Drawing Landscape Drawings and Watercolors

This drawing represents a lateral view over the Cathedral of Koln that doesn't want to be a faithfull copy from real but It's pervaded with a nostalgic and decadent feeling proper of...

The drawing depict the Sanctuary of Madonna di San luca in Bologna. It can be attributed to a French artist because it's written "Bologne" (the french name of...

Gordon Noel Scott A.R.C.A 1914 - 2016 Winchester Cathedral Watercolour Image size: 13 ½ x 8 inches Original frame GORDON SCOTT EXHIBITION AT DARNLEY FINE ART 11th - 18th November 2017 Gordon Scott was trained at the RCA (1934-38) under Gilbert Spencer, Alan Sorrell and Charles Mahoney. A reserved and highly principled man, during WWII he was a conscientious objector, stationed at Bulford Camp on Salisbury Plain. His defined role is unknown, but during his time there he produced a number of sketches and paintings of soldiers...

Part of the ring-wall of the Taj Mahal, Agra, India, 1914 Signed with initials and dated bottom right Black chalk on paper, 45.5 x 53 cm Literature: Ernst Braches en J.F. Heijbro...

Gordon Noel Scott A.R.C.A 1914 - 2016 Street Scene Watercolour Image size: 14 x 10 ¼ inches (36 x 26cm) Contemporary style frame GORDON SCOTT EXHIBITION AT DARNLEY FINE ART 11th - 18th November 2017 Gordon Scott was trained at the RCA (1934-38) under Gilbert Spencer, Alan Sorrell and Charles Mahoney. A reserved and highly principled man, during WWII he was a conscientious objector, stationed at Bulford Camp on Salisbury Plain. His defined role is unknown, but during his time there he produced a number of sketches and paintings of soldiers...

Sketch for Minoff's painting October 3:30 PM.

Paul Schürch (Swiss, ∗ 14.2.1886 Wangen b. Olten, † 11.12.1939 Bern) Romantic Landscape in area of Solothurn, Switzerland • Charcoal/Pencil drawing delicately heightened in various...

Baobab N3 is a unique graphite on paper mounted on a wood frame drawing by contemporary artist Calo Carratalá, dimensions are 65 × 46 cm (25.6 × 18.1 in). Dimensions of the framed ar...

Baobab N5 is a unique graphite on paper mounted on a wood frame drawing by contemporary artist Calo Carratalá, dimensions are 65 × 46 cm (25.6 × 18.1 in). Dimensions of the framed ar...

Selvas Negras n°4 is a unique pencil on Daler Rowney 1,4 mm paper painting by contemporary artist Calo Carratalá, dimensions are 120 × 81 cm (47.2 × 31.9 in). Dimensions of the frame...

Graphite on paper Arches 360 gr mounted on a wood frame. Artwork sold framed with a methacrylate box, 46 cm × 65 cm. Calo Carratalá is a contemporary Spanish artist, based in Valencia, specializing in landscapes. With a passion for traveling, he has visited the Amazon, Colorado, the Alps and the Pyrenees, the forests of Norway... Always armed with sketching pad...

Conte pencil Sanguina on laminated wood. 293 cm × 295 cm // 9.6 ft x 9.7 ft. This series of drawings is inspired by the artist's travel experience in Tanzania and focuses, as the title suggests, on the baobabs, Africa's most characteristic tree. Calo Carratalá...

Landscape is an original china ink drawing realized by Simon Goldberg (1913-1985). with the stamp" Atelier Simon Goldberg" on the lower right. The state of preservation is good. Sheet dimension: 23 x 21 cm. The artwork represents the brilliant landscape of boat and sea...

This painting encapsulates the enchanting moments experienced during a series of breakfasts at Shizico Yi's Scotland home. Created plein air and in situ, scenes unfold over consecuti...

These two drawings as a set, encapsulate the enchanting moments experienced during a series of breakfasts at Shizico Yi's Scotland home. Created plein air and in situ, these scenes u...

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

"Baker's Dozen I" Inks on Paper Painting 14" x 20" in by Inji Efflatoun Not signed Inji Eflatoun pursued free studies in art. Since 1942, she has participated in the exhibitions of...

