19th Century Figurative Paintings
Period: 19th Century
Color: Brown
Sketching Among the Irises by George Herbert McCord (American: 1848-1909)
Located in New York, NY
"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.
Category
Hudson River School 19th Century Figurative Paintings
Materials
Canvas, Oil
KPM Porcelain Allegorical Plaque Of Admiration Late 19th Century Plaque
Located in New York, NY
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...
Category
19th Century Figurative Paintings
Materials
Porcelain, Paint
“Bavarian Flower Girls”
Located in Southampton, NY
Here for your consideration is a vibrant portrait of a pair of Bavarian flower girls in traditional dress. The painting is unlined and has recently been cleaned. Circa 1875. The pain...
Category
Academic 19th Century Figurative Paintings
Materials
Canvas, Oil
Daydreaming
Located in Washington, DC
Ideal head by 19th-century American painter.
Category
Academic 19th Century Figurative Paintings
Materials
Masonite, Oil
"Belem´s Tower, Lisbon", 19th Century Oil on Wood Panel by Enrique Atalaya
By Enrique Atalaya
Located in Madrid, ES
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...
Category
Realist 19th Century Figurative Paintings
Materials
Oil, Wood Panel
Japanese Children with Tortoise
Located in New York, NY
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...
Category
19th Century Figurative Paintings
Materials
Oil, Wood Panel
Japanese Girl Promenading
Located in New York, NY
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...
Category
19th Century Figurative Paintings
Materials
Oil, Wood Panel
Four Oval Shaped 19' Century Allegorical Paintings
Located in Rome, IT
Set of four delicious putto figures , oval shape oil on canvas .
Fine tromple oeil painted frame .
Very good original condition.
Category
19th Century Figurative Paintings
Materials
Canvas, Oil
Harlequin Grinning and Brandishing his Batte
Located in Fort Washington, PA
Medium: Gouache and Pencil on Board
Signature: Signed Lower Left
Carter's Monthly, February 1898, cover illustration. Newly Framed.
Category
19th Century Figurative Paintings
Materials
Gouache, Board, Pencil
The Sword Merchant
Located in New York, NY
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
Category
19th Century Figurative Paintings
Materials
Canvas, Oil
Taoist Ceremonial Scroll Painting, c. 1870
Located in Chicago, IL
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...
Category
Qing 19th Century Figurative Paintings
Materials
Paper, Pigment
The Letter
Located in New Orleans, LA
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...
Category
Other Art Style 19th Century Figurative Paintings
Materials
Canvas, Oil
19th century Dutch / European school, man out in a landscape with his dog
Located in Woodbury, CT
19th century Dutch / European oil on mahogany panel, landscape with a man out walking his dog.
Wonderful painting, circa 1870, painted on one sheet...
Category
Victorian 19th Century Figurative Paintings
Materials
Oil, Wood Panel
English painting of a woman with her lover returning from the war
Located in Brooklyn, NY
Signed bottom-left.
Category
19th Century Figurative Paintings
Materials
Oil, Canvas
Historical genre sporting oil painting of a gentleman holding a gun
Located in Moreton-In-Marsh, Gloucestershire
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...
Category
Victorian 19th Century Figurative Paintings
Materials
Oil, Panel
19th century Victorian English Antique landscape with cottage, figure and cows
Located in Woodbury, CT
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...
Category
Victorian 19th Century Figurative Paintings
Materials
Canvas, Oil
Historical genre sporting oil painting of a gentleman hunter
Located in Moreton-In-Marsh, Gloucestershire
Adolphe Alexandre Lesrel
French, (1839-1929)
The Sportsman
Oil on canvas, signed & dated 1903
Image size: 9.75 inches x 7 inches
Size includi...
Category
Victorian 19th Century Figurative Paintings
Materials
Oil, Panel
19th century English landscape with a cottage, pond, trees at sunrise or sunset
Located in Woodbury, CT
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...
