19th Century Figurative Paintings

Charles Joshua Chaplin (French, 1825-1891) A Very Fine and Charming Pair of 19th Century French Whimsical Oils on Canvas of Cherubs and Putti, after François Boucher (French, 1703–17...

This painting titled "Portrait of a Girl" by the Danish realist painter Peder Mørk Mønsted captures an enigmatic young woman whose identity remains unknown. The girl, elegantly posed...

JOSÉ CAÑAVERAL Spanish, 1833 - 1894 FERIA DE SEVILLA signed "JCañaveral / Sevilla 1881." (lower right) oil on canvas 29-1/3 x 19-1/2 inches (74.5 x 49.5 cm.) framed: 38-1/2 x 29-1/2 inches (98 x 75 cm.) PROVENANCE Privated Collection, Lille, France José Cañaveral y Pérez (Seville, 1833-Madrid, 1894) was a Spanish painter, brother of the artist Alfonso Cañaveral y Pérez. Born in Seville, he trained artistically at the School of Fine Arts in his city, later he moved to Madrid where he was a disciple of Federico...

Henri-Léopold Lévy (23 September 1840, Nancy - 29 December 1904, Paris) was a French painter of Jewish ancestry, known primarily for mythological and Biblical subjects. He was the s...

Oil on panel, signed bottom left Image size: 6 x 11 inches (15.25 x 28 cm) This painting depicts a 16th century palace guard standing outside of an open door, wearing a set of armou...

GOVERT VAN EMMERIK (1808-1882) View on the Governor’s Palace in Paramaribo, Surinam Signed and dated 1856 Oil on canvas, 70 x 90 cm In large gilt...

Oil on canvas, applied to board. French School. Signed F. Barthélemy and dated 1876 at lower left. The scene is oriental in taste and setting, suggesting the education, domestic and...

Allegory of Asia: a cassocked woman, with a blue cloth edged with gold, is lying on a triclinium, in her right hand she holds a crown of flowers; her gaze is turned upwards, her head encircled by a diadem of flowers. Next to her bed there is a censer and a gilded vase carved with cherubs, filled with flowers; scattered at her feet are roses, pearl and coral necklaces...

ANTONIO REYNA MANESCAU Spanish, 1859 - 1937 VENETIAN CANAL signed & located "A. Reyna, Venezia" (lower left) oil on canvas 11-1/2 x 19-3/4 inche...

Jules Salles-Wagner (French, 1814-1898) A Large and Impressive French, 19th century oil on canvas "The Water Carrier Lady" depicting a standing and posing young peasant girl holding ...

Samuel Henry Alken (1810–1894) Horse Racing Scene, Possibly the Epsom Derby Oil on board, unsigned Attributed, English school circa 1840 Presented in a later gilt frame with beaded inner edge This dynamic mid-19th century racing scene, attributed to Samuel Henry Alken—also known as Henry Alken Junior—captures the high-stakes moment just before the thundering release of horses and riders at the starting line. A tightly packed field of brightly jacketed jockeys leans forward with urgent anticipation, the taut muscles of their mounts echoing the gathering tension. In the foreground, a race marshal gestures dramatically to signal the start, his stance underscoring the energy about to be unleashed. Though unsigned, the work bears the unmistakable hallmarks of Samuel Henry Alken’s hand: vigorous composition, attention to equine form, and a sharp eye for the choreography of sport. The figures are finely modelled, the palette lively but grounded, and the setting—with its wooded backdrop, animated crowd, and distant grandstands—suggests a major 19th-century race meeting, possibly the Epsom Derby, a subject Alken is known to have returned to in several formats. The composition’s panoramic sweep and low horizon lend a cinematic quality, while the density of detail—each silken cap and coat, each bridle and plume—evokes the pageantry and social theatre of Britain’s sporting calendar at the height of its Regency and early Victorian splendour. A rare and spirited scene from the golden age of English sporting painting...

Orientalist oil painting of a market scene by Bernard Continental, Late 19th Century Panel: Height 53cm, width 41cm Frame: Height 70cm, width 58cm, depth 6cm This oil on panel by ...

Title: Fete Champetre Artist: George Henry Andrews Medium: Oil on canvas Size: 25" x 36" Framed

The Self Portrait 19th Century French School signed oil on board, unframed board: 8.25 x 6.75 inches Provenance: private collection Condit...

Jean Philippe George-Julliard (1818 – 1888) A landscape with a traveler Oil on paper Signed HG lower right 19.5 x 29 cm The four corners are cut Framed under glass 27 x 47 cm Jean Philippe George-Julliard (1818–1888) or Henri Philippe Julliard was born on 1 january 1818 in Geneva (Switzerland) from french parents. He first studied art in Nantes in France, but later he came back to Geneva where he became pupil of Alexandre Calame...

