Late 19th Century Interior Paintings

Work on canvas Molded frame in plaster and gilded wood 59 x 49.5 x 5 cm

Antique American school dog portrait oil painting. Oil on board. Framed. Image size, 9L x 9H.

This work of a young musician by Frederick E. Wright is set in an exceptional original Doll & Richards, Boston, frame. The framed dimensions are 16' x 13 1/3" x 1". A hand-written la...

'Love lyrics,' a romantic Italian genre painting by Antonio Paoletti Italian, Late 19th Century Panel: height 40cm, width 50cm, depth 1cm Frame:...

Bedouin girl posing for the painter in late sunlight (sunset). Was painted by Cavaliero Antonio Scognamiglio ca. 1870-1880, most likely in Cairo as similar work of smaller size was i...

Lucienne Lemercier was a French painter from the latter part of the 19th century through the early 20th century. She came from a family of creative people and took to painting at a...

Drummers were often thought of as young soldiers, joining the Army as young as 12 years old. The idea of young boys marching into battle was loved by the Victorians, and several roma...

French School, indistinctly signed/ dated 1898 signed and dated oil painting on canvas, unframed painting: 13 x 9 inches provenance: from a private collection, France condition: over...

A fine impressionist oil painting of the artist’s studio interior by American artist Charles Herbert Woodbury (1864-1940). Woodbury was born in Lynn, MA, and sold his first painting when he was fifteen years old and became the youngest member elected into the Boston Art...

August Vilhelm Nikolaus Hagborg (Swedish, 1852-1921) In the Garden of His Eminence Oil on wood panel Signed lower left 21 x 25.5 inches 34 x 38.25 inches, framed August Vilhelm Nikolaus Hagborg was a Swedish painter who spent most of his life in France. His father was an associate professor. Against the wishes of his parents, he decided on a career in art and, from 1872 to 1874, he studied at the Royal Swedish Academy of Fine Arts in Stockholm with Vicente Palmaroli...

An American Still Life of an Apple, Pear and Grapes Oil on canvas on board Signed illegibly circa late 1800s 9 3/4 x 5 7/8 (16 x 12 3/4 frame) inches This is an example of late 19...

Signed: Augusto Corelli (1853 - 1918). Superbly and professionally painted Italian landscape. A narrow path, an alley hanging over it with centuries-old oaks, a sea bay...

Large Italian genre painting of 'The Little Model' by Francesco Beda Italian, 1840-1900 Frame: height 111cm, width 168cm, depth 7cm Canvas: height 96cm, ...

A gorgeous floral still life which marries the depth and the richness found in the work of the Flemish old masters with the elegance and light of French painting. As you will see, th...

Signed and dated '1879' lower right Exhibited: Royal Society of British Artists, London, 1880

A Party To The Castle in the 18th Century Oil on canvas with a signature G.Weiss low left Old frame regilded Dim canvas : 46 X 38 cm Dim frame : 66 X 58 cm

A charming late 19th Century interior scene with later over painting. The scene shows a father (wearing a linen smock often worn by working men over their ...

Antique American realist flower still life oil painting. Oil on board, circa 1900. Unsigned. Image size, 10L x 14H. Housed in a period giltwood frame.

Frederick James Boston (1855 - 1932) The Letter Oil on canvas 20 x 16 inches Signed lower left The first instructor of art at the Brooklyn Institute of Arts and Sciences, Frederick ...

LE ROY Jules Gustave (1853 - 1922 ) Cat and Kitten on the Desk Oil on canvas signed low left Old Frame regilded with leaves Dim canvas : 46 X 38 cm Dim frame : 58 X 50 cm LE ROY J...

Work on canvas Golden wooden frame 83 x 101.5 x 3.5 cm

An original oil on canvas painting measuring 17 x 8 inches by F.S. Muschamp, signed lower right. In the nineteenth century, the Neo-Classical movement bloomed, bringing forth a new style and interpretation of the past. F. Sydney Muschamp...

Attributed to Randolph Caldecott, a well-known English painter, and illustrator of English Pub interior scenes. The scene is great fun, as we can see di...

GENTY Emmanuel (1830-1904) Portrait of an Elegant Lady Oil on canvas signed low right and dated 1897 Old Frame regilded with gold leaves Dim canvas : 100 x 81 cm Dim frame : 120 x 10...

