Ink Paintings

Signed with initials lower right The painting is one of the 4 illustrations that JWS did for the book “Evangeline: Tale of Acadia”, by Henry Wadsworth Longfellow...

Group of Three 19th Century Framed Painted Silhouettes Framed in black: Male: 6.25x7.75, unframed 5.5x7 Framed in black: Female: 4.75x6.25, unframed 2.x2.75 Gilded frame: Female: ...

A rare mid-19th century Phra Malai illustrated Buddhist Manuscript from Thailand, 19th century Samut khoi accordion-style folding book with lacquered paper cover, narrating the lege...

A very attractive and meticulously executed view of a rocky landscape within the woods dating to 1823. This would suit a library or study with its muted tones and skifull draughtsmanship. William Nicholson (1781-1844) Near Croxdale Hall Signed with initials and inscribed with title and date 1823 Pen, ink and grey wash 11 x 8 inches, image only 17 x 13 inches without frame The portrait-painter and etcher William Nicholson was born in Ovingham-on-Tyne, Northumberland, on Christmas Day 1781. His family transferred to Newcastle when his father was appointed Headmaster of the city's Grammar School. At an early age, though, Nicholson appears to have moved to Hull where he made his artistic debut, painting miniatures of officers garrisoned there. He was almost entirely self-taught, learning his craft through the close study of artworks in private and public galleries. He subsequently returned to Newcastle where he received many commissions to paint portraits of the old families of Northumberland. In 1808, he began to exhibit at the Royal Academy, continuing to do so until 1822. By 1814, Nicholson, whose mother was a Scot, had moved to Edinburgh where he set up as a miniaturist and painter in oils. Soon, however, he began to specialize in watercolour portraits. Early subjects included the actor Daniel Terry and the poet and novelist James Hogg. In 1818 he began to publish a series of Portraits of Eminent Scotsmen, etched from his own portraits and those of other painters. Besides Scott and Hogg, the subjects included the writers Robert Burns, John Wilson ('Christopher North'), and Lord Jeffrey, the painters Sir Henry Raeburn, the divines Alexander Carlyle and Alexander Cameron, the engineer James Watt, the architect John Playfair, and the song-collector and composer George Thomson...

Alexander Phimister Proctor was an American sculptor with the contemporary reputation as one of the nation's foremost animaliers. Growing up on the f...

Signed with initials lower right The painting is one of the 4 illustrations that JWS did for the book “Evangeline: Tale of Acadia”, by Henry Wadsworth Longfellow...

Since the 12th century, people in China have used folding screens and doors to partition and decorate their homes - the vivid scenes backing the screens added life and color to a roo...

Since the 12th century, people in China have used folding screens and doors to partition and decorate their homes - the vivid scenes backing the screens added life and color to a roo...

Since the 12th century, people in China have used folding screens and doors to partition and decorate their homes - the vivid scenes backing the screens added life and color to a roo...

Since the 12th century, people in China have used folding screens and doors to partition and decorate their homes - the vivid scenes backing the screens added life and color to a roo...

Oil and India ink on canvas, 34 1/4 x 54 1/4 in. Signed (at lower right): Joseph Lee Painted about 1876 EX COLL.: Captain Oscar Conrad Kustel (1834–1921), ...

Believing that the departed continue to hold influence over the lives of the living, many Chinese households honor their ancestors in private family rituals, invoking their spirits for long life, health, and prosperity. Commemorative portraits, which came into vogue in the late Ming and Qing dynasties, were commissioned specifically for ancestor worship and were believed to house the spirits of the deceased. When properly cared for, one's ancestors were believed to be a powerful source of honor, protection, and good luck. This pair of ancestor portraits was hand-painted in the mid-19th century and beautifully depicts a Qing-dynasty couple. While some ancestral portraits offer a more stylized representation of one's ancestors, this particular pair is painted with incredible realism and life-like expressions. Rather than depict the pair in a regal hall wearing elaborate finery, the couple is shown in a quiet home environment, seated at either end of a square tea table. Their surroundings are minimal, practically undecorated, and they wear simple, matching blue silk robes...

