1880s Art

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...

A superb, richly-inked impression of this scarce drypoint printed in dark brownish black on cream laid paper. Second state (of 4), with the drypoint work on the windows upper right. ...

Edouard Dufeu (1836-1900) A Fantastic scene by a lake Charcoal on paper Signed lower right 23 x 30,5 cm Framed under glass : 42.5 x 51 cm This fantastic scene, the subject of which remains a mystery, reveals an aspect of Edouard Dufeu's personality in which he is more influenced by Romanticism. We can recognise his nervous, painterly style, which lends itself particularly well to this fantastic scene. Edouard Jacques Dufeu was born in Marseilles on 27 march 1836, and he died in Grasse on December 1 , 1900. He was a French painter and engraver . Coming from a family originally from Egypt, Dufeu moved to Paris in 1860 and frequented the studio of Charles Gleyre...

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...

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

This superb Victorian Scottish landscape oil painting is by noted landscape artist John MacWhirter. Painted circa 1880 the location is Glen Cloy, Arran, a very popular walking and holidaying destination along with the Fairy Glen. The composition is a stream in the foreground with a man and his dog approaching. Either side of them are rolling hills giving way to cloud enveloped mountains in the background. The palette of greens and brown of the flora and fauna is so rich and varied. An excellent example of Scottish Victorian art and of MacWhirter's work. Signed lower right. Provenance. Sotheby's 26.8.86 lot 694. Condition. Oil on canvas, 38 inches by 24 inches unframed, in good condition. Frame. Housed in a gilt swept frame, 50 inches by 37 inches in good condition. John MacWhirter RA (27 March 1839 in Slateford, Edinburgh - 28 January 1911 in London) was a Scottish landscape painter. John was the third of four children. One of his elder sisters, Agnes MacWhirter was also a noted artist of still lifes. He attended a school in Colinton, and after his father's death was apprenticed to Oliver & Boyd, booksellers in Edinburgh. He stayed there for only a few months and then in 1851 enrolled at the Trustees Academy under Robert Scott Lauder and John Ballantyne (1815–97). He spent long periods sketching and studying nature outdoors. His first painting to be exhibited at the Royal Scottish Academy at age 14, was 'Old Cottage at Braid'. In 1880, he was made an Honorary Member of the Royal Scottish Academy. Exploring and painting abroad he visited Italy, Sicily, Switzerland, Austria, Turkey, Norway and the U.S.A. - the Alps being a great inspiration. Of a drawing of wildflowers, Ruskin wrote i have never seen anything like it. Some of these sketches were later purchased by Ruskin and bequeathed to the Ashmolean, Oxford. He moved to London in 1867 and on 4 May 1893 was elected a Royal Academician. MacWhirter specialised in romantic landscapes with a great fondness for trees, spending much time in the hilly countryside of Perthshire. Initially, under the influence of John Everett Millais, he experimented with the detailed images of the Pre-Raphaelites, but later adopted a more sweeping style. His friendship with William McTaggart shows in his freedom of brush. With John Pettie...

Medium: etching (etched by James Fagan after the William de la Montagne Cary painting). Printed in 1888 on cream wove paper and published for the portfolio entitled "Picturesque Cali...

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...

This lovely British Victorian landscape oil painting is by attributed to artist Keeley Halswelle. Painted in 1883 it is a large harvest scene with wheat sheaves in a field in the for...

L'enfant prodigue: en pays etranger (The Prodigal Son: In Foreign Climes) Etching, 1881 Unsigned (as usual for this state) From: L'enfant prodigue, (The Prodigal Son, five plates) Ed...

