1890s Art

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...

This image was an integral part of the Maitres de L'Affiche series of posters created for a subscription audience in the late 1890's. It showcased the most influential posters of the...

This charming British Victorian portrait oil painting is by noted portrait artist Gilbert Baldry. A half length portrait painted in 1892, the sitter is a young boy in a red coat with...

The original 1898 lithography entitled "Le Concert" by Henri de Toulouse-Lautrec is a work of great artistic finesse, capturing both the artist's distinctive style and the elegant scene of society at the time. This lithograph features a well-dressed, wealthy couple in a red theater box. The gentleman is Gabriel Tapié de Céleyran and the lady is Émilienne d'Alençon. The woman is dressed in fur and wears an elaborate black hat, exuding undeniable elegance and sophistication. Lautrec meticulously captures the details of their clothing and expressions, creating a striking depiction of 19th-century high society. This lithograph was commissioned from Toulouse-Lautrec by Ault and Wiborg, American manufacturers of lithographic ink. It was part of a limited edition printed in Paris, with the original zinc plates subsequently shipped to America for printing in the main edition. The four original zinc plates are now housed at the Art Institute of Chicago. This work is all the more remarkable as it is believed to be the only lithograph Lautrec...

Paul RENOUARD Dancing Class - "Classe du Premier Quadrille", 1893 Original etching Signed in pencil On Japan paper 32 x 48 cm (c. 12.5 x 19 inch) INFORMA...

Original watercolor and gouache on archival paper of Venice sailboats by the well known American artist, William Stanley Haseltine. Signed with the artist’s three initials lower rig...

Paul RENOUARD Sleeping Ballerina - "Le Nouveau Roman", 1893 Original etching Signed in pencil On Japan paper 48 x 32 cm (c. 19 x 12.5 inch) INFORMATION : Limited edition of 20 copi...

Antique American winter landscape oil painting. Oil on canvas. Signed. Framed. Measuring: 28 by 39 inches overall, and 26 by 36 painting alone. Excellent condition, ready to hang an...

Antique American coastal seascape oil painting. Oil on canvas. Signed. Dated Framed. Measuring: 21 by 25 inches overall, and 12 by 16 painting alone. Excellent condition, ready to ...

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 ...

"Twilight Landscape with Windmill and Church" is a captivating work by Swedish artist Albert Larsson, painted in 1891 when Larsson was 22 years old. The painting captures a landscape steeped in the quietude of dusk, with a sky ablaze in hues of red and orange, signalling the end of the day. The silhouettes of trees are rendered with astonishing detail against the twilight sky, showcasing Larsson's early mastery of light and shadow. Dominating the pastoral scene is a traditional windmill, its blades stilled against the sky, alongside the spire of a church that pierces the horizon. These structures, together with the meticulously painted trees, are testaments to the human presence within the natural world, suggesting a harmony between the two. A notable feature is the small water-filled furrow in the field, which catches the fading light of the sky, creating a pathway of reflection leading the eye through the composition. This detail highlights Larsson's skill in using light to draw attention to elements within his paintings. Albert Larsson, born on November 4, 1869, in Malmö and passing on August 31, 1952, in Lund, was an artist deeply influenced by his education in Copenhagen at the Art Academy and later at Peder Severin Krøyer...

This rare and exquisite 1896 calendar by Swiss-born French illustrator Eugène Grasset, created for the Parisian department store La Belle Jardinière, is a masterpiece of Art Nouveau ...

Jules Chéret Musée Grévin : Dancer Lifting Her Skirt, 1895 Stone lithograph Printed signature in the plate On vellum Size 39 x 29 cm (c. 15.3 x 11.4") INFORMATION : Plate 41 of "L...

Gustav Klimt created this image for inclusion in Gerlach & Schenk’s Allegorien the year before he formed the Vienna Secession. While this design is similar to his other inclusions, L...

Signed lower right, 'Chas. H. Grant' for Charles Henry Grant (American, 1866-1939); titled on lower stretcher bar, 'Sand Dunes at Annisquam, Cape Ann, Mass' and dated 1894. Born in ...

Henri BOUTET (1851 - 1919) Ballerina in the Stairs, 1897 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION:...

Antique American impressionist beach dune oil painting by Franklin B. De Haven (1856 - 1934). Oil on canvas, circa 1889. Signed. Displayed in a period gil...

Unique , finely carved white alabaster sculpture depicting a young couple, signed by the Tuscan artist Eugenio Battiglia. It rests on an exquisite oval wooden base, also ornamented w...

