19th Century Portrait Paintings

Émile Eisman-Semenowsky French/Polish, (1857-1911) Eastern Beauty Oil on panel, oval, signed & inscribed Paris Image size: 10.25 inches x 8.25 inches (oval) Size including frame: 18...

CASTAING Henri Joseph (1860-1918) Young girl at the source Oil on canvas signed low left Frame gilded with gold leaves Dim canvas : 100 X 66 cm Dim frame : 121 X 86 cm CASTAING Henr...

Pierre Louis Joseph De Coninck French, (1828-1910) The Coral Necklace Oil on canvas, signed Image size: 31 inches x 23 inches Size including frame: 38 inches x 30 inches Pierre Loui...

Portrait Giuseppe Garibaldi is an original modern artwork realized by Artist of the late 19th Century. Mixed colored oil painting on canvas. Includes frame.

Unsigned. Well presented in a gilt composition frame. On panel.

A delightful American school portrait depicting a well dressed gentleman with a three-piece suit and groomed beard. Unsigned. On canvas.

Olio su tela. Scuola spagnola del XIX secolo. La giovane donna, che veste una cappa nera su un vivace abito giallo e bianco, porta una rosa infilata su un orecchio e indossa eleganti...

Portrait of a man. Oil on canvas 19th century. Signature and annotations to be deciphered at the top left. Very beautiful period frame. Very light scratches on the canvas. Small gaps...

Well presented in a gilt effect frame with gilt inner slip. Unsigned. On board.

This late 19th-century Mexican oil painting depicts the Christ child as ‘El Nino de Atocha’. El Nino de Atocha is a popular subject of Mexican retablo art and its roots can be trace...

This vivid portrait is a perfect example of the small portraits that made Boilly's reputation. Executed in just two hours and sold at an attractive price, they provided the artist wi...

Signed at the back of canvas the painting "Samuel F. B. Morse", revealing the full name of the artist, Samuel Finley Breese Morse (1791 - 1872). The portrait in question is a strikin...

Olio su tela. Scuola italiana di metà '800. Ritratto di giovane gentiluomo della borghesia ottocentesca, presentato in un elegante abito nero da sera, poggiato allo schienale di una ...

‘A Montenegrin Girl’ by Nathaniel Sichel (1843-1907). This large fine 19th century oil on canvas is signed by the artist and hangs in a superb quality carved and gilded Orientalist f...

The Young Family of Cats by Josef Schmitzberger (1851-c.1936) German signed oil on canvas, unframed canvas: 24 x 29.5 inches provenance: private collection, England condition: very g...

Portrait of Young Girl in Blue Dress John Hodgson Campbell (British 1855-1927) signed and dated 1881 oil on canvas, framed framed: 35 x 30.5 inches canvas: 30 x 25 inches provenance:...

"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...

The English Gentleman in his study English artist, circa 1820's Fine Georgian period portrait of an English gentleman seated and depicted in his study at home. Exceptional details fr...

A very delicately painted portrait miniature on marble of a distinguished looking gentleman. Superb detail and colour - a very striking piece and a rare example of a work by this fir...

A very delicately painted small scale portrait on marble of a handsome young gentleman. Superb detail and colour - a very striking piece and a rare example of a work by this first ra...

This beautiful mid-19th-century oil painting by British artist Charles Dickinson Langley (1799-1873) depicts a mother and child before a landscape. Little is known about Langley, wh...

Suffolk School, early 19th century Portrait of a Country Gentleman oil on canvas, unframed canvas: 30 x 25 inches provenance: private collection, Suffolk condition: very good and sou...

James TISSOT (Nantes 1836 – Chenecey-Buillon 1902) Madame Eugène Pegg walking at Saint Germain H. 49 cm; L. 32 cm Watercolor over pencil lines Titled, located and dated on the back ...

Madeleine CARPENTIER (1865-1949) Portrait d’un home a la casquette c1895 A characterful portrait of a man wearing a cap by Madeleine Carpentier. Unsigned, but bearing an old label v...

Sybil, 18th Century Italian School Large 18th Century Italian Old Master depiction of a Sybil, oil on canvas. Excellent quality and condition depiction of ...

Oil On Canvas, Nude "La Bacchante" dated 1885 and signed by Léon Herbo Léon Herbo, born in Templeuve on October 8, 1850 and died in Ixelles on June 19, 1907, was a Belgian painter. ...