Frants Henningsen (1850-1908) Denmark A Summer's Day on Hornbæk Beach, 1886 pastel on canvas unframed 41 x 33 cm (16.14 x 12.99 inches) framed 56 x 49 cm (22.05 x 19.29 inches) hand made oak frame by Stockholms Bildhuggeri Provenance: A Swedish private collection Comparable sales: Christie's London British and European Art, 15 jul 2021 Lot 130, Frants Henningsen - A Summer's Day on Hornbæk Beach 1884 Price realised 43,750 GBP (605,000 SEK) Essay: We are pleased to present a striking pastel by the Danish artist, Frants Henningsen (1850-1908), titled "A Summer's Day on Hornbæk Beach" dated 1886. The scene is from Hornbæk Beach in Denmark, featuring a beach with some pooled water, a few green grass plants, followed by the sea with sailboats, and land visible on the horizon. The water reflection in the puddle on the beach and in the sea is exceptionally beautiful, reflecting the sky, which has a few clouds. This is a motif that the artist revisited several times during the 1880s, including a larger oil painting executed in 1884, sold at Christie's in 2021, and another one from 1883 in the museum collection: The Hirschsprung Collection, Copenhagen. Our pastel is undoubtedly the brightest of those we could find; it is strikingly beautiful and in exceptionally good condition. The artwork comes in a beautiful handmade oak gold frame by Stockholms Bildhuggeri. About Frants Henningsen: Frants Peter Diderik Henningsen was a Danish painter, illustrator, and professor. His paintings often depict unfortunate occurrences in the lives of middle-class people living in Copenhagen during challenging times. Although connected with Denmark's more traditional realist school, he faced criticism from some of his more reactionary contemporaries, especially Karl Madsen, who objected to his appointment as a professor at the Academy in 1887. Erik Henningsen, also an artist, was his younger brother. Henningsen graduated from Borgerdyd School in Christianshavn, attended C.V. Nielsen's drawing school, and then completed his studies at the Danish Academy in 1875. He studied at Léon Bonnat's school in Paris from 1877 to 1878 and traveled to Spain with Peder Severin Krøyer, Frans Schwartz...

Armand Félix Abel Seguin Still life oil on canvas 45x60 cm, with frame 95x110 Signed: F. Seguint he signature could be resolved with Armand Félix Abel Seguin. Armand Félix Abel Segui...

Medium: original etching. This impression on laid paper was printed in 1882 for the "A Group of Etchers" portfolio and published in New York. Image size: 5 3/4 x 8 1/2 inches (147 x ...

Pug, Greyhound, Terrier 1883-84 Chromolithograph 8.5 x 11 inches

Medium: original etching. This impression on laid paper was printed in 1882 for the "A Group of Etchers" portfolio and published in New York. Plate size: 6 3/4 x 8 3/4 inches (170 x ...

Watercolour on paper, signed and dated '1880' bottom left Image size: 9 x 13 inches (23 x 30 cm) Hand made gilt frame Sir Alfred East Sir Alfred East was born in Kettering, Northa...

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...

Medium: original etching. Printed in 1888 and published by The New York Etching Club. Image size: 5 3/4 x 3 1/2 inches (145 x 90 mm). Signed in the plate, not hand-signed. Condition...

H. Fluiss Cotherstone with stud groom "Wilson" (1862) Watercolour 30 x 39 cm A late-nineteenth century watercolour depicting Cotherstone, the British Thoroughbred racehorse and sire...

Medium: etching (etched by Leopold Flameng after the Sir John Gilbert painting). This impression on laid paper was printed in 1882 for the "A Group of Etchers" portfolio and publishe...

Medium: etching (etched by Paul Rajon after the George Paul Chalmers painting). This impression on laid paper was printed in 1882 for the "A Group of Etchers" portfolio and published...

This is a superb French Breton School portrait oil painting painted circa 1880. The painting is a three-quarter length seated portrait of a young girl. She is wearing an eggshell blu...

Up for sale is a beautiful Antique 19th-century original oil painting on canvas depicting a female portrait. The young woman gazes directly at the viewer with an air of quiet confi...

Pieter Cornelis Dommersen, also known as Pieter Cornelis Dommershuijzen (1833 - after 1913) was renowned for his 'capriccio' paintings, where imagination melds with reality, Dommerse...

Medium: etching. Etched by James D. Smillie after the Frederick Arthur Bridgman painting. Printed in 1888 and published by Estes & Lauriat. Image size: 7 5/8 x 6 3/8 inches (195 x 16...

This mid-19th-century oil painting by British artist William Henry Pigott (1835-1901) depicts a Scottish loch with highland cattle. A lake, enlivened with ripples of reflected light...

Medium: etching. Etched by Jules Jacquemart after Frans Hals. This impression on laid paper was printed in 1880 for Philip Gilbert Hamerton's very sca...

