Late 19th Century Figurative Paintings

Italian oil on canvas painting of a lacemaker by Paoletti Italian, late 19th Century Frame: Height 119cm, width 93cm, depth 5cm Canvas: Height 101cm, width 76cm This beautiful paint...

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

Paper Size: 24.5 x 18.3 cm Mount Size: 35.8 x 27.8 cm More details to follow

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...

This late 19th-century maritime painting by George Stainton captures the dramatic return of a fishing boat to harbor, skillfully portraying the power of the sea and the resilience of...

OLD MASTER OIL PAINTING High Quality 19th CENTURY The harbour GGF Description OLD MASTER LARGE OIL PAINTING 19th Century NEW COLLECTION Of RARE PIECES OF ENGLISH HISTORY “Very G...

Wonderful watercolor of early Avalon, Santa Catalina Island by Guy Bedford (American, 1866-1916), 1898. Signed, titled and dated lower left corner. Cond...

After the original by Henrika Langus (Slovenian, 1836-1876) and painted circa 1880. Unsigned. Framed dimensions: 17.25 x 1 x 15.5 inches. A charming and antique study of a young, f...

Second half of 19th Century. Signed by the artist lower right. Includes a beautiful decorated ancient gilded frame in wood. Excellent conditions.

EDUARDO LEÓN GARRIDO Spanish, 1856- 1949 AN ELEGANT DANCE signed "E. L Garrido" (lower right) oil on mahogany wood panel 25-1/8 x 32 inches (63.5 x 81 cm.) framed: 31 x 38 inches (78.5 x 96 cm.) PROVENANCE Private Spanish Collector Eduardo León Garrido (Madrid, 1856 - Caen, 1949) was a Spanish painter. He began his training at the Higher School of Painting in Madrid and as a disciple in Vicente...

Firmado en la parte inferior con iniciales (pero desconozco el artista) Se presenta enmarcada la obra Medidas obra: 139 cm. de altura x 104 cm. de ancho Medidas obra: 154 cm. de a...

Félix Henri Bracquemond was a French painter, etcher, and printmaker. He played a key role in the revival of printmaking, encouraging artists such as Édouard Manet, Edgar Degas and C...

Medium: Oil on Panel Signature: Signed "H. Pyle" Lower Right and Inscribed Indistinctly On the Reverse "At the same time he extended toward King Louis the ...

R.Ellis English late 19th-century landscape of a Watermill by a Stream and a bridge. Original frame oils on card Signed and dated on the reverse and lower right. Ellis was a la...

An atmospheric oil landscape depicting sunset over the Strand Quay at Rye. Well presented in a heavy gilt frame and slip, with egg and dart running pattern to the inner window and la...

An elegantly dressed woman sits gazing out of a window with a book on her lap. A fine example of the type of contemplative genre scenes for which Birney was well-known. William Verp...

FABIAN DE LA ROSA Filipino, 1869 - 1937 "FILIPINO GIRLO COMING DOWN THE STEPS" signed & dated "F. de la Rosa, 1894" (lower right) oil on canvas 42-3/4 x 23-3/4 inches (108 x 60...

Illustration for the article ”Old New York Taverns” by John Austin Stevens for Harper’s New Monthly Magazine, published May 1890, Page 849. The article explores the significant role...

Charles Spencelayh British, (1865-1958) The Lantern Oil on canvas, signed Image size: 13.5 inches x 9.75 inches Size including frame: 20.25 inches ...

Henry L. Richter (1870-1960), Charity, Oil on Canvas, 19th century, depicting a woman giving change to an invalid inside a church, signed lower right, unframed. 32.5" H x 19.75" W.

This captivating maritime painting, likely the work of an English artist, dates to the late 19th century and showcases a masterful command of light and texture. The composition featu...

Tranquil Riverbank English School, late 19th century oil on canvas, framed Framed: 18.75 x 31 inches Canvas: 12 x 24 inches Provenance: private collection, UK Condition: very good co...

William Arthur Breakspeare. English ( b.1855 - d.1914 ). A Rendezvous In The Park In The Autumn Fall. Oil On Panel. Signed Lower Right. Image size 12.6 inches x 7.3 inches ( 32cm x 1...

Giuseppe Costa (Italian, 1852-1912) Untitled, c. late 19th-early 20th century Oil on wood panel 12 x 7 in. Framed: 16 1/2 x 11 2/3 x 1 in. Signed lower right Giuseppe Costa was an I...

