1830s Paintings

Portrait of an officer of the 94th Regiment of Foot, circa 1830 * see notes below Irish School oil on canvas, unframed canvas: 30 x 25 inches Labeled verso Provenance: private collec...

Portrait of Margaret Cross, (portrait of a lady artist, seated in Regency style, holding an artists sketchbook). Irish School, early 19th century (circa 1820–1835) Oil on panel, oval, in a gilt frame panel: 10 x 8 inches framed: 13 x 11 inches This finely observed Irish Regency portrait depicts Margaret Cross, a woman of notable Anglo-Irish lineage and quiet artistic presence. Rendered in an elegant oval format, the sitter is shown half-length against a dark, restrained ground, her pale muslin dress and composed expression emerging with striking clarity and refinement. Margaret Cross was the daughter of Alexander Cross, Esquire, of Portnelligan, County Armagh, and descended through her mother from the Cote family of Bellamont Forest, County Monaghan, one of Ireland’s established landed families. She later became the wife of Thomas J. Fawcett, Esquire, a barrister-at-law, and the mother of Major William Cross...

Evening Calm, Fishing Boats at Anchor is a painting Per Wickenberg, capturing a serene twilight along a sheltered coast. Fishing boats rest quietly at anchor, their sails lowered and...

Margaret Sarah Carpenter (Salisbury 1793-1872 London) Double portrait of a brother and sister, formerly identified as the Poulett children, c. 1830s Half-length, within a park landscape Oil on canvas Inscribed to the stretcher frame verso, ‘Ms Carpenter’ 91.5 x 71.6 cm.; (within frame) 104.2 x 84 cm. (Unsigned) Provenance: Private collection, United Kingdom; Portobello Road, c. 2014; Where acquired by a private collector United Kingdom; By whom sold, Dreweatts, Old Master, British and European Art, 10 February 2026, lot 145; Where acquired by Haveron Fine Art. Painted by the most celebrated female artist of her generation, this charming double portrait of a brother and sister belongs to Margaret Sarah Carpenter’s highly productive output of the 1830s, and is characteristic of the accomplished duality of her child portraits. Both endearing and elegant, the siblings are pictured at the cusp of adolescence, and Carpenter navigates this moment of tender transformation with a subtlety no doubt informed by her own motherhood of five children. The young boy embraces his elder sister with a fraternal warmth, resting his hand on her wrist with a hint of Regency Romanticism. Their cheeks are flushed with the vitality and pictorial sweetness of youth; their lips are delicately coloured; and their eyes gleam with enlivening highlights. Meanwhile, they have graduated to the fashion of young adults: the boy has been ‘breeched’, and wears a double-breasted velvet jacket with a black cravat, while his sister’s fashion is altogether adult, albeit comprising softer materials, with delicate lace trim and pink ribbons. Moreover, their knowing gaze towards the viewer speaks to a primed sensibility, and their standing within a park landscape perhaps foresees the responsibilities of familial inheritance come adulthood. It was this intuitive and measured approach which earned Carpenter a reputation that vastly exceeded those typically afforded to public women of the 19th century. Indeed, she was for a time considered the natural successor to Thomas Lawrence, whom she is rumoured to have briefly studied under. A typewritten label affixed to the stretcher frame gives the traditional identification of the children as ‘John and Charlotte Poulett / children of / Lt. Gen. Hon. Vere Poulett’. Himself a son of Vere Poulett, 3rd Earl Poulett (1710-1788), the Hon. Vere Poulett (1761-1812) did have a number of children, including John (b. 1789) and Charlotte. However, their birthdates are not fitting with the painting’s date of creation or Carpenter’s own age, and thus leaves the children’s identities uncertain. Indeed, there is no record of any Poulett sitters in a transcript of Carpenter’s sitter book, held in the collection of the National Gallery, London (GB 1082 MSC); however, the record is by no means exhaustive, and does not include some 500 of Carpenter’s other works (particularly her child portraits). It is nonetheless apparent that the siblings’ fashion is belongs to the established classes, and the rural setting presumably suggests a landed family, possibly of noble descent. Margaret Sarah Carpenter (Salisbury 1793-1872 London) Carpenter was born in Salisbury to Alexander Geddes, a retired army officer, and Harriet Easton. Carpenter’s early talent was developed under the tuition of Thomas Guest (1754-1818) in Salisbury, where her skill was noticed by the 2nd Earl of Radnor, who allowed her to make copies of the Old Master pictures at Longford Castle. On Lord Radnor’s advice, Carpenter sent pictures for three successive years to the Royal Society of Arts, receiving a public acknowledgement for each as well as gold medals in 1813 and 1814. Aged 21, Carpenter moved to London in 1814 with Radnor’s funding, and established her early practise in his London residence. That same year, she first exhibited at the Royal Academy and British Institution. Her works received high praise in the press, and some pictures were acquired by the Marquess of Strafford, an influential patron of the arts. Her works were heavily influenced by Lawrence and Reynolds, and it is possible that she studied for a year under Lawrence in 1812. Indeed, she later finished Lawrence’s portrait of Mrs Brandling. Carpenter married William Carpenter in 1817, who later became Keeper of Prints at the British Museum. Together, their five surviving children included artists William, Percy, and Jane Henrietta ‒ a model for some of her mother’s most tender portraits. Carpenter enjoyed a broad professional and social circle, being a close friend of Richard Parkes Bonington, and being reasonably well-acquainted with Constable ‒ who suspected that her incessant work was resulting in physical problems for her, as well as the neglect of her children (Gaze, p. 350). She introduced her sister Harriet to the artist William Collins RA...