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...

Spectacular bronze sculpture, late 19th century, by the Italian artist Francesco de Matteis (1852-1917), "Group of Children Playing." This outstanding sculpture depicts, with extrao...

Karl Johan Holter (Norway, 1870–1960) Young Man with Beret, 1896 chalk and white heightening on paper, paper mounted on board approx. 58 × 39 cm (unframed) / 22.8 × 15.4 in signed ...

Early American super realist trompe l'oeil still life oil painting. Framed. Oil on canvas, lain to board. Signed. Image size, 14H by 10L.

Quaint pasture scene, likely in the hills of Scotland, by William Drummond Young. Oil on board, signed lower right. Sight 14" x 10", framed 21.5" x 17.5". William Drummond Young (1...

19th century Impressionist oil painting of two women in a park. Oil on canvas, circa 1900. Signed illegibly lower left. Displayed in giltwood...

Signed and titled oil on canvas landscape by French impressionist painter Frederic Samuel Cordey. The work depicts a view of Pontoise, an histor...

Etching and drypoint in black on laid paper, with wide margins Signed in the plate From La Vie Artistique by Gustave Geffroy Literature: Delteil 8; Stella 8 Le Chapeau...

A black cat and a cute little Dutch girl, from Le Chat Noir An impression of this image is in the collection of the de Young/Legion of Honor Fine Arts Museum of San Francisco from Le...

Jules Gustave Leroy Jr Playful Kittens 1856-1921 Circa 1890 15x30 inches Image size 25x40 inches with frame Housed in the Original Fancy Gilded Fra...

Medium: lithograph (after the original menu illustration). Printed in 1897 on smooth wove paper and published in Paris by Librairie Nilsson. Sheet size: 12 1/4 x 9 inches (310 x 230 ...

Chefoo view of Settlement is an albumen print made by an unidentified photographic studio. Print in excellent condition, applied to hardcover. The photographer's name is printed on ...

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

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

Victor PROUVE Family : Mother and Father Kissing a Baby, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMA...

Théophile-Alexandre Steinlen's "Motocycles Comiot Paris" poster, created for Les Maîtres de l'Affiche as plate number 190, is a remarkable work of poster art from the period. Théoph...

Medium: lithograph (after the poster). The artist is most likely Ralph Meriman. Printed in 1897 on smooth wove paper and published in Paris by Librairie Nilsson. Sheet size: 12 1/4 x...

Antique European impressionist oil painting. Oil on canvas. Signed. Framed. Provenance from a Sag Harbor, NY collection. Handsomely framed in period giltwood molding. Excellent cond...

Lithograph by Henri de Toulouse Lautrec. II° State, with the text . Supported by a frame, not canvassed. La Revue Blanche was a literary Magazine. Toulouse-Lautrec made this poster...

Oil on canvas pointillist landscape by French painter Leon Pourtau. The work depicts a view of sail boats moored at the Suffren quay - a picturesque waterfront area in Saint-Tropez, ...

Medium: lithograph (after the poster). Printed in 1897 on smooth wove paper and published in Paris by Librairie Nilsson. Image size: 9 1/4 x 4 inches (235 x 100 mm). Sheet size: 12 1...

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....

A wonderful Boston School still life, Roses Cast Aside. Oil on canvas, no visible signature, 9" x 12", 12.5" x 15.5" framed.

Mori Sōsen, 'Deer Beneath Falling Maple Leaves', color woodblock print after the artist's watercolor, 1899. Signed Sosen in black ink with the artist's seal in red, lower right. A su...

Antique American impressionist flower landscape oil painting by Francis William Loring (1838 - 1905) . Oil on board. Framed. Signed. Measuring: 11 by 16 inches overall, and 5 by 10...

Early 20th Century English Autumn river landscape with cows drinking from a stream. Abraham Hulk Junior was born in the Netherlands in 1851 to ren...

Albert Clark Portrait of a Bay Horse in a Stable Circa 1890 Oil on canvas Signed lower right Original English oak frame A finely executed late Victorian equestrian portrait by the ...

"Landscape with Sheep" by Daniel Folger Bigelow (July 22, 1823 - July 14, 1910), Oil on Canvas, signed D. F. Bigelow lower right corner. An American painter active in New England an...

Alphonse MUCHA (1860-1939) Belle-Epoque Woman with a Beer, 1899 Original Lithograph Printed signature in the plate Published in "Les Maîtres de l'Affiche" Authenticated by the blind...

