1880s Art

Pursued Centaur (Verfolgter Centaur) belongs to a series of prints called Intermezzi realized by Max Klinger, published by Nurnberg: Stroefer, 1881. Etching on paper. Signed in the...

Medium: original etching and drypoint with aquatint and roulette. This is an exquisite impression on japon paper, of what is arguably the most famous Felix Buhot etching. Executed in...

This late 19th-century maritime painting by George Stainton captures the dramatic return of a fishing boat to harbor, skillfully portraying the power of the sea and the resilience of...

Here comes the bogey-man is a black and White aquatint, drypoint, and etching printed in blue-black ink on laid paper from Caprichos realized after Francisco Goya in 1881-1886. 6th ...

"Le Verdon à son entrée dans le lac de Sainte Croix – Coté Canyon", Provence, France “The Verdon at its entrance to Lake Sainte Croix - Coté Canyon”, Provence, France Oil on canvas s...

Original stone lithograph poster: Droit D' Ainesse (The Birthright) Opera. Early stone lithograph that is archival linen backed and ready to frame. Not mint; but in very good condition. A girl this old is allowed to show her age. Original linen-backed early 1880's vintage opera poster...

A dramatic, one of a kind oil study. Certainly not your run of the mill 19th Century portait! Depicted is a young man, whose face is brightly lit from what is likely is an open fire....

GREGORY AMENOFF El Santuario de Chimayó, 1986 Lithograph in Colors on wove paper 37 × 38 inches Edition 1/40 Hand Signed, titled, dated, and numbered in pencil 1 from the edition of ...

Portrait of Alice Gerson, c. 1883 Oil on panel, 9 1/8 x 6 1/4 inches (23.2 x 15.9 cm) Framed dimensions: 18 5/8 x 15 3/4 inches Signed lower left: Chase. Provenance Jamie M. Martin;...

Very well executed portrait of Jacob Dolson Cox. See the sitter’s biography below. Signed top right and dated 1881. Relined canvas, very good condition. The portrait is housed in a contemporary replica of a period frame. Overall framed measurements are 33.25 by 28.25 inches. Provenance: A East Hampton, Long Island collector. Biography George Peter Alexander Healy was born in Boston on July 15, 1813, the first of five children of William Healy, an Irish immigrant and captain of a merchant vessel, and his wife Mary Hicks. Healy showed an early artistic interest: by 1830 the self-taught painter had opened a portrait studio from which he hoped to help to support his family. Although commissions were at first sparse, young Healy received important encouragement from Thomas Sully (1783-1872)) who advised him to make painting his profession. His fortunes also improved in 1831 when Mrs. Harrison Gray Otis, a leader in Boston society, granted him permission to paint her portrait and recommended his talents to other potential patrons. In 1834 Healy went to France where he studied with Baron Antoine-Jean Gros (1771-1835). A year later he traveled through Italy, visiting museums and churches in the company of Lady and Sir Arthur Faulkner who soon provided his introduction to London society. It was in England that Healy met and, in 1839, married Louisa Phipps. The couple settled in Paris where Healy embarked upon the beginning of a long and happy marriage and thriving career. His diplomatic and affable demeanor, together with his obvious skill, brought him tremendous success throughout Europe and the United States. Prolific, as well as talented, he had by 1867 produced more than six hundred portraits. The constant stream of commissions included dignified, imposing portraits of such celebrated figures as Pope Pius IX and Queen Elizabeth of Romania, the latter of whom developed a warm friendship with Healy and his family. Although Healy, sometimes accompanied by his wife, traveled to the United States several times during the 1840s and early 1850s, it was not until 1856 that the entire family settled in America. They took up residence in the booming city of Chicago, which Healy used as a base for his work in Boston, Philadelphia, New Orleans, and other cities. During the Civil War years he often traveled to Washington to paint military figures and members of the President's cabinet. The family returned to Europe in 1867, but George Healy...

Antoine-Louis Barye (French, 1795-1875)Aigle - Ails Étendues, Bec Ouvert (An Eagle with Wings Extended and Open Beak) A powerfully detailed sculpture of an eagl...

Que se la llevaron! is a black and White aquatint, drypoint, and etching printed in blue-black ink on laid paper from Caprichos realized after Francisco Goya in 1881-1886. 6th Editi...

A lovely, dark impression with excellent provenance. Paris: Lemerre, 1880. Etching, drypoint, aquatint (dust ground and spirit ground), spit bite, and roulette in black on cream laid paper with a deckle edge, 6 3/4 x 4 1/2 inches (170 x 112 mm), full margins. Third state (of 4). An illustration from Alphonse Daudet's, Lettres de mon moulin, Paris, 1880. In very good condition with some light uniform toning and two areas of paper tape at the top right and left corners on the verso (from a former mount). With the 1921 J.H. de Bois circular ink stamp in green ink in the lower right margin on the recto (Lugt L.733). [Bourcard 112] A note regarding the provenance: J. H. de Bois was a well known late-19th century modern art...

Ni Mai ni Menos is a black and White aquatint, drypoint and etching printed in blue-black ink on laid paper from Caprichos realized after Francisco Goya in 1881-1886 . 6th Edition.V...

Frederick Hatfield Clark (American, 1862-1947), Autumn Landscape Scene, Oil on Canvas, 1888, signed and dated lower center, unframed. 32" H x 44" W.

This charming Victorian landscape oil painting is by noted prolific exhibited British artist George William Mote. Mote was very fond of painting landscapes in Surrey and this is a pa...

Henri MORAL Lille, 1840 – Lille, 1889 Milking the cows Oil on canvas 55 x 45 cm (67.5 x 58.5 cm with the frame) Signed lower right “MORAL” Beautiful painted wooden frame from the 192...

Image dimensions: 9.3 x 16 cm. Plan de la Nouvelle Orléans is an interesting black and white lithograph on paper, realized in 1880 by an anonymous artist. Original Title: Plan de l...

Medium: original etching. A nice impression on cream laid paper, published for the American Art Review in 1880; the American Art Review was a lavishly produced revue featuring origin...

Beautiful print in black bister on verge, in excellent conditions, signed by the artist in pencil. Three very small traces of glue on margin of sheet on verso. Full margins. Ref. Cat...

Presenting a magnificent early Art Nouveau bronze by Belgian artist Jef Lambeaux(1852-1908.) “Leda and the Swan”, is an original Art Nouveau Bronze,...

Tsukioka Yoshitoshi Looking Tasty, the Appearance of a Prostitute during the Kaei Era from Thirty-Two Daily Scenes (風俗三十二相), 1888 Woodblock print Oban This piece depicts a woman on...

Assassinat is an original etching on the Japanese paper, realized by James Ensor in 1888, signed on the plate and dated, with the second signature on the reverse. In good conditions...

Medium: original etching. Catalogue reference: Schneider 113. Executed in 1885; this is a fine, dark impression with full original margins on watermarked laid paper from "The Portfol...

Wonderful signed oil on panel cattle and figures in landscape by French impressionist painter Jean-Francois Raffaelli. The work depicts oxen being loaded onto ships in Honfleur, France en route to England. Signature: Signed lower right Dimensions: Framed: 18"x16" Unframed: 9"x8" Provenance: Exhibition Jean Francois Raffaélli held at Galerie Simonson, 19 Rue Caumartin Paris - October 1929 (number 44) Jean-François Raffaëlli's father was a failed Italian businessman and Raffaëlli himself was, among other things, a church chorister, actor and theatre singer. He then studied under Gérôme at the École des Beaux-Arts in Paris. He travelled to Italy, Spain and Algeria and on his return to France settled in Asnières. In 1876, on a trip to Brittany, he first saw the potential of realist subject matter, if treated seriously. He became involved in meetings of artists at the Café Guerbois, where the Impressionist painters used to gather. As a result, Degas, contrary to the advice of the group, introduced Raffaëlli to the Impressionist exhibitions - according to one uncertain source as early as the very first exhibition, at the home of Nadar, and certainly to those of 1880 and 1881. In 1904, Raffaëlli founded the Society for Original Colour Engraving. He first exhibited at the Salon de Paris in 1870 and continued to exhibit there until he joined the Salon des Artistes Français in 1881, where he earned a commendation in 1885, was made Chevalier of the Légion d'Honneur in 1889 and in the same year was awarded a gold medal at the Exposition Universelle. In 1906 he was made Officier of the Légion d'Honneur. He was also a member of the Société Nationale des Beaux-Arts. In 1884, a private exhibition of his work cemented his reputation. He contributed to several newspapers such as The Black Cat (Le Chat Noir) in 1885 and The French Mail (Le Courrier Français) in 1886 and 1887. He published a collection entitled Parisian Characters, which captured his favourite themes of the street, the neighbourhood and local people going about their lives. In 1880 he participated, with Forain, on the illustration of Joris Karl Huysmans' Parisian Sketches (Croquis Parisiens). He also illustrated Huysman's Works. As well as working as an illustrator, he also made etchings and coloured dry-points. His early attempts at painting were genre scenes, but once he was settled in Asnières he started to paint picturesque views of Parisian suburbs. From 1879 onwards, his subject matter drew on the lives of local people. These popular themes, which he treated with humanity and a social conscience, brought him to the attention of the social realist writers of the time such as Émile Zola. In addition to his realist style, Raffaëlli's dark palette, which ran contrary to the Impressionist aesthethic, helped to explain the opposition of those painters to his participation in their exhibitions. More concerned with drawing than colour, he used black and white for most of his paintings. Towards the end of his life, he lightened his palette, but without adopting any other principles of the Impressionist technique. After painting several portraits, including Edmond de Goncourt and Georges Clémenceau, he returned to genre painting, particularly scenes of bourgeois life. Later in his career, he painted mainly Breton-inspired sailors and views of Venice. His views of the Paris slums and the fortifications, sites which have almost completely disappeared, went some way towards establishing a genre in themselves and perpetuated the memory of the area: The Slums, Rag-and-Bone Man, Vagabond, Sandpit, In St-Denis, Area of Fortifications. His realistic and witty portrayal of typical Parisian townscapes accounts for his enduring appeal. Born in Paris, he was of Tuscan descent through his paternal grandparents. He showed an interest in music and theatre before becoming a painter in 1870. One of his landscape paintings was accepted for exhibition at the Salon in that same year. In October 1871 he began three months of study under Jean-Léon Gérôme at the École des Beaux-Arts in Paris; he had no other formal training. Raffaëlli produced primarily costume pictures until 1876, when he began to depict the people of his time—particularly peasants, workers, and ragpickers seen in the suburbs of Paris—in a realistic style. His new work was championed by influential critics such as J.-K. Huysmans, as well as by Edgar Degas. The ragpicker became for Raffaëlli a symbol of the alienation of the individual in modern society. Art historian Barbara S. Fields has written of Raffaëlli's interest in the positivist philosophy of Hippolyte-Adolphe Taine, which led him to articulate a theory of realism that he christened caractérisme. He hoped to set himself apart from those unthinking, so-called realist artists whose art provided the viewer with only a literal depiction of nature. His careful observation of man in his milieu paralleled the anti-aesthetic, anti-romantic approach of the literary Naturalists, such as Zola and Huysmans. Degas invited Raffaëlli to participate in the Impressionist exhibitions of 1880 and 1881, an action that bitterly divided the group; not only was Raffaëlli not an Impressionist, but he threatened to dominate the 1880 exhibition with his outsized display of 37 works. Monet, resentful of Degas's insistence on expanding the Impressionist exhibitions by including several realists, chose not to exhibit, complaining, "The little chapel has become a commonplace school which opens its doors to the first dauber to come along."An example of Raffaëlli's work from this period is Les buveurs d'absinthe (1881, in the California Palace of Legion of Honor Art Museum in San Francisco). Originally titled Les déclassés, the painting was widely praised at the 1881 exhibit. After winning the Légion d'honneur in 1889, Raffaëlli shifted his attention from the suburbs of Paris to city itself, and the street scenes that resulted were well received by the public and the critics. He made a number of sculptures, but these are known today only through photographs.[2] His work was also part of the painting event in the art competition at the 1912 Summer Olympics. In the later years of his life, he concentrated on color printmaking. Raffaëlli died in Paris on February 11, 1924 Museum and Gallery Holdings: Béziers: Peasants Going to Town Bordeaux: Bohemians at a Café Boston: Notre-Dame; Return from the Market Brussels: Chevet of Notre-Dame; pastel Bucharest (Muz. National de Arta al României): Market at Antibes; Pied-à-terre Copenhagen: Fishermen on the Beach Douai: Return from the Market; Blacksmiths Liège: Absinthe Drinker...

MAUCHERAT de LONGPRÉ Raoul (1843-1922) Two Bunch of Flowers in Pair Oils on canvas each signed low right Frames gilded with gold leaves Dim canvas (each) : 65 X 54 cm Dim frame (each) : 92 X 81 cm For sale only by Pair Certificate of authenticity MAUCHERAT de LONGPRÉ Raoul (1843-1922) French Painter 19th century Born in Lyon in 1843. Died in Plessis-Robinson in 1922 Painter, Painter in watercolours, painter with the gouache. Flowers Raoul Victor Maurice Maucherat de Longpré was taught by his father the silk painter Jean Antoine Marie Victor Maucherat de Longpré (1815). According to the family tradition related to the industry of the silk trade of Lyon, he starts very young to paint fans before making true paintings. Consequently, he specialized in floral painting. At the 30 years age he leaves his hometown and started his career at the "Salon de Paris" in 1876. His brother Paul de Longpré...

Amor, Tod und Jenseits, (Cupid, death and afterlife) is an original etching and aquatint on paper Chine collé, realized by Max Klinger in 1881, plate XII from “Intermezzi” Opus IV,...

FRANCISCO MIRALLES Y GALUP Spanish, 1848- 1901 CARRIAGE RIDE BY THE RIVER signed and dated "F. Miralles, 1881" (lower left) oil on canvas 12-3/4 X 1...

Marti Alsina oil canvas signed Original Painting Ramón Martí Alsina, also Ramon Martí i Alsina (Barcelona, ​​​​August 10, 1826 - December 21, 1894), was a Spanish realism painter. S...

Alain LOVATO (born in 1943) Preparatory sculpture for the monumental “Signal oblique” project (Lyon, Parc de la Cerisaie), circa 1980 White, red and ochre lacquered polychrome steel ...

Medium: original etching. This impression on wove paper was printed in 1885 for the Sylvester R. Koehler portfolio of etchings and published by Cassell & Company. Plate size: 5 x 6 1/2 inches (130 x 166 mm). Signed in the plate, not by hand. Condition: there is soiling in the margins and an old library...

El del La Rollona is a black and White aquatint, drypoint and etching printed in blue-black ink on laid paper from Caprichos realized after Francisco Goya in 1881-1886 . 6th Edition...

Medium: etching. Etched by James D. Smillie after this charming pastoral composition by Barbizon artist Charles Emile Jacque. This is a rich, dark impression on wove paper, printed i...

Medium: original etching. This impression on laid paper was printed in London in 1880 for P. G. Hamerton's "Etching and Etchers". Plate size: 6 1/4 x 8 3/4 inches. Signed in the plate.

Large 19th century American Orientalist painting by Strain American, 1883 Canvas: Height 65cm, width 56cm Frame: Height 92cm, width 82cm, depth 8cm This impressive Orientalist oil p...

Medium: original etching. Executed ca. 1880; this is a good impression with full original margins on laid paper from "The Portfolio" edition, published in London by Seeley, Jackson &...

Lauritz Holst Exhibited 1878 - 1926 Picture Size: 16.5 x 29" (41.25 x 72.5cm) Outside Frame Size: 22.5 x 35" (56.25 x 87.5cm) He was born in Bogense, Denmark in 1848 Holst was a m...

Ya van desplumados is a black and White aquatint, drypoint, and etching printed in blue-black ink on laid paper from Caprichos realized after Francisco Goya in 1881-1886. 6th Editio...

Medium: etching (etched by Paul Rajon after Rembrandt). Printed in 1885 for the Sylvester R. Koehler portfolio of etchings and published by Cassell & Company. Plate size: 7 1/4 x 6 i...

A grouping of three engravings depicting classical Italian architectural features held in the National Museum of Naples, entitled "Bronze Hydria", "Marbre Naissance de Bacchus" and "...

Medium: etching (etched by Paul Rajon after Rembrandt). This impression (with retroussage) was printed in 1885 for the Sylvester R. Koehler portfolio of etchings and published by Cas...

French Poet, visual artist, and female figure of street art, graffiti artist Miss Tic (1956 - 2022), a contemporary French woman artist who printed her 'pocho...

Medium: lithograph (after the poster). This lithograph (in reduced size) was published in Paris in 1884 by Gazette des Beaux Arts. Size: 10 1/2 x 6 3/4 inches (268 x 170 mm). Signed ...

Sz: 20"H x 12 3/4"W 1887 Colin George Barrett (29 May 1863 – 25 February 1898), was a leading jockey in the United Kingdom in the 1880s and 1890s. He was born on 29 May 1863 in Metfield, Suffolk. He was apprentice jockey to W. H. Manser at Newmarket. His first ride came in July 1877, with him riding his first winner. During his early career he could do weights as low at 5 st 7 lb (34.9 kg). He rode six winners in his first year. His first classic win came the 1885 1000 Guineas aboard Farewell. He rode the unbeaten Ormonde to victory in the 2000 Guineas in 1886 after regular jockey Fred Archer...

