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Period: 19th Century
Roses in a Copper Bowl
Located in Greenwich, CT
This elegant and rare still life of red roses is by one of America's finest still life artists. It is framed in a fine Empire style 24 karat gilded and carved frame. Roses in a Copper Bowl represents the pinnacle of still life painting as Carlsen has described it above. Before painting marine landscapes, Carlsen was first known as one of the finest still-life painters of his era. Painted in 1893 during Carlsen’s period in New York, this canvas also draws comparisons to the work of John LaFarge, John White Alexander...
Category
American Realist 19th Century Interior Paintings
Materials
Oil, Canvas
The Handsome Suitor
Located in Belgravia, London, London
Oil on canvas
Canvas size: 33.5 x 49 inches
Signed lower right
Category
19th Century Interior Paintings
Materials
Canvas, Oil
The Discussion - Oil on Board - 19th Century
Located in Roma, IT
The Discussion is an original oil on canvas realized in the 19th Century by an italian artist.
Original oil tempera on board.
Gilded wood Frame is included. 30.5 x 34.5 x 34.5 cm
...
Category
19th Century Interior Paintings
Materials
Board, Oil
Still Life of Flowers in a Vase late Victorian 19th Century Hippolyte Delanoy
Located in Lincoln, GB
Hippolyte Pierre Delanoy (1849-1899)
A Study of Flowers 1874
Signed and Dated, Oil on Canvas, 57 x 49cm
Delanoy was born in Glasgow, of French Parents and was the brother of painter...
Category
Old Masters 19th Century Interior Paintings
Materials
Oil
Blowing Bubbles
Located in Belgravia, London, London
Oil on panel
Panel size: 21.5 x 17.25 inches
Signed??
Category
19th Century Interior Paintings
Materials
Oil, Panel
Old Men with Kittens - Impressionist Oil, Figures in Interior by J F Raffaelli
Located in Marlow, Buckinghamshire
A wonderful oil on panel by French impressionist painter Jean-Francois Raffaelli depicting two old men seated in an interior. One is reading his paper as the other naps and there are several kittens on the floor. Painted in the artist's distinctive style. The work is accompanied by a certificate from Brame & Lorenceau and is included in the catalogue raisonne of the painter.
Signature:
Signed lower left
Dimensions:
Framed: 9.5"x8"
Unframed: 5.5"x4"
Provenance:
Private collection - United States
Original artists label verso
Jean-François Raffaëlli's father was a failed Italian businessman and Raffaëlli himself was, among other things, a church chorister, actor and theatre singer. He then studied under Gérôme at the École des Beaux-Arts in Paris. He travelled to Italy, Spain and Algeria and on his return to France settled in Asnières.
In 1876, on a trip to Brittany, he first saw the potential of realist subject matter, if treated seriously. He became involved in meetings of artists at the Café Guerbois, where the Impressionist painters used to gather. As a result, Degas, contrary to the advice of the group, introduced Raffaëlli to the Impressionist exhibitions - according to one uncertain source as early as the very first exhibition, at the home of Nadar, and certainly to those of 1880 and 1881.
In 1904, Raffaëlli founded the Society for Original Colour Engraving. He first exhibited at the Salon de Paris in 1870 and continued to exhibit there until he joined the Salon des Artistes Français in 1881, where he earned a commendation in 1885, was made Chevalier of the Légion d'Honneur in 1889 and in the same year was awarded a gold medal at the Exposition Universelle. In 1906 he was made Officier of the Légion d'Honneur. He was also a member of the Société Nationale des Beaux-Arts. In 1884, a private exhibition of his work cemented his reputation.
He contributed to several newspapers such as The Black Cat (Le Chat Noir) in 1885 and The French Mail (Le Courrier Français) in 1886 and 1887. He published a collection entitled Parisian Characters, which captured his favourite themes of the street, the neighbourhood and local people going about their lives. In 1880 he participated, with Forain, on the illustration of Joris Karl Huysmans' Parisian Sketches (Croquis Parisiens). He also illustrated Huysman's Works. As well as working as an illustrator, he also made etchings and coloured dry-points.
