1880s Art

Human and Animal Locomotion. Plate 748. Baboon; climbing a pole. 14 x 20 inch original vintage collotype print from 1887 Image size 8 1/4 x 13 3/4 inches Inventor, photographer, en...

Louis-Alexandre CABIE (Dol-de-Bretagne 1853 - Bordeaux 1939) Landes in Pessac - Gironde Oil on panel H. 31 cm; L. 55 cm Signed lower right Louis Cabié, re...

Human and Animal Locomotion. Plate 723. Lion; walking; turning around. 14 x 20 inch original vintage collotype print from 1887 Image size 8 x 14 1/8 inches Inventor, photographer, ...

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...

ROGELIO DE EGUSQUIZA Y BARRENA LADY IN YELLOW signed "R. Egusquiza" (lower right) oil on panel 28-5/8 X 20-3/4 inches (72.5 X 52.7 cm.) framed: 32-5/8 X 24-3/4 inches (82.5 X 62.5 cm.) Rogelio de Egusquiza y Barrena (1845 – 10 February 1915) was a Spanish painter, known for his friendship with the German composer Richard Wagner, whose works he helped make familiar in Spain He was born in El Astillero, into a well-to-do family. He studied in Madrid and with Léon Bonnat at the École des Beaux-Arts in Paris. In 1868, after travelling and participating several times in the National Exhibition of Fine Arts, he returned to Paris and settled there. At first, he painted historical scenes, but later turned to genre scenes and portraits in the Academic style. Following the death of Marià Fortuny, he moved to Rome at the invitation of the Madrazos, Raimundo and Ricardo, taking Fortuny's place at their studio through 1875 and attending classes at the Spanish Academy in Rome. He heard Wagner's music for the first time in 1876, after returning to Paris. Three years later, he travelled to Munich to hear a performance of The Ring of the Nibelungen. His enthusiasm for what he heard led him to go to Bayreuth, where he introduced himself to Wagner and became his friend. In the following years, he and Wagner got together again several times; in Venice (1880), Berlín (1881) and Bayreuth (1882); where he was a guest at the premiere of Parsifal. After his first meeting with Wagner, he decided to devote his career to doing works on Wagnerian themes; mostly portraits of the characters rather than specific scenes. During his visits to Germany, he also created portraits of Arthur Schopenhauer (posthumous) and King Ludwig II...

Human and Animal Locomotion. Plate 207. "Stooping and lifting train." 14 x 20 inch original collotype print from 1887 (image size 7.38 X 15.38 inches...

Human and Animal Locomotion. Plate 693. Elk; galloping. 14 x 20 inch original vintage collotype print from 1887 Image size 9 1/4 x 12 1/8 inches Muybridge copyright imprint below i...

Human and Animal Locomotion. Plate 306. Picking up a ball and throwing it. 14 x 20 inch original vintage collotype print from 1887 Image size 7 7/8 x 15 1/8 inches Muybridge copyri...

Bust of an Oriental woman by Emile GUILLEMIN (1841-1907) Orientalist bronze sculpture with triple patina, gilded, dark reddish brown and silvered. France circa 1880 total height 63 ...

Human and Animal Locomotion. Plate 648. Jumping over three horses; A, B; chestnut horse Hornet. 14 x 20 inch original vintage collotype print from 1887 Image size 8 1/2 x 13 1/2 in...

Human and Animal Locomotion. Plate 778. Storks etc. A, B, C. 14 x 20 inch original vintage collotype print from 1887 Image size 6 1/2 x 16 5/8 inches Inventor, photographer, entrep...

"the Madonna Of Justice" Oil On Canvas Work From The Early 19th Italian School" the history: No doubt painted for the ducal palace of Genoa Genoa, ducal palace, Sala dei Sindacatori...

Human and Animal Locomotion. Plate 590. Ambling (single foot); bareback; rider, 106, nude; white horse Clinton. 14 x 20 inch original vintage collotype print from 1887 Image size 5 ...

