1890s Art

"Il Café" 1896s is a splendid lithograph, engraved by the artist André Lynen (1852-1938). The state of preservation of the artwork is excellent. The sign...

PENFIELD, FERDINAND (1866 - 1922) Harper’s Magazine - March Original lithograph from "Les Maitres de L'Affiche" series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lowe...

La Leçon de Musique is an original artwork realized by the French artist George Henri Manesse in 1892. Etching on paper. Signed on the plate on the lower-left corner; Hand-signed in...

Household is an original drawing in pen on paper realized by an unknown artist in 1896 The State of preservation is good with a small rip on the right m...

Vier Schmetterlinge is an original etching, realized by Richard Müller in 1899, hand-signed in pencil, monogram on the plate, limited edition of 12 prin...

BRADLEY, WILL (1868 - 1962) The Chap Book Original lithograph from “Les Maitres de L’Affiche” series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #34, 1898. Plate #136 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...

Chefoo Trade Harbour is an albumen print made by an unidentified photographic studio. Print in excellent condition, applied to cardboard. Caption in Italian ink hand-written on har...

Image dimensions: 13.1 x 21 cm. Bad Joke is a black and white lithograph realized in 1899. The artwork is dated 1899 (as printed on the right side). Monogram of the artist (H.B.) ...

Amédée Lynen (1852-1938) 'Lovers by the Lake' ‍ Gouache and watercolour on paper 41 x 55.5 cm Signed and dated 1898

Jeanne Bloch - From Le Café Concert is an original print, realized in 1893 by Henri-Gabriel Ibels. Black and white lithograph on paper. Good conditions except for some ripple alo...

Anna Thibaud - From Le Café Concert is an original print, realized in 1893 by Henri-Gabriel Ibels. Black and white lithograph on paper. Good conditions except for some ripples an...

Marcel Legay - From Le Café Concert is an original print, realized in 1893 by Henri-Gabriel Ibels. Black and white lithograph on paper. Good conditions except for some ripple alo...

Ouvrard - From Le Café Concert is an original print, realized in 1893 by Henri-Gabriel Ibels. Black and white lithograph on paper. Good conditions except for some ripple along th...

Mévisto - From Le Café Concert is an original print, realized in 1893 by Henri-Gabriel Ibels. Black and white lithograph on paper. Good conditions except for some ripple along th...

Frühling is a wonderful black and white photogravure of the original painting by Arnold Böcklin (Basel 1827 - Fiesole 1901), probably edited by Bruckman...

MORROW, ALBERT GEORGE (1863 -1927) "The New Woman" Original lithograph from "Les Maitres de L'Affiche" series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, c. 1897. Plate #79 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...

Le Petit Journal is an original Magazine realized in 1892. Original poster with printed writings. Good conditions except for the margins that pres...

The Feline is an original pencil drawing on paper realized by Ernest Rouart by the turn of the XX century. This drawing is hand-signed by the artist in red pen on the lower left. In...

Monkeys is an original pencil drawing on paper realized by an anonymous artist in the XX century. Including a white cardboard passepartout: 49 x 34 cm. Good conditions, except for a light shading of paper. This fine modern artwork represents different sketches of monkeys in various poses. On the back of the drawing, the artist drew other monkey sketches. Ernest Rouart (Paris, 1874 – Paris, 1942) was a French painter, illustrator, engraver, and art collector. He was the son of Henri Rouart...

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 ...

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...

Marchande de Lacets is an artwork realized by Louis Malteste in 1897. Lithograph on paper. Signed and dated on plate on the lower right corner. Mint conditions. Passepartout included (cm 50 x 34). Very interesting and elegant artwork representing the portrait of an old woman sitting on a chair with some baskets on the floor. The basket is full of balls of wool and strands. The stroke is very contrasting and the face of the woman is realized with a chiaroscuro that define the volumes. Louis Malteste (Chartre, 1862 – Paris, 1928) was a French illustrator. He lived and worked in Paris, where he exhibited in 1897 at the Salon des Cents and, in 1902 at the Salon de la Société Nationale des Beaux-Arts. He worked for humorous publications and famous magazines such as L'Assiette au beurre et Le Chat Noir.

SIDNEY PIKE, 1858 - 1923 London landscape painter and one of the first Christmas card illustrators. Settled in Hastings and represented in many south coast Museums. Signed and dated...

