1830s Art

This endlessly charming mid-19th-century English oil painting depicts a rural scene with a family, cattle, pond, and cottage. A mother and child pause to observe a drover, perhaps f...

This early 19th-century half-length portrait attributed to British artist George Clint ARA (1770-1854) depicts a young lady wearing a beautiful brown dress, bonnet decorated with small flowers, gold earrings and coral necklace. Clint was a distinguished painter and mezzotint engraver predominantly known for portraiture and dramatic scenes. Set before an evocative classically-inspired backdrop, she looks out from across the centuries with a composed demeanour. Adorned in the latest fashions, oversized ‘gigot’ sleeves, a delicately-poised bonnet, and a coral necklace for good luck. It’s a charming portrayal by a masterful hand. Born at Drury Lane, in the heart of London’s West End, George Clint was destined to lead an exuberant life amid the spectacle of theatreland. His father, Michael Clint, was a hairdresser during a time of “hair pomatum, whalebone, wire, lace gauze, and feathers” - so young George would have encountered a variety of ‘characters’ during his childhood. But despite these elevated surroundings, he soon discovered the darker side of London when thrust into the world of employment. Apprenticed initially as a fishmonger, he trained under a ferocious master who was known to beat him. The hours were unsocial, the conditions rank, and the work was brutal. He soon quit but subsequently found himself toiling for a corrupt attorney who demanded he undertake unscrupulous acts on his behalf. Seeking a less volatile role, he turned next to house painting, at which he excelled. Commissioned, among other projects, to paint the stones of the arches in the nave of Westminster Abbey. Aside from an incident whereby he almost fell from the second story of a building, all was going well. Following his marriage in 1792 to Sarah Coxhead, a farmer’s daughter, he began work in earnest as a painter of miniatures, determined to forge a career. Robert William Buss’ memoir celebrates Clint’s success as a miniaturist, stating that “great manual excellence was united with that chaste, delicate feeling for female beauty which characterised all Mr. Clint's portraits of ladies.” Until this point, it appears he was predominantly self-taught, presumably constrained by a lack of finances. But from hereon in, his industrious nature coupled with several fortunate encounters, led to him developing an enviable talent for both painting and engraving. During the early 19th-century, the acquaintances one kept could make or break your fortunes and perhaps acutely aware of this, Clint’s ‘society’ was an ever-evolving circle of influential personalities. He was “initiated into the mysteries of engraving” by Edward Bell (act.1794-1819) and produced numerous works after the foremost artists, such as George Stubbs, John Hoppner, and Thomas Lawrence. Following a commission from Lawrence, he struck up a long-term friendship. Admired for his skill as a mezzotint engraver, he sought next to hone his technique in oils and, as with many aspiring portraitists, his first work in this respect was a depiction of his beloved wife. The pair were both delighted with it, yet over time Clint began to doubt himself and sought the validation of a superior hand - that of Sir William Beechey (1753-1839). However, paralysed with insecurity, he couldn’t face the potential criticism, so his wife took it instead - “with a child under one arm and the portrait in the other”. The result was immeasurably more positive than he’d envisaged and he became closely associated with Beechey until his death in 1839. Numerous commissions followed from the landed gentry including Lord Egremont, Lord Spencer, and Lord Essex. But also from the theatrical community who would fill his studio at 83 Gower Street, Bloomsbury. His connections within the world of acting led to notable works such as ‘Malvolio and Sir Toby’ (from William Shakespeare's 'Twelfth Night', Act II, Scene iii)’ and ‘Harriet Smithson as Miss Dorillon, in Wives as They Were, and Maids as They Are’. While his efforts in mezzotint included several contributions to JMW Turner’s Liber Studiorum. As a measure of his success, Clint was elected an Associate of the Royal Academy in 1821 - a position he later relinquished for personal reasons. Today, he’s represented in numerous public collections including at The British Museum, Harvard Art Museums, The Met, V&A, Yale Center for British Art, and the National Portrait Gallery. “The respect in which he was held, not only by his brother artists, but by an immense number of eminent men in various professions, and others of the highest rank, was the result of a rare combination of talent, candour, suavity of manner, and integrity of purpose”. [Obituary, 1854]. Housed in a period gilt frame, which is probably original. Learn more about George Clint ARA in our directory. Labels & Inscriptions: Supplier’s stencil from Rowney & Forster. The National Portrait Gallery holds a database of supplier’s stencils over the decades. The one here is also presented on two other works by George Clint. ‘Falstaff’s Assignation with Mrs Ford...

