Late 19th Century Paintings

Portrait of a Young Lady wearing pink and a Turban headpiece by Henri-Charles Daudin (1864-1917, French) signed oil on wood panel, unframed board: 14 x 10.5 inches provenance: privat...

This charming rural scene depicts a bustling farmyard with chickens and a cockerel pecking the ground and farmer's hay for a grain of corn or tasty insect. Feathers, straw, and cobbl...

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. Wardle'. Title: Antique Family Portrait...

Art: 30" x 24" Frame: 36.50" x 30.50" Oil on canvas signed and dated lower right.

Wonderful English Victorian River Landscape during the Summer with horses, fields , trees etc Thomas O Hume was an English landscape painter who exhibit...

Cette huile sur toile est caractéristique de la production singulière de Gaston La Touche à partir de 1890 et reflète son univers plastique, marqué par certains motifs récurrents, te...

Signed oil on canvas landscape circa 1890 by French post impressionist painter Albert Charles Lebourg. The work depicts a view of a road to Hondouville, a commune in nothern France, ...

H.Jackson. 19th-century English landscape with sheep resting in a field. 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...

Henri A. Hebert was born in Geneva in the 19th century. Genre painter and son of Jules Hebert both belonging to the Swiss school. The Geneva museum prese...

Сollaboration work by two Norwegian artists: Morten Müller (1828 - 1911) and Olaf Christopher Dahl (1842 - 1895). Painted approximately in late 19th century (ca. 1870 - 1880). The collaboration of two renowned Norwegian artists in this landscape is an example of the fusion of their talent and skill. A very interesting compositional solution, where among the hills buried in vegetation, a lowland with a small pond is depicted, where a young shepherd has brought his cow to the watering hole. In the distance, on the hill, a windmill is visible, creating an emphasis on the perspective and depth of the composition. The nuanced interplay of light and shadow adds of complexity to the scene. The calmness of the pastoral setting below contrasts markedly with presence of gloomy clouds looming above. This juxtaposition creates a harmonious balance, presenting a duality inherent in nature. And this rare and awesome work of art should be considered for museum collection as well. Both painters presented in National Museum Oslo, Norway. Size app.: 46 x 69 cm (roughly 18.1 x 27.2 in), with frame 60 x 84 cm cm (roughly 23.6 x 33.1 in). Good condition with wear, tiny losses to paint in minor areas and craquelure. So it needs minor care and conservation. Please study good resolution images for overall cosmetic condition. In person actual painting may appear darker or brighter than in our pictures, strictly depending on sufficient light in your environment. Weight of app. 4.4 kg is going to measure some 6 kg volume weight packed for shipment. Morten Müller began his art studies with Adolph Tidemand and Hans Gude in Düsseldorf, Germany, from 1847 to 1848. From 1850 he was again a student at the Kunstakademie Düsseldorf, with Johann Wilhelm Schirmer as a teacher. From 1850 to 1851, Müller painted with the Swedish landscape painter Marcus...

This young shepherd clearly didn't want to pose for the artist, but something caught his attention, and in this expression and look, the artist masterfully depicted the whole range o...

Set of Five late 19th century Italian or French portraits of Putti or Angels A unique set of five oils on board depicting either Cherubs or Putti, ...

Theodore LEVIGNE Oil on Canvas Picture Size: 20 x 24" (51 x 61cm) Outside Frame Size: 27 x 31" (67 x 77cm) Born in 1848 and died in 1912 in Lyon, France Painter of figures, portrait...

The Fishing Port of Les Treport Pierre Jacques Pelletier French 1869 - 1931 15 x 22" 21 x 28" Signed and dated 1888 bottom right Provenance: The William McInnes collection and thence by decent The Late Margaret Chase, niece of William McInnes Oil on Canvas Born 12th November 1869 at Clermont- Ferrand and died on the 4th October 1931 in Paris. He was a painter of landscapes and pastels. He studied under Charles Beauverie in Paris. In 1902 he became a member of the highly prestigious ‘Salon des Artistes Francais’ where he received an honourable mention in 1907. He also exhibited at the ‘Salon des Independants’. This painting was formerly part of the William McInnes collection (d. 1944). McInnes, a Glasgow ship owner and close friend of the Scottish Colourist painter George Leslie Hunter...

Signed post impressionist animals in landscape oil on board by French painter Henri Le Sidaner. This stunning piece depicts cattle in a field. The sun is starting to set casting blue...

