1890s Art

ANTONIO RIVAS Spanish, 1845-1911 Sultan’s Concubine Signed 'A. Rivas' Oil on canvas 10 x 15 1/2 inches Framed: 15 1/2 x 20 3/4 inches

SERGE FERAT 1881-1958 (Le Comte Sergueï Yastrebzov) Moscow 1881-1958 Paris (Russian/French) Title: Theater Interior Design Technique: Original Signed Gouache Painting on paper siz...

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

Balmer Paul Friedrich Wilhelm (1865 - 1922) Three Children in The Garden (1890) Oil on canvas signed and dated low right Old frame regilded with gold le...

Medium: Gouache and Pencil on Board Signature: Signed Lower Left Carter's Monthly, February 1898, cover illustration. Newly Framed.

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...

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)...

Maritime paintings of the late 19th Century often give great insight into the massive transition which happened in shipbuilding in that period: the end of the sailing ships as mercha...

Medium: Watercolor and Pencil on Board Sight Size 11.00" x 15.00", Framed 17.50" x 20.50" Signature: Signed Lower Left Sunday In Old Catskill, Harper's New Monthly magazine story il...

Classic Andover Prep School banner c1898 Replete w/ an inset portrait of Prince William Art Sz: 11 1/2"H x 9 1/2"W Frame Sz: 16"H x 14"W

Classic British Officer at Sandhurst oil on panel by A.J. Crowther 1891 (LR) Art Sz: 14 3/4"H x 11 1/2"W Frame Sz: 18 1/2"H x 15 1/4"W

Medium: Pen, Ink, and Wash Details over Printed Background Signature: Printed Signature in Image, Right. Opening page for the July 1897 isssue of The Inland Printer...

Tsukioka Yoshitoshi Taira no Koremochi Vanquishing the Demon of Mount Togakushi From Series: “New Forms of Thirty-six Ghosts” 「新形三十六怪撰」 「平惟茂戸隠山に悪鬼を退治す図」 C. 1890 Size: Oban Ex...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Landscape with Trees by Félix Pissarro (1874-1897) Pencil on paper 29 x 22.5 cm (1...

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...

EPHRAIM MOSHE LILIEN 1874-1925 Drohobycz (Galicia) 1874-1925 (Polish/Austrian/Israeli) Title: Portrait of a Bearded Man Technique: Original Han...

AMEDEO SIMONETTI Italian, 1874-1922 Writing a Letter Signed ‘Amedeo Simonetti’ Oil on canvas 30 x 20 inches

JULES-ALFRED-ALEXANDRE DERCHEU French, (1864-1912) L'Amour Désarmé A nude girl holding Cupid away with her left arm, her left foot on his quiver, on a circular base, seated on a ro...

"Count Strickland" by Hay is a chromolithograph print from Vanity Fair, published on May 4, 1893, depicting Count Della Catena, a Maltese jockey who also rode in the Grand National a...

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...

MAX LIEBERMANN 1847-1935 Berlin 1847-1935 (German) Title: The Goatherd Ziegenhirtin, 1891 Technique: Original Hand Signed Etching on Japan Paper Paper size: 18 x 23.8 cm. / 7.1 ...

Emile Yung Portrait, Felix Vallotton, Work on paper, 1890's, Impressionism Portrait d'Emile Yung, Circa 1893 Ink and charcoal on paper 26 x 18 cm / 56...

Art Sz: 14 1/2"H x 21 1/4"W Frame Sz: 20 3/4"H x 27 3/4"W Henry William Standing (British,1894 -1931)

Original 19th Century Victorian King Charles Spaniel with garland adornment needlepoint slipper hand-coloured screen Wool Canvas Sz: 14 1/2"H" x 22 1/4"W Frame Sz: 19 1/2"H x 27"W...

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 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...

Carlo Brancaccio ( Naples 1861 – 1920 ), The visit of the King of Persia Mozaffar al-Din Shah Qajar to the Ostend hippodrome Watercolor on paper cm 74,5...

dated ‘Juli 94’ (lower left)

"Kacia" from "L'Estampe Moderne II" is an original color lithograph by Eugene Delatre. L'Esampe Moderne was a publication that published artwork from to...

Hermann-Paul, René Georges (1864-1940) L'Ouvre. La Brebis; La Tandem. [proof before lettering] May 29 1896. Two-act play. Black and White Lithograph. Ref: Artistes et Theatre d'Ava...

Color Lithograph from L'Estampe Modern. 1897-1898. Each print shows the blindstamp imprint of the publication. Many of the most acclaimed French Art Nouveau artists contributed to ...

Program for A Bas Le Progres. By Edmond de Concourt 1894. Four-color lithograph. 12 3/4 x 9 7/8" 25 April 1894. Signed in the stone. Rare. Ibels’ images were powerful and heavily ...

Color lithograph, 1896. On Linen. Signed on the plate. Ref: Dad Plakat 501; American Poster Renaissance, Margolin p. 74 American Painter and Illustrator. Charles Herbert Wo...