Portrait of Princess de Joinville riding a Bay Horse Henri d’Aincy, Le Comte Monpezat (French 1817-1859) Painted circa 1837-9 oil on canvas 113 x 92 inches (including frame) 92 x 70 inches (unframed) Provenance – from a private royal collection This magnificent portrait depicts Princess de Joinville, the daughter of Pedro I, Emperor of Brazil and the King of Portugal. Through her illustrious family she was directly related Alexander III and Nicholas II of Russia and the Russian royal family, as well as to many of the great ruling families of Europe. The work clearly confirms Monpezat as one of the most accomplished equestrian portrait painters in France in the early nineteenth century. In terms of scale, quality and dramatic power, it must surely be considered amongst his finest works. The stance of the powerful thoroughbred - in half rear - emphasises the calm nature and courage of the Princess. Francisca of Brazil (1824-98) married a son of Louis Philippe I, the King of the French, and had three children. Born at the Imperial Palace of Saint Christopher, her youngest brother was the future Pedro II...

'Robert Macaire Dentiste' Lithograph by Honore Daumier after Charles Philipon. 1837. Plate 57 from the Robert Macaire 'Caricaturana' series. Translation of the French text below th...

"Early Summer Horse Fair" from 53 Stations of the Tokaido Woodblock print of a group of horses, originally by Hiroshige (Ando) Utagawa (Japanese, 1797 - 1858). Several groups of hor...

"Dangerous" Portrait of the 1833 Derby racehorse winner by John Frederick Herring Snr (1795-1865) British signed lower left, titled lower right oil painting on canvas: 10 x 14 inches...

Per Wickenberg was a Swedish artist active in the early 19th century. He was only 34 when he died of tuberculosis; thankfully for the art history - at that point, he had practised the art of painting for more than 20 years. After his art studies at the Royal Academy of Art in Stockholm, he left Stockholm and travelled to Paris in 1837. In Paris, he finally received the well-deserved success for his landscapes; he won golden medals at the Salon de Paris both in 1838 for his painting "Nordiskt vinterlandskap" and in 1839 for a painting called "Vinterfiske". Per received a travel scholarship from Sweden and used that money for trips to Belgium and the Netherlands. Our painting is from that time, the time after his success in Paris, and in this magnificent painting, we see his talent in capturing the cold winter mood with meticulous care of details. Notice how nicely painted the children are on the ice, the sledge filled with hay to provide comfort and insulation against the cold. In the background, we can see an ice skater, a detail that gives the painting depth and three-dimensionality. This is a wonderful painting by a talented artist - who devoted almost his entire life to the art of painting. Artist: Per (Pehr) Wickenberg (1812-1846) Swedish Title: Dutch Winter landscape with children...

James Y. Gant was an active British artist during the early 19th century, primarily known for his landscape paintings. His career spanned from 1827 to 1841, a period in which he prod...

"The Meeting of Her Majesty's Stag Hounds on Ascot Heath" is a large colorful mezzotint engraving of an extensive British hunting scene. It was created by Sir Francis Grant...

19th Century German School Br: Venus aus Chemnitz 50 Jahre alt 58 24/5 39, 1839 Oil on canvas Signed lower left 25.5 x 20 inches 30.5 x 24.75 inches, framed The gentleman is Johann ...

Anonymous (English School) Prize Bull Portrait, mid-19th century Oil on canvas, housed in a figured maple frame This striking and endearing portrait of a prize bull stands as a test...

Woodcut print realized by Hokusai in 1834. From the Series "One Hundred Views of Mount Fuji". Good condition and little signs of aging.

