Impressionist Figurative Paintings

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...

Artist/ School: Mariano Alonzo-Perez (1857-1930) Spanish, signed and inscribed. Title: La Chasse aux Papillons Medium: oil painting on canvas, framed Size: painting: 23.5 x 12 inc...

Signed lower right: CARROLL BECKWITH.

Roman Girl At Fountain After Leon Bonnat by L. Luige c.1876 Original oil on canvas This is a period copy of the painting by Leon Bonnat (the original wa...

A large, spectacular, absolutely splendid painting by noted French painter Georges Clairin, which appeared for auction at Christie's in 2004 (see photo...

Adolfo Belimbau (1845-1938) Italian Impressionist painting of a mother and a child in a Garden playing. Beautiful quality and colors quality! Adolfo Belimbau is a famous Italian Jewish painter...

Everyday fishermen life is captured in this wonderful Italian impressionist late 19th century oil painting on thin board titled fishermen ashore. We love the neutral and natural colo...

Gorgeous late 19th Century Russian landscape with stream in the shade by Nikolai Aleksandrovich Sergeev (Nikolai Alexandrovich Sergeyev ...

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...

A fine watercolor of a young girl in the woods surrounded by flowers by British American artist John George Brown (1831-1913). Brown was born in Dur...

Robert Julius Beyschlag (Germany, 1838-1903) mother and child oil painting, circa 1870 Charming original oil painting by listed 19th ce...

John George Brown American impressionist street scene oil painting. The painting is signed by the artist in the bottom right corner and is ...

Landscape, sunset, romance Giovanni Colmo (Torino, 13 maggio 1867 – Torino, 24 aprile 1947) Framed cm. 30 x 31 no frame cm. 11 x 14

The Flower Seller, a late 19th century figurative oil painting of a barefoot female figure in period dress standing outside of a doorway selling nos...

Beveled wood painting depicting a landscape of river banks with lavandieres by a painter from Spain. He works in Paris and exhibited at the Salon des Artistes Français Very good co...

Late 19th century figurative landscape watercolor painting of a fisherman in a small boat on a small pond in London, by H. Darnelli ( England, 19th C). Signed “H. Darrnelli” in the ...

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...

The Ballet Dancers French School, circa 1890 oil painting on canvas, framed canvas: 42cm x 34cm framed: 53cm x 46cm provenance: private collection, France Beautiful antique French ...

Georges-Marie-Julien Girardot (French, 1856-1914) Les Vendages (The grape harvesters) Oil on canvas 24.1/2 X 41.1/8in. (including frame) Provenance : Girardot Family Collection Georges Girardot was trained by the artist Albert Maignan...

Wonderful turn of the century oil portrait of old civil war soldier circa 1900, by an unknown artist. Soldier is depicted wearing the Medal of Honor...

Étienne-Prosper Berne-Bellecour (June 29, 1838 - November 29, 1910) was a French painter, engraver and illustrator. He was known for his art of war. Berne-Bellecour was born on June ...

J.E. KARNEC, born in 1865 (in Austria after GERALD SCHURR), died in 1934. Painter of landscapes, seascapes, port landscapes, water landscapes. "Orientalist trend" (according to BENEZ...

Oil on panel by Henri Duhem depicting a night time scene in a village. Signed lower right and dated 1895 verso. This painting is not currently framed but a suitable frame can be sour...

Oil on panel attributed to Eugen Boudin representing a Norman navy

Gold Country, a rustic figurative landscape of early California pioneers by an unknown artist (American, 20th Century). Excellent workmanship and ...

Paul Lecomte (1842-1920) La Ferme du Pré Oil on canvas signed on the lower right 38 x 55 cm Framed : 49 x 66.5 cm In good condition: a small repair visible on the reverse (see pictu...

A child of the American South, Elliott Daingerfield was born in Harper’s Ferry, Virginia, and raised in Fayetteville, North Carolina, where his father, C...

Marguerite AROSA (1850-1903), French "Baigneuse" (Bather) Oil on canvas Signed lower left Canvas: 66 1/5" high x 50" wide Frame: 74 1/5" high x 57 1/2" wide This painting was e...

