Late 19th Century Paintings

John Brandon Smith, John Brandon Smith is an English landscape artist of some renown. He concentrated on the waterways of England, Scotland and Wales. He was particularly interested in the effects of cascading water. This led to his being given the moniker 'Waterfall Smith'. He was fascinated by the spectacle of rivers in spate. Many of his paintings concentrated on the rivers Conway, Llugwy and Lledr in North Wales but he also painted the rivers of England and Scotland. Some of his more celebrated works show The Swallow Falls and Aysgarth Falls in North Yorkshire. He used many shades of green and blue on his small, jewel-like canvases. He would occasionally introduce the figure of a fisherman to provide perspective. His themes are characteristic of the Renaissance of the European Romantic Movement. He exhibited twenty-two works at The Royal Academy between 1860 and 1874. He also exhibited at Suffolk Street. This is a very rare large example of the painters work. It is framed in an Antique English frame

Overall good condition with visible patches on the back. Original frame. Signed C. Cei Firenze.

This atmospheric maritime painting by Franz Hoepfner (1853-1891) captures the dynamic energy of sailing vessels braving choppy seas. The artist masterfully renders the interplay of l...

Oil on board, signed, titled and dated '1858' on verso Image size: 10 1/2 x 18 1/2 inches (26.5 x 47 cm) Gilt frame This is a wonderful portrait that was painted by John Burr at a t...

EDUARDO LEÓN GARRIDO Spanish, 1856- 1949 AN ELEGANT DANCE signed "E. L Garrido" (lower right) oil on mahogany wood panel 25-1/8 x 32 inches (63.5 x 81 cm.) framed: 31 x 38 inches (78.5 x 96 cm.) PROVENANCE Private Spanish Collector Eduardo León Garrido (Madrid, 1856 - Caen, 1949) was a Spanish painter. He began his training at the Higher School of Painting in Madrid and as a disciple in Vicente...

"Paysage de Montigny-sur-Loing" par Camille Dufour (27x18 cm, sur panneau) Découvrez cette magnifique peinture de Camille Dufour (né le 8 février 1841 et décédé le 3 janvier 1933), c...

A large impressive original Victorian oil painting which was painted circa 1890 by Scottish listed artist Joseph Farquharson RA. This Romantic Scottish landscape view is in fine condition and is framed in a Victorian gilt gallery frame. He was a noted landscape painter of snow scenes around Finzean in Aberdeenshire and often painted at dusk or dawn. This painting however depicts a sublime Scottish river landscape with a river and the mountains in the background. It is a very expansive panoramic view. A large painting in good condition and a lovely example of a 19th century Scottish landscape. Similar examples of his paintings are on display in Kelvingrove Art Gallery Glasgow and the National Gallery Scotland. Signed Joseph Farquharson. Provenance. Scottish collection. Condition. Oil on canvas. Image size is 37 inches by 27 inches, fine condition. Framed size is 44 by 34 inches, housed in a gilt gallery frame. Excellent condition. Born in Edinburgh, Scotland in 1846, Joseph Farquharson combined a long and prolific career as a painter with his inherited role as a Scottish laird. He painted in both oils and water colors. His mother, a celebrated beauty, was an Ainslie. His early days were spent in his father's house in Northumberland Street below Queen Street Gardens and later at Eaton Terrace beyond the Dean Bridge, Edinburgh and at Finzean. His father Francis was a doctor and laird of Finzean in Aberdeenshire. Joseph was educated in Edinburgh and permitted by his father to paint only on Saturdays using his father’s paint box. When Joseph reached the age of 12, Francis Farquharson bought his son his first paints he could call his own and only a year later he exhibited his first painting at the Royal Scottish Academy. His first major portrait was of ' Miss Alice...

Work on canvas Molded frame in plaster and gilded wood 59 x 49.5 x 5 cm

Eugène Louis Boudin Honfleur 1824 – 1898 Deauville French Painter 'Etude de jeunes Bretonnes' Signature: signed lower right, revers named and defined 'Studies of young Breton women...

Very refined and delicate oil on panel depicting a signed male portrait. The man is depicted in three-quarters, with a serene expression. He appears elegantly dressed, wearing the p...

This striking portrait depicts a monk standing in a contemplative pose while holding an open book. The composition is centred on the solitary figure, whose white robes and dark cloak...

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...

Louis Lottier (1815-1892) French 'Merchants gathered on a beach with a town beyond Medium: oil on canvas, unframed. Size of panting 8.5" x 15" inches overall good and satisfactory c...

