Watercolours and Drawings

Richard Parkes Bonington Watercolours and Drawings: Introduction

Richard Parkes Bonington’s works on paper were not a secondary activity beside his oil paintings. Watercolour shaped how he observed weather, distance and architecture; drawing helped him gather, organise and transform visual information; lithography carried his designs into books and portfolios. A single subject might pass through several of these forms, yet no simple sequence explains the whole practice. Some sheets record a place, some prepare another work, and some are highly resolved pictures intended to stand on their own.

At a Glance

• Central mediumBonington established his reputation as a watercolourist before his mature work in oil.^[5]
• MaterialsHis sheets combine transparent watercolour with graphite, pen and ink, black chalk, opaque bodycolour or gouache, and sometimes gum arabic.^[3][7][9]
• SubjectsCoasts, rivers, medieval buildings, towns, travellers and historical or literary figures all appear on paper.^[2]
• TravelTours through Normandy and, in 1826, Switzerland and northern Italy supplied subjects and observations.^[1][3]
• Print cultureDrawings could be adapted for lithographs and other reproductive prints in illustrated publications.^[3][6]
• CataloguePatrick Noon’s 2011 catalogue raisonné, Richard Parkes Bonington: The Complete Drawings, records and reproduces more than 400 accepted drawings.^[1]

Selected works and routes into the drawings

Contents

1. Introduction
2. Why Watercolour Came First
3. Travel and Working from the Motif
4. Transparent Wash, Bodycolour and Surface
5. Drawing Architecture
6. Lithography and Picturesque Publications
7. The Italian Sheets of 1826 and After
8. Drawing, Watercolour and Oil
9. Selected Works and Where to Look
10. How to Look at a Bonington on Paper

Why Watercolour Came First

Bonington’s command of watercolour was established during his formation between Britain and France. The British Museum identifies him as a painter, watercolourist and lithographer, and its collection links hundreds of records to him across drawings and prints as well as paintings.^[2] That range matters: “Bonington the watercolourist” is accurate, but it should not narrow him to one material or one kind of object.

The earliest mature sheets already show watercolour serving several purposes at once. It could register the broad division of sky, land and water quickly, while graphite and ink secured a skyline, a vessel or the joints of a building. It could also be carried to a degree of finish that made the sheet an independent picture. This dual capacity—rapid enough for travel, rich enough for exhibition or sale—suited an artist whose career developed through repeated movement between Paris, the Channel coast, Normandy and Britain.

Watercolour also offered a visual education different from the figure-centred routines of an academic studio. Its light is often the light of the paper itself, left open beneath thin colour. Darker passages can be built without closing every interval, so air and distance remain active parts of the image. Bonington later brought comparable economy into oil, but that exchange does not make the watercolours rehearsals. His work in oil is best considered alongside, not above, the works on paper; the paintings reveal how freely lessons moved in both directions.

Travel and Working from the Motif

Travel gave Bonington subjects, but it did not require him to complete every picture outdoors. A sheet made before a church, river or harbour could preserve the essential structure of the view: the height of a tower, a sweep of cloud, the relationship between quay and water. Later work could refine, combine or alter that information. The Wallace Collection describes its finished watercolours by Bonington and J. M. W. Turner as studio works based on sketches made during extended study trips.^[5]

That distinction helps avoid two opposite mistakes. The first is to imagine every loose wash as an instantaneous transcript of nature. The second is to treat any studio finish as evidence that direct observation no longer mattered. Bonington’s practice joins the two. His travel drawings gave him an observed vocabulary of coastlines, shipping, streets and masonry; selection and reworking gave those observations pictorial order.

The Normandy tours were especially productive. A British Museum view of Rouen from about 1822 is a large sheet in watercolour over graphite, reinforced with pen and brown ink. It was subsequently adapted, with changes, for Bonington’s 1824 lithographic series Restes et Fragmens d’Architecture du Moyen Age.^[3] The sheet is therefore both an accomplished view and a “print study” in the museum’s classification. Its identity is not reduced by either term.

Transparent Wash, Bodycolour and Surface

Bonington’s watercolour technique is better understood as a flexible range than as a formula. In transparent passages, diluted colour allows the paper to contribute brightness. Washes can join large zones quickly, particularly in sky, distant town and water. Against them, pen lines or the point of a fine brush can specify masts, figures, rooflines and windows. Graphite may remain visible beneath the colour, functioning as a framework rather than something to conceal.

The Metropolitan Museum of Art’s Rouen, View from Bon-Secours of 1821–22 makes the combination unusually clear. The small sheet uses watercolour with pen and brown ink over graphite. Broad wet washes establish the sunlit atmosphere, while dark accents and fine marks articulate the cathedral, distant masts and tiny figures. The Met also notes that a version of the view was reproduced in aquatint for a Normandy publication issued in 1823–25.^[4] A compact watercolour could thus carry both atmospheric breadth and information precise enough to migrate into print.