Artist/ School: Norman A.Olley (British, 20th century) dated 1995 and inscribed verso Title - Mallards Dropping On The Mill Stream Medium: gouache/water...

Artist/ School: Norman A.Olley (British, 20th Century) dated 1994 and inscribed verso Title - Snowy Woodland Sunrise Medium: gouache/watercolour/ ink/ pencil on artist paper, unfra...

Artist/ School: Norman A.Olley and inscribed verso Title - Between Two Haystacks - Mannor Farm in Thames Ditton, Surrey Medium: gouache/watercolour/ ink/ pencil on thin board, unfr...

Artist/ School: Norman A.Olley (British, 20th Century) dated 1993 and inscribed verso Title - The Shepherd and his flock Medium: gouache/watercolour/ ink/ pencil on artist paper, u...

Artist/ School: Norman A.Olley (British, 20th century) dated 1995 and inscribed verso Title - Tresmeer Cornwall, Roads To Grom Mill Road & Cottage Medium: gouache/watercolour/ ink/...

Artist/ School: Norman A.Olley, inscribed verso Title - October Manor Farm Surrey Medium: gouache/watercolour/ ink/ pencil on thin board, unframed Painting : 9.75 x 13.75 inches ...

Artist/ School: Norman A.Olley and inscribed verso Title - Mannor Farm in Thames Ditton, Surrey Medium: gouache/watercolour/ ink/ pencil on thin board, unframed Painting : 8.25 x...

Artist/ School: Norman A.Olley (British, 20th century) dated 1995 and inscribed verso Title - The Afternoon By The Old Mill Medium: gouache/watercolour/ ink/ pencil on thin board, ...

Artist/ School: Norman A.Olley ( British, 20th Century) and inscribed verso Title - Cornish WaterMill Medium: gouache/watercolour/ ink/ pencil on artist paper, unframed Painting ...

Artist/ School: Norman A.Olley (British, 20th Century) dated 1989 and inscribed verso Title - The Thames Off Tagg’s Island , East Molesey Surrey Medium: gouache/watercolour/ ink/ p...

Artist/ School: Norman A.Olley (British, 20th Century) dated 1990 and inscribed verso Title - Chapel In The Flinders Ranges Medium: gouache/watercolour/ ink/ pencil on artist paper...

This very modern drawing presents a view of Ariccia, a small town 25 kilometres south-east of Rome. The Palazzo Chigi (in which the film-maker Luchino Visconti would film a large part of The Leopard a century later) and the adjoining church are seen from the bottom of the ravine that surrounds the town. This drawing is a moving testimony to the attraction of the city for artists of the Romantic period, who established in Ariccia a vivid artists' colony. 1. Achille Bénouville...

Artist/ School: Norman A.Olley (British, 20th century) dated 1993 and inscribed verso Title - Feeding The Swans By River Mole, Surrey Medium: gouac...

Artist/ School: Norman A.Olley dated 1992 and inscribed verso Title: By The Mill Pond Medium: gouache/watercolour/ ink/ pencil on artist paper, unframed Painting : 12 x 16 inches...

Artist/ School: Norman A.Olley (British, 20th Century) dated 1992 and inscribed verso Title - September Pastures On Arentish Farm Medium: gouache/watercolour/ ink/ pencil on artis...

Artist/ School: Norman A.Olley (British, 20th century) and inscribed verso Title - A relaxing day by the river Medium: gouache/watercolour/ ink/ pencil on thin board, unframed Pa...

Artist/ School: Norman A.Olley (British, 20th century) dated 1991 and inscribed verso Title - Crossing The Brook By The Village Cottage, Treglith Cornwall ...

