1890s Art

Outstanding, big painting, realized by A. Varucca in 1891. Oil on canvas. it depicts a noblewoman in evening dress with a beautiful harp and a fan.  Hand signed and dated lower left....

This rare original 1894 poster by Henri de Toulouse-Lautrec, created for the Théâtre de l’Œuvre, serves as both program and artwork for Le Chariot de Terre Cuite (The Little Clay Car...

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...

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...

Jules Chéret Lidia (Alcazar d'été), 1895 Stone ithograph Printed signature in the plate On vellum Size 39 x 29 cm (c. 15.3 x 11.4") INFORMATION : Plate 25 of "Les Maîtres de...

Antique American school modernist landscape sunset painting. In excellent original condition. Handsomely framed in a giltwood molding. Excellent condition, ready to hang and enjoy....

Medium: lithograph (after the poster). Printed in 1897 on smooth wove paper and published in Paris by Librairie Nilsson. Image size: 9 3/8 x 6 3/4 inches (238 x 173 mm). Sheet size: ...

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...

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...

Oil On Canvas, Hunting Dog by Alexander Clarys Belgian School Terrier Hunting Dog , Exceptional paintings seen the large format, sold with the frame. Alexandre Clarys, born in Bruss...

"Retour (L'Estampe Moderne I)" is a color lithograph by Georges de Feure. It features a woman with red hair in an environment of flora and fauna with muted colors and the Art Nouveau...

In the golden twilight of the 19th century, when print culture merged with the rising tide of decorative modernism, Alphonse Mucha emerged as a visionary who would forever redefine t...

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...

George Riecke (1848–1930) Pastoral Landscape with Sheep Oil on canvas, 26 × 46 inches (32 × 52 inches framed) Signed lower right George Riecke’s pastora...

"Morning Awakening" from the series "The Times of the Day" Original lithograph Signed "Mucha" and dated "99" for 1899, at the lower part of the plate. There is no hand-written signa...

Edwin Child Hillside Landscape, 1896 Signed and dated lower right Oil on canvas 18 x 28 inches Edwin Burrage Child was a prominent New England portraitis...

David Bates A very traditional English oil painting by the highly collected artist David Bates. It is in a gold leaf frame Canvas Size: 24 x 36" (61 x 91cm) Outside Frame Size: 31 x...

Henri Bellery-Desfontaines Mysterious Love, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Lithogr...

This luminous 19th century oil on canvas captures a serene woodland path dappled with golden afternoon light. The artist’s masterful brushwork conveys both the weight and texture of ...

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 7 inches (235 x 170 mm). Sheet size: 12 1...

Anton Nelson (i.e. Antoine Joseph van den Kerckhoven) (1849 Brussels - after 1910 ibid.), Bust of a young woman, c. 1890. Patinated bronze on cast base, 30 cm (total height) x 20 cm ...

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

Medium: original etching and drypoint. Executed in 1895; catalogue reference Delteil 24. This impression on laid paper was printed in 1895 for Gustave Geffroy's "La Vie Artistique". ...

Nils Hans Christiansen (1850-1929) Denmark Winter Landscape With an Old Tree oil on canvas late 19th century signed canvas dimensions 15.94 x 12.79 inches (40.5 x 32.5 cm) frame 2...

This evocative evening view of Visby by Axel Lindman captures Visby in the warm, fading light of the setting sun. Rendered with atmospheric sensitivity, the silhouette of Visby’s med...

Alphonse Mucha (Czech, 1860-1939) Lorenzaccio Theatre De La Renaissance. Printed: 1896 Printed By: F. Champenois, Paris Signed in plate; Mucha, F. Champenois, Paris Lithograph paper ...

François Maurice LARD Paris, 1864 – Paris, 1908 Portrait of the actor Raphaël Duflos as Ruy Blas Oil on canvas 55 x 38 cm (67 x 49 cm with the frame) Signed and dated top right “FM L...

