Wood Panel Figurative Paintings

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...

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...

The experience of art itself can be an intimate one, and this bed canopy, hand-painted over 100 years ago by an artist in Canton, was more intimate than most. Delicately painted pheasants...

Johann Ludwig Robert von Steiger (Swiss, * 8th of January, 1856, Rio de Janeiro, Brazil; † 1st of June, 1941, Buenos Aires, Argentina) Portrait of Karl Alfred Arthur von Steiger Lie...

John Arthur Lomax. English ( b.1857 - d.1923 ). When I was a Boy. Oil on Panel. Signed. Image size 9.5 inches x 11.4 inches ( 24cm x 29cm ). Frame size 17.3 inches x 19.5 inches ( ...

JOSÉ JIMÉNEZ ARANDA Spanish, 1837 - 1903 HUSSARS AT REST signed, located and dated “Jz. Aranda. / Paris 1884.” (lower left) oil on wood panel 21 x 26-5/8 inches (53.5 x 67.5 cm) fram...

An Ema is a votive plaque people hang in a "dedication area", at a Shinto shrine, with their wish to the gods. Wishes usually would revolve around health, love, career, prosperity, a...

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

F. CLEVEROT Captain 1898 Oil on panel 18 x 14 inches Framed: 28 x 24 inches Hand signed lower right recto

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...

Icilio Federico Joni. Italian ( b.1866 - d.1946 ). Painted Gesso, Gilt and Wood Tavolette Book Cover Binding in the Sienese Biccherna Style Book Cover size 11 inches x 8.1 inches ( ...

Icilio Federico Joni. Italian ( b.1866 - d.1946 ). Painted Gesso, Gilt and Wood Tavolette Book Cover Binding in the Sienese Biccherna Style Book Cover size 11 inches x 8.1 inches ( ...

Brass plate leads to Russian artist Pavel Pavlovich Dzhogin (1834 - 1885). This 19th century oil painting beautifully captures a serene rural scene with travelers on a cart traveling...

William Arthur Breakspeare. English ( b.1855 - d.1914 ). A Rendezvous in the Park in the Autumn Fall. Oil on Panel. Signed lower right. Image size 12.6 inches x 7.3 inches ( 32cm x 1...

Born in Paris in 1836, Victor Gustave Cousin was a painter of landscapes and still lifes. He studied under Francois Edouard Picot (1786-1868), de...

Nobody quite does moonlight quite like Camille Corot. Moonlit landscapes suited the artist's discreet artist's personality and painting. As Baudelaire astutely observed: "M. Corot is...

Carl Skånberg is known for his delicate brushwork that echoed the early influence of Impressionism in Swedish art, Skånberg's work typically carries a certain mystique and emotional ...

Oil on panel Image size: 12 1/2 x 9 1/4 inches (31.75 x 23.5 cm) Original frame This is a captivating portrait of a young woman who we appears to be a traveller. The painting has a ...

"Caterina d'Alexandria (Saint Catherine of Alexandria)" is an original oil painting on wood panel, likely painted by Italian artist Giampietrino (Giovanni Pietro Rizzoli). The painti...

Original oil on wooden panel painting of a young child begging for a coin. The painting is attributed to the hand of Leopoldo Dumini. Circa 1865...

A couple of young boy and girl, dressed in ethnographic costumes, probably Savoyard, ride a donkey. The scene takes place in the middle of the countryside with mountains in the back...

Hubert Bellis Brussels 1831 – 1902 Schaarbeek Belgian Painter 'Red and Yellow Roses in a Glass Vase' Signature: Signed lower right Medium: Oil on panel Dimensions: Image size 43,50...

Léon Herbo Templeuve 1850 – 1907 Ixelles Belgian Painter 'Portrait of a Boy' Signature: Signed top left Medium: Oil on panel Dimensions: Image size 21 x 17 cm, frame size 44 x 40 cm...

Antoine Emile Plassan (1817-1903), a French painter of genre works, portraits and landscapes, was born in Bordeaux. He exhibited frequently at the Salon and was awarded medals in 185...

Ferdinand Victor Leon Roybet. French ( b.1840 – d.1920 ). Le Mousquetaire. Oil on Panel. Signed upper right. Image size 31.1 inches x 24.4...

This classic icon is beautifully painted with a rich patina and is in very good condition - checking all the boxes for a wonderful investment quality antique. Since 1995, the Pushk...

