Pencil Sketches of Landscapes

A collection of pencil sketches featuring varying landscapes and figures, showcasing line work and tonal shading from the early 19th century.

Pencil sketches by Ferdinand Georg Waldmüller depicting various subjects and studies on paper, showing line work, form, and composition.

Pencil sketches by Ferdinand Georg Waldmüller depicting figures, landscapes, and compositional studies created in the 1820s.

Pencil sketches by Ferdinand Georg Waldmüller depicting various subjects and studies on paper, showing line work, form, and composition.

Sir Robert Smirke the younger, 1781-1867, British, Landscape, 1802-1804. Graphite and brown wash on medium, slightly textured, beige, wove paper.

Bagneres-de-Bigorre, France, Henry Swinburne, 1743-1803, British, undated, Pen and black ink, over graphite on medium, moderately textured, cream, laid paper, mounted on, moderately thick, slightly textured, cream, wove paper, Mount: 16 3/8 × 11 1/16 inches (41.6 × 28.1 cm) and Sheet: 6 3/16 × 8 1/2 inches (15.7 × 21.6 cm)

The Quarry Alfred Bentley (London, England, 1879 - 1923) Industry

Capt. Thomas Hastings, 1778-1854, British, Newport, Isle of Wight, between 1826 and 1830. Graphite on medium, slightly textured, cream wove paper.

Sketchbook, Adirondack Subjects William Trost Richards (American, 1833-1905). Sketchbook, Adirondack Subjects, 1863. Graphite on paper, 4 3/4 x 8 in. American Art 1863

A bend in the Venta River; verso: illegible sketch. Ruszczyc, Ferdynand (1870-1936), draughtsman, cartoonist

Demon Exorcisor Unidentified artist. Demon Exorcisor 51699

Drawing, Sketches from Pompeii and Paestum, Italy; Frederic Edwin Church (American, 1826-1900); USA; graphite on light grey paper; 12 × 21.3 cm (4 3/4 × 8 3/8 in.)

West Cowes, 24 June 1827, Capt. Thomas Hastings, 1778-1854, British, 1827, Graphite on medium, slightly textured, cream wove paper, Sheet: 4 1/2 × 7 inches (11.4 × 17.8 cm)

East Cowes Castle, Isle of Wight, Capt. Thomas Hastings, 1778-1854, British, 1827, Graphite on medium, slightly textured, cream wove paper, Sheet: 7 × 4 1/2 inches (17.8 × 11.4 cm)

John Robert Cozens, 1752-1797, British, Near Vietri, September 27, undated. Graphite on thin, slightly textured, cream laid paper.

Sketchbook William Trost Richards (American, 1833-1905). Sketchbook, 1867. Bound sketchbook with drawings in graphite on beige, moderately thick, smooth textured wove paper, Closed: 3 5/8 x 5 1/4 in. (9.2 x 13.3 cm). Richards was a prolific artist who, as a leading member of the American Pre-Raphaelites, embraced the Ruskinian principle of truth to nature. Sketching outdoors played a significant role in his quest for accuracy of representation. Throughout his long career and extensive travels, he seems to have always carried a sketchbook with him, filling the pages with drawings of the places he encountered. The Brooklyn Museum owns more than twenty-five of Richardss sketchbooks, including the ones on view here. Serving as pictorial diaries of his journeys, they also demonstrate the variety of his working methods, ranging from quickly rendered outlines to carefully modulated tonal compositions to finished color studies. American Art 1867

Quast Ferdinand von (1807-1877), Canossa Castle (1872): Personal view of the castle ruins and the surrounding area, according to the gazebo, 1872, p. 713. Ink on transparent, 21.5 x 30.2 cm (including scan edges ) Quast Ferdinand von (1807-1877): Schloss Canossa, Reggio Emilia

Henry Richard Greville third Earl of Warwick, 1779-1853, British, Landscape with Gorge and Cattle, undated. Gray wash with pen and brown ink over graphite; verso: pen and gray ink over graphite on medium, slightly textured, cream laid paper.

Thomas Daniell, 1749-1840, British, active in India, Near Sita Coonde, October 22, 1788, 1788. Graphite and brown wash on medium, slightly textured, cream laid paper.

