1890s Paintings

David Bates A very traditional English oil painting by the highly collected artist David Bates. It is in a gold leaf swept frame Canvas Size: 24 x 36" (61 x 91cm) Outside Frame Size...

La obra va firmada por el artista en la parte inferior y fechada del año 1895 Se presenta enmarcada la obra Medidas acuarela: 42 cm. de altura x 24 cm. de ancho Medidas acuarela enmarcada: 60 cm. de altura x 42 cm. de ancho El estado de la obra es muy bueno ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Biografía del artista: Pintor nacido en Bilbao el 21 de mayo de 1873 y muerto en Madrid en 27 de noviembre de 1936. Cursó estudios en Bilbao bajo la competente dirección del maestro Lecuona. También recibió lecciones de Guiard, y más tarde, en Madrid, de los pintores Jiménez Aranda...

Franz Quaglio: 1844-1920. Well listed 19th century German painter. He has Auction prices over $30,000.. This fabulous oil on canvas of a ho...

Interesante Thangka Tibetano pintado a mano sobre lienzo. Es de finales del siglo XIX ó principios del siglo XX. Bien enmarcado y con cristal. Medidas: 73 x 57 x 6.5 cm.

Herbert Gustave Schmalz Anyone for Croquet, circa 1898 Signed lower right Oil on canvas 47 5/8 x 31 3/4 inches Provenance Anthony Mitchell, Nottingham Burlington Gallery Ltd., Londo...

Beautiful oil painting on board of a sunset in Epsom, England by the British painter, Harold Sutton Palmer. Signed S. Palmer lower right. The painting is it’s original frame. Gold painted over original gilding. Overall framed measurements are 14 by 20 inches. Condition is very good. Epsom is a market town in Surrey, England, 13.7 miles (22.0 km) southwest of London, between Ashtead and Ewell. The town straddles chalk downland (Epsom Downs...

Gaston Le Sargeant De MONNECOVE Oil on Canvas Picture Size : 18 x 24" (46 x 61cm) Outside Frame Size: 26 x 32" (66 x 81cm) A classic example of De Monnecove's work capturing French hunting art...

Superb oil on canvas from the late 19th century, French School, in the manner of François Boucher. This composition, of great decorative quality, depicts a lively group of putti ani...

ALLEGRE Raymond (1857-1933) Oil on wood panel signed low left Old original frame gilded with leaves Dim wood panel : 54 X 84 cm Dim frame : 178 X 108 cm ALLEGRE Raymond (1857-1933)...

Oil on heavy card stock laid down on masonite by the French artist, Raymond Jean Verdun. Signed lower right. Circa 1895. Condition: Good. Overall framed 7 by 11 inches. The frame has been restored. Born 1873, in Nogent-le-Rotrou; died 1954...

Henri Ferdinand Bellan Canvas Size: 26 x 21" (66 x 53cm) Outside Frame Size: 36 x 31" (92 x 79cm) Free Shipping A very good example of Bellan's work in perfect condition for its ag...

Approximate Date: 1897 Medium: Watercolor on Board Signature: Signed Lower Right Dimensions: 12.00" x 9.50"

Circa 1890 Signed verso on stretcher bar Original period gold leaf frame Overall size framed 21 x 18 in

An antique American folk art painting in its original period frame. Featuring a man walking his dogs in the woods with a stunning s...

Paul Lecomte (1842-1920) Mother and daughter at a fountain Signed on the lower left Oil on canvas transfered on cardboard 25.5 x 34 cm In good condition In a modern frame : 44 x 52 ...

A beautiful and rare antique American portrait of a young woman in a stunning period frame, likely original to the piece. Unsigned but beaut...

