Board Portrait Paintings

Original frame in gilded wood and gilded pastiglia. Autograph dedication of the artist in the back of the painting. Natale Schiavoni (Chioggia (Venice), 1777 – Venice, 1858) wan a...

Portrait of blonde girl with green dress on paper. Dated 1851. Technique: watercolor and pencil on painter's cardboard. Some defects ( please see photos). Partially legible signatur...

Alice Anne Renshaw. English ( b.1849 - d.1900 ). Young Lady With Meadow Flowers In Her Straw Hat Watercolor & Gouache on Artist's Board ( An embossed stamp in the top left hand corn...

Portrait of Terrier "Hercules", 19th Century signed JL 19th Century English Dog portrait of "Hercules" a small terrier, oil on board signed JL. Good quality and condition head port...

Unsigned oil on board painting painting of a 19th century woman holding a book and dressed with a lace hat and collar. The level of det...

Italian painter (19th-20th century) - Portrait of a woman. 41 x 32 cm without frame, 55 x 46 cm with frame. Antique oil painting on cardboard, in a wooden frame. Condition report:...

Trailblazing Gay Female illustrator of the Golden Age, Ida Waugh, paints a powerful narrative of a young woman coming to the aid of another who, due to an accident, is lying prostrate in an unpaved road. The reason why the work is in black and white is because this was assignment art for a book or magazine and color printing was not yet available for mass publications Signed lower left. Framed under glass, Ida Waugh (October 24, 1846 – January 25, 1919) was an American illustrator of children's literature who often collaborated with her lifelong companion, Amy Ella Blanchard. Personal life Ida Waugh was born in Philadelphia, Pennsylvania on October 24, 1846, the daughter of painter Samuel B. Waugh and his first wife, Sarah Mendenhall, therefore she was half-sister of painter Frederick Judd Waugh. Her step-mother was Mary Eliza Young Waugh, a miniaturist. She attended Académie Julian and Académie Delécluse in Paris, studying with Georges Callot, Paul-Louis Delance, and Jean-Joseph Benjamin-Constant.In 1868 she attended the first "Ladies Life Class" at Pennsylvania Academy of the Fine Arts; in the same class there were Emily Sartain and Catherine Ann Drinker. Career Ida Waugh collaborated with her partner Amy Ella Blanchard in publishing children's books, Waugh as illustrator and Blanchard as writer. Waugh also published books on her own Other than a children's book illustrator, Waugh was an award-winning painter. In 1869 she exhibited at the Pennsylvania Academy of the Fine Arts two works, "The Bargain" and a portrait bust of Carl Gaertner. Her self-portrait and another painting, "Little Cosette" (1870), are in the permanent collection of the Woodmere Art Museum, Philadelphia, both donated by Mrs. John S. Haug in 1961.They were part of the exhibition "Women and Biography" in 2014, including: Elizabeth Shippen Green, Violet Oakley, Edith Emerson, Anne Minich, Catherine Mulligan, Mitzi Melnicoff, Alice Kent Stoddard, Aubrey Levinthal, Martha Armstrong...

This mid-19th-century oil painting by English artist Thornton Rippingille (1830-1863) depicts the inventor Thomas Dunn. Dunn was a remarkable Lancastrian who pioneered new technolog...

This painting is in excellent condition and signed lower right. William Hicok Low first trained with the sculptor Erastus Dow Palmer. When he was 17, he worked in New York City as an illustrator and years later traveled to Paris to study with Jean-Léon Gérôme and Carolus-Duran. During his years in France he summered with the Barbizon artists where he was especially influenced by the work of François Millet. In the United States, he became active as a muralist, illustrator, and decorative painter, performing prominent commissions such as the ceiling murals and decorations of New York's Waldorf Astoria Hotel. His Beaux Arts classicism inspired Louis Comfort Tiffany and other of his younger colleagues. After 1900, as artistic styles changed, there was less demand for his work but he continued to write art criticism for Scribner's and The Century magazine...

Oil on board, signed, titled and dated '1858' on verso Image size: 10 1/2 x 18 1/2 inches (26.5 x 47 cm) Gilt frame This is a wonderful portrait that was painted by John Burr at a t...

