Late 19th Century Paintings

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

LEBAS Léonie (19th-20th) "Lady in Paris Street 1900" Oil on wood panel signed low right Old Frame regilded with gold leaves Dim panel : 16 X 22 cm Dim frame : 50 X 41 cm LEBAS Léoni...

Image Dimensions: 34.5 x 48 cm Ref: Published in the catalogue "Vincenzo De' Stefani", Rizzoli Editore, Milan, 1939, tav.III.

Artist/ School: French School, late 19th century Title: Portrait of a lady from the Belle Epoque period Medium: oil painting on canvas, framed in origin...

VINCENT G. STIEPEVICH Russian, 1841-1910 Lounging Odalisque in the Harem Signed ‘VG. Stiepevich’ L/R Oil on canvas 18 x 24 inches Frame: 26 x 33 inches

Oil on glass. Rare portrait of Anita Garibaldi, wife of Giuseppe Garibaldi. Realized in the late 19th century, it represents the beloved wife of the italian hero Giuseppe Garibaldi....

Lauritz Holst Exhibited 1878 - 1926 Picture Size: 16.5 x 29" (41.25 x 72.5cm) Outside Frame Size: 22.5 x 35" (56.25 x 87.5cm) He was born in Bogense, Denmark in 1848 Holst was a m...

Antique American or European realist skeleton still life drawing. In excellent original condition. Handsomely framed in a silver leaf molding. Excellent condition, ready to hang ...

Alphonse PELLET (1853-1926) The Little Ballerina Oil on wood panel signed low right Old frame regilded with leaves Size panel : 30 X 43 cm - Size frame : 40 X 55 cm Alphonse PELLET...

Hermanus Koekkoek Jr. (Dutch, 1836-1909). View of Dutch A Harbor in Winter. Oil on canvas. Measures: 24 x 36 inches (61.0 x 91.4 cm). Signed lower left: J van Couver. A powerful ye...

This grand scene depicts the interior of Knole House, a country house and former archbishops palace. Situated within the 1,000 acre Knole Park the house ranks in the top five of England's largest houses occupying a total of four acres. The majority of the canvas is given to a well furnished drawing room resplendent with various paintings, tapestries and furniture. To this day Knole House has one of the finest collections of 17th century English upholstered furniture in the world. Much of it was made for the royal palaces of the ruling Stuart dynasty and is of the highest quality. It is likely that the chair and footstools seen her originally came to Knole house as part of the vast collection put together by Charles, 6th Earl of Dorset. This work has incredible intricate detail in all aspects of the space including the depiction of flowers in vases, a bird in a cage and adorned trinkets. On the armchair sits an English guittar, popular in Victorian Britain. The instrument is recognisable for its pear-shaped body, flat base and rather short neck. A dog stands before an opened door leading further into the house. In the distance we are given just a glimpse of a lady and gentleman conversing at the window. From here a lovely flow of daylight floods into the rest of the scene making the whole work bright and airy. In the foreground on the windowsill is a music book with pages open and an untouched peach. This perhaps signifies the sudden rush of the young woman away from her resting place to meet the unexpected suitor outside. The Artist John Watkins Chapman...

'The Bird Cage', Louis XV, Fêtes Galantes, Mme. de Pompadour, Rococo, Allegory ---------- 'Les Amours du Bocage' (The Bird Cage). Painted after the original work (1735) by Nicolas La...

Charles John de Lacy (1856 – 13 December 1929) was one of the foremost British marine artists of his period. He was especially known for his warship imagery an...

This captivating English Victorian 19th-century landscape by Henry Manders masterfully captures the timeless beauty and industrious spirit of rural life during the harvest season. Ma...

This superb British Impressionist 19th century oil painting is by noted artist William Christian Symons. Painted circa 1880 it is a figurative interior composition of a musical event...

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Japan, Moore spent time in Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this sparkling portrayal of a young woman dressed in a traditional kimono and carrying a baby on her back, a paper parasol...

The Outing Magazine commissioned Parrish to provide a cover illustration for their 1899 Last Rose of Summer edition (published December 1899). In the poster, Maxfield used his own face and figure to portray a youth in Grecian costume examining a rose he holds in his hand. The figure is shown sitting below one of the massive oaks on the artist’s property, flanked by two plaster lions the artist had moulded in his studio. The depiction harks back to the 1805 poem by the Irish poet, Thomas Moore: ‘Tis the last rose of summer, Left blooming alone; All her lovely companions Are faded and gone; No flower of her kindred, No rose-bud is nigh, To reflect back her blushes Or give sigh for sigh! I’ll not leave thee, thou lone one...