Ancient Views of Panama City is a set of 2 albumen prints made realized in 1880s. In excellent condition, applied on a single cardboard. Caption in Itali...

Three woodcut engravings produced in 1885 to commemorate the sailing yacht trials competition to determine the team to represent the United States in the America's Cup races off the New Jersey coast in that same year. These three beautiful woodcut engravings are part of a group of six equally attractive prints, all framed identically in gold scrolled wood frames with pleasing light grey French mats, each with a medium grey band. Each frame measures 16.13" x 17.25" x 0.5". See Item Reference #LU117325094852 to view the other three prints in this series. These prints may be purchased individually for $1,075/each, as a set of three for $2,875/3 or as a set of six for $5,575/6. Three American racing yachts, the Puritan, the Priscilla and the Bedouin, participating in the 1885 America’s Cup trials off the coast of New Jersey are shown in their qualifying races. The Puritan, owned by several members of the Eastern Yacht Club...

Medium: original etching. Catalogue reference Beraldi 218. Published in Paris in 1884 by Gazette des Beaux-Arts. A lovely impression in brown ink on laid paper. Plate size: 4 x 5 7/8...

Medium: original etching. The artist Adolphe Martial Potemont was also known as A. P. Martial. This impression on laid paper was printed in 1880 for Philip Gilbert Hamerton's very sc...

French School 19 th Century Portrait of a young man Signed (signature not deciphered) on the lower right Pencil, black chalk and heightenings of white and red chalks on paper Oval vi...

Medium: original etching. Printed in 1888 and published by The New York Etching Club. Plate size: 8 1/2 x 5 5/8 inches (215 x 140 mm). Signed in the plate, not by hand. Condition: t...

This beautiful, original hand-colored orchid lithograph entitled "Lycaste Harrisoniae Eburnea" Orchids by John Nugent Fitch is plate 100 in Robert Warner's publication 'The Orchid Al...

The key - Signed limited edition monochrome pigment print - Edition of 5 Brighton, UK, 2002 This image was captured on film. The negative was scanned creating a digital file which was then printed on Hahnemühle Photo Rag® Baryta 315 gsm (Acid-free and lignin-free paper, Museum quality paper for highest age resistance and a popular alternative to analogue baryta paper) using pigment inks which are known for their longevity. Signed + numbered by artist with certificate of authenticity Please note. There are three sizes of this print; each is an edition of five (5) making the total that can be printed as fifteen (15). This will include any custom sizes requested. Archival pigment print available sizes ( Image size , the white margin is not counted) : 52 x 31 cm / 20,74 x 12,20 in. - Edition of 5 75 x 45 cm / 29,53 x 17,72 in. - Edition of 5 117 x 70 cm / 46,06 x 27,56 in. - Edition of 5 Geoff Halpin...

Conversations is a modern artwork realized d'apres Karl Werner  Mixed colored cromolithograph.  The artwork is after the watercolors realized by the artist during a trip to Egypt b...

Date: 1886 Medium: Oil on Board Dimensions: 14.00" x 17.00" Signature: Signed at Bottom Right Corner Wide Awake Magazine, Oct., 1886.

DE LAUNEY Fernand (19th Century) Break at the Inn for the Rural Policeman Oil on Wood Panel signed Low Left Old frame gilded with Leaves Dim wood : 33 X 41 cm Dim frame : 48 X 56 cm...

Ancient Views of Guatemala City is a set of two original albumen prints made in 1880s. Prints in very good condition, applied on a single cardboard. Caption in Italian ink hand-wri...

Medium: original etching. Printed on laid paper and published in 1881 by the American Art Review. Plate size: 5 7/8 x 10 inches. Signed in the plate (not by hand). Condition: trimme...

Ancient Views of S. Josè de Guatemala is a set of two different original albumen prints made by an unknown photographer. Prints in very condition, applied on a single cardboard. Ca...

Image dimensions: 18 x 14.9 cm. An Election Day in New Orleans is a wonderful black and white lithograph on paper, realized in 1880 by Henry Théophile Hildibrand...

Medium: original etching. This impression on Arches laid paper was printed in 1880 for Philip Gilbert Hamerton's very scarce "Etching and Etchers". Plate size: 4 3/4 x 7 7/8 inches (...