Mid-19th Century Figurative Paintings

Antique Victorian, Impressionist 19th century English oil, Fishings boat at Sea. Adolphus Knell was a superb painter of marine subjects during the middle of the 19th century. His wor...

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...

Alfred Vickers Senior (1786–1868) Shipping off the Coast, oil on canvas, circa 1860, signed lower left This lively coastal scene by Alfred Vickers Senior, painted circa 1860, reveal...

A truly unique and engaging piece of European Folk Art from the mid 19th Century. This vibrant and crisp scene shows two smartly dressed peasants standing in an expansive, beautiful Swiss mountain...

Benjamin Théophile CHARON-LÉMERILLON (Paris, 1807 – Bouzareah (Algiers), 1873) Full-length portrait of Jules Michel Simonet (1834-1881) as a child with his dog Oil on canvas Signed...

Irma Martin (1814–1876): A Woman Painter in the 19th Century Irma Martin, born Anne Pierrette Marie Martin on September 3, 1814, in Lyon, emerged as a professional painter in a time...

This accomplished allegorical scene depicts the story in Anacreon’s Ode where Cupid is captured by the Muses. Entwined in a chain of flowers, the Muses lead cupid to captivity, where...

"Enjoying Old Times" by Charles Baker captures a poignant and joyful moment in the life of an older man, immersed in the beauty of nature. The painting features the man in the midst of a hike, his weathered walking stick in one hand, and a bottle of champagne in the other. His gaze is fixed on the bottle, a focused and content expression playing on his lips, suggesting a celebration of memories or perhaps a spontaneous toast to the present moment. Baker’s use of warm, earthy tones highlights the natural surroundings, with the man standing against a backdrop of greenery, a rocky path, and a clear, open sky. The composition is rich in detail, from the rugged texture of the man’s clothes...

John Frederick Kensett (1816 - 1872) Portrait of an Italian Fencer, circa 1845-47 Watercolor on wove paper 13 1/8 x 8 1/8 inches Signed with initials and inscribed lower right "J.F.K. Rome" From October 1845 through the spring of 1847, Kensett lived in Rome. He attended classes where he sketched from live models, and he sketched in the countryside outside Rome and around Florence, Perugia, and Venice, places he visited with his artist friends. He fulfilled commissions for paintings from Americans in Italy, and by 1847 his career was well established. Son of an English immigrant engraver, John Kensett lacked enthusiasm for that medium and became one of the most accomplished painters of the second generation of Hudson River School painters. His reputation is for Luminism, careful depiction of light, weather, and atmosphere as they affect color and texture of natural forms. He was particularly influenced by the painting of Asher Durand in that he focused on realism and detail rather than the highly dramatic views associated with Thomas Cole. Going to the western United States in the mid 1850s and the 1860s, he was the first of the Hudson River School painters to explore and paint the West. Kensett was born and raised in Cheshire, Connecticut, and learned his engraving from his father, Thomas Kensett with whom he worked in New Haven, Connecticut until 1829. He continued working until 1840 as an engraver of labels, banknotes and maps and was employed part of that time by the American Bank Note Company in New York City. There he met Thomas Rossiter, John Casilear, and other artists who urged him to pursue painting. In 1840, he and Rossiter, Asher Durand, and Casilear went to Europe where Kensett stayed for seven years and supported himself by doing engraving but became accomplished in landscape painting. Having sent canvases of Italian landscapes back to New York, he had a reputation for skillful painting that preceded him. When he returned to New York City in 1847, he was an "instant success" and very sought after by collectors. Two of his Italian landscapes had already been purchased by the American Art Union. By 1849, he was a full member of the National Academy of Design and was generally popular among his peers. His studio was a gathering place with travelers stopping by to see his canvases and to identify "precise locations in the Catskills or Newport or New England in the oil sketches and drawings that covered his walls." (Zellman 170). For the women, he was a popular bachelor, "romantic looking with high forehead and sensitive expression." (Samuels 262) He was also sought after by many organizations. Among his activities were serving on the committee to oversee the decoration of the United States Capitol in Washington DC, and becoming one of the founders of the Metropolitan Museum in New York. An inveterate traveler, Kensett spent summers on painting excursions away from New York City. One of these trips was a special painting excursion with fifteen other artists sponsored by the B & O Railroad from Baltimore, Maryland to Wheeling, West Virginia. Unlike many of the Hudson River painters...

