Paintings

Richard Parkes Bonington Paintings: Introduction

Richard Parkes Bonington’s oil paintings compress an unusual range into only a few years. Northern French beaches, estuaries and river towns sit beside Venetian architecture and episodes from European history and literature. Across these subjects, the constant is not a single formula but an alertness to how light, colour and touch can organise a scene quickly and clearly.

The oils are therefore most rewarding when approached through both place and method. A small view on portable board may record a particular site with remarkable economy; a canvas may carry the same fluid handling into a more elaborate landscape or figure composition. Watercolour remains essential to that story, not as a lesser medium but as a closely related practice through which Bonington developed habits of transparent colour, swift notation and tonal planning.

At a Glance

• Concentrated corpusPatrick Noon’s 2025 supplement states that his 2008 catalogue included 95 oils: 72 French or Italian landscapes and 23 figural or literary subjects.^[1]
• Principal periodNoon dates this sustained activity in oil to 1824–28, although a few youthful oil copies are documented from earlier years.^[1]
• SupportsBonington painted on both canvas and prepared board; portable Davy millboard became especially useful for oil studies from 1825.^[1]
• PlacesNorthern France, Normandy, Picardy and Venice provide many of the most recognisable settings.^[1]
• MethodsThin applications, wet-into-wet handling and decisive strokes could transfer qualities associated with watercolour into oil.^[3]
• RangeCoastal and architectural landscapes dominate numerically, but late history and literary paintings were an important, ambitious strand.^[1][7]

Selected Richard Parkes Bonington paintings

Contents

1. Introduction
2. A return to oil in 1824
3. Board, canvas and speed
4. Coasts, estuaries and open skies
5. Normandy and the Seine
6. Italy and the architecture of Venice
7. History and literary painting
8. Study, finish and the visible act of painting
9. A selected works guide

A return to oil in 1824

Bonington knew oil paint before his mature career. Noon identifies youthful copies after prints and other models, including works associated with the period before and shortly after the family moved from Calais to Paris. He then concentrated on drawing, watercolour and lithography, and did not resume painting in oils until 1824.^[1] That distinction matters: asking when Bonington “began” in oil produces one answer for his early experiments and another for the compact mature body of work.

The renewed effort coincided with his success at the 1824 Paris Salon. One of the earliest surviving landmarks is Seapiece: Off the French Coast, dated about 1823–24 by the National Gallery of Art. It is an oil on canvas rather than a work on portable board, and its low horizon gives the shifting sky and choppy water much of the composition.^[9] The dating places it at the threshold of Bonington’s sustained return to the medium rather than within a neat sequence that begins on a single day.

Noon’s count of 95 oils should also be read precisely. It is his 2025 summary of the oils catalogued in Richard Parkes Bonington: The Complete Paintings in 2008, not the total number of oils and watercolours in the book. Yale describes that catalogue raisonné as encompassing about 400 oil and watercolour paintings after 25 years of research.^[2] The printed catalogue itself has not been consulted here; the numerical breakdown and comments on practice come from Noon's accessible supplement.^[1]

Board, canvas and speed

Support was part of Bonington’s method. In London in 1825 he encountered commercially prepared millboard patented by Robert Davy. Its portability and pale prepared ground allowed him to pursue in oil some of the direct responses to natural effects that he had already developed in watercolour. Noon describes many of the resulting oil sketches as records of identifiable places and specifically associates View near Rouen with direct work before the subject.^[1]

This does not mean that every Bonington on millboard was necessarily painted outdoors, nor that every canvas was carefully constructed in a studio. The object evidence is more interesting than that simple division. An Estuary in Northern France is oil on paper-fibre board. The National Gallery considers it likely that Bonington painted it on site at La Ferté, perhaps on the Somme estuary, using a wet-in-wet method; thin paint and broad tracks leave parts of the support active in the image. Yet the museum also allows that small figures may have been added later.^[3] Direct observation and later adjustment could therefore belong to the same work.

Canvas could retain comparable freedom. The Metropolitan Museum of Art describes Roadside Halt, an oil on canvas of 1826, as fluid and light in a manner closely related to watercolour.^[5] Its larger, upright format accommodates a roadside group and landscape rather than simply enlarging an outdoor note. Looking across the corpus, support offers clues about circumstances and ambition, but it should never become a mechanical label for “sketch” or “finished picture”.

