1840s Paintings

French school 19th Century Portrait of a Lady with a Fan oil on canvas 75 x 62 cm Not framed Condition: the original canvas has been doubled and placed on a new stretcher, and trace...

This enchanting early 19th-century portrait of a young girl in a pastoral landscape, attributed to the esteemed English portraitist Margaret Carpenter, is a rare and captivating exam...

Henry Calvert was an animal painter, particularly of the sporting variety and best known for his depictions of horses, hunting scenes and equestrian hunting portraits...

This evocative 19th-century marine scene by English painter Nicholas Matthew Condy captures the dynamic tension and atmospheric drama that typify his maritime works. Known for his ke...

Canvas Size: 28 x 36" (71 x 91cm) Outside Frame Size 36 x 44" (91 x 111cm) It is signed on the middle right on the wooden window. This is a stunning painting of a racehorse signed and dated J F Herring Sen 1842. The horse is named above the water trough as Attilla. As Herring was a renowned painter of racehorses it is likely that this was done for a wealthy patron who owned several. Although he painted many of the winners of the St. Ledger Cup Attilla was not one of these. Free carriage worldwide John Frederick HERRING Snr 1795 – 1865 A sporting painter, born in Surrey of American/Dutch extraction. At first he was a sign and coach painter. He then worked as a stable boy and coachman in Yorkshire until with the help of patrons he was able to study with Abraham Cooper RA, the only art education he appears to have had. He specialised in racing subjects and his few hunting scenes are rare. Herring painted the start of the 1844 Derby, which became known as ‘the dirtiest Derby in history’. He sometimes collaborated with his three sons, J.F.Jnr, Benjamin Jnr and Charles. He also collaborated with James Pollard on a number of racing scenes inc. ‘The Doncaster Gold Cup’, 1838, ‘The Emperor of Russia’s Cup at Ascot’ 1845 and ‘The Dead Heat for the Doncaster Great St. Ledger’ 1849 Herring painted 33 successive winners of the St. Ledger and not surprisingly lived a large part of his life in the Doncaster area before settling in Newmarket in 1830 and then in London in 1835. He suffered serious financial difficulties after his move to London which, thanks to a great friend and patron William Taylor Copeland (1797 – 1868) head of the Spode Porcelain factory at Stoke on Trent, was resolved. He painted many pictures of the Copeland family, some of which were adapted and used as designs on the Spode china...

Well painted and very interesting composition attributed to the English landscape painter john Frederick Tennant. His work is very similar to ...

Félix-Hippolyte LANOÜE (Versailles, 1812 – Versailles, 1872) Italian Landscape with Bathers Oil on canvas, in its original frame D. 41 cm Signed lower right Circa 1840 Trained by Je...

Henry John Boddington (1811–1865) English Landscape, oil on canvas, circa 1840 This richly atmospheric oil painting by Henry John Boddington captures the tranquillity and pastoral c...

Jasper F. Cropsey Janetta Falls, New Jersey, circa 1846 Signed J.F. Cropsey Oil on canvas 12½ x 10¾ inches Provenance Private Collection, New York, 1930s Thence by descent to the pr...

19th century English Antique Horse racing scene in a landscape with Jockey up. Wonderful and very well painted English Horse Racing scene. Simil...

This lovely British Victorian oil painting is attributed noted landscape and animal artist George Cole ans ascribed verso. Painted in 1840 it is a superb portrait of two horses, one ...

Victor de Grailly Niagara Falls, circa 1840-45 Oil on canvas 28 7/8 x 21 1/4 inches Provenance: Mark Borghi Fine Art, New York Private Collection, Nyack, New York Little is known a...

DeWitt Clinton Boutelle Sunset, Indian Summer, 1848-49 Signed and dated lower left Oil on canvas 12 x 16 inches DeWitt Clinton Boutelle was b...

This remarkable painting by Swedish artist Per Wickenberg captures a serene Dutch winter scene at sunset, showcasing his mastery of atmospheric light and dramatic composition. Create...

Theodore Rousseau French, 1812- 1867 Mare en foret de Fountainbleau Oil on panel 10 1/2 x 16 1/4 inches (26.7 x 41.3 cm.) Framed: 18 1/2 x 23 1/2 inches (47 x 59.7 cm.) Signed lower ...

