1890s Art

"From Ilsee, Princess of Tripoli Recto: "Last Kiss" Verso: "Union" is an original color lithograph by Alphonse Mucha. Exquisite double-sided color lithographs from "Ilsee, Princesse...

"From Ilsee, Princess of Tripoli Recto: "Visiting Women" Verso: "Departing Pilgrims" is an original color lithograph by Alphonse Mucha. Exquisite double-sided color lithographs from...

JOAQUÍN PALLARÉS ALLUSTANTE Spanish, 1853 - 1935 PLACE DE LA CONCORDE signed & located "J. PALLARÉS / París." (lower right) oil on canvas 13-1/4 x 18-...

Untitled Watercolor on paper, c,. 1890 Unsigned Provenance: Estate of the artist Image/Sheet size: 3 1/4 x 4 1/8 inches From Wikipedia "Francis Augustus Lathrop (June 22, 1849 – Oct...

Medium: original etching. This impression on laid paper was published in Paris in 1898 by Gazette des Beaux Arts. Image size: 5 1/2 x 7 5/8 inches (142 x 195 mm). Not signed. Condit...

Henri de Toulouse-Lautrec's "Divan Japonais, 75 rue des Martyrs" poster, created in 1896, is an emblematic example of the poster art of the period. It is part of the "Maîtres de l'Af...

Théophile-Alexandre Steinlen's "Lait pur de la Vingeanne stérilisé" poster, created in 1897 for Les Maîtres de l'Affiche in plate number 95, is an outstanding example of the poster a...

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...

"The Temptation of Saint Anthony" is an original etching by Fernand Cormon. This piece has the artist's stamp. The piece is signed in pencil by the artis...

Henri de Toulouse-Lautrec's "Moulin Rouge Bal La Goulue" poster, created for Les Maîtres de l'Affiche as plate number 122, is an outstanding example of the poster art of the period. ...

This delightful image iencourages the viewer to visit the lakeside community of Evian les Bains. In addition to it being the source of Evian Water, it ...

Woman On Bicycle is a Blue Pencil Drawing realized by Adolphe Léon Willette in 1890s. Good condition on a yellowed paper. Monogrammed, included a wh...

BENJAMIN WILLIAMS LEADER Canvas Size: 24 x 36" (60 x 90cm) Outside Frame Size: 31 x 43" (77.5 x 107.5cm) Benjamin W Leader is one of the most sought after Victorian landscape paint...

"Italian Landscape" is an original oil painting by Italian painter Pietro Barucci. The artist signed the piece in the lower left. This...

"Shared Rest" - an absolutely charming, fabulously painted, oil-on-canvas painting of three, Jack Russel Terriers nestled together on a bench or sofa, swathed in green fabric. Framed...

Charles Lewis Fussell (American, 1840–1909) These five undated, small grisaille illustrations of daily life in Hong Kong and Singapore are styli...

Original Cycles Omnium antique vintage French bicycle poster from the late 1880s-1890s. Printer: N. Weill, Paris, France. Archival linen backed and ready to frame. There was an area in the right-hand sky (creamish yellow) top area that had had some restoration. Touched up the border in the upper right corner. The poster was folded in half, with the fold mark restored during linen backing. Artist is: F. Capelli. Printer: Imp. N. Weill, Paris The image of a couple with their child on a bicycle ride out in the countryside of France, all in art nouveau clothing...

Beautiful poster by Pierre Bonnard for the art magazine l'estampe et l'affiche in 1897. Pierre Bonnard was an influential French painter of the Post-Impressionist movement. Born on O...

Discover this watercolor "Sunset Sailors" by Carl L. Lindqvist (1856-1941). Step into the enchanting world of the Swedish artist Carl L. Lindqvist with his captivating watercolor pa...

Untitled (Standing man with umbrella behind) Graphite on paper, c. 1890's Unsigned Provenance: Estate of the Artist Lucien Goldschmidt (1912-1992), noted art ...

Ada Stone, English Victorian landscape with Oak and Yes trees on a pathway. Ada Stone had a London address but was an East Midlands painter focusing her works on tranquil English river landscapes. She flourished between 1879-1904 and exhibited three works at the Suffolk Street, Society of British Artists. Ref: p.455 Dictionary of Victorian Painters (2nd Edition) by Christopher Wood. English Victorian oil on...

"Ilsee's Palace" and "The Princess's Creation" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were pages 67 & 68 of "...

"Departing Beauty" and "Dreams" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were pages 94 & 93 of "Ilsee, Princess...

After Pierre Auguste Renoir (1841-1919) Trois Esquisses de maternite (Three Studies of Maternity) Heliogravure with etching on velin paper, 1893 Unsigned as issued Edition 1000, there are also 100 on a different paper Note: The original red and white chalk drawing is in the collection of th Art Gallery of...

Impressionist watercolour on paper circa 1890 by French Neo-Impressionist painter Henri Edmond Cross. The work is a rear view study of three workers in standing and kneeling position...

Clémentine-Hélène Dufau's original Art Nouveau poster for "La Fronde" in 1898 is an artistic gem testifying to women's involvement in the ...

"From: Ilsee, Princess of Tripoli Recto: "Dream Woman" Verso: "Visions" is an original color lithograph by Alphonse Mucha. Exquisite double-sided color lithographs from "Ilsee, Prin...

"Going to Meet the Princess" and "Ilsee's Followers" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were pages 53 & 5...

Signed lower left and dated 1894. Edward C. Leavitt, born in 1842, has been described as "Providence, Rhode Island's leading still-life painter" in the late 19th Century. (Zellman...

Jeanne GOUY (Active between 1890 and 1904) Pastel Signed lower right "Jeanne Gouy" 66 x 82 cm (83 x 100 cm with the frame) Jeanne Gouy studied with the academic painter Jules Machard...

Retour Color lithograph, 1897 Signed in the stone lower left edge of the image (see photo) As published in "L'Estampe Moderne" L'Estampe Moderne appeared each month as a portfolio of...

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...

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...

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...

This is an original antique Still Life oil painting on canvas depicting a bouquet of a multicolor rose. Presented in a period ornate gold frame. Good condition. No visible signatu...

Well painted late 19th-century German genre painting. Often painted in the Munich area of Germany these highly desirable antique paintings are always of the finest quality. This is...

Henri A. Hebert was born in Geneva in the 19th century. Genre painter and son of Jules Hebert both belonging to the Swiss school. The Geneva museum prese...

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...

Description: Depicting a moody landscape in the New Forest, Hampshire. The foreground with a muddy path, leading toward the background of cattle and trees. In a beautiful period gilt wood frame, with beaded and cove decoration. Size: 37cm x 26.5cm unframed 43cm x 32cm framed Condition: Generally good condition, frame somewhat scratched and marked Biography: Frederick Golden Short...

Etched print in black on cream laid paper. Excellent condition.

Figural candlestick with a golden maiden on an iridescent form. This ceramic features a beautiful juxtaposition of the smooth texture of the woman against a psychedelic stone-like fl...

Tall Amphora vase with a floral wreath encircling the mouth, trailing down on two sides into light green and rose crackling, and finished with a linear "Dachsel style" relief in the ...

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...

French impressionist landscape, Barbizon forest, with river and cows at Sunset Boyle was a pioneering 19th-century British artist inspired by European Impressionist painters. The i...

Adolph Eduard Otto von Faber du Faur (1828 Ludwigsburg - 1901 Munich). Man sