Paintings

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...

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...

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...

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...

Lacazette Amelie (19th) Young Girl with a dove Oil on canvas signed upper left Old frame gilded with leaves Dim canvas : 56 X 37 cm Dim Frame : 74 X 57 cm Lacazette Amelie (19th) - ...

Ideal head by 19th-century American painter.

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

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...

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...

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

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

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...

"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.

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

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...

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: 24 x 18 inches Framed size: 31 x 25.5 inches Signed lower left

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

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...

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

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

This colorful painted scroll is a Taoist ceremonial painting attributed to the Yao or Mien minority culture of southern China, northern Vietnam and other neighboring regions. The small scroll depicts two lesser Taoist deities riding animal mounts, possibly representing the pantheon of gods known as the Administration or Heng Fei. Such scrolls were commissioned by Taoist priests and would have been displayed during ritual ceremony to communicate with the gods residing in each painting. From the collection of Frances...

Titan Fine Art are pleased to present this exquisite portrait. As much attention is paid to the woman's luxurious apparel as her facial features. The ...

A red-robed cardinal chuckles at the letter in his hand in this oil on canvas by the Italian painter Andrea Landini. The vibrantly hued piece illustrates the artist’s genius at rendering charming narratives in remarkable detail. Entitled The Letter, the work is a superb example of Landini's technical virtuosity — from the finely carved and upholstered chair to the neoclassical painting in the background, every detail is meticulously depicted. Such works satirizing the clergy would have been severely censured just a generation earlier. Yet, by the time Landini picked up the brush, the European public had grown discontent with the hypocrisy of the clergy, many of whom enjoyed lavish lifestyles. Cardinal paintings such as this became highly popular during the period, and Landini emerged alongside Georges Croegaert, Marcel Brunery and Jehan Georges Vibert as the leading painters of the genre. Born in Florence in 1847, Andrea Landini trained at the Academy of Fine Arts in Florence, first under the animal painter Riccardo Pasquini and later with religious painter Antonio Ciseri...

This framed 24" x 23" watercolor on silk by an Unknown Chinese artist depicts a coastal mountain landscape. This work features several mountain clus...

Signed bottom-left.

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

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...

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...

Wonderful and outstanding example by one of England's known and much-loved 18th and 19th-century painters. Morland was an English painter who became one of the most popular artists o...

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

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 ‘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...

A very well-painted Dutch 19th century marine scene. The small boat is full of men who are rowing hard to get to the larger vessels, possibly to either take goods on or off the large...

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...

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...

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...

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

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...

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...

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...

"Guardian Angel" late 19th c. Original hand-painted KPM Porcelain In Jewel Encrusted Frame approx. 6 3/8 x 5 inches

Scottish Highland landscape scene with English Setter gun dogs, the day's bag, and Red Grouse, after a day shooting. M. Fawcett was a pseudo name for Robert Cleminson a well-known ...

Carlo Grubacs (Italian, 1810 – 1870) Santa Maria della Salute, Venice Oil on panel Signed ‘C Grubacs’ (lower right) 9.3/4 x 5.3/8 in. (24.8 x 13.8 cm.)

A fine painting after George Romney of The Hon.Reverend Anchitel Grey (1774 – 1833) as a Boy The painting depicts a boy aged about ten, standing, turned to the left, gazing at the spectator, wearing a blue coat, and white linen collar, a spaniel with its paws on his chest. Shoulder length brown hair. Trees in the background on the right, distant horizon with cloudy sky on the left. The sitter was the third son of George Harry Grey, 5th Earl of Stamford (1765-1845) and Lady Henrietta Cavendish-Bentinck (died 4th June 1827), daughter of the 2nd Duke of Portland...

Achille Laugé 1861-1944 French The Garden Near Cailhau Signed "A. Laugé 96" (lower left) Oil on canvas “Laugé’s art is one of great sensitivity and controlled reason; he is a mas...

Adolphe La Lyre 1850-1935 French Le Concert des Sirenes Oil on canvas Signed lower right Canvas: 32" high x 24" wide Frame: 39 1/2" high x 31" wide Seal Exhibition at Salon d...

Jonathan Pratt British, (1835-1911) Spinning Wool Oil on canvas, signed Image size: 12 inches x 17.75 inches Size including frame: 17.25 inches x 23 inches A pleasing genre paintin...

