Drawings and Watercolor Paintings

Artist: Frank Rakoncay (American, 1936-1998) Title: "Woman in Flight" *Signed by Rakoncay in pencil lower left. It is also signed again lower right Circa: 1980 Medium: Original Oil P...

Neerja Chandna Peters enjoys navigating harmony through the play of lines with their symmetrical synchrony and rhythmic interplay, manipulating the nuances, their saturation and thei...

The kaleidoscope of colours and the dynamic form of nature are expressed in this joyful celebration of nature. Rendered in right red, yellow, blue, green, orange and yellow—the colou...

Title: 1982 Watercolour of Newton Ferrers Devon with Boats, Hills and Coastal Cottages By Tony Herbert (1927-2024) Medium: Watercolor on artists paper Size: 11 x 12.75 inches Annotat...

Original painting by Daria Kusto. Acrylic markers on paper. The magic flow reality... The painting will be shipped directly from Thailand – safely and promptly."

Title: British Estuary Ferry Shed and Distant Harbour with Figures Watercolour Painting By Tony Herbert (1927-2024) Medium: Watercolor on artists paper Size: 11 x 15 inches Condition...

A Fine, 1930s Modern Academic Anatomical Figure Study Drawing of a Seated Male Nude Model (Torso) by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well exe...

A new series inspired by architecture, décor and stylish personalities of the world of interior design. The worlds of fashion, society and pop culture are captured in the illustrati...

Original painting by Daria Kusto. Acrylic markers on paper. The magic flow reality... The painting will be shipped directly from Thailand – safely and promptly."

Title: Walberswick Black Sheds and Fishing Nets Suffolk Coast Landscape 1996 By Tony Herbert (1927-2024) Inscribed verso in pencil “Walberswick ‘96 July” Medium: Watercolor on artist...

A watercolor depicting a mountain view and the lake Gruyère, (Lac De La Gruyère) in Switzerland by the American Impressionist and Tonalist Mary Rogers Williams (1857–1907). Signed M.R. Williams. On the verso, the artist wrote: ‘Painted in Gruyère July 1902.’ This is a newly discovered work by a rare woman artist who seldom appears on the art market. Small in scale, yet rich in atmosphere, power, and depth—a genuine little gem. Mary Rogers Williams was born in 1857, in Hartford, Connecticut, the fifth of six children to a local baker. Orphaned by the age of fourteen, she pursued art with remarkable determination, studying at Hartford’s Decorative Art Society and the Art Students League in New York under William Merritt Chase. Her early mentor was James Wells Champney. In 1888, she joined Smith College as associate professor of art, where she taught for nearly twenty years to help support her family. Alongside her academic career, she maintained a serious and evolving artistic practice, though much of it was pursued within the limitations of her era’s gender roles and financial pressures. Her work is often classified as a blend of Tonalism and Impressionism—movements that were just taking shape during her lifetime. Tonalists used subdued palettes to evoke mood rather than detail, while Impressionists leaned toward brighter colors and broader subjects. Williams, working independently of art-world factions, forged a style rooted in mood, light, and atmosphere. She painted luminous pastels, watercolors, and oils—portraits, landscapes, and intimate studies of daily life. Despite knowing figures like Whistler, William Merritt Chase, and Childe Hassam, she rarely aligned herself with any artistic “school” and found many male contemporaries pretentious or repetitive. She famously dropped out of Whistler’s Paris school, calling him “a pompous fop surrounded by fawners.” Though Mary Cassatt and Williams were both American Impressionists living in Paris, they never met—Cassatt enjoyed wealth and elite circles, while Williams was a self-reliant educator without patrons. Williams traveled extensively throughout Europe—from the Arctic Circle to the ruins south of Naples—often alone or with her sister. She bicycled through fjords, hiked to medieval towns, and visited chateaux and harbors, all while sketching prolifically. She is likely the only 19th-century woman artist whose travels and daily life can be traced in such vivid, personal detail: what she ate, how she felt about fellow travelers, what she paid for trams, how the air smelled, what she wore, and how she missed home. She documented everything—museum visits, church restorations, conversations with hotel guests, and her frustrations with men’s treatment of women artists. These letters, rediscovered in 2012 in a family boathouse, provide an extraordinary insight into not only her art but the intellectual and emotional texture of her life. Her writings reveal not only artistic insight but the immense workload she carried. At Smith, she taught studio art and art history, organized faculty events, curated student exhibitions, wrote essays, handled housework, and even cooked and cleaned for her own lodgings. On vacations, she cooked for her family; in Europe, she waxed floors, painted walls, repaired clothing, and stoked fires—all while maintaining her painting and travel schedule. Unlike many of her male peers, she had no assistants, no household staff, and little inherited wealth. Yet, as her letters reveal, she never saw herself as a victim—she relished challenges and even the absurdities of her era, from Italian waiters pushing marriage to department heads at Smith dismissing women’s artistic capacity. Despite these challenges, Williams exhibited widely during her lifetime: Paris Salon (1899) National Academy of Design (1903–04) Pennsylvania Academy of the Fine Arts New York Water Color Club, American Water Color Society, Art Association of Indianapolis, and more. She was praised in The New York Times, Hartford Courant, and Springfield Republican, and compared by peers to figures like Emily Dickinson—another New England woman of quiet yet profound artistic power. But unlike Dickinson, Mary Williams...