Antique Danish Orientalist oil painting of a military scene by Niels Simonsen Danish, 1860 Canvas: Height 27cm, width 35cm Frame: Height 43cm, width 52cm, depth 4cm This very fine O...

John Rabone Harvey ( 1966 - 1922) graphic and chalk deep green artist paper , unframed artist paper : 7 x 5.5 inches Provenance: private collection Condition: very good condition Ha...

John Rabone Harvey ( 1966 - 1922) graphic and chalk deep green artist paper , unframed artist paper : 7 x 5.5 inches Provenance: private collection Condition: very good condition Ha...

John Rabone Harvey ( 1966 - 1922) graphic and chalk deep green artist paper , unframed artist paper : 5.5 x 7 inches Provenance: private collection Condition: very good condition Ha...

John Rabone Harvey ( 1966 - 1922) graphic and chalk deep green artist paper , unframed artist paper : 7 x 5.5 inches Provenance: private collection Condition: very good condition Ha...

John Rabone Harvey ( 1966 - 1922) graphic and chalk deep green artist paper , unframed artist paper : 5.5 x 7 inches Provenance: private collection Condition: very good condition Dou...

Sir William Blake Richmond KCB, RA, PPRBSA 1842 - 1921 The Shepherd Egg tempera on wooden panel, signed with initials bottom left Image size: 8 ¼ x 5 ½ inches Period gilt oak frame A newly discovered work by the artist. Sir William Blake Richmond KCB, RA, PPRBSA was an English portrait painter, sculptor and a designer of stained glass and mosaic. He is best known for his portrait work and decorative mosaics in St Paul's Cathedral in London. He was the son of the portraitist George Richmond RA and studied at the Royal Academy Schools in the early 1860s. Influenced by his father and by Sir John Everett Millais, he is best known for his mosaic decorations below the dome and in the apse of St Paul's Cathedral in London. His father, George Richmond, was one of 'the Ancients' who were a group of artists who formed around the visionary artist and poet William Blake. Samuel Palmer was an other of the ancients and a close friend of the family. Our painting could have been inspired by George Richmond’s engraving 'The Shepherd', 1827, but in our panel the shepherd is turned round facing away, and is playing a flute instead of resting on a staff. But the sheep and other elements are there. It is also suggestive of Welby Sherman's engraving after Samuel Palmer of the same name and date, but here the shepherd is sitting but like ours turned away. William Blake's is an altogether happier image given the figure is playing to his sheep. Our painting is playing with some of the same ideas and feels like the same sort of period, and the ‘fresco’ like chalk ground is interesting, as is the pen and ink finishing on the tempera. All three are strongly influenced by Blake's illustrations to Thornton's 'Virgil'. The shepherd and his flock are clearly based on Thenot and his sheep in the Frontispiece to Thornton. Blake Richmond wrote:"If there be the least value in my pictures, it is due to such lovely early impressions derived from the sweet poetic work of many of my father's contemporaries, Calvert, Blake and others, whose shadows are substance still to me" [Sir William Blake Richmond, letter to his father, 50 years after the death of William Blake, from Stirling op. cit p. 28]. Richmond was given private art lessons by John Ruskin before attending the Royal Academy for three years. After that he spent a number of years in Italy, where an encounter with a shepherd called Beppino, 'a splendid speciman of a Sabine Shepherd', could also have gave him the inspiration for the painting we show here. Richmond recalls how he met Beppino on the hillside, and was invited to share the shade of the shepherd's capanna, a wooden hut. 'What a place! In an instant of time I was back into the age of kings, and I knew Romulus had lived and am sure that he lived in a hut exactly like this one'. That night Richmond dined at Beppino's hut 'on roast kid, hard bread dipped in Roman wine, goat's cream and white ricotta'. The shepherd had such an impression on Richmond that he sought him out on a return visit to Italy some years later, but was saddened to hear that Beppino 'had joined his fore-fathers in the shades'. He was moved to write the following, which perfectly expresses the mood of this painting and his tribute to a fleeting companion: 'Little events of this kind unite past times with present, create and emphasis continuity of human instincts, which seem to defy time and make travel so intensely interesting and invigorating to a citizen of this world. One need not go to the palace, far otherwise, or to cities and towns to discover the kernal of enduring civilisations. One finds it, if one wills to do so, in the backbone of the world, an ancient peasantry who have watched and still watch the progress of the stars'. Richmond was influential in the early stages of the Arts and Crafts Movement in his selection of bold colours and materials for the mosaics in St. Paul's Cathedral and in his collaboration with James Powell and Sons...