Beautiful lithograph on Chinese paper, hand signed on plate on the lower right margin. Third state on four. Excellent conditions, including an ivory colored cardboard passepartout 47...

Hand signed and signed on plate. A copy of this print is in the collection of the Van Gogh Museum in Amsterdam. Includes passepartout : 53 x 37cm Image Dimensions : 23.5 x 15.5 cm H...

Hans Thoma (1839 Bernau - 1924 Karlsruhe), Muse, 1893. Algraph on strong wove paper, published by Breitkopf und Härtel in Leipzig as ‘Zeitgenössisches Kunstblatt Nr. 174’, 43.5 cm x ...

Hans Thoma (1839 Bernau - 1924 Karlsruhe), Southern German summer landscape, around 1897. Algraph on strong wove paper, published by Breitkopf und Härtel in Leipzig as ‘Zeitgenössisc...

Hans Thoma (1839 Bernau - 1924 Karlsruhe), S. Anton Patenkirchen, 1895. Algraph on strong wove paper, published by Breitkopf und Härtel in Leipzig as ‘Zeitgenössisches Kunstblatt Nr....

Child in an extended landscape. Attention to details is extraordinary. The color pallet is rich. The use of natural light is excellent. Munier was a student of Bougereau ( consid...

This rare original lithograph print is from 1899. It is one sheet of a huge 24 sheet poster that was created in 1899 to announce Buffalo Bills Wild West. The size of the complete 24 sheet poster would have been approx. 10 feet tall by 20 feet wide and would have been posted on barns and buildings in 1899 to promote Buffalo Bills Wild West before it would come to towns. This 1 sheet of the 24 sheet lithograph is in such good condition because it was found in the Lithographers draws of the print shop that created the poster. It is black and white because it was a proof that was used to create the final layout of the color poster. It indicates on the image that it is No. 2 Buffalo Bill San Juan Hill 1899, so it would have been the 2nd poster down on the left side of the large total image comprised of 24 separate sheets all unique to create the full image. You can see the two black printed lines on the left side indicate where the edge of the poster would have been. We have never seen a complete image of this rare 1899 poster. When we first acquired this rare proof over 20 years ago, we contacted the The Ringling Museum in Florida that houses a large Buffalo Bill poster...

DESCHIENS – ASTRUC (1861) Table settings with Orchids Oil on canvas signed down right Frame gilded with gold leaves Dim canvas : 82 X 116 cm Dim Frame : 107 X 141 cm DESCHIENS – ASTRUC Pauline Hélène (1861-NC) French school 19th - 20th century Born the 25th of August 1861 in Angers Painter of flowers and marines. Pupil of Pierre Bourgogne...

CHERET, JULES (1836 - 1932) "Emilienne d’Alencon" Original lithograph from “Les Maitres de L’Affiche” series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #29, 1898. Plate #113 Unframed Size: 11 3/8 x 15 3/4” The “Les Maitres de l’Affiche” series was offered as a subscription series to...

VALLOTTON, F. (1865 - 1925) "Ah! la Pe . . . la Pe . . . la Pepiniere" Original lithograph from “Les Maitres de L’Affiche” series Printed by Imprimerie Chaix, Paris Bearing MDL stam...

Antique American landscape painting. Watercolor on paper. Signed. Framed. Measuring: 20 by 24 inches overall. In excellent original condition. Handsomely framed in a silver mold...

Grand’mère (effet de lumière) (La Mère de l’artiste) by Camille Pissarro (1830-1903) Etching 17.1 x 25.3 cm (6 ³/₄ x 10 inches) Stamped lower right, C.P. an...

GERBAULT, H (1863-1930) "Chocolat Carpentier" Original lithograph from “Les Maitres de L’Affiche” series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issu...

THEO VAN RYSSELBERGHE Gent 1862-1926 Saint-Clair, Var LES RUBANS VERTS Portrait of Marquerite Mommen-Ithiers 1897 Pastel on paper 90 x 65 cm. Signed and dated: lower right with mo...