"Paysanne dans un bois", oil painting on wooden panel, signed in the bottom left corner, 48.9x32.4cm. Origin: -Christie's New York, sale on May 29th 1981, lot no. 24 -Rindoko Museum, in Tochigi, Japan -Private collection in 2020, after sale Museum collection As a young man, Richet followed painting classes from Détrez, an old student of Léon Cogniet's. In Paris, he built a friendship with Teinturier (painter from Valencia) and became a student of Jules Lefebvre's but most importantly the disciple of Narcisse Diaz de La Pena, with whom he collaborated ( some canvas bare both their signatures). They both share a remarkable audacity in their enameled way of treating reflections of light on water as well as the the effects of the sun on the clouds. At the Salon de Paris...

Painting with a traveler on a white horse and accompanied by a dog looking up at a road sign in the form of a cross. On the roadsign is ” Arnhem”. (a town at the Rhine river in the E...

Archer was born at Newcastle-upon-Tyne, in 1808. In 1820 he went to London, and became a pupil of John Scott, a noted engraver of animals. His apprenticeship was cut short when Scott became ill, and he returned to Newcastle. There, in collaboration with William Collard he etched a series of large plates of Fountains Abbey, after drawings by John Wilson Carmichael, and on his own produced several plates for Mackenzie's History of Durham. He then moved to Edinburgh, where he made a collection of drawings of the ancient buildings and streets of the city. In about 1830 he returned to London, and entered the studio of the engravers William and Edward Finden, who were then working on illustrations for the annuals and such publications as their Bible Illustrations, and The Ports and Harbours of Great Britain. After a few years the market for this kind of illustration declined, and Archer had to find less renumerative work engraving plates for the New Sporting Magazine. Having been elected a member of the New Society of Painters in Water Colours, he produced a series of drawings of St. Mary Overy, previous to its restoration, and of Lambeth Palace. Having accumulated more than one hundred drawings of London...

I liked the title "After the storm" for this painting, which the artist had noted on the back of the painting, although he later changed it to "Day of the storm". It's the juxtaposi...

Signed lower right: Johan Arsenius and dated 1858 or 1853, attributed Johan Georg Arsenius (1818 - 1903), was a Swedish military man, painter and draftsman. Up for sale is important ...

John Linnell (British, 1792-1882) Untitled (English Countryside), 19th Century Oil on wood panel 9 1/2 x 6 3/4 in. Framed: 12 x 14 1/2 x 2 in. Signed lower left: Linnell John Linnel...

A wonderful portrait of a young boy seated in his room looking out over the expansive landscape. Painted circa 1840 this piece has all the style of middle European art. French, Swis...

The painting is dated and signed on the bottom left side. Description: Alfred Jacomin was a landscape and genre painter. He was a student of his father, Jean-Marie Jacomin, the Swiss...

Pieter Cornelis Dommersen, also known as Pieter Cornelis Dommershuijzen (1833 - after 1913) was renowned for his 'capriccio' paintings, where imagination melds with reality, Dommerse...

This rare early 19th Century 'Icon of the Ascension' has beautiful features rich colors and an uplifting scene with a classical composition. The original reposse' pot silver frame enhances the decorative charm of this special antique. Good condition - an unrestored gem. Since 1995, the Pushkin Gallery...

Schelfhout Andreas Dutch Painter The Hague 1787 – 1870 Summer Landscape by a Ruin Signature: Attributed to Schelfhout Andreas Medium: Oil on oak panel Dimensions: Image size 32 x 36...

Provenance: Exhibited at Pennsylvania Academy of Fine Arts, 1911 #229 Description: William Wallace Gilchrist (1879-1926) was an American painter known for his captivating depictions of everyday life scenes and his ability to capture the ambiance and aesthetic of the late 19th century. Born in Philadelphia, Gilchrist showed an early passion for art and pursued his artistic education at the Pennsylvania Academy of the Fine Arts Gilchrist’s artwork often revolved around intimate domestic settings, where he skillfully portrayed the beauty and tranquility of ordinary moments. His painting “The Morning News...

Well painted late 19th-century German genre painting. Often painted in the Munich area of Germany these highly desirable antique paintings are always of the finest quality. This is...

In this painting titled "Old Woman and Boy with Candles" an intriguing scene unfolds before our eyes. An older woman gazes ahead, her eyes shielded from the flickering candlelight, w...

JOSÉ GARCÍA Y RAMOS Spanish, 1852 - 1912 LA FIESTA signed & located "Garcia y Ramos / Sevilla" (lower left) oil on wood panel 11-1/4 x 7 inches (28.5 x ...