In this poetic lakeside scene, Hilding Werner transports the viewer to a tranquil Scandinavian summer night at the turn of the century. Four couples dance gaily upon a wooden raft or...

Roy Lichtenstein Handwritten note on card ink on paper hand signed by Roy Lichtenstein The card reads "Thank you so much for the wonderful prints Very kind of you to send them to me Best regards, Roy Lichtenstein This card depicts Roy Lichtenstein's American Indian Theme II (from American Indian Theme Series), 1980, Woodcut in colors on Suzuki handmade paper Provenance: This card was acquired from Dan Pope, a longtime CBS photographer and cameraman, who had amassed a superb collection of autographs by visual artists over many decades. This work has been elegantly floated and framed in a museum quality wood frame under UV plexiglass. Measurements: Framed 14.75 inches vertical by 11.5 horizontal by 1.5 inches depth Card (image) Roy Lichtenstein Biography Roy Lichtenstein was one of the most influential and innovative artists of the second half of the twentieth century. He is preeminently identified with Pop Art, a movement he helped originate, and his first fully achieved paintings were based on imagery from comic strips and advertisements and rendered in a style mimicking the crude printing processes of newspaper reproduction. These paintings reinvigorated the American art scene and altered the history of modern art. Lichtenstein’s success was matched by his focus and energy, and after his initial triumph in the early 1960s, he went on to create an oeuvre of more than 5,000 paintings, prints, drawings, sculptures, murals and other objects celebrated for their wit and invention. Roy Fox Lichtenstein was born on October 27, 1923, in New York City, the first of two children born to Milton and Beatrice Werner Lichtenstein. Milton Lichtenstein (1893–1946) was a successful real estate broker, and Beatrice Lichtenstein (1896–1991), a homemaker, had trained as a pianist, and she exposed Roy and his sister Rénee to museums, concerts and other aspects of New York culture. Roy showed artistic and musical ability early on: he drew, painted and sculpted as a teenager, and spent many hours in the American Museum of Natural History and the Museum of Modern Art. He played piano and clarinet, and developed an enduring love of jazz, frequenting the nightspots in Midtown to hear it. Lichtenstein attended the Franklin School for Boys, a private junior high and high school, and was graduated in 1940. That summer he studied painting and drawing from the model at the Art Students League of New York with Reginald Marsh. In September he entered Ohio State University (OSU) in Columbus in the College of Education. His early artistic idols were Rembrandt, Daumier and Picasso, and he often said that Guernica (1937; Museo Reina Sofía, Madrid), then on long-term loan to the Museum of Modern Art, was his favorite painting. Even as an undergraduate, Lichtenstein objected to the notion that one set of lines (one person’s drawings) “was considered brilliant, and somebody’s else’s, that may have looked better to you, was considered nothing by almost everyone.”i Lichtenstein’s questioning of accepted canons of taste was encouraged by Hoyt L. Sherman, a teacher whom he maintained was the person who showed him how to see and whose perception-based approach to art shaped his own. In February 1943, Lichtenstein was drafted, and he was sent to Europe in 1945. As part of the infantry, he saw action in France, Belgium and Germany. He made sketches throughout his time in Europe and, after peace was declared there, he intended to study at the Sorbonne. Lichtenstein arrived in Paris in October 1945 and enrolled in classes in French language and civilization, but soon learned that his father was gravely ill. He returned to New York in January 1946, a few weeks before Milton Lichtenstein died. In the spring of that year, Lichtenstein went back to OSU to complete his BFA and in the fall he was invited to join the faculty as an instructor. In June 1949, he married Isabel Wilson Sarisky (1921–80), who worked in a cooperative art gallery in Cleveland where Lichtenstein had exhibited his work. While he was teaching, Lichtenstein worked on his master’s degree, which he received in 1949. During his second stint at OSU, Lichtenstein became closer to Sherman, and began teaching his method on how to organize and unify a composition. Lichtenstein remained appreciative of Sherman’s impact on him. He gave his first son the middle name of “Hoyt,” and in 1994 he donated funds to endow the Hoyt L. Sherman Studio Art Center at OSU. In the late 1940s and early 1950s, Lichtenstein began working in series and his iconography was drawn from printed images. His first sustained theme, intimate paintings and prints in the vein of Paul Klee that poked lyrical fun at medieval knights, castles and maidens, may well have been inspired by a book about the Bayeux Tapestry. Lichtenstein then took an ironic look at nineteenth-century American genre paintings he saw in history books, creating Cubist interpretations of cowboys and Indians spiked with a faux-primitive whimsy. As with his most celebrated Pop paintings of the 1960s, Lichtenstein gravitated toward what he would