19th Century Figurative Paintings

'The Rose' Canvas Size: 38.5 x 28" (98 x 71cm) Outside Frame Size: 48.5 x 38 (123 x 97cm) Oil on canvas Emile CHARLET 1851 - 1890 Born 1851 in Belg...

A walk in the forest. Cardboard, oil. 8x6.2 cm

Nils Hans Christiansen (1850-1929) Denmark Winter Landscape With an Old Tree oil on canvas late 19th century signed canvas dimensions 15.94 x 12.79 inches (40.5 x 32.5 cm) frame 2...

Signed coastal landscape oil on panel circa 1890 by French impressionist painter Jean Baptiste Antoine Guillemet. The piece depicts several women in ...

Federico Zandomeneghi 1841-1917 Italian Les deux soeurs (The two sisters) Signed and dated "Zandomeneghi 95" (lower left) Oil on canvas Two sisters enjoy a quiet moment in a rich green landscape in this intimate oil on canvas from Federico Zandomeneghi. An Italian painter by birth who became a fixture in the Parisian Impressionist scene, Zandomeneghi is best remembered for his sentimental and affectionate scenes of women in both domestic and public spheres. Zandomeneghi’s creative and technical prowess in composition is highlighted in this painting. The artist deftly frames the young pair in the lower register of the canvas, imbuing the work with a remarkably observational feel. The girls pensively gaze off to the right, lost in thought; Zandomeneghi allows the viewer to witness a natural moment of discussion and contemplation shared among the sisters. The soft palette employed by the artist gives the whole scene an atmospheric glow, with dappled rays of sunshine breaking through the lush foliage. Though the girls remain in the shaded areas of the landscape, Zandomeneghi’s skillful application of paint allows a brightness to remain nevertheless. Federico Zandomeneghi was born in Venice to a long line of neoclassical sculptors. As if created to be an artist, Zandomeneghi began his artistic education early, enrolling in the Accademia di Belle Arti in Venice at just 15 years old before transferring to the Academy of Fine Arts in Milan. By 1862, the artist had arrived in Florence, where he became fast acquaintances with several Italian artists dedicated to executing landscape paintings en plein air. Zandomeneghi embraced the spontaneity, seeking to bring unparalleled luminosity to his works. When Zandomeneghi arrived in Paris in 1874, he found kindred spirits...

Wonderful small-scale mid 19th Century European landscape with gypsy figures and caravan by Pal Paul Bohm (Hungarian, 1839-1906), circa 1870. Signed lower right with "Munchen" locati...

Along the River Gilsoul Victor Brussels 1867 – 1943 Belgian Painter Signature: Signed bottom left Medium: Oil on panel Dimensions: Image size 40 x 28,50 cm, frame size 52 x 41 cm Biography: Gilsoul Victor was born in Brussels on September 10, in 1867. He was a Belgian impressionist painter of landscapes, marines, harbour scenes, architectures, interiors, city and canal views, portraits and figures. He was also a watercolourist. Gilsoul studied at the Antwerp Academy of Fine Arts with the famed master teachers and artists François Courtens (1854 - 1895) and Louis Artan (1837 - 1890). In 1882 he won his first prize at the Academy and in 1884 debuted at the Brussels Salon. He studied also at the Brussels Academy of Fine Arts, where he won a prize (1885-1890). Gilsoul  was member of the group ‘Voorwaerts’ in 1891. He was awarded a silver medal at the Paris World Fair in 1900. In the same year, King Leopold II commissioned several compositions for his yacht “Alberta” and knighted him to the Order of King of the Belgians...

François Charles Cachoud (born in 1866 in Chambéry, Savoy and died in 1943) is a painter known today for his night effects and his chiaroscuro...