Medium: etching (etched by Paul Rajon after George Romney). This impression on laid paper was printed in 1880 for Philip Gilbert Hamerton's very scarce "Etching and Etchers". Plate s...

Charles Collins, as he was known, was born in Hampstead in 1851. He began painting pictures at a very early age starting with landscapes with cattle and figures. He studied at the We...

Medium: etching (etched by Paul Rajon after Leon Bonnat). Printed in 1882 on laid paper and published by Estes and Lauriat for the Nature and Art portfolio. Image size: 8 1/2 x 6 1/4...

Medium: etching. Etched by Jules Jacquemart after Frans Hals. This impression on cream laid paper was published in Paris by L'Art in 1880. The image m...

The Shepherd on a Rock is an emblematic youth’s work of the very versatile talented Irish artist WilliamShaw Sparrow 1862-1940. Son of a major ironworks W. S. Sparrow got to know in his boyhood many of his father's colliers, furnacemen, blacksmiths, carpenters and farmworkers, and gained respect and admiration for the men, whom he described as "so big, strong, simple-hearted, and kind". During long school holidays at home in his early teens (1875–1879), he spent time with the professional artist William Joseph J. C. Bond, who was staying with the family. Bond painted in oils; Sparrow learnt techniques from him and insight into pigments and varnishes and problems with their stability.[9] It was after discussions with Bond and with Walter's uncle, the architect George T...

Charcoal on paper, signed by the artist (upper right), and RA visitor L. Alma Tadema, RA., and dated (lower left), 76cm x 57cm, (64cm x 88cm framed). Olivier studied at the Royal Academy Schools from 1881, where this extraordinary display of drafting took place. Olivier exhibited extensively, including the Royal Academy starting in 1883, and the Paris Salon. He exhibited at the Fine Art Society in the 1880s and at the Grafton Galleries in 1908. An official war artist in the Great War, his work is included in the collection of the Imperial War Museum. It is also contained in many regional art galleries. Drawings of the nude, called academic studies...

Medium: etching (after the painting). Etched by Charles Courtry after Constant Troyon. This impression on laid paper was printed by A. Salmon and published in Paris for "L'Art" in 18...

Medium: etching (etched by Jules Jacquemart after Johannes Vermeer). This impression on wove paper was printed in 1885 for the Sylvester R. Koehler portfolio of etchings and publishe...

