19th Century Animal Paintings

European painter (late 19th century) - Landscape with grazing cows. 101 x 76 cm. Old oil painting on canvas, without frame. - Work signed lower right. Condition report: Lined can...

William Watson Jnr British, (1847-1921) Up Glen Goil, West Highlands Oil on canvas, signed & dated 1892, further inscribed verso Image size: 23.5 inches x 35.5 inches Size including frame: 36.25 inches x 48.25 inches This highly atmospheric and well executed painting by William Watson Jnr depicts Highland Cattle watering at Glen Goil. Glen Goil is a valley area of Argyll and Bute in the West Highlands. It is situated at the junction of Hell’s Glen and Gleann Mor and has the river Goil flowing through. Located around 2 miles from Lochgoilhead, it is well known as an area of outstanding natural beauty. Watson made several trips to the Highlands and produced a number of paintings of the locality, many of which included highland cattle such as this fine example. Another painting by him of Glen Goil is held by the Walker Art Gallery, Liverpool. William Watson was born in Islington in 1847, the son of the London miniature painter William John Watson (1810-1871) and his wife Caroline (née Butcher). His brothers Charles Watson (1837-1900) and Robert Watson (1855-1921) were also artists. His father seems to have travelled around and after spending time in Brighton, the family moved to Bransford Road in Worcester during the early part of the 1860’s. As well as being taught by his father, Watson received his early training in the studio of Sir Francis Grant PRA (1803-1878). He later became a pupil of Sir Edwin Henry Landseer RA (1802-1873) and Rosa Bonheur (1822–1899). Both Landseer and Bonheur had a great influence on his work and he began specialising in scenes of cattle and sheep. By 1866 he had become a full time artist and began exhibiting at the Royal Society of British Artists. Perhaps to take advantage of the inspiring scenery, Watson moved to Birkenhead, Cheshire where in 1871 he met and married Eleanor Davies who was from Caernarvonshire. Four of their children Sidney Watson (1881-1931), Caroline Ellen Watson (1871-1947), William Robert Charles Watson (1873-1928) and Walter James Watson...

The Village Tavern Attributed to Dean Wolstenholme Snr (1757-1837) oil on canvas, framed framed: 18 x 22 inches canvas: 14 x 18 inches provenance: private collection, UK condition: a...

Terriers Ratting by Frank Cassell (British late 19th century) oil painting on canvas, framed framed: 18 x 23 inches canvas: 12 x 16 inches provenance: pr...

Outstanding portrait of two dogs. Sam Spode was an Irish painter of horse and dog portraits from the late 18th century through the early 19th century. His dog portraits are very rar...

The Mountain Pass Italian School, 19th century signed initials oil on canvas, framed framed: 13 x 11 inches canvas: 10 x 7.5 inches provenance: private collection, France condition: ...

Portrait of Princess de Joinville riding a Bay Horse Henri d’Aincy, Le Comte Monpezat (French 1817-1859) Painted circa 1837-9 oil on canvas 113 x 92 inches (including frame) 92 x 70 inches (unframed) Provenance – from a private royal collection This magnificent portrait depicts Princess de Joinville, the daughter of Pedro I, Emperor of Brazil and the King of Portugal. Through her illustrious family she was directly related Alexander III and Nicholas II of Russia and the Russian royal family, as well as to many of the great ruling families of Europe. The work clearly confirms Monpezat as one of the most accomplished equestrian portrait painters in France in the early nineteenth century. In terms of scale, quality and dramatic power, it must surely be considered amongst his finest works. The stance of the powerful thoroughbred - in half rear - emphasises the calm nature and courage of the Princess. Francisca of Brazil (1824-98) married a son of Louis Philippe I, the King of the French, and had three children. Born at the Imperial Palace of Saint Christopher, her youngest brother was the future Pedro II...

'Setter on Point' is by 19th century British artist John Sutcliffe known for his paintings of animals. One of his paintings of a dog in a landscape, same size as this one, sold at Ch...

Charles Jones British, (1836-1892) Highland Cattle & Sheep in Winter Oil on canvas, signed with monogram & dated (18)65, further inscribed verso Image size: 23.5 inches x 35.5 inches...

A Game Of Cards, 19th Century by Henry George Sharp (1834-1900) Large 19th Century interior scene of a St Bernard, Jack Russell Terrier and a King Charles Spaniel at a cards table...

A wonderful painting by British artist Sidney Pike (1846-1907). Pike is best known for his depictions of the English countryside, and he attended many time...

