1890s Drawings and Watercolor Paintings

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...

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...

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 ...

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

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...

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...

"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...

"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.

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...

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 ...

Untitled Watercolor on paper, c,. 1890 Unsigned Provenance: Estate of the artist Image/Sheet size: 3 1/4 x 4 1/8 inches From Wikipedia "Francis Augustus Lathrop (June 22, 1849 – Oct...

"Porcelain Lumen" 1890s is an original china ink and watercolor drawing on ivory-colored paper by Anonymous French Artist of 19th Century. In excellent conditions: As good as new. ...

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...

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

Theatrical Costume is an original pencil, pastel and watercolor drawing realized by Alfredo Edel in 1895. Good condition, the artwork is with watercolor and biacca. Hand signed with pencil by the artis. Alfredo Leonardo Edel (1856–1912), sometimes credited as Alfredo Edel Colorno, was an Italian costume designer popular during the late 19th and early 20th century. He worked at the La Scala opera...

Theatrical Costume is an original pencil, pastel and watercolor realized by Alfredo Edel in 1895. Good condition, the artwork is from Amleto and represents Ofelia, with a note writes from the artist on the lower margin. Hand signed with pencil by the artist. Alfredo Leonardo Edel (1856–1912), sometimes credited as Alfredo Edel Colorno, was an Italian costume designer popular during the late 19th and early 20th century. He worked at the La Scala opera...

Many of you clicking on this wonderful pen-and-ink are probably doing so because you know of Ellsworth Woodward, who with his brother William Woodward around the turn of the 20th century sparked an arts renaissance in the South, the arts and culture in general having been mostly moribund since the dispiriting defeat experienced in the Civil War. I won't bog you down with lots of detail here since all you have to do is Google his name to bring up a wealth of information about him. He is most famous for his leadership of the arts program at Newcomb College in New Orleans, and its famous Newcomb Pottery...

The Big Tree is an artwork realized by Carlo Ferrari (1861-1950) in 1899. Pencil drawing, dated and signed by the artist in the lower right. Good condition.

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 ...

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...

Ernest Lessieux (1848 - 1925) The sea in calm weather, signed lower left watercolor on paper 16.5 x 24 cm Framed : 35 x 41 cm This rather atypical work is a remarkable addition to...

Sorrowful Lady is an original Drawing on paper realized by painter Pierre Georges Jeanniot (1848-1934) in the 1890s. Drawing in charcoal. Hand-signed on the lower. Good conditions...

The Big Tree is an artwork realized by Carlo Ferrari (1861-1950) in 1899. Pencil drawing, dated and signed by the artist in the lower right. Good condition.

"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...

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.

Decoration is an original drawing in pen and watercolor on paper signed "E.Duc". the state of preservation is good except for some stains and folding on margins. Stamped on the low...

Candlesticks of Normandy is an original china ink and watercolor drawing on ivory-colored paper realized in 1890 ca. by Anonymous Artist of 19th Century. In very good conditions. T...

Painter and Model is an original drawing in ink on paper, realized by Fredric Front, exhibited at the Salon de Paris in 1898, and reproduced and published in Illustration magazine. ...

Siebe Johannes Ten Cate (1858-1908) A Garden in Zurich, 1898 Signed, located and dated "Zurich 98" lower right Pastel on paper 28.5 x 41.5 cm in good condition, trace of a small t...

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

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

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 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...

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...

In the Attic is an original drawing in pen on paper realized in 1890 ca. by an Anonymous artist of 19th Century. Hand-signed on the lower right, illegible. Good conditions. Passep...

"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.

"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 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...

Household is an original drawing in pen on paper realized by an unknown artist in 1896 The State of preservation is good with a small rip on the right m...

Siebe Johannes ten Cate (1858-1908) Mill and sailboat in the moonlight, Signed lower rigt Pastel on paper 40 x 31 cm Framed under glass : 52 x 44 cm This landscape shows the out...

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...

Felician Myrbach (1853-1940) L'Araignée du Prophète, the spider of the Prophet bears the monogram "Mb" on the middle left, titled in the middle Ink on paper 31,8 x 21.9 cm in quite ...

Felician Myrbach (1853-1940) Pour Guitare solo, For Solo Guitar bears the monogram "M" in the middle left, titled in lower left Ink on paper 29,8 x 18,8 cm in good condition, traces...

