19th Century Paintings

This beautiful late 19th century portrait oil painting is attributed to circle of Walter Langley. It has the hallmarks of the Newlyn School of artists such as the subject matter, com...

Portrait of a King Charles Spaniel, 18th Century CIRLCE OF George STUBBS (1724-1806) Large 18th Century English School portrait of a King Charles Spaniel, oil on canvas. Excellent ...

H.Jackson. 19th century English landscape with sheep English late 19th-century painter of animals either in barns or landscapes. His paintings have the influence of the work of the Belgium painter Cornelius van Leemputten...

British female artist, attributed to Margaret Sarah Carpenter, nee Geddes, painted this lovely 19th century portrait oil painting. Painted circa 1840 it is a three quarter length portrait of a two sisters in a landscape. The colours are still vibrant and the detail lovely. Carpenter mostly painted portraits in the manner of Thomas Lawrence and his influence can be seen here in the composition and detail. A lovely Victorian portrait oil painting by a female artist who was much sought after as a portraitist in London and she was also a frequent exhibitor at the Royal Academy. When purchased this painting was of a single sitter. However when this stunning painting was professionally cleaned it revealed the second younger sister. Provenance. Christie's, London. 22 September 1978 Lot 50 as by D Allen...

One of early of the French artist’s works by Emile Godchaux (fra.: Émile Godchaux, 1860 - 1938), late 19th century. This amazing landscape takes us to a cloudy spring day, making us ...

A painting of Lord Methuen’s Spaniels Gipsy and Fairy, by William Barraud, standing beside a classical urn in a landscape by a lake, probably in the grounds of Corsham Court in Wiltshire, the Methuen family country seat. Signed and dated 'W Barraud...

George Henry Smillie (1840 - 1921) Stone Wall, Autumn, 1879 Oil on canvas 9 1/2 x 15 inches Signed and dated lower right Provenance: Skinner, Boston, September 19, 2014, Lot 389 The career of George Smillie (1840-1921) followed the arc of nineteenth-century U.S. landscape painting. Trained in the Hudson River School tradition, Smillie successfully adapted to changing U.S. tastes and growing interest in European trends. In the late 1800s, he moved to tonalist paintings full of brushwork and influenced by French Barbizon painting. By the end of his career, he had lightened his palette to produce works similar to those of the U.S. impressionists. Yet in all styles, he was never less than competent, and his tonalist work is among the best produced in the United States. Like many nineteenth-century painters, George Smillie’s artistic training began with the study of printing. His father, James Smillie...

Carl Martin Western Mountain Landscape Watercolor Painting c.1970 Outstanding watercolor signed Carl Martin Original watercolor on paper ...

Arthur Walker Redgate British, (1860-1906) The Harvesters Oil on canvas, signed Image size: 19.25 inches x 29.25 inches Size including frame: 27 inches x 37 inches A pleasing lands...

Wonderful late 19th Century of two cupids forging gold drawn from a section of the 1st century CE cupids frieze from the triclinium or dining room from the House of the Vetti in Pomp...

Oil on Canvas. Signed and dated to the lower left. A genre scene in popular taste, it portrays a middle-class family about to have lunch: the father, already seated at the table, is ...

**PLEASE NOTE: EACH PAINTING INCLUDING THE FRAME MEASURES 15 INCHES x 13 INCHES** Henry Schafer German/British, (1841-c.1914) Chartres, France & Metz, Lorraine Oil on canvas, pair, both signed Image size: 10 inches x 8 inches (each) Size including frame: 15 inches x 13 inches (each) Henry Schafer was born in Hanover, Germany in 1841. Although little is known about his upbringing, he was known to have studied at the l'Ecole National de Beaux-Arts in Paris. After leaving art school, he travelled throughout Europe painting town scenes and buildings of Northern France, Belgium and Germany. By 1864, Schafer had travelled to England with his wife Theresa, to work in London where they settled and started a family. All four of their children were born in England. One of his daughters Emilie Anna Schafer (1871-1937) became a painter and art teacher. Around 1871, the family were living at 53 Vauxhall Bridge Road and in 1881 were recorded as residing at 6, Sophia Terrace, Beulah Road, Thornton Heath in Surrey, with Henry continuing to work as an artist. By 1891, he had moved to 7 St Peters Road in Islington where he lived for the rest of his life. Sometime around the turn of the century, he became a British subject. Schafer is believed to have died in London c1914. Many of his works depict the architecture of gothic cathedrals and churches, as in these two fine examples. He also produced interior studies of churches. Schafer's style resembles that of Alfred Montague...

