1860s Art

Edouard MANET Child with a Tray (Pear and Bottle), 1861 Original etching Printed signature in the plate On Japan paper 36 x 24 cm (c. 12 x 10 inch) REFERENCES : Catalog raisonne Gu...

The Samurai Genta Kajiwara - Japanese Woodblock Diptych in Ink on Paper Boldly colored woodblock by Utagawa Yoshitora (Japanese, active c.1840-1880)...

Gustave de Jonghe An Afternoon Visit Oil on panel Image Size: 32.8 x 25 inches Framed Dimensions: 41.7 x 33.5 Hand signed in lower left corner

Lithograph on paper realized in 1862. Hand colored. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the government, of the laws, o...

Combat is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the government, of the laws, of ...

An important mid-19th century American oil on canvas portrait depicting a seated child, dated October 18, 1864 and attributed to John O’Brien Inman (1828–1896). The work embodies the refined sensibility of period portraiture, where technical discipline and emotional subtlety converge. The composition is elegantly arranged, with the child set against a rich drapery backdrop rendered in deep, warm tones that enhance the luminous modeling of the figure. The artist demonstrates a confident academic hand—visible in the delicate transitions of flesh tones, the softness of expression, and the controlled handling of light. The direct yet gentle gaze captures a fleeting moment of childhood with remarkable intimacy. Executed within the tradition of American portrait painting of the mid-19th century, the work reflects the cultural importance of commissioned portraiture as a means of preserving family legacy. The quality of execution, combined with the presence of a fully written inscription on the reverse in a manner consistent with 19th-century hand, strongly supports the attribution. The painting is presented in an ornate gilt frame that complements its period character. Ready to hang. 📏 Measurements: Framed 41 x 34.5 inches; Painting 30 x 25 inches 🎨 Artist: Attributed to John O’Brien Inman (1828–1896), American School ✍️ Signature: Verso inscription reading “Painted by Jno. O. Inman, Portland, Oct 18th 1864,” executed in period hand 🧾 Condition: Good condition with light age-appropriate surface wear and stable craquelure consistent with age 📦 Shipping: Same day safe packaging from Florida Please read some interesting information about Artist...

A student of the great French academic Bouguereau, Lobrichon has done a moving and entrancing depiction of a young girl mid-gaze. Beautifully painted and done in a circular format t...

Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentine singer, 1865. Light brown patinated bronze with cast round plinth mounted on a square marble base (3.5 cm high). Total height 53 cm. Bronze dimensions: 49.5 cm (height) x 20 cm (length) x 10 cm (width), weight 5.6 kg. Inscribed on the plinth "P.[aul] DUBOIS", dated "1865", with the foundry's mark "F. BARBEDIENNE FONDEUR" and the signet "REDUCTION MECANIQUE A. COLLAS". - Patina very occasionally darkened, lute with loss of one tuning peg, otherwise in excellent condition. - The renaissance of the Renaissance - The bronze is a precisely executed and masterfully cast contemporary reduction of Paul Dubois 155 cm tall masterpiece "Florentine Singer", which is exhibited in the Musée d'Orsay and for which the artist was awarded the Medal of Honor at the Paris Salon in 1865. The work acted as a beacon, and was followed by a plethora of depictions of juveniles. Inspired by Donatello and Luca della Robbia, but also by painters such as Piero della Francesca, Benozzo Gozzoli, and Pinturicchio, the "Florentine Singer" is not an epigonal work that pays homage to a vanished era, but a successful attempt to draw vitality from the art of the past and thus give it new life. The effect of vitality is the core of Italian Renaissance art theory. In order to fulfill itself as art, art had to appear like nature. This naturalism also characterizes the "Florentine Singer". The young man appears to have been taken from life, which is reinforced by the momentary nature of his action. He has just struck a now fading chord. In addition, the natural appearance is enhanced by the detailed shaping of the figurative details, such as the laces with the slightly curved leather of the shoes, the belt buckle, or the ornamentation on the body of the lute. Even the fingernails are clearly defined. Unlike the Renaissance, however, the effect of liveliness here is not based on the "discovery" of nature and the human body, but primarily on the rediscovery of the art of the Quattrocento. The liveliness of the artwork is therefore at the same time a revitalization of this art, so that we can speak of a Renaissance of the Renaissance, just as the Pre-Raphaelites in England at the same time transferred the Quattrocento to contemporary art. Dubois takes on the most difficult of all subjects, the depiction of singing through silent sculpture. He was preceded in this by Luca della Robbia and Donatello with their pulpits of singers created in the 1430s in the Museo dell'Opera del Duomo in Florence. Compared to these works, the physiognomy of Dubois singer is far less animated, yet he also depicts singing in a convincing manner. He uses the whole body. He takes the ancient contrapposto, which was essential to Renaissance sculpture, and transforms the standing leg-playing posture into a late medieval S-swing, giving the body an elegant beauty and at the same time setting it in melodic motion. In the equally elegant finger position, the music is expressed in a much more literal way with the beating of the lute. Finally, the musicality of the sculpture culminates in the face with the mouth open to sing. Through the act of singing, which is a great challenge to the artistic will to depict perfect beauty, the gracefulness of the classical face is not diminished, but enhanced. Starting from the face with the singing mouth and the gaze absorbed by the sounds, the inner vitality spreads, giving the bronze sculpture an intense aura, enhanced by the music. Dubois transfers the beauty of the Renaissance to the musical, sublimating the visible sculpture to the invisible of music. He took up the challenge of transcending the Renaissance with the Renaissance, thus responding to the Querelle des Anciens et des Modernes, which arose at the end of the 17th century around the French Academy and remained virulent into the 19th century, in which antiquity was regarded either as an unattainable ideal or as a standard to be surpassed. With his work, Dubois proved that the Renaissance, which had championed the art of the ancients, could lead to a new renaissance of art. About the artist Paul Dubois' great-uncle was the famous French Baroque sculptor Jean-Baptiste Pigalle, in whose footsteps the talented great-nephew followed. When he debuted at the Paris Salon in 1858, he signed his work "Dubois-Pigalle". At his father's request, however, he first studied law before devoting himself to sculpture under the tutelage of François Christophe Armand Toussaint in 1856 and entering the École des Beaux-Arts in 1858. From 1859 to 1863, he lived in Rome and traveled to Naples and Florence. Inspired by Florentine art of the quattrocento, Dubois initiated a school-forming neo-Florentine style that combined the elegantly simple forms of youthful grace with a precise wealth of detail.Two purchases by the French state (“envois de Rome”) were made during his stay in Rome, which brought him recognition in Paris. After his return there, he quickly became an internationally sought-after artist. Dubois was also active as a creator of monuments. His most famous work is the equestrian statue of Joan of Arc (1896) on the forecourt of Reims Cathedral. He was also a sought-after portraitist who produced around 50 busts and - Dubois was also a passionate painter - around 100 portraits in oil. From 1873 to 1878 he was curator of the Museum du Luxembourg, in 1876 he became a member of the Institut de France and from 1878 to 1905 he was director of the École des Beaux-Arts. In 1865, Dubois was awarded the Paris Salon Medal of Honor for his “Florentine Singer”. In 1867 he became Chevalier, in 1874 Officier, in 1886 Commandeur of the Légion d'honneur, which awarded Dubois the Grande Croix in 1896. Selected Bibliography Stole, Elmar: Paul Dubois. In: Saur. Allgemeines Künstlerlexikon, vol. 30, Munich - Leipzig 2001, pp. 677-678. GERMAN VERSION Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentinischer Sänger, 1865. Hellbraun patinierte Bronze mit gegossener runder Plinthe auf quadratischem Marmorsockel montiert (3,5 cm Höhe). Gesamthöhe 53 cm. Maße der Bronze: 49,5 cm (Höhe) x 20 cm (Länge) x 10 cm (Breite), Gewicht 5,6 kg. Auf der Plinthe mit „P.[aul] DUBOIS“ bezeichnet, auf „1865“ datiert, mit dem Gießereistempel „F. BARBEDIENNE FONDEUR“ und dem Signet „REDUCTION MECANIQUE A. COLLAS“ versehen. - Patina sehr vereinzelt nachgedunkelt, Laute mit Verlust eines Stimmwirbels, ansonsten ausgezeichnet erhalten. - Die Renaissance...