Two figures in 19th century dress sit at a table in a cafe. Provenance: Private Collection, New Jersey Originally based in New York City, William Bodfish was a talented artist who gained recognition for his illustrations and cartoons in the late nineteenth century. A painter of genre scenes, he also created detailed illustrations of hunting, whaling and fishing adventures for such magazines as Harper's Weekly. In the years following the Civil War, he traveled to the American West, joining the legion of journalists and illustrators who recorded the development of the new frontier. He was considered by historians to be one of the most “able cartoonists” to tackle the West. During his lifetime, Bodfish exhibited work at the National Academy of Design and the Art Institute of Chicago. Likely created after the artist’s departure from New York, The Sister’s Visit records a quiet moment between two siblings. Seated before a lovely spread of luncheon items, including a bowl of oranges...

Human and Animal Locomotion. Plate 513. Getting on and off table. 14 x 20 inch original vintage collotype print from 1887 Image size 18 1/2 x 12 1/2 inches Muybridge copyright impr...

Edition 1/20 Signed by artist, Artist's Proof, stamped Bob Stanley (b. 1932 - d. 1997 New York, United States), an American painter renowned for his gritty depictions on canvas, whi...

Henri-Charles (Henri) SAUVAGE (Blois, 1853 – 1912) Portrait of Madame H. L, 1882 Pen and ink on paper, 34 × 22 cm. Signed lower right: H. Sauvage. Provenance Private colle...

Human and Animal Locomotion. Plate 510. Contortions on the ground. 14 x 20 inch original vintage collotype print from 1887 Image size 7 1/4 x 16 1/2 inches Muybridge copyright impr...

Edouard Detaille (1848-1912) A Carnival character and a Zouave 19.5 x 12.5 cm Pen and ink on paper Signed lower left with the initials (faded) In a modern framing : 35 x 28 cm T...

Human and Animal Locomotion. Plate 152. Jumping; running; straight high jump (shoes). 14 x 20 inch original vintage collotype print from 1887 Image size 6 1/4 x 18 1/8 inches Muybr...

LEVIGNE Théodore (1848-1912) Landscape With Washerwoman Oil on canvas signed low right Old Frame regilded with leaves Dimensions canvas : 55 X 73 cm Dimensions frame : 70 X 85 cm LE...

Human and Animal Locomotion. Plate 577. Walking; saddle; irregular; white horse Clinton. 14 x 20 inch original vintage collotype print from 1887 Image size 5 1/2 x 18 1/8 inches Muy...

A handsome hand painted, oil on canvas of Sicilian boats in the harbor with a moody sky. Later gilt wood frame.

Human and Animal Locomotion. Plate 563. Hauling; broken leg chain; dark-gray Belgian horse Dusel. 14 x 20 inch original vintage collotype print from 1887 Image size 8 1/4 x 13 7/8 ...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

Vase with Carp by Eugène ROUSSEAU (1827-1890) and Ernest LEVEILLE (1841–1913) Sublime blown glass vase, decorated in relief with a carp springing from the water. Decorated with pol...

This impressive painting by Edward Moran does justice to the epic America’s Cup Challenge of 1885. Moran’s point of view captures the day’s enormity to the world’s yacht racers and designers. This account portrays PURITAN’s second and decisive victory of the match on the 40-mile course, 20 miles leeward from the Sandy Hook Lightship and back. PURITAN reached the line a scant 1 minute 38 seconds in front, the closest margin of victory to date. Well publicized and awaited on both sides of the Atlantic, the race held the public’s interest while knowledgeable yachtsmen waited to see if Boston’s Edward Burgess had innovated the centerboard sloop design to a degree capable of holding off the challenge of a true English cutter. GENESTA was designed by John Beavor-Webb, for her owner, Sir Richard Sutton...

Human and Animal Locomotion. Plate 365. Head spring, a flying pigeon interfering. 14 x 20 inch original vintage collotype print from 1887 (image size 8 x 14.25 inches) Inventor, pho...

