19th Century Still-life Paintings

Interior scene, late 19th century oil on canvas attributed to Paul-Jospeh Blanc. The painting is indistinctly signed and dated bottom right. The canvas is on a good chassis with keys...

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...

Antique American impressionist still life oil painting. Oil on canvas. Framed. Signed. Measuring: 36 by 31 inches overall, and 25 by 30 painting alone. In excellent original condit...

Early American super realist trompe l'oeil still life oil painting. Framed. Oil on canvas, lain to board. Signed. Image size, 14H by 10L.

This striking 19th-century painting signed "A. Malevolti 1877 Florence" is a fine example of the trompe l’oeil tradition, in which artists skillfully render imagery that "tricks the ...

Almost a folk painting in its naiveté and awe of the abundance on display. It’s a direct reminder of another era when such fruits, imported from warmer, faraway climates were an uni...

Charles Thomas Bale (British, 1845 - 1925) - Still Life of Peaches. 61 x 30 cm without frame, 88.5 x 57.5 cm with frame. Antique oil painting on canvas, within passe-partout in a c...

This elegant still life painting showcases a vibrant floral arrangement in a glass vase, accompanied by delicate seashells on a draped surface. The composition balances the lively co...

Work on canvas Black wooden frame 37 x 45 x 3 cm

Antique hunter dog and dead birds trophy oil painting on wood in an antique frame afterJean-Baptiste Oudry. This is a an unusual painting of a dog wi...

Cette huile sur carton de l’école française, aux dimensions de 60 x 46 cm (84 x 40 cm avec cadre), séduit par la sobriété maîtrisée de sa composition et l’atmosphère silencieuse qu’e...

Botanical Watercolour watercolour drawing on artist paper, unframed drawing: 9.75 x 7.5 inches Provenance: Private collection Condition: Great condition Description: This beautiful...

"Still Life and Hunting Dogs, 1851" P. M. Guillemin (French, 1800-1874) Monogrammed "EG" on right side. Oil on cradle board 26 x 21 (36 x 31 frame) inches Stunning example and un...

Lucienne Lemercier was a French painter from the latter part of the 19th century through the early 20th century. She came from a family of creative people and took to painting at a...

A large late 19th century still life of fruit, captured alongside a freshly shot pheasant. Signed' J. Urban' to the lower left. On canvas on stretchers.

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...

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 school realist fruit still life oil painting. Oil on board. Unsigned. Framed. Image size, 16L x 16H.

Antique American or European realist skeleton still life drawing. In excellent original condition. Handsomely framed in a silver leaf molding. Excellent condition, ready to hang ...

Richly detailed still life by George Lance, featuring an opulent arrangement of fruit and vegetables—grapes, pomegranates, chili peppers, a large melon, and apples—set on a stone led...

Antique oil painting featuring brids. Oil on canvas. Framed. No signature found.

Artist/ School: David Hicks, British late 19th century, signed Title: The Scottish Highlands Medium: signed oil painting on canvas, oak wood framed Size: framed: 27.5 x 23.5 inch...

UNKNOWN (still life with fan) Unknown Oil on canvas Framed: 35.5 x 23.5 inches

Profusion of Flowers Classical Still Life Dutch School, 19th century oil on canvas, unframed canvas : 32 x 21 inches provenance: private collection condition: very good and sound con...

