1850s Paintings

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 beautiful mid-19th-century Austrian oil painting depicts a still life with a decorous abundance of alpine flora and lively blooms. It’s sign...

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...

Realized by Filippo Palizzi between 1850 and 1860, in very good conditions. Includes a contemporary wooden gilded frame. Filippo Palizzi is an italian...

Wonderful China Trade painting dating from the mid 19th century. This piece is rich in color and is of fine quality with the depiction of the figures.

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...

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 ...

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...

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...

Orientalist oil on board by Henry Stanier (1831-1894) in the ornate original frame. Titled “The Narghuileh” and dated 1859. Signed on the verso Stanier and initialed H.S. Titled on ...

Charles CHAPLIN (Les Andelys 1825 – Paris, 1891) Portraits of women Pair of oils on rectangular canvases H. 60 cm; L. 50 cm Signed Student of Michel Martin Drolling at the École des...

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...

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...

Courtiers Party in the Park in 18th Century In the Taste of Nicolas Lancret (1690-1743) Oil on canvas Frame gilded with leaves Dim canvas : 73 X 59 cm Dim frame : 100 X 87 cm

Como pueden apreciar, la obra no va firmada Se presenta enmarcada la obra El estado de la obra es aceptable Medidas obra: 73 cm. de altura x 50 cm. de ancho Medidas obra enmarcad...

French School 19th century Close to François Xavier FABRE (1766-1837) The Princess and The Chaperone Oil on canvas One can read on the reverse "Fabre Fecit" and the name and address of the canvas dealer shop...

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

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 ...

Antoine-Claude PONTHUS-CINIER (Lyon, 1812 - Lyon, 1885) The Port of Banyuls Oil on paper mounted on cardboard H. 36 cm; W. 52 cm Unsigned Provenance: - B.R. Collection, Lyon Ponthu...

Adolphus M. Madot Circa 1833 - 1861 Oil on canvas Image size: 36 x 24 inches (91.4 x 61 cm) Arched Pre-Raphaelite style frame The subject of the present picture is the dialogue between the court jester Touchstone and the shepherd Corin in the Forest of Arden ( As You Like It, Act III, scene 2). The work of William Shakespeare 'As You Like It' was a popular literary source in Pre-Raphaelite circles, inspiring such artists as John Everett Millais, Walter Howell Deverell and Arthur Hughes. The present picture is comparable in style to the work of Edward W. Rainford and Henry Stacy Marks...

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...

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...

English School 19th Century Knole House Oil on canvas Image size: 22 ½ x 35 ½ inches Gilt frame This is not only a very beautiful work of art but also a v...

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...

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...

Paul JONES Oil on canvas These paintings are signed Paul Jones on the bottom left. Canvas size: 20 x 25cm (8 x 10") Outside frame size: 36 x 41cm (14 x 16") Flourished 1855 – 1888 ...

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...

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...

Edward LADELL Picture Size: 20 x 16" (50 x 40cm) Outside Frame Size: 26 x 22" (65 x 55cm) An exquisite example of Ladell's painting. Signed with his traditional stylistic monogram,...

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

London painter, George Armfield's original oil painting "Untitled -Terrier with Bowl" is an excellent example of this wonderful 19th century artist who is highly sought after for his dog paintings of Terriers. Original's by the renowned 19th century dog painting...