CHARPENTIER, ALEX (1856 -1909) "Grande Tuilerie d’Ivry" Original lithograph from "Les Maitres de L'Affiche" series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, issue # 33, 1898. Plate #131 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. The text reads "Great Tileworks of Ivry, founded in 1854, Ivry-Port near Paris; the largest ceramics factory in the world for building, industry and art productions; Emille Muller stoneware; execution of works by masters of statuary; architectural facings; decorative sculpture; showroom and salesroom, 3 rue Halevy; the only tile able to bear the names Muller and Ivry; (tiles) guaranteed against frost" Given the commission for an extremely text heavy poster, the artist executes a masterful design. The angelic young boy holds the wares of this famous ceramics factory, against an abstract background awash in organic green hues. The handling of the immense text that flows from top to bottom in every available space shows great artistic skill, as the overall beauty of the design is intact. In 1989 the Metropolitan Museum of art acquired a stoneware plaque...

RASSENFOSSE, ARMAND (1862 – 1934) "Grande Brasserie Van Velsen" Original lithograph from “Les Maitres de L’Affiche” series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lowe...

Signed on reverse Photogravure on paper 7 x 10 1/2 inches Provenance: Private Collection, Wisconsin Peter Henry Emerson is known for his late nineteenth century photographs of Engl...

Hans Richard von Volkmann (1860 Halle (Saale) - 1927 ibid.), Clay jug on a bench. Pencil and Watercolour on paper. 20 x 26,7 cm (visible size), 37 x 45 cm (frame), dated and monogrammed lower left "Februar 1890 - HR. V. V." - Minimally tanned. Framed behind glass in a passepartout. About the artwork Using the technique of his early youth - pencil and watercolour - Hans Richard von Volkmann depicts a still life. However, this is not a conventional indoor still life, but an open-air depiction, painted outdoors and not in the studio. It is therefore an open-air painting, characteristic of von Volkmann's oeuvre, which could have been painted in the Willingshausen colony of painters, where open-air painting was programmatically practised there and the artist stayed there that year. And indeed, this painting is a manifesto of open-air painting. Von Volkmann demonstrates that leaving the studio for the light of nature leads to an entirely new quality of art. To prove this, he uses the genre of still life, which can be described as the studio subject par excellence. Moreover, light plays an essential role in the classical still life. It is the real protagonist of the still life. And it is precisely this moment, essential to the still life, that von Volkmann exploits to demonstrate the potential of plein-air painting: He presents the objects as they appear in the sunlight. The date of February and the bare branches in the foreground make it clear that this is a clear winter day in bright sunlight. The delicate plant in the foreground casts a clearly defined shadow, as does the jug. However, the shadow is most pronounced on the jug itself: The underside of the handle appears almost black, making the top, and therefore the jug itself, shine all the more brightly. The shining of the objects in the sunlight is also visible on the bench. As complementary phenomena to the shadow zones, light edges can be seen on the boards of the seats and the upper foot of the bench shines entirely in the light. To achieve this intensity of light, von Volkmann activated the bright white of the painting ground. By depicting the objects in glistening sunlight, von Volkmann demonstrates that this quality of light is only to be found outdoors. And this light leads to a new way of looking at the objects themselves. The jug on the bench seems like an accidental arrangement, as if the artist had stumbled upon this unintentional still life and captured it with fascination. And in this fascination there is a moment of realisation that refers to the objects themselves. It is only when they shine brightly in the sunlight that their true nature is revealed. In this way, sunlight allows the objects to come into their own, so to speak. Sunlight, which is not present in the studio, gives the still life an entirely new dimension of reality, which is also reflected in the colours interwoven by the sunlight: The bench and the jug stand in a harmonious grey-pink contrast to the green of the implied meadow. The emphasis on the jug as the central subject of the picture also implies that the watercolour has not been completed. This non finito inscribes a processuality into the picture, making it clear that something processual has been depicted, the temporality of which has been made artistically permanent. This is why von Volkmann signed the painting and dated it to the month. About the Artist Von Volkmann made his first artistic attempts at the age of 14. He painted many watercolours of his home town of Halle. This laid the foundation for his later outdoor painting. In 1880 his autodidactic beginnings were professionalised with his admission to the Düsseldorf Art Academy. There he studied under Hugo Crola, Heinrich Lauenstein, Johann Peter Theodor Janssen and Eduard von Gebhardt until 1888. Von Volkmann then moved to the Karlsruhe Academy, where he was Gustav Schönleber's master pupil until 1892. In 1883 he came for the first time to Willingshausen, Germany's oldest painters' colony, at the suggestion of his student friend Adolf Lins...