Edward Ladell British, (1821–1886) Still Life of Fruit & Flowers in a Basket Oil on canvas, signed with monogram Image size: 13.5 inches x 11.75 inches Size including frame: 20.75 inches x 19 inches An exquisitely painted still life of roses and fruit by Edward Ladell. Pink and yellow rose blooms are depicted with black and white grapes and a pear on a marble topped table. Behind them, a basket of fruit containing plums and a nectarine can also be seen. Edward Ladell was born in Hasketon, Suffolk on 12 April, 1821 the son of Christmas Ladell a coachbuilder and his wife Mary Birch. He was a self-taught artist and initially worked in his father’s business in Colchester as an engraver. He is also believed to have worked as a pattern designer for a Flemish textile company in Colchester. In 1848 he married Julianna Roofe and they spent their married life living at East Hill in Colchester. During his spare time he began producing still life paintings in the Dutch traditions and in 1856 made his debut at the Royal Academy with a ‘Study from Nature’. He also exhibited at the British Institute from 1857 and the Royal Society of British Artists from 1858. Ladell’s exposure at the London galleries began earning him commissions and by 1861, he had become a full time artist. He was highly successful in his lifetime, earning many commissions and commanding high prices for his work. He became one of the best known still life painters of his generation. During the late 1860’s, after the death of his first wife and child, he began teaching art. One of his pupils was Ellen Maria Levett who he later married in 1878 and together they had a son. His wife Ellen Ladell...

After Napoleon introduced Europe to the different and exotic life of the Middles East, it was Delacroix who was the first to return. He brought back vivid images to an unbelieving pu...

A fine oil study by well listed artist William Williams of Plymouth. The scene depicts a mother and child untangling nets on a beach in Plymouth. The artist catches the rugged Devons...

19th century English landscape of Children picking flowers in a field or meadow. Henry Hadfield Cubley was born in Newark, Nottinghamshire in 1858. Henry was the nephew of William C...

Italian painter (dated 1853) - Historical interior scene. 29.5 x 43 cm without frame, 50 x 65 cm with frame. Antique oil painting on panel, in a contemporary carved wooden frame, l...

Newlyn School, circle of Frank Bramley is the attribution for this lovely Victorian portrait oil painting. Painted circa 1890 on panel, it is a head and shoulders portrait of a young girl in a straw hat...

"Hudson Highlands," by Hudson River School painter Lockwood DeForest (American, 1850-1932) is oil on artists card-stock and measures 9.5 x 14 inches. The work is framed in an elegant, period appropriate frame, and ready to hang. Lockwood de Forest was born in New York in 1850 to a prominent family. He grew up in Greenwich Village and on Long Island at the family summer estate in Cold Spring Harbor. As was customary for a cultivated family in the Gilded Age, the de Forests made frequent trips abroad. Excursions to the great museums, which were prominent on the de Forests agenda, deepened the young Lockwood's familiarity with European painting and sculpture. Though he had begun drawing and painting somewhat earlier, it was during a visit to Rome in 1868 that nineteen-year-old de Forest first began to study art seriously, taking painting lessons from the Italian landscapist Hermann David Salomon Corrodi (1844–1905). More importantly, on the same trip, Lockwood met one of America’s most celebrated painters, (and his maternal great- uncle by marriage) Frederic Edwin Church (1826–1900), who quickly became his mentor. DeForest accompanied Church on sketching trips around Italy and continued this practice when they both returned to America in 1869. Early on in his career, de Forest made a habit of recording the date and often the place of his oil sketches, as to create a visual diary of his travels. Lockwood’s profession as a landscape painter can be primarily attributed to Frederic E. Church and his belief in the young artist’s talent. De Forest often visited Church in the Hudson River community of Catskill where, in addition to sketching trips and afternoons of painting, he assisted with the architectural drawings and planning of Olana. In 1872, de Forest took a studio at the Tenth Street Studio Building in New York. During these formative years de Forest counted among his friend’s artists such as Sanford Robinson Gifford (1823–80), George Henry Yewell (1830–1923), John Frederick Kensett (1816–72), Jervis McEntee (1828–91), and Walter Launt Palmer (1854–1932). Over the next decade de Forest experienced success as a painter. He exhibited for the first time at the National Academy of Design in 1872, and made two more painting trips abroad, in 1875–76 and 1877–78, traveling to the major continental capitals but also the Middle East and North Africa. His trip to the Middle East and the library at Church’s home, Olana, established his interest in design during his mid-twenties. From about 1878 to 1902, landscape painting was overshadowed by his activities and preoccupation with East Indian architecture and décor, a style that became quite fashionable in late nineteenth century America. From 1879-1883, de Forest founded Associated Artists along with Louis Comfort Tiffany, Candace Wheeler...

