Road Drawings and Watercolor Paintings

E. T. Talbot Erasmus' Tower, Queens' College Cambridge Watercolour 35 x 21 cm Signed, dated and inscribed to the reverse. A richly-coloured watercolour painting of Erasmus' Towe...

Paris: Colourful Shops by Henri Miloch (1898-1979) signed lower right watercolour and gouache painting on artist's paper, unframed Sheet:: 9.75 x 12.5 inches Very pretty painting b...

Otto Eglau (1917 Berlin - 1988 Kampen), Raft Landscape in Sweden, 1956. Watercolor and ink on paper, 45 x 60 cm, signed in his own hand lower right with "Eglau" and dated "[19]56". - somewhat darkened Exposé as PDF - Temporary structures - About the artwork A wide river landscape stretches out before us, its horizon line running across the upper part of the picture, creating the impression of enormous depth. The depth is further extended by the dark tree trunks, most of which spill into the picture, and at the same time rhythmized by their different positions. This sequence of movements gives the landscape a strong dynamic moment. Indeed, the landscape seems to be "fleeing" from beneath us. To keep the gaze on the foreground alone requires a real visual effort. By looking at the foreground, we have already arrived at the background. Therefore, we cannot speak of pictorial grounds in the classical sense. Rather, we are confronted with a structurally rhythmic continuum of space, the dynamics of which are further accelerated by the cut tree trunks in the foreground and the upright trunks in the background, which function as target marks. Since the narrow strip of sky has the same white tonality as the ice, this area also fits seamlessly into the spatial structure, so that a deserted "structural landscape" unfolds before us. The structure, however, is not - as in the case of Piet Mondrian - completely abstract and thus something that exists independently of itself, removed from the time of natural space. The structures that Otto Eglau discovered in nature remain bound to it, which is why they exhibit a temporality that corresponds to the 'course of things'. Even if they correspond to an architecture of nature brought to representation, the structures are not substantial, but contingent. Artistically uncovered, they present themselves to Eglau at the very moment he captures them. In nature itself, these structures will never be repeated in the same way. Panta rhei - everything flows, even if the flow of time is frozen by his artistic representation and the image, for all its dynamism, radiates calm at the same time. "The structures I put behind things, and the lines that hold my paintings, are signs of transient life. They are random like the trace a wave leaves in the sand, blurred like the border between sea and land, ephemeral like the life of a shell I hold in my hand." - Otto Eglau About the artist After his release from captivity in 1947, Otto Eglau studied at the Hochschule für Bildende Künste in Berlin. He was a student of Oskar Nerlinger, Max Kaus and Wolf Hoffmann. From 1953 he taught free drawing for architects at the Technical University of Berlin. In the years that followed, Eglau undertook numerous study trips that took him to Scandinavia, the Arab world, the Far East and even Macau. During these travels he cultivated the technique of watercolour, which allowed him to work quickly in the open air, while retaining a strong painterly quality. Scholarships enabled Eglau to stay in Japan from 1962 to 1963 and in Naples in 1970. From 1969 to 1976 Eglau was professor of etching at the International Summer Academy of Fine Arts in Salzburg. Between 1983 and 1988 Eglau worked simultaneously in his Berlin studio at Lietzensee, which had its own printing press, and in his studio in Kampen on the island of Sylt. Otto Eglau's work has been shown in more than 100 solo exhibitions worldwide and in more than 120 group exhibitions. "I love the vastness of the island. The mudflats off Kampen are my treasure trove; here I discover new shapes and colors every day. Without Sylt, I would be like a fish without