Winter Scene English School, 19th century oil on board, framed framed: 13.5 x 19 inches board: 6 x 12 inches provenance: private collection, England condition: good and sound conditi...

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...

This artwork captures all the beauty of the German valley in the lower Alps, showcasing a breathtaking scenery that includes ruins atop high hills, hazed mountains in the distance, s...

Original oil on canvas painting of the Union Army Calvery in the field by the well known American artist Rofus Fairchild Zogbaum. Signed lower left and dated 1885. Condition is good. Craquelure throughout. Paint is stable. Tiny old repair in middle lower sky (see last photo). The painting is housed in its original gilt wood frame. Overall framed measurements are 20.5 by 30.5 inches. Provenance: A Brooklyn, New York estate. Best known for his masterful and meticulous scenes of military engagements and nineteenth-century life in the American West, Rufus Zogbaum’s circle of acquaintances was wide and diverse. He mingled with naval commodores as well as emerging luminaries in American art, such as Norman Rockwell, his fellow illustrator and neighbor in the art colony of New Rochelle, New York. When the British writer Rudyard Kipling presented a copy of his first collection of short stories, Plain Tales from the Hills (1888), to Robley D. Evans, then captain of the USS Indiana, in 1896, the gift included a tipped-in original gouache painting by Zogbaum, whom Kipling cited in a brief poem on the leaf opposite the book’s title page. Kipling’s inscription and the four-quatrain poem begins: “Zogbaum draws with a pencil, / And I do things with a pen.” Born in Charleston, South Carolina, Rufus Fairchild Zogbaum was the son of Ferdinand Zogbaum and Mary Fairchild. The future artist’s father and his paternal uncle, Rufus Fairchild, were partners in a thriving musical instrument manufacturing and import business, first established in 1845 and then relocated to New York in 1853. Although he initially apprenticed in the family office, Rufus enrolled at the Art Students League, where he studied between 1878 and 1879. After pursuing further instruction at Germany’s University of Heidelberg in 1880, he moved on to Paris. During his two-year stay in the French capital, 1880–1882, he was a pupil of Léon Bonnat, a classical realist whose carefully constructed, emotive paintings of peasant life and religious passion reflected academic precepts of the day. The French master’s influence can be seen in Zogbaum’s oeuvre of highly-detailed, heroic paintings. Upon his return to America, Zogbaum found regular work as an illustrator; between 1883 and 1899, he frequently contributed drawings to popular periodicals like the Saturday Evening Post, North American Review, and Harper’s Monthly, where he eventually earned a staff position. In 1884, he began a run of travels to the western territories, notably Montana. The fruits of these visits were seen in the drawings that accompanied magazine articles informed by the ideals of Manifest Destiny, as well as in finished oil paintings of cowboys...

The 1903 painting by Henri Louis Ottmann (1877-1927) which is in the Musée d'Orsay depicts vast train station with all its dynamism. Our painting, created three years earlier, shows ...

Gaston La Touche 1854 - 1913 French L’embarquement The Embarkment Signed "Gaston La Touche" (lower right) Oil on panel A fashionable group of merrymakers boards a rowboat at sundown in this oil on panel by renowned French painter Gaston La Touche. Softly lit and lushly detailed, the work represents the artist’s talent for capturing the gaiety of the Belle Époque. With its luminous coloring and feathery brushwork, this oil evokes the style and joie de vivre of the era rendered in La Touche’s distinctive, mature style. Fresh and airy, the work is a beautiful example of the artist’s skill at capturing the subtle qualities of light and color. Set against the plein air backdrop of a wooded pond awash in the soft glow of the golden hour, the scene reflects the influence of the Impressionists. The subject also recalls works by Manet, Monet and Renoir, who delighted in depictions of modern leisure among the expanding middle class. The scene is an informal one, and its unconventional cropping suggests that the viewer is invited to take a seat in the boat and join the group on their outing. Such relaxed, inviting scenes were remarkably popular among contemporary, modern audiences. However, La Touche's style is singular, possessing an element of fantasy and romance that set him apart from the Impressionists. Gaston La Touche was born in St. Cloud, outside of Paris, in 1854, and he showed a keen interest in art from a young age. At ten years old, he began taking private art instruction, which lasted until 1870, when his family was forced to flee to Normandy amid the Franco-Prussian War. This was the only formal art training La Touche would ever receive. Despite his lack of Academy training, he made his debut at the Paris Salon of 1875 with a sculptural medallion and etchings, and he exhibited his first painting at the Salon of 1881. Although he began his career painting dark-toned realist compositions, by 1890, his style had shifted to what would become his signature — a lighter, brighter, idealistic society world. The artist was associated with practically all of the most influential artists and thinkers of late 19th century France, including Édouard Manet, Edgar Degas, Émile Zola, who frequently met at the legendary Cafe de la Nouvelle Athenes to share their thoughts on modern society. In 1900, he was named a Chevalier of the Legion d'Honneur and an Officer in 1909. Additionally, he was well-decorated at the grand...