Edward William Cooke RA (1811–1880) Dutch Beach at Scheveningen, oil on canvas, circa 1850 This sweeping coastal scene by Edward William Cooke, painted circa 1850, captures the bust...

The Greeting British School, mid 19th century signed with initials oil on canvas, framed in antique gilt swept frame framed: 37 x 32 inches canvas : 30 x 25 inches Provenance: priva...

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...

Nicolas Edward GABE (Paris, 1814 - Paris, 1865) The death of General Négrier on Place de la Bastille on June 25, 1848 Oil on canvas Signed and dated lower right 82 x 101 cm 1849 Nicolas Edward Gabé is a 19th century artist who is still little studied to this day and yet seems to have enjoyed, according to the artistic press of the time, a certain notoriety, in particular for his seascapes. The few bibliographical elements that we have come from the Salon booklets and tell us that the artist was born in Paris in 1814, therefore shortly before the end of the Empire. No elements on his artistic training are mentioned in the booklets, we just know that Gabé exhibited at the Paris Salon from 1835 to 1864 where he first practiced miniature then then approached easel painting, risking himself as well in still life that the seascapes, the landscape, the portrait or the hunting. According to press articles, he also took part in various exhibitions in the provinces such as Boulogne-sur-Mer and Marseille. Notably, Gabé did not exhibit at the Salon his large historical canvases on the revolution of 1848, which today are of obvious documentary and iconographic interest; probably for political reasons which are easily understandable to us today in view of the historical events of then. Gabé died in Paris at the age of 51 on January 4, 1865 with a mention in the January 7, 1865 edition of L'Union des Arts: “The death of Mr. Gabé, painter, well known in the export trade in paintings as well as to the auctioneers' hotel, whose sales it supplied through its numerous navies. “ "On June 25, 1848, in front of the barricades erected in the Bastille by the insurgents of the Red Republic, General Négrier fell to death, while he was uttering words of order and conciliation". Here are the opening lines of the tribute paid by Colonel Borgarelli d´Ison, friend of General Négrier. General Négrier belonged to a family from Maine, brought back by Marshal Lannes from emigration. Born in Le Mans on April 27, 1788, François Marie Casimir de Négrier entered, barely 18, as a volunteer in the 2nd Light Infantry Regiment. He began in 1806 with the campaigns of Prussia and Poland, during which he earned, through his bravery, the rank of sergeant and the decoration of the Legion of Honor. He made the following campaigns in Spain and Portugal, and left, with his regiment, only for the campaign of France, in 1814, after having risen successively, by actions of brilliance and by a serious wound, to the ranks of head of battalion and officer of the Legion of Honor, with which he was provided from October 1813. The Restoration retained his rank in his regiment. After having fought and wounded a second time seriously in Waterloo, Négrier was recalled in 1816 under the second Restoration. He was appointed, in 1825, lieutenant-colonel, then colonel in 1830, brigadier general in 1836, and of division in 1841. From March 1837 he participated in the conquest of Algeria. The Revolution of 1848 found Negrier in possession of the important command of the 16th Military Division in Lille. Quaestor of the Assembly in these times which promised to be troubled, Négrier reviewed the Place de la Concorde on June 23 at around noon various mobile guard battalions. He then took the head of 2,000 men provided by the 10th and 11th legions of the national guard and bivouacked on the Place du Palais until the next day 24. On Sunday 25 at nine o'clock, the Négrier division resumed the fight towards the Saint suburb. -Antoine. The troop gains continual advantages. At around two o'clock the column of Négrier had seized the Pont Marie: it had removed the barricades from the Quai Saint-Paul, the rue de l'Etoile, the rue des Barres...

French school of the 19th century Monks excavate and find ancient relics Oil on canvas56 x 46.5 cm (68 x 57.5 cm with the frame) Beautiful period frame in gilded wood Good condition ...

