Late 19th Century Paintings

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...

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...

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 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...

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...

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...

A wonderful three quarter portrait of a boy in a straw hat peeling a piece of fruit, probably an orange, by Italian artist Eugene Von Blaas (1843-1942). Von Blaas was born to Austria...

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

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 ...

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...

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...

An interesting homage to the issue of rank amongst the crews and officers of all vessels, a captain is carried to his ready command by one of his subordinates through the ocean surf ...

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...

Signed lower right: F.A. SILVA.

Large German Orientalist oil painting of horse riders by Schreyer German, Late 19th Century Canvas: Height 59cm, width 96cm Frame: Height 85cm, width 122cm, depth 8cm This outstandi...

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...

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...

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.

Literary Origins of Angelica The subject of this painting is Angelica, a princess from the epic chivalric romances of the Italian Renaissance. She first appears in Matteo Maria Boiardo’s Orlando Innamorato (1483) and reappears famously in Ludovico Ariosto’s Orlando Furioso (1532). In these poems – part of the Matter of France cycle of Charlemagne and his paladins – Angelica’s extraordinary beauty ensnares many knights, including Orlando (Roland) and his cousin Rinaldo, sparking rivalries and adventures. Ariosto’s narrative particularly highlights Angelica’s tumultuous journey: at one point she is stripped and chained to a rock as a sacrifice to a sea monster (a scene mirroring the myth of Andromeda) before being dramatically rescued by the valiant knight Ruggiero on his winged horse. Ultimately, however, Angelica chooses her own destiny. She falls in love with a humble Saracen soldier, Medoro, whom she nurses back to health, and she returns with him to her far-off Asian kingdom – an affair that drives the heartbroken Orlando to madness. This independent resolution (marrying outside the circle of Christian knights) made Angelica an emblem of feminine agency and romantic idealism in Renaissance literature. Her story remained popular in art and literature through the centuries, symbolizing the allure and elusiveness of love. Kronberg’s Portrayal and Composition In Julius Kronberg...

The Madonna, Christ Child & St. John the Baptist Italian School, after an earlier Renaissance masterpiece pastel on board, framed framed: 28 x 25 inches board: 24 x 21 inches provena...

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...

Wilhelm Ritter (1860-1948) German, oil on canvas. At the village well in a Rhineland village, a horse and carriage beyond. Signed to the lower left. Pre...

Signed and dated lower left: "SW Griggs 73". In fine condition.

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...

Albert MANTELET (1858-1958) A charming portrait of a young woman resplendent in her finest Sunday bonnet. Albert Goguet Mantelet was considered to be one of the most accomplished pupils of Ernest Hébert and Heinrich Lehmann. He painted fashionably attired women from French society. His style achieved critical acclaim and he quickly became an established artist. Throughout his long career he specialised in genre painting. His work can be found in the collections of Musees de Chateau Thierry...

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...

Alfred Schönian (1856-1936) Germany Rooster With Hens and Ducks by a Pond oil on panel signed A.Schönian München panel dimensions 6.29 x 9.44 inc...

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

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...

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...

A fine impressionist oil painting of the artist’s studio interior by American artist Charles Herbert Woodbury (1864-1940). Woodbury was born in Lynn, MA, and sold his first painting when he was fifteen years old and became the youngest member elected into the Boston Art...

Charles M.C Kinley (late 19th/ early twentieth century) signed oil painting on canvas, framed framed: 23 x 33 inches canvas: 20 x 30 inches provenance: private collection, England c...

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...

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...

English Still Life Floral Display with Daffodils by Henry George Moon (British 1857-1905) on linen canvas, unstretched, unframed, unsigned measurements: canvas 10 x 12 inches prove...

"Venetian Scene with Gondoliers" is an evocative portrayal of Venice, capturing the essence of the city’s romantic allure and bustling waterways. Created during Allan Österlind’s stu...

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 ...

Portrait of a Pekingese Dog English artist, late 19th century Watercolour drawing on paper stuck on card card: 10 x 8 inches paper: 5.5 x 4 inches Provenance: Private collection, UK ...

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...

Athenian Woman Carrying a Water Jar In a White Dress Beautiful painting by a Central California artist circa 1890s (American 19th c). Oil painting of a Athenian woman holding a blue water vase on her shoulder with a red and orange shawl draped over her white dress. Painted on late 19th century Academy...