Antique American impressionist winter landscape oil painting by Ernest Albert (1857 - 1946). Oil on canvas, circa 1900. Signed. Frame...

ANTONIETTA BRANDEIS Czechoslovakian, 1848 - 1926 FLORENCE´S BRIDGE signed "ABrandeis" lower right oil on canvas 10-3/5 x 14-4/5 inches (27 x 37.5 cm.) unframed PROVENANCE Private Collection, Barcelona Antonietta Brandeis (also known as Antonie Brandeisová) (1848–1926), was a Czech-born Italian landscape, genre and portrait painter, as well as a painter of religious subjects for altarpieces. She was born on January 13, 1848, in Miskovice (near Kutná Hora) in Bohemia, Austria-Hungary.[2] The first bibliographical indication of Antonietta Brandeis dates from her teens, when she is mentioned as a pupil of the Czech artist Karel Javůrek of Prague.[3] After the death of Brandeis' father, her mother, Giuseppina Dravhozvall, married the Venetian Giovanni Nobile Scaramella; shortly afterward the family apparently moved to Venice. In the 1867 registry of the Venetian Academy of Fine Arts, Brandeis is listed as being enrolled as an art student. At this time, Brandeis would have been nineteen, and one of the first females to receive academic instruction in the fine arts in Italy. In fact, the Ministry granted women the legal right to instruction in the fine arts only in 1875, by which time Brandeis had finished her education at the Academy. Brandeis’s professors at the Venetian Academy of Fine Arts include Michelangelo Grigoletti and Napoleone Nani for life drawing, Domenico Bresolin for landscape, Pompeo Marino Molmenti for painting and Federico Moja for perspective. Already during her first years of study there is evidence of Brandeis' skill-in her first year she is awarded prizes and honors in Perspective and Life Drawing. Brandeis’ continuing excellence and diligence in her artistic studies during the five years she spends at the Academy is attested to in the lists of prize-winning students of the Academy “Elenco alunni premiati Accademia Venezia in Atti della Reale Accademia di Belle Arti in Venezia degli anni 1866-1872”.[4] It includes numerous mentions of prizes and high honours won by Brandeis in Art History, Perspective, Life Drawing, Landscape and Anatomical Drawing, Drawing of Sculpture, and “Class of Folds”. It is in Venice at the Academy that Brandeis perfected her skills as a meticulous landscape and cityscape painter, with intricate and luminous details in the tradition of the eighteenth-century “vedutisti”. In 1870, while still a student at the Academy, she participated in her first exhibition; that of the Società Veneta Promotrice di Belle Arti with the oil painting Cascina della Madonna di Monte Varese. She is documented as having exhibited eight paintings during the years 1872 to 1876 with the Società Veneta Promotrice di Belle Arti, both landscapes and genre scenes. In the exhibit of 1875 her landscape Palazzo, Marin Falier is sold to M. Hall of London for 320 lire, a first indication of the success Brandeis will achieve with foreign collectors of her work (particularly the English and German visitors to Italy on the Grand Tour circuit). During these same years, she showed two paintings in the Florentine exhibit Promotrice Fiorentina. The first painting, entitled “Gondola” is a subject which she repeats in new variations throughout her career with great success. The second, perhaps a genre painting, is entitled “Buon dì !” The two paintings remained unsold and were presented at the same exhibition the following year, together with two more genre scene paintings. In 