Watercolourists hi-res stock photography and images

Exhibition of watercolourists, Hagengesellschaft, Alfred Roller (Brno 1864 - 1935 Vienna), 1890, drawing, pen and brush in blue ink, 24 x 18 cm, on the passepartout: 'Roller 1890 Stock Photo

RM2T8M49B–Exhibition of watercolourists, Hagengesellschaft, Alfred Roller (Brno 1864 - 1935 Vienna), 1890, drawing, pen and brush in blue ink, 24 x 18 cm, on the passepartout: 'Roller 1890

RMAKK99P–Watercolourists on Downs

. English: Portrait of Hyder Beg Khan, minister to Nawab of Awadh, Asaf-ud-Daula During the late 18th century a number of British artists--miniaturists, oil painters, watercolourists--went to India to work for the expatriate British community and local Indian dignitaries and royalty. Many, such as Ozias Humphry, believed that India would provide them not only with a better living than could be had in the crowded market of London, but indeed a fortune. Humphry resolved to go to India upon hearing that at that time there was no ‘tolerable miniature painter’there. The East India Company granted Stock Photo

RMMMH5DX–. English: Portrait of Hyder Beg Khan, minister to Nawab of Awadh, Asaf-ud-Daula During the late 18th century a number of British artists--miniaturists, oil painters, watercolourists--went to India to work for the expatriate British community and local Indian dignitaries and royalty. Many, such as Ozias Humphry, believed that India would provide them not only with a better living than could be had in the crowded market of London, but indeed a fortune. Humphry resolved to go to India upon hearing that at that time there was no ‘tolerable miniature painter’there. The East India Company granted

4 Elderly watercolourists on chairs on cliff tops with hikers looking out to sea Stock Photo

RMAKK97J–4 Elderly watercolourists on chairs on cliff tops with hikers looking out to sea

1924 ca : The russian painter and stage designer LEON BAKST ( 1866 - 1924 ) of BALLETS RUSSES by Sergei Diagilev . Born as Lev (Leib) Rosenberg, he was also known as Leon (Lev) Nikolayevich Bakst . 'Bakst' is his pseudonym derived from his grandmother's family name, Bakster (Baxter). On his first exhibition (1889) he took the name of Bakst based on his maternal grandmother's family name Baxter. At the beginning of the 1890s he exhibited his works with Society of watercolourists. During 1893 - 1897 he lived in Paris, where he studied at the Academie Julian while still visiting Saint Petersbu Stock Photo

RM2PBFF5P–1924 ca : The russian painter and stage designer LEON BAKST ( 1866 - 1924 ) of BALLETS RUSSES by Sergei Diagilev . Born as Lev (Leib) Rosenberg, he was also known as Leon (Lev) Nikolayevich Bakst . 'Bakst' is his pseudonym derived from his grandmother's family name, Bakster (Baxter). On his first exhibition (1889) he took the name of Bakst based on his maternal grandmother's family name Baxter. At the beginning of the 1890s he exhibited his works with Society of watercolourists. During 1893 - 1897 he lived in Paris, where he studied at the Academie Julian while still visiting Saint Petersbu

Albert Nikolaevich Benois (1852 - 1936), a menu card for Maria Feodorovna (1847 - 1928), dated 1902 Watercolour on paper, gold trim cardboard. Elaborately painted summer flowers, in the background hay huts in the field. Blank menu card, the upper section emblazoned with the Cyrillic character 'M' under a Russian grand duke's crown. Signed and dated '22 Juillet 1902 Albert Benois'. Dimensions 38.5 x 27 cm. Under glass, wood frame, on the verso collection number and old Russian stamp. Albert Benois, one of the most renowned Russian watercolourists,, Additional-Rights-Clearance-Info-Not-Available Stock Photo

RMT3JEFY–Albert Nikolaevich Benois (1852 - 1936), a menu card for Maria Feodorovna (1847 - 1928), dated 1902 Watercolour on paper, gold trim cardboard. Elaborately painted summer flowers, in the background hay huts in the field. Blank menu card, the upper section emblazoned with the Cyrillic character 'M' under a Russian grand duke's crown. Signed and dated '22 Juillet 1902 Albert Benois'. Dimensions 38.5 x 27 cm. Under glass, wood frame, on the verso collection number and old Russian stamp. Albert Benois, one of the most renowned Russian watercolourists,, Additional-Rights-Clearance-Info-Not-Available

Four elderly watercolourists Stock Photo

RMAKK97K–Four elderly watercolourists

Cloud Study, 1800s. Many English watercolourists of the period were especially interested in capturing natural effects of the landscape, such as cloud formations. Such studies were of particular interest to the French Impressionists. Stock Photo

RM2A50GX2–Cloud Study, 1800s. Many English watercolourists of the period were especially interested in capturing natural effects of the landscape, such as cloud formations. Such studies were of particular interest to the French Impressionists.