White and Pink Peonies in Vase Charles Swyncop Brussels 1895 – 1970 Belgian Painter Signature: Signed top left Medium: Oil on canvas Dimensions: Image size 46 x 38 cm, frame size 64 x 56 cm Biography: Swyncop Charles was born in Brussels in 1895. Charles was a painter of landscapes, city views, seascapes, still lifes, flowers, children, genre scenes, figures (often Spanish beauties) and portraits. He was also illustrator and lithographer. Younger brother and pupil of Philippe Swyncop. He studied at the Academy of Brussels (1908-1917 and 1919-1920) with as teachers, J. Delville, H. Richir and Alfred Bastien. He also travelled to Rome and Venice. In Rome he studied iconography and the study of the great masters. Also found, like his brother, inspiration in Spain. Like his brother, he painted in a lighter genre. But, unlike his brother, he used subtle, spontaneous brushstrokes such as the French Fauvists. His colourful sea views are reminiscent of the works of Henri Matisse and André Derain. In 1920 Swyncop assisted his teacher Alfred Bastien with the panoramic painting “Panorama de l’Yser”. Other assistant painters were Charles Léonard and Jef Bonheur, also former pupils of Bastien. The work was done in what later became the mosque of the Cinquantenaire Park. From 1924 onwards, it was given a suitable panoramic building in Ostend. The canvas was severely damaged during the Second World War. Charles Swyncop took part in a group exhibition at ‘Maison d’Art Moderne’ in Brussels in 1920 together with Jean Colin, Philippe Swyncop, Arthur Navez, Samuel Milbauer, L. Bisschops, J. Payro and Jean-Jacques Gailliard. He received an honourable mention (third prize) on the Prize of Rome in 1920. In the years 1922-1923 he made study trips to Spain and Italy. There he made portraits of the local population. He regularly returned to Spain. Commissioned by the Ministry of Colonies, he painted decorative panels for the 1930 World Fair in Antwerp. Swyncop was a member of the group ‘La Lierre’ and took part in the annual exhibitions. Other members of ‘La Lierre’ included Alfred Bastien, Julius Brouwers, Louis Clesse, Henri De Clerck...

Edouard Jacques Dufeu, born in Marseille on March 27, 1836, and died in Grasse on December 1, 1900, is a French painter and engraver.Hailing from a family originally from Egypt, Dufe...

'Picking Blackberries' is a 19th/early 20th century oil on canvas painting of a Scottish coastal path view with yellow gorse and berry bushes. Children are picking berries or sitting enjoying the view overlooking the sea, depicting halcyon days of summer. Scottish artist Charles Martin Hardie...

Impressionist oil on canvas seascape painting circa 1895 by French artist Maxime Maufra. This stunning work depicts a sailing boat on a vast ocean. The choppy water is painted in greens and blues. The white clouds rolling across the blue sky are beautifully shaded in purple tones. Signature: Signed lower left and titled on original label verso Dimensions: Framed: 22"x25" Unframed: 15"x18" Provenance: This work is included in the catalogue raisonne of Maxime Maufra under reference 284 Durand-Ruel, Paris (acquired directly from the artist on 5 April 1895) Durand-Ruel Galleries, New York (acquired from the above in 1895) Marlborough Fine Arts, Ltd., London (acquired after 1949) Dr. Renate Davis, London (acquired from the above) Lyon & Turnbull London, 28 November 2013, lot 111 (consigned by the above) Private Collection, New York (acquired from the above sale) Sotheby's New York, 15 November 2017, lot 101 (consigned by the above) Maufra spent several years in England, notably in Liverpool, with his father, who wanted him to become a tradesman. He decided to take up painting instead and returned to France in 1883, attracting the attention of Octave Mirbeau in his very first exhibition, and subsequently being noticed by Frantz Jourdain in 1894 and Fontenais in 1901. In 1886, he successfully exhibited two seascapes at the Salon, following which he visited Brittany in 1890, making the acquaintance of Gauguin and Sérusier in Pont-Aven; he collaborated with them on the decoration of the Pouldu Inn in 1894. He maintained his acquaintance with the Nabis group artists Henry Moret and Gustave Loiseau. He travelled in l'Isère, Belgium, and Algeria (1913), as well as Paris, the Ile de France, Brittany and Normandy. From 1895, the Galerie Durand-Ruel assured the success of his work. Maufra settled in Montmartre for about ten years during which he painted the old quarters of Paris, often around the church of St Séverin. He then turned to Brittany and Normandy for inspiration in keeping with a resolve to paint only from nature, his seascapes in particular finding favour. The influence of the Nabis on his work remains limited except in the 'synthetic' organisation of the composition. He was an admirer of Sisley and Pissarro, whose influence can be seen in his paintings. Maufra, like Valtat, went to some extent beyond Impressionism to become a forerunner of Fauvism in his use of colour. An important retrospective exhibition of Maufra's work, prefaced by René Domergue, was organised in Paris around 1950. In 2001, his work was represented in the exhibition Painters and the Sarthe Region ( Les Peintres et la Sarthe) held at the Musée de la Reine Bérengère (for the 19th century) and the Abbaye de l'Épau (for the 20th century) at Le Mans. In 2003, his work appeared in the group exhibition Brittany, Land of Painters ( Bretagne, Terre des Peintres) at the Musée des Beaux-Arts in Vannes. Museum and Gallery Holdings: Bergues: Seascapes Boston: Dusk in Douarnenez; Departure of Fishing Boats Buffalo: Transport Quittant Le Havre Chicago: Douarnenez the Town of Light Cholet: Flood Cincinnati (AM): The Coast, Bay of Douarnenez (Vue de Douarnenez) (painting) Helsinki: St-Guénolé Le Havre: Moonrise in Brittany Manchester: Springtime in Lavardin Montpellier: Hills of Morgat Mulhouse: Low Tide Nantes (MBA): La Prairie d'Amont (1888, oil on canvas); Pointe du Raz; Heavy Swell; The Loir Dam in Poncé (oil on canvas) Paris (Mus. d'Orsay): Brittany Landscape...

