1890s Art

Nishiki-e (woodcut print), in vertical oban format (31x20.5) realized by Mizuno Toshikata in 1893 (Meiji 26). Belongs to the Series "Sanjûroku Kasen" (Thirty-Six Beauties in Compari...

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...

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...

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

This 19th-century oil on panel portrait depicts a Hungarian Rabbi, characterized by his traditional attire and solemn expression. The Rabbi is portrayed with a long, white beard and ...

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...

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...

Stone lithograph sepia plate of Hallowed Be Thy Name from Alphonse Mucha’s masterpiece of mysticism, Le Pater. Printed by F. Champenois, published by Henri Piazza in Paris in an edition of 510, 1899. “Le Pater is the perfect convergence of three important movements at the close of the 19th century: Art Nouveau, Mysticism, and Religion. Art Nouveau, through its respect and honor of Nature, promotes the idea of a spirit of energy coursing through all things–a tenet of Mysticism–that finds foundation in the traditions of Mucha's personal relationship with the imagery of Religion. Le Pater gave Mucha a venue to communicate his beliefs specifically through his unique approach to Art and the coded language he had been learning through his devotion to Masonic teachings. He combined the aesthetics of Medieval manuscripts...

Alphonse Mucha's 1898 chromolithograph for the Lefèvre Utile (LU) brand's "Vanilla Wafers" is an iconic work that embodies the Art Nouveau aesthetic and testifies to the artist's cre...

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...

A fine late 19th century antique French bronze sculpture group, of a pair of race horses & jockeys, by Paul Louis Emile Loiseau-Rousseau, Paris (1861-1927). The bronze circa 1895 de...

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

Samuel Henry Baker (British, 1824–1909) Ullswater from Gowbarrow Park, Cumberland, late 19th century Oil on canvas In this sweeping view of Ullswater, nestled in the heart of the La...

Nishiki-e (woodcut print), in vertical oban format (31x20.5) realized by Mizuno Toshikata in 1893 (Meiji 26). Belongs to the Series "Sanjûroku Kasen" (Thirty-Six Beauties in Compari...

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

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

JAMES ABBOTT MCNEILL WHISTLER (1834 – 1903) THE WHITESMITHS, IMPRESSE DES CARMELITES 1894 (03) Way 53, LEVY 84 Transfer lithograph signed with butterfly in stone 8 ½ x 6 1//8". ...

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...

The 1895 original poster by Fernand Fau for the Salon des 100 14th Exhibition is a fascinating piece of art that captures the spirit of the Belle Époque in France. The Salon des 100 ...

Antique portrait painting of two woman having an art lesson by Swiss artist, Louis Patru (1871-1905). This is an unusual painting from an artist who only enjoyed a short life. Two ...

In the realm of Belle Époque Paris, Jules Chéret emerges as a luminary, casting his artistic brilliance on the city's vibrant cultural scene. Known as the "father of the modern poste...

La Tentation de St. Antoine is an original modern rare book illustrated by Odilon Redon (Bordeaux, 1840 - Paris, France) and written by various authors...

Henri MARTIN Divine Comedy : Dante and Beatrice, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Li...

Henri de Toulouse-Lautrec's "Jane Avril, Jardin de Paris" poster, created in 1898, is an emblematic piece of poster art at the time. It is part of the "Maîtres de l'Affiche" collecti...

Serene sunset over the waters near Smögen on Sweden's west coast, with the sun setting just behind the island of Hållö and its lighthouse by female artist Ingeborg Westfelt-Eggertz. ...

Beautiful poster by Jules Chéret in 1895. One of the many products promoted by Chéret's cheerful redhead was Quinquina Dubonnet, a fortified wine made from herbs mixed with quinine....

Manuel ROBBE Elegant Women in a Park, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Lithograph cr...

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. ...

