19th Century Figurative Paintings

Maker: Addison Thomas Millar (1850 - 1913) Origin: American Date: 19th century Medium: Oil on board Dimension: 8 in x 10 in (image); 11 1/2 in x 13 1/2 in (frame)

Edward Lamson Henry (American, (1841 - 1919)) “The Warning” Grisaille on paper mounted on board, signed lower left ‘E L Henry’ (partially obscured by frame) ...

The present illuminated folio page contains a fine miniature depicting three figures hunting while on horseback, an image meant to accompany a historic epic. During the medieval period, hunting was an important pastime of male nobility throughout the Islamic world. The Quran itself explicitly endorses hunting and the use of animals to aid in capturing prey: "Lawful to you are foodstuffs that are good to eat and any game that, at your wish, is captured by beasts of prey which train as you do dogs, according to the method that Allah has taught you, after you have spoken the name of Allah over it." (Q 6:4) Muslim princes and nobles enjoyed the chase of the prey via horseback, using bow and arrow, crossbows, and blowpipes to capture their prey Horseback riding itself trained young men in the necessary skills for armed combat and warfare, developing their speed and strength. 12 x 8.25 inches, artwork 19.75 x 15.88 inches, frame accompanied on the back with an image of the verso framed to conservation standards with a 100% rag silk-lined mat in a gold gilded frame A Persian miniature is a small Persian painting on paper, whether a book illustration or a separate work of art intended to be kept in an album of such works called a muraqqa. The techniques are broadly comparable to the Western and Byzantine traditions of miniatures in illuminated manuscripts. Although there is an equally well-established Persian tradition of wall-painting, the survival rate and state of preservation of miniatures is better, and miniatures are much the best-known form of Persian painting in the West, and many of the most important examples are in Western, or Turkish, museums. Miniature painting became a significant genre in Persian art in the 13th century, receiving Chinese influence after the Mongol conquests, and the highest point in the tradition was reached in the 15th and 16th centuries. The tradition continued, under some Western influence, after this, and has many modern exponents. The Persian miniature was the dominant influence on other Islamic miniature traditions, principally the Ottoman miniature...

Signed KPM Porcelain Plaque of a Goddess and Cupid and gilded frame. Date: 19th century Origin: Berlin, Germany Signature: Signed Dimension: 10.25 in. x 7.75 in.

Finely painted German rectangular plaque depicting two beautiful women talking in the courtyard. One female sitting beside a flower plant, the other female standing. Maker: K.P.M. O...

Late 19th Century Italian School Oil Painting Bread and daily work of the people Original oil painting over relined canvas Canvas dimensions approximately 12" x 16" Frame dimensi...

An exquisite K.P.M. finely painted plaque, depicting a bejeweled beauty, seated on a curule chair, with impressed monogram and scepter mark and cyphers. Origin: Berlin Date: 19th c...

Artist: Stephen Scott Young Title: Vienna Medium: Watercolor on Paper Year: 1983 Signed: Inscribed Bottom Left and Signed Back of Paper Dimensions: Unframed 13.5 x 7 Framed 18.5 x 17...

The rectangular plaque hand-painted depicting two children lost in a forest. Origin: German Date: 19th century Dimension: (Plaque) 13 in. x 8 in.; (framed) 19 1/2 in. x 14 1/2 in.