Artist/ School: Norman A.Olley ( British, 20th Century) dated 1995 and inscribed verso Title - Haycart At The Ford Of The Old Packhorse Bridge Medium: gouache/watercolour/ ink/ pen...

The present illuminated page was once part of a larger manuscript, as evidenced by the tears along the right edge, illustrating a story from the Islamic world. The scene presents two figures in a landscape, one on horseback and another gesturing to a fallen deer. The stylization of the landscape shows influence from the Byzantine tradition of painting, with jagged rocks jutting into a golden sky. The page contains handwritten text on both sides, and is surrounded by gold illustrations of peacocks and a running deer. 11 x 6.5 inches, artwork 18.63 x 14 inches, frame accompanied on the back with an image of the verso framed to conservation standards with a 100% rag silk-lined mat in a gold gilded frame A Persian miniature is a small Persian painting on paper, whether a book illustration or a separate work of art intended to be kept in an album of such works called a muraqqa. The techniques are broadly comparable to the Western and Byzantine traditions of miniatures in illuminated manuscripts. Although there is an equally well-established Persian tradition of wall-painting, the survival rate and state of preservation of miniatures is better, and miniatures are much the best-known form of Persian painting in the West, and many of the most important examples are in Western, or Turkish, museums. Miniature painting became a significant genre in Persian art in the 13th century, receiving Chinese influence after the Mongol conquests, and the highest point in the tradition was reached in the 15th and 16th centuries. The tradition continued, under some Western influence, after this, and has many modern exponents. The Persian miniature was the dominant influence on other Islamic miniature traditions, principally the Ottoman miniature...

Artist/ School: Norman A.Olley ( British, 20th Century) dated 1992 and inscribed verso Title - Mill beyond the marshes Medium: gouache/watercolour/ ink/ pencil on artist paper, unf...

Artist/ School: Norman A.Olley ( British, 20th Century) dated 1992 and inscribed verso Title - The Boat Repair Yard Medium: gouache/watercolour/ ink/ pencil on artist paper, unfram...

Artist/ School: Norman A.Olley (British, 20th Century) dated 1992 and inscribed verso Title: Mallards dropping on a back wager of the Ember - East Molesy Surrey Medium: gouache/wa...

Artist/ School: Norman A.Olley ( British, 20th Century) dated 1996 and inscribed verso Title - Tranquil Bridge Landscape Medium: gouache/watercolour/ ink/ pencil on thin board, un...

Wonderful late 19th Century of two cupids forging gold drawn from a section of the 1st century CE cupids frieze from the triclinium or dining room from the House of the Vetti in Pomp...

A Gift from King Charles X to the Duchesse de Berry REDOUTE, Pierre Joseph. Rosa parvi-flora. Watercolour over traces of black chalk on vellum, within gold framing lines; signed in...

Drawn with a fine line and fresh, sketched quality, this folk hanging unites two scenes of lucky hoho lotus boys circumscribed in frames punctuated with fruits such as pomegranate, symbolic of prosperity and good fortune. On top, the two explore the natural wonders of the world...

William Daniell (British, 1769-1837) Bridged Fortification in a Mountainous River • Blue wash on paper, laid on card, ca. 18 x 32 cm • Presented behi...

Since the 12th century people in China have used folding screens and doors to partition and decorate their homes—the vivid scenes backing the screens added life and color to a room. ...