More from Bolsena, c. 1808 - c. 1857 Page 23 Verso and 24 Recto from a sketchbook with 28 sheets. Bolsena paper. pencil. ink. watercolor (paint) pen / brush lake Bolsena

Thomas Daniell, 1749-1840, British, active in India, Chargul, undated. Graphite on medium, moderately, textured, cream, laid paper; mounted on, moderately thick, slightly textured, cream, wove paper.

Barth Erwin (1880-1933), Menry Pichelswerder in Berlin-Spandau (1926): Perspective view (bird's show) with a view of the facility to the east, stamp. Light break on the cardboard, 57.7 x 101 cm (including scan edges) Barth Erwin (1880-1933): Ehrenmal Pichelswerder, Berlin-Spandau

Sir Robert Smirke the younger, 1781-1867, British, Near Arles, 1802-1804. Brown wash and graphite on moderately thick, moderately textured, beige, wove paper.

Wootton Bridge, 29 December 1825, Capt. Thomas Hastings, 1778-1854, British, 1825, Graphite on medium, slightly textured, cream wove paper, Sheet: 4 3/8 × 7 1/4 inches (11.1 × 18.4 cm)

Henry Swinburne, 1743-1803, British, Bagneres-de-Bigorre, France, undated. Gray wash, pen and black ink on medium, moderately textured, cream, laid paper, mounted on, moderately thick, slightly textured, cream, wove paper.

Clarkson Stanfield, 1793-1867, British, Sketchbook Drawing, 1863. Graphite on moderately thick, slightly textured, light blue wove paper.

Robert Wallis, 1794-1878, British, Hohenlinden, 1837. Line engraving, Open etching.

Album Drawing, Thomas Rowlandson, 1756-1827, British, undated, Graphite and pen and ink on medium, slightly textured, cream wove paper, Sheet: 8 3/4 × 6 1/2 inches (22.2 × 16.5 cm) and Binding: 8 3/4 inches (22.2 cm)

Landscape withCaravan. Artist: Unknown

Design for a Stage Set 1830-90 Eugène Cicéri French. Design for a Stage Set 387326

Desert landscape with a figure on a donkey.Page 21 from a sketchbook with 31 sheets.

The Storm, James McNeill Whistler, 1834-1903, American, active in Britain (from 1859), 1861, Etching and drypoint on thin, smooth, cream laid paper, Sheet: 10 1/2 x 15 5/8 inches (26.7 x 39.7 cm), Plate: 6 1/8 x 11 1/4 inches (15.6 x 28.6 cm), and Image: 6 1/8 x 11 1/4 inches (15.6 x 28.6 cm), crouching, field, grass, hat, jacket, landscape, man, meteorology, rain, scarf, science, storm, trees, trousers

Wolkenlucht, Gerrit Willem Dijsselhof, 1876 - 1924 drawing paper. chalk firmament, sky. clouds

Orpheus in the midst of the animals, Hendrick ten Oever, 1649 - 1716 drawing Perhaps intended as a design for the painting of the lid of a harpsichord with the representation of Orpheus that makes music in the midst of the animals. paper brush Orpheus playing the lyre: trees and rocks move, beasts and birds are enchanted. Orpheus playing the lyre: trees and rocks move, beasts and birds are enchanted

Piping man on the banks of a river and a landscape with farms and figures, 1826 - c. 1888 A few men's heads on the Verso side of the upper sketch. Presumably, Taventrate sent these studies to Canta. Leaf 45 Verso from a sketchbook and album with 59 sheets. paper. ink. watercolor (paint) pen / brush river bank. pipe ~ tobacco. farm (building). landscapes (+ landscape with figures, staffage)

James Moore, 1762-1799, British, Stirling Castle, Scotland, 1792. Graphite on medium, slightly textured, beige, wove paper.

Recueil de morceaux d'architecture et de divers fragmens de monumens antiques fait en Italie par Marie Joseph Peyre architecte du Roy ancien pensionnaire de Sa Majesté à Rome, Peyre, Marie-Joseph, 1730-1785, pencil, ink, pen, wash, black and red chalk, watercolor, 1786, Album of architectural drawings with sketches and some fully realized drawings includes drawings of architectural fragments and details (some with measurements), two views, ancient and Baroque sculpture, urns and coffers, and designs for fountains and buildings.

