Late 19th Century Landscape Paintings

LUIS JIMENEZ Y ARANDA (1845-1928) Pontoise Market Oil on wood Signed. Framed. Size: 17 inches (h) x 9 inches (w) wood. 21 1/2 inches (h) x 18...

William Keith (1838 - 1911) Last Light, Landscape at Sunset Oil on canvas 25 x 30 inches Signed lower right A native of Scotland, William Keith became in the late 19th and early 20th centuries a leading Northern-California landscape artist. In fact, he was so well known that he is referred to as the "Dean of California painters." His romanticized views of nature found much favor among the culturally aspiring citizens of San Francisco and hung in many foyers and dining rooms in their elegant homes. He completed thousands of paintings and drawings, and many of them were lost in his studio in the fire of 1906. His early works are dramatic mountainscapes in a realistic style adopted from the Dusseldorf School of Germany. The paintings of the last two decades of his life are looser and obviously influenced by his exposure in France to the Barbizon School of landscape painters, who were the first colony of painters to complete paintings "en plein air," or directly from nature rather than in studios. A forerunner of Impressionism, this style also included Tonalism espoused by Barbizon painter Camille Corot [1796-1875] and also apparent in Keith's later works, which are darker, smaller, and much more intimate with emphasis on mood. Born in Aberdeenshire, Scotland, Keith came to New York with his family and, apprenticed to a wood engraver. In 1859, he moved to San Francisco where he worked for an engraver and later set up his own engraving business. Studying with Samuel Marsden Brookes in 1863, he determined to become a painter. He married artist Elizabeth Emerson and did watercolor painting with her guidance. In 1868, he became a full-time painter, and that same year was commissioned to paint scenes along the Columbia River including Mount Hood. By August 1869 he had sold enough paintings to finance an extended journey to the East Coast and Europe including Dusseldorf, Germany throughout most of 1870, studying with Albert Flamm. After a visit to Paris, he expressed great admiration for "the modern school of French landscape painting including the Barbizon School. During the winter of 1871-1872, the Keiths lived in Boston where they shared a studio with William Hahn. Keith's work received critical acclaim there and in New York at the National Academy of Design. In 1872, he returned to San Francisco. A friendship with naturalist John Muir exposed Keith to many remote places and in-depth knowledge of nature. During the 1870s, he painted several "epic" eight by ten-foot High Sierra views. He also visited Alaska, and his paintings of Alaska were exhibited upon his return to San Francisco in a show at the Bohemian Club, titled 'Dreams of Alaska'. Keith's Alaska works are significant because they are not close transcriptions of actual scenery, but rather are fantasies inspired by Alaska. They are important as they represent a major break from the documentary tradition in landscape painting of Alaska, as they show an interest in capturing its spirit versus just the topography. The first wife of William Keith died in 1882, and in 1883, he married Mary McHenry, the first woman graduate of Hastings Law School. They soon went to Europe, and Keith studied portrait painting in Munich with consultations from J. Frank Currier and Carl Marr for two years. Keith then settled for the remainder of his life in Berkeley, California, at 2207 Atherton Street. His studio was in San Francisco where he commuted daily, painted prolifically, and taught many classes, mostly for aspiring female artists . In 1891, he shared his studio for several weeks with East Coast Tonalist George Inness, Sr. [1825-1894]. Both men painted in a similar style and were followers of the mystical teachings of Swedenborg. Among the locations where Inness and Keith painted together were Monterey and Yosemite, and it was reported they discussed art from every possible angle. Under Inness' influence, Keith painted more than ever in a Barbizon-influenced vein with many sunset and twilight scenes. By the early 1900s, Keith was likely one of the wealthiest artists in the United States and certainly earned the most money of any California-based artist. People from all over the world sought out his studio where it was said that he would specially select a painting for a client from behind a black velvet curtain...

Artist: Ramon Tusquets y Maignon Medium: oil on canvas Signature: signed and dated lower left 'R. Tusquets Roma 1887' He was part of the Rome colony of Spanish artists working in the capital in the wake of Mariano Fortuny y Marsal. His painting, however, is distinguished by a very pronounced realist interest. He devoted himself to genre scenes and landscapes. Important works include: La fuga interrotta, La conca...

