1850s Landscape Paintings

➡️ Beautiful study Landscape⬅️ Title: Sur les bords du Loing (Seine et Marne France) Jean Baptiste Camille Corot Medium: Oil on canvas Period: Likely mid-19th century Framing: A wid...

This splendid mid-19th-century oil painting by English artists William Shayer (1787-1879) and Edward Charles Williams (1807-1881) depicts an assortment of travellers outside a roadsi...

Antique Victorian English 19th Century, King Charles Cavalier spaniel and Westie terrier in an interior. This exquisite English 19th-century painting by...

‘The River Thames at Leigh by Moonlight’ by Henry Pether (1800-1880). The painting is signed by the artist and dated 1851 and is presented in a bespoke gold metal leaf frame. • Vi...

‘A Day in the Country’ by William Frederick Witherington R.A. (1785-1865). Academy Fine Paintings is fully conversant with the latest US Government import duties and the legal exemp...

Antique Victorian English 19th Century, three Spaniel dogs in an Interior. George Armfield was a mid-Victorian painter of mostly dog scenes but also painted other animal subjects su...

Antique Italian oil painting of Venice. Oil on canvas. Signed. Framed. Image size, 31L x 21H.

William M. Hart American 1823 - 1894 Outside Frame Size: 36 x 49" (90 x 122cm) Canvas Size: 28 x 41" (70 x 102) Provenance: H.V. Allison Galleries, New York Born in 1823 in Paisley...

This beautiful painting is in perfect condition, never touched. It has an original period giltwood frame (gold leaf)

Stilla sommarkväll (1851) by Adolf Julius Berg captures a tranquil summer evening by the water, suffused with the golden glow of sunset. In the foreground, two small boats drift on glassy, reflective waters – in one, a man stands with a fishing rod in hand, patiently angling as the day fades. A gentle breeze appears to carry a few diminutive sailboats across the distant bay, their sails illuminated by the last warm light. On the shoreline stands an old windmill, its silhouette etched against the radiant twilight sky. The overall composition exudes calm and harmony, evoking the profound stillness of a Nordic summer nightfall. The alla prima handling of light and color – from the lambent rose-tinted clouds to the lustrous reflections in the water – showcases Berg’s skill in rendering atmosphere and nuanced illumination. In its poetic serenity, Still Summer Evening stands as a superb example of Berg’s romantic landscape artistry, inviting the viewer into a moment of idyllic peace. In both subject and style, this painting is emblematic of Adolf J. Berg’s oeuvre. The coastal setting with a windmill and tranquil waters suggests a locale in southern Sweden – likely inspired by the archipelagic shores of Berg’s native Blekinge or a similar Swedish seaside landscape. Berg often painted scenes from Blekinge and other picturesque Swedish locales, and he favored twilight or moonlit atmospheres that imbue the scenery with a mellow, contemplative light. The warm, low-angled sunlight in Stilla sommarkväll, reflecting off calm water and silhouetting rustic structures, is typical of his fascination with dawn and dusk effects. In the harmonious balance of land, water, and sky, one can sense the influence of Berg’s early mentor, the venerable Romantic landscapist Carl Johan Fahlcrantz, whose tradition of lyrical, sunset-lit vistas is carried on here. Every element – from the fishermen quietly tending their evening catch to the distant sails gliding home – contributes to the painting’s atmosphere of gentle reverie, evoking the timeless charm of a Swedish summer night. Adolf Julius Berg (1820–1876) was a Swedish landscape painter celebrated for his atmospheric portrayals of the Nordic countryside. Born in the coastal city of Karlskrona, Berg developed an early affinity for marine and riverside scenes. His artistic approach was shaped initially by the poetic realism of Carl Johan Fahlcrantz, and later by the dramatic naturalism of Marcus Larson...

This fine mid-19th-century oil painting by British artist Thomas Sidney Cooper RA (1803-1902) depicts two cows and a sheep in a landscape. Cooper was a distinguished painter of the n...

This stunning large 19th century landscape oil painting is attributed to follower of Joseph Turner, possible George William Mote. Painted circa 1850 it is a panoramic landscape loo...

