19th Century Paintings

Signed lower right, 'Dambourgez' for Edouard-Jean Dambourgez (French, 1844-1931), titled, 'Paris' and painted circa 1890. A fine and detailed, late-nineteenth century view of a counter of the bustling cheese market...

The Castle on the Hill Scottish artist, early 19th century oil on canvas, framed unsigned framed: 21 x 27 inches canvas: 18 x 24 inches provenance: private collection, UK condition: ...

This Italian tempera painted on gilt wood gold ground panel is a Tuscan religious artwork in the style of late Renaissance - early Gothic period. The sc...

Henry George Keller (American, 1869–1949) Shepherdess with Sheep and Dog, Munich, 1891 Oil on canvas Signed and dated lower left 19 x 24 inches 25 x 30 inches, framed Keller, a lead...

The Victorian Interior English School, 19th century oil on board, framed behind glass hence photo reflection glare framed: 7 x 8.5 inches board: 4 x 5 inches inscribed verso provenan...

19th century French Barbizon School Painting, oil on canvas signed "Marin", Circa 1840. A very attractive bucolic, pastoral landsacpe scene with sheep grazing on the banks of a lake ...

Victorian Marine 19th Century Oil Painting on Canvas with Shipping off the Coast in a stiff breeze and stormy seas. Another fabulous maritime painting from William Webb who was one o...

A naive 19th century genre scene in oil, depicting an mother and daughter playing together in golden wheat fields. The artist depicts the two figures, mid piggy back ride, happy with...

Achille Laugé 1861-1944 French The Garden Near Cailhau Signed "A. Laugé 96" (lower left) Oil on canvas “Laugé’s art is one of great sensitivity and controlled reason; he is a mas...

An original oil painting by the listed British artist Anthony Sandys (1806-1883) depicting figures foraging in a woodland. Well presented in a period gilt frame with an internal slip...

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

An original landscape painting by the Dutch artist Edward de Looz-Block. Leeboard barges on a broad river, probably the Schelde. Signed to the lower right. Well presented in a decora...

A finely detailed silhouette of a Victorian lady, unusuallly depicted wearing an elaborate hat with lace brim and plume. Circle of Hinton Gibbs (1783-1839) Portrait of a lady, bust ...

A charming 19th century oil in the manner of Samuel Scott (1702-1772), depicting a view of the old Westminster Palace from across the Thames. Scott ...

Beach Huts on The Shore Simone Forge 1930's French Impressionist oil on board unframed board: 10.75 x 13.75 inches inscribed verso Provenance: private collection Condition: great co...

Still Life of Roses French artist, late 19th century signed watercolour painting on thin board, unframed painting: 17 x 22 inches provenance: private collection, France condition: ve...

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...

A wonderful depiction of mother and child displayed in a gold round ornate frame with intricate details.

HENRY H. PARKER Picture Size: 20 x 30" (50 x 76cm) Outside Frame Size: 27 x 37" (67.5 x 92.5cm) Free Shipping A typical example of Henry Parker's work. Parker is a highly collecte...

Circle of James Hardy, Jnr (1832-1889) A gun dog oil on board 7 ⅞ x 6 in. (20 x 15.3 cm.) framed 12 ⅝ x 10 ⅝ in. (32.1 x 27 cm.) This animated and characterful dog bears a striki...

Jean-Jules-Antoine Lecomte du Nouÿ (1842-1923) A shoulder and back study, oil study oil on canvas 34 x 19.5 cm In good condition, a few small inpaintings visible under UV lights Stamp of the Estate sale in Toulouse on the stretcher In a modern frame : 40 x 25 cm Provenance : Estate of the artist and family of the artist by descent Estate sale in Toulouse 22 June 1999 This very interesting oil study was part of a set kept by the artist. He had studied fragments of anatomy both to use them as models in large compositions but probably also because he represented so many fragments. It is clear that this fragment of anatomy has a power of suggestion and serves as a relay to the imagination of the viewer, who is led to imagine the rest of the body taken as a model. We can speak of metonymy in painting and it is clear that the artist had this in mind when he kept such studies with him. Jean-Jules-Antoine Lecomte du Nouÿ was born on 10 June 1842 in Paris. Originally of a Piedmontese origin, his family had been settled in France since the fourteenth century and by the time of his birth had reached the status of nobility He was an Orientalist French painter and sculptor. He was strongly influenced by the works and teachings of Charles Gleyre and Jean-Léon Gérôme. Lecomte du Nouÿ found inspiration for his art through extensive travels to Greece, Turkey, Egypt, Romania and Italy. The thematic content of Lecomte du Nouÿ's work was mainly figural, but also spanned over a vast range of imagery throughout his career, including classical, historical and religious. Lecomte du Nouÿ is known for remaining faithful to his detailed, realistic style throughout the extent of his career, despite the onset of the Impressionist, Fauvist and Constructivist artistic movements during his lifetime. His work is said to have contributed significantly to the establishment of an iconic repertoire representing the Orient in the nineteenth century.A Parisian street was named after him in 1932.  Lecomte du Nouÿ showed a strong attachment to visual art from a young age and was reported to have painted portraits of his father and uncle by the age of 6. In 1861, at 19 years of age, the artistic talents of young Jean-Jules-Antoine Lecomte du Nouÿ prompted him to become a pupil at the atelier of Swiss artist, Charles Gleyre. Under Gleyre's guidance Jean-Jules-Antoine learned the significance of individualistic style and gained the foundations of creative visual presentation. Later, Lecomte du Nouy further perfected his knowledge of the artistic form under the mentorship of Jean-Léon Gérôme, who was a renowned painter of the Academicism movement. It was at this time that Jean-Jules-Antoine learned the precision required to depict "la belle nature" —a style of illustration that aims to create the most beautiful representations of the natural form. This later became one of the main techniques employed in Lecomte du Nouÿ's signature artwork. In 1865, Du Nouÿ accompanied fellow artist, Félix Auguste Clément...

