Late 19th Century Paintings

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 ...

Antique American impressionist oil painting by Frederick Stuart Church (1842 - 1924). Oil, gouache and watercolor on board. Framed. Measuring: 17 by 23 inches overall, and 10 by 16 p...

French impressionist landscape, Barbizon forest, with river and cows at Sunset George Boyle was a pioneering 19th-century British artist inspired by European Impressionist painters. ...

Danish School 19th Century A typical Scandinavian composition showing a woman heading towards a gate. This genre of painting is designed to intrigue the viewer and ask the question,...

Original oil on academy board by the well known American marine artist, Franklin Dullen Briscoe. Signed lower right. (Under gold liner) Circa 1885. C...

Late 19th Century Upstate New York Oil Painting Landscape by Frances B. Clark Moody rural Hudson River School style painting of Upstate ...

English School Farmyard Scene with Horses and Goat Oil on panel, unsigned The Circle of John Frederick Herring Sr. Circa 1880 Presented in a later gilt and painted frame This finely rendered 19th-century English farmyard scene captures the quiet dignity of rural life, with a group of three horses—white, chestnut, and black—gathered beneath a tree in the warm light of late afternoon. A small goat stands to one side near a rustic stable, adding a note of charming domesticity to the composition. The surrounding landscape, with its distant hills and careful play of shadow and cloud, speaks to the artist’s sensitivity to atmosphere and detail. Though unsigned, the painting is executed in a manner closely aligned with the work of John Frederick Herring Senior, one of Britain’s most celebrated animal painters of the Victorian era. The careful modelling of the horses, their distinctive postures and anatomy, and the tranquil farm setting are all hallmarks of Herring’s influence. Painted in oils on a wooden panel, the surface retains a fine, even gloss and a warm palette typical of the period. The composition is both balanced and lyrical: the interplay of form and gesture among the animals invites the viewer into a moment of repose between work and activity, emblematic of Victorian ideals of harmony between man, beast, and the land. A delightful example of 19th-century English rural painting...

Initialled 'R.M.' lower left. On canvas on stretchers.

Title: Barcelona and Its People Artist: Joan Roig Soler (Barcelona, 1852 – 1909) Medium: Oil on canvas Dimensions: 19.7 x 13.8 in (50 x 35 cm) Support: Relined canvas Framing: U...

French school after 1890 The knight's farewell Oil on canvas 124 x 64 cm This painting is at once monumental, moving but very cheerful at the same time. Because the main subject, the knight's farewell to his beloved, represented in a tight framing shows a very naturalistic background with its meadow, its flowers, its wood, its river and its very beautiful colors. The painter is from the end of the 19th century or the beginning of the 20th century, and undoubtedly French as indicated by the canvas merchant's mark on the back of the stretcher (the Jules Chauvin house which was active at 33 rue du Dragon in Paris between 1895 and 1937). The style of our painting is romantic, even picturesque. The knight carries the “Reichsadler”, the imperial eagle of the Holy Germanic Empire and the lady a bag with different signs including bear paw prints. The style is naturalistic and reminds of the English painters of the 1890s inspired by the Pre-Raphaelites and Art Nouveau on religious and medieval themes and very close to nature with their decorations of meadows, flowers and wood. The English art historian John Christian spoke of the last English romantics about to these painters of the end of the century, Burne-Jones, Stanley Spencer and John William Waterhouse. We recognize in our painting the naturalistic motifs of the meadow, flowers, woods and river that we often see in Waterhouse paintings. As regards the composition, one thinks in particular of the English woman painter of Austrian origin Marianne Stokes...

Conditions : Good overall Conditions. Old varnish and minor retouching on the nose. Orignal frame in excellent condition. Medal plate Henner. Jean-Jacques Henner was born on March 5...

Work on wood Golden wooden frame 25 x 31 x 3,5 cm

Up for sale is a phenomenal 19th century original oil painting on canvas by Listed British Artist Edward Armfield 1817-1896, depicting a dogs in the manger. Signed in the lower-lef...