Léon HERBO (1850-1907), Young boy with a flute, oil on canvas, signed upper left and dated 1879. This painting seems inspired by the painting "Singing Boy with a Flute" by the Dutch ...

FRANCISCO MIRALLES Y GALUP Spanish, 1848- 1901 CARRIAGE RIDE BY THE RIVER signed and dated "F. Miralles, 1881" (lower left) oil on canvas 12-3/4 X 1...

Harrison Bird Brown Maine Cliffs, Rough Sea Signed lower right Oil on canvas 20 x 36 Provenance Estate of John Carter, Gloucester, MA Harrison Bird Brown was born in 1831 in Portl...

Work on canvas Molded frame in plaster and gilded wood 59 x 49.5 x 5 cm

A dramatic, one of a kind oil study. Certainly not your run of the mill 19th Century portait! Depicted is a young man, whose face is brightly lit from what is likely is an open fire....

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...

ANTONIETTA BRANDEIS Czechoslovakian, 1848 - 1926 FLORENCE´S BRIDGE signed "ABrandeis" lower right oil on canvas 10-3/5 x 14-4/5 inches (27 x 37.5 cm.) unframed PROVENANCE Private Collection, Barcelona Antonietta Brandeis (also known as Antonie Brandeisová) (1848–1926), was a Czech-born Italian landscape, genre and portrait painter, as well as a painter of religious subjects for altarpieces. She was born on January 13, 1848, in Miskovice (near Kutná Hora) in Bohemia, Austria-Hungary.[2] The first bibliographical indication of Antonietta Brandeis dates from her teens, when she is mentioned as a pupil of the Czech artist Karel Javůrek of Prague.[3] After the death of Brandeis' father, her mother, Giuseppina Dravhozvall, married the Venetian Giovanni Nobile Scaramella; shortly afterward the family apparently moved to Venice. In the 1867 registry of the Venetian Academy of Fine Arts, Brandeis is listed as being enrolled as an art student. At this time, Brandeis would have been nineteen, and one of the first females to receive academic instruction in the fine arts in Italy. In fact, the Ministry granted women the legal right to instruction in the fine arts only in 1875, by which time Brandeis had finished her education at the Academy. Brandeis’s professors at the Venetian Academy of Fine Arts include Michelangelo Grigoletti and Napoleone Nani for life drawing, Domenico Bresolin for landscape, Pompeo Marino Molmenti for painting and Federico Moja for perspective. Already during her first years of study there is evidence of Brandeis' skill-in her first year she is awarded prizes and honors in Perspective and Life Drawing. Brandeis’ continuing excellence and diligence in her artistic studies during the five years she spends at the Academy is attested to in the lists of prize-winning students of the Academy “Elenco alunni premiati Accademia Venezia in Atti della Reale Accademia di Belle Arti in Venezia degli anni 1866-1872”.[4] It includes numerous mentions of prizes and high honours won by Brandeis in Art History, Perspective, Life Drawing, Landscape and Anatomical Drawing, Drawing of Sculpture, and “Class of Folds”. It is in Venice at the Academy that Brandeis perfected her skills as a meticulous landscape and cityscape painter, with intricate and luminous details in the tradition of the eighteenth-century “vedutisti”. In 1870, while still a student at the Academy, she participated in her first exhibition; that of the Società Veneta Promotrice di Belle Arti with the oil painting Cascina della Madonna di Monte Varese. She is documented as having exhibited eight paintings during the years 1872 to 1876 with the Società Veneta Promotrice di Belle Arti, both landscapes and genre scenes. In the exhibit of 1875 her landscape Palazzo, Marin Falier is sold to M. Hall of London for 320 lire, a first indication of the success Brandeis will achieve with foreign collectors of her work (particularly the English and German visitors to Italy on the Grand Tour circuit). During these same years, she showed two paintings in the Florentine exhibit Promotrice Fiorentina. The first painting, entitled “Gondola” is a subject which she repeats in new variations throughout her career with great success. The second, perhaps a genre painting, is entitled “Buon dì !” The two paintings remained unsold and were presented at the same exhibition the following year, together with two more genre scene paintings. In 1876 and 1877 she exhibited three landscapes of Venice at the Promotrice Veneta, which sold to foreign collectors. In November 1877 Brandeis showed the large painting Palazzo Cavalli a Venezia at the exhibition of the Hungarian Fine Arts Society in Budapest. In both Florence and Budapest, Brandeis showed her work under the name “Antonio Brandeis”. The biographer De Gubernatis offers the following explanation for the change of name: “her first pictures received praise and criticism; she took the criticism, but when she was praised as a woman she was annoyed, and therefore exhibited under the name Antonio Brandeis.” During the years 1878 to 1893 Brandeis painted and exhibited numerous works, primarily scenes of Venice, and although she resided chiefly in that city she also traveled and painted in Verona, Bologna, Florence, and Rome. As well as in Venice and Florence, she exhibited in Turin, Milan, and Rome. In 1880 she was present at the International Exposition of Melbourne with three paintings: Palazzo Cavalli, A Balcony in Venice and The Buranella- native of Burano Island near Venice. Brandeis was a prolific painter, and often replicated her most popular subjects with only slight variations. She was represented in Venice at the photographer Naya’s studios in Piazza San Marco and in Campo San Maurizio and in Florence she collaborated with the picture dealer Giovanni Masini. During this period of intense activity painting landscapes en plein air and genre scenes, Brandeis also is documented in De Gubernatis as a painter of religious altarpieces. Several of these altarpieces can be found on the Island of Korcula in Croatia. Two are visible in the parish church of Smokvici and of in the church of St. Vitus in Blato. In the sacristy of the Cathedral of Korcula is a Madonna with Christ Child painted by Brandeis. For the same church she also painted a copy of the central panel of Giovanni Bellini’s triptych from the Venetian Church of Santa Maria dei Frari Gloriosa (1488). In 1899, for the main altar of the chapel of St. Luke in the Korcula town cemetery, Brandeis painted a St. Luke, which shows the sparkling colors and free impasto typical of her plein air oil paintings. On October 27th 1897 at the age of 49, Brandeis married the Venetian Antonio Zamboni, a knight and officer of the Italian Crown and knight of the Order of SS. Maurizio and Lazzaro. The couple continued to reside in Venice and Brandeis continued to show at Italian exhibitions in Venice, Florence, and Rome although more sporadically and with fewer works than before. Although she participated in the International Exposition of Watercolourists in Rome in 1906 with a “Study” and in the Società Promotrice delle Belle Arti in Florence in 1907 and 1908 with two oil paintings, De Gubernatis quotes Brandeis as saying in 1906, that even though she resides in Venice “I am a foreigner, and for some time I have not taken part in Italian Exhibitions, sending all my paintings to London.[3] Antonio Zamboni died 11...

