1890s Art

William Nicholson (1872-1949) Sir Henry Hawkins Original Colour Lithograph Image: 25.0 x 23.0 cm Frame: 43.5 x 39.5 cm Colour lithographs from the original woodblocks, published by W...

William Nicholson (1872-1949) Prince Bismark Original Colour Lithograph Image: 25.0 x 23.0 cm Frame: 43.5 x 39.5 cm Colour lithographs from the original woodblocks, published by Will...

William Nicholson (1872-1949) Lord Roberts Original Colour Lithograph Image: 25.0 x 23.0 cm Frame: 43.5 x 39.5 cm Colour lithographs from the original woodblocks, published by Willia...

William Nicholson (1872-1949) Queen Victoria Original Colour Lithograph Image: 25.0 x 23.0 cm Frame: 43.5 x 39.5 cm Colour lithographs from the original woodblocks, published by Will...

STEIN Georges (1864-1917) Paris street Views - Porte St Denis Oil on canvas signed low right Old frame gilded with leaves Dim canvas : 70 X 92 cm - Dim ...

PAUL GAUGUIN (French 1848 - 1903) LA ORANA MARIA (HAIL MARY) 1894/5 (Mongan/Kornfield 27B:Guerin 51) Transfer zincograph on coarse-grained transfer paper, in...

Classic Vanity Fair colour plate by 'Spy' aka Sir Leslie Ward subject, 'Yorkshire Cricket' published Sept 24 1892 Print Sz: 13 1/2"H x 8"W Martin Bladen Hawke, 7th Baron Hawke (16 ...

El grabado va firmado a lápiz y con justificante del tiraje que en este caso es un tiraje de 500 ejemplares, siendo este el número 114 Se presenta enmarcado El estado del grabado e...

Outstanding, big painting, realized by A. Varucca in 1891. Oil on canvas. it depicts a noblewoman in evening dress with a beautiful harp and a fan.  Hand signed and dated lower left....

Crafted in 1895 by the talented artist Gustave Fraipont, the original poster for "Paris Amsterdam en 10 heures" by Chemin de fer du Nord stands as a testament to the allure and convenience of rail travel during the late 19th century. Depicting a scene of speed and sophistication, the poster captures the imagination with its vibrant colors and dynamic composition. Against a backdrop of iconic landmarks and scenic vistas, a sleek locomotive charges forward, symbolizing the rapid transit between Paris and Amsterdam afforded by the Chemin de fer du Nord. Gustave Fraipont, known for his mastery of landscape painting and illustration, brings his signature style to this promotional artwork. His meticulous attention to detail and ability to evoke a sense of adventure and possibility make this poster not just a piece of advertising, but a work of art in its own right. During the late 19th century, rail travel was undergoing a period of rapid expansion and innovation, revolutionizing the way people moved across vast distances. The Chemin de fer du Nord, one of France's major railway companies, played a pivotal role in this transportation revolution, offering travelers the opportunity to journey from the heart of Paris to the vibrant city of Amsterdam in just 10 hours—a remarkable feat of engineering and efficiency for its time. Railway - Tourism - Netherlands North Railway F&M Moreau...

Medium: original etching. Printed in 1897 for the rare portfolio "Art et Nature" by Leon Roger-Miles and published in Paris by Boudet in an edition of 525. Printed on Marais wove pap...

Eugene DELATRE Young Girl Playing in the Woods, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Lit...

This striking circa 1895 poster by Mayer promotes a January issue of St. Nicholas Magazine, featuring the story Danny and the “Major” – A Story of the Plains. It reflects the growing...

This elegant circa 1895 poster for The Maid of Athens, presented at the Opéra Comique, embodies the refined theatrical aesthetic of the late 19th century. Blending classical inspirat...

Uramino Jacki Fall - August 21st 1893 - Japan. Nicco is an original vintage photo realized during a journey throughout the world performed by Prince Franz Ferdinand...

This striking circa 1895 poster for All Aboard, performed at London’s Court Theatre under the management of Arthur Chudleigh, captures the theatrical spectacle and musical energy of ...

This vibrant circa 1895 poster by Ellis Hyland advertises The Gay Parisienne, a lively musical comedy by George Dance. It perfectly captures the exuberance and theatrical flair assoc...

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 ...

This lively circa 1895 poster for Miss Francis of Yale, performed at London’s Globe Theatre, captures the playful energy of late Victorian theatrical advertising. Printed by Waterlow...

This refined circa 1895 poster by G. C. Parker promotes The Bookman, a literary magazine published by Dodd, Mead & Co. in New York. Elegant and understated, it reflects the growi...

This elegant 1896 poster for the Philadelphia Sunday Press exemplifies the growing sophistication of American graphic design at the end of the 19th century. Combining refined illustr...