Abklatsch of the chalk drawing on page 43. Page 42 from a sketchbook with 43 sheets.

Sailing ships on a turbulent sea, 1780 - 1848 Also a study of sailboat. Page 16 Verso and 17 recto from a sketchbook with 53 sheets. paper. pencil. watercolor (paint) brush sailing-ship, sailing-boat. landscapes with waters, waterscapes, seascapes (in the temperate zone)

The Sixteen Luohans dated 1667 Shitao (Zhu Ruoji) Chinese Shitao, born Zhu Ruoji, a scion of the Ming imperial family, escaped death in his youth by taking refuge in the Buddhist priesthood. In 1662 he became a disciple of the powerful Chan (Zen) master Lüan Benyue (d. 1676). In the late 1660s and 1670s, while living in seclusion in temples around Xuancheng, Anhui Province, he taught himself to paint. In The Sixteen Luohans, Shitaos earliest major extant work, the young painter, then twenty-five, drew what are possibly the most effective figures since the Yuan period (1279-1368). A rare religious subject for Shitao, known for his visionary landscapes, the scroll depicts the sixteen guardian luohans (saints) ordered by the Buddha to live in the mountains and protect the Buddhist law until the coming of the future Buddha. Stylistically, the immediate sources for Shitaos figures were late Ming painters, such as Ding Yunpeng (1547-ca. 1621) and Wu Bin (act. ca. 1583-1626). Unlike Wu Bin

Encampment. Edward S. Curtis, photographer (American, 1868 - 1952) 1898-1930 Evening scene with three teepees and horses and trees Inscription: Inscribed recto print in ink at lower right: "CURTIS". Secondary Inscription: Inscribed verso mount in pencil by an unknown hand: "5637/ 7 3/8 x 13 1/2 S... 4155encircled".

Italian Sketchbook Sanford Robinson Gifford (American, 1823-1880). Italian Sketchbook, 1867-1868. Graphite on tan, medium-weight, slightly textured wove paper, 5 x 9 x 7/16 in. (12.7 x 22.9 x 1.1 cm). This sketchbook served as a travel diary for the Hudson River School landscape painter Sanford Robinson Gifford during his journeys in France, Switzerland, and Italy. In this two-page spread depicting the church of Santa Caterina del Sasso, perched precariously on the edge of a cliff overlooking Lake Maggiore in Italy, Giffords precise and assured lines exemplify his skills as a draftsman. A practitioner of plein air sketching, the artist used these drawings as preparatory studies for paintings executed later in his studio. The small framed motifs that appear on this and other pages of the sketchbook show his initial experiments with composition. American Art 1867-1868

A pencil sketch by Ludwig Rösch from 1924 showing figures or objects with linear detail and shading.

John Robert Cozens, 1752-1797, British, Near Raito on the Gulf of Salerno, ca. 1783. Graphite and varnish on thin, slightly textured, cream laid paper.

The Fountain, No. 1: The Wounded Indian Slaking His Death Thirst. Artist: Thomas Cole (American, Lancashire 1801-1848 Catskill, New York). Dimensions: 7 x 9 3/4 in. (17.8 x 24.8 cm). Date: 1843.Cole, the founder of the Hudson River School of landscape painting, drew this study for a series (never realized) of paintings based on William Cullen Bryant's poem "The Fountain" (1839). The poem evokes several eras of American civilization through incidents that occur at a forest stream. In this scene, a wounded brave (modeled after the Hellenistic sculpture known as the "Dying Gaul," which Cole had seen in Rome) symbolizes the plight of many American Indians in an era of forced relocation.Bryant's verse reads in part: "I behold/The Indian warrior, whom a hand unseen/Has smitten with his death-wound in the woods,/Creep slowly to thy well-known rivulet,/And slake his death-thirst.". Museum: Metropolitan Museum of Art, New York, USA.

Ostańce skalne w okolicach Lubania; verso: zarys dachu i drzewa. Blaschnik, Arthur (1823-1918), draughtsman, cartoonist

Drawing, Three Boats with Fishermen Setting Out a Net; Winslow Homer (American, 1836-1910); USA; charcoal on paper ; Sheet: 27.2 x 49.3 cm (10 11/16 x 19 7/16 in.)