Coasts, estuaries and open skies

Bonington repeatedly found pictorial structure along the coast of northern France. Beaches and tidal margins offer broad horizontal zones, while boats, figures, posts and distant buildings punctuate them without closing the space. In Seapiece: Off the French Coast, sails and small colour accents are set against a much larger field of water and cloud.^[9] In An Estuary in Northern France, the exceptionally low strip of land gives the sky room to carry most of the changing weather.^[3]

The coast was not one interchangeable subject. On the Coast of Picardy is a distinct composition associated with the Wallace Collection. It must not be confused with the smaller On the Côte d’Opale, Picardy, whose attribution and dating Noon revised after examining it in 2016, or with the larger Bedford version commissioned after its owner encountered the smaller painting.^[1] Similar titles reflect repeated attention to the region, not a licence to merge separate objects.

These works also resist the idea that immediacy means a lack of design. Bonington could establish scale with a small figure, turn a sail into a bright vertical interval, or use a thin coastline to balance an extensive sky. The handling may be rapid, but the distribution of forms remains controlled. That combination makes the coast paintings useful introductions to his art: they reveal how a few well-placed accents can make a broad, open setting legible.

Normandy and the Seine

Normandy supplied riverbanks, towns, roads and architecture as well as coast. View near Rouen, painted about 1825, is a small oil on millboard measuring 27.9 by 33 centimetres. The Metropolitan Museum places the viewpoint on the bank of the Seine opposite Rouen and suggests that the work was made in late summer or autumn.^[4] Noon connects it with another oil study, Rouen Cathedral, Sunrise, probably made on the same day, while also noting related views in watercolour and chalk.^[1]

This network of works shows why the watercolours and drawings cannot be treated simply as preliminary stages. A view could be tested, remembered or reformulated across media without one version necessarily serving another in a fixed sequence. Watercolour trained Bonington to reserve light and move rapidly between tonal masses; oil offered opacity, body and the possibility of alteration. The exchange ran in both directions.

View near Rouen and Roadside Halt make a revealing pair. The first is compact, horizontal and painted on board; the second is a larger, vertical canvas of 1826. The Met locates Roadside Halt in Normandy and emphasises the fluidity of its execution.^[5] Together they show that “Normandy” names no single format. Bonington could turn the region into a concentrated record of a city across water or a more populated encounter along a road.

Italy and the architecture of Venice

Bonington travelled through Switzerland and northern Italy in 1826, gathering material that continued to occupy him after the journey. Noon describes Venice’s Gothic architecture, its literary associations and its paintings by Titian and Veronese as central attractions, and notes that the excursion supplied abundant material for later projects.^[1] Venetian subjects range from compact studies to more expansive canvases.

The Doge’s Palace, Venice is an oil on millboard dated 1826. The Cleveland Museum of Art says Bonington worked from a boat in the lagoon and points to colours mixed while wet and substantial, circling strokes as evidence of rapid execution.^[6] Architecture remains recognisable, but it is not rendered as a dry inventory of mouldings and windows. Palace, vessels, water and sky are held together by the movement of the paint.

The Grand Canal at the National Gallery of Art presents a different scale and structure. Dated 1826–27 and painted on canvas, it opens a long channel between sunlit buildings, boats and figures, with a broad sky above. The museum’s record distinguishes it from Bonington’s other Grand Canal views by accession number 2001.87.1.^[8] Titles such as The Grand Canal recur in accounts of his work, so institution, support, date and object number are essential for keeping versions separate.

Venice expanded rather than replaced Bonington’s northern landscape concerns. Water reflecting buildings, a low band of activity beneath a large sky, and the balance between observed particulars and fast synthesis all had precedents in his French subjects. What changed was the architectural vocabulary and the new store of motifs he could reshape after returning from Italy.

History and literary painting

Landscapes account for most of the oils in Noon's 2025 summary, but the remaining 23 works form a substantial counterweight. Their subjects draw on Shakespeare, Walter Scott, Goethe, Cervantes, French historical writing and contemporary poetry.^[1] These pictures call for costumes, interiors and gestures rather than a horizon and shifting weather, yet they still depend on selective detail and colour relationships.