Pair of Hunting Dogs at Rest; Artist unknown, French, 19th century (monogrammed "JS" Circa 1850 10 x 7 (14 3/8 x 17 1/8 frame) inches This is finely realized portrait of pair of h...

This superb Victorian portrait oil painting is attributed to circle of Thomas Lawrence. Painted circa 1836 the sitter is William Henry Cooper, of Pains Hill, Cobham, Surrey and Hig...

French artist of the first half 19th century oil painting on canvas, unframed canvas: 12.5 x 9.5 inches provenance: private collection, France condition: overall very good - aging signs...

A fine & large antique maritime oil painting of the war ship HMS Britannia, by Robert Strickland Thomas (1787-1853), the painting circa 1835. The painting depicts HMS Britannia broadside with several other war ships of the British fleet, most likely returning from the Mediterranean. In the foreground are several small boats with sailors variously occupied attending to them. A yacht with a crowded deck is visible on the left. In the center foreground there is a barrel or possibly a buoy in the water, a device commonly employed in some of Thomas's paintings. To the verso is an old auction label from the 1920s and another partial label, there are also some annotations on the stretcher with details of photographic images of the painting. There is also an old label of ownership "Mrs. Strange 6 Elvaston Place", this address was a large Georgian house in the prestigious London borough of South Kensington. The painting is in very good condition, this investment quality antique maritime painting...

“Orientalist Portrait of an Arab Man” Half-length, turned to the left, oval Jean-Horace Vernet (French 1789-1863) Circa 1830s Watercolor heightened with touches of white on paper Sig...

This finely observed early 19th-century oil painting, attributed to German artist Carl Adolf Mende (1807-1857), depicts Jean Gerard Vonderbank, a German surveyor, instrument designer...

Robert Farrier (1796–1879) was an English artist best known for his paintings. He was born in Chelsea, London, in 1796 and remained in that area for most of his life. Initially appre...

Shipping off the coast by English artist Thomas Luny. Oil on canvas signed and dated 35' in the lower left. Nice period and possibly original frame. Thomas Luny (1759–1837), born in Cornwall, probably at St Ewe, was an English artist and painter, mostly of seascapes and other marine-based works. At the age of eleven, Luny left Cornwall to live in London. There he became the apprentice of Francis Holman, a marine painter who would have a great and long lasting artistic influence on Luny: Luny remained until 1780 in Holman's London studio, which, was first situated in Broad Street, St. George's, and later relocated to Old Gravel Lane. Examples of his work are exhibited at the National Maritime Museum at Greenwich, in the Royal Albert Memorial Museum in Exeter, and at The Mariners' Museum in Newport...

Extraordinary and unique 19th-century military portrait, signed and dated: "Julie de Lamontre 1832" Half-length military portrait in full dress uniform from the Restoration period. T...