characterize as the “dumbest” or “worst” visual item he could find and then went on to alter or improve it. In the 1960s, commercial art was considered beneath contempt by the art world; in the early 1950s, with the rise of Abstract Expressionism, nineteenth-century American narrative and genre paintings were at the nadir of their reputation among critics and collectors. Paraphrasing, particularly the paraphrasing of despised images, became a paramount feature of Lichtenstein’s art. Well before finding his signature mode of expression in 1961, Lichtenstein called attention to the artifice of conventions and taste that permeated art and society. What others dismissed as trivial fascinated him as classic and idealized—in his words, “a purely American mythological subject matter.”ii Lichtenstein’s teaching contract at OSU was not renewed for the 1951–52 academic year, and in the autumn of 1951 he and Isabel moved to Cleveland. Isabel Lichtenstein became an interior decorator specializing in modern design, with a clientele drawn from wealthy Cleveland families. Whereas her career blossomed, Lichtenstein did not continue to teach at the university level. He had a series of part-time jobs, including industrial draftsman, furniture designer, window dresser and rendering mechanical dials for an electrical instrument company. In response to these experiences, he introduced quirkily rendered motors, valves and other mechanical elements into his paintings and prints. In 1954, the Lichtensteins’ first son, David, was born; two years later, their second child, Mitchell, followed. Despite the relative lack of interest in his work in Cleveland, Lichtenstein did place his work with New York dealers, which always mattered immensely to him. He had his first solo show at the Carlebach Gallery in New York in 1951, followed by representation with the John Heller Gallery from 1952 to 1957. To reclaim his academic career and get closer to New York, Lichtenstein accepted a position as an assistant professor at the State University of New York at Oswego, in the northern reaches of the state. He was hired to teach industrial design, beginning in September 1957. Oswego turned out to be more geographically and aesthetically isolated than Cleveland ever was, but the move was propitious, for both his art and his career. Lichtenstein broke away from representation to a fully abstract style, applying broad swaths of pigment to the canvas by dragging the paint across its surface with a rag wrapped around his arm. At the same time, Lichtenstein was embedding comic-book characters figures such as Mickey Mouse and Donald Duck in brushy, expressionistic backgrounds. None of the proto-cartoon paintings from this period survive, but several pencil and pastel studies from that time, which he kept, document his intentions. Finally, when he was in Oswego, Lichtenstein met Reginald Neal, the new head of the art department at Douglass College, the women’s college of Rutgers University, in New Brunswick, New Jersey. The school was strengthening and expanding its studio art program, and when Neal needed to add a faculty member to his department, Lichtenstein was invited to apply for the job. Lichtenstein was offered the position of assistant professor, and he began teaching at Douglass in September 1960. At Douglass, Lichtenstein was thrown into a maelstrom of artistic ferment. With New York museums and galleries an hour away, and colleagues Geoffrey Hendricks and Robert Watts at Douglass and Allan Kaprow and George Segal at Rutgers, the environment could not help but galvanize him. In June 1961, Lichtenstein returned to the idea he had fooled around with in Oswego, which was to combine cartoon characters from comic books with abstract backgrounds. But, as Lichtenstein said, “[I]t occurred to me to do it by mimicking the cartoon style without the paint texture, calligraphic line, modulation—all the things involved in expressionism.”iii Most famously, Lichtenstein appropriated the Benday dots, the minute mechanical patterning used in commercial engraving, to convey texture and gradations of color—a stylistic language synonymous with his subject matter. The dots became a trademark device forever identified with Lichtenstein and Pop Art. Lichtenstein may not have calibrated the depth of his breakthrough immediately but he did realize that the flat affect and deadpan presentation of the comic-strip panel blown up and reorganized in the Sherman-inflected way “was just so much more compelling”iv than the gestural abstraction he had been practicing. Among the first extant paintings in this new mode—based on comic strips and illustrations from advertisements—were Popeye and Look Mickey, which were swiftly followed by The Engagement Ring, Girl with Ball and Step-on Can with Leg. Kaprow recognized the energy and radicalism of these canvases and arranged for Lichtenstein to show them to Ivan Karp, director of the Leo Castelli Gallery. Castelli was New York’s leading dealer in contemporary art, and he had staged landmark exhibitions of Jasper Johns and Robert Rauschenberg in 1958 and Frank Stella in 1960. Karp was immediately attracted to Lichtenstein’s paintings, but Castelli was slower to make a decision, partly on account of the