Nils H Christiansen Danish, (1850-1922) A Winter’s Evening Oil on canvas, signed Image size: 11.5 inches x 23.25 inches Size including frame: 16.25 inches x 28 inches A beautiful winter landscape scene of a village covered in snow at sunset. A mother and son carry firewood back to their nearby cottage whilst other figures continue on home past the lake. In the distance, a church spire is silhouetted against the warm colours of the disappearing sun. Nils or Niels Hans Christiansen was a well-accomplished painter born in Esbjerg in the Jutland peninsula of southwest Denmark on 22 July, 1850. He specialised in winter landscapes and moonlight scenes and was interested in the effects of light, often painting the sunrise and sunsets against his native land. He first came to England in 1863 for the Royal Wedding of the Prince of Wales and Princess Alexandria. Although he worked mainly in Denmark and Norway, he spent some time in England where he is believed to have exhibited with many of the leading art galleries in London. In addition to exhibiting in England, Christiansen also exhibited in his home country at the Royal Academy of Copenhagen where he became a member. He seems to have settled in England and on 10 September 1887 he married Alice Dickens at York Square, Stepney. Together the couple lived at 36 Dempsey Street, Mile End with their children. One of their sons, Albert Edward Christiansen (1887-1927) also became an artist. Christiansen’s success brought him royal connections and he was given a Grace and Favour apartment at Windsor by Queen Victoria. By 1901, he had become a British subject and had moved to 15 Queens Road in Plaistow, West Ham where he spent the rest of his life. He died in 1922 at Plaistow, aged 71. His paintings are always beautifully drawn and with the inclusion of figures give added interest to the viewer. A number of his works can be found in museums and art collections in England including Epping Forest...

19th century English Antique Victorian Summertime Harvest landscape, with figures. John Mundell was a British painter of landscapes as well as river scenes and coastal views. It is suggested that Mundell was a pseudonym of John James Wilson. Mundell’s work was vigorous, bright, and attractive and compares favorably with the work of many of the better artists of his time. This is a very fine example of the artist's work. It is a rare composition for the artist as he mostly painted marines. This piece is framed in its original antique gold leaf frame

A fine 19th century oil painting of a chestnut hunter "Light heart" in a stable by Claude Lorraine Ferneley Oil on canvas size of painting is 63.5 x 48.5cm ...

Fine work by celebrated 19th century artist, Colin Hunter (1841-1904) ARA, RI, RSW, RE. 'Highland Bridge' shows one of the old stone bridges in the Scottish countryside with horse an...

Herbert ‘William’ Weekes British, (1841-1914) The Passing Procession Oil on canvas, signed Image size: 17.25 inches x 28 inches Size including frame: 23.25 inches x 34 inches A hum...

English 19th century folk art portrait of an English spaniel dog in a landscape. Painted with a great deal of skill and care this is a charming 19th-century piece. With the origin...

Antique oil painting. Portrait of an Italian boy with a pipe. Painting restored. Frame with minor damage in places. Dimensions without frame: 40.5 cm x 50.5 cm.

Netherlands, 1870-1951 Constant Artz is the painter of the well-known extremely friendly and sunny scenes with a duck with young ones on the side of a ditch. He was born in Paris in...

Olio su tela. Scuola nord-europea di fine '800. Firma non identificata in basso a destra. Il ritratto presenta un bambino in ambito marinaresco: è seduto sul masso di una spiaggia, ...

William Mellor British, (1851-1931) On the Llugwy, North Wales Oil on canvas, signed & further inscribed verso Image size: 15.5 inches x 23.5 inches Size including frame: 22.5 inches x 30.5 inches A pleasing landscape painting of the River Llugwy in North Wales by William Mellor. Sheep can be seen grazing on the bank to the right as the river flows over a rock formation. Beyond is the stunning mountainous backdrop of Capel Curig. William Mellor was a landscape painter who was born in Barnsley, Yorkshire in 1851, the son of Joseph Mellor, an artist and Mary Mellor. Initially, he was employed as a loom turner in the weaving industry before becoming a professional artist. He would have received tuition from his father who clearly influenced his style and subject matter. In 1876, he married Mary Elizabeth Watson...