This compelling circa 1895 poster advertises The Happy Life, a play by Louis N. Parker, staged at the Duke of York’s Theatre in London. Rich in narrative detail and theatrical tensio...

This striking circa 1895 poster by Alfred Ellis promotes the theatrical adaptation of Trilby, the immensely popular novel by George du Maurier. At the height of its fame, Trilby beca...

This striking circa 1895 poster by Alfred Ellis promotes the theatrical adaptation of Trilby, the immensely popular novel by George du Maurier. At the height of its fame, Trilby beca...

ENRIQUE ATALAYA Spanish, 1851 - 1913 BELEM´S TOWER, LISBON signed "ATALAYA" (lower right) oil on wood panel 6-1/4 x 8-1/8 inches (15.8 x 20.5 cm.) fram...

This lively circa 1895 poster by Dudley Hardy for the Strand Theatre production A Brace of Partridges perfectly captures the wit and visual clarity that made Hardy one of the most in...

This bold circa 1895 poster by John Hassall for Terry’s Theatre – The White Knight is a striking example of early modern poster design in Britain, where clarity, humor, and strong vi...

Henri PRIVAT-LIVEMONT (1861-1936) Art Nouveau Muse, 1900 Original lithograph Printed signature in the plate On vellum Size 39 x 29 cm (c. 15.3 x 11.4") INFORMATION : Plate 212 of ...

Jean Baptiste Duffaud French, 1853-1927 St. Tropez Oil on canvas 13 by 21 ¾ in. W/frame 24 by 32 ¾ in. Signed lower left Jean-Baptiste Duffaud studied at the Ecole des Beaux-Arts in Marseilles under the direction of Dominique Antoine Magaud (1817-1899). Wishing to complete his artistic training, he went to Paris and received the teaching of Jean-Léon Gérôme. He exhibited at the Salon from 1875 to 1892, obtaining several honorable mentions. He was awarded the prestigious Marie Bashkirtseff...

ARTIST: Fritz Vogt (Active 1890 – 1900) (1842-1900) TITLE: “Our Native Summer Home” DESCRIPTION: Pencil drawing with colored pencil, 37 ½ x 25 ½ inches s...

Auguste François GORGUET (1862 - 1927) Night Andante Original lithograph Printed signature, as issued 1897/98 Printed on paper Vélin (wove) Size 40 x 31 cm (c. 16 x 12") INFORMAT...

Théophile-Alexandre Steinlen's "Lait pur de la Vingeanne stérilisé" poster, created in 1897 for Les Maîtres de l'Affiche in plate number 95, is an outstanding...

This poignant portrait by Swedish artist Nina Bergstedt captures a quiet intensity that lingers in the viewer’s mind. The sitter, an unknown woman, is portrayed with deep emotional p...

Jules Joseph BOULANGER 1822 - after 1890 Cupid's Sleep Charcoal 45 x 65 cm Signed and dated and lower left "J. Boulanger / 1891"

Antique German Orientalist oil painting of an Egyptian temple by Meyerheim German, 1893 Canvas: Height 42.5cm, width 54cm Frame: Height 67cm, width 79cm, depth 7cm Presented in an i...

Medium: chromolithograph (after the watercolor). This delightful antique lithograph was published in a small edition in 1892 to illustrate a rare volume with scenes of Venetian life....

Jacques DELANOY (1820-1890) Still Life Fruits and vegetables Oil on canvas signed and dated 1890 low left Old frame regilded with leaves Dim canvas : 41 X 34 cm Dim frame : 53 X 44 ...

Pierre Bonnard's "La revue Blanche" poster, created in 1896, is considered a masterpiece of poster art. It is part of the "Maîtres de l'Affiche" collection, edited by Jules Chéret, a...

Paul César Helleu Paris : Classical Studies of a Lady, 1897 Original litograph Printed signature in the plate On vellum 40 x 31 cm (c. 16 x 12") INFORMATION : Published by 'Estampe...

Antique Victorian Watercolour of Whitby Harbour by 19th Century British Artist William Langley (1852–1922) dating back to Circa 1891 Art measures 19 x 10.5 inches Frame measures 2...

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...

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...

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...

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...

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...

Medium: lithograph (after the poster). Printed in 1897 on smooth wove paper and published in Paris by Librairie Nilsson. Sheet size: 9 x 12 3/8 inches (228 x 315 mm). Signed in the p...

Angelo JANK Woman with Parrot, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Lithograph created f...

JAMES ABBOTT MCNEIL WHISTLER (1834 – 1903) THE SMITH’S YARD 1895 (Spink, Stratis & Tedeschi 124) lithograph, 1895, on wove paper, from the edition of 3000, published by The Inter...

