Late 19th Century Paintings

Bernard Pothast "The Reading Lesson" Oil on Canvas Signed Lower Right 25 x 30 inches 30.5 x 35.5 inches framed Born in Belgium, Bernard Pothast travel...

Fabulous oil on canvas painting by the British artist, William Livingstone Anderson. Signed lower right and dated 1886. Condition is very good. The painting is its original elaborate...

Framed Size: 25.5 x 23 inches Joseph Gyselinckx was born in 1817. He was a genre painter in Antwerp. The artist was a student of F. de Brakeleer. He had two paintings included in ...

A late 19th Century French Impressionist landscape by Albert Lebourg. Signed bottom right. In gilt frame. Albert Lebourg (French, 1849–1928) was an Impressionist and landscape paint...

JOSÉ BENLLIURE Spanish, 1855 - 1937 TIME FOR DISCUSSION signed "J. Benlliure" (lower left) oil on wood panel 5-1/8 x 8 inches (13 x 20 cm.) framed: 12-1/2 x 14-3/4 inches (31.5 x 37.5 cm.) PROVENANCE Private Spanish Collection José Benlliure Gil (30 September 1855, Valencia – 5 April 1937, Valencia), was a Spanish painter. He was born at Cañamelar, Valencia, studied painting under Francisco Domingo Marqués, and showed from the first such marked talent that he was sent to the Spanish school in Rome. From 1903 to 1913, he was director of the Spanish Academy of Fine Arts. He was one of the select circle pensioned by the Spanish government for residence in Italy and executed several state orders for the decoration of public buildings; but he owes his chief fame to his large historical paintings, notably the "Vision in the Coliseum." He became the leader of the Spanish art colony in Rome, where he practised as painter and sculptor. He married Maria Ortiz...

JOSÉ BENLLIURE Spanish, 1855 - 1937 AT THE INN signed "J. Benlliure" (lower right) oil on wood panel 8-1/2 x 12 inches (21.5 x 30.2 cm.) framed: 19 x 22-1/8 inches (48 x 56 cm.) PROVENANCE Private Spanish Collection José Benlliure Gil (30 September 1855, Valencia – 5 April 1937, Valencia), was a Spanish painter. He was born at Cañamelar, Valencia, studied painting under Francisco Domingo Marqués, and showed from the first such marked talent that he was sent to the Spanish school in Rome. From 1903 to 1913, he was director of the Spanish Academy of Fine Arts. He was one of the select circle pensioned by the Spanish government for residence in Italy and executed several state orders for the decoration of public buildings; but he owes his chief fame to his large historical paintings, notably the "Vision in the Coliseum." He became the leader of the Spanish art colony in Rome, where he practised as painter and sculptor. He married Maria Ortiz...

Georges Jean Marie Haquette "Fishermans Daughter" Original Oil Painting 19th C. W/Matching Engraving Original oil on wooden panel Dimensions 8.5" wide x 10.25" high The frame meas...

Antique American school 19th century Hudson River School oil painting. No signature found. Unframed. Image size, 12H x 19 3/4L

Edward Armfield (1817-1896) "A Bustle in the Barn" c. 1880 Oil on Canvas Signed Lower Right Canvas Size: 24 x 20 inches Framed Size: 36 x 31.5 inches

Artist/ School: French School, late 19th century, indistinctly monogrammed upper left corner. Title: Portrait of a Bearded Man Medium: oil painting on canvas laid to board, unframe...

Arthur A Davis, (British fl 1877-1905), 'Resting' Framed watercolour, signed, 59 x 47cm / 36 x 26cm Arthur A Davis was well known for his dogs, his name is synonymous with Victor...

'The Harvest' is a stunning pastoral scene by Victor Gabriel Gilbert. Victor Gabriel Gilbert was born in Paris, 13th February 1847. He studied for a perio...

