Late 19th Century Paintings

This intimate plein air study by Olof Arborelius captures the quiet beauty of a sunlit forest edge reflected in still water. The confident, spontaneous brushwork and delicate handlin...

Mill with Masted Ships in a Harbor Original Watercolor Early Watercolor of a coastal Mill with Schooners in a harbor, by an unknown artist. 1890-1915. The image depicts a watercolor...

Antique impressionist painting of a coastal seascape. Oil on canvas, circa 1900. Signed illegibly. Framed. Image size, 18L x 12H.

Alfred de Breanski Sr is one of the finest plein art artists of the Scottish Highlands. Renowned for capturing the fleeting light of sunset and sunrise, de Breanski masters layers an...

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...

The Artists Model French School, late 19th century oil on canvas, unframed canvas: 20 x 17.5 inches provenance: private collection, France condition: very good and sound condition

August Vilhelm Nikolaus Hagborg (Swedish, 1852-1921) In the Garden of His Eminence Oil on wood panel Signed lower left 21 x 25.5 inches 34 x 38.25 inches, framed August Vilhelm Nikolaus Hagborg was a Swedish painter who spent most of his life in France. His father was an associate professor. Against the wishes of his parents, he decided on a career in art and, from 1872 to 1874, he studied at the Royal Swedish Academy of Fine Arts in Stockholm with Vicente Palmaroli...

Antique French impressionist landscape oil painting by Leon Richet (1847 - 1907). Oil on canvas. Signed. Framed. Measuring 22 by 29 inches overall and 15 by 20 painting alone.

The Village Duck Pond by R. Fenson, British signed and dated 1896 oil on canvas, unframed canvas: 20 x 30 inches provenance: private collection, England condition: very good and soun...

This captivating maritime painting, likely the work of an English artist, dates to the late 19th century and showcases a masterful command of light and texture. The composition featu...

Signed oil on board interior by French Les Nabis painter Edouard Vuillard. The work depicts a room with a large window, outside of which are bare trees. Inside the room are three chairs and a patterned rug on the floor. Signature: Signed lower left Dimensions: Framed: 20"x13" Unframed: 13"x6" Provenance: Prince Antoine Bibesco (1878-1951) - Special Envoy of Romania to the United States Piasa Encheres - Paris Lot no. 88 - 8th April 2005 - Sold EUR 118,000 hammer price Acquired at the above by Thomas Gibson Fine Art - London Acquired by the previous owner from Thomas Gibson Fine Art - TEFAF Maastricht November 2005 Literature: This work is included in the catalogue rasionne of the work of Edouard Vuillard under Ref Volume II No. 172 - illustrated and described Access to the raisonne online can be found at the Wildenstein Plattner Institute website. The work is described as being executed in the period 1899 to 1904 by Antoine Salomon and Guy Cogeval Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute. At first, Édouard Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner. About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye. In 1891, Édouard Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël. All too often, Édouard Vuillard is only admired in his role as the harmonist, the serene contemplator who combines an exquisite sense of nuance, rhythms, and values with the most acute observation. These singular investigations, these three-dimensional meditations including a table, a folding metal cot...

This lovely Scottish Impressionist Victorian oil painting is by noted artist Joseph Henderson. Painted circa 1880 it is entitled Washing Day. The composition is of two women laying o...

Tantallon Castle, Scotland *see notes below by William Anslow Thornely (British, 1847-1907) signed oil painting on panel, framed framed: 14.5 x 18.5 inches panel: 8 x 12 inches Provenance: private collection, England Condition: overall very good condition William Anslow Thornley (1847–1907) was a British maritime and landscape painter known for his atmospheric seascapes and coastal scenes. He worked primarily in oils and watercolors, often depicting harbors, ships, and the changing moods of the sea. Thornley was skilled at capturing the effects of light and weather, particularly in twilight and moonlit settings, which added a romantic and serene quality to his works. Although not much is widely known about his personal life, Thornley's style reflects the influence of British Romanticism and the Victorian...

