Victorian Figurative Paintings

Wonderful English Victorian River Landscape. Thomas O Hume was an English landscape painter who exhibited from 1864-1892. He showed his paintings at t...

The River Crossing by Richard Sebastian Bond (British 1808-1886), signed and dated 1864 oil painting on canvas: 20 x 30 inches framed: 25 x 35 inches condition: very good and presentable in swept gilt frame provenance: private collection, England A lovely Victorian oil painting on canvas, dating to the 1860's. The painting depicts this Highland landscape with a mother and her children...

Victorian 19th-century portrait of a seated English Flower Seller. This is a very pretty classic English Victorian Genre painting. The style ...

Wonderful English Victorian River Landscape during the Summer with horses, fields , trees etc Thomas O Hume was an English landscape painter who exhibit...

Pretty and well-painted, View of Vevey on the north shore of Lake Geneva. Dating from the early 20th century this painting would have been painted for one of the many visitors who w...

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...

Artist/ School: Paul George Halle (British b. 1949), signed and dated 1987 Title: Evening Reflections Medium: oil painting, on canvas. Size: frame: 26.75 x 32.75 inches ...

Outstanding English 19th century still life of fruit, a German Stein with silver top in an interior. Charles Thomas Bale was born in Soho, London in 1849, the son of Thomas Bale, a basket maker. His older brother Thomas Charles Bale (1831-1899) was an artist and picture restorer. He lived with his family in St James, Westminster and although little is known about his education, he would have undoubtedly received encouragement and drawing tuition from his brother. Bale started exhibiting in 1866 at the Institute of British Artists, Suffolk Street. He also exhibited at the Royal Academy in 1872, the same year he married Caroline Leathem. Together, they spent their married life in St Pancras. He specialized in still life paintings predominantly of fruit, but he frequently incorporated baskets, a homage to his family’s profession, as well as pottery, glass, and game. Bale’s work was influenced by the English still-life artists George Lance and William Duffield...

Wonderful German mid 19th century Mountain lake landscape with figures harvesting the corn. J.Klee was a landscape painter during the middle of the 19th century in Germany. He mostly painted rural scenes often with people going about their daily work. This is one such example! He was very skilled in painting great light in his paintings and along with a well-choisen composition he was able to paint a very desirable painting. This piece is framed in its original German hand...

Arthur Willett British 1868 -1951. Willett was a renowned landscape artist who settled in Brighton but his paintings of the British countryside and country pursuits are highly sought...

Artist/ School: English School, signed and dated 1903 lower corner. Title: The Winding River Medium: oil painting on canvas, unframed. Size: painting: 18 x 24 inches Provenance...

"LochGoilHead" by F. E. Jamieson (British 1895-1950) signed, lower corner oil painting on canvas, framed framed: 19.5 x 27 inches Fine quality antique oil painting by the much admir...

David Bates British, (1840-1921) The Shadoof Oil on canvas, signed, further inscribed verso Image size: 19.75 inches x 29.75 inches Size including fram...

"Loch Tay" by F. E. Jamieson (British 1895-1950) signed, lower corner with pseudonym "W. Richards" titled verso to canvas oil painting on canvas, unframed canvas: 16 x 24 inches Fine quality antique oil painting by the much admired and celebrated British artist F. E. Jamieson (1895-1950). The painting is signed by Jamieson to the lower right corner with his favoured pseudonym, "W. Richards". The painting captures this brooding Highland landscape and the deep and dark waters of Loch Tay, one of the most stunning lochs in Scotland. Loch Tay is a magnificent dark stretch of water, 15 miles (24 km) long and around 508 ft deep. It’s the largest loch in Perthshire and one of the deepest in Scotland. To the north, the loch is flanked by the impressive bulk of the Ben Lawers mountain range, much of which is designated as a National Nature Reserve. The main A827 road runs high above the loch, west from Kenmore. The contours are gentler on the southern shore and Sustrans Cycle Route Number 7 runs along a quiet unclassified road. It's hard to believe that ancient settlers once lived on Loch Tay, inhabiting artificially created islands known as crannogs. There are eighteen crannogs on Loch Tay, most are now submerged but a large crannog near the northern shore at Kenmore can be clearly seen. This was the ancient burial place of Queen Sybilla, wife of Alexander King...

This is an original, unique oil painting by the artist.

19th-century English yacht, sailboat, and steamer off a coast with a stormy sky. John Niemann was a prolific and highly successful British landscape artist working mostly in oils. ...

Gustav Doring (1864-1938) Gustav Döring studied at the Academy of Fine Art in Berlin where Gustaf Hellqvist , Paul Meyerheim and Hans Meyer were among h...