Alexander Charles Stuart The Attack of the Merrimac Signed lower left Oil on artist board 13 3/4 x 23 1/4 inches Alexander Charles Stuart, a Scottish-born painter of ships and marin...

Interior of the Parthenon is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the governmen...

Rare early American sunset Hudson River School swimming hole painting. Framed. Oil on board. Image size, 7.25H by 10L.

GEORGE (SMITH) ARMFIELD This is a classic example of George Armfield's paintings with terriers. Picture Size: 10 x 14" (25 x 35cm) Outside Frame Size: 16 x 20" (40 x 50cm) Exhibitio...

Uses and Customs - Paladins and Knights is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of...

The painting is unsigned on the front. An old handwritten inscription on the upper stretcher identifies the artist as Steinbach and appears to include the words “in München” (Munich)...

Antique American Hudson River School artist working in Italy. Oil on canvas. Framed nicely. No signature found.

The Golden Winged Woodpecker, Plate 273 Picus auratus, Linn. The current name, Northern Flicker, Colaptes auratus. is in good condition. The edges are ragged from age with small areas of paper missing in two places but only on the very edge. The ” Birds of America” by John James...

This absolutely lovely British Victorian oil painting is by noted Birmingham born artist James John Hill and has some excellent provenance below. The painting actually stayed in Birmingham for many years, hanging in Heathfield Hall, the former residence of inventor and engineer James Watt, but owned at that time by Thomas Pemberton. It then moved to Berwick House in Shropshire. Entitled The Gleaner and painted in1863, it is a charming half length portrait of a young woman with a sheaf of wheat under her arm. She is stood beneath trees and the wheat field is beyond. She is dressed in a lovely pink garment and wearing a brown felt hat, to shade her face from the sun, her dark hair cascading down her shoulder, The hat is decorated with a poppy. The soft tones and sympathetic rendering of the young woman make this a stunning 19th century oil painting with excellent provenance. The painting is housed in its original gilt frame with a beautiful oak leaf motif. Signed and dated 1863 lower left. Provenance. Thomas Pemberton, Heathfield Hall, Handsworth, Birmingham. (Heathfield Hall was the former residence of the inventor and engineer James Watt. Following his death the house had several occupiers including local luminaries Thomas Pemberton and George Tangye). His sale, Christie's, 30 April 1874, lot 95 (69gns to James Watson) Berwick House, Shropshire. (James Watson (1817-1895) was an English merchant, dairy herdsman and Conservative politician who sat in the House of Commons from 1885 to 1892) Condition. Oil on canvas, 34 inches by 28 inches unframed, in good condition. Frame. Housed in its original gilt frame with oak leaf motif, 42 inches by 36 inches and in good condition. James John Hill RBA (1811 – 27 January 1882), known also by his alias J. J. Hill, was an English landscape and portrait painter, known for his many rustic paintings and portraits of Lady Burdett-Coutts. James John Hill was born sometime in 1811 in Broad Street, Birmingham to Daniel Hill, plater, and Elizabeth Rowlinson, the daughter of a brass founder. He was educated at Hazelwood School, a school founded by the educational reformer Rowland Hill...

Lithograph on paper realized in 1862. Hand colored. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the government, of the laws, o...

This elegant English 19th-century portrait of a young boy dressed in a Cavalier costume, painted circa 1860, is a striking example of Victorian portraiture that seamlessly combines h...

Etching on laid paper Signed in plate lower left: Justin Gabriel Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris With the blindstamp of the Société des Aquafortis...

The 1862 original lithography by François-Edmond Pâris, titled "Souvenirs de Jérusalem - Chapelle du Saint Sépulcre," stands as a testament to both artistic skill and historical sign...

Lithograph on paper realized in 1862. Hand colored. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the government, of the laws, o...