The Highland Pathway by ​​Harry Sticks (British, 1867-1938) signed oil on canvas, framed in elaborate gilt swept frame dated (18)96 framed: 18 x 14 inches canvas: 15 x 11 inches Prov...

Signed oil on panel seascape circa 1890 by Belgian realist painter Alfred Emile Leopold Stevens. The work depicts sail boats at sea under a cloudy sky. Signature: Signed lower left ...

Signed oil on board landscape by French impressionist painter Maximilien Luce. The work depicts a view of rolling French countryside on a summer's day with white clouds contrasting t...

Edition of 100 prinst on verge crème, numbered and signed by the artist in pencil. Hand signed. Full margins. Belonging to the suite “L’Album des peintres-graveurs”. Ref. Cat. Cai...

Antique American realist cow farm landscape oil painting. Oil on canvas. Framed. Measuring: 29 by 41 inches overall, and 24 by 36 painting alone.. In excellent original condition. ...

This original lithograph, published in 1896 as Plate 23 in the Les Maîtres de l’Affiche series, was created by French artist Maurice Réalier-Dumas (1860-1928). Known for his elegant ...

F. Walters (English, 19th Century) An English Winter Landscape at Dusk Oils on canvas, signed lower left. Circa 1890. Presented in a hand-carved English swept frame. This evocative ...

Johan Peter von Wildenradt (1861-1904) Title: Sea View from Menton, Côte d'Azur, France Wildenradt was born 1861 in Helsingør, Denmark. He studies art at the School of Fine Arts in Copenhagen under Laurits Tuxen...

Beautifully painted sunset on the river with a single figure in a punt and cattle crossing by the American artist, George Riecke. Most likely a New Orlea...

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...

Head Portrait of a Terrier Dog by W. Mitchell (English, late 19th Century) oil on canvas, unframed canvas: 12 x 10 inches provenance: private collection, UK condition: very good and ...

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 ...

Outstanding English Victorian 19th century Harvest landscape. Thomas Simon Dingle was the son of Thomas Dingle (1818-1904), known as a London landscape painter, but who, according t...

1899 Original Print by Mucha Bières de la Meuse Les maitres de l'affiche pl 182 Les maitres de l'affiche pl. 182 - Bar le duc - Aux caves du roy S...

William Frank CALDERON Signed and dated 1891 oil painting. A beautifully painted painting of a racing horse with its companion pony used to keep it calm and not lonely. Picture Size:...

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...

Signed and dated oil on board landscape by American impressionist painter Robert William Vonnoh. This stunning piece depicts red and orange wildflowers. This work would have been exe...

'His First Suit,' a large Victorian oil painting, signed 'Fred Morgan' English, c.1899 Frame: Height 109cm, width 133cm, depth 8cm Canvas: Height 92cm, width 116cm, depth 2.5cm Executed in oil-on-canvas, and mounted in a carved giltwood frame, this beautiful English painting, titled 'His first suit,' is by the late Victorian artist Frederick Morgan, an artist working in a similar style to that of the more well known Arthur John Elsley...

This rare poster from 1897 was created by Alphonse Mucha (1860-1939) for the French biscuit brand Lefèvre-Utile. The image shows a beautiful woman holding a plate of wafers that she ...

This captivating English Victorian 19th-century landscape by Henry Manders masterfully captures the timeless beauty and industrious spirit of rural life during the harvest season. Ma...

5055 Antique German female oil portrait in a period frame on board Signed T.H.Fischem Berlin 91 Image size 19.5x16.5"

Oil on canvas painting by the American artist, Edmund Darch Lewis. Signed lower right and dated, 1891. Several small punctures which will be professionaly restored. Old reline of ca...

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...

il dipinto senza la cornice in legno finemente decorata a ornato vegetale in pastiglia e dorata misura 35 x 27 cm senza cornice, è firmato e datato: E. Meyer 1892. La scena si svolg...