Category
Victorian 19th Century Figurative Paintings
Materials
Oil, Wood Panel
Large BELLE EPOQUE French Impressionist Academic SENSUAL NUDE w/ Pearl Choker
Located in New York, NY
Gorgeous Antique Belle Epoque French ACADEMIC Sensual Nude by Jules F. Ballavoine (1855-1901). This is a large rare example by the artist, painted in the...
Category
19th Century Figurative Paintings
Materials
Oil, Acrylic
Antique Italian Oil on Panel Painting Costume Genre Dog & Beauty Franceso Vinea
By Francesco Vinea
Located in Portland, OR
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...
Category
Italian School 19th Century Figurative Paintings
Materials
Oil, Panel
Antique Dutch 19th century ships at sea, fishing boats, men rowing.
Located in Woodbury, CT
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...
Category
Victorian 19th Century Figurative Paintings
Materials
Canvas, Oil
Antique Irish Oil Canvas Fishing Maritime Painting William P Rogers Dublin 1870
By William P. Rogers
Located in Portland, OR
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...
Category
Victorian 19th Century Figurative Paintings
Materials
Canvas, Oil
Coucher de Soleil - Dieppe - Realist Oil, Boats in Seascape by Alfred Stevens
Located in Marlow, Buckinghamshire
Signed and dated seascape oil on canvas by Belgian Realist painter Alfred Emile Leopold Stevens. The work depicts a sail boats off the coa...
Category
Realist 19th Century Figurative Paintings
Materials
Oil, Canvas
The Guardian Angel
Located in Missouri, MO
"Guardian Angel" late 19th c.
Original hand-painted KPM Porcelain
In Jewel Encrusted Frame
approx. 6 3/8 x 5 inches
Category
Realist 19th Century Figurative Paintings
Materials
Porcelain, Oil
19th century Antique English Victorian Summer Harvest landscape, with figures.
By John Mundell
Located in Woodbury, CT
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
Category
Victorian 19th Century Figurative Paintings
Materials
Oil, Canvas
The Light Refreshment - Nabis Oil, Seated Figures in Interior - Edouard Vuillard
Located in Marlow, Buckinghamshire
Signed figurative oil on board circa 1890 by French Nabis school painter Edouard Vuillard. The work depicts two seated ladies dressed in black with grey pinafores enjoying coffee together.
Illustrated in the Catalogue Raisonne of Edouard Vuillard by Antoine Salomon and Guy Cogeval - Volume I, Page 229 - Reference IV-7
This striking work dates to between 1890 and 1891 which was without doubt Vuillard’s greatest decade as an artist. At this time the painter was working with the group of artist known as "Les Nabis" which included Pierre Bonnard, Maurice Denis, Paul Ranson, Ker-Xavier Roussel, Félix Vallotton, Paul Sérusier and Auguste Cazalis. The group played a large part in the transition from impressionism and academic art to abstract art, symbolism and the other early movements of modernism. They believed that a work of art was not a depiction of nature, but a synthesis of metaphors and symbols created by the artist.
Signature:
Signed lower right
Dimensions:
Framed: 19.25"x20.25"
Unframed: 9.25"x10.25"
Provenance:
Renou et Poyet - Paris
Roland, Browse & Delbanco - London (labels verso) c. 1955
The collection of Sir Alec Guinness
Galerie Jan Krugier, Geneva - 1972
Nichido Gallery - Tokyo 1972
Private collection - Japan
Christie's London - Impressionist & Modern Art - June 2016
Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute.
At first, Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner.
About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye.
In 1891, Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël.
All too often, Vuillard is only admired in his role as the harmonist, the serene contemplator who combines an exquisite sense of nuance, rhythms, and values with the most acute observation. These singular investigations, these three-dimensional meditations including a table, a folding metal cot...
Category
Impressionist 19th Century Figurative Paintings
Materials
Oil, Board
Antique Oil Painting. Portrait of an Italian Boy with a Pipe, by Anton Kaulbach.
Located in Berlin, DE
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.