Classic colour fox hunt print by Finch Mason (1850-1915) published by Fores Piccadilly London 1886 Print Sz: 12 3/4"H x 14 3/4"W Frame Sz: 17"H x 19"W

Human and Animal Locomotion. Plate 733. Elephant; walking. 14 x 20 inch original vintage collotype print from 1887 (image size 8.125 x 14.875 inches) Inventor, photographer, entrepr...

James Thomas Wheeler (1849 - 1888) Horse Carriage in the Yard Oil on canvas signed low right Old original frame gilded with leaves Canvas size : 55 X 65 cm Frame size : 85 X 95 cm

P. B. Hebblethwaite "Whitby Bay, Evening" Popular beauty spot and haven for artists. Whitby was regularly visited by painters. Hebblethwaite seems to have been a local painter in the...

George Frost America, 1843–1907 View of Alexander Nevsky Cathedral, Nizhny Novgorod Oil on Canvas 20 by 30 in. W/frame 28 by 38 in. Signed lower l...

Human and Animal Locomotion. Plate 647. Jumping a hurdle; bareback; rider, 105, nude; gray mare Pandora 14 x 20 inch original vintage collotype print from 1887 Image size 5 7/8 x 17 ...

Richard. Phene-Spiers (1838 – 1916) Tom Tower, Christ Church, Oxford Signed and inscribed and dated 1880 Watercolour on paper 37x25cm (14.5×9.8 in.) Spi...

Human and Animal Locomotion. Plate 592. Racking (pacing); saddle; brown horse Pronto 14 x 20 inch original vintage collotype print from 1887 Image size 7.25 x 16.5 inches Muybridge c...

FRANK LEWIS EMANUEL (1865-1948) Portrait of Archibald Hartrick Signed, inscribed and dated l.l.: A S HARTRICK (artist) by F L EMANUEL 1884 Black chalk heightened with white chalk on blue paper...

Classic colour plate of Bucks" by 'Spy' aka Sir Leslie Ward for Vanity Fair published Nov 7, 1885 Print Sz: 13 3/4"H x 8 1/2"W Frame Sz: 19"H x 14"W w/ billiard green mat & gilt b...

Henry Woods (English, 1846-1921), "Bartering", Oil on Canvas, 1885, signed and dated lower left, Thomas Agnew & Sons and Levy and Dweck Rare Antiques & Fine Art labels verso,...

Human and Animal Locomotion. Plate 140. Descending stairs, looking around and waving fan. 14 x 20 inch original vintage collotype print from 1887 (image size 11.75 x 9.75 inches) In...

Human and Animal Locomotion. Plate 35. Walking, carrying child on right arm. 14 x 20 inch original vintage collotype print from 1887 Image size 8.25 x 13.5 inches. Muybridge copyrig...