Les collectionneurs d'art, Oil on panel by Léon BRUNIN (1861 - 1949) Léon Brunin's subjects are always meticulously painted, with abundant reproduction of detail and as many shades ...

This exquisite oil on canvas painting, "The Walk on Sunday," by Hippolyte Fournier is a captivating depiction of 19th-century leisure. The artist's meticulous brushstrokes bring to l...

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

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...

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 c...

Frank Walters (British, late 19th century) - Highland Cattle at the Lake. 51.5 x 76.5 cm without frame, 57 x 82 cm with frame. Antique oil painting on canvas, in a gilded wooden fr...

3289 Oil on canvas applied to a board Set in a gilt wood frame.Signed by H.K. Mann Image size 19 H x 15 .Wear on canvas

'Love lyrics,' a romantic Italian genre painting by Antonio Paoletti Italian, Late 19th Century Panel: height 40cm, width 50cm, depth 1cm Frame:...

A perfect example of Charles Baxter's work. A beautiful Spanish lady wearing typical Spanish attire. Despite being unsigned, the painting has full provenance having being fully catal...

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

SPANISH SCHOOL, 19th CENTURY ARTIST UNKNOWN oil on canvas 10-1/2 x 7-5/8 inches (26.5 x 19.3 cm.) framed: 15-1/2 x 12-1/2 inches (39 x 31.5 cm.) PROVENANCE Spanish Collector, Madrid...