Valentine Thomas Garland British, (1845-1914) After the Show Oil on canvas, signed Image size: 28.5 inches x 18.5 inches Size including frame: 40.75 inches x 30.75 inches A wonderf...

Large American Orientalist oil painting of a courtyard by F. A. Bridgman American, c. 1900 Canvas: Height 69cm, width 91cm Frame: Height 95cm, width 108cm, depth 8.5cm Wonderfully p...

Henry Barraud British, (1811-1874) Horses & grooms at Mount Mascal Oil on canvas, signed Image size: 15.25 inches x 29.25 inches Size including frame: 21.25 inches x 35.25 inches ...

Edgar Bundy Brighton 1862 – 1922 London British Painter ‘Peasant Children walking the Donkeys’ Signature: signed lower right and dated ‘Edgar Bundy 1885'
Medium: oil on canvas
 Dim...

Watercolour on paper Paper size: 4 x 5 inches Framed size: 19 x 19.75 inches PROVENANCE A gift from Joseph Mallord William Turner to Miss Amelia Hawksworth (later Mrs Hotham), niece of Walter Fawkes. The watercolour descended through the ownership of Amelia Hawksworth, daughter of Francis Fawkes ( Walter Fawkes's brother) who was the main compiler of the Ornithological Collection (Miss Hawksworth owned five other bird studies by Turner). Private collection, London LITERATURE: For similar works by J M W Turner see Anne Lyles, The Tate catalogue for the exhibition 'Turner and Natural History, The Farnley Project', 1988. The present watercolour was drawn circa 1815-1820 for Walter Fawkes of Farnley Hall, for his Ornithological Collection Volume IV. Between 1808 and 1824, Turner visited Farnley Hall in Yorkshire to stay with the Fawkes family. Turner felt at home at Farnley - the Fawkes daughters reminded him of his own. He helped illustrate a five volume ornithological scrap book for the Fawkes children, making watercolour studies of the birds for the children to stick in opposite the pages on which feathers from similar birds were attached. His bird portraits were most effective, most "life-like", when in fact the bird was dead ! His watercolours of a live robin and goldfinch have a more hesitant touch. At this time Turner enjoyed the patronage first of Edward Lascelles, the heir to Harewood, and after 1808, of the radical landlord Walter Fawkes of Farnley Hall, near Otley. He became a close friend of the Fawkes family with whom he stayed for most summers until 1824. The last owner of Old Farnley Hall was Francis Fawkes, a rich widower with no direct heirs. When Francis Fawkes died in 1786 he left the house to Walter Beaumont Hawksworth of Hawksworth Hall, on condition that Hawksworth adopt the Fawkes name by Royal Licence. Walter Fawkes brought in architect John Carr of York to make extensions to the house, but he died before the work was completed, and Farnley Hall was passed on to his son, also called Walter who also took the Fawkes name and was known as Walter Ramsden Fawkes. It was this Walter who was a great friend of J M W Turner. Anne Lyles has confirmed the attribution and writes: "Everything fits in relation to the style of the watercolour and most especially the provenance - in the Turner and Natural History exhibition catalogue of 1988 we know that Amelia Hawksworth (Mrs Hotham) owned three studies of birds' heads by J M W Turner (previously with the Maas Gallery, and numbers 36, 37 and 61 in that catalogue) as well as two studies of dead game by the artist (catalogue numbers 59 and 63, the latter untraced in 1988). Interestingly, catalogue numbers 36 and 37 (the Merganser and the Smew) seem also originally to have been intended for Volume IV of the Ornithological Collection - it is likely that the "Study of the Head of a Moorhen...

Eugene Petit 1839 - 1886 Oil on canvas Painting Size: 18 x 21 3/4" (46 x 56cm) Outside Frame Size: 25 x 28 3/4" (63 x 73cm) Free Shipping He was born in 1839 at Paris and died in...

Her Favourite Pet Young Lady wearing a straw hat and white dress with blue ribbons with her pet dog. Circle of Arthur John Elsley, British 19th Cen...

Paper Size: 24.5 x 18.3 cm Mount Size: 35.8 x 27.8 cm More details to follow

The Village Duck Pond by R. Fenson, British signed and dated 1896 oil on canvas, unframed canvas: 20 x 30 inches provenance: private collection, England condition: very good and soun...

Claude Cardon British, (1864-1937) Farm Friends Oil on canvas, signed Image size: 13.5 inches x 20.5 inches Size including frame: 19.25 inches x 26.25 inches A tranquil scene of ca...

Horatio Henry Couldery (1832-1893) An aristocratic Pomeranian signed 'H.H. Couldery' (lower left) oil on canvas 19 ⅛ x 24 ⅛ in. (48.5 x 61 cm.) frame 24 x 28 ⅛ in. (61 x 71.4 cm.) H...