His early attempts at painting were genre scenes, but once he was settled in Asnières he started to paint picturesque views of Parisian suburbs. From 1879 onwards, his subject matter drew on the lives of local people. These popular themes, which he treated with humanity and a social conscience, brought him to the attention of the social realist writers of the time such as Émile Zola. In addition to his realist style, Raffaëlli's dark palette, which ran contrary to the Impressionist aesthethic, helped to explain the opposition of those painters to his participation in their exhibitions. More concerned with drawing than colour, he used black and white for most of his paintings. Towards the end of his life, he lightened his palette, but without adopting any other principles of the Impressionist technique.
After painting several portraits, including Edmond de Goncourt and Georges Clémenceau, he returned to genre painting, particularly scenes of bourgeois life. Later in his career, he painted mainly Breton-inspired sailors and views of Venice. His views of the Paris slums and the fortifications, sites which have almost completely disappeared, went some way towards establishing a genre in themselves and perpetuated the memory of the area: The Slums, Rag-and-Bone Man, Vagabond, Sandpit, In St-Denis, Area of Fortifications. His realistic and witty portrayal of typical Parisian townscapes accounts for his enduring appeal.
Born in Paris, he was of Tuscan descent through his paternal grandparents. He showed an interest in music and theatre before becoming a painter in 1870. One of his landscape paintings was accepted for exhibition at the Salon in that same year. In October 1871 he began three months of study under Jean-Léon Gérôme at the École des Beaux-Arts in Paris; he had no other formal training.
Raffaëlli produced primarily costume pictures until 1876, when he began to depict the people of his time—particularly peasants, workers, and ragpickers seen in the suburbs of Paris—in a realistic style. His new work was championed by influential critics such as J.-K. Huysmans, as well as by Edgar Degas.
The ragpicker became for Raffaëlli a symbol of the alienation of the individual in modern society. Art historian Barbara S. Fields has written of Raffaëlli's interest in the positivist philosophy of Hippolyte-Adolphe Taine, which led him to articulate a theory of realism that he christened caractérisme. He hoped to set himself apart from those unthinking, so-called realist artists whose art provided the viewer with only a literal depiction of nature. His careful observation of man in his milieu paralleled the anti-aesthetic, anti-romantic approach of the literary Naturalists, such as Zola and Huysmans.
Degas invited Raffaëlli to participate in the Impressionist exhibitions of 1880 and 1881, an action that bitterly divided the group; not only was Raffaëlli not an Impressionist, but he threatened to dominate the 1880 exhibition with his outsized display of 37 works. Monet, resentful of Degas's insistence on expanding the Impressionist exhibitions by including several realists, chose not to exhibit, complaining, "The little chapel has become a commonplace school which opens its doors to the first dauber to come along."An example of Raffaëlli's work from this period is Les buveurs d'absinthe (1881, in the California Palace of Legion of Honor Art Museum in San Francisco). Originally titled Les déclassés, the painting was widely praised at the 1881 exhibit.
After winning the Légion d'honneur in 1889, Raffaëlli shifted his attention from the suburbs of Paris to city itself, and the street scenes that resulted were well received by the public and the critics. He made a number of sculptures, but these are known today only through photographs.[2] His work was also part of the painting event in the art competition at the 1912 Summer Olympics. In the later years of his life, he concentrated on color printmaking. Raffaëlli died in Paris on February 11, 1924
Museum and Gallery Holdings:
Béziers: Peasants Going to Town
Bordeaux: Bohemians at a Café
Boston: Notre-Dame; Return from the Market
Brussels: Chevet of Notre-Dame; pastel
Bucharest (Muz. National de Arta al României): Market at Antibes; Pied-à-terre
Copenhagen: Fishermen on the Beach
Douai: Return from the Market; Blacksmiths
Liège: Absinthe Drinker...
Category
Impressionist 19th Century Interior Paintings
Materials
Panel, Oil
'La Taverne Pausset, Paris', Salon d'Automne, Salon des Independants, Benezit
Located in Santa Cruz, CA
Signed lower right, 'Dambourgez' for Edouard-Jean Dambourgez (French, 1844-1931), titled, 'Paris' and painted circa 1880. Titled with inscription, verso, on old backing, ''Taverne Pausset', grands boulevards a Paris".