Rosa Bonheur was the most famous female artist of the 19th Century. We are grateful to Annie-Paule Quinsac for confirming the authenticity of this painting. The work is best viewed with top gallery light to bring out colors ____________________________________________ Rosa Bonheur: Three Bucks in the Fontainebleau Forest, erroneously Stags or Monarchs in the forest Oil on canvas, 29 x 24 inches [74 x 61cm], signed and dated lower left, Rosa Bonheur 1886 The discovery of this painting, a reinterpretation of Bonheur’s most iconic work Le roi de la Foret, [Monarch in the forest]is a significant event in the artist’s scholarship. In forty years of study, I was not aware of its existence and did not find any reproduction of it throughout my extensive reading. Bought by the present owner at the Stamford Winter Auction in 2008, it had been the property of a certain Captain [ name illegible] until January 29, 1920, or from that date {?}. The label on the back of the canvas reads: “Collection of Captain J.H.Gaucis Jan.29,1920”. [the handwriting on the label is extremely unusual; my deciphering of it induces me to propose this last name, Latvian in origin] […] This work could not have been offered among the 95 paintings that compose the catalog section titled “Stags, Hinds, Roebucks,” [ NN.320-415] in the catalog of the Rosa Bonheur Posthumous Sale organized by the Galerie Georges Petit in Paris, which included over two thousand pieces kept in the studio and not sold during her life time : it does not correspond to any of the description or measurements given in these catalog entries. The number 5527inscribed in red on the back of the canvas could refer to the painting having be handled by the Knoedler Galerie, Paris and New York, which after Bonheur’s death, that of Ernest Gambart (1814-1902and George Petit, (1856-1920) was instrumental in the continued diffusion of her work in the US, maintaining her prices that had crashed elsewhere in Europe. Despite difficulties in tracing the provenance history, the attribution to Rosa Bonheur, cannot be denied. Stylistic and iconographic characters are typical of her expressive means in the late 80’s. Also, it cannot be questioned that the calligraphy of signature and date is hers. The work depicts three male deers- or bucks- of different age, in a trail, deep in the forest at twilight, just after sunset toward the end of Fall. The two big ones, have stopped in their track, facing the beholder frontally; the small one, in profile, seems ready to move in another direction. The umbrella term deer, or the more specific one buck {male deer} could both be used as title to this painting, rather than stag, which implies an old majestic senior male deer, considered the King of the forest also called Monarch. In the Cervidae family, the number of points of a deer’s antler is one of the indicators of age, along with body mass and overall size. In our painting, the most prominent stag is massive and has a twelve points antler – qualifying as Monarch. The one immediately behind him exhibits an eight points antler and appears strong and imposing as well does not possess but not his companion’s poise. It is a mature stag. The last one, slender, shoulders not quite muscular yet, with barely six points to his antler, could not be more than two years old. The intensity of expression of the two older stags and their presence in the landscape which is rendered as their stage, are characteristic of Bonheur’s rapport to animals and nature. The painting’s varnish has deteriorated and forms a film that will need to be removed through a cautious cleaning. It is particularly important that the transparent haze that evokes the humidity of the forest at that crucial moment of the light be preserved. It contributes to the painting vibrance. Since 1860, when Rosa Bonheur moved to the Chateau of By, which she had bought with her companion Nathalie Micas, the Fontainebleau Forest which was at a stone through of her property, became ground of studies and the Cervidae a common subject. By then, she would already sketch en plein air, and months or years later, create paintings from start to finish in the studio using the visual material collected while walking through nature or observing animal in their milieu. Her first image of the Great Monarch in the forest, represented frontally and in a similar forest background is the 1868 painting Le cerf de Saint Hubert [Hubertus’ Stag], an illustration of the legend of Saint Hubertus in which she included a cross between the stag’s antlers. As the story as it, Hubertus was a passionate hunter and would often forget his religious duties to go hunting. On a certain Sunday in the depth of a forest, where he had ventured alone, he began to pursue a stag The animal faced him and while a cross appeared between his antlers, the voice of God was heard, directing him to repent ad respect all animals. Rosa Bonheur was herself a hunter but also a spiritualist, influenced by the Saint Simonian creeds and by spiritism. She believed that certain animals had a soul. I personally think that magnificent monarchs and the St Hubertus...

A sensitive portrait of Malvina signed, dated 1882 and presented in its original magnificent heavy gilt frame. Van Landuyt was a Belgian School painter who studied at the Royal Aca...

A pair of still life's by Oliver Clare circa. 1880. Oil on Canvas 20x20x4cm Signed

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 1880 for Philip Gilbert Hamerton's very scarce "Etching and Etchers". Plate size: 9 1/4 x 6 1/4 inches (237 x 1...

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...

Morning Near Arizona, (Desert Landscape) is an original color pencil drawing from 1888 by George Elbert Burr (1859-1939). Portrays a spring/summer landscape with a tree and fauna, cl...

Medium: original etching. This impression on laid paper was printed in 1880 for Philip Gilbert Hamerton's very scarce "Etching and Etchers". Plate size: 6 1/4 x 4 3/4 inches (157 x 1...

This is one of Jules Cheret's most attractive posters from his early period in the late 1880's. It is a large size image that is promoting the new fashions for Men...

Medium: original etching. Published in 1880 by the American Art Review. Plate size: 8 1/2 x 5 3/4 inches. Not signed. Condition: there is minor foxing.

Medium: original etching. This impression on laid paper was printed in 1880 for Philip Gilbert Hamerton's very scarce "Etching and Etchers". Plate size: 7 1/2 x 5 3/4 inches (188 x 1...

Medium: original etching. This impression on laid paper was printed in 1880 for Philip Gilbert Hamerton's very scarce "Etching and Etchers". Plate size: 4 1/2 x 7 inches (113 x 175 m...

Medium: original etching. This impression on laid paper was printed in 1880 for Philip Gilbert Hamerton's very scarce "Etching and Etchers". Plate size: 7 3/4 x 5 1/2 inches (197 x 1...