Abraham COOPER Canvas Size: 28 x 36" (70 x 90cm) Outside Frame Size: 38 x 46" (95 x 115cm) A fantastic example of Cooper's work. A piece on a grand s...

Frederick E. Cohen (American, born England, c. 1818-1858) Boy in a Dog Sled, 1853 Oil on canvas, 25 x 30 inches Framed: 35 x 40 inches (approx.) Signed and inscribed: (on side of sle...

Artist/ School: Andrew Adie Dalgleish (Scottish active 1880-1904), signed and titled verso Title: Winter, Ayrshire Medium: oil on canvas, framed Framed: 28.5 x 22 inches Canvas: ...

The Sporting Gentlemen Attributed to Dean Wolstenholme Snr (1757-1837) oil on canvas, framed framed: 18.5 x 22 inches canvas: 14 x 18 inches provenance: from a collection in the UK c...

Antique Dog Painting of a Terrier: “The Shah” George Earl (England, 1824-1908) Circa 1870 Oil on canvas. 12 ¾ x 12 ¾ (21 x 21 frame) inches. Orig...

Alfred De Breanski Senior Oil on canvas Signed and inscribed on the reverse Canvas Size: 24 x 36" (60 x 90cm) Outside Frame Size: 35 x 47" (87.5 x 117.5cm) Free shipping worldwide ALFRED De BREANSKI Snr Alfred De Breanski was a distinguished landscape painter who became famous for his resplendent views of the Welsh and Scottish Highlands; he also painted many views of the Thames. Often bathed in a flood of golden light, these landscapes usually feature water and cattle or sheep on grassy banks; sometimes a solitary figure is seen the distance. Breanski belonged to the real stamp of those landscape painters who nimbly seized moments of the day. He had a great passion for the Highlands and perhaps more than any other, caught the atmospheric influences of the undulating landscape. Born in Greenwich...

"Western Travellers" by Rudolf Stone, British late 19th Century signed by the artist on the lower left hand corner oil painting on wood panel, framed framed size: 8 x 14 inches Won...

Artist/ School: American School, mid 19th century Title: Portrait of a Child dressed in a hat and their 'Sunday best', with small pet dog in a landscape. Medium: oil on canvas, un...

Horse in front of the barn. 19th Century English by Edward John Hoy signed, dated 1899. Beautiful custom (Richard Tobey) gilt wood frame, canvas 18x24 ...

The Martyrdom of Saint Ignatius of Antioch in the Circus during the Celebrations for Emperor Trajan - Russian School of the Mid-19th Century Signed on the lower right. TITOV? Dated 1...

An exceptional horse portrait “Young Lightfoot” in the manner of Edward Troye (1808-1874). Troye was born Edouard de Troy in Lausanne, Switzerland, on 12 July 1808. He was the son of...

Crossing the Bridge Scottish School, late 19th century signed lower corner oil painting on canvas, framed framed: 9 x 13 inches canvas: 7 x 11 inches provenance: private collection, ...

Hare Coursing by J.C Mitchell (British sporting artist, 19th century) dated 1879 signed oil on board, framed framed: 11.5 x 14 inches board: 9.25 x 12 inches provenance: private coll...

Oil on canvas. Signed, dated 1863 Provenance: Grubbs Auction, June 8, 1984 Christie’s, New York
; Bartlett Burnap Turner was a British artist who has been referred to as “Horse Fa...

A beautiful painting showcasing 3 horses in an open landscape at full gallop. This oil on canvas signed painting is by James Clark (1858–1943) who was a provincial English painter bo...

Fine 19th century landscape oil on canvas by Alfred de Breanski Sr., this sunset, color and light, are exceptional in this work. Alfred De Brea...

