19th Century Figurative Paintings

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...

This charming Victorian landscape oil painting is by noted British artist Henry Dawson. It was painted circa 1850, when Dawson was working in London, producing some of his best works...

An antique American folk art painting in its original period frame. Featuring a man walking his dogs in the woods with a stunning s...

Work on wood

Allegory of a Wheat Harvest (Portrait of young child), ca. 1850, by unknown American artist. Oil on panel measures 9 x 11 inches. Unframed. Original con...

"Woman Feeding Birds" – Antique Oil on Canvas An evocative 19th-century oil painting depicting a rustic pastoral scene, where a woman tenderly feeds a goose in a lush countryside setting. This charming composition is framed in an ornate gilded frame, adding to its elegance and historical appeal. Details: Artist: Unidentified Title: Woman Feeding Birds Medium: Oil on canvas Framed Dimensions: 54 x 39 cm Flat Dimensions: 35 x 20 cm Backside Details: Sticker present (further information upon request) Condition: The painting shows signs of age and patina, with surface wear consistent with its historical character. The richly decorated frame enhances its authentic antique aesthetic, making it a striking decorative piece for classical interiors or art collections. Historical Context: This piece is reminiscent of European genre paintings from the 18th and 19th centuries, which often depicted idyllic rural life and intimate moments of everyday existence. The soft brushstrokes, naturalistic color palette, and delicate attention to fabric and form reflect a traditional Romantic or Rococo-inspired style, suggesting an influence from French and Italian genre painters of the period. A wonderful acquisition for collectors of antique European oil...

Interesante Thangka Tibetano pintado a mano sobre lienzo. Es de finales del siglo XIX ó principios del siglo XX. Bien enmarcado y con cristal. Medidas: 73 x 57 x 6.5 cm.

[China Export Water-colours on Pith Paper] A Set of Twelve Processions. China, ca. 1870]. Water-colour and gouache studies on pith paper, framed by blue silk ribbon, all mounted. ...

A charming genre scene depicting three children playing in a tack room with riding whip, reins and leather boots in hand. Presented in a smart black moulded frame with gilt beading t...

La obra es de autor anónimo Se presenta enmarcada la pintura El estado de la pintura es aceptable Medidas obra: 44 x 32 cm. Medidas marco: 57 x 44 cm.

Early American oil portrait on canvas 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...

Outstanding Late Victorian English river harvest landscape. John Horace Hooper lived in London. Landscape painter. English School. A prolific artist evidenced by the frequent appea...

Portrait of young Garibaldi is mixed colored painting realized by Anonymous artist of the XIX century. Oil on copper. Rare portrait of a young Garibaldi. Includes frame 39 x 3 x 29.

Artist: Unidentified Dimensions: Framed: 51 x 45 cm Artwork: 13 x 9 cm Medium: Oil on board/canvas Period: [Estimate based on style, e.g., Mid-20th Century / Contemporary] Style: Sy...

A large busy and vibrant watercolour by Thomas Leeson Rowbothom. A lovely Bay of Naples coastal scene which was painted circa 1886. The painting is also signed by J G Ogle who painte...

Franz Quaglio: 1844-1920. Well listed 19th century German painter. He has Auction prices over $30,000.. This fabulous oil on canvas of a ho...

Inscribed, verso, with artist's name, Axel Helsted (Danish, 1847-1907) and painted circa 1895. Additionally titled, verso, 'Madonna'. Accompanied by a Certificate of Authenticity. ...

The Bath of Venus is an original artwork realized by a painter of the North Europe School of the XIX century. Oil on canvas. Good conditions. Interesting oil painting, showing the classical scene of the Bath of Venus. The canvas is an exemplar of the artistic atmosphere of the second half of the XVI century also remembered as International Mannerism (think of the School of Fontainebleu, the School of Harleem, the School of Antwerp, and the Prague School - with Bartholomeus Spranger and Hans von...

Work on cardboard Golden wooden frame 58 x 50 x 4 cm

Jean-Jacques CHAMPIN (Sceaux, 1796 – Paris, 1860) View of the Basilica of Saint-Denis from the Montmartre Cemetery Oil on paper mounted on canvas Signed lower right 15 x 27 cm Arou...