James MacMaster Irvine Harbour Signed lower right Watercolor on paper 10 1/4 x 14 inches Provenance: Private Collection, New Jersey

Signed, lower right: Fantin Provenance: Gustave Tempelaere (1840–1904), Paris; possibly by descent to his son: Julien Tempelaere (1876–1961) and with F. & J. Tempelaere, Paris, prob...

Mother & Daughter French artist, late 19th century signed oil on board, framed framed: 22.5 x 18.5 inches board: 20 x 15 inches provenance: private collection, France condition: very...

Landscape is an original oil painting on canvas, realized by the British artist George William Mote (1832-1909). Hand-signed and dated in red oil color on lower right corner "G.W. M...

Up for sale is an original Large antique oil painting on canvas depicting a genre scene - winter canal scene - figures on the shore. Signed in the lower-right corner by artist G. Bi...

This charming British Victorian portrait oil painting is by noted artist Charles Sillem Lidderdale. Painted in 1872 it is a half length portrait of a beautiful young woman leaning he...

Edwin Howland Blashfield was born in New York and as he grew up, he prepared for a life as an engineer: studying at Harvard, Boston, and MIT. He later grew into a love of art and beg...

A charming oil painting after Stanhope Alexander Forbes (1857-1947) depicting two fishermen leaving the dock with the Newlyn Lighthouse in the distance. Signed and dated by Birmingha...

Artist: Wilfrid Constant Beauquesne, French (1840 - 1913) Title: Men Fraternizing with the Ladies Year: c. 1890 Medium: Oil on Canvas, signed l.l. Size: 21.5 x 26 in. (54.61 x 66.04 ...

Marguerite AROSA (1850-1903), French "Baigneuse" (Bather) Oil on canvas Signed lower left Canvas: 66 1/5" high x 50" wide Frame: 74 1/5" high x 57 1/2" wide This painting was e...

Oil on its original canvas, arched in the upper part Trace of signature at the bottom center Provenance: - France, Private collection

Beautiful signed and dated figure in landscape oil on canvas by sought after French post impressionist painter Henri Martin. The piece depicts a view of a lone farmer standing in a v...

Harrison Bird Brown (1831 - 1915) Grand Manan Oil on canvas 12 x 20 inches Signed with initials lower left Harrison Bird Brown was born in 1831 in Portland, Maine, and is best known for his White Mountain landscapes and marine paintings of Maine's Casco Bay...

Léon Herbo (1850-1907), "Portrait of a Girl," oil painting on canvas signed and dated 1884 lower left. In its original gilt frame. With extreme elegance and refinement, Léon Herbo p...

Octave GALLIAN (1855-1918) "Portrait of Elegant" , oil painting on canvas signed and dated 1895 lower right. Magnificent portrait depicting a young woman with deep dark eyes and rave...

Studying the Maps Italian School, late 19th century signed lower corner watercolour on board, framed framed: 24.5 x 17.5 inches painting: 20.5 x 14 inches provenance: private collect...

The Highland Loch by Sidney Yates Johnson, dated 1899 signed oil on canvas, unframed Canvas : 12 x 24 inches Provenance: private collection, UK Condition: very good condition Descri...

'Looking out to Sea' The Cornish Fisherman Signed by David W. Haddon (British, flourished end of the 19th century) Oil on canvas, unframed Canvas: 10...

A wonderful turn of century landscape of a stream in wooded glen by American artist Joline Butler Smith (American, 1849-1946). Signed lower right corner. Condition: Very good: One te...

Otto Norquist (1859-1906) "Gordon Setter in a Landscape, 1890" Oil on canvas 22 x 27 inches Signed and dated 1890, lower right Otto Norquist was born in...

Signed “Henning Ö” lower right for unidentified professional Scandinavian painter, oil painting of the second half of the 19th century on canvas pasted on (or supported by) wooden bo...