William Hart (1823-1894), a Scottish-born American painter and member of the Hudson River School, famous for his oil paintings of atmospheric landscapes and cattle. His works are inc...

OIL PAINTING SIGNED OLD FINE MASTER PAINTER 19th Century BRITISH SCHOOL Fine Original Antique 19th Century British OLD MASTER OIL PAINTING GOLD GILT FRAME NEW COLLECTION Of RARE PIECES OF ENGLISH HISTORY By Major John Edward Bale Similar $5,000 Premier Collection Excellent Condition Panel, Professional Cleaned & re-varnished Ready to hang. frame is in wonderful condition . ( note all this would cost £600 alone) John Edward Bale, was born at Low Farm House, Pattesley-cum-Oxwick, South Creake, Norfolk on 27 July and baptised at South Creake on 1 August 1834, eldest child of John Edward Bale (1803-27 April 1862), a farmer of 620 acres, and his wife Mary née Branford, who married at Horningtoft, Norfolk on 27 November 1833. In 1841, a 6 year old, living at Low Farm with his parents, 35 year old John and 28 year old Mary, and his two sisters, Mary 3 and Esther 1. In 1861, a 26 year old 'artist architecture' boarding at 11 Bulstrode Street, Marylebone, London but in October 1863, he was an Ensign by purchase in the 1st West Indian Regiment. As a lieutenant, whilst on a tour of duty in West Africa, Surgeon Major Augustus Frederick Elliott (born 1834), kept a diary (now at Duke University Library) which is embellished with calligraphy and watercolour titles by Bale. During this tour, Bale was promoted to Captain and retired from the army in 1881 with the rank of major. Bale married at Christ Church, Ealing on 10 November 1868, Charlotte Gordon Lee née Johnson (c1847-1910). A painter in oil and watercolour and a member of the Ipswich Fine Art Club 1886-1890 and as Major Bale exhibited from 9 Creffield Terrace, Colchester, Essex in 1888, 'View from Museum...

A perfect example of Charles Baxter's work. Two beautiful ladies , one holding a flower, dressed in their best finery. Despite being unsigned, the paint...

Charming 19th century/20th century oil on canvas painting in carved wooden frame, signed A. Willett in lower right corner. Arthur Willett (1868-1951) is known for his landscape paintings in both watercolor and oil, many of a similar size. Pleasant rural scene with windmills, sky and water. Great price for an original landscape oil painting by a known and respected landscape artist, this one is presented in wooden frame with gilt retouches, and a carved wood inset against the canvas. The painting stands 13" high and 16" wide, and the canvas sight is 9" high by 12" wide. The carve inset is in overall very good condition. The wooden gilded frame...

Signed impressionist landscape oil on canvas by French painter Jean Baptiste Armand Guillaumin. The work depicts barges moored on the b...

Exhibition-sized painting of Iona Island coast by celebrated Scottish artist Duncan Cameron (1837-1916), this is a large and expansive 19th century landscape oil painting on canvas. Renowned for his landscape paintings, this work captures the natural light on the sea, sand and rocks with splashes of rich color under a big sky. Iona off the west coast of Scotland, has attracted artists for for its dramatic scenery and northern light, including the Scottish Colourists who favored the fresh pure light. The cliffs and coastal rocks are reminiscent of works by Samuel Peploe and Duncan Fergusson of this fabled island. In 1876 Cameron won a Gold Medal for landscape painting, at the Crystal Palace exhibition. The year after this painting (circa 1870s) Cameron began exhibiting in the Royal Academy, Society of British Artists, and Royal Scottish Academy, showing his work consistently from 1880. Other venues for exhibiting his work include the Glasgow Institute, Walker Art Gallery in Liverpool, Manchester City Art Gallery, and the Royal Hibernian Academy. His work is sold today in Fine Art Galleries in the UK and in Saltire Gallerie, USA. His landscape paintings are widely acclaimed, and this landscape painting of considerable size and detail is a fine example. Born in Perthshire, Cameron studied in Dundee and in South Kensington, London. He later died in Edinburgh. The highest auction sale of his work reached nearly 20,000 GBP. He was widely acclaimed as a landscape artist, painting Scottish farmlands and haystacks, coastal scenes and lochs. In this work the colors of the sea change from blue to green with white crests of waves. The rocks have splashes of red, rust and orange, and the beach has red and green in the sand. Water laps at the edge of beach and rock. A sailboat is a focal point, with distant sailboats on the water, and a rowboat by the central sailboat. A hill rises behind the beach painted...