ULPIANO CHECA Spanish, 1860 - 1916 VENICE CANAL signed & located "U. Checa" Venezia (lower left) Also dedicated: "A Marguerite Pinédo affectueusement" ...

Born in Valencia, Spain in 1845, 19th century impressionist Vicente García de Paredes studied at the School of Fine Arts in Valencia, in Madr...

This artwork "Flowers in a Vase and Violin" 1989 is an oil painting on canvas by noted Swiss artist Dan Rubinstein, born 1940. It is signed at the lower right corner by the artist. T...

Oil on panel attributed to Eugen Boudin representing a Norman navy

Dated, signed, and inscribed lower left: 1876 WILL. • H • LOW MONTIGNY sur Loing

Arthur George Collins American, b.1866 Biskra Algeria Oil on canvas Signed and dated Biskra, 1893 26 ½ by 32 ½ in. W/frame 32 ½ by 38 ½ in. Arthur studied at the Julien Academy, P...

Late 19th century California School reclining nude female figure by anonymous 19th Century artist. In the style of William-Adolphe Bouguereau. ...

Large, decorative oil painting in impressionist style. Illegible signed. Dated 1897. "Serious encounter" In places color flaking. Unframed.

Walter Blackman American, 1847-1928 Young Beauty Oil on canvas 20 by 16 in. W/frame 32 by 28 in. Studied under Gerome, Paris Exhibited: Society of America...

Wonderful turn of century English School landscape with swans in park setting, by an unknown artist, c.1900. Signed with initials "L. G" lower left corner. Presented in rustic gilt t...

Large, enticing and very decorative painting. Oil on canvas. Monogrammed lower left. G.A. Portrait of a pretty lady. Beautiful painting in impressionist style. Frame partially damaged. Dimensions about: With frame 84.5 cm x 97 cm Without frame 55.5 cm x 68 cm The veiled lady.

Twin Calves, San Rafael looking to Mt. Tamalpais -Turn of the Century Landscape by Gordon Harrower Coutts Charming and significant turn of the century landscape painting of two calv...

Delbert Coombs (1850 - 1938) Maine Artist Image Size: 12 x 9 Frame Size: 15 x 12 Medium: Oil Dated: 1897 "The Little Fisherman" Biography Delbert Coombs (1850 - 1938) Delbert Dana Coombs was born in Lisbon Falls, Maine, on July 26, 1850. Although primarily self-taught, Coombs took painting lessons from Scott Leighton...

English River landscape, with Church and River at Sunset, Abingdon on the Thames. England Wonderful scene of Abingdon on the Thames by one of Englands best known landscape painters....

Edward Henry Potthast (American, 1857-1927) A Family Outing Signed Lower Left 12 x 16 inches 18 x 22 inches framed A painter most remembered most for his beach scenes of carefree at...

Welcome to Heritage, our carefully curated collection of French vintage and antique paintings. We scour the flea markets and fairs for these gems: poignant portraits of long-gone Me...

Frederick Carl Gottwald (1858-1941) Scissor Grinder, c. 1897 Oil on canvas Signed lower left 24 x 18 inches 28.5 x 22.5 inches, framed Exhibited: Boston, Massachusetts Art Exhibit, ...

Signed oil on canvas figures in landscape circa 1875 by French impressionist painter Victor Alfred Paul Vignon. The piece depicts a woman and girl pushing a cart filled with flowers on a track between walled gardens on a bright summer's day. Signature: Signed and lower left Dimensions: Framed: 15"x19" Unframed: 10"x14" Provenance: Private French collection Victor Vignon's mother has been incorrectly identified as the writer Claude Vignon...

Signed and titled oil on board circa 1890 by American impressionist painter William Baptiste Baird. The piece depicts boats sailing and moored on the River Seine in Paris, France. Th...

Signed and dated riverscape oil on canvas by French impressionist painter Louis Aime Japy. The work depicts two fisherman in a small punt in a river at sunset. The clouds in the sky ...