Chez François Bouvin is a wonderful etching realized in 1891 by Charles Courtry, after François Bouvin. This Modern artwork representing a scene of ordinary life, is a beutiful arti...

A beautiful red-haired woman enjoys a Quinquina Dubonnet aperitif with her white cat companion. In early advertising, artists commonly used a redhead as an example of modern-thinking...

Original poster: CABOURG. "Casino. Grand Hôtel Noël & Pattard, propriétaires du Grand Hôtel à Monte-Carlo". Caubourg, la plus belle plage. Artist: ...

Agathon Leonard (French, 1841 - 1923) Art Nouveau Silvered Bronze A French Art Nouveau gilt bronze sculpture, "Marguerite", by Agathon Léonard of Margeruite, placing a flower in her...

Edward Francis Rook American, 1870-1960 Brittany Oil on Canvas 30 by 30 in. W/frame 38 by 38 in. Signed lower left Circa, 1898-1900 Item number: 01879 Rook, born in New York City on September 21, 1870, became one of the most original impressionists at Old Lyme. First he was a student of Benjamin Constant and Jean-Paul Laurens at the Académie Julian.  Life started out to be rather promising for Rook, around the turn of the century.  He exhibited at the Cincinnati Art Museum and at the Pennsylvania Academy of the Fine Arts, both in 1898, when his harbor scene, entitled Pearl Clouds — Moonlight was reproduced in International Studio, in April.  In addition, the PAFA presented him with the Temple Gold Medal for Deserted Street, Moonlight, which the Academy purchased.  Three years later, Rook was awarded a bronze medal at the Pan-American Exposition in Buffalo, where he exhibited three landscapes.  Caffin (1902, p. xxxvi) praised the artist's "translucent quality of color," which suggests a study of color theory.  Also in 1901, Rook married Edith Sone.  For most of 1902, the Rooks were in Mexico. Rook came to Old Lyme in October of 1903.  The date is significant because Childe Hassam was also there that month.  Hassam would more or less re-orient the artists' colony from Tonalism to impressionism.  Rook would move there permanently two years later.  He took two medals at the St. Louis Universal Exposition (1904) where his landscapes from the Mexican trip were displayed.  More awards followed: a silver medal at the International Fine Arts Exposition in Buenos Aires, 1910, a gold medal at San Francisco's Panama-Pacific International Exposition in 1915,  a Corcoran Bronze Medal, and a William A. Clark Award in 1919 for Peonies.   By 1924, the artist was made a National Academician.  Despite all these awards and recognition, Rook did little in the way of selling his art and reportedly, his prices were too high.  His paintings were handled by Macbeth and Grand Central Art Galleries. Rook was active in Old Lyme's art community.  As stated above, he would have met Hassam that October in 1903 but Willard Metcalf had departed at the end of the summer.  As several writers have explained (Connecticut and American Impressionism, 1980, p. 123), Hassam "was the catalyst around whom [impressionism] coalesced."   Rook's niece, Virginia Rook Garver, who happened to be the grand-niece of Hassam, confirmed that Rook and Hassam knew each other in Europe — before they went to Old Lyme (Fischer, 1987, p. 19).  Rook was one of the relatively young painters to come to Old Lyme, along with Gifford Beal, William Chadwick, and Robert Nisbet, on the wave of impressionism, initiated there by Hassam and Metcalf.  Old Lyme became a center of American impressionism, and as Donelson F. Hoopes remarked, "under Hassam, the shoreline of Connecticut became a kind of Giverny of America."  Among Ranger's group, palettes started to become lighter, except those of the most determined tonalists.  Ranger himself, perhaps admitting defeat, moved to Noank in 1904.  Rook is best known for his views of Bradbury's Mill, which was soon called Rook's Mill, owing to the painter's many versions of the scene.  One, called Swirling Waters, dated ca. 1917, is in the Lyme Historical Society.  Even more famous is Rook's Laurel, dated between 1905 and 1910 (Florence Griswold Museum), in which a profuse laurel bush (the state flower), is set off by a spectacular Constable-like background.  But Swirling Waters could never be confused with Constable, with its violent brushwork, impasto-layered water, and bright, almost chalky, plein-air palette.  Gerdts (1984, p. 226) compares the paintings of Walter...

