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Late 19th Century Miniature Watercolour - Portrait of a Victorian Gentleman

19th Century

A fine watercolour full body portrait of a beautiful, young debutante in a ball gown and pearl jewelry. The young lady is descending a curved stone staircase...

A delightful watercolour painting with pen and ink by the artist Harold Hope Read. The scene depicts a room with several high society ladies, a typical subject in Read's work. Presen...

Linear brush strokes are used in a direct, intuitive style to depict a strong portrait of a figure in sunglasses. Unsigned. On wove.

An endearing watercolour study of a young Pyrenean Mountain boy finished with subtle areas of body color. Signed, dated and inscribed in the bottom right-hand corner. Well presente...

A fine contemporary painting perfectly capturing a bustling city street. Signed and dated. On the reverse is a label from the Bankside Gallery. Well presented in a painted wood frame...

A striking composition in watercolour with pastel elements, showing two figures, one some sort of Egyptian deity and the other an old fashioned soldier.

GEORGE ELGAR HICKS (1824-1914) Portrait of a Young Gentleman Signed and dated 1858 Watercolour and bodycolour, oval 30 by 25 cm., 11 ¾ by 9 ¾ in. (frame size 50 by 41 cm., 19 ¾ b...

WILLIAM HENRY BARRIBAL (1873-1956) Girl in a Green Hat Signed Watercolour and bodycolour and silver paint Framed 19 by 19 cm., 7 ½ by 7 ½ in. (frame size 38 by 37.5 cm., 15 by 14 ...

A set of three framed watercolour and gouache studies on handmade paper applied to Vélin d'Arches of tribal objects by French artist La Roche Laffi...

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...

William Magrath (Irish, 1838-1918) Woman with a Blue Kerchief Watercolor on paper, mounted; 18 1/2 x 14 1/2 inches Signed and dated at upper right: "W Magrath/1876" Stamped on stret...

Portrait. Watercolor on paper, 42x37 cm Dzidra Ezergaile (1926-2013) Born in Riga. School years alternate with summer work in the countryside. In 194...