French impressionist artist, marina with ship. The painting is an oil on panel of 28x38 cm, by an important French impressionist artist. The ma...

A fine example of a late Victorian water gilded frame. Presented in its original velvet-lined mahogany box. The frame currently contains a historic black and white photograph of a ge...

In German, there is a word called "Sommefrische" , meaning summer freshness, which describes this painting perfectly. Looking at this Swiss mountain and lake is like a perfect, restf...

An artist who knew the vessels he painted firsthand, Baltimore artist Otto Muhlenfeld has captured the Great Lakes Steam Tug CALUMET in a colorful, working profile. Her American Ensi...

Signed and inscribed lower right: Charles Sprague Pearce / Paris.

Irving Ramsay Wiles paints a view up a sidewalk with green trees and houses in the distance in his artwork entitled, “The Village Street.”

This beautiful oil sketch, painted en plein air, was created by Swedish artist Olof Arborelius during his stay in Italy from the fall of 1870 until January 1872. The painting features a charming depiction of ancient Roman ruins—either a city wall or an aqueduct—surrounded by lush trees under the clear Italian sky. With loose brushstrokes and a soft, atmospheric touch, the artist captures the natural light and Mediterranean ambiance, demonstrating his profound understanding of plein air painting. Arborelius was heavily influenced by French artistic trends of the time, particularly in his color sensitivity and study of light and air. His time in Italy was critical for his artistic development, marking the height of his mastery in capturing the delicate interplay of light, color, and atmosphere. Several of Arborelius’ Italian oil studies, including similar small-format plein air works, were later exhibited at various prestigious exhibitions. These include the Svenska konstnärernas förening memorial exhibition in 1910, the Svensk-Franska Konstgalleriet in Stockholm in 1931, and a memorial exhibition at the Nationalmuseum in 1943. Viggo Loos praised Arborelius' Italian studies for their "sensitivity to color" and "intense exploration of light and atmosphere," highlighting these works as a high point in the artist's career. Loos emphasized how Arborelius skillfully captured the essence of the Mediterranean landscape, using vibrant tones and delicate brushwork to convey the interplay of light and air. Moreover, Folke Holmér, the curator of Arborelius’ 1943 memorial exhibition, described his Italian sketches as some of the most painterly pieces of his early production, worthy of comparison with the best works Swedish artists had produced in Italy. Among his notable works in major collections are three of his Italian oil studies held at the Nationalmuseum: View from Rome Towards the Arch of Septimius Severus...

A charming late 19th century oil study after After Willem Koekkoek (1839-1895) depicting figures boating and fishing on a canal. Unsigned. Presented in a decorative gilt frame, with ...

Very well executed portrait of Jacob Dolson Cox. See the sitter’s biography below. Signed top right and dated 1881. Relined canvas, very good condition. The portrait is housed in a contemporary replica of a period frame. Overall framed measurements are 33.25 by 28.25 inches. Provenance: A East Hampton, Long Island collector. Biography George Peter Alexander Healy was born in Boston on July 15, 1813, the first of five children of William Healy, an Irish immigrant and captain of a merchant vessel, and his wife Mary Hicks. Healy showed an early artistic interest: by 1830 the self-taught painter had opened a portrait studio from which he hoped to help to support his family. Although commissions were at first sparse, young Healy received important encouragement from Thomas Sully (1783-1872)) who advised him to make painting his profession. His fortunes also improved in 1831 when Mrs. Harrison Gray Otis, a leader in Boston society, granted him permission to paint her portrait and recommended his talents to other potential patrons. In 1834 Healy went to France where he studied with Baron Antoine-Jean Gros (1771-1835). A year later he traveled through Italy, visiting museums and churches in the company of Lady and Sir Arthur Faulkner who soon provided his introduction to London society. It was in England that Healy met and, in 1839, married Louisa Phipps. The couple settled in Paris where Healy embarked upon the beginning of a long and happy marriage and thriving career. His diplomatic and affable demeanor, together with his obvious skill, brought him tremendous success throughout Europe and the United States. Prolific, as well as talented, he had by 1867 produced more than six hundred portraits. The constant stream of commissions included dignified, imposing portraits of such celebrated figures as Pope Pius IX and Queen Elizabeth of Romania, the latter of whom developed a warm friendship with Healy and his family. Although Healy, sometimes accompanied by his wife, traveled to the United States several times during the 1840s and early 1850s, it was not until 1856 that the entire family settled in America. They took up residence in the booming city of Chicago, which Healy used as a base for his work in Boston, Philadelphia, New Orleans, and other cities. During the Civil War years he often traveled to Washington to paint military figures and members of the President's cabinet. The family returned to Europe in 1867, but George Healy...

