19th Century Paintings

Emanuel Leutze 1816-1868 American Return of Columbus in Chains to Cadiz Signed E. Leutze / Philadelphia (lower right) Oil on canvas Painted by the artist in 1842, this masterpiec...

The Highland Loch by Charles Leslie (British 19th century) signed lower corner oil on canvas, framed framed: 15 x 27 inches canvas: 12 x 24 inches provenance: private collection, UK ...

Alfredo Tominz (Trieste 1854 – 1936), Passeggiata a cavallo a Trieste Dipinto ad olio su tela di cm 69 x 110 firmato e datato 1890 in basso a destra. Provenienza: Asta Stadion Trie...

Alphonse PELLET (1853-1926) The Little Ballerina Oil on wood panel signed low right Old frame regilded with leaves Size panel : 30 X 43 cm - Size frame : 40 X 55 cm Alphonse PELLET...

Antique oil portrait painting of a rabbit by English artist Abel Hold (1815-1893), signed in the lower left corner A Hold. This atmospher...

In this detailed and colorful rendering of a Vermont countryside entitled “Reminiscence of Vermont,” William Hart paints two figures walking along a stream

Francis Hopkinson Smith paints a watercolor of Venice with figures looking out onto the river with ships sailing by in his work entitled, “Venice (A View from the Ponte Sant’ Eufemia...

The Death Of Icarus, 19th Century circle of Alexandre CABANEL (1823-1889) Large 19th Century French classical scene of The Death Of Icarus, oil on canvas circle of Alexandre Cabane...

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...

GARAT Francis (1870 - NC) The Farm of The Donkey Oil on canvas signed and dated 1883 low right Frame guilded Size canvas : 50 X 76 cm - Size frame : 60 X 76 cm GARAT Francis (1870 -...

Sunset over a Frozen Landscape by George Augustus Williams British 1814 - 1901 Oil on canvas Canvas size: 13 x 20 inches Framed size: 17 x 24 inches Monogrammed lower left

Endoguruv was one of the great artists in the history of Russian landscape painting, and the depiction of still waters was an important theme in his works. Ivan Endogurov depicted no...

Henriette GUDIN Paris, 1825 - Paris, 1892 Oil on wood 14 x 21 cm (40 x 47 cm with the frame) Signed lower left "H. Gudin" Very beautiful 19th century frame decorated with friezes, in...

Oil on canvas Signed lower right and on the back Boulanger was mainly know for his picturesque sites from Ghent, less often a picturesque corner from Bruges or Dutch cities. Sporad...

It is subjectively proven that artistic inspiration strikes individuals in varied and unique ways. In this single painting, an appreciative audience may examine how the early luminou...

Oil on panel, signed, dated and inscribed ‘Bou Saada, 1894’ lower right Image size: 13 x 8 3/4 inches (33 x 22.25 cm) Ornate Gilt frame Euguene Alexis Girardet A child prodigy, Gi...

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...

Ships Sailing In A Venice Lagon At Sunset, 19th Century by Etienne Leroy (1828-1876) Large 19th Century Venetian Sunset view of ships sailing across the lagoon, oil on canvas by E...

French 19' century painting oil on canvas . Young Venus nude figure surrounded by delicious playing putti . Finely carved and gilt-wood frame of the same period . Measurements w...

This late 19th-century Mexican oil painting depicts the Christ child as ‘El Nino de Atocha’. El Nino de Atocha is a popular subject of Mexican retablo art and its roots can be trace...

Portrait Of A Ballerina, early 20th Century by Marcel BLOCH (1882-1966) Large early 20th Century French Impressionist portrait of a ballerina, oil on canvas by Marcel Bloch. Good q...

Oil on canvas of 19 century. With references of being in the exposition when he died and was in the Sorolla’s house. The last owner was Javier Salas who was director of Museo Del Prado...