Watercolor on paper, signed lower right Agustus Knoller and dated 1884. Inscribed on the reverse in pencil "This trotting came off Aug 15th 1884 at Belmont Park near Manayunk." This ...

Known for his Highland landscape paintings, Garland was well regarded among his peers presenting work in the Royal Academy, Royal Society of British Artists, and British Institution. Signed by the artist on the lower left corner, and dated 1876 (verso), this painting dates to Garland's successful mid-career period, flourishing from 1854 when he won a medal for 'Best Drawing from the Life' to 1900. From a private collection, this work is presented in a monumental period gilt frame. Garland's work has been presented in London and UK, sold in galleries and in prominent auction houses. Oil on canvas, this painting has cloudy mountain views, gleaming silver river, and Highland cattle in the foreground and background, with figure and herding dog in the distance. Garland is renowned for this genre of plein art...

A delightful watercolour study of livestock grazing along the river bank. In the distance we can see Bitton Church, South Gloucestershire. Well presented in a card mount and detailed...

A chilly winter's scene showing a meadow on the banks of the river Ure, covered in snow at sunset. The artist has wonderfully captured the late afternoon sunlight and the chill in th...

Artist/ School: English School, late 19th/ early 20th century. The painting came from a large collection of works by one artist. A very few of them are signed what looks to be 'F. Wa...

William Hart (1823 - 1894) Pastoral Landscape, 1877 Oil on canvas 9 1/2 x 14 1/2 inches Signed and dated lower left Born in Paisley, Scotland, William Ha...

Artist/ School: English School, late 19th/ early 20th century. The painting came from a large collection of works by one artist. A very few of them are signed what looks to be 'F. Wa...

Edward Hill (1843 - 1923) Haying at a North Conway Farm with Mount Washington in the Distance, New Hampshire Oil on canvas 13 1/2 x 20 1/2 inches Signed lower right Provenance: Private Collection, Dallas, Texas Born in Wolverhampton, England in 1843, Edward Hill was the ninth of ten children. Though ultimately less well known than his older brother Thomas Hill (1829-1908), Edward was a productive painter in oil and watercolor for more than sixty years, producing images of the White Mountains of New Hampshire, southern genre scenes, still-life paintings, portraits, American Indian pictures...

After Ludwig Knaus (1829-1910) The Walk in Luxembourg Garden" in Paris, also called "The Privileged" The original dated 1855 is preserved at The Louvres Museum Oil on canvas signed ...

19th Century "Harvesters" Original Oil Painting by Macdonald c.1890 Gorgeous European school oil painting signed "Macdonald" in the lower left corner. Original oil on canvas. Dimen...

Otto Norquist (1859-1906) "Gordon Setter in a Landscape, 1890" Oil on canvas 22 x 27 inches Signed and dated 1890, lower right Otto Norquist was born in...

Antique American impressionist fall landscape oil painting. Oil on board, circa 1890. Unsigned. Displayed in a giltwood frame. Image size, 13"L x 9"H.

Scottish Highland Lochs by A Hicks late 19th Century This artist specialised in Highland Lochs (a pair sold in Christies) Good condition with minor signs of age and use

Henry John Livens was born in 1858, in St Pancras, London the direct descendant of Jan Liebens who had left his native Holland in the 1600’s to paint a portrait of the King and subse...

Alfred Schönian (1856-1936) Germany Rooster With Hens and Ducks by a Pond oil on panel signed A.Schönian München panel dimensions 6.29 x 9.44 inc...

Arthur George Bell R.I., R.O.I British 1949 - 1916 A G Bell was born at St Dunstans in the East, City of London in 1849, son of a London Bookseller. Educa...

Luigi Bazzani’s delicate watercolor of the busy port of Portus, Rome depicts in detail, and the activities underway. The realism of the architectural details, from every step and stone to the ornate column...

Signed and dated oil on panel figure in landscape by sought after impressionist painter Henri Le Sidaner. The work depicts a farmer walking beneath blossom trees in an orchard in spr...