The Old Fishing Harbour British School, late 19th century oil on board, framed framed: 19 x 27 inches board: 14 x 22 inches provenance: private collection, UK condition: very good an...

With a great view of the city of Naples off her bow and Mount Vesuvius off her stern there's no doubt where this Baltimore Clipper Brig is located. This very well executed portrait has great detail of the port and ship with great coloration throughout and great reflections of the ship on the water. The ship is shown in full sail with flags flying. The ship was owned and Captained by Griffith Jones, a Welshman born 1831. Port Madoc refers to the Welsh City of Porthmadog- it was spelled Portmadoc before 1974. Her sloped bow and stern along with her size are typical of a Baltimore Clipper but her masts are not as raked as often seen in ships of this design and she is square rigged, though there are historical paintings and drawings of other Baltimore Clippers built in this way. Most of what we know about the Brig EPHRATAH is due to the famous wreck of her sister ship FROLIC, though FROLIC was built much earlier. FROLIC is considered the most important wreck on the West Coast of the United States. Dr. Tom Layton of Stanford University connected the two ships in his research on FROLIC.  EPHRATAH was slightly larger than FROLIC at 230 tons, 152’ with a breadth of 22’. She was built in 1873 for Griffith Jones & Co. who would also sail as her master. Jones was Welsh by birth, born in 1831 in Llannor.  FROLIC was built in Baltimore's Gardner Brothers shipyard for the Opium Trade. When steamers came along in the late 1850's it was perfect timing for FROLIC to switch to the busy California trade, fueled by the new California Gold Rush. FROLIC was carrying a rich cargo when she was shipwrecked off Point Cabrillo, California in 1850. When it was discovered in the 1980's the wreck...

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

Large Italian genre painting by Antonio Ermolao Paoletti Italian, late 19th Century Frame: Height 64cm, width 84cm, depth 8cm Canvas: Height 40c...

Georgine Lara English Village landscape A painting by Georgina Lara depicting a 19th-century English village scene offers a charming and evocat...

Ralph Albert Blakelock depicts a disoriented elderly man with a long white beard and hair on a forest path in his oil painting “Rip Van Winkle (The Hermit).”

James Craig Nicoll paints figures obscured by tall grass on a small island off a coast lined with bare trees observing a flock of waterfowl in his oil painting, “Duck Hunting Scene.”

Il dipinto è firmato a destra AVILLA. Aleardo Villa è stato allievo di Giuseppe Bertini e Bartolomeo Giuliano e ha frequentato l'Accademia di Brera, diventando piuttosto famoso in tu...

Fine late 19th century genre painting depicting a beautiful young women sat on rocks with a sheaf of wheat resting by her side. Pelham depicts the women in a full length skirt, pale ...

Paul Désiré Trouillebert (1829-1900) Landscape from Barbizon with characters Oil on canvas signed low right Old original sculpted wood frame gilded with leaves Size canvas : 33 X 41 cm Size frame : 43 X 51 cm Paul Désiré Trouillebert (1829-1900) Paul Désiré Trouillebert (1829 in Paris, France – 28 June 1900 in Paris, France) was a famous French Barbizon School painter in the mid-nineteenth and the early twentieth centuries. Trouillebert is considered a portraitist, a genre and landscape painter from the French Barbizon School. He was a student of Ernest Hébert...

A dramatic maritime scene captured in the manner of James Wilson Carmichael (1800-1868). The composition depicts a tired fishing boat attempting to enter a harbour in rough faring co...

Conditions : Immaculate, no prior retouching under UV, original canvas. No restoration needed. Antique Frame with an overall dimension of 59 cm x 76 cm Émile Renouf was a French p...

Title: Portrait of a Young Man with a Straw Hat Artist: Josep Cusachs i Cusachs (1851-1908) Year: 1884 Technique: Oil on canvas Dimensions (unframed): 18.1 x 15 inches Dimensions (fr...