Portrait d'Homme is an artwork realized by the french artist Alphonse Legros (1837-1911) in 1859. Oil on Canvas. Good conditions except some rips on the edges. Broche du nº 23 du catalogue Malassis-Thibaudeau "Portrait de Frederique Regamey". Collection Thibaudeau. Alphonse Legros was born on May 8, 1837 in Dijon, France. While young, Legros visited the farms of his relatives, and the peasants and landscapes of that part of France are the subjects of many of his works. He was sent to the art school at Dijon with a view to qualifying for a trade, and was apprenticed to an interior decorator. In 1851, Legros left for Paris, but passing through Lyon he worked for six months as journeyman muralist for painter/art restorer Jean-Baptiste Beuchot, who was painting the chapel of Cardinal Bonald in the cathedral.In Paris, Legros studied with theater scene painter Charles-Antoine. He attended also the drawing-school of Lecoq de Boisbaudran (the "Petite école") where he found made friends with Jules Dalou and Auguste Rodin. In 1855, he attended the evening classes of the École des Beaux Arts.Legros sent two portraits to the Paris Salon of 1857: one was rejected, and formed part of the exhibition of protest organized by Francois Bonvin in his studio; the other, which was accepted, was a profile portrait of his father. Art critic Champfleury saw the work in the Salon, and sought out the artist to enlist him in the "Realists," a group anchored by Gustave Courbet.Legros picked up the art of etching by watching a colleague in Paris who worked as a commercial engraver, and taught himself both etching and medallion making. He considered the traditional journey to Italy an important part of artistic training, and in later years, gave part of his salary to augment the income available for a travelling internship.He moved to England in 1863 and in 1864 married Frances Rosetta Hodgson. In his early career, he lived from the sales of his etchings and teaching. He began teaching etching at the South Kensington School of Art and in 1876 became a Slade Professor at University College, London, succeeding Edward Poynter...

Canvas Size: 30 x 30" (76 x 76cm) Outside Frame Size: 37 x 37" (94 x 94cm) Unsigned Provenance: Christies REUBEN Thomas William SAYER(S) 1815 - 1888 British Painter born in 18...

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...

This piece is unsigned but there are many half-erased writings on the back of the cardboard. In particular "miss Ecart" and "Julie Sandoz" as well as the date. Interesting portrait a...

Jean-Georges PASQUET (Périgueux 1851 - 1936) Pointe de Suzac at Saint Georges de Didonne Oil on canvas H. 59 cm; W. 85 cm Signed and dated 1885 lower left Provenance: Private collec...

Joshua Hargrave Sams Mann, R.B.A., 1826 - 1886. London Painter of literary genre scenes after Byron, Shakespeare etc, who exhibited 128 works at Royal Society...

Mystery English School Artist Untitled (Townspeople in a Field), 1857 Oil on canvas 41 1/2 x 69 1/2 in. Signed illegibly lower left, dated 1857 Frame available at additional shippin...

Loch Awe and Kilchurn Castle is a landscape oil painting on board by 19th century artist Edward Train (1801 -1866). Train was a British artist, painting mostly landscapes in northern England and, like this one, in Scotland. The painting is signed E. Train (lower left) and dated 1850 or 1856, the last number being too faint to be certain. From 1850 to 1880 Train flourished as an artist, but his work was exhibited in galleries in northeastern England and Edinburgh from the 1830s. Born in Gateshead, Tyneside, Train left to take an apprenticeship with a London engraver. In the 1830s Train traveled with an expedition to the Hebrides and Shetland Islands. Here he became fascinated with the Scottish scenery that would become part of his repertoire of landscape art. Loch Awe lies in the west of Scotland in Argyll and Bute. Kilchurn Castle, built in the 16th century, lies on a peninsula inside the Loch, on the water's edge. Train would have traveled to the Highlands and painted the dramatic scene from the east banks of Loch Awe, across from the Castle. This painting captures the Highland mountains, loch and castle that was very much the ouevre of this artist's work. Train painted the Highlands decades before other renowned landscape artists of the 19th century, such as Alfred de Breanski, Louis Bosworth Hurt, Douglas and Duncan Cameron...

Portrait of blonde girl with green dress on paper. Dated 1851. Technique: watercolor and pencil on painter's cardboard. Some defects ( please see photos). Partially legible signatur...

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...

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 ...

This lovely British Victorian oil painting is by noted 19th century landscape artist Thomas Baker of Leamington. It was painted on 18th September 1854 as a special commission. The co...