A fine and detailed, cabinet-size oil painting showing an elegant Parisian cafe and bar, the interior lit by luminous, floor-to-ceiling stained-glass windows and filled with fashionably-dressed patrons drinking and socializing beneath a haze of pipe and cigar smoke. A minor, period masterpiece, providing an animated view of the city's fin-de-siècle nightlife, and characterised by finely observed and fully-realized figures showing an unusual degree of both social commentary and psychological penetration.
Edouard-Jean Dambourgez first studied with Jules Lefebvre and, subsequently, as an engraver and chromo-lithographer under Gustave Boulanger. In 1880, Dambourgez commenced exhibiting at the Salon des Artistes Français, and, in 1883, was elected a member of the Society. Throughout the 1880's, he exhibited frequently and with success at the major Paris salons including the Salon d'Automne, the Salon des Independants and the Salon des Champs-de-Mars. In 1884, he was commissioned by the Louvre to engrave all illustrations for the catalog to the Thiers Collection, recently bequeathed to the Museum. The recipient of numerous prizes, medals and juried awards, Dambourgez was awarded an honorable distinction by the Salon in 1888, and an honorable mention in 1891.
In 1888, the critic Albert Wolff recommended his painting, 'A Cheese Shop', for inclusion at the Salon des Artistes Français. In 1891, the city of Paris bought his large canvas, 'The Cream and Cheese Market...
Category
Impressionist 19th Century Interior Paintings
Materials
Oil, Postcard
19th Century Belgian Realist Oil Painting - Young Lady Saying Grace at Supper
Located in Cirencester, Gloucestershire
Artist/ School: Alfred Verstraeten (1858-1936) Belgian, signed
Title: Giving Thanks
Medium: oil painting, on canvas, unframed.
Size: painting: 21.5”...
Category
Realist 19th Century Interior Paintings
Materials
Oil, Canvas
Antique American Oil Painting Still Life Flora Rare 19th Century New York Jersey
Located in Buffalo, NY
A stunning antique American still life painting from the recently acquired estate of New York/New Jersey artist Sallie Van Horn.
Van Horn taught paint...
Category
American Impressionist 19th Century Interior Paintings
Materials
Board, Oil
Pompeian Scene 19th century Painting Oil on Canvas Signed Egisto Sarri
By Egisto Sarri
Located in Rome, IT
Egisto Sarri
"Pompeian scene"
Oil on canvas, measure: cm 30 x 48 with a filly carved gilt - wood frame cm 46 x 64
Signature in the lower left-hand corner: "E. Sarri
Egisto Sarri
(Figline val d'Arno 1837 - Florence 1901)
Sarri studied at the Academy of Fine Arts in Florence under Giuseppe Bezzuoli and Enrico Pollastrini, and was one of Antonio Ciseri...
Category
Romantic 19th Century Interior Paintings
Materials
Oil
Oil Painting Frederick Johnston “The Reading Lesson”
Located in Mere, GB
Oil Painting Frederick Johnston “The Reading Lesson” 1855- 1868. London painter of domestic genre scenes. He exhibited at the Royal Academy, Royal s...
Category
19th Century Interior Paintings
Materials
Oil
Oil Painting by Robert Farrier "Pheobe the Millers Maid"
Located in Mere, GB
Oil Painting by Robert Farrier "Pheobe the Millers Maid" 1796- 1879. Farrier exhibited regularly at the Royal Academy and many of his works were engraved. Oil on panel. Labels Verso ...
Category
19th Century Interior Paintings
Materials
Oil
Eduardo León Garrido, "An Elegant Dance", 19th C. Oil on Mahogany Wood Panel
Located in Madrid, ES
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...
Category
Realist 19th Century Interior Paintings
Materials
Wood Panel, Oil
Lovers at the Fountain - Italian 19th Century Figurative Oil on Canvas Painting
Located in Rome, IT
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...