A painting of Sappho by Ettore Forti Italian, c.1900 Frame: Height 85cm, width 38cm, depth 2.5cm Canvas: Height 73cm, with 26.5cm, depth 2.5cm This excellent portrait painting depic...

Léon BRARD (1830-1902) Views of The Nile Valley in pair Orientalist paintings Oils on wood signed low right New golden Frames Dim wood (each) : 22 X 41 cm Dim canvas (each) : 40 X 60...

Watercolour painting of Russian peasants feasting by Teikh Russian, 1872 Frame: Height 92cm, width 122cm, depth 6cm Sheet: Height 76cm, width 107cm This fine watercolour painting is...

Thomas Sidney Cooper was one of the foremost animal painters of the Victorian period. He was born in Canterbury, Kent, and as a small child he began to show strong artistic inclinations, but the circumstances of his family did not allow him to receive any systematic training. By the time he was twelve years old, he was working in the shop of a coach painter. Later he obtained a job as a scene painter, and he alternated between these two occupations for about eight years. He still felt a strong desire to become an artist, and all his spare moments were spent drawing and painting from nature. At the age of twenty, he went to London, drew for a while in the British Museum, and was admitted as a student of the Royal Academy. Subsequently, he returned to Canterbury, where he was able to earn a living as a drawing master and by the sale of sketches and drawings. In 1827, he settled in Brussels and married before taking up a position as a teacher in Brussels in 1829. There he befriended Eugène Joseph Verboeckhoven, the great Belgian animal painter, who greatly influenced his style. He was also influenced by the 17th Century Dutch School. Because of the Belgian Revolution, he returned to London where he settled and first exhibited at Suffolk Street in 1833. He exhibited forty-eight pictures at the British Institution between 1833 and 1863. ‘Landscape and Cattle’, Royal Academy 1833, was shown until 1902 without a break - a record for a continuous exhibit at the Royal Academy. Sheep and cattle were his most frequent subjects, although he did paint a few figurative subjects. Cooper collaborated between 1847 and 1870 with Frederick Richard Lee...

This framed 24" x 23" watercolor on silk by an Unknown Chinese artist depicts a coastal mountain landscape. This work features several mountain clus...

Medium: Oil on Canvas Signature: Signed (With Initials WHDK, Lower Right of Right Canvas) Dimensions: Each Canvas 40.00" x 30.00" PRICE ON REQUEST- A pair of illustrations fro...

A charming and sensitively rendered late 19th-century oil portrait of a Rough Collie, this work captures the breed's intelligence and gentle temperament with remarkable clarity. Indi...

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...

Oil on panel, signed, dated and inscribed ‘Bou Saada, 1894’ lower right Image size: 13 x 8 3/4 inches (33 x 22.25 cm) Ornate Gilt frame Euguene Alexis Girardet A child prodigy, Gi...

This atmospheric seascape captures the bustling activity of fisherfolk on a beach, with sailboats anchored on the shore. Well presented in a charming wooden frame. Signed to the lowe...

An idyllic genre scene by the British landscape painter John Westall (fl.1873-1893). Well presented in a gilt effect frame. Acquired with a second compani...

Napoleone Parisani (Camerino 1853 - Rome 1932), Portrait of a Lady Oil on canvas 42 x 30 cm.

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...

Sunset Landscape with the view of Procida Island Bay of Naples. Signed by Henry Marko' painter active in Italian landscape oil on canvas . Amazing decoration for your interior. Me...

An atmospheric oil landscape depicting sunset over the Strand Quay at Rye. Well presented in a heavy gilt frame and slip, with egg and dart running pattern to the inner window and la...

The Highland Loch by John Hamilton Glass (British, fl.1890-1925) signed oil on canvas, unframed canvas: 16 x 24 inches inscribed verso indistinctly provenance: private collection, En...

Levi Wells Prentice paints a rock-ringed pool surrounded by dense trees beginning to display autumn color in his oil painting, “Autumn Brook.”

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

Hand Signed. This artwork is shipped from Italy. Under existing legislation, any artwork in Italy created over 50 years ago by an artist who has died requires a licence for export re...

La obra va firmada a mano por el artista en la parte media y fechada del año 1879 Se presenta bien enmarcada la pintura El estado de la obra es aceptable Medidas de la obra: 61 cm...

Wonderful Antique Victorian Welch landscape, Ruined Castle by the shore side with moored fishing boats Joseph Horlor was born in Bath in 1809 and was a landscape painter of Welsh sc...