French Landscape by Guy Nicod (French 1923 - 2021) watercolour on artist paper, unframed painting : 18 x 15 inches provenance: artists estate, France condition: very good and sound c...

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

Ludolf Bakhuizen 1631 - 1708 Dutch Men oWar Setting Sale in a Fresh Breeze Provenance Christies 1998 Pen and Grey Ink and Grey Wash. Image 5 x 7.25". Framed 13.5" x 14.25 The work...

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

White and Black Flower – Jolanta Johnsson, experienced Polish artist, graduate of the Academy of Fine Arts in Warsaw, PhD of fine arts, university teacher. She currently lives in Swe...

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

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

French Landscape by Guy Nicod (French 1923 - 2021) watercolour on artist paper, unframed painting : 8 x 10 inches provenance: artists estate, France condition: very good and sound co...

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

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

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

André MANTELET MARTEL (1876-1953) View Of The Pantheon, Descartes street, Paris Ve area, 1926 Charcoal on paper Signed, dated and located lower left 60 x 44 cm Provenance; former Jac...

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

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

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

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

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

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

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

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

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

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

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

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

Black eye – Jolanta Johnsson, experienced Polish artist, graduate of the Academy of Fine Arts in Warsaw, PhD of fine arts, university teacher. She currently lives in Sweden. This is ...

Eliseo Meifren Roig (1859-1940) - Barcelona - Pencil drawing Drawing measurements 9x12 cm. Frame measurements 22x25 cm.

Tshidiso Andrew Motjuoadi (1935-1968) Bottle Bag (A Penny for a Bottle). 1963. Ink on handmade paper laid down on plywood board, panel measures 20.5 x 28.75 inches. Signed and dated ...

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

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

Lighthouse at the Shore Maine - Impressionist Original Pen and Ink Drawing Landscape Delicate landscape pen and ink line drawing by listed Ma...

ink and pastel on paper

ink and pastel on paper

ink and pastel on paper

Louis Osman was an English artist, architect, goldsmith, silversmith and medallist. He is notable for the gold coronet he designed and made for the investiture in 1969 of Charles, Prince of Wales. We have acquired a large archive of Osman's works form his daughter; to see the other Osman works available, please scroll down to "More from this Seller" and below it click on "See all from this Seller." Louis Osman (1914 - 1996) A Pavilion in a Private Park Pen, ink and wash 67 x 100 cm Provenance: the family of the artist. Signed lower right. Osman was as much an artist as an architect. This is likely a portfolio piece from his time studying at the Bartlett School of Architecture, and is as such a piece of architectural history as well as a beautiful Osman design. Osman was awarded a First Class degree and the Donaldson Medal of the RIBA (for the best result in his year group) by the Bartlett, and then went on to the Slade School of Art. He subsequently trained with Sir Albert Richardson – we also have several Richardson works in our collection. After the war, Osman busied himself as an architect. His work included contributions to Westminster Abbey, and Lincoln, Exeter, Ely, and Lichfield Cathedrals, Staunton Harold Church in Ashby de la Zouch for the National Trust, and of course his folly: the Grade I listed Elizabethan manor house, Canons Ashby in Northamptonshire, now a National Trust property. At Canons Ashby he established a workshop and had a team of silversmiths and goldsmiths working for him. In 1976 he made the gold enamelled coffin...

Chiesa di S. Giovanni A. Maderno is an Artwork realized by the Italian Artist Aurelio Mistruzzi in 1905. Pencil Drawing on paper. Good conditions. Aurelio Mistruzzi (1880-1960) st...