1876 and 1877 she exhibited three landscapes of Venice at the Promotrice Veneta, which sold to foreign collectors. In November 1877 Brandeis showed the large painting Palazzo Cavalli a Venezia at the exhibition of the Hungarian Fine Arts Society in Budapest. In both Florence and Budapest, Brandeis showed her work under the name “Antonio Brandeis”. The biographer De Gubernatis offers the following explanation for the change of name: “her first pictures received praise and criticism; she took the criticism, but when she was praised as a woman she was annoyed, and therefore exhibited under the name Antonio Brandeis.” During the years 1878 to 1893 Brandeis painted and exhibited numerous works, primarily scenes of Venice, and although she resided chiefly in that city she also traveled and painted in Verona, Bologna, Florence, and Rome. As well as in Venice and Florence, she exhibited in Turin, Milan, and Rome. In 1880 she was present at the International Exposition of Melbourne with three paintings: Palazzo Cavalli, A Balcony in Venice and The Buranella- native of Burano Island near Venice. Brandeis was a prolific painter, and often replicated her most popular subjects with only slight variations. She was represented in Venice at the photographer Naya’s studios in Piazza San Marco and in Campo San Maurizio and in Florence she collaborated with the picture dealer Giovanni Masini. During this period of intense activity painting landscapes en plein air and genre scenes, Brandeis also is documented in De Gubernatis as a painter of religious altarpieces. Several of these altarpieces can be found on the Island of Korcula in Croatia. Two are visible in the parish church of Smokvici and of in the church of St. Vitus in Blato. In the sacristy of the Cathedral of Korcula is a Madonna with Christ Child painted by Brandeis. For the same church she also painted a copy of the central panel of Giovanni Bellini’s triptych from the Venetian Church of Santa Maria dei Frari Gloriosa (1488). In 1899, for the main altar of the chapel of St. Luke in the Korcula town cemetery, Brandeis painted a St. Luke, which shows the sparkling colors and free impasto typical of her plein air oil paintings. On October 27th 1897 at the age of 49, Brandeis married the Venetian Antonio Zamboni, a knight and officer of the Italian Crown and knight of the Order of SS. Maurizio and Lazzaro. The couple continued to reside in Venice and Brandeis continued to show at Italian exhibitions in Venice, Florence, and Rome although more sporadically and with fewer works than before. Although she participated in the International Exposition of Watercolourists in Rome in 1906 with a “Study” and in the Società Promotrice delle Belle Arti in Florence in 1907 and 1908 with two oil paintings, De Gubernatis quotes Brandeis as saying in 1906, that even though she resides in Venice “I am a foreigner, and for some time I have not taken part in Italian Exhibitions, sending all my paintings to London.[3] Antonio Zamboni died 11...

Victorian landscape painting at its finest, gentle countryside and wonderfully drawn figures by a highly regarded British Artist. A beautiful pair of oils on canvas, mounted on stre...

Oil Painting portrait of Madame Ferrier by Gabriel Ferrier French school 19Th Gabriel-Joseph-Marie-Augustin Ferrier ( 1847 in Nîmes – 1914 in Paris) was a French portrait painter an...

A charming portrait of the artist's son, Johnnie. Signed in the upper left corner. Inscribed on the verso with the artist's name and title. Presented in a gilt frame. On canvas.