English 19th century River landscape farmers harvesting the hay in an English Summer. A stunning late 19th/early 20th-century oil painting by the highly collected English School lan...

George Goodwin Kilburne British, (1839-1924) A Tender Moment Oil on canvas, signed Image size: 15.75 inches x 12.75 inches Size including frame: 20.5 inches x 17.5 inches George G...

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 ...

Signed and dated 92 lower left. Oil on canvas. Frank Bramley British, 1857-1915 Frank Bramley is considered one of the most important artists of the Newlyn School, the group of artists who settled in Newlyn, Cornwall during the 1880s and 1890s, drawn by the light, lifestyle and the example of Alexander Stanhope Forbes, and were at the forefront of 'British Impressionism'. He was particularly ‘in the news’ when his painting of a woman reading in a garden made the astonishing price of $590,000 at Sotheby's New York in late May 1996. As the seminal catalogue of the famous Newlyn School exhibition states, Bramley's reputation has rested for some time on Hopeless Dawn, his major RA exhibition of 1888, and which in recent years has been hung almost constantly at the Tate Gallery. Bramley was born in Lincolnshire and trained at Lincoln Art School, later at Verlat's Academy in Antwerp, from where he went to Venice in 1882-83, where our painting was executed. He first showed at the Royal Academy in London in 1884 (both paintings were Venetian scenes), and it was in the winter of 1884/5 that Bramley settled in Newlyn. He was a quiet and reserved figure, prone to bouts of melancholy. He worked on his own in a tiny studio in an old thatched cottage - the cottage consisted of two rooms, one at ground level (which was the studio) and one which was below ground which was inhabited by a woman who'd lost her arms and who managed to look after a set of tiny children as well as a small potato and turnip shop. Bramley moved to a purpose-built glass studio in 1889. He is known as the master of the so-called 'square-brush technique' which characterizes much of the best Newlyn School work and he used this until 1893, later than most of his colleagues. Bramley was friendly with the great artist Sargent and with him was elected an associate of the Royal Academy in 1894, being elected a full member in 1911. In 1891 he had married, and 4 years later they moved to the Midlands where his work became less socially orientated and more purely decorative. His last years were spent in a London flat...

Wonderful and very unique English Victorian Village scene, with figures, animals, a Pub, and lots more . John Holland Senior was a painter of landscapes and coastal scenes who was bo...

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...

Heilmayer was born as the son of the royal court actor and landscape painter Emil Heilmayr. On November 6, 1843, he began his studies at the Royal Academy of Arts in Munich, but brok...

Oil on Canvas by Ernest Walbourn (1872 - 1927) who along with his wife Eva, was a 19th Century genre painter. It is said that his wife often did the backgrounds and he painted the figures. Certainly she is more known for her florals pictures...

English 19th century Victorian Sailing scene, with fishing vessels off of a landscape. Outstanding Victorian marine scene of a yacht at sail possible in the English Channel. Knell w...

Sunrise in the Catskills after the earlier painting by Thomas Cole (American 1801-1848) Oil painting on canvas, framed Framed size: 40 x 52 inches In 1826, Thomas Cole met Robert Gi...

Frans Wens (19th Century). A charming family interior scene painted by the Austrian artist Frans Wens. There is little recorded biographical informat...

Artist/ School: English School, mid 19th century, circle of David Cox (1783-1859) Title: A View of Borrowdale (Lake District, Cumbria). There is a plaque with this title to the fram...

Outstanding 19th century English warship off the Italian, Mediterranean coast, with village, mountains and hills. A very interesting and somewhat unique oil on slate depicting an English ship at anchor in what looks like an Italian or Mediterranean coastline. The piece has influences from John Thomas Serres...

19th-century Victorian English landscape with a thatched cottage, and a figure at sunset A very fine and large example of O.T. Clark's work. Born in Hoxton, New Town (just north of...

Charles Hunt Jnr British, (1829-1900) A Visitor Calls Oil on canvas, signed Image size: 24.75 inches x 34.75 inches Size including frame: 32.25 inches x 42.25 inches Charles Hunt was born in Kensington, London and was part of a dynasty of painters. He was the son of the genre painter Charles Hunt (1803-1877) and father to Edgar Hunt (1876-1955) and Walter Hunt (1861-1941) both of whom were taught by their father and became successful artists in their own right. Two more of his children Reuben Hunt...

Artist/ School: Charles E Flowerdew (British exh.1885), signed & dated 1903. Title: Whitby Fishermen standing on the East Pier harbour Medium: oil painting on canvas, framed. Size...

"Garden Flowers" by Roy Merrington, British contemporary oil painting on canvas, unframed framed size: 18 x 24 inches Elegant still life painting of garden...

