19th Century Figurative Paintings

This evocative Orientalist painting, attributed to J. Corneau, captures a deeply human moment in 19th-century Cairo. The scene portrays a blind beggar, assisted by his companion, nav...

Adele Pinot (1848), from Guido Reni (Bologna, 1575 -1642) Madonna in adoration of the sleeping Child Oil on canvas, 97 x 107 cm Signed at lower right "Adele Pinot 1848" The canva...

Artist/ School: David Wilkie Wynfield (1837-1887) British Title: Elegant Figures in an Interior Medium: oil painting on canvas, framed. Indistinctly Ins...

Unidentified Artist (19th Century) "Allegorical Scene with Mythological Figures" This enigmatic oil painting on panel, executed in the grisaille technique, presents a compelling alle...

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...

English school (late 19th/ early 20th century) A river scene with figure in a punt, oil painting on board: 11.5 x 17 inches framed: 18 x 25 inches condition: very good and presentabl...

Wonderful English 19th century Fall landscape, with a figure on a pathway passing sone Elm or Oak trees. This piece is signed lower right and is framed in a Vintage American Gold Le...

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...

Gustave Doyen (1836 in Festieux – 1923 in Fontainebleau) was a French painter working during 19th and 20th centuries in France. He was educated at St Edmund's College in Douai and trained by William...

Still Life is a superb original oil painting on panel, realized around 1870 by the British artist Edward Ladell (1821-1886), the best known English still-life artist. The artwork r...

Artist/ School: Italian School, 19th century. indistinctly signed Title: Portrait of a Young Country Lady Medium: signed oil painting on canvas, framed. framed: 31.25 x 23 inches ...

Jules-Arsène Garnier (1847 - 1889) Scene from Rabelais' Third Book, How Panurge Speaks to the Sibyl of Panzoust Oil on canvas 38.5 x 46.5 cm (67 x 74.8 cm with frame) Signed lower r...

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

William Edward Webb British, (1862-1903) Penzance Harbour Oil on canvas, signed Image size: 29 inches x 45.5 inches Size including frame: 38 inches x 54.5 inches A pleasing coastal painting of Penzance Harbour at low tide by William Edward Webb. In the foreground, a fisherman sells his catch to a woman and her daughter, whilst figures in horses and carts wait for others to unload their boats. William Edward Webb was born in Cheltenham, Gloucestershire in 1862 to William Benjamin Webb and Ellen Butler. His father was a printer and an artist and it is highly likely he received tuition from him. Following the death of his mother, his father remarried and moved the family to Manchester sometime after 1871. By the 1880’s, Webb had started working as an artist and later set up a studio at 30 Exchange Buildings in Manchester. He began exhibiting at the Manchester City Art Gallery from 1890, where he showed more than 60 paintings during his lifetime. He also exhibited at the Royal Academy and Walker Art Gallery Liverpool from 1892. He married Clara Foster in 1899 and the couple lived at 1 Sylvan Grove, Chorlton Upon Medlock in South Manchester with their daughter Florrie. He became friends with the artist Walter Emsley (1860-1938) who also lived in Manchester. Although he spent the rest of his life in Manchester, Webb travelled throughout the UK painting coastal and marine scenes around the main ports and harbours. He spent a great deal of time in the Isle of Mann painting numerous scenes along the coast including views of Peel and Douglas Harbour, subjects he frequently returned to. Webb painted in a highly distinctive style; loose and informal but which manages to retain the sense of perspective. He struggled with ill health and depression throughout his life which sadly led to his suicide 9 November, 1903. In 1974, a retrospective exhibition was held at The Old Customs House and Old Solent House in Lymington, which brought a new found interest in his work. His paintings are now highly sought after and are represented in many collections and Museums including the Astley Hall...

William Raymond Dommersen was a painter of genre and landscapes in and around Scotland and Northern England. His works are widely exhibited throughout the European and North American...

Mountain Landscape, Betws-y-Coed Wales by Thomas Morris Ash (British 1851-1935) signed and inscribed verso Oil painting on board, framed Framed: 14 x 19 inches Board: 10.5 x 15.5 inc...

Circle of Fulchran Jean HARRIET (Paris, 1776 – Rome, 1805) Saul asks the pythonisse of Andor to call the ghost of Samuel Oil on canvas 31 x 42 cm Around 1800 The episode is taken ...

The Close of Day British School, late 19th century signed, 'Harvey' oil painting on canvas, framed framed: 19 x 27 inches canvas: 16 x 24 inches provenance: private collection, UK co...