Barenger was born in Kentish Town, London, the son of James Barenger Snr., a metal chaser and artist who exhibited paintings of insects at the Society of Artists and Royal Academy, a...

Here is an almost two hundred year old painting which is so irresistibly charming that it's crazy! You may have seen painted landscapes, portraits, genre scenes - but how many pretty...

This early 19th-century oil painting depicts the Danish prime minister, Peter Georg Bang (1797-1861). Despite rising to the highest echelons of society, Peter Georg Bang remained re...

"Early Summer Horse Fair" from 53 Stations of the Tokaido Woodblock print of a group of horses, originally by Hiroshige (Ando) Utagawa (Japanese, 1797 - 1858). Several groups of hor...

James Y. Gant was an active British artist during the early 19th century, primarily known for his landscape paintings. His career spanned from 1827 to 1841, a period in which he prod...

Antique French painting from the first half of the 19th century. Oil on oak panel artwork of excellent pictorial quality depicting a Neoclassical subject entitled Amintas (Aminta), f...

This endlessly charming mid-19th-century English oil painting depicts a rural scene with a family, cattle, pond, and cottage. A mother and child pause to observe a drover, perhaps f...

Jean-Victor ADAM known as Victor ADAM Paris, 1801 – Viroflay, 1866 Watercolor on paper 14 x 18.5 cm (30.5 x 34.5 cm with frame) Signed lower left “V. Adam” Framed Very beautiful wat...

Artist: John James Audubon (American, 1785-1851) Title: "Eared Grebe" (Plate CCCCIV - 404; part No. 81) Portfolio: The Birds of America, Havell Edition Year: 1838 Medium: Original Ha...

Per Wickenberg, was a Swedish maestro of the brush who left an indelible mark on the world despite his brief life, truncated by tuberculosis at the age of 34. A prodigy who dedicated...

Flemish school of the 19th century Armorial portrait of Baron Henri de ROISIN (1787-1846) in the uniform of a general of the gendarmerie (1835) Oil on canvas H. 108 cm; W. 90 cm Bar...

You will find this young man good company! It is a pleasure to study his thoughtful, sensitive face. He has a benevolent and real presence. To my mind, he certainly has an artistic nature - he looks like a thinker, poet and/or musician. Dating from what the French call the Romantic Period, the early 1800s, our painting is monogrammed AG and may be attributed to Auguste Glaize. Born in Montpellier, Auguste Glaize studied under the painters Achille Devéria and Eugène Devéria. He came to be one of the great French Romantic painters of the early 19th century, marking his career with important history paintings and cycles of monumental religious...

Rare Set of 6 beautiful Naturalistic hand-colored lithograph prints by John Gould from his work Birds of Europe, embelished with gum arabic in vibrant colors. Published 1832 - 1837 by Hullmandel, Walter and Walton. Presented in gold leaf wood frames. Very charming . The price includes the set of 6 framed ones. John Gould (1804–1881) is the most prolific publisher of ornithological subjects of all time. In 19th-century Europe, his name was as well known as Audubon’s was in North America. Unlike Audubon, whose life’s work focused on one region, Gould traveled widely and employed other artists to help create his lavish, hand-colored lithographic folios. John Gould’s love of natural history was fostered in the gardens of King George III where his father was chief gardener at Windsor Castle. Although trained as a gardener, Gould’s interests quickly evolved, and at the age of 20, he was appointed taxidermist to the Zoological Society of London. After three years, he progressed to the position of curator of birds and chief taxidermist. In 1830, newly married, Gould and his artist wife, Elizabeth Gould...