Outstanding Mid 19th century old master "Susanna and the Elders" after Martinelli Brilliant old master painting of Susanna and the Elders. Original oil on canvas. Dimensions 26.5" ...

Title: *Courtship in the Forest* Author: French Romantic School Technique: Oil on canvas Support: Canvas mounted on a stretcher Unframed dimensions: 11.4 x 7.9 inches Frame...

Unknown Artist, Possibly Gustaf Brandelius (1833-1884) Portrait of a Young Boy With Hat oil on tree panel painted c.1850-70 panel 9.05 x 5.90 inches ...

The artist: Henri Aime Duhem (1860-1941) French *see notes below, signed Title: The Diving Board Medium: gouache on paper, loosely laid over card, unframed card: 12.75 x 9.75 ...

Colin Graeme Roe British, (1855-1910) Irish Setter with Game Oil on canvas, signed Image size: 19.25 inches x 15.5 inches Size including frame: 27 inches x 23.25 inches A fine spor...

John Arthur Lomax British, (1857-1923) The Musician Oil on panel, signed Image size: 9.75 inches x 11.75 inches Size including frame: 19.75 inches x 21.75 inches Provenance: Henry J...

A fine study of the original 1846 painting by Thomas Brooks titled 'Dawn of Love'. The original is currently part of the Victoria & Albert collection. The...

Artist/ School: Paul Sebilleau (French 1848-1907), signed and dated 1895 Title: Winters Morning Medium: oil on panel Size: 10.5 x 14 inches Provenan...

Gorgeous late 19th Century Russian landscape with stream in the shade by Nikolai Aleksandrovich Sergeev (Nikolai Alexandrovich Sergeyev ...

Oil on canvas, signed lower right Image size: 33 1/2 x 56 1/2 inches (85 x 143 cm) Original gilt frame Provenance With the artist's son, Millie Dow Stott Esq., until 1912. Artist's Studio Sale, Christies, November 1913. Private Collection Exhibitions London, Royal Academy, 1895, no. 679. Paris, Societe de la Nationale des Beaux-Arts, 1896, no. 1179. Berlin, VII Internationale Kunstausstellung 1897. no. 3533. Manchester, City of Manchester Art Gallery, 1912, no. 339. In the 1890s William Stott exhibited regularly at the Royal Academy, mainly highly decorative works with subjects derived from classical mythology and literature. This painting was Stott's 1895 entry to the Royal Academy and was subsequently exhibited at the Paris Salon of 1896 and then on to the Berlin, VII Internationale Kunstausstellung 1897. Shakespeare was a favourite source for Victorian painters, and the tragic romance of Ophelia, from Hamlet, was an especially popular subject, featuring regularly in the Royal Academy exhibitions. The most popular and iconic image of Ophelia's death was, and is to this day, John Everett Millais's 1851 painting showing the confused and tragic Ophelia floating downstream on her back in a state of mad ecstasy, arms raised in a gesture of inevitable submission. However, although Stott chose not to pastiche this image, it seems highly likely that he was prompted to take up this subject, which had almost become a 'rite of passage' among Victorian painters, by the fact that in 1894 Millais's Ophelia was presented to the National Gallery of British Art by Sir Henry Tate. It appears that Stott was much influenced by John William Waterhouse...

Alphonse de NEUVILLE Saint-Omer, 1835 - Paris, 1885 Oil on wood panel 14.5 x 24 cm Signed lower right Alphonse de Neuville painted french soldiers during the war of 1870. For his wo...