Eugene Petit 1839 - 1886 Oil on canvas Painting Size: 18 x 21 3/4" (46 x 56cm) Outside Frame Size: 25 x 28 3/4" (63 x 73cm) Free Shipping He was born in 1839 at Paris and died in...

Richmond Castle, Yorkshire from the River Swale by Everett W. Mellor (1878-1965) signed oil on board, framed Framed: 15 x 19 inches Board: 10 x 14 inches Provenance: private collecti...

Vincenzo Colleoni (Active in Venice in the second half of the 19th century) - Interior scene with masked characters. 110 x 160 cm without frame, 145 x 194 cm with frame. Antique oi...

Impressionist oil on canvas seascape painting circa 1895 by French artist Maxime Maufra. This stunning work depicts a sailing boat on a vast ocean. The choppy water is painted in greens and blues. The white clouds rolling across the blue sky are beautifully shaded in purple tones. Signature: Signed lower left and titled on original label verso Dimensions: Framed: 22"x25" Unframed: 15"x18" Provenance: This work is included in the catalogue raisonne of Maxime Maufra under reference 284 Durand-Ruel, Paris (acquired directly from the artist on 5 April 1895) Durand-Ruel Galleries, New York (acquired from the above in 1895) Marlborough Fine Arts, Ltd., London (acquired after 1949) Dr. Renate Davis, London (acquired from the above) Lyon & Turnbull London, 28 November 2013, lot 111 (consigned by the above) Private Collection, New York (acquired from the above sale) Sotheby's New York, 15 November 2017, lot 101 (consigned by the above) Maufra spent several years in England, notably in Liverpool, with his father, who wanted him to become a tradesman. He decided to take up painting instead and returned to France in 1883, attracting the attention of Octave Mirbeau in his very first exhibition, and subsequently being noticed by Frantz Jourdain in 1894 and Fontenais in 1901. In 1886, he successfully exhibited two seascapes at the Salon, following which he visited Brittany in 1890, making the acquaintance of Gauguin and Sérusier in Pont-Aven; he collaborated with them on the decoration of the Pouldu Inn in 1894. He maintained his acquaintance with the Nabis group artists Henry Moret and Gustave Loiseau. He travelled in l'Isère, Belgium, and Algeria (1913), as well as Paris, the Ile de France, Brittany and Normandy. From 1895, the Galerie Durand-Ruel assured the success of his work. Maufra settled in Montmartre for about ten years during which he painted the old quarters of Paris, often around the church of St Séverin. He then turned to Brittany and Normandy for inspiration in keeping with a resolve to paint only from nature, his seascapes in particular finding favour. The influence of the Nabis on his work remains limited except in the 'synthetic' organisation of the composition. He was an admirer of Sisley and Pissarro, whose influence can be seen in his paintings. Maufra, like Valtat, went to some extent beyond Impressionism to become a forerunner of Fauvism in his use of colour. An important retrospective exhibition of Maufra's work, prefaced by René Domergue, was organised in Paris around 1950. In 2001, his work was represented in the exhibition Painters and the Sarthe Region ( Les Peintres et la Sarthe) held at the Musée de la Reine Bérengère (for the 19th century) and the Abbaye de l'Épau (for the 20th century) at Le Mans. In 2003, his work appeared in the group exhibition Brittany, Land of Painters ( Bretagne, Terre des Peintres) at the Musée des Beaux-Arts in Vannes. Museum and Gallery Holdings: Bergues: Seascapes Boston: Dusk in Douarnenez; Departure of Fishing Boats Buffalo: Transport Quittant Le Havre Chicago: Douarnenez the Town of Light Cholet: Flood Cincinnati (AM): The Coast, Bay of Douarnenez (Vue de Douarnenez) (painting) Helsinki: St-Guénolé Le Havre: Moonrise in Brittany Manchester: Springtime in Lavardin Montpellier: Hills of Morgat Mulhouse: Low Tide Nantes (MBA): La Prairie d'Amont (1888, oil on canvas); Pointe du Raz; Heavy Swell; The Loir Dam in Poncé (oil on canvas) Paris (Mus. d'Orsay): Brittany Landscape...