Framed Size: approx. 37 x 55 inches Canvas Size: approx. 24 x 41.5 inches Thomas Rose Miles (British, 1844 - 1916) The grandeur of the oceans has always inspired artistic endeavors. Over, under and upon the boundless seas, dramatic vignettes take shape, and humans set to capture the array of the aquatic muse. Thomas Rose Miles was one such inspired artist, to illustrated the strength of his muse, who wrote poetic verse on the verso of nearly every painting he performed. The sea's beauty is most often shown in direct competition with its power and unpredictable nature on his canvases and watercolors. He includes the human element, usually over-matched yet persevering against the heavy swells and weather-driven might, carrying on the Marine Art Legacy that was birthed in the best of the Dutch Maritime...

Diminutive late 19th century maritime oil painting of the Reina Mercedes ship in the harbor of Havana, Cuba by an unknown artist, 1...

Antique English sporting art collie dog portrait oil painting by Robert Alexander (1840 - 1923). Oil on board, circa 1877. Signed. Displayed in ...

This painting “Afternoon Tea”' shows the influence of Auguste Renoir, with whom Abel Faivre had been close friends since about 1893. Oil on can...

Medium: Oil on Wood Panel Signature: Signed ‘Parrish’ (On the Reverse) Finished painting done as a prototype for the mural at the University of Pennsylvania LITERATURE L.S. Cutler ...

Bernard DeHoog (1867-1943) "Mother and Children" Oil on Canvas Signed Lower Left Site Size: approx. 32.5 x 39.5 inches Framed Size: approx. 39 x ...

In original ornate gilt-plaster frame. Exhibited: National Academy of Design, New York, 1883, No. 56. Ripe Enough to Gather appears to be the first painting Charles Storer exhibit...

Medium: Oil on Panel Signature:Signed & Dated Lower Right, ii: Signed & Dated Lower Left Literature: Coy Ludwig, Maxfield Parrish, New York, 1973, p. 153, nos. 194-95, illustrated...

Charles Harold Davis (1856-1933) "Gray Brothers" Oil on Canvas Signed Lower Left Canvas Size: 30 x 24 inches Framed Size: 35 x 30.5 inches Born in Amesbury, Massachusetts, Charles ...

Clement Nye Swift "Breton Chores" 1870 Oil on Canvas Signed and Dated Lower Right Canvas Size: approx 27 x18 inches Framed Size: approx 34 x 35 inches Provenance: Private Midwes...

Auguste Toulmouche (1829-1890) "A Lovely Reflection" 1874 Oil on Panel Signed and Dated Lower Left Site Size: approx 17 x 14 inches Framed SIze: approx. 27.5 x 24 inches Provenan...

William Henry Howe (1846-1929) "Made in the Shade" 1887 Oil on Canvas Signed and Dated Site Size: approx. 14.5 x 21.5 inches Frames Size: approx. 17.5 x 24.5 inches Provenance: Private Collection, St. Louis, Missouri thence by descent William Henry Howe was born in Ravenna, Ohio in 1846. Of him it was written: "In the late nineteenth century no American artist was more thoroughly identified with the painting of cows than William Henry Howe." (Richter 128). In a style that combined Tonalism and Realism, he was a painter of light-filled pastoral landscapes that sometimes had sheep as well as cattle tended by their shepherds and herders. He began a career as a businessman in St. Louis, and in his mid-thirties, changed course and went to Dusseldorf Germany to study art at the Royal Academy. In 1881, he went to Paris and studied with animal painters Felix Vuillefroy and Otto de Thoren. He also exhibited his work at the Paris Salons and the Paris Universal Exposition of 1889. Travels in Holland in the 1880s with other artists inspired his interest in pastoral subjects, and during that time he began his cattle paintings...

Alfred Guillou (French 1844-1926) "A Fresh Catch" Oil on Canvas Signed Lower Left Canvas Size: approx 18 x 24 inches Framed Size: approx 24 x 30 inches...

George W. Chambers “Poor Man’s Flock” 1897 Oil on Canvas 23.5 x 37.5 inches/42 x 57 inches framed approx. In Original Frame Provenance: The Artist thence by Descent; to Private Mi...