Impressionist oil on canvas seascape painting circa 1895 by French artist Maxime Maufra. This stunning work depicts a sailing boat on a vast ocean. The choppy water is painted in greens and blues. The white clouds rolling across the blue sky are beautifully shaded in purple tones. Signature: Signed lower left and titled on original label verso Dimensions: Framed: 22"x25" Unframed: 15"x18" Provenance: This work is included in the catalogue raisonne of Maxime Maufra under reference 284 Durand-Ruel, Paris (acquired directly from the artist on 5 April 1895) Durand-Ruel Galleries, New York (acquired from the above in 1895) Marlborough Fine Arts, Ltd., London (acquired after 1949) Dr. Renate Davis, London (acquired from the above) Lyon & Turnbull London, 28 November 2013, lot 111 (consigned by the above) Private Collection, New York (acquired from the above sale) Sotheby's New York, 15 November 2017, lot 101 (consigned by the above) Maufra spent several years in England, notably in Liverpool, with his father, who wanted him to become a tradesman. He decided to take up painting instead and returned to France in 1883, attracting the attention of Octave Mirbeau in his very first exhibition, and subsequently being noticed by Frantz Jourdain in 1894 and Fontenais in 1901. In 1886, he successfully exhibited two seascapes at the Salon, following which he visited Brittany in 1890, making the acquaintance of Gauguin and Sérusier in Pont-Aven; he collaborated with them on the decoration of the Pouldu Inn in 1894. He maintained his acquaintance with the Nabis group artists Henry Moret and Gustave Loiseau. He travelled in l'Isère, Belgium, and Algeria (1913), as well as Paris, the Ile de France, Brittany and Normandy. From 1895, the Galerie Durand-Ruel assured the success of his work. Maufra settled in Montmartre for about ten years during which he painted the old quarters of Paris, often around the church of St Séverin. He then turned to Brittany and Normandy for inspiration in keeping with a resolve to paint only from nature, his seascapes in particular finding favour. The influence of the Nabis on his work remains limited except in the 'synthetic' organisation of the composition. He was an admirer of Sisley and Pissarro, whose influence can be seen in his paintings. Maufra, like Valtat, went to some extent beyond Impressionism to become a forerunner of Fauvism in his use of colour. An important retrospective exhibition of Maufra's work, prefaced by René Domergue, was organised in Paris around 1950. In 2001, his work was represented in the exhibition Painters and the Sarthe Region ( Les Peintres et la Sarthe) held at the Musée de la Reine Bérengère (for the 19th century) and the Abbaye de l'Épau (for the 20th century) at Le Mans. In 2003, his work appeared in the group exhibition Brittany, Land of Painters ( Bretagne, Terre des Peintres) at the Musée des Beaux-Arts in Vannes. Museum and Gallery Holdings: Bergues: Seascapes Boston: Dusk in Douarnenez; Departure of Fishing Boats Buffalo: Transport Quittant Le Havre Chicago: Douarnenez the Town of Light Cholet: Flood Cincinnati (AM): The Coast, Bay of Douarnenez (Vue de Douarnenez) (painting) Helsinki: St-Guénolé Le Havre: Moonrise in Brittany Manchester: Springtime in Lavardin Montpellier: Hills of Morgat Mulhouse: Low Tide Nantes (MBA): La Prairie d'Amont (1888, oil on canvas); Pointe du Raz; Heavy Swell; The Loir Dam in Poncé (oil on canvas) Paris (Mus. d'Orsay): Brittany Landscape...

Steinlen, Theophile "Lait Pur Sterilise de la Vingeanne" Original lithograph, c. 1894 Rennert 12 Printed by Charles Verneau, Paris Bright Fresh Colors, RARE...

Artiste polyvalent, Paul Helleu connaît le succès de son vivant avec ses tableaux, ses pastels et ses dessins aux trois crayons, mais également en tant que graveur. En témoigne le ti...

Georges de FEURE (1868 - 1943) Return,1897 Original lithograph Printed signature, as issued 1897/98 Printed on paper Vélin (wove) Size 40 x 31 cm (c. 16 x 12") INFORMATION : Publis...

‘Amor et Pietas’ by Ursula Wood S.W.A. (1868-1956). The painting – which depicts a group of children laying to rest their pet dog – is signed and dated by the artist. Ursula Wood’s ...

Henry John Livens was born in 1858, in St Pancras, London the direct descendant of Jan Liebens who had left his native Holland in the 1600’s to paint a portrait of the King and subse...

Jules Chéret's original poster for the 1894 "Palais de Glace Champs Élysées" is a jewel of 19th-century poster art. Chéret, considered th...

Outstanding late 19th century English Impressionist landscape, with a horse and cart in a village. Described in 1893 by George Moore as "our greatest living landscape painter," Will...

The small fishing village of Le Pouldu, located on Cap Finistère in Brittany, south of Concarneau and Pont-Aven, was nestled between the Laita River and the sea. The area was renowned for its sand dunes. A ferry operated there, transporting people and livestock across the river. In 1886, the village consisted of only 11 households and was so small it didn't even have a bakery. In 1890, Paul Gauguin and six other artists, including Paul Sérusier, Jacob Meyer...

Carl Oscar Borg (1879–1947) An Old Military Road, The Road over Dovrefjell, Norway gouache on paper, ca. 1900 signed sheet 12.5 cm x 17.5 (4.9 x 6.9 in) framed 23 × 28 cm (9 × 11...