Category
19th Century Figurative Paintings
Materials
Canvas, Oil
1880s Figurative Sackett's Calvary Charge of the 9th New York Volunteers
Located in Soquel, CA
Late 19th century figurative painting of the battle of Trevilians Station and of the wounding of Colonel Sackett June 11, 1864. Oil on canvas in giltwood frame. Signed or notated indistinctly lower right. Image, 20.25"H x 36.25"W.
Military History Prior to 1865
The 9th New York Cavalry contained two companies from Cattaraugus County. It was mustered into the service October 1, 1861 and, until mustered out in July, 1865, lost 619 officers and men out of a total enlistment of a little less than two thousand. It participated in many battles and skirmishes and lost its colonel, William Sackett, who was killed at Trevilian Station, Virginia, on June 11, 1864.
From the Albany Evening Journal, July 20, 1864:
Another name is added to the list of hero martyrs who have fallen in the service of their country. Col. WILLIAM SACKETT, of the Ninth New-York Cavalry, (son of Hon. W.A. SACKETT,) was mortally wounded in the engagement, under Gen. SHERIDAN, at Pavillion Station, Va., and died on the 14th ult. As he was left behind, the sad intelligence of his decease has but just been received.
Col. SACKETT had seen much service. He entered the army on the 22d of April, 1861, was appointed Major of the Ninth New-York Cavalry in October of the same year, was promoted to Lieutenant-Colonelcy in August, 1862, and in March, 1863, became commander of the regiment. He was with Gen. MCCLEELAN in the Peninsula campaign, was in all the cavalry actions of the campaign which followed, was with the army in its advance after the battle of Antietam, and in almost constant conflict with the enemy until after the battle of Fredericksburgh. He participated in most of the cavalry engagements under Gen. HOOKER's command, was in all the principal cavalry actions during LEE's invasion of Maryland and Pennsylvania in 1863, and was among the first engaged in the terrible conflict at Gettysburgh, where he performed distinguished service in holding a rebel brigade in check a long time while our forces were getting into position on the crest of the hill. He was active in the cavalry skirmishes which ensued in the latter part of the Summer.
During the present campaign he was with Gen. SHERIDAN in all his brilliant expeditions up to the time when he fell. He died while leading a charge against the enemies of his country -- died, as he wished to die, doing his whole duty. He was brave, he was generous, he was unflinchingly faithful to the cause of the Union. He loved the old flag with a love that was stronger than life, and esteemed it glorious to fall in its defense. He was born in Seneca Falls, and was 25 years of age.
When the great civil war broke out [William Sackett] was practicing law at Albany, N. Y., having a short time previous been admitted to the bar. In December, 1861, he was commissioned Major of the 9th Regiment of New York Cavalry, and taking the field served with credit in several engagements in which that command participated. On June 27, 1862, his immediate superior, Lieutenant- Colonel Hyde, resigned and three days later Major Sackett was commissioned to fill the vacancy. On the 30th of the following May he was advanced to the Colonelcy of his regiment, with rank from March 15, 1863.
It is stated in "Battles and Leaders of the Civil War" that the cavalry pickets commanded by Colonel Sackett fired the first shot at the battle of Gettysburg. He subsequently led his command, in a gallant manner, in numerous engagements, including the battle of Trevilians Station, fought June 10, 1864. There he received a mortal wound and died inside of the enemy's lines some three days later. The report that he had been severely wounded and was in the hands of the enemy soon reached his wife, who immediately determined to make an effort to reach and care for him, not knowing that he was already dead when the report reached her. The following correspondence, copied from Official Records published by the War Department, tells in most emphatic terms of her devotion.
City Point, Va., July 7, 1864.
General R. E. Lee, Commanding Confederate Army,
Mrs. Sackett, the wife of Colonel William Sackett, who was wounded on the 11th of June, near Trevilians Station, Va., is here in deep distress and feeling great anxiety to learn the fate of her husband. Colonel Sackett was left at a house some two miles and a half from the station, in charge of...
