Mid-19th Century Paintings

A wonderful landscape by American artist Thomas Mickell Burnham (1818-1866). Burnham was born in Boston, MA and received informal art training early on, traveling abroad before relo...

French 19' century painting oil on canvas . Young Venus nude figure surrounded by delicious playing putti . Finely carved and gilt-wood frame of the same period . Measurements w...

CORTES Antonio (1827-1908) Cows to pasture Oil on canvas signed lower left Old frame gilded with leaves Dim canvas : 54 X 65 cm Dim frame: 70 x 86 cm...

Richard FAXON (1816 - 1875) Rochefort Harbour with Galleons Oil on canvas signed low right New golden frame Size canvas 73 X 50 cm Size frame 69 X 95 cm FAXON Richard (1816-1875) ...

FANTIN LATOUR Theodore (1805 – 1875) « Young Lady dressed with middle-age suit » Pastel on card signed low right Old original frame gilded with leaves Dim pastel : 80 X 63 cm Dim fr...

Oil on canvas, monogrammed lower left and inscribed on reverse Image size: 20 x 24 inches (51 x 61 cm) Original gilt frame Provenance Mrs. Georgina Gale (Artists Widow) Bristol, Bristol Art Gallery, A collection of paintings by William Gale, January 1914, no. 12 Private collection William Gale exhibited a number of charming genre scene's in the Pre-Raphaelite style, of which the present is an exquisite example. This work has a strong nautical theme as suggested by the title. Through the small window at the back of this interior room we glimpse the sea, seemingly calm and peaceful. Despite its appearance, the threat of sea is reminded to us with the poster over the bed inscribed with the phrase 'Man Overboard'. This is cleverly echoed by the toy sail boat that lies at an angle, tipped to one side on the bedcovers. As we examine this image of boy and mother one can also identify a picture mounted on the wall of a man in a sailors uniform...

WILLIAM JAMES MÜLLER British, 1812 - 1845 NEAPOLITAN COAST signed "W. J. Muller" (lower right) oil on canvas 23-5/8 x 35-3/4 inches (60 x 91 cm.) ...

Vincenzo Scala (Naples 1839 - after 1893), After the battle Oil painting on canvas 60 x 88 cm signed and dated 1871 lower right, on the back is an old exhibition label with the numb...

English School 19th Century Knole House Oil on canvas Image size: 22 ½ x 35 ½ inches Gilt frame This is not only a very beautiful work of art but also a v...

Amanti alla Fontana - Lovers by a fountain, painting oil on canvas, Signed left sight. Measures: cm 70 x 100 frame 118 x 145 Faustini Modesto. Brescia, 27 maggio 1839 - Roma, 23 m...

Domenico Bresolin (Padua 1813 - Venice 1890), Riva d'Arno in Florence Oil on canvas applied to cardboard 26 x 40 cm. INFO: to get more information Publications D. Ritter, Venedig...

Since the 12th century, people in China have used folding screens and doors to partition and decorate their homes - the vivid scenes backing the screens added life and color to a roo...

Since the 12th century, people in China have used folding screens and doors to partition and decorate their homes - the vivid scenes backing the screens added life and color to a roo...

Domenico Bresolin (Padua 1813 - Venice 1890), Boy in a squero in Venice Oil on canvas applied to cardboard 27 x 16 cm initialed (DB) lower left. Publications D. Ritter, Venedig in...

Raffaello Sernesi (Florence 1838 - Bolzano 1866), The Tempietto of Villa Floridiana at Vomero, Naples (1862) Oil painting on panel 12 x 19 cm, on the back is a label with the work'...

Although suggesting a yacht or boating club due to its prime waterfront location, this panoramic view by Philadelphia artist Xanthus Smith, most likely shows a US Lifesaving Service facility in one of the mid-Atlantic states. Originating in the mid-1800’s, the U.S. Lifesaving Service’s earliest buildings were strictly utilitarian, but as the Service grew, so did the size of the stations. By the 1880s, they were becoming more fashionable and usually were made up of two or three structures as shown here. The main building contained the offices and berthing area for the crew and usually featured a lookout tower on the roof. Smaller buildings housed classrooms and medical facilities. Some were built to resemble a Swiss chalet and one was even designed with a clock tower. Noted architect A. B. Bibb designed stations like this one that looked much like beach resort homes with lookout towers. The stations were usually located near the approaches to major ports and were maintained by the United States Revenue Marine (later renamed the United States Revenue Cutter...

GRISAILLE 19th Century (anonymous) Cherubs asleep Part of "Rococo Style" made famous by François Boucher (1703 - 1770) Oil on canvas Circa 1850 Frame re-gilded Dim canvas : 50 X 70 c...

