19th Century Figurative Paintings

‘Carnevale di Venezia’ by James Holland RWS (1799-1870). The painting – which depicts an extensive view of the Grand Canal with hundreds of masked revellers before the Ducal Palace ...

Portrait of a Bearded Man French Impressionist artist, late 19th century oil on canvas, framed framed: 38.5 x 30.5 inches canvas: 36 x 28 inches provenance: private collection, Franc...

19th century French oil painting "The horse race" by Louis-Eugène Ginain The painter beautifully captured the moment in which an elegant and majestic brown horse is on the cusp of v...

The Country Squire English artist, circa 1820's period oil on canvas, unframed canvas: 30 x 23 inches provenance: private collection, UK condition: some minor indents and scuffs but ...

Portrait of a Lady, 19th Century Painting. Miniature on ivory. Wooden frame with leather back. 12 X 12 cm.  Good conditions!

Lovely 19th century romantic cityscape painting of Venice With vibrant colors and swift brushstrokes, the artist of the present painting wonderfully captured a large boat departing ...

‘Before Glyder Fawr’ by John Syer RBA RI (1815-1885). The painting – which depicts the famous Welsh mountain in Snowdonia – is signed by the artist and dated 1876. Academy Fine P...

19th century English Antique Victorian Summertime Harvest landscape, with figures. John Mundell was a British painter of landscapes as well as river scenes and coastal views. It is suggested that Mundell was a pseudonym of John James Wilson. Mundell’s work was vigorous, bright, and attractive and compares favorably with the work of many of the better artists of his time. This is a very fine example of the artist's work. It is a rare composition for the artist as he mostly painted marines. This piece is framed in its original antique gold leaf frame

Pierre BILLET Cantin (North), 1837 – Cantin, 1922 Oil on canvas 38.5 x 28.5 cm (48 x 36.5 cm with frame) Signed lower left “Pierre Billet” Stamp of the canvas merchant "Tasset & Loth...

Evening landscape on the river. wood, oil, 29x39 cm The artwork depicts a landscape scene of Netherlands, showcasing the unique characteristics and natural beauty of the region. Wi...

Enrique Mélida y Alinari, (1838 - 1892) Enrique Mélida was a Spanish painter, lithographer and writer. Through his marriage to Marie Bonnat, he is the brother-in-law of the painter ...

Born in Paris in 1836, Victor Gustave Cousin was a painter of landscapes and still lifes. He studied under Francois Edouard Picot (1786-1868), de...

A very skilfully drawn portrait of a traveller on a country road. The artist has meticulously captured the details of his dishevelled attire and his thoughtful expression. English ...

Cavaliers et bédouins marchants sur un chemin près d’une falaise. (panneau 32 *20 cm) Honoré Boze est un peintre orientaliste français, né à l'île Maurice...

A very interesting painting that show a view of the Palazzo del Quirinale and Palazzo della Consulta. The artist portrait an important description of these buildings placing emphas...

The Watsman, a painted view between Obersee and Koningsee, Upper Bavaria. Study painted in 1856 by François Roffiaen. François Roffiaen (1820-1898): Biography François Roffiaen's f...

An exceptionally vibrant original oil painting of chrysanthemums, estimated late 1800s. The movement of the flowers contrasts beautifully with a charmingly naiive vase and table. Ye...

Medium: Oil On Board Painting Size: 24.25 x 16.25 inches Frame Size: 29.75 x 21.75 inches Condition: This artwork is in good overall condition for its age. Signature: Signed Artist...

‘Llyn Gwynant and Mount Snowdon’ by Edward Charles Williams (1807-1881). The painting – which depicts figures seated on the lake shore before the iconic Mount Snowdon (Yr Wyddfa) i...

A wonderful 19th century interpretation of a David Teniers tavern scene. Men sit around smoking and playing cards in the dimly lit room as some warm themselves by the fire. Unsigned....

Welsh Landscape British artist, 19th century oil on board, framed framed: 7.5 x 10.5 inches board: 6 x 9 inches provenance: private collection, UK condition: very good and sound cond...

Work on canvas Golden wooden frame 44 x 66 x 2.5 cm

After Boucher "Rinaldo & Armada" 18.25 x 24.5 unframed

Set of Antique Chinese pith paintings depicting tea production Chinese, 19th Century Panel: Height 21cm, width 33cm Frame: Height 37cm, ...

Work on cardboard Molded frame in wood and gilded plaster 52.5 x 60.5 x 7 cm

The Old Fishing Harbour British School, late 19th century oil on board, framed framed: 19 x 27 inches board: 14 x 22 inches provenance: private collection, UK condition: very good an...

Portrait of a Lady French School, 19th century oil on canvas, framed framed: 34 x 29 inches canvas: 30 x 25 inches provenance: private collection, France condition: very good and sou...

A very atmospheric scene of a horse and cart crossing the river Wey (a tributary of the river Thames) under a beautiful twilight sky. There is wonderful detail and light with the ar...