Domingo Motta (1872 - 1962) View of ancient Rome - Jesus witnesses the triumph of Constantine Oil on canvas, 88 x 148 cm Framed, 114 x 180 cm Signed lower right Ligurian painter...

An antique German animal painting by Clara Von Wille which features Wild Turkeys and chickens in a whimsical setting. Original period frame.

Antique French painting from the first half of the 19th century. Oil on canvas artwork depicting an interior scene with characters, The Marriage Contract, of good pictorial quality. ...

Neapolitan school (early 19th Century) A visit to Pompei on the the Grand Tour Gouache on paper Inscribed ‘Porzione del quartiere a Pompei’ and ‘In Nap...

Badri Narayan The Flower Water colour on Paper 8 x 8 inches 20.3 x 20.3 cm 8th April 1993 ( Framed & Delivered ) This work features in the Book on Badrinarayan Written by Ms. ...

Oil on canvas laid on board, cottage interior scene, signed with indistinct date circa 1860, Image size 10" x 15", very nicely framed More Information Good clean condition, no sign o...

Attributed to Jeanne Élisabeth CHAUDET (Paris, 1761 – Paris, 1832) Cupid holding his arrow Oil on oval canvas Not signed 33 x 26.5 cm Élisabeth Chaudet, born Gabiou in Paris on Ja...

19th century painting depicting a torch bearing cherub, symbolizing enlightenment and a path to truth and freedom. Oil on canvas Initialed "L.K." on back of canvas 23" x 29" .

A pleasantly rustic coastal oil showing a group of fisherman taking a break outside a cobbled house, overlooking an expensive coast with boats sailing on the calm water under bright ...

19th Century large Thangka depicting Buddha. Framed.

Stormy landscape scene in which a Cupid-like figure seen in the clouds appearing to have shot a number of wounded and dying men in the foreground. The men have a number of women and ...

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...

Unsigned. Presented in a gilt composition frame with ornate foliate scrolling. On canvas.

Mashallah Antique Large German Orientalist Watercolour Portrait Carl Haag German, 1870 Paper: Height 50cm, width 34cm Frame: Height 90cm, width 70cm, depth 8cm This captivating wate...

The Climbing is a colored oil painting on canvas realized by Anonymous artist of Dusseldorf School in the early XIX century. Canvas dimensions: cm. 124 x 97 The scene is set in a n...

French School mid 19th Century Animated dune landscape, oil on cardboard panel 12.4 x 29.8 cm bears a small inscription "Escoublac" on the lower right, not visible under the actual ...

Playful Moment – Girl and Kitten by Robert Koehler (Signed) Description: A heartwarming and finely detailed oil painting by German-American artist Robert Koehler (1850–1917). This g...

Original Miniature 19th Century Austrian Pastoral Figurative Oil Painting on Wood Painted in the manner of late Romanticism, this charming miniature pastoral landscape by Edmund Fri...

Well painted English Victorian scene of two boats in a battle at night time, off the coast of England. Though signed little is known about the painter. The piece is typically English in its style and the scene looks like the coast of the South of England. The painting has a sort of folk art quality, which maybe why the artist is not a listed painter...

A charming study of Gerhard ter Borch's 17th-century painting 'A Gallant Soldier'. The scene depicts a soldier and woman in a decadent interior exchanging coin. Unsigned. On canvas.

A charming mid 19th century oil by Henry Watson, after Henry Liverseege (1802-1832). The artwork depicts an encounter between a young boy and a local resident, as the boy attempts to...

An exquisite oil study depicting a young couple by the open window of a villa. The woman plays a guitar while lovingly looking at the man behind her. The pair wear beautiful traditio...

View of the Gulf of Naples, with Vesuvius on the background is an original modern artwork realized by Anonymous artist in the mid-19th Century. Mixed colored gouche. Includes a bla...

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...

Decorative oil painting with a magnificent wooden frame by A. Just. Autumnal forest path. Dimensions with frame. Includes certificate of authenticity.

Watercolor on paper. Artist's monogram in upper left corner. Tranquillo Cremona, after an initial period close to Romantic painting, from 1870 onward moved away from the influences ...

The nursing Virgin is a modern artwork realized by an italian Artist of 19th century. Mixed colored oil painting on metal board Fair conditions due to the time (some stains diffuse...

