Art

John Ferneley Jnr Stabled horses Oil on canvas Canvas Size - 20 x 24 in Framed Size - 27 x 31 in Born in about 1815 at Melton Mowbray, he was the eldest son of the important sporting artist John E Ferneley. The latters other two children, Claude Lorraine and Sarah, were also artists. He spent his early life at Elgin Lodge and his father was a major influence on his artistic development and was in all probability his sole teacher. His father took him on trips to London and in 1832 to Durham and York where the younger Ferneley later settled in about 1839, probably because of the large number of patrons in the area. His first work, of a Whipping-in, was engraved and published in the New Sporting Magazine in May 1833 and was followed in the next year by an engraving of a Hunter. John E Ferneley had established a significant career as an equestrian artist in the old English tradition largely due to being a pupil of Ben...

Signed with initials lower right The painting is one of the 4 illustrations that JWS did for the book “Evangeline: Tale of Acadia”, by Henry Wadsworth Longfellow...

Subject : Ancient Greek vase-painting depicting Eros in flight with mirror, phiale and fillet from a kylix. Technique : Copper-line engraving with original hand-colouring Background information : From the scarce Florence edition of Pierre Francois Hugues D'Hancarville's famous work on Sir William Hamilton's collection of antique vases - Antiquites Etrusques, Grecques et Romaines, tirees du Cabinet de M. William Hamilton. . It was first published in 1767, this edition is 1801. Sir William Hamilton (1730-1803) was the British ambassador to the Court of the Two Sicilys...

Subject : Ancient Greek vase-painting depicting a warrior, seated young man, and young woman. Technique : Copper-line engraving with original hand-colouring Background informatio...

Subject : Ancient Greek vase-painting from depicting a departure scene with a young warrior between two women. Technique : Copper-line engraving with original hand-colouring Back...

Subject : Ancient Greek vase-painting depicting three draped young men and cortege of banqueters from an Attic column krater now in the British Museum. Technique : Copper-line engra...

Subject : Ancient Greek vase-painting from depicting two fishermen in a boat with a seated nymph from an Apulian bell-krater. Naples, Museo Nazionale 1142...

Subject : Ancient Greek vase-painting from depicting a Silenus with tambourine and two maenads from a Campanian bell-krater. Technique : Copper-line engraving with original hand-col...

Ideal head by 19th-century American painter.

This terracotta represents a mythological scene, in which we can see a centaur kissing with passion a lady, while a man is playing the Pan flute. On the back...

ERNEST BLANC-GARIN (1843-1916) Portrait of a Young Lady around 1880 Oil on wood panel signed low Old Original frame gilded with leaves Dimensions wood : 40 X 30 cm Dimensions frame : 62 X 53 cm ERNEST BLANC-GARIN (1843-1916) Belgian Painter 19th Century Born 8 October 1843 in Givet (France) Died 1916 in Brussels (Belgium) Painter of Portraits and Urbanscapes. In Brusssels he was taught by Jan Portaëls (1818-1895); then in Paris by Alexandre Cabanel (1823-1889) He took part in the Salon de Paris from 1868. After a trip to Italy in 1870, he came back to Brussels for creating a private Art Academy providing a very liberal teaching. His portraits are made with a lot of freedom and gracefulness. Bibliography : Dictionary of Artists E. Benezit Book II / 373 Gérald SHURR : Les petits Maîtres de la Peinture 1820- 1920 Book V

Artist Ernest Chateignon was born in 1887. Ernest Chateignon exhibited at the Salon since 1867. Through his painting, he always marries peasant exis...

ENRIQUE ATALAYA Spanish, 1851 - 1913 BELEM´S TOWER, LISBON signed "ATALAYA" (lower right) oil on wood panel 6-1/4 x 8-1/8 inches (15.8 x 20.5 cm.) fram...

Medium: Ink, Graphite, and Watercolor on Paper Mounted Signature: Signed Lower Right circa 1881 Exhibited: Kennedy Galleries, with their label suggesting the creation date of 1881.

Oil on canvas Canvas size: 24 x 18 inches Framed size: 31 x 25.5 inches Signed lower left

"Sketching Among the Irises" by George Herbert McCord (1848-1909) is oil on canvas and measures 20 x 16 inches. The painting is signed by the artist at the lower left.

