Unknown

Chinese Craft on the Pearl River.

1810

[CHINESE SCHOOL]. Chinese Craft on the Pearl River. Canton, circa 1810. Pencil, water colour and body colour drawings of craft, heightened with white on paper watermarked ‘J Whatm...

[CHINESE SCHOOL]. Chinese Craft on the Pearl River. Canton, circa 1810. A pencil, water colour and body colour drawing of craft, heightened with white on paper watermarked ‘J Whatm...

[CHINESE SCHOOL]. Two Watercolour Scenes. Possibly Canton ca.1820]. Very impressive large scale watercolours of Chinese scenes, presumably executed for the Western market by an an...

[CHINESE SCHOOL]. Chinese Craft on the Pearl River. Canton, circa 1810. A pencil, water colour and body colour drawing of craft, heightened with white on paper watermarked ‘J Whatm...

[CHINESE EXPORT WATERCOLOURS ON PITH PAPER]. A Group of 10 Flowers and Butterflies. mid to late nineteeenth century. A fine group of Chines...

[CHINESE EXPORT WATERCOLOURS ON PITH PAPER]. Group of 12 flowers and insects. Mid to late nineteenth century. A fine group of Chinese export...

The idyllic atmosphere of this local dock scene falls within a couple of styles one being regionalism, an American realist modern art movement that included paintings, murals, lithographs, and illustrations depicting scenes of rural and small-town America primarily in the Midwest and frequently associated with Grant Wood and Thomas Hart Benton. The other style is romanticism wherein the scene depicted is a more desired or dramatic version of what actually is. “Untitled (Dock Scene)” is typical of a small town dock scene from Michigan where Culver lived or from places as far away as Maine, but what makes it important is its easy familiarity: water, gulls or terns, slanting wood shanties, scruffy dirt patches and course grasses. It is not idealized, but does set the tone of fresh air, the scream of birds and the sun on water. This piece has been professionally reframed with acid-free matting and museum glass. In a 1952 Detroit Free Press article, entitled “Artist Explains His Work,” Culver was asked why he painted the way he did. He stated: “I try to ‘see’ though not too exactly; I try to think though not too ponderously; I feel emotion yet I try not to become overwrought. I interpret rather than describe, and design rather than depict. I work with values, not light and shade; hence, when I am successful, I achieve substance rather than three-dimensional form, and this satisfies me as being wholly sufficient. In my work I wish to be serious without becoming a bore, exuberant without being frivolous, humorous without being silly. I believe that good paintings are conceived, not contrived; and I am interested in art much more than in pictures.” Charles Culver...

Ludovico Zambeletti (Italian, 1881 - 1966) Barche da pesca - Fishing boats • Water colour on paper, visible image ca. 9 x 13.5 cm • Glased frame ca. 18 x 25 cm • Signed bottom right Ludovico Zambeletti was born on the 19th of April, 1881 into a wealthy industrialist Milanese family. He was classically educated in the arts, enrolled into the Studio all’Academia di Brera and then studied under Cessare Tallone, Guiseppe Mentessi, Vespassiano Bignami and Camillo Rapetti...

Charles George Nicholls (English, flourished 1792 - 1818) Picturesque Gangetic Landscape in India • Circa 1805 • Watercolour on thick paper, ca. 20 x 49.5 cm • Mounted behind a modern passpartout, visible image ca. 19 x 49 cm • Original Georgian frame (newly glassed) , ca. 39 x 70 cm • Signed lower left corner Worldwide shipping is complimentary - There are no additional charges for handling & delivery. Very detailed watercolor painting - note how light reflecting off the water surface was skillfully created by scratching the paper surface. Charles G(J)eorge Nicholls, originally a merchant seaman, was a contemporary of Thomas and William Daniell, and like them, he made several sketching trips whilst in India, including up the Dohab, which is from where this drawing appears to be of. He worked as draughtsman for the East India Company based in Calcutta and was also employed by the Office of the Surveyor-General, where he was involved in the Survey of Orissa, South Bengal. Unfortunately bad eyesight truncated his career and he returned to England in 1815. Nicholls signed his middle name’George’ using a ‘G’, aswell as a ‘J.’ Nicholl’s work surfaces from time to time and can command high prices at auction – especially for his Indian landscapes. For example, a drawing by Nicholls ( a page of an album) was auctioned by Sotheby's (Valuable Printed Books, June 1997, Lot 407), or a series of water coulours were auctioned by Christie's (Visions of India, June 1998) and in September 2000 two small drawings were auctioned again by Christie's (Exploration & Travel with Visions of India). Also, I know there is a unsigned water colour titled 'Bridge over the River Bama by Benares' in the collection of the Oriental & India Office Collections (OICO) at the British Library. Here is a rare opportunity, to acquire a large format watercolor (double album page), featuring a very impressive view of what India looked like over 200 years ago - seen through the eyes of a skilled artist, in employment by the famous East India Company. I also think that as India opens up more and more rapidly to the world and enjoys increasing prosperity, the interest in cultural heritage, trophy objects like the one I am offering here today, will find their way back to India, into a collection or onto a wall in a chic office or luxurious apartment. The water colour drawing...

This early 20th-century watercolour by Belgian artist Victor Wagemaekers (1876-1953) depicts a view across an open field towards several cottages. It’s an accomplished naturalistic work. Here we see the characteristically flat farmland of the low countries. A wide view with a distant vanishing point. Note the rendering of the furthest trees in near-white as they disappear from view. And the smoke gently rising from the cottage chimneys. Wagemaekers was a realist and sought to capture nature as it was - in a traditional style inspired by the Flemish old masters. He was part of a movement known as ‘Le Sillon’, comprised mainly of students from the Brussels Academy. This group of traditionalists were anti-impressionism and looked back towards the glory days of Flemish artistry. His naturalistic views were usually captured in the broad fields around Brussels, particularly in Grimbergen. Signed lower right and held within a period frame. Victor Wagemaekers trained under Franz Courtens (1854-1943) and his works are held in several public collections including at the Royal Museum of Fine Arts, Antwerp, Museum Taxandria and Jakob...

Neutral tone naturalistic city scene by an unknown artist. The work features a central figure on horseback riding down a village backstreet. The "hostal" street sign overhead indicat...

White Emblem Orchid featured in a sophisticated monochromatic grey indigo botanical watercolor crated by artist Adrienne Sherman. Her poetic floral series is at once modern, fresh an...