Signed figures in interior oil on panel by French impressionist painter Jean-Francois Raffaelli. The piece depicts two old men seated in an interior. One is reading his paper as the other naps and there are several kittens on the floor. Painted in the artist's distinctive style. Signature: Signed lower left Dimensions: Framed: 9.5"x8" Unframed: 5.5"x4" Provenance: Brame & Lorenceau have confirmed the authenticity of this work and it will be included in the digital catalogue raisonne of the painter which is under preparation A certificate of authenticity fromBrame & Lorenceau accompanies this painting Private collection - United States Original artists label verso Jean-François Raffaëlli's father was a failed Italian businessman and Raffaëlli himself was, among other things, a church chorister, actor and theatre singer. He then studied under Gérôme at the École des Beaux-Arts in Paris. He travelled to Italy, Spain and Algeria and on his return to France settled in Asnières. In 1876, on a trip to Brittany, he first saw the potential of realist subject matter, if treated seriously. He became involved in meetings of artists at the Café Guerbois, where the Impressionist painters used to gather. As a result, Degas, contrary to the advice of the group, introduced Raffaëlli to the Impressionist exhibitions - according to one uncertain source as early as the very first exhibition, at the home of Nadar, and certainly to those of 1880 and 1881. In 1904, Raffaëlli founded the Society for Original Colour Engraving. He first exhibited at the Salon de Paris in 1870 and continued to exhibit there until he joined the Salon des Artistes Français in 1881, where he earned a commendation in 1885, was made Chevalier of the Légion d'Honneur in 1889 and in the same year was awarded a gold medal at the Exposition Universelle. In 1906 he was made Officier of the Légion d'Honneur. He was also a member of the Société Nationale des Beaux-Arts. In 1884, a private exhibition of his work cemented his reputation. He contributed to several newspapers such as The Black Cat (Le Chat Noir) in 1885 and The French Mail (Le Courrier Français) in 1886 and 1887. He published a collection entitled Parisian Characters, which captured his favourite themes of the street, the neighbourhood and local people going about their lives. In 1880 he participated, with Forain, on the illustration of Joris Karl Huysmans' Parisian Sketches (Croquis Parisiens). He also illustrated Huysman's Works. As well as working as an illustrator, he also made etchings and coloured dry-points. His early attempts at painting were genre scenes, but once he was settled in Asnières he started to paint picturesque views of Parisian suburbs. From 1879 onwards, his subject matter drew on the lives of local people. These popular themes, which he treated with humanity and a social conscience, brought him to the attention of the social realist writers of the time such as Émile Zola. In addition to his realist style, Raffaëlli's dark palette, which ran contrary to the Impressionist aesthethic, helped to explain the opposition of those painters to his participation in their exhibitions. More concerned with drawing than colour, he used black and white for most of his paintings. Towards the end of his life, he lightened his palette, but without adopting any other principles of the Impressionist technique. After painting several portraits, including Edmond de Goncourt and Georges Clémenceau, he returned to genre painting, particularly scenes of bourgeois life. Later in his career, he painted mainly Breton-inspired sailors and views of Venice. His views of the Paris slums and the fortifications, sites which have almost completely disappeared, went some way towards establishing a genre in themselves and perpetuated the memory of the area: The Slums, Rag-and-Bone Man, Vagabond, Sandpit, In St-Denis, Area of Fortifications. His realistic and witty portrayal of typical Parisian townscapes accounts for his enduring appeal. Born in Paris, he was of Tuscan descent through his paternal grandparents. He showed an interest in music and theatre before becoming a painter in 1870. One of his landscape paintings was accepted for exhibition at the Salon in that same year. In October 1871 he began three months of study under Jean-Léon Gérôme at the École des Beaux-Arts in Paris; he had no other formal training. Raffaëlli produced primarily costume pictures until 1876, when he began to depict the people of his time—particularly peasants, workers, and ragpickers seen in the suburbs of Paris—in a realistic style. His new work was championed by influential critics such as J.-K. Huysmans, as well as by Edgar Degas. The ragpicker became for Raffaëlli a symbol of the alienation of the individual in modern society. Art historian Barbara S. Fields has written of Raffaëlli's interest in the positivist philosophy of Hippolyte-Adolphe Taine, which led him to articulate a theory of realism that he christened caractérisme. He hoped to set himself apart from those unthinking, so-called realist artists whose art provided the viewer with only a literal depiction of nature. His careful observation of man in his milieu paralleled the anti-aesthetic, anti-romantic approach of the literary Naturalists, such as Zola and Huysmans. Degas invited Raffaëlli to participate in the Impressionist exhibitions of 1880 and 1881, an action that bitterly divided the group; not only was Raffaëlli not an Impressionist, but he threatened to dominate the 1880 exhibition with his outsized display of 37 works. Monet, resentful of Degas's insistence on expanding the Impressionist exhibitions by including several realists, chose not to exhibit, complaining, "The little chapel has become a commonplace school which opens its doors to the first dauber to come along."An example of Raffaëlli's work from this period is Les buveurs d'absinthe (1881, in the California Palace of Legion of Honor Art Museum in San Francisco). Originally titled Les déclassés, the painting was widely praised at the 1881 exhibit. After winning the Légion d'honneur in 1889, Raffaëlli shifted his attention from the suburbs of Paris to city itself, and the street scenes that resulted were well received by the public and the critics. He made a number of sculptures, but these are known today only through photographs.[2] His work was also part of the painting event in the art competition at the 1912 Summer Olympics. In the later years of his life, he concentrated on color printmaking. Raffaëlli died in Paris on February 11, 1924 Museum and Gallery Holdings: Béziers: Peasants Going to Town Bordeaux: Bohemians at a Café Boston: Notre-Dame; Return from the Market Brussels: Chevet of Notre-Dame; pastel Bucharest (Muz. National de Arta al României): Market at Antibes; Pied-à-terre Copenhagen: Fishermen on the Beach Douai: Return from the Market; Blacksmiths Liège: Absinthe Drinker...

