1890s Still-life Paintings

Initialed upper right, 'C.N.' (Danish, 19th Century) and dated 1898. A late nineteenth-century oil composed with a fresh palette and finely-observed detail. This elegant feline stud...

A Branch with Apples, watercolor and gouache on paper by Swedish artist Otto Strandman (1871–1960). The composition features a delicately rendered branch with green and reddish apple...

Here for your consideration is an outstanding still life painting of plums and assorted fruits by the master English artist, Oliver Clare. Signed lower right. Circa 1890. In very g...

Outstanding English 19th century still life of fruit, a German Stein with silver top in an interior. Charles Thomas Bale was born in Soho, London in 1849, the son of Thomas Bale, a basket maker. His older brother Thomas Charles Bale (1831-1899) was an artist and picture restorer. He lived with his family in St James, Westminster and although little is known about his education, he would have undoubtedly received encouragement and drawing tuition from his brother. Bale started exhibiting in 1866 at the Institute of British Artists, Suffolk Street. He also exhibited at the Royal Academy in 1872, the same year he married Caroline Leathem. Together, they spent their married life in St Pancras. He specialized in still life paintings predominantly of fruit, but he frequently incorporated baskets, a homage to his family’s profession, as well as pottery, glass, and game. Bale’s work was influenced by the English still-life artists George Lance and William Duffield...

Henri A. Hebert was born in Geneva in the 19th century. Genre painter and son of Jules Hebert both belonging to the Swiss school. The Geneva museum prese...

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...

Incredible early American realist still life featuring pineapple and strawberries on a table. Oil on canvas. Incredible detail and masterfully painted. Signed illegibly, last n...

Here for your consideration is a late 19th century still life with fruit by the well known British artist, Henry George Todd. Signed lower left a...

Antique American oil painting. Oil on canvas. Signed. Framed. Measuring 21 by 25 inches overall and 14.5 by 18.5 painting alone.

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...

Antique American realist flower still life oil painting. Oil on board, circa 1900. Unsigned. Image size, 10L x 14H. Housed in a period giltwood frame.

Antique American realist still life of corn and a bottle of corn whiskey. Oil on board. Signed. Framed. Image size, 5L x 7H.

Hal Alexander Courtney Morrison was born in the Canadian province of Prince Edward Island in 1852. Part of British North America at the time, PEI was quite rural and in order to pu...

A fine impressionist painting of peonies on a palette by French artist Felix François Georges Philibert Ziem (1821-1911). Ziem was born in Beaune,...

MARTIN Jacques (1844-1919) Lady With Bunch of Flowers Oil on canvas signed up right Framed by Gault (Paris) Dim canvas : 74 X 59 cm Dim frame : 97 X 82 cm MARTIN Jacques (1844-1919) French painter 19th-20th century Born in 1844 in Villeurbanne. Dead the 13th of November 1919 in Lyon Postimpressionist Painter of genre, still-lives, flowers. Exhibitions : Lyon Salon from 1881 and Paris Indépendants Salon. Enviable standing in the Lyon's school. Museums : Paris Luxembourg...

MITTON, Mathilde (1849 - 1919) Roses Arrangement Oil on canvas signed low left Old original frame gilded with leaves Dim canvas : 90 X 113 cm Dim frame : 116 X 140 cm MITTON, Mathilde (1849 - 1919) French painter 19th-20th century - Lyon School Born in Amplepuis in 1849 - Died in Lyon in 1919 She studied with André Perrachon (1828-1909), Charbonnier and Elie Laurent...

Wisteria Bouquet in the Style of William Hubacek Original California Still Life Exceptionally well painted and framed painting of a Bouquet of ...

Jacques DELANOY (1820-1890) Still Life Fruits and vegetables Oil on canvas signed and dated 1890 low left Old frame regilded with leaves Dim canvas : 41 X 34 cm Dim frame : 53 X 44 ...

This is a spiritually inspired oil painting by noted American artist Caroline W. Pitkin. The Japanese themed setting is well composed with figures, a screened backdrop and a folded f...

This extraordinary watercolor and tempera on paper, signed Edward Corbould R.A. (Royal Academy) and dated 1894, testifies to the English painter's refined mastery of still life and h...

Still Life with Peaches and Grapes Oil on paper, 1890 Signed and dated lower right (see photo) Image size: 5 8 5/8 inches Frame size: 10 x 13 1/2 inches Housed in the original frame ...

Conditions: Excellent overall conditions. Signed upper right and dated 1889. Painter and Teacher at the Academy des Beaux-Arts of Brussels. Isidore Verheyden : Peintre belge de pay...

Nicholas Alden Brooks Still Life with Pink Ewer and Sheet Music, 1891 Signed and dated lower right Oil on canvas 20 1/8 x 16 inches Considerable mystery surrounds the name Nicholas Alden Brooks. Other than having been active in New York City between 1880 and 1904, very little is known about the artist. There are no records of any art societies showing him as a member or his having participated in any exhibits. The name Brooks, in fact, could possibly be a pseudonym for Robert Fullington, whose name appears on theatrical memorabilia in Brookss trompe loeil still-life paintings. William Harnett...

Beautiful painting of a still life with fruit and white soup tureen, restored and cleaned in good condition. Very special painting for collectors! Additional information: Title: S...

DESCHIENS – ASTRUC (1861) Table settings with Orchids Oil on canvas signed down right Frame gilded with gold leaves Dim canvas : 82 X 116 cm Dim Frame : 107 X 141 cm DESCHIENS – ASTRUC Pauline Hélène (1861-NC) French school 19th - 20th century Born the 25th of August 1861 in Angers Painter of flowers and marines. Pupil of Pierre Bourgogne...