Category
American Impressionist 19th Century Figurative Paintings
Materials
Oil, Linen
Grandpa and Naughty Boy Danish Master Genre Scene 19th century Signed Framed
By Erik Ludwig Henningsen
Located in Stockholm, SE
Signed lower right “Henningsen” and dated 1881 at reverse. Attributed by Erik Ludvig Henningsen (1855 - 1930) was a Danish painter and illustrator. Masterly painted genre scene “testing grandfather’s pipe” depicting lively domestic moment. The little prankster wants to be like his grandfather, but how can he not try his grandfather’s pipe, which he loves so much and does not let go of even in his sleep. The curious and brave sly man, despite the consequences, took off his shoes to approach quietly... One can imagine his disappointment and emotions after he accomplished what he had planned... The boy's faithful friend, a small dog, looks at all this with interest and curiosity. Loved and admired for his talent to realistically portray life and tell a story at the same time, Henningsen took great pride to never include any personal feelings or philosophy, but to stay neutral to the subject matter for whichever painting he was doing. Antique oil painting on canvas, signed, framed.
Size: 43 cm x 35 cm (roughly 16.9 x 13.8 in), frame 52 x 43.5 cm (roughly 20.5 x 17.1 in). Very Good pristine condition with minimal wear. Please study good resolution images for cosmetic condition. In person actual painting may appear darker or brighter than in our pictures, strictly depending on sufficient light in your environment. Weight of app. 1 kg is going to measure some 2 kg packed for shipment.
Erik Henningsen was educated at the Copenhagen Royal Academy of Art. He Traveled and studied in Germany, Italy, France and Holland, and received numerous awards and medals throughout Europe. He later became a member of the Royal Academy of Art. Exhibited in Charlottenborg, Copenhagen, Vienna, Paris, Berlin, Munich, Lubeck, and many more. Erik Henningsen is always mentioned in the same breath as his older brother, painter Frants Henningsen. Both with their traditionally classic approach to realism, anecdotal undertones and bold use of dark colors, they were the most loved and celebrated illustrators of life and times; often depicting the hardships and trials of that day and age. One of Erik Henningsen’s large...
Category
Realist 19th Century Figurative Paintings
Materials
Canvas, Wood, Oil
19th Century genre landscape oil painting of two Italian women near a vineyard
Located in Moreton-In-Marsh, Gloucestershire
Karel Frans Philippeau
Dutch, (1825-1897)
Home from the Vineyard
Oil on panel, signed & dated 1867 with old label verso
Image size: 11.25 inches x 15.25 inches
Size including frame...
Category
Victorian 19th Century Figurative Paintings
Materials
Oil, Panel
Antique painting, fisherman on the coast, oil on canvas.
Located in Berlin, DE
Antique painting, fisherman on the coast, oil on canvas.
Frame damaged in places.
Dimensions with frame.
Category
Romantic 19th Century Figurative Paintings
Materials
Canvas, Oil
19th Century historical genre oil painting of a courtship
Located in Moreton-In-Marsh, Gloucestershire
Henry Gillard Glindoni
British, (1852-1913)
The Suitor
Oil on canvas, signed & dated 'Jan 1908'
Image size: 27.5 inches x 35.5 inches
Size including frame: 41 inches x 49 inches
Thi...
Category
Victorian 19th Century Figurative Paintings
Materials
Canvas, Oil
19th Century genre oil painting of a woman peeling apples with her daughters
By Joseph Clark
Located in Moreton-In-Marsh, Gloucestershire
Joseph Clark ROI
British, (1834-1926)
Peeling Apples
Oil on canvas, signed & dated 1873
Image size: 20.5 inches x 16.5 inches
Size including frame: 30.25 inches x 26.25 inches
Provenance: Thomas Agnews & Sons, Manchester
A lovely genre painting of a woman peeling apples with her two young daughters by Joseph Clark. The eldest daughter is shown standing next to her mother in the kitchen, whilst the younger child plays on the floor.
Joseph Clark was born on 4th of July 1834 at Cerne Abbas, Dorset. He was the son of William Henry Clark, a draper and his wife Susanna (née Shepherd). After the death of his father, his mother encouraged her son to move to London to study at the Leigh’s Academy, (now Heatherley School of Fine Art) which was set up by James Matthews Leigh in 1848. He later continued his artistic education by enrolling at the Royal Academy School and began specialising in genre scenes.