This early 19th-century half-length portrait attributed to British artist George Clint ARA (1770-1854) depicts a young lady wearing a beautiful brown dress, bonnet decorated with small flowers, gold earrings and coral necklace. Clint was a distinguished painter and mezzotint engraver predominantly known for portraiture and dramatic scenes. Set before an evocative classically-inspired backdrop, she looks out from across the centuries with a composed demeanour. Adorned in the latest fashions, oversized ‘gigot’ sleeves, a delicately-poised bonnet, and a coral necklace for good luck. It’s a charming portrayal by a masterful hand. Born at Drury Lane, in the heart of London’s West End, George Clint was destined to lead an exuberant life amid the spectacle of theatreland. His father, Michael Clint, was a hairdresser during a time of “hair pomatum, whalebone, wire, lace gauze, and feathers” - so young George would have encountered a variety of ‘characters’ during his childhood. But despite these elevated surroundings, he soon discovered the darker side of London when thrust into the world of employment. Apprenticed initially as a fishmonger, he trained under a ferocious master who was known to beat him. The hours were unsocial, the conditions rank, and the work was brutal. He soon quit but subsequently found himself toiling for a corrupt attorney who demanded he undertake unscrupulous acts on his behalf. Seeking a less volatile role, he turned next to house painting, at which he excelled. Commissioned, among other projects, to paint the stones of the arches in the nave of Westminster Abbey. Aside from an incident whereby he almost fell from the second story of a building, all was going well. Following his marriage in 1792 to Sarah Coxhead, a farmer’s daughter, he began work in earnest as a painter of miniatures, determined to forge a career. Robert William Buss’ memoir celebrates Clint’s success as a miniaturist, stating that “great manual excellence was united with that chaste, delicate feeling for female beauty which characterised all Mr. Clint's portraits of ladies.” Until this point, it appears he was predominantly self-taught, presumably constrained by a lack of finances. But from hereon in, his industrious nature coupled with several fortunate encounters, led to him developing an enviable talent for both painting and engraving. During the early 19th-century, the acquaintances one kept could make or break your fortunes and perhaps acutely aware of this, Clint’s ‘society’ was an ever-evolving circle of influential personalities. He was “initiated into the mysteries of engraving” by Edward Bell (act.1794-1819) and produced numerous works after the foremost artists, such as George Stubbs, John Hoppner, and Thomas Lawrence. Following a commission from Lawrence, he struck up a long-term friendship. Admired for his skill as a mezzotint engraver, he sought next to hone his technique in oils and, as with many aspiring portraitists, his first work in this respect was a depiction of his beloved wife. The pair were both delighted with it, yet over time Clint began to doubt himself and sought the validation of a superior hand - that of Sir William Beechey (1753-1839). However, paralysed with insecurity, he couldn’t face the potential criticism, so his wife took it instead - “with a child under one arm and the portrait in the other”. The result was immeasurably more positive than he’d envisaged and he became closely associated with Beechey until his death in 1839. Numerous commissions followed from the landed gentry including Lord Egremont, Lord Spencer, and Lord Essex. But also from the theatrical community who would fill his studio at 83 Gower Street, Bloomsbury. His connections within the world of acting led to notable works such as ‘Malvolio and Sir Toby’ (from William Shakespeare's 'Twelfth Night', Act II, Scene iii)’ and ‘Harriet Smithson as Miss Dorillon, in Wives as They Were, and Maids as They Are’. While his efforts in mezzotint included several contributions to JMW Turner’s Liber Studiorum. As a measure of his success, Clint was elected an Associate of the Royal Academy in 1821 - a position he later relinquished for personal reasons. Today, he’s represented in numerous public collections including at The British Museum, Harvard Art Museums, The Met, V&A, Yale Center for British Art, and the National Portrait Gallery. “The respect in which he was held, not only by his brother artists, but by an immense number of eminent men in various professions, and others of the highest rank, was the result of a rare combination of talent, candour, suavity of manner, and integrity of purpose”. [Obituary, 1854]. Housed in a period gilt frame, which is probably original. Learn more about George Clint ARA in our directory. Labels & Inscriptions: Supplier’s stencil from Rowney & Forster. The National Portrait Gallery holds a database of supplier’s stencils over the decades. The one here is also presented on two other works by George Clint. ‘Falstaff’s Assignation with Mrs Ford...

This captivating early 19th-century painting of an interior farm scene by Abraham Cooper, circa 1830, is a testament to the artist's skill in capturing ...

