British and French Romanticism

Richard Parkes Bonington and British and French Romanticism: Introduction

Richard Parkes Bonington belongs to the histories of both British and French Romanticism, but not because he can be neatly divided into an English half and a French half. He was born in England, moved to France while young, trained in Paris, worked on both sides of the Channel and exhibited for audiences in both countries. His art took shape within that pattern of movement. Watercolour practice, academic training, landscape travel, museum study, print culture, exhibitions, friendships and the availability of new painting supports all mattered.

This history is therefore best understood as exchange rather than mixture. Bonington did not simply carry a finished British style into France, nor did French training erase what he had learned from British watercolour. He made something distinctive by testing techniques and subjects in changing circumstances. The Channel in his career was a route repeatedly crossed: by artists, pictures, prints, materials, patrons and reputations.

At a Glance

• National settingBonington was English-born and French-trained, and his work has a substantial place in the art histories of both countries.^[1][2]
• Family moveHis English family settled in France in 1817, when he was 15.^[1]
• Paris trainingHe entered the studio of the history painter Antoine-Jean Gros before turning decisively towards landscape.^[1]
• Salon successIn 1824, five marine and coastal oils brought him a Salon gold medal alongside John Constable, Copley Fielding and Thomas Lawrence.^[3]
• Reciprocal lookingA London visit in 1825 exposed him directly to work by Constable and Turner, while his relationships with Eugène Delacroix and Paul Huet developed in France.^[1][2][3]
• Turner connectionBonington and Turner probably never met, but each knew and admired the other’s work through exhibitions, engravings and collectors.^[3][4]

Contents

1. Introduction
2. The Channel Reopens After 1815
3. An English Artist Formed in French Institutions
4. Watercolour as Practice, Not Passport
5. The Paris Salon of 1824
6. London in 1825: Exchange Becomes Reciprocal
7. Delacroix, Huet and Artistic Friendship
8. Turner Without a Meeting
9. Coasts, Cities and Historical Imagination
10. Reception After 1828

The Channel Reopens After 1815

The political date behind Bonington’s artistic geography is 1815. The Napoleonic Wars had sharply restricted travel and cultural contact between Britain and France. After Napoleon’s defeat, movement resumed, and the 1820s brought an especially energetic French interest in British culture. British artists showed at the Paris Salon throughout the decade, while pictures, prints and travellers circulated through a newly accessible network.^[1]

Bonington’s family relocation in 1817 placed him inside that reopening rather than at its edge. He was not a mature artist making a short foreign tour. At 15, he entered a French social and educational world during the years in which his practice was being formed. That distinction matters. His English origins remained visible to contemporaries and modern museums, yet France was not an exotic destination added late to an otherwise British career. It was where he studied, found colleagues, exhibited and built much of his professional life.

National labels still help to describe institutions, audiences and traditions. They explain why an English watercolour practice attracted notice in Paris, or why the Salon appearance of British artists could seem consequential. They become misleading only when treated as fixed artistic temperaments. Bonington’s career shows how the categories operated through contact. A fuller chronology of his movements reinforces the important point here: mobility was not background information but one of the conditions of his art.

An English Artist Formed in French Institutions

Bonington entered the Paris studio of Antoine-Jean Gros, a leading history painter. The National Gallery records that he left this academic direction for landscape and travelled extensively in Normandy and Picardy.^[1] It would be easy to make that change sound like a clean rejection of French training in favour of a supposedly natural British landscape instinct. His later work resists such a simple opposition.

The studio gave him contact with a culture in which ambitious figure composition and public exhibition carried prestige. Landscape travel gave him different problems: how to register a specific riverbank, harbour, cloudbank or wet expanse with speed and clarity. In his final years he also painted literary and historical subjects. Patrick Noon’s 2025 study identifies 95 oils in the 2008 catalogue raisonné: 72 French and Italian landscapes and 23 figural or literary subjects, all made between 1824 and 1828.^[3] Those figures identify two sustained strands, not an early landscape phase discarded for history painting.

French institutions and subjects therefore remained active in his career even when his technique drew upon watercolour habits associated with Britain. The useful question is not which nation “owns” the result. It is how different forms of training and expectation met in particular works.