‘Between Us’ is an Impressionist Figurative painting by Robert Gemmell Hutchison R.S.A. It is highly evocative of the Scottish Coast, a hopeful and optimistic oil painting. Hutchinson was born in Edinburgh in 1855 the first son of a brass-founder. After first training as a seal-engraver he was encouraged to pursue oil painting and trained under James Campbell Noble at the Trustees Academy on Picardy Place. He set up his own studio at 1 India Buildings (at the top of Victoria Street...

Signed and dated oil on panel figure in landscape by sought after impressionist painter Henri Le Sidaner. The work depicts a farmer walking beneath blossom trees in an orchard in spr...

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...

Artist/ School: French School, circa 1890, circle of Henri de Toulouse-Lautrec (French 1864-1901) Title: Elegant Figures dressed for an evening out, typical of the Belle Epoque Styl...

Woman, Liberty, Inside, Eclecticism, Romanticism, Impressionism, Work of artistic interest abiut 130 years old, it will take about 30 days for export permits Ernest Jean Joseph GODFRINON (1878/1926 ) Belgian Impressionist Born at Elsene in Belgium in 1878, Godfrinon studied at the Academies of Ixelles and Brussels, and was primarily regarded as painter of landscapes, still lifes and intimate genre scenes. He exhibited one of his paintings ‘Begonias’ at the Galerie des Tout-Petits over the winter of 1925 – but aside from this specific detail little is known of his exhibition career. Godfrinon was a member of ‘Le Sillon’ group and his work has subsequently found its way into the collection of the museum of Sint-Joost-ten-Node in Charlier in Belgium – the painting is titled ‘La Serre...

'La Feria' a very busy figurative middle eastern market scene with various characters. Jewellery seller, women, children and animals. John Haynes-William...

Signed impressionist riverscape oil on panel dated 1863 by sought after French painter Paul Camille Guigou. The piece depicts a view of the river i...

For Pierre-Auguste Renoir, Impressionism's pre-eminent figure painter, depicting the nude was an exercise in bringing the canvas to life. He once said, “I look at a nude, I see myriads of minuscule shades. I have to find those which will make the flesh on my canvas come to life and resonate.” This compelling portrait by Renoir entitled Après le bain presents the nude figure of a woman in a serene, private moment, absorbed in the task of drying herself after a bath. The artist’s mastery of light and shading is incredible, achieving a sense of vitality in this otherwise ordinary scene. Renoir is celebrated for his figural work, especially his Rubenesque female nudes, however, it was not until the artist was in his forties that he depicted the nude with any frequency. In 1881, Renoir traveled to Italy, where he studied the works of the Renaissance masters and the ancient art of Pompeii and Rome. Upon his return to France, the nude became his favored subject, and he used the motif to combine the spontaneity of Impressionism with the solid modeling of classical painting. Renoir’s medium here, sanguine, a reddish-brown chalk, was used extensively in the Renaissance by Leonardo (who employed it in his sketches for the Last Supper), Michelangelo and Raphael. Its warm hue lends itself well to depicting flesh, and the chalk drawing allows for a greater focus on line, form and texture in a departure from the aspects of color and light that so often preoccupied the Impressionists. Après le bain conveys the impression of arrested motion with perfect naturalness, deftly capturing the moment before the elegant lines of the sitter's form change position. The sitter is almost certainly Gabrielle Renard, the nanny to Renoir’s children and a frequent model for the artist. Gabrielle was the cousin of Renoir’s wife, Aline, and came to Montmartre to work for the family at the age of 16. She developed a strong bond with the family and became a favorite subject for Renoir, appearing in several of his most important works, including his 1911 Gabrielle with a Rose (Musée d'Orsay). When Renoir began to suffer from severe rheumatoid arthritis that would eventually leave him unable to walk and scarcely able to grasp a paintbrush, it was Gabrielle that would assist the artist by positioning the paintbrush between his crippled fingers. Born in Limoges, France in 1841, Renoir began his career as an apprentice to a painter of porcelain wares. He later moved to Paris at the age of 21, enrolling at the prestigious École des Beaux-Arts. It was here, while studying under Charles Gleyre, that Renoir attained a tremendous appreciation for the academic style of painting, a quality that would last throughout his career. This was also when he met Claude Monet and several other classmates, with whom he would later form the Impressionists. Working closely with Monet, Renoir began experimenting with the portrayal of light and its effect on his canvases. The youngest member of the Impressionist movement, an astute Renoir recognized how a subject was constantly changing due to the dynamic effects of light on color. Relying heavily upon his academic training that focused on composition, lines and descriptive details, Renoir distinguished himself among his contemporaries. His intuitive use of color and expansive brushstroke, along with acute attention to his subject, have placed him among the finest painters in history. This work is accompanied by a certificate of authenticity and will be included in the forthcoming catalogue raisonné of the work of Pierre-Auguste Renoir from the Wildenstein Plattner Institute. Circa 1898 Canvas: 43 1/2" high x 35 1/2" wide Frame: 57 3/4" high x 49 1/4" wide Provenance: Galerie Durand-Ruel, Paris (acquired from the artist on January 25, 1899) J. Pereire Collection, France (1966) Sam Salz, New York (before 1981) Claus Virch, Paris French Compagny, Inc., New York Larry Silverstein, New York (circa January 1987) Le Clos de Sierne Gallery, Geneva Galerie Heyram, Paris (October 1987) Francis Gross M.S. Rau, New Orleans Literature: B. Schneider, Renoir, Berlin, 1957, p. 95 (illustrated in color, p. 83) M. Gauthier, Renoir, Paris, 1958, p. 83 (illustrated in color; erroneously dated '1916' and titled 'Woman in her toilet') F. Fosca, Renoir, L'homme et son obra, Paris, 1961, p. 280 (illustrated, p. 95; erroneously dated 'about 1890' and titled 'After the Bath...