Hans Hamza (Austrian 1879-1945) In the Study Oil on Panel Signed Site Size: approx. 8 x 6 inches Framed Size: approx. 14 x 12 inches

KPM Porcelain After Angelo Asti (French, 1847-1903) "Épanouissement" c. 1900 With Original Gold Gilded Frame Image Size: approx. 6 x 4 inches Framed Size: approx. 9 x 6 inches Eve...

KPM Style German "Napoleon" c. late 19th c. Signed "Bock" Original Hand-Painted Porcelain Marked Verso approx 7 x 5 inches/approx 10 x 8 framed

KPM Porcelain "Queen Louise" c. late 19th century Original Hand-Painted Porcelain Signed "R. Dittrich" Since 250 years, the royal sceptre brand stands fo...

Marguerite Hand Painted Porcelain w/crown stamp #107 Signed "Wagner" Original Gilded Florentine Frame approx 6 x 4 inches /approx 14 x 8 inches framed Since 250 years, the royal sc...

Sevres 19th C. Original Hand Painted Porcelain Signed "G Poitevin" approx 9 x 5 inches/15 x 12 framed The vast and diverse production of the Sèvres factory in the nineteenth century resists easy characterization, and its history during this period reflects many of the changes affecting French society in the years between 1800 and 1900. Among the remarkable accomplishments of the factory was the ability to stay continuously in the forefront of European ceramic production despite the myriad changes in technology, taste, and patronage that occurred during this tumultuous century. The factory, which had been founded in the town of Vincennes in 1740 and then reestablished in larger quarters at Sèvres in 1756, became the preeminent porcelain manufacturer in Europe in the second half of the eighteenth century. Louis XV had been an early investor in the fledgling ceramic enterprise and became its sole owner in 1759. However, due to the upheavals of the French Revolution, its financial position at the beginning of the nineteenth century was extremely precarious. No longer a royal enterprise, the factory also had lost much of its clientele, and its funding reflected the ruinous state of the French economy. However, the appointment in 1800 of Alexandre Brongniart (1770–1847) as the administrator of the factory marked a profound shift in its fortunes. Trained as both an engineer and a scientist, Brongniart was both brilliant and immensely capable, and he brought all of his prodigious talents to the running of the troubled porcelain factory. He directed the Sèvres factory as administrator until his death in 1847, and during those five decades influenced every aspect of its organization and production. Much of the factory’s old, undecorated stock was immediately sold off, and new forms—largely in the fashionable, more severe Neoclassical style—were designed to replace out-of-date models. The composition for hard-paste porcelain was improved, and the production of soft paste, for which the factory had been famous in the previous century, was abandoned in 1804. New enamels colors were devised, and Brongniart oversaw the development of a new type of kiln that was both more efficient and cost-effective. Much of the factory’s output during Brongniart’s first decade reflected the prevailing Empire taste, which favored extensive gilding, rich border designs, and elaborate figural scenes (56.29.1–.8). Backgrounds simulating marble or a variety of hardstones were employed with greater frequency (1987.224); the new range of enamel colors developed under Brongniart made it easier to achieve these imitation surfaces, and it is thought that his interest in mineralogy provided the impetus for this type of decoration. For objects produced in sets, such as dinner, tea, and coffee services, and even garnitures of vases, Brongniart preferred decorative schemes that linked the objects in terms of subject matter as well as stylistically. Dinner services were given coherence by the use of an overall theme, in addition to shared border patterns and ground colors. One of the best examples of this can be found in the “Service des Départements,” which was conceived by Brongniart in 1824 (2002.57). Each of the plates in the service was decorated with a famous topographical view of the département (administrative unit) of France that it represented, and its border was painted with small cameo portraits of figures from the region, as well as symbols of the major arts, industries, and products of the area. This same type of thematic unity is found on a coffee service produced in 1836 (1986.281.1ab–4). All of the pieces of the service are decorated with scenes depicting the cultivation of cacao, from which chocolate is made, or various stages in the preparation of chocolate as a beverage. The compositions were conceived and executed by Jean Charles Develly, a painter at Sèvres who was responsible for many of the most ambitious dinner services produced at the factory during Brongniart’s tenure. The range of objects produced in the first half of the nineteenth century was enormous, as were the types