Henry Swinburne, 1743-1803, British, Granada, Spain, 1775 to 1776. Pen in black ink, graphite, and gray wash on medium, moderately textured, blued white, laid paper, mounted on, moderately thick, slightly textured, cream, wove paper.

Sketch of a Hollow Tree Trunk, Capt. Thomas Hastings, 1778-1854, British, undated, Graphite on medium, slightly textured, cream wove paper, Sheet: 3 1/2 × 6 1/4 inches (8.9 × 15.9 cm)

Figures at work, possibly on a building site. Figures at work, possibly on a building site. Page 36 and page 37 from a sketchbook with 70 sheets.

Berchem, Nicolaes Pietersz., Körnlein, Johannes, Amsterdam, Ploos van Amstel, Cornelis, Woman on a mule, verso - handwritten, A woman riding a mule along a river. Next to the donkey are cows, sheep and a goat. On the water is a barge., print, engraving, prints, engravings, verso - stamped, To my Friend L. Metayer First proof N Berchem 1654 Ploos van Amstel F 1769, height 148 mm, width 228 mm, Noord-Nederlands, 1726-01-04 - 1798-12-20, supervision, 1769 - 1769, paper, papier, prenttekening, crayonmanier, doordruk, roulette, - 1772, print maker, prentmaker, 1620 - 1683-02-18, intermediary draughtsman

Landscape with the city's view and robbers over the rivers; Le Febre, Valentin (1642-1680), Titian (CA 1488-1576), Camen, Jacob Van (1595-1657); 1682 (1682-00-00-1682-00-00);

John Robert Cozens, 1752-1797, British, Sirolo, undated. Graphite and varnish on thin, slightly textured, beige laid paper.

Group of Figures at a Table in the Garden of a Tavern, draughtsman: Willem Drost, (attributed to), draughtsman: Aert de Gelder, (rejected attribution), Amsterdam, c. 1650 - c. 1655, paper, pen, h 169 mm × w 229 mm

Boot -rich landscape with wife, man and a farmer, Pieter De Porck, 1640 - 1660 drawing Boot -rich landscape with a spinning woman and sleeping man in the foreground, in the background a plowing farmer. parchment (animal material). ink pen sleeping on the ground - BB - out of doors. spinning (manufacture of yarn) (+ outdoors; in the open air). ploughing. low hill country

Two Trial Sketches A Grande Rue, Dieppe; B An Interior Made 1891 United States. Transfer lithograph in black on cream wove Japanese vellum . James McNeill Whistler

An 1893 sketchbook, 1893, by Petrus van der Velden. Gift of W. Fergusson Hogg, 1967.

The Channel Sketchbook, Joseph Mallord William Turner, 1775-1851, British, ca. 1845, Watercolor on medium, slightly textured, white wove paper, Sheet: 3 3/4 x 6 1/4 inches (9.5 x 15.9 cm) and Binding: 4in. (10.2cm), boats, channel (water body component), marine art, sails, sketchbook

Edward Lear, 1812-1888, British, Calder Bridge, 1836. Graphite and white gouache on moderately thick, slightly textured, gray wove paper.

A sketch by Josef Winterhalder the Younger showing the Moses group from the dome fresco and annotated notes on the St. Joseph von Calasanz altarpiece in the Vienna Piarist Church, executed in pen and graphite pencil.

Seascape with barge in turbulent water, Albertus van Beest, 1830 - 1860 drawing paper. pencil sailing-ship, sailing-boat

East Cowes, Isle of Wight, Capt. Thomas Hastings, 1778-1854, British, 1827, Graphite on medium, slightly textured, cream wove paper, Sheet: 4 1/2 × 6 3/4 inches (11.4 × 17.1 cm)

Shrimpers on the Shore, Thomas Creswick, 1811-1869, British, undated, Pen, black ink and brown ink on medium, lightly textured, cream wove paper, Sheet: 1 3/4 × 2 3/4 inches (4.4 × 7 cm), figures, genre subject, shores (banks)

Boating on a Snowy Evening, early 19th century, Yokoi Kinkoku, Japanese, 1761 - 1832, 52 3/8 × 22 9/16 in. (133.03 × 57.31 cm) (image), Hanging scroll; ink and color on paper, Japan, 19th century, Yokoi Kinkoku painted in a rapid and spontaneous manner and was especially successful in capturing the vibrancy of mountains and rocks. Toward the end of his life he became a wandering Buddhist priest of the Jōdo (Pure Land) school. Irregularly and richly shaped, the mountains go high up in the painting. Black ink dotting and lively outlines give the rocks a rich texture.

