Landscape Drawings and Watercolors on Sale

India ink and watercolor landscape in black done with expressive, linear brushstrokes featuring tall redwood trees with cabin windows peaking through the ...

This delicate watercolour depicts a disobedient collie dog causing mischief in a quiet English village. The lady owner can be seen with one hand savagely resting on her hip and the o...

A delightful view of Richmond Castle in Yorkshire, England. The artist captures the vast landscape with the winding river and village to the foreground and the imposing castle sittin...

Part of a pair of 19th century landscape scenes depicting castles in vast landscapes. Unsigned. Presented in a gilt frame and double card mount. On paper.

Signed to the lower right. Artist name, title and date inscribed to the slip. Presented in a swept gilt frame with foliate ornamentation. On paper.

Bright abstracted landscape by Maxine "Mickey" Spencer (American, 1927-2011). Strong blues and magentas create an abstracted scene, evoking a body of water with trees...

The port of Terragon. Watercolor on paper. Circa 1940-1950. Painted on rough watercolor paper, Canson & Montgolfier, old French paper manufacturer. The chromatic range is played in ...

Titled "The remote", this artwork created by Frank Girard, utilizes pigments, Chinese ink, watercolors, acrylics, and colored pencils on 400g/m2 neutral white paper. It remains unfra...

An idyllic pastoral scene showing a farmer driving his flock out into fresh pastures. A figure stands close by with a dog visible in the long grass. The artist has signed and dated t...

A charming miniature scene in the manner of Dutch artist Philips Wouwerman. The watercolour depicts a single figure fetching a heavy pail of water for two hard working horses. Also n...

Cheerful landscape of a garden full of colorful flowers by Doris Ann Warner (American, 1925-2010). Signed "Warner" lower right. Unframed. Image size, 22.5"L x 15"H. Doris Ann Warn...

Orange Poppies in a Vase, Modernist Still Life in Watercolor on Paper A vibrant watercolor still life with a vase filled with orange poppies on a carnation pink background with abstract leaves of teal blue and purple, by California artist, Lucile Marie Johnston (1907-1994, American). Signature, "L. Johnston '74" at the bottom left and "Lucile Johnston" on the back. Presented in a new cream mat with foam core backing. Mat size: 24"H x 20"W Paper size: 16"H x 12"W Born in Santa Rosa, California on May 26, 1907, Lucile Johnston settled in Glendale 1930-1939, later moving to Carmel and then Pacific Grove in Monterey County, California where she remained. she managed Marsh's Oriental Antiques Shop...

Cahuilla/Soboba Band of Luiseño Indians/Apache Billy Soza War Soldier was a pioneering Native American artist and activist whose work powerfully reflects the intersections of Indige...

Louis Wolchonok (1898 - 1973) Gondolas at the Dock, Venice, Italy, 1928 Watercolor on paper Sight 18 x 23 1/2 inches Signed and dated lower right Louis Wolchonok was an author of ar...

A fine 19th century watercolour study of the famous fish market inside the Portico of Octavia in Rome, Italy. The artist has beautifully captured the hustle and bustle of the scene, with various figures ranging from a catholic priest...

A serene and delicate study of an Italian village bathed in afternoon sunlight. Several figures walk down a cobbled path that is partially shaded by two old trees. Signed to the righ...

Wonderful figurative landscape of a crowd of people visiting a temple in Nepal by Alok Gurung (Nepalese, late 20th Century). Signature, date, and location are in lower left corner, "...

Forest edge at winter. 1983. Oil on cardboard, 40x50 cm Winter landscape Alfejs Bromults (1913.3.IV - 1991.11.I) His first professional education was at National University at stud...

A fine late 19th watercolour depiction of the idyllic Chillon Castle on Lake Geneva. The painting is unsigned and handsomely presented in a 19th Century gilt frame with ornate floral...