The present illuminated folio page contains a fine miniature depicting four figures playing polo. Polo, also called 'chagun,' was the sport of kings and princes of central Asia and Iran, and the sport probably originated there in the 6th century BCE. Polo matches appear in a large number of early Persian texts, including in the writings of the 10th century epic writer Abu l-Qasim al-Firdawsi: He describes numerous polo matches in his famous 'Shahnameh' (The Persian Book of Kings). This particular illumination also is closely related to an example held at the Smithsonian Museum of Asian Art: a folio from 'Guy u Chawgan' (The ball and the polo-mallet) which shows a polo game with the dervish and the shah. 12 x 8.25 inches, artwork 19.75 x 15.88 inches, frame accompanied on the back with an image of the verso framed to conservation standards with a 100% rag silk-lined mat in a gold gilded frame A Persian miniature is a small Persian painting on paper, whether a book illustration or a separate work of art intended to be kept in an album of such works called a muraqqa. The techniques are broadly comparable to the Western and Byzantine traditions of miniatures in illuminated manuscripts. Although there is an equally well-established Persian tradition of wall-painting, the survival rate and state of preservation of miniatures is better, and miniatures are much the best-known form of Persian painting in the West, and many of the most important examples are in Western, or Turkish, museums. Miniature painting became a significant genre in Persian art in the 13th century, receiving Chinese influence after the Mongol conquests, and the highest point in the tradition was reached in the 15th and 16th centuries. The tradition continued, under some Western influence, after this, and has many modern exponents. The Persian miniature was the dominant influence on other Islamic miniature traditions, principally the Ottoman miniature...

A scroll and a small lantern depicted in this 19th-century painting suggest the romantic notion of a Chinese scholar painting in the evening hours. Re...

With careful brushwork, this 19th-century painting honors the four treasures of the scholar's studio - paper, calligraphy brush, ink, and inkstone. Essential to his way of life, the ...

The present illuminated folio page contains a fine miniature depicting three figures hunting while on horseback, an image meant to accompany a historic epic. During the medieval period, hunting was an important pastime of male nobility throughout the Islamic world. The Quran itself explicitly endorses hunting and the use of animals to aid in capturing prey: "Lawful to you are foodstuffs that are good to eat and any game that, at your wish, is captured by beasts of prey which train as you do dogs, according to the method that Allah has taught you, after you have spoken the name of Allah over it." (Q 6:4) Muslim princes and nobles enjoyed the chase of the prey via horseback, using bow and arrow, crossbows, and blowpipes to capture their prey Horseback riding itself trained young men in the necessary skills for armed combat and warfare, developing their speed and strength. 12 x 8.25 inches, artwork 19.75 x 15.88 inches, frame accompanied on the back with an image of the verso framed to conservation standards with a 100% rag silk-lined mat in a gold gilded frame A Persian miniature is a small Persian painting on paper, whether a book illustration or a separate work of art intended to be kept in an album of such works called a muraqqa. The techniques are broadly comparable to the Western and Byzantine traditions of miniatures in illuminated manuscripts. Although there is an equally well-established Persian tradition of wall-painting, the survival rate and state of preservation of miniatures is better, and miniatures are much the best-known form of Persian painting in the West, and many of the most important examples are in Western, or Turkish, museums. Miniature painting became a significant genre in Persian art in the 13th century, receiving Chinese influence after the Mongol conquests, and the highest point in the tradition was reached in the 15th and 16th centuries. The tradition continued, under some Western influence, after this, and has many modern exponents. The Persian miniature was the dominant influence on other Islamic miniature traditions, principally the Ottoman miniature...