Modesto Faustini (1839-1891), "Portrait of elegant," oil on canvas in gilt frame signed lower right "M. Faustini - Rome." This splendid portrait belongs to one of the most flourishi...

Uses and Customs - Chef de Clan is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the gov...

Etching on laid paper Signed in plate lower left: Bracquemond Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris With the blindstamp of the Société des Aquafortistes...

Jules-Eugène Lenepveu (1819-1898) Portrait of a man in profile signed on the lower right Pencil and heightenings of white gouache on paper 19.5 x 13 cm Framed : 29 x 22.7 cm Jules-Eugène Lenepveu is of course particularly well known for his large-scale paintings, such as the one on the ceiling of the Paris Opera, but his work here is much more delicate and intimate. We recognise the artist's mastery of talent, but the play of textures, with its highlights of white that enliven and illuminate the model's face, is also very subtle. There's a particularly charming sense of life and impression of light. Jules-Eugène Lenepveu was born in Angers on 12 December 1819, on the site of the street that now bears his name, into a family of small shopkeepers. The painter showed a deep attachment to his family throughout his life through his correspondence and the many portraits of his relatives. He entered the drawing school in Angers in 1833, where he was a pupil of Jean-Michel Mercier. There he rubbed shoulders with the sculptor Ferdinand Taluet. He arrived in Paris in 1837 and entered the Beaux-Arts, where he was officially admitted to François-Édouard Picot's studio in 1838. He exhibited his work "L'Idylle" at the Salon of 1843 and, that same year, left for his first visit to Italy. He was awarded the Second Prix de Rome in 1843 for "Cincinnatus recevant les députés du Sénat" (Cincinnatus receiving the deputies of the Senate), then the First Prize in 1847 for "La Mort de Vitellius" (The Death of Vitellius). A resident at the Villa Médicis from 1848, he was surrounded by painters Alexandre Cabanel, Léon Benouville, Gustave Boulanger, Félix Barrias...

Beautiful original oil on canvas double portrait painting of a young boy and girl with cat (moist likely brother and sister) attributed to the hand of American artist, John Carlin. ...

19th century French school, Portrait of a Reading Man, Oil on canvas 36 x 29 cm framed : 40.5 x 33.5 cm Provenance : as indicated on a label on the reverse of the canvas "Collect...

¿Quién más rendido? is an original etching realized by Francisco Goya and published for the first time in 1799. Etching on wove paper. The plate is part of the Third Edition of "Lo...

Oil on panel, realized in 1860s. A luminous and atmospheric Venetian veduta by Alessandro Reati, this elegant composition captures a gondola gliding across a tranquil canal, framed ...

Lion and snake n°3 by Antoine-Louis Barye (1796-1875) Bronze sculpture with a nuanced dark greenish brown patina signed "Barye" on the base old edition cast – probably from the Bary...

GEORGE (SMITH) ARMFIELD This is a classic example of George Armfield's paintings with terriers. Picture Size: 10 x 14" (25 x 35cm) Outside Frame Size: 16 x 20" (40 x 50cm) Exhibitio...

LESLIE E.B. SMYTHE 19th-century English rural landscapes, with goats by a river and people. Smythe was an English painter who was active in paintings in both Scotland and England. ...

Blue Grosbeak is an original chromolithograph from the rare Bien edition 1860 by J.J. Audubon and shows a male and female adult Grosbeak with a young Grosbeak perched on the edge of the nest. This group of colorful birds are seen on a Dogwood cornus florida tree. This print is in good condition. The paper is evenly age toned throughout. The ” Birds of America” by John James...

Esta no lo es menos is an original artwork realized by the great Spanish artist Francisco Goya in 1810. Original Etching on paper. The artwork belongs to the famous series "Los D...

A classic and elegant Venetian view with a period Barbizon, gold leaf frame! Sheppard did a series of these and two other American painter is more noted for their Venetian views than...

