19th Century Still-life Drawings and Watercolors

Elizabeth Jenkins was born in New Brunswick, Canada, in 1841. By the early 1870s the artist was living in Yuba County, California. In 1873 she exhibited at the California State Fair.

BRITISH SCHOOL (19th Century) Clover, Ivy and Buttercup Watercolour and bodycolour Unframed, in mount only 5.5 by 10.5 cm., 2 ¼ by 4 ¼ in. (mount size 18.5 by 25 cm., 7 ¼ by 9 3/4...

A fine watercolour study depicting a nest of hedge sparrow eggs with cherry blossom . The artist uses an expert hand to capture the fine details of the intricate birds nest and delic...

A fine Victorian watercolour of wild primroses, flourishing in a rocky English woodland. The artist has captured each flower with its deep yellow eye and large velvety leaves, buried...

A delightful early 19th-century graphite and watercolour study of agricultural equipment. Inscribed with the location 'Delphi and the date 1834', Cromek was known to have been tourin...

BRITISH SCHOOL (19th Century) Still Life of Cherry and Holly Leaf Watercolour and bodycolour Unframed, in mount only 10.5 by 7.5 cm., 4 ¼ by 3 in. (mount size 25 by 21 cm., 6 by 8...

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...

A charming 19th Century still life study depicting a seashell, dog roses and a pansy carefully placed before a rock. The artist captures the delicate flowers and their textures in gr...

William C Ostrander: 1858-1933. Listed NYC and California artist. In the 19th century he taught at Metropolitan Museum of Art in NYC. His works are very scarce as I could only find o...

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.

An oval still life depicting a vase full of flowers with a butterfly perched on a leaf in the lower register of the composition. Presented glazed in a ...

A fine watercolour and gouache flower study, monogrammed 'K.S.' and dated '1889' to the lower right-hand quadrant. Well-presented in a double washline ...

Conditions: Very good overall condition. Edge right, visible under UV Light, minor retouching (5mm). The frame is period frame original baring stickers from Galleries in London. Low...

BRITISH SCHOOL (19th Century) Blackberries Watercolour and bodycolour, circular Unframed, in mount only Diameter 8 cm., 3 ¼ in. (mount size 21.5 by 21 cm., 8 ½ by 8 ¼ in.)

Trompe l'oeil [untitled]. Homage.... Ink drawing, multimedia, 1837. Paper size 13.13 x 16.44" (33.3 x 41.8 cm). On watermarked paper "Blauw and Briel." Overall good condition. Small tears and the occasional bit of paper missing at the paper edge. Original color. Center paper crease - as issued. We believe the artist created this artwork on a sheet of paper that had been previously bound in a book. Dutch trompe l'oeil drawing with pen & ink, pencil, sepia, and black chalk, wax seal, and painted pigment. This montage of early 19th century ephemera depicts sheet music, scenic views, a sealed letter, cards, a portrait of an unknown sitter, and a penned sheet noting ... van S. G. Wezel Wassenaar, October 1837. Is this a homage to the individual portrayed, a metaphorical self-portrait, or just a random assortment of ephemera beautifully composed? The artist keeps us wondering and visually appeased by a striking harmony created through contrast. This piece starts with sheet music entitled; Romance Larghetto No 2. There is a Psalm and Op Jezus Geboorte (On Jesus Birth...

Guignet was born in Annecy and grew up in the city of Autun. He was a friend of Hippolyte Michaud. He was a rather popular orientalist painter in h...

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)...

Unknown Artist (American, nineteenth century) Shells and Seaweed Watercolor on paper, 6 x 8 inches FRAMED: 11 x 13 inches

JEBEZ BLIGH (1832-1900) Mushrooms in a Basket Signed and dated l.r.: J BLIGH / 74 Watercolour Framed 22.5 by 31.5 cm., 9 by 12 in. (frame size 42.5 by 51 cm., 16 ¾ by 20 in.) Jeb...

Blanche ODIN Troyes 1865 - Bagnères-de-Bigorre 1957 Throw of flowers, nasturtiums Watercolor on paper Signed lower right 25 x 16.5 cm sheet 37 x 30.5 cm frame

Anna Mary Richards Brewster (1870-1952) Plant Study Pencil and gouache on gray paper, 5 7/8 x 7 7/8 inches (14.9 x 20 cm) Signed and dated lower right: AMR Jul 28. Provenance The ar...

Fine Watercolour Drawing by Alexandre Jules Monthelier. He was a French Artist who worked in France and created many drawings of famous landscape and sceneries (e.g. the cathedral of...

This charming watercolour scene depicts a vibrant flower market in Dieppe, France. Figures with large baskets browse the selection of bright flowers on the narrow French Street. Pain...

A pretty cornucopia of elderberries and nasturtiums, tumble out from a knotted linen cloth and wicker basket. This wholesome still life shoes us the bounty of late Summer and early A...

A fine and delicate watercolour painting, depicting a short vase with yellow flowers. Unsigned. Well-presented in a double card mount and in a speckled gilt effect frame. On watercol...

A fine and detailed watercolour painting, depicting a still life composition with several fruits, nuts, a pumpkin and a white jar. Monogrammed to the lower right-hand corner. Well-pr...

Watercolor on paper

Ellen Weigall’s From Nature is a captivating still life that showcases her remarkable attention to detail and her skill in composition. The painting presents a sumptuous arrangement ...

A Pair of Drawings, Framed Signed and dated 1855 Chalk in black, brown wash, heightened with white, on paper each sheet, 46 x 31 cm . Framed. Two Landscape and Sea View Old Master Drawings, Paris, 18th Century, by Mozin Charles Louis Mozin (* 12 March 1806 in Paris; † 7 November 1862 in Trouville-sur-Mer) was a French painter. He is the grandfather of the Post-Impressionist Fernand Piet. The brother of the composer Théodore Mozin was a pupil of Xavier Leprince. He is considered the "discoverer" of Trouville-sur-Mer, which developed into a popular seaside resort at the end of the 19th century. At the age of nineteen, he first came to the fishing village on the coast...

Ashley John is proud to offer this artwork by: Emily Stackhouse (1811 - 1870) Miss Emily Stackhouse was born in the West Country in 1811, the same year as botanist and writer Reve...

Signed (at lower right): FJK

A Collection of Botanical Watercolours: Drawings of British Plants Emily Stackhouse (1811-1870) perfectly illustrates the Victorian fascination with the countryside in this remark...

A Collection of Botanical Watercolours: Drawings of British Plants Emily Stackhouse (1811-1870) perfectly illustrates the Victorian fascination with the countryside in this remark...

Signed (at lower right): FJK

Ashley John is proud to offer this artwork by: Emily Stackhouse (1811 - 1870) Miss Emily Stackhouse was born in the West Country in 1811, the same year as botanist and writer Reve...

A Collection of Botanical Watercolours: Drawings of British Plants Emily Stackhouse (1811-1870) perfectly illustrates the Victorian fascination with the countryside in this remark...

A Collection of Botanical Watercolours: Drawings of British Plants Emily Stackhouse (1811-1870) perfectly illustrates the Victorian fascination with the countryside in this remark...

A Collection of Botanical Watercolours: Drawings of British Plants Emily Stackhouse (1811-1870) perfectly illustrates the Victorian fascination with the countryside in this remark...

A Collection of Botanical Watercolours: Drawings of British Plants Emily Stackhouse (1811-1870) perfectly illustrates the Victorian fascination with the countryside in this remark...