paintings’ plebeian roots in commercial art, but also because, unknown to Lichtenstein, two other artists had recently come to his attention—Andy Warhol and James Rosenquist—and Castelli was only ready for one of them. After some deliberation, Castelli chose to represent Lichtenstein, and the first exhibition of the comic-book paintings was held at the gallery from February 10 to March 3, 1962. The show sold out and made Lichtenstein notorious. By the time of Lichtenstein’s second solo exhibition at Castelli in September 1963, his work had been showcased in museums and galleries around the country. He was usually grouped with Johns, Rauschenberg, Warhol, Rosenquist, Segal, Jim Dine, Claes Oldenburg, Robert Indiana and Tom Wesselmann. Taken together, their work was viewed as a slap in the face to Abstract Expressionism and, indeed, the Pop artists shifted attention away from many members of the New York School. With the advent of critical and commercial success, Lichtenstein made significant changes in his life and continued to investigate new possibilities in his art. After separating from his wife, he moved from New Jersey to Manhattan in 1963; in 1964, he resigned from his teaching position at Douglass to concentrate exclusively on his work. The artist also ventured beyond comic book subjects, essaying paintings based on oils by Cézanne, Mondrian and Picasso, as well as still lifes and landscapes. Lichtenstein became a prolific printmaker and expanded into sculpture, which he had not attempted since the mid-1950s, and in both two- and three-dimensional pieces, he employed a host of industrial or “non-art” materials, and designed mass-produced editioned objects that were less expensive than traditional paintings and sculpture. Participating in one such project—the American Supermarket show in 1964 at the Paul Bianchini Gallery, for which he designed a shopping bag—Lichtenstein met Dorothy Herzka (b. 1939), a gallery employee, whom he married in 1968. The late 1960s also saw Lichtenstein’s first museum surveys: in 1967 the Pasadena Art Museum initiated a traveling retrospective, in 1968 the Stedelijk Musem in Amsterdam presented his first European retrospective, and in 1969 he had his first New York retrospective, at the Solomon R. Guggenheim Museum. Wanting to grow, Lichtenstein turned away from the comic book subjects that had brought him prominence. In the late 1960s his work became less narrative and more abstract, as he continued to meditate on the nature of the art enterprise itself. He began to explore and deconstruct the notion of brushstrokes—the building blocks of Western painting. Brushstrokes are conventionally conceived as vehicles of expression, but Lichtenstein made them into a subject. Modern artists have typically maintained that the subject of a painting is painting itself. Lichtenstein took this idea one imaginative step further: a compositional element could serve as the subject matter of a work and make that bromide ring true. The search for new forms and sources was even more emphatic after 1970, when Roy and Dorothy Lichtenstein bought property in Southampton, New York, and made it their primary residence. During the fertile decade of the 1970s, Lichtenstein probed an aspect of perception that had steadily preoccupied him: how easily the unreal is validated as the real because viewers have accepted so many visual conceptions that they don’t analyze what they see. In the Mirror series, he dealt with light and shadow upon glass, and in the Entablature series, he considered the same phenomena by abstracting such Beaux-Art architectural elements as cornices, dentils, capitals and columns. Similarly, Lichtenstein created pioneering painted bronze sculpture that subverted the medium’s conventional three-dimensionality and permanence. The bronze forms were as flat and thin as possible, more related to line than volume, and they portrayed the most fugitive sensations—curls of steam, rays of light and reflections on glass. The steam, the reflections and the shadow were signs for themselves that would immediately be recognized as such by any viewer. Another entire panoply of works produced during the 1970s were complex encounters with Cubism, Futurism, Purism, Surrealism and Expressionism. Lichtenstein expanded his palette beyond red, blue, yellow, black, white and green, and invented and combined forms. He was not merely isolating found images, but juxtaposing, overlapping, fragmenting and recomposing them. In the words of art historian Jack Cowart, Lichtenstein’s virtuosic compositions were “a rich dialogue of forms—all intuitively modified and released from their nominal sources.”v In the early 1980s, which coincided with re-establishing a studio in New York City, Lichtenstein was also at the apex of a busy mural career. In the 1960s and 1970s, he had completed four murals; between 1983 and 1990, he created five. He also completed major commissions for public sculptures in Miami Beach, Columbus, Minneapolis, Paris, Barcelona and Singapore. Lichtenstein created three major series in the 1990s, each emblematic of his ongoing interest in solving pictorial problems. The Interiors, mural-sized canvases inspired by a miniscule advertisement in an Italian telephone...