Bonington also used opaque additions. Bodycolour—water-based pigment made less transparent by a higher pigment load or the addition of white—can place light colour over a darker passage. Gouache provides related opacity. Gum arabic, the binder ordinarily associated with watercolour, can be used in greater concentration to enrich or gloss selected areas. These additions change how a sheet catches light: brightness need not come only from untouched paper, and a dense foreground can answer the visual weight of an oil painting.

The Wallace Collection describes Bonington’s Rouen of about 1825 as using bodycolour and gum arabic to obtain richer effects, especially among the foreground details.^[5] This is not evidence that watercolour was trying to become an inferior oil. It shows the medium being extended on its own support. Transparency creates openness; opaque touches provide weight, highlights and texture. Their contrast is part of the design.

Drawing Architecture

Buildings gave Bonington a demanding test of selection. Medieval churches, gates, towers and timbered houses contain more information than any small sheet can comfortably hold. Exact description therefore had to coexist with omission. A few decisive verticals can stabilise a view; an arch or roofline can identify a structure; figures and carts can establish scale without turning the image into an inventory of stonework.

The Rouen drawing in the British Museum demonstrates how this architectural work grew from travel and entered print. The cathedral rises above the riverfront rather than appearing as an isolated monument. Quay, boats, houses and distant tower belong to one urban environment. The museum relates the sheet to Bonington’s 1821 Normandy tour and notes that the lithographed version introduced variations.^[3] Translation into print was therefore an act of adjustment, not mechanical copying.

A later work at the Louvre shows another kind of return. Manoir rue Sainte-Véronique à Beauvais, signed and dated 1828, combines black chalk, watercolour and gouache on a sheet measuring 18.2 by 12.2 centimetres. The Louvre explains that Bonington drew on an earlier design associated with his architectural publication but transformed the building and its setting in the later watercolour, opening part of the composition towards a wooded park and using warmer colour in the masonry.^[9] The late sheet is neither simply documentary nor merely preparatory: it revisits architectural knowledge to make a new, finished image.

Architecture also connects Bonington’s paper practice to the wider appetite for historic places in the 1820s. Illustrated surveys brought medieval France to readers who might never travel there. His drawings could preserve structures already vulnerable to alteration while also shaping them for picturesque effect. To recognise that shaping is not to dismiss the evidence of place; it is to see the artist choosing what a picture needs.

Lithography and Picturesque Publications

Lithography placed Bonington at the meeting point of drawing, travel and publishing. The British Museum’s Rouen record gives one route into that practice: it classifies the watercolour as a print study and states that Bonington later lithographed the subject with alterations for Restes et Fragmens d’Architecture du Moyen Age.^[3] The finished printed image therefore depended on adaptation as well as observation.

Bonington contributed architectural subjects to large picturesque projects and issued designs in his own architectural series. Authorship within such print culture needs careful wording. A print can be drawn on the stone by Bonington, based on another artist’s design, printed by a specialist and published as part of a named series. The Met’s Edimbourg pris de la Chapelle St. Antoine is a useful example: Bonington made the 1826 lithograph after a drawing by François-Alexandre Pernot, the printer was Villain, and the impression belongs to Vues Pittoresques de l’Écosse. The museum identifies it as a lithograph on chine collé and as the second of three states.^[6]

That record guards against treating every printed view as direct evidence of Bonington standing before its subject. It also shows that printmaking was not marginal busywork. Through lithography, his handling of architecture and landscape entered repeatable sequences, circulated among readers and participated in a cross-Channel market for picturesque travel. This publishing context is one strand of the broader British and French Romanticism surrounding his work.

The Italian Sheets of 1826 and After

Bonington’s 1826 journey through Switzerland and northern Italy expanded his architecture from northern French churches and houses to Italian streets, squares and lagoon views. The Paul Mellon Centre’s description of Noon's Complete Drawings specifically highlights sheets made during this journey among the more than 400 works catalogued.^[1] That publisher’s summary establishes their importance without requiring claims about entries that are not available online.

At the Louvre, La Piazza del Nettuno à Bologne is securely dated 1826 and made with watercolour, gouache and gum arabic on wove paper. The museum records the sheet at only 12.4 by 17.8 centimetres and notes that Bonington and his travelling companion Charles Rivet reached Bologna on 20 May, after leaving Venice the previous day.^[7] Its compact scale and mixed water-based materials embody the portability and density that the Italian journey demanded.