of decoration that they employed. A recent exhibition catalogue devoted to Brongniart’s years at Sèvres indicates that ninety-two new designs for vases were introduced, as were eighty-nine different cup models, and the types of objects produced by the factory included every sort of form required by a dinner or dessert service, coffee and tea wares, decorative objects such as vases, and functional objects such as water jugs, basins, and toiletry articles. A new form rarely replaced an older one; the range of production simply increased. The same was true with types of decoration, as the factory was working in a wide variety of styles at any given time. From the earliest years of the Sèvres factory, its painters had copied not only contemporary compositions but also prints and paintings from earlier periods. However, under Brongniart, the factory sought to copy famous paintings with the specific intention of recording the “true” appearance of works increasingly perceived to be fragile. Works by a wide variety of artists were copied, but those by Raphael were especially popular. Raphael’s stature is reflected in a vase of 1834 in which a cameo-style portrait of the artist decorates the primary reserve, while on the back an artist’s palette is encircled by the names Titian, Poussin, and Rubens (1978.373). Just as works by earlier artists were copied, so too were decorative techniques of previous centuries. The interlace patterns of so-called Saint-Porchaire ceramic ware of the sixteenth century served as the inspiration for the decoration on a cup of 1837 (2003.153). The form of the cup itself derives from Renaissance silver forms made in Italy and France. However, the palette of vibrant reds, greens, blues, and yellows contrasts markedly with the muted browns and off whites of Saint-Porchaire wares and reflects the reinterpretation of historical styles that was characteristic of so much of nineteenth-century decorative arts. Interest in the Gothic style emerged early in Brongniart’s tenure at Sèvres and remained popular for much of the nineteenth century. Strict adherence to Gothic motifs was rarely observed, however, and the Gothic style was more evoked than faithfully copied. This tendency is reflected in a pair of vases (1992.23.1) for which the model was designated vase gothique Fragonard (named after the vase’s designer, Alexandre Evariste Fragonard [1780–1850]. The Gothic elements lie more in the painted decoration than in the form itself, and the style of the painting reflects a Renaissance technique rather than a medieval one. The palette of grays and whites on a blue ground instantly recalls the enamel-on-copper wares produced in Limoges, France, in the sixteenth century, and its use on these vases indicates the willingness to freely mix artistic styles and techniques of different periods in order to achieve new aesthetic effects. The eclecticism and historicism that characterized so much of the production during Brongniart’s tenure continued after his death in 1847. The factory’s output reflected an ongoing desire for technical innovation as well as a wide embrace of diverse decorative styles that were employed simultaneously. A tea and coffee service of 1855–61 (69.193.1–.11) embodies the selective borrowing of forms and motifs that is found so frequently in Sèvres production of the middle decades of the nineteenth century. The shapes used for the different components of the service evoke both China and the Near East, an obvious allusion to the origins of the two beverages. The openwork decoration refers directly to Chinese ceramics made in this technique, and the decoration employs a variety of Chinese emblems. However, the palette of pink and gold, entirely European in character, serves to neutralize the Asian aspects of the service. Perhaps the only thread that can be said to run through much Sèvres production of the nineteenth century is the proclivity to borrow freely from various historical styles and then to either reinterpret these styles or combine them in unprecedented ways. A standing cup of 1879 (1990.238a,b) draws upon silver cups of the Renaissance for its form, but in this instance the size of the porcelain cup dwarfs any of its metal prototypes. Its style of decoration derives from Limoges painted enamels of the sixteenth century, but the prominent use of gilding throughout reflects its wholly nineteenth-century character. This cup was presented by the French government to one of the first-prize winners at the 1878 Exposition Universelle. It was with the advent of the Art Nouveau style at the very end of the nineteenth century that historicism lost its grip at Sèvres, and indeed throughout the decorative arts, and forms inspired by nature and often characterized by asymmetry become dominant. This reliance upon natural forms is fully evident in a coffee service of 1900–1904 (1988.287.1a,b). The designer, Léon Kann...