Sir William Blake Richmond KCB, RA, PPRBSA 1842 - 1921 The Shepherd Egg tempera on wooden panel, signed with initials bottom left Image size: 8 ¼ x 5 ½ inches Period gilt oak frame A newly discovered work by the artist. Sir William Blake Richmond KCB, RA, PPRBSA was an English portrait painter, sculptor and a designer of stained glass and mosaic. He is best known for his portrait work and decorative mosaics in St Paul's Cathedral in London. He was the son of the portraitist George Richmond RA and studied at the Royal Academy Schools in the early 1860s. Influenced by his father and by Sir John Everett Millais, he is best known for his mosaic decorations below the dome and in the apse of St Paul's Cathedral in London. His father, George Richmond, was one of 'the Ancients' who were a group of artists who formed around the visionary artist and poet William Blake. Samuel Palmer was an other of the ancients and a close friend of the family. Our painting could have been inspired by George Richmond’s engraving 'The Shepherd', 1827, but in our panel the shepherd is turned round facing away, and is playing a flute instead of resting on a staff. But the sheep and other elements are there. It is also suggestive of Welby Sherman's engraving after Samuel Palmer of the same name and date, but here the shepherd is sitting but like ours turned away. William Blake's is an altogether happier image given the figure is playing to his sheep. Our painting is playing with some of the same ideas and feels like the same sort of period, and the ‘fresco’ like chalk ground is interesting, as is the pen and ink finishing on the tempera. All three are strongly influenced by Blake's illustrations to Thornton's 'Virgil'. The shepherd and his flock are clearly based on Thenot and his sheep in the Frontispiece to Thornton. Blake Richmond wrote:"If there be the least value in my pictures, it is due to such lovely early impressions derived from the sweet poetic work of many of my father's contemporaries, Calvert, Blake and others, whose shadows are substance still to me" [Sir William Blake Richmond, letter to his father, 50 years after the death of William Blake, from Stirling op. cit p. 28]. Richmond was given private art lessons by John Ruskin before attending the Royal Academy for three years. After that he spent a number of years in Italy, where an encounter with a shepherd called Beppino, 'a splendid speciman of a Sabine Shepherd', could also have gave him the inspiration for the painting we show here. Richmond recalls how he met Beppino on the hillside, and was invited to share the shade of the shepherd's capanna, a wooden hut. 'What a place! In an instant of time I was back into the age of kings, and I knew Romulus had lived and am sure that he lived in a hut exactly like this one'. That night Richmond dined at Beppino's hut 'on roast kid, hard bread dipped in Roman wine, goat's cream and white ricotta'. The shepherd had such an impression on Richmond that he sought him out on a return visit to Italy some years later, but was saddened to hear that Beppino 'had joined his fore-fathers in the shades'. He was moved to write the following, which perfectly expresses the mood of this painting and his tribute to a fleeting companion: 'Little events of this kind unite past times with present, create and emphasis continuity of human instincts, which seem to defy time and make travel so intensely interesting and invigorating to a citizen of this world. One need not go to the palace, far otherwise, or to cities and towns to discover the kernal of enduring civilisations. One finds it, if one wills to do so, in the backbone of the world, an ancient peasantry who have watched and still watch the progress of the stars'. Richmond was influential in the early stages of the Arts and Crafts Movement in his selection of bold colours and materials for the mosaics in St. Paul's Cathedral and in his collaboration with James Powell and Sons...

Mid 19th century Realist ink, watercolour and gouache portrait on paper of a young man in a field by John George Todd. The painting is signed G Todd bottom left as was his usual mann...

Date: 1898 Medium: Ink and Gouache on Paper Affixed to Board Dimensions: 16.50" x 12.00" Signature: Signed Lower Left Carter's Monthly, March 1898, cover illustration. Decades lat...

"The New Year" is a pen and ink on paper portrait signed by Hannah de Rothschild. A girl sits quietly in a corner with a cap. Her focus is on a book in her lap, she is about to rip a...

Medium: Pen, Ink, and Wash Details over Printed Background Signature: Printed Signature in Image, Right. Opening page for the July 1897 isssue of The Inland Printer...

Date: 1880s Medium: Ink and Wash Heightened with White on Paper Dimensions: 5.75" x 12.75" Signature: Signed in Initials on Lower Right

This folk hand-painted panel, laden with meaning, was originally an interior painted panel of a large storage cabinet. The panel is painted with ...

Attributed to Ukita Ikkei (1795-1859) Hanging scroll painting of the American ship commanded by Commodore Matthew Perry in Uraga Bay, annotate...

"The Fruit Carrier by famous contributor to the Pre-Raphaelite Brotherhood, William Cave Thomas Watercolor, ink, & colored pencil on paper Size: 14...

A large early nineteenth century scroll work painting, depicting two rabbits beneath white peonies, together with butterflies and a grass hopper. Ink and...