Oil on canvas on board Image size: 7 x 5¼ inches (18 x 13.5 cm) Framed This portrait of Thomas Gotch is by his lifelong friend and confidante, Jane Ross, whom he met at Heatherley’s...

Among the treasured classic arts we offer for sale is this stunning painting by the artist Anton Genberg. Born in 1862 to Pehr Jonsson and Anna Genberg, he left an indelible mark on the art world through his magnificent creations. Genberg's life was colored with a passion for exploration, study, and artistic expression. His artistic journey began with studies at the Tekniska skolan in Stockholm from 1882 to 1884, during which he also honed his skills at Oscar Törnås' private painting school. He furthered his education under the tutelage of Per Daniel Holm at the prestigious Konstakademien from 1884 to 1889. During these years, Genberg's exceptional talent was recognized with numerous scholarships and medals. Our painting, dated 1889, transports us to a captivating scene just some minutes after sunset. The canvas is imbued with a beautiful golden glow as the sun's last rays kiss the sky. Amidst a serene lake, the heavenly light reflects, painting the water's surface with mesmerizing shades of purple. In the distance, the landscape is dominated by a mountainous forest, while in the foreground, a stretch of land adorned with bushes creates a sense of depth. The impressionist style comes alive through Genberg's swift brushstrokes, reminiscent of the masterful techniques employed by Rembrandt, with branches delicately etched using the opposite end of the brush. Genberg's fame as a landscape artist was solidified through his enchanting depictions of snow-laden landscapes from Norrland, particularly the majestic "fjällen" (mountains). His art also captured the allure of Stockholm, Dalarna, and his birthplace in Jämtland. Notably, his masterpiece "Vinterafton" earned him a place of honor at the esteemed Nationalmuseum. Beyond his creative pursuits, Anton Genberg was actively involved in the art community. He served as the vice-chairman of the Svenska konstnärernas förening from 1913 to 1918 and held a position on the board of Sveriges allmänna konstförening from 1906 to 1939. His exceptional contributions were recognized when he was elected as a member of the Konstakademien in 1922. Throughout his life, Genberg resided in various places, leaving behind a trail of artistic inspiration. From 1916 to 1924, he lived in the enchanting Villa Wallbeck-Hansen, a masterpiece of national romanticism...

Signed and dated "Henry Bacon 1881" lower right. Provenance: private collection About this artist: A figure painter in the conservative tradition of the late 19th century French, H...

Henri LANGEROCK Ghent, 1830 – Marseille, 1915 Oil on canvas 46 x 37 cm (57 x 50 cm with the frame) Signed lower right “Langerock” Old stamp at the verso with an inscription Beautiful...

A lively, beautifully cast, patinated bronze sculpture of two hounds on a lush forest floor by listed French artist, Alfred Dubucand (1828-1894). A proponent of Romantic Realism,  Dubucand was a prize pupil of the renowned founder of the French Animaliers School, Antoine-Louis Bayre (1796-1875) whose patrons were representatives of the state government and royalty including the Duke of Orleans...

Signed Lower Right by Artist Illustrated for the cover of The Girls of Canby Hall, Trouble Maker" By Emily Chase. Published by Scholastic in June 1987.

Reflections in the Pond 19th Century Pencil Drawing by Alfred Villiers Farnsworth 19th century drawing in pencil of reflections in a pond ...

Thomas Pollock Anshutz (American, 1851-1912) Sewing by the Hearth, c. 1884 Original frame Oil on canvas, 17 x 24 inches; Framed: 34 x 27 inches Label (handwritten in ink) on stretcher verso: “Artist Thos Anshutz” Label on backing verso: (printed) “PORTLAND MUSEUM OF ART”; [...] (typewritten) “Thomas Pollock Anshutz/American, 1851 1912/INTERIOR/oil on canvas/stretcher: 17 x 23 15/16 inches/not signed/COLLECTION OF MRS. NORMAN B...

Edmund Darch Lewis (American, 1835–1910) Atlantic City Beach Scene with Elephant, 1884 Watercolor on grey paper, 8 x 18 1/2 inches(sight); Framed: 16 x 26 inches This view of the beach near Atlantic City features Lucy the Elephant...

William Beattie-Brown is a 19th century Scottish artist, and a master landscape painter using tonal color in a naturalistic style. 'Old Bobbin Mill on ...