Beautiful example of the Hudson River School romantic bucolic New York autumn landscape with cows foraging. Illegible artist signature on stretcher bar (See enhanced images). Condition: very good; professionally cleaned and minor restoration upper right hand corner where paint was missing. Unframed. Image size: 14"H x 24"W x .75"D Hudson River School was an informal association was America's first so-called school of painting and the dominant landscape style until the Civil War. The name derives from a group of 19th-century landscape painters working in New York state. With realistic composition, they depicted romantic views of unsettled areas of the Hudson River Valley especially lakes, rocky gorges, and forests in the Catskill Mountains. About a fourth of these artists utilized luminism or effects with special lighting techniques to convey lofty emotions through contrasts of light and dark. Included in this Hudson River luminist category were Washington Allston, Albert Bierstadt, William Hart, and Frederic Edwin Church...

A beautiful large late 19th century French impressionist oil on canvas depicting an extensive landscape with trees in the foreground and an atmosph...

In the Park by Louis Abel-Truchet (French 1857-1918) *see below signed oil on canvas, unframed canvas: 16 x 13 inches provenance: private collection, France condition: overall good a...

A beautiful Barbizon-style (though likely not French) landscape of a stream through the woods in the evening, with a church in the distance. It is signed "M. Allen." It is an evening...

A stunning 19th-century Hudson River School landscape painting, beautifully framed in an exquisite period giltwood molding.

French 19th century Chickens in a landscape Charles-Emile Jacque (23 May 1813 – 7 May 1894) was a French painter of animals (animalier) and engr...

'The Cavalier's Pets' by Sir Edwin Henry Landseer was exhibited in 1845, and is now in the collection of the Tate Museum of Art in London. This is a fine oil painting copy of the famous Landseer painting. This is a well executed work with all the hallmarks of a Victorian 19th century painting...

Samuel Henry Baker (British, 1824–1909) Ullswater from Gowbarrow Park, Cumberland, late 19th century Oil on canvas In this sweeping view of Ullswater, nestled in the heart of the La...

Incredible signed early American dog portrait painting. Oil on board. Signed. Housed in a period gold giltwood frame.

This evocative painting depicts a solitary young boy in tattered clothing traversing a snow-covered rural path, framed by a wooden fence and distant trees against a muted winter sky....

A large & important Orientalist oil on canvas painting, Moorish Spain, by Pollok Sinclair Nesbit (1848-1922) ASRA, "The Gate of the Sun" Toledo, 1872. A member of The Royal Scottish ...

An original American impressionist oil painting of a country road in Maine by Emile Gruppe's cousin, American artist Haley B. Nell. Not much else is known about Nell, although the a...

A charming late 19th century oil depicting a serene farm scene. Illegibly signed and dated '1878' to the lower margin. Wonderfully presented in a gilt frame with ornate acanthus scro...

Three Sisters in the Cascade Range, Oregon Landscape scene depicting three snowcapped mountains, also known as "The Three Sisters," surrounded by evergreen trees by John Englehart...

Manner of Abraham Hulk Junior (1851-1922). An idyllic alpine landscape with rustic wooden chalets nestled among lush woodland trees. The composition draws the viewer's eye along a wi...