Artist/ School/ Date: Douglas Stuart Allen (American/ French 1923-2021) American born artist from Chicago, retiring to France during his latter years to become a full time painter. ...

Joseph Thors British, (1835-1920) Harvest Time Oil on canvas, signed Image size: 19.25 inches x 29.25 inches Size including frame: 26.25 inches x 36.25 inches This wonderfully deta...

Landscape of Rolling Hills Simone Forge 1930's French Impressionist oil on board unframed board: 13 x 18 inches inscribed verso Provenance: private collection Condition: great cond...

A Surprising Visit" by Eduardo León Garrido (Spanish, 1856-1949) invites viewers into a sumptuous journey through 19th-century European luxury. Eduardo León Garrido, a distinguished Spanish artist born in 1856 and leaving an artistic legacy until 1949, displayed a remarkable ability to capture the essence of his time through his brushstrokes. This antique masterpiece, rendered in oil on panel and measuring 22 1/2 x 29 3/4 inches, unveils a world of opulence within a Royal European...

This stunning Scottish Victorian portrait oil painting is by noted artist Robert Fowler. Painted circa 1893 the composition is of a blonde haired maiden in the foreground, dressed in...

Antique Male Academic nude painting Henri Brugnot with exposition label (1st prize). by Henri Brugnot (1874-1940) Oil on canvas board 15" x 30" The lab...

Claude Cardon British, (1864-1937) Farm Friends Oil on canvas, signed Image size: 13.5 inches x 20.5 inches Size including frame: 19.25 inches x 26.25 inches A tranquil scene of ca...

Very touching scene with two little girls. Two sisters are thrilled to meet their new pets that their parents have bought. The sincerity and immediacy of children's feelings depicted...

Figures before Far Reaching View attributed to William Alfred Delamotte (English, 1775-1863) oil on canvas, unframed canvas : 24 x 36 inches provenance: private collection, England c...

Outstanding English Victorian 19th century Harvest landscape. Thomas Simon Dingle was the son of Thomas Dingle (1818-1904), known as a London landscape painter, but who, according t...

Alessandro LA VOLPE (Lucera, 1820 – Rome, 1887) Boats on the shore, Naples 1868 Oil on canvas Signed, located and dated lower left 21 x 42 cm without frame 50 x 71 cm with frame 18...

In “Campfire at Sunset,” George Inness captures a stunning sunset with a smoldering campfire set on a lakeside.

Artist/ School/ Date: Douglas Stuart Allen (American/ French 1923-2021) American born artist from Chicago, retiring to France during his latter ye...

Portrait Of A Circassian Guerilla, 19th Century Russian School Large 19th Century Russian School portrait of a Circassian Guerilla, oil on canvas. Remarkable quality and historica...

Renowned portraitist Frank West Benson paints a young woman by the fireplace reclining in a chair in his artwork entitled, “Firelight.”

In this exquisite painting by Victor Ravet, we are transported to an elegant interior setting reminiscent of the grandeur of high-class homes. The focal point is a woman adorned in a shimmering pink gown, radiating grace and sophistication. Bathed in gentle light, her dress catches the glimmer, accentuating her beauty. She holds a treat for a dog in her hand, enticing the furry companion who stands on its hind legs in eager anticipation. The canine's eyes fixated on the delicious morsel, capturing a moment of playful interaction between the woman and her loyal companion. The scene takes on a narrative quality as the young woman's other hand delicately lifts a curtain, hinting at another room beyond. This subtle gesture adds depth to the composition, suggesting a world of hidden secrets and intriguing possibilities within the opulent surroundings. Victor Ravet took inspiration from the Dutch Golden Age painters of the 17th century, such as Vermeer, Jacob Ochtervelt, and Gerrit Dou. This homage to their style and subject matter pays tribute to the timeless allure of domestic scenes, capturing a slice of life in a bygone era. With meticulous attention to detail, Ravet masterfully recreates the textures and fabrics, immersing the viewer in the sumptuousness of the period. The soft play...

Riverside Chateau Signed by artist, French circa 1855 Oil painting on canvas, unframed Canvas: 10.5 x 16 inches Condition: The painting is in very good condition, with well-preserve...

Smugglers, Prussia Cove, Cornwall, Moonlit Landscape, 19th Century Abraham PETHER (1756-1812) Large 19th Century Moonlit coastal landscape of smugglers at Prussia Cove, oil on canv...

W. Miller (British, late 19th century) - Woodland landscape with stream. 92 x 71 cm. Antique oil painting on canvas, without frame. - Work signed bottom left: “W. Miller." Condit...