Hermanus Koekkoek the Younger was part of the famous Koekkoek artist family: grandson of Johannes Hermanus Koekkoek, nephew of the landscape painter, Barend Cornelis Koekkoek...

"Mending the Bank" 1899 - English Pastoral Oil on Linen by David Bates. Highly detailed country landscape with farmers and animals by a riverbank by D...

A wonderful three quarter portrait of a boy in a straw hat peeling a piece of fruit, probably an orange, by Italian artist Eugene Von Blaas (1843-1942). Von Blaas was born to Austria...

This beautiful and light filled painting testifies of a new dawn: in the 1880s the landscape and animalier artist William Baird turns to Impressionism. Our Sunny Path, with looser brushwork and lighter colours, convey the fleeting nature of the present. Our lovely oil on canvas may well be homage to Claude Monet - according to Baird's inscription on the stretcher, it was painted in Mantes, which is only about 6 miles from Vétheuil, where Monet was living and working in the 1880s! William Baptiste Baird was born in Chicago, Illinois, in 1847, but as an adult moved to Paris to perfect his painting technique. In Paris, Baird studied under Adolphe Yvon...

This thoroughly modern Parisian scene was composed by the celebrated French painter Jean François Raffaëlli. The delicate oil captures a familiar subject from late 19th-century life in the city: a busy avenue at the edge of a park on a cool autumn day. Exploring the climate of the city, Raffaëlli's mature works capture the energy of the grand parks and boulevards of the new Paris that emerged at the turn of the century. His legacy documents the realities of urban life during his age, all chronicled in his distinctive brushwork and sophisticated palette. While Raffaëlli was never fully accepted as a member of the Impressionist group, his works display a similar affinity for capturing the transient moments of modern life. His figures exude a sense of being suspended in time, as though they are part of some subtle narrative that is both restless and harmonious. Perhaps more aligned with Naturalism than Impressionism, the visual effect of Raffaëlli's composition is one of carefully composed spontaneity that makes manifest the joie de vivre of the age. Raffaëlli was not the only artist of his era to devote his canvases to the urban landscape. Camille Pissarro, Claude Monet, Gustave Caillebotte and others composed significant works on the subject of the urban milieu. On the whole, it was an entirely new kind of painting, and it was largely influenced by the work of social engineer Baron Haussmann beginning in the 1850s. At the request of Emperor Napoleon III, Haussmann designed and carried out a large-scale urban renewal program, erecting landmarks and tree-lined thoroughfares throughout the city to create a unified and socially-centered urban aesthetic. The city became a glittering stage for modern advancements and bourgeois pleasure, which paved the way for a new kind of subject that was eagerly adopted by the Impressionists and artistic avant-garde. Born in Paris in 1850, Raffaëlli first studied theater and music before turning to painting in 1870. That same year, he submitted a landscape painting to the Salon and was accepted. Aside from just three months studying with the Academic great Jean-Léon Gérôme, Raffaëlli was self-trained, developing his own unique style that brought together Realism, Naturalism and Impressionism. While he managed to exhibit works at both the Salon and the Impressionist exhibitions...

Wonderful signed oil on panel cattle and figures in landscape by French impressionist painter Jean-Francois Raffaelli. The work depicts oxen being loaded onto ships in Honfleur, France en route to England. Signature: Signed lower right Dimensions: Framed: 18"x16" Unframed: 9"x8" Provenance: Exhibition Jean Francois Raffaélli held at Galerie Simonson, 19 Rue Caumartin Paris - October 1929 (number 44) Jean-François Raffaëlli's father was a failed Italian businessman and Raffaëlli himself was, among other things, a church chorister, actor and theatre singer. He then studied under Gérôme at the École des Beaux-Arts in Paris. He travelled to Italy, Spain and Algeria and on his return to France settled in Asnières. In 1876, on a trip to Brittany, he first saw the potential of realist subject matter, if treated seriously. He became involved in meetings of artists at the Café Guerbois, where the Impressionist painters used to gather. As a result, Degas, contrary to the advice of the group, introduced Raffaëlli to the Impressionist exhibitions - according to one uncertain source as early as the very first exhibition, at the home of Nadar, and certainly to those of 1880 and 1881. In 1904, Raffaëlli founded the Society for Original Colour Engraving. He first exhibited at the Salon de Paris in 1870 and continued to exhibit there until he joined the Salon des Artistes Français in 1881, where he earned a commendation in 1885, was made Chevalier of the Légion d'Honneur in 1889 and in the same year was awarded a gold medal at the Exposition Universelle. In 1906 he was made Officier of the Légion d'Honneur. He was also a member of the Société Nationale des Beaux-Arts. In 1884, a private exhibition of his work cemented his reputation. He contributed to several newspapers such as The Black Cat (Le Chat Noir) in 1885 and The French Mail (Le Courrier Français) in 1886 and 1887. He published a collection entitled Parisian Characters, which captured his favourite themes of the street, the neighbourhood and local people going about their lives. In 1880 he participated, with Forain, on the illustration of Joris Karl Huysmans' Parisian Sketches (Croquis Parisiens). He also illustrated Huysman's Works. As well as working as an illustrator, he also made etchings and coloured dry-points. His early attempts at painting were genre scenes, but once he was settled in Asnières he started to paint picturesque views of Parisian suburbs. From 1879 onwards, his subject matter drew on the lives of local people. These popular themes, which he treated with humanity and a social conscience, brought him to the attention of the social realist writers of the time such as Émile Zola. In addition to his realist style, Raffaëlli's dark palette, which ran contrary to the Impressionist aesthethic, helped to explain the opposition of those painters to his participation in their exhibitions. More concerned with drawing than colour, he used black and white for most of his paintings. Towards the end of his life, he lightened his palette, but without adopting any other principles of the Impressionist technique. After painting several portraits, including Edmond de Goncourt and Georges Clémenceau, he returned to genre painting, particularly scenes of bourgeois life. Later in his career, he painted mainly Breton-inspired sailors and views of Venice. His views of the Paris slums and the fortifications, sites which have almost completely disappeared, went some way towards establishing a genre in themselves and perpetuated the memory of the area: The Slums, Rag-and-Bone Man, Vagabond, Sandpit, In St-Denis, Area of Fortifications. His realistic and witty portrayal of typical Parisian townscapes accounts for his enduring appeal. Born in Paris, he was of Tuscan descent through his paternal grandparents. He showed an interest in music and theatre before becoming a painter in 1870. One of his landscape paintings was accepted for exhibition at the Salon in that same year. In October 1871 he began three months of study under Jean-Léon Gérôme at the École des Beaux-Arts in Paris; he had no other formal training. Raffaëlli produced primarily costume pictures until 1876, when he began to depict the people of his time—particularly peasants, workers, and ragpickers seen in the suburbs of Paris—in a realistic style. His new work was championed by influential critics such as J.-K. Huysmans, as well as by Edgar Degas. The ragpicker became for Raffaëlli a symbol of the alienation of the individual in modern society. Art historian Barbara S. Fields has written of Raffaëlli's interest in the positivist philosophy of Hippolyte-Adolphe Taine, which led him to articulate a theory of realism that he christened caractérisme. He hoped to set himself apart from those unthinking, so-called realist artists whose art provided the viewer with only a literal depiction of nature. His careful observation of man in his milieu paralleled the anti-aesthetic, anti-romantic approach of the literary Naturalists, such as Zola and Huysmans. Degas invited Raffaëlli to participate in the Impressionist exhibitions of 1880 and 1881, an action that bitterly divided the group; not only was Raffaëlli not an Impressionist, but he threatened to dominate the 1880 exhibition with his outsized display of 37 works. Monet, resentful of Degas's insistence on expanding the Impressionist exhibitions by including several realists, chose not to exhibit, complaining, "The little chapel has become a commonplace school which opens its doors to the first dauber to come along."An example of Raffaëlli's work from this period is Les buveurs d'absinthe (1881, in the California Palace of Legion of Honor Art Museum in San Francisco). Originally titled Les déclassés, the painting was widely praised at the 1881 exhibit. After winning the Légion d'honneur in 1889, Raffaëlli shifted his attention from the suburbs of Paris to city itself, and the street scenes that resulted were well received by the public and the critics. He made a number of sculptures, but these are known today only through photographs.[2] His work was also part of the painting event in the art competition at the 1912 Summer Olympics. In the later years of his life, he concentrated on color printmaking. Raffaëlli died in Paris on February 11, 1924 Museum and Gallery Holdings: Béziers: Peasants Going to Town Bordeaux: Bohemians at a Café Boston: Notre-Dame; Return from the Market Brussels: Chevet of Notre-Dame; pastel Bucharest (Muz. National de Arta al României): Market at Antibes; Pied-à-terre Copenhagen: Fishermen on the Beach Douai: Return from the Market; Blacksmiths Liège: Absinthe Drinker...