Category
Romantic 19th Century Interior Paintings
Materials
Oil
"The Beautiful Story”, period Belgian interior, romantic portraiture, oil/canvas
Located in Nutfield, Surrey
This is an original unique oil painting by the artist, Edward Antoon Portielje, a late nineteenth-, early twentieth-century Belgian painter from Antwerp, who showed an interest in se...
Category
Romantic 19th Century Interior Paintings
Materials
Oil, Canvas
Painting 19th century French School Genre Scene Interior Portrait
Located in Saint-Ouen, FR
French School 19th century
Close to François Xavier FABRE (1766-1837)
The Princess and The Chaperone
Oil on canvas
One can read on the reverse "Fabre Fecit" and the name and address of the canvas dealer shop...
Category
Academic 19th Century Interior Paintings
Materials
Oil
"Family Interior Scene”, peasant family in 19thC Austria, original oil on paper
Located in Nutfield, Surrey
Frans Wens (19th Century).
A charming family interior scene painted by the Austrian artist Frans Wens. There is little recorded biographical informat...
Category
Victorian 19th Century Interior Paintings
Materials
Paper, Oil
The Letter
Located in Belgravia, London, London
Oil on canvas
Canvas size: 8.75 x 6.5 inches
Framed size: 13.5 x 11.5 inches
Signed and dated '1869' lower right
Category
19th Century Interior Paintings
Materials
Canvas, Oil
"The Mandolin Serenade", 19th Century Watercolour on Cardboard by Giménez Martín
Located in Madrid, ES
JUAN GIMÉNEZ MARTÍN
Spanish 1855 - 1901
THE MANDOLIN SERENADE
signed & located "Gimenez-Martin, Roma" lower left
watercolour on cardboard
21-1/4 x ...
Category
Realist 19th Century Interior Paintings
Materials
Watercolor, Cardboard
Pair of 19th Century "Gambling" Oil Paintings After Adriaen van Ostade
Located in San Francisco, CA
Pair of 19th Century "Gambling" Oil Paintings After Adriaen van Ostade
Each painting shows men gambling in a cellar
Original oil on canvas
Dimensions 10" wide x 12" high
The orna...
Category
Dutch School 19th Century Interior Paintings
Materials
Canvas, Oil
"Midday Meal" Portrait of Woman and Two Children Seated at Table
Located in Houston, TX
Impressive portrait of a woman and two children seated around the table during a midday meal. The work consists of oil on canvas and is signed by the art...
Category
Realist 19th Century Interior Paintings
Materials
Oil, Canvas
Reception at the Salon
Located in Saint-Ouen, FR
STEVENS Agapit (1848 – 1924)
Reception at the Salon
Oil on wood signed low left
New Golden Frame
Dim wood panel : 24 X 39 cm
Dim Frame : 49 X 63 cm
STEVENS Agapit (1848 – 1924)
Be...
Category
Academic 19th Century Interior Paintings
Materials
Oil
A Woeful Companion
By Arthur Batt
Located in Belgravia, London, London
Oil on canvas
Canvas size: 27 x 24 inches
Framed size: 33 x 30.5 inches
Signed and date '87 lower left
Category
19th Century Interior Paintings
Materials
Canvas, Oil
Painting 19th Century Romantic Courtiers Genre Scene
Located in Saint-Ouen, FR
Courtiers Party in the Park in 18th Century
In the Taste of Nicolas Lancret (1690-1743)
Oil on canvas
Frame gilded with leaves
Dim canvas : 73 X 59 cm
Dim frame : 100 X 87 cm
Category
Old Masters 19th Century Interior Paintings
Materials
Oil
Pair of 19' century Chinese Reverse-Painted Mirror Pictures
Located in Rome, IT
A pair of Chinese reverse glass painting representing women and a child in a garden pavillion. Original "Chinese Chippendale" framing.
China for expor...