Eagle & Rabbit In The Alps, 19th Century attributed to John James AUDUBON (1785-1851) Fine large 19th Century French School study of an Eagle with its prey in the mountains of the...

Oil on canvas Canvas size: 8.5 x 12 inches Framed size: 13.75 x 17.25 inches Signed lower right

Medium: Gouache and Pencil on Board Signature: Signed Lower Left Carter's Monthly, February 1898, cover illustration. Newly Framed.

An amazing 19th century view of Capitoline Hill Rome before and during the Great Fire of Rome AD64 destroying 2 thirds of the city. This is a rare a...

This drawing represents a group of putti depicted while they are intent in studying together the "quadrivium". The quadrivium consisted of arithmetic, geometry, music, and astronomy...

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe...

Medium: Watercolor and Pencil on Board Sight Size 11.00" x 15.00", Framed 17.50" x 20.50" Signature: Signed Lower Left Sunday In Old Catskill, Harper's New Monthly magazine story il...

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Japan, Moore spent time in Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this sparkling portrayal of a young woman dressed in a traditional kimono and carrying a baby on her back, a paper parasol...

ADDISON THOMAS MILLAR American, 1850-1913 The Sword Merchant Signed Addison T Millar Oil on board 10 in x 8 in Framed: 18 in x 10 in

A Collection of Botanical Watercolours: Drawings of British Plants Emily Stackhouse (1811-1870) perfectly illustrates the Victorian fascination with the countryside in this remark...

Berlin Porcelain Allegorical Plaque of Admiration KPM, Late 19th CENTURY The three-quarter-length portrait depicting a brunette woman with blue eyes in light ecclesiastical robes supporting palms crossed over chest and looking up over right shoulder - in a landscape immersed in powder blue sea holly...

Set of four delicious putto figures , oval shape oil on canvas . Fine tromple oeil painted frame . Very good original condition.

Oil on canvas Canvas size: 20.5 x 27.5 inches Framed size: 24.75 x 32 inches Signed lower right

Oil on canvas Canvas size: 18 x 12 inches Framed size: 23 x 16.75 inches Signed lower right

Oriental Woman is an original print realized around 1830 by Utagawa Kunisada. Beautiful colored woodblock print. Good conditions except for some folds...

This lithographic poster illustrates Aristide Bruant who was a famous performer and cabaret owner in Paris at the turn of the 20th century. Lautrec, seizing on Bruant's trademark cos...

19th Century Italian Orientalist Masterpiece Painting "Four Women In The Harem" circa 1880, in the Circle of Rudolf Ernst. Oil on canvas. "The O...

Sanford Robinson Gifford (American 1823-1880) A Rare Portrait Of Mrs. Sanford Robinson Gifford (Mary Cecelia Gifford) "The Artist's Wife" Oil on Paper mounted on canvas, painted in 1878, 2 years before his death. In original giltwood frame. Painting: 8 1/4" high by 7 1/4" wide Frame: 15" high x 13.5" wide Provenance: Private Collection (acquired by descent directly from the artist in 1878) Alexander Gallery, New York (acquired from the above) Acquired from the above in 1986 by the present owner The Art Institute of Chicago (Reference Number 1986.184) New York, Private Collection Literature: Ila Weiss, The Poetic Landscape: The Art and Experience of Sanford R. Gifford, Newark, 1987, no. 10, p. 309, illustrated The Art Institute of Chicago, letter from Milo Naeve to Mr. and Mrs. William Y...

The experience of art itself can be an intimate one, and this bed canopy, hand-painted over 100 years ago by an artist in Canton, was more intimate than most. Delicately painted pheasants...

In Buddhist Tibet, patrons and monks commissioned thangka art, or sacred painting, to focus their meditations and prayers. Painted with blue, orange, and r...

Oil Painting by Edward Henry Holder "Reigate Hill, Evening" 1847 - 1922 Scarborough born painter of rural landscapes who came to live near Reigate. Acrylic exhibitor at the Royal Aca...

Alphonse Mucha's "Gismonda" poster, featured as Plate 27 in "Les Maîtres de l'Affiche," stands as a testament to the harmonious convergence of visual arts and theatrical brilliance. ...

