Late 19th Century Landscape Paintings

Charles Henry Chapin - American (1830 - 1889) “High Peaks of the Adirondacks” Note: Peaks include Mount Marcy, Haystack Mountain, Basin Mountain, as viewed from the Ausable Lake Area...

Provenance: Family of the artist, studio sale. *Period Frame option available. Price: 550 euros including shipping. Price : 300 euros without frame / incl shipping Free US CONTI...

David Johnson was born in 1827 in New York City. Beginning in 1845, he studied for two years in the antique school of the National Academy of Design. His classmates and colleagues in...

A charming oil painting, depicting a rural scene with an old watermill and a figure nearby. Signed to the lower left-hand corner. Presented in a gilt-effect slip and in an ornate, gi...

In the yard. Cardboard, oil. 6.2x8 cm

Meadow. Cardboard, oil. 6.2x8 cm

Signed oil on board landscape by French impressionist painter Maximilien Luce. The work depicts a view of rolling French countryside on a summer's day with white clouds contrasting t...

Rouen, France, 19th century Impressionist, 1898, City, River, Gray, blue, Landscape Paintings Charles-Jean AGARD (Savignac de Nontron, 1866 - 1950) He studied with Bonnat. Since 189...

Signed indistinctly lower right

Clara Löfgren (1843–1923) Sweden Pergola Noor, c.1890 oil on canvas laid down on board no signature unframed: 27.7 x 26.7 cm (10.9 x 10.5 in) framed: 35 x 34 cm (13.8 x 13.4 in) P...

Maria Martinetti was born in 1864 in Italy. Martinetti attended the Academy of Fine Arts in Rome, studying under the Orientalist painter Gustavo Simoni. Martinetti exhibited works in...

Victorian style Landscape with ladies feeding Geese in the Swiss town of Novelle. Oil on Canvas on stretchers and framed i original gold frame. Though painted in the very brief Edw...

The painting (measures 89.5 x 124 cm; with gilded and carved wooden frame 126 x 158 cm) is an example of unfinished, as can be deduced from the background in which, in some parts, th...

Large 19th century British Orientalist oil painting by Henry Lynton Stanton British, 1890 Canvas: Height 51cm, width 76cm Frame: Height 59cm, width 84cm, depth 5cm This vibrant oil ...

Enrique Galwey (1864-1931) - Landscape - Oil canvas Oil measurements 61x74 cm. Frameless. (Barcelona 1864-1931). Spanish painter. He began his training at the San Jorge School of Fi...

Luigi Loir (French, 1845-1916), Les Invalides, Paris, Gouache and Watercolor on Paper, signed "Loir Luigi" lower right, carved wood frame. Image: 10.5" H x 16" W; frame: 18.75" H x 2...

landscape, England, 1890,green,blue Edouard CHAPPEL (Anversa, 1859 – Cagnes-sur-Mer, 1946) MUSEI BELGIO Anversa Musée Royal des Beaux-Arts FRANCIA Paris Musée d’Orsay ...

Oil on canvas 130.5 x 97 cm Signed and dated lower right: A Marinier 1889 Alfred Hippolyte Marinier was born in Orsay in 1833. A student of Jules Noël and Henri Marie Beyle, he ex...

"Little House in the Upstate New York Mountains" by C.H. Schmidt is a captivating painting that evokes a sense of rustic charm. Set against the backdrop of the majestic mountains of ...

William Richardson Tyler was a painter in the White Mountains of New Hampshire and Keene Valley in northern New York, William Tyler was a resident of Troy, New York from 1862 to 1866...

KARL KAUFMANN Austrian, 1843 - 1901 VIEW OF VENICE OF THE DOGE'S PALACE, VENICE signed & dated "K. Kaufmann 1894" (lower right) oil on canvas 38-3/4 x 56-1/8 inches (98 x 142 cm.) fr...

Edmond YON (Montmartre 1841 – Paris 1897) Riverbank with birds Oil on canvas H. 79.5 cm; L. 130 cm Signed lower right and dated 1876 Original frame Exhibition: 1876, Salon des Artis...