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

19th Century Oil Painting Two Girls Playing Original oil on canvas housed in a custom made oak frame. Canvas dimensions 16" wide x 10" high. The frame measures 24" wide x 18" high....

"Straw Barge" on the Thames (after) Edward Duncan Oil on Linen 1898 Well executed study of E. Duncan's Straw Barge circa 1881, painted by Richard Hayley Lever...

A beautiful and summery Impressionist scene of a girl sitting close to the sea under a green canopy of leaves. Eugene Habert (French, 1842 – 1916) A girl and her turkey’s above the ...

Outstanding late 19th century English Impressionist landscape, with a horse and cart in a village. Described in 1893 by George Moore as "our greatest living landscape painter," Will...

Charming late 19th Century portrait of a young boy in sailors outfit by Josephine Kaufmann (Kaufman) (American, late 19th-20th Century), circa 1890. Signed lower right corner. Condit...

Frederick James Boston (1855 - 1932) The Letter Oil on canvas 20 x 16 inches Signed lower left The first instructor of art at the Brooklyn Institute of Arts and Sciences, Frederick ...

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 ...

Hunting in Fontainebleau, France Stein Georges Paris 1870 – 1955 French Painter Signature: Signed bottom left and placed Fontainebleau Medium: Oil on c...

A sweeping skyline sets a gentle tone for this late 19th century Scottish pastoral scene titled on verso "The Ingathering, Rowan-Tree Hill, Kilmalcol...

Everyday fishermen life is captured in this wonderful Italian impressionist late 19th century oil painting on thin board titled fishermen ashore. We love the neutral and natural colo...