Attributed by Nikolay Alekseyevich Kasatkin (1859 - 1930). In this touching artwork, the artist perfectly conveyed the character of the old woman, who has seen a lot in her life. The hands, tired out and riddled with veins, lie helplessly on the knees. Her slouched body tells us about the load of years lived. The painter skillfully conveys a sense of wisdom, kindness, and humility through her wrinkled face and detached gaze. The painting exudes warmth with a subtle touch of sadness and reflection on a life lived. Thanks to moderately contrasting colors, the portrait comes to life and shows us the depth of the artist's intention. Kasatkin not only continued the traditions of the best masters of portraiture in Russia in the 19th century, but also introduced new principles into it. He sought to display on canvas not only the external features of a person, but also to demonstrate his spiritual world. Antique oil painting on canvas, signed bottom left, framed. Size app.: 68.5 x 52.3 cm (roughly 27 x 20.6 in), frame is 80.5 x 63.5 cm (roughly 31.7 x 25 in). Very good condition, very well preserved recently conserved condition with minimal wear (notice few micro losses here and there). Please study good resolution images for cosmetic condition. In person actual painting may appear darker or brighter than in our pictures, strictly depending on sufficient light in your environment. Weight of app. 5.4 kg is going to measure 8 kg packed for shipment. Nikolay Alekseyevich Kasatkin (1859 - 1930) was a Russian painter, considered to be one of the founders of Social Realism in Russia. From 1873 to 1883 he studied at the Moscow School of Painting, Sculpture and Architecture with Vasily Perov and Illarion Pryanishnikov. Upon graduating, he received a medal for his painting "Beggars at the Church Door". In 1891, he began exhibiting with the Peredvizhniki and, from 1894 to 1917, was a teacher at his alma mater. For thirty years, beginning in 1883, he worked with Ivan Sytin, providing illustrations for his popular almanac/calendars and teaching lithography. He also contributed The Great Reform, an encyclopedia that celebrated the fiftieth anniversary of the Emancipation (1861), and a collection called "Russian History in Pictures". In 1903, he became a member of the Imperial Academy of Arts. He participated in the Exposition Universelle (1900), where he won a silver medal, and the Louisiana Purchase Exposition (1904), among others. In 1923, following the Civil War, he was named the first "People's Artist of the Republic" and became a member of the AKhRR (Association of Artists). He is considered to be one of the forerunners of Socialist Realism in the arts and was sometimes called the "Gorky of Painters". In 1956, the Soviet Union honored him with a 40 kopeck commemorative postage stamp. In 1971, his painting of a female mine worker...

"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...

Date: 1886 Medium: Oil on Board Dimensions: 14.00" x 17.00" Signature: Signed at Bottom Right Corner Wide Awake Magazine, Oct., 1886.

Óleo sobre lienzo de Baldomer Gili Roig – Mujeres cosiendo, firmado, con marco ornamentado. Magnífica pintura al óleo sobre lienzo del reconocido artista catalán Baldomer Gili Roig ...

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...

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...

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 ...

Russian watercolour of the coronation of a Tsar Russian, late 19th Century Frame: Height 39cm, width 30cm, depth 0.5cm Sheet: Height 36cm, width 2...

Original oil on mahogany wooden panel of a young gypsy woman in a colorful headdress and costume. Signed middle right and dated 1885, Brussels. Original inscription paper label vers...

This fine study is a charming depiction of an intimate domestic scene with figures gathered around a glowing fire for warmth. The artist employs a muted colour palette and loose brus...

A painting of Sappho by Ettore Forti Italian, c.1900 Frame: Height 85cm, width 38cm, depth 2.5cm Canvas: Height 73cm, with 26.5cm, depth 2.5cm This excellent portrait painting depic...

Untitled Pair of Portraits, c. late 19th century Oil on canvas 20 x 16 in. Framed: 22 x 19 1/4 x 1 in. One painting initialed lower right Both inscribed verso on stretcher bar

Owning a 19th century Victorian Highland landscape with pony and gun dogs with a gillie circa 1880, offers a unique opportunity to own a piece of art that encapsulates the pastoral beauty and tranquil charm of the Victorian era. Duvall's work is celebrated for its meticulous attention to detail, evoking a sense of serenity and timelessness. This painting not only serves as a stunning decorative piece but also represents a valuable object, given the historical significance and enduring appeal of Victorian art. Owning such a painting allows you to connect with the rich cultural heritage of the period, while enhancing your collection with a work that exudes both artistic merit and nostalgic elegance. John Duvall...

Beautiful, highly detailed original oil on canvas painting of a young maid stopping her work to read a book in the library room. The artist is the Belgian artist, Jean Daniel Stevens...

Georgine Lara English Village landscape A painting by Georgina Lara depicting a 19th-century English village scene offers a charming and evocat...

FABIAN DE LA ROSA Filipino, 1869 - 1937 FILIPINO FARM WORKERS IN HORSE CARRIAGE signed & dated "F. de la Rosa, 1894" (lower left) oil on canvas 42-3/4 x 2...

A fine 19th-century oil study of Moses in the desert as he strikes the rock to produce water. The Israelites gather around, in gestures of amazement as they gather the water in bowls...

Large 19th century American Orientalist painting by Strain American, 1883 Canvas: Height 65cm, width 56cm Frame: Height 92cm, width 82cm, depth 8cm This impressive Orientalist oil p...