Art

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

Roberto Rive (1817 - 1868 ): Mountain top with lava of Vesuvius, testimony of time, c. 1880, albumen paper print Technique: albumen paper print, mounted on Cardboard Inscription: l...

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...

Carlo Naya (1816 Tronzano Vercellese - 1882 Venice) Circle: Very beautiful, historical view, Venice seen from the bell tower with view of St Mark's Square, c. 1880, albumen paper pri...

just purchased more information to follow Cypher lower right Within a grey mount, 14cm high, 28cm long The gilded cavetto moulded frame 28 cm high, 41 cm long, 3.5cm deep

Fratelli Alinari (19th century): Architectural view of the Baptistry of San Giovanni Baptistery of the Duomo Florentine Romanesque, Florence, c. 1890, albumen paper print Technique:...

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: Charcoal on Board, Framed Under Glass Signature: Signed and Dated on the Back Sight Size 30.50" x 20.50," Framed 35.50" x 26.50" Great condition, bad glare from glass in thi...

Weltevreden, Kebon Sirih, & Vlucht voor de bui (Fleeing the rain) Executed between February 20 and March 2, 1918 Double sided drawing in graphite pencil on paper Images: c. 33 x 5...

BELA KADAR 1877-1956 Budapest 1877-1956 (Hungarian) Title: Nudes and Horses, 1911 Technique: Original Hand Signed Pastel on paper size: 63 x 94.5 cm / 24.8 x 37.2 in Additional I...

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...

Mezzotint engraved by John Young, January 1820, from a drawing by George Antoine Kernan. Richard Colley Wesley, later Wellesley, 1st Marquess Wellesley (20 June 1760 – 26 September ...

Date: 1918 Medium: Oil on Board Dimensions: 24.00" x 18.00" Signature: Signed Lower Right American Art Works Calendar Illustration

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...

Attr. Bertel Thorvalsden (1770-1844) WINGED CUPID, Italy, 19th Century Provenance: Private Collection, Vienna

A Beautiful Antique Map of France 56 x 65cm In a lovely frame, this map of France is in excellent condition and details the French provinces.

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...

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...

Leo Primavesi (1871 Cologne - after 1937 ): Interior with coffee pot, 1892, Pen drawing Technique: Pen drawing on Paper Inscription: Signed and dated lower left: "Leo 5. Jan. 1892"...

This drawing, bistre on paper, depict a typical Renaissance style Maesta, so the Virgin enthroned with Jesus on her lap. The echoes are clearely referable to the school of Filippo Lippi...

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

Fratelli Alinari (19th century): "Napoli Gradoni di Chiaia", view of the busy street with vendors, passers-by and residents, Naples, c. 1880, albumen paper print Technique: albumen ...

Medium: Oil on Canvas Signature: Signed Lower Right

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.

Giorgio Sommer (1834 Frankfurt on the Main - 1914 Naples) Circle: Historic Italy, View of Milan, c. 1880, albumen paper print Technique: albumen paper print, mounted on Cardboard Inscription: At the lower part inscribed on the support: "Italien: Ansicht von Mailand". Date: c. 1880 Description: Original photograph with high sharpness of detail. An early testimony of travel photography. Around the middle of the 19th century, more and more tourists from middle-class circles travelled to Italy. At that time, photographs could only be taken with a great deal of time and expensive, unwieldy equipment. This made many tourists all the more grateful for the work of the professional photographer's studios on site to bring back a souvenir from afar for those who stayed at home or to collect as souvenirs. Famous photographers such as Carlo Naya, Giorgio Sommer or the Alinari brothers photographed the most famous sights of their home cities and went on journeys themselves to photograph the most popular destinations of their clients and offer them as albumen prints. Ancient art treasures were also photographed and offered to travellers. The high-quality photographs of sculptures and frescoes continued to make an important contribution to documenting art...

CARL FRIEDRICH HEINRICH WERNER 1808 - 1894 Purchasing a Hawk Graphite on Paper Carved giltwood frame Image Size: 12 x 18 ½ inches SKETCHES OF CARL WERNER EXHIBITION AT OUR GALLERY...

Medium: Oil on Board Signature: Signed Lower Right Vogue magazine cover 3/15/13

Life Magazine Story Illustration Dec 31,1910s signed lower left He moved from Chicago to New York in 1893. Known for the richness of his work in pen and ink, he drew, in 1898, ...

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

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...

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.' -'...

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

A silk and gold thread embroidery of titles. Japan's textile industry was one of the first to adopt Western science and technology, and thus the Meiji era produced some of the highes...

This drawing (pencil on paper, 37.5 x 24 cm) is an Academia (a common study during the Academy lesson on the 19th century) based on an antique subject. It represents a naked young ma...

Date: 1919 Medium: Charcoal on Board Signature: Signed Lower Left Dimensions: 15.20" x 18.50" "The Vanishing Men," November 29, 1919.

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...

Part of the ring-wall of the Taj Mahal, Agra, India, 1914 Signed with initials and dated bottom right Black chalk on paper, 45.5 x 53 cm Literature: Ernst Braches en J.F. Heijbro...

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...

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

PIETRO BARZANTI Italian, 1825-1895 Allegory Of Spring Signed ‘P. Milanes/Galleria/P.Bazzanti/Florence.’ Carved White Italian marble circa 19TH C...

Signature: Signed Lower Right Illustration, 1917

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

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...

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.

Medium: Ink, Watercolor, Gouache on Paper laid to Paperboad Signature: Inscribed Collier's Cover Weekly/Sept. 1914/Belgian Automobile Troops/Fighting German Dragoons (on the reverse)...

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

CHARLES GEORGES FERVILLE-SUAN French, 1847-1925 Bronze group of a winter scene A winter scene of a man on skates, pushing the woman’s sled ...

Medium: Oil on Canvas Signature: Unsigned Study for the July 7, 1917 cover of Collier's National Weekly (the title story was "Why I'd Let My Boy Go To War").

JEAN-BAPTISTE AUGUSTE CLÉSINGER French, 1814-1883 Dancer Zingara Inscribed F. BARBEDIENNE.FONDEUR with the reduction mecanique A. Collas Brevete seal Patinated bronze, brown ...

Date: 1991 Medium: Oil on Canvas Dimensions: 36.00" x 24.00" Signature: Signed Lower Left DEAN MORRISSEY (American, 20th Century) The Illegal Rebirth of Billy the Kid...

Still Life Of Pink & White Roses, 19th Century by Louise Ellen Perman (1854-1921) Fine large 19th Century Impressionist still life...

Charming portait with Modernest colors. Provenance: Christie's Mercedes Matter, daughter of the artist, Salander-O'Reilly Galleries, New York. Private Collection. Sale: Skinner, Inc...

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