Signed and dated 92 lower left. Oil on canvas. Frank Bramley British, 1857-1915 Frank Bramley is considered one of the most important artists of the Newlyn School, the group of artists who settled in Newlyn, Cornwall during the 1880s and 1890s, drawn by the light, lifestyle and the example of Alexander Stanhope Forbes, and were at the forefront of 'British Impressionism'. He was particularly ‘in the news’ when his painting of a woman reading in a garden made the astonishing price of $590,000 at Sotheby's New York in late May 1996. As the seminal catalogue of the famous Newlyn School exhibition states, Bramley's reputation has rested for some time on Hopeless Dawn, his major RA exhibition of 1888, and which in recent years has been hung almost constantly at the Tate Gallery. Bramley was born in Lincolnshire and trained at Lincoln Art School, later at Verlat's Academy in Antwerp, from where he went to Venice in 1882-83, where our painting was executed. He first showed at the Royal Academy in London in 1884 (both paintings were Venetian scenes), and it was in the winter of 1884/5 that Bramley settled in Newlyn. He was a quiet and reserved figure, prone to bouts of melancholy. He worked on his own in a tiny studio in an old thatched cottage - the cottage consisted of two rooms, one at ground level (which was the studio) and one which was below ground which was inhabited by a woman who'd lost her arms and who managed to look after a set of tiny children as well as a small potato and turnip shop. Bramley moved to a purpose-built glass studio in 1889. He is known as the master of the so-called 'square-brush technique' which characterizes much of the best Newlyn School work and he used this until 1893, later than most of his colleagues. Bramley was friendly with the great artist Sargent and with him was elected an associate of the Royal Academy in 1894, being elected a full member in 1911. In 1891 he had married, and 4 years later they moved to the Midlands where his work became less socially orientated and more purely decorative. His last years were spent in a London flat...

William Thornley was a painter of coastal scenes whose work is very similar to Hubert and Charles Thornley, who may have been members of the same family. He painted scenes of genre, architecture and landscapes as well. A number of the landscapes were of Belgium, Holland, Italy and Norway. However, it is for his seascapes that he is best remembered. Thornley’s works are beautifully detailed and show a masterful understanding of the moods of both weather and sea. They are often small in size and put together with fine detail and great artistic merit. Thornley’s fishing scenes are spirited and similar in style to those of “Jock” Wilson, and are often painted in pairs. Thornley’s works have always been popular when they appear on the art market. He was believed to have first exhibited marines at the Royal Academy in 1859 from an address in Paddington, London and also at the British Institution from 1861 until it closed in 1867. He continued to exhibit at the Royal Academy until 1898. Thornley also exhibited at the Paris Salon and the Salon of French Artists, receiving an honourable mention in 1881 and a third place medal in 1888. William Thornley also went by the names Georges William and William...

This lyrical landscape entitled Dance of the Nymphs was composed by the French Barbizon painter Paul Désiré Trouillebert. A joyful scene of nymphs dancing the morning fog, the work closely resembles an important work by the great Camille Corot, which is now housed at the Musée d'Orsay (Paris). Renowned for his unique individuality that toed the line between the traditional and modern, Corot and his landscapes helped pave the way for an entire generation of Impressionists who followed him. Trouillebert perfectly captures the poetic atmosphere of Corot’s groundbreaking works, while also imbuing this scene with a freshness and character that is all his own. Trouillebert's oil on canvas is exemplary of the tradition of historical painting. The work perfectly combines a realistic depiction of the natural world with a spirited romanticism as his idealized nymph figures frolic playfully beneath a crisp morning sky. As a whole, it is a lovely composition executed with a level of skill and artistry that proves Trouillebert's exceptional talent in the arts. Born in Paris in 1831, Paul Désiré Trouillebert was a student of the academic painters Ernest Hébert...

Victorian Portrait of a young girl on a Sunday Morning, possibly after or before Sunday School Wonderful Victorian portrait of a little girl painted circa 1870. The quality of the p...

Title: "Gossips, A Venetian Scene" Artist: Francis William Topham Medium: Oil paint on paper Size: 7.75" x 6.5" Period: 19th Century Framed

Joseph Wilhelm Suhs: 1864-1938. Listed German artist with auction records over $4500. This oil on canvas of a lovely woman bringing in the catch of the day measures 18 3/4 inches hig...

Speed was born in London on 13 June 1860, the youngest son of William Speed, a Queens Council of the Middle Temple. Speed had no formal art training, bu...

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...

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...

Gorgeous late 19th Century Russian landscape with stream in the shade by Nikolai Aleksandrovich Sergeev (Nikolai Alexandrovich Sergeyev ...