Horses in a Stable Black chalk on tan wove paper, 1896 Signed with the estate stamp lower right corner (see photo) Note: The image has been sqaured off in red chalk grid lines for use in a large painting Dated in charcoal lower right: "23 Nov '96" Condition: Tack holes in the corners small tears and creases along margins Sheet size: 14 11/16 x 16 13/16 inches Provenance: Dr. Ernst Hauswedell Brenner Fine Arts, Inc., New York Alan Stone Gallery, New York "Georges Lemmen was the son of an architect and studied under Amédée Bourson at the academy in St Joost-ten-Node. He was invited in 1889 to join the Group of Twenty ( Cercle des XX) which had been launched in 1884 by Oscar Maus and had in the interim emerged as an influential force in Belgian artistic circles, not least by bringing to public and critical attention the work of such artists as Georges Seurat and Paul Signac. The Cercle des XX would be reborn in 1894 as La Libre Esthétique. In the early days of the Cercle des XX, Lemmen espoused a pointilliste technique. His earlier painting was clearly influenced by the Neo-Impressionists; over time, however, his style became more subtle and nuanced – recalling, perhaps, that of his compatriot Van Rysselberghe, another Cercle des XX member. With the group’s rebirth as the Libre Esthétique, Lemmen’s work became more intimiste in character, most notably in his portraits, nudes and still-lifes, where the influence of Bonnard and Vuillard is unmistakable, as is that of Renoir, particularly after Lemmen’s travels in the Midi in 1911. From this point onwards, he would go on to make a major contribution to the renewal of the graphic and decorative arts in terms of his input to the new ‘free’ aesthetic and to Art Nouveau. Although his draughtsmanship retained its essential purity and elegance of line, his painting became more fleshy, imprecise and sensual, his compositions governed less by technical considerations than by the urgent need to express his emotions. Between 1889 and 1893, Lemmen exhibited at the Salon des Indépendants in Paris, aligning himself with the Neo-Impressionists. In 1893, Henry van de Velde invited him to participate in the Pour l’Art association that had been created in Antwerp. He travelled to the south of France in 1911. By this juncture, he had already exhibited solo on two occasions (in 1906 and 1908) at the Galerie Druet in Paris. A further solo exhibition in 1913, his first in Brussels, cemented Lemmen’s reputation. Museum and Gallery Holdings Bremen (Kunsthalle): Standing Nude Combing her Hair Brussels (Mus. royaux des Beaux-Arts de Belgique): Children’s Room (watercolour); Reading; Couture; Young Girl by the Sea...

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

Attributed to Eugene Deully (1866-1933) A woman , study, Pencil and heightenings of white gouache on blue grey paper in two parts, the left part added ...

Born in Charlestown, Massachusetts, Hendricks Hallett studied in Antwerp and Paris. Best known for marine scenes and shorescapes of Boston Harbor, he also painted in the White Mountains of New Hampshire and on Mount Desert Island...

Bruno Paul (1874 Seifhennersdorf - 1968 Berlin). Self-portrait, c. 1895. Pencil on paper, mounted on cardboard, 53.5 x 35 cm, signed 'Paul' at upper left. - Homo nudus - About the artwork In a mirrored situation, Bruno Paul looks at himself in the picture. While his body, which is the size of the format, is shown in profile parallel to the picture, he turns his head into the picture in order to become aware of himself there, whereby the lighter use...

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

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...

THEO VAN RYSSELBERGHE Gent 1862-1926 Saint-Clair, Var LES RUBANS VERTS Portrait of Marquerite Mommen-Ithiers 1897 Pastel on paper 90 x 65 cm. Signed and dated: lower right with mo...

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

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Portrait de Camille Pissarro à Éragny by Georges Manzana Pissarro (1871-1961) Conté Pierre Noire on paper 29.2 x 24.2 c...

Life magazine interior illustration, June 15, 1893 The full caption reads: “The Stout One: There is nothing left now but a final separation, I fear, with no likelihood of a reconc...

Attributed to Eugene Deully (1866-1933) A sitting woman, study, Pencil and heightenings of white gouache on blue grey paper; 23 x 14.5 cm Framed (damag...

Gustave Fraipont (1849-1923) A Peasant girl with her flock of Turkeys, Ink and heightenings of blue watercolor on paper 23 x 15 cm Signed on the lower left and titled on lower righ...

Barley, broad beans and a lark (Omugi, soramame, hibari). Original preparatory watercolor next to the finished original Japanese woodblock print. This is a highly finished preparator...

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...

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...