This is a wonderful outstanding quality scene of an English cottage garden scene with a mother and Child looking at the Ducks swimming before them. The piece's quality is amazing with a real understanding of how to make a desirable painting. Charles James Lewis, was baptized at St Giles, Camberwell, London on 6 October 1830, son of Charles Thomas Lewis, a clerk at the Bankank of England, and his wife Sarah Hyde née Bennett (1805-1872), who married at Tottenham, London on 11 June 1825. In 1851, a 20-year-old student in painting, living at 17 Nelson Square, Camberwell with his 52-year-old married father Charles and a 64-year-old 'unmarried' Sarah Lewis. Charles married at Camberwell in 1854, Mary Ann Matilda Hammond Shetton, and in 1871, a 50-year-old landscape...

GEORGE PRICE BOYCE, RWS (1826-1897) Near Ru Arisaig, Invernesshire – Autumn 1866 Signed and dated l.r.: G P BOYCE 66; inscribed on the reverse: Near Ru-Arisaig – Autumn Sketch 186...

Chevaliers et Sorcieres is a black and White etching realized by Charles Amédée De Boret in the 1860s.  Titled in the lower. Image size: 31x23. Very good impression with wide marg...

Uses and Customs - Saints is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the governmen...

Medium: original etching. This impression on laid paper was printed in London in 1868 for the rare first volume of Philip Gilbert Hamerton's "Etching and Etchers". Image size: 9 1/4 ...

The other incarnations of Vishnu - Costumes    is an original lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the unive...

In this atmospheric and luminous work by E.T. Baker, the busy port of New York hosts a huge number of ships coming and going near the Battery and the famous landmark of Castle Garden...

Feast of S.Rosalia in Palermo is a  hand colored lithograph realized in 1864. Good conditions. The artwork belongs to the Suite Uses and customs of all the peoples of the universe,...

Ferdinand Pautrot (1832-1874) Cavalier arabe regardant à l'horizon Bronze à patine brune H. : 48,5 cm ; L. : 38 cm ; P. : 19 cm Signé "Pautrot" sur la terrasse Fonte posthume Cette...

Knights' Weapons is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the government, of the...

Title Page-An Encampment in Ethiopia Original gold toned albumin photograph, c. 1862 Unsigned as is usual From: Upper Egypt and Ethiopia, c. 1862, Vol 3, (36 plates) Published by Wil...

Lemuel Wiles The Cedars, 1869 Signed and dated lower right Oil on canvas 12 1/8 x 20 1/4 inches Lemuel Maynard Wiles (1826–1905) was an American landscape painter associated with t...

Uses and Customs - Neapolitan Costumes is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of ...

John Frederick Herring Junior (1815–1907) Farmyard Scene with Horses, Cattle, Sheep, Pigs and Poultry, circa 1860 Oil on canvas Signed lower right: “J. F. Herring” Circa 1860 23.5 ...

Nadie se conoce is an original artwork realized by the Spanish artist Francisco Goya and published for the first time in 1799. Original etching on paper. The plate is part of the T...

Italy is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the government, of the laws, of t...

Original oil on wooden panel painting of a young child begging for a coin. The painting is attributed to the hand of Leopoldo Dumini. Circa 1865...

Les Contes Drolatiques is an original modern rare book written by Honoré de Balzac (1799 – 1850) and illustrated by Gustave Doré (Strasbourg, 1832 – 23 January 1883) in 1861. Publis...

Persian Cloth in 19th Century is a Hand-colored lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History...

Uses and Customs - Greek banquet is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the go...

Philippe BENOIST Paris : The Column with an Angel on Bastille Square - 1861 Original two tones stone lithographs Printed name of the artist bottom right On vellum 33.5 x 49 cm (c. 1...

Palermo is a  hand colored lithograph realized in 1864. Good conditions. The artwork belongs to the Suite Uses and customs of all the peoples of the universe, or History of the gov...

Victorian Portrait of a young girl on a Sunday Morning, possibly after or before Sunday School Wonderful Victorian portrait of a little girl painted circa 1870. The quality of the p...

An antique German animal painting by Clara Von Wille which features Wild Turkeys and chickens in a whimsical setting. Original period frame.