He made his debut at the Royal Academy in 1857 with ‘The Sick Child...
Category
Victorian 19th Century Figurative Paintings
Materials
Canvas, Oil
Voyageurs en Hiver (Travellers in Winter) /// Antique Oil Painting Landscape
Located in Saint Augustine, FL
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...
Category
Victorian 19th Century Figurative Paintings
Materials
Canvas, Paint, Oil
19th Century continental townscape oil painting of a busy harbour
Located in Moreton-In-Marsh, Gloucestershire
Ludwig Hermann
German, (1812-1881)
A Bustling Harbour Town
Oil on canvas, signed & dated 1863
Image size: 26 inches x 36.5 inches
Size including frame: 35.25 inches x 45.75 inches
A wonderful continental townscape scene of a bustling harbour by Ludwig Hermann. The Medieval architecture is reminiscent of North Germany and the Baltic sea area with its busy trading ports. Figures can be seen chatting to traders as ships sail around the harbour.
Ludwig Hermann or Herman was born Elias Ludwig Julius Herrmann at Greifswald, Germany in 1812 to Wilhelm and Sophie Herrmann. Although little is recorded about his early life and education, he is known to have left his home in 1831 at the age of 19, to pursue an artistic career in Berlin. There he entered the Prussian Academy of Arts where he studied under Johann Gottfried Schadow (1764-1850).
Hermann started exhibiting at the Berlin Academy exhibitions in 1836. A year later in 1837, he travelled to Paris to study under Eugène Isabey (1803-1886) and Eugène Lepoittevin (1806-1870). By 1841 he had returned to Berlin where he married Caroline Wilhelmine ‘Auguste’ Dupont on 16 October, 1841. From his base in Berlin he travelled around Europe painting views of France...
Category
Victorian 19th Century Figurative Paintings
Materials
Canvas, Oil
19th Century genre oil painting of a woman spinning wool
By Jonathan Pratt
Located in Moreton-In-Marsh, Gloucestershire
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...
Category
Victorian 19th Century Figurative Paintings
Materials
Oil, Canvas
19th century British portrait of Sir Charles Dickens seated in an interior
Located in Woodbury, CT
Well painted 19th-century portrait of Sir Charles Dickens. The original painting is in the National Gallery in London and I'm sure this piece would have been painted by a fan of the author who was also a very good artist as this piece is a very good copy of the original painting.
There was a great fashion to paint copies of famous paintings during the 19th century and most of the world's most famous paintings have been copied many times.
Often the artist who does the copy is very talented but usually anonymous
With this piece, it's the only way to own an antique copy...
Category
Victorian 19th Century Figurative Paintings
Materials
Canvas, Oil
19th century English Antique portrait of a Race horse, Jockey, owner landscape
Located in Woodbury, CT
Well painted and very interesting oil on canvas depicting a Race Horse, the Jockey, and the owner on a Race track, possibly Epsom in Surrey.
Harry Hall was...
Category
Victorian 19th Century Figurative Paintings
Materials
Canvas, Oil
Dutch-Style Mid 19th Century Oil - Peasant Woman
Located in Corsham, GB
A painting of a young peasant woman washing tankards in the manner of 17th-century Dutch Golden Age genre paintings. There are similarities in the subject matter and posture to Gerrit Dou...
Category
19th Century Figurative Paintings
Materials
Oil
A Patient Model
By Guilio Rosati
Located in Belgravia, London, London
Oil on canvas
Canvas size: 16 x 13 inches
Framed size: 18.5 x 22 inches
Signed lower right
Category
19th Century Figurative Paintings
Materials
Canvas, Oil
Clemente Pujol de Gustavino An orientalist Arab Guardsman
Located in New York, NY
Artist: Clemente Pujol de Guastavino (1850-1905)
Origin: Spanish
Signature: signed C. Pujol (lower right)
Medium: oil on canvas
Dimension: 25 1/2 in x 19 3/4 in. Framed 34 by 2...