The Parisian Flower Arranger Painted in 1884, Christian-Henri Roullier’s *The Parisian Flower Arranger* is an unusually rich combination of portraiture and still life. Measuring 57 x 42 inches, the large oil on canvas shows a young woman seated in a greenhouse or conservatory, surrounded by flowers and foliage. She holds a newly gathered bouquet in her lap, while her pale dress, lace collar, and carefully rendered features give the scene an unmistakably Parisian elegance. Much of the painting’s appeal comes from Roullier’s treatment of the flowers themselves. Roses, lilacs, pansies, geraniums, and other blossoms fill nearly every part of the composition. Rather than becoming decorative background, they are painted with enough individuality that each seems to have been closely observed. Reds, purples, yellows, pinks, and greens are set against the softer tones of the woman’s dress and the filtered light of the conservatory. The setting allows Roullier to play with both natural and controlled light. Sunlight filters through the glass and foliage, touching the flowers, the sitter’s face, and the folds of her gown. Darker passages among the plants give the picture depth and keep the abundance of color from overwhelming the figure. Despite the sheer amount of detail, the composition remains calm and carefully balanced. There is also something distinctly of its period in the subject. Flower arranging was associated with domestic refinement, taste, and cultivated leisure in late 19th-century France. Roullier takes that familiar theme and gives it considerable scale and importance. The woman is not merely placed among flowers. She appears entirely at home within this cultivated world, surrounded by the materials of her work and pleasure. The Artist Christian-Henri Roullier was born in Lyon in 1845, but his life soon took an unusual turn. As an infant, he traveled with his family to San Francisco during the California Gold Rush. The family initially struggled, but their circumstances improved after Roullier’s father found employment at the White House, the prominent San Francisco department store owned by the French-born merchant Raphael Weill. Roullier eventually returned to France to pursue serious artistic training. In Paris, he studied painting with Jean-Léon Gérôme, one of the best-known academic painters of the period. He also studied sculpture with Emmanuel Frémiet. Roullier continued to work in both painting and sculpture, and the influence of that training can be seen in the solidity of his figures and his careful understanding of form. His paintings share some of the qualities associated with Gérôme’s academic approach, particularly precise drawing, careful composition, and close attention to surface and detail. Roullier, however, often brought a warmer and more intimate quality to his subjects, particularly when painting portraits, landscapes, and scenes of everyday life. Roullier exhibited regularly at the Paris Salon from 1878 through 1914. He also maintained strong ties to San Francisco and exhibited with the San Francisco Art Association and at the Mechanics’ Institute in 1883. Among his artistic acquaintances was Jules Tavernier, the French-born painter closely associated with the development of art in California and Hawaii. Roullier painted Tavernier at work in the lively portrait "Tavernier Painting". His subject matter was varied. In addition to portraits, he painted rural scenes in France and traveled farther afield, producing colorful views of Tunisia. Across these different subjects, Roullier showed a particular interest in light, atmosphere, and richly observed surroundings. France and California When Roullier was not working in Paris, he and his sister Blanche spent time at the family property in Saint-Nizier-sous-Charlieu in the Loire region of France. Blanche Roullier was herself an accomplished pastel artist who exhibited regularly at the French salons and received recognition for her work. The countryside around Saint-Nizier-sous-Charlieu provided Christian-Henri Roullier with another source of inspiration. His rural paintings often have a quieter character than his formal portraits and elaborate interiors, but they reveal the same careful observation. Although Roullier spent much of his adult life in France, his early connection to California remained an important part of his biography. His career effectively joined two very different artistic worlds. He was trained in the traditions of the French academy, yet he had grown up in the rapidly changing environment of San Francisco. That combination helps explain the range of his work and perhaps some of its openness to vivid color and strong natural light. A Major Work *The Parisian Flower Arranger* brings many of Roullier’s strengths together in a single painting. His academic training is evident in the drawing of the figure, the organization of the composition, and the extraordinary amount of carefully observed detail. At the same time, the picture never feels like a technical exercise. Its real charm comes from the quiet mood Roullier creates. The sitter, the flowers, and the conservatory all belong to the same world. Nothing feels hurried. The flowers have been gathered and arranged, sunlight enters through the glass, and the young woman pauses within a setting devoted almost entirely to beauty. Roullier died in Paris on July 25, 1926. Later that year, a retrospective exhibition of his work was held at the Paris Winter...

Auguste Bachelin Au Bord du Lac (Reflection ) Signed Oil on canvas 29.5 x 22.75 inches

Human and Animal Locomotion. Plate 211. Stooping and lifting handkerchief; parasol in left hand. 14 x 20 inch original vintage collotype print from 1887 (image size 7.75 x 13.75 inch...

Bear standing by Antoine-Louis Barye (1796-1875) Rare bronze sculpture with a nuanced dark brown patina Probably cast by Brame (old edition) France circa 1880-1890 height 24 cm A ...

THEODORE ROUSSEL, RBA (1847-1926) Laburnums at Battersea Etching, signed in the plate, trimmed to the plate mark and signed and inscribed on the tab: Theodore Roussel Inv. Between...

KAUFMANN KARL (1843-1901) Pseudonym : CARNIER Venice view Oil on canvas signed CARNIER low right Framed by Gault (Paris) gilded with leaves Dim : canvas ...

