Late 19th Century Paintings

Antique French still life of cherries and a copper bowl, signed in the top left corner and dated 1870. This wonderful old still life in a heavy frame, is atmospheric, dark and moody...

Signed Bottom Center

Armand LELEUX Paris, 1818 – Dardagny (Switzerland), 1885 The Abbot's Servant Oil on canvas signed lower right "Armand Leleux" 73.5 x 61 cm (87 x 70.5 cm with the frame) Painting exhi...

German realist painter (19th century) - Two children playing with a trained dog. 56.5 x 46.5 cm without frame, 69 x 59 cm with frame. Antique oil painting on canvas, in a gilded wo...

Beautiful and interesting watercolor painting on paper attributed to the great Neapolitan artist Domenico Morelli. It depicts one of his favorite subjects, namely an oriental woman c...

Beautiful painting in gouache technique depicting a distinguished young lady. The noblewoman presents a pose of rare elegance, with one hand resting on a planter and the other holdin...

An important oil on panel painting by the great Tuscan artist Ruggero Panerai. It depicts one of his favourite and most successful subjects, wild horses portrayed in a natural pose o...

Beautiful oil painting on canvas depicting the Roman Forum, in particular the Temple of Jupiter Stator. An important example of Grand Tour painting, this wonderful painting evocati...

Beautiful and important painting by the great Dutch artist Karel Klinkenberg who lived at the turn of the 19th and 20th centuries. It depicts a canal in Utrecht depicted with his usu...

Beautiful, evocative watercolor attributed to the great Emilian artist Alberto Pasini. It depicts, captured with rare intensity, a building taken up several times in other paintings...

An important painting by one of the most representative Italian artists of the 19th century, Enrico Coleman. It depicts a village most probably from Lazio, perhaps a glimpse of Antic...

Beautiful and exciting tempera painting by the great artist of the Posillipo School Girolamo Gianni. It depicts a striking view of the Gulf of Naples with Vesuvius and Castel Sant'El...

Important watercolor painting representing a beautiful view of Rome with the Tiber, Castel Sant'Angelo and the dome of St. Peter's in the background. A typical work in the vein of th...

In this beautiful painting, the great Neapolitan artist Michele Cammarano performs one of his favourite subjects: descriptions of battles and settings with a military theme. Our impo...

19th Century Italian Signed and Located Painting Beautiful and rare oil on canvas painting by the great Lombard painter Eugenio Spreafico. It best represents the talent of this gre...

Triptych of Highland Mountains and River comprises three oil paintings by famed plein air artist Alfred de Breanski Sr., presenting a studies of the same mountain and river from diff...

Signed oil on paper laid on board figures in landscape circa 1890 by French Neo-Impressionist painter Albert Dubois-Pillet. This pointillist piece depicts and elegant couple enjoying...

signed lower right

Signed and titled lower left: Gaston Roullet (indistinguishable) Valenciana

Signed lower left

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

Wooded Landscape with Cattle By James Desvarreux-Larpenteur (American, 1847-1937) Unframed: 22" x 18" Framed: 27.5" x 31.5" Signed Lower Right Born i...

FABIAN DE LA ROSA Filipino, 1869 - 1937 "FILIPINO GIRLO COMING DOWN THE STEPS" signed & dated "F. de la Rosa, 1894" (lower right) oil on canvas 42-3/4 x 23-3/4 inches (108 x 60...

FABIAN DE LA ROSA Filipino, 1869 - 1937 FILIPINO FARM WORKERS IN HORSE CARRIAGE signed & dated "F. de la Rosa, 1894" (lower left) oil on canvas 42-3/4 x 2...

The Little Red Lighthouse, New York By Gustave Wolff (1863-1935) Signed Lower Right Unframed: 14" x 19.25" Framed: 20.25" x 25.25" Painter Gustav Wolff ...

Materials: Oil and paper cut outs on canvas.

George Inness (1825 - 1894) A Cloudy Day, 1886 Oil on canvas 25 x 30 inches Signed and dated lower center Provenance: The artist Estate of the above Fifth Avenue Galleries, New York, Executor's Sale of Paintings by the Late George Inness, N.A., February 12 - 14, 1895, Lot 132 Joseph H. Spafford, acquired from the above Mrs. Spafford, by bequest from the above Leroy Ireland, New York, 1951 Ernest Closuit, Fort Worth, Texas Meredith Long & Company, Houston, Texas, circa 1960 Private Collection Shannon's Fine Art, American and European Fine Art Auction, October 27, 2016, Lot 42 Exhibited: New York, American Fine Arts Society, Exhibition of the Paintings Left by the Late George Inness, December 27, 1894, no. 90.  Literature: LeRoy Ireland, The Works of George Inness: An Illustrated Catalogue Raisonne, Austin, Texas, 1965, p. 336, no. 1324, illustrated. Michael Quick, "George Inness: A Catalogue Raisonne," Vol. II, New Brunswick, New Jersey, 2007, pp. 282-83, 311, no. 966, illustrated.  George Inness, one of America's foremost landscape painters of the late nineteenth century, was born in 1825 near Newburgh, New York. He spent most of his childhood in Newark, New Jersey. He was apprenticed to an engraving firm until 1843, when he studied art in New York with Regis Gignoux, a landscape painter from whom he learned the classical styles and techniques of the Old Masters. In 1851, sponsored by a patron, Inness made a fifteen-month trip to Italy. In 1853 he traveled to France, where he discovered Barbizon landscape painting, leading him to adopt a style that used looser, sketchier brushwork and more open compositions, emphasizing the expressive qualities of nature. After working in New York from 1854 to 1859, he moved to Medfield, Massachusetts, and four years later to New Jersey, where through a fellow painter he began to experiment with using glazes that would allow him to fill his compositions with subtle effects of light. Duncan Phillips remarked on Inness’s mellow light as a unifying force, saying, “…he was equipped to modernize the grand manner of Claude and to apply the methods of Barbizon to American subjects." At this time also, Inness developed an interest in the religious theories of Emanuel Swedenborg...

Young girl from Tetouan, Morocco Signed (center right) Oil on canvas In this important oil on canvas, French Orientalist painter Charles Landelle captures the engaging visage of a young Moroccan woman in a moment of tranquil contemplation. Seated on the floor of what is almost certainly an opulent riad, the young woman wears an intricately embroidered Moroccan kaftan and headdress. The sumptuous patterns on the floor and in the background lend an additional warmth to the strikingly vivid red hues which dominate the composition and are a hallmark of Landelle’s work. The symbols behind the young woman may represent either the Jewish Star of David or the Islamic Seal...

Thaddeus Welch (American 1844-1919) The Columbian Exhibition, the 1893 Chicago World’s Fair 70 x 35”, oil on board signed Request Price The C...

The Young Shepherdess by Charles Amable Lenoir (1860-1926) Oil on canvas 48 x 32 inches unframed (121.92 x 81.28 cm.) 58 ½ x 42 ¾ inches framed (148.59 x 10...

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...

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 ...

'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...

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...

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...

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...