Late 19th Century Paintings

Medium: Gouache Signature: Signed Lower Right a slave with shackles on the ground behind him appealing to Abraham Lincoln with the Civil War battle s...

GODCHAUX Emile (1860) Compositions of Fruits in Pair Oil on canvas signed low right Old Frames gilded with gold leaves Dim canvas (each) : 46 X 55 cm Dim frame (each) : 61 x 79 cm G...

original and certificated by gallery

Jean Pradel French, 1835-1892 Port de Peche Mediterranean Oil on canvas 23 ¾ by 39 ⅝ in, w/ frame 33 ⅝ by 49 ½ in Signed lower right He exhibited in many salons including the Unive...

Oil on canvas 38 x 29. 1/2 inches (96.5 x 74.9 cm.) Framed: 51 x 42 inches Signed lower right: Aimé Perret Aimé Perret participated regularly in the Salon in Paris, from 1870 to 188...

BACHMANN Alfred Félix August (1863-1956) Walking by the Antique Ruins Oil on canvas signed low right Frame gilded with gold leaves Dim canvas : 54 X 65 ...

MARTIN DES AMOIGNES, Paul Louis (1850-1925) Puppet theatre on the village square Oil on canvas signed low right Dated 14th of July 1884 Old original f...

An exquisite Berlin painted rectangular porcelain plaque of a wistful young beauty, standing beside a fence in a landscape, in the manner of Baron Bodenhausen. Maker: K.P.M. Origin:...

A beautiful 19th Century Northern European School genre, as a young gentleman poses a question to the young lady, as the father looks on. All is original and with the period frame. A...

In this atmospheric Maine harbor view, the grey tone of the fog enveloping the sea and sky lend an air of realism to a striking composition. Granite and green are the colors of the Maine Coast...

Maritime paintings of the late 19th Century often give great insight into the massive transition which happened in shipbuilding in that period: the end of the sailing ships as mercha...

KPM and inscribed n. C. Kiesel, titled Orientalin in red to the underside, with underglaze blue scepter mark and impressed letters and numbers. Origin: German Date: Late 19th Centur...

It is subjectively proven that artistic inspiration strikes individuals in varied and unique ways. In this single painting, an appreciative audience may examine how the early luminou...

Medium: Gouache and Pencil on Board Signature: Signed Lower Left Carter's Monthly, February 1898, cover illustration. Newly Framed.

GODCHAUX Emile (1860) Big Composition of roses with Oil on canvas signed low right Frame gilded with gold leaves Dim canvas : 90 X 129 cm Dim frame : 118 x 159 cm GODCHAUX Emile (1860 - nc) French School - 19th century - Born in 1860 Painter of genre scenes, landscapes, waterscapes, marines, flowers, still lives. He sold his paintings on the public place, and sometimes in Lotteries. He is related to Alfred Godchaux...

Oil on board, signed 'W.H. Jones' bottom right Image size: 8 1/2 x 11 1/2 inches (21.5 x 29.25 cm) Framed Inscribed on reverse 'The Old Quay, which ceased to exist after the coming ...

Henri Langerock (1830-1915) Belgium Watercolor of a Prowling Lion in the Jungle. Watercolor on paper on board under archival glass with new frame. Measures: Sight: 18.5" x 11.5" inc...

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...

Medium: Pen, Ink, and Wash Details over Printed Background Signature: Printed Signature in Image, Right. Opening page for the July 1897 isssue of The Inland Printer...

AMEDEO SIMONETTI Italian, 1874-1922 Writing a Letter Signed ‘Amedeo Simonetti’ Oil on canvas 30 x 20 inches

"Cattle Watering in a Summer Landscape" by Eduard Spoerer is an impressionistic antique painting measuring 23x36 in. It is framed in the original ornate...

Oil on cardboard mounted on canvas, signed lower right Image size: 9 x 7 1/4 inches (23 x 18.5 cm) Original gilt frame This painting shows a horse standing in profile in front of, w...

The most important maritime center in the 19th century, Liverpool, had many advantages. Located on the England-facing west coast of the Irish Sea, the Mersey approach was wide, deep and actively associated with all aspects of shipping. It also faced northwest, as the distressed fleet in Witham's work has discovered on a stormy February 8, 1881. To the rescue of the 12 ships, the Pilot Schooner No.2, LEADER, signals the fleet to follow, using the pre-1900 commercial code signals "l w c". She has waited for the rising tide and keeps the line tight to the red starboard buoy, Q1, which marks the beginning of the Queen's Channel. Within a span of hours, all twelve ships were led successfully to their docks. Witham painted the scene in conjunction with the great acclaim the Pilots received in 1881, and it became so popular that he painted additional works marking the event over time. His local contemporary, Samuel Walters...

Raoul M. de Longpre paints a beautiful still life rendering of a bushel of lilacs with a unique gold border in his work entitled, “Lilacs.”