Fabulous late 19th or early 20th century oil on canvas. It looks to be in the style of the Barbizon School moving into impressionim. Most of the earl...

SIDNEY PIKE, 1858 - 1923 London landscape painter and one of the first Christmas card illustrators. Settled in Hastings and represented in many south coast Museums. Signed and dated...

Oil on canvas 67,5 x52 cm attribute Hedwig Hausmann-Hoppe was a German painter (born June 29, 1865 in Gumbinnen; died after 1922) specializing in still life, flower, and landscape p...

Étienne-Prosper Berne-Bellecour (June 29, 1838 - November 29, 1910) was a French painter, engraver and illustrator. He was known for his art of war. Berne-Bellecour was born on June ...

Tempera on pith- paper. Chinese production, Guangzhou, Qing era, ca. 1860. Collection of twenty-eight paintings depicting Chinese courtiers, literati and merchants. They were origina...

Imogen Mary Collier (1873-1952) Portrait of Jerry and Dot Circa. 1895-1900 Oil on Canvas 49 X 42.5 Imogen Mary Collier (1873-1952) was born in 1873 at Whitchurch, Devon, England. She was the daughter of Mortimer John Collier...

Anne Marjorie Robinson 1858 - 1924, was a British painter in oil and watercolour of portraits and miniatures. Annie as she was sometimes known was born in Belfast Northern Ireland and moved to London in 1907, there she studied miniature portrait painting under the best miniature painter of the time Alyn Williams. Annie exhibited at the Royal Academy, the National Gallery in Ireland, the Belfast Museum, the Walker Art Gallery in Liverpool and the Royal Hibernian Academy, and others. She was a well known and much admired painter in Northern Ireland and a number of her works are held in the Ulster Museum. This picture is of a old soldier who resided with the Chelsea Pensioners and he is known a such. He looks as if he is wearing the coat of an officer of the Royal Marines Light Infantry and the medals he is wearing and the ribbons are for the Indian Mutiny issued between 1857 - 1859, he is also wearing the General Indian Service Medal which was issued between 1852 -1859. As an officer he would have worn this darker, and more expensive coat but the general service infantry would have worn red simply because it was cheaper to produce in mass production methods during the 19th Century. Visibility did not seem to be considered an issue then as the troops would have marched directly towards the enemy firing and bayonetting away without the later consideration of camouflage and personal survival. The advantage of camouflage did not come into force until WW1. The buttons on the coat are most interesting as they are dated back to the Duke of Wellington's time, and reflect the imitation of Royal and upper class serviceman's fashion in general. The frame appears to be original to the painting and the labels show that it was exhibited almost certainly at the Royal Academy, and the other label with the London address shows the home of what was once the home of James McNeil Whistler. I am extremely thankful to Jonathon Russell, from the Annie Swynnerton website, for his help in catalouging this painting and the help he received from the National Army Museum Experience Team. I have included a further biography here:- Annie Marjorie Robinson (1858–1924) was a Belfast-born Irish artist known for her portraits and miniature paintings, as well as for her sculptures. Education and early career Early training: Robinson trained as an illuminator and attended the Belfast Government School of Design. Move to London: In 1907, she relocated to London to focus on portraiture, studying under Alyn Williams of the Royal