1890s Drawings and Watercolor Paintings

English Mansion by the Cemetery - Late 1800s Watercolor on Paper Dramatic and detailed landscape by Lucy Cooper (British, 1853-1929). A large home is shown on the left, with a red r...

Gustave Poetzsch (1870-1950) Gladiators Original pencil drawing Stamp of the Estate auction sale on the back on thin vellum 14 x 22 cm (c. 6...

Gustave Poetzsch (1870-1950) Study for a Celebration Menu Original watercolor and pencil drawing Signed in pencil Stamp of the Estate auction sale on the back on vellum 31 x 21 cm ...

An original pastel painting oof a young maiden by listed American artist Hamilton Irving Marlatt. This beautiful painting comes housed in its original...

LIONEL DURIEU (Born 1865) The Tournay of the Lily and the Rose Signed and dated 1898 Watercolour and gold and silver paint on vellum Framed 19 by 31 cm., 7 ½ by 12 ¼ in. (frame ...

"Porcelain Vase" 1890s is an original china ink and watercolor drawing on ivory-colorated paper by Anonymous French Artist of 19th Century. In very good condition. Not signed.

Woman On Bicycle is a Blue Pencil Drawing realized by Adolphe Léon Willette in 1890s. Good condition on a yellowed paper. Monogrammed, included a wh...

La Tribuna is a colored lithographed original manifesto on cardboard, realized around 1897 by the Italian artist Giovanni Mataloni. Printed by Officine Ricordi, Milan, this advertisi...

Interesting and well-drawn French late 19th-century River landscape with boat sketch, in pen and ink and sepia color. Emile Cagniart was born in Paris wh...

Very fine graphite on archival paper drawing of a typical mountain side house in the town of Hayingen, Germany by the prominent artist, Johannes Kleinschmidt. Signed in ink lower le...

An original antique watercolor by American artist Amos Sangster featuring a dramatic allegorical composition and spectacular hand carved frame.

Interesting and well-drawn French late 19th-century landscape sketch in pen and ink . Emile Cagniart was born in Paris where he would remain for his sixty years. Like many young asp...

Beautiful turn of the century figurative landscape by F.S. Mediary (American, Late 19th Century/Early 20th Century). Presented in a giltwood frame. Signed "F.S. Mediary" lower right....

Untitled, 1894 Graphite on paper Sight: 13 1/2 x 17 in. Framed: 20 x 24 x 1 in. Signed and dated lower right, inscribed lower left

"Porcelain Lumen" 1890s is an original china ink and watercolor drawing on ivory-colorated paper by Anonymous French Artist of the late 19th Century. In very good condition. Not s...

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

The aggressors is a modern artwork realized by Jules Joseph Montjoye in 19th century. China ink drawing. Includes frame: 19 x 25.5 cm

En Attendant l'Ami is a black and white Drawing realized by Hermann Paul. Passpartout included: cm 50x35 Good condition. René Georges Hermann-Paul (27 December 1864 – 23 June 194...

Interesting and well-drawn French late 19th-century landscape sketches in pen and ink . Emile Cagniart was born in Paris where he would remain for his sixty years. Like many young a...

The Vase is an original charcoal drawing on paper realized by Edouard Dufeu in the mid-20th century. Hand-signed on the lower. Included a white Passepartout: 37 x30 cm Good condit...

Man with Seated Hat is an original pencil drawing realized by George Auriol in 1890s. Unsigned. Stamp on the back by G. Auriol. Good conditions. George Auriol, born Jean-Georges H...

"Porcelain Vase" 1890s is an original China ink and watercolor drawing on ivory-colorated paper by Anonymous Artist of 19th Century. In very good condition. This artwork represent...

Farmers with Bundle of Spikes is an original pair of modern artworks realized in 1892 by an Italian artist. Original watercolors on paper. Hand-signed and dated on the lower right...

Porcelain Vases is an original china ink and watercolor drawing on ivory-colorated paper realized in 1890 ca. In very good conditions. This artwork represents various models of po...

"Porcelain Vase" 1890s is an original china ink and watercolor drawing on ivory-colored paper by an unknown French Artist of XIX Century. In excellent conditions: As good as new. N...

The Officers of the Chamber is an original drawing in pencil and watercolor and an important historical document realized by Frédéric Theodore Lix...

Soldiers is an original pen drawing realized by Georges Dascher. Good condition on a yellowed cardboard. Signed on the lower left corner. Georges Dascher, born on October 6, 1851 ...

"Porcelain Vase" 1890s is an original china ink and watercolor drawing on ivory-colorated paper by an unknown French Artist of the 19th Century. In very good conditions. Not signed.

"Porcelain Lamp" is an original watercolor and ink drawing on ivory-colored paper realized in 1890 ca. by Anonymous french Artist of the 19th Century. In very good conditions, exce...

Sketches of Women is an original graphite drawing on vellum realized by George Auriol, in 1890s. Unsigned. Stamp on the back by G. Auriol. Good con...