Antique Dog Painting of "Mignonne" dated 1876 Louis Eugène Bourgeois (French 1831-1878) Pastel on cardboard Signed lower left "E. Bourgeois" Inscribed upper right "Mignonne." Rever...

Henry Bacon served as a soldier and war artist during the American Civil War, and was badly wounded in the Second Battle of Bull Run before he began his art career. He then studied i...

Original Antique 19th Century Portrait of a Gentleman American School Oil Painting Oil on Board, 30" x 25", 33" x 28" Framed Good conditi...

Attributed to George Earl Exceptional English 19th century oil on board of a terrier head study in profile. The quality of the painting is totally outstanding with great skill in how the eyes and fur are painted throughout the painting. The Earl family were all very skilled painters of animal portraits . This piece has all the quality of either George or Thomas Earl...

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...

Signed lower right, 'Richmond' for George Richmond, RA (British, 1809 – 1896) and painted circa 1845. Displayed in a period, carved and giltwood frame. (Framed dimensions: 22.75 x 21.5 x 1.0) This English painter and portraitist was a founding member of The Ancients, a group of followers of William Blake. Later in life, he established himself as a successful society portrait painter of the British gentry, nobility and royalty. George Richmond was the son of Thomas Richmond the miniature-painter and, also, the father of the painter William Blake Richmond. For a short time, he attended a day school in Soho, before became a student at London's Royal Academy. Here he was much impressed by Henry Fuseli, his professor of painting, and formed a lifelong friendship with Samuel Palmer, and had as fellow-students and companions Edward Calvert...

Signed by Émile Tabary. Lively scene in in a parisian park, pictured moment of city life of the late 19th century. In this painting, some irony and humor are very subtly felt. One of...

Pinckney Marcius-Simons, (American, French, 1867-1909) Signed: Marcius-Simons, (lower, right) " Lost in Her Thoughts ", circa 1890-1892 Oil on mahogany panel bearing the stamp on verso of " H. Vieille e. Troisgros Sueei, 55 Rue de Laval...

Oil on board Image size: 14 x 11 1/4 inches (35.5 x 28.5 cm) Gilt frame This is a striking and well-executed oval half-length portrait of a girl sitting in an armchair in a brown dress and a black lace scarf...

Signed figurative oil on board circa 1890 by French Nabis school painter Edouard Vuillard. The work depicts two seated ladies dressed in black with grey pinafores enjoying coffee together. Illustrated in the Catalogue Raisonne of Edouard Vuillard by Antoine Salomon and Guy Cogeval - Volume I, Page 229 - Reference IV-7 This striking work dates to between 1890 and 1891 which was without doubt Vuillard’s greatest decade as an artist. At this time the painter was working with the group of artist known as "Les Nabis" which included Pierre Bonnard, Maurice Denis, Paul Ranson, Ker-Xavier Roussel, Félix Vallotton, Paul Sérusier and Auguste Cazalis. The group played a large part in the transition from impressionism and academic art to abstract art, symbolism and the other early movements of modernism. They believed that a work of art was not a depiction of nature, but a synthesis of metaphors and symbols created by the artist. Signature: Signed lower right Dimensions: Framed: 10.25"x20.25" Unframed: 9.25"x10.25" Provenance: Renou et Poyet - Paris Roland, Browse & Delbanco - London (labels verso) c. 1955 The collection of Sir Alec Guinness Galerie Jan Krugier, Geneva - 1972 Nichido Gallery - Tokyo 1972 Private collection - Japan Christie's London - Impressionist & Modern Art - June 2016 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, 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, 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, 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...

The Banjo Player, 19th century American School 19th Century American School portrait of a young black man playing the banjo, oil on panel. Rare 19th ce...