Edward Chalmers Leavitt (1842 - 1904) Rhode Island Artist Image Size: 36 x 28 Frame Size: 42.5 x 34.5 Newcomb Macklin Frame. Medium: Oil Dated 1889 "Duck Hunt" Mergansers Edward Chalmers Leavitt (1842 - 1904) Edward Chalmers Leavitt, artist, was born in Providence, Rhode Island, March 9, 1842, the son of Rev. Jonathan and Charlotte Esther (Stearns) Leavitt. His paternal ancestor was John Leavitt, who came to Massachusetts Bay in the first ship and settled in Hingham. On the maternal side, he is descended from John Alden and Priscilla Mullens, who came to Plymouth in the Mayflower. Leavitt was educated in private schools in Providence, and at Kimball Union Academy, Meriden, New Hampshire. During the Civil War in 1862 and 1863, he served in the navy on the U.S.S. Galena. In his profession of artist, Mr. Leavitt is especially noted as a painter of fruit, flowers and still life. He exhibited in the National Academy for several years and has made many successful exhibitions in Providence and Boston. He was a member of the Boston and Providence art clubs, and the Providence Press Club. He was also a member of the Grand Army of the Republic. In politics his proclivities are mainly Republican. He has been twice married: first, May 19, 1877, to Ellen M. Fuller; and second, April 22, 1880, to Elizabeth S. Chace. Submitted November 2004 by Edward Bentley, Art Collector and Researcher from Lansing, Michigan. Source is the publication "Men of Progress: Biographical Sketches and Portraits of Leaders in Business and Professional Life from the State of Rhode Island." New England magazine. 1896. Edward C. Leavitt, born in 1842, has been described as "Providence, Rhode Island's leading still-life painter" in the late 19th Century. (Zellman 324) His teacher, James Morgan Lewin, was a prominent still-life painter in Fall River, Massachusetts, a neighboring town. Leavitt, a detailed, sharp-focused, realistic painter, was in love with texture and light, and was prolific and successful, painting a variety of still life subjects including flowers, fruit and even fish and dead game animals. His objects, including costly antiques and household decorative items, were often placed on ornamental, gleaming surfaces. He was a frequent exhibitor at the National Academy of Design in the 1870s and 1890s. The artist, who died in 1904, moved from a position of success and popularity to being ignored for many years until the publication of William H. Gerdts and Russell Burke's American Still-Life Painting in 1971. It is uncertain whether this disastrous loss of respect took place because Leavitt's work declined in quality during the last decade of his life, or because he was a victim of the periodic shifts in taste and fashion that afflict the arts. Sources: Michael David Zellman, 300 Years of American Art Peter Hastings Falk, Editor, Who Was Who in American Art Biography from Roger King Fine Art Edward Leavitt was one of the leading still life artists of nineteenth century New England. He lived and worked in Providence, and studied with James Morgan Lewin, a leading painter of the Fall River School, which, in the late 19th Century, was one of the most important centers of still life painting. While Lewin branched out into other types of painting, Leavitt remained devoted to the art of the still life. His paintings are sharply focused, realistic, and carefully finished. Ornate objects such as urns, ewers, platters, cut glassware...

Set of four Orientalist landscape paintings by van Wijk Dutch, 1879 Canvas: Height 35cm, width 65cm Largest frame: Height 41cm, width 71cm, depth 4cm Smallest frame: Height 39.5cm, width 69.5cm, depth 4cm This set of four Orientalist landscape scenes is by the Dutch artist Henri van Wijk (1833-c.1889). Van Wijk is known for his landscape paintings, and often worked in the Orientalist genre - these paintings in the Mayfair Gallery collection are a fine example of his work in this style. Each scene is filled with a small, naturalistic group of figures and animals. The figures, who either shepherd their flocks or ride on horses...

Monogrammist F. G. 19th Century French School Doe Trophy Oil on Vachet panel Monogrammed FG and dated lower right 41 x 32 cm 1831 This animal still life, signed with the monogram ...

Constant Troyon (French, 1810-1865) Vache en prairie Oil on canvas Canvas: 19 x 15 inches (48.3 x 38.1 cm) Framed: 28.75 x 24.75 x 3 Inches Artist's estate stamp lower right: Vente /...

This charming portrait of a Collie dog by Frederick French, painted circa 1896, captures the loyal and calm nature of one of the most beloved breeds. French's delicate attention to d...

Circle of Thomas Sidney Cooper (British 1803-1902) Milkmaids and livestock in a rural landscape oil painting on panel, framed framed: 14 x 18 inches board: 12 x 16 inches provenance:...

The Highland Stag by Charles W. Middleton, British, signed and dated 1896 signed oil painting on board, unframed dated 1896 board: 8 x 11 inches condition: overall very good