"West Point from the East Bank of the Hudson" Antique Drawing on Paper Delicate and detailed drawing by Hartford, Connecticut artist Edward Watkins Wells (1819-1898) The viewer looks out past a gate at the Hudson River, with its characteristic mountain banks. A shepherd is driving a flock of sheep towards the gate and viewer. The scene appears to have been copied from a drawing book published in 1827, based on the inscription at the bottom edge. Presented in white archival mat Mat size: 12"H x 12"W Paper size: 7.5"H x 9.25"W Notes of interest on Edward Watkinson Wells Our most significant acquisition this year came from a dealer in Philadelphia. It is a 450-page diary written over 10 years (1841-1851) by Hartford artist and dilettante Edward Watkinson Wells (1819-1898), one of the many nephews of our founder, David Watkinson (1778-1857). Edward was immersed in Hartford’s cultural life in the 1840s, exhibited his works at local fairs and gave lessons to the locals. He portrays an active involvement with with his large extended family, which often crossed and re-crossed the other prominent families of Hartford (i.e., Barnard, Channing, Dexter, Ely, Gallaudet, Gill, Goodrich, Hudson, Rockwell, Silsbee, Tappan, Terry, Tracy, Trumbull, Van Renselaer, and Wadsworth). Edward describes dancing and costume parties, soirees, teas, dinners, and receptions in private homes and public venues. He meets Charles Dickens and his wife when they come through Hartford in 1842, and describes brushes with other luminaries, such as Col. Thomas L. McKenney (who lectures on American Indians), and the Unitarian clergyman Rev. Henry Giles, who gave a pro-Irish speech. Other entertainments included a balloon ascension, exhibitions of mesmerism and hypnotism, parades, and performances by well-known groups. He also chronicles the progression of the construction of the Wadsworth Atheneum, and touches on his father’s far-reaching interests in the business world–canals, railroads, factories, and real estate. The cost of this valuable document of mid-19thC Hartford was generously underwritten entirely by a member of the Watkinson Trustees. Trinity College and the Watkinson Virtual Library has content on Edward Watkinson Wells. Yale College also: Edward Watkinson Wells also kept a diary, of which three volumes are preserved (folder 32). He describes a trip by steamboat to Florida, ca. 1855-1860, and the social life and customs he observed there. The other two volumes detail his daily life in Hartford during 1856-1860, and record the deaths of his father and David Watkinson in 1857. Other items contained in the William Wells...

The oeuvre belongs to the series The Birds of America, published between 1822 and 1837. It was designed by John James Audubon and engraved, printed, and colored by R. Havell in 1834....

This early 19th-century oil painting depicts the Danish prime minister, Peter Georg Bang (1797-1861). Despite rising to the highest echelons of society, Peter Georg Bang remained re...

This early 19th-century central European oil painting depicts Christ The Saviour standing atop an orb and carrying a cross over his left shoulder. An unusual composition, Christ’s rather striking posture is perhaps more ‘Saturday Night Fever’ than it is sacramental. However, the iconography is archaic and derived ultimately from New Testament illustrations dating to the Middle Ages. Depictions of orbs are usually symbolic of the universe, while the cross alludes to redemption. Hence, it’s a visual representation of Christ as the Saviour of humanity. Francisco de Zurbarán...

Antique French painting from the first half of the 19th century. Oil on canvas artwork depicting an interior scene with characters, The Marriage Contract, of good pictorial quality. ...

English School, Portrait of a Gentleman, Oil on Canvas, circa 1830, the figure seated in an armchair, unsigned, according to a typed label verso depicting "Lord John H. Morelan(d)", ...