Sell for restoration- this charming 19th century oil by W. Yates. The scene depicts a calming rural landscape with farmer's cottage nestled amongst hedgerows. Several figures walk th...

With The Red Parasol, Edgard de St-Pierre De Montzaigle delivers a painting that speaks to the viewer both visually and emotionally. The young woman, lost in thought, is sheltered by...

late 19th-century Irish school portrait of a seated man smoking a pipe in a barn interior. A very well-painted and skillfully composed portrait of a wor...

"Harvest Scene With Farmer and Scythe, 1886" is a captivating painting by the Swedish artist Alfred Thörne. Created during his travels through Germany, France, Italy, and Belgium bet...

Frank Myers Boggs Bateau au Quai (Docked Sailing Vessel at Low Tide) Signed lower left Oil on canvas 15 x 21 1/2 inches Provenance: David Findlay Galleries, New York Charles R. Brown Fine Art, Locust Valley, New York The Impressionist Frank Myers Boggs spent his formative and mature years abroad and in 1923 became a naturalized French citizen. He was born in Springfield, Ohio, but moved as a young boy to New York, where his father was a newspaper executive. The artist began his career at the age of seventeen as a wood engraver for Harper’s, preparing illustrations for Harper’s Weekly and for an American edition of the works of Charles Dickens. It has also been stated that he studied with the portraitist John Barnard Whittaker (1836–1926). After working at Niblo’s Garden in New York with a scene painter named Vauglin, Boggs went to Paris to study scene painting. On his arrival there in 1876, he was unable to find anyone to instruct him in this field and instead entered the École des Beaux-Arts. Realizing that Boggs was not well suited to painting figurative subjects, his teacher Jean-Léon Gérôme (1824–1904) advised him to try some outdoor landscapes. Between 1877 and 1881, he concentrated on marine...

Landscape is an original oil painting on canvas, realized by the British artist George William Mote (1832-1909). Hand-signed and dated in red oil color on lower right corner "G.W. M...

This classic English school 12 x 16 in. Oil on Canvas framed painting features a pet Spaniel and cat resting on a desk in a home study environment. The dog is seated, its body facing the right side of the painting while its head is facing the viewer at the picture plane. The Spaniel has a long haired black and white patterned coat. Its long ears are black and curly and face is mostly black with an area of white fur on its head and a strip of the white down the nose and into the chin. The stomach and legs/paws are mainly white, while his back and tail are both black, although its full body is not visible. The domestic cat is depicted sleeping to the right of the dog, both positioned on a green desk. The cat is sleeping horizontally with the composition, its head on the left and its curled up body and tail on the right. The cat has mainly grey fur with patches of white on its nose, neck and the one leg and one paw that is visible to the viewer. The edge of the green desk, closest to the picture plane, meets with the bottom edge of the work and the left edge of the green table is only partially visible as the further half is cut off by the left side of the canvas. The desk is an olive green color and takes up the foreground of the piece. On the desk next to the cat is just a small corner of a singular document that reads "Young America" and then below that a couple of flourishes/ ornamental lines and the date, "1872." Behind the document, on the desk, are five standing books and two stacked books. The books appear to be up against the back wall that is depicted in the work, next to a hung landscape painting. The largest standing book's title is "Natural History," a greenish/blue hardback book with a maroon red strip where the title and author's name is on the book's spine. A smaller book standing on the right of "Natural History" is a copy of "Robinson Crusoe," a darker green hardback with a strip of silver for title and author upon the spine. To the left of "Natural History" is an untitled book and to the left is a copy of "Arabian Nights," a tan hardback with red/orange at the title and author's name. To the left of "Arabian Nights" is another untitled book. The two books laid on the desk, on the right side of the standing books, are both tan/light brown books...