Watercolour as Practice, Not Passport

Watercolour was central to Bonington before his mature oils. Noon describes a habitual sequence in which he first tried a composition in watercolour or brown wash and then executed an oil directly, in one campaign.^[3] The National Gallery likewise explains that his early experience in watercolour shaped an oil method based on swift, fluid handling, thin paint and visible brushwork. In An Estuary in Northern France, this approach allowed him to carry the immediacy of a watercolour sketch into oil.^[1]

That transfer was practical rather than symbolic. Watercolour encouraged economical decisions, a responsive relation between mark and support, and work made before changing effects had disappeared. Bonington did not make oil behave exactly like watercolour, but he used lessons learned in one medium to change the possibilities of another. His watercolours and drawings are thus not a secondary category beside the paintings; they are part of the same experimental practice.

Material availability also altered what he could do. Noon records that during his London visit in 1825 Bonington encountered a portable, commercially prepared millboard patented by Robert Davy. It enabled him to attempt outdoors in oil the spontaneous work he had previously achieved in watercolour.^[3] This is a precise mechanism of cross-Channel exchange: a manufactured British support entered a practice developed through French travel and Parisian artistic relationships. The resulting small oils were not expressions of nationality in the abstract. They were made possible by skills, places and objects brought into contact.

The Paris Salon of 1824

The Salon made exchange public. Bonington had spent productive years making topographical watercolours for print publishers and literary illustrations for collectors. He returned to oil in preparation for the 1824 exhibition, where he showed five marine and coastal views. He received a gold medal alongside three more established British artists: Constable, Copley Fielding and Lawrence.^[3]

The grouping should not be mistaken for a common programme. Lawrence was a portraitist, Constable a landscape painter with his own methods, and Fielding a prominent watercolourist. Their simultaneous recognition mattered because it placed several forms of British practice before a large French audience. The National Gallery notes that many French artists admired the technical freedom and expressive handling they found in British painting.^[1] Bonington’s contribution was distinctive within that attention: compact marine and coastal subjects in which light, weather and handling could be apprehended quickly.

Only one of Bonington’s five exhibited oils has been identified securely by Noon.^[3] That limit is worth preserving. The Salon’s importance does not depend upon inventing a complete display. What survives is enough to establish a professional turning point and a shared venue in which artists from different traditions were judged together.

London in 1825: Exchange Becomes Reciprocal

The following year reverses any one-way account of British influence flowing into France. The Metropolitan Museum of Art situates View near Rouen shortly after Bonington returned from London in 1825, where he had engaged closely with the work of Constable and Turner and encountered Delacroix and other French Romantic painters.^[2] London was therefore both a place of British artistic discovery and a meeting ground for French colleagues.

Bonington did not need to encounter Constable for the first time as a name: the two had already been recognised at the same Salon. Seeing pictures in London offered another kind of knowledge—scale, surface and handling rather than reputation or reproduction alone. The lesson was not passive absorption. The small oil View near Rouen, painted on millboard from the bank of the Seine, belongs to the period in which the London material discovery and renewed looking were tested against a French site.^[2][3]

The same journey deepened Bonington’s contact with Delacroix. Noon records that the two studied a Rembrandt-school painting in London, then shared a Paris studio in 1825–26 and considered travelling to Italy together; Delacroix ultimately withdrew from the journey.^[3] Dutch art viewed in Britain, discussed by an English and a French painter, then carried back into Parisian work makes the national map more complicated again. Exchange involved older art and museum looking as much as contemporary style.

Delacroix, Huet and Artistic Friendship

Delacroix’s admiration for Bonington is unusually well documented. The National Gallery describes the two as friends and records Delacroix’s later praise for the lightness of Bonington’s touch, especially in watercolour.^[1] Noon’s research adds the shared studio and shows Delacroix looking closely at Bonington’s ability to move from preparatory wash or watercolour to a directly executed oil.^[3] Their relationship joined professional intimacy to technical observation.

This does not make Delacroix a follower. His scale, subjects and handling developed according to different ambitions, while Bonington’s own historical and literary pictures participated in interests shared by their Paris circle. The value of the comparison lies in specific encounters: working near one another, studying earlier paintings, discussing travel and observing how a colleague solved a pictorial problem. Readers interested in Delacroix’s separate development can continue with Eugène Delacroix.

Paul Huet belonged to another part of Bonington’s French network. The National Gallery identifies Huet among the companions with whom Bonington visited La Ferté and nearby Saint-Valery-sur-Somme.^[1] Here friendship was tied to movement through landscape. Artists could share a destination without producing interchangeable pictures. Their company created opportunities to compare sites, weather, materials and decisions while working.

Together, Delacroix and Huet reveal why “French influence” is too blunt a phrase. One relationship centred on studio proximity, older masters and ambitious subject painting; another included companionship before northern French scenery. Both were reciprocal human connections rather than anonymous national forces.