A wonderful oil on panel by French impressionist painter Jean-Francois Raffaelli depicting two old men seated in an interior. One is reading his paper as the other naps and there are several kittens on the floor. Painted in the artist's distinctive style. The work is accompanied by a certificate from Brame & Lorenceau and is included in the catalogue raisonne of the painter. Signature: Signed lower left Dimensions: Framed: 9.5"x8" Unframed: 5.5"x4" Provenance: Private collection - United States Original artists label verso Jean-François Raffaëlli's father was a failed Italian businessman and Raffaëlli himself was, among other things, a church chorister, actor and theatre singer. He then studied under Gérôme at the École des Beaux-Arts in Paris. He travelled to Italy, Spain and Algeria and on his return to France settled in Asnières. In 1876, on a trip to Brittany, he first saw the potential of realist subject matter, if treated seriously. He became involved in meetings of artists at the Café Guerbois, where the Impressionist painters used to gather. As a result, Degas, contrary to the advice of the group, introduced Raffaëlli to the Impressionist exhibitions - according to one uncertain source as early as the very first exhibition, at the home of Nadar, and certainly to those of 1880 and 1881. In 1904, Raffaëlli founded the Society for Original Colour Engraving. He first exhibited at the Salon de Paris in 1870 and continued to exhibit there until he joined the Salon des Artistes Français in 1881, where he earned a commendation in 1885, was made Chevalier of the Légion d'Honneur in 1889 and in the same year was awarded a gold medal at the Exposition Universelle. In 1906 he was made Officier of the Légion d'Honneur. He was also a member of the Société Nationale des Beaux-Arts. In 1884, a private exhibition of his work cemented his reputation. He contributed to several newspapers such as The Black Cat (Le Chat Noir) in 1885 and The French Mail (Le Courrier Français) in 1886 and 1887. He published a collection entitled Parisian Characters, which captured his favourite themes of the street, the neighbourhood and local people going about their lives. In 1880 he participated, with Forain, on the illustration of Joris Karl Huysmans' Parisian Sketches (Croquis Parisiens). He also illustrated Huysman's Works. As well as working as an illustrator, he also made etchings and coloured dry-points. His early attempts at painting were genre scenes, but once he was settled in Asnières he started to paint picturesque views of Parisian suburbs. From 1879 onwards, his subject matter drew on the lives of local people. These popular themes, which he treated with humanity and a social conscience, brought him to the attention of the social realist writers of the time such as Émile Zola. In addition to his realist style, Raffaëlli's dark palette, which ran contrary to the Impressionist aesthethic, helped to explain the opposition of those painters to his participation in their exhibitions. More concerned with drawing than colour, he used black and white for most of his paintings. Towards the end of his life, he lightened his palette, but without adopting any other principles of the Impressionist technique. After painting several portraits, including Edmond de Goncourt and Georges Clémenceau, he returned to genre painting, particularly scenes of bourgeois life. Later in his career, he painted mainly Breton-inspired sailors and views of Venice. His views of the Paris slums and the fortifications, sites which have almost completely disappeared, went some way towards establishing a genre in themselves and perpetuated the memory of the area: The Slums, Rag-and-Bone Man, Vagabond, Sandpit, In St-Denis, Area of Fortifications. His realistic and witty portrayal of typical Parisian townscapes accounts for his enduring appeal. Born in Paris, he was of Tuscan descent through his paternal grandparents. He showed an interest in music and theatre before becoming a painter in 1870. One of his landscape paintings was accepted for exhibition at the Salon in that same year. In October 1871 he began three months of study under Jean-Léon Gérôme at the École des Beaux-Arts in Paris; he had no other formal training. Raffaëlli produced primarily costume pictures until 1876, when he began to depict the people of his time—particularly peasants, workers, and ragpickers seen in the suburbs of Paris—in a realistic style. His new work was championed by influential critics such as J.-K. Huysmans, as well as by Edgar Degas. The ragpicker became for Raffaëlli a symbol of the alienation of the individual in modern society. Art historian Barbara S. Fields has written of Raffaëlli's interest in the positivist philosophy of Hippolyte-Adolphe Taine, which led him to articulate a theory of realism that he christened caractérisme. He hoped to set himself apart from those unthinking, so-called realist artists whose art provided the viewer with only a literal depiction of nature. His careful observation of man in his milieu paralleled the anti-aesthetic, anti-romantic approach of the literary Naturalists, such as Zola and Huysmans. Degas invited Raffaëlli to participate in the Impressionist exhibitions of 1880 and 1881, an action that bitterly divided the group; not only was Raffaëlli not an Impressionist, but he threatened to dominate the 1880 exhibition with his outsized display of 37 works. Monet, resentful of Degas's insistence on expanding the Impressionist exhibitions by including several realists, chose not to exhibit, complaining, "The little chapel has become a commonplace school which opens its doors to the first dauber to come along."An example of Raffaëlli's work from this period is Les buveurs d'absinthe (1881, in the California Palace of Legion of Honor Art Museum in San Francisco). Originally titled Les déclassés, the painting was widely praised at the 1881 exhibit. After winning the Légion d'honneur in 1889, Raffaëlli shifted his attention from the suburbs of Paris to city itself, and the street scenes that resulted were well received by the public and the critics. He made a number of sculptures, but these are known today only through photographs.[2] His work was also part of the painting event in the art competition at the 1912 Summer Olympics. In the later years of his life, he concentrated on color printmaking. Raffaëlli died in Paris on February 11, 1924 Museum and Gallery Holdings: Béziers: Peasants Going to Town Bordeaux: Bohemians at a Café Boston: Notre-Dame; Return from the Market Brussels: Chevet of Notre-Dame; pastel Bucharest (Muz. National de Arta al României): Market at Antibes; Pied-à-terre Copenhagen: Fishermen on the Beach Douai: Return from the Market; Blacksmiths Liège: Absinthe Drinker...

Outstanding English Impressionist landscape with figures strolling under trees with the sea beyond. Joseph Vickers de Ville was a son of the farmers Joseph and Mary Deville. He was...