Sublime poster of the period realized in 1891 by Jules Chéret 🇫🇷 (1836-1932) to promote the pastilles for the throat of the brand Géraudel. Jules Chéret, to whom the title of "father of the poster" is attributed, created and printed more than 1000 posters. He was considered one of the first professionals of poster advertising. His masterpieces are exhibited in many museums around the world and are highly prized by collectors. Medical - Women Supplement to the French mail...

Charles Herbert Woodbury Coastal Seascape Signed lower left Oil on canvas 17 x 20 inches Charles Herbert Woodbury, born in Lynn, Massachusetts in 1864, is recognized as the founder...

Signed oil on board interior by French Les Nabis painter Edouard Vuillard. The work depicts a room with a large window, outside of which are bare trees. Inside the room are three chairs and a patterned rug on the floor. Signature: Signed lower left Dimensions: Framed: 20"x13" Unframed: 13"x6" Provenance: Prince Antoine Bibesco (1878-1951) - Special Envoy of Romania to the United States Piasa Encheres - Paris Lot no. 88 - 8th April 2005 - Sold EUR 118,000 hammer price Acquired at the above by Thomas Gibson Fine Art - London Acquired by the previous owner from Thomas Gibson Fine Art - TEFAF Maastricht November 2005 Literature: This work is included in the catalogue rasionne of the work of Edouard Vuillard under Ref Volume II No. 172 - illustrated and described Access to the raisonne online can be found at the Wildenstein Plattner Institute website. The work is described as being executed in the period 1899 to 1904 by Antoine Salomon and Guy Cogeval Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute. At first, Édouard Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner. About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye. In 1891, Édouard Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël. All too often, Édouard Vuillard is only admired in his role as the harmonist, the serene contemplator who combines an exquisite sense of nuance, rhythms, and values with the most acute observation. These singular investigations, these three-dimensional meditations including a table, a folding metal cot...

Paul LEROY Orientalism : Young Women Playing, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Litho...

RENOIR, PIERRE AUGUSTE (1841 -1919) "La Danse à la Campagne", 2nd plate (The Country Dance (second plate)) Delteil 2, Stella 2 Soft-ground Etching in black ink, c. 1890 Only State on smooth wove paper With the stamped signature, as issued Image Size: 8 5/8” x 5 1/3” Fine strong and tonal impression with full margins The most famous etching...

This striking 1892 illustrated program by Henri-Gabriel Ibels represents a rare surviving artifact from the golden age of Le Théâtre Libre, the pioneering independent theatre led by ...

Nishiki-e (woodcut print), in vertical oban format (31x20.5) realized by Mizuno Toshikata in 1893 (Meiji 26). Belongs to the Series "Sanjûroku Kasen" (Thirty-Six Beauties in Compari...

Original vintage poster: Vichy travel poster. This is a stunning stone-lithographic turn-of-the-century poster. It advertises a train route to Vichy, France. The poster has been a...

Canvas size: 57 3/4 x 45 1/2 inches A striking and impressive French Academic painting in a high quality Italian style gold leaf frame. Gorguet was an Academic French artist who was trained by Boulanger, Gerome, Bonnat and Morot. His academic training was so strong that he was asked by the Opera House to illustrate many of their posters and he made his living illustrating many books of the time. In the market today this is most of what circulates and comes to light by the artist. He was ultimately made a professor of Drawings at L’Institut. However, Gorguet was also a Symbolist artist and did works aligned with the Art Nouveau movement. Many of these works are quite impressive but rarely have surfaced in the art market. Jupiter and Mercury Received by Philemon and Baucis is more of an Allegorical work and Gorguet switched gears to do a painting which would garner International attention at the important Concourse du Prix de Rome competition. 1891 was a year where the competition would be stiff and he knew he had to do an impressive painting with a compelling historical or allegorical content. In this painting, Gorguet is depicting their Jupiter and Mercury’s arrival at their home and the indication that Philemon and Baucis will share what they have with them despite their poverty-stricken means. The technical execution of this work is exceptional as the figurative work is done masterfully and any small detail within the canvas demonstrates tremendous attention of subtlety of tone and modeling. An example is the strand of cloth that crosses Jupiters chest and the delicate shades of pink and gray and how it is modeled. More than ever, the academic artists of this period are to be appreciated for the quality and creativeness of their work. And the timelessness of these classical allegories are still applicable to our lives today. So we predict a turn back toward work like this as qualitatively we know it will never be done again. Story of Jupiter and Mercury Visiting Philemon and Baucis (one interpretation) According to ancient Roman mythology and Ovid's Metamorphoses (8.631, 8.720.), Philemon and Baucis had lived out their long lives nobly, but in poverty. Jupiter, the Roman king of the gods, had heard of the virtuous couple, but based on all his previous experiences with humans, he had serious doubts as to their goodness. Jupiter was about to destroy mankind but was willing to give it one final chance before starting over again. So, in the company of his son Mercury, the wing-footed messenger god, Jupiter went about, disguised as a worn and weary traveler, from house to house among the neighbors of Philemon and Baucis. As Jupiter feared and expected, the neighbors turned him and Mercury away rudely. Then the two gods went to the last house...