Edward Francis Rook American, 1870-1960 Brittany Oil on Canvas 30 by 30 in. W/frame 38 by 38 in. Signed lower left Circa, 1898-1900 Rook, born in New York City on September 21, 1870, became one of the most original impressionists at Old Lyme. First he was a student of Benjamin Constant and Jean-Paul Laurens at the Académie Julian.  Life started out to be rather promising for Rook, around the turn of the century.  He exhibited at the Cincinnati Art Museum and at the Pennsylvania Academy of the Fine Arts, both in 1898, when his harbor scene, entitled Pearl Clouds — Moonlight was reproduced in International Studio, in April.  In addition, the PAFA presented him with the Temple Gold Medal for Deserted Street, Moonlight, which the Academy purchased.  Three years later, Rook was awarded a bronze medal at the Pan-American Exposition in Buffalo, where he exhibited three landscapes.  Caffin (1902, p. xxxvi) praised the artist's "translucent quality of color," which suggests a study of color theory.  Also in 1901, Rook married Edith Sone.  For most of 1902, the Rooks were in Mexico. Rook came to Old Lyme in October of 1903.  The date is significant because Childe Hassam was also there that month.  Hassam would more or less re-orient the artists' colony from Tonalism to impressionism.  Rook would move there permanently two years later.  He took two medals at the St. Louis Universal Exposition (1904) where his landscapes from the Mexican trip were displayed.  More awards followed: a silver medal at the International Fine Arts Exposition in Buenos Aires, 1910, a gold medal at San Francisco's Panama-Pacific International Exposition in 1915,  a Corcoran Bronze Medal, and a William A. Clark Award in 1919 for Peonies.   By 1924, the artist was made a National Academician.  Despite all these awards and recognition, Rook did little in the way of selling his art and reportedly, his prices were too high.  His paintings were handled by Macbeth and Grand Central Art Galleries. Rook was active in Old Lyme's art community.  As stated above, he would have met Hassam that October in 1903 but Willard Metcalf had departed at the end of the summer.  As several writers have explained (Connecticut and American Impressionism, 1980, p. 123), Hassam "was the catalyst around whom [impressionism] coalesced."   Rook's niece, Virginia Rook Garver, who happened to be the grand-niece of Hassam, confirmed that Rook and Hassam knew each other in Europe — before they went to Old Lyme (Fischer, 1987, p. 19).  Rook was one of the relatively young painters to come to Old Lyme, along with Gifford Beal, William Chadwick, and Robert Nisbet, on the wave of impressionism, initiated there by Hassam and Metcalf.  Old Lyme became a center of American impressionism, and as Donelson F. Hoopes remarked, "under Hassam, the shoreline of Connecticut became a kind of Giverny of America."  Among Ranger's group, palettes started to become lighter, except those of the most determined tonalists.  Ranger himself, perhaps admitting defeat, moved to Noank in 1904.  Rook is best known for his views of Bradbury's Mill, which was soon called Rook's Mill, owing to the painter's many versions of the scene.  One, called Swirling Waters, dated ca. 1917, is in the Lyme Historical Society.  Even more famous is Rook's Laurel, dated between 1905 and 1910 (Florence Griswold Museum), in which a profuse laurel bush (the state flower), is set off by a spectacular Constable-like background.  But Swirling Waters could never be confused with Constable, with its violent brushwork, impasto-layered water, and bright, almost chalky, plein-air palette.  Gerdts (1984, p. 226) compares the paintings of Walter...

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...

dated ‘Juli 94’ (lower left)

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

Otto Bache (1839-1927) Italian team. Oil on canvas signed lower right. The Danish artist Otto Bache was already ten years old student of the Academy of Arts in Copenhagen and a stud...

This beautiful impressionist oil-on-canvas painting entitled ‘Spring Air’ is over one hundred years old and is by the artist Isidoor Verheyden (1846-1905). Verheyden was a Belgian...

Using what Sarah Burn’s calls the nineteenth-century artist’s “transformative power of personal vision,” Luther Emerson Van Gorder created brilliant impres...

Signed Lower Right by Artist Illustrated for the cover of The Girls of Canby Hall, Trouble Maker" By Emily Chase. Published by Scholastic in June 1987.

AMEDEO SIMONETTI Italian, 1874-1922 The Merchant Signed Amedeo Simonetti Watercolor on paper 21 x 14 inches Framed: 27 1/2 x 20 1/2 inches

This highly detailed harbor scene features many ships of various types, something British Royal Naval officer and artist Commander Charles Lodder would have seen in his everyday life...

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...

Medium: Oil on Canvas Signature: Signed Lower Right

Signed lower right & dated 1888.

Medium: Gouache on Several Pieces of Collaged Watercolor P Signature: Signed Center Right Original art for the Art Supplement to The Philadelphia Inquirer's July 25, 1897 issue Acc...

This fine pair of oil paintings depicts two views of a beachside harbour, each view centred about the genre scene of a fisherman with his wife. In the first painting, a fisherman sit...