"Straw Barge" on the Thames (after) Edward Duncan Oil on Linen 1898 Well executed study of E. Duncan's Straw Barge circa 1881, painted by Richard Hayley Lever...

An amazing 19th century view of Capitoline Hill Rome before and during the Great Fire of Rome AD64 destroying 2 thirds of the city. This is a rare a...

Elbridge Kingsley: 1842-1918. Listed American artist whose paintings are very rare. He was born in Carthage Ohio and moved to Hatfield Massachusetts as an infant. He ended up becoming a successful wood engraver printing a lot of George Inness and Albert Pinkham Ryder...

Oil on canvas Charlotte Buell Coman was a prominent late 19th, early 20th-century landscape artist known for her Tonalist paintings, especially with misty blue coloration. She was a ...

Original oil on canvas painting by the well known British artist, David Bates. Signed lower right and dated 1886. The canvas has been relined. Condition is very good. The painting is housed in a period ornate gold frame. Overall framed measurements are 19 by 22.75 inches. About: David Bates British, (1840-1921) David Bates was born in March, Cambridge in 1840 to Benjamin Bates a shoe maker and Sarah Bates. By 1851, the family had moved to Upton upon Severn in Worcestershire and from 1855 Bates became an apprentice at the Royal Worcester Porcelain Works in Worcester. There he developed his artistic talent, painting flower decorations onto vases and plates. At some point after 1861, he became a full time artist and made his debut at the Royal Academy in 1863, continuing to exhibit there until 1893. He also exhibited at the Royal Birmingham Society of Artists, Suffolk Street and the Grosvenor Gallery. He married Elizabeth Higgs from Worcester in 1867 and they lived at Cherry Orchard, Bath Road in Worcester where their children were later born. Their second child John Bates Noel (1870-1927) became a landscape artist and their younger son David Samuel...

A large, spectacular, absolutely splendid painting by noted French painter Georges Clairin, which appeared for auction at Christie's in 2004 (see photo...

John White was a Cornish painter from the 19th century. He exhibited at the Royal Academy in London and also at the British Institute, in London. His work is Victorian in its com...

Oil on canvas Charlotte Buell Coman was a prominent late 19th, early 20th-century landscape artist known for her Tonalist paintings, especially with misty blue coloration. She was a ...

Signed bottom-right.

William Edward Norton (1843 - 1916) Ship Portrait, 1876 Oil on canvas 10 x 16 inches Signed and dated lower left Born in Boston, William Norton became a noted marine painter, stirred by his youth when he sailed on family-owned ships. He studied at the Lowell Institute in Boston, and with George Inness, and then established a studio in Boston. In the early 1870s, he went to Paris and became a student with Chevreuse and A. Vollon, and then he settled in London where he exhibited throughout the last quarter of the 19th century. His reputation there was based on his scenes of the Thames River, and ocean and coastal views. In 1901, he and his wife returned to the United States and settled in New York City. He also painted at Monhegan Island, Maine, where a treacherous ledge on the southern side of the island is named "Norton's Ledge" for him. He was a member of the Boston Art Club with whom he exhibited from 1873 to 1909. He also exhibited with the Pennsylvania Academy, the Royal Academy in London, the Paris Salon, the 1893 Chicago Exposition...

Two Early Massachusetts Paintings Boy fishing "Beaver Pool" - "The Conway" 1897 Pair of early Massachusetts paintings on walnut wood pane...

LEGNAIOLI SUL TEVERE - RIVER SCENE WITH FIGURE GATHERING REEDS Oil on canvas: 30 1/2 x 38 1/2 in., 36 x 44 1/2 in. (framed) Framed; lower right signed and dated: H. Corrodi, 1892

Imperial Forums and Coliseum on the background is an artwork realized in 1899. Mixed colored oil painting on canvas. Titled and date on the lower margin. Unreadable monogram. Good...

