x 26,7 cm (visible size), 37 x 45 cm (frame), dated and monogrammed lower left "Februar 1890 - HR. V. V." - Minimally tanned. Framed behind glass in a passepartout. About the artwork Using the technique of his early youth - pencil and watercolour - Hans Richard von Volkmann depicts a still life. However, this is not a conventional indoor still life, but an open-air depiction, painted outdoors and not in the studio. It is therefore an open-air painting, characteristic of von Volkmann's oeuvre, which could have been painted in the Willingshausen colony of painters, where open-air painting was programmatically practised there and the artist stayed there that year. And indeed, this painting is a manifesto of open-air painting. Von Volkmann demonstrates that leaving the studio for the light of nature leads to an entirely new quality of art. To prove this, he uses the genre of still life, which can be described as the studio subject par excellence. Moreover, light plays an essential role in the classical still life. It is the real protagonist of the still life. And it is precisely this moment, essential to the still life, that von Volkmann exploits to demonstrate the potential of plein-air painting: He presents the objects as they appear in the sunlight. The date of February and the bare branches in the foreground make it clear that this is a clear winter day in bright sunlight. The delicate plant in the foreground casts a clearly defined shadow, as does the jug. However, the shadow is most pronounced on the jug itself: The underside of the handle appears almost black, making the top, and therefore the jug itself, shine all the more brightly. The shining of the objects in the sunlight is also visible on the bench. As complementary phenomena to the shadow zones, light edges can be seen on the boards of the seats and the upper foot of the bench shines entirely in the light. To achieve this intensity of light, von Volkmann activated the bright white of the painting ground. By depicting the objects in glistening sunlight, von Volkmann demonstrates that this quality of light is only to be found outdoors. And this light leads to a new way of looking at the objects themselves. The jug on the bench seems like an accidental arrangement, as if the artist had stumbled upon this unintentional still life and captured it with fascination. And in this fascination there is a moment of realisation that refers to the objects themselves. It is only when they shine brightly in the sunlight that their true nature is revealed. In this way, sunlight allows the objects to come into their own, so to speak. Sunlight, which is not present in the studio, gives the still life an entirely new dimension of reality, which is also reflected in the colours interwoven by the sunlight: The bench and the jug stand in a harmonious grey-pink contrast to the green of the implied meadow. The emphasis on the jug as the central subject of the picture also implies that the watercolour has not been completed. This non finito inscribes a processuality into the picture, making it clear that something processual has been depicted, the temporality of which has been made artistically permanent. This is why von Volkmann signed the painting and dated it to the month. About the Artist Von Volkmann made his first artistic attempts at the age of 14. He painted many watercolours of his home town of Halle. This laid the foundation for his later outdoor painting. In 1880 his autodidactic beginnings were professionalised with his admission to the Düsseldorf Art Academy. There he studied under Hugo Crola, Heinrich Lauenstein, Johann Peter Theodor Janssen and Eduard von Gebhardt until 1888. Von Volkmann then moved to the Karlsruhe Academy, where he was Gustav Schönleber's master pupil until 1892. In 1883 he came for the first time to Willingshausen, Germany's oldest painters' colony, at the suggestion of his student friend Adolf Lins...

Alfred W Cooper, 19th Century Waiting by the weir Signed with initials Watercolour with touches of gouache 6¾ x 9¾ inches 12 x 16 inches with the frame A delightful Victorian scene...

French school of the 19th century Gouache 16 x 24 cm (34 x 46 cm with the frame) Signed lower right "Pons S." Beautiful frame in carved and gilded wood from the 19th century Very goo...

A fine 19th century watercolour showing figures in the French streets of Rouen. The artist has included many architectural features within the composition, such as a medieval turret and church spire...

A fine early 20th century watercolour by Henry Charles Brewer RI (1866-1950), depicting a country landscape with spinning windmill and church tower. Elegantly mounted in a gilt-effec...

Misted by the smog of town, this fine 19th century watercolour depicts a Normandy cathedral towering above terraced houses and harbour walk. Figures can be seen in the foreground ten...

Close to the western shore of Derwentwater, this delightful watercolour depicts a village bridge from Portinscale. Framed in one of the stone arches, watering cattle have there heads...