444 Artist: Artyom Abrahamyan, Work: Original Painting, Handmade artwork, One of a Kind Medium: Watercolor on Paper Year: 2025 Style: Classic Art Title: Sparrow-hawk Size: 12 x 16 i...

A Fine, 1930s Modern Academic Figure Study of a Seated Young Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well executed early 1930s cha...

A WALK TO REMEMBER - This original artwork on paper captures delicate scattered flowers in a field of grass. The blending of acrylic, oil pastel and colour pencil, make up loose and ...

Libby Bothway's detailed and captivating pen illustration, captures the essence of iconic Parisian architecture. The monochrome drawing vividly showcases three adjoining classical Pa...

Michaela Jean is an accomplished painter, devoted gardener, and mother from Southern California (USA). Her lifelong passion for art and nature began in childhood, inspired by her gra...

Paul Kohn - Man Smoking Pipe, Year: 1969, Medium: Watercolor and Graphite, signed and dated in pencil lower right, Size: 11 x 8.5 x 3 in. (27.94 x 21.59 x 7.62 cm), Frame Size: 1...

Maria C. Bernhardsson is a colorful artist who lives and paints in Sweden. Most of her works are influenced by the architecture and geometry of houses. Bernhardsson travels the world...

The artwork on paper will be sent unframed to you. Maciej Olekszy was born in 1982, Poland. Graduated from the Academy of Fine Arts in Poznan, Poland in 2007. Faculty of Painting i...

Leslie's public projects respond to site, history and the body. Figures are female or hermaphroditic, of imaginary descent, often melded with animal, architecture and plant forms. I ...

This tranquil view shows Öland’s rolling green heath at dusk, with grazing sheep and a lone windmill on the far horizon. The broad sky streaked with soft gold and blue underscores Kr...

