19th Century Interior Paintings

Oil on panel Panel size: 6 x 8 inches Framed size: 10.25 x 12.25 inches Signed and date '1860' lower right

Oil on canvas Canvas size: 29 x 38.5 inches Framed size: 36.5 x 46.25 inches Signed lower right

Oil on panel Panel size: 8.75 x 7 inches Framed size: 13.75 x 11.75 inches Signed upper left

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...

The Painter is a colored oil painting on canvas realized in Italy by Anonymous artist of the XIX century. Attr. to the painter Vincenzo Cabianca (18...

This large and impressive oil on canvas painting depicts the Procession of the Torah, an event that occurs during the Jewish festival of Simchat Torah. The location is a synagogue in Livorno, Italy; the scene isdimly light, low light highlighting the many pious figures who occupy the interior of the synagogue. The work is after Solomon Alexander Hart...

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

Friedrich Fehr (1862-1927) Antique Impressionist Painting of a High Society Lady in White Hat, reading In a Moorish Japonais Interior. Painting is very well done with Persian carpets...

Oil on canvas Canvas size: 12 x 10 inches Framed size: 18.25 x 16 inches Signed lower left

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...

ROGELIO DE EGUSQUIZA Y BARRENA LADY IN YELLOW signed "R. Egusquiza" (lower right) oil on panel 28-5/8 X 20-3/4 inches (72.5 X 52.7 cm.) framed: 32-5/8 X 24-3/4 inches (82.5 X 62.5 cm.) Rogelio de Egusquiza y Barrena (1845 – 10 February 1915) was a Spanish painter, known for his friendship with the German composer Richard Wagner, whose works he helped make familiar in Spain He was born in El Astillero, into a well-to-do family. He studied in Madrid and with Léon Bonnat at the École des Beaux-Arts in Paris. In 1868, after travelling and participating several times in the National Exhibition of Fine Arts, he returned to Paris and settled there. At first, he painted historical scenes, but later turned to genre scenes and portraits in the Academic style. Following the death of Marià Fortuny, he moved to Rome at the invitation of the Madrazos, Raimundo and Ricardo, taking Fortuny's place at their studio through 1875 and attending classes at the Spanish Academy in Rome. He heard Wagner's music for the first time in 1876, after returning to Paris. Three years later, he travelled to Munich to hear a performance of The Ring of the Nibelungen. His enthusiasm for what he heard led him to go to Bayreuth, where he introduced himself to Wagner and became his friend. In the following years, he and Wagner got together again several times; in Venice (1880), Berlín (1881) and Bayreuth (1882); where he was a guest at the premiere of Parsifal. After his first meeting with Wagner, he decided to devote his career to doing works on Wagnerian themes; mostly portraits of the characters rather than specific scenes. During his visits to Germany, he also created portraits of Arthur Schopenhauer (posthumous) and King Ludwig II...

BIVA Paul (1851 - 1900) Basket of Pansies Oil on canvas signed low left Framed by Gault (Paris) Dim canvas : 60 X 80 cm Dim frame : 80 X 100 cm BIVA Paul (1851 - 1900) French Pain...

A pair of Chinese reverse glass painting representing women and a child in a garden pavillion. Original "Chinese Chippendale" framing. China for expor...

P Deltour (?) French school of the 19th century The artist with his model and friend in his workshop Oil on canvas Signed "P Deltour" (?) and dated 1879 on the lower, an indistinct i...

Oil on panel Panel size: 26.5 x 19.5 inches Framed size: 35 x 28 inches Signed and dated 1878 lower left

COUDER Alexandre Jean Rémy (1808-1879) Reading on the sofa Oil on canvas signed low left Old original frame gilded with leaves Dim canvas : 47 X 39 cm Di...

A fine Pair papiers peints 'En Grisaille' from the psyche´ series manufactured by Dufour, Paris, after designs by Merry-Joseph Blondel and Louis Lafitte. -'Psyche´ about to stab the ...