Approximate Date: 1897 Medium: Watercolor on Board Signature: Signed Lower Right Dimensions: 12.00" x 9.50"

“Fishing In A Castle Moat”. Oil on canvas by listed German artist Carl Rochling (1855-1920). Signed in lower right corner. Framed in a hand-carved gilded frame.

The Outing Magazine commissioned Parrish to provide a cover illustration for their 1899 Last Rose of Summer edition (published December 1899). In the poster, Maxfield used his own face and figure to portray a youth in Grecian costume examining a rose he holds in his hand. The figure is shown sitting below one of the massive oaks on the artist’s property, flanked by two plaster lions the artist had moulded in his studio. The depiction harks back to the 1805 poem by the Irish poet, Thomas Moore: ‘Tis the last rose of summer, Left blooming alone; All her lovely companions Are faded and gone; No flower of her kindred, No rose-bud is nigh, To reflect back her blushes Or give sigh for sigh! I’ll not leave thee, thou lone one...

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 ...

MARTIN Jacques (1844-1919) Still Life with Flowers and Fruits Oil on canvas signed up right Old frame gilded with leaves Dim canvas : 73 X 92 cm Dim frame : 96 X 116 cm MARTIN Jacqu...

Illustration for the article ”Old New York Taverns” by John Austin Stevens for Harper’s New Monthly Magazine, published May 1890, Page 849. The article explores the significant role...

Evgeny Alexandrovich Lanceray (Russian, 1848-1886) 19th Century, Possibly post humus Cossack on Horseback Gilt bronze signed in Cyrillic Measures: Height 8 3/4 x width 8 3/4 inches....

Siebe Johannes ten Cate (1858-1908) Mill and sailboat in the moonlight, Signed lower rigt Pastel on paper 40 x 31 cm Framed under glass : 52 x 44 cm Our pastel is listed in the ...

This statue is of Prince Albert Edward, eldest son of Queen Victoria, Prince of Wales, future King Edward VII (1841-1910) dressed in a sailor suit. After a very popular painting of the young prince done in 1846 by Franz Xaver Winterhalter (1805-73) that is in the collection of the British Royal Family.

Signed with initials lower right The painting is one of the 4 illustrations that JWS did for the book “Evangeline: Tale of Acadia”, by Henry Wadsworth Longfellow...

Alfred De Breanski Sr. (United Kingdom/Scotland, 1852-1928), circa 1890 Oil on canvas seascape titled en verso "A Pole in The Highlands" depicting two figures fishing center left, a ...

Lithograph of Théo van Rysselberghe's La Libre Esthetique, published by Imprimerie Chaix, the printing house known for publishing the works of Belle Epoque master Jules Chéret. While...

Planter "The Pond" by Raoul LARCHE (1860-1912) Plant-holder in bronze with a nuanced dark brown patina Signed " Raoul Larche " Cast by " Siot-Decauville fondeur Paris " (with the fo...

This small and finely painted piece depicts the sidewheel steamer J.M.A. underway carrying passengers along the Hudson River. With flags snapping in the wind and whitecaps on the riv...

A pleasant serenade Italian oil painting on canvas attributed to Alessandro Sani 19Th c. Alessandro Sani (1856–1927) was an Italian painter, mainly of genre subjects. He was born a...

Mark Milloff (b 1954) is an internationally exhibited American painter and art professor. He is best known for his heavily layered oil paintings. Beautifully rich layers of thick wh...

SOLD UNFRAMED Une femme, un chat et des souris by Georges Manzana Pissarro (1871 - 1961) Etching 13.3 x 8.7 cm (5 ¹/₄ x 3 ³/₈ inches) Signed on the plate with initials, GP and sign...

“I Will”, Marie-Joseph-Leon-Clavel French, 1850-1923 Septembre, La Meuse a Dordrecht Oil on canvas, Signed 13 ¼ by 19 ½ in. W/frame 23 ¼ by 29 ½ in. Item number: 01896 Marie-Jose...

Signature: Signed Lower Right Medium: Watercolor on Paper Original illustration for 'A Treasury of Stories, Jingles and Rhymes' published by Frederick A. Stokes Company in 1894, app...