Robert John Hammond British, (1853-1911) On the River Severn Oil on canvas, signed & inscribed verso in pencil to stretcher Image size: 15.25 inches x 23.25 inches Size including frame: 21.25 inches x 29.25 inches An attractive landscape scene of figures on the banks of the river Severn by Robert John Hammond. A man can be seen steadying a boat whilst a woman and her daughter wait by the bank. Robert John Hammond was a landscape painter born in Blackfriars, London in 1853. By the time he was 18 he had moved to Sutton Coldfield where he initially became an apprentice watchmaker before becoming a full time artist. In 1871, he married Lucy Banner, the sister of the artist Alfred...

A stunning 1891 exhibited oil painting by British listed artist George Sherwood Hunter. This is a glorious British Impressionist painting from his travels in Northern France. It depicts “A Breton Courtship” in blue hot summer tones and is married well with the French Barbizon frame. The couple sit opposite each other, on either side of the road they are travelling together. A fantastic painting. This is a large oil on canvas by the Scottish artist who is one of my favourite artists of the period. George Sherwood Hunter was a well travelled artist and he painted throughout Europe. He is represented in many public collections. Provenance. Exhibited: Royal Society of British Artists 1891. Condition. Oil on canvas, 30 inches by 20 inches unframed and in good condition. Housed in a fine Barbizon gilt gallery frame, 40 inches by 30 inches framed. Gallery condition. George Sherwood Hunter (1846-1914) - was born in Aberdeen in Scortland on 30 May 1846. He first visited Newlyn in the 1890s, staying at Belle View in 1897. In 1902 he settled at the Malt House, Newlyn, with his wife Constance. Hunter had a studio in Bateman’s Meadow, where the Forbes School of Painting was situated, and Hunter assisted with tuition at the School in its early days. In Mrs Lionel Birch’s 1906 biography of the Forbes’ she wrote, ‘r and Mrs Forbes feel that they owe a debt of gratitude to Mr G...

In his oil painting, “Arctic Seascape,” William Bradford large iceberg sitting upon placid seas beneath a blue sky.

'Picking Blackberries' is a 19th/early 20th century oil on canvas painting of a Scottish coastal path view with yellow gorse and berry bushes. Children are picking berries or sitting enjoying the view overlooking the sea, depicting halcyon days of summer. Scottish artist Charles Martin Hardie...

A charming study depicting a boy with a basket full of eggs. One lays discarded on the floor and his charming, slightly mischievous expression leads us to believe he is hiding from a...

Well presented in a wood frame with gilt detail. Inscribed and dated to the reverse. Signed. On board.

A finely detailed portrait of a beautiful young woman with a fan by Franco-German artist Carl Ernst Von Stetten (1857-1942). Stetten was a Franco-German portrait and genre painter who worked in France. He came from the wealthy Stetten banking family. He began his studies on October 16, 1876 in the class of antiquities at the Royal Academy of Arts in Munich. He then left for Paris in the 1880s to study under Jean-Léon Gérôme. He attended the Académie Julian with Gustave Boulanger, Gustave Courtois...

Karl Kasimir Otto Ritter von Thoren (born July 21, 1828 in Vienna, died July 15, 1889 in Paris). Dimensions without frame. Austrian officer and painter. Thoren was the son of Colonel Franz Kasimir Ritter von Thoren and his wife Konstanze Maria (née Lachmann). He became an officer in 1846 and was involved in the Hungarian campaign in 1848. He then spent a long time in Venice, where he was employed as an adjutant to the military and civil governor Ludwig Gorzkowski. After turning to painting in 1857, he studied in Brussels and Paris for several years. In the mid-1860s he was commissioned to create a portrait of the Emperor Franz Josef in Vienna. After painting the death...

Study Of A Cat, 19th century attributed to Théophile Alexandre STEINLEN (1859-1923) Large 19th century French study of a cat, oil on board attributed to Theophile Steinlen. Excelle...

Jean Philippe George-Julliard (1818 – 1888) A landscape with a traveler Oil on paper Signed HG lower right 19.5 x 29 cm The four corners are cut Framed under glass 27 x 47 cm Jean Philippe George-Julliard (1818–1888) or Henri Philippe Julliard was born on 1 january 1818 in Geneva (Switzerland) from french parents. He first studied art in Nantes in France, but later he came back to Geneva where he became pupil of Alexandre Calame...