Society of Miniature Painters. While there, she also studied modelling. Return to Belfast: She returned to Belfast in 1914 after the outbreak of World War I. Exhibitions and memberships Robinson was a frequent exhibitor throughout her career: Royal Academy: She exhibited nine works at the Royal Academy in London between 1914 and 1923. Royal Hibernian Academy: Her work was regularly shown at the Royal Hibernian Academy in Dublin. Other venues: She also exhibited at the Walker Art Gallery in Liverpool and with the Belfast Arts Society. Arts & Crafts Society: In 1917, she displayed two decorative panels at the 5th exhibition of the Arts & Crafts Society in Dublin. Robinson was an active member of the artistic community and held several prestigious memberships: Associate of the Royal Miniature Society (ARMS), elected in 1912. Associate of the Society of Women Artists (ASWA), elected in 1918. Member of the Belfast Ramblers' Sketching Club (1886–1890) and the Belfast Arts Society (1895–1924). Artworks and legacy Subject matter: A regular subject in Robinson's work was Saint Brigid of Kildare. Paintings exploring this theme, including It Was Brigit Wove the First Cloth in Ireland, are now part of a triptych in the Ulster Museum. Legacy at Ulster Museum: After her death on October 22, 1924, her brother John B. Robinson donated 22 miniature portraits, as well as sculptures, watercolours, and an oil-on-canvas self-portrait, to the Ulster Museum. Other posthumous tributes Memorial exhibition: In 1925, the Belfast Municipal Art Gallery held an exhibition of Robinson's oil paintings...

PASCAL Paul (1832-1903) Orientalist View With Characters Gouache on card signed low right and dated 1894 New golden frame Dim gouache : 42 X 58 cm Dim Frame : 61 X 78 cm PASCAL Paul...

This remarkable double-sided devotional painting on copper showcases exceptional craftsmanship and deep spiritual reverence. On the recto, a finely rendered portrait of Saint Bernade...

ARTIST: Fritz Vogt (Active 1890 – 1900) (1842-1900) TITLE: “Our Native Summer Home” DESCRIPTION: Pencil drawing with colored pencil, 37 ½ x 25 ½ inches signed and dated September ...

Signed full length portrait circa 1890 by French impressionist painter Jean Beraud. The work depicts a Parisian lady in a green tuile skirt, a blue jacket with fur and black lace up ...

Henry Walcott Boss (American, 1820-1916) Woodland Tranquility Oil on canvas, signed “Boss” lower right & dated 1896 In Woodland Tranquility, Henry Walcott Boss offers a masterfully ...

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

Ernest Laynaud (French, fl. late 19th century) Figures on a Beach, circa 1890 Oil on panel Signed lower right Provenance: G. M. Lotinga, New Bond Street, London ⸻ A delightful lat...

Beautiful painting of a still life with fruit and white soup tureen, restored and cleaned in good condition. Very special painting for collectors! Additional information: Title: S...

Charles Sprague Pearce Girl with Doll, circa 1895 Signed lower left Oil on canvas 10 x 14 inches Provenance: Estate of William S. Barrett Pierce Galleries, East Bridgewater, Massach...

Francesco Brunery (1849–1926) Portrait at the Artist's Workshop Oil on wood panel Old frame gilded with leaves Dim panel : 30 X 24 cm Dim frame : 54 X 46 cm Francesco Brunery (1849...

This is classic Norton Bush and one of our few Americans who traveled to South and Central America at this date to do these exotic scenes. He employed a Hudson River School techniqu...

Jean-Jules-Antoine Lecomte du Nouÿ (1842-1923) An oriental street oil on canvas 11.5 x 14 cm no signature In good condition, canvas without stretcher,...

