Building Drawings and Watercolor Paintings

This beautiful intricate, Rotring pen and markers on paper, on 350gsm Colorset white paper. This piece is framed on a white wood frame, uv glass and all archival materials. GUILLAUM...

This beautiful intricate, Rotring pen and markers on paper, on 350gsm Colorset white paper. This piece is framed on a white wood frame, uv glass and all archival materials. GUILLAUM...

This beautiful intricate, Rotring pen and markers on paper, on 350gsm Colorset white paper. This piece is framed on a white wood frame, uv glass and all archival materials. GUILLAUM...

This beautiful intricate, Rotring pen and markers on paper, on 350gsm Colorset white paper. This piece is framed on a white wood frame, uv glass and all archival materials. GUILLAUM...

"Bleak House 6-16-19" is an architectural watercolor painting featuring hues of blue, tan and green. Kathryn Keller is inspired by the works of George Inn...

Fortunino Matania 1881-1963 Italian Piccadilly Circus Signed “Matania” (center, on bus) Watercolor and gouache on paper This exceptional watercolor and gouache composition by fam...

Ink on paper Liu Ziyu is a Chinese artist born in 1978 who lives and works in Beijing, China. He was graduated in 2020 from from the Stroganov Moscow State Academy of Arts and Indus...

Emile Antoine Verpilleux, 1888-1964 Malines, 1922 Original woodcut, printed in colors 14 x 15 inches Signed in pencil

Emile Antoine Verpilleux, 1888-1964 St. Paul’s Cathedral: Rainy Day, 1924 Original woodcut, printed in colors 14 x 18 inches Signed in pencil

Unknown Artist Untitled (Country Home), 20th Century Watercolor and ink on paper 21 x 29 in. Framed: 28 1/4 x 36 1/16 x 3/4 in.

Represented by George Billis Gallery, NYC & LA -- Represented by George Billis Gallery, NY, Having worked from a studio in the Gowanus area of Brooklyn for two decades, Elizabeth O'...

A striking perspective drawing of St Mark's Square by British artist Derek Bridgwater. Dominating the east end of the scene, St Mark's basilica sits with its grand domes and Romanesq...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

Dutch Watercolour classical building portrait by Tineke Goedhart. The painting is signed and dated bottom left and resigned, dated and located on t...

Signed by the artist and inscribed 'Venice' to the lower margin. Well-presented in a crisp white mount and gilt-wood frame. On watercolour paper.

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

A winter scene featuring a weathered old barn with a snow covered roof. :: Painting :: Realism :: This piece comes with an official certificate of authenticity signed by the artist ...

This drawing records the destruction that was endured by London during the Blitz. The building in the foreground is St Nicholas Cole Abbey, situated in the city of London. Whilst a church was recorded on this site from the twelfth century, this church was destroyed in the Great Fire of London so the remnants of the church that we see here is one that was built by Sir Christopher Wren...

Ink and wash in sepia and brown on heavy wove paper, 5 13/16 x 8 1/2 inches (146 x 215 mm). Scattered uniform age tone and discoloration throughout. Brown ink spot with associated sp...

Kate Samworth is a Maryland-based artist who works with scratchboard, an illustrative technique using sharp knives and tools for engraving into a thin layer of white China clay that ...

A charming 20th Century watercolour street scene showing a darkened street with Tudor buildings on either side, possibly The Shambles in York or somewhere with similar architecture. ...

Pastel on paper Elena Borstein currently lives and works in New York City and the Adirondack Mountains. Born in Hartford, Connecticut, She received her B.S. Degree from Skidmore Col...

Pastel on paper Elena Borstein currently lives and works in New York City and the Adirondack Mountains. Born in Hartford, Connecticut, She received her B.S. Degree from Skidmore Col...

Theatre Du Chatelet A stunning gouache by one of France's premier artists specialising in Parisian scenes. Eugene Galien LALOUE (1854 - 1941) Eugène Galien Laloue was particularly...

Iridescent sunlight dances on the water of this mesmerising Vancian watercolour with gondolas. Unsigned. Elegantly mounted in a mirror gilt frame. On watercolour paper.

Two interesting windows on the side of an old textured building creating a feeling of intrigue and mystery. :: Painting :: Realism :: This piece comes with an official certificate o...