John Rabone Harvey ( 1966 - 1922) graphic and chalk deep green artist paper , unframed artist paper : 5.5 x 7 inches Provenance: private collection Condition: very good condition Ha...

Louis Étienne WATELET (Paris, 1780 – Paris, 1866) Panorama of the river, a cathedral in the distance Oil on canvas 24.5 x 32.5 cm Son of a merchant haberdashery, Louis Étienne Wat...

Adolphus M. Madot Circa 1833 - 1861 Oil on canvas Image size: 36 x 24 inches (91.4 x 61 cm) Arched Pre-Raphaelite style frame The subject of the present picture is the dialogue between the court jester Touchstone and the shepherd Corin in the Forest of Arden ( As You Like It, Act III, scene 2). The work of William Shakespeare 'As You Like It' was a popular literary source in Pre-Raphaelite circles, inspiring such artists as John Everett Millais, Walter Howell Deverell and Arthur Hughes. The present picture is comparable in style to the work of Edward W. Rainford and Henry Stacy Marks...

A wonderful view of a river landscape with a rustic cottage and pollarded trees by Henri Sieurac. It isa rare, early and very fresh landscape by this Parisian artist which may well have been painted in the countryside around Barbizon, near the river Loing. Henry Sieurac had studied with his father, François Joseph Sieurac , and of Paul Delaroche...

This mid 19th Century, 25" x 30", oil on canvas, Folk Art hunting scene was painted in 1852, and signed and dated by an illegible artist. It is framed in a reproduction wood frame.

Charles Louis Émilien DESPREZ (Maisons-Alfort, 1818 – Paris, 1898) View taken near Ajaccio Oil on paper mounted on canvas Signed below, located and dated lower right 34 x 53 cm wit...

This beautiful oil-on-panel painting of a tranquil waterfront farm that is over 120 years old is by the Belgian painter Louis Dubois (1830–1880). Dubois...

Walking Home in the Snow by John Carleton Wiggins is a captivating winter landscape that evokes the tranquil beauty of rural life. The painting depicts a lone figure, likely a young ...

Path by the sea. 1869. Oil on Canvas, 31x53 cm

Eugène Joseph Verboeckhoven, a luminary of 19th-century Belgian art, wielded his brush with unparalleled mastery, capturing the timeless allure of pastoral landscapes and noble anim...

"Falling Asleep While Spinning Yarn" by Louis Edwarmay is a captivating piece that beautifully captures the quietude and exhaustion of daily labor. The painting portrays a woman in t...

Signed and dated '1864' lower left

This interesting British 19th century coastal landscape oil painting is by noted Suffolk School artist Edward Robert Smythe. Painted circa 1850 it is a busy coastal landscape with fi...

Oil on canvas mounted on panel depicting a study from JP Laurens painting. According to the Gospels, Pilate ordered the execution and crucifixion of this Jewish preacher at the end o...

An antique oil painting in its original ornate gold leaf frame. This tonalist painting depicts figures against a dramatic sunset. The work is signed illegibly lower left. It ap...

American School, Mid-19th Century The Clipper Mary Lee in High Seas Oil on canvas Unsigned 25 x 35 inches Craquelure commensurate with age, minor losses on frame.

An Orientalist figurative or genre painting by Conrad Kiesel.

Antique American sunset seascape oil painting. Oil on board. Signed. Framed. Measuring: 18 by 24 inches overall, and 12.25 by 18 painting alone.. In excellent original condition. Ha...

Karel Frans Philippeau Dutch, (1825-1897) Home from the Vineyard Oil on panel, signed & dated 1867 with old label verso Image size: 11.25 inche...

Samuel John Egbert Jones (1797- 1861) PHEASANT SHOOTING Oil on canvas Frame H. 38cm x W. 47cm Image H. 30cm x W. 40cm A hunting scene in a beautiful early autumnal wooded landscape, with two hounds and a pheasant in the foreground. For an artist of such ability, popularity and wide output, information about Samuel Jones is comparatively scarce. Samual John Egbert Jones was born in 1797. Living in London, the first recorded mention of him was as an exhibitor at the Royal Academy in 1820 with a picture of an old mare, which he later exhibited at the British Institute in 1824. Jones is best known for the fine quality of his sporting pictures, mainly portraits of hunting and work horses. Additionally, he painted coaching...

