1890s Art

"From Ilsee, Princess of Tripoli Recto: "Last Kiss" Verso: "Union" is an original color lithograph by Alphonse Mucha. Exquisite double-sided color lithographs from "Ilsee, Princesse...

Artist: Paul Rodolphe Joseph Dujardin (French, 1843-1913) Title: "Portrait de Mlle L... (Portrait of Miss L...)" Portfolio: Gazette des Beaux-Arts *Signed by Dujardin after Lehmann i...

An intimate portrait of his second son, Jean Renoir (1894 – 1979), evokes a childlike sentiment and love that Renoir had for his children. Most likely no more than age 3, Jean is shown here with a cookie, beneath a frilly bonnet characteristic of late 19th century French society. His pink, rosy cheeks are defined with rich, glowing hues that contrast from the pale yellow and grey background in which he rests. Jean was also featured in a family portrait of the Renoirs, titled La Famille de l’Artiste (1896). Created in 1899, this Color Lithograph on Cream Laid Paper is from the edition of 100, from the unpublishedL’Album d’estampes originales de la Galerie Vollard; printed by Auguste Clot, Paris. Catalogue Raisonné: It is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the final sale of the work): 1. Delteil, Loys. Pierre-Auguste Renoir, l’œuvre grave...

Nicely painted 19th century woodland interior landscape painting. Oil on board. Framed. Image size, 7.5 by 9.5 inches. Housed in period frame.

Portrait of a Lady is a Pencil Drawing realized by Hermann Paul. Hand signed on the lower left corner. Passpartout included cm 51x35 Good condition. René Georges Hermann-Paul (27...

Francis Luis Mora was considered one of America's finest "sketchers". A collection of his Sketchbooks are at the Smithsonian and this work came out of one in the early 1990's from t...

Woman Holding A Rake. Max Lindenberg (1873-1910), German. A late 19the Century small bronze figure of a young woman holding a rake. Signed on the base, mounted to a square marble ...

Portrait of Philip Andreevich Malavin.1899.Paper, lithography, 32x23 cm, restored: professionally reinforced edges. Leon Bakst. (1866-1924)

"Landscape with Sheep" by Daniel Folger Bigelow (July 22, 1823 - July 14, 1910), Oil on Canvas, signed D. F. Bigelow lower right corner. An American painter active in New England an...

Signed figures and animals in interior oil on panel by French impressionist painter Jean-Francois Raffaelli. The piece depicts two old men seated in an interior. One is reading his p...

Medium: original etching and drypoint. Catalogue reference: Delteil 10. Published in Paris in 1899 by H. Floury for Auguste Rodin "Statuaire" by Lon Maillard. This impression is prin...

M. Jackson (English School, late 19th Century) Chickens in a Hen House Oil on board, circa 1890 Monogrammed lower left This charming late Victorian farmyard scene captures the quiet...

Belle Époque lithograph of Folies Bergère: Fleur de Lotus by Jules Chéret, published in 1896 by Imprimerie Chaix, Paris. While Fleur de Lotus ...

Yahne is a vintage woodcut print and pochoir realized by Leonetto Cappiello in 1899, and printed in Paris in the same year by La Revue Blanche. The wo...

Lithograph of George de Feure’s 1896 theatrical Art Nouveau poster promoting Mistinguett’s role as Hélyett in Marjolaine. Hélyett is shown in a delicate pastel palette, enveloped b...

Signed lower left and dated: 15/IX, 1895, Y. Bershadsky - Yuliy (Ioil-Ruvin) Rafailovich Bershadsky (1869 - 1956), Russian - USSR painter and teacher, professor, honored artist of th...

This intimate watercolour depicts the artist’s children, Nils Tirén and Stina Tirén, they reading the Christmas annual Kring granen och brasan. The image served as the original illus...

Artist: Migita Toshihide, Japanese (1862 - 1925) Title: Chinese Generals in Pyongyang Surrender to Japanese Year: 1892 Medium: Woodblock Triptych S...

Chefoo view of Settlement is an albumen print made by an unidentified photographic studio. Print in excellent condition, applied to hardcover. The photographer's name is printed on ...

After Pierre Auguste Renoir (1841-1919) Trois Esquisses de maternite (Three Studies of Maternity) Heliogravure with etching on velin paper, 1893 Unsigned as issued Edition 1000, ther...

Hours of Idleness – Normandy, 1894. This intimate pastel portrait depicts a woman seated quietly on a wooden chair beside a small table supporting a potted flowering plant, positione...

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...