Max Kuehne (1880 - 1968) Train Station, circa 1910 Watercolor on paper 8 1/4 x 10 1/4 inches Signed lower right Provenance: Private Collection, Illinois Max Kuehne was born in Halle, Germany on November 7, 1880. During his adolescence the family immigrated to America and settled in Flushing, New York. As a young man, Max was active in rowing events, bicycle racing, swimming and sailing. After experimenting with various occupations, Kuehne decided to study art, which led him to William Merritt Chase's famous school in New York; he was trained by Chase himself, then by Kenneth Hayes Miller. Chase was at the peak of his career, and his portraits were especially in demand. Kuehne would have profited from Chase's invaluable lessons in technique, as well as his inspirational personality. Miller, only four years older than Kuehne, was another of the many artists to benefit from Chase's teachings. Even though Miller still would have been under the spell of Chase upon Kuehne's arrival, he was already experimenting with an aestheticism that went beyond Chase's realism and virtuosity of the brush. Later Miller developed a style dependent upon volumetric figures that recall Italian Renaissance prototypes. Kuehne moved from Miller to Robert Henri in 1909. Rockwell Kent, who also studied under Chase, Miller, and Henri, expressed what he felt were their respective contributions: "As Chase had taught us to use our eyes, and Henri to enlist our hearts, Miller called on us to use our heads." (Rockwell Kent, It's Me O Lord: The Autobiography of Rockwell Kent. New York: Dodd, Mead and Co., 1955, p. 83). Henri prompted Kuehne to search out the unvarnished realities of urban living; a notable portion of Henri's stylistic formula was incorporated into his work. Having received such a thorough foundation in art, Kuehne spent a year in Europe's major art museums to study techniques of the old masters. His son Richard named Ernest Lawson as one of Max Kuehne's European traveling companions. In 1911 Kuehne moved to New York where he maintained a studio and painted everyday scenes around him, using the rather Manet-like, dark palette of Henri. A trip to Gloucester during the following summer engendered a brighter palette. In the words of Gallatin (1924, p. 60), during that summer Kuehne "executed some of his most successful pictures, paintings full of sunlight . . . revealing the fact that he was becoming a colorist of considerable distinction." Kuehne was away in England the year of the Armory Show (1913), where he worked on powerful, painterly seascapes on the rocky shores of Cornwall. Possibly inspired by Henri - who had discovered Madrid in 1900 then took classes there in 1906, 1908 and 1912 - Kuehne visited Spain in 1914; in all, he would spend three years there, maintaining a studio in Granada. He developed his own impressionism and a greater simplicity while in Spain, under the influence of the brilliant Mediterranean light. George Bellows convinced Kuehne to spend the summer of 1919 in Rockport, Maine (near Camden). The influence of Bellows was more than casual; he would have intensified Kuehne's commitment to paint life "in the raw" around him. After another brief trip to Spain in 1920, Kuehne went to the other Rockport (Cape Ann, Massachusetts) where he was accepted as a member of the vigorous art colony, spearheaded by Aldro T. Hibbard. Rockport's picturesque ambiance fulfilled the needs of an artist-sailor: as a writer in the Gloucester Daily Times explained, "Max Kuehne came to Rockport to paint, but he stayed to sail." The 1920s was a boom decade for Cape Ann, as it was for the rest of the nation. Kuehne's studio in Rockport was formerly occupied by Jonas Lie. Kuehne spent the summer of 1923 in Paris, where in July, André Breton started a brawl as the curtain went up on a play by his rival Tristan Tzara; the event signified the demise of the Dada movement. Kuehne could not relate to this avant-garde art but was apparently influenced by more traditional painters — the Fauves, Nabis, and painters such as Bonnard. Gallatin perceived a looser handling and more brilliant color in the pictures Kuehne brought back to the States in the fall. In 1926, Kuehne won the First Honorable Mention at the Carnegie Institute, and he re-exhibited there, for example, in 1937 (Before the Wind). Besides painting, Kuehne did sculpture, decorative screens, and furniture work with carved and gilded molding. In addition, he designed and carved his own frames, and John Taylor Adams encouraged Kuehne to execute etchings. Through his talents in all these media he was able to survive the Depression, and during the 1940s and 1950s these activities almost eclipsed his easel painting. In later years, Kuehne's landscapes and still-lifes show the influence of Cézanne and Bonnard, and his style changed radically. Max Kuehne died in 1968. He exhibited his work at the National Academy of Design, the Art Institute of Chicago, the Carnegie Institute in Pittsburgh, the Memorial Art Gallery of the University of Rochester, and in various New York City galleries. Kuehne's works are in the following public collections: the Detroit Institute of Arts (Marine Headland), the Whitney Museum (Diamond Hill...