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

Wilhelm Albermann (1835 Werden an der Ruhr - 1913 Cologne), The Blacksmith of Solingen, after 1895. Bronze-color patinated zinc cast on plinth, 47 cm (height) x 20 cm (width) x 16 cm (depth), weight 5.5 kg. Signed “Albermann.” on the plinth and identified as a cast by “AKT.[TIEN] GES.[ELLSCHAFT] GLADENBECK BERLIN”. Dedication on the front: “Mr. Ing. F. Kuhlmann to the wedding. Management and officials of the Hannoversche Waggonfabrik. Aircraft construction department". - The zinc showing through in spots, the patina somewhat stained, the right upper arm under the sleeve retouched in black. - The Double-edged Sword - The figure is a reduction of Wilhelm Albermann's 1895 fountain figure of the armourer of Solingen, who has always been identified with the historical blacksmith Peter Hahn. In 1839, Karl Simrock wrote the poem “The Blacksmith of Solingen" and thus coined the legendary figure. The first and penultimate verses read: A blacksmith spoke to Solingen With every bayonet, That came to his diligence: "Oh, that Fritz had it!" The war took its course, Many battles were fought, Which often made him fearful and anxious In his soul. The blacksmith had given up his trade to fight for Frederick the Great. Not least because of his strength and will to fight, the battles were won. With his fountain sculpture, Albermann has given the legendary blacksmith a figurative form and at the same time created a landmark for the city of Solingen, which was once famous for the art of sword forging and today still stands for the production of high-quality knives. During the bombing raid in November 1944, the fountain was destroyed along with the entire old town of Solingen. Only the head remained. The broad-shouldered blacksmith stands securely behind his anvil, his leather apron tied around him, and has just finished a sword blade with his own "weapon" - the blacksmith's hammer. His entire body shows the strength with which he wields the hammer, but also the strain of this activity, as evidenced by the wide open shirt, the somewhat 'untidy' apron, and especially the furrowed face. However, the blacksmith does not look at the finished work, but resolutely and at the same time thoughtfully into the distance, in line with the quoted verse from Simrock's poem that the battles "often made him fearful and anxious in his soul". There is certainly something melancholy in his gaze, fed by the knowledge of the necessity of forging swords and taking up arms and their deadly use - experiences Albermann had to make during his own war missions. The flowing full beard gives his gaze into the distance an almost prophetic character. In keeping with the craft of the perfectly formed art of blacksmithing, the detailed casting reproduces the respective materials depicted in perfect form: the leather apron convincingly conveys the impression of leather and lies - also in the back view - like a second formed layer over the body, while the shirt and trousers illustrate their own textile qualities. Due to its masterful execution and profound content, the “Blacksmith of Solingen”, which has survived in its cast reproductions, remains Albermann's most famous work to this day. About the artist The son of a carpenter, Wilhelm Albermann began an apprenticeship as a joiner, but then followed his artistic calling and trained as a sculptor in Elberfeld. In 1855, at the age of twenty, he was drafted into the army in Berlin, where he served until 1857. Albermann attended the Berlin Art Academy on the side and began regular studies after his service. While still a student, he completed commissioned works for his teachers August Fischer and Hugo Hagen. His first independent commissions followed, enabling him to establish a flourishing sculpture studio in Cologne in 1865. His artistic activities were repeatedly interrupted by military service, and he took