In this vibrant and expressive landscape "My lovely Provence in summer" painting, the artist employs bold, impasto brushstrokes to bring the scene to life. Energetic swirls of vivid ...

Presented in a simple dark frame. Signed with initials. On watercolour paper.

Lovely 19th century watercolor painting with an angler in a mountain stream landscape painting, this is signed William Bradley with a place and date on the lower left hand corner. Mists fall over the central mountain rising above the stream with rocks and boulders. A mountain ridge is on the left, and trees above boulders on the right. William radley Lamond was a self taught artist flourishing from mid to late 19th century. This would be a later work by this artist. The attribution is based on the period, the style the landscape subject and signature. The painting is presented in an attractive new wooden frame with fresh glass...

A wonderful mid-century watercolour depicting the magnificent bell & clock tower of Saint Martin's with the exterior of Saint-Martin's church visible in the distance. Well presented ...

An impressive watercolour study by listed British artist James Vivien de Fleury (1847-1902). The scene shows a group of labourers returning from a days work on the fields. Precise an...

Vibrant watercolor painting of a house at the end of a hill by Doris Ann Warner (American, 1925-2010). Doris Ann Warner began as an Abstract Expressionist painter, but was primarily ...

Vibrant watercolor still life of primroses and fruit by Les (Leslie Luverne) Anderson (American, 1928-2009). Signed "Les Anderson" bottom left. Unframed. Image size: 15"H x 23"W Le...

Old town church 2022. Paper/markers, 19.8x19.5 cm Liga Kalnina Artist Liga Kalnina(1990) is born in Riga, Latvia. Her artist interests is mainly realistically based -landscapes...

A finely detailed landscape view by the listed artist John Hamilton Glass SSA (fl.1890-1925), depicting an idyllic river landscape. The artist has captured the tranquil beauty of thi...

'Row of Plane Trees In Winter - Maussane-les-Alpilles', Provence, watercolour and pencil on art paper, by Yves Brayer (1946). A line of Plane trees greets visitors to almost every vi...

This illustrative watercolour has been painted in the delicate style of renowned genre artist, Myles Birket Foster (1825-1899). The scene carefully depicts a mother teasing a mischie...

A simplistic watercolour scene with pencil detail attributed to Henry Birtles RA (1838-1907), depicting a small group of cattle drinking from a river, in a vast open landscape. A parent and child...

A delightful watercolour scene depicting cattle grazing before a winding river. Signed to the lower right. Well presented in a slim gilt frame On paper.

A charming watercolour landscape by artist F. Vincent, depicting a church by the riverside. Signed and dated to the lower right. Presented in a elaborate shabby chic cream frame, with decorative...

I've included a photo here of the blue sticker a movie studio put on the back of this beautiful old German pastel when they rented it from my Magazine Street gallery for the shoot of...

A wonderful 19th century watercolour study depicting a rural landscape with two figures. A small village is visible in the distance and a lake beyond. With delicate graphite detail. ...

A bright watercolour painting with graphite details, depicting a village scene in Tuscany, Italy. Signed and dated to the lower right-hand corner, however, artist's last name is ille...

A charming watercolour painting by Frederick Tucker (1860-1935), depicting a large bail of straw scattered between two thatched cottages, with sleeping pig nestled within. Monogramme...