Portrait of Princess de Joinville riding a Bay Horse Henri d’Aincy, Le Comte Monpezat (French 1817-1859) Painted circa 1837-9 oil on canvas 113 x 92 inches (including frame) 92 x 70 inches (unframed) Provenance – from a private royal collection This magnificent portrait depicts Princess de Joinville, the daughter of Pedro I, Emperor of Brazil and the King of Portugal. Through her illustrious family she was directly related Alexander III and Nicholas II of Russia and the Russian royal family, as well as to many of the great ruling families of Europe. The work clearly confirms Monpezat as one of the most accomplished equestrian portrait painters in France in the early nineteenth century. In terms of scale, quality and dramatic power, it must surely be considered amongst his finest works. The stance of the powerful thoroughbred - in half rear - emphasises the calm nature and courage of the Princess. Francisca of Brazil (1824-98) married a son of Louis Philippe I, the King of the French, and had three children. Born at the Imperial Palace of Saint Christopher, her youngest brother was the future Pedro II...

French artist of the first half 19th century oil painting on canvas, unframed canvas: 12.5 x 9.5 inches provenance: private collection, France condition: overall very good - aging signs...

Beautiful luminous painting of a bucolic rural scene in sunset by the English artist, Ramsey Richard Reinagle. Circa 1930. Condition is good. Sig...

Sumiyoshi: Dengaku dance performed during an Onda ceremony - Woodblock Print Bright woodblock print by Utagawa Hiroshige (Japanese, 1797-1858). In this scene, two dancers with swords and fans are facing each other, in the center of a courtyard. There are spectators surrounding them, including nobles in black clothing on a balcony. Presented in a new off-white mat with foamcore backing. Mat size: 16"H x 20"W Paper size: 9.63"H x 14.5W" Utagawa Hiroshige (1797-1858, sometimes called Ando Hiroshige) was the second of the two great masters of the Japanese landscape woodblock print...

Oriental Woman is an original print realized around 1830 by Utagawa Kunisada. Beautiful colored woodblock print. Good conditions except for some folds...

Portrait of Berthe Thorwaldsen with Bust of Horace Vernet is an original modern artwork realized by the Circle of Horace Vernet (30 June 1789 – 17 Januar...

Precious Watercolor attributed to James WARD (1769-1859) - England, 1830-1840. The Fisherman' S Family. Measurements : View : 20"x14.6" (51x37 cm), With frame : 26.6"x21.5" (67.5x54....

Hubertus van Hove (The Hague, 1814 - Antwerp, 1865) - Signed H Van Hove and dated 1839 (bottom left) - Coastal landscape with the beach of Scheveningen Oil on panel 62 x 80 cm. - F...

A view of Sebastopol in the Crimea. Oil on canvas. In a 19th century gild wood and plaster frame. This painting can be dated around 1830/1840 given the dresses worn by the women i...

This is an original 19th century hand-colored folio-size McKenney and Hall engraving of a Native American entitled "To-Ka-Con, A Sioux Chief", drawn ...

A black pointer in a woodland landscape by John Frederick Herring Senior, circa 1830. Oil on canvas in a giltwood frame. Provenance: Arthur Ackerman and Son Frost and Reed Blains, Bruton Place, London John Frederick 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. In 1814, at the age of 18, he moved to Doncaster in the north of England, and by 1815, had married Ann Harris. His sons John Frederick Herring Jr., Charles Herring, and Benjamin Herring...

Louis-Alphonse DAVID (1798-1849) Le Moulin de la Butte aux Cailles, Paris, (The Mill at la Butte aux Cailles) signed lower left Pencil and white chalk on paper 22,5 x 36 cm Framed : 40,5 x 55 cm Louis-Alphonse David is known for a relatively small body of work, including portraits and large compositions. In any case, in this work he shows a remarkable mastery of drawing, with particularly suggestive and subtle plays of light and shadow. The Butte aux Cailles, now part of the 13th arrondissement of Paris, was a hill covered in meadows, vineyards and woods, built with several windmills and overlooking the river Bièvre. It was named after Pierre Caille...

Artist: Robert Huish (English, 1777-1850) Title: "The Alligator (In the Gardens of the Zoological Society)" (Plate 26) Portfolio: The Wonders of the Animal Kingdom; Exhibiting Deline...

Jules Coignet (1798-1860) Lago di Guarda, 1837, Inscribed "Lago di Guarda 9 8bre 1837" Graphite on paper 24 x 35 cm Framed : 37 x 48 cm Provenance : Galerie Paul Prouté, Autumn 1...

