1890s Art

Medium: Pen and Ink Over Graphite on Board Signature: Signed "C. D. Gibson" in lower left "At the Black Cat." Illustration for About Paris by Richard Harding Davis (New Yorker: Harp...

A beautiful signed and dated 1901 oil on paper laid on board by Auguste Grass-Mick, the French impressionist painter who was friends with Edgar Degas and Henri Toulouse-Lautrec. Gr...

Overall Dimensions, including artist frame: 54 x 80 in. Each Painted Panel: 33 x 24 in. Medium: Oil on Panel Signature: Each panel signed and dated Literature: Coy Ludwig, Maxfiel...

Francis JOURDAIN Night Dream : the Swanns, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Lithogra...

Wonderful Austrian landscape with Church on a mountain . Hermann Reisz Austrian (1865-1920)Reisz was a well-regarded 19th century Austrian landscape...

Antique French impressionist seascape signed oil painting. Oil on board. Signed. Framed. Image size, 28L x 20H.

Double sided crayon drawing: Front: Study for "The Shoe" Reverse: Studies of Figures Blue crayon, red and black crayons Image size: 19.25 x 15.375 inches Frame size: 30 x 25 1/2 inch...

Opera molto luminosa ,divisionista Cornice autentica 1800 fattura Italiana Enrico Reycend (Torino 1855 - ivi 1928). E' stato un pittore Italiano ,nato a Torino Studiò all'accademia...

Wilhelm Albermann (1835 Werden an der Ruhr - 1913 Cologne), The Blacksmith of Solingen, after 1895. Bronze-color patinated zinc cast on plinth, 47 cm (height) x 20 cm (width) x 16 cm (depth), weight 5.5 kg. Signed “Albermann.” on the plinth and identified as a cast by “AKT.[TIEN] GES.[ELLSCHAFT] GLADENBECK BERLIN”. Dedication on the front: “Mr. Ing. F. Kuhlmann to the wedding. Management and officials of the Hannoversche Waggonfabrik. Aircraft construction department". - The zinc showing through in spots, the patina somewhat stained, the right upper arm under the sleeve retouched in black. - The Double-edged Sword - The figure is a reduction of Wilhelm Albermann's 1895 fountain figure of the armourer of Solingen, who has always been identified with the historical blacksmith Peter Hahn. In 1839, Karl Simrock wrote the poem “The Blacksmith of Solingen" and thus coined the legendary figure. The first and penultimate verses read: A blacksmith spoke to Solingen With every bayonet, That came to his diligence: "Oh, that Fritz had it!" The war took its course, Many battles were fought, Which often made him fearful and anxious In his soul. The blacksmith had given up his trade to fight for Frederick the Great. Not least because of his strength and will to fight, the battles were won. With his fountain sculpture, Albermann has given the legendary blacksmith a figurative form and at the same time created a landmark for the city of Solingen, which was once famous for the art of sword forging and today still stands for the production of high-quality knives. During the bombing raid in November 1944, the fountain was destroyed along with the entire old town of Solingen. Only the head remained. The broad-shouldered blacksmith stands securely behind his anvil, his leather apron tied around him, and has just finished a sword blade with his own "weapon" - the blacksmith's hammer. His entire body shows the strength with which he wields the hammer, but also the strain of this activity, as evidenced by the wide open shirt, the somewhat 'untidy' apron, and especially the furrowed face. However, the blacksmith does not look at the finished work, but resolutely and at the same time thoughtfully into the distance, in line with the quoted verse from Simrock's poem that the battles "often made him fearful and anxious in his soul". There is certainly something melancholy in his gaze, fed by the knowledge of the necessity of forging swords and taking up arms and their deadly use - experiences Albermann had to make during his own war missions. The flowing full beard gives his gaze into the distance an almost prophetic character. In keeping with the craft of the perfectly formed art of blacksmithing, the detailed casting reproduces the respective materials depicted in perfect form: the leather apron convincingly conveys the impression of leather and lies - also in the back view - like a second formed layer over the body, while the shirt and trousers illustrate their own textile qualities. Due to its masterful execution and profound content, the “Blacksmith of Solingen”, which has survived in its cast reproductions, remains Albermann's most famous work to this day. About the artist The son of a carpenter, Wilhelm Albermann began an apprenticeship as a joiner, but then followed his artistic calling and trained as a sculptor in Elberfeld. In 1855, at the age of twenty, he was drafted into the army in Berlin, where he served until 1857. Albermann attended the Berlin Art Academy on the side and began regular studies after his service. While still a student, he completed commissioned works for his teachers August Fischer and Hugo Hagen. His first independent commissions followed, enabling him to establish a flourishing sculpture studio in Cologne in 1865. His artistic activities were repeatedly interrupted by military service, and he took part in the German-Danish War in 1864, the war against Austria in 1866, and the Franco-Prussian War in 1870/71. After his last war service, Albermann, already a respected artist, founded a commercial drawing school at the request of the city government, where he taught the modeling class and served as director until 1896. In 1890 he also worked for the "Society for the Promotion of Sculpture in the Rhineland and Westphalia". Albermann was one of the most prolific sculptors in Cologne in the second half of the 19th century. He created numerous monuments, fountains, tomb sculptures, architectural ornaments, and domestic statues. At its peak, his workshop employed up to thirty sculptors and stonemasons at a time. GERMAN VERSION Wilhelm Albermann (1835 Werden an der Ruhr - 1913 Köln), Der Schmied von Solingen, nach 1895. Bronzefarben patinierter Zinkguss auf gegossener Plinthe, 47 cm (Höhe) x 20 cm (Breite) x 16 cm (Tiefe), Gewicht 5,5 kg. Auf der Plinthe mit „Albermann.“ signiert und als Guss der „AKT.[TIEN] GES.[ELLSCHAFT] GLADENBECK BERLIN“ ausgewiesen. Schauseitige Widmung: „Herrn Ing. F. Kuhlmann zur Vermählung. Direktion und Beamte der Hannoverschen Waggonfabrik. Abt. Flugzeugbau“. - Punktuelles Durchscheinen des Zinks, Patina etwas fleckig, der rechte Oberarm unter dem Ärmel schwarz retuschiert. - Die Zweischneidigkeit des Schwertes - Die Figur ist eine Reduktion von Wilhelm Albermanns 1895 geschaffener Brunnenfigur des Waffenschmieds von Solingen, der seit jeher mit dem historischen Schmied Peter Hahn identifiziert wurde. 1839 hatte Karl Simrock das Gedicht „Der Schmied von Solingen“ verfasst und damit die legendäre Figur geprägt. Die erste und die vorletzte Strophe lauten: Zu Solingen sprach ein Schmied Bei jedem Bajonette, Das seinem Fleiß geriet: »Ach, daß der Fritz es hätte!« Der Krieg ging seinen Gang, Man schlug noch viele Schlachten, Die oft ihm angst und bang' In seiner Seele machten. Der Schmied hatte sein Handwerk ruhen lassen, um selbst für Friedrich den Großen zu kämpfen. Nicht zuletzt durch seine Kraft und seinen Kampfeswillen verliefen die Schlachten siegreich. Dem legendären Schmied verlieht Albermann mit seiner Brunnenskulptur eine bildliche Gestalt und schuf damit zugleich ein Wahrzeichen der Stadt Solingen, die einst für die Kunst des Schwerterschmiedens berühmt war und bis heute für die Herstellung qualitätvoller Messer einsteht. Beim Bombenangriff im November 1944 wurde mit der gesamten Solinger Altstadt auch der Brunnen zerstört. Einzig der Kopf blieb erhalten. Mit sicherem Stand und umgebundener Lederschürze steht der breitschultrige Schmied hinter seinem Amboss und hat gerade mit seiner eigenen ‚Waffe‘ – dem Schmiedehammer – eine Schwertklinge fertiggestellt. Seinem gesamten Körper ist die Kraft abzulesen, mit der er den Hammer führt, aber auch die Anstrengung dieser Tätigkeit, wovon das weit geöffnete Hemd, die etwas ‚unordentlich‘ arrangierte Schürze und vor allem das zerfurchte Gesicht zeugen. Der Schmied schaut aber nicht auf das vollendete Werk, sondern entschlossen und zugleich sinnierend in die Ferne, entsprechend der zitierten Zeile von Simrocks Gedicht, dass die Schlachten „oft ihm angst und bang‘ in seiner Seele machten“. Der Blick hat durchaus etwas Melancholisches, dass sich aus dem Wissen um die Notwendigkeit, Schwerter zu schmieden und zu den Waffen zu greifen und deren tödlichem Einsatz speist – Erfahrungen, die Albermann bei seinen eigenen Kriegseinsätze machen musste. Der wallende Vollbart verleiht dem in die Ferne schauenden Blick einen beinahe prophetischen Charakter. Dem Handwerk der formvollendenden Schmiedekunst entsprechend, gibt der detaillierte Guss die jeweils dargestellten Materialien in vollendeter Ausformung wieder: Die Lederschürze vermittelt überzeugend den Eindruck des Leders und liegt – auch in der Rückenansicht – wie eine zweite ausgeformte Schicht über dem Körper, während das Hemd und die Hose...

19th Century English Landscape, with a cottage, pond and trees. This exquisite English Victorian 19th-century landscape by Charles Morris, circa 1890, beautifully captures the idyll...

As an artist trained in the applied arts, Gustav Klimt valued all forms of art, including the graphic arts. This final design from 1896 for inclusion in Allegorien published by Gerlach & Schenk demonstrates respect for artistic precedent and for a wide range of media and technique. The publication was printed in an unknown number of copies. Klimt’s rendering in latin of the title, “SCVLPTVR.,” with three-dimensional effect on the wall, is a figurative allusion to this medium as well as a literal reference to Ancient Rome. By doing the same with his signature and date in roman numerals on the right hand side of the image, Klimt places himself, The Artist, firmly in this linear and legitimizing context of art history and as its modern standard-bearer. Playing on Classical mythology and the story of Pygmalion, in which a statue comes to life, Klimt presents his modern Venus holding an apple. Klimt’s Venus exhibits a curvilinear softness; there are no angles. Klimt deftly shows the possibilities in a graphic image to give life to dark, wavy hair and tenderness to swelling breasts and belly. To further emphasize the allegory of thriving modern art, he contrasts his Venus with the cold, hard ancient classical head whose eyes are vacuous and whose hair is but a stylized mass of curls. Klimt’s living Venus stands in front of the large bust and large classical pillar upon which is a sculpture of a Sphinx and a Greek Attic bust. As if a gallery to represent sculpture’s “best of” through the ages, the upper horizontal panel includes bust depictions in marble, cast metal and wood...

Large European impressionist seascape sailboat oil painting by Thorolf Holmboe (1866 - 1935). Framed. Oil on canvas. Signed. Image size, 26H by 29L.

Antique American impressionist fall landscape oil painting. Oil on board, circa 1890. Unsigned. Displayed in a giltwood frame. Image size, 13"L x 9"H.

Frida Painting " Two Fridas" (1892-1965) 1939, Gelatin Silver Print,

Pendant l'entracte is a beautiful and colored lithograph on paper, signed in pencil on lower left margin by Alexandre Lunois (1863 -1916). This original print, representing a couple...

Signed and dated figures in seascape oil on panel by Belgian impressionist painter Alfred Emile Leopold Stevens. The work depicts an elega...

Antique French impressionist seascape signed oil painting. Oil on board. Signed. Framed. Image size, 28L x 20H.

"Landscape with Sheep" by Daniel Folger Bigelow (July 22, 1823 - July 14, 1910), Oil on Canvas. An American painter active in New England and Chicago, Bigelow was born on a farm in P...

French impressionist landscape, Barbizon forest, with river and cows at Sunset Boyle was a pioneering 19th-century British artist inspired by European Impressionist painters. The i...

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...

Antique impressionist painting of a coastal seascape. Oil on canvas, circa 1900. Signed illegibly. Framed. Image size, 18L x 12H.

Charming 19th Century painting of a grandmother and grandauughter in front of their thatched cottage. It is an oil on canvas measuring 18 inches by 14. The frame measures 20 3/4 by 1...

Artist edition of 38 on Imperial Japon paper. Genossenschaft Pan GmbH, Berlin, publisher; Dr. C Wolf & Sohn, Munich.

Gorgeous late 19th century Tonalist landscape painting of foothills and oak trees in the style of Willard Leroy Metcalf circa 1900. Inscribed "M" in circle monogram lower left corner and on frame verso. Presented in original rustic giltwood frame. Image size: 6"H x 8"W. Framed size: 8.5"H x 10.5"W. Tonalist are usually intimate works, painted with a limited palette. Tonalist paintings are softly expressive, suggestive rather than detailed, often depicting the landscape at twilight or evening, when there is an absence of contrast. Tonalist paintings could also be figurative, but in them, the figure was usually out of doors or in an interior in a low-key setting with little detail. Tonalism had its origins in the works of the French Barbizon school and in the works of American painters who were influenced by them. California Tonalism was born when the emphasis in California landscape painting passed from the grand landscapes of works like those of Thomas Hill and William Keith's early career, to more intimate views of a domesticated landscape. At the same time, the parallel Pictorialist Photography...

Artist: Henry John Yeend King (English, 1855-1924) Title: "Fetching Water by the River" *Signed by King lower left Circa: 1890 Medium: Original Oil Painting on Canvas Framing: Frame...

Highland Cattle Watering is a landscape/cattle painting, late 19th century/early 20th Century by Scottish artist Douglas Cameron. This is an oil painti...

