1890s Art

Le Rire is a Comic Magazine published in 1900, reproducing drawings by Caran d'Ache (1848–1934).

Le Rire is a Comic Magazine published in june 1906, reproducing  in lithographs the drawings by Pierre-Georges Jeanniot (1848–1934).

Le Rire is a Comic Magazine published in November 1896, reproducing drawings by  Jean Luis Forain (1852-1931). Good condition on a yellowed paper, except so...

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 ...

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

Le Rire is a Comic Magazine stamped on august 1896 drawing by  Jean Luis Forain (1852-1931). Good condition on a yellowed paper, except some torn paper on t...

Le Rire is a Comic Magazine published in july 1896, reproducing drawings by  Jean Luis Forain (1852-1931). Good condition on a yellowed paper, except some t...

Le Rire is a Comic Magazine published in April 1896, reproducing drawings by  Jean Luis Forain (1852-1931). Good condition on a yellowed paper, except some ...

Le Rire is a Comic Magazine published in October 1896, reproducing drawings by Jean Luis Forain (1852-1931). Good condition on a yellowed paper, except some...

Parrish, Maxfield. HARPER'S WEEKLY - BICYLCE NUMBER. Vol XL, April 4, 1896. 16 x 12 inches. With front and back covers by Parrish, and an ad by Will Bradley for Victor Bicycles on th...

Medium: original etching. This impression on cream wove paper was printed in 1897 and published in Paris by Gazette des Beaux Arts. Plate size: 5 x 9 inches (125 x 227 mm). Signed in...

Limited edition vintage lithographic reproduction poster of "Le Théâtrophone" by Jules Cheret, published in 1968 by The Sunday Times (London). This limited edition poster is numbere...

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...

Trailblazing Gay Female illustrator of the Golden Age, Ida Waugh, paints a powerful narrative of a young woman coming to the aid of another who, due to an accident, is lying prostrate in an unpaved road. The reason why the work is in black and white is because this was assignment art for a book or magazine and color printing was not yet available for mass publications Signed lower left. Framed under glass, Ida Waugh (October 24, 1846 – January 25, 1919) was an American illustrator of children's literature who often collaborated with her lifelong companion, Amy Ella Blanchard. Personal life Ida Waugh was born in Philadelphia, Pennsylvania on October 24, 1846, the daughter of painter Samuel B. Waugh and his first wife, Sarah Mendenhall, therefore she was half-sister of painter Frederick Judd Waugh. Her step-mother was Mary Eliza Young Waugh, a miniaturist. She attended Académie Julian and Académie Delécluse in Paris, studying with Georges Callot, Paul-Louis Delance, and Jean-Joseph Benjamin-Constant.In 1868 she attended the first "Ladies Life Class" at Pennsylvania Academy of the Fine Arts; in the same class there were Emily Sartain and Catherine Ann Drinker. Career Ida Waugh collaborated with her partner Amy Ella Blanchard in publishing children's books, Waugh as illustrator and Blanchard as writer. Waugh also published books on her own Other than a children's book illustrator, Waugh was an award-winning painter. In 1869 she exhibited at the Pennsylvania Academy of the Fine Arts two works, "The Bargain" and a portrait bust of Carl Gaertner. Her self-portrait and another painting, "Little Cosette" (1870), are in the permanent collection of the Woodmere Art Museum, Philadelphia, both donated by Mrs. John S. Haug in 1961.They were part of the exhibition "Women and Biography" in 2014, including: Elizabeth Shippen Green, Violet Oakley, Edith Emerson, Anne Minich, Catherine Mulligan, Mitzi Melnicoff, Alice Kent Stoddard, Aubrey Levinthal, Martha Armstrong...