Barenger was born in Kentish Town, London, the son of James Barenger Snr., a metal chaser and artist who exhibited paintings of insects at the Society of Artists and Royal Academy, a...

Louis-Alphonse DAVID (1798-1849) Le Moulin de la Butte aux Cailles, Paris, (The Mill at la Butte aux Cailles) signed lower left Pencil and white chalk on paper 22,5 x 36 cm Framed : 40,5 x 55 cm Louis-Alphonse David is known for a relatively small body of work, including portraits and large compositions. In any case, in this work he shows a remarkable mastery of drawing, with particularly suggestive and subtle plays of light and shadow. The Butte aux Cailles, now part of the 13th arrondissement of Paris, was a hill covered in meadows, vineyards and woods, built with several windmills and overlooking the river Bièvre. It was named after Pierre Caille...

A fine landscape with sheep and cattle by American artist George Loring Brown (1814-1889). Brown was born in Boston, Massachusetts, and was apprenticed to wood engravers and illustr...

Outstanding portrait of two dogs. Sam Spode was an Irish painter of horse and dog portraits from the late 18th century through the early 19th century. His dog portraits are very rar...

Original hand-painted Neapolitan gouache entitled "Eruz de Gennajo 1839." An excellent example of the classic Neapolitan School view. Unsigned. Displayed in an archival mat with an o...

An original 19th century hand-colored folio-size McKenney and Hall lithograph of a Native American entitled "Le Soldat Du Chene, An Osage ...

A Gathering by a Lake in the Roman Campagna Oil on canvas: 48 x 65 in. Framed: 58 x 74 in. Circa 1840 Samuel James Ainsley (1820-1874) was a British artist recognized especially fo...

Tinted lithograph with white highlights, from 'Thirty-Four Subjects of Cattle', published in 1837 by Thos. McLean, Ackermann and Tilt. Printed at A Ducote's Lithographic Establishmen...

Kabuki actor is a superb colored woodblock print realized around 1830 by one of the most famous Japanese Ukiyo-e artists Utagawa Kunisada, also known as Utagawa Toyokuni III (1786 - ...

Étienne DENISSE (1785-1861) Gombeau Edible and Trompette. Collection of the most remarkable Flowers and Fruits, natural size. Two lithographs enhanced with watercolor. Around 1830. F...

An original 19th century hand-colored folio-size McKenney and Hall lithograph of a Native American entitled "Kai Pol E Quah, White Nosed F...

Katsushika Hokusai (Japanese, 1760–1849) Poem by Bunya no Asayasu (Fumiya no Asayasu), from the series One Hundred Poems Explained by the Nurse (Hyakunin isshu uba ga etoki) 「百人一首うはか...

Napoleonic Battle is an Etching realized by Horace Vernet in 1837. Good conditions. The artwork is realized in a well-balanced composition. the artwork and belongs to the suite sui...

Margaret Sarah Carpenter 1793-1872, was an English portrait painter. She was one of the foremost portrait painters in the 19th Century, she exhibited at the Royal Academy, British In...

“Orientalist Portrait of an Arab Man” Half-length, turned to the left, oval Jean-Horace Vernet (French 1789-1863) Circa 1830s Watercolor heightened with touches of white on paper Sig...

This captivating early 19th-century painting of an interior farm scene by Abraham Cooper, circa 1830, is a testament to the artist's skill in capturing ...