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...

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...

Charming 19th Century Italian School portrait of peasant girl by unknown artist, circa 1840. Partial signature lower right edge. Condition: fai...

Gabriel-Dominique DUDAN (Active 1830s-1850s) Oil on canvas 61 x 50 cm (77 x 66 cm with frame) Signed and dated lower right  "G. Dudan / 1854" Beautiful carved and gilded wooden frame from the 19th century Very good condition Gabriel Dudan...

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.

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...

Hippolyte Roques (active 1838-1864) Three Head Portraits of a Young Girl Oil on grey wove paper, c. 1850 Unsigned Provenance: Estate of the artist Shepherd Galle...

A most popular drawing master, Lesourd-Beauregard exhibited extensively at the Paris Salons, and was awarded a medal in 1842. He is famous for his in depth botanical studies done in...

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...

A beautifully painted oil on canvas of a flower vendor. Signed illegibly upper right corner. Framed in an ornate ebonized and gilded frame.

This painting is listed in the W.H. Cadbury and H.F. Marsh book Arthur Fitzwilliam Tait: Artist in the Adirondacks, Newark, Delaware, 1986, no.59.36t. It is hand-signed "AF Tait...

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...

Oil on canvas c.1855 - 1860 Image size: 19 x 14 inches (48.25 x 37.25 cm) Original Watts frame The Sitter Herbert William Fisher (1826 - 1903) was a British historian, best known for his 'Considerations on the Origin of the American War' (1865). Fisher was tutor to the future King Edward VII, and served as Private Secretary to the 5th Duke of Newcastle. in 1863 he became Private Secretary to the Prince of Wales, his former pupil, before being appointed to the position of Vice-Warden of the Stannaries in 1870. One of his daughters, Adeline, married Ralph Vaughan Williams. George Frederick Watts Watts (1817 - 1904) was a British painter and sculptor associated with the Symbolist movement. He is known to have said 'I paint ideas, not things'. Watts became famous in his lifetime for his allegorical works, such as 'Hope' and 'Love and Life' in which the emotions and aspiration life were intended to be represented in a universal symbolic language. Watts was born in Marylebone in central London on the birthday of George Frederic Handel (after whom he was named), to the second wife of a poor piano-maker. He showed artistic promise very early, learning sculpture from the age of 10 with William Behnes, starting to study devotedly the Elgin Marbles (later writing "It was from them alone that I learned") and then enrolling as a student at the Royal Academy Schools at the age of 18. He first exhibited at the Academy in 1837, with a picture of "The Wounded Heron" and two portraits, but his attendance at the Academy was short-lived, and his further art education was confined to personal experiment and endeavour, guided by a constant appeal to the standard of ancient Greek sculpture. He also began his portraiture career, receiving patronage from his close contemporary Alexander Constantine Ionides, who later came to be a close friend. In 1849 the first two of the allegorical compositions which form the most characteristic of the artist's productions were exhibited—"Life's Illusions," an elaborate presentment of the vanity of human desires, and "The people that sat in darkness," turning eagerly towards the growing dawn. In 1850 he first gave public expression to his intense longing to improve the condition of humanity in the picture of "The Good Samaritan" bending over the wounded traveller; this, as recorded in the catalogue of the Royal Academy, was "painted as an expression of the artist's admiration and respect for the noble philanthropy of Thomas Wright, of Manchester," and to that city he presented the work. From the late 1840s onward he painted many portraits in France and England, some of which are described below. Notable pictures of the same period are “Sir Galahad...

Outstanding oil on canvas portrait depicting a child, Toribio de Velasco y Viguri, whose name appears written in gold letters in the upper right corner against the dark background of...

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...

Edmund Darch Lewis (1835-1910) Mount Washington, New Hampshire 50 x 58 inches, signed & dated 1859 Description The area near Mount Washington in New Hampshire was visited by many ...