The Favorite Pet Portrait of a Victorian English Child with her Dog English artist, mid 19th century oil on canvas, unframed canvas: 28.5 x 20 inches Provenance: private collection,...

A charming scene depicting a bustling tavern with men listening to a soldier, a cat and dog in front of the fire and a maid pouring drinks behind the bar. Unsigned. Presented in a g...

This late 19th-century portrait depicts a figure in dark clothing against a muted brown background, creating a stark contrast that draws focus to the subject's expressive features. I...

William Luker Snr British, (1828-1905) Sheep in a Sussex Lane with Pevensey Bay in the distance Oil on canvas, signed & dated 1875 Image size: 17.25 inches x 25.25 inches Size including frame: 23.25 inches x 31.25 inches A tranquil landscape scene of a shepherd and his flock resting in a lane near Pevensey Bay, Sussex by William Luker. The ruins of Pevensey Castle can be seen in the distance with the sea beyond. William Luker Snr was born in 1828 at Faringdon, Berkshire to William and Jane Luker (née Charlwood). His father was a plumber and glazier by trade and the family lived at London Street in Faringdon. Little is known about his early education and it is believed for the most part he was self -taught. However, given the quality of his work and the fact that his family were able to keep a servant, he may well have received some artistic tuition. By the early 1850’s, he had begun earning a living as an artist by advertising in local directories, earning commissions from local landowners. He made his debut at the Royal Society of British Artists in 1851 and was a prolific exhibitor there for over 40 years. He began exhibiting at the Royal Academy in 1852 and also exhibited at the British Institution. He married the artist Ada Augusta Margetts (1839-1930) on 27 October 1864. Their eldest son William Luker Jnr (1867-1951) also became a well-known artist. The couple soon moved to London where they lived at 22 Gloucester Terrace, Campden Hill from where they both exhibited. From 1867, they lived at 15 Sheffield Terrace in Kensington until 1874 when they moved for the final time to 22 Notting Hill Square, later renamed Campden Hill Square in 1893. He died at Campden Hill-square on 28 February, 1905. Luker specialised in landscapes featuring animals such as sheep and cattle, horses and deer. He travelled around visiting areas such as Sussex, Buckinghamshire, Kent, Wales and the Highlands. However, he also made trips to Egypt and Libya producing a series of Oriental scenes in the early 1860’s. His works show a great attention to detail and his use of a lighter palette gives his subjects a luminous quality that instantly attracts the viewer. Examples of his paintings are held by the Atkinson Art Gallery, National Library of Wales, Newstead Abbey...

John Charles Maggs British, (1819-1896) Saracens Head Oil on canvas, signed & labelled ‘Bath’ Image size: 13.5 inches x 25.5 inches Size including frame: 21 inches x 33 inches A wo...

A charming folk portrait depicting a young girl in a pretty lace dress, placed amongst a wildflower meadow. The sitter's pale complexion, fair locks, and piercing blue eyes make for ...

Set of 4 Antique French Black & White Engravings Ancient Greek views and monument landmarks including the Pantheon, Athens. each paper : 9 x 12 inches...

A beautiful late 19th century Victorian oil on board portrait of a terrier dog. Fine quality work, indistinctly signed lower right and presented in a gilt frame. Artist: British Sch...

A Palatial and Opulent Belle epoque giltwood & oil on canvas three-panel screen, circa 1890. "Allegory of Youth" Comprising of three exquisite hand-painted triptych oil on canvas panels of cherubs and putti amongst a peacock, all by Ferdinand Wagner II (German, 1847-1927). Each panel depicting different playful and joyous scenes of putti and cherubs. All three-in-one panels within individually carved giltwood and upholstered frames. One panel signed at the lower left: Ferd.Wagner. A truly magnificent and one of a kind piece, perfect for any room in the home. Overall: 101" high 85" wide x 5" deep Very good condition. Ready to place. Ferdinand Wagner II (German, 1847-1927) was the son of Passau Ferdinand Wagner Senior, a teacher at a vocational art school who began training him professionally at a young age. After traveling to Italy in 1867-1868, he continued with his art studies at The Munich Academy of Arts led by Peter Von Cornelius and Julius Schnorr Von Carolsfeld. Wagner II was influenced by the Munich School of master painters and by his art teacher, Karl von Piloty, who had been teaching at the Munich Art Academy since 1856. Piloty’s approach to historical paintings was influenced by the French art academic Paul Delaroche and by the fine artworks by Rubens and the Venetians. After his return to Germany he was commissioned to decorate the former the Tenormayer Wine Tavern in Munich, subsequently he received numerous other commissions as a decorator. Ferdinand Wagner II wall paintings and ceiling frescos...