Late 19th Century French Barbizon School oil on wood panel of poplar trees in a landscape by Richard. The painting is signed bottom left. The painting is on a quality chamfered panel. A very charming, almost impressionist, rendition of a line of iconic French trees in a landscape. Before them an earth drive has been ploughed up by the wheels of passing carts and horses. Richard has created a wonderful perspective that draws us in to the painting and he has created a contrast between the strong greens of the trees and fields against the whites and blues of the sky. The painting is reminiscent of the works of Monet from the 1890s. to whom the poplar trees were a continuing inspiration. The Barbizon school of painters was part of an art movement towards Realism in art, which arose in the context of the dominant Romantic Movement of the time. The Barbizon school was active roughly from 1830 through 1870. It takes its name from the village of Barbizon, France, on the edge of the Forest of Fontainebleau, where many of the artists gathered. Most of their works were landscape paintings, but several of them also painted landscapes with farmworkers, and genre scenes of village life. Some of the most prominent features of this school are its tonal qualities, colour, loose brushwork, and softness of form. The leaders of the Barbizon school were: Théodore Rousseau, Charles-François Daubigny, Jules Dupré, Constant Troyon, Charles Jacque, and Narcisse Virgilio Díaz. Jean-François Millet lived in Barbizon from 1849, but his interest in figures with a landscape backdrop sets him rather apart from the others. Jean-Baptiste-Camille Corot was the earliest on the scene, first painting in the forest in 1829, but his work has a poetic and literary quality which sets him somewhat apart. Other artists associated with the school, often pupils of the main group, include: Henri Harpignies, Albert Charpin, François-Louis Français and Émile van Marcke. In 1824 the Salon de Paris exhibited works of John Constable, an English painter. His rural scenes influenced some of the younger artists of the time, moving them to abandon formalism and to draw inspiration directly from nature. Natural scenes became the subjects of their paintings rather than mere backdrops to dramatic events. During the Revolutions of 1848 artists gathered at Barbizon to follow Constable's ideas, making nature the subject of their paintings. The French landscape became a major theme of the Barbizon painters. Millet extended the idea from landscape to figures — peasant figures, scenes of peasant life, and work in the fields. In The Gleaners (1857), for example, Millet portrays three peasant women working at the harvest. Gleaners are poor people who are permitted to gather the remains after the owners of the field complete the main harvest. The owners (portrayed as wealthy) and their laborers are seen in the back of the painting. Millet shifted the focus and the subject matter from the rich and prominent to those at the bottom of the social ladders. To emphasize their anonymity and marginalized position, he hid their faces. The women's bowed bodies represent their everyday hard work. In the spring of 1829, Jean-Baptiste-Camille Corot came to Barbizon to paint in the Forest of Fontainebleau, he had first painted in the forest at Chailly in 1822. He returned to Barbizon in the autumn of 1830 and in the summer of 1831, where he made drawings and oil studies, from which he made a painting intended for the Salon of 1830; "View of the Forest of Fontainebleau'" (now in the National Gallery in Washington) and, for the salon of 1831, another "View of the Forest of Fontainebleau"'. While there he met the members of the Barbizon school: Théodore Rousseau, Paul Huet, Constant Troyon, Jean-François Millet, and the young Charles-François Daubigny. During the late 1860s, the Barbizon painters attracted the attention of a younger generation of French artists studying in Paris. Several of those artists visited Fontainebleau Forest to paint the landscape, including Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and Frédéric Bazille. In the 1870s those artists, among others, developed the art movement called Impressionism and practiced 'plein air' painting. In contrast, the main members of the school made drawings and sketches on the spot, but painted back in their studios. The Post-Impressionist painter Vincent Van Gogh studied and copied several of the Barbizon painters as well, including 21 copies of paintings by Millet. He copied Millet more than any other artist. He also did three paintings in Daubigny's Garden. The Barbizon painters also had a profound impact on landscape painting in the United States. This included the development of the American Barbizon school by William Morris Hunt. Several artists who were also in, or contemporary to, the Hudson River School studied Barbizon paintings for their loose brushwork and emotional impact. A notable example is George Inness, who sought to emulate the works of Rousseau. Paintings from the Barbizon school also influenced landscape painting in California. The artist Percy Gray...

Hjalmar Sandberg (1847-1888) Sweden Harvest Time, 1876 oil on canvas canvas size 14.96 x 18.11 inches (38 x 46 cm) frame 18.70 x 25.59 inches (47.5 ...

Oil On Canvas, Hunting Dog by Alexander Clarys Belgian School Terrier Hunting Dog , Exceptional paintings seen the large format, sold with the frame. Alexandre Clarys, born in Bruss...

European painter (late 19th century) - Grazing cows. 61 x 51 cm without frame, 66 x 56 cm with frame. Antique oil painting on canvas, in a gilded wooden frame. - Work signed indis...

Beautiful Hudson River School Original gouache autumnal landscape of vivid sunset through forest by Charles Russell Loomis (American 1857 - 1936), circa 1880. Warm and cool tones wit...

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...

Wonderful Autumn/Fall landscape by one of Englands finest landscape painters. Born as Benjamin Williams, the artist added the surname Leader (his Father’s middle name) to distingui...

Early 20th Century English Autumn river landscape with cows drinking from a stream. Abraham Hulk Junior was born in the Netherlands in 1851 to ren...