Lionel S. Reiss (1894 - 1988) New York City Skyline View from the East River Watercolor on paper 13 x 19 inches Signed lower left In describing his own style, Lionel Reiss wrote, “By nature, inclination, and training, I have long since recognized the fact that...I belong to the category of those who can only gladly affirm the reality of the world I live in.” Reiss’s subject matter was wide-ranging, including gritty New York scenes, landscapes of bucolic Bucks County, Pennsylvania, and seascapes around Gloucester, Massachusetts. However, it was as a painter of Jewish life—both in Israel and in Europe before World War II—that Reiss excelled. I.B. Singer, the Nobel Prize winner for Literature, noted that Reiss was “essentially an artist of the nineteenth century, and because of this he had the power and the courage to tell visually the story of a people.” Although Reiss was born in Jaroslaw, Poland, his family immigrated to the United States in 1898 when he was four years old. Reiss's family settled on New York City’s Lower East Side and he lived in the city for most of his life. Reiss attended the Art Students League and then worked as a commercial artist for newspapers and publishers. As art director for Metro-Goldwyn-Mayer, he supposedly created the studio’s famous lion logo. After World War I, Reiss became fascinated with Jewish life in the ‘Old World.’ In 1921 he left his advertising work and spent the next ten years traveling in Europe, the Middle East, and North Africa. Like noted Jewish photographers Alter Kacyzne and Roman Vishniac, Reiss depicted Jewish life in Poland prior to World War II. He later wrote, “My trip encompassed three main objectives: to make ethnic studies of Jewish types wherever I traveled; to paint and draw Jewish life, as I saw it and felt it, in all aspects; and to round out my work in Israel.” In Europe, Reiss recorded quotidian scenes in a variety of media and different settings such as Paris, Amsterdam, the Venice ghetto, the Jewish cemetery in Prague, and an array of shops, synagogues, streets, and marketplaces in the Jewish quarters of Warsaw, Lodz, Krakow, Lublin, Vilna, Ternopil, and Kovno. He paid great attention to details of dress, hair, and facial features, and his work became noted for its descriptive quality. A selection of Reiss’s portraits appeared in 1938 in his book My Models Were Jews. In this book, published on the eve of the Holocaust, Reiss argued that there was “no such thing as a ‘Jewish race’.” Instead, he claimed that the Jewish people were a cultural group with a great deal of diversity within and between Jewish communities around the world. Franz Boas...

An expressionistic view of St Vincent under the snow. Captured in a fun palette of pastel colours. The contemporary frame compliments the painting very well with a fine grey and whit...

A delightful watercolour scene by Charles Parsons Knight (1829-1897), depicting a European farmer herding a small group of cattle down a scenic lakeside path. The watercolour has been monogrammed by the artist to the lower right. Well-presented in a rustic gilt...

A wonderful architectural study by British artist Benjamin J. M. Donne (1831-1928), depicting the magnificent theatre of Marcellus with peasant gathere...

A fine early 20th century watercolour depicting inquisitive cattle grazing by the river. The pastoral landscape looks luscious and green, situated behind a long manor farm...

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...

A fine and delicate watercolour painting by John Wilson Hepple (1886-1939), depicting a rocky river scene with mountains in the distance. Signed and date...

A wonderful landscape study by the artist Albert Stevens, depicting a panoramic view of rolling hills and a distant coastline. Well presented in a double card mount and frame. Signed...

A modern British landscape depicting snow coveredfields on a clear winter's day. Presented in a complimenting contemporary frame with a crisp white mount. Signed with initials and da...

Fragments is a striking triptych by Italian artist Marilina Marchica. Each original, non-reproducible drawing is made on delicate vegetal (vellum) paper and individually framed in cu...

A dramatic mountain view near the settlement of Garynahine on the Isle of Lewis, Scotland. Unsigned. Presented in a washline mount with a gold window and...

A view of a silver birch in an autumnal landscape. Presented glazed in a white and gold double mount and a distressed gilt-effect wooden frame. Signed to the lower-left corner. On wa...

A fine watercolour painting of an Italian lakeside with scots pines in the foreground and a large castle dwelling behind. The painting has been carefully heightened with body colour ...

Sailboat in the night. 1989. Oil on cardboard, 65x50 cm

The Day The Earth Stood Still (TDTESS) collection of drawings, wall artworks and installations focuses on images which captured pivotal events that are etched in memory and subconscious, ie. the Moon...

This original color pencil drawing, Morning Near Arizona (1888), is a captivating depiction of a Southwestern desert landscape by renowned artist George Elbert Burr (1859-1939). Crea...