A fine oil painting with cherubs and a cart of fruit by French artist Leger Cherelle (1816-1867). Cherelle was born in Versailles, France, a...

Portrait of Princess de Joinville riding a Bay Horse Henri d’Aincy, Le Comte Monpezat (French 1817-1859) Painted circa 1837-9 oil on canvas 113 x 92 inches (including frame) 92 x 70 inches (unframed) Provenance – from a private royal collection This magnificent portrait depicts Princess de Joinville, the daughter of Pedro I, Emperor of Brazil and the King of Portugal. Through her illustrious family she was directly related Alexander III and Nicholas II of Russia and the Russian royal family, as well as to many of the great ruling families of Europe. The work clearly confirms Monpezat as one of the most accomplished equestrian portrait painters in France in the early nineteenth century. In terms of scale, quality and dramatic power, it must surely be considered amongst his finest works. The stance of the powerful thoroughbred - in half rear - emphasises the calm nature and courage of the Princess. Francisca of Brazil (1824-98) married a son of Louis Philippe I, the King of the French, and had three children. Born at the Imperial Palace of Saint Christopher, her youngest brother was the future Pedro II...

William Shayer (1787–1879) & Henry Brittan Willis (1810–1884) Pastoral Landscape with Cattle and Sheep, circa 1830 Oil on canvas, Signed and inscribed on the reverse Presented in a h...

Outstanding portrait of two dogs. Sam Spode was an Irish painter of horse and dog portraits from the late 18th century through the early 19th century. His dog portraits are very rar...

US buyers pay no import tariffs on this item. This early 19th-century central European oil painting depicts Christ The Saviour standing atop an orb and carrying a cross over his left shoulder. An unusual composition, Christ’s rather striking posture is perhaps more ‘Saturday Night Fever’ than it is sacramental. However, the iconography is archaic and derived ultimately from New Testament illustrations dating to the Middle Ages. Depictions of orbs are usually symbolic of the universe, while the cross alludes to redemption. Hence, it’s a visual representation of Christ as the Saviour of humanity. Francisco de Zurbarán...

Adolphe BERNARD (Attributed to)Ghent, 1812 – Ghent, 1890 The soldier's wife and her son by the fire Oil on canvas46 x 38 cm (61 x 52 cm with the frame) Signed and dated lower left "B...

Samuel Raven (c.1775–1847) Two Men Drinking in an Inn, circa 1850 Oil on panel (roundel) Signed on the reverse Presented in an English oak frame ⸻ DESCRIPTION (Dibs-style long for...

Painting with a traveler on a white horse and accompanied by a dog looking up at a road sign in the form of a cross. On the roadsign is ” Arnhem”. (a town at the Rhine river in the E...

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Victor LEFRANC Paris, 1812 - ? Oil on paper 33 x 42 cm (44 x 52 cm with frame) Inscription on the verso 'Tancarville / 1839" and stamp from the Georges Lhoste collection Painter of ...

Eugène Viollet-le-Duc (1814 - 1879) Walker in a wood, somewhere in the South of Italy (Naples/Sicily) Signed and dated at the bottom right, with the artist's mark (L.2924a) on the m...

Jean-Charles GRANDJEAN Active between 1833 and 1857 Oil on canvas 33 x 41 cm (46 x 54 cm with frame) Signed and dated lower right “Grandjean / 1835” Beautiful Restoration period fram...

Norfolk School English, circa 1830–1840 Extensive Landscape with Figure on a Path Oil on wooden panel Unsigned A finely composed early 19th-century English landscape, painted circa...

William Fisk 1796 -1872, was an English born portrait and history painter. Although born in 1796 he didn't start his artistic career until after 1826, after the birth of his son Will...

Signed and dated '1835' center right

19th Century English School. A Young Girl with a Spaniel, Watercolour, framed and glazed Signed with initials and dated 1835 verso, image: 8 inches x 6.5 inches (20.3 x 16.5cm) fr...

This poetic oil on canvas portrait represents a classic example of sentimental romanticism and dates back to the first half of the 19th century. The scene captures a quiet garden cor...