View of the Grand Canal in Venice by one of England's best-known landscape and Venetian painters. This example is a very well-painted piece and is a great composition. It is framed in an English Classic running pattern frame. Tracing the story of William Meadows, the son of James Meadows, is sometimes a little difficult. In earlier census returns he gave his place of birth as Epping, but in later census returns he said that he was born in Mountnessing in about 1825. Between 1841 and 1901 William is recorded as William James, William George, and in 1881 simply as George, and these apparent changes of name were explained by a chaotic personal life which contrasts with his tranquil paintings of the English countryside and Venice. An entry in The Fine Arts Journal in 1847, concerning the Theatre Royal, Dumfries, reveals that "The scene-painter is Mr. W.J.Meadows, the son of Mr. Meadows, of the Surrey”. Initially, William had begun his career by following in the family footsteps at one of the theatres where his grandfather had performed. However, his training as a scene painter most probably came closer to home under his father's tuition, possibly at The Lyceum Theatre in London in 1844. (See the previous page on James Meadows for further details). In 1850, William married Lydia Maria Jarvis (born in Norwich c.1826) at St Pancras Old Church, close to St Pancras Station in London. By the time that the census was taken the following year, William and Lydia were living at 16, High Street in Poole, Dorset. So far it has been not been possible to identify a census entry for 1861 for the couple. However, when William exhibited "A scene in Surrey' at the Royal Hibernian Academy of Arts in Dublin in 1865, he gave his address as 187, Hampstead Road, London, not far from the St Pancras area once again. The reason for William's obscurity in the 1861 census may lie partially in his financial difficulties, as well as his frequent changes of address. In 1864, The Law Journal's list of impending bankruptcy proceedings included an entry for "Meadows, William George (known as William James Meadows), artist, of Old Kent Road, previously of Beal Road, Old Ford, previously of Wanstead Flats, Wanstead". A family source has revealed that William tried changing career not long afterward, when he became the landlord of The Black Bull Inn in Fyfield in Essex on the 9th November 1866, and that he "gave an opening dinner there" on 29th November 1866. However, if William was trying to achieve financial stability by changing careers, the 1871 census would suggest that it was an unsuccessful interlude. In 1871 William was recorded under the name of William George but is identifiable as the same person by his age, place of birth, and the personal details of his wife. He no longer gave his profession as an artist, but as an "Eating Housekeeper", back in the East End of London and living at 200, High Street in Shoreditch. Two servants were living with the couple, but more unusually there was also another resident, whose occupation was listed as "bailiff in possession". The presence of a live-in bailiff, therefore, seems to suggest that William's financial difficulties were far from over. In addition to his financial woes, William’s marriage to Lydia also appears to have been a stormy affair. In 1867 in London she petitioned for a divorce from William, although she must have been initially reconciled to him as the couple was living together (with their bailiff!) in 1871. However in 1874, Lydia once again petitioned for a divorce and this time the separation was definitive, and Lydia moved to a separate address in Holborn where she was living at the time of the 1881 census as a "retired publican". William, meanwhile, married for a second time in Southwark in 1875, under the name of William George Meadows. His second wife, Helen Grace Higgs, was born in Tipperary in Ireland in about 1841. By the time of the 1881 census, the couple was lodging over a pub at 87, High Holborn in London, where William is recorded simply as "George Meadows, Landscape painter". In the 1891 census, the couple was lodging at The Green Dragon...

Gants de Suede (Suede Gloves) Lithograph, 1890 Signed in the stone with the butterfly signature (see photo) Published in: The Studio 3, No. 13 (16 April 1894) Printed by Way in an edition of 3000 impressions, with the blind stamp of The Studio, London lower left Stone polished out in 1904 Condition: Excellent Image size: 8 1/2 x 4 inches Sheet size: 11 5/8 x 8 1/4 inches Reference: Spink/Tadeschi 35, published state "Gants de Suede is a portrait of Whistler’s sister-in-law, Ethel Birnie Philip. Whistler was apparently pleased with this lithograph, for after a small number of impressions were printed he agreed that it could be published by The Studio, an art magazine that had recently been launched; it appeared as part of a special issue." Harris Schrank

Portrait Of A Young Lady In The Landscape. Portrait depicting a beautiful young woman in the landscape dressed in a tulle dress and hat decorated with pink roses. The painting is in original very good condition, signed upper left corner. An American artist and illustrator, William H. McEntee (1857 - 1919) was active/lived in New York, Michigan. William McEntee...

This late 19th-century watercolour by British artist Martha Fowler (b.1843) depicts a view on the Cornish coast. Fisherfolk carry nets amid a haze of dense fog. Meandering between pools of water left by the retreating...

Framed lithograph, signed ("Rónai") and numbered ("no. 50") by the artist. Also includes a silver József Rippl-Rónai coin, made in 1977 for the 50th anniversary of his death. The li...