English 19th century set of four oils on card, two horse racing scenes, and two-point to point scenes all in extensive landscapes. Edward Algernon Stuart Douglas...

Lovely painting by the artist. Several small areas of inpainting mostly around the top and edges, visible under black light only. Several small areas of paint loss in upper center (s...

The Education of Achilles by the Centaur Chiron Signed and dated "A.C. Chrétien 1861" (lower right) Oil on canvas A masterpiece of French N...

The name Zoraida in Arabic means "captivating woman" Large Antique 19th Century Dog Painting of a Poodle Inscribed "Zoraida" Oil on canvas, original frame 37 x 29.5 inches This is...

3289 Oil on canvas applied to a board Set in a gilt wood frame.Signed by H.K. Mann Image size 19 H x 15 .Wear on canvas

Asking for forgiveness. Artist signed and dated 1860 The painting has been previously conserved including a lining that protects the painting surface, some craquelure remains, beautiful handmade gold leaf frame by Richard Tobey Los Angeles. Pieter Alardus Haaxman was born in 1814 he was a Dutch painter. The son of Cornelis Haaxman and Maria Bolland, the criminal investigator of urban taxes in Delft. Haaxman was trained by the Delft art teacher Cornelis Ouboter van der Grient and the painter Cornelis Kruseman. Like his Delft teacher, Haaxman became a drawing teacher at the Delft City Drawing...

A fine watercolor of a young girl in the woods surrounded by flowers by British American artist John George Brown (1831-1913). Brown was born in Dur...

Robert Julius Beyschlag (Germany, 1838-1903) mother and child oil painting, circa 1870 Charming original oil painting by listed 19th ce...

Charming 19th Century oil on board. Adorable young child either daydreaming or posing while leaning on a fence with the moon in background. Looks like it could possibly be done by ...

John George Brown American impressionist street scene oil painting. The painting is signed by the artist in the bottom right corner and is ...

Classical 19th century French Nude of a lady in the Barbizon Forest landscape. Richet spent much of his adult life in Paris. It was there that he met and became a student of Jules L...

Elegant portrait painting of a young woman with red hair. The painting is framed in a decorative gold frame with a light attached to the top. The piece is signed by the artist in the...

Style of Richard Brakenburgh (Dutch 1650-1702) and painted circa 1820. Displayed in a shot silk mat with gilded slip within an 18th century, Dutch ...

Gustave Jaquet Jacquet was born on 25th May 1846 in Paris. He was a pupil of Bouguereau and for his debut at the Paris Salon in 1865, he exhibited 'The Reverie' which was very much i...

The Flower Seller, a late 19th century figurative oil painting of a barefoot female figure in period dress standing outside of a doorway selling nos...

Oil on panel, measures 17" x 21" painting and with frame 24" x 27.5". Signed and dated 1885 lower left. Charles Green studied at Leigh’s School of Fine Art and under the engraver, J W Whymper, before quickly establishing himself as a painter and illustrator. Specialising in genre pieces, he joined the Langham Sketching Club and was elected to the Royal Institute of Painters in Water Colours (ARI 1864; RI 1867). His elder brother, Henry Towneley Green, was also a member. His contribution of contemporary subjects to the early numbers of The Graphic were admired by Van Gogh, but he was best known for his depiction of period settings and for his illustrations to The Old Curiosity Shop...

EUGENIO ZAMPIGHI Italian, (1859-1944) Happy Family Signed ‘E Zamphigi’ 29 in. x 41 3/8 in. Born in Modena, Italy, Eugenio Zampighi entered the local A...

Signed center left, 'Christine Sundberg' (Swedish, 1837-1892) and dated 1888. Displayed in a period golden maple frame; Framed dimensions: 25.5 x 1...

An original antique American painting by Samuel Knight Wright, depicting the fairytale character of "Little Red Riding Hood" on her way to gr...

Late 19th century figurative landscape watercolor painting of a fisherman in a small boat on a small pond in London, by H. Darnelli ( England, 19th C). Signed “H. Darrnelli” in the ...

