Tom Rooth Fine Art Drawings and Watercolor Paintings

A delightful rustic scene dating to circa 1800 with the sailor returning to his thankful wife and the domestic idyll of his country cottage. The harbour with sailing ships ferrying c...

France circa 1850 The Bohème artist in his workshop Watercolor on paper 15.5 x 21.5 cm In good condition except a small tear (visible on the photographs) on the upper right border. I...

We are delighted to present a stunning watercolor by the Swedish artist Albert Theodor Gellerstedt. This artwork, titled "Sickelsjö Trädgård" was created on June 8, 1883. The paintin...

Louis Gallait (1810-1887) Portrait of a Gentleman, Watercolor and gouache on paper, square white lines, 24 x 16 cm Stamp of the Louis Gallait Estate on the mount on the lower righ...

This late 19th-century watercolour by Scottish artist George H Hay RSA (1831-1912) depicts four young ladies, wearing outfits synonymous with the 1820s, spinning wool within a simple...

Auguste Mayer (1803-1890 A seascape with a boat signed with the initials on the lower left Pencil and heightenings of white gouache on paper 17.5 x 26 cm...

Philip Richard Morris. English ( b.1836 - d.1902 ). The Cloaked Shepherdess. Watercolor. Signed Lower Left. Image size 14 inches x 9.3 inches ( 35.5cm x 23.5cm ). Frame size 26.3 in...

Image dimensions: 14x22 cm. Horse with Herds is a really beautiful china ink original drawing on paper, signed and dated in black ink on lower margin by the Italian artist, Filippo Palizzi...

French School 19th Century, Portrait of a dandy, watercolor on paper 19 x 13 cm Signed (?) with pencil lower right "L ... " illegible Framed : 29 x 23 cm

Precious Watercolor attributed to James WARD (1769-1859) - England, 1830-1840. The Fisherman' S Family. Measurements : View : 20"x14.6" (51x37 cm), With frame : 26.6"x21.5" (67.5x54....

Carl Friedrich Deiker (1838 Wetzlar - 1892 Düsseldorf). Vigilant fox. Pencil drawing on brown paper, 18 × 29.5 cm (inside measurement), 31.5 x 43.5 cm (mount), signed and dated "Deiker [18]54" at lower right. - a little bit stained, with a light water stain at lower right About the artwork Carl Friedrich Deiker's consummate ability to depict animals is already evident in this early work. He brought a whole new psychological dimension to animal painting, so that one could literally speak of animal portraits. The naturalistic appearance of the fox alone makes it seem alive. Every strand of muscle, even every hair, is captured, which requires an intensive artistic study of animal anatomy and physiology. But the fox's real liveliness comes not from its natural appearance, but from its internal movement: Stretched out, it has been brought out of rest. It turns around and, with its ears pricked up, looks intently in the direction from which it has seen something. His mouth is slightly open and his pointed teeth are bared, as if he were growling. Tension gradually takes hold of his whole body. While the hind legs were still in a relaxed position, closely observed by Deiker, one front leg was already raised, ready to begin a rising movement. The fox seems so alarmed with all its senses that one gets the impression that, at any moment, its tail will move jerkily and the animal will jump up. While wild animals have traditionally been portrayed as beasts or anthropomorphised, often for caricatural purposes, Deiker explores their inherent nature by attempting to capture their psychic impulses. The wild animal is neither bestial nor human, but a creature in its own right, valued by Deiker for its own sake. In this way, he brought the dignity of the animal into representation and raised animal painting to a whole new artistic level. About the artist Carl Friedrich Deiker was the son of the drawing teacher Christian Friedrich Deiker and the younger brother of the animal painter Johannes Deiker. In addition to the family art lessons, Christian Friedrich shared a studio with his brother Johannes at Braunfels Castle, Deiker attended the drawing academy in Hanau, and from 1858 he was a student at the Karlsruhe Art Academy, where he studied under the landscape painter Johann Wilhelm Schirmer. Carl Friedrich Deiker was already in demand as an artist during his first year: Grand Duke Frederick I of Baden, Margrave Max of Baden and Grand Duke Michael of Russia bought hunting scenes by him. In 1859 he went on a study trip to the Reinhardswald. Just as the Barbizon School had rediscovered the landscape, Deiker opened up the forest for animal painting. From 1861-64 Deiker had his own studio in Karlsruhe, then moved to Düsseldorf, where his brother Johannes followed four years later. Deiker married a daughter of the landscape painter Karl Hilger and remained in Düsseldorf until his death. In 1868 he finally achieved international fame with his painting 'Pursued Noble Deer' and was regarded as a virtuoso new founder of animal painting. "Deiker brought for the first time a truly great artistic quality to animal painting [...]". - Hans Vollmer From 1870 he participated in the academic art exhibitions in Berlin, Dresden, Munich and Hanover. He was also very busy as an illustrator. He drew for the Gartenlaube, the Salon, the Universum, and produced many of the finely illustrated hunting and animal books of the period. He also worked as a printmaker, while his oil paintings circulated as reprints by Franz Dinger. From 1865 to 1892 Deiker was a member of the artists' association Malkasten. Carl Friedrich Deiker's life's work was honoured with a large posthumous memorial exhibition at the Düsseldorf Kunsthalle in 1892. His son Carl Deiker, born in 1879, also became a painter. Selection of art museums that own works by Carl Friedrich Deiker: Hamburger Kunsthalle / Kunsthalle Karlsruhe / Kunstmuseum Düsseldorf / Wallraff Richartz Cologne. Selected Bibliography H. Schmidt: Johannes and...

Jules-Eugène Lenepveu (1819-1898) Portrait of a man in profile signed on the lower right Pencil and heightenings of white gouache on paper 19.5 x 13 cm Framed : 29 x 22.7 cm Jules-Eugène Lenepveu is of course particularly well known for his large-scale paintings, such as the one on the ceiling of the Paris Opera, but his work here is much more delicate and intimate. We recognise the artist's mastery of talent, but the play of textures, with its highlights of white that enliven and illuminate the model's face, is also very subtle. There's a particularly charming sense of life and impression of light. Jules-Eugène Lenepveu was born in Angers on 12 December 1819, on the site of the street that now bears his name, into a family of small shopkeepers. The painter showed a deep attachment to his family throughout his life through his correspondence and the many portraits of his relatives. He entered the drawing school in Angers in 1833, where he was a pupil of Jean-Michel Mercier. There he rubbed shoulders with the sculptor Ferdinand Taluet. He arrived in Paris in 1837 and entered the Beaux-Arts, where he was officially admitted to François-Édouard Picot's studio in 1838. He exhibited his work "L'Idylle" at the Salon of 1843 and, that same year, left for his first visit to Italy. He was awarded the Second Prix de Rome in 1843 for "Cincinnatus recevant les députés du Sénat" (Cincinnatus receiving the deputies of the Senate), then the First Prize in 1847 for "La Mort de Vitellius" (The Death of Vitellius). A resident at the Villa Médicis from 1848, he was surrounded by painters Alexandre Cabanel, Léon Benouville, Gustave Boulanger, Félix Barrias...