Charming oil on canvas by the painter Dubuisson (1805–1870), depicting a lively pastoral scene with figures and horses in the foreground, and a winding path leading to two ancient to...

Margaret Sarah Carpenter 1793-1872, was an English portrait painter. She was one of the foremost portrait painters in the 19th Century, she ex...

Antique French painting from the first half of the 19th century. Oil on canvas artwork depicting an interior scene with characters, The Marriage Contract, of good pictorial quality. ...

This painting presents a winter twilight in Värmland: snow-capped mountains rise in the distance while a foaming rapid cuts through a dense spruce forest. Signed “H. Hertzhoff,” the ...

Circle of John Constable (English, 1776-1837) A fine woodland sketch, with a figure ambling Oil on panel, unframed Dimensions: (Panel) 13 in. (H) x 10.5 in. (W) Condition: overall...

This captivating early 19th-century painting of an interior farm scene by Abraham Cooper, circa 1830, is a testament to the artist's skill in capturing ...

This finely painted pastoral scene is attributed to Charles Towne, one of the leading animal and landscape painters of the late 18th and early 19th centuries. The composition depicts...

Here is an almost two hundred year old painting which is so irresistibly charming that it's crazy! You may have seen painted landscapes, portraits, genre scenes - but how many pretty...

Vivid and fresh representation of one of the most spectacular and last eruptions of Vesuvium, that of January 1-5, 1839. Wonderful conditions. Framed in walnut and with passepartout...

A. GUILLAUME (Active in the 1830s) Watercolor on paper 32.5 x 47 cm (60 x 74.5 cm with frame) Signed and dated lower left (on the rock) “A. Guill. / 1838 » Beautiful 19th century fra...

Original oil on canvas signed R.S. to lower right, identifying information to verso Provenance purchased from Kennedy Galleries, NY The Collection of Bruce and Barbara Sullivan, B...

A view of Sebastopol in the Crimea. Oil on canvas. In a 19th century gild wood and plaster frame. This painting can be dated around 1830/1840 given the dresses worn by the women i...

Portrait of Berthe Thorwaldsen with Bust of Horace Vernet is an original modern artwork realized by the Circle of Horace Vernet (30 June 1789 – 17 Januar...

John Wilson Carmichael 1799 - 1868 Popular Newcastle painter of coastal maritime subjects and landscape. Regular exhibitor at the Royal Academy and elsewhere, and found in many impor...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. Richard Bankes Harraden...

Rare view of Vaduz in Liechtenstein around 1830 Oil on canvas / stretcher renewed No signature found Size 46 x 58 cm Frame 58 x 70 cm Good condition, fine craquelure Authenticity con...

Unknown Artist (European, nineteenth century) Oil on canvas, 15 x 20 3/4 inches Framed: 23 x 28 inches Signed at lower left: “A.H.” The area around the Arch has changed dramatically over the years. This view is most similar to views taken circa 1835. See, for example, Charles Heath Wilson (1809–1882) The Arch of Titus...

Portrait French PS 247 Starry Night Diving Portrait of a diving woman dress with a Vincent Van Gogh swimsuit A daring dive in the unknown! This is one of the famous artwork from V...

A nicely detailed American School oil on canvas portrait of a New England manufacturer banker sitting at a desk signing bank notes with a mill in the background, unsigned, and housed...

19th century French school Oil on canvas 33 x 41 cm (53 x 45 cm with the frame) Original canvas with the stamp of the merchant "Vallé & Bourniche / Successeurs de Bellot" active in P...

Antique French painting from the first half of the 19th century. Oil on oak panel artwork of excellent pictorial quality depicting a Neoclassical subject entitled Amintas (Aminta), f...

Attributed to Pancrace BESSA (1772-1846) Fruits on a marble entablature Watercolor and graphite on paper H. 31 cm; W. 37 cm

KNIP August (1819 - 1859) Starting Fox Hunting day in Baden-Baden Oil on canvas signed low right dated 1837 Old original frame gilded with leaves Dim canvas : 81 X 118 cm Dim frame :...

WILLIAM JAMES MÜLLER British, 1812 - 1845 NEAPOLITAN COAST signed "W. J. Muller" (lower right) oil on canvas 23-5/8 x 35-3/4 inches (60 x 91 cm.) ...