Louise Abbéma 1853–1927 Louise Abbéma (30 October 1853[1] – 10 July 1927) was a French painter, sculptor, and designer of the Belle Époque. Abbéma was born in Étampes, Essonne Born into a wealthy aristocratic Parisian family with close ties to the city’s artistic community, She began painting in her early teens, and studied under such notables of the period as Charles Joshua Chaplin, Jean-Jacques Henner and Carolus-Duran. Portraits of actors and actresses at the Comédie Française dominated her early works until she made a name for herself at the Salon of 1876 with her portrayal of the “Divine Sarah.” Abbéma ultimately executed multiple portraits and received recognition for her work at age 23 a bronze medallion of Sarah Bernhardt, with whom she was a close friend and possibly lover. Like most women artists of the time, Abbéma focused mainly on portraiture and genre scenes (images of everyday life). Her high-society portraits executed with a light touch and rapid brushstrokes reveal the academic and Impressionist influences that shaped her style. Her sitters included French diplomats and other notable members of society. Abbéma developed a variety of techniques using oil paints, pastel, and watercolor, and worked on various supports, including fans. Abbéma received commissions for panels and murals which adorned the Paris Town Hall, the Paris Opera House, numerous theatres including the Theatre Sarah Bernhardt, and the "Palace of the Colonial Governor" at Dakar, Senegal. Abbéma solidified her international reputation after exhibiting works, including two wall murals (on canvas), at the Women’s Building at the 1893 World’s Columbian Exposition in Chicago. A bust of Sarah Bernhardt sculpted by Abbéma was also exhibited at the exposition. Abbéma specialized in oil portraits and watercolors, and many of her works showed the influence from Chinese and Japanese painters, as well as contemporary masters such as Édouard Manet. She frequently depicted flowers in her works. Among her best-known works are The Seasons, April Morning, Place de la Concorde, Among the Flowers, Winter, and portraits of actress Jeanne Samary, Emperor Dom Pedro...

Emily Cole Cherry Blossom, 1890 Dated "May 3, 1890" lower right Signed, dated and inscribed on verso Watercolor and graphite on paper 6 1/4 x 8 1/2 inches Sheet 8 1/4 x 10 1/2 inches...

Nils Hans Christiansen (1850-1929) Denmark Winter Landscape With an Old Tree oil on canvas late 19th century signed canvas dimensions 15.94 x 12.79 inches (40.5 x 32.5 cm) frame 2...

Joan Cardona Lladós (1877-1957) - Modernist Paris scene - Mixed media (charcoal and white wax). Drawing measurements 40x29 cm. Frame measurements 66x54 cm. He was born in Barcelona on June 30, 1877, he was registered with the name of Juan Bautista José Pedro. His parents Josep Cardona i Farré (Sant Salvador, 1852-Barcelona, ​​?) and Maria Lladós i Vidal (Isona, 1855-Barcelona, ​​1935) came from Sant Salvador de Toló and Isona, respectively, two towns very close to Tremp, in the Pallars Jussà region, close to the Lleida Pyrenees. The Cardona Lladós family was of humble origins, linked to the rural and peasant world. José Cardona and María Lladós married around 1876, when they were twenty-five and twenty-one years old respectively. The couple decided to improve their precarious situation by moving to live in Barcelona. In 1877 Joan Cardona was born in the family home, at 62 Mediana de San Pedro Street, in the Ribera neighborhood of Barcelona and very close to the Rec Comtal. Joan Cardona was the firstborn of three brothers. When he was six years old, his sister Consuelo was born (1883) and later his younger sister, María (1888), was born. Josep Cardona i Farré was a day laborer and lived at least until the birth of his third daughter, María, in 1888. Her death, for reasons unknown to us, would occur shortly after. After the death of Josep Cardona, León Farré i Duró (Isona, 1867-Barcelona, ​​1932) became part of the family nucleus with his mother María Lladós, who took care of the child Cardona and his sisters Consuelo and María. Farré learned to play the guitar and was the most extraordinary disciple of the composer and guitarist Francesc Tàrrega i Eixea (Vila-real, 1852-Barcelona, ​​1909). Joan Cardona had in her stepfather the man who instilled in her a special musical and artistic sensitivity. The young Cardona took classes at the Academia Baixas, inaugurated in 1892 by the painter Joan Baixas i Carreter and installed on Carrer del Pi, a private center where a good batch of leading Catalan Modernisme artists were trained. Cardona married Clemencia Parade Cazabat at the beginning of the century. Daughter of Carles Parade and Amara Cazabat, she was born in 1870 in Bagnères de Bigorre...

Medium: original etching. Printed in Paris by Porcabeuf and published in 1898 by Gazette des Beaux Arts. Image size: 5 1/2 x 8 3/8 inches (138 x 212 mm). A nice impression showing go...

Medium: lithograph (after the poster). Printed in 1897 on smooth wove paper and published in Paris by Librairie Nilsson. Image size: 9 3/8 x 6 3/4 inches (238 x 173 mm). Sheet size: ...

George Riecke (1848–1930) Pastoral Landscape with Sheep Oil on canvas, 26 × 46 inches (32 × 52 inches framed) Signed lower right George Riecke’s pastora...