A very tranquil scene of fishing boats moored in harbour with a sunlit sea beyond. Painted with a most attractive palette of blues and greens and with a pleasing composition that le...

Antique set of six Chinese paintings depicting weaving Chinese, 19th Century Panel: Height 32cm, width 21cm Frame: Height 47.5cm, width 36cm, depth 1.5cm This set of Chinese pith ...

A student of the great French academic Bouguereau, Lobrichon has done a moving and entrancing depiction of a young girl mid-gaze. Beautifully painted and done in a circular format t...

Signed figurative oil on board circa 1890 by French Nabis school painter Edouard Vuillard. The work depicts two seated ladies dressed in black with grey pinafores enjoying coffee together. Illustrated in the Catalogue Raisonne of Edouard Vuillard by Antoine Salomon and Guy Cogeval - Volume I, Page 229 - Reference IV-7 This striking work dates to between 1890 and 1891 which was without doubt Vuillard’s greatest decade as an artist. At this time the painter was working with the group of artist known as "Les Nabis" which included Pierre Bonnard, Maurice Denis, Paul Ranson, Ker-Xavier Roussel, Félix Vallotton, Paul Sérusier and Auguste Cazalis. The group played a large part in the transition from impressionism and academic art to abstract art, symbolism and the other early movements of modernism. They believed that a work of art was not a depiction of nature, but a synthesis of metaphors and symbols created by the artist. Signature: Signed lower right Dimensions: Framed: 19.25"x20.25" Unframed: 9.25"x10.25" Provenance: Renou et Poyet - Paris Roland, Browse & Delbanco - London (labels verso) c. 1955 The collection of Sir Alec Guinness Galerie Jan Krugier, Geneva - 1972 Nichido Gallery - Tokyo 1972 Private collection - Japan Christie's London - Impressionist & Modern Art - June 2016 Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute. At first, Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner. About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye. In 1891, Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël. All too often, Vuillard is only admired in his role as the harmonist, the serene contemplator who combines an exquisite sense of nuance, rhythms, and values with the most acute observation. These singular investigations, these three-dimensional meditations including a table, a folding metal cot...

Antique oil painting. Portrait of an Italian boy with a pipe. Painting restored. Frame with minor damage in places. Dimensions without frame: 40.5 cm x 50.5 cm.

**PLEASE NOTE: EACH PAINTING INCLUDING THE FRAME MEASURES 20 INCHES X 18 INCHES** Jean Pierre Haag French, (1842-1921) Daily Chores & Little Drummer Boy Oil on panel, pair, both sig...

J. Clays (British, 19th-20th century) - Still life with fruit basket. 61 x 51 cm without frame, 67.5 x 58 cm with frame. Antique oil painting on canvas, in a gilded wooden frame. ...

ROGELIO DE EGUSQUIZA Spanish, 1845 - 1915 A REVERIE DURING THE BALL signed and dated "Rogelio Egusquiza, 1879" (lower right) oil on canvas 21-3/4 X 3...

Germain PAGET (Morbier, 1817 – Morbier, 1884) Portrait of a girl Oil on canvas Signed lower right 65 x 54cm Germain Paget was born in Morbier on May 18, 1817, second in a family o...

A very characterful image of a farrier or blacksmith enjoying a drink in an interior. Alfred H Green (working 1844-1878) A farrier in an interior enjoying a drink Signed Oil on boar...

The Gleaner by Charles Sillem LIDDERDALE (British, 1831-1895) signed & dated 1890 oil painting on canvas, framed in what we believe to be the original frame framed: 51.5 x 37.5 inch...

Work on canvas

The Drummer French School, late 19th century Post-Impressionist School oil on canvas, framed framed: 28 x 22.5 inches canvas: 24 x 18 inches provenance: private collection, France co...

19th century oil painting of a market scene by H. C. Bryant English, 1877 Canvas: Height 51cm, width 76.5cm Frame: Height 68cm, width 93.5cm, depth 5cm Painted by the English artis...

Emanuel Oberhauser (Austrian 1854 - 1919) “Mermaids, Neptune and Sea Water Nymphs” An Exceptional Oil on Canvas Painting painted circa 1885. Mas...

JAMES WATERSON HERALD (1859-1914) Scottish painter in the ‘wet’ style associated with the Glasgow Boys, of whom he was a contemporary. Born in Forfar he trained in art and had a succ...

Florentine painter (19th century) - Madonna with Child on a gold background. 77 x 58 cm. Oil on polylobed panel. Condition report: Good state of conservation of the pictorial surf...

Notre Dame. Miniature painting. Souvenir from Paris. Paint and mother-of-pearl fixed under glass. Good condition. Diameter : 6 cm

Oil on panel Image size: 12 1/2 x 9 1/4 inches (31.75 x 23.5 cm) Original frame This is a captivating portrait of a young woman who we appears to be a traveller. The painting has a ...