Category
Qing 19th Century Interior Paintings
Materials
Paint, Mirror
Eavesdropping
By Charles Hunt
Located in Belgravia, London, London
Oil on canvas
Canvas size: 28 x 36.25 inches
Framed size: 33 x 41.25 inches
Signed lower right
Category
19th Century Interior Paintings
Materials
Canvas, Oil
Porcelain Plaque of Bejeweled Beauty by K.P.M. Berlin
Located in New York, NY
An exquisite K.P.M. finely painted plaque, depicting a bejeweled beauty, seated on a curule chair, with impressed monogram and scepter mark and cyphers.
Origin: Berlin
Date: 19th c...
Category
19th Century Interior Paintings
Materials
Porcelain
Playing Cards
By Fritz Wagner
Located in Belgravia, London, London
Oil on canvas
Canvas size: 27.75 x 33.75 inches
Framed size: 35.5 x 41.5 inches
Signed lower right
Category
19th Century Interior Paintings
Materials
Canvas, Oil
19th Century genre oil painting of figures in a cottage with two donkeys & a dog
Located in Moreton-In-Marsh, Gloucestershire
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...
Category
Victorian 19th Century Interior Paintings
Materials
Oil, Canvas
Fine 1800's Portrait of Young Aristocratic Boy with Letter & Pen Oil on Canvas
Located in Cirencester, Gloucestershire
Portrait of a Young Aristocrat
French School, circa 1800's
circle of Louis Leopold Boilly (1761-1845)
oil painting on canvas, framed
canvas: 16 x 13.5 inches
frame: 21 x 18 inches
p...
Category
Rococo 19th Century Interior Paintings
Materials
Oil, Canvas
Italian oil on canvas painting of a lacemaker by Paoletti
Located in London, GB
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...
Category
19th Century Interior Paintings
Materials
Oil, Canvas
Yarn Spinner, in the manner of Pietro Longhi
Located in Cotignac, FR
Early 19th century oil on panel portrait of a young girl spinning.
Pietro Longhi was a Venetian painter who mastered the portrayal of scenes of everyda...
Category
Rococo 19th Century Interior Paintings
Materials
Oil, Wood Panel
The Dressing Room
Located in Belgravia, London, London
Oil on panel
Panel size: 14 x 11 inches
Signed lower right
Category
19th Century Interior Paintings
Materials
Oil, Panel
19th Century genre oil painting of figures in a cottage with animals
Located in Moreton-In-Marsh, Gloucestershire
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...
Category
Victorian 19th Century Interior Paintings
Materials
Oil, Canvas
Furry Friends (Pair)
Located in Belgravia, London, London
Oil on panel
Panel size: 4.75 x 6 inches each
Framed size: 9.25 x 11 inches each
Monogrammed and dates '66
Category
19th Century Interior Paintings
Materials
Oil, Panel
Tea Time
By Frank Bramley
Located in Wiscasett, ME
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...
Category
Victorian 19th Century Interior Paintings
Materials
Oil
The Armourer's Shop
Located in Belgravia, London, London
Oil on canvas
Canvas size: 20 x 30 inches
Framed size: 30 x 39.5 inches
Signed lower left
Category
19th Century Interior Paintings
Materials
Canvas, Oil
Flirtation
Located in Belgravia, London, London
Oil on canvas
Canvas size: 29 x 38.5 inches
Framed size: 36.5 x 46.25 inches
Signed lower right
Category
19th Century Interior Paintings
Materials
Canvas, Oil
"The Florence Sisters", 19th Century Oil on Canvas, Spanish Artist José Villegas
Located in Madrid, ES
JOSÉ VILLEGAS Y CORDERO
Spanish 1844 - 1921
"The Florence Sisters"
signed "Villegas" (lower left)
oil on canvas
33-1/2 X 40-1/2 inches (84.5 X 102.5 cm.)
PROVENANCE
Private Collector, Seville, Spain
José Villegas Cordero (Seville, August 26, 1844-Madrid, November 9, 1921) was a Spanish painter. He directed the Prado Museum between 1901 and 1918.
Biography
He was the brother of the painter Ricardo Villegas Cordero. He began his apprenticeship very young with José María Romero, with whom he remained for two years until entering the School of Fine Arts in Seville, where he was under the tutelage of Eduardo Cano.