This delightful winter scene shows a man carrying kindling across an icy bridge towards snow laden fields. The artist has used white gouache to depict the texture of the fresh snow a...

A charming watercolours scene of three figures walking along the rural path on a misty day. Signed to the lower right with the titled inscribed to the lower left. The work has also b...

Scottish artist Patsy McArthur explores the grace and power of human movement in her naturalistic drawings and paintings. Her latest works, including small ink studies, charcoal and ...

A delightful landscape from English artist George Henry Downing (1878-1940). Here Downing has depicted an autumnal woodland, with two figures walking away from the viewer. Downing's ...

A fine watercolour depiction of the hamlet of Little Bignor in Sussex. The artist has finished the watercolour with pen and ink line work and delicate detailing. The artist has signe...

Johannes Friedrich Heinrich Hänsch (1875-1945), Red blooming war landscape with dead soldier, 1918. Watercolor and gouache on paper, 15 x 24.5 cm (image), 27 x 37 cm (sheet size / frame), monogrammed and dated "19JH18" at lower left. - Paper slightly darkened About the artwork Despite the relatively small format, the watercolor with an internal frame depicts a panoramic view of a flat landscape stretching to the horizon. As far as the eye can see, the poppies bloom in flaming red. The flowers are not rendered individually, however, creating an almost cohesive red surface. The bright red is interspersed with vegetal green. A complementary contrast that creates an intense color effect. In this color contrast, a white area breaks through from the middle ground, widening towards the foreground and surrounding a brown hole. Next to it, in blue, is the actual protagonist of the painting, the first thing that catches the eye: a dead soldier. Next to him is his helmet, revealing the empty interior. The brown, hollow shape corresponds to the hole in the ground. A shell funnel is surrounded by bright ash, which, like the inverted helmet, becomes a sign of death. The soldier's arms point to the funnel, while the empty helmet paraphrases the calotte of the skull and, like the funnel, thematizes the empty darkness of death. The soldier's body, however, is intact and not - as in Otto Dix's triptych "The War" - a dismembered corpse. Instead, Johannes Hänsch activates the landscape, especially the color, to illustrate a blooming landscape of death that extends from the shell funnel in the foreground to the rising column of smoke on the horizon. If the soldier's body is intact, the tangle of barbed wire emblematically placed over the empty helmet also appears tattered. On the right side of the picture, the barbed wire even seems to stretch its arms to the sky in horror. Against the background of this allegory, the content of the bright red also becomes clear: the landscape is drenched in blood, literally a sea of blood, and the single unknown soldier stands pars pro toto for all those who died on the battlefield. Dying in war is not dying in community, but in solitude. In order to emphasize the isolation in death, Johannes Hänsch has set the blue of the soldier in the axis given by his body in the middle ground of the picture into the red sea. A master of landscape painting, Hänsch succeeds in creating a natural-looking landscape allegory that illustrates the horror and death of war, without depicting the brutality of war itself. This singular 'war memorial' of the unknown soldier is the opposite of heroization and yet the dignity of the deceased soldier is preserved through the integrity of his body. About the artist As the son of the sculptor Adolf Haensch, the young Johannes received his first artistic training in his father's Berlin studio. However, he eventually decided to become a painter, and in 1897 he entered the Berlin Academy of Arts. He initially studied under Paul Vorgang and Eugen Bracht, and was particularly influenced by Bracht's increasingly colourful landscape painting. In 1901 he moved to the class of Friedrich Kallmorgen, with whom he spent several weeks on excursions into nature. In 1905 he became a master pupil of Albert Hertel, who taught him watercolour painting. From 1903 to 1933 he exhibited annually at the Great Berlin Art Exhibition, the exhibitions of the Berlin Artists' Association and the Munich Glaspalast. In 1905 he was awarded the Carl Blechen...

A fine pastoral landscape depicting a farm beside a ford. Two figures talk secretively over a fence to the right of the composition. Presented in a white double mount and a distresse...