Louis Abel GIRARDOT (1848 - 1937) Oriental Woman (Femme du Riff), 1897 Original lithograph Printed signature in the plate On vellum 40 x 31 cm (c. 16 x 12") INFORMATION : Published...

Les Amateurs d'Estampes Woodcut, 1892 Initialed in the plate lower left Titled below image: "Gravure originale sur bois par F. Vallotton" Reference: Valloton and Goerg 107c, with the purple address stamp upper right center (see photo) Condition: Excellent Aging to sheet One spot of printers ink outside of the image in the upper margin Block size: 7 3/8 x 10 inches Sheet size: 10 1/8 x 12 3/4 inches Condition: Very good, aging (yellowing) to the paper Provenance: Edmund Sagot (1881-1917), noted Parisian art dealer and print publisher By decent Vallotton was a noted member of the Nabi, highly regarded for his paintings and original woodcuts. His works are in most major museums. Thank you for your interest in the Vallotton woodcut, Les Amateurs d’Estampes (Print Lovers). It depicts print collectors admiring the new offerings in the window of the Sagot Gallery in Paris. The woodcut is the second published version of the address card for Edmund Sagot the noted Paris art gallery with the change of address in lavender ink. It had moved and hence the change of address was necessary for publicity. The woodcut was created in 1892. It is unsigned as all the address cards are. There are two size variants, this being the larger of the two. It is printed on a tan wove paper. It is in excellent original condition. The provenance is from the Heirs of Edmund Sagot (1857-1917). by decent. The Sagot family was noted for selling posters, fine prints and original works of art. Edmund’s brother Clovis, was Picasso’s first dealer in Paris. The image is documented in the Vallotton and Goerg catalog raisonne in entry 107c Impressions of this image can be found in many museums including: Bibliothèque nationale de France De Young/Legion of Honor/Fine Art Museums of San Francisco Newfields, Indianapolis Museum of Art National Gallery of Australia Musee Des Beaux-Arts du Canada Van Gogh Museum Museum of Fine Arts, Houston Portland Art Museum Kunst Museum, Holland Philadelphia Museum of Art Yale University Art Gallery Félix Vallotton, in full Félix Edouard Vallotton, (born December 28, 1865, Lausanne, Switzerland—died December 28, 1925, Paris, France), Swiss-born French graphic artist and painter known for his paintings of nudes and interiors and in particular for his distinctive woodcuts. Vallotton was raised in a traditional bourgeois and Protestant household. After completing secondary school, he left Lausanne in 1882 for Paris to pursue art studies. Though he was accepted by the École des Beaux-Arts, he chose to attend the less traditional Académie Julian, where he studied with French painters Jules Lefebvre and Gustave Boulanger and enjoyed virtually free rein over his pursuits. He took the opportunity to study graphic arts—lithography and other methods of printmaking. He exhibited publicly for the first time in 1885 at the Salon des Artistes Français—the oil painting Portrait of...

Alfred BRUNEL NEUVILLE (1852-1941) Interior with cats Oil on canvas signed low right Old frame re-gilded with gold leaves Dim canvas : 54 X 75 cm Dim frame : 74 X 85 cm Alfred BRUNE...

Regent's Park, London by Camille Pissarro (1830-1903) Watercolour on paper 16.5 x 24.5 cm (6 ¹/₂ x 9 ⁵/₈ inches) Inscribed, signed and dated lower left, C.Pissarro 1890 Camille Piss...

Paul W. Bartlett Sculpin Fish, 1896 Signed on base: PWB ’96 Stamped on base: SF Bronze 4 3/4 H. x 10 W. inches Known as a leading Beaux-Art sculptor, Paul Wayland Bartlett began his...

Signed symbolist figure in landscape oil on original canvas circa 1890 by French painter Edmond Francois Aman-Jean. The work depicts a lone woman carrying a load on a rural path. In ...

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

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...

Classic Vanity Fair "Spy" aka Sir Leslie Ward portrait of HRH The Crown Prince of Denmark published 1895 from the VF folio Princes No.18 Print Sz: 14 1/2"H x 8 5/8"W Frame Sz: 20"H...