Turner Without a Meeting

Bonington’s relation to J. M. W. Turner requires particular care. The Wallace Collection describes mutual admiration and says the two artists knew one another’s work through exhibitions and engravings.^[4] Noon concludes that they probably never met. His account instead follows works, testimony and a shared collector, H. A. J. Munro of Novar: Paul Huet remembered Bonington’s intense admiration for Turner, while Turner told Munro of his regard for Bonington’s marine paintings seen in London exhibitions.^[3]

This is not a weaker history because it lacks a studio encounter. Engravings could carry compositions across distance; exhibitions allowed comparison; collectors placed works into physical and conceptual relation. Munro owned important paintings by both artists, and Noon reports that Turner wanted one of his Venetian views hung beside a view of the Grand Canal by Bonington.^[3] The anecdote concerns comparison and esteem, not proof of stylistic dependence.

After Bonington’s death, Turner painted Calais Sands at Low Water—Poissards Collecting Bait in 1830. Both Noon and the Wallace Collection describe it as generally understood as a tribute to the younger artist.^[3][4] The coastal setting and glistening low-tide sands make the act of remembrance pictorial. Yet even here, “mutual influence” names a relationship between distinct practices; it does not erase their differences. Bonington’s On the Coast of Picardy gives a focused way to consider his own treatment of the Channel coast, while Turner has a much longer career and artistic trajectory.

Coasts, Cities and Historical Imagination

Bonington’s subjects also crossed the boundaries imposed by simplified movement histories. Normandy, Picardy and the Seine supplied landscapes close to routes of travel between Paris and the coast. Venice, reached during his 1826 journey, offered architecture, water and associations with Shakespeare as well as the paintings of Titian and Veronese; Noon identifies these interests as determining his Italian course.^[3] Historical and literary scenes drew upon the academic and cultural world in which he had been trained.

The connecting element is not subject matter alone. Across watercolour, oil landscape and figure painting, Bonington valued an economical execution in which selection mattered. A river view need not become a topographical inventory; a historical costume scene need not abandon attention to colour and surface. His practice moved between direct observation, remembered study and imaginative reconstruction. This range prevents the coastal sketches from being treated as his only serious achievement, or the late historical works as a foreign addition to an otherwise “English” identity.

Reception After 1828

Bonington died in 1828, but the cross-Channel life of his work continued. The National Gallery notes that French artists, including Delacroix, admired its freshness and immediacy, and that it was later admired by the Impressionists.^[1] Admiration is the important word. It establishes reception without turning Bonington into an Impressionist before Impressionism or claiming a direct line of influence upon every later painter concerned with light and visible handling.

Modern scholarship has also treated British and French Romantic art as an interconnected field. Patrick Noon organised Crossing the Channel: British and French Painting in the Age of Romanticism in 2003 with the Minneapolis Institute of Art, Tate Britain and the Metropolitan Museum of Art.^[5] The collaboration does not dissolve national histories; it shows why comparison across collections and institutions is necessary.

Bonington’s own achievement remains more exact than the familiar image of a bridge. He learned within French institutions, carried watercolour habits into oil, absorbed works seen in London, worked beside French painters and reached audiences through exhibitions and reproductions. Those circumstances gave him opportunities, but they do not explain away the judgement visible in each work. Exchange supplied a field of action. Bonington’s distinction lay in what he made from it.

Researched works directory

This searchable directory is an online evidence census assembled from public museum and collection records. It is not a substitute for Patrick Noon’s printed catalogues raisonnés.

