Paintings

Johann Baptist Kreitmayr (1819 Munich -1879 Ebenda) View of the Doge's palace in Venice, 1848 Oil on canvas, 35.4 x 28.5 cm - with frame, 47 x 40 cm The painting under consideration...

War Horse, 19th Century after Sir Edwin Henry Landseer (1802-1872) Large 19th century Napoleonic Cuirassier War Horse scene, oil on canvas. Excellent quality and condition depicti...

The Rose, 19th Century by Emma SANDYS (1834-1877) similar to $70,000 Large 19th Century Pre-Raphaelite portrait of a young red haired girl holding a rose, oil on canvas by Emma San...

The Country lane by Frans Hopfner (1840-1893) German signed oil on canvas, framed framed: 23.5 x 41.5 inches canvas: 18 x 36 inches provenance: private collection, UK condition: very...

Nudes Sunbathing On A Beach, 19th Century circle of PHILIP WILSON STEER (1860-1942) Large 19th Century English beach scene with nudes sunbathing, oil on canvas. Excellent quality a...

A Night At The Opera, 19th Century by Manuel CUSI Y FERRET (1857-1922) to $20,000 Large 19th century Spanish portrait of a lady at the theatre, oil on canvas by Manuel CUSI Y FERRE...

Oil on canvas Canvas size: 20 x 30 inches Framed size: 25.25 x 35.25 inches Signed lower right

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 -...

Oil on canvas Signed and dated lower left: " Hip Le Roy, Blankenberghe, 1873," This painting captures the serene vista of Blankenberghe, inviting viewers into the essence of coasta...

Signed lower right. This painting was exhibited in the Christopher Pearse Cranch landscape exhibition in 2007 at the Lyman Allyn Art Museum and published and illustrated in the cata...

Original frame in gilded wood and gilded pastiglia. Autograph dedication of the artist in the back of the painting. Natale Schiavoni (Chioggia (Venice), 1777 – Venice, 1858) wan a...

Edinburgh From Carlton Hill, 19th Century Thomas Grant (19th Century, British) Large 19th Century view of Edinburgh at sunset from Carlton Hill, oil on canvas by Thomas Grant. Exte...

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...

The ethereal beauty of gems captured in this oil painting of an exquisite gold sewn bracelet featuring extravagant materials in content and paint - pearls, ruby, citron and aquamarin...

Oil on canvas Image size: 8 x 10½ inches (20 x 27 cm) Contemporary frame This charming portrayal of a rustic house in the early hours of the morning is an excellent example of the e...

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...

‘In the Lledr Valley’ by Robert Gallon (1845-1925). The painting - which depicts a mother and child outside a Welsh cottage on a summer’s day - is signed by the artist and hangs in a...

Children Playing Of A Hillside, Near Cape Curig, Wales, 19th Century by Sidney Richard Percy (1821-1886) Large 19th Century view of children playing in a hillside near Capel Curig...

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...

Georges Croegaert 1848-1923 Belgian An Amusing Thought Signed "Georges Croegaert Paris" (lower left) Oil on panel This oil on panel by Belgian artist Georges Croegaert is a rich ...

"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.

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...

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...

This portrait of a young boy with an apple is a beautiful piece by Georg Cornicelius.

Achille Théodore CESBRON (1849-1915) Flower Arrangement Oil on oval canvas signed low right Framed by Gault (Paris - Fbg St Honoré) Dim canvas : 63 X 48 cm Dim frame : 79 X 64 cm Achille Théodore CESBRON (1849-1915) French school 19th-20th century Born the 5th of November 1849 in Oran (Algeria). Dead the 4th of January 1915. Painter of genre scene, portraits, still life, flowers, pastel. Pupil of Bonnat and Cormon, he regularly exhibited at the « Salon des Artistes Français », whose he became shareholder in 1883, getting several rewards and medals from 1882 to 1886. He has got the Marie...

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...

Figures In A Landscape, River Rhine In The Distance, dated 1869 by Adolphe Malherbe Huge 19th Century German River Rhine landscape with figures working ...

Portrait Of A Red Haired Holding Flowers, circa 1900 English School signed JM Circa 1900 English School portrait of the young girl holding flowers...

19th Century Dutch

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...

Slade School Late 19th Century Portrait of a Mary Hardy (nee Sulman) Oil on panel Image size: 8 x 7 inches Contemporary frame Provenance Lady Town (Grandda...

Signed and dated '1835' center right

The Night Royal Mail Coach To London, 19th Century attributed to Charles Cooper HENDERSON (1803-1877) Fine large 19th Century scene of a Lon...

View Of A City At Night From The River, circa 1900 European School - Signed Indistinctly Fine large circa 1900 European Impressionist city landscape at night...

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...

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...

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

Medium: Oil on Canvas Signature: Signed Lower Right

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...

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...

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

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...

Portrait King William IV, s Duke Of Clarence, early 19th Century by James Lonsdale (1777-1839) Fine early 19th Century portrait of King William IV as...

Set of four antique English Christian paintings on copper English, 19th Century Frame: Height 54cm, width 42cm, depth 2.5cm Panel: Height 45cm, width 34.5cm, depth 0.5cm This fine set of four paintings depicts moments drawn from Stations of the Cross. The paintings are oil on copper, with the surface of the copper tooled...

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

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.' -'...

Napolitan School, 19th century "Views of Naples, Italy" Oil on canvas Sold as a pair Each work : Canvas: 20" high x 30" wide Frame : 24" high x 34" wide

Alexandre Veron was a student of Delaroche, and debuted at the Salon of 1848. This year was notable for the advances made by the French landscape painters. In the catalogue, Framing France: The Representation of Landscape in France, 1870-1914 John House...

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

Portrait of the younger brother of Napoleon, Lucien Bonaparte, done with the Scagliola technique. Scagliola (from the Italian scaglia, meaning "chips") is a type of fine plaster came into fashion in 17th-century Tuscany as an effective substitute for costly marble inlays, the pietra dura works created for the Medici family...

Toulot Jules (1863-nc) Pianist officer in the Second Empire period Oil on canvas signed low right Old frame regilded with gold leaves Dim canvas : 65 X 43 cm Dim frame : 90 X 67 cm TOULOT Jules (1863-nc) French painter 19th century Born 11th November 1863 in Champeinx (Puy de Dôme...

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

‘The Thames near Runnymede’ by Henry Dawson R.B.A. (1811-1878). The painting – which depicts an angler fishing on the riverbank under a spectacular evening sunset – is signed by th...

Date: 1880 Medium: Oil on Board Dimensions: 18.20" x 24.00" Signature: Signed Lower Right

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...

Jacob Eduard Van Heemskerck Van Beest (1828-1894) “Avondgebed; Maleidische tripang visschers onder de hoge kust van Celebes” (Ev...

A late nineteenth century polychrome painted panel, depicting a foliate and ornithological arabesque upon a white ground. Oil on panel, set within an ebonised frame.