‘Melancholic Sappho’ by Arthur Hill RBA (1841-1908). The painting – which depicts the celebrated poet of Ancient Greece appealing to the Goddess Aphrodite, with the Parthenon on the...

Frank Myers Boggs (1855-1926) A wonderful exhibited piece depicting the busy life of Paris at the end of the nineteenth century. It was exhibited as is shown on the reverse shot in the photos. It is in the original gold leaf frame. Signed and inscribed on the reverse. The exhibition label is on the frame. Oil on Board Painting Size: 21 x 26" (53 x 66cm) Outside Frame Size : 32 x 37" (81 x 94cm) The Impressionist Frank Myers Boggs spent his formative and mature years abroad and in 1923 became a naturalized French citizen. He was born in Springfield, Ohio...

Very well executed tonalist work of a sunset over Amsterdam Harbor in Holland by the well known American artist, George McCord. Signed lower right with A.N.A following the signature which stands for Associate of the National Academy. Circa 1890. Condition is good. The painting is oil on canvas (relined) and is housed in an semi-antique style gold ornate frame. Frame is in very good condition. Overall framed measurements are 30 by 35 inches. Provenance: A Sarasota, Florida estate. GEORGE HERBERT McCORD (1848-1909) Born on August 1, 1848 in Manhattan, New York, George Herbert McCord was considered a central figure of the second generation Hudson River painters. While McCord described himself as mostly self-taught, he attended the Hudson River Institute and the Claverack Academy in New York. He also spent time studying in the studios of Samuel Morse...

Henry Robinson Hall. English ( b.1857 - d.1927 ). Highland Cattle In The Margins Of A Scottish Loch. Oil On Canvas. Signed Lower Left. Image size 23.4 inches x 15.4 inches ( 59.5cm x...

Signed with the initials 'A. M. G.' Presented in a gilt frame with acanthus details and a panel slip. On canvas laid to board.

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 landscape depicting a donkey and geese grazing outside a country farmstead. Well presented in a gilt-effect frame with delicate running patterns. Sig...

Victorian English Landscape, Haymaking near Hazlemere, Surrey A Victorian English harvesting landscape by John Seymour Adams captures the essence of a bygone era, offering more than...

Julian Onderdonk Shelter Island, Long Island, New York, circa 1905 Signed "Chas Turner" lower right Oil on canvas 14 x 19 1/2 inches Julian Onderdonk was...

The Barbizon Forest circle of Jean-Baptiste Camille Corot (French 19th century bears signature, oil on wood panel (cradled), unframed panel: 30 x 19 inches provenance: private collec...

Beautifully painted sunset on the river with a single figure in a punt and cattle crossing by the American artist, George Riecke. Most likely a New Orlea...

ALBERT LEBOURG (1849-1928) La Seine en face d'Ivry. Soleil Couchant signed and inscribed 'A. Lebourg. Paris.' (lower right); inscribed 'Usines d'Ivry. Soleil.' (on the turnover); i...

This young shepherd clearly didn't want to pose for the artist, but something caught his attention, and in this expression and look, the artist masterfully depicted the whole range o...

Antique Dutch oil painting of an ice skating scene by Culverhouse Dutch, 1870 Canvas: Height 93cm, width 127cm Frame: Height 118cm, width 154cm, depth 10cm This atmospheric oil pai...

Charles COUSIN Canvas Size: 26 x 32" (66 x 82cm) Outside Frame Size: 36 x 42" (92 x 108cm) Oil on Canvas French School In 1807 he was born in Paris. He died in 1887. Cousin was a...