Giovan Battista dell'Acqua (Milan, 1790-1845) Navy with fortress, 1833 Oil on canvas, 12 x 12 cm Picture frame, 21 x 21 cm Signed and dated on the back Bibliography: Thieme-Beck...

Painting of a returning crusader on horseback against a Mediterranean landscape backdrop. Horse and rider convey an exhausted impression. After the original by Karl Friedrich Lessing...

Paul Emile Perboyre 1826-1914 French Le Marechal Ney passant ses Troupes en Revue (The Marshall Ney reviewing his Troops) Oil on panel Signed lower righ...

Beautiful Orientalist painting - The Framed size: 47 inches x 34.5 inches. Magnificent ornate Frame The paint surface looks like the style of William-Adolphe Bouguereau Signed lower right. Provenance: Gallery Label with inventory number: Size on label is in centimeters, which indicates the painting came from a United Kingdom art gallery. Subsequently, Robert Funk Fine Art...

Oil on Canvas. Signed and dated to the lower left. A genre scene in popular taste, it portrays a middle-class family about to have lunch: the father, already seated at the table, is ...

Cardboard, oil. 6.2x8 cm

Oil on canvas mounted on panel depicting a study from JP Laurens painting. According to the Gospels, Pilate ordered the execution and crucifixion of this Jewish preacher at the end o...

Legendary Hollywood producer Samuel Goldwyn once said about making motion pictures, “If you want to send a message, use Western Union.” However, it’s likely that artist M.A. Calvin c...

John Charles Maggs British, (1819-1896) Bristol, Bath & London Coach Outside The Crown Inn, Bath Oil on canvas, signed & dated 1882 Image size: 17.5 inches x 29.5 inches Size includ...

Antonio Ermolao Paoletti Italian (1834 - 1912) Feeding the Birds A genre painting of Venetians feeding pigeons in Piazza San Marco beside the Palazzo Ducale. Signed and inscribed Antonio Paoletti fi Giovni/ Venezia (lower left) Medium: oil on canvas Origin: Italian, Venetian Provenance: Richard Green...

PS 251 Beauty and the Beast The painting features a young woman with striking, vivid features and deep blue hair, holding a small black and tan dachshund. The background is composed...

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Samson Olatubos...

Great antique Italian painting from the second half of the 19th century. Oil painting on canvas depicting countryside landscape of romantic style. Framework that has undergone a cons...

Jean-Victor Bertin and workshop (Paris 1767 - 1842) Landscape of the Île-de-France region Oil on canvas H. 38 cm; W. 46 cm Related work: painting of the same composition held at the...

Circle of Jean Victor Bertin (1767-1842) Neoclassical Landscape Oil on canvas 32.5 x 40.5 cm without frame 56 x 64 cm with frame This rural scene depicts an idealized architectura...

Angelo Zoffoli 1860-1910 Italian Cardinal with Elegant Company Signed "A. Zoffoli Roma" (lower right) Oil on canvas A sumptuously dressed cardinal enjoys the company of a fabulou...

Charles CHAPLIN (Les Andelys 1825 – Paris, 1891) Portraits of women Pair of oils on rectangular canvases H. 60 cm; L. 50 cm Signed Student of Michel Martin Drolling at the École des...

Reuben Hunt British, (1857-1938) Taking Aim Oil on canvas, signed & dated (18)84 Image size: 19.5 inches x 29.5 inches Size including frame: 25.25 inches ...

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...

An atmospheric maritime scene depicting the bustling activity of a harbour at dusk, with sailing vessels silhouetted against a dramatic, cloud-streaked sky. The artist's use of warm,...

BRITISH SCHOOL (circa 1890) The Farmer Oil over a photographic base, on card and mounted onto original canvas Framed in original frame and behind glas...

'Looking out to Sea' The Cornish Fisherman Signed by David W. Haddon (British, flourished end of the 19th century) Oil on canvas, unframed Canvas: 10...

Oil on canvas Canvas size: 20 x 30 inches Framed size: 28 x 36 inches Signed lower right

Large Italian oil painting by Gabrini entitled ‘On the Lagoons, Venice’ Italian, Late 19th Century Canvas: Height 65cm, width 101cm Frame: Height 94cm, width 132cm, depth 10cm This...