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...

Oil on panel Panel size: 19.25 x 12.5 inches Framed size: 31.25 x 25.5 inches Signed lower left

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

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

Oil on canvas Canvas size: 22 x 18 inches Framed size: 23.75 x 25 inches Signed lower left

Dutch school 19th century, A philosopher reading, oil on canvas 27 x 22 cm In a modern frame : 36.5 x 32 cm Recently restored and cleaned, some small inpaintings, thinness of the...

Oil on panel Panel size: 18 x 15 inches Framed size: 22 x 19 inches Signed lower right

Roberto Bompiani (Italy, 1821-1908) "The Confirmation" Museum Quality Oil Painting circa 1871 Extraordinary oil painting by listed Italian artist. T...

Oil on canvas Canvas size: 27.5 x 19.5 inches Framed size: 33.75 x 26 inches Signed upper left

Oil on canvas framed representing a monk reading sitting on a chair in the taste of François Granet.

In the latter half of the nineteenth century and into the first decade of the twentieth, New York City art aficionados could count on finding recent work of Seymour Joseph Guy hanging on the walls of the city’s major galleries. Primarily a genre artist, but also a portraitist, between 1859 and 1908 Guy showed more than seventy works at the National Academy of Design. From 1871 to 1903 he contributed over seventy times to exhibitions at the Century Club. From 1864 to 1887, he sent about forty pictures to the Brooklyn Art Association. A good number of these works were already privately owned; they served as advertisements for other pictures that were available for sale. Some pictures were shown multiple times in the same or different venues. Guy was as easy to find as his canvases were omnipresent. Though he lived at first in Brooklyn with his family and then in New Jersey, from 1863 to his death in 1910 he maintained a studio at the Artist’s Studio Building at 55 West 10th Street, a location that was, for much of that period, the center of the New York City art world. Guy’s path to a successful career as an artist was by no means smooth or even likely. Born in Greenwich, England, he was orphaned at the age of nine. His early interest in art was discouraged by his legal guardian, who wanted a more settled trade for the young man. Only after the guardian also died was Guy free to pursue his intention of becoming an artist. The details of Guy’s early training in art are unclear. His first teacher is believed to have been Thomas Buttersworth...

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...

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

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

This beautiful view of a Florentine courtyard was painted by A. Marrani, an artist who, in the late 19th Century, painted many views of the Tuscan city. The cortile (‘courtyard’) sho...

Pair of French Neoclassical oil paintings by Dubost French, 1809/11 Frame: Height 70.5cm, width 86cm, depth 9cm Panel: Height 45cm, width 61c...

A pair of Chinese reverse glass painting representing women and a child in a garden pavillion. Original "Chinese Chippendale" framing. China for expor...

A fine Pair papiers peints 'En Grisaille' from the psyche´ series manufactured by Dufour, Paris, after designs by Merry-Joseph Blondel and Louis Lafitte. -'Psyche´ about to stab the ...

Wonderful scene depicting a flemish interior higly detailed. Oil on canvas. XIX century. comes with frame

A beautiful 19th Century Northern European School genre, as a young gentleman poses a question to the young lady, as the father looks on. All is original and with the period frame. A...

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...

Interior of a Church is an original painting realized by Hermann Corrodi. Original oil on canvas with a contemporary wooden frame included. Hermann David Salomon Corrodi...

Austrian genre painting of children in a classroom by Rudolf Geyling Austrian, late 19th Century Frame: Height 94cm, width 126cm, depth 8cm Canvas: Height 75cm, width 101cm, depth 2c...

A pair of Chinese reverse glass painting representing women and a child in a garden pavillion. Original "Chinese Chippendale" framing. China for expor...

This fine antique oil painting depicts two ladies seated in a 19th Century style interior. In front of the woman on the right is an antique wool spinner; the woman pauses her work at...