"On the Scent" English School, late 20th century oil painting on canvas, unframed painting: 30 x 24 inches Wonderful depiction of these hunting hounds standing in an open landscape...

19th century English forest landscape with figures by a fireside, mid-afternoon. A very well painted classic Victorian English landscape with figures. Wonderful observation by the p...

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...

Victorian 19th-century arts and crafts figure scene from a Shakespeare play Robert Anning Bell was born on 14 April 1863 and educated at University College School in London. At the age of fifteen, he was articled for two years to an architect uncle before studying at the Royal Academy Schools, the Westminster School of Art (under Fred Brown), in Paris (under Aimé Morot...

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

Charles Hunt Jnr British, (1829-1900) A Deal to be Done Oil on canvas, signed Image size: 24.75 inches x 34.75 inches Size including frame: 32.25 inches x 42.25 inches Charles Hunt was born in Kensington, London and was part of a dynasty of painters. He was the son of the genre painter Charles Hunt (1803-1877) and father to Edgar Hunt (1876-1955) and Walter Hunt (1861-1941) both of whom were taught by their father and became successful artists in their own right. Two more of his children Reuben Hunt...

Painting, 19th century, women portrait, oil on canvas. Dimensions with frame 63cm x 77.5cm

William Edward Millner was born in 1849 in Lincolnshire, and was a Victorian painter of landscapes and rustic genre. He worked his entire life ...

John Stewart was a Scottish painter of rustic subjects and landscapes. HE exhibited 20 works at the Suffolk Street Exhibition location in London and 4 wor...

English 19th century set of four oils on card, two horse racing scenes, and two-point to point scenes all in extensive landscapes. Edward Algernon Stuart Douglas...

Alfred William Strutt British, (1856-1924) Good Sport Oil on canvas, signed, old hand written label verso with the artist’s address Image size: 31.5 inches x 54.5 inches Size includi...

French 19th century Fall River landscape, with later afternoon sunlight, Autumn trees and River bank flowers. William Baptiste Baird was born in Chicago, moving to Paris in the 1870s where he spent most of his working life. He exhibited both in Paris, at the Salon des Beaux-Arts and at the Royal Academy in London from 1877 to 1899. In 1877 he gave his address as 47, Bloomsbury Square, London; in 1879 as 20 Cheyne Row...

Classical 19th century French Nude of a lady in the Barbizon Forest landscape. Richet spent much of his adult life in Paris. It was there that he met and became a student of Jules L...

Pierre-Louis Bouchard French, (1831-1889) Une Bonne Tasse de Thé Oil on canvas, signed Image size: 23 inches x 13.75 inches Size including frame: 35 inches x 25.75 inches Pierre Louis Bouchard was born Pierre-François Bouchard in Lyon on 2 May, 1831 to Pierre Bouchard and Amelie Baron. He attended the École des Beaux-Arts in Lyon where he was taught by Jean-Claude Bonnefond (1796-1860). He then moved to Paris where he became a pupil of Jean-Léon Gérôme (1824-1904) at the Ecole des beaux Arts. He also studied under Jean-Hippolyte Flandrin...

William Edward Webb British, (1862-1903) Penzance Harbour Oil on canvas, signed Image size: 29 inches x 45.5 inches Size including frame: 38 inches x 54.5 inches A pleasing coastal painting of Penzance Harbour at low tide by William Edward Webb. In the foreground, a fisherman sells his catch to a woman and her daughter, whilst figures in horses and carts wait for others to unload their boats. William Edward Webb was born in Cheltenham, Gloucestershire in 1862 to William Benjamin Webb and Ellen Butler. His father was a printer and an artist and it is highly likely he received tuition from him. Following the death of his mother, his father remarried and moved the family to Manchester sometime after 1871. By the 1880’s, Webb had started working as an artist and later set up a studio at 30 Exchange Buildings in Manchester. He began exhibiting at the Manchester City Art Gallery from 1890, where he showed more than 60 paintings during his lifetime. He also exhibited at the Royal Academy and Walker Art Gallery Liverpool from 1892. He married Clara Foster in 1899 and the couple lived at 1 Sylvan Grove, Chorlton Upon Medlock in South Manchester with their daughter Florrie. He became friends with the artist Walter Emsley (1860-1938) who also lived in Manchester. Although he spent the rest of his life in Manchester, Webb travelled throughout the UK painting coastal and marine scenes around the main ports and harbours. He spent a great deal of time in the Isle of Mann painting numerous scenes along the coast including views of Peel and Douglas Harbour, subjects he frequently returned to. Webb painted in a highly distinctive style; loose and informal but which manages to retain the sense of perspective. He struggled with ill health and depression throughout his life which sadly led to his suicide 9 November, 1903. In 1974, a retrospective exhibition was held at The Old Customs House and Old Solent House in Lymington, which brought a new found interest in his work. His paintings are now highly sought after and are represented in many collections and Museums including the Astley Hall...