OIL PAINTING SIGNED OLD FINE MASTER PAINTER 19th Century BRITISH SCHOOL Fine Original Antique 19th Century British OLD MASTER OIL PAINTING GOLD GILT FRAME NEW COLLECTION Of RARE PIECES OF ENGLISH HISTORY By Major John Edward Bale Similar $5,000 Premier Collection Excellent Condition Panel, Professional Cleaned & re-varnished Ready to hang. frame is in wonderful condition . ( note all this would cost £600 alone) John Edward Bale, was born at Low Farm House, Pattesley-cum-Oxwick, South Creake, Norfolk on 27 July and baptised at South Creake on 1 August 1834, eldest child of John Edward Bale (1803-27 April 1862), a farmer of 620 acres, and his wife Mary née Branford, who married at Horningtoft, Norfolk on 27 November 1833. In 1841, a 6 year old, living at Low Farm with his parents, 35 year old John and 28 year old Mary, and his two sisters, Mary 3 and Esther 1. In 1861, a 26 year old 'artist architecture' boarding at 11 Bulstrode Street, Marylebone, London but in October 1863, he was an Ensign by purchase in the 1st West Indian Regiment. As a lieutenant, whilst on a tour of duty in West Africa, Surgeon Major Augustus Frederick Elliott (born 1834), kept a diary (now at Duke University Library) which is embellished with calligraphy and watercolour titles by Bale. During this tour, Bale was promoted to Captain and retired from the army in 1881 with the rank of major. Bale married at Christ Church, Ealing on 10 November 1868, Charlotte Gordon Lee née Johnson (c1847-1910). A painter in oil and watercolour and a member of the Ipswich Fine Art Club 1886-1890 and as Major Bale exhibited from 9 Creffield Terrace, Colchester, Essex in 1888, 'View from Museum...

A charming late 19th century oil in the folk art style, depicting All Saints Churchyard in Waterlooville. The artist has beautifully captured two evergreen yews on either side of a d...

Hendrik Barend Koekkoek Amsterdam 1849 – 1909 London Dutch Painter "Figures Strolling through a Forest in Winter" Signature: signed lower right, c. 1882-1900 Medium: Oil on canvas Dimensions: Image size 76,5 x 64 cm, frame size 103 x 89,50 cm Biography: Koekkoek Hendrik Barend, often signing as Hendrik Barend (H.B.) Koekkoek, in the realm of 19th-century art, emerges as a captivating painter born in Amsterdam on November 23, 1849. A scion of the esteemed Koekkoek family, he gained renown for his landscapes and woodland scenes, following in the artistic footsteps of his father, marine painter Hermanus Koekkoek. Barend Hendrik Koekkoek’s life unfolds with a certain mystery, his artistic journey shaped by training from his father and, likely, his uncle Marinus Adrianus. In 1878, he tied the knot with Carolina Allardina Cornelia Pierson and ventured into the artistic scenes of Hilversum and Brussels, simultaneously opening an art dealership in Amsterdam. Around 1882, the call of London beckoned, echoing the path paved by his brother Hermanus Koekkoek the Younger. In England, he painted landscapes near Guildford, akin to his cousin Pieter Hendrik Koekkoek. The latter part of his life remains shrouded in obscurity. Barend Hendrik Koekkoek’s artistic style, steeped in the romantic tradition of the Koekkoek family, adorned canvases with landscapes, woodlands, and marine scenes. His London sojourn witnessed the creation of winter landscapes with towering trees, showcased in exhibitions across Dutch cities. He breathed his last in London before 1909. His artistic legacy lives on in institutions like the Paul Tétar van...

This painting by Gustaf Brandelius, a 19th-century Swedish artist, evokes the pastoral tranquility and rural life of the era. Brandelius was not only a painter but also served in the...

Alone in the world Signature on the left Presented in a period frame Provenance: Sold in Paris on February 6, 1895, at Drouot, for 140 Gold Francs (Bénézit) Biography Henri-Joseph ...

Seated female figure is original oil painting on panel realized by the artist Domenico Morelli (1823-1901). Hand signed overleaf. Stamp "Galleri...

Here is an almost two hundred year old painting which is so irresistibly charming that it's crazy! You may have seen painted landscapes, portraits, genre scenes - but how many pretty...

Pinckney MARCIUS-SIMONS New York, 1867 - Bayreuth, 1909 Joan of Arc Painting, oil on canvas Signed Painting: 60 x 46 cm (23.6 x 18.1 inches) Frame: 78 x 64 cm (30.7 x 25.2 inches) Ve...

William Bromley British, (1816-1890) Gone Fishing Oil on canvas, signed Image size: 13.5 inches x 17.5 inches Size including frame: 18.75 inches x 22.75 inches A picturesque genr...

Small Neapolitan fishermen with girl. XIX century. Foreign artist active in Italy. Painting representing two children against the background of the Gulf of Naples with the volcano...

Huge 19th century landscape "Paysage avec un berger au crépuscule" (landscape with a shepherd at dusk) by Henri Matthys This peaceful countryside landscape depicts a shepherd return...