1890s Art

Francis Dodd R.A. 1874-1949, was a British landscape and portrait painter and printmaker. After extensive travels in Europe he returned to settle in Manchester before moving to Black...

Retour Color lithograph, 1897 Signed in the stone lower left edge of the image (see photo) As published in "L'Estampe Moderne" L'Estampe Moderne appeared each month as a portfolio of...

Tall Amphora vase with a floral wreath encircling the mouth, trailing down on two sides into light green and rose crackling, and finished with a linear "Dachsel style" relief in the ...

This statue is of Prince Albert Edward, eldest son of Queen Victoria, Prince of Wales, future King Edward VII (1841-1910) dressed in a sailor suit. After a very popular painting of the young prince done in 1846 by Franz Xaver Winterhalter (1805-73) that is in the collection of the British Royal Family.

Description: Depicting a moody landscape in the New Forest, Hampshire. The foreground with a muddy path, leading toward the background of cattle and trees. In a beautiful period gilt wood frame, with beaded and cove decoration. Size: 37cm x 26.5cm unframed 43cm x 32cm framed Condition: Generally good condition, frame somewhat scratched and marked Biography: Frederick Golden Short...

"Fernand Clément & Cie" framed lithograph poster by Pal (Jean de Paléologue.) Inscription on side reads Imp. Paul Dupont, 4 Rue du Bouloi, Paris. Recreation 84 Wannabe Affiche, Ltd. ...

The oil painting size is 13"x9.75". Classic work of Sarkis Diranian, with very smooth and artistic brush strokes. It is signed in the lower right corner. ...

Paul Friedrich Meyerheim (1842 Berlin - 1915 ibid.). Sketch of a female torso with hands and an umbrella. Pencil on paper, 27.5 x 22.5 cm (visible size)...

Jeanne GOUY (Active between 1890 and 1904) Pastel Signed lower right "Jeanne Gouy" 66 x 82 cm (83 x 100 cm with the frame) Jeanne Gouy studied with the academic painter Jules Machard...

late 19th-century Irish school portrait of a seated man smoking a pipe in a barn interior. A very well-painted and skillfully composed portrait of a wor...

Beautiful poster by Louis Galice for the Bois de Boulogne flower festival for the victims of duty. Louis Galice was an excellent draughtsman, as well as a highly talented illustrator...

Ex Libris - Wim Rengelink is a Modern Artwork realized in 1989. B/W woodcut on paper. The work is glued on cardboard. Total dimensions: 20x 15 cm. Excellent conditions . ...

Medium: original etching. Printed on laid paper in 1892. Plate size: 2 7/8 x 4 1/2 inches (72 x 114 mm). Signed in the plate (not hand-signed). Condition: the margin is narrow on t...

Felician Myrbach (1853-1940) L'Araignée du Prophète, the spider of the Prophet bears the monogram "Mb" on the middle left, titled in the middle Ink on paper 31,8 x 21.9 cm in quite ...

Antique American impressionist flower landscape painting by Arthur William Best (1859 - 1935). Oil on board. Signed. Framed. Image size, 14L x ...

Beautiful poster from 1899 for the Bal Spectacle du Syndicat de la Presse Marseillaise. Show - Press Tourangelle Tours

"Bénédictine" original 1898 advertising poster for Bénédictine de L'Abbaye de Fécamp liqueur by Lucian Lopes Silva.

JOSEPH PENNELL (1857-1926) The Thames, 1894 Signed Aquatint Plate size 20.5 by 26.5 cm., 8 by 10 ½ in. (frame size 42 by 46 cm., 16 ½ by 18 in.) Pennell was born in Philadelphia where he studied at School of Industrial Art and the Academy of Fine Arts. In 1884 he was commissioned by the Century Magazine to supply a series of drawings of London...

Work on paper Golden wooden frame 72 x 61 x 7 cm

The painting (35 x 27 cm; 55 x 47 with frame) it's signed and dated E. Meyer 1892. The painting is composed by a pyramidal geometry that shows in close-up the a group of nude ladies wearing flower crowns, the Maenads, enlighted by a fantastic light, while they are tributing Dionysus with wine, vine leaves and the thyrse. On the background a maenad is wrapping the statue of the satyr with vine leaves while on the left a putto is dancing The tenderness of the human flesh and the grace of the composition are a synthesis and a representation of the themes liked by the professors...