This thoroughly modern Parisian scene was composed by the celebrated French painter Jean François Raffaëlli. The delicate oil captures a familiar subject from late 19th-century life in the city: a busy avenue at the edge of a park on a cool autumn day. Exploring the climate of the city, Raffaëlli's mature works capture the energy of the grand parks and boulevards of the new Paris that emerged at the turn of the century. His legacy documents the realities of urban life during his age, all chronicled in his distinctive brushwork and sophisticated palette. While Raffaëlli was never fully accepted as a member of the Impressionist group, his works display a similar affinity for capturing the transient moments of modern life. His figures exude a sense of being suspended in time, as though they are part of some subtle narrative that is both restless and harmonious. Perhaps more aligned with Naturalism than Impressionism, the visual effect of Raffaëlli's composition is one of carefully composed spontaneity that makes manifest the joie de vivre of the age. Raffaëlli was not the only artist of his era to devote his canvases to the urban landscape. Camille Pissarro, Claude Monet, Gustave Caillebotte and others composed significant works on the subject of the urban milieu. On the whole, it was an entirely new kind of painting, and it was largely influenced by the work of social engineer Baron Haussmann beginning in the 1850s. At the request of Emperor Napoleon III, Haussmann designed and carried out a large-scale urban renewal program, erecting landmarks and tree-lined thoroughfares throughout the city to create a unified and socially-centered urban aesthetic. The city became a glittering stage for modern advancements and bourgeois pleasure, which paved the way for a new kind of subject that was eagerly adopted by the Impressionists and artistic avant-garde. Born in Paris in 1850, Raffaëlli first studied theater and music before turning to painting in 1870. That same year, he submitted a landscape painting to the Salon and was accepted. Aside from just three months studying with the Academic great Jean-Léon Gérôme, Raffaëlli was self-trained, developing his own unique style that brought together Realism, Naturalism and Impressionism. While he managed to exhibit works at both the Salon and the Impressionist exhibitions...

Fine landscape painting, oil on canvas of Snowdonia Wales by 19th century British artist Thomas Huson. Signed by artist in lower left, Thomas Huson RI (Royal Institute of Oil Painte...

A Venetian scene of the Palazzo Dario by F. R. Unterberger Austrian, c.1898-1900 Frame: height 97cm, width 85cm, depth 7cm Canvas: 83cm, width 70cm, depth...

Artist/ School: English School, late 19th/ early 20th century. The painting came from a large collection of works by one artist. A very few of them are signed what looks to be 'F. Wa...

Outstanding late 19th century English Impressionist landscape, with a horse and cart in a village. Described in 1893 by George Moore as "our greatest living landscape painter," Will...

Large seascape painting of Mill Bay, Cornwall by David James (British, 1853-1904) British, 1887 Frame: height 80cm, width 143cm, depth 6cm Canv...

KARL KAUFMANN Austrian, 1843 - 1901 VIEW OF VENICE signed & dated "K. Kaufmann 1894" (lower right) oil on canvas 38-3/4 x 56-1/8 inches (98 x 142 cm.) framed: 41-1/2 x 59-1/4 inches ...

Josef THOMA (Vienna, 1828 - Vienna, 1899) On the shores of a lake in the Austrian Alps Oil on canvas Signed and dated lower right 53 x 80 cm 1877 Josef ...

This late 19th century framed 14" x 27" watercolor painting by artist Andrew Douglas depicts an ominous landscape in a dark and neutral palette of browns, gray, and yellow. In the fo...

Wonderful late 19th-century oil on panel of wood depicting shipping at a sunset. Pauman was from either Belgium or France and his works are held in private collections in both countr...

River Landscape Painting of the Scottish Highlands by 19th Century British Artist, Alfred De Breanski Snr, (1852 - 1928). Signed on the front (l...

Oil on canvas, signed and dated lower right. The painting measures 26" x 34.5" with its frame. Provenance: David David Gallery Philadelphia Johannes Martin GRIMELUND (1842-1917) Norwegian painter...

Artist/ School: British School, late 19th century Title: Sunset over a Highland Loch. Most likely Scottish but possibly Irish. Medium: oil painting ...

Artist/ School: English School, late 19th century, signed lower corner. Title: The Watermill. Medium: oil painting, on canvas. Size: frame: 21 x 27 inches painting: ...