Henry Brittian Willis English plough team at rest during harvest Summertime. A painting by Henry Brittiam Willis capturing a 19th-century English plough team, complete with horses,...

Up for sale here is a really impressive mid 19th century painting. Very fine quality and great color! Unsigned. Framed. Image size, 13 by 17.

Fantastic early New Hampshire landscape by John Rollin Tilton. Pre White Mountain School. View from Tilton NH looking back towards Concord. Oil on canvas - deserves a special place o...

This mid-19th-century oil painting, attributed to English artist Edward Charles Williams (1807-1881), depicts a wooded river landscape with a boathouse, cottage, fishermen and figure...

Louis-Alexandre CABIÉ (Dol-de-Bretagne 1853 - Bordeaux 1939) Landes at Pessac, near Bordeaux - Gironde Oil on canvas H. 126 cm; W. 201 cm Signed lower left Louis Cabié, a renowned a...

John Henry Hill 1839-1922 Signed lower right Dated: 1857 Sight size: 3 3/4 x 7 1/2 inches Overall size: 7 3/4 x 11 1/2 inches oil on panel Good condition Kennedy Gallery Label Verso ...

A very attractive mid 19th century marine oil painting, by the celebrated French artist Charles Hoguet (1821-1870), Dieppe 1851. The painting depicts three masted fishing boats with ...

Attributed Paul Von Franken (1818-1884), famous Gemany a genre and landscape painter, signed bottom right. Fertile scenery coastal town with castle, mosque, minaret, large travelers ...

Henry John Boddington. 19th century English landscape with figures by a riverside. Simply one of the finest quality English landscape Ive ever had the pleasure of owning . This i...

Large Scale 19th Century American Impressionism Garden and Lighthouse Landscape Wonderfully large American Impressionist landscape of garden overl...

James Edward Butteerworth Owning a painting by James Edward Buttersworth depicting the heroic rescue of passengers from the ship 'Winchester' by the inscribed steamship 'Washington...

English 19th century portrait of the Clipper ship Crescent in full sail. Acquiring a 19th-century English portrait of a clipper ship is more than just adding a painting to your coll...

This charming mid-19th-century oil painting depicts a river landscape with a thatched cottage, boatmen, and windmill. It’s reminiscent of works by English artist Edward Williams (178...

French Romantic school of the 19th Century The artist's inspiration Oil on canvas transferred on wood It is in good condition, but the material has irregularities due to the canvas...

Barbizon School, French circa 1850 Fontainebleau landscape with walkers Oil on canvas 21.5 x 31 cm Framed : 32 x 41.5 cm In good condition, some minor lacks of paintingsdue to a former frame abrasion mainly on the right border and in the lower border (see photographs please) This landscape is probably a view of the Fontainebleau forest. This type of scene was painted by the Barbizon painters and by Camille Corot. The village of Barbizon is very close to the forest of Fontainebleau and the painters who lived there, such as Camille Corot, painted the most picturesque views of the spectacular stone quarries. There were also many walkers and hikers in these places, as the artists had made them famous and fashionable. The author of this charming little painting wanted to depict the wildness of the place and, in contrast, the walkers who made it a pittoresque curiosity. Although it's difficult to identify or ascribe the work, as there's no signature or other indication, there's a great deal of sensitivity and self-confidence in a very lively touch that heralds Impressionism. The detail of the barely sketched silhouettes...

Egide Linnig (1821–1860) was a Belgian painter known for his landscape and genre paintings. He was born in Antwerp, Belgium, and studied at the Royal Academy of Fine Arts in Antwerp....

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...

This charming mid-19th-century oil painting by Dutch artist Johannes Philippus Galjaard (1812-1867) depicts several figures on a rural track with a town and distant hills beyond. Hai...

French School mid 19th Century Animated dune landscape, oil on cardboard panel 12.4 x 29.8 cm bears a small inscription "Escoublac" on the lower right, not visible under the actual ...

Late 19th century French School, unsigned and painted circa 1860. Oil on artist prepared panel. A late 19th century oil landscape, painted in the style of Jean-François Millet, show...

Frederick E. Cohen (American, born England, c. 1818-1858) Boy in a Dog Sled, 1853 Oil on canvas, 25 x 30 inches Framed: 35 x 40 inches (approx.) Signed and inscribed: (on side of sle...