Young Woman with Umbrella is an original pencil drawing realized by George Auriol in 1890s. Unsigned. G. Auriol's stamp on the back. Good conditions. George Auriol, born Jean-Geor...

Porcelain Vases is an original china ink and watercolor drawing on ivory-colorated paper by realized in 1890 ca. Anonymous Artist of 19th Century. In very good conditions. The artw...

Sketch of a Woman sitting from behind is an original graphite drawing on vellum realized by George Auriol, in 1890s. Unsigned. Stamp on the back by G. Auriol. Good conditions. Geo...

The Spanish with castanets is an original china ink drawing realized by Adolphe Léon Willette, a French illustrator, painter, caricaturist, lithographer, and architect. The state of preservation is very good. Hand-signed, on the lower right. The artist Adolphe Léon Willette, with his irreverent art...

Figure of Woman, 1895, is an original China ink drawing on ivory paper by Anonymous Artist of the late 19th Century. In very good condition. Not signed. Dated on the lower right ma...

"Porcelain Lumen" 1890s is an original china ink and watercolor drawing on ivory-colored paper realized by an unknown French Artist of 19th Century. In very good conditions. Not s...

"Lamp and Decoration" 1890s is an original watercolor drawing on ivory-colorated paper by Anonymous Artist of the late 19th Century. In very good conditions. Not signed.

Group of Female Nudes is an original pencil drawing on paper realized by Ernest Rouart by the turn of the XX century. Original stamp of the artist on the center of the sheet. Good ...

Felician Myrbach (1853-1940) Le Cadeau de Sahagun, The Gift of Sahagun bears the monogram "M" on the lower left, titled on the lower left Ink on paper 29,8 x 18.7 cm In a modern fra...

La Sentinelle is a modern artwork realized by Maurice Chabas in 1898. Sepia drawing. Good conditions.

Side View Seated Female Nude Graphite on paper, c. 1890's Unsigned Provenance: Rookwood Pottery Factory Collection, Cincinnati Spanierman Gallery, New York (label) Drawings from the...

Gustave Riquet (1866-1938) Les Œillets de la vie, 1898 (Carnations of life) Signed and dated on the lower right, The text on the lower left is the following "Cueille dès aujourd'hui les oeillets de la vie" , which can be translated as "Pick today the carnations of life" watercolor on paper 37.5 x 51.5 cm In good condition In a modern frame : 53 x 67 cm The text clearly gives the meaning of this allegorical portrait...

Standing Lincoln: The Man, Lincoln Park, Illinois Watercolor and graphite on paper , c. 1895 Signed in script lower right (see photo) The scene depicts the Augustus Saint-Gaudens bro...

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...

Felician Myrbach (1853-1940) The Musketeers bears the monogram "M" on the lower left Ink and pencil on paper 26,7 x 23,7 cm in good condition, In a mod...

A stunning 19th Century antique gouache on paper still life by an unknown artist. This beautiful work comes in its original antique frame with new archival mat presentation.

Nineteenth century French watercolor painting of farm house, circa 1890. Original artwork on paper displayed on a white mat with a gold borde...

Beautifully detailed 19th century French drawing of cattle being lead to watering hole, circa 1895. Signed lower right. Original artwork on paper disp...

Georges Scott (1873-1943) Portrait of Jules Lagorio 1893, signed, dated and annotated on the right : "A monsieur Jules Lagorio, Souvenir de notre excursion à l'Estaque 12 mai 1893" Pencil on paper 24 x 22 cm In fair condition : an horizontal crease in the middle of the shhet, stains ans other creases, trace of the mount (see photographs please) In its original vintage framing : 33 x 30 cm If not in perfect condition, this intimate portrait by the young artist is really intersting and charming. The mention of it as a souvenir of an excursion to l'Estaque is interesting too. L'Estaque, near Marseille was a famous place for painters of the time such as Cezanne, Braque and Renoir who painted there the sea and shores. The young Georges Scott wanted to keep the souvenir of the excursion with his friend, but we have to think of the place by the gaze of the model contemplating it. Georges Scott, or Scott de Plagnolle (his full name wasGeorges Bertin Scott de Plagnolle ), was born on June 10 1873 in Paris, he was a painter and illustrator. He studied at the Alsatian School in Paris, where he drew a lot: “I have always drawn […]. My father was a painter and illustrator. I was born in a workshop ”. Fatherless in 1884, he studied at the Beaux-Arts, then was one of the pupils of Édouard Detaille, he was a member of French artists outside the competition in 1897. Painter and illustrator, he worked for various periodicals, including Cocorico and L'Illustration where his first drawing was published on March 19, 1892 (“La catastrophe d'Anderlues”). In 1911, the Minister of War Adolphe Messimy asked Scott and Detaille for studies to renovate the uniforms of the French Army: if their projects were not adopted, some were published in newspapers such as L'Illustration in March 1912 he covered as a war correspondent for the newspaper the First Balkan War, with the Bulgarian Army. He returned to Thrace inJuly 1913 for the Second Balkan War, but with the Greek Army, meeting King Constantine. In September 1913, on the occasion of the King of Greece...