French Post-Impressionist painter Georges d’Espagnat captures a charming moment between a mother and her child in this vibrant oil on canvas. Rendered with a studied use of complementary colors and bold brushstrokes, the painting showcases the artist's unique Post-Impressionist style. Remembered as one of the most individualistic artists of the 20th century, his distinctive canvases bring together the loose brushwork of the Impressionists and the bold color palette favored by the Fauves. Together, they achieve a vibrant spontaneity that lends itself well to the carefree subjects of the present work. Masterfully composed, La lecture au jardin moves beyond the Impressionist instinct to capture a fleeting moment on canvas. Rather, d'Espagnat succeeds in creating a deep feeling of harmony in the work. Warm colors are perfectly balanced with cool tones, while vertical and horizontal lines are softened by the curves of the foliage and his subjects' figures. Through his simplification of forms and intentional use of color and line, he creates a scene that is carefully designed and thoroughly modern. A similar view of a mother and her child by d'Espagnat is currently in the collection of the Metropolitan Museum of Art (New York). The Post-Impressionist painter was an individualist since his youth, choosing to forgo traditional schooling in order to independently study the Old Masters in the Louvre. He soon became involved with the most prominent Impressionist and Post-Impressionist painters of the age, including Pierre-Auguste Renoir and Paul Signac, who themselves existed outside the traditional norms of French Academic training. In 1891, he exhibited at the Salon des Refusés, and again the following year at the Salon des Indépendants. By 1895, he held his first one-man show in Paris, and just three years later his success earned him a solo show at the prestigious Durand-Ruel Gallery. Between 1905 and 1910 he made several trips to visit Renoir on the Côte d’Azur. Their close friendship resulted in a group exhibition at Marcel Bernheim...

Provenance: Sold: Jackson's Auctioneers & Appraisers, Cedar Falls, Iowa, December 8, 2009, Lot 4 A Pompeiian Love Song" by Antonio Rivas (Spanish, 1845-1911) transports viewers back ...

In this enchanting painting by Adolf Gudfast (Gotthard) Werner, entitled "The Broken Dream", a young shepherd rests melancholically beside his faithful dog, facing a broken vase from...

Pierre Carrier-Belleuse 1851-1932 French Danseuse Signed “Pierre Carrier-Belleuse” (lower right) Pastel on canvas Strikingly elegant, this extraordinary pastel by French impressi...

Joséphine Henriette, known as Jenny des ROYS d’ESCHANDELYS, born HOCHE (Thionville, 1796 – Paris, 1867) Neoclassical landscape Oil on canvas Signed lower left 20 x 30.5 cm 1821 Th...

Oil on Canvas. Signed lower right. The god is depicted standing to fill the scene, clad only in a cloth that encircles his loins and by ivy leaves, placed on the hips and on his hea...

Orientalist oil painting of a Jerusalem street by Ellis English, Late 19th Century Canvas: Height 26cm, width 21cm Frame: Height 46.5cm, width 41.5cm, depth 7cm This charming Orie...

This fascinating pair of paintings by 19th-century English artist embodies a unique atmosphere that mixes the grotesque and the goliardic. This pair of paintings stand out for their ...

Alexandre DEFAUX (1826, Bercy - 1900, Melun) Yport, the Amont Cliff Oil on panel H. 59.5 cm; W. 38.5 cm Signed and located lower right A student of Corot, Alexandre Defaux was a fai...

The Carpet Merchant by Giulio Rosati watercolour on paper signed Dimensions: 33 x 27 x 2in framed  Rosati trained at the Accademia di San Luca and studied with the painter, archit...

Georges-Antoine Rochegrosse 1859-1938 French La Princesse Bleue Oil on canvas Signed lower left Canvas: 27 1/8" high x 32 1/8" wide Frame : 37 3/8" high x 41 3/4" wide Exposed...

Dutch estuary landscape Oil on canvas, 30x40,5 cm The artwork depicts a landscape scene of an estuary in the Netherlands, showcasing the unique characteristics and natural beauty o...

Two figures in 19th century dress sit at a table in a cafe. Provenance: Private Collection, New Jersey Originally based in New York City, William Bodfish was a talented artist who gained recognition for his illustrations and cartoons in the late nineteenth century. A painter of genre scenes, he also created detailed illustrations of hunting, whaling and fishing adventures for such magazines as Harper's Weekly. In the years following the Civil War, he traveled to the American West, joining the legion of journalists and illustrators who recorded the development of the new frontier. He was considered by historians to be one of the most “able cartoonists” to tackle the West. During his lifetime, Bodfish exhibited work at the National Academy of Design and the Art Institute of Chicago. Likely created after the artist’s departure from New York, The Sister’s Visit records a quiet moment between two siblings. Seated before a lovely spread of luncheon items, including a bowl of oranges...

French school circa 1815 Portrait of Madame Leblond Oil on canvas H. 66 cm; W. 55 cm Named on the back Comparable to the works of painters such as Louis Hersent, our portrait, unsig...

Attributed to Charles Edward Hallé (British, 1846-1914) "Mother and Child" oil on canvas. The Victorian era artwork depicting a young mother holding her joyful infant child, within a...

Large 19th century British Orientalist oil painting by Henry Lynton Stanton British, 1890 Canvas: Height 51cm, width 76cm Frame: Height 59cm, width 84cm, depth 5cm This vibrant oil ...