FRANCISCO DOMINGO MARQUÉS Spain, 1842 - 1920 REST IN THE TAVERN signed, located & dated “Domingo / PARIS / 1890” (lower left) oil on wood panel 9-1/2 x 10-1/4 inches (24 x 26 cm.) Francisco Domingo Marqués was a Spanish painter born in Valencia in 1842. He was a self-taught artist who began his career as a decorative painter before turning to portraiture, genre scenes, and landscapes. Marqués gained recognition for his realistic depictions of everyday life and his ability to capture the essence of his subjects. In 1864, Marqués moved to Madrid and joined the Royal Academy of Fine Arts of San Fernando, where he studied under Federico de Madrazo. He quickly became a prominent member of the Madrid art scene and exhibited his works at numerous prestigious exhibitions, including the National Exhibition of Fine Arts and the Paris Salon. Marqués was known for his use of vibrant colors and his masterful handling of light and shadow. He painted a wide range of subjects, including religious scenes, still lifes, and landscapes, but he is perhaps best known for his portraits of Spanish royalty...

Signed low-right.

A charming image of cherubs cavorting with sheaths of wheat in a woodland setting. Follower of Jean-Honoré Fragonard Cherubs cavorting before a tree Oil on panel 10¾ x 14 inches exc...

There is a lot to see in this delicate, luminous landscape: a little fisherman, a figure in his canoe, and the beautiful light on the water. It is an ...

Samuel S. Carr was born in England in 1837. He studied at the Royal School of Design in Chester before immigrating to the United States around 1862, where he settled in Brooklyn, New York. He began exhibiting genre paintings in the 1870s. He was known for his paintings of children, seashore life and pastoral subjects. Carr was a member of the Brooklyn Art...

Exhibited: Salon, Société des Artistes Français, Paris, 1879 (no. 647)

In German, there is a word called "Sommefrische" , meaning summer freshness, which describes this painting perfectly. Looking at this Swiss mountain and lake is like a perfect, restf...

William Frederick Witherington was born in London in 1785. In 1805, he began his studies at the Royal Academy Schools. He first exhibited at the British Institution in 1808, and at the Royal Academy in 1811, where he continued to exhibit almost every year. He also exhibited for several years at the Birmingham Society of Arts. He travelled around England painting views of rural life in Devon, Kent, Wales and the Lake District. During the 18th and 19th centuries the hop gardens of Kent, Sussex and Surrey provided artists with a rich source of subject matter. The picking season was the English equivalent of the French and Italian grape...

An Orientalist figurative or genre painting by Conrad Kiesel.

A Dutch Town View Vrolijk Jacobus Adrianus The Hague 1834 - 1862 Dutch Painter Signature: Signed bottom left, dated 58 Medium: Oil on panel Dimensions: Image size 18,50 x 27,50 cm, frame size 26 x 34,50 cm Biography: Vrolijk Jacobus Adrianus was born in The Hague on March 9, 1834. He was a Dutch painter of the Hague School. He painted animated landscapes, views with river and windmills, Dutch winter scenes and frozen canals. He was also exelllent watercolourist and draughtsman. Vrolijk belongs to the Romantic movement. He studied with the famed master teacher and artist Andreas Schelfhout...

Still Life with Pear and Grapes Quitton Edouard Péruwels 1841 –Brussels 1934 Belgian Painter Signature: Signed top right and dated 1881 Medium: Oil on panel Dimensions: Image size ...

Unknown Artist, Possibly Gustaf Brandelius (1833-1884) Portrait of a Young Boy With Hat oil on tree panel painted c.1850-70 panel 9.05 x 5.90 inches ...

Wonderful late 19th-century oil on panel of wood depicting shipping at a sunset. Pauman was from either Belgium or France and his works are held in private collections in both countr...

Two Seated Women One Holding A Dragonfly Unsigned, oil on wood panel 14"x10"5 antique frame 20x16.5 European School, possibly Italian early 19th Century painting of two seated women ...

Two Early Massachusetts Paintings Boy fishing "Beaver Pool" - "The Conway" 1897 Pair of early Massachusetts paintings on walnut wood pane...

JOSÉ GALLEGOS Y ARNOSA Spanish, 1857 - 1917 CORO DE MONAGUILLOS ENSAYANDO signed, located and dated "JGallegos / Roma 1883" (lower right) oil on...