Wonderful English 19th century Fall landscape, with a figure on a pathway passing sone Elm or Oak trees. This piece is signed lower right and is framed in a Vintage American Gold Le...

Julius Montalant (1823 - 1898) Harbour of Rio Janeiro, 1843-1850 Oil on canvas 17 x 24 inches Signed and dated lower right; conservator's inscription on the reverse Born in Virginia, probably Norfolk, Julius Montalant is known for his drawings and paintings inspired by his travels on board navy ships. Attached to the USS St. Louis around 1844-45, he sketched ports of call he visited, including Brazil, Chile, New Zealand, Australia, and China. Many of his works are held in the Museum of the U.S. Naval Academy. Navy records indicate his rank as 'C. Clerk', which may mean that he held a civilian position. During the 1850s he lived in Philadelphia, and in 1851-61 he exhibited at the Philadelphia Art Union and the Pennsylvania Academy of the Fine Arts. Included were paintings of North America, Greece...

This mid 19th Century, 25" x 30", oil on canvas, Folk Art hunting scene was painted in 1852, and signed and dated by an illegible artist. It is framed in a reproduction wood frame.

Antique American sunset seascape oil painting. Oil on board. Signed. Framed. Measuring: 18 by 24 inches overall, and 12.25 by 18 painting alone.. In excellent original condition. Ha...

Antique American painting from the mid 19th century. Framework oil on canvas, on the first canvas, depicting a countryside landscape with a co...

Consigned to the gallery, Pasadena, California; By descent to a private collector, Encino, California; Acquired circa 2015 by a private collector, Palo Alto, San Carlos, and Oceansid...

Henry King Taylor was a marine and coastal scene painter who lived in London. He exhibited at the Royal Academy from 1859 to 1864 with titles includi...

Oil Painting, Landscape "Winter Skating Scene" by Anton Doll (1826-1877) ...

View of the Ariccia Bridge and the Alban Hills This finely executed plein air landscape depicts the monumental bridge of Ariccia and the town with the surrounding Alban Hills, painted by German landscape artist Joachim Ludwig Heinrich Daniel Bünsow (born 1821 in Kiel, died 1910 in the same city). Executed in oil on paper mounted on cardboard, the work dates from his Italian period between 1853 and 1858. Not signed. Bünsow received his artistic training at the Royal Danish Academy of Fine Arts in Copenhagen from 1839 to 1848, studying under Johann Ludwig Lund and Christoffer Wilhelm Eckersberg. In 1844, the Copenhagen Art Association acquired his painting "Tellingstedt in Dithmarschen." Following his studies, he traveled to Dresden, where he became associated with the circle around Johan Christian Dahl. A scholarship from the Copenhagen Academy enabled Bünsow to reside in Rome from 1853 to 1858. During this period, his landscapes evolved from the finely toned, naturalistic style of his early work to more atmospheric and idealized compositions, influenced by Louis Gurlitt. Bünsow's early works from his time in Copenhagen are characterized by fine tonality and naturalistic rendering, reflecting the style of his teacher Christoffer Wilhelm Eckersberg. His Italian landscapes, however, exhibit a more atmospheric and idealized approach, influenced by Louis Gurlitt. Notably, Bünsow produced high-quality drawings during his time in Rome, some of which are preserved in the Kunsthalle zu Kiel. Historical Context: The Ariccia Bridge In the early 19th century, the local authorities sought to improve the Appian Way's safety and accessibility. The solution involved constructing bridges to span the Ariccia valley and adjacent ravines. In 1843, Pope Gregory XVI commissioned a six-arched bridge to address the elevation differences. Following his death in 1846, Pope Pius IX continued the project, entrusting architect Ireneo Aleandri with the design and Giuseppe Bertolini with the execution. Completed in 1854, the bridge stands as a significant 19th-century engineering achievement. Featuring three tiers of elegant neoclassical arches inspired by Roman art, it measures 59 meters in height and 312 meters in length. Travertine columns at both ends commemorate the Roman milestones...