James MacMaster Gray Morning Signed and titled lower left Watercolor on paper 10 1/4 x 14 inches Provenance: Private Collection, New Jersey

A perspective river scene in watercolour by Georges Villain (1854-1930), depicting french town houses in parallel with moored barges on a busy waterway. The painting is signed to the...

A delightful watercolour scene depicting a busy corner of Genoa Harbour on a sunny day. The large sails of the ships cast shadows over the scene, covering the men moving barrels and ...

Work on paper Golden wooden frame with glass pane 44 x 54 x 2.5 cm

A fine watercolour painting with gouache details by the well-listed artist Lennard Lewis RA, depicting a rural landscape scene with a fisherman and an arch-bridge. Signed and dated t...

Drawing of Fontainebleau Forest Barbizon, France Pierre Auguste Brunet Houard (1829 - 1922) 19th century Pencil, colored pencil, gouache, paper 8 x 4 1/2 (16 3/8 x 12 1/4 frame) inc...

A charming landscape scene depicting a mill on the river's edge. The artist captures the scene in fine detail, with the delicate painting of the trees and foliage being very indicati...

Built on the ruins of an old medieval castle, this intriguing watercolour depicts a large guest house with rooms. In the foreground a figure can be see...

This is an oversized astonishing architectural study for the restoration of a church in a Paris suburb. These sketches of the St Pierre church in Avon, Seine et Marne Departement, nearby Paris are for the restoration of the front porch. The drawing is made with watercolor, ink, and sepia pencil. On the lower center bottom, you have the drawing of the porch itself, on the left side a close-up of the underside of the framework, and on the right side the same framework views from above. The top left corner shows a quoted plan of the porch. There is a handwritten dedication on the lower right-hand corner that reads: To my old friend and pal. A warm memory of school. Sign Maurice Lambert. The study is ornate with a classic wood frame with glass protection. Good condition, with minor wear on the frame throughout. Please check the last three pictures for the views of the original building. Measurements: With frame: 40.94 in wide (104 cm) x 27.56 in high (70 cm). View: 38.98 in wide (99 cm) x 25.59 in high (65 cm). Note: Listed as a Historic Monument in 1840, the Saint-Pierre d'Avon church (77) was built in the 12th century, its bell tower in the 13th century, and the choir, and the portal in the 16th century. The charming and original awning of the porch under which Madame de Maintenon...

This delicate watercolour depicts a disobedient collie dog causing mischief in a quiet English village. The lady owner can be seen with one hand savagely resting on her hip and the o...

A late 19th century watercolour from artist Henry Hilton, known for his pastoral scenes and English landscapes. This piece depicts a quaint village street with a cottage and figures ...

A fascinating 19th century view of Chinese Sumo wrestlers in a mountainous landscape Circle of George Chinnery (1774-1852) Chinese wrestlers in a land...

This early 20th-century charcoal drawing by Swiss artist Frank Charles Peyraud (1858-1948) depicts a river landscape with boatmen. As a young ma...

Peter Caledon Cameron (American, born Scotland, 1852-c. 1920) Absecon Island, New Jersey, 1894 Watercolor on paper, 17 1/2 x 27 inches (sight) FRAMED: 26 1/2 x 36 1/2 inches Signed and dated at lower left: "ABSECON.ISLAND./ N.J-U.S.A Cameron/1894" N.J-U.S.A Cameron/1894" Born in Perth, Scotland, Peter Caledon Cameron won awards for drawing and penmanship at a Glasgow public school. He claimed that at the age of fourteen his watercolors were already "in demand," and that before turning twenty he had "crossed every ocean in the world, sketching and painting as he went." He attended the Government School of Design in London and was certified as an art master in 1883. Cameron immigrated to the United States that year, settled in Philadelphia, and commenced work on large history paintings such as Niagara in Winter (unlocated) and Vesuvius in Grand Eruption (unlocated) that he exhibited in various northern cities. He exhibited one painting at the Pennsylvania Academy of the Fine Arts in 1902. Nothing is known of his activities later in life. In a lengthy inscription that accompanies this watercolor, Cameron noted that Absecon was "a piece of the best sand-dune region characteristic of the whole coast of New Jersey State from Sandy Hook point in the North to Cape May Point in the extreme south." This was one among a number of studies the artist made for a large oil painting titled "Captain Kidd Burying His Treasure" (unlocated). The famous Scottish privateer Captain William Kidd...