part in the German-Danish War in 1864, the war against Austria in 1866, and the Franco-Prussian War in 1870/71. After his last war service, Albermann, already a respected artist, founded a commercial drawing school at the request of the city government, where he taught the modeling class and served as director until 1896. In 1890 he also worked for the "Society for the Promotion of Sculpture in the Rhineland and Westphalia". Albermann was one of the most prolific sculptors in Cologne in the second half of the 19th century. He created numerous monuments, fountains, tomb sculptures, architectural ornaments, and domestic statues. At its peak, his workshop employed up to thirty sculptors and stonemasons at a time. GERMAN VERSION Wilhelm Albermann (1835 Werden an der Ruhr - 1913 Köln), Der Schmied von Solingen, nach 1895. Bronzefarben patinierter Zinkguss auf gegossener Plinthe, 47 cm (Höhe) x 20 cm (Breite) x 16 cm (Tiefe), Gewicht 5,5 kg. Auf der Plinthe mit „Albermann.“ signiert und als Guss der „AKT.[TIEN] GES.[ELLSCHAFT] GLADENBECK BERLIN“ ausgewiesen. Schauseitige Widmung: „Herrn Ing. F. Kuhlmann zur Vermählung. Direktion und Beamte der Hannoverschen Waggonfabrik. Abt. Flugzeugbau“. - Punktuelles Durchscheinen des Zinks, Patina etwas fleckig, der rechte Oberarm unter dem Ärmel schwarz retuschiert. - Die Zweischneidigkeit des Schwertes - Die Figur ist eine Reduktion von Wilhelm Albermanns 1895 geschaffener Brunnenfigur des Waffenschmieds von Solingen, der seit jeher mit dem historischen Schmied Peter Hahn identifiziert wurde. 1839 hatte Karl Simrock das Gedicht „Der Schmied von Solingen“ verfasst und damit die legendäre Figur geprägt. Die erste und die vorletzte Strophe lauten: Zu Solingen sprach ein Schmied Bei jedem Bajonette, Das seinem Fleiß geriet: »Ach, daß der Fritz es hätte!« Der Krieg ging seinen Gang, Man schlug noch viele Schlachten, Die oft ihm angst und bang' In seiner Seele machten. Der Schmied hatte sein Handwerk ruhen lassen, um selbst für Friedrich den Großen zu kämpfen. Nicht zuletzt durch seine Kraft und seinen Kampfeswillen verliefen die Schlachten siegreich. Dem legendären Schmied verlieht Albermann mit seiner Brunnenskulptur eine bildliche Gestalt und schuf damit zugleich ein Wahrzeichen der Stadt Solingen, die einst für die Kunst des Schwerterschmiedens berühmt war und bis heute für die Herstellung qualitätvoller Messer einsteht. Beim Bombenangriff im November 1944 wurde mit der gesamten Solinger Altstadt auch der Brunnen zerstört. Einzig der Kopf blieb erhalten. Mit sicherem Stand und umgebundener Lederschürze steht der breitschultrige Schmied hinter seinem Amboss und hat gerade mit seiner eigenen ‚Waffe‘ – dem Schmiedehammer – eine Schwertklinge fertiggestellt. Seinem gesamten Körper ist die Kraft abzulesen, mit der er den Hammer führt, aber auch die Anstrengung dieser Tätigkeit, wovon das weit geöffnete Hemd, die etwas ‚unordentlich‘ arrangierte Schürze und vor allem das zerfurchte Gesicht zeugen. Der Schmied schaut aber nicht auf das vollendete Werk, sondern entschlossen und zugleich sinnierend in die Ferne, entsprechend der zitierten Zeile von Simrocks Gedicht, dass die Schlachten „oft ihm angst und bang‘ in seiner Seele machten“. Der Blick hat durchaus etwas Melancholisches, dass sich aus dem Wissen um die Notwendigkeit, Schwerter zu schmieden und zu den Waffen zu greifen und deren tödlichem Einsatz speist – Erfahrungen, die Albermann bei seinen eigenen Kriegseinsätze machen musste. Der wallende Vollbart verleiht dem in die Ferne schauenden Blick einen beinahe prophetischen Charakter. Dem Handwerk der formvollendenden Schmiedekunst entsprechend, gibt der detaillierte Guss die jeweils dargestellten Materialien in vollendeter Ausformung wieder: Die Lederschürze vermittelt überzeugend den Eindruck des Leders und liegt – auch in der Rückenansicht – wie eine zweite ausgeformte Schicht über dem Körper, während das Hemd und die Hose...