Standing Lincoln: The Man, Lincoln Park, Illinois Watercolor and graphite on paper , c. 1895 Signed in script lower right (see photo) The scene depicts the Augustus Saint-Gaudens bro...

R.Ellis English late 19th-century landscape of a Watermill by a Stream and a bridge. Original frame oils on card Signed and dated on the reverse and lower right. Ellis was a la...

"Young girl from Bou-Saada" by Louis-Ernest BARRIAS (1841-1905) A very fine bronze sculpture with a gilded patina. cast by SUSSE stamped "Copy right by Susse Frères 1893" Standing on its original natural wood base France 1893 height with the base 38,5 cm width of the base 33,5 x 33,5 cm Biography : Louis-Ernest Barrias (1841-1905) was a French sculptor . He came from a family of artists. His father was a porcelain painter and his older brother, Felix-Joseph Barrias, a recognized painter. Louis-Ernest Barrias entered the School of Fine Arts in Paris in 1858, he abandoned painting to move towards sculpture under the direction of François Jouffroy. In 1864, he won the Prix de Rome, on the theme of "The Foundation of Marseille", and was engaged on the site of the Paris Opera house. He later produced many sculpted works, most of them in marble. In 1881, Louis-Ernest Barrias was awarded a medal of honor of the fine arts and named knight of the Legion of Honor in 1878, then promoted officer in 1881 and commander in 1900. The artist replaced Auguste Dumont at the Institute in 1884, then succeeded Jules Cavelier as a professor at the School of Fine Arts, where, among his most notable students, there were Victor Ségoffin, Charles Despiau and Paul Landowski.

Work on canvas Molded frame in plaster and gilded wood 59 x 49.5 x 5 cm

Felician Myrbach (1853-1940) Le Cadeau de Sahagun, The Gift of Sahagun bears the monogram "M" on the lower left, titled on the lower left Ink on paper 29,8 x 18.7 cm In a modern fra...

Alfred Stieglitz. Wet Day on the Boulevard (Paris), from Picturesque Bits of New York and Other Studies. Camera Notes. 1897. Vintage photogravure. 6 x 11.25".

In this atmospheric Maine harbor view, the grey tone of the fog enveloping the sea and sky lend an air of realism to a striking composition. Granite and green are the colors of the Maine Coast...

HENRI de TOULOUSE-LAUTREC (French 1864 - 1901) EROS VANNE (Cupid Exhausted), 1894 (Delteil 74; Adhemar 81; Adriani 92) Original lithograph, cover of music / song sheet words by Maur...

Adolph Eduard Otto von Faber du Faur (1828 Ludwigsburg - 1901 Munich). Man sitting in the studio. Watercolour painting, 43 x 27 cm (visible size), 73 x 53 cm (frame), monogrammed at lower right, estate stamp. Upper right corner neatly repaired, small tear in the wall to the left of the sitter. - Thinking about art - About the artwork The sitter, an elderly man, is seated in a studio on a pedestal reminiscent of an academy hall. The earthy, dark tones give the scene a weighty quality. The lightest tones are found in the incarnate parts of the figure, which do not stand out from the other colours of the picture, but are linked to them. As a result, the sitter's face is both part of and the highlight of the colour references in the picture. The colour of the sitter's skin is reflected in his pink coat, while his white-grey hair matches the colour of the wall next to him. This almost monochrome wall surface, in turn, is connected across the portrait to the framed picture standing on the floor, which seems to have been erased by this correspondence with the empty wall surface. Through the palette, which is positioned directly behind the sitter's head, the reference to painting, which is already given by the studio space, is explicitly linked to the sitter, who thus seems to be contemplating the question of the meaning of art. This raises the question of whether Faber Du Faur, who had become lonely in his old age, might have painted a self-portrait here in his later years. In addition to the studio setting, the sitter's explicit reference to the palette and the fact that the picture was part of his estate, the only summary elaboration of the body suggests a self-portrait, while the representation of the face is concretised with the wide-open eyes typical of a self-portrait. This concentration on the face gives the impression of the artist's melancholy introspection, captured by the palette and related to the meaning of painting, whose dark character is reinforced by the concealment of the palette hanging on the right of the picture in the light tones so characteristic of Faber Du Faur. In the course of this resignation, Faber du Faur advises his son Hans, who has also become a painter: "Promise me one thing: never move to Munich, they'll kill you here!" Whoever the sitter may be, the references to painting make the portrait a resigned self-contemplation by Faber Du Faur, focused on art. About the artist After leaving school, Otto Faber du Faur entered the service of the Württemberg army, at the same time cultivating his artistic talent. In 1851, on the recommendation of his father Christian Wilhelm, who was himself a battle painter, he spent six months in Munich as an apprentice to Alexander von Kotzebue. In 1852 he was granted a year's leave of absence from military service to study battle painting in the studio of Adolphe Yvon...