Japanese Watercolourists at the Greek Theatre Taormina Sicily Stock Photo

RMA56EEF–Japanese Watercolourists at the Greek Theatre Taormina Sicily

Death of British balloonist Robert Cocking. Advertising handout for the 'Casket' journal previewing the next issue's depiction of Cocking's flight Stock Photo

RMM5HTEG–Death of British balloonist Robert Cocking. Advertising handout for the 'Casket' journal previewing the next issue's depiction of Cocking's flight

Two women artists painting watercolours near the Santa Justa Elevator in Lisbon Stock Photo

RM2R2TXRN–Two women artists painting watercolours near the Santa Justa Elevator in Lisbon

blue plaque marking peel cottage, a home of artist sir william russell flint, kensington, london, england Stock Photo

RMCPTKBM–blue plaque marking peel cottage, a home of artist sir william russell flint, kensington, london, england

Artists painting on Saltburn beach Stock Photo

RMADH90M–Artists painting on Saltburn beach

male artist painting or drawing outside of a row of beach huts in bournemouth uk Stock Photo

RM2RTD4XA–male artist painting or drawing outside of a row of beach huts in bournemouth uk

books on art and drawing on a bookshelf, artists instruction and reference books with various titles stacked together on a bookshelf in a study. Stock Photo

RM2HB9CH5–books on art and drawing on a bookshelf, artists instruction and reference books with various titles stacked together on a bookshelf in a study.

RMMMH5DY–. English: Portrait of Hyder Beg Khan, minister to Nawab of Awadh, Asaf-ud-Daula During the late 18th century a number of British artists--miniaturists, oil painters, watercolourists--went to India to work for the expatriate British community and local Indian dignitaries and royalty. Many, such as Ozias Humphry, believed that India would provide them not only with a better living than could be had in the crowded market of London, but indeed a fortune. Humphry resolved to go to India upon hearing that at that time there was no ‘tolerable miniature painter’there. The East India Company granted

RMMMPDPW–. English: Portrait of Hyder Beg Khan, minister to Nawab of Awadh, Asaf-ud-Daula During the late 18th century a number of British artists--miniaturists, oil painters, watercolourists--went to India to work for the expatriate British community and local Indian dignitaries and royalty. Many, such as Ozias Humphry, believed that India would provide them not only with a better living than could be had in the crowded market of London, but indeed a fortune. Humphry resolved to go to India upon hearing that at that time there was no ‘tolerable miniature painter’there. The East India Company granted

RMT3JEG0–Albert Nikolaevich Benois (1852 - 1936), a menu card for Maria Feodorovna (1847 - 1928), dated 1902 Watercolour on paper, gold trim cardboard. Elaborately painted summer flowers, in the background hay huts in the field. Blank menu card, the upper section emblazoned with the Cyrillic character 'M' under a Russian grand duke's crown. Signed and dated '22 Juillet 1902 Albert Benois'. Dimensions 38.5 x 27 cm. Under glass, wood frame, on the verso collection number and old Russian stamp. Albert Benois, one of the most renowned Russian watercolourists,, Additional-Rights-Clearance-Info-Not-Available

RM2A50GXK–Cloud Study, 1800s. Many English watercolourists of the period were especially interested in capturing natural effects of the landscape, such as cloud formations. Such studies were of particular interest to the French Impressionists.

Possible self-portrait of balloonist Robert Cocking first man to die in a parachute accident.(1776 – 1837) the a British watercolour artist who died in the first parachute accident. Stock Photo

RMM5HCCG–Possible self-portrait of balloonist Robert Cocking first man to die in a parachute accident.(1776 – 1837) the a British watercolour artist who died in the first parachute accident.

entrance and blue plaque marking peel cottage, a home of artist sir william russell flint, kensington, london, england Stock Photo

RMCPTKC1–entrance and blue plaque marking peel cottage, a home of artist sir william russell flint, kensington, london, england

RM2A50GX8–Cloud Study, 1800s. Many English watercolourists of the period were especially interested in capturing natural effects of the landscape, such as cloud formations. Such studies were of particular interest to the French Impressionists.

Formal Portrait of balloonist Robert Cocking first man to die in a parachute accident.(1776 – 1837) the a British watercolour artist who died in the first parachute accident. Stock Photo

RMM5HCD7–Formal Portrait of balloonist Robert Cocking first man to die in a parachute accident.(1776 – 1837) the a British watercolour artist who died in the first parachute accident.

entrance to peel cottage, a home of artist sir william russell flint, kensington, london, england Stock Photo

RMCPTKB1–entrance to peel cottage, a home of artist sir william russell flint, kensington, london, england

RM2A50GX3–Cloud Study, 1800s. Many English watercolourists of the period were especially interested in capturing natural effects of the landscape, such as cloud formations. Such studies were of particular interest to the French Impressionists.

RMCPTKAR–entrance to peel cottage, a home of artist sir william russell flint, kensington, london, england

RM2A50GXH–Cloud Study, 1800s. Many English watercolourists of the period were especially interested in capturing natural effects of the landscape, such as cloud formations. Such studies were of particular interest to the French Impressionists.

RM2A50GXT–Cloud Study, 1800s. Many English watercolourists of the period were especially interested in capturing natural effects of the landscape, such as cloud formations. Such studies were of particular interest to the French Impressionists.