An oil painting by Florence White from 1898. A Victorian-era scene of a girl and a dog engaged in playful interaction on a shaded lawn. Signed and dated lower left, framed in antiqued gold frame. Artist: Florence White, British (1932) Title: Girl and her Dog...

Flower garden with children. Ramon Chirinos Venezuelan was born in 1950. Painter and draftsman. He studied drawing and painting with Professor Andrés Guzmán. In the mid-seventies, he obtained the title of professor of physics at the Pedagogical Institute of Barquisimeto, a profession he held for a time until he decided to dedicate himself completely to art. In its beginnings, its pictorial theme shows a deep interest in landscaping and traditional scenes such as cockfights, processions of the Divina Pastora...

Mid 19th Century Oil Portrait of a Young Couple C.1860 Outstanding original oil portrait of a young couple. Remarkable detail and color...

Oil on panel painting by American artist Walter Blackman. Walter Blackman was known for his portraits of beautiful women and this painting is a great example of his finest work. Sign...

Sophie Anderson (1823-1903) Born in France to an English mother; Anderson spent some of her early life in America where she met the British portrait artist William Anderson. In 1854 they moved to London where she exhibited at the Royal Academy and the Royal Society of British Artists. Although largely self-taught she is considered one of the era's finest genre artists, one of her works recently sold for over a million pounds Sterling...

House By The Sea signed and dated "88 Charles Haigh-Wood was born in 1856 in a home above a workshop in Bury, England where his father Charles Wood,...

A late 19th-century cabinet-sized oil on chamfered mahogany panel showing an elegant interior with a maid-servant contemplating a copy of the Venus de Milo. Signed lower left, "E. ...

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...

James Stokeld (1827-1877) "Buttercup" Original Oil Painting C.1869 Original oil on canvas Canvas dimensions 20" wide x 26" high The frame measures 23....

Wonderful turn of the century oil portrait of old civil war soldier circa 1900, by an unknown artist. Soldier is depicted wearing the Medal of Honor...

EDUARDO LEÓN GARRIDO Spanish, 1859-1949 Nude in a Light-Filled Boudoir Signed ‘E.L Garrido’ (upper right) Oil on panel 15 x 18.125 inches

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...

William John Hennessy was born in Ireland. He came to America in 1849 with his mother and brother a year after his father had fled their homeland after taking part in the unsuccessful Young Ireland Party uprising. The Hennessys settled in New York, and when young William came of age, he decided upon a career as an artist. At the age of fifteen, he enrolled at the National Academy of Design, where he learned to draw from the antique, and the following year he was granted admission to the Academy’s life-drawing class. Hennessy first exhibited at the National Academy in 1857, starting a continuous run of appearances in their annuals that lasted until 1870, when he expatriated himself to Europe. During his time in America, Hennessy was principally known as a genre painter and prolific illustrator for such publications as Harper’s Weekly and a number of books, including illustrated works of William Cullen Bryant...

Colonial Philadelphia is one of Schoonover's earliest, if not his earliest major painting. Done very much in the style of his mentor and instruct...

Roberto Bompiani (Italy, 1821-1908) "The Confirmation" Museum Quality Oil Painting circa 1871 Extraordinary oil painting by listed Italian artist. T...

Jean Richard Goubie French, 1842-1899 A Travers Bois Oil on canvas 25 ½ by 39 ¾ in. W/frame 30 ½ by 45 in. Circa 1892 Jean Richard Goubie was bo...

Early American portrait of a man seating wearing a suit holding a book. The painting has a signature in the bottom right corner as seen in the photographs. The painting's style is similar to American artist, William Matthew Prior, John Stanley, and John Brewster...

Medium: Oil on Panel Signature: Signed "H. Pyle" Lower Right and Inscribed Indistinctly On the Reverse "At the same time he extended toward King Louis the ...

Gold Country, a rustic figurative landscape of early California pioneers by an unknown artist (American, 20th Century). Excellent workmanship and ...