William Arthur Breakspeare 1856-1914, typically dressed in Civil War costume a favourite theme throughout his career.

Medium: etching. Etched by C. Bertaut after Corot and published in 1890 in an edition of 200. This is a nice impression printed on a japon-style paper. The...

Medium: original etching. Published in Paris in 1897 by Gazette des Beaux Arts. Catalogue reference: Sanchez & Seydoux 1897-13. A lovely impression in sanguine ink printed on cream w...

Medium: original lithograph. This impression is from the rare 1897 portfolio "Art et Nature" by Leon Roger-Miles, published in Paris by Boudet in an edition of 525. Printed on Marais...

Very well executed original watercolor and gouache marine painting on archival paper by the well known American artist, Edmund Darch Lewis. Signed lower left and dated 1899. Conditio...

Ernst Albert Fischer-Cörlin (1853 Körlin - 1932 Persante). Feeding the Kittens, 1893. Pencil on painting cardboard, 38 x 29 cm. Signed and dated by the artist at lower left "E[rnst] A[lbert] Fischer=Cörlin 1893". - Lightly stained, somewhat dusty and minimally foxed. - Little cat mother - About the artwork Daughter, mother and grandmother gather in the sunlight to feed a litter of kittens. The mother and grandmother hold the lively, playful animals in their arms, while the young girl feeds two of the four kittens with cookies. There is also a small bucket of milk and a bowl of milk. The women and the girl watch as the cute, still blind animals eat. It is a scene taken from everyday life, but it also has an allegorical dimension, bringing maternal care into the representation. Three generations are represented, with the grandmother and the mother already mothers. They not only offer the kittens to the youngest, but also proudly observe the maternal care that the youngest gives to the kittens. Like the kittens, she will grow up and become a mother herself, so the image is also an allegory of life's ever-new beginnings. In keeping with this, the morning sun shines into the picture from the right. Fischer-Cörlin has masterfully worked out the quality of the light, with its light and dark areas, with the pencil used...

Circle of Fred MORGAN (1847-1927) c1890 A sensitively painted portrait, possibly a study for a larger work, of a young country girl. Indistinctly signed ** Morgan, possibly Fred. Unfortunately Fred signed in a number of different ways depending on the grandeur of his work. However, a consistent element was the colour, a reddish brown similar to the colour of the signature on this painting. I can offer no provenance with this painting, so I am selling at as circle of Morgan rather than actually by him. “Frederick Morgan ROI was an English painter of portraits, animals, domestic and country scenes. He became known for his idyllic genre scenes of childhood. Morgan was born in London to John Morgan and his wife, Henrietta Hester Clare. His father was a successful genre artist sometimes known as 'Jury Morgan' (after one of his paintings The Gentlemen of the Jury). At the age of 14, he was taken out of school by his father who then tutored him in art. At the age of 16, while still studying with his father, his first picture, The Rehearsal, was exhibited at the Royal Academy, and, after a hiatus of several years, his paintings were shown there regularly. For a while he worked as a portrait artist for an Aylesbury photographer; this training proved to be crucial as it "taught him how to observe closely and to give the greatest attention to detail." Eventually he turned to other subjects for his art, in particular idyllic genre scenes of country life and childhood. For many years, starting in 1874, Thomas Agnew & Sons' purchased all the work he produced. Although an excellent portrait artist, Morgan had problems in depicting pets and barnyard animals - he enlisted the aid of either Arthur John Elsley...