Category
19th Century Figurative Paintings
Materials
Canvas, Oil
The Little Models (Reverie)
Located in New York, NY
Signed lower right: Irving R Wiles; on verso: Irving R Wiles
Category
American Impressionist 19th Century Figurative Paintings
Materials
Canvas, Oil
Antique American Folk Art Dog Man Woods Oil Painting Original Frame Gold 19th C.
Located in Buffalo, NY
An antique American folk art painting in its original period frame.
Featuring a man walking his dogs in the woods with a stunning s...
Category
Folk Art 19th Century Figurative Paintings
Materials
Oil, Board
Otto Von Thoren, 19th Century, Antique Oil Painting, Horses with Farmer Coach
By Otto Von Thoren
Located in Berlin, DE
Karl Kasimir Otto Ritter von Thoren (born July 21, 1828 in Vienna, died July 15, 1889 in Paris).
Dimensions without frame.
Austrian officer and painter.
Thoren was the son of Colonel Franz Kasimir Ritter von Thoren and his wife Konstanze Maria (née Lachmann). He became an officer in 1846 and was involved in the Hungarian campaign in 1848. He then spent a long time in Venice, where he was employed as an adjutant to the military and civil governor Ludwig Gorzkowski. After turning to painting in 1857, he studied in Brussels and Paris for several years.
In the mid-1860s he was commissioned to create a portrait of the Emperor Franz Josef in Vienna. After painting the death...
Category
19th Century Figurative Paintings
Materials
Canvas, Oil Pastel
Oil Painting by Thomas Fallon Marshall "Mrs Pepys Adopts The Latest Fashion"
Located in Mere, GB
Oil Painting by Thomas Fallon Marshall "Mrs Pepys Adopts The Latest Fashion" 1818- 1878 Member of the Liverpool Academy came to London where he was influenced by W.P Frith. Exhibited...
Category
19th Century Figurative Paintings
Materials
Oil
Oil Painting by Edwin Ellis "Salvaging"
By Edwin Ellis
Located in Mere, GB
Oil Painting by Edwin Ellis "Salvaging" 1841- 1895 A Nottingham painter of coastal scenes, studied under Henry Dawson. Exhibited at Royal Academy and society where he was a member. O...
Category
19th Century Figurative Paintings
Materials
Oil
Little Mule and white rabbit: 1890s novecento animal equestrian horse painting
Located in Norwich, GB
A gorgeous novecento animalier painting, depicting a curious colt and.a white rabbit, by Gaetano Jerace (1860-1940)
Gaetano Jerace was born in Polistena in Calabrian into a dynasty of artists: his brothers Francesco (1894-1937) and Vincenzo (1862-1947) also became painters.
Gaetano moved to Naples as a young man, where a attended the Academy of Fine Arts, studying with Francesco Lojacono...
Category
Art Nouveau 19th Century Figurative Paintings
Materials
Wood, Oil
A K.P.M. Round Porcelain Plaque Depicting Two Beauties
Located in New York, NY
A rare and exquisite Berlin painted round porcelain plaque of two young beauties, impressed K.P.M., sceptre mark; signed Wagner.
Painter: Wagner
Maker: K.P.M.
Origin: German
Date...
Category
19th Century Figurative Paintings
Materials
Porcelain
Evening on River German Master Caucasian Panoramic Landscape 19th century
Located in Stockholm, SE
Attributed Paul Von Franken (1818-1884), famous Gemany a genre and landscape painter, signed bottom right. Fertile scenery coastal town with castle, mosque, minaret, large travelers ...
Category
Realist 19th Century Figurative Paintings
Materials
Canvas, Wood, Oil
C. Rivière (1859) - "Wheat mower" Oil on wood
Located in Geneva, CH
Old work on wood (1859) sold with frame. The total size with frame is 34x41 cm. Signed "C. Rivière" and dated.