Antoine-Louis Barye (FR. 1795-1875) FRENCH “TIGRE DEVORANT UNE GAZELLE” (TIGER DEVOURING A GAZELLE); (SECOND VERSION) At this point; the only thing you can hear is the gazelle gaspi...

Antoine-Louis Barye (French, 1795-1875) Ocelot emportant un héron (Ocelot carrying off a heron) bronze sculpture, dark-brown patina, Signed “Barye” and “F. Barbidienne Fondeur Paris”...

ERNEST BLANC-GARIN (1843-1916) Portrait of a Young Lady around 1880 Oil on wood panel signed low Old Original frame gilded with leaves Dimensions wood : 40 X 30 cm Dimensions frame : 62 X 53 cm ERNEST BLANC-GARIN (1843-1916) Belgian Painter 19th Century Born 8 October 1843 in Givet (France) Died 1916 in Brussels (Belgium) Painter of Portraits and Urbanscapes. In Brusssels he was taught by Jan Portaëls (1818-1895); then in Paris by Alexandre Cabanel (1823-1889) He took part in the Salon de Paris from 1868. After a trip to Italy in 1870, he came back to Brussels for creating a private Art Academy providing a very liberal teaching. His portraits are made with a lot of freedom and gracefulness. Bibliography : Dictionary of Artists E. Benezit Book II / 373 Gérald SHURR : Les petits Maîtres de la Peinture 1820- 1920 Book V

Period yacht racing is a rare and desirable subject for marine paintings, and a 19th century work from Australia of this prime subject is among the rarest finds we may offer. The artist, Charles F. Gerrard, shows up in 1882 on the Sydney professional trade list as a painter, then as a marine artist and finally as simply 'artist'. He exhibits his first works with the Royal Art Society in Sydney in 1884, consisting of coastal scenes. He is extremely well received by his contemporaries according to newspaper reports. The recognizable features of "The Rocks", along the western shore of Sydney cove near the harbor bridge, stands forth as a superb background for the racing yachts. This historic location is the foundation of the British Australian empire, and today is the oldest preserved colonial district in the country, described as "Sydney's outdoor museum". Fine-lined cutter yachts compete over a sailing course, with two shown in great close detail while five more hold their positions in the regatta, as the rhythmic small swells are evidence the wind favors the leaders running on close reaches with the crossing tide. The crew and yachts are very much in the British formal yachting manner, with full uniforms and the plum-bow hulls. Note that there is one crew attired in red, possibly a naval marine team, and the sail steam ship anchored in the center flies the Australian Colonial...

Date: 1880 Medium: Oil on Board Dimensions: 18.20" x 24.00" Signature: Signed Lower Right

Stamp Signed: Jongkind and dated: Sept 84 Inscribed: 30-142 in ink lower right Provenance: Private collection, Pennsylvania Jongkind was born in Lattrop, in the eastern part of The...

Classic fox-hunt colour print by Finch Mason (1850-1915) signed (LR) published 1886 by Fore's of Piccadilly London Print Sz: 12 3/4"H x 14 7/8"W Frame Sz...

Date: 1880s Medium: Ink and Wash Heightened with White on Paper Dimensions: 5.75" x 12.75" Signature: Signed in Initials on Lower Right

Step into the warmth and character of 19th-century craftsmanship with this hand-carved American School frame, dating to the 1880s. Finished in original gilt with a soft, time-earned ...

Anthony FRIEDKIN (*1949, America) Surfboard with Setting Sun, Santa Monica, California, U.S.A., 1980 Silver Gelatin Print, later print 40.6 x 50.8 cm (16 x 20 in.) Edition of 25 Prin...

Charming hand- coloured litho by Finch Mason depicting Mrs Tittums. "Come, come, Mr Tittums! is this the way you pilot your wife? Now Sir, over you go!" pu...

Charming hand-colour litho by Finch Mason depicting Miss Blanche (who has carefully left the governor behind in Oakapple wood) c1886 Art Sz: 12 1/4"H x 1...