John Rogers Herbert RA 1810- 1890 Oil on canvas, dated '1850' lower right on sword strap Image size: 33 ½ x 23 ½ inches Gilt Watts frame This striking painting, depicts David as a y...

Edward William Cooke RA (1811–1880) Dutch Beach at Scheveningen, oil on canvas, circa 1850 This sweeping coastal scene by Edward William Cooke, painted circa 1850, captures the bust...

This lovely British Victorian landscape oil painting is attributed to noted artist Sam Bough. It was painted circa 1855 after Bough had moved to Hamilton Lanarkshire in Scotland to focus on painting landscapes along side fellow artist Alexander Frazer. The composition is several cattle watering in a stream under the boughs of an ancient tree. There is superb impasto, for example on the clouds and this is a charming 19th century oil painting. Provenance. London estate. Condition. Oil on canvas, 29 inches by 16 inches unframed and in good condition. Frame. Housed in an ornate gilt Victorian frame, 36 inches by 23 inches framed and in good condition. Samuel Bough RSA (1822–1878) was an English-born landscape painter who spent much of his career working in Scotland. He was born the third of five children in Abbey Street, Carlisle in northern England, the son of James Bough (1794-1845), a shoemaker, and Lucy Walker, a cook. He was raised in relative poverty, but with a keen encouragement in the arts. He was self-taught but mixed with local artists such as Richard Harrington and George Sheffield, and was strongly influenced by the work of Turner. After an unsuccessful attempt to live as an artist in Carlisle he obtained a job and as a theatre scenery painter in Manchester in 1845, later also working in Glasgow in the same role. Encouraged by Daniel Macnee to take up landscape painting he moved to Hamilton from 1851-4 and worked there with Alexander Fraser. In 1854 he moved to Port Glasgow to work on his technique of painting ships and harbours. His paintings were noted for their sensitivity to atmosphere and light, were often of cloudy shorelines and busy harbours. He also began supplementing his income by illustrating books, before moving to Edinburgh in 1855. On coming to Edinburgh he lived in a terraced house at 5 Malta Terrace in the Stockbridge area of the city. Following Turner's example, he became a skilful painter of seaports. He was buried in Dean Cemetery Edinburgh on 23 November 1878. The grave bears a bronze medallion of his head by William Brodie...

Sought by collectors worldwide, art and artifacts showing an early western presence in the Orient boomed with the opening of the China Trade by way of the sailing ship. The surviving paintings which capture the important Chinese harbors...

Vincent Clare (British, 1855–1930) Still Life of Fruit on a Mossy Bank Oil on canvas, signed lower right Circa 1870 Presented in a richly carved and gilded 19th-century style frame ...

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...

19th century English Folk Art Landscape with Cottage. This charming English Victorian 19th-century folk art landscape is a delightful portrayal of pastoral life, blending a quaint t...

This very modern drawing presents a view of Ariccia, a small town 25 kilometres south-east of Rome. The Palazzo Chigi (in which the film-maker Luchino Visconti would film a large part of The Leopard a century later) and the adjoining church are seen from the bottom of the ravine that surrounds the town. This drawing is a moving testimony to the attraction of the city for artists of the Romantic period, who established in Ariccia a vivid artists' colony. 1. Achille Bénouville...

Date: 1959 Medium: Oil on Board Dimensions: 30.00" x 28.00" Signature: Signed Lower Left: John Clymer

Beautiful oil on fiberboard painting of a view of Switzerland done by the American artist, John William Casilear. Signed with monogram lower left. Condition is excellent. Circa 1857/1858. The painting is housed in a contemporary frame. Overall framed measurements are 6 5/8 by 8 5/8 inches. lProvenance: Long Island, New York collector. Biography John William Casilear was born in New York City on June 25, 1811. Like his fellow Hudson River School landscapists Asher B. Durand and John F. Kensett, he worked as an engraver before turning to painting. In 1826 Casilear was apprenticed to the engraver Peter Maverick (1780-1831), and at first he primarily executed bank notes. Durand encouraged him to attempt other subjects, however, and during the 1830s he madeengravings after some of the most prominent paintings of the day, including Daniel Huntington's The Sybil (New-York Historical Society). In 1832 he began submitting engravings to the National Academy of Design exhibition and he first showed paintings there in 1836. In 1833 Casilear was elected an Associate of the Academy; he was elevated to full Academician status in 1851. In 1840 Casilear accompanied Durand, Kensett, and another painter, Thomas P. Rossiter (1818-1871), on a trip to Europe. There the artists studied and copied paintings...