A fine antique oil painting of horses pulling a stagecoach in snow , by John richard Worsdale (1869-1947) The artist portrays this powerful scene with an extensive view, featuring the stagecoach pulled by 4 horses and a village scene behind with buildings and peopla with another coach behind. oil on canvas, signed lower left, housed in a gilt frame. The size of the painting is approx 74 cms x 49 cms, whilst framed size is 90cm x 67cm. The painting is in very good condition, relined, with only some minor craquelure to the skyline, The frame appears original and is also in good condition with only minor age wear. Provenance: The E. W. Towler Collection, formerly of Glympton Park, Woodstock, Oxfordshire. Eric W. Towler was a remarkable man. He was born in 1900 and left school at the age of 12 to work in a Yorkshire pit and through a lifetime of hard work, self-improvement, luck and a refusal to limit his horizons achieved many of his aspirations. As a Yorkshireman through and through, he believed in ‘spending the brass in his pocket’ and over time he was successful enough to acquire enough ‘brass’ to enable his purchase of Glympton Park and furnish it as a traditional country house with all the trappings – in his case collections of antique furniture...

Provenance: Family of the artist, studio sale. Signed in pencil lower right. SHIPPING: Continental USA and Worldwide delivery included Born in Paris, the French painter Paul Lecomt...

An exceptional Italian landscape by American artist Ross Sterling Turner (1847-1915). Turner was born in Westport, New York, and after moving to ...

Henry John Yeend King R.B.A, R.I., R.O.I. (British, 1855-1924) "A Victorian Lady Standing by a Sundial in the Park" Oil on panel. Signed lower right: Yeend King. "YK" Sticker en ver...

The Highland Cottage British School, late 19th century signed oil on canvas, framed in ornate swept gilt frame framed: 17.5 x 23.5 inches canvas : 12 x 18 inches Provenance: private ...

Frederick J. Sykes (1851-1905) was a remarkable artist of the Hudson River School, renowned for capturing the serene beauty of tranquil landscapes. His work often featured New Englan...

Very large oil on canvas 'Twilight on the River' by Sir Alfred East RA, RBA (1844 – 1913) Signed by the artist. 59" x 82" overall in frame. (Main Photo taken with spotlight) East wa...

F. Walters (English, 19th Century) An English Winter Landscape at Dusk Oils on canvas, signed lower left. Circa 1890. Presented in a hand-carved English swept frame. This evocative ...

William Rickarby Miller Rapelyea House, New York, 1884 Signed and dated lower left Oil on canvas 20 x 30 inches Provenance: Kennedy Galleries, New York Born in Staindrop, County Durham, England, he was a portrait and landscape painter, especially appreciated for watercolor painting, which he sold through the American Art Union...

In uno sfondo naturale, con una grotta, il tronco di un'albero e un ruscello, risalta la figura di un giovane, in posizione centrale, coperto solo da un bianco perizoma cinto da un l...

Antique American modernist sunset mountain landscape oil painting. Oil on board, circa 1990. Signed on back. Displayed in a wood frame. Image, 20"L x 16"H.

Louis-Alexandre CABIÉ (Dol-de-Bretagne 1853 - Bordeaux 1939) Farmyard in Andernos Oil on panel H. 39 cm; L. 52 cm Signed lower right and dated 1889 Louis Cabié, renowned artist in F...

Antique large American impressionist oil painting by John Joseph Enneking (1841 - 1916). Oil on canvas. Framed. Signed. In excellent original condition. Handsomely framed in a gi...

19th‑Century Original Oil Painting by William Dalglish (1860–1909) Nomads by the Coast – Tranquil Landscape Scene Up for sale is an original 19th‑century oil painting on canvas by W...

James E. Buttersworth's most sought-after artworks emerge from his depictions of American racing yachts going head to head in the major regattas...