Austrian genre painting of children in a classroom by Rudolf Geyling Austrian, late 19th Century Frame: Height 94cm, width 126cm, depth 8cm Canvas: Height 75cm, width 101cm, depth 2c...

Young Woman The Vegetable Seller Roma Francesco Ferraresi Original watercolor A courtyard painting of a vegetable seller by Francesco Ferraresi (1858 - 1942). the is pensive and awai...

3929 Antique interior painting of an artist studio works on artist board Set in a period walnut frame image size 19.5x13.5"

Loch Tay, Perthshire Scottish School, late 19th century indistinctly signed oil painting on canvas, framed framed: 11.5 x 17 inches canvas: 10 x 16inches prov...

Medium: Pastel Style: Animal Painting Size: 19.5 x 15.5 inches Frame Size: 31.5 x 25.5 inches Condition: This artwork is in good condition for its age. Signature: Hand-signed Artis...

Portrait of a Lady in Pink French School, indistinctly signed upper right corner dated 1893 oil painting on canvas, unframed canvas: 24 x 19.75 inches condition: very good, a few light age related scuffs around the edges which would cover with a frame. provenance: private collection, France. Straight out of the Belle Epoque...

Well painted 19th-century portrait of Sir Charles Dickens. The original painting is in the National Gallery in London and I'm sure this piece would have been painted by a fan of the author who was also a very good artist as this piece is a very good copy of the original painting. There was a great fashion to paint copies of famous paintings during the 19th century and most of the world's most famous paintings have been copied many times. Often the artist who does the copy is very talented but usually anonymous With this piece, it's the only way to own an antique copy...

R.Ellis English late 19th-century landscape of a Watermill by a Stream and a bridge. Original frame oils on card Signed and dated on the reverse and lower right. Ellis was a la...

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...

Antique impressionist seascape painting. Oil on canvas. Signed. Framed.

This intimate painting captures a quiet domestic interior bathed in dim, lambent light. In the background, a lone woman in a blue dress stands at the foot of a staircase, just about ...

Under a softly luminous night sky, an elderly peasant gathers a bundle of brushwood amid the quiet fields of rural France. This tranquil nocturne is the subject of Alfred Wahlberg’s ...

MAUCHERAT de LONGPRÉ Raoul (1843-1922) Two Bunch of Flowers in Pair Oils on canvas each signed low right Frames gilded with gold leaves Dim canvas (each) : 65 X 54 cm Dim frame (each) : 92 X 81 cm For sale only by Pair Certificate of authenticity MAUCHERAT de LONGPRÉ Raoul (1843-1922) French Painter 19th century Born in Lyon in 1843. Died in Plessis-Robinson in 1922 Painter, Painter in watercolours, painter with the gouache. Flowers Raoul Victor Maurice Maucherat de Longpré was taught by his father the silk painter Jean Antoine Marie Victor Maucherat de Longpré (1815). According to the family tradition related to the industry of the silk trade of Lyon, he starts very young to paint fans before making true paintings. Consequently, he specialized in floral painting. At the 30 years age he leaves his hometown and started his career at the "Salon de Paris" in 1876. His brother Paul de Longpré...

Victorian Impressionist Landscape Oil of Washerwomen on bank of River, Nice in France. "Washerwomen on the River Paillon, Nice in France" Oil on Canvas on original stretchers, Si...

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...

Chestnuts by the fireside Mark William Langlois ( British, 1848-1924) signed bottom right oil on canvas, framed framed: 26 x 21 inches painting: 21 x 27 inches provenance: private co...

A beautifully painted study of a cherubic young boy, his golden haired head turned to the sun, his eyes closed as he feels its warmth. Pre-Raphaelite School, late 19th century Head...

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...

A very beautiful late 19th century French oil on canvas laid on panel portrait study of an elegant gentleman in a garden, by Auguste-Émile Pinchart. Excellent quality work by this i...

Lacazette Amelie (19th) Young Girl with a dove Oil on canvas signed upper left Old frame gilded with leaves Dim canvas : 56 X 37 cm Dim Frame : 74 X 57 cm Lacazette Amelie (19th) - ...

Sir Alfred East painted a series of moonlit landscapes that is reminiscent of the Barbizon school of painters, Corot, and some of the impressionists. This painting has two light sources. The moonlight and window light which is depicted by the artist in a deep yellow. Highlights from the window skim off the top of the shrubs. "East was one of the most acclaimed landscape painters of his time." Tate Gallery " His particular strength was in painting the effect of different lights on the landscape. " Fine Arts Museums San Francisco. Sir Alfred Edward East RA RBA (15 December 1844 – 28 September 1913) was an English painter. He studied in Paris with Bouguereau. In 1906 he was elected President of the Royal Society of British Artists. He was awarded a Knighthood in 1910 by King Edward VII. His portrait was painted by Philip de Laszlo...