In this luminous canal scene, painted during his stay in Venice in the early 1880s, Wilhelm von Gegerfelt captures the vivid atmosphere and dazzling light of the city with remarkable...

MAXIMILIEN LUCE (French, 1858-1941) Femme Lavant le Linge Estate stamped signature 'Luce' (lower right) Oil on canvas Canvas: 16 1/4 x 13 in. (41.3 x 33.0 cm) framed: 25 1/4 x 22 x 1...

French School of the 19th Century Variation on the Final Act of La Juive, (18)86 Oil on canvas 32.5 x 46 cm Signed and dated lower right. Dedicated "à l’ami Carnot" Provenance Pri...

Arthur Joseph Meadows British, (1843-1907) Livorno, Gulf of Genoa Oil on panel, signed & dated (18)98, with signed & inscribed label on reverse Image size: 9.75 inches x 11.75 inches Size including frame: 17.75 inches x 19.75 inches An attractive townscape depicting fruit sellers at the port of Livorno, Italy by Arthur Joseph Meadows. The scene shows the view looking across from the harbour wall to the church of Santa Caterina...

Jan Hillebrand Wijsmuller (1855 Amsterdam - 1925 ibid.), Late Summer River Landscape, oil on canvas, relined, 34 x 56 cm (inside measurement), 43 x 64 cm (frame), signed J[an] H[illebrand] Wijsmuller at lower right. - in good condition, the frame with isolated bumped spots - Realistic Impression - About the artwork The panoramic landscape format shows a river landscape, with the course of the river, which curves to the right, leading the eye into the depths of the picture and tempting it to continue the landscape in the imagination beyond the visible area. At the same time, however, the fact that the landscape is not visible through the bend in the river focuses our gaze on the entirety of the landscape depicted, without prompting us to focus on distant details. Accordingly, the brushstroke is not designed to render details with realistic precision. In the front left area of the river there is even a completely free brushwork, trained by Impressionism, which nevertheless remains committed to representational and convincingly suggests the movement of the water. Regardless of the distance of the observer, the entire picture is painted with the same broad brushstroke, so that the landscape is given as an impression. And yet this impression is not ephemeral, as in the case of French Impressionism, to put it exaggeratedly, but reveals to us the essence of the landscape in all its richness. This is why the Dutch variant of Impressionism is always also a realism, although the pictures appear less progressive, but still contain a dimension of landscape painting that is lost with progress. In the impression, the reality of the landscape is revealed, and this happens as we experience the landscape in the visual impression. Wijsmuller does not depict houses or people in order to allow the experience of the landscape to fully unfold. The experience is determined first and foremost by the river, which does not flow into the picture from our point of view, but towards us. Where the river begins to bend, the water is churned by a rapids. Toward us, the riverbed widens and the water comes to rest, covering the entire width of the foreground like a mirror. The stillness of the water corresponds to the evening mood of the late summer landscape, in which the warm tones of the evening light blend with the yellow and brown tones of the plants. A gentle, almost idyllic reality, carried by the brushstroke, yet animated by a liveliness that is also made visible by the brushstroke. The broad, dynamically placed brushstrokes evoke the movement of the treetops and animate even the immobile reeds, while the trunks on the right bank, executed in virtuoso white strokes that seem like markings, make the sunlight shine. On the other bank, a carpet of light also spreads out, its energetic effect again expressed in the brushstroke. The dynamic of the landscape is further enhanced by the complementary color contrasts between the greens, yellows, and browns on the one hand and the blue of the all-encompassing sky on the other. A contrast that is intensified by the reflection in the water. The evening coming to rest of the landscape is thus at the same time an all-encompassing contrasting and yet in itself harmonious movement. This reality becomes accessible to us as an experience in the impression of the landscape. About the artist Jan Hillebrand Wijsmuller entered the Royal Academy of Arts in Amsterdam in 1876 and studied under the innovative Professor August Allebé, who was famous for the Amsterdam Impressionism, also known as the Allebé School. In 1877, Wijsmuller transferred to the Hague Academy of Art, and thus to the Hague School, and then completed his studies at the Brussels Academy of Art. Returning to the Netherlands, Wijsmuller opened his own studio in Amsterdam. In 1883 he won the prestigious Young Artist Award, donated by Willink van Collen, which made Wijsmuller a well-known and sought-after artist. Wijsmuller was a member of the Societät Arti et Amicitiae Amsterdam and the Pulchri Studio in The Hague. Wijsmuller belongs to the second generation of the Hague School. While Vincent van Gogh described the protagonists of the first generation to his brother Theo as "the great gray people," the second generation, and Wijsmuller in particular, used a much more colorful palette. His oeuvre makes him a major player in Dutch Impressionism...