A rare antique Italian portrait of two children posed inside a villa against a landscape. This unsigned but beautiful work comes house in contemporary frame added to the work to e...

Delbert Coombs (1850 - 1938) Maine Artist Image Size: 12 x 9 Frame Size: 15 x 12 Medium: Oil on Canvas Dated: 1897 "The Little Fisherman" Biography Delbert Coombs (1850 - 1938) Delbert Dana Coombs was born in Lisbon Falls, Maine, on July 26, 1850. Although primarily self-taught, Coombs took painting lessons from Scott Leighton...

Still Life with Peaches and Grapes Oil on paper, 1890 Signed and dated lower right (see photo) Image size: 5 8 5/8 inches Frame size: 10 x 13 1/2 inches Housed in the original frame ...

"L’étranglement du Verdon à son entrée dans le lac de Sainte-Croix" – Provence, France "The narrowing of the Verdon as it enters Lac de Sainte-Croix” Oil on canvas, signed at the bot...

Eugene Henri Cauchois French, 1850-1911 Still Life with Cherries Oil on canvas Signed “H. Cauchois” lower right 22 ½ by 28 ½ in. W/frame 30 ...

Exhibited: Society of American Artists, New York, 1898 Intimate Revelations: The Art of Carroll Beckwith, Berry-Hill Galleries, New York, 1 December 1999-15 January 2000, no. 49 Li...

Oil on canvas, signed lower left but illisible.

Francis Dodd R.A. 1874-1949, was an English landscape and portrait painter, draughtsman and etcher. He attended the Glasgow School of Art and travelled throughout Europe, France, Ita...

1895 portrait by the french painter Arthur Rion. The oil on canvas is finely framed.

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

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

Herman Richir ( 1866-1942 ) famous Belgian artist , portrait of Mme Henroz Simonis This one fine example in the Art Nouveau style, very rare to find such a nice example of it . Pain...

Medium: Oil on Canvas Signature: Signed Lower Right

A Pair of Oils on Canvas, Arthur Trevor Haddon R.B.A. "East Gate, Warwick" and "Leicester Hospital and West Gate, Warwick" dated 1894 Arthur Trevor Haddon R.B.A. 1864 - 1941. Painte...

Roger-François PICQUEFEU Paris 1864 – Neuilly-sur-Seine 1956 Still life with Noh masks and Japanese print (probably Kunisada) Oil on canvas Signed and dedicated in the lower right c...

Child in an extended landscape. Attention to details is extraordinary. The color pallet is rich. The use of natural light is excellent. Munier was a student of Bougereau ( consid...

Nicholas Alden Brooks Still Life with Pink Ewer and Sheet Music, 1891 Signed and dated lower right Oil on canvas 20 1/8 x 16 inches Considerable mystery surrounds the name Nicholas Alden Brooks. Other than having been active in New York City between 1880 and 1904, very little is known about the artist. There are no records of any art societies showing him as a member or his having participated in any exhibits. The name Brooks, in fact, could possibly be a pseudonym for Robert Fullington, whose name appears on theatrical memorabilia in Brookss trompe loeil still-life paintings. William Harnett...

Interesting and well-painted American turn of the 19th-century animal scene of an interior of a barn with cows, calves, and chickens The piece has a great deal of charm and is very ...

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

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...

Oil painting on canvas “portrait of an Elegant woman with fan” dated 1890 Additional info: Title: Elegant with a fan Style: Art Nouveau style painting Medium: oil on canvas Signatu...

SPANISH SCHOOL, 19th CENTURY ARTIST UNKNOWN oil on canvas 10-1/2 x 7-5/8 inches (26.5 x 19.3 cm.) framed: 15-1/2 x 12-1/2 inches (39 x 31.5 cm.) PROVENANCE Spanish Collector, Madrid...

Untitled (Fantasy Landscape), c. 1890 Oil on canvas Sight: 5 1/4 x 3 14 in. Framed: 12 3/4 x 10 5/8 x 1 in.

Oil Painting Pair by Alessandro Sani "Flirtation" 1856 - 1927. Italian painter of domestic and historical scenes and professor of Art. Based in Flore...