Medium: Oil on Panel Signature: Signed "H. Pyle" Lower Right and Inscribed Indistinctly On the Reverse "At the same time he extended toward King Louis the ...

Oil on panel measuring 21" x 24.5," including the frame. The painting is signed in the lower right corner, but we cannot attribute the signature. Probably dating from the late 19th ...

Born in Leverett, Massachusetts, Erastus Field kept his home most of his life in that state but did study briefly with Samuel F.B. Morse in New York City where he lived from 1842 to ...

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...

DESCHIENS – ASTRUC (1861) Table settings with Orchids Oil on canvas signed down right Frame gilded with gold leaves Dim canvas : 82 X 116 cm Dim Frame : 107 X 141 cm DESCHIENS – ASTRUC Pauline Hélène (1861-NC) French school 19th - 20th century Born the 25th of August 1861 in Angers Painter of flowers and marines. Pupil of Pierre Bourgogne...

James Brade Sword Mending the Nets at Sunset Signed lower left Oil on canvas 12 x 20 inches James Brade Sword was born in Philadelphia, but from aro...

[China Export Water-colours on Pith Paper] A Set of Twelve Processions. China, ca. 1870]. Water-colour and gouache studies on pith paper, framed by blue silk ribbon, all mounted. ...

French School, indistinctly signed/ dated 1898 signed and dated oil painting on canvas, unframed painting: 13 x 9 inches provenance: from a private collection, France condition: over...

William Arthur Breakspeare. English ( b.1855 - d.1914 ). A Rendezvous In The Park In The Autumn Fall. Oil On Panel. Signed Lower Right. Image size 12.6 inches x 7.3 inches ( 32cm x 1...

Wonderful pastel of early Avalon, Santa Catalina Island by Guy Bedford (American, 1866-1916), 1898. One of two estate pieces purchased one was signed and t...

Tranquil Riverbank English School, late 19th century oil on canvas, framed Framed: 18.75 x 31 inches Canvas: 12 x 24 inches Provenance: private collection, UK Condition: very good co...

George Loring Brown American, 1814-1889 Lake Of Nemi, Near Rome Oil on canvas 28 by 48 in. W/frame 36 by 56 in. Circa 1876/7 signed & dated lower left , inscribed verso: "Lake of ...

This evocative late 19th century oil depicts a huntsman and his dog discovering a fox in a gin trap. Unsigned. On tin.

Signature: Signed Lower Right Homeward Bound is a product of John George Brown’s 1877 and 1878 trips to Grand Manan Island, off the coast of Maine in t...

Charles Charlay-Pompon French, 1854-1914 French Countryside Oil on canvas Signed lower right 11 by 21 in. w/frame 16 ½ by 26 ½ in. Charles Charl...

A very early, seminal work by this highly important British artist dating to 1893. The artist was a good friend of John Singer Sargent and they painted together around Europe. The...

Alfred Henry Vickers 1836 - 1919. Popular painter of rustic and continental landscapes, often on a small scale, grandson of Alfred Vickers senior. Original frame. Title inscribed v...

Untitled Pair of Portraits, c. late 19th century Oil on canvas 20 x 16 in. Framed: 22 x 19 1/4 x 1 in. One painting initialed lower right Both inscribed verso on stretcher bar

This late 19th-century maritime painting by George Stainton captures the dramatic return of a fishing boat to harbor, skillfully portraying the power of the sea and the resilience of...

Artist/ School: T. Turner (British, 19th century), signed and dated 1875 verso. Title: The Farmyard. Medium: oil painting on canvas, framed. Size: painting: 17 x 25 inches, fra...

Date: 1886 Medium: Oil on Board Dimensions: 14.00" x 17.00" Signature: Signed at Bottom Right Corner Wide Awake Magazine, Oct., 1886.

On stretcher bar: ESTATE OF VAN D. PERRINE

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...

Work on cardboard Golden wooden frame 35.5 x 49 x 2 cm

Haystacks at Sunset French Impressionist artist, late 19th century signed oil on canvas, unframed canvas: 11 x 14 inches provenance: private collection, France condition: old repairs...

Emilio Magistretti (Milan 1851 - Milan 1936) - Girl with tiger. 67 x 56 cm without frame, 83 x 72 cm with frame. Antique oil painting on canvas, in a contemporary carved and lacque...