This stunning British 19th century Pre-Raphaelite portrait oil painting is attributed to famous Manchester born artist and elected associate of the Royal Academy, Annie Louisa Swynne...

A charming oil portrait depicting the head and shoulders of a woman wearing a pink shawl and lace bonnet. The artist frames the woman's face in a wreath of ivy and honeysuckle. Unsig...

This lovely British Victorian genre oil painting is by noted artist Joseph Clark. Painted in 1881 it is a charming composition of three young children playing with a doll on the floor of a cottage by the hearth. Historically it has been entitled Children at Play but also known as Playing Doctors according to the literature. There is lovely colouring and detail. A very sweet British Victorian genre oil painting by a much collected artist. Signed and dated 1881 lower right. Provenance. Joseph Clark ; A Popular Victorian Artist and his Work by Eric Galvin. Plate 23. Children at Play (1881) Page 132f. Condition. Oil on canvas, 29 inches by 22 inches and in good condition. Frame. Housed in a gilt frame, 36 inches by 29 inches and in good condition. Joseph Clark (1834-1926) was born near Dorchester, Dorset. He studied painting in London under J. M. Leigh (1808-1860), who was himself the only pupil of William Etty, RA (1787-1849), the celebrated painter of classical and historical subjects. Clark specialised in depicting domestic genre subjects of a tender nature which generally featured children and he also painted a small number of biblical subjects. In 1857 at the age of twenty three he exhibited his first painting at the Royal Academy and he continued to exhibit there for all but two of the subsequent forty seven years. Many Victorian painters sought to demonstrate their social conscience through emphasising in their paintings the importance of family life and Joseph Clark was no exception. Whilst avoiding the overly sentimental style of some of his contemporaries, he frequently chose subjects which sought to remind people of their good fortune in having a caring family at a time when many children grew up as orphans in workhouses. Clark enjoyed considerable success with his paintings, maintaining both a London house and a home in the country for much of his life. In 1876 he was awarded a medal in Philadelphia for his paintings 'The Sick Child...

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...

Olio su tela. Firmato in basso a destra. Al retro è presente etichetta della Galleria d' arte Manzoni di Milano, con il titolo dell'opera. Il veneziano Giacomo Favretto si affermò co...

The Scottish Fisherman British School, late 19th century oil on board, framed framed: 16 x 14 inches board: 11.5 x 9.5 inches provenance: private collection, Scotland condition: good...

Léon PETUA Besançon, 1846 – Zürich, 1921 Oil on canvas 45 x 32 cm (58 x 44 cm with the frame) Signed lower left “L. Pétua” Beautiful carved and gilded wooden frame of the 19th centur...

Portrait of a Family English School Mid 19th Century oil on canvas, unframed canvas: 28 x 36 inches provenance: private collection, Midlands, England condition: very good and sound c...