François Charles Cachoud (born in 1866 in Chambéry, Savoy and died in 1943) is a painter known today for his night effects and his chiaroscuro...

This fine late 19th-century oil painting by Italian artist Giovanni Rota (1832-1900) depicts a cheerful young lady looking back over her shoulder with a straw hat and lilac ribbon. ...

After Aelbert Cuyp (unsigned) an oil on board country scene depicting a farmer and bull. The painting is in overall very good condition however the frame has some losses .Mainly to...

Signed bottom right. All of our works are covered by our own guarantee of authenticity which covers the work for its lifetime of ownership with the purchaser. We carry out stringent...

Signed (at lower left): W.R. Miller/ 1851

Charles Joshua Chaplin (French, 1825-1891) 'The Bird's Nest' A very fine and charming Rococo revival style oil on canvas depicting a young girl, dressed in 18th century costume and resting by a river bank, holding a bird's nest and one of the tiny eggs. Her bonnet resting to her side and a wicker basket full of hand-picked flowers by her feet; within a later giltwood carved frame. Signed: ChChaplin (lower left). Circa: 1870-1880. Canvas Height: 31 1/2 inches (80 cm) Canvas Width: 17 15/16 inches (45.5 cm) Frame Height: 38 5/8 inches (98 cm) Frame Width: 24 3/4 inches (63 cm) Frame Depth: 2 3/8 inches (6 cm) Charles Joshua Chaplin (8 June 1825 – 30 January 1891) was a French painter and printmaker who painted both landscapes and portraits. He worked in techniques such as pastels, lithography, watercolor, chalk, oil painting and etching. He was best known for his elegant portraits of young women. Chaplin was born on 8 June 1825 in Les Andelys, Eure, France. His mother, Olympia Adelle Moisy, was French, whereas his father, John Chaplin, was an art broker from England. Charles Chaplin spent his whole life in France, becoming a naturalized citizen in 1886. He studied at the École des Beaux-Arts in Paris from 1840, and he took private lessons in the studio of Michel Martin Drolling, whose apprentices included Paul Baudry, Jules Breton and Jean-Jacques Henner. Later he also taught at the École des Beaux-Arts. In 1845, he entered the Paris Salon, the official art exhibition of the Académie des Beaux-Arts, as a portrait and landscape painter with the painting Portrait of the Artist's Mother. Chaplin conducted art classes specifically for women at his studio, including Marie Joséphine Nicolas. The American artist Mary Cassatt, the French artist Louise Abbéma and the English artist Louise Jopling were among Chaplin's students. His son Arthur Chaplin was also a painter. Early Work: Chaplin made his debut at the Salon with portraits, but he also painted landscapes, particularly the countryside of Auvergne. His early works, from 1848 to 1851, were painted in a manner characterized by an interest in realism, a style established in the French Second Republic, that had the motto Liberté, égalité, fraternité, and was ruled for three years by the republican government of France from the 1848 Revolution until the 1851 coup by Louis-Napoléon Bonaparte. Realism was an artistic movement that began in France in the 1850s, after the 1848 Revolution. From the late 18th century Romanticism dominated French art and literature but was spurned by Realists, who revolted against the display of the emotions of the Romantic movement, seeking to depict real and characteristic contemporary individuals and situations with truth and accuracy. Chaplin painted many works in his early days, including floral studies that were displayed at the Salon de las Flores. Later, in the late 1850s, he abandoned naturalism, his earlier style, exchanging it for a more graceful, elegant and supple technique that brought him a certain notoriety in France during his time as a portrait painter; as such he embraced the idyllic and voluptuous and fashionable style of the prominent French painter, François Boucher (1703–1770). He also embraced the tradition of the great English portraitists and developed his very own style of painting but was inspired by the British painters Joshua Reynolds and Thomas Gainsborough. He used to engrave the works of the Dutch artist Pieter Paul Rubens and gained further influence from his work. Later Work: Gradually the muddy colours used by Chaplin transformed into white, grey and pink, depicting his models with an opalescent, mother-of-pearl complexion by applying a subtle palette of rosy flesh tones and light greys. After painting portraits and trying his skills on ornamental painting, Chaplin took up genre painting in the 1850s. His favourite subjects are the feminine grace of a young woman's everyday life. He portrays women in several poses: resting; grooming; singing; and reading. He captures them with lightness and carelessness and accentuates the decorative elements of the composition. Empress Eugénie, the wife of Napoleon III and an admirer of the "Pompadour style", rapidly fell under the enchantment of the painter's neo-Rococo works. Chaplin was among Napoleon III and Empress Eugénie's favourite court artists. In 1859, when his portrait of Aurora was banned by the judges of the Salon as "too erotically suggestive", Napoléon III defended Chaplin and overturned the disqualification order. He was similarly valued as an interior decorator and was appointed to remodel the decor of Empress Eugénie's rooms. His sensual portraits of women and young girls, often with models posed erotically in hazy surroundings and frequently wearing transparent clothing, attracted the interest of the high society and aristocracy of Paris during the French Third Republic (1870–1940) guaranteeing his success and wealth. He was one of the most popular painters of his time, but nowadays his work is almost unknown, in spite of the fact that his works hang in many major museums around the world. He employed his Rococo style for his mythological scenes and genre scenes paintings. His genre pictures formed a significant part of his work. In 1861, working as a decorative painter. Chaplin painted the doors and several glass panels above them of the Salon des Fleurs in the Tuileries Palace. The Palace was gutted by fire in 1871 and its ruins swiftly demolished.[9] He also undertook decorating work in the Salon de l’Hémicycle of the Palais de l’Elysée. Honours and awards: As a member of the Académie royale de peinture et de sculpture, Chaplin exhibited his paintings at the Paris Salon, the official exhibition venue of members' work. He began exhibiting his paintings at the French Artists' Salon in 1845 and was represented there habitually each year. These exhibitions made him one of France's most famous portrait artists. Commencing in 1847, his work was exhibited regularly at the Royal Academy in London. During his lifetime, he received acclamation for his artistic talents by the award of several medals: a third class medal in 1851; a second class medal the following year; and an Honour Medal...