In 1860, when he was only 16 years old, he sold his work Little Philosophy for 2,000 reais at the Seville Exhibition. In 1867 he traveled to Madrid, where he entered Federico Madrazo's studio. There he established friendship with painters Eduardo Rosales and Fortuny.
He went regularly to the Prado where he copied Velázquez, from whom he acquired spontaneity and the use of color for his technique.
Finally, and out of admiration for Fortuny's orientalist painting, he returned to Seville and organized an excursion to Morocco.
At the end of 1868 he decided to travel to Rome accompanied by the painters Rafael Peralta and Luis Jiménez Aranda...
Category
Realist 19th Century Interior Paintings
Materials
Canvas, Oil
A Quiet Smoke
By Fritz Wagner
Located in Belgravia, London, London
Oil on panel
Panel size: 8.75 x 7 inches
Framed size: 13.75 x 11.75 inches
Signed upper left
Category
19th Century Interior Paintings
Materials
Panel, Oil
Feeding the New Brood
Located in Belgravia, London, London
Oil on panel
Panel size: 9.5 x 12.5 inches
Framed size: 14.75 x 17.75 inches
Signed and dated 1870 lower right
Category
19th Century Interior Paintings
Materials
Oil, Panel
Mummy's Little Helper
Located in Belgravia, London, London
Oil on canvas
Canvas size: 24 x 18 inches
Signed lower right
Category
19th Century Interior Paintings
Materials
Canvas, Oil
"Playing hide and seek", 19th Century Oil on Panel by Vicente Palmaroli, Spanish
Located in Madrid, ES
VICNTE PALMAROLI y GONZÁLEZ
Spanish, 1834 - 1896
PLAYING HIDE AND SEEK
signed "V. Palmaroli" (lower right)
oil on mahogany panel
17-3/4 x 13-1/2 inches (45 X 34 cm.)
framed: 25-1/4 X 21-1/4 inches (64 X 53.7 cm.)
PROVENANCE
Leslie Hindman Inc., Auctionners
Private Collector, Madrid
Oil on table by Vicente Palmaroli...
Category
Romantic 19th Century Interior Paintings
Materials
Oil, Wood Panel
The Admirer
By Pompeo Massani
Located in Belgravia, London, London
Oil on canvas
Canvas size: 12 x 9 inches
Framed size: 19 x 15.75 inches
Signed upper left
Category
19th Century Interior Paintings
Materials
Canvas, Oil
A Hearty Praise
Located in Belgravia, London, London
Oil on panel
Panel size: 11.75 x 18 inches
Signed lower right
Category
19th Century Interior Paintings
Materials
Oil, Panel
Making Merry
Located in Belgravia, London, London
Oil on canvas
Canvas size: 21.5 x 17.75 inches
Framed size: 33.25 x 29.5 inches
Signed lower right
Category
19th Century Interior Paintings
Materials
Canvas, Oil
Visiting Grandpa's Workshop
Located in Belgravia, London, London
Oil on canvas
Canvas size: 24 x 30 inches
Signed lower left
Category
19th Century Interior Paintings
Materials
Canvas, Oil
Pompeian Scene 19th century Painting Oil on Canvas Signed Egisto Sarri
By Egisto Sarri
Located in Rome, IT
Egisto Sarri
"Pompeian scene"
Oil on canvas, measure: cm 30 x 48 with a filly carved gilt - wood frame cm 46 x 64
Signature in the lower left-hand corner: "E. Sarri
Egisto Sarri
(Figline val d'Arno 1837 - Florence 1901)
Sarri studied at the Academy of Fine Arts in Florence under Giuseppe Bezzuoli and Enrico Pollastrini, and was one of Antonio Ciseri...
