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| Margaret Sarah Carpenter Portrait of Richard Parkes Bonington ca. 1827 chalk drawing National Portrait Gallery, London |
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| attributed to Richard Parkes Bonington Port Scene before 1828 watercolour Morgan Library, New York |
"Bonington frequently sketch watercolor scenes of the French ports of Boulogne, Honfleur, and Le Havre, and continued to explore these maritime themes through the mid-1820s. The Morgan drawing is quite typical of Bonington's work of this period in its depiction of a city port flanked by a harbor bastion or fort to the right, a group of ships in the middle, and a church spire visible in the distance to the left. The shimmering, immaterial atmosphere of Bonington's harbor scene, the exact location of which has not been identified, is punctuated by rhyming verticals of the fort's flagpole, the ship masts, and the church spire."
– curator's notes from the Morgan Library
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| Richard Parkes Bonington Salt Marshes near Trouville 1826 watercolor Getty Museum, Los Angeles |
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| Richard Parkes Bonington The Institut seen from the Quais, Paris ca. 1828 watercolour, bodycolour British Museum |
"The brilliance and luminosity of watercolours such as this inspired Bonington's friends with admiration, if not envy. . . . The Institut seen from the Quais, a composition which the artist also treated as an oil painting, is among his most remarkable landscapes, imbued with a quality of perfect if melancholy serenity, the essence of which is the sky, reminiscent of Constable. Although painted on a very small scale, the panoramic effect, with the Château acting as a discreet focus of the design, is striking. . . . Bonington has captured the essentials of the architectural detail with a beautifully nervous touch, but the composition itself could well have been suggested by the work of someone like Samuel Prout. Where he differs from Prout is in his concern with light and atmosphere, rather than the quaintness of architectural detail."
– curator's notes from the British Museum
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| Richard Parkes Bonington Study of dismantled Man of War ca. 1825 drawing British Museum |
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| Richard Parkes Bonington Sketch for deathbed episode ca. 1827-28 drawing British Museum |
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| Richard Parkes Bonington Academic study made in Paris (statue or cast) ca. 1819-22 drawing British Museum |
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| Richard Parkes Bonington after etching by Theodoor van Thulden after painting by Peter Paul Rubens Three sketches of bound captives ca. 1825-26 drawing British Museum |
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| Richard Parkes Bonington Figure studies of a dancer ca. 1827-28 drawing British Museum |
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| Richard Parkes Bonington Peasant women from Ragusa 1826 watercolour Metropolitan Museum of Art, New York |
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| Richard Parkes Bonington Study of three Swiss girls at Meiringen 1826 watercolour British Museum |
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| attributed to Richard Parkes Bonington Goetz and Elizabeth (from Goethe's Wilhelm Meister) ca. 1826 watercolour Morgan Library, New York |
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| Richard Parkes Bonington View of Rouen from St Catherine's Hill ca. 1821-22 watercolour Metropolitan Museum of Art, New York |
"The French Romantic painter Eugène Delacroix described the sparkling, jewel-toned watercolors of the British painter Bonington, with whom he shared a Paris studio, as 'like diamonds.' In this view of Rouen seen from the northeast, broad wet washes evoke the sunlit sky, a dark cathedral soars above the blotted colors of the city's haze, and exquisite touches of a fine brush suggest tiny figures and the masts of distant ships."
– curator's notes from the Metropolitan Museum of Art, New York
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| Richard Parkes Bonington View of Rouen from the river 1822 watercolour, (print study) British Museum |
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| Richard Parkes Bonington Piazza dell'Erbe, Verona ca. 1826-27 watercolour Tate Gallery |
– curator's notes from the Tate, London