Johan Jacob Bennetter Oslo, Norway 1822 -1904 Norwegian Painter 'White Cliffs of Dover' Signature: Signed lower right Medium: Oil on canvas Dimensions: Image size 41,50 x 63 cm, f...

A charming late 19th century oil depicting a quiet farmyard scene with free range chickens pecking at fallen scraps from the hay cart. The painting is signed ...

The Mill, Dolgellau wales William Henry Mander 19th century oil painting A fine oil on canvas painting of The Mill, Dolgellau, by the renowned artist William Henry Mander Dolgel...

Pierre Edouard FRERE Paris, 1819 - Ecouen, 1886 Oil on paper on canvas Signed lower left "Ed. Fr" 24.5 x 33 cm (32 x 39 cm with the frame) Beautiful 19th century frame with canes and...

19th century English impressionist scene of the Barbizon forest, near Paris France, with a river, cows, and trees. Boyle was a pioneering 19th-century British artist inspired by E...

"The Kitchen Garden" by Giovanni Boldini stands out for several reasons. Boldini was known for his dynamic and fluid brushwork, which imbued his paintings with a sense of movement an...

This charming British Victorian portrait oil painting is by noted portrait artist Gilbert Baldry. A half length portrait painted in 1892, the sitter is a young boy in a red coat with...

Rome with St Peter is an oil paint on canvas realized by a follower of Gaspar Van Wittel in 19th century. The artwork depicts a view of St. Peter in Rome. ...

Signed lower right, 'Dambourgez' for Edouard-Jean Dambourgez (French, 1844-1931) and painted circa 1880. Edouard-Jean Dambourgez first studied under Jules Lefebvre and, later, as an engraver and chromo-lithographer with Gustave Boulanger. Dambourgez commenced exhibiting in 1880 at the Salon des Artistes Français, and, in 1883, was elected a member of the Society. He exhibited frequently and with success at the other major Paris salons including the Salon d'Automne, the Salon des Independants and the Salon des Champs-de-Mars. In 1884, he was commissioned by the Louvre to engrave the illustrations for the catalog to the Thiers Collection, recently bequeathed to the Museum. The recipient of numerous prizes, medals and juried awards, Dambourgez received an honorable distinction in 1888 and an honorable mention in 1891. In 1888, the critic Albert Wolff spotted his canvas 'A Cheese Shop' and recommended its inclusion at the Salon des Artistes Français. In 1891, the city of Paris bought his large canvas, 'The Cream and Cheese Market...