ULPIANO CHECA Spanish, 1860 - 1916 VENICE CANAL signed, located and dedicated "A Marguerite Pinèdo / affectueusement / U. Checa / Venezia" (lower left) o...

Jan Toorop was born in Java, studied in Holland and then spent three key years in Brussels, where he was a member of the circle of artists, "Les XX," during which time he befriended ...

Howard Logan Hildebrandt, 1872-1958 Femme Avec Le Chapeau Plumé, n.d. Oil on canvas 26 ½ x 21 ½ inches Signed (lower right): H L Hildebrandt Provenance Private collection, Detroit A native of Allegheny, Pennsylvania, which later merged with Pittsburgh, Howard Logan Hildebrandt achieved prominence in the art world for his portraiture, and counted esteemed doctors, businessmen, musicians and his own artist-colleagues among his numerous sitters. Born in 1872, his life followed a trajectory similar to other young men in an industrial Pennsylvania town when he went to work at a local stained-glass factory during his teenage years. In 1890, Hildebrandt decided to enroll in the National Academy of Design in New York and although his instruction there was brief, lasting only one season, he took classes in both antique and life drawing and must have felt prepared enough to continue his education abroad in the ateliers of Paris. He studied with Jean-Joseph Benjamin-Constant and Jean-Paul Laurens at the Académie Julian, and also trained at the École des Beaux-Arts, before eventually returning to the United States in the late 1890s to launch his career. Hildebrandt initially settled in Pittsburgh before relocating to New York by 1899, where he briefly kept a studio at the famed Tenth Street Studios and later moved to Carnegie Hall. With the artist’s star rising steadily, Marian A. White, editor of the Fine Arts Journal, praised for his talents in a commentary published in a Pittsburgh weekly: [Hildebrandt] is but thirty-three years of age, yet, through perseverance and industry and an indomitable will, has taken an enviable position among American portrait painters as well as of painters of fisher-folk….Mr. Hildebrandt is an ideal American artist, enthusiastic, energetic, and reveling in painting subjects that are of American type. Beginning in 1905, Hildebrandt was fortunate to gain admittance into newly-constructed buildings being designed specifically for artists rising along New York’s West 67th Street, including the Sixty-Seventh Street Studios, where Henry Ward Ranger and Childe Hassam had spaces, and later the Colonial Studios building, which was commissioned by Robert and Bessie Potter Vonnoh. Counting such luminaries among his neighbors and keeping to an active exhibition schedule, Hildebrandt continued to advance his career. Between 1898 and the mid-1920s, he participated in the annuals of the Pennsylvania Academy of the Fine Arts and the Art Institute of Chicago. Concurrently, he exhibited with the National Academy from the 1890s through the late 1940s, and the titles of paintings shown at these venues suggest the artist was drawn to a variety of themes, from the fishermen and wharves of Gloucester, Massachusetts, to landscape, still life and figural subjects, and finally portraiture, at which he excelled. One of his early portraits, titled Portrait: Miss C and shown at the National Academy in 1902, is thought to be of Cornelia Ellis, a talented miniature painter whom Hildebrandt married that same year. The artist eventually earned the esteemed moniker of National Academician in 1932. In addition to the venues previously mentioned, he showed with the National Arts Club, the Salmagundi Club, the American Watercolor Society and the Allied Artists of America, earning prizes from all four groups. Around 1913, the Hildebrandts began spending summers away from the city in New Canaan, Connecticut, and a few years later built a home on Huckleberry Hill Road near the Silvermine River. Drawn to the idyllic countryside and to the region’s burgeoning artists’ colony founded by sculptor Solon Borglum...

Oil on canvas. Signed upper right. A characteristic work by Henner, renowned for his masterful handling of sfumato and chiaroscuro to evoke atmosphere and depth. His subtle transiti...

Porcelain Vases is an original china ink and watercolor drawing on ivory-colorated paper realized in 1890 ca. In very good conditions. This artwork represents various models of po...

The Gleaner Henri Godet 1863 Paris - 1937 Vincennes - The Gleaner -Late 19Th Century Small Bronze with patina, artist signed, founder mark Model No. 2772.. On the base: "Gleaner by...

Up for sale is a beautiful original painting by Valentine Thomas GARLAND (1868-1914). Garland was a painter of animal and genre subjects, working in both oil and watercolor. He was ...

Incredible early American realist still life featuring pineapple and strawberries on a table. Oil on canvas. Incredible detail and masterfully painted. Signed illegibly, last n...

"Guiding Light" and "Nature's Course" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were pages 113 & 114 of "Ils...