Up for sale is a fabulous antique 19th-century or even earlier original oil painting on canvas depicting an interior scene with a seated female nude queen w...

David Hardy was an English genre painter who exhibited from 1855 -1870 in various English galleries such as the British Institute, the Suffolk Street Gallery, and one example at the ...

William Frederick Witherington was born in London in 1785. In 1805, he began his studies at the Royal Academy Schools. He first exhibited at the British Institution in 1808, and at the Royal Academy in 1811, where he continued to exhibit almost every year. He also exhibited for several years at the Birmingham Society of Arts. He travelled around England painting views of rural life in Devon, Kent, Wales and the Lake District. During the 18th and 19th centuries the hop gardens of Kent, Sussex and Surrey provided artists with a rich source of subject matter. The picking season was the English equivalent of the French and Italian grape...

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...

"The Badminton Player" French School, 19th century unsigned oil painting on canvas, framed painting: 24 x 14 inches framed: 28.5 x 18.5 inches Very rare early portrayal of a young ...

Fine 19th Century Enamel on Porcelain Depicting Saint Anthony with the Christ Child Beautiful and finely detailed enamel painting on porcelain representing Saint Anthony of Padua wit...

Attributed to Pancrace BESSA (1772-1846) Fruits on a marble entablature Watercolor and graphite on paper H. 31 cm; W. 37 cm

‘News from the Front’ by Frederick Goodall R.A. H.R.I. (1822-1904). Academy Fine Paintings is fully conversant with the latest US Government import duties and the legal exemptions ...

Antique American painting from the mid 19th century. Framework oil on canvas, on the first canvas, depicting a countryside landscape with a co...

Portrait of a Young Girl with Her Loyal Dog English School, 19th century oil on canvas, unframed Canvas: 28 x 20 inches Provenance: private collection, England Condition: very good c...

Pio Joris (Rome, 1843-1922). The Via Flaminia, a Sunday morning," 1869, with frame 160 x 83 cm. Signed P. Joris, Pio Joris attended the Istituto di Belle Arti in Rome and in 1861 he enrolled at the Accademia di San Luca, where he remained for just a year. On a visit to the 1st Esposizione Nazionale di Belle Arti of Florence in 1861 he was attracted by the naturalistic works from the Naples school. He came into contact with Domenico Morelli and Filippo Palizzi during a trip to Capri, Sorrento and Naples in 1866. In Rome, he kept company with Mariano Fortuny, whose painting, with its pleasant, captivating luministic effects, made a very strong impression on Joris. That was how he developed his own very personal artistic language, which went on to bring him remarkable commercial success on an international scale, helped by his collaboration with Paris art dealer...

Amanti alla Fontana - Lovers by a fountain, painting oil on canvas, Signed left sight. Measures: cm 70 x 100 frame 118 x 145 Faustini Modesto. Brescia, 27 maggio 1839 - Roma, 23 m...

Samuel Raven (British, 19th Century) Setters Flushing Game in an Upland Landscape Oil on panel, circa 1830 Presented in a deeply moulded and carved giltwood frame of the period This...

Dutch School, 19th century signed oil on panel, framed framed: 17.5 x 21 inches panel: 14 x 18 inches provenance: private collection condition: good and sound condition

‘Going to Market, Woking Common’ by George Cole RBA (1810-1883). The painting is signed by the artist and dated 1853 in which year it was exhibited at the Society of British Artists ...

PS 251 Beauty and the Beast The painting features a young woman with striking, vivid features and deep blue hair, holding a small black and tan dachshund. The background is composed...

Richard Law Hinsdale (1832–1874) was an American painter known for his contributions to landscape and genre painting during the mid-19th century, mostly in the Hudson River School. He received brief instruction from Alexander Emmons, Philip Hewins and Jared B Flagg as well as being exhibited in American art...

John Rabone Harvey ( 1966 - 1922) graphic and chalk deep green artist paper , unframed artist paper : 5.5 x 7 inches Provenance: private collection Condition: very good condition Dou...

John Rabone Harvey ( 1966 - 1922) graphic and chalk deep green artist paper , unframed artist paper : 5.5 x 7 inches Provenance: private collection Condition: very good condition Dou...