The Funeral Procession, circa 1820 Chinese School Large 1early 19th Century Chinese School Funeral procession landscape, oil on canvas. Good quality and condition unusual landscap...

Finely painted after Rembrandt with a self-portrait of the artist and his spouse, Saskia, in a tavern, in the guise of the Prodigal Son LATE 19TH CENTURY, IMPRESSED MONOGRAM AND SCE...

Two figures in 19th century dress sit at a table in a cafe. Provenance: Private Collection, New Jersey Originally based in New York City, William Bodfish was a talented artist who gained recognition for his illustrations and cartoons in the late nineteenth century. A painter of genre scenes, he also created detailed illustrations of hunting, whaling and fishing adventures for such magazines as Harper's Weekly. In the years following the Civil War, he traveled to the American West, joining the legion of journalists and illustrators who recorded the development of the new frontier. He was considered by historians to be one of the most “able cartoonists” to tackle the West. During his lifetime, Bodfish exhibited work at the National Academy of Design and the Art Institute of Chicago. Likely created after the artist’s departure from New York, The Sister’s Visit records a quiet moment between two siblings. Seated before a lovely spread of luncheon items, including a bowl of oranges...

Ideal head by 19th-century American painter.

John Nost Sartorius (1759-1828) Biddick, titled and dated 1815 Oil on Canvas 60 x 73 cms Framed

Exhibited: Société Nationale des Beaux-arts, Paris, 1893 (as Jeune Fille arrosant ses fleurs) Literature: Michel, Jean Pierre, François Guiguet (Corbelin, France, 1996), p. 102 (n...

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

MOSNY Henry (19th Century) Landscape of Mountains Oil on canvas signed below and dated 1882 Black and Golden wood Frame Dim canvas : 73 X 92 cm Dim Frame : 92 X 112 cm MOSNY Henry (...

French Post-Impressionist painter Georges d’Espagnat captures a charming moment between a mother and her child in this vibrant oil on canvas. Rendered with a studied use of complementary colors and bold brushstrokes, the painting showcases the artist's unique Post-Impressionist style. Remembered as one of the most individualistic artists of the 20th century, his distinctive canvases bring together the loose brushwork of the Impressionists and the bold color palette favored by the Fauves. Together, they achieve a vibrant spontaneity that lends itself well to the carefree subjects of the present work. Masterfully composed, La lecture au jardin moves beyond the Impressionist instinct to capture a fleeting moment on canvas. Rather, d'Espagnat succeeds in creating a deep feeling of harmony in the work. Warm colors are perfectly balanced with cool tones, while vertical and horizontal lines are softened by the curves of the foliage and his subjects' figures. Through his simplification of forms and intentional use of color and line, he creates a scene that is carefully designed and thoroughly modern. A similar view of a mother and her child by d'Espagnat is currently in the collection of the Metropolitan Museum of Art (New York). The Post-Impressionist painter was an individualist since his youth, choosing to forgo traditional schooling in order to independently study the Old Masters in the Louvre. He soon became involved with the most prominent Impressionist and Post-Impressionist painters of the age, including Pierre-Auguste Renoir and Paul Signac, who themselves existed outside the traditional norms of French Academic training. In 1891, he exhibited at the Salon des Refusés, and again the following year at the Salon des Indépendants. By 1895, he held his first one-man show in Paris, and just three years later his success earned him a solo show at the prestigious Durand-Ruel Gallery. Between 1905 and 1910 he made several trips to visit Renoir on the Côte d’Azur. Their close friendship resulted in a group exhibition at Marcel Bernheim...

Five papiers peints 'En Grisaille' from the psyche´ series manufactured by Dufour, Paris, after designs by Merry-Joseph Blondel and Louis Lafitte. -'Psyche´ returning from hades.' -'...

Oil on canvas Canvas size: 6 x 12 inches Framed size: 13.5 x 17.5 inches Signed

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 Signature: Signed Lower Right a slave with shackles on the ground behind him appealing to Abraham Lincoln with the Civil War battle s...