KPM Porcelain "Ruth" c. 1900 Original hand-painted KPM Porcelain In Original Gilded Florentine Frame 7 x 4 (16 x 9 framed) Since 250 years, the royal sceptre brand stands for finest...

KPM Porcelain "Queen Louise" c. 1900 Original hand-painted KPM Porcelain approx. 14 x 11 inches approx. 21 x 15 inches framed Since 250 years, the royal ...

Presenting one of the earliest known paintings, Toy Mickey", by Belgian artist Jessica Rice (1942-2016.) This was painted only a year or two after Jessica settled in Los Angeles havi...

Wilfrid Constant Beauquesne (1847 - 1913) "Franco-Prussian Battle Scene" c. 1900 Oil on Canvas Signed Lower Right Site Size: approx 22 x 28 inches Framed Size: approx 35 x 40 inches French artistry was deeply influenced by three wars during the 19th century and, accordingly, the artistic imagination was not lost upon the public. "Patriotism comes to the aid of battle painters," a contemporary remarked, "presenting them with a sympathetic public already fascinated by the subject." After the brief Franco-Prussian conflict of 1870, French painters were particularly anxious to retrieve national pride by presenting works which reflected their own national heroism versus enemy brutality. Known for his scenic depictions of this war, Wilfried Beauquesne, a native of Rennes, France, was undoubtedly influenced in his selection of subjects by his instructors at the Ecole des Beaux Arts in Paris. Vernet-Lecomte and Horace Vernet were both well known military artists. Vernet had actually lived and worked during the period of Napoleonic conflicts - being awarded the Legion of Honor by the Emperor's own hand. Beauquesne exhibited regularly at the annual Paris Salon between 1887 and 1899, as well as throughout Europe. In 1890, illustrating the fortunes of life, The Art Amateur ran the following item in its "Gossip Column:" "A queer story comes to me from Paris. A commission agent made a bargain with a poor painter, living out at Saint-Maude, to paint military subjects for him, at two francs an hour. The agent changed the signature to that of Gaubault, and sold the pictures to various dealers. On day, by chance, the poor painter came to Paris, went to the Salon, and was astonished to see one of his pictures there. He look at the catalogue, and found the name of the artist and the address of the dealer where he was to be found, The poor artist went to the dealer and introduced himself saying, "I am Gaubault." "Most happy to make your acquaintance," replied the dealer. "Your pictures sell very well, and I have been wanting to see you for the last six years." "But my name is not Gaubault, it is Beauquesne." Explanations followed. The dishonest commission agent disappeared; and Beauquesne restored his real signature on the pictures, which had made his pseudonym almost famous...

Robert Robin Fenson (Active 1889-1914, British) "Sundown" Oil on Canvas 16 x 23.5 (site) 19 x 27 (framed)

James Edwin Meadows (British 1828-1888) "The Haywagon" 1866 Oil on Canvas Site: 24 x 40 inches Framed: 30 x 46 inches approx. A London landscape painter, James Edwin Meadows was the...

Interesting and well-painted American turn of the 19th-century animal scene of an interior of a barn with cows, calves, and chickens The piece has a great deal of charm and is very ...

LESSER URY 1861-1931 Międzychód, Poland 1861 - 1931 Berlin (German) Title: The Sculptor’s Studio Das Bildhauer Atelier, 1883 Technique: Hand Signed and Dated Oil on Canvas Pape...

Impressionist landscape with flowers by Ben Foster (1852 - 1926). Oil on board, circa 1890. Signed lower right. Displayed in a giltwood frame. Image s...

Signed lower right and signed verso Augustus Rockwell was born in 1822. Although not a primary member of the Hudson River School, his landscapes often display the delicate renderi...