Jean Hodru (Belgian, 1862–1956) Portrait of a Young Girl (“Fillette”) Oil on Canvas, circa 1890 Signed lower left and inscribed on the reverse Presented in its original period gilt f...

In 1897, Alphonse Mucha created illustrations for "Ilsee, Princesse de Tripoli." This double-sided print is a rare proof of an original color lithograph before any text from the story was added. This is a special edition print from edition 252 and is 12/35 on Chinese paper. 4.25" x 5.0625" image 20.75" x 17.5" frame Alphonse Mucha was born in 1860 in what is now the Czech Republic. His career began in decorative painting for theater scenery...

Moody Late 19th Century Landscape with Trees and Marsh - Original Oil Painting Wonderful turn of the century landscape by Eduardo Tojetti (Italian/American, 1851-1930.) A bare tree ...

Etching on a zinc plate. Very Good conditions. Ref. - A. Baboni, L'Ottocento: le incisioni di Giovanni Fattori, Pacini Editore, 2001. p. 128, n.106 Giovanni Fattori was an Italian ...

Louis-Claude Paviot (1872-1943) Flowers, 1898 Oil on canvas Signed and dated lower right 60 x 46 cm Very good condition Louis-Claude Paviot ( 1872 – 1943) first trained at the Écol...

PASCAL Paul (1832-1903) Orientalist View With Characters Gouache on card signed low right and dated 1894 New golden frame Dim gouache : 42 X 58 cm Dim Frame : 61 X 78 cm PASCAL Paul...

Henri De Toulouse-Lautrec (French 1864 - 1901) BABYLONE D'ALLEMAGNE Printed in 1894 Lithograph printed in colors, 1894, on linen-backed wove paper, printed by Chaix, Paris, tasteful...

This dignified lithographic portrait of His Imperial Majesty Tsar Nicholas II stands as a visual tribute to the last Emperor of Russia, created during the final years of Europe’s gre...

Jules Chéret’s poster advertising the Théâtre Optique (Optical Theatre) immortalized a momentous convergence of technology, culture, history, and art with the 1892 debut of Emile Reynaud’s praxinoscope at the Musée Grévin in Paris. Reynaud presented his Pantomimes Lumineuses, the world’s first animated films, using his innovative system which projected light through moving pictures to offer illuminated pantomimes. Among the three short films Reynaud screened through his praxinoscope was Pauvre Pierrot (Poor Pierrot), a story of Pierrot courting Columbine based on the timeless archetypal love triangle featured in many Commedia dell’arte pantomimes. As a member of the Cercle Funambulesque (roughly “Friends of the Tightrope-walkers”), a French society which championed the contemporary creation of Commedia dell-arte-inspired pantomimes, Jules Chéret was often inspired by Pierrot and produced a large number of works depicting him, often with his beloved Columbine. Cheret’s involvement with the Cercle, combined with the immense popularity of these archetypes in the late 19th century, meant that they appeared frequently in his works. This work comes from the extremely scarce edition of 25 strikes on Imperial Japon paper, a mulberry bark-based stock inspired by the smooth-surfaced papers used in Japanese printmaking. This world-class example of lithography captures superior resolution and color-richness to that of its large-format counterpart. The use of marbled Imperial Japon paper allows inks to rest upon its surface rather than being absorbed by a more porous paper stock. An extremely scarce fraction of the edition of 25 are estimated to have survived to date. Stone lithograph of Jules Chéret’s Musée Grévin...

Antique Philippe Pavy Orientalist Oil Painting Street Scene Children Musician French, 1890 Panel: Height 40cm, width 51cm Frame: Height 54c...

"Departing Beauty" and "Dreams" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were pages 94 & 93 of "Ilsee, Prin...

Marguerite DELORME (1876-1946) Young Girl Playing with a Doll, 1899 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) I...

Louis Welden HAWKINS Women Enjoying a Book, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Lithogr...

Henri Patrice DILLON Carnival : Happy Demonstration, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION...

"Going to Meet the Princess" and "Ilsee's Followers" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were pages 53 &am...

after Carl Otto Czeschka, (1878-1960), Austrian A leading member of the Vienna Secession and later the Wiener Werkstätte (Viennese Workshop), Carl Otto Czeschka was a vital fi...

Alphonse Mucha worked mainly as a poster artist and became an influential figure of Art Nouveau in late 1890s, when poster illustrations were emerging as popular art form and new pri...