This intimate work by Camille Pissarro represents a period of significance for the Impressionist master. The early 1880s was a time of great experimentation for the artist, after he spent much of the preceding decade devoted to landscape painting. Shifting focus, he embarked on a series of works in a range of media dedicated to the human figure - particularly peasant women. In watercolor, gouache, pastel, and print, Pissarro captured the rural female and the minute moments of domestic life. Depicting a peasant woman tying her scarf, Paysanne Nouant son Foulard displays the harmony of color and composition that typifies his work of the 1880s. Composed of a symphony of color and strokes of paint, the work exemplifies the plein air technique of Pissarro's best Impressionist canvases. A true master of his art, no other artist successfully chronicled rural peasant life quite like Pissarro. Counted among the most respected artists of the 19th century and widely considered the father of Impressionism, Pissarro’s works experienced a surge in interest in the early 2000s. This is reflected in Pissarro’s new auction record of over $32.1 million, set at a 2014 Sotheby’s auction in London, which far surpassed his previous record of $14.6 million. Born in St. Thomas in the Danish West Indies, Pissarro was sent to school in Paris at the age of 11, where he first displayed a talent for drawing. In 1855, having convinced his parents of his determination to pursue a career as an artist rather than work in the family shipping business, he returned to Paris where he studied at the Académie Suisse alongside Claude Monet. At the outbreak of the Franco-Prussian War in 1870, Pissarro moved to England. With Monet, he painted a series of landscapes around South-East London and studied English landscape painters in the museums. When he returned home to Louveciennes a year later, Camille discovered that all but 40 of the 1500 paintings he had left there - almost 20 years of work - had been vandalized. In 1872, Camille settled in Pontoise where he remained for the next 10 years, gathering a close circle of friends around him. Gauguin was among the many artists to visit him there and Cézanne, who lived nearby, came for long periods to work and learn. In 1874, Pissarro participated in the first Impressionist exhibition...

A late 19th Century French Impressionist landscape by Albert Lebourg. Signed bottom right. In gilt frame. Albert Lebourg (French, 1849–1928) was an Impressionist and landscape paint...