Oil on board Image size: 5 1/2 x 4 1/2 inches (14 x 11.5 cm) Original 19th century oval mount and frame Provenance; With Richard Naworth, Blackburn William Edward Frost (September 1810 – 4 June 1877) was an English painter of the Victorian era. Virtually alone among English artists in the middle Victorian period, he devoted his practice to the portrayal of the female nude. Specialising in portraiture from about 1830, Frost painted more than 300 portraits during a 15-year period, and showed some as his first exhibits from 1836. William Edward Frost was born in Wandsworth, then in Surrey, in September 1810. He showed artistic talent from an early age, and was encouraged in this by his father: first by his arranging drawing lessons with a Miss Evatt, a neighbouring amateur, and then, in 1825, by his introducing him to William Etty, who became his mentor. On Etty’s recommendation, he entered Henry Sass’s School for Drawing and Painting at 6 Charlotte Street, in 1826, and spent three years there, while also studying at the British Museum each winter. Frost was educated in the schools of the Royal Academy, beginning in 1829; he established a reputation as a portrait painter before branching into historical and mythological subjects, including the subgenre of fairy painting...

Well painted 19th-century portrait of a young boy possible in a School Uniform. With the label on the reverse being from Scottish panel makers, we bel...

American artist Franklin Briscoe (1844-1903) known for his hirtorical and portrait paintings, paints a Civil War piece; it is a portrait of an officer with his white horse. The brus...

Study Of A Tulip circa 1700 attributed to Simon SAINT-JEAN (1808-1860) Fine 19th Century French study of a tulip, oil on paper laid to board. Beautiful early circa 1840 intricate ...

Portrait of a Monkey with Wine Jug Zacharias Noterman (Belgium & France 1824-1890) Initialed "Z N" l.r. Oil on board 8 x 6 inches PROVENANCE: Galerie Tamenaga, Paris (label verso); Louvre des Antiquaires, Paris; Berman Swarttz, Los Angeles, California, Marcella Swarttz, Beverly Hills, California     8 x 6 inches Zacharias Notermann (1820 in Ghent – 1890 in Paris) was a Belgian painter and printmaker who specialized in scenes with monkeys engaging in human activities (the so-called singeries), as well as in paintings of dogs. He also produced images and scenes of traveling circuses. Zacharias Noterman was born in Ghent in the family as the son of an artist-decorator. He was originally trained by his older brother Emmanuel Noterman, genre and animal painter active in Antwerp. Noterman continued his art education at the Academy of fine arts Antwerp. Zacharie Noterman...

CESARE AUGUSTE DETTI ITALIAN, 1874-1914 A Young Hunter and Two Ladies Signed ‘C.Detti’ L/L Oil on Board 15 1/2 x 20 1/8 inches Frame: 24 1/8 x 28 1/2 inches

Speed was born in London on 13 June 1860, the youngest son of William Speed, a Queens Council of the Middle Temple. Speed had no formal art training, bu...

Wonderful turn of the century oil portrait of old civil war soldier circa 1900, by an unknown artist. Soldier is depicted wearing the Medal of Honor...

Approximate Date: 1897 Medium: Watercolor on Board Signature: Signed Lower Right Dimensions: 12.00" x 9.50"

This charming late 19th-century German oil painting depicts a young scholar standing before an expansive lake with distant hills and castle. He’s wearing a dark suit with a blue bow...

"The Girl with Blue Necklace" is an enchanting portrait of a young girl, depicted by the Swedish artist Emma Ekwall. She was sister of the famous artist Knut and Hugo and Gustaf Ekwa...

This painting, which we have for sale, is a beautiful piece of artwork created by a follower of the renowned German artist Christian Wilhelm Ernst Dietrich...

This fine Regency miniature depicts a dapper gentleman dressed in a cravat, white shirt and black suit. It’s presented splendidly - within an ornate giltwood frame held in a velvet-lined box. Clearly, this was a treasured item. Gentlemen from this period remind us of the ebb and flow of Jane Austen novels and the pulsing undercurrent of societal romance. Is he an outlandish rogue or the one she really wants to marry? Established in 2017, Brave Fine Art...

Antique Rooster Painting "Study of Roosters" Charles-Emile Jacque (French, 1813-1894) Oil on cardboard Signed lower left 10 1/2 x 13 1/2 (19 ...

Set of Five late 19th century Italian or French portraits of Putti or Angels A unique set of five oils on board depicting either Cherubs or Putti, ...