Lithograph printed by Albert Berger, Vienna. This design "was considered very advanced in 1899, with its large scale portrayal of the motif and the almost complete renunciation of interior drawing. The silhouette of the body is in mysterious contrast to the realistically portrayed head and hands. The unwavering gaze of the woman underlines the symbolism of the design: the Norn [ancient Norse goddess of fate] with the hour-glass and snake-ring embodies the eternal circle of life and the running out of time" (Vienna Secession, Denscher, p. 45). As the poster was originally used in 1899, the waning sand in the hourglass quite naturally can be assumed to be the coming of the end of the century. KOLOMAN MOSER: Instead of applying his flair and art education to paintings, Koloman Moser embodied the idea of Gesamt Kunstwerk (all-embracing art work) by designing architecture, furniture, jewelry, graphics, and tapestries meant to coordinate every detail of an environment. His work transcended the imitative decorative arts of earlier eras and helped to define Modernism for generations to come. Moser achieved a remarkable balance between intellectual structure (often geometric) and hedonistic luxury. Collaborating with Gustav Klimt and Josef Hoffmann, the artist was an editor and active contributor to Ver Sacrum, (Sacred Spring), the journal of the Viennese Secession that was so prized for its aesthetics and high quality production that it was considered a work of art. The magazine featured drawings and designs in the Jugendstil (Youth Style) along with literary contributions from distinguished writers from across Europe. It quickly disseminated both the spirit and the style of the Secession. In 1903 Moser and Hoffmann founded and led the Wiener Werkstatte (Viennese Workshop) a collective of artisans that produced elegant decorative arts items, not as industrial prototypes but for the purpose of sale to the public. The plan, as idealistic then as now, was to elevate the lives of consumers by means of beautiful and useful interior surroundings. Moser’s influence has endured throughout the century. His design sensibility is evident from the mid-century modern furniture of the 1950s and ‘60s to the psychedelic rock posters...

The scene is set in a luxuriant and blossoming garden-on which we can see a pergola vine training and an ionic column-outlined with fast and wide brush strokes of faint and pastel colours. In some parts of the background is revealed the preparatory layer, because it’s unfinished, but we can presume the presence of a light blue sky with some clouds, deducing it from a confrontation with the left side, where the sky was started. In the foreground a boy dressed up with a style reminding medieval echoes looks like observing a flower or a small animal that he’s holding, as the position of the fingers-that seems caressing something-make suppose. It's signed on the right side: MG. (Michele Gordigiani). The physiognomy, the expression and the hairstyle recall Edoardo Gordigiani...

THUILLIER, Colonel Henry Ravenshaw. Railway Map of India. Railways Brought up to October 1895. Scale 1 Inch = 48 miles or 1:3,041,280. [Calcutta], Published under the direction of Colonel H. Thuillier, R.E., Surveyor General of India, October 1890. A comprehensive railway map of British India, including the subcontinent and Burma, also displaying the main road networks, navigable canals, steamship routes, and telegraph connections across the peninsular. This publication by the Survey of India Office includes a useful ‘References’ key giving information on the differing gauges in use across the region, and a colour code highlighting the lands under direct British administration in pink, ‘Tributary States’ in yellow and ‘Independent & Foreign Possessions’ in Green. A notice records the price for colour as ‘Five Rupees’, as against ‘Four Rupees’ without. Prepared under the direction of Colonel Henry Ravenshaw Thuillier, who as his father before him, served as Surveyor General of India from 1887 to 1895. Here Baluchistan is shown as an enclave of the British Raj. This strategically important territory lies in modern-day Pakistan, and is situated around the natural fort town of Quetta located high in the Chiltan mountains. It came under direct British rule in 1876, securing the vital Bolan Pass though which British troops under the command of General Michael Biddulph passed during the Second Anglo-Afghan War...

Ernst Haeckel, 'Art Forms in Nature' (Plate 79 - Basiliscus), offset lithograph, 1899. Signed and titled in typeset, upper left. Titled 'Tafel 79 — Basi...

Cover illustration for Die Graphischen Kunste, Volume 22 Color lithograph, 1899 Signed with the artist's initials lower center (see photo) From: The Graphic Arts, Volume 22, 1899 ...

Medium: embossed engraving. Printed in 1897 and published in London for The Studio. Image size: 5 x 3 3/8 inches (130 x 85 mm). Sheet size: 11 x 7 5/8 inches (282 x 193 mm). This imp...

After Edward Henry Potthast July 7, 1896 Printed by W.B. Orcutt Co., NY Note: This image won an honorable mention in a poster contest sponsored by The Century in 1896. As a result...