Jan Hillebrand Wijsmuller (1855 Amsterdam - 1925 ibid.), Late Summer River Landscape, oil on canvas, relined, 34 x 56 cm (inside measurement), 43 x 64 cm (frame), signed J[an] H[illebrand] Wijsmuller at lower right. - in good condition, the frame with isolated bumped spots - Realistic Impression - About the artwork The panoramic landscape format shows a river landscape, with the course of the river, which curves to the right, leading the eye into the depths of the picture and tempting it to continue the landscape in the imagination beyond the visible area. At the same time, however, the fact that the landscape is not visible through the bend in the river focuses our gaze on the entirety of the landscape depicted, without prompting us to focus on distant details. Accordingly, the brushstroke is not designed to render details with realistic precision. In the front left area of the river there is even a completely free brushwork, trained by Impressionism, which nevertheless remains committed to representational and convincingly suggests the movement of the water. Regardless of the distance of the observer, the entire picture is painted with the same broad brushstroke, so that the landscape is given as an impression. And yet this impression is not ephemeral, as in the case of French Impressionism, to put it exaggeratedly, but reveals to us the essence of the landscape in all its richness. This is why the Dutch variant of Impressionism is always also a realism, although the pictures appear less progressive, but still contain a dimension of landscape painting that is lost with progress. In the impression, the reality of the landscape is revealed, and this happens as we experience the landscape in the visual impression. Wijsmuller does not depict houses or people in order to allow the experience of the landscape to fully unfold. The experience is determined first and foremost by the river, which does not flow into the picture from our point of view, but towards us. Where the river begins to bend, the water is churned by a rapids. Toward us, the riverbed widens and the water comes to rest, covering the entire width of the foreground like a mirror. The stillness of the water corresponds to the evening mood of the late summer landscape, in which the warm tones of the evening light blend with the yellow and brown tones of the plants. A gentle, almost idyllic reality, carried by the brushstroke, yet animated by a liveliness that is also made visible by the brushstroke. The broad, dynamically placed brushstrokes evoke the movement of the treetops and animate even the immobile reeds, while the trunks on the right bank, executed in virtuoso white strokes that seem like markings, make the sunlight shine. On the other bank, a carpet of light also spreads out, its energetic effect again expressed in the brushstroke. The dynamic of the landscape is further enhanced by the complementary color contrasts between the greens, yellows, and browns on the one hand and the blue of the all-encompassing sky on the other. A contrast that is intensified by the reflection in the water. The evening coming to rest of the landscape is thus at the same time an all-encompassing contrasting and yet in itself harmonious movement. This reality becomes accessible to us as an experience in the impression of the landscape. About the artist Jan Hillebrand Wijsmuller entered the Royal Academy of Arts in Amsterdam in 1876 and studied under the innovative Professor August Allebé, who was famous for the Amsterdam Impressionism, also known as the Allebé School. In 1877, Wijsmuller transferred to the Hague Academy of Art, and thus to the Hague School, and then completed his studies at the Brussels Academy of Art. Returning to the Netherlands, Wijsmuller opened his own studio in Amsterdam. In 1883 he won the prestigious Young Artist Award, donated by Willink van Collen, which made Wijsmuller a well-known and sought-after artist. Wijsmuller was a member of the Societät Arti et Amicitiae Amsterdam and the Pulchri Studio in The Hague. Wijsmuller belongs to the second generation of the Hague School. While Vincent van Gogh described the protagonists of the first generation to his brother Theo as "the great gray people," the second generation, and Wijsmuller in particular, used a much more colorful palette. His oeuvre makes him a major player in Dutch Impressionism...

One of a kind oil on panel by the painter Edward Hargitt, dated 1877 and titled “View of the Valley of Glencoe.” Edward Hargitt (1835–1895) was a Scottish-born painter and ornitholo...

Venetian painter (19th century) - Venice, view from the Riva degli Schiavoni. 58.5 x 69.5 cm unframed, 71.5 x 82.5 cm with frame. Tempera on paper mounted on canvas, in a carved an...

The strength of a great ship portrait lies with its overall striking composition blended with an attention to detail. Charles Sidney Raleigh was extremely skilled with both elements, and this is one of his finest works. An American full-rigged ship of large proportions, LUCY G. DOW is one of many ships owned by Maine interests, where the ship would be locally built and consortium owned. More Maine captains owned part of their ships than any other East Coast region, it appears through an informal survey of lists. Note the fine details of the captain and crew hard at work onboard off the coast. The numerous buildings are clustered on the peninsular stretch with a pier coming out near the lighthouse’s walkway. At the distance, ship masts...

A small rowing boat rests on the glassy surface of a lake in this tranquil, impressionistic scene by the American painter Ernest Parton. Signed and dated to the lower left. Presented...

Signed lower left: "I.M.Gaugengigl". Label verso inscribed: "No. 185 Val. M. Plgr 1/07-21 / Artist: Gaugengigl, Ignaz Marcel / Title: An Italian Street ...

Like many of the great French Impressionists Emile Cagniart (1851-1911) was inspired by the River Seine and its surrounding landscapes between in Ile de France and Normandy. Interest...