A fine Italian school oil showing three women in conversation. The blonde lady to the left of the canvas can be seen flaunting her new engagement ring with much delight to her two cl...

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...

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 ...

William Oliver British, (1823-1901) Confidences Oil on canvas, signed Image size: 40.75 inches x 27.75 inches Size including frame: 47.75 inches x 34.75 inches A delightful genre painting of two women with flowers by William Oliver. The young women can be seen in a garden setting posed next to an arrangement of spring flowers on a wooden stool. One of the women is shown seated on a grassy bank wearing a white dress with flowers in her hair. The other, dressed in green stands beside her holding a posy of flowers. William Oliver was born William Oliver Williams at Worcester in 1823 to William and Jane Williams (née Oliver). Both his parents were from Wales but had relocated to Worcester where his father worked as a chemist before becoming a surgeon. Oliver showed a talent for art at an early age and when the family later moved to Birmingham he began working at the Government School of Design, where he later became the assistant master. In 1848, he moved to London where he enrolled at the Royal Academy and was admitted to the RA school on 16 December, 1848. Whilst there, he married Jane Hughes on 30 December, 1852. The couple lived in St Pancras and went on to have 10 children. Two of their sons, William Oliver Williams, known as Oliver Rhys (1854-1907) and Reginald Arthur Williams or Reginald Arthur (1862-1899), also became artists. Oliver began exhibiting in 1851 under his full name William Oliver Williams at the British Institution and in 1858 made his debut at the Royal Academy. He also exhibited around the country at the Royal Birmingham Society of Artists, Glasgow Institute, Manchester Art Gallery and the Walker Art Gallery, Liverpool. In the early 1850’s he won a commission from the Arundel Society to travel to Italy to draw Giotto’s fresco in Padua and other classical works. He later used his knowledge to incorporate Roman and Greek themes into his paintings, particularly fabrics and costumes. Sometime during the early 1860’s he was declared bankrupt and moved his family to Corwen in Wales and later to Aberystwyth near to be closer to where his parents had retired. Perhaps prompted by this, he began signing his works William Oliver from 1867 and resumed exhibiting at the Royal Academy and elsewhere. By 1872, his circumstances had improved and he returned to London, residing in the St John’s Wood area. He spent his final years living at 41 Queens gate Gardens, Kensington where he died on 16 April, 1901. Examples of his work are held by a number of public collections including the Aberystwyth University School of Art, Atkinson Art Gallery, Birmingham Museum, Bradford Museum, Kirklees Museum, Manchester Art Gallery, National Museum, Cardiff, Parc Howard Museum, Sewerby Hall Museum, Sheffield Museum, Stockport Heritage Services, Sunderland Museum, Thirlestane Castle and the Walker Art Gallery. Presentation: The work is housed in a new, English made gilt frame which is in excellent condition. Condition: As with all of our original antique oil paintings, this work is offered in ready to hang gallery condition, having been professionally cleaned, restored and revarnished. © Benton Fine Art

Painted by Constantine Guys (French, 1802-1892) circa 1875 and stamped verso with Certification of Authenticity. A painter and illustrator in colorful watercolor and wash, Constanti...

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...

19th century French School oil on canvas. Four portraits and self-portraits after Rembrandt Harmenszoon van Rijn on a rectangular gilded...

Alfred John Bouchette, 1844 - 1893 A London painter of figurative subjects and portraits. He exhibited with the Royal Society of British Artists in London, the Manchester City Art Ga...

English Country Landscape - Watercolor on Paper Watercolor painting depicting an American country landscape by Oliver Louis Tweddle (English, B-1860). Four fishermen stand upon a br...

After an initial training at the Toulouse School of Fine Arts, Jules-Arsène Garnier joined the Paris School of Fine Arts in 1867 in Jean-Léon Gérôme's studio. As an academic artist, ...

Louis Marie Eugène Arthur PETIT (Paris, 1838 – Paris, 1886) Bouquet of Hollyhocks Oil on canvas Signed lower right 110 x 55 cm Eugène Petit was born in Paris in the ninth arrondis...

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

The Little Concert (Concertino) is an original oil on canvas realized by the italian painter Niccolò Cecconi (1835-1901) in the late 19th Century. Very good condition. Hand signed i...