Signed and dated 92 lower left. Oil on canvas. Frank Bramley British, 1857-1915 Frank Bramley is considered one of the most important artists of the Newlyn School, the group of artists who settled in Newlyn, Cornwall during the 1880s and 1890s, drawn by the light, lifestyle and the example of Alexander Stanhope Forbes, and were at the forefront of 'British Impressionism'. He was particularly ‘in the news’ when his painting of a woman reading in a garden made the astonishing price of $590,000 at Sotheby's New York in late May 1996. As the seminal catalogue of the famous Newlyn School exhibition states, Bramley's reputation has rested for some time on Hopeless Dawn, his major RA exhibition of 1888, and which in recent years has been hung almost constantly at the Tate Gallery. Bramley was born in Lincolnshire and trained at Lincoln Art School, later at Verlat's Academy in Antwerp, from where he went to Venice in 1882-83, where our painting was executed. He first showed at the Royal Academy in London in 1884 (both paintings were Venetian scenes), and it was in the winter of 1884/5 that Bramley settled in Newlyn. He was a quiet and reserved figure, prone to bouts of melancholy. He worked on his own in a tiny studio in an old thatched cottage - the cottage consisted of two rooms, one at ground level (which was the studio) and one which was below ground which was inhabited by a woman who'd lost her arms and who managed to look after a set of tiny children as well as a small potato and turnip shop. Bramley moved to a purpose-built glass studio in 1889. He is known as the master of the so-called 'square-brush technique' which characterizes much of the best Newlyn School work and he used this until 1893, later than most of his colleagues. Bramley was friendly with the great artist Sargent and with him was elected an associate of the Royal Academy in 1894, being elected a full member in 1911. In 1891 he had married, and 4 years later they moved to the Midlands where his work became less socially orientated and more purely decorative. His last years were spent in a London flat...

Rare 19th Century gouache paintings on pith paper, one of two birds on a tree and one of a blue bird on a branch with flowers and trees both executed in a distinctive traditional del...

This artwork titled "Boats Repairs, Monterey Dock" 1933 is an oil painting on canvas by noted California artist Veda Fero Carnahan Dayton, 1891-1983. It is signed at the lower left...

Adolph Schreyer (1828 - 1899) Arab Scouts, n.d. Oil on canvas 33 3/4 x 56 inches Signed lower right Housed in an exceptional period American handcarved frame Provenance: Sheridan Art Gallery, Chicago Private Collection, Chicago Traffic Club of Chicago Schreyer expert Dr. Christoph Andreas has kindly confirmed the authenticity of this work. With the increase in travel by steamship and the political involvement of European powers in North Africa and the Middle East in the nineteenth century, paintings depicting the scenery, daily life, and customs of North African and Middle Eastern people became an object of fascination among European and American audiences. The German artist Christian Adolf Schreyer...

"Guardian Angel" late 19th c. Original hand-painted KPM Porcelain In Jewel Encrusted Frame approx. 6 3/8 x 5 inches

Hayle, Cornwall, 19th Century by EDMUND FULLER (1858-1944) sales to $10,000 Large 19th Century view of Halle, Cornwall, oil on canvas by Edmund Fuller. Excellent quality panoramic ...

Work on canvas

George Turner British, (1843-1910) A Derbyshire Brook Oil on canvas, signed, further signed, titled & dated 1899 verso Image size: 19.5 inches x 29.5 inches Size including frame: ...

This portrait depicts an elderly gentleman with white hair and a beard, gazing thoughtfully to the side against a rich, dark background. The ornate gold frame surrounding the paintin...