Salomè is an original mixed colored painting realized by Anonymous artist in the XIX century. Tempera on silk. Bearing embroidered border and iscribed 'Ricordo dell’ultimo anno di ...

"female Nude" oil on canvas by Otto Scholderer (1834-1902)" Franz Otto Scholderer (1834 - 1902) was a German painter. His work is rooted in Romanticism, with influences from Impres...

Oil on canvas Canvas size: 18.5 x 36.5 inches Framed size: 23.75 x 41.5 inches Signed lower right

Orientalist oil on board by Henry Stanier (1831-1894) in the ornate original frame. Titled “The Narghuileh” and dated 1859. Signed on the verso Stanier and initialed H.S. Titled on ...

19th century English Folk Art Landscape with Cottage. This charming English Victorian 19th-century folk art landscape is a delightful portrayal of pastoral life, blending a quaint t...

Date: 1880 Medium: Oil on Board Dimensions: 18.20" x 24.00" Signature: Signed Lower Right

The English Vicar early/ mid Victorian English artist, circa 1850's oil on canvas, unframed canvas: 14.5 x 12 inches provenance: private collection, England condition: overall good a...

Artist/ School: French School, 19th century, inscribed verso Title: The Woodland Cottage Medium: oil on canvas laid over board, framed Framed: 19 x 24 inches Painting: 16 x 20.5 i...

Eugène-François Deshayes (1808–1875) was a French artist known for his landscape and marine paintings. He was born in Paris and initially trained as a lawyer, but his passion for art...

Oil Painting by Augustus Mulready "Selling Out" 1844 - 1905 Member of the Cranbrook colony painting figurative street scenes, regular exhibitor at the Royal Academy. Oil on board. Si...

Karl Schindler (1821–1842) – Romantic Genre Scene Artist: Karl Schindler Period: Early 19th Century Medium: Watercolor on Paper Dimensions: Framed: 35 x 28 cm Artwork: 21 x 16 cm St...

5071 Antique French oil painting set in a ornate gilt frame Image size 10x7.5"

Eastman Johnson John Van Schaick Lansing Pruyn, 1883 Initialed and dated lower left Oil on canvas 28 x 18 inches For many years the foremost genre painter in the United States, Eas...

Victorian Hunting Shooting Landscape Scene, Large Oil Painting depicting a Rifleman and his Hunting Dogs, gun cocked to shoot. This is a large Oil Painting on Canvas, it came from ...

A loving family study of two sister embracing. Signed to the lower right corner. On canvas on stretchers.

Dory Fishermen Frederick Schiller Cozzens created this watercolor entitled “Dory Fishermen” in 1888. This piece is signed in brush, lower left “Fred S. Cozzen...

Jean-Jules-Antoine Lecomte du Nouÿ (1842-1923) An oriental street oil on canvas 11.5 x 14 cm no signature In good condition, canvas without stretcher,...

Exquisite, vibrant original oil on canvas painting of a French swordsman in an interior. Very finely done with exacting detail. Circa 1880. Signed lower left “Jean Lamaire”. Conditi...

John William Buxton Knight was born in Sevenoaks, Kent, in 1843, the son of the landscape painter, William Knight.  Buxton Knight began his art studies at an early age by working in ...

Beautifully Painted Porcelain tile signed “Wagner” lower right. The work rests in an ornate gilded frame with a rose-colored velvet liner. The work is in mint condition with no repai...

Allan Österlind, a Swedish artist who became a well known figure in French art circles, beautifully captures the essence of Andalusian culture in his 1893 watercolor painting, "Sevil...

Jennie Brownscombe Color Sketch, Shakespeare Garden, c. 1890s Signed lower left Oil on board 7 1/8 x 9 1/4 inches The artist was born in a log cab...

‘The Fortress of Charlemont’ by George Clarkson Stanfield (1828-1878). The painting – which depicts the 16th century stronghold built by Emperor Charles V at the French town of Giv...

French Impressionist artist, second half 19th century Artists Sketching oil painting on board, unframed board: 11.5 x 15.75 inches provenan...

Artist/ School: French School, 19th century, signed lower corner Title: Bringing in the Catch Medium: oil on canvas, framed Framed: 17 x 29 inches Canvas: 14 x 25.5 inches Prov...

Artist/ School: 19th Century English School Title: Barges In A River Landscape at Sunset, Cattle resting in pastoral landscape Medium: o...