This interesting British 19th century coastal landscape oil painting is by noted Suffolk School artist Edward Robert Smythe. Painted circa 1850 it is a busy coastal landscape with fi...

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...

Alfred S. Wall (American, 1825-1896) Untitled (Building the Railroad), 1859 Oil on canvas 14 1/2 x 18 1/2 inches Signed and dated lower left For Christmas, 2008, the Pittsburgh Post-Gazette featured Alfred Wall's painting, Old Saw Mill from the collection of the Westmoreland Museum of American Art in Greensburg, PA. It was painted in 1851 in the town of Lilly, Pennsylvania in the Allegheny Mountains. The newspaper description stated that "though the saw mill is long gone, it still conveys all the warmth and coziness of this time of year. The article, written by Patricia Lowry, continued: At first glance, Alfred S. Wall's painting of a saw mill in snowy woods triggers nostalgia for the coziness of a log cabin, the smell of a wood-burning fire and the warming of chilled hands and feet beside it. But as sentimental as it seems on the surface, Mr. Wall's painting has a deeper and unexpected context. This is more than a painting about sled-riding children and early industry planted in the middle of virgin forest. Intended or not, this is a painting about conquering the great divide of the Allegheny Mountains. For the third consecutive year, the Post-Gazette features a winter-scene painting on the cover of the Christmas Day newspaper. This year's painting, Old Saw Mill, was selected by co-publisher and editor-in-chief John Robinson Block and executive editor David Shribman during a visit to the Westmoreland Museum of American Art in Greensburg. Mr. Wall, listed as a portrait painter in the 1850 census, was about 26 when he painted Old Saw Mill in 1851. The self-taught artist was born in Mount Pleasant, Westmoreland County, to William and Lucy Wall, who'd emigrated from England around 1820. An artistic sensibility ran in the family: William was a sculptor who carved ornate tombstones here; Alfred's children, A. Bryan and Bessie, were landscape painters, as was Alfred's older brother, William Coventry Wall. For more than a century the Walls formed a prominent art dynasty in Pittsburgh, and Alfred, eventually a partner in the city's most prestigious art gallery, was well known as a painter, dealer and restorer. In Old Saw Mill, two wood cutters, each holding an axe, meet outside the mill; one points in the direction of the forest. On the other side of the stream, one child pulls another down the hillside on a sled. Just behind the hill's slope, the roof of a building appears, perhaps the home of the sawyer. The luminous, late afternoon light comes from the northwest, casting lengthening shadows on the snow under a darkening sky. The saw mill in "Old Saw Mill" likely would have been impossible to track down had Mr. Wall, presumably, not written on the back of the painting: "old saw mill near Jct. 4, Portage RR, Pa." "There was no Junction 4," said Mike Garcia, park ranger at the Allegheny Portage Railroad National Historic Site, about 90 miles east of Pittsburgh near Gallitzen, Cambria County. "But there was an Inclined Plane No. 4 at Lilly, and there was a saw mill there." In fact, there were at least six saw mills at Lilly over the years, said longtime resident Jim Salony, president of the Lilly-Washington Historical Society. But when he saw an image of the painting, Mr. Salony had no trouble coming up with a location. While there are no known photographs of the saw mill, he believes it stood near the intersection of Portage and Washington streets, next to Bear Rock Run. Mr. Salony, retired academic dean at Mount Aloysius College, didn't know exactly when the mill was torn down, but it's been gone since at least the late 1800s. He was pleased to learn of the painting, even though that knowledge came too late for inclusion in a new book about Lilly, The Spirit of a Community, for which he served as primary author and editor. It runs to more than 700 pages. For a little town -- population 869 last year -- Lilly has a lot of history. Nestled in a bowl on the western slope of the Allegheny Mountains about 3 miles south of Cresson, Lilly was first settled in 1806 by Joseph Meyer and his family, who named their 332-acre land patent Dundee. Although the Meyers had left by 1811, other settlers followed, but the community didn't flourish until the 1830s, when the Allegheny Portage Railroad began its 23-year-run through the town. For 200 years the Alleghenies had stood as an impediment to trade and travel between Pittsburgh and the east. A canal from Philadelphia to Pittsburgh would change that and compete with New York's Erie Canal. But a portage railroad would have to be built, on which teams of horses would lead the canal boats over the mountains. Engineer Sylvester Welch began his surveying from the small settlement at Lilly. The railroad would require 10 inclined planes, some quite steep, between Hollidaysburg and Johnstown. To build it, trees had to be cut along a 120-foot-wide right-of-way for 36 miles, along which track and engine houses had to be built. William Brown, who owned the saw mill on Bear Rock Run, built at least one of the engine houses at Inclined Plane No. 4; an 1834 contract also included fencing the dwelling lots at the head and foot of the plane. Lilly is located at what was the foot of Inclined Plane No. 4., giving the community one of its early informal names, Foot of Four. Named in 1883 for Richard Lilly, who'd completed the grist mill there, Lilly had another early name: Hemlock, so dubbed by a Portage Railroad traveler who smelled the bark stripped from the trees at the saw mill. Because there isn't another Allegheny Portage Railroad location like it, where a cut in the mountains opens into a bowl, Mr. Salony thinks it was Lilly that Charles Dickens wrote about following his trip from Harrisburg to Pittsburgh on the Pennsylvania Canal in late March 1842, describing what he saw after emerging from "the bottom of the cut": "It was very pretty while traveling, to look down into a valley full of light and softness, catching glimpses through the tree-tops of scattered cabins; children running to the doors; dogs bursting out to bark, who we could see without hearing; terrified pigs scampering homeward; families sitting out in their rude gardens; cows gazing upward with a stupid indifference; men in their shirt-sleeves looking on at their unfinished houses, planning out to-morrow's work; and we riding onward, high above them, like a whirlwind." To get to Lilly, Mr. Wall may have taken the Pennsylvania Canal from his home in Allegheny City, now the North Side. He'd married young, at 21, to Sarah Carr in 1846, the same year he began his career as an artist. By 1880 they were living in a brick townhouse at 104 (later 814) Arch St., now demolished. Across the river in Pittsburgh he shared a studio at 67 Fourth Ave. with his brother William; they later moved to Burke's Building, today the city's oldest office building at 209-211 Fourth. But often they worked outdoors, sometimes as part of the colony of artists that grew up around painter George Hetzel beginning in the late 1860s at Scalp Level...