A Charming 1930s Portrait Study of a Young Man Lost in Thought - "Reverie" by Notable Chicago Modern Artist, Harold Haydon (Am. 1909-1994). A delightful sketch of a man deep in his ...

Maria C. Bernhardsson is a colorful artist who lives and paints in Sweden. Most of her works are influenced by the architecture and geometry of houses. Bernhardsson travels the world...

This exquisitely detailed drawing by Swedish artist Oscar Lycke captures a rustic settlement nestled in the golden highlands of northern Sweden, most likely depicting the traditional...

In this contemporary floral cyanotype painting in watercolor, gouache, India ink, and cyanotype on Hot Press watercolor paper, meticulously detailed flowers, including fritillarias, ...

Watercolor on heavy paper realized by Carlo Ravagnan in 1970s. Hand signed lower left. Excellent condition. Carlo Ravagnan was born in Udine on September 4, 1911, died in Venice i...

Allan D'Arcangelo Constellation, 1971 Acrylic on paper, mounted to canvas Hand signed and dated 1971 lower front Frame included Measurements: Framed: 23.75 x 23.75 x 1.25 inches Artw...

Maria C. Bernhardsson is a colorful artist who lives and paints in Sweden. Most of her works are influenced by the architecture and geometry of houses. Bernhardsson travels the world...

A Striking 1950s Mid-Century Modern Ink Drawing of a Reclining Female Nude by Noted Chicago Artist, Harold Haydon (Am. 1909-1994). Exhibiting a spare and exceptional use of brushwor...

This is an exclusive handprinted limited edition cyanotype. Exquisite landscape of a "Mystic Louisiana Marsh". Details: + Title: Mystic Louisiana Marsh + Year: 2025 + Edition Size:...

A Vintage, Mid-Century Modern, Beatnik-era portrait study of a young male model with long hair by notable Chicago artist, Harold Haydon. The drawing is charcoal on paper dating circ...

This 27" x 19" monochromatic graphite and charcoal drawing by Serbian artist, Bojan, is rendered in a hyper-realistic manner. A dog is the main subject in the lower right corner ...

The Garden View French School, early 20th century signed with initials lower corner watercolour painting on artist paper, framed Glass covering framed: 13 x 10.5 inches board: 10 x 8...

JEFF KOONS Original Flower drawing on Michael Jackson and Bubbles poster (Hand Signed), 1992 Drawing done in marker on offset lithograph 25 × 39 inches Hand signed and dated '92 in b...

"Pigeons" is an original piece by Nayan and Vaishali made from watercolor on layered hand-cut paper. This piece measuures 11.75”h x 9.5”w x 1"d framed, and is shipped in the featured...

This contemporary geometric abstract drawing has a beautiful, soft mottled texture created with Judge's unique powered pigment technique. Blue Opus Series 8 is a predominately blue m...

Leslie's public projects respond to site, history and the body. Figures are female or hermaphroditic, of imaginary descent, often melded with animal, architecture and plant forms. I ...

This is an exclusive handprinted limited edition cyanotype of a Sandy Shore with Foam. Details: + Title: Sandy Shore with Foam + Edition Size: 100 + Stamped and Certificate of Aut...

A Dynamic, Avant-Garde, Mid-Century Modern Abstract Female Figure Study by Harold Haydon (Am. 1909-1994). A striking, black & white figural studio ink drawing on paper depicting an...

LARRY HOROWITZ (American b. 1956) "Purple Mountains," 1988, pastel on paper Hand signed and dated L/R, "Horowitz '88," Dimensions sight 19 1/2" x 23", framed, 26 1/2" x 30 1/2". L...

Vítor Mejuto introduces a geometric synthesis that breaks down painting into its most structural essence. His work, in which line, stain and shape establish a precise chromatic balan...

A beautiful composition capturing one of the well known buildings of Rouen, a city that was very popular with early 19th century watercolour painters. John Sell Cotman painted this v...

Vítor Mejuto introduces a geometric synthesis that breaks down painting into its most structural essence. His work, in which line, stain and shape establish a precise chromatic balan...