Mary Blood Mellen (American Female Artist, 1819-1882) A Large and Exceptional Two-Tiered Fruit Still Life Oil on Canvas Painting, circa 1850 Signed lower right: Mellen Inscribed possibly by the artist's hand on the stretcher bar: To be sent to Sowle & Ward's for Miss C. A. Rice This sumptuous two-tier display of fruit and elegant glassware is the largest and most ambitious still-life painting known to have been produced by Mary Blood Mellen (1819-1882), an American Female artist best known for her luminous marines strongly indebted to the style of Fitz Henry Lane. Indeed, still lifes from her hand are extremely rare. The present work is very close to the style of still life popularized by the Prussian-American artist Severin Roesen (1805-1882) who specialized in the genre during the middle decades of the nineteenth century and is signed as Roesen sometimes signed his own efforts, at lower right, as a curly trompe-l'oeil grape tendril, which reads in this case "Mellen." Until quite recently, Mary Blood Mellen was described in histories of American art exclusively as a copyist, notably of Lane. But as more research into her life and work has been undertaken, that picture of her achievement has been substantially revised and refined. Mellen was, in fact, Lane's pupil, and a copyist of his work. But owing to the skill she developed working with him in his Gloucester studio, Mellen evolved into an artist in her own right, working alongside him as a sometimes collaborator on the same pictures-their work often being so similar that it is frequently difficult to tell it apart. Mellen and Lane also formed a fast friendship. She also painted ravishing moonlit marine compositions of her own invention, as well as nostalgic New England landscapes in her own style. At a 2007 scholarly conference held at Spanierman Galleries in New York in conjunction with the exhibition, "Fitz Henry Lane and Mary Blood Mellen: Old Mysteries and New Discoveries" held at the Cape Ann Historical Museum, there was a small footnote to the effect that Mellen was also known to have copied works by other artists, including Alfred Bricher and Severin Roesen (See Report on Scholars' Gathering in Association with the Exhibition "Fitz Henry Lane & Mary Blood Mellen: Old Mysteries and New Discoveries," 2007, p. 5.) How she encountered works by those figures, particularly Roesen who was active primarily in New York City and eastern and central Pennsylvania, remains speculative. Certainly, copying other artists' work was an aspect of nearly every artist's training at the time Mellen was active as a painter. Mellen was born in Vermont in 1819 to parents who were originally from Massachusetts. She was educated at the Quaker's Fryville Seminary in Bolton, Massachusetts, where she would have learned artistic crafts including theorem painting...

Flowers in a White Bowl by Alfred Rouby (French 1849-1909) Rouby lived in Paris and trained under Pierre-Marie Beyle (1837-1902). signed oil on canvas, unframed canvas: 25.5 x 32 in...

This wonderful exhibited British Victorian floral still life oil painting is by female artist and flower painter Mary Rischgitz. Painted in 1886 it was exhibited at the Royal Academy...

Roses in Vase Still Life French late 19th Century school Signed by S. Valentin and dated 1895 oil on board, unframed board: 14 x 11.5 inches provenance: private collection, France co...

Still Life of Fruit by Oliver Clare (British 1853-1927) oil on canvas, framed framed: 11 x 14 inches canvas : 6 x 9 inches Provenance: private collection, England Condition: very go...

Still Life of Fruit French School, mid 19th century indistinctly signed lower right corner oil on canvas laid on board, framed framed: 27 x 35 inches board: 25 x 33 inches provenance...

This lovely British Victorian still life oil painting is by noted still life painter George Clare. Painted circa1870 the composition is different fruit, including green and red grape...

A nicely detailed still life with flowers in a blue vase by French artist Eugene Henri Cauchois (1850-1911). Cauchois was born in Rouen, France, was a student of Duboe, Cabanel and Q...

Attributed to British Old Master painter, Benjamin Blake (1757-1830). Still Life of Game in a Larder. Well presented in a gilt effect frame with internal slip. Unsigned. On canvas la...

David De Noter: 1818-1892. Well listed Belgian painter with auction results as high as $142,000. Most famous for his still lifes. This fantastic little gem of a curious cat skipping...

ISIDOR Rosenstock, born in Strasbourg in 1880, died in 1956. 20th century painter of landscapes and flowers, watercolor. He exhibited in Paris at the Salon of French Artists, the...

Ornamental Still Life with fruit, flowers and birds Italian School, 19th century oil painting on canvas, unframed size: 31.5 x 47 inches condition: relined canvas and in very good and presentable condition provenance: from a collection here in England. A very beautiful and decorative oil painting on a huge scale, depicting this classical landscape scene, with ornamental birds...