AUGUSTA WELLS (1841-1893) The River in Summer Oil on board Framed 8.5 by 17 cm., 3 ½ by 6 ¾ in. (frame size 16 by 25 cm., 6 ¼ by 9 ¾ in.) Provenance: From a folio of drawings and paintings by George Price Boyce...

Albert Besnard entered the École des Beaux-Arts in 1866, studying with Alexandre Cabanel before making his debut at the Salon in 1868. Six years later he won the Prix de Rome with a ...

WALTER JAMES, 3rd BARON NORTHBOURNE (1869-1932) Landscape Oil on panel Framed 20 by 31 cm., 8 by 12 ¼ cm. (frame size 32 by 42 cm., 12 ½ by 16 ½ in.) ...

Up for sale is a wonderful Italian Venetian Sunset painting by Bernhard Stange (1807-1880). Painting for sale depicts SUNSET VIEW OF SAN LAZZARO, VENICE It is absolutely colorful a...

RICARDO BRUGADA Y PANIZO Spanish, 1867 - 1919 LA HORA DEL TÉ signed & dated "Ricardo Brugada. 1897." (lower left) oil on canvas 22-1/8 x 31.5 inches (5...

Sunset Landscape with the view of Procida Island Bay of Naples. Signed by Henry Marko' painter active in Italian landscape oil on canvas . Amazing decoration for your interior. Me...

Thomas Sidney Cooper was one of the foremost animal painters of the Victorian period. He was born in Canterbury, Kent, and as a small child he began to show strong artistic inclinations, but the circumstances of his family did not allow him to receive any systematic training. By the time he was twelve years old, he was working in the shop of a coach painter. Later he obtained a job as a scene painter, and he alternated between these two occupations for about eight years. He still felt a strong desire to become an artist, and all his spare moments were spent drawing and painting from nature. At the age of twenty, he went to London, drew for a while in the British Museum, and was admitted as a student of the Royal Academy. Subsequently, he returned to Canterbury, where he was able to earn a living as a drawing master and by the sale of sketches and drawings. In 1827, he settled in Brussels and married before taking up a position as a teacher in Brussels in 1829. There he befriended Eugène Joseph Verboeckhoven, the great Belgian animal painter, who greatly influenced his style. He was also influenced by the 17th Century Dutch School. Because of the Belgian Revolution, he returned to London where he settled and first exhibited at Suffolk Street in 1833. He exhibited forty-eight pictures at the British Institution between 1833 and 1863. ‘Landscape and Cattle’, Royal Academy 1833, was shown until 1902 without a break - a record for a continuous exhibit at the Royal Academy. Sheep and cattle were his most frequent subjects, although he did paint a few figurative subjects. Cooper collaborated between 1847 and 1870 with Frederick Richard Lee...

Signed lower right: Irving R. Wiles

Charles Lewis Fussell (American, 1840–1909) Fort Hamilton, Brooklyn Oil on canvas, 8 x 11 ½ inches FRAMED: 15 x 19 inches (approx.) Signed and inscribed at lower left: "C. L. FUSSEL...

ADAM-LAURENS Suzanne Adrienne, aka Nanny (1861-1915) Venice, Lagoon with gondolier Oil on canvas signed lower left Frame gilded with leaf canvas size: 55 X 42 cm Frame size: 64 X 77 cm French painter born in Crest (Drôme ) February 20, 1861 Died in 1915 Landscape...

A fine marine sunset painting in Venice by American artist Walter Franklin Lansil (1846-1925). Walter was born in Bangor, Maine was a marine painter of sailing ships, often in Veneti...

A fine impressionist painting of a French pastoral landscape with trees and cows in the distance by American artist John Leslie Breck (1860-1899). Breck was born in the South Pacific...

In his work, “Caribou in the Mountains,” Hermann Herzog depicts a line of caribou traveling down a snowy mountain pass.

William Louis Sonntag Sr. was an American Landscape painter and a member of the Hudson River School movement. He was an Academician of the National Academy of Design. His work is in ...

ANTONIO REYNA MANESCAU Spanish, 1859 - 1937 CA' D' ORO, VENICE signed & located "A. Reyna, Venezia" (lower right) oil on canvas 11-1/2 x 19-3/4 ...

'The Bird Cage' after Nicolas Lancret. Louis XV, Fêtes Galantes, Mme. de Pompadour, Rococo, Allegory ---------- 'Les Amours du Bocage' (The Bird Cage). Painted after the original w...