Category
Realist 19th Century Figurative Paintings
Materials
Oil
Le Lever - Impressionist Figures in Interior Pastel by Jean Louis Forain
Located in Marlow, Buckinghamshire
Signed impressionist figurative pastel on board circa 1895 by sought after French impressionist painter Jean Louis Forain. The piece depicts a man asleep in a bed while a woman stands at the foot of the bed getting dressed. The room is dimly lit by the bedside lamp.
Signature:
Signed upper right
Dimensions:
Framed: 22"x26"
Unframed: 15"x19"
Provenance:
Galerie Jean-Claude Bellier
Jean Forain was the son of a painter and decorator and was apprenticed to a visiting card engraver. He studied briefly under Gérôme and Carpeaux at the École des Beaux-Arts in Paris and regularly visited the Louvre, where he copied works by the masters. It is said that for a time he made a precarious living by selling small drawings in the style of Grévin. He went on to collaborate on various publications as a draughtsman and columnist, starting in 1876 on La Cravache and then collaborating on the newspapers Le Journal Amusant, Le Figaro and L'Écho de Paris. This introduced him to the diverse worlds of Paris society - the world of the theatre, of shows, and of literature - where he wryly noted the habits and shortcomings particular to each. This led him to follow a route very characteristic of this period, already seen in the work of Steinlen, Caran d'Ache and Toulouse-Lautrec in the journals La Pléiade, La Vogue and La Revue Blanche.
His work draws a picture of the society of the period, not in a strictly imitative fashion but in the form of the 'dessin-charge' or mild caricature. In 1880 he illustrated Parisian Sketches...
Category
Impressionist 19th Century Figurative Paintings
Materials
Pastel, Board
Charles Fréchou - Child portrait with a cat
Located in BELEYMAS, FR
Charles FRÉCHOU
(Paris 1820 – Paris 1900)
Portrait of a child with a cat
Oil on canvas
H. 41 cm; L. 33 cm
Signed lower left and dated 1849
Apart from participation in the Salon betw...
Category
French School 19th Century Figurative Paintings
Materials
Canvas, Oil
19th Century continental townscape oil painting of a quayside on a river
Located in Moreton-In-Marsh, Gloucestershire
Ludwig Hermann
German, (1812-1881)
A Busy Quayside
Oil on canvas, signed
Image size: 15.75 inches x 22 inches
Size including frame: 23 inches x 29.25 inches
This atmospheric contin...
Category
Victorian 19th Century Figurative Paintings
Materials
Canvas, Oil
19th Century winter townscape oil painting of a quay on a frozen river
Located in Moreton-In-Marsh, Gloucestershire
Ludwig Hermann
German, (1812-1881)
Winter on the Quay
Oil on canvas, signed
Image size: 15.75 inches x 22 inches
Size including frame: 23 inches x 29.25 inches
This highly detailed...
Category
Victorian 19th Century Figurative Paintings
Materials
Canvas, Oil
Young Girl Selling Oranges and Lemons
Located in New York, NY
Signed and inscribed lower right: Charles Sprague Pearce / Paris.
Category
Impressionist 19th Century Figurative Paintings
Materials
Oil, Panel
19th Century oil painting of horses & grooms outside a coach house
By Henry Barraud
Located in Moreton-In-Marsh, Gloucestershire
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
...
Category
Victorian 19th Century Figurative Paintings
Materials
Canvas, Oil
"Place de la Concorde", 19th Century Oil on Canvas by Artist Joaquín Pallarés
Located in Madrid, ES
JOAQUÍN PALLARÉS ALLUSTANTE
Spanish, 1853 - 1935
PLACE DE LA CONCORDE
signed & located "J. PALLARÉS / París." (lower right)
oil on canvas
13-1/4 x 18-...
Category
Realist 19th Century Figurative Paintings
Materials
Canvas, Oil
19th century Painting by Albert Ritzberger, Portrait of a Woman in a robe, garb.
Located in Berlin, DE
19th century painting by Albert Ritzberger, portrait of a woman in a robe.
Signed and dated lower left.
Painting has been restored in one place.
Dimensions including frame.
This is a direct copy after a painting by Angelika Kauffmann...
Category
19th Century Figurative Paintings
Materials
Canvas, Oil