James Webb (English, 1835–1895) Fishing Boats Leaving Port Oil on canvas Circa 1895 Signed and dated lower right This atmospheric late-19th-century marine painting by James Webb...

A beautiful 19th century French impressionist oil on panel depicting a moonlit street scene, by Raoul Arus. The work is inscribed with a dedication to the artist's friend lower rig...

In the summer of 1896, Figaro Illustré, one of the most elegant and widely circulated French illustrated periodicals, released a special number devoted to a subject close to the hear...

Robert Jenkins Onderdonk (1852 - 1917) San Antonio Artist Image Size: 6 3/4 x 8 Frame Size: 13 x 15 Medium: Ceramic Tile "Texas Landscape" signed Biography Robert Jenkins Onderdonk (1852 - 1917) Robert Jenkins Onderdonk is noted for his landscape and portrait paintings and also for his fine art teaching. Onderdonk was born in Catonsville, Maryland in 1852. He was the father of Robert Julian Onderdonk and Eleanor Rogers Onderdonk, also distinguished Texas artists. He received an academic education at the College of St. James, Catonsville, followed by studies at the National Academy of Design in 1872 under the instruction of Lemuel Everett Wilmarth. In 1875, Onderdonk attended Art Students League of New York and received instruction from Walter Shirlaw, James Carroll Beckwith and William Merritt Chase. Onderdonk moved to San Antonio, Texas in 1878 where he made a living teaching and selling his paintings. In 1889 he moved to Dallas, where he painted several portraits for the Huburt Portrait Company, followed by employment with the Art Students League of Dallas. In 1896, Onderdonk returned to San Antonio, Texas where he continued to paint until his death in 1917. Onderdonk was a member of the Allied Artists of America; Salmagundi Club, New York, and the San Antonio Art League. Exhibitions included the Annual Exhibition of the State Fair of Texas, Dallas; Dallas Art Association; Louisiana Purchase Exposition, St. Louis; Annual Texas Artists Exhibition, Fort Worth; Annual Exhibition, National Academy of Design, New York, and the San Antonio Art League. Source: John and Deborah Powers, "Texas Painters, Sculptors, and Graphic Artists" Robert Jenkins Onderdonk was born at St. Timothy's Hall, Catonsville Maryland, in 1852. He had a very thorough academic education and was always sketching family members, classmates and landscapes on the back of his school books. This sketching ethic was a process he subscribed to his entire life, always carrying a sketch book with him where ever he went, like a camera of today. Deciding to make art his profession, Robert moved to New York. He was not only a part of the academic beginnings of American art while studying in New York at the renowned National Academy of Design in 1870, but also one of the first student members, under the instruction of Lemuel Everett Wilmarth, at the Arts Students League. At the League, Robert also studied and honed his craft with other teachers including Walter Shirlaw, William Merritt Chase and James Carroll Beckwith. Some of his classmates included: George Inness, Jr., Frederick Stuart Church, John Henry Twachtman and a Texan from San Antonio named Edward Grenet. Robert was lured to Texas in 1879 by his childhood friend and rancher, William Negely and by stories he read in the tabloids of the day that touted Texas as the "Promised Land." Robert found the light, people and atmosphere of San Antonio agreeable and quickly settled in. He soon met a fellow Texas artist, Emily Gould, whom he married in 1881. They lived with her parents in a house called "Bella Vista" throughout their lives. The house was two miles north of town, had a wonderful view of the city and still stands today. Here Robert lived and taught art classes, painted portrait commissions, landscapes, still lifes and supported his family. Some of his students, who later became well-known Texas artists, were Mary Bonner...

Antique American oil painting. Oil on canvas. Signed. Framed. Measuring 21 by 25 inches overall and 14.5 by 18.5 painting alone.

Two Early Massachusetts Paintings Boy fishing "Beaver Pool" - "The Conway" 1897 Pair of early Massachusetts paintings on walnut wood panels by GEK 1897. Fine detail and painting styl...

Antique American Impressionist/Luminist watercolor and gouache painting by Lucien Whiting Powell (1846–1930), of a Virginian wooded landscape, circa 1890. The very fine painting by P...

The Spanish with castanets is an original china ink drawing realized by Adolphe Léon Willette, a French illustrator, painter, caricaturist, lithographer, and architect. The state of preservation is very good. Hand-signed, on the lower right. The artist Adolphe Léon Willette, with his irreverent art...