Painting of The Merry Wives of Windsor attributed to John Calcott Horsley English, 19th Century Frame: Height 97.5cm, width 74cm, depth 7cm Panel: Height 78cm, width 54cm, depth 0.5c...

Architectural Floral Wallpaper Fragment 19th Century Italian hand painted floral designd wallpaper lined with linen, in beautiful gold leaf framed.

Watercolour painting of Russian peasants feasting by Teikh Russian, 1872 Frame: Height 92cm, width 122cm, depth 6cm Sheet: Height 76cm, width 107cm This fine watercolour painting is...

This exquisite watercolor on board painting is the work of a highly respected Italian artist, Marrani, who was active in the 19th Century. It depicts a courtyard of the Palazzo Ducal...

A wonderful depiction of mother and child displayed in a gold round ornate frame with intricate details.

Charming watercolor of an intimate family scene in beautiful painted period frame. Signed in the lower right-hand corner.

This beautiful late 19th-century oil painting by German artist Otto Kirberg (1850-1926) depicts a young woman reading by an open window. It’s a charming portrayal capturing a moment ...

This early 20th-century oil painting by British artist Albert Chevallier Tayler (1862-1925) depicts a quiet study with chair, table and various ornaments. Albert Chevallier Tayler w...

This late 19th-century oil painting by British artist Louise Parker (b. 1872) depicts a young lady singing while another plays the piano. It’s probably the artist’s sisters. (Mary) ...

Oil on panel Signed and dated lower left: "Ferdinand de Braekeleer, 1868, Antwerp." This depiction of a classroom clearly shows the typical style of De Braekeleer. One can read the painting as one reads a story. The viewer's gaze can wander about, analyzing all the different characters and their activities. There is a sort of humor to the scene, with a psychological characterization of the different characters. On the left side of the classroom, we can see several students working diligently. While another one has thrown his writing slate to the ground, he seems to have given up. In the center of the painting, we can see the older school teacher, explaining carefully to three of his students how the problems should be solved. In this work we can also see how De Braekeleer follows the composition schemes that were common in the seventeenth century. Think for instance of ‘little schools’ attributed to Adriaan Brouwer, Adriaan van Ostade or Jan Steen. Ferdinand de Braekeleer was a Flemish painter well known for his genre scenes and emerges from this painting as an excellent craftsman. The high quality of his works revived Belgian painting and his role as a teacher of the next generation of artists was significant. He taught at the Antwerp Academy from 1855 onwards, and had artists like Charles Venneman...

Vittorio Reggianini (Italian, 1858-1938) Il Concerto di Pianoforte Signed Lower Right 28 x 39.5 inches 35 x 47 inches with frame Vittorio Reggianini specialized in genre subjects including elegant scenes of bourgeois life, figure compositions particularly women's heads and child studies as well as more humble interiors with peasants. Reggianini combined fantasy with reality, sensuality with sensibility and above all, like many of the Florentine historical genre painters furnished his costume pieces in luxury. Reggianini was born in Modena, north Italy, in 1853. He studied at the Modena Academy of Fine Arts where he later became a professor. Like many of his contemporaries, Reggianini migrated south, to Florence, where in 1900 he participated in the Alinari Corcorso with a painting entitled Tristis Matris Nati Presaga Finis. Reggianini also exhibited with the Florentine Art...

R. Gentile (Italian, c. 1880-1930) *Dates are approximate* "Card Players" Oil on Canvas Signed Lower Left "R. Gentile" 22 x 28 inches (site) 35 x 42 inches (framed) Painted late 19t...

Antique American impressionist oil painting of an interior scene. Oil on canvas. Framed. Signed illegibly. Image size, 16L x 20H. Lots of great detail in this painting. Really ...

Antique American impressionist painting. Watercolor on paper. Signed. Framed. Image size, 14L x 11H.

Artist/ School: French School, late 19th/ early 20th century, signed by Barthelemy Title: Still Life Profusion of Flowers in a Green Vase Medium: oil on canvas over board, unframed...

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...