Category
Romantic 19th Century Interior Paintings
Materials
Oil
The Finishing Touches
By William Henry Knight
Located in Belgravia, London, London
Oil on board
Board size: 8 x 6 inches
Framed size: 15 x 13 inches
Signed and dated '56 lower right
Category
19th Century Interior Paintings
Materials
Oil, Board
Edgard CUGNOTET - Painting 19th Century - Portrait of Two Children
By Edouard Ferdinand Ludovic Cugnotet
Located in Saint-Ouen, FR
CUGNOTET Edgard (19th Century)
Portrait of two Children
Oil on canvas signed low left and dated 1884
Frame gilded with leaves
Dim canvas : 138 X 100 cm
Dim Frame : 162 X 122 cm
CUGNOTET Edgard Ferdinand Ludovic (19th Century)
French painter 19th Century born in Dijon
Figures, Portraits, Landscapes
He was taught by François Édouard PICOT (1786-1868) royal Academy of Anvers.
He exhibited at the Salon de Paris between 1868 and 1884.
Museum : Langres « the hurdy gurdy...
Category
Academic 19th Century Interior Paintings
Materials
Oil
Reading to Grandma
By James Hardy Jr.
Located in Belgravia, London, London
Oil on panel
Panel size: 6 x 8 inches
Framed size: 10.25 x 12.25 inches
Signed and date '1860' lower right
Category
19th Century Interior Paintings
Materials
Oil, Panel
'Red Gladioli in a Chinese Vase', Aesthetic Movement Still Life, Woman Artist
By Rose Marshall
Located in Santa Cruz, CA
Signed lower left with monogram, 'R.M.' for Rose Marshall' (American, 19th century) and dated 1887. Additionally signed, verso, on old label, 'Mrs. Rose Marshall.
Displayed in the original and substantial, 19th century carved giltwood and gesso frame...
Category
Aesthetic Movement 19th Century Interior Paintings
Materials
Canvas, Oil
Oil Painting, 19th Century. Interior Scene with Family and dog. "The Alcoholic"
Located in Berlin, DE
Oil Painting, 19th Century. Interior Scene with Family and dog. "The Alcoholic"
Antique oil painting in museum quality. With a royal seal. Early 19th centu...
Category
19th Century Interior Paintings
Materials
Canvas, Oil
Jules TOULOT (1863-nc) Painting 19th century soldier uniform interior
By Toulot Jules
Located in Saint-Ouen, FR
Toulot Jules (1863-nc)
Pianist officer in the Second Empire period
Oil on canvas signed low right
Old frame regilded with gold leaves
Dim canvas : 65 X 43 cm
Dim frame : 90 X 67 cm
TOULOT Jules (1863-nc)
French painter 19th century
Born 11th November 1863 in Champeinx (Puy de Dôme...
Category
Academic 19th Century Interior Paintings
Materials
Oil
Interior of a Japanese House
Located in New York, NY
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 Nippon (which means, “The Land of the Rising Sun”), Moore spent time in locales such as 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 depiction of an interior of a dwelling. The location of the view is unknown, but the presence of a rustic rail fence demarcating a yard bordering a distant house flanked by tall trees, shrubs and some blossoming fruit trees, suggests that the work likely portrays a building in a city suburb or a small village.
In his book, Japanese Homes and Their Surroundings, Edward S. Morse (an American zoologist, orientalist, and “japanophile” who taught at Tokyo Imperial University from 1877 to 1879, and visited Japan again in 1891 and 1882) noted the “openness and accessibility of the Japanese house...
Category
19th Century Interior Paintings
Materials
Oil, Wood Panel
'A Fireside Read' and 'Threading the Needle' (Pair)
Located in Belgravia, London, London
Oil on panel
Panel size: 10 x 8 inches each
Framed size: 13 x 10.5 inches each
A signed lower left
B signed lower right
Category
19th Century Interior Paintings
Materials
Oil, Panel
The Introduction
By Robert Julius Beyschlag
Located in San Francisco, CA
Robert Julius Beyschlag (Germany, 1838-1903) mother and child oil painting, circa 1870
Charming original oil painting by listed 19th ce...
Category
Impressionist 19th Century Interior Paintings
Materials
Oil
'In the Kitchen', 19th Century Flemish Genre Painting
Located in Santa Cruz, CA
Style of Richard Brakenburgh (Dutch 1650-1702) and painted circa 1820.
Displayed in a shot silk mat with gilded slip within an 18th century, Dutch ...
Category
Realist 19th Century Interior Paintings
Materials
Paper, Oil
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