John Varley, 1778-1842, British, From an Album of Sixty-one Topographical Sketches. Graphite.

Three studies, in the middle a angler ..

Conversation between two men and a woman in an open field, Stefano della Bella, 1642 print print maker: Francepublisher: ParisFranceFrance paper etching conversation, dialogue; conversation piece

Fragment Made 969 CE-1171 Egypt. Linen and silk, tapestry weave . Islamic

Datur Hora Quieti, Edward Alfred Goodall, 1819-1908, British, after Joseph Mallord William Turner, 1775-1851, British, 1834, Line engraving, Early Final Proof on moderately thick, moderately textured, beige, wove paper, with beige, chine colle, Sheet: 11 7/8 × 8 5/8 inches (30.2 × 21.9 cm), Plate: 11 1/2 × 6 inches (29.2 × 15.2 cm), Chine collé: 11 3/16 × 5 3/4 inches (28.4 × 14.6 cm), and Image: 3 × 4 inches (7.6 × 10.2 cm)

Design for a Stage Set at the Opéra, Paris 1830-90 Eugène Cicéri French. Design for a Stage Set at the Opéra, Paris 358547

Sketches G. Hayter, Hayter, Sir George, 1792-1871, graphite, ink, watercolor, 1816

Village on the water and figures, 1822 - 1893 Among other things, a sitting figure with a jug. Page 19 Recto from a sketchbook with 36 sheets. paper. pencil Among other things, a sitting figure with a jug. Page 19 Recto from a sketchbook with 36 sheets. paper. pencil

Meeting of Abraham and Melchizedek, Anonymous, 1890 - 1950 drawing paper. ink. pencil pen / brush interior ~ architectural design or model. (decorated) ceiling. the meeting of Abraham and Melchizedek, the high priest and king of Salem, who brings bread and wine (Genesis 14:18-20) Warmenhuizen

Shipwrecked drawings, works on paper

Pencil illustration by August Xaver Karl von Pettenkofen showing a scene from Gil Blas with figures, costumes, and environmental context.

Sailing in Autumn dated 1893 Xugu (Zhu Huairen) Chinese Zhu Xubai joined the imperial army in 1851, but, finding that his sympathies lay with the Taiping rebels, he deserted and became a monk, taking the name Xu Gu. Alienated and without roots, he traveled between Yangzhou, Suzhou, and Shanghai selling his paintings. He had been trained in a portrait shop to paint the realistic ancestor images much in demand, but the majority of his paintings give little evidence of traditional training. His creativity lies in devising a light coloristic means of rendering the impression of things as they are seen.In the 1870s and 1880s figure painting in Shanghai was dominated by Ren Yi (1840-1896) and landscape painting, by Xu Gu. Xu's fresh artistic vision offered realistic scenery rather than idealized landscapes. In this riverside scene, his sketchy impression of lowland grasses and shrubs is novel in its use of irregular, loosely connected strokes rather than traditional formulas for constructing

Jacques Fouquier's drawing depicts a forest landscape with a noble couple on horseback accompanied by a servant, rendered in brown ink and lavation with traces of black chalk on paper with vertical folding and minor brown spots.

Capt. Thomas Hastings, 1778-1854, British, East Cowes from Spring Hill, Isle of Wight, 1828. Graphite on medium, slightly textured, cream wove paper.

Charles Sprague Pearce, Study for an Archway, 1890 1897 Study for an Archway

Ceiling Design for the Dining Room of the Duke d'Albe, Madrid second half 19th century Jules-Edmond-Charles Lachaise French. Ceiling Design for the Dining Room of the Duke d'Albe, Madrid 349454

Joseph Mallord William Turner, 1775-1851, British, The Channel Sketchbook, ca. 1845. Watercolor on medium, slightly textured, white wove paper.