This is an original antique 19th-century large oil painting on canvas painting depicting a portrait of a Lady in a long black dress, standing near a bright red curtain. The painting...

1880s Century Original California School Oil Painting of Native Americans Fishing in Sierras by Ransome Gillet Holdredge Wonderful landscape of Sierra Mountains in Hudson River Scho...

EDWARD HENRY POTTHAST (American, 1857-1927) Wading oil on board signed E. Potthast, l.l. 11 1/4 x 15 1/2 in. (18 1/2 x 22 1/2 in.) Provenance: Traxel Art Galleries, Cincinnati,...

This late 19th-century (or early 20th) painting can have a deeply calming effect on the viewer. Based on the framing label, which points to a supplier located at the time in The Hagu...

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

Sunrise in the Scottish Highlands by Clarence Roe (1850-1920) signed & dated 1880's oil painting on canvas, framed framed: 28 x 40 inches canvas: 24 x 36 inches condition: very good ...

Here for your consideration is a late 19th century still life with fruit by the well known British artist, Henry George Todd. Signed lower left a...

Tobias Edward Rosenthal, known as Toby (Strasbourg 1848 - Munich 1917) - Portrait of a San Francisco gentleman. 123 x 92 cm. Antique oil painting on canvas, without frame. - Work ...

The Queen by Diogène Ulysse Napoléon Maillart (French, 1840 – 1926) *see notes below oil painting on canvas, framed canvas: 42 x 30 inches framed: 45 x 33 inches condition: overall v...

This pastoral landscape painting depicts a tranquil country road with two working men meeting below the overhanging trees. The scene is brought to life with the inclusion of small fi...

A superb late 19th century French impressionist oil on board portrait of a man with a pipe. Painted with short and fast brush strokes by a highly competent artist. A striking period...

A French Chasseur a Cheval de la Garde Imperiale, drinking outside an Inn or Pub. Frank Moss Bennett was born in Liverpool, England on 15 November 1...

RAIMUNDO DE MADRAZO Spanish, 1841 - 1920 ALINE CON SU PERRO signed "R. Madrazo" (lower left) oil on canvas 32-3/4 x 28 inches (83 x 71 cm.) framed: 42-1/2 x 37-3/4 inches (108 x 96 ...

Alfred Stevens Brussels 1823 – 1906 Paris Belgian Painter 'Moonlight on the Sea' Signature: signed lower right and dated 1892 ‘A Stevens 92' Medium: oil on canvas Dimensions: image size 81 x 65 cm, frame size 97,5 x 81,5 cm Biography: Alfred Stevens was born in Brussels, into a family deeply connected with the visual arts. His older brother Joseph (1816–1892) and his son Léopold (1866–1935) were both painters, while his other brother Arthur (1825–1899) was an art dealer and critic. His father, a veteran of the Napoleonic wars under the army of William I of the Netherlands, was an art collector with a notable collection of watercolors by Eugène Delacroix and other esteemed artists. Stevens’s upbringing was influenced by the environment of Café de l’Amitié, run by his maternal grandparents in Brussels, which served as a meeting place for prominent figures from the political, literary, and artistic spheres. Following the death of his father in 1837, Stevens left middle school to enroll at the Académie Royale des Beaux-Arts in Brussels. There, he came under the tutelage of François Navez, a Neo-Classical painter and former student of Jacques-Louis David, who was both the director of the academy and an old acquaintance of Stevens’s grandfather. Following a traditional curriculum, he initially drew from casts of classical sculptures and later transitioned to drawing from live models. In 1843, Stevens journeyed to Paris to join his already established brother, Joseph. He gained admission to the École des Beaux-Arts, the preeminent art school in Paris, although claims of him being a student of the director, Jean Auguste Dominique Ingres, are likely unfounded. One of his early works, The Pardon or Absolution (Hermitage, St. Petersburg), signed and dated 1849, showcased his mastery of a conventional naturalistic style influenced by 17th-century Dutch genre painting. Stevens’s work was first publicly exhibited in 1851, when three of his paintings were featured at the Brussels Salon. He received a third-class medal at the Paris Salon in 1853, followed by a second-class medal at the Universal Exposition in Paris in 1855. His painting Ce qu’on appelle le vagabondage (Musée d’Orsay, Paris) garnered attention from Napoleon III, leading to a change in policy regarding the use of soldiers to remove the poor from the streets. Two other paintings displayed at the Salon in Antwerp in the same year, Chez soi or At Home and The Painter and his Model, introduced subjects from “la vie moderne” that became characteristic of his oeuvre: elegant young women dressed in contemporary fashion and artists in their studios. In 1857, Stevens made his first significant sale to a private collector when Consolation was purchased for a rumored 6,000 francs by the Berlin collector and dealer Ravéné. He and his brother also became part of the artistic milieu in Paris, frequenting salons hosted by Princess Mathilde and popular cafes, where they mingled with the likes of the Goncourt brothers, Théophile Gautier, and Alexandre Dumas. Stevens married Fanny Juliette Albertine Marie Hortense Blanc (1836-1891), a member of a wealthy Belgian family and a long-time acquaintance of the Stevens family, in 1858. The wedding was witnessed by the renowned painter Eugène Delacroix. The couple had four children: Leopold, Jean, Catherine, and Pierre. Stevens depicted his wife in numerous portraits, including Regrets and Memories. After her passing, he expressed enduring grief at her loss. During the 1860s, Stevens rose...