Medium: Oil on Canvas Signature: Signed Lower Right

Medium: Charcoal and Ink Wash on Paper Signature: Signed Lower Left Published in Century Magazine, July 1899 Vol 58, pg. 361. Article. "Brother Sims' Mistake". Title: "Brother Lazar...

Medium: Mixed Media on Board Sight Size 21.50" x 14.50", Framed 26.00" x 19.00" Signature: Signed Lower Left Illustration for the "Exhibition of the American Water Color Society."

PRICE, JULIUS "An Artist’s Model" Original lithograph from “Les Maitres de L’Affiche” series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #1, 1896. Plate # 3 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...

Medium: Gouache on Several Pieces of Collaged Watercolor P Signature: Signed Center Right Original art for the Art Supplement to The Philadelphia Inquirer's July 25, 1897 issue Acc...

Story illustration for “In the Carquinez Woods” by Bret Harte, published in the book The Writings of Bret Harte, Volume IV: Stories of California and the Frontier II (Boston and New ...

Medium: India Ink on Illustration Board Signature: Signed "Crichton" Lower Left Sight Size 20.00" x 15.00," Framed 16.50" x 13.50" A critique of Michael Henry de Young...

Medium: Pen and Ink on Paper Signature: Signed Lower Right

Date: 1895 Medium: Watercolor on Paper Dimensions: 9.25" x 14.75" Signature: Signed and Dated Lower Left

Date: 1891 Medium: Watercolor on Board Dimensions: 13.50" x 12.00" Signature: Signed Lower Left

Charming hand-coloured circa 1898 litho depicting a pink coat Master-Fox-Hounds Image Sz: 14"H x 8 1/4"W Frame Sz: 22 1/2"H x 16 1/2"W

Art Sz: 9 1/4"H x 6"W Frame Sz: 14"H x 10 1/2"W

Watercolor depicting 24 military burgee flags signed & dated 1897 Art Sz: 13"H x 20"W Frame Sz: 19"H x 26"W

Signed Lower Right "O, beware, my lord, of jealousy, It is the green-eyed monster which doth mock the meat it feeds on. - Othello"

This painting by Orientalist artist Rudolf Ernst depicts a Muslim man in quiet contemplation during prayer. He kneels in solitude in the vast desert as the light fades around him. Ma...

Signed on reverse Photogravure on paper 7 x 10 1/2 inches Provenance: Private Collection, Wisconsin

A Day in June, Scene Eastchest, New York Edward Gay (Irish, American, 1837-1928) Oil on Canvas Complimented by original frame in great condition Signed and Dated Lower Right Titled a...

FABIAN DE LA ROSA Filipino, 1869 - 1937 "FILIPINO GIRLO COMING DOWN THE STEPS" signed & dated "F. de la Rosa, 1894" (lower right) oil on canvas 42-3/4 x 23-3/4 inches (108 x 60...

FABIAN DE LA ROSA Filipino, 1869 - 1937 FILIPINO FARM WORKERS IN HORSE CARRIAGE signed & dated "F. de la Rosa, 1894" (lower left) oil on canvas 42-3/4 x 2...

Materials: Oil and paper cut outs on canvas.

Felipe Castañeda Mujer con Flores, 1982 Black Marble 52 x 32 x 35 cm 20.4 x 12.5 x 13.7 in. Felipe Castañeda (Mexican, b.1933) began his artistic ca...

Frank Hyde (British 1849-1937) "A Conundrum in the Kitchen" c. 1900 Oil on Canvas Signed Lower Left Image: 37.5 x 57.5 inches Framed: 44 x 64.5 inches From the Maidstone Museum, UK: Hyde was born in Surrey in 1849 and spent a large amount of time in London during his youth. His father had been in the army but retired to live the life of a gentleman upon inheriting the family seat, Hyde End Manor in Berkshire. Hyde, however, would later inherit and sell the Manor. As a young man, Hyde trained as an artist at the Royal Academy, London, and his subsequent career revealed striking artistic versatility. His subjects varied from the portrayal of real, dramatic events to comic characters commissioned by the card manufacturer Raphael Tuck. Starting out as a 1st Lieutenant in the Royal Engineers, Hyde moved on to begin his career as a war artist during the Franco-Prussian war of 1870-71, producing drawings for ‘The Graphic’, an illustrated weekly publication. Hyde married Constance Mary Louise Felgate in 1876, but she died less than a year later. While he travelled extensively throughout his life after Constance’s, death Hyde purchased a villa in Capri where he met Rosina Ferrara, whom he used as a model, and John Singer Sargent, with whom he shared a studio. Hyde is perhaps best known for his paintings of Capri...

Hans Guradze (German, 1861-1922) "Jockey On Horseback" Bronze Approx. 19.5 x 17 x 6 inches Signed "H. Guradze Berlin" on Base

Tristesse ou Jalousie. 1896. Color lithograph. One of 50 on laid Japan paper from the deluxe edition of "Le Centaure;, blind stamp lower left. Signed in ink and annotated W; in blue ...

Odilon Redon (1840-1916), Le jour enfin paraît, lithograph, 1896, signed in pencil upper left, plate 24 from the portfolio The Temptation of Saint Anthony...