Camille Auguste GASTINE Paris, 1819– Paris, 1867 Portrait of the painter Eugène Cicéri Oil on canvas Signed, dedicated and dated lower right “1849 / C. Gastine / To his friend EC” 60...

This charming mid-19th-century oil painting attributed to English artist William Traies (1789-1872) depicts a picturesque river view with cascade, figures and cattle. Traies was an a...

Well painted 19th-century portrait of a young boy possible in a School Uniform. With the label on the reverse being from Scottish panel makers, we bel...

Suite of four large family portraits, kept together to this day. Created around 1840 by the painter Théophile Morel, who presented portraits at the Salon des Artistes Français from t...

➡️Winter scene⬅️ Watercolor from Johannes Franciscus HOPPENBROUWERS (1819-1866) (see wikipedia) ⭐Structural Analysis⭐ This painting depicts a winter scene in a rural village, possibly in the Netherlands or a similar European setting. The composition is well-balanced, featuring: A central building with a distinctive thatched roof covered in snow, creating a focal point. A frozen river or canal, with a person ice skating in the middle ground, adding movement and human presence. A windmill and houses in the background, reinforcing a Dutch setting. Figures engaged in daily life, such as the man near the building carrying a walking stick and a bag, adding a narrative element. The overall scene is tranquil yet lively, capturing a nostalgic winter atmosphere. ⭐Color and Light⭐ The palette consists of muted earth tones, including warm browns, ochres, and soft grays, giving a rustic and aged appearance. The sky has an orange-yellow hue, possibly representing a sunrise or sunset, casting a gentle glow over the cold landscape...

‘Fabbriche di Careggine’ by Edmund John Niemann (1813-1876). Fabbriche di Careggine is the name of a Italian ghost village that today lies beneath Vagli di Sotto, a man-made lake in Tuscany. Prior to its flooding in 1953 the village was home to a community of subsistence farmers who raised sheep and Garfagnana goats. The painting depicts one of these goatherds and a young woman riding out from the village at sunrise. It is not uncommon for paintings by one member of famous family of artists to be mistakenly attributed to a relative; a picture by “the Elder” is erroneously credited as being by “the Younger” and the work of one brother is confused with another, and so on. In 19th century British art...

In this luminous marine painting by Nicholas Matthew Condy, the English 19th-century artist once again displays his masterful command of seascape and ship portraiture. This compositi...

William Richard Waters Picture Size: 36 x 28" (92 x 72cm) Outside Frame Size: 44 x 36" (112 x 92 cm) Oil on Canvas signed bottom right and dated 1847 This painting is nearly 200 year...

A rare mid 19th Century watercolor depicting Native Americans approaching a fort by Peter Peterson Tofft. This painting depicts a Fort built by Major John Owen in what is now Steve...

This maritime scene by Nicholas Matthew Condy, the celebrated English marine painter continues to reveal his deep fascination with ships and the shifting moods of the sea. The compos...

Outstanding 19th century English warship off the Italian, Mediterranean coast, with village, mountains and hills. A very interesting and somewhat unique oil on slate depicting an English ship at anchor in what looks like an Italian or Mediterranean coastline. The piece has influences from John Thomas Serres...

A pair pf 19th century English School watercolor portraits of a man and woman, possibly husband and wife. Both are inscribed on the rever...

Thomas Birch is considered one of the earliest American Marine painters of importance both in his own time and historically, forming the foundation of what would become a great American Maritime movement in the successive years of the 19th century. Born in England, Birch started as a landscape painter but after the War of 1812 he turned to marine subjects, taking inspiration from the best of both English and Dutch maritime traditions but refining these techniques into a very recognizable style all his own. The work featured here is a classic of Birch's later period, when he focused specifically on maritime subjects, mainly the busy waterways of Philadelphia Harbor. Here we see one of those scenes- a series of ships plying their trade, all framed by the city as it sits across the Delaware River, with the tall, white spire of what is either Independence Hall or Christ Church to the left of the main vessel. The details of the city are particularly good in this painting, with the wharf building to the left and the long line of buildings all along the shore. The American Merchant Bark at the center of this painting is rendered in excellent detail, from her house flag and pennant, to her rigging and sails, and down to her deck filled with the activity of crewmembers readying the ship to head out, her gilt billet...

Philip Westcott 1815-1878, was a British born artist. This portrait is of the former Prime Minister Charles Grey 2nd Earl of the House of Howick, he was Prime Minister from 1830 to ...

This beautiful British mid 19th century oil on board painting is by Edward William Wyon. It was painted in 1843 when Wyon would have been in his early thirties. The composition is a ...

Samuel Henry Alken (1810–1894) Horse Racing Scene, Possibly the Epsom Derby Oil on board, unsigned Attributed, English school circa 1840 Presented in a later gilt frame with beaded inner edge This dynamic mid-19th century racing scene, attributed to Samuel Henry Alken—also known as Henry Alken Junior—captures the high-stakes moment just before the thundering release of horses and riders at the starting line. A tightly packed field of brightly jacketed jockeys leans forward with urgent anticipation, the taut muscles of their mounts echoing the gathering tension. In the foreground, a race marshal gestures dramatically to signal the start, his stance underscoring the energy about to be unleashed. Though unsigned, the work bears the unmistakable hallmarks of Samuel Henry Alken’s hand: vigorous composition, attention to equine form, and a sharp eye for the choreography of sport. The figures are finely modelled, the palette lively but grounded, and the setting—with its wooded backdrop, animated crowd, and distant grandstands—suggests a major 19th-century race meeting, possibly the Epsom Derby, a subject Alken is known to have returned to in several formats. The composition’s panoramic sweep and low horizon lend a cinematic quality, while the density of detail—each silken cap and coat, each bridle and plume—evokes the pageantry and social theatre of Britain’s sporting calendar at the height of its Regency and early Victorian splendour. A rare and spirited scene from the golden age of English sporting painting...

French school circa 1810 Portrait of a woman in front of a landscape in a trompe l'oeil H. 106 cm; L. 91 cm Oil on canvas Preserved in its original vine leaf frame, this large portr...

This mid-19th-century oil painting by British artist John Robert Wildman (1788-1843) depicts a gentleman wearing a dark brown frock coat with waistcoat, white shirt and cravat. He be...

A fine 19th century oil on canvas painting "South Pier, Sunderland " signed and indistinctly dated 1844, the size of the painting being approx. 45 x 80 cm whilst overall size bei...

Signed lower right, 'Richmond' for George Richmond, RA (British, 1809 – 1896) and painted circa 1845. Displayed in a period, carved and giltwood frame. (Framed dimensions: 22.75 x 21.5 x 1.0) This English painter and portraitist was a founding member of The Ancients, a group of followers of William Blake. Later in life, he established himself as a successful society portrait painter of the British gentry, nobility and royalty. George Richmond was the son of Thomas Richmond the miniature-painter and, also, the father of the painter William Blake Richmond. For a short time, he attended a day school in Soho, before became a student at London's Royal Academy. Here he was much impressed by Henry Fuseli, his professor of painting, and formed a lifelong friendship with Samuel Palmer, and had as fellow-students and companions Edward Calvert...

Théophile Clément BLANCHARD 1820 - 1849 Oil on canvas 27 x 40 cm (45 x 58 cm with the frame) Signed lower right "Blanchard" Very nice 19th century gilded wooden frame French painter, lithographer and illustrator, Théophile Clément Blanchard is part of of those painters of the romantic era who represented picturesque views of France like Alexis Daligé de Fontenay or Eugène Cicéri. These painters traveled a lot and sought out picturesque sites, particularly in Normandy, Brittany, Switzerland and the Pyrenees. Blanchard participated in the illustration of “Picturesque and Romantic Travels in the Old France”. But the works of this romantic painter are rare because Blanchard died very young at twenty-nine year old ! We still know of him, in particular, a view of Bugey (dated 1846) which is at the Louvre Museum and a “Delicious Landscape” (from the 1840s) at the Salies museum at Bagnères de Bigorre...

Signed lower left, "E. Brown' and dated 'May, 1844'. A fine, mid-nineteenth century portrait of a lady of quality wearing the hairstyle made popular by Queen Victoria in the early years of her reign; the lady shown with a relaxed and informal posture, standing beside a velvet-draped, Neo-Classical column and wearing a satin ball...

Claude-Lorraine Ferneley Sir Richard Sutton's Most Famous Hunter Hotspur c.1840 24 X 28.5 inches framed A genuinely famous hunter! Even mention in...

This fine mid-19th-century German miniature depicts a woman wearing a black dress and a beautiful white and lilac day cap. Produced around 1840, this exquisite piece on porcelain is...

Spanish School of the 19th Century Santa Justa and Santa Rufina Oil on canvas 40 x 27 cm In quite good condition, the paint surface presents numerous crack...

Samuel John Egbert Jones (1797- 1861) PHEASANT SHOOTING Oil on canvas Frame H. 38cm x W. 47cm Image H. 30cm x W. 40cm A hunting scene in a beautiful early autumnal wooded landscape, with two hounds and a pheasant in the foreground. For an artist of such ability, popularity and wide output, information about Samuel Jones is comparatively scarce. Samual John Egbert Jones was born in 1797. Living in London, the first recorded mention of him was as an exhibitor at the Royal Academy in 1820 with a picture of an old mare, which he later exhibited at the British Institute in 1824. Jones is best known for the fine quality of his sporting pictures, mainly portraits of hunting and work horses. Additionally, he painted coaching...

Jacob THOMPSON (1806 – 1879) Deer by the Banks of a Lake 1842 oil on canvas 18.9 x 27.6 inches; 22.5 x 31 inches Inc. frame Jacob Thompson (1806–1879) was an English landscape-pa...

Large Victorian coastal marine painting by Edward William Cooke, R.A. English, 1842 Frame: height 92cm, width 128cm, depth 6.5cm Canvas: height 77cm, width 122cm This superb marine ...

A very well painted classic English Folk art painting of figured playing by the pond with ducks and a rural cottage. This style of painting...

A wonderful view of a river landscape with a rustic cottage and pollarded trees by Henri Sieurac. It isa rare, early and very fresh landscape by this Parisian artist which may well have been painted in the countryside around Barbizon, near the river Loing. Henry Sieurac had studied with his father, François Joseph Sieurac , and of Paul Delaroche...

John Frederick Kensett (1816 - 1872) Portrait of an Italian Fencer, circa 1845-47 Watercolor on wove paper 13 1/8 x 8 1/8 inches Signed with initials and inscribed lower right "J.F.K. Rome" From October 1845 through the spring of 1847, Kensett lived in Rome. He attended classes where he sketched from live models, and he sketched in the countryside outside Rome and around Florence, Perugia, and Venice, places he visited with his artist friends. He fulfilled commissions for paintings from Americans in Italy, and by 1847 his career was well established. Son of an English immigrant engraver, John Kensett lacked enthusiasm for that medium and became one of the most accomplished painters of the second generation of Hudson River School painters. His reputation is for Luminism, careful depiction of light, weather, and atmosphere as they affect color and texture of natural forms. He was particularly influenced by the painting of Asher Durand in that he focused on realism and detail rather than the highly dramatic views associated with Thomas Cole. Going to the western United States in the mid 1850s and the 1860s, he was the first of the Hudson River School painters to explore and paint the West. Kensett was born and raised in Cheshire, Connecticut, and learned his engraving from his father, Thomas Kensett with whom he worked in New Haven, Connecticut until 1829. He continued working until 1840 as an engraver of labels, banknotes and maps and was employed part of that time by the American Bank Note Company in New York City. There he met Thomas Rossiter, John Casilear, and other artists who urged him to pursue painting. In 1840, he and Rossiter, Asher Durand, and Casilear went to Europe where Kensett stayed for seven years and supported himself by doing engraving but became accomplished in landscape painting. Having sent canvases of Italian landscapes back to New York, he had a reputation for skillful painting that preceded him. When he returned to New York City in 1847, he was an "instant success" and very sought after by collectors. Two of his Italian landscapes had already been purchased by the American Art Union. By 1849, he was a full member of the National Academy of Design and was generally popular among his peers. His studio was a gathering place with travelers stopping by to see his canvases and to identify "precise locations in the Catskills or Newport or New England in the oil sketches and drawings that covered his walls." (Zellman 170). For the women, he was a popular bachelor, "romantic looking with high forehead and sensitive expression." (Samuels 262) He was also sought after by many organizations. Among his activities were serving on the committee to oversee the decoration of the United States Capitol in Washington DC, and becoming one of the founders of the Metropolitan Museum in New York. An inveterate traveler, Kensett spent summers on painting excursions away from New York City. One of these trips was a special painting excursion with fifteen other artists sponsored by the B & O Railroad from Baltimore, Maryland to Wheeling, West Virginia. Unlike many of the Hudson River painters...