Medium: etching. Etched by E. Bolvin after Jean-Francois Millet and published in 1890 in an edition of 200. This is a nice impression printed on a japon-style paper. The image measur...

Vision Antique Color lithograph, 1899 Signed in the stone upper left (see photo) Titled in the stone lower right (see photo) Edition: unsigned edition about 200 (per Arwas) Published...

Robert D. Gauley (American, born Ireland, 1875-1943) Lake Como, Near Menaggio, 1892 Oil on canvas, 18 1/4 x 28 1/4 inches FRAMED: 25 3/4 x 35 inches Signed and dated at lower left: “Robert D Gauley/Menaggio 1892” Born in Carnaveigh County, Monaghan, Ireland in 1875, Robert Gauley was a portrait, figure and landscape painter. Around 1884, his family emigrated to the United States and made Boston their home. Gauley began his art training under Denman Waldo Ross in Cambridge, Massachusetts. In 1890, he received formal instruction at the School of the Museum of Fine Arts in Boston, studying under Edmund C. Tarbell and Frank W. Benson. In Paris, he studied at the Academie Julian under William Bouguereau and Gabriel Ferrier...

Fedor Encke (1851-1926) – German Full length Portrait of Jeannie Netter, standing in an interior, wearing a Burgundy Velvet Dress holding a Pink Rose Oil on canvas :85 ¾ x 50 ¼ in. Frame :103 x 67 ¼ in. Signed & inscribed ‘New York’. Circa 1910 Jeannie Netter was an American born musician and song-writer but was mostly merited for her sculpture having been taught by the Russian artist Bernstamm. Fedor Encke was born in Berlin, Germany in 1851. Younger brother of Erdmann Encke who was a sculptor, Encke was the illegitimate grandson of King Frederick Wilhelm II of Prussia and Mistress Wilhelmine Encke, Countess of Lichtenau. Fedor studied under Karl Gussow in Berlin and then went on to study in Rome and Paris. Although he set up a studio in Berlin during the 1880’s, he seems to have travelled regularly between Paris and New York painting many American Society sitters, including President Theodore Roosevelt. Encke’s portrait of Roosevelt dressed in Rough Rider uniform, originally hung in the dining room of the White House and is now at the Presidents place of birth, Segamore Hill, New York. This portrait was also published as the frontispiece of ‘The Rough Riders’ by C. Scribners&Sons, 1899. Encke was in Paris in 1902 and painted the two banking giants, John H. Harjes and J.P. Morgan both having their portraits painted at the same time. To try and finish Morgan’s painting Encke hired a young photographer named Edward Steichen to take Morgan’s picture as a kind of aid memoir to minimize the sitting time. This photograph and the painting that resulted from it caused a considerable stir because of the uncompromising pose of Morgan. The portrait became synonymous with the new capitalism. Encke seems to have been very well connected socially and painted for many members of the European nobility as a result. Encke died in 1926. Works in Museums: Segamore Hill, New York (Portrait of Theodore Roosevelt) National Portrait Gallery America; Smithsonian; Brooklyn Museum of Art; Philadelphia Museum of Art. Bibl: Book on Moses Ezekiel...

Original vintage.poster: TRUTH CHRISTMAS. NOTE that this is the turn of the century original poster and is Not a magazine cover. The poster for a gossip magazine focusing on New...

Color printed aquatint engraving with additional contemporary hand-colored details. Engraved by John Harris after the painting by Harry Hall. London, 1897. ...

The most important maritime center in the 19th century, Liverpool, had many advantages. Located on the England-facing west coast of the Irish Sea, the Mersey approach was wide, deep and actively associated with all aspects of shipping. It also faced northwest, as the distressed fleet in Witham's work has discovered on a stormy February 8, 1881. To the rescue of the 12 ships, the Pilot Schooner No.2, LEADER, signals the fleet to follow, using the pre-1900 commercial code signals "l w c". She has waited for the rising tide and keeps the line tight to the red starboard buoy, Q1, which marks the beginning of the Queen's Channel. Within a span of hours, all twelve ships were led successfully to their docks. Witham painted the scene in conjunction with the great acclaim the Pilots received in 1881, and it became so popular that he painted additional works marking the event over time. His local contemporary, Samuel Walters...