John Brandon Smith, John Brandon Smith is an English landscape artist of some renown. He concentrated on the waterways of England, Scotland and Wales. He was particularly interested in the effects of cascading water. This led to his being given the moniker 'Waterfall Smith'. He was fascinated by the spectacle of rivers in spate. Many of his paintings concentrated on the rivers Conway, Llugwy and Lledr in North Wales but he also painted the rivers of England and Scotland. Some of his more celebrated works show The Swallow Falls and Aysgarth Falls in North Yorkshire. He used many shades of green and blue on his small, jewel-like canvases. He would occasionally introduce the figure of a fisherman to provide perspective. His themes are characteristic of the Renaissance of the European Romantic Movement. He exhibited twenty-two works at The Royal Academy between 1860 and 1874. He also exhibited at Suffolk Street. This is a very rare large example of the painters work. It is framed in an Antique English frame

James Brade Sword (1839 - 1915) Couple in the Field Oil on canvas 16 x 20 inches Signed lower left After a childhood in Macao, China, James Brade Sword started out in life, after hi...

A Walk in the Park Martin Alfred Luik 1888 – 1950 Stavelot Belgian Painter Signature: Signed bottom right Medium: Pastel on board Dimensions: Image size 34 x 50 cm, frame size 45,5...

Alfred East The Wood Cutter Oil on board Signed lower right and titled on back Image size: 10 1/4 x 15 inches (26 x 37.5 cm) Carved gilt frame This romantic landscape by East, certainly shows the influence that the Barbizon school had on his work. The Barbizon school were drawn together by their passion and desire to elevate landscape painting as a response to the Academic elevation of historical and mythological themes. Here, East truly revels in the beauty of the English landscape but also captures the mood of the time in which there was a growing concern at the rapidity of social change and its impact upon the countryside. East regularly painted the Cotswolds from the early 1890s until the end of his life - it is probable that this scenes depicts that part of the country. He focused principally on the area around Upper Swell, which he referred to as 'Over Swell', hoping to avoid the village becoming a focus for visitors seeking out the views that he portrayed. East adopted a well established three-stage-technique that made great use of the under-painting, a second layer concerned with the correction of values, and a final stage for the addition of details; all painted with lean oil paint. As can be seen in the work, during this process East practically repainted the entire canvas after the first layer and then proceeded to pick out isolated sections that required further reworking and detail. Provenance Pelter Sands Gallery Bristol, 1975 Exhibition of Twentieth Century British Painting. This work was part of Andrew Vicari...

Walter Shirlaw (1838 - 1909) The Coming Storm Oil on canvas 18 x 26 inches Signed lower right Exhibited: The Boston Art Club. Walter Shirlaw, born on August 6, 1838, was only three (fourteen according to one obituary) when he came to Hoboken, New Jersey from his place of birth, Paisley, Scotland. As a young man, he found work as a bank note engraver, a profession that he continued in Chicago, where he lived between 1865 and 1870. But already in 1861 he was exhibiting genre paintings at the National Academy of Design. In 1868, Shirlaw was a member of the Chicago Academy of Design, which would become the Art Institute of Chicago, after changing its name from the Chicago Academy of Fine Arts. Shirlaw spent the years 1870-77 in Munich, at the height of the movement led by Wilhelm Leibl in which a low-keyed, dark palette, combined with bold, virtuoso brushwork, were applied to realist subject matter. Michael Quick (in Quick, Ruhmer, and West, 1978, p. 28) defined the time of Shirlaw's arrival (1870-73) as an especially experimental period in progressive German painting. Shirlaw's teachers, however, sided with tradition. The genre painter Arthur Ramberg (1819-1895) and Wilhelm von Lindenschmidt (1829-1895), his successor at the Munich Academy, taught Shirlaw composition. The painter of genre scenes and landscapes, Alexander von Wagner (1838-1919) was Shirlaw's teacher in painting. T. H. Bartlett (in American Artists and Their Works, 1889, vol. 1, p. 23) mentioned that Shirlaw regarded Leibl as too realistic. Shirlaw won a scholarship at the Academy in 1874, the year in which he executed Toning the Bell (Art Institute of Chicago). Meanwhile, he was active as one of the "Duveneck Boys" in Polling. Sheep Shearing in the Bavarian Highlands (Private collection), painted under Lindenschmidt's direction in 1876, is regarded as one of Shirlaw's most important pictures. He exhibited it upon his return to America at the National Academy in the following year; in 1878, it won an Honorable Mention in Paris. In 1877, the second school year of the Art Students League, Lemuel E. Wilmarth announced that he would be returning to teach at the NAD. Frank Waller (1842-1923) took over as president of the ASL, and Shirlaw was hired to teach painting and drawing. The appointment was endorsed by Waller: "In Munich . . . he was regarded as one of the strongest of the American students and had the strong personality which would attract and influence others to have confidence in him, was so genuine in his artistic impulses and in his interest in the development of art in this country. . . ." (quoted by Landgren, 1940, p. 32). The hiring of Shirlaw and William Merritt Chase seemed to signify a preference of Munich over Paris among the members of the Art Students League, however, while Chase was under Leibl's spell, Shirlaw was strictly academic. During the fourth season at the ASL, Shirlaw taught composition. Thomas Wilmer Dewing...