water." - Otto Eglau Selected Bibliography Hanns Theodor Flemming: Otto Eglau. Das graphische Werk, Flensburg 1966. Heinrich Seemann (Einführung): Otto Eglau. Inselskizzen, Hamburg 1982. Heinrich Seemann (Einführung): Otto Eglau. Japan, Nepal, Sylt. Aquarelle. Zeichen und Strukturen. Einführung von Heinrich Seemann, Hamburg 1986. Otto Eglau: Watt-Tagebuch. Ausgewählte Aquarelle aus den Skizzenbüchern Otto Eglaus. Kampen 1996. GERMAN VERSION Otto Eglau (1917 Berlin – 1988 Kampen), Floßlandschaft in Schweden, 1956. Aquarell und Tusche auf Papier, 45 x 60 cm, unten rechts eigenhändig in Blei mit „Eglau“ signiert und mit „[19]56“ datiert. - etwas nachgedunkelt Exposé als PDF - Temporäre Strukturen - zum Werk Vor uns erstreckt sich eine weite Flusslandschaft, deren Horizontline im oberen Bereich des Bildes verläuft, wodurch der Eindruck einer enormen Tiefenerstreckung entsteht. Die Tiefe wird von den dunklen, zumeist ins Bild hineinfluchtenden Baumstämmen zusätzlich geweitet und – durch ihre verschiedenartigen Lagen – dabei zugleich rhythmisiert. Durch diese Bewegungsabfolge weist die Landschaft ein starkes dynamisches Moment auf. Und tatsächlich stellt sich der Eindruck ein, als ob die Landschaft unter uns ‚hinwegfluchten‘ würde. Den Blick einzig im Vordergrund zu halten, verlangt regelrecht eine visuelle Anstrengung. Auf den Vordergrund schauend sind wir bereits im Hintergrund angelangt. Daher kann gar nicht von Bildgründen im klassischen Sinne gesprochen werden. Vielmehr steht hier ein strukturell rhythmisiertes Raumkontinuum vor Augen, dessen Dynamik von den angeschnittenen Baumstämmen vorne und den als Zielmarken fungierenden aufgerichteten Stämmen hinten zusätzlich beschleunigt wird. Da der schmale Himmelstreifen dieselbe Weißtonalität wie die Wasserlandschaft aufweist, fügt sich auch dieser Bereich bruchlos in das Raumgefüge ein, so dass sich vor uns eine menschenleere ‚Strukturlandschaft‘ ausbreitet. Die Struktur ist aber nicht – wie dies bei Piet Mondrian der Fall ist – gänzlich abstrakt und dadurch etwas eigenständig für sich Bestehendes, das der Zeit des Naturraums enthoben ist. Die von Otto Eglau in der Natur entdecken Strukturen bleiben an diese zurückgebunden, weshalb sie eine dem ‚Lauf der Dinge‘ entsprechende Temporalität aufweisen. Auch wenn sie einer zur Darstellung gebrachten Architektur der Natur entsprechen, sind die Strukturen nichts Substanzielles, sondern kontingent. Künstlerisch aufgedeckt, bieten sie sich Eglau in eben jenem Moment dar, den er festhält. In der Natur selbst werden diese Strukturen niemals in derselben Art wiederkehren. Panta rhei – alles fließt, auch wenn sich der Fluss der Zeit durch seine künstlerische Darstellung verfestigt hat, wodurch das Bild – trotz aller Dynamik – zugleich auch Ruhe ausstrahlt. „Die Strukturen, die ich hinter die Dinge setze, und die Linien, die meine Bilder halten, sind Zeichen des vergänglichen Lebens. Sie sind zufällig wie die Spur, die eine Welle im Sand hinterlässt, unscharf wie die Grenze zwischen Meer und Land, vergänglich wie das Leben einer Muschel, die ich in der Hand halte.“ - Otto Eglau zum Künstler Nach seiner Entlassung aus der Kriegsgefangenschaft 1947 nahm Otto Eglau ein Studium an der Hochschule für Bildende Künste in Berlin auf. Dort war wer Schüler von Oskar Nerlinger, Max Kaus und Wolf Hoffmann. Ab 1953 unterrichtete er freies Zeichnen für Architekten an der Technischen Universität Berlin. In den Folgejahren unternahm Eglau zahlreiche Studienreisen, die ihn nach Skandinavien, in den arabischen Raum, nach Fernost und bis nach Macau führten. Auf diesen Fahrten kultivierte er die Technik des Aquarellierens, die eine zügige Bildschöpfung im Freiraum erlaubt und dennoch eine stark malerische Qualität aufweist. Stipendien ermöglichten es Eglau, sich von 1962 bis 1963 in Japan aufzuhalten und 1970 länger in Neapel zu verweilen. Von 1969 bis 1976 hatte Eglau die Professur für Radierung an der Internationalen Sommerakademie für Bildende Kunst in Salzburg inne. Zwischen 1983 und 1988 war Eglau parallel in seinem Berliner Atelier am...