Original antique drink advertising poster for Sect Kellerei und Cognac Brennerei D Sandmann Berlin. Fantastic Art Nouveau style design depicting a decadent scene of a gentleman smoking a cigar and a lady in a fashionable yellow dress lying back in her chair with an empty champagne glass in her hand, an ice bucket on the floor, flowers and alcohol bottles...

Medium: lithograph (after the original menu illustration). Printed in 1897 on smooth wove paper and published in Paris by Librairie Nilsson. Sheet size: 12 1/4 x 9 inches (310 x 230 ...

Medium: lithograph (after the original menu illustration). Printed in 1897 on smooth wove paper and published in Paris by Librairie Nilsson. Sheet size: 12 1/4 x 9 inches (310 x 230 ...

Original antique food advertising poster for Chocolat Poulain Goutez et compare / Taste and Compare featuring an illustration of a young boy i...

Antique American realist flower still life oil painting. Oil on board, circa 1900. Unsigned. Image size, 10L x 14H. Housed in a period giltwood frame.

The Calm Sea Oil on mahogany panel, 8 7/16 x 6 1/2 inches Signed lower left (see photo) This work was inspired by Haskell's frined, teacher and mentor, James ...

Henri de Toulouse-Lautrec Etude de Femme (Study of a Woman), 1893 is a lovely depiction of a nude subject delicately undressing at her bedside. She ap...

Robert D. Gauley (American, born Ireland, 1875-1943) Lake Como, Near Menaggio, 1892 Oil on canvas, 18 1/4 x 28 1/4 inches FRAMED: 25 3/4 x 35 inches Signed and dated at lower left: “Robert D Gauley/Menaggio 1892” Born in Carnaveigh County, Monaghan, Ireland in 1875, Robert Gauley was a portrait, figure and landscape painter. Around 1884, his family emigrated to the United States and made Boston their home. Gauley began his art training under Denman Waldo Ross in Cambridge, Massachusetts. In 1890, he received formal instruction at the School of the Museum of Fine Arts in Boston, studying under Edmund C. Tarbell and Frank W. Benson. In Paris, he studied at the Academie Julian under William Bouguereau and Gabriel Ferrier...

A magnificent 1895 color print by R.L Emerson 🇺🇸 He designed many of the covers for Atlantic, an American monthly cultural magazine founded in 1857 in Boston, Massachusetts. Liter...

Artist: August Töpfer Work: Original Watercolor painting, handmade artwork, one of a kind Medium: Watercolor on Satin Paper Year: 1834-1911 Style: Classic Art Title: Tower, Size: 12...

Bruno Paul (1874 Seifhennersdorf - 1968 Berlin). Self-portrait, c. 1895. Pencil on paper, mounted on cardboard, 53.5 x 35 cm, signed 'Paul' at upper left. - Homo nudus - About the artwork In a mirrored situation, Bruno Paul looks at himself in the picture. While his body, which is the size of the format, is shown in profile parallel to the picture, he turns his head into the picture in order to become aware of himself there, whereby the lighter use...