The Artist's Studio. c. 1914. Oil on canvas. 24 1/8 x 32. The canvas is in fine condition, having been professionally lined, cleaned and varnished. The painting is housed in a 29 1/2 x 37-inch Sully-style gold frame. Signed, lower right and also on the verso of the canvas in the center of the image. Hurlburt apparently created a 'period piece' work of art. The two maids are dressed in late 19th-century clothing. The slight puff at the top of the sleeve is 1897 - 1898. The maid on the left has her scarf done in a way that is quite Dutch or Flemish. The woman on the right has a headscarf that could just be the tie of the scarf making that shape in the front. If her hair is done up with a chignon in the back causing the scarf to be full in the back, the placement of that bun would make the piece 1908 - 1912. The "Psyche knot" was very popular in 1910. The woman in the painting on the easel is maybe old fashioned with a simpler and fuller version of early 20th century hairstyles. It's hard to tell if what is around her neck is a boa or a collar, but boas of all shapes and sizes were popular in the 1890's. Her gown is decidedly unfitted and appears to have a loose belt at the waist. If the skirt is in layers with the light skirt length over a darker skirt, that would put the outfit in 1910 or 1914. The problem is the waist. In 1910 - 1912 it was a neo-empire revival with a high waist. It wasn't until 1914 that the waists were coming back down with sashes at the waistline. It is just not specific enough to see the details that would help to date it. I guess I would be inclined to date it more 1914 - the approximate date of the woman in the painting, and assuming that the maids are dressed in an old fashioned way, but their skirts are awfully full and long for the period to be practical for cleaning. Irving E. Hurlburt lived and worked in New Haven, Connecticut. For most of his life, he resided at Wolcott Street in New Haven. Possibly the room is the artist's studio. He studied at the Yale School of Fine Arts, 1890-93 He was a member of the New Haven Paint and Clay Club. In 1888 he received the Ethel Childe Walker Prize at the Yale School of Fine Arts. His sketches of Pictures of New Haven show historic buildings, scenes and events of New Haven, CT. They were reproduced as wood engravings in the New Haven Almanack for the years 1906 to 1913, published by Ye Olde Hardware Store of the John E. Bassett Co. His other published sketches in that venue were: The Tontine Coffee House, Mayor Roger Sherman...

Gustave Jaquet Jacquet was born on 25th May 1846 in Paris. He was a pupil of Bouguereau and for his debut at the Paris Salon in 1865, he exhibited 'The Reverie' which was very much i...

Edward. B. Herberte Edward Benjamin Herberte was an English sporting and animal painter from the last half of the 19th century. He mostly painted fox hunting scenes. village fairs a...

signed ‘- George Wetherbee -‘ (lower left) oil on canvas 23 x 46 ½ in. (58.4 x 118.1 cm.) with frame 33 x 55 in. (83.8 x 139.7 cm.) An American, born in Cincinnati, George Faulkner Wetherbee...

Oil on panel painting by American artist Walter Blackman. Walter Blackman was known for his portraits of beautiful women and this painting is a great example of his finest work. Sign...

William Oliver British, (1823-1901) The Flower Maiden Oil on canvas, signed, Image size: 36 inches x 24 inches Size including frame: 47.25 inches x 35.25 inches William Oliver Williams known as William Oliver was a figurative and genre artist who specialised in paintings of young women. He was born in Worcester in 1823 the son of a William Williams a surgeon and Jane Oliver. He moved to London and enrolled at the Royal Academy in 1848. He married Jane Hughes on 30 December 1852. Two of their sons also became artists: William Oliver ‘Rhys...

Ernest Walbourn British, (1872-1927) By the Pond Oil on canvas, signed Image size: 24 inches x 36 inches Size including frame: 31.5 inches x 43.5 inches Ernest Walbourn was painter ...

Georgina Lara British, (fl. 1862-1871) A Busy Village Oil on canvas Image size: 11.25 inches x 19.25 inches Size including frame: 16.25 inches x 24.25 inches Provenance: Cooling Galleries, Bond Street, London Georgina Lara also known as Edwina Lara was a London painter of rustic farmyard and village scenes. Her work also closely resembles that of Edward Masters...

Provenance: Christie’s, London, 3 March 1922, lot 46 (with The Tower of Babel); James Nicoll Private Collection Sotheby’s, London, 29 March 1983, lot 157 Private Collection, New Yo...