Signed and dated oil on panel figure in landscape by sought after impressionist painter Henri Le Sidaner. The work depicts a farmer walking beneath blossom trees in an orchard in spr...

19th century English impressionist scene of the Barbizon forest, near Paris France, with a river, cows, and trees. Boyle was a pioneering 19th-century British artist inspired by E...

Joseph Rerolle (French, 1829 – 1901) A girl at a woodland stream, Leman Oil on paper laid down on board Signed ‘J. Rerolle’ (lower left) 13.7/8 x 16.3/4 in. (35.3 x 42.5 cm.)

A Norwegian Fjord Kaufmann Karl Neuplachowitz 1843 – 1905 Vienna Austrian Painter Signature: Signed bottom right with pseudonym J. Holmstedt Medium: Oi...

A large, spectacular, absolutely splendid painting by noted French painter Georges Clairin, which appeared for auction at Christie's in 2004 (see photo...

Paul Maitland (British, 1863 – 1909) Nannies in Green Park, before Piccadilly, London Oil on panel 7.5/8 x 11.3/8 in. (19.4 x 29 cm.) . In a gilded woo...

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...

Impressionism, France,river, 19th,green,Offer Free Shipping, Landscape Paintings Paul LECOMTE (Paris, 1842 – 1920) Paul Lecomte, painter and watercolourist, is considered one of the last exponents of the École de Barbizon. Pupil of Emile Lambinet...

A Path in the Forest Binje Frans Luik 1835 – 1900 Brussels Belgian Painter Signature: Signed bottom right Dimensions: Image size 36 x 22 cm, frame...

Gaston La Touche 1854 - 1913 French L’embarquement The Embarkment Signed "Gaston La Touche" (lower right) Oil on panel A fashionable group of merrymakers boards a rowboat at sundown in this oil on panel by renowned French painter Gaston La Touche. Softly lit and lushly detailed, the work represents the artist’s talent for capturing the gaiety of the Belle Époque. With its luminous coloring and feathery brushwork, this oil evokes the style and joie de vivre of the era rendered in La Touche’s distinctive, mature style. Fresh and airy, the work is a beautiful example of the artist’s skill at capturing the subtle qualities of light and color. Set against the plein air backdrop of a wooded pond awash in the soft glow of the golden hour, the scene reflects the influence of the Impressionists. The subject also recalls works by Manet, Monet and Renoir, who delighted in depictions of modern leisure among the expanding middle class. The scene is an informal one, and its unconventional cropping suggests that the viewer is invited to take a seat in the boat and join the group on their outing. Such relaxed, inviting scenes were remarkably popular among contemporary, modern audiences. However, La Touche's style is singular, possessing an element of fantasy and romance that set him apart from the Impressionists. Gaston La Touche was born in St. Cloud, outside of Paris, in 1854, and he showed a keen interest in art from a young age. At ten years old, he began taking private art instruction, which lasted until 1870, when his family was forced to flee to Normandy amid the Franco-Prussian War. This was the only formal art training La Touche would ever receive. Despite his lack of Academy training, he made his debut at the Paris Salon of 1875 with a sculptural medallion and etchings, and he exhibited his first painting at the Salon of 1881. Although he began his career painting dark-toned realist compositions, by 1890, his style had shifted to what would become his signature — a lighter, brighter, idealistic society world. The artist was associated with practically all of the most influential artists and thinkers of late 19th century France, including Édouard Manet, Edgar Degas, Émile Zola, who frequently met at the legendary Cafe de la Nouvelle Athenes to share their thoughts on modern society. In 1900, he was named a Chevalier of the Legion d'Honneur and an Officer in 1909. Additionally, he was well-decorated at the grand...

A beautiful oil on canvas by French impressionist painter Jean Baptiste Antoine Guillemet. The piece depicts a view of a man fishing in a stream by t...

J.R. Goblet French, (19th C.) "He is coming: Coquetry" Oil on canvas Signed J.R. Goblet (LL) 39 1/2 in. x 13 1/2 in (canvas); 49 1/4 in. x 23 1/2 in (fram...

Paul Lecomte (1842-1920) La Ferme du Pré Oil on canvas signed on the lower right 38 x 55 cm Framed : 49 x 66.5 cm In good condition: a small repair visible on the reverse (see pictu...

Soren Emil Carlsen (1848 - 1932) A Man in His Garden, 1893 Oil on canvas 28 3/4 x 35 1/2 inches Signed and dated lower right Provenance: The artist [1848-1932] Macbeth Gallery, New ...