Henry Cheadle British, (1852-1931) Cattle Resting Oil on canvas, signed & dated (18)84 Image size: 19.25 inches x 29.25 inches Size including frame: 26.75 inches x 36.75 inches A well-executed landscape painting of cattle at a river by Henry Cheadle. A small herd of cattle are shown resting in a meadow by the side of a river. On the other side of the bank in the distance can be seen sloping hills reminiscent of the river Avon. At the time of this painting, the artist was living at Steelhouse Lane in Birmingham. Henry Cheadle was a landscape painter born in Birmingham on 16 May 1852 to Henry Cheadle and his wife Matilda (née Wood). His father was a hairdresser and they lived at 2a Steelhouse Lane in Birmingham. Although little can be found about his early education, he is known to have attended the Birmingham School of Art, where he won a number of prizes. He went on to study at the South Kensington Art School (later the Royal College of Art), where he also won awards including silver and bronze medals. Cheadle began exhibiting at the Royal Birmingham Society of Artists in 1871, where he went on to become a member. He also exhibited at the Royal Society of British Artists from 1875, the Royal Cambrian Academy, Walker Art Gallery, Liverpool, Bristol Fine Art Academy as well as at Frost & Reed. He played an active part in the local art societies, becoming curator and later president of the Midlands Art Club. He also became a member of the Birmingham Art Circle where he exhibited up until his death. By the late 1880’s, he had moved with his parents to 40 Spring Road in Edgbaston. He spent his time travelling around painting the landscapes of Gloucestershire, Worcestershire, the Midlands and North Wales. He also visited Newlyn in Cornwall where he painted a number of coastal views. He remained unmarried and lived with his parents until their deaths at the beginning of the 20th century. He continued living in Birmingham and exhibiting until his death aged 78 on 10 January, 1931. He was buried at Key Hill Cemetery in Birmingham. Some of his paintings were gifted to the Birmingham Museum shortly after his death and hung in the Victorian Room. Two of his works can still be found at the Museum today. Presentation: The painting is housed in a new, English made gilt frame which is in excellent condition. Condition: As with all of our original antique oil paintings, this work is offered in ready to hang gallery condition, having just been professionally cleaned, restored and revarnished. © Benton Fine Art

This late 19th-century oil painting by Austrian artist Otto von Thoren (1828-1889) depicts three horses pulling a cart across a shallow ford. Von Thoren was a celebrated painter of l...

Set of twelve antique Chinese painted bird studies on pith paper Chinese, 19th Century Panel: Height 20cm, width 32cm Frame: Height 35.5cm, width 47cm, dept...

Edwin Loder of Bath (1827–1885) ‘Fritz’; and A friend unsigned Oil on card, each 5¼ x 6½ in. (13.3 x 16.6 cm.) A pair (2) This charming pair of Victorian terrier portraits by Edwin ...

Alfred Schönian (1856-1936) Germany Rooster With Hens and Ducks by a Pond oil on panel signed A.Schönian München panel dimensions 6.29 x 9.44 inc...

Charles Jones British, (1836-1892) Highland Cattle & Sheep by a Loch Oil on panel, signed with monogram & dated (18)75, further inscribed & dated verso Image size: 9.25 inches x 13.5...

A mid 19th Century oil on canvas of horses and their drover. The painting is signed MM, dated 1849 and carries a signature to the stretcher Marie Munch. The painting is presented in ...

Charles Verlat (1824–1890) "Snarling Fox" This dramatic oil painting by Charles Verlat, a prominent 19th-century Belgian artist, captures a striking and emotionally charged depictio...

Work on canvas

​Attributed to Edwin Douglas (1848-1914) The shepherd's friend unsigned oil on canvas 12 ¼ x 16 ⅛ in. (31 x 41 cm.) with frame 18 ½ x 22 ½ in. (47 x 57...

A painting of Lord Methuen’s Spaniels Gipsy and Fairy, by William Barraud, standing beside a classical urn in a landscape by a lake, probably in the grounds of Corsham Court in Wiltshire, the Methuen family country seat. Signed and dated 'W Barraud...

Description: The Painting is signed and dated Constant Troyon born on August 28, 1810, and passing away on February 21, 1865, Constant Troyon was a French painter associated with the...

Pair of Hunting Dogs at Rest; Artist unknown, French, 19th century (monogrammed "JS" Circa 1850 10 x 7 (14 3/8 x 17 1/8 frame) inches This is finely realized portrait of pair of h...

A copy of the self portrait of William Hogarth with his dog, called Trump. A fantastic quality image possibly from Hogarth's original school of art. This piece is titled, dated and monogrammed. It is in an antique, period Louis XIV style frame. The painting measures 36 x 28" (92 x 72cm) Outside Frame Size: 45 x 37" (104 x 94cm) Hogarth began this self-portrait in the mid-1730s. Initially Hogarth painted himself wearing a formal coat...

GEORGE (SMITH) ARMFIELD This is a classic example of George Armfield's paintings with terriers. Picture Size: 10 x 14" (25 x 35cm) Outside Frame Size: 16 x 20" (40 x 50cm) Exhibitio...