Medium: Oil on Canvas Dimensions: 28.00" x 22.00" Signature: Signed Lower Right

Portrait Of Elizabeth Campbell & Daughter, Wife Of Colonel Colin Campbell circle of Margaret Carpenter (1793-1872) Large 19th Century English portrait of Elizabeth Campbell & Daughter, oil on canvas. Seated half length mother and daughter portrait of the wife of Colonel Colin Campbell. Good quality similar to Margaret Carpenters...

Oil on canvas Canvas size: 24 x 18.25 inches Framed size: 31.75 x 25.75 inches Signed lower right

French Coastal Sunset, possibly near Etretat, Le Havre, dated 1928 by Alfred Bergström (1869-1930) Fine huge 1928 French Coastal Sunset Landscape, p...

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

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.

Fisherfolk & Children On A Scottish Beach, 19th Century John Adam Houston RSA RI (British, 1812 - 1884) to $75,000 Large 19th Century Scottish beach scene with fisherfolk and child...

Signed lower right: Chauncey F Ryder

Beautiful tonalist oil on canvas painting by the well known American artist, Royal Hill Milleson. Signed lower right. Milleson moved to Boston in 1...

18th Century European School Figurative and Landscape Painting of Soldiers at Rest Evocative Dutch School painting of soldiers resting at end of day in old ruins, signed J. Kamp (D...

‘Longhorn Cattle on a Highland Pass’ by Henry Garland (1834-1913). The painting – which depicts a herd of longhorn cattle on a high mountain pass in the Scottish Highlands – is signed and dated 1876, in which year it was exhibited at the Royal Society of British Artists in London. Henry Garland entered the Royal Academy Schools in 1853, winning medals for 'Best Drawing from the Life' in both 1854 and 1857. From 1854 he exhibited at the most prominent London venues having 30 paintings shown at the Royal Academy, 67 at the Royal Society of British Artists, and 12 at the British Institution. Today one of Henry Garland’s paintings hangs in the famous Long Room at Lords Cricket...

Henry Bernard Chalon (London 1770-1849) A Löwchen and a Toller Signed 'H. B. Chalon, 1796' lower right Oil on canvas Canvas Size 10 x 13 in Framed Size 14 x 17in Henry Bernard Chalo...

Late 19th century still life of a beautiful floral bouquet by Elisabeth Von Wundt (German, b-1856) . Signed " Wund"; lower left. Artist's signature on verso. Presented in a giltwood ...

‘Near Moel Siabod, North Wales’ by Sidney Richard Percy (1822-1886). The painting – which depicts a figure herding cattle before an extensive landscape in Snowdonia – is signed by th...

‘The Baron’s Charger’ by John Frederick Herring Jr. (1815-1907). The painting – which depicts a 17th century Caroline nobleman with his battle horses and attendant hounds – is sign...

Oil painting of a Middle Eastern coastal town with a minaret by Berchère French, 19th Century Canvas: Height 46cm, width 38cm Frame: Height 74cm, width 67cm, depth 10cm This atmosph...

This mid-19th-century oil painting by British artist Henry Ladbrooke (1800-1869) depicts a woodland view near Walsingham in Norfolk. It was exhibited at Norwich Castle in October 192...

‘Llyn Idwal, North Wales’ by Sidney Richard Percy (1822-1886). The painting – which depicts cattle watering at the edge of the famous lake in Snowdonia – is signed by the artist and ...

This mid-19th-century oil painting by Scottish artist Robert Thorburn Ross RSA (1816-1876) depicts a seated woman carding wool within a rustic interior. Robert Thorburn Ross RSA was...

This charming mid-19th-century oil painting by Austrian artist Johann Paul Eisenmeyer (act.1820-1846) depicts a gentleman wearing a black coat, white shirt and black bowtie. Eisenme...