A fine marine oil painting of a waterfront fishing shack and dock on the Martha’s Vineyard Coastline off Cape Cod, Massachusetts, by American artist Wesley Elbridge Webber (1841-1914). Webber was born in Gardner, Maine, lived in Boston from 1870 to 1890 and in New York City from 1892 and was self-taught. Webber served in the Civil War (Company B of the Sixteenth Maine Volunteer Infantry Regiment) and was present at General Lee’s surrender at Appomattox. His original sketches made at the surrender, along with his finished illustrations of the Civil War, were shown at the Boston Art Club and brought Webber considerable fame, recognition and fortune. He was discharged from Civil War service in Augusta, Maine, June 15, 1865 and he opened a studio in Gardiner, where he became a carriage painter. Webber shared a Boston studio with marine painter William P. Stubbs and kept other studios in New York City until his death. Every summer he went to Conway, New Hampshire to paint the Hillside, where painters John J. Enneking, Frank Shapleigh...

Ferdinand V.L. Roybet (1840-1920) "The Cellist" c. 1880s Oil on Panel Site: 20 x 14 inches Framed Size: 28 x 14 inches Ferdinand Roybet is considere...

James Fairman "Sunset" c. 1880 Oil on Canvas Signed Lower Left Site: 32.5 x 29.5 inches Framed: 46 x 42 inches James Fairman worked as a landscape painter, critic, lecturer, musicia...

Frank Hyde (British 1849-1937) "A Conundrum in the Kitchen" c. 1900 Oil on Canvas Signed Lower Left Image: 37.5 x 57.5 inches Framed: 44 x 64.5 inches From the Maidstone Museum, UK: Hyde was born in Surrey in 1849 and spent a large amount of time in London during his youth. His father had been in the army but retired to live the life of a gentleman upon inheriting the family seat, Hyde End Manor in Berkshire. Hyde, however, would later inherit and sell the Manor. As a young man, Hyde trained as an artist at the Royal Academy, London, and his subsequent career revealed striking artistic versatility. His subjects varied from the portrayal of real, dramatic events to comic characters commissioned by the card manufacturer Raphael Tuck. Starting out as a 1st Lieutenant in the Royal Engineers, Hyde moved on to begin his career as a war artist during the Franco-Prussian war of 1870-71, producing drawings for ‘The Graphic’, an illustrated weekly publication. Hyde married Constance Mary Louise Felgate in 1876, but she died less than a year later. While he travelled extensively throughout his life after Constance’s, death Hyde purchased a villa in Capri where he met Rosina Ferrara, whom he used as a model, and John Singer Sargent, with whom he shared a studio. Hyde is perhaps best known for his paintings of Capri...

L. Clarence Ball "The Gossips" 1885 Oil on Canvas Signed and Dated Site Size: approx 16 x 24 inches Framed Size: approx 23 x 31 inches Born in Mount Vern...

Framed Dimensions: 36.00" x 48.00" Signature: Signed Lower Right J.G Brown's "Monopolist" was listed in 1885's Spring Exhibit catalogue of M.A. It was displayed on a panel in The We...

Signed lower left John Gifford was active circa 1865/98. He was a Scottish hunting and landscape painter. Many works appear on the primary and secon...

Antique Barbizon school landscape with a boat and figure by Victor Viollet-le-Duc (1848-1901). Oil on board, circa 1875. Signed lower left, "V. Viollet-le-Duc". Displayed i...

John Syer was a landscape painter, and the father of James S (q.v.). Syer studied with J. Fisher, a miniaturist in Bristol and exhibited his works at the Royal Academy 1846 - 75, British Institute, Suffolk Street, New Watercolour Society, Grosvenor Gallery...

Impressionist landscape with a path. Oil on canvas, circa 1900. Signed lower right illegibly. Displayed in a period impressionist frame. Image size, 13"L x 19"H, overall 17"L x 2...

Signed lower left A prominent landscape and marine painter, Jules Eugène Pages spent most of his career in France where he was a well-known Impressionist painter, but he maintain...

An exceptional early watercolor by Scottish artist Andrew Black. "Scottish Marine", is an original watercolor, signed, c.1885, with an image dimesnion of 4 x 6 inches.