"This Way to the Mountains" (2023) by Mo Myra is a watercolor painting of a house in the foothills on a cloudy day. This painting measures 18.5 x 15.5 inches framed and is ready to h...

This is a beautiful watercolor on board by New Jersey artist Henry Gasser, N.A. (1909-1981). Titled on the verso: “Apertif, Paris.” The painting measures 10"h x 8"w. Signed “H. Gasse...

Houses on the River is an original drawing in watercolor on creamy cardboard realized by Georges-Renè Gautier (1887-1969). In good conditions, except for some signs of aging. Not s...

JOSEPH PENNELL (1857 - 1926) STREET ACAPULCO 1901-08. Color pastel and gouache drawing on blue paper. Signed and titled in pencil in his early signature. Image, 10 x 14 inches to j...

Title: Historic Miniature Watercolor of St Bartholomew 1620 and Three Kings Almshouses by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measur...

Consecutive Drawing This graphite pencil drawing ‘Delft – 24-03-23’ follows directly after my last one. In my art statement that goes with it I already told something about ...

Charming watercolor landscape painting of an arched stone entrance to a small village in Provence, France by artist Jean Lambert, circa 1940. Signed low...

A 1930s cheerful & colorful watercolor depicting a Chicago Street scene by artist Constantine Pougialis. Image size: 15" x 22". Painting bears its original frame, which measures 21...

Francis GARAT Omnibus in Paris Original watercolor painting Handsigned in ink On vellum, 30 x 40 cm (c. 11,8 x 15,7 inch) Excellent condition

French Landscape by Bernard Labbe (French mid 20th century) original oil on artist paper, unframed size: 25.5 x 19.5 inches condition: very good and ready to be enjoyed. provenance...

An original watercolour scene by Hamilton Maxwell RWS (1830-1923). Market Day in Dinan. Well presented in a wash line mount and gilt effect frame. Signed to the lower left. On waterc...

French Landscape by Bernard Labbe (French mid 20th century) original gouache on paper size: 10.5 x 8.5 inches condition: very good and ready to be enjoye...

French Landscape by Bernard Labbe (French mid 20th century) original gouache on artist paper mounted on board, unframed size: 18.5 x 15.5 inches condition: very good and ready to be ...

Houses is a drawing in Tempera and watercolor realized by Emile Philippe in the Mid-20th Century. Good conditions with slight foxing. The artwork is represented in well-balance com...

Bright and colorful early 20th century French watercolor of horse & carriage coming through Tudor-style town gates, by artist Laurent, c. 1930. Sig...

Masterful watercolor of a cathedral's spire seen through ancient streets, c.1960. Displayed on a white mat with a gold border and fits a standard-size frame. Archival plastic sleeve ...

Sicily is an original drawing in Watercolor on paper applied on cardboard. realized in 2015 by Michele Scarano. The state of preservation of the artwork is good. Hand-signed and da...

Belgium. Antwerp, Cathedral of our Lady by Leonard Machin Rowe (1880-1968) signed front lower left, inscribed to the back watercolour painting on artist's paper, unframed Image 9.75 x 13.75 inches, sheet 11.25 x 14.25 inches Colourful and busy painting by Leon. Rowe, likely to be 1950 in date as we have several on identical artists paper from Belgium by this artist dated that year. It is signed front lower left and inscribed "Antwerp". The artist painted this view of the Cathedral from a position in the large adjacent Grote Markt square, whilst he sat close to the famous 18th century fountain...

Inviting watercolor of a small path winding through a quaint town using soft, cool hues by artist Jacques Bouillac, circa 1950. Signed lower right. Original one-of-a-kind artwork ...

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

Belgium. A Morning in Bruges by Leonard Machin Rowe (1880-1968) signed front lower right corner, inscribed, dated and signed to the back watercolour painting ...

Impressive watercolor landscape of a charming old world scene of a village in Provence, France by artist Augustin Faure, circa 1950. Original one-of-a-kind artwork on paper displa...

French Landscape by Bernard Labbe (French mid 20th century) original gouache on card mounted on card size: 18.5 x 10 inches condition: very good and ready to be enjoyed provenance: ...

French Landscape by Bernard Labbe (French mid 20th century) original gouache on paper size: 12 x 14 inches condition: very good and ready to be enjoyed provenance: the artists ateli...

Work on paper

"Le Breton Village" by Camille Meriot (French 1887-1975) signed and dated 63' crayon drawing on paper paper : 6.5 x 8.75 inches Fine original French Impressionist painting by the...

Watercolor painting on canvas panel :: Painting :: Classical :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: No :: Signed: Yes...

French Landscape by Bernard Labbe (French mid 20th century) original gouache on card, mounted on card size: 15.5 x 20.5 inches condition: very good and ready to be enjoyed provenanc...

Belgium. Antwerp, a Double Sided Painting of a Busy Square by Leonard Machin Rowe (1880-1968) signed and dated lower left on both sides watercolour painting on artist's paper, unframed Image 9.75 x 13.75 inches, sheet 11.x 15 inches Tweo paintings, one on each side of this sheet, by Leon. Rowe. Both sides are signed and dated '50. The scenes are almost idential, with small differences to the figures, so you may choose which version you wish to frame. The Cathedral of our Lady is seen in the background, with a square in the foreground - busy with colourful figures going about their daily business, and some vehicles. Belgium and Luxembourg were two of Rowe's favourite destinations for his painting trips overseas. Often incorporating figures into his work, his style is very similar to Thomas Morley's paintings of French and Belgian market town scenes. Signed front lower right on each side, dated '50. Inscribed as Antwerp. This work forms part of a watercolour collection we currently hold by Rowe. Known as Leon Rowe, the artist was born in central England...