Georges Antoine Rochegrosse (1859-1938) A man sitted, Study for the decoration of the Salle des fêtes (Ballroom) of the Exposition Internationale, Paris 1900 Pencil and charcoal on thin yellow paper 29.5 x 20 cm In acceptable condition : Tears and creases as visible on the photographs. In a modern frame : 46 x 36.5 cm Annotations on the back of the mount (now under the modern frame) that identifiy this drawing as a preparatory study for the decoration of the Salle des fêtes (Ballroom) of the 1900 Paris Exposition Internationale. It's also indicated that Henri Bataille...

Naturalistic European harbor scene with boats and figures preparing the boats of sailing. The work is signed and dated by the artist in the bottom corner. The paper comes with a blac...

Fenn, Harry. A VENEZUELAN STATION and THE FALLS OF "EL NEGRO" CUYUNI RIVER. Ink and wash, 1896. Two drawings, the original artwork for illustrations accompanying "Glimpses of Venzuela," an article by W. Nephew King published in Century Magazine, July, 1896, pp. 358-368. Each about 9 x 11 inches, in very good condition, and framed. King is best known for his writings about the Spanish-American War of 1898. Harry Fenn, 1845-1911, was born in England, but worked in the United States. He was a painter, and printmaker, but is known primarily as a book and magazine illustrator. He illustrated books of poetry for John Greenleaf Whittier, and in 1870 was hired to do illustrations for Picturesque America, which was edited by William Cullen Bryant...

François FLAMENG Paris 1856 - 1923 Diana the Huntress floating in the clouds, fan project 1893 Watercolor and gouache on wove paper Signed and dated lower right 25 x 70 cm sheet (le...

Cette aquarelle a été réalisée en 1895 par le dessinateur et illustrateur Adolphe Giraldon (1855-1933) pour encadrer le sonnet "Maris Stella" du poète José-Maria de Heredia, qui a d'...

STEPHEN BAGHOT DE LA BERE (1877-1927) The Sportsmen Signed Watercolour and pencil Framed 36 by 30.5 cm., 14 ¼ by 12 in. (frame size 48.5 by 43 cm., 19 by 17 in.) Baghot de la Ber...

Adolph Eduard Otto von Faber du Faur (1828 Ludwigsburg - 1901 Munich). Man sitting in the studio. Watercolour painting, 43 x 27 cm (visible size), 73 x 53 cm (frame), monogrammed at lower right, estate stamp. Upper right corner neatly repaired, small tear in the wall to the left of the sitter. - Thinking about art - About the artwork The sitter, an elderly man, is seated in a studio on a pedestal reminiscent of an academy hall. The earthy, dark tones give the scene a weighty quality. The lightest tones are found in the incarnate parts of the figure, which do not stand out from the other colours of the picture, but are linked to them. As a result, the sitter's face is both part of and the highlight of the colour references in the picture. The colour of the sitter's skin is reflected in his pink coat, while his white-grey hair matches the colour of the wall next to him. This almost monochrome wall surface, in turn, is connected across the portrait to the framed picture standing on the floor, which seems to have been erased by this correspondence with the empty wall surface. Through the palette, which is positioned directly behind the sitter's head, the reference to painting, which is already given by the studio space, is explicitly linked to the sitter, who thus seems to be contemplating the question of the meaning of art. This raises the question of whether Faber Du Faur, who had become lonely in his old age, might have painted a self-portrait here in his later years. In addition to the studio setting, the sitter's explicit reference to the palette and the fact that the picture was part of his estate, the only summary elaboration of the body suggests a self-portrait, while the representation of the face is concretised with the wide-open eyes typical of a self-portrait. This concentration on the face gives the impression of the artist's melancholy introspection, captured by the palette and related to the meaning of painting, whose dark character is reinforced by the concealment of the palette hanging on the right of the picture in the light tones so characteristic of Faber Du Faur. In the course of this resignation, Faber du Faur advises his son Hans, who has also become a painter: "Promise me one thing: never move to Munich, they'll kill you here!" Whoever the sitter may be, the references to painting make the portrait a resigned self-contemplation by Faber Du Faur, focused on art. About the artist After leaving school, Otto Faber du Faur entered the service of the Württemberg army, at the same time cultivating his artistic talent. In 1851, on the recommendation of his father Christian Wilhelm, who was himself a battle painter, he spent six months in Munich as an apprentice to Alexander von Kotzebue. In 1852 he was granted a year's leave of absence from military service to study battle painting in the studio of Adolphe Yvon...

Paul Friedrich Meyerheim (1842 Berlin - 1915 ibid.). Sketch of a female torso with hands and an umbrella. Pencil on paper, 27.5 x 22.5 cm (visible size)...

Orchid and small swallows (Hokuri, kotsubame). Original preparatory watercolor next to the finished original Japanese woodblock print. This is a highly finished preparatory watercolo...