This is an oversized astonishing architectural study for the restoration of a church in a Paris suburb. These sketches of the St Pierre church in Avon, Seine et Marne Departement, nearby Paris are for the restoration of the front porch. The drawing is made with watercolor, ink, and sepia pencil. On the lower center bottom, you have the drawing of the porch itself, on the left side a close-up of the underside of the framework, and on the right side the same framework views from above. The top left corner shows a quoted plan of the porch. There is a handwritten dedication on the lower right-hand corner that reads: To my old friend and pal. A warm memory of school. Sign Maurice Lambert. The study is ornate with a classic wood frame with glass protection. Good condition, with minor wear on the frame throughout. Please check the last three pictures for the views of the original building. Measurements: With frame: 40.94 in wide (104 cm) x 27.56 in high (70 cm). View: 38.98 in wide (99 cm) x 25.59 in high (65 cm). Note: Listed as a Historic Monument in 1840, the Saint-Pierre d'Avon church (77) was built in the 12th century, its bell tower in the 13th century, and the choir, and the portal in the 16th century. The charming and original awning of the porch under which Madame de Maintenon...

Reginald Marsh, 1898 – 1954 Monseigneur News Theatre, 1925 Signed and dated at lower right: 'Reginald Marsh 1925' Watercolor on card 8 x 11 inches Born in Paris to parents who were American artists, Reginald Marsh became an adept illustrator at an early age. His family returned to the United States in 1900. Upon graduating from Yale University, Marsh moved to New York and in 1922 took a job as an illustrator at the New York Daily News. For the paper he provided cartoons of vaudeville and burlesque shows. In 1925 Marsh went to work for a new magazine -- The New Yorker -- as one of its original cartoonists. That same year he married Betty Burroughs, daughter of the paintings curator at the Metropolitan Museum of Art. Later that year they traveled to Europe where Marsh discovered the work of the old masters at the Louvre in Paris and British museums. With a sketchbook always on hand, he wandered the streets of Europe and began depicting bums or what he called figures of failure. Upon the couple’s return, Marsh, now with a serious interest in pursuing art, enrolled at the Art Students League where he studied under George Luks, John Sloan, and Kenneth Hayes Miller. This work, Monseigneur News Theatre, is accompanied by a letter from Marsh Scholar Professor Norman Sasowsky, University of Delaware...

A charming watercolour scene of ships moored inside a port with figures and buildings on the right-hand side. Unsigned. Well-presented in an elegant gilt frame with a new card mount....

A charming watercolour study of a house of a rocky coastal cliffside. Signed and dated to the lower right. On paper laid to card.

Elizabeth Chalmers. Watercolour painting of cottages and gardens in the Cotswold village of Sherbourne. Size: H:29.00 cm x W:44.50 cm. Artist Bio: Elizabeth Chalmers was born in N...

Built on the ruins of an old medieval castle, this intriguing watercolour depicts a large guest house with rooms. In the foreground a figure can be see...

A fine 19th century watercolour showing figures in the French streets of Rouen. The artist has included many architectural features within the composition, such as a medieval turret and church spire...

Misted by the smog of town, this fine 19th century watercolour depicts a Normandy cathedral towering above terraced houses and harbour walk. Figures can be seen in the foreground ten...