Hjalmar Sandberg (1847-1888) Sweden Harvest Time, 1876 oil on canvas canvas size 14.96 x 18.11 inches (38 x 46 cm) frame 18.70 x 25.59 inches (47.5 ...

François Lafon (French, 1846-c.1920) Draped nude Woman seated between Pillars with young Child • Oil sketch on paper • Visible image, ca. 35 x 22 cm •...

Signed figures in a landscape oil on canvas circa 1870 by French impressionist painter Victor Alfred Paul Vignon. The work depicts a woman carrying a basket with a young child beside her walking along a snowy path in a Fontainebleau Forest. This early work by Vignon was painted whilst he was under the tutelage of Camille Corot in the period between 1869 and 1870 . The work shows a mother and child in the forest at Fontainebleau in winter. Many painters in Vignon's circle such as Monet, Renoir, Sisley and Bazille visited this area to paint in the late 1860's and the early 1870's. Signature: Signed lower left Dimensions: Framed: 23"x25.5" Unframed: 13.5"x16" Provenance: Galerie Commeter - Hamburg c. 1920 French exhibition customs stamps verso His mother has been incorrectly identified as the writer Claude Vignon...

Wonderful signed oil on canvas by French impressionist painter Jean Baptiste Antoine Guillemet, a pivotal figure in the transition from Realism to Im...

Oil on canvas 46 x 55 cm (18 ⅛ x 21 ⅝ inches) Signed lower left, Ridgway Knight Artist biography American artist Daniel Ridgway Knight was born in Pennsylvania and studied at the École des Beaux-Arts in Paris. From 1872 he lived and worked at Poissy on the River Seine, just to the west of Paris. Best known for his landscapes and depictions of peasant women in the fields, Knight earned distinction at the Paris Salon of 1882. He went to be was awarded the Silver Medal and Cross of the Legion d’Honneur at the Exposition Universelle in 1889, the Gold Medal of Honour from the Pennsylvania Academy of Fine Arts in 1893 and in that same year was created a Knight of the Royal Order...

Portrait of a Lady in Pink French School, indistinctly signed upper right corner dated 1893 oil painting on canvas, unframed canvas: 24 x 19.75 inches condition: very good, a few light age related scuffs around the edges which would cover with a frame. provenance: private collection, France. Straight out of the Belle Epoque...

​ JOHN ROBERTSON REID RBA, ROI, RI ​ British 1851 – 1926 “Harvest of the Sea” Oil on canvas, Signed and Framed. John Robertson Reid was born in Edinburgh and studied at the Royal Scottish Academy schools before moving to Cornwall and later London. He became interested in the social-realist movement; probably influenced by Bastien-Lepage and in 1879 his “Toil and Pleasure” was hung in the Royal Academy and bought by the Chantrey Bequest. He continued to exhibit at the Royal Academy and at the Royal Society of British Artists and also the Royal Institute, he was a member of all three Institutes. Reid’s subjects – field workers, humble people – were similar to those of Bastien-Lepage, but his handling of the paint was more dynamic and reflected his training at the Scottish Academy under Chalmers and McTaggart. He was also a good colourist, and some of his coastal scenes with fishermen and women in the foreground, have rich blues and greens, of which ours is a typical example. Reid was also a fine watercolourist in a breezy style similar to that of David Cox. Not all his work was about hard work he also painted rural people at rest or playing cricket and was always capable of brilliant work; his Venetian...

Exquisite oil on canvas painting by artist Arthur Bowen Davies (American 1862-1928). The work depicts a young nude man walking through a lush green, ethereal landscape. Thick earth-t...

Signed lower right: CARROLL BECKWITH.

Late 19th century California School reclining nude female figure by anonymous 19th Century artist. In the style of William-Adolphe Bouguereau. ...

French shepherdess at twilight by Jean Beauduin (1851-1916). Oil on canvas mounted on board. Original Barbizon frame. I believe the dog is a bergere Pic...

Adolfo Belimbau (1845-1938) Italian Impressionist painting of a mother and a child in a Garden playing. Beautiful quality and colors quality! Adolfo Belimbau is a famous Italian Jewish painter...

Henry Thomas Schafer Original Oil Painting Original oil on masonite. Masonite dimensions 14" wide x 12" high. Frame dimensions 17.5" wide x 16" ...