Medium: Acrylic on Board Dimensions: 24.25" x 31.75" Signature: Signed Lower Right "Wolves of the Dawn" Book Cover by William Sarabande

Fitz Henry Lane (1804–1865) Mary Ann, 1846 Oil on canvas, 19 x 27 ¼ in., actual; 27 1/4" H x 35 1/2" W, framed. Signed, dated lower left: F. H. Lane 1846 Fitz Henry Lane was born in Gloucester, Massachusetts, a descendent of a family of fishermen that had resided on Cape Ann since 1623. Even with a lifelong handicap, Lane taught himself how to draw and paint and spent countless hours honing his technique. By the age of twenty-eight, he was hired to apprentice at Pendelton’s Lithography, the most important printmaking firm in Boston. Here he was exposed to other American and European artists, including British marine specialist Robert Salmon. Lane soon enjoyed success as both a painter and printmaker. By the 1840s his sale of oil paintings increased, which in turn diminished the need to rely on income from his lithographs. In 1841, Lane first exhibited at the Boston Athenaeum an oil painting entitled Scene at Sea, and in March 1842 he exhibited Ships in a Gale at the Apollo Association in New York City. By 1847,Lane’s reputation was firmly established, and he moved back to Gloucester permanently, except for trips to New York, Maine, Maryland, and possibly Puerto Rico. His highly refined images of Gloucester Harbor and its environs were celebrated for their minute detail and crisp delineations of form. During the late 1850s Lane simplified his works, painting thinly and eliminating detail in order to focus on effects of light and create a tranquil mood. Lane was more radical in his coastal scenes, from which, during the 1850s, he successively purged genre and topographical elements, so much so that, together with Martin Johnson Heade, he may well be considered the true avant-garde of American mid-century landscape painting. Lane’s mature work greatly influenced the second generation of Hudson River School artists such as John F. Kensett, Frederic E. Church, and Heade, who were forming their own luminist styles around the same time. Lane exhibited his work at the National Academy of Design in 1859 and at galleries in Boston, Gloucester, and Albany. His work is found in esteemed private collections and major museum collections, including The Metropolitan Museum of Art and Brooklyn Museum, New York; National Gallery of Art and Corcoran Gallery of Art, Washington, D.C.; Carnegie Institute, Pittsburgh; Nelson-Atkins Museum of Art, Kansas City; Amon Carter Museum, Fort Worth; and the Thyssen-Bornemisza Museum of Art, Madrid. The Cape Ann Historical Association and the Museum of Fine Arts, Boston, have large collections of Lane’s work. The packet ship Mary Ann was built by Waterman and Ewell at Medford, Massachusetts, for Andrews T. Hall and Albert H. Brown of Boston. She was re-registered in 1856, her new owners being William Perkins and Israel Whitney. She was wrecked in 1861 at the mouth of the Bassein River, Burma, while bound there from Colombo, Ceylon. Provenance: Baron Hottinguer, Zurich, Switzerland; Christie's, New York, 18 May 2004, lot 20, Daniel Pollack...

Edmund Darch Lewis (1835-1910) Mount Washington, New Hampshire 50 x 58 inches, signed & dated 1859 Description The area near Mount Washington in New Hampshire was visited by many ...

The Andalusia John Frederick Herring (English, 1795-1865) Signed Lower Right 14 x 18 inches 18 x 22 inches with frame Provenance: Frost &Reed, Ltd., London 1984 Herring, born in London in 1795, was the son of a London merchant of Dutch parentage, who had been born overseas in America. The first eighteen years of Herring's life were spent in London, where his greatest interests were drawing and horses.[2] In the year 1814, at the age of 18, he moved to Doncaster in the north of England, arriving in time to witness the Duke of Hamilton's "William" win the St. Leger Stakes horserace. By 1815, Herring had married Ann Harris; his sons John Frederick Herring Jr., Charles Herring, and Benjamin Herring were all to become artists, while his two daughters, Ann and Emma, both married painters. When she was barely of age in 1845 Ann married Harrison Weir. In Doncaster, England, Herring was employed as a painter of inn...

Oil on canvas, signed bottom right and dated '1840' Image size: 22 x 30 inches (56 x 76.25 cm) Albert Bierstadt Recognized as the foremost painter of the American frontier during the nineteenth-century, Albert Bierstadt was born in Solingen, Germany, in 1830. At the age of two, he and his family emigrated to the United States, settling in New Bedford, Massachusetts. Nothing is known of his early art training; however, he might possibly have been influenced by local landscape painters. By the time he was twenty, he was supporting himself by teaching "monochromatic" painting and his work was beginning to attract the attention of New Bedford collectors. In 1853, Bierstadt traveled to Düsseldorf in order to broaden his art education. It was there that he was associated with such American artists as Worthington Whittredge and Carl Wimar, all of whom frequently gathered in the studio of the German-American history painter, Emanuel Leutze...

Attributed to Ukita Ikkei (1795-1859) Hanging scroll painting of the American ship commanded by Commodore Matthew Perry in Uraga Bay, annotate...

Title: "Gossips, A Venetian Scene" Artist: Francis William Topham Medium: Oil paint on paper Size: 7.75" x 6.5" Period: 19th Century Framed

"Le Sentier Idylle (the Happy Path)" by French Romantic painter Lazare Meyer (1847-1935) 51.5 x 31.5 in. - Oil Paint on Canvas Framed A luminous, two figure composition depicting a ...

"Fauste and Margarite Leaving Church", a 19th century oil painting by French Realist painter Adolphe-René Lefevre (1834 - 1886). The painting mea...

George Stanfield Walters (1838-1924) "Sunset on the Midway" c. 1880s Oil on Canvas Signed Canvas: approx 25 x 36 inches Framed Size: approx. 31 x 42 inches George Walters - George Stanfield Walters was born in 1838 and died in 1924. A marine and coastal painter. He was grandson to ship portraitist Miles Walters, and son and pupil of Samuel Walters...