John White Alexander's graceful depictions of beautiful women earned him critical acclaim both in Europe and America. However, his career did not get off to an easy start—Alexander b...

English School, c. 1800 Still life of hanging birds Oil on panel Panel size - 8 x 6 in Framed size - 12 1/2 x 10 1/2 in This trompe-l'œil still life is a striking example of illusio...

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...

An American Still Life of an Apple, Pear and Grapes Oil on canvas on board Signed illegibly circa late 1800s 9 3/4 x 5 7/8 (16 x 12 3/4 frame) inches This is an example of late 19...

A richly detailed still life scene depicting an elegant arrangement of fruit, glassware and wine, against a dark shadowy background. The composition is masterfully balanced by the go...

French School, late 19th century Post Impressionist painter, circa 1880-1890 period oil on canvas, framed framed: 12.5 x 15 inches canvas: 7.75 x 10 inches provenance: private collec...

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.

Signed landscape oil on canvas circa 1885 by French impressionist painter Jean Baptiste Armand Guillaumin. The work depicts a farmland with haystacks pilled up into the distance unde...

Edward Ladell (English, 1821–1886) Still Life of Fruit, oil on panel, signed and dated 1862 This richly detailed still life by Edward Ladell is a superb early example of the artist’...

Conditions ; Excellent condition, original canvas frame, no prior retouching or restauration, and no future restauration necessary. Original Victorian gilet frame in perfect conditio...

This elegant floral still-life painting, executed in oil on canvas, showcases a meticulously arranged bouquet of roses, lilacs, and other blossoms in a gilded vase, placed on a reflective surface. The composition exudes a sense of classic beauty, reminiscent of Dutch Golden Age still-life traditions and 19th-century European academic painting. The rich color palette and detailed rendering of individual petals, leaves, and the metallic sheen of the vase highlight the artist’s mastery of light and texture. The soft, atmospheric background enhances the contrast between the delicate flowers and their surroundings, drawing attention to the vibrancy of the composition. Housed in an ornate gilded frame, this painting is an exquisite decorative piece that evokes the refinement and sophistication of traditional floral art...

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...

From 1833 to 1835 Johan Laurentz Jensen lived in France and Italy; while in Rome, he was considered the most prominent painter in an extensive colony of Scandinavian artists there. I...

A Gift from King Charles X to the Duchesse de Berry REDOUTE, Pierre Joseph. Rosa parvi-flora. Watercolour over traces of black chalk on vellum, within gold framing lines; signed in...

Still life with vase of flowers Italian School of the nineteenth century Oil on canvas cm. 74 x 92,5 frame 97 x 112 Beautiful painting representing a rich still life, of great deco...

Very High quality French or Flemish still life of fruit. Framed in its original 19th-century hand-made counted corner frame the painting is a wond...

Camille DOLARD Lons-Le-Saunier, 1810 – Lyon, 1884 Oil on panel 24 cm x 33 cm (34 x 43 cm with frame) Signed and dated lower left “Camille Dolard / 1860” Very beautiful period frame i...

Conditions: Very good overall condition. Edge right, visible under UV Light, minor retouching (5mm). The frame is period frame original baring stickers from Galleries in London. Low...

Italian painter (19th-20th century) - Still life with vase of flowers. 83 x 62 cm without frame, 96.5 x 76.5 cm with frame. Antique oil painting on wood, in a wooden frame (not sig...

Artist/ School: French School, late 19th century/early 20th century, signed by Barthelemy Title: Profusion of flowers in a deep blue vase. Medium: oi...

Large Antique French Still Life oil painting flowers on canvas, white lilies in a green vase atop a covered table. Large showy ...

Still Life is an artwork realized by an unknown artist in the late 19th Century. Oil on Canvas Mounted on Board. Original wooden frame. 18 x 13 cm. Good conditions

Alfred Arthur Brunel de Neuville French, (1852-1941) Still Life of Fruit in a Basket Oil on canvas, signed Image size: 14.5 inches x 17.5 inches Size including frame: 23.25 inches x ...

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...