Late 19th century English landscape by Edwin Buttery. This exquisite late Victorian English landscape by Edwin Buttery is a masterful example of the period’s romanticized appreciatio...

A charming late 19th century oil painting depicting two gentlemen fishing in an idyllic river location. The composition has been well presented in a contemporary gilt frame with inte...

‘A Breeze after a Bathe’ by Walter Duncan ARWS (1847-1932). The painting – which depicts three young Victorian ladies and their dogs on Bournemouth beach after a swim – is signed b...

Antique portrait painting of two woman having an art lesson by Swiss artist, Louis Patru (1871-1905). This is an unusual painting from an artist who only enjoyed a short life. Two ...

The Woodland Path circle of George Turner (English 1841-1910) oil painting on canvas, framed framed: 19 x 25.5 inches canvas: 14 x 21.5 inches condition: very good provenance: privat...

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

Well painted late 19th-century German genre painting. Often painted in the Munich area of Germany these highly desirable antique paintings are always of t...

Nicely framed 19th century forest interior landscape painting. Oil on canvas. Ready to hang. Image size, 13"L by 17"H inches painting alone.

'La Taverne Pausset, Paris' by Edouard-Jean Dambourgez. Salon d'Automne, Salon des Indépendants, Benezit ----- Signed lower right, 'Dambourgez' for Edouard-Jean Dambourgez (French, 1844-1931), inscribed, 'Paris' and painted circa 1880. Titled with inscription, verso, on old backing, ''Taverne Pausset', grands boulevards a Paris". A fine and detailed, cabinet-size oil painting showing an elegant Parisian cafe and bar, the interior lit by luminous, floor-to-ceiling stained-glass windows and filled with fashionably-dressed patrons drinking and socializing beneath a haze of pipe and cigar smoke. A minor, period masterpiece, providing an animated view of the city's fin-de-siècle nightlife, and characterised by finely observed and fully-realized figures showing an unusual degree of both social commentary and psychological penetration. Edouard-Jean Dambourgez first studied with Jules Lefebvre and, subsequently, as an engraver and chromo-lithographer under Gustave Boulanger. In 1880, Dambourgez commenced exhibiting at the Salon des Artistes Français, and, in 1883, was elected a member of the Society. Throughout the 1880's, he exhibited frequently and with success at the 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 all illustrations for the catalog to the Thiers Collection, recently bequeathed to the Museum. The recipient of numerous prizes, medals and juried awards, Dambourgez was awarded an honorable distinction by the Salon in 1888, and an honorable mention in 1891. In 1888, the critic Albert Wolff recommended his painting, 'A Cheese Shop', for inclusion at the Salon des Artistes Français. In 1891, the city of Paris bought his large canvas, 'The Cream and Cheese Market...

Sunset in the Highlands by Clarence Henry Roe (British 1850-1909) signed oil on canvas, framed framed: 27 x 37 inches painting: 20 x 30 inches provenance: private collection, England...