ink and pastel on paper

ink and pastel on paper

ink and pastel on paper

ink and pastel on paper

John Singer Sargent Study off Newport, Rhode Island, 1876 Signed in pencil "JS265A" lower left Pencil on paper 5 x 10 inches Provenance: Estate of the artist Grand Central Art Galleries, New York, 1959 Mr. William H. Bender Jr Sotheby's New York, September 19, 1987 Private Collection 1987-2000 Mark Borghi Fine Art Inc., circa 2002 Private Collection (acquired from the above), New York Recognized as the leading portraitist in England and the United States at the turn of the century, John Singer Sargent was acclaimed for his elegant and very stylish depictions of high society. Known for his technical precocity, he shunned traditional academic precepts in favor of a modern approach towards technique, color and form, thereby making his own special contribution to the history of grand manner portraiture. A true cosmopolite, he was also a painter of plein air landscapes and genre scenes, drawing his subjects from such diverse locales as England, France, Italy and Switzerland. In so doing, Sargent also played a vital role in the history of British and American Impressionism. Sargent was born in Florence in 1856. He was the first child of Dr. Fitzwilliam Sargent, a surgeon from an old New England family, and Mary Newbold Singer, the daughter of a Philadelphia merchant. His parents were among the many prosperous Americans who adopted an expatriate lifestyle during the later nineteenth century. Indeed, Sargent's family traveled constantly throughout the Continent and in England, a mode of living that enriched Sargent both culturally and socially. He ultimately became fluent in French, Italian and German, in addition to English. Having developed an interest in drawing as a boy, Sargent received his earliest formal instruction in Rome in 1869, where he was taught by the German-American landscape painter Carl Welsch. Following this, he attended the Accademia di Belle Arti in Florence during 1873-74. In the spring of 1874, Sargent's family moved to Paris, enabling him to continue his training there. He soon entered the studio of Charles-Emile-Auguste Carolus-Duran. In contrast to most French academic painters, Carolus-Duran taught his students to paint directly on the canvas, capturing the essence of his subject through relaxed brushwork, a tonal palette and strong chiaroscuro. Although Sargent also spent four years studying drawing under Léon Bonnat at the Ecole des Beaux-Arts, it was Carolus-Duran's approach that would form the aesthetic basis of his style. Upon his teacher's advice, Sargent also traveled to Spain and Holland to study the work of old master painters such as Diego Velázquez and Frans Hals, both of whom also employed deft, fluid techniques. In 1876, Sargent made his first visit to the United States, claiming his American citizenship and visiting the Philadelphia Centennial Exposition. One year later, he spent the summer in Cancale, in France's Brittany region, where he painted outdoors, applying Carolus-Duran's strategies to portrayals of fishing folk on sunlit beaches. His reputation in Paris was established in 1878 when his Oyster Gatherers of Cancale (1878; Corcoran Gallery of Art, Washington, D.C.) won an Honorable Mention at that year's Salon. During the early 1880s, Sargent began making painting trips abroad, working in Venice in 1880 and 1882, where he painted street scenes and interiors notable for their brilliant play of light and shadow. He also embarked on what would be a lucrative career as a portraitist, producing such well known works as The Daughters of Edward Darley Boit (1882; Museum of Fine Arts, Boston). His early commissions also included an image of Madame Pierre Gautreau. A renowned beauty and member of Parisian society, Madame Gautreau was known for her bold, unorthodox approach towards fashion. In her portrait, entitled "Madame X" (1884; Metropolitan Museum of Art, New York), Sargent effectively captured her distinctive aura. However, his daring realism, coupled with fact that he portrayed a diamond shoulder strap falling off one of her shoulders, caused such an uproar that his career in France was seriously compromised. As a result of the controversy surrounding "Madame X,"Sargent left Paris in 1886, settling permanently in London. He subsequently flourished in the English capital, becoming the leading portrait painter to the upper classes. Those who shared Sargent's sense of refinement and sophistication, as well as his international viewpoint, were especially drawn to his fashionable French style. In addition to patronage from such prominent British families as the Wertheimers and the Marlboroughs, Sargent received an equal number of American commissions, many of them secured by artists and architects he had met during his student days in Paris, among them painters J. Carroll Beckwith and Julian Alden Weir and architect Stanford White. On a painting tour to America during 1887-1888, he portrayed members of notable families from Boston and New York, including Mrs. Jacob Wendell and Elizabeth Allen...

Original watercolor and ink drawing on paper mounted to heavy cardstock of the Place du Tertre in Montmartre, Paris by the French artist , Jeanne Felicia Simon. Signed lower right ...