A charming watercolour painting by J. Cox, depicting a street scene with figures in York. Location and signature to the lower right-hand corner. Well-presented in a card mount and in...

Luxembourg. "Old Streets" by Leonard Machin Rowe (1880-1968) signed front lower right, inscribed to the back watercolour painting on artist's paper, unframed Image 14 x 9.75 inches, sheet 15 x 10.75 inches Charming painting by Leon. Rowe, likely to be c.1950 in date as we have several on identical artists paper from Luxembourg by this artist dated around that year. It is signed front lower right and inscribed "Luxembourg". It depicts a busy little street with figures, a dog accompanying its owner who gazes into a shop doorway, and a horse drawn cart. Belgium and Luxembourg were two of Rowe's favourite destinations for his painting trips overseas. Often incorporating figures into his work, his style is very similar to Thomas Morley's paintings of French and Belgian market town scenes. Signed front lower right. To the back is his signature once again and an inscription "Old Streets". This work forms part of a watercolour collection we currently hold by Rowe. Known as Leon Rowe, the artist was born in central England...

Signed lower left, 'Michel Kady' (Hungarian-American, 1901-1977) and painted circa 1965 A substantial watercolor landscape showing a view of a dirt road in California Gold Country...

French Landscape by Bernard Labbe (French mid 20th century) original watercolour on artist paper, unframed size: 12.5 x 9.5 inches condition: very good and ready to be enjoyed. pro...

20th Century French School; Signed indistinctly, lower left, 'De Mini? and dated 1993. A Post-Impressionist style, Parisian cityscape show...

Farewell Pope Luciani is an original drawing in watercolor realized by Zeno Giglietti in 1978. Good conditions. The artwork is depicted through harmon...

Belgium. A Bruges Hotel by Leonard Machin Rowe (1880-1968) signed, dated '50 and inscribed front lower left corner, inscribed, dated and signed to the back watercolour painting on ar...

Luxembourg: Place de la Gare (Railway Station) by Leonard Machin Rowe (1880-1968) signed lower right watercolour painting on artist's paper, unframed Image: 9.75 x 13.75 inches, she...

20th Century French School; Signed indistinctly lower left, 'Mini?' and dated 1993. A bright and breezy, spring-time view of Montmartre wi...

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 ...

Houses is a drawing realized by Lacones Lestnille  in the Mid-20th Century. Ink and watercolor on paper. Good conditions with slight foxing. The artwork is realized through deft e...

A bright and animated Parisian street view with a gendarme poised languidly to survey the street outside the Hotel de Clichy beside a flower vendor tending her colorful stall . A cha...

Arc and Houses is an original watercolor on paper, realized in 1993 by Armin Guther. The artwork is hand-signed and dated in charcoal pencil on the lower-left corner. In excellent...

Landscape is an original drawing artwork in mixed media on cardboard, realized by Sun Jingyuan in 1970s. The state of preservation is very good. Sheet di...

This artwork "Village de Provence" c.1990 is a watercolor on paper by American impressionist artist Sharon Galigan, b.1939. It is hand signed at the lower left corner by the artist. The artwork size is 17.5 x 13.75 inches, framed size is 25.5 x 22.5 inches. Custom framed in a wooden light brown and grey frame, with beige matting and light brown filet. It is in excellent condition. About the artist: Sharon Galligan (American, b. 1939) is an artist painting in watercolor, oil, acrylic, monoprint and mixed media. She was an art major in both high school and college: San Jose State University, West Valley College, and Evergreen College. She has also studied with nationally noted artists and teachers, including Ted Goeschner, Frank Webb, Charles Movali, Howard Rees, Tom Lynch, Dale Laitinen, Marilyn Simandle...

"He [Cobble] has come to accept the fact that low production can lead to under appreciation in the short run, but he also knows that his gifts of perception and discrimination are ra...

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 ...

Brian Cobble’s landscapes tend to particularly focus on the interplay of man and his surroundings, whether natural or built. A signature attention to the liminal aspects of a scene, ...

Brian Cobble’s landscapes tend to particularly focus on the interplay of man and his surroundings, whether natural or built. A signature attention to the liminal aspects of a scene, ...