Antique Horse Study "Legs and Rumps, 1838" Wouterus Verschuur l (Dutch, 1812-1874) Pencil on paper Signed and Dated "W Verschuur 1838" 10 x 6 1/2 (17 1/2 x 14 frame) inches In his time Wouterus Verschuur was an acclaimed and celebrated painter of horses. Through careful observation he learned to capture their physique and movement to perfection. As a true-born romanticist he was also interested in their character, thereby painting powerful carthorses in their stable, thoroughbred saddled horses during an afternoon ride or harnessed horses in action. He was born to an Amsterdam jeweler and received his training from the landscape and cattle painters Pieter Gerardus van Os and Cornelis Steffelaar. As part of this education Verschuur had to copy works by the 17th century painter Philips Wouwerman. Like Wouwerman, Verschuur's subjects consist mostly of stable scenes, landscapes with horses and coastal landscape. These works reflect the enduring influence of the northern Baroque masters on nineteenth century art, revealing the artist's close study of his Dutch and Flemish predecessors harking back to Peter Paul Rubens. Showing talent from a very early age, at 15 Verschuur had a painting exhibited at the "Exhibition of Living Masters" at Amsterdam in 1828. In 1832 and 1833 he won the gold medal at the annual exhibition at Felix Meritis. In 1833 he was appointed a member of the Royal Academy in Amsterdam. In 1839 he joined the artists' society, Arti et Amicitiae. His reputation was also considerable abroad. He was often featured in the annual exhibitions which travelled the large European cities at that time. In 1855 Napoleon III purchased one of his paintings at the Exposition Universelle in Paris. The Verschuur horse revels in its physicality, like a quintessential Baroque horse...

Original Hamburg - Amerika linie, Hamburg America Line vintage travel by ship antique poster. Art Deco time frame vintage poster for traveling by cruise...

Japanese woodblock print of a woman kneeling by the river. She is holding a stick making it appear like she is fishing with it. The woodblock print is printed on rice paper. The print is not framed. Artist Biography: Utagawa Kuniyasu...

Portrait French PS 247 Starry Night Diving Portrait of a diving woman dress with a Vincent Van Gogh swimsuit A daring dive in the unknown! This is one of the famous artwork from V...

A astounding portrait of a society beauty by Adele Grasset (active ca 1830-1850). With an open face and and lightly smiling lips, she is wearing a gown typical of the romantic period. Drawn in graphite and heightened with white, the drawing is dated 1836 As often with woman artists of the 18th and 19th century, there is little biographical information available on Adèle Grasset. We do know however, that she had studied with the highly prominent artist François Gérard (1770-1837) , known also as the Baron Gérard...

An original 19th century hand-colored folio-size McKenney and Hall lithograph of a Native American entitled "Wa-Bish-Kee-Pe-Na, The White ...

Artist: Nathaniel Wallich (Danish, 1786-1854) Title: "Salvia cana (Woolly Sage)" (Plate 116) Portfolio: Plantae Asiaticae Rariores; or, Descriptions and Figures of a Select Number of Unpublished East Indian Plants Year: 1830-1832 Medium: Original Hand-Colored Lithograph on J. Whatman paper Limited edition: 254 Printer: Engelmann, Graf, Coindet & Co., London, UK Publisher: Richard Taylor for Treuttel & Würtz, London, UK Reference: Nissen BBI No. 2099; Pritzel No. 9957; Stafleu-Cowan No. 16583; Dunthorne No. 326 Sheet size: 21.13" x 14.25" Condition: Some scattered tiny handling creases to sheet. Has been professionally stored away for decades. In excellent condition with strong colors Rare Notes: Provenance: private collection - Aspen, CO. Lithography by Maltese artist...

Artist: Nathaniel Wallich (Danish, 1786-1854) Title: "Impatiens puberula (Soft Pink Balsam)" (Plate 193) Portfolio: Plantae Asiaticae Rariores; or, Descriptions and Figures of a Select Number of Unpublished East Indian Plants Year: 1830-1832 Medium: Original Hand-Colored Lithograph on J. Whatman paper Limited edition: 254 Printer: Engelmann, Graf, Coindet & Co., London, UK Publisher: Richard Taylor for Treuttel & Würtz, London, UK Reference: Nissen BBI No. 2099; Pritzel No. 9957; Stafleu-Cowan No. 16583; Dunthorne No. 326 Sheet size: 21.13" x 14.13" Condition: Has been professionally stored away for decades. In excellent condition with strong colors Rare Notes: Provenance: private collection - Aspen, CO. Lithography by Maltese artist...

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An original 19th century hand-colored folio-size McKenney and Hall lithograph of a Native American entitled "Nah-Et-Luc-Hopie", created by...