Jules SANSON Active in the 1830s and 1840s The arrival of the young girl at the monastery on the shores of Lake Como Oil on canvas 27 x 35.5 cm (31.5 x 39.5 cm with the frame) Signed...

This lovely British 19th century landscape oil painting is by noted artist Frederick Waters Watts. Painted circa 1840, the composition is a drover with cattle watering in an extensiv...

The former Curator of Oil Paintings at the National Maritime Museum, E H H Archibald, says of Joseph Heard in his Dictionary of Sea Painters in Europe and America that "…with Samuel Walters he must stand as the top-ranking Liverpool ship portraitist of the 19th century." He would have known the artist's work well as the National Maritime Museum has eleven paintings by Heard in its collection. Joseph Heard was born on 7th March 1799 in Egremont near Whitehaven in Cumberland. His father, also Joseph, was a saddler and it is believed that the aspirant painter received some artistic training from John Clementson who was a local portrait painter. Joseph had a brother Isaac who painted portraits. It is possible that Joseph came across the work of H Collins...

Dog in a landscape French oil painting on canvas 19Th by Augustin Luc Demoussy French oil painting signed and date 1947 French painter and lithographer, born October 5 1809 in Paris...

Off Portsmouth Harbour 19th century oil , john callow A fine 19th century oil on canvas painting "off Portsmouth harbour " signed and indistinctly dated 1844, the size of the paint...

Harriet Peale Portrait of Rebecca, 1840 Inscribed verso, “Portrait of Rebecca Greenwood (?)/ Aged 25 years/ Painted by Harriet C. Cany/ May 1840” Oil on canvas 28 3/4 x 23 3/4 inches...

Well painted and very unique oil on a card of an English town landscape with figures, soldier, monument, and a boy on his way to a school with a hoop and stick. Possible painted for...

JOAQUÍN DOMÍNGUEZ BÉCQUER Spanish, 1817 - 1879 DANCERS IN A COURTYARD signed, located & dated "Joaq. D. Becquer. Sevilla 1849." (lower right)...

JOAQUÍN DOMÍNGUEZ BÉCQUER Spanish, 1817 - 1879 OUTSIDE THE TAVERN signed, located & dated "Joaq. D. Becquer. Sevilla 1849." (lower right) oil...

LUNA, Charles de (1812-1866) Horses and carriage hunting Oil on canvas signed low left and dated 1841 Old original frame gilded with leaves Dim canvas : 39 X 75 cm Dim frame : 89 X 52 cm Certificate of authenticity LUNA, Charles de (1812-1866) French Painter 19th century Born in 1812 in Châlon sur Saone Genre scenes, military subjects, Orientalism Pupil of Léon Cogniet...

JOAQUÍN DOMÍNGUEZ BÉCQUER Spanish, 1817 - 1879 THE CARD GAME signed, located & dated "Joaq. D. Becquer. Sevilla - 1849." (lower left) oil on ...

We are offering a painting for sale by the Swedish artist Nils Andersson (1817–1865). This beautiful landscape showcases Andersson’s characteristic style of capturing Swedish nature ...

This evocative 19th-century marine scene by English painter Nicholas Matthew Condy captures the dynamic tension and atmospheric drama that typify his maritime works. Known for his ke...

Thomas Creswick R.A. 1811 - 1869, was an English landscape painter and illustrator. Creswick was one of the leading members of the Birmingham School of landscape painters and exhibit...