Watercolour landscape of a lake and surrounding mountains by Nano. The painting is signed bottom left and presented in a fine period gilt frame under glass. This painting portrays a...

Title: Historic Miniature Watercolor of Historic Toll Bridge at Bathampton by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements: 3.75 inches (height) x 4.25 inches (width) Condition: Very good and highly presentable Provenance: From a large private collection of this artists work in Bristol, England. Description: This evocative watercolor by Jack Grunwell captures the Bathampton Toll Bridge, a charming historic landmark nestled along the Kennet and Avon Canal near Bath, England. Bathampton, a picturesque village, is known for its scenic waterways, Georgian heritage, and tranquil rural charm. Grunwell’s use of warm golden hues for the tollhouse and the reflective shimmer of the water creates a sense of nostalgia and serenity. The architecture, with its distinctive red roof and Georgian-style windows, showcases the character of 18th and 19th-century buildings that once served as essential river crossings for travelers and traders. Bathampton is steeped in history, with connections to Jane Austen, the Kennet and Avon Canal, and the grandeur of Bath’s Georgian architecture. This scene perfectly encapsulates the timeless beauty of the English countryside, making it an ideal piece for collectors who appreciate historic British landscapes, waterways, and heritage architecture. Key Features: Historical Significance: Depicts Bathampton’s Toll Bridge and historic tollhouse, an important local landmark. Rich Color Palette: Warm ochres, deep greens, and soft blues create a beautifully balanced composition. Architectural Charm: The traditional riverside building with Georgian influences adds to its period authenticity. Tranquil Setting: A peaceful riverside view, ideal for lovers of English countryside art...

Ventura A. Pérez (1992) is one of the most seductive artists on the contemporary Spanish scene. After earning a doctorate in contemporary art from the University of Vigo, he moved to...

Mid Century French Landscape by Josine Vignon (French 1922-2022) Medium: Watercolour on artists paper Size: 5.5 height) x 6.5 (width) Stamped Verso Condition: Good Provenance: All th...

Jardin Exotique de Monaco Tony Minartz (French, 1873 - 1994) watercolour on artist paper painting : 16.75 x 12.75 inches Provenance: private collection in the South of France, Con...

Mid Century French Landscape by Josine Vignon (French 1922-2022) Medium: Watercolour on artists paper Size: 7 height) x 9 (width) Stamped Verso Condition: Good Provenance: All the pa...

Mid Century French Portrait Josine Vignon (French 1922-2022) Medium: Pencil/ charcoal /watercolour on artists paper, double sided Size: 9.5 height) x 6.25 (width) Stamped Verso Con...

Xiao Wen Xu is a Chinese-born Canadian artist based in Toronto, Canada, Her artistic practice is deeply influenced by her profound appreciation for the natural world. In her series, ...

Richard Anuszkiewicz Near and Far Acuity, 1957 Gouache and watercolor painting on board Hand signed and dated 1957 by Richard Anuszkiewicz on the right front Frame included Anuszkie...

In this luminous landscape study, Carl Oscar Borg captures the serene beauty of the New Mexican high desert, likely looking toward Mount Taylor, a sacred peak that rises above the su...

Abstract composition is a fine and beautiful watercolor and tempera on paper realized by Mark Tobey in 1960. Signed and dated Tobey lower right. Certificate of authenticity by Mark ...

'Two Women' by Jean Negulesco, Continuous Line Drawing, BAFTA, Maltese Falcon, Oscar, Hollywood ---- Signed lower left 'Negulesco' for Jean Negulesco (Romanian-American, 1900-1993) a...

A Whimsical, Art Deco Style Drawing of a Young Male Nude Model Swimming, "Swimmer Among the Stars" by Notable Chicago Modern Artist, Harold Haydon (Am. 1909-1994). Possibly a study ...

Pastel and watercolor drawing on paper realized by Sirio Pellegrini in 1960s. Very good condition. Hand signed in pencil lower right. Includes a contemporary wooden frame 108.5x84....

This is a hand painted oil and mixed media artwork on paper by internet sensation mad charcoal professionally He is represented by Krause Gallery NYC the artwork will be rolled and...