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...

Ernst Haeckel, 'Art Forms in Nature' (Plate 80 - Pentremites), offset lithograph, 1899. Signed and titled in typeset, upper left. Titled 'Tafel 80 — Pentremites', upper right and 'Blastoidea. — Knospensterne', bottom center. Lithographic plate rendered and printed by master lithographer Adolf Giltsch, from the original 1899 publication, the full sheet, in excellent condition. Archivally sleeved, unmatted. Image size 11 x 7 7/8 inches; sheet size 14 1/4 x 10 1/2 inches. ABOUT THE IMAGE Pentremites, an extinct genus of stemmed, immobile echinoderms (forms related to the starfish), are abundant as marine fossils...

Antique American impressionist fall forest oil painting. Oil on canvasboard. Finely painted and housed in a period giltwood frame.

Signed impressionist gouache on board circa 1890 by sought after French painter Eugene Galien-Laloue. The piece depicts a depicting a bustling city scene at the Place de Bastille in ...

Medium: original lithograph. Printed in 1897 and published in London for The Studio. Image size: 5 3/4 x 11 inches (144 x 178 mm). Sheet size: 7 5/8 x 11 inches (194 x 283 mm). This ...

We are proud to showcase a captivating painting by Charlotte Wahlström, a petite yet enthralling painting measuring just 22.7 x 14.7 cm. The subject depicts a haystack situated on a ...

Medium: original lithograph. Catalogue reference: Way 88. Printed in 1897 and published in London for The Studio. Sheet size: 11 x 7 3/4 inches (282 x 197 mm). This impression on cre...

Notturno Magico Atmosfera magica Ernst Liebermann (1869 – 1960) è stato un pittore, grafico e illustratore tedesco. Nel 1893 vinse la medaglia d'oro ("den grossen Schulpreis") del...

Classic colour plate by 'Spy' aka Sir Leslie Ward for Vanity Fair depicting 'Benjie' published March 15, 1894 Print Sz: 15"H x 10"W Frame Sz: 20"H x 15"W Chromolithograph print by Spy. Born 1872. Educated at "Badger" Hale's House, Eton and Magdalen Oxford...

Bois Frissonnants, Ciel Etoile Color lithograph, 1893 Signed in pencil lower right Edition: 100 (90/100) Published by Andre Marty in L'Estampe Originale, Paris, with their embossed s...

Antique American landscape oil painting. Oil on canvas. Framed. Image size, 11L x 9H.

This stunning British Victorian portrait oil painting is by noted female artist Annie Louisa Swynnerton. The sitter is Emma Woods, nee King (1806-1896). Emma was the wife of Samuel ...

Medium: original lithograph. Printed in 1897 and published in London for The Studio. Sheet size: 11 x 7 3/4 inches (282 x 199 mm). This impression on cream wove paper is embossed wit...

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...

This superb British Victorian portrait oil painting is by much noted and exhibited female artist Maud Porter. Painted circa 1890 it is a seated portrait of a young woman and her terr...

Oil on canvas "Cupid" circa 1900 after Anthony van Dyck additional info: Title: cupid Style: baroque Medium: oil on canvas Signature: unsigned Provenance: private collection Canvas...

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....

Original antique train travel poster for Normandy and Brittany by Western Railway - Normandie & Bretagne par Chemin de Fer de l'Ouest - featuring a great Art Nouveau design depicting...

"Exceptional Oil On Canvas "female Nude" Otto Scholderer (1834-1902)" Franz Otto Scholderer (1834 - 1902) was a German painter. His work is rooted in Romanticism, with influences fro...

Edition of 100 prints, not signed. One of the most celebrated graphic works of Renoir, showing his son, the future Director Jean Renoir. Belogs to the suite “L’Album d’estampes orig...

Henri Rivière's circa 1895 creation for "Le Théâtre du Chat Noir: L'Enfant Prodigue" stands as a whimsical masterpiece that invites us to step into the magical realm of Parisian caba...

Signed and dated figurative oil on canvas by English Pre-Raphaelite painter John Edward Brett. In 1896 John Brett and his wife Mary went to Paris, the first time the artist had been ...

Antique American impressionist seascape oil painting by Paul Bernard King (1867 - 1947). Oil on canvas. Signed. Framed.