Search artworks Medium All media Drawing Painting Reset

226 artworks

Name	Date	Medium
A Coast Scene	1820–1828	Painting
A Cutter and other shipping in a Breeze	1827–1828	Watercolour
A Distant View of St-Omer	1824	Painting
A Distant View of St-Omer	c. 1824	Painting
A duel between Frank and Rashleigh	1828	Print
A Faun with Pipes	Date unknown	Drawing
A Seascape	Date unknown	Drawing
A Venetian Scene	c. 1828	Watercolour
A Wooded Stream and a Farmhouse in Normandy	Date unknown	Drawing
Abbeville - Vue Pris, de la route de Calais	Date unknown	Print
Abbey St-Amand, Rouen	Date unknown	Watercolour
An Estuary in Northern France	c. 1825–1827	Painting
An Italian Town	1822–1828	Painting
Ancienne Porte a Stirling	1826	Print
Ancienne Tour	1826	Print
Ancienne Tour Près de Lanark	1826	Print
Anne Page and Slender (Shakespeare's Merry Wives of Windsor, Act 1, Scene 1)	1829	Artwork
Architectural Remains and Fragments: Rouen - Fontaine de la Crosse	1827	Print
Architecture du Moyen Age	1824	Print
Argyle Castle	1826	Print
Argyle Castle	1828	Print
At the English Coast	1825	Watercolour
Beach Scene	c. 1825	Watercolour
Beach Scene with Cart and Horse	1825	Painting
Beached Vessels and a Wagon, near Trouville, France	c. 1825	Painting
Beauvais - interieur d'une cour	Date unknown	Print
Bergues - La Tour du March,	Date unknown	Print
Bergues: La Tour du marché	1824	Print
Boccadasse, Genoa with Monte Fasce in the Background	1826	Painting
Bologna	1826–1827	Drawing
Bologna	1828	Print
Bonington - Vue de Venise	Date unknown	Watercolour
Bothwell Castle	1826	Print
Bothwell Castle	1828	Print
Boulogne Harbor	1823	Watercolour
Bracklin-Bridge	1828	Print
Brackline	1826	Print
Caen - Eglise Saint-Sauveur	1824	Drawing
Caen - Maison Grande Rue Saint-Pierre	Date unknown	Drawing
Calais Jetty, France	c. 1824	Painting
Campos sur les bords du Rio das Velhas	1827	Print
Castle on a Scottish Loch	1822–1828	Painting
Cathedrale Notre-Dame	1824	Print
Charles V visits François Ier after the Battle of Pavia	c. 1827	Watercolour
Chateau d'Argyle	1826	Print
Chateau de Bothwell	1826	Print
Chateau de Bothwell / Bothwell Castle	1826	Print
Christ preaching - unfinished	Date unknown	Painting
Coast Scene in Picardy, France	1826	Painting
Coastal Scene with Fishing Boats	1828	Painting
Croix de Moulin-les-Planches	1827	Print
Demetrius de Palatiano	19 th century	Painting
Die adriatische Küste	c. 1820	Painting
Die normannische Küste	1823–1824	Painting
Dieppe Harbour	Date unknown	Painting
Don Quixote	1825–1826	Painting
Don Quixote in His Study	1825–1826	Painting
Doune Castle	1828	Print
Du Sacristain de Saint Angadresne	c. 1828	Print
Dutch: Processie in Verona	1801–1828	Painting
Edimbourg pris de la Chapelle St Antoine	1826	Print
Edimbourg vu de Calton-Hill	1826	Print
Edimbourg vu de la Chapelle Saint-Antoine	1826	Print
Edinbourgh vu de la Chapelle S. Antoine	1826	Print
Edinburg from S. Anthony Chapel	1828	Print
Edinburgh from St. Anthony Chapel	1826	Print
Edinburgh from the Calton Hill	1828	Print
Eglise de Saint-Taurin, Evreux	1824	Print
Eglise de St. Jean a Lyons	1824	Print
Eglise St. Sauveur	1824	Print
Embouchure de la Riviere Caxoera	1827	Print
Entree de la rade de Rio-Janeiro	1827	Print
Entrée de la salle des pas-perdus, Palais de Justice	1824	Print
Evening in Venice	1826–1828	Painting
Façade de l'Eglise de Brou	1825	Print
Façade St. Jean	1824	Print
Figures on a rocky shoreline	Date unknown	Artwork
Fishing Boats in a Calm, Ships at Anchor	1825	Painting
Fishing Smacks in French Harbour	1818–1825	Painting
Five Studies of a French Pointer	1825–1826	Drawing
Fontaine de la Crosse	1827	Print
French Coast Scene	1815–1828	Painting
French Coast with Fishermen	1825	Painting
French Hulk	1820–1828	Painting
German: Ein Waldweg	1825–1826	Painting
Glenfinlas	1826	Print
Glenfinlas	1828	Print
Glenfinlas Valley (Vallée de Glenfinlas, from Vues Pittoresques de l'Écosse)	1826	Artwork