Frank C. Penfold New York - France, 1849-1927 Waiting for Him 1880 Oil on canvas 31 5/8 x 22 inches (80.3 x 55.9 cm) Framed: 41 x 31 inches (104.1 x 78.7 cm) Signed and dated lower l...

A finely executed late 19th-century still life by Walter Brackett (1823-1919) of a rainbow trout with rod and reel in the foreground, along with the fly that captured the trout. Fin...

The Carpenters Workshop British School, late 19th century based on the Pre-Raphaelite painting by Millais oil on canvas, framed framed: 27.5 x 39 inches canvas: 24 x 36 inches proven...

Alfred Schönian (1856-1936) Germany Rooster With Hens and Ducks by a Pond oil on panel signed A.Schönian München panel dimensions 6.29 x 9.44 inc...

An original landscape painting by the listed British artist Walter Wallis (1853-1934). A Brittany landscape scene with mother and child foraging in the foreground. Well presented in ...

Edward Chalmers Leavitt (1842 - 1904) Rhode Island Artist Image Size: 36 x 28 Frame Size: 42.5 x 34.5 Newcomb Macklin Frame. Medium: Oil Dated 1889 "Duck Hunt" Mergansers Edward Chalmers Leavitt (1842 - 1904) Edward Chalmers Leavitt, artist, was born in Providence, Rhode Island, March 9, 1842, the son of Rev. Jonathan and Charlotte Esther (Stearns) Leavitt. His paternal ancestor was John Leavitt, who came to Massachusetts Bay in the first ship and settled in Hingham. On the maternal side, he is descended from John Alden and Priscilla Mullens, who came to Plymouth in the Mayflower. Leavitt was educated in private schools in Providence, and at Kimball Union Academy, Meriden, New Hampshire. During the Civil War in 1862 and 1863, he served in the navy on the U.S.S. Galena. In his profession of artist, Mr. Leavitt is especially noted as a painter of fruit, flowers and still life. He exhibited in the National Academy for several years and has made many successful exhibitions in Providence and Boston. He was a member of the Boston and Providence art clubs, and the Providence Press Club. He was also a member of the Grand Army of the Republic. In politics his proclivities are mainly Republican. He has been twice married: first, May 19, 1877, to Ellen M. Fuller; and second, April 22, 1880, to Elizabeth S. Chace. Submitted November 2004 by Edward Bentley, Art Collector and Researcher from Lansing, Michigan. Source is the publication "Men of Progress: Biographical Sketches and Portraits of Leaders in Business and Professional Life from the State of Rhode Island." New England magazine. 1896. Edward C. Leavitt, born in 1842, has been described as "Providence, Rhode Island's leading still-life painter" in the late 19th Century. (Zellman 324) His teacher, James Morgan Lewin, was a prominent still-life painter in Fall River, Massachusetts, a neighboring town. Leavitt, a detailed, sharp-focused, realistic painter, was in love with texture and light, and was prolific and successful, painting a variety of still life subjects including flowers, fruit and even fish and dead game animals. His objects, including costly antiques and household decorative items, were often placed on ornamental, gleaming surfaces. He was a frequent exhibitor at the National Academy of Design in the 1870s and 1890s. The artist, who died in 1904, moved from a position of success and popularity to being ignored for many years until the publication of William H. Gerdts and Russell Burke's American Still-Life Painting in 1971. It is uncertain whether this disastrous loss of respect took place because Leavitt's work declined in quality during the last decade of his life, or because he was a victim of the periodic shifts in taste and fashion that afflict the arts. Sources: Michael David Zellman, 300 Years of American Art Peter Hastings Falk, Editor, Who Was Who in American Art Biography from Roger King Fine Art Edward Leavitt was one of the leading still life artists of nineteenth century New England. He lived and worked in Providence, and studied with James Morgan Lewin, a leading painter of the Fall River School, which, in the late 19th Century, was one of the most important centers of still life painting. While Lewin branched out into other types of painting, Leavitt remained devoted to the art of the still life. His paintings are sharply focused, realistic, and carefully finished. Ornate objects such as urns, ewers, platters, cut glassware...