Artist/ School: signed French School, Bouchet (19th-20th Century) Title: Portrait of a bearded man Medium: oil on board Size: 11 x 8.5 inches Provenance: private collection, Fran...

Pierre-Auguste Renoir (1841-1919) "La Danse à la Campagne" (The Country Dance) Soft-ground etching in black ink, 2nd plate circa 1890 Stamp signature, as issued Image size: 8 5/8 x ...

Blanche et Noire, de l'album «Toulouse-Lautrec, douze lithographies» 52,2 x 35,9 cm

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 Abbott McNeill Whistler,...

Herbert Gustave Schmalz Anyone for Croquet, circa 1898 Signed lower right Oil on canvas 47 5/8 x 31 3/4 inches Provenance Anthony Mitchell, Nottingham Burlington Gallery Ltd., Londo...

Life magazine interior illustration, June 15, 1893 The full caption reads: “The Stout One: There is nothing left now but a final separation, I fear, with no likelihood of a reconc...

Signed and dated oil on canvas figures in interior by French impressionist painter Louis Abel Truchet. The piece depicts revellers at a French cabaret. Signature: Signed lower left ...

Every now and then, even we dealers get fooled. This painting was sold to me as by George Gardner Symons. It bears his signature. At some point, the FBI (yes!) showed up at my door t...

Signed and dated oil on canvas riverscape by French impressionist painter Charles-Victor Guilloux. The work depicts a moonlit view of the River Seine near Yvelines in the western par...

Signed oil on board landscape by French impressionist painter Maximilien Luce. The work depicts a view of rolling French countryside on a summer's day with white clouds contrasting t...

This atmospheric exhibited Scottish Impressionist Victorian landscape oil painting is by noted Glasgow Boy artist Robert Macaulay Stevenson. Painted circa 1899 the theme is one close...

Louis Rhead Art Nouveau Portrait of a Woman with Lilies: Jane, 1899 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) IN...

Color Lithograph on wove paper, 1896. Artist's orange-red and black signature stamps, numbered in pencil (#12), from edition of 100 published by A. Vollard in the 2nd "Album des esta...

1-4064 Oil on canvas applied to board of a vintage French farmhouse illegibaly signed lower left set in a hand carved gilt wood frame

Antique American impressionist landscape oil painting. Oil on canvas. Signed. Framed. Measuring 27 by 31 inches overall and 21.5 by 26 painting alone.

Edwin Child Hillside Landscape, 1896 Signed and dated lower right Oil on canvas 18 x 28 inches Edwin Burrage Child was a prominent New England portraitis...

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

This charming late 19th-century oil painting by English artist Walter Dendy Sadler RBA (1854-1923) depicts an introduction between a demure young Regency lady and her potential suito...

Alphonse Mucha (Czech, 1860-1939) Sarah Bernhardt "Gismonda", 1895 Original Lithograph IMPRIMERIES LEMERCIER, PARIS Paris, France color lithograph signed "Mucha" within the plate (lo...

From Les Maitres de L'Affiche, plate 94. Printed by Imprimerie Chaix, Paris. Maîtres de l'Affiche (Masters of the Poster) refers to 256 color lithographic plates used to create an a...

Cattle By Pond At Dusk, Mid-19th Century Tonalist Landscape by William Keith Gorgeous mid-19th century landscape painting by William Keith (American, 1838-1911), circa 1860. This impressive Tonalist landscape, titled "In the Woods", depicts cattle beside a pond in the forest at dusk. Keith uses loose, blended brush strokes and a muted earthy palette to create an atmospheric mood that Tonalism is known for. Signed "W. Keith" lower left. Museum label on verso from Santa Barbara Museum of Art. Presented in an antique giltwood frame. Image size: 9"H x 13"W. With frame measures: 16"H x 20"W x 3"D. Provenance: Mrs. Eugene Patterson; Santa Barbara Museum of Art. Authenticity guaranteed and certificate include. Condition: Very good. Cleaning and restoration required signature to be re-touched, original images pre-restoration available. About the Artist: Brought to New York City in 1850, William Keith was apprenticed to a wood engraver in 1856 working for "Harper's" magazine. In 1858 (or 1859) he visited California for "Harper's" and then after a trip to Great Britain, settled in California as an engraver in 1862. He began exhibiting paintings in 1864 in San Francisco where he opened his studio, after having been taught painting by his wife. The Northern Pacific Railroad...

Cover for "L'Estampe Moderne" Signed in the stone lower left (see photo) Two color lithograph on greenish laid paper L'Estampe Moderne appeared each month as a portfolio of 4 origina...