Louise Jopling (1843-1933) Miss Enthoven A charming portrait of Miss Enthoven, thought to have been exhibited at the Dudley Gallery, London in the winter of 1878 under the title 'Portrait of Nelly - daughter of S Enthoven Esq.' Signed, dated, inscribed verso on the artist’s label and presented in its original kit-kat style frame.. Louise Jopling was one of the most highly regarded portrait artists of her time. Her sitters were the high society glitterati of the late Victorian era. Many examples of her work, for comparison, can be found on the artuk website. I am indebted to Dr Patricia de Montfort, Curator for Whistler Studies at the University of Glasgow for this research and the inclusion of this work in her catalogue raisonné. Credit Wikipedia Louise Jane Goode was born in Manchester, the fifth of the nine children of railway contractor Thomas Smith "T.S." Goode and his wife Frances. She married at seventeen to civil servant Francis "Frank" Romer. The Baroness de Rothschild, a connection of Romer's, encouraged Louise to pursue and develop her art. In the later 1860s, she studied in Paris with Charles Joshua Chaplin and Alfred Stevens, and first exhibited her work at the Salon. She entered works into the Royal Academy shows, 1870–73 (as Louise Romer). After Romer's 1872 death, she married Vanity Fair artist Joseph Middleton Jopling in 1874, who in 1888 was best man at Whistler's wedding to Beatrix Godwin. Of the children from her first marriage only one son, Percy Romer, survived childhood. She had another son, Lindsay Millais Jopling, by her second marriage; the child was named after his two godfathers Sir Coutts Lindsay, founder of the Grosvenor Gallery and John Everett Millais. She achieved fair success in her career: her painting Five O'Clock Tea was sold for £400 in 1874. Her Five Sisters of York was shown at the Philadelphia Exposition in 1876, and her The Modern Cinderella at the Paris Exposition of 1878. Yet she was not immune to the gender discrimination of her time: in 1883 she sought a portrait commission for 150 guineas, but lost it to Sir John Everett Millais, who was paid 1000 guineas for the same project. Jopling exhibited her work at the Palace of Fine Arts and The Woman's Building at the 1893 World's Columbian Exposition in Chicago, Illinois. She joined the Society of Women Artists (1880) and the Royal Society of Portrait Painters (1891); she became the first woman to be admitted to the Royal Society of British Artists (1901). During the years of her marriage with Jopling, she became the primary earner of the family. It is said that, "She found this responsibility weighty and stressful, necessitating constant production, regular sales and a continual search for commissions and clients. In 1879, despite her own illness and that of her son Percy, she produced eighteen works." Social life Jopling "painted portraits of titled sitters, wealthy financiers and actresses" and, to operate in this social milieu, she maintained a fashionable lifestyle, with a Chelsea studio at 28 Beaufort Street, designed by William Burges. She moved in a social circle that included James McNeill Whistler, Oscar Wilde, Kate Perugini (née Dickens) and Ellen Terry. Augustus Dubourg dedicated his 1892 play Angelica to her. In 1887 the society magazine The Lady’s World described her social circle, One year we have her portrait, magnificently sketched by Millais, adorning the walls of the Grosvenor; next season she figures as the heroine of a ‘society’ novel from the pen of a popular writer. One week we see her salon drawn by Mr. Du Maurier in Punch, with sketches from the life of herself and her friends; the week after she appears under another name as the heroine of one of those quasi-malicious town and country tales which amuse the readers of a society paper… Over the mantelpiece hangs the portrait, by her old friend Sir John Millais...

A fine Victorian portrait in oil, showing a woman in black, with neatly ringletted hair and a crisp white lace bonnet and shawl, decorated with foliate patterns. The white of her lac...

French painter (c. 1815) - Portrait of a gentleman, probably Napoleon in exile on the island of S. Elena. 109 x 89 cm without frame, 139.5 x 119.5 cm with frame. Oil on canvas, in ...

A charming study of a grey horse, painted by equine artist Cerise Boyle (1875-1951). The oil has been signed to the lower right. Beautifully presented in a rustic wood frame. On wood...

Oil on canvas, portrait of a lady in moonlight looking to the Heavens, titled ‘He lives upstairs’, (in the house of God). A mysterious painting from an artist who is well known for unusual North African scenes...

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...

A fine 19th Century portrait of a smiling man with a handsome mustache in a fetching hat. The artist has signed somewhat illegibly and dated to the lower r...

Portrait of a British Hong Kong Diplomat, circa 1890 Chinese School - one of a pair we are selling 19th Century Chinese Provincial School portrait ...

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: 19.25"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...

Oil Painting by Jean Baptiste Greuze "Portrait of a Girl" 1725 -1805 Leading French portrait and genre painter, he exhibited at the Paris Academy ...

Artist/ School: French School, circa 1890, circle of Henri de Toulouse-Lautrec (French 1864-1901) Title: Elegant Figures dressed for an evening out, typical of the Belle Epoque Styl...

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, ...

Portrait Of A Chestnut Horse, 19th Century Alfred William Strutt (1856-1924) sales to $70,000 19th Century portrait of a Chestnut horse, oil on paper ...

The landscape with the hills of Florence, its monuments and Brunelleschi's cathedral serve as an elegant backdrop for this romantic portrait of an elegant Italian lady. The woman painted in an off-the-shoulder pink evening gown...

Artist/ School: French School, late 19th century, indistinctly monogrammed upper left corner. Title: Portrait of a Bearded Man Medium: oil painting on canvas laid to board, unframe...

Antique oil painting by "Jordan". Oil on canvas. Portrait of an old gentleman. Dimensions with frame 55 cm x 61 cm. Dimensions without frame 34 cm x 4...