RM2A50GXD–Cloud Study, 1800s. Many English watercolourists of the period were especially interested in capturing natural effects of the landscape, such as cloud formations. Such studies were of particular interest to the French Impressionists.

Sketchbook, 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook. Stock Photo

RM2A526PY–Sketchbook, 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook.

Sketchbook: Norham, 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook. Stock Photo

RM2A5272H–Sketchbook: Norham, 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook.

RM2A5272X–Sketchbook: Norham, 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook.

Sketchbook: "Ruin", 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook. Stock Photo

RM2A5272D–Sketchbook: "Ruin", 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook.

Sketchbook: Eildon Hills, 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook. Stock Photo

RM2A52724–Sketchbook: Eildon Hills, 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook.

Sketchbook: On the ?, 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook. Stock Photo

RM2A52730–Sketchbook: On the ?, 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook.

Sketchbook: Tree Study, 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook. Stock Photo

RM2A5272J–Sketchbook: Tree Study, 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook.

Sketchbook: "Ruined Castle", 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook. Stock Photo

RM2A5272G–Sketchbook: "Ruined Castle", 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook.

Sketchbook: "Landscape with Sailboats", 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook. Stock Photo

RM2A5272F–Sketchbook: "Landscape with Sailboats", 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook.

Sketchbook: "Mountainous Landscape with Bridge", 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook. Stock Photo

RM2A5272K–Sketchbook: "Mountainous Landscape with Bridge", 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook.

Sketchbook: Study of Cross and Rowboat (on back cover), 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook. Stock Photo

RM2A52731–Sketchbook: Study of Cross and Rowboat (on back cover), 1814. John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolourists of the 18th century, Prout emphasized form over colour in his watercolours, as is evident in the monochromatic, delicate English views in this sketchbook.

Fishing Boats, 1836. Eugène Isabey began his career assisting his father, the miniaturist J. B. Isabey, with illustrations for a travel book on Italy. In 1825, Isabey made a trip to England, where he was profoundly influenced by the latest trends in watercolour painting. On his return, he specialized in coastal scenes of Normandy in the north of France. Here, Isabey depicts the luminous atmospheric effects at the meeting of sea, shore, and sky with the consummate skill that earned him a reputation as one of the leading Romantic watercolourists. Stock Photo

RM2T6D22C–Fishing Boats, 1836. Eugène Isabey began his career assisting his father, the miniaturist J. B. Isabey, with illustrations for a travel book on Italy. In 1825, Isabey made a trip to England, where he was profoundly influenced by the latest trends in watercolour painting. On his return, he specialized in coastal scenes of Normandy in the north of France. Here, Isabey depicts the luminous atmospheric effects at the meeting of sea, shore, and sky with the consummate skill that earned him a reputation as one of the leading Romantic watercolourists.

Fishing Boats, 1862. Eugène Isabey began his career assisting his father, the miniaturist J. B. Isabey, with illustrations for a travel book on Italy. In 1825, Isabey made a trip to England, where he was profoundly influenced by the latest trends in watercolour painting. On his return, he specialized in coastal scenes of Normandy, in the north of France. Here, Isabey depicts the luminous atmospheric effects at the meeting of sea, shore, and sky with the consummate skill that earned him a reputation as one of the leading Romantic watercolourists. Stock Photo

RM2T6D22M–Fishing Boats, 1862. Eugène Isabey began his career assisting his father, the miniaturist J. B. Isabey, with illustrations for a travel book on Italy. In 1825, Isabey made a trip to England, where he was profoundly influenced by the latest trends in watercolour painting. On his return, he specialized in coastal scenes of Normandy, in the north of France. Here, Isabey depicts the luminous atmospheric effects at the meeting of sea, shore, and sky with the consummate skill that earned him a reputation as one of the leading Romantic watercolourists.

Cliffs by the Sea at Cézembre, Brittany, c. 1830. Isabey was primarily known for his watercolours and paintings of marine and beach scenes. As a young artist, he met and befriended Eugene Delacroix and Richard Parkes Bonington and traveled with them to England in 1825 where he was able to study the work of J. M. W. Turner and the English watercolourists. Isabey was one of the first French painters to work en plein air, or directly from nature. He proved to be an important French landscapist whose life spanned almost the entire 19th century. He contributed illustrations to the Voyage pitto Stock Photo

RM2A50GR5–Cliffs by the Sea at Cézembre, Brittany, c. 1830. Isabey was primarily known for his watercolours and paintings of marine and beach scenes. As a young artist, he met and befriended Eugene Delacroix and Richard Parkes Bonington and traveled with them to England in 1825 where he was able to study the work of J. M. W. Turner and the English watercolourists. Isabey was one of the first French painters to work en plein air, or directly from nature. He proved to be an important French landscapist whose life spanned almost the entire 19th century. He contributed illustrations to the Voyage pitto

Watercolourists Stock Photos and Images

Watercolourists Stock Photos and Images

Download Confirmation

Password Confirmation

Search Results for Watercolourists Stock Photos and Images (43)

Filter by agency collections

Search builder

Get great features with your free account

Get inspired for your next project!