Story illustration for “In the Carquinez Woods” by Bret Harte, published in the book The Writings of Bret Harte, Volume IV: Stories of California and the Frontier II (Boston and New ...

Medium: Oil on Canvas Dimensions: 28.00" x 22.00" Signature: Signed Lower Right

Ritratto del fratello minore di Napoleone Bonaparte, Lucien, realizzato con la tecnica della scagliola, una tecnica di intarsio che, dalla fine del Cinquecento ai primi anni del Seic...

Signed Bottom Center

Georgette Nivert (French, c. 1900) - The Spanish Women. 54 x 65 cm. Old oil painting on canvas, without frame. - Work signed lower left: "G. Nivert...

This painting by Orientalist artist Rudolf Ernst depicts a Muslim man in quiet contemplation during prayer. He kneels in solitude in the vast desert as the light fades around him. Ma...

Edward Moran (American, 1829 - 1901) Boy with Dog on Dock Oil on canvas Signed lower left 22 x 36 inches Provenance: Sotheby's Sale no. 3255 Oct. 27-28, 1977 Page 58 Price on reques...

A Day in June, Scene Eastchest, New York Edward Gay (Irish, American, 1837-1928) Oil on Canvas Complimented by original frame in great condition Signed and Dated Lower Right Titled a...

Victor Gabriel Gilbert (1847–1933) holds a significant place in the history of French painting, primarily for his evocative depictions of everyday life and his mastery in capturing t...

Purchased at Drouot-Richeleu, June 15th, 2001 Commissaire-Prisseur: Maitres Marie-Francoise CHOCHON BARRE/ Jean-PhilliPpe ALLARDI Victor Gabriel Gilbert was a French painter whose ...

A Golden Light Through the Beechwoods Harvey Joiner (American, 1852-1932) Frame and painting in fantastic condition being kept in original shadow box! 4 x 8 inches 10 x 14 inches with frame 11.5 x 15.5 inches in shadow box Like his contemporary Alexander Drysdale of New Orleans, Kentucky artist...

The greatest triumph of the artist’s career, this extraordinary and monumental oil on canvas by Gustave-Max Stevens perfectly represents the highly detailed compositions and richly h...

Oil on canvas, signed and dated '1879' bottom right Image size: 38 x 59 1/2 inches (96.5 x 151 cm) Ornate Orientalist style gilt frame Carl Werner Carl Friedrich Heinrich Werner wa...

Daniel Ridgway Knight "A Thoughtful Moment" Oil on Panel Signed Lower Left "Ridgway Knight, Paris" Framed Size: 12.5 x 14.5 inches Site Size: 8.5 x 11.5 inches Daniel Ridgway Knigh...

A late 19th century British Society portrait oil painting of a beautiful young debutante by Victorian artist Annie Louisa Swynnerton which is signed and dated 1893. It has been sugge...

Mid-day, Zuni Village, 1897 By. Frank Reed Whiteside (American, 1866-1929) Unframed: 20" x 30" Framed: 28" x 38" Frank Reed Whiteside, born in Philadelphia on 20 August 1867, became a student of Thomas Anshutz at the Pennsylvania Academy of the Fine Arts (1888-92). He already began exhibiting there during his student years (1887-98). In 1893, he enrolled in the Académie Julian in Paris where he received instruction from Jean-Paul Laurens and Benjamin Constant. After his French academic training, Whiteside taught art in Philadelphia high schools. He took frequent trips to the Southwest between 1890 and 1928 to live with and paint the Zuni Indians. Whiteside depicted ceremonial dances, Zuni buildings, and other genre scenes, usually in blinding afternoon sunlight. He carefully observed the effects of light on vibrant color, using a finely crafted impressionist technique. He was fond of broad areas of color, subtle combinations of hues, and simplified shapes and silhouettes. Whiteside continued to exhibit at the PAFA (1905-15), at the Art Institute of Chicago (1896-1916), at the Carnegie International (1905 and 1907) and at the Corcoran Gallery (1907). He was a member of Philadelphia art societies and beginning in 1909 had a summer studio in Ogunquit, Maine, where he took part in Hamilton Easter Field's discussion groups. Frank's wife, Clara Walker Whiteside, who published Touring New England in 1926, was active in the Ogunquit Art Association. Like Stanford White, Frank Reed Whiteside was the victim of murder, on 19 September 1929, but Whiteside's case remains unsolved. One night, the sixty-three year-old painter answered the doorbell. Two witnesses...

Monsieur lisant a la lumiere de la fenetre By. Louis Mettling (French, 1847-1904) Signed Lower Right Unframed: 16" x 10" Framed: 28.5" x 23" Louis Mettling...

Robert Deborne French 1870 - 1944 Viviers Oil on canvas, signed lower right Image size: 25 3/4 x 20 1/2 inches Gilt frame Robert Deborne (1870-1944) ...

David Hayes (1931 - 2013) Study for Monumental Sculpture, 1987 Gouache on Paper 26 x 22 in