Antique American still life oil painting of hanging fruit and grapes. Oil on board. Framed

CAUCHOIS Eugène Henri (1850-1911) Roses and Peaches Arrangement Oil on canvas signed low right Framed by GAULT (Paris- Fbg St Honoré) - gold patina Size canvas : 73 X 92 cm Size fram...

19th century American artist painting in Italy. Venice cityscape oil painting by Warren W. Sheppard (1858 - 1937). Framed. Oil on canvas. Signed....

A late 19th Century impressionist oil painting of the creek near Glen Annie Meadows, Santa Barbara by a student of and in the style of Henry Chapman Ford...

Edouard Michel Lançon (1854-c.1930), Nice still-life painting with flowers

Hendrik-Dirk Kruseman van Elten Original Painting 19th C. Oil on wood panel. Dimensions 17.5" wide x 9.5" high. The frame measures 23.25" wide x 16" high. Signed lower left. Good ...

HERRMANN LEON Charles (1838-1908) Portrait of a Dog in interior Oil on canvas signed low left Old frame re-gilded with gold leaves Dim canvas : 56 X 46 cm Dim frame : 69 X 59 cm HERRMANN LEON Charles (1838-1908) French painter 19th century Born 22 july 1838 in Le Havre. Died 1...

If you have interest in Eastern North Carolina Tidewater history and architecture, this painting may be a fine addition to your home or collection. It is an oil on board of the Sanderlin House in Belcross, Camden County. There is quite a bit of history written on a card on the back board that describes the family members of the house in the late 19th century. Camden is the courthouse town for Camden County. It is a small town located on the east side of the Pasquotank River, a few miles from Elizabeth City. Belcross is an area just outside of town. Apparently two near-identical houses were built ca 1840’s by the Sanderlin brothers, William and Joseph. One was left to ruin and disappeared, the other seems to possibly remain. In any event, per the information included, this is a view of the house by artist Miss Ella Bidgood, ca 1895. An Ella Bidgood, born in Baltimore in 1855, has been identified and she was a resident of Norfolk, Virginia with her family in the 1900 census. She is likely the artist of this painting. It is painted in a somewhat naive style but competently shows details of the house in nice, vivid colors. The painting is not signed but the information on the back side seems completely reliable. The painting itself is oil on board and measures 12” x 18”. It has been recently cleaned and varnished. It is in very good condition with no issues to report. It is housed in a substantial gold painted frame of the period with interesting detailing. Overall framed measurements are 19” x 24”. The frame is in good solid condition with no issues to report, other than expected very minor age-related wear. Note that the photos show some glare from the varnish in places that really doesn’t show in general light. Southern paintings...

"Straw Barge" on the Thames (after) Edward Duncan Oil on Linen 1898 Well executed study of E. Duncan's Straw Barge circa 1881, painted by Richard Hayley Lever...

Original oil painting by the Italian artist Enrico Altrui. Rural folk felling trees in a landscape. Presented in a beautiful gilt-effect frame. Boldly signed to the reverse. On canva...

Antique American impressionist beach dune oil painting by Franklin B. De Haven (1856 - 1934). Oil on canvas, circa 1889. Signed. Displayed in a period gil...

Signed (at lower right): John Ross Key 1882

A visually appealing study of a farmer's cottage with figures conversing outside. Well presented in a gilt-effect frame. Unsigned. Handwritten label to the reverse with the location....

Crossing the Bridge Scottish School, late 19th century signed lower corner oil painting on canvas, framed framed: 9 x 13 inches canvas: 7 x 11 inches provenance: private collection, ...

This impressive painting by Edward Moran does justice to the epic America’s Cup Challenge of 1885. Moran’s point of view captures the day’s enormity to the world’s yacht racers and designers. This account portrays PURITAN’s second and decisive victory of the match on the 40-mile course, 20 miles leeward from the Sandy Hook Lightship and back. PURITAN reached the line a scant 1 minute 38 seconds in front, the closest margin of victory to date. Well publicized and awaited on both sides of the Atlantic, the race held the public’s interest while knowledgeable yachtsmen waited to see if Boston’s Edward Burgess had innovated the centerboard sloop design to a degree capable of holding off the challenge of a true English cutter. GENESTA was designed by John Beavor-Webb, for her owner, Sir Richard Sutton...

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...

John White was a Cornish painter from the 19th century. He exhibited at the Royal Academy in London and also at the British Institute, in London. His work is Victorian in its com...

Late 19th Century antique Orientalist oil painting of a young woman Frame: height 146cm, width 86cm, depth 7cm Canvas: height 132cm, w...