Henry John Livens was born in 1858, in St Pancras, London the direct descendant of Jan Liebens who had left his native Holland in the 1600’s to paint a portrait of the King and subse...

An original oil painting by the listed British artist Anthony Sandys (1806-1883) depicting figures foraging in a woodland. Well presented in a period gilt frame with an internal slip...

This superb Scottish Victorian landscape oil painting is by noted Scottish artist John Blake MacDonald. It was painted in 1876 and exhibited at th...

Hendrik Barend Koekkoek Amsterdam 1849 – 1909 London Dutch Painter 'Figures Strolling through a Forest in Winter' Signature: signed lower right 'H B Koekkoek', c. 1882-1900 Medium: oil on canvas Dimensions: image size 76,5 x 64 cm, frame size 103 x 89,5 cm Biography: Hendrik Barend Koekkoek, often signing as Hendrik Barend (H.B.) Koekkoek, in the realm of 19th-century art, emerges as a captivating painter born in Amsterdam on November 23, 1849. A scion of the esteemed Koekkoek family, he gained renown for his landscapes and woodland scenes, following in the artistic footsteps of his father, marine painter Hermanus Koekkoek. Barend Hendrik Koekkoek’s life unfolds with a certain mystery, his artistic journey shaped by training from his father and, likely, his uncle Marinus Adrianus. In 1878, he tied the knot with Carolina Allardina Cornelia Pierson and ventured into the artistic scenes of Hilversum and Brussels, simultaneously opening an art dealership in Amsterdam. Around 1882, the call of London beckoned, echoing the path paved by his brother Hermanus Koekkoek the Younger. In England, he painted landscapes near Guildford, akin to his cousin Pieter Hendrik Koekkoek. The latter part of his life remains shrouded in obscurity. Barend Hendrik Koekkoek’s artistic style, steeped in the romantic tradition of the Koekkoek family, adorned canvases with landscapes, woodlands, and marine scenes. His London sojourn witnessed the creation of winter landscapes with towering trees, showcased in exhibitions across Dutch cities. He breathed his last in London before 1909. His artistic legacy lives on in institutions like the Paul Tétar van...

19th/ early 20th Century Italian School Madonna and Child oil painting on canvas, unframed canvas: 32 x 24 inches provenance: private collection, UK co...

Measures Painting 22.25 x 16.25 inches Framed 30.25 x 24.125 inches Hugo Possner was a 19th-century California artist known for his still-life paintings, particularly of fruit and f...

A view of Stockholm painted from the Royal Park of Djurgården and overlooking the small island of Kastellholmen painted by Alfred Bergström (1869-1930) The church visible in the background is Katharina church, built in 1695, located in Södermalm, Stockholm. Signed: Alfr. Bergström, 1887. Oil on canvas. A very early work by Bergström when he was only 18 years old. Painted en plein air, probably during the late autumn or early winter of 1887 when he did his first year of study at the Royal Art Academy. Alfred Maurits Bergström was a Swedish artist and professor at the Royal Academy of Arts. He was a painter, watercolorist and etcher. During the years 1887–1891 he studied at the Academy and won the Royal Medal...

Erotic Scene is a gouache and China ink original painting on silk, realized probably in the second half of XIX century by an anonymous Japanese artist of XIX century, From a collection of twelve Japanese erotic silk paintings, wrongly titled "Shunga", mounted under a yellow cardboard Passepartout, cm 37 x 26.8, this modern artwork of little dimensions, but of extraordinary quality represents an erotic scene between two young Japanese lovers portrayed in their intimate situation and with their sophisticated traditional costumes and hairstyle. Without ever being vulgar or too explicit but with extreme elegance, our ancient Japanese artwork...

River Landscape Painting of the Scottish Highlands by 19th Century British Artist, Alfred De Breanski Snr, (1852 - 1928). Signed on the front (l...