Hans Richard von Volkmann (1860 Halle (Saale) - 1927 ibid.), Clay jug on a bench. Pencil and Watercolour on paper. 20 x 26,7 cm (visible size), 37 x 45 cm (frame), dated and monogrammed lower left "Februar 1890 - HR. V. V." - Minimally tanned. Framed behind glass in a passepartout. About the artwork Using the technique of his early youth - pencil and watercolour - Hans Richard von Volkmann depicts a still life. However, this is not a conventional indoor still life, but an open-air depiction, painted outdoors and not in the studio. It is therefore an open-air painting, characteristic of von Volkmann's oeuvre, which could have been painted in the Willingshausen colony of painters, where open-air painting was programmatically practised there and the artist stayed there that year. And indeed, this painting is a manifesto of open-air painting. Von Volkmann demonstrates that leaving the studio for the light of nature leads to an entirely new quality of art. To prove this, he uses the genre of still life, which can be described as the studio subject par excellence. Moreover, light plays an essential role in the classical still life. It is the real protagonist of the still life. And it is precisely this moment, essential to the still life, that von Volkmann exploits to demonstrate the potential of plein-air painting: He presents the objects as they appear in the sunlight. The date of February and the bare branches in the foreground make it clear that this is a clear winter day in bright sunlight. The delicate plant in the foreground casts a clearly defined shadow, as does the jug. However, the shadow is most pronounced on the jug itself: The underside of the handle appears almost black, making the top, and therefore the jug itself, shine all the more brightly. The shining of the objects in the sunlight is also visible on the bench. As complementary phenomena to the shadow zones, light edges can be seen on the boards of the seats and the upper foot of the bench shines entirely in the light. To achieve this intensity of light, von Volkmann activated the bright white of the painting ground. By depicting the objects in glistening sunlight, von Volkmann demonstrates that this quality of light is only to be found outdoors. And this light leads to a new way of looking at the objects themselves. The jug on the bench seems like an accidental arrangement, as if the artist had stumbled upon this unintentional still life and captured it with fascination. And in this fascination there is a moment of realisation that refers to the objects themselves. It is only when they shine brightly in the sunlight that their true nature is revealed. In this way, sunlight allows the objects to come into their own, so to speak. Sunlight, which is not present in the studio, gives the still life an entirely new dimension of reality, which is also reflected in the colours interwoven by the sunlight: The bench and the jug stand in a harmonious grey-pink contrast to the green of the implied meadow. The emphasis on the jug as the central subject of the picture also implies that the watercolour has not been completed. This non finito inscribes a processuality into the picture, making it clear that something processual has been depicted, the temporality of which has been made artistically permanent. This is why von Volkmann signed the painting and dated it to the month. About the Artist Von Volkmann made his first artistic attempts at the age of 14. He painted many watercolours of his home town of Halle. This laid the foundation for his later outdoor painting. In 1880 his autodidactic beginnings were professionalised with his admission to the Düsseldorf Art Academy. There he studied under Hugo Crola, Heinrich Lauenstein, Johann Peter Theodor Janssen and Eduard von Gebhardt until 1888. Von Volkmann then moved to the Karlsruhe Academy, where he was Gustav Schönleber's master pupil until 1892. In 1883 he came for the first time to Willingshausen, Germany's oldest painters' colony, at the suggestion of his student friend Adolf Lins...

A beautiful and rare example of a figurative work by the French post-impressionist Ferdinand du Puigaudeau

Edgar DEGAS Paris 1834 † 1917 id. Portrait of Ludovic Halévy. About 1895-1896. Photograph. Original silver gelatine print. 82 x 74 mm. Of great rarity. Only one other known print (L...

landscape, England, 1890,green,blue Edouard CHAPPEL (Anversa, 1859 – Cagnes-sur-Mer, 1946) MUSEI BELGIO Anversa Musée Royal des Beaux-Arts FRANCIA Paris Musée d’Orsay ...

Medium: etching. Etched by Laguillermie after Corot and published in 1890 in an edition of 200. This is a nice impression printed on a japon-style paper. T...

A was an Artist is a Wood engraving, realized by the Artist William Nicholson in 1898 Titled " A was an Artist - Portrait de William Nicholson " below, in the center of the image. O...

Medium: original etching and drypoint. This impression in sanguine ink on laid paper was printed in 1892 for Gustave Geffroy's "La Vie Artistique". Image size: 4 1/2 x 3 inches (115 ...

Medium: lithograph (after the original menu illustration). Printed in 1897 on smooth wove paper and published in Paris by Librairie Nilsson. Sheet size: 12 1/4 x 9 inches (310 x 230 ...

Medium: chromolithograph (after the watercolor). Beautifully printed in 1894 to illustrate the rare Celia Thaxter volume entitled "An Island Garden". Cel...

ALEXANDER FRENZ "BACCANALE IN THE FOREST" OIL ON CANVAS, SIGNED GERMAN, C.1900 39 X 33 INCHES Alexander Frenz 1861-1941 He was born in 1861 in ...

French school end of 19th century Seaside with two characters, oil on paper 27 x 49 cm In good condition In a modern frame : 35 x 57 cm