This enchanting Swedish painting, dated circa 1890, is believed to depict the tranquil waters of Långälven in Värmland, a testament to Ohlson's prowess in capturing the essence of the Swedish countryside. The scene is a gentle narrative, where we witness a family moment frozen in time. Parents stand by their daughter on a wooden dock, poised to embark on a journey across the reflective waters. The young girl, dressed in period attire, appears eager and curious, a universal symbol of youth's anticipation for adventure. Her parents, dressed in the fashion of the late 19th century, exude a sense of calm and assurance. Ohlson's brushwork brings the scene to life with a delicate interplay of light and shadow, mirroring the cloud-speckled sky on the lake's surface. The background is dotted with other vessels, suggesting the shared pleasure of the day's end on the water. Oscar Ohlson (1847–1912), born in Linneryd, Småland, and later settling in Borås, was a multifaceted artist who, after pursuing law, found his true calling in the arts. A student of Alfred Wahlberg...

John Arthur Lomax. English ( b.1857 - d.1923 ). When I Was A Boy. Oil On Panel. Signed Lower Right. Image size 9.5 inches x 11.4 inches ( 24cm x 29cm ). Frame size 17.3 inches x 1...

19th century English landscape with Oak trees, a stream and sheep on a pathway. A wonderful classic English landscape dating from the middle of the 19th century. This style of paint...

Louis Lottier (1815-1892) French 'Merchants gathered on a beach with a town beyond Medium: oil on canvas, unframed. Size of panting 8.5" x 15" inches overall good and satisfactory c...

Letitia Bonnet Hart (American, 1867-1953) Victorian Ladies Oil on canvas, 21 x 16 1/4 inches FRAMED: 28 x 23 inches (approx.) Signed at lower right: "Letitia B. Hart" Label on stretcher: "Marbella Gallery, New York" Daughter of the Hudson River School painter James McDougal Hart, Letitia was born into an extended family of accomplished artists. After preliminary study with her father and mother, she attended the Brooklyn Academy of Design and the National Academy of Design. She began exhibiting at the age of eighteen, and continued to exhibit in Brooklyn, Philadelphia, Massachusetts, Louisiana Purchase Exhibition, and the 1893 World’s Columbian Exposition...

Eugène CLARY (1856-1929) Le port de la Rochelle Huile sur toile Dimensions : 45 x 81 cm Signé en bas à droite En très bon état de conservation. Cadre ancien avec traces d'usure Offer...

In this exquisite painting by Victor Ravet, we are transported to an elegant interior setting reminiscent of the grandeur of high-class homes. The focal point is a woman adorned in a shimmering pink gown, radiating grace and sophistication. Bathed in gentle light, her dress catches the glimmer, accentuating her beauty. She holds a treat for a dog in her hand, enticing the furry companion who stands on its hind legs in eager anticipation. The canine's eyes fixated on the delicious morsel, capturing a moment of playful interaction between the woman and her loyal companion. The scene takes on a narrative quality as the young woman's other hand delicately lifts a curtain, hinting at another room beyond. This subtle gesture adds depth to the composition, suggesting a world of hidden secrets and intriguing possibilities within the opulent surroundings. Victor Ravet took inspiration from the Dutch Golden Age painters of the 17th century, such as Vermeer, Jacob Ochtervelt, and Gerrit Dou. This homage to their style and subject matter pays tribute to the timeless allure of domestic scenes, capturing a slice of life in a bygone era. With meticulous attention to detail, Ravet masterfully recreates the textures and fabrics, immersing the viewer in the sumptuousness of the period. The soft play...

The Close of Day British School, mid 19th century oil on canvas, unframed canvas: 10 x 14 inches provenance: private collection, England with old receipt/ invoice paperwork. conditi...

19th century French school Oil on canvas 33 x 41 cm (53 x 45 cm with the frame) Original canvas with the stamp of the merchant "Vallé & Bourniche / Successeurs de Bellot" active in P...

This captivating English Victorian 19th-century landscape by Henry Manders masterfully captures the timeless beauty and industrious spirit of rural life during the harvest season. Ma...

Well presented in a simple wood frame. Signed. On paper.

Set of Three 19th century Tibetan Tsakali with Depictions of Dancing Dakinis Mineral pigment on paper Approximately 4 5/8 x 4 inches each (24 x 14 frame) It's important to note this are very fine examples of Tibetan tsakali; more akin to fine art than the usual Tibetan artifacts...

ARTHUR DE BREANSKI (EARLY 20TH CENTURY) The River Road watercolor/gouache on board, Signed and framed glass over picture framed: 20.5 x 26.5 inches board: 13.5 x 21.5 inches condit...

'A Game of Cards' George Goodwin Kilburne (1839-1924) British signed watercolor on board, framed framed: 10 x 11 inches board: 9.5 x 10.5 inches Provenance: private collection, Engla...