Goetz Von Berlichingen Before The Imperial Magistrate	c. 1826	Drawing
Grand Canal, Venice	1826	Drawing
Greek Armatole (irregular fighter).	1825	Painting
Half-length Portrait of a Bearded Man in Historical Dress	1818	Drawing
Henri III	1828	Painting
Hôtel de Sens : dessin / Richard-Parkes Bonington	19 th century	Drawing
Ile de la Cite	Date unknown	Watercolour
In the Forest of Fontainebleau	c. 1825	Painting
Intérieur d'une Cour	1824	Print
Jour du Marché	1824	Print
L'Eglise de St. Gervais et St. Protais	1824	Print
L'espace	c. 1826	Painting
La Conversation	1826	Print
La Place du Molard, Geneva	Date unknown	Painting
La Prière	1826	Print
La Tour du Marché	1824	Print
Lac de Killin	1826	Print
Lac Lomond	1826	Print
Landscape with a Pond	1825–1826	Painting
Landscape with Castle Ruin	Date unknown	Watercolour
Le Château de la Duchesse de Berry	1823–1825	Painting
Le matin	1824	Print
Le Repos	1826	Print
Le Retour	1826	Print
Le Silence Favorable	1826	Print
Les Pendus	1826	Print
Les Plaisirs Paternels	1826	Print
Les Salinieres near Trouville	1827–1828	Painting
Lillebonne - Chateau d'Harcourt	1824	Print
Lillebonne - Chateau d'Harcourt	Date unknown	Print
Loch Lomond	1826	Print
Loch Lomond	1828	Print
Loch Tay	1828	Print
Lochkillin	1826	Print
Low Tide at Boulogne	1824	Painting
Maison Grande Rue St. Pierre	1824	Print
Maison Située Rue St Veronique	1824	Print
Man and Woman in a Landscape, possibly Faust and Marguerite	c. 1826	Drawing
Molard-Bonington-1829	1829	Print
Molard-Bonington-1829-cropped	1829	Print
Near Honfleur	1823	Watercolour
Near Jumieges	Date unknown	Watercolour
Old Gate Way at Stirling	1828	Print
Old Gateway at Stirling	1826	Print
Old Tower near Lanark	1828	Print
On the Adriatic	c. 1826	Painting
On the Coast of Picardy	1826	Painting
On the Seine – Morning	1825	Painting
Palais de Justice, Rouen	Date unknown	Drawing
Paris from Pere Lachaise	Date unknown	Watercolour
Pays de Caux: Twilight	1818–1828	Painting
Peasant Women from Ragusa	1826	Drawing
Pesmes	1825	Print
Peveril of the Peak - Julian Peveril and Alice Bridgenorth, surprised by Major Ralph Bridgenorth	c. 1826	Watercolour
Picardy Coast with Children – Sunrise	c. 1826	Painting
Picturesque Views of Scotland: Brackline	1826	Print
Pierre de Vaivre	1827	Print
Polish: Zdjęcie z krzyża The Descent from the Cross.	1820	Painting
Portia and Bassanio	c. 1826	Watercolour
print	1827	Print
print, title-page	1828	Print
Processie in Verona	19de eeuw	Painting
Promenade vénitienne (Venetian Promenade)	Date unknown	Artwork
Quentin Durward and the Disguised Louis XI (recto); Study of male figure (verso)	1825–1826	Drawing
Quentin Durward at Liège, Belgium	1827–1828	Painting
Quentin Durward in Luik, objectnr TA 11006	1825	Drawing
Restes et Fragmens d'Architecture du Moyen Age: Église St. Sauveur, Caën	Date unknown	Print
Riva degli Schiavoni, from near San Biagio, Venice, by Richard Parkes Bonington	Date unknown	Painting
Road Workers, near Lillebonne	Date unknown	Painting
Roadside Halt	1826	Painting
Robert Dudley, Earl of Leicester and his wife Amy Robsart.	1820	Painting
Rouen	1825	Watercolour
Rouen: Entrée de la Salle des Pas Perdus, Palais du Justice	1824	Print
Rue du gros-horloge, Rouen	1824	Print
Ruines de Chateau d'Arlay	1827	Print
Ruines du Château d'Arlay	1827	Print
Ruins of the Abbey Saint Bertin	1824	Painting
Sea Coast, the Dunes	Date unknown	Painting
Seapiece: Off the French Coast	c. 1823–1824	Painting
Shipping in a Swell	1824–1827	Watercolour
Shipping in an Estuary, Probably near Quilleboeuf	1825–1826	Watercolour
Sketch of a Woman	1828	Drawing
Street in the Outskirts of Besançon, France	1827	Print
Studies for Shylock	1825	Drawing
Study of a Gentleman in 17th Century Costume, After Van Dyck	1827–1828	Drawing
Study of a Seated Woman	Date unknown	Drawing
Study of a Woman with her Head on her Hand	Date unknown	Drawing