The loose hash marks come together in this colored pen and conte crayon drawing of the Tuscan countryside with a view into Siena with its fabulous Duomo. This piece is matted with a buttery hued mat and framed in a simple oak colored wooden frame measuring 15h x 18w inches. Christopher Ganz View of Siena with the Duomo colored pens & conte crayon 11h x 14w in 27.94h x 35.56w cm CG0052 -ARTIST STATEMENT- I depict my person in multiplicity with different selves representing dramatis personae. My likeness is both implicit and symbolic in the portrayal of my narrative; the drama involved in creating art and the artist’s role in society. I use realism to invite the viewer into mysterious inner worlds that are layered reflections of the outer. Dehumanizing environments are imbued with art historical references as a critique of power structures. The artist is an Everyman who is at odds with society and his self. Visually my work is a celebration of society’s dark undercurrents and its overlooked absurdities. I use charcoal and printmaking media as their tenebrous values add a fitting metaphor. The nuances of light and shadow seduce viewers into a world their better judgment would have them avoid. This provokes a sense of disquietude that causes viewers to assess our world through the austerity of a colorless, yet not humorless, light. -BIO- Christopher Ganz grew up in Northeast Ohio and from early on had a fertile imagination and an interest in art. Christopher's artistic education truly began at the University of Missouri, where his love of the human form led to many figure drawing classes and his exposure to the wonders of printmaking. Christopher's then went onto graduate school at Indiana University and a summer abroad program in Italy was a dream realized. Christopher then grasped charcoal with a renewed vigor and large, sfumato-laden drawings ensued. Christopher's artistic influences are many; from a seminal exposure to Dore's engravings of the Divine Comedy, to Rembrandt, Caravaggio, Goya, and up to Lucian Freud, Mark Tansey, and Michael Mazur. Christopher is now an associate professor of printmaking and drawing at Indiana-Purdue University Fort Wayne. Christopher drawings are represented by Ann Nathan Gallery in Chicago, and he shows his prints across the nation. -CV- EDUCATION MFA 2001 Printmaking Indiana University-Bloomington BFA 1995 Drawing and Printmaking University of Missouri-Columbia TEACHING/PROFESSIONAL EXPERIENCE 2002-13 Associate Professor, Printmaking and Drawing Indiana University–Purdue University Fort Wayne (IPFW), Fort Wayne, IN 2002 Adjunct Professor: Lithography (instructor of record) Indiana University-Bloomington 1998-00 Associate Instructor: Beginning Drawing (instructor of record) Indiana University-Bloomington 1998 Artist’s Assistant, Assisted Distinguished Professor Emeritus Rudy Pozzatti in the production of an intaglio edition, Bloomington, IN SOLO OR SMALL GROUP EXHIBITIONS 2013 Multiplicities: Drawings and Prints by Christopher Ganz, Franklin College, Franklin, IN Feb. 5 – Feb. 21 2012 Dramatis Personae: Drawings and Prints by Christopher Ganz, University of South Carolina-Columbia, Jan 16. – Feb. 16, 2012 2011 Christopher Ganz; Prints and Drawing Hendrix College, Hendrix, Arkansas, March 5 - 18 2009 Fall Season Exhibition, six drawings displayed Ann Nathan Gallery, Chicago. Oct 16 – Nov. 24 South Bend Museum of Art Biennial 25 - regional juried exhibition for artists in all media, six large drawings displayed; 14 artists selected from over 200 submissions; May 30-Aug. 23 Juror: William Lieberman, Director of Zolla/Lieberman Gallery, Chicago 2007 Christopher Ganz: Drawings, The Carnegie Visual and Performing Arts Center Covington, KY, March 9 - April 6 Alter Egos: Drawings and Prints by Christopher Ganz Trisolini Gallery, Ohio University, Athens, OH, Jan. 9 - Feb.17 2005 The Two-Way Mirror: Self - Portraits by Christopher Ganz Fort Wayne Museum of Art, Fort Wayne, IN, Aug.20 - Oct. 23 2004 Works on Paper: Christopher Ganz and Paul Schumann Robert E. Wilson Gallery, Huntington College, Huntington, IN, Sept. 2 - 25 2002 Images by Christopher Ganz - Visual Arts Gallery Indiana University-Purdue University Fort Wayne, Fort Wayne, IN, Sept. 3 – Oct. 11 2001 M.F.A. Thesis Exhibition - School of Fine Arts Gallery Indiana University, Bloomington, IN, March 27 - April 7 SELECTED ADJUDICATED OR INVITATIONAL GROUP EXHIBITIONS 2012 International Expositions of Sculpture Objects and Functional Art (SOFA) Chicago, Drawing, “The Initiation” on display in Ann Nathan Gallery space, Nov. 2-4 Reverse Watching...