Albert Marie LEBOURG (1849-1928) Holland : Windmill and Sunset near Rotterdam, 1896 Oil on Canvas Signed bottom left Dedication to "À Madame et au Commandant Lassalle" On canvas 40 ...

George Henry Smillie (1840 - 1921) Stone Wall, Autumn, 1879 Oil on canvas 9 1/2 x 15 inches Signed and dated lower right Provenance: Skinner, Boston, September 19, 2014, Lot 389 The career of George Smillie (1840-1921) followed the arc of nineteenth-century U.S. landscape painting. Trained in the Hudson River School tradition, Smillie successfully adapted to changing U.S. tastes and growing interest in European trends. In the late 1800s, he moved to tonalist paintings full of brushwork and influenced by French Barbizon painting. By the end of his career, he had lightened his palette to produce works similar to those of the U.S. impressionists. Yet in all styles, he was never less than competent, and his tonalist work is among the best produced in the United States. Like many nineteenth-century painters, George Smillie’s artistic training began with the study of printing. His father, James Smillie...

Signed and dated 1877. Although born in Jamestown, New York, Mortimer Smith would become well-known as a Detroit architect and artist by the end of the nineteenth century. Little is known of Smith's earlier years; however, scholars speculate that he studied in Oberlin and Sandusky, Ohio before moving to Detroit in 1855. There, the artist flourished and became famous for his crisp landscapes of local scenery, including his beloved winter scenes. In addition to his artistic career, Smith founded a successful architectural firm by the name of Smith, Hynchman and Grylls; Smith's reputation in the visual arts was often overshadowed by his draftsmanship as an architect. Nevertheless, he was a vital force in Detroit's arts community exhibiting his works in venues including the Detroit Art...

Oil on canvas, signed lower right featuring a swift moving river down the side of a mountainous landscape. Josef Thoma, son of Josef Thoma father (Vienna ...

A fine late 19th century watercolour depicting fishermen bringing in the days catch on the Anglesea Coast by James Aitken. The artist specialised in coastal scenes around the British Isles and is very well regarded. Signed lower right. This is one of a pair that we currently have available - the other depicting the Mull of Galloway in Scotland. Artist: James Aitken (British, active 1880-1935) Title: On the Anglesea Coast Medium: Watercolour on paper laid on card Size: 15 x 21.5 in (38 x 55 cm) unframed Condition: Very good original condition Provenance: Private collection, Kent James Aitken was born at Newburgh in Fifeshire, Scotland, in 1853/54. He is known to have been active as an artist from 1880 and exhibited at the Royal Academy from 1894-1918. He painted mainly maritime scenes in England and Scotland, and also made several visits to the continent, to paint in France, Italy and Switzerland. From 1894 he visited the Isle of Man, and liked it so much that he moved there permanently with his family in 1911. They took up residence in Port St. Mary. James Aitken exhibited works at the Royal Academy, the Royal Institute, the Royal Watercolour Society and the Royal Cambrian Society as well as in the provinces. He was a member of the Liverpool Academy of Arts. Today, he has works in the Warrington Museum, Walker Art Gallery, Liverpool and the Merseyside Maritime Museum. James Aitken was the father of John Ernest...