Lady Holding Bouquet Of Red Poppies. Portrait depicting a beautiful young woman holding bouquet of red poppies in a fine pink satin dress. The painti...

Alphonse Mucha (Czech, 1860–1939) Lily from The flowers  Les Lys : Les fleurs Original Poster,  1898  Image size: 102.2×41.6 cm Sheet size: 105.7×45.7 cm Framed Condition: laid down...

BACHMANN Alfred Félix August (1863-1956) Bording near the Antique Temple Oil on canvas signed Low Left Frame gilded with leaves ...

"From: Ilsée, Princess of Tripoli Recto: "Eldenias" Verso: "Hilderich" is an original color lithograph by Alphonse Mucha. Exquisite double-sided color lithographs from "Ilsee, Princ...

Vision Antique Color lithograph, 1899 Signed in the stone upper left (see photo) Titled in the stone lower right (see photo) Edition: unsigned edition about 200 (per Arwas) Published...

"Lutece" is an original color lithograph by Adolphe Giraldon. This piece depicts a woman holding a sailing ship among lush vegetation. In the background, Notre Dame rises. Lutece is ...

5055 Antique Victorian female oil portrait in a period frame on board Signed T.H.Fischem Berlin 91 Image size 19.5x16.5"

TOULOUSE-LAUTREC, HENRI DE (1864-1901) "LA CHAINE SIMPSON" Original lithograph from "Les Maitres de L'Affiche" series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #60, 1900. Plate #238 Unframed Size: 11 3/8 x 15 3/4” The "Les Maitres de l'Affiche" series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The "Maitres de l'Affiche," were issued as separate numbered sheets, referred to as "plates". They were numbered, with the printers name "Imprimerie Chaix," in the margin at the bottom left hand corner, "PL.1" to "PL.240." In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret's. The smaller format and the fact the "Maitres" were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters due to cost. A very high quality of paper was used, where as the large format posters were printed on lesser quality newsprint, due to cost and a short expected life span. This explains why the quality of the printing, in the "Maitres de l'Affiche," usually far exceeds that of their larger counterparts. "In her recent excellent biography of Lautrec, Julia Frey indicates that 'Henry, the frustrated athlete, was compulsively familiar with the vocabulary and technical aspects of a variety of sports in which he could participate as a spectator: horse and bicycle racing, wrestling, yachting, bullfighting. He watched them all with the same intensity that he watched a line of dancers or a circus bareback rider, attracted by the beauty of movement, but also by the smells, sounds and excitement of the spectacle (Frey, p.353) His 'insider' knowledge of the cycling field shows up abundantly in this poster for the French agent of the Simpson bicycle chain company. In the foreground is the champion cyclist Constant Huret. In the background are Tristan Bernard, the sports impresario who was a close friend of Lautrec, with Louis Bougle, the French agent who adopted the name 'Spoke.' A touch of levity is added by what appears to be a 'bicycle-built-for-ten' in the upper-left corner, in fact it's two five-seaters, known at the time as 'quints.'"(Rennert, PAI-XXII, 35)Henri de Toulouse-Lautrec came from an aristocratic background, having been born the son of an earl.Even as a schoolboy he showed a talent for drawing. By 14 he had suffered two horse back riding accidents, combined with a serious bone disease which eventually left him crippled for life. His body continued to grow but not his legs, he would remain only five feet tall and suffer pain and embarrassment his entire life.At the age of 18, Lautrec moved to Montmartre in Paris to study art seriously. He worked with artists Louis Anquentin, Emile Bernard, Degas, Van Gogh and others. He became a frequenter of the the cafes, cabarets and brothels of the neighborhood, drawing from them inspirations for his artistic themes. As the artist's stature grew, several magazines wanted to publish his work, including Le Rire. His subjects, as well as street life, included some of the most famous music-hall performers, with whom he became friends, such as Yvette Guilbert, La Goulue Jane Avril, May Milton, May Belfort...

Henry Walcott Boss (American, 1820-1916) Woodland Tranquility Oil on canvas, signed “Boss” lower right & dated 1896 In Woodland Tranquility, Henry Walcott Boss offers a masterfully ...

Alphonse Mucha (Czech, 1860-1939) Flirt Biscuits Lefevre Utile. 1899, Lithograph in colors on wove paper. Linen backed. Imp F. Champenois Paris. Measures : sheet: 24.75 x 11.75 inche...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Oil on pannel by J.E. KARNEC, born in 1865 (in Austria after GERALD SCHURR), died in 1934. Painter of landscapes, seascapes, port landscapes, water landscapes. "Orientalist trend" (...