HERRMANN LEON Charles (1838-1908) Portrait of a Dog in interior Oil on canvas signed low left Old frame re-gilded with gold leaves Dim canvas : 56 X 46 cm Dim frame : 69 X 59 cm HERRMANN LEON Charles (1838-1908) French painter 19th century Born 22 july 1838 in Le Havre. Died 1...

"At the Door" by C. Colombe is a charming late 19th century European realistic oil of a domestic interior scene capturing the Victorian sense of humor. Signed lower right. The pain...

Enoch Wood Perry, Jr. (1831 - 1915) A Quiet Afternoon, 1876 Oil on canvas 15 1/4 x 21 inches Signed and dated lower right Born in 1831 in Boston, Enoch Wood Perry, Jr, is internatio...

Elegant still life with calla lilies and amaryllis by an unknown artist. Completed in a classical style, two calla lilies and two amaryllis flowers sit in a vase with Chinese designs...

JOSÉ GALLEGOS Y ARNOSA Spanish, 1857 - 1917 CORO DE MONAGUILLOS ENSAYANDO signed, located and dated "JGallegos / Roma 1883" (lower right) oil on...

JOSÉ JIMÉNEZ ARANDA Spanish, 1837 - 1903 PARTIDA DE TRESILLO signed, located & dated “J. Aranda / Madrid. 1893.” (lower right) oil on canvas 31-1/2 x 39-1/3 inches (80 x 100 cm) framed: 40-1/3 x 48 inches (102.5 x 122 cm.) BIBLIOGRAPHY - This picture being mentioned and illustrated in “LA ILUSTRACION ESPAÑOLA Y AMERICANA”, Madrid, September 15, 1895 - José Jiménez Aranda, 1837-1903: Centro Cultural El Monte, Seville, October 2005, illustrated p. 102 PROVENANCE Private Collection, USA José Jiménez Aranda (7 February 1837 – 6 May 1903) was a Spanish painter and brother of the painters Luis Jiménez...

Signed and dated impressionist still life oil on original canvas by French painter Georges Jeannin. The work depicts a bouquet of pink, white and red roses with a paper fan placed in...

Jean-Jules-Antoine Lecomte du Nouÿ (1842-1923) An oriental street oil on canvas 11.5 x 14 cm no signature In good condition, canvas without stretcher,...

Achille Théodore CESBRON (1849-1915) Flower Arrangement Oil on oval canvas signed low right Framed by Gault (Paris - Fbg St Honoré) Dim canvas : 63 X 48 cm Dim frame : 79 X 64 cm Achille Théodore CESBRON (1849-1915) French school 19th-20th century Born the 5th of November 1849 in Oran (Algeria). Dead the 4th of January 1915. Painter of genre scene, portraits, still life, flowers, pastel. Pupil of Bonnat and Cormon, he regularly exhibited at the « Salon des Artistes Français », whose he became shareholder in 1883, getting several rewards and medals from 1882 to 1886. He has got the Marie...

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...

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...

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...

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...

Artist/ School: Alfred Verstraeten (1858-1936) Belgian, signed Title: Giving Thanks Medium: oil painting, on canvas, unframed. Size: painting: 21.5”...

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...

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...

JUAN GIMÉNEZ MARTÍN Spanish 1855 - 1901 THE MANDOLIN SERENADE signed & located "Gimenez-Martin, Roma" lower left watercolour on cardboard 21-1/4 x ...

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...

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...

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...

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...

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...

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...

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...

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...

Russian watercolour of the coronation of a Tsar Russian, late 19th Century Frame: Height 39cm, width 30cm, depth 0.5cm Sheet: Height 36cm, width 2...

A late 19th-century cabinet-sized oil on chamfered mahogany panel showing an elegant interior with a maid-servant contemplating a copy of the Venus de Milo. Signed lower left, "E. ...

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...

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...

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 ...

SERGE FERAT 1881-1958 (Le Comte Sergueï Yastrebzov) Moscow 1881-1958 Paris (Russian/French) Title: Theater Interior Design Technique: Original Signed Gouache Painting on paper siz...

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...

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...

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...