The move into history painting also addressed the hierarchy of genres. The Wallace Collection explains that such subjects carried greater prestige than landscape or domestic scenes in Bonington’s period. Henri III, an oil on canvas of 1828, was shown at the Royal Academy shortly before his death. It depicts the French king receiving Don John of Austria and uses a subject the museum describes as original rather than a reworking of an earlier interpretation.^[7]

The picture should not be treated as a departure from an “authentic” Bonington defined only by open-air landscape. Historical and literary painting belonged to his professional ambitions, especially in the last years of his career. Its presence helps explain the true variety concealed by a compact count of oils: small boards and ambitious canvases, identifiable sites and imagined encounters, rapid studies and pictures intended for prominent exhibition all coexist.

Study, finish and the visible act of painting

Noon estimates that roughly a third of the 95 oils might be called studies or unfinished sketches, then immediately qualifies the category. Bonington’s assured, bravura brushwork can make it difficult to distinguish a study from a completed picture, and even posthumous sale catalogues did not apply the terms consistently.^[1] A sparse surface is not by itself proof that a work was abandoned; a larger canvas is not automatically more resolved.

One recurring procedure helps explain this ambiguity. Noon writes that Bonington often tried a composition in watercolour or brown wash before executing the oil in a single campaign, or en premier coup.^[1] This is closely related to the idea of alla prima, but it does not imply haste without thought. Earlier drawing or watercolour could establish the disposition of forms, while the oil retained the freshness of a concentrated performance.

The best way to judge an individual painting is therefore to ask specific questions. What support did Bonington use? Does the institution identify the site or circumstances? Which parts are broadly blocked in, and which receive sharper accents? Is there evidence of later studio work? How does the title distinguish the object from related versions? Such questions preserve the differences between paintings while making the family resemblance of their handling easier to see.

A selected works guide

Begin with An Estuary in Northern France for the meeting of watercolour-like immediacy and wet-in-wet oil on board.^[3] Move to View near Rouen to see how a portable support served a specific Seine viewpoint.^[4] Roadside Halt then demonstrates that fluidity was equally possible on canvas.^[5]

For the coast, On the Coast of Picardy offers a more extended composition and a reminder to separate closely titled versions.^[1] In Venice, The Doge’s Palace brings rapid handling to architecture seen from the lagoon,^[6] while The Grand Canal expands the city into a larger canvas.^[8] End with Henri III, where costume, gesture and historical narrative reveal an ambition that a survey limited to landscapes would miss.^[7]

Physical scale sharpens these comparisons. An Estuary in Northern France measures just 16.7 by 27.9 centimetres, while View near Rouen is 27.9 by 33 centimetres and the Cleveland Doge’s Palace 35.5 by 42.7 centimetres.^[3][4][6] Roadside Halt reaches 46.4 by 37.8 centimetres, and Henri III 54 by 64.4 centimetres.^[5][7] These increases do not form a tidy chronology: both small board paintings and canvases occur within a few concentrated years. They do change the viewing task. On a small support, one stroke may define a cloud edge, boat or roof almost by itself. A larger composition asks the same economy of touch to coordinate more figures, intervals and narrative cues. Comparing actual dimensions guards against mistaking a magnified digital reproduction for the physical experience of the object.

Together these paintings do not describe a straight progression from sketch to masterpiece or from watercolour to oil. They reveal an artist selecting different supports and degrees of finish for different visual problems. The coherence lies in the economy of his decisions: broad structures are established quickly, telling accents carry disproportionate weight, and colour binds atmosphere, architecture and figures without erasing their distinctions.

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. Patrick Noon, “A supplement to Richard Parkes Bonington, the Complete Paintings,” Colnaghi Studies Journal, XVII (October 2025), pp. 61–76., accessed 30 August 2026.
2. Yale University Press London, Richard Parkes Bonington: The Complete Paintings., accessed 30 August 2026.
3. National Gallery, London, “An Estuary in Northern France.”, accessed 30 August 2026.
4. Metropolitan Museum of Art, “View near Rouen.”, accessed 30 August 2026.
5. Metropolitan Museum of Art, “Roadside Halt.”, accessed 30 August 2026.
6. Cleveland Museum of Art, “The Doge’s Palace, Venice.”, accessed 30 August 2026.
7. Wallace Collection, “Henri III.”, accessed 30 August 2026.
8. National Gallery of Art, “Richard Parkes Bonington” (artist record and The Grand Canal)., accessed 30 August 2026.
9. National Gallery of Art, “Seapiece: Off the French Coast.”, accessed 30 August 2026.

---