MANUEL BARRÓN Spanish, 1814 - 1844 VISTA DE SEVILLA signed, located and dated "Manuel Barrón / Sevilla. 1854" (lower right) oil on canvas 30-1/8 x 49 inches (76.5 x 124.5 cm.) framed...

The Travelling Herd, Impressionist Landscape, Oil Painting, Signed English School, mid 19th century Oil painting on canvas, framed Framed size: 14.5 x 18.5 inches Majestic scenic oi...

Domenico Induno (Milan, 1827-1890) "Peasants at the entrance to a village," oil on canvas, signed lower left D. Induno. Provenance: collection of Juan and Felix Bernasconi, Villa Ar...

Edwin Henry Boddington Canvas Size: 20 x 32" (51 x 81cm) Outside Frame Size: 29 x 41" (74 x 104cm) A very good and typical example of his work which has been relined for preservation only. He lived 1836 - 1905 Landscape and River Scene Painter. Son of Henry John Boddington, he painted mainly scenes of the Thames. He developed a very personal and recognisable style. His river scenes are usually painted in a pale evening light, using a range of very dark greens and browns. Address: Lonsdale Villa, Barnes, London 6 Upper Ranalagh Place, Pimlico, London Exhibited 1853 – 1869 Exhibited at:- British Institution, London Portland Gallery, London Royal Academy Royal Society of British Artists The following works were exhibited at the Royal Academy: On the River Lodden 1854 On the Welsh Hills...

Here for your consideration is a wonderfully detailed miniature painting of the Matterhorn. Signed and titled verso. Attributed to the artist William Archibald Wall. Dated 6/50 verso...