Tsukioka Yoshitoshi 芳年 Naoyuki Conquers the Old Badger at Fukashima's Mansion 於吹島之館直之古狸退治図　 Original woodblock prints Good condition, impress colour Oban 1866

Artist: Edmond Firey (French, 19th Century-20th Century) Title: "Voyageurs en Hiver (Travellers in Winter)" *Signed by Firey lower left Circa: 1880 Medium: Original Oil Painting on C...

Antique impressionist painting of a coastal seascape. Oil on canvas, circa 1900. Signed illegibly. Framed. Image size, 18L x 12H.

19th century Dutch / European oil on mahogany panel, landscape with a man out walking his dog. Wonderful painting, circa 1870, painted on one sheet...

Signed bottom-left.

"Sun, Moon and Stars". Three beauties enjoy a full moon on the veranda of a teahouse or restuarant. The woman on the left kneels and adjusts her lavishly printed kimono. The beauty in the center has her hair down, and behind her is a screen against which shadows are beautifully silhouetted, which adds an air of mystery. The seated woman on the right is perhaps a geisha, as we see a shamisen lying next to her. Before her is a tray with an assortment of foods. One may surmise that the beauties are being compared to the sun, the moon, and the stars. On the left we glimpse a full moon shining over the peaceful bay, and boats at harbor. Original first edition Japanese color woodblock print triptych...

Adolphe-Alexandre Lesrel French, (1839-1929) The Sportsman Oil on panel, signed & dated 1905 Image size: 10.75 inches x 7.75 inches Size including frame: 19.5 inches x 16.5 inches A beautifully detailed genre painting of a gentleman with a hunting rifle and smoking a clay pipe by Adolphe Alexandre Lesrel. The man, who is dressed in 17th century costume is seated next to a table containing game, a wine decanter and silver gilt standing cup with cover. All of the props including the 17th century wheel lock...

Adolphe Alexandre Lesrel French, (1839-1929) The Sportsman Oil on canvas, signed & dated 1903 Image size: 9.75 inches x 7 inches Size includi...

signed with initials ‘M.J.’ (lower right) oil on canvas 14 x 12 in. (35.6 x 30.5 cm.) with frame 20 x 18 in. (50.8 x 45.7 cm.) In the artist's original Watts-style frame. Born in E...

Wonderful early to mid 19th century English Cottage landscape. Oils on an oak wooden panel, this piece has a great feel and quality. Framed in its original frame this piece is an e...

Charming 19th-century painting of two Cairn Terrier puppies playing in sewing basket by Katherine L. Fitz (American, 19th Century). Written on verso, "Pa...

Sumo Tournament is a Woodcut print realized in the first half of the 19th century by Utagawa Kunisada. Good condition and Beautiful colored woodblock print. This wonderful modern artwork represents Japanese Sumo...

Dreamy antique watercolor landscape of a picturesque scene of a church steeple rising from the foliage as a female figure rests under the shade of...

A good & whimsical oil on canvas painting by the Irish painter William P. Rogers (fl 1846-1872). The work depicts a fisherman mending his nets, with baskets & ropes to the foreground...

Hendrik-Dirk Kruseman Van Elten (1829-1904) landscape with cattle circa 1890s Superb original oil painting by listed American artist Hendrik-Dirk Kruseman Van Elten. Original oil o...

Henry Frederick Lucas Lucas British, (1848 1943) Boatswain (Bo’sun) Oil on canvas, signed & dated 1900, further inscribed verso Image size: 19.5 inches x 25.5 inches Size including...

A very good antique oil on panel costume genre painting by the celebrated Northern Italian artist, Francesco Vinea (1845-1902), the painting dated signed and dated 1873. Vinea studied at The Academy of Fine Arts in Florence and then worked as a designer of illustrated periodicals, he returned to Florence and studied under professor Enrico Pollestrini. Vinea unapologetically produced incredibly high quality humorous and whimsical scenes that were always elegant and depicted figures in period costume situated in lavishly ornamented interiors. Vinea became quite famous and wealthy in his lifetime and his work was particularly sought after in France, England and The United States. The 19th Century American art collector James Jackson...

Alfred BRUNEL NEUVILLE (1852-1941) Interior with cats Oil on canvas signed low right Old frame re-gilded with gold leaves Dim canvas : 54 X 75 cm Dim frame : 74 X 85 cm Alfred BRUNE...

Uses and Customs -  Square of San Michele in Lucca is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: "...

Uses and Customs - Santa Maria delle Grazie in Milan is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe:...