Set of four Orientalist landscape paintings by van Wijk Dutch, 1879 Canvas: Height 35cm, width 65cm Largest frame: Height 41cm, width 71cm, depth 4cm Smallest frame: Height 39.5cm, width 69.5cm, depth 4cm This set of four Orientalist landscape scenes is by the Dutch artist Henri van Wijk (1833-c.1889). Van Wijk is known for his landscape paintings, and often worked in the Orientalist genre - these paintings in the Mayfair Gallery collection are a fine example of his work in this style. Each scene is filled with a small, naturalistic group of figures and animals. The figures, who either shepherd their flocks or ride on horses...

Continental painter (19th century) - Sailing boat on the lake. 46 x 77 cm. Antique oil painting on canvas, without frame. Condition report: Lined canvas. Good condition of the pic...

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...

Signed lower left in arrowhead: RA Blakelock.

Josef THOMA (Vienna, 1828 - Vienna, 1899) On the shores of a lake in the Austrian Alps Oil on canvas Signed and dated lower right 53 x 80 cm 1877 Josef ...

The Sand Barge by Jozef Israëls Oil on wood panel. 18 x 40 cm (7 1/16 x 15 3/4 in). Signed Artist biography Dutch-Jewish artist Jozef Israëls was born ...

David Bates 19th century English River landscape, with fisherman by the river side. David Bates was born in Cambridgeshire. He spent most of his early life in Worcestershire, where he became apprenticed at the Royal Worcester Porcelain Works. A painter in both oils and watercolours, Bates visited North Africa, before returning to paint landscapes mostly of Wales and Scotland. He shows the influence of Benjamin Williams Leader (1831-1923), Joseph Thors and S.H. Baker. David Bates also made small oil sketches of hedges and plants, which were usually inscribed on the reverse. The artist’s works display considerable technical virtuosity, ranging from the serene landscape, to the uneven swagger of his later works, which were noticeably less colourful. Although Bates was more than capable of producing refined landscapes, he was equably as capable of painting detailed...

Antique American impressionist seascape oil painting by J. Redding Kelly (1870 - 1939). Oil on board. Signed. Framed. Measuring 18 by 21 inches overall and 12 by 16 painting alone.

Vincenzo De Stefani (Verona, 1859 – Venice, 1937) - Portrait of a woman. 61.5 x 37.5 cm without frame, 67 x 43 cm with frame. Ancient oil painting on wood, in wooden frame. - Prov...

William Edward Norton (1843 - 1916) Ship Portrait, 1876 Oil on canvas 10 x 16 inches Signed and dated lower left Born in Boston, William Norton became a noted marine painter, stirred by his youth when he sailed on family-owned ships. He studied at the Lowell Institute in Boston, and with George Inness, and then established a studio in Boston. In the early 1870s, he went to Paris and became a student with Chevreuse and A. Vollon, and then he settled in London where he exhibited throughout the last quarter of the 19th century. His reputation there was based on his scenes of the Thames River, and ocean and coastal views. In 1901, he and his wife returned to the United States and settled in New York City. He also painted at Monhegan Island, Maine, where a treacherous ledge on the southern side of the island is named "Norton's Ledge" for him. He was a member of the Boston Art Club with whom he exhibited from 1873 to 1909. He also exhibited with the Pennsylvania Academy, the Royal Academy in London, the Paris Salon, the 1893 Chicago Exposition...

Very fine, large scale original Victorian oil painting on canvas, depicting a traditional shooting party, "The Return of the Guns". The painting is ...

This painting is in excellent condition having been behind glass until recently. The colours are preserved and the canvas is blemish free. Artwork Size: 30 x 36" (76 x 91cm) Artwor...

Well painted and very decorative oil on panel Painted on a mahogany panel and monogrammed L.B Well framed in a new English handmade gold leaf frame. The...

Henry Hucks Gibbs, British 1819-1907 View of Dunwich, near Southwold (Suffolk) oil painting on canvas, unframed painting: 10 x 13.5 inches provenance: private collection, England con...

A Branch with Apples, watercolor and gouache on paper by Swedish artist Otto Strandman (1871–1960). The composition features a delicately rendered branch with green and reddish apple...

William Hart (1823 - 1894) Pastoral Landscape, 1877 Oil on canvas 9 1/2 x 14 1/2 inches Signed and dated lower left Born in Paisley, Scotland, William Ha...