French School late 19th century, A woman in a deckchair, pencil on paper 21 x 31.5 cm In a modern frame : 36 x 47 cm This is a very sensitive and interesting drawing. Typical of Im...

A rare antique Italian portrait of two children posed inside a villa against a landscape. This unsigned but beautiful work comes house in contemporary frame added to the work to e...

CAMILLE PISSARRO (French 1830-1903) VACHERE au BORD de l’EAU 1890 (Delteil 93 viii/viii) Etching, unsigned as published in “Gazette des Beaux Arts”, Paris, 1890. On laid paper Very...

Antique English portrait painting. Watercolor and gouache on paper. Framed. Measuring 17 by 23 inches overall and 10 by 15 painting alone.

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...

Color lithograph. Printed by Ancourt, Paris. The Divan Japonais was a small café-concert at 75 rue des Martyrs, Paris, where Yvette Guilbert began her career. This is Toulouse-Lautr...

Enrique Galwey (1864-1931) - Landscape - Oil canvas Oil measurements 61x74 cm. Frameless. (Barcelona 1864-1931). Spanish painter. He began his training at the San Jorge School of Fi...

Gloucester Harbor Docking the Boat 1900 Gloucester Harbor circa 1900 by C. Bailey Cora was a San Francisco artist in the 19th century. (American), 19th-20th C). Image, 9.75"H x 14.5"...

Signed and dated neo-impressionist landscape oil on canvas by French painter Leo Marie Gausson. Gausson painted this picturesque view of then fields above Triel-sur-Seine, a small to...

William Nicholson (1872-1949) Fishing 1897 Original Colour Lithograph Image: 21.0 x 21.0 cm Mount: 39.0 x 36.0 cm William Nicholson was born at Newark in 1872. He left to study in P...

19th Century Impressionist Original Oil Painting of Malaysian Fishermen and Schooner by Alberto Bonghi The painting is a depiction of a scene in Malaysia with a Schooner in backgro...

Medium: original etching. This impression on laid paper was published in Paris in 1898 by Gazette des Beaux Arts. Image size: 5 1/2 x 7 5/8 inches (142 x 195 mm). Not signed. Condit...

Here we have an incredible Luminous Landscape with a boat in a stream by Charles P Appel (1857-1928) Painting is very calm and soothing to look at…. amazing condition, unlined and ...

Signed and dated oil on canvas figures in interior by French impressionist painter Louis Abel Truchet. The piece depicts revellers at a French cabaret. Signature: Signed lower left ...

19th century English landscape of Children picking flowers in a field or meadow. Henry Hadfield Cubley was born in Newark, Nottinghamshire in 1858. Henry was the nephew of William C...

Large European impressionist seascape sailboat oil painting by Thorolf Holmboe (1866 - 1935). Framed. Oil on canvas. Signed. Image size, 26H by 29L.

Antique elegant Polish beach scene oil painting by Paul Merwart (1855 - 1902). Finely detailed with great color. Oil on canvas. Signed. Framed. Image size, 13L by 16.25H

This charming portrait of a Collie dog by Frederick French, painted circa 1896, captures the loyal and calm nature of one of the most beloved breeds. French's delicate attention to d...

A fashionable brunette smiles playfully at her black cat while enjoying JOB cigarette papers. Lithograph of Georges Meunier’s Papier à Cigarettes JOB, ...

Camille Pissarro (1830-1903), Narrow Street in Rouen (Petite Rue Nationale, a Rouen), etching, drypoint, maniere grise, aquatint, 1896, signed in pencil lower right, numbered (No 6) ...

La obra va firmada por el artista en la parte inferior y fechada del año 1895 Se presenta enmarcada la obra Medidas acuarela: 42 cm. de altura x 24 cm. de ancho Medidas acuarela e...

This charming late 19th-century oil painting by Arturo Orselli (fl. 1880-1896) depicts a huntsman wearing riding gear conversing somewhat flirtatiously with two ladies. Attired in o...

This late 19th-century oil painting by British artist Walter Waller Caffyn (1845-1897) depicts cattle by a stream near a wood. Caffyn was a Royal Academy-exhibited painter of natural...

Medium: lithograph (after the theater program). Printed in 1897 on smooth wove paper and published in Paris by Librairie Nilsson. Image size: 8 x 6 1/2 inches (207 x 164 mm). Sheet s...

Hyland Ellis The Gay Parisienne, 1897 Stone ithograph Printed signature in the plate On vellum Size 39 x 29 cm (c. 15.3 x 11.4") INFORMATION : Plate 123 of "Les Maîtres de l'Affic...