Venice generated a more extended traffic between notation and finished composition. The Louvre preserves a small pen-and-brown-ink drawing, about 10.2 by 16.1 centimetres, showing the Riva degli Schiavoni, the Doge’s Palace and the Piazzetta. The museum identifies it as preparatory to a Louvre painting commissioned from Bonington in 1827 and relates it to a larger version at Tate Britain; it also cross-references the sheet as number 301 in Noon's catalogue of drawings.^[8] That number is the Louvre’s bibliographic statement, not a substitute for consulting the catalogue entry itself.

The drawing’s spare means are a reminder that preparation does not always resemble a small coloured copy of the final painting. Pen can fix spatial intervals and the sequence of buildings while leaving colour and surface for another stage. To follow this subject into oil, see The Doge’s Palace, Venice. The relationship is informative precisely because the drawing and painting do different jobs.

Drawing, Watercolour and Oil

Categories in collection records are useful, but Bonington’s process often crosses their borders. A graphite structure may sit beneath transparent colour; a watercolour may be called a drawing because it belongs to a prints-and-drawings collection; a study may already be an impressive picture; an oil may retain the lightness associated with wash. Medium, function and degree of finish answer different questions.

It is therefore safer to ask what a particular object does. Does it test a figure or architectural alignment? Does it preserve observations from travel? Was it adapted for a print? Does it build an autonomous composition through layered washes and opaque accents? Is it related to a painting without being its direct preparatory study? These questions keep differences visible.

They also clarify the exchange with oil. Bonington did not graduate from watercolour and leave it behind. The Wallace Collection’s comparison of Normandy and Venice works describes continued movement between sketching tours, finished studio watercolours and oil painting; its display placed five watercolours of Normandy and Venice in dialogue with Turner, works normally protected from prolonged light exposure.^[10] The value of the comparison lies in close technical and compositional choices, not in making Bonington a smaller version of J. M. W. Turner.

Selected Works and Where to Look

A useful first group begins with the two Rouen sheets. The Met’s Rouen, View from Bon-Secours is small, open and atmospheric, whereas the British Museum’s river view is larger, architecturally insistent and directly connected to a later lithograph.^[3][4] Together they show why “watercolour” does not describe a single finish.

The Louvre offers a second comparison. The Bologna watercolour uses colour, gouache and gum arabic to compress a public square into a portable format; the Venice study uses only pen and brown ink to organise a celebrated waterfront; the 1828 Beauvais manor returns to an earlier architectural idea with renewed colour and transformation.^[7][8][9] One institution thus preserves travel work, preparation and late reinvention.

The Wallace Collection holds an especially important group of finished watercolours, including Normandy and Venice subjects, but such works are not continuously shown because light can damage works on paper. Its 2023–24 display was the first presentation of the group in seventeen years.^[10] The British Museum and the Met likewise mark many individual sheets as not on display. Before travelling, consult each museum’s current object record rather than assuming that a work in the collection will be hanging.

How to Look at a Bonington on Paper

Begin with the paper. Where has Bonington allowed it to remain visible, and where has he covered it with wash or bodycolour? Then separate the broad and fine registers: a sky or haze may be made from joined wet passages, while rigging, windows and figures depend on small accents. Look for graphite or ink beneath the colour, especially where a building needs structural clarity.

Next, consider function without deciding too quickly. A sheet related to a print or painting can still be complete as an encounter with line, colour and surface. Compare repeated subjects for changes rather than searching for a single definitive version. Finally, remember that current colour may not reproduce the work’s original balance exactly. Works on paper are sensitive objects, and museum display limits are part of their material history.

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. Paul Mellon Centre for Studies in British Art, “Richard Parkes Bonington: The Complete Drawings,” May 2011,, accessed 30 August 2026.
2. British Museum, “Richard Parkes Bonington,” person record BIOG20191,, accessed 30 August 2026.
3. British Museum, “View of Rouen from the river,” museum number 1859,0709.3251,, accessed 30 August 2026.
4. Metropolitan Museum of Art, “Rouen, View from Bon-Secours,” object number 1996.277,, accessed 30 August 2026.
5. Wallace Collection, “Turner and Bonington at the Wallace Collection,”, accessed 30 August 2026.
6. Metropolitan Museum of Art, “Edimbourg pris de la Chapelle St. Antoine (Edinburgh, from St. Anthony’s Chapel),” object number 23.21.2,, accessed 30 August 2026.
7. Musée du Louvre, “La Piazza del Nettuno à Bologne,” RF 808, Recto,, accessed 30 August 2026.
8. Musée du Louvre, “Vue de Venise avec le quai des Esclavons, le Palais des Doges, la Piazzetta,” RF 22757, Recto,, accessed 30 August 2026.
9. Musée du Louvre, “Manoir rue Sainte-Véronique à Beauvais, 1828,” RF 5614, Recto,, accessed 30 August 2026.
10. Wallace Collection, “Turner and Bonington: Watercolours from the Wallace Collection,” 20 September 2023–12 May 2024,, accessed 30 August 2026.

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