Original ‘Chemin de Fer de L'Ouest; Paris a Londres’ vintage travel poster. Antique original European travel poster from circa 1880-1900 sto...

Signed lower left 'Emerson' for William Otto Emerson (American, 1856-1940) and dated 1891. Additionally titled, verso, in graphite on stretcher ba...

Mary Kollock (American, 1840-1911) [illegible] France, 1892 Oil on canvas 30 1/2 x 23 1/4 in. Frame: 36 1/2 x 33 x 2 7/8 in. Signed, titled, and dated lower right Landscape, still l...

Jan Hillebrand Wijsmuller (1855 Amsterdam - 1925 ibid.), Late Summer River Landscape, oil on canvas, relined, 34 x 56 cm (inside measurement), 43 x 64 cm (frame), signed J[an] H[illebrand] Wijsmuller at lower right. - in good condition, the frame with isolated bumped spots - Realistic Impression - About the artwork The panoramic landscape format shows a river landscape, with the course of the river, which curves to the right, leading the eye into the depths of the picture and tempting it to continue the landscape in the imagination beyond the visible area. At the same time, however, the fact that the landscape is not visible through the bend in the river focuses our gaze on the entirety of the landscape depicted, without prompting us to focus on distant details. Accordingly, the brushstroke is not designed to render details with realistic precision. In the front left area of the river there is even a completely free brushwork, trained by Impressionism, which nevertheless remains committed to representational and convincingly suggests the movement of the water. Regardless of the distance of the observer, the entire picture is painted with the same broad brushstroke, so that the landscape is given as an impression. And yet this impression is not ephemeral, as in the case of French Impressionism, to put it exaggeratedly, but reveals to us the essence of the landscape in all its richness. This is why the Dutch variant of Impressionism is always also a realism, although the pictures appear less progressive, but still contain a dimension of landscape painting that is lost with progress. In the impression, the reality of the landscape is revealed, and this happens as we experience the landscape in the visual impression. Wijsmuller does not depict houses or people in order to allow the experience of the landscape to fully unfold. The experience is determined first and foremost by the river, which does not flow into the picture from our point of view, but towards us. Where the river begins to bend, the water is churned by a rapids. Toward us, the riverbed widens and the water comes to rest, covering the entire width of the foreground like a mirror. The stillness of the water corresponds to the evening mood of the late summer landscape, in which the warm tones of the evening light blend with the yellow and brown tones of the plants. A gentle, almost idyllic reality, carried by the brushstroke, yet animated by a liveliness that is also made visible by the brushstroke. The broad, dynamically placed brushstrokes evoke the movement of the treetops and animate even the immobile reeds, while the trunks on the right bank, executed in virtuoso white strokes that seem like markings, make the sunlight shine. On the other bank, a carpet of light also spreads out, its energetic effect again expressed in the brushstroke. The dynamic of the landscape is further enhanced by the complementary color contrasts between the greens, yellows, and browns on the one hand and the blue of the all-encompassing sky on the other. A contrast that is intensified by the reflection in the water. The evening coming to rest of the landscape is thus at the same time an all-encompassing contrasting and yet in itself harmonious movement. This reality becomes accessible to us as an experience in the impression of the landscape. About the artist Jan Hillebrand Wijsmuller entered the Royal Academy of Arts in Amsterdam in 1876 and studied under the innovative Professor August Allebé, who was famous for the Amsterdam Impressionism, also known as the Allebé School. In 1877, Wijsmuller transferred to the Hague Academy of Art, and thus to the Hague School, and then completed his studies at the Brussels Academy of Art. Returning to the Netherlands, Wijsmuller opened his own studio in Amsterdam. In 1883 he won the prestigious Young Artist Award, donated by Willink van Collen, which made Wijsmuller a well-known and sought-after artist. Wijsmuller was a member of the Societät Arti et Amicitiae Amsterdam and the Pulchri Studio in The Hague. Wijsmuller belongs to the second generation of the Hague School. While Vincent van Gogh described the protagonists of the first generation to his brother Theo as "the great gray people," the second generation, and Wijsmuller in particular, used a much more colorful palette. His oeuvre makes him a major player in Dutch Impressionism...

"The Musicians" Charles H. Van den Eycken (Belgium, 1859 - 1923) Oil on wood panel with highly ornate original wood, stucco and gilt frame. Signed upper right and dated "1893.' 10 1...