With a career spanning more than three decades, Robbie Cornelissen has established himself among the leading contemporary draughtsmen in Europe. His vast and irresolute creative univ...

Giovanni Battista (Italian, 1860-1925) Untitled (Italian Coast, likely Naples), c. 19th century Watercolor Sight size: 13 1/4 x 20 Framed: 22 1/2 x 29 1/2 in. Signed lower left: G. ...

This artwork titled " Forgotten Ranch House, Arizona" c.1950 is a watercolor on paper by California artist James March Phillips, 1896-1977. It is signed at...

Art Deco Illustrator Charles Perry Weimer creates a powerfully graphic depiction of a 1930s couple in front of a classic Art Deco building with a...

To see our other views of Oxford and Cambridge , particularly suitable for wedding and graduation presents, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. Bernard Cecil Gotch (1876 - 1964) Queen's College, Oxford Watercolour 28 x 39 cm (51 x 64 cm framed) Signed lower right. Queen's College in all its leafy glory. The dreaming spires of the University Church of St Mary the Virgin, the Radcliffe Camera, and All Souls peek over the quad. Bernard Cecil Gotch was a Winchester-born artist who is best known for his atmospheric watercolours of Britain's towns and cities (most notably Oxford). He moved to Oxford in 1927, painting many watercolours of the interiors and exteriors of Oxford’s many buildings. His works concentrate on the grand exteriors and interiors of the University's colleges, and he exhibited frequently - including an exhibition every term at Oriel College. His first notable commission was for the publisher Methuen, illustrating 'A Shepherd’s Life' by W H Hudson...

Original watercolor on archival paper of a classic fisherman’s cottage on the water with a dory nearby.. Signed lower left and dated 1923. Condition is very good. The artwork is ho...

Work on paper Brown wooden frame with glass pane 51.7 x 41 x 1.5 cm

"Thomaston, Maine" is a 15 x 13.5 inches, watercolor townscape, signed in the lower left, and framed behind glass. Ranulph Bye was born in 1916 in Princet...

Charles Lewis Fussell (American, 1840–1909) Abandoned House on Country Road Watercolor on paper, 14 x 23 7/8 inches FRAMED: 31 1/4 x 39 1/4 inches Sig...

Work on paper Gray wooden frame with glass pane 45.5 x 70 x 2.5 cm

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you ...

To see our other views of Oxford and Cambridge, including others by George Pyne, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us ...

Virgilio Marchi (Livorno 1895 – Rome 1960), Project for a new mobility in Venice Pencil and charcoal drawing 35 x 27 cm signed lower left. Provenance...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. John Doyle (born 1928) Trinity College, Oxford Watercolour 24 x 46 cm Signed lower left. Doyle's striking portrayal of Trinity's architecture, complete with undergraduates variously strolling, sitting, and reading in the foreground. Afternoon sun slants over the immaculately mown lawns. John Doyle was born in London and works in watercolours, pastels, and oils. He studied at the Maidstone School of Art in his 30s, later showing at the Royal Academy Summer Exhibition...

Sorry for the reflections on the glass, but I didn't want to take this lovely frame apart. The close-ups are much better. This is a highly accomplished, superbly detailed watercolor of a the facade of a building in Rome, depicting Corinthian columns, a frieze and a free-standing tributary sculpture above. Image area itself is 10.5" x 6.25", framed size is 19.5" x 14". Matted and presented in a pretty antique wood frame that has some flaws from an apparently long history but is perfectly serviceable, as you can see. Exquisite detail, so hard to accomplish with watercolor. Came from august Houston...

I made this sketch from nature while I was in one of the old and beautiful streets of Oxford. It was a gray day, sometimes it started to rain a little, and there were not many people...

Artist Charles Perry Weimer employs thin black horizontal lines that intersect with thin black vertical lines. The result is a triumph of design w...

Pen and sepia ink wash on cream laid paper, 4 1/8 x 6 3/16 inches (103 x 152 mm). In good condition with scattered areas of light brown discoloration, and un...

Kiev, St. Sofia is a Color Markers and Colors Pastels Drawing realized by Reynold Arnould (Le Havre 1919 - Parigi 1980). Good condition on a sheet of a notebook. No signature, ti...