Sunset: A Sketch	Date unknown	Painting
Sunset in the Pays de Caux	1828	Watercolour
The Antiquary	Date unknown	Painting
The Chibouk	1826	Painting
The Church of St. Wulfran, Abbeville: The North Door of the West Front	c. 1823	Drawing
The Count of Palatino in the costume of a Palikar	Date unknown	Painting
The Doge's Palace, Venice	1826	Painting
The Escape from Argyle Castle	1826	Print
The Escape from Argyle-Castle	1828	Print
The Grand Canal	1826–1827	Painting
The Grand Canal, Venice	1826–1827	Painting
The Interior of Sant' Ambrogio, Milan	1826	Painting
The Old Jetty, Boulogne, France	Date unknown	Painting
The Pont des Arts, Paris	1826	Painting
The Proposal (recto); Unfinished drawing of a horse and rider (verso)	1820	Drawing
The Rialto, Venice	Date unknown	Painting
The Salt Marshes near Trouville	1826	Watercolour
The Use of Tears	1827	Watercolour
The Use of Tears	Date unknown	Painting
Titlepage to Restes et Fragments	Date unknown	Print
Tomb in the Church of Saint-Omer, France	Date unknown	Painting
Tombeau de Marguerite de Bourbon, Eglise de Brou	1825	Print
Tour aux archives à Vernon	1824	Print
Tour du gros horloge, batie sous la domination des Anglais en 1417, Evreux	1824	Print
Tour du gros-horloge, Evreux	1824	Print
Trees and a Cottage by a River	1827	Drawing
Untitled (one of three)	Date unknown	Print
Vessels in a Choppy Sea	c. 1824	Watercolour
View in Brittany: Bridge, Cottages and Washerwomen	1818–1828	Painting
View near Rouen	c. 1825	Painting
View near Sarzana, Val di Magra	1826	Painting
View of the Rialto Bridge, Venice	c. 1826	Watercolour
View on the Grounds of a Villa near Florence	1826	Painting
View on the River Seine - Morning	c. 1825	Painting
Voyages pittoresques et romantiques dans l'ancienne France	1825	Print
Voyages pittoresques et romantiques dans l'ancienne France, Franche-Comté: Église de l'abbaye de Tournus	1825	Print
Voyages pittoresques et romantiques dans l'ancienne France, Franche-Comté: Ruines du château d'Arlay	1825	Print
Voyages pittoresques et romantiques dans l'ancienne France, Franche-Comté: Vue d'une rue des faubourgs de Besançon	1825	Print
Voyages pittoresques et romantiques dans l'ancienne France, Normandie: Église de Saint Gervais et Saint Protais à Gisors	1824	Print
Voyages pittoresques et romantiques dans l'ancienne France, Normandie: Rue du Gros Horloge, Rouen	1824	Print
Voyages pittoresques et romantiques dans l'ancienne France, Normandie: Tour aux archives à Vernon	1824	Print
Voyages pittoresques et romantiques dans l'ancienne France, Normandie: Tour du Gros-Horloge, Evreux	1824	Print
Vue d'une rue des faubourgs de Besançon	1827	Print
Vue d'une rue des Faubourgs de Besançon (View of a Street in the Outskirts of Besançon)	1827	Print
Vue Generale de l'Eglise de l'Abbaye de Tournus	1825	Print
Vue Générale de l'Eglise de St. Gervais et St. Protais, à Gisors	1824	Print
Vue Generale des Ruines du Chateau d'Arlay	1827	Print
Vue prise à l'entrée du jardin des Plantes. Au premier plan, bâtiment de la minéralogie et à l'arrière, dôme de l'hôpita, D.2182	1806–1828	Drawing
Vue Prise de la Route de Calais	1824	Print
Vues Pittoresques de l'Écosse	1826	Print
Young Woman Writing a Letter	1820–1828	Painting

Frequently Asked Questions

References

1. National Gallery, London, “Richard Parkes Bonington, An Estuary in Northern France, about 1825–7.”, accessed 30 August 2026.
2. Metropolitan Museum of Art, “Richard Parkes Bonington, View near Rouen, ca. 1825.”, accessed 30 August 2026.
3. Patrick Noon, “A supplement to Richard Parkes Bonington, the Complete Paintings,” Colnaghi Studies Journal XVII (October 2025), pp. 61–76., accessed 30 August 2026.
4. Wallace Collection, “Turner and Bonington.”, accessed 30 August 2026.
5. Minneapolis Institute of Art, “Patrick Noon.”, accessed 30 August 2026.

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