Bliej Kultury Stanis Awski, Jan (1860 1907)

John Constable, 1776-1837, British, Helmingham: The Silent Pool, ca. 1800. Graphite with gray wash on medium, slightly textured, cream laid paper.

The Channel Sketchbook, Joseph Mallord William Turner, 1775-1851, British, ca. 1845, Watercolor on medium, slightly textured, white wove paper, Sheet: 3 3/4 x 6 1/4 inches (9.5 x 15.9 cm) and Binding: 4in. (10.2cm), beaches, channel (water body component), figures, marine art, sketchbook, smoke, steamers

Song of a Fisherman. Wang Wen (1497-1576); Chinese. Date: 1497-1576. Dimensions: 11 1/4 × 66 in. Handscroll; ink on paper. Origin: China. Museum: The Chicago Art Institute, USA.

Face on Sainte-Agnès; Ste. Agnes ..

John Robert Cozens, 1752-1797, British, Convent at Vietri, ca. 1783. Graphite and varnish on thin, slightly textured, cream laid paper.

Landscape. Dated: mid 1660s. Dimensions: Overall (approximate): 19.1 x 13.1 cm (7 1/2 x 5 3/16 in.) support: 32.8 x 25.7 cm (12 15/16 x 10 1/8 in.). Medium: pen and brown ink with gray wash on laid paper. Museum: National Gallery of Art, Washington DC. Author: SALVATOR ROSA.

The Channel Sketchbook. Date/Period: Ca. 1845. Painting. Watercolor. Height: 95 mm (3.74 in); Width: 159 mm (6.25 in). Author: J. M. W. Turner.

The squadron of Van Wassenaer Obdam with his flag on the Eendracht, Willem van de Velde (II), 1643 - 1665 drawing paper. pencil brush sea (seascape). sailing-ship, sailing-boat. navy (+ sailing-ships)

Joseph Mallord William Turner, 1775-1851, British, The Channel Sketchbook, ca. 1845. Watercolor on medium, slightly textured, white wove paper.

Mountain landscape with chapel in La Cava, Christoph Heinrich Kniep, 1765 - 1825 drawing With a person sitting on a stone in the foreground. paper. pencil mountains. parts of church exterior and annexes: chapel Italy

Edelfelt, Albert, work, Sketch book, drawing, 9.5 cm x 15.5 cm, Edelfelt, Albert, Albert Gustaf Aristides Edelfelt 1854 - 1905, Finnish painter. Painting in a naturalistic style and with a Realist approach to art. He lived in Finland

Design for a Stage Set at the Opéra, Paris. Artist: Eugène Cicéri (French, Paris 1813-1890 Fontainebleau). Dimensions: sheet: 10 3/4 x 16 1/16 in. (27.3 x 40.8 cm). Date: 1828-90. Museum: Metropolitan Museum of Art, New York, USA.

Huis te Lent.Next to the house is a figure, probably a woman. Leaf 25 Recto from a sketchbook with 25 sheets.

Study for an Archway. Dated: 1890/1897. Dimensions: sheet: 8 × 15.1 cm (3 1/8 × 5 15/16 in.) mount: 30.1 × 46.1 cm (11 7/8 × 18 1/8 in.). Medium: graphite and watercolor on tan laid paper. Museum: National Gallery of Art, Washington DC. Author: Charles Sprague Pearce.

Poon, Gerrit Willem Dijsselhof, 1876 - 1924 drawing paper. chalk bony fishes: gurnard

An ink and feather drawing by Valentin Wagner from 1631-1638 showing the outlook from the castle garden in Adolfseck, with figures, garden elements, and landscape.

Holmberg, Werner, work, Sketch book, pencil and marker engraving, drawing, 17.5 cm x 26 cm, Holmberg, Werner, pencil and marker engraving

By The Sea, Au Bord De La Mer. Claude Monet (1840-1926). Pencil On Buff Paper Laid Down On Card, 1886.

From Window at Cadland, September 24, 1824, Anne Rushout, ca. 1768-1849, British, 1824, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 7 × 10 1/2 inches (17.8 × 26.7 cm)

Landscape with figures. The spray stains in the trees give a remarkable transparent effect. Signed and dated. In wooden box.

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