Henri LE SIDANER (1862-1939) Impressionism : Girls Dancing, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFO...

Aquarius-The Water Bearer From: Les Douze Mois de 1889 As published in Vol. 9, No. 425 of Les Hommes d'Aujourd'hui. Published by Sagot, Paris Proof before letters without the calend...

Jean-Jules-Antoine Lecomte du Nouÿ (1842-1923) A shoulder and back study, oil study oil on canvas 34 x 19.5 cm In good condition, a few small inpaintings visible under UV lights Stamp of the Estate sale in Toulouse on the stretcher In a modern frame : 40 x 25 cm Provenance : Estate of the artist and family of the artist by descent Estate sale in Toulouse 22 June 1999 This very interesting oil study was part of a set kept by the artist. He had studied fragments of anatomy both to use them as models in large compositions but probably also because he represented so many fragments. It is clear that this fragment of anatomy has a power of suggestion and serves as a relay to the imagination of the viewer, who is led to imagine the rest of the body taken as a model. We can speak of metonymy in painting and it is clear that the artist had this in mind when he kept such studies with him. Jean-Jules-Antoine Lecomte du Nouÿ was born on 10 June 1842 in Paris. Originally of a Piedmontese origin, his family had been settled in France since the fourteenth century and by the time of his birth had reached the status of nobility He was an Orientalist French painter and sculptor. He was strongly influenced by the works and teachings of Charles Gleyre and Jean-Léon Gérôme. Lecomte du Nouÿ found inspiration for his art through extensive travels to Greece, Turkey, Egypt, Romania and Italy. The thematic content of Lecomte du Nouÿ's work was mainly figural, but also spanned over a vast range of imagery throughout his career, including classical, historical and religious. Lecomte du Nouÿ is known for remaining faithful to his detailed, realistic style throughout the extent of his career, despite the onset of the Impressionist, Fauvist and Constructivist artistic movements during his lifetime. His work is said to have contributed significantly to the establishment of an iconic repertoire representing the Orient in the nineteenth century.A Parisian street was named after him in 1932.  Lecomte du Nouÿ showed a strong attachment to visual art from a young age and was reported to have painted portraits of his father and uncle by the age of 6. In 1861, at 19 years of age, the artistic talents of young Jean-Jules-Antoine Lecomte du Nouÿ prompted him to become a pupil at the atelier of Swiss artist, Charles Gleyre. Under Gleyre's guidance Jean-Jules-Antoine learned the significance of individualistic style and gained the foundations of creative visual presentation. Later, Lecomte du Nouy further perfected his knowledge of the artistic form under the mentorship of Jean-Léon Gérôme, who was a renowned painter of the Academicism movement. It was at this time that Jean-Jules-Antoine learned the precision required to depict "la belle nature" —a style of illustration that aims to create the most beautiful representations of the natural form. This later became one of the main techniques employed in Lecomte du Nouÿ's signature artwork. In 1865, Du Nouÿ accompanied fellow artist, Félix Auguste Clément...

This lovely British Victorian landscape oil painting is by artist William M Davies. It was painted in 1895 and the location, inscribed verso, is Loch Restil Glen Croe in Scotland. In...

Lithographic sepia plate of Lead Us Not Into Temptation but Deliver Us From Evil from Alphonse Mucha’s masterpiece of mysticism, Le Pater. This example comes from the extremely scarc...

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...

With a socially critical eye and Berlin humor, the prints by Heinrich Zille (1858 - 1929) capture the milieu of the "little people" around 1900. The fact that the famous artist was a...

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...

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...

Pierre-Auguste Renoir Le chapeau épinglé - 3e planche (Delteil, Stella 8), circa 1894 Etching on laid paper. Signed in the plate lower left. From La Vie Artistique by Gustave Geffroy...

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 figu...

Wonderfully painted luminous European sunset landscape painting. Framed. Oil on canvas. Signed. Image size, 16H by 11L.

SIR WILLIAM BLAKE RICHMOND, RA (1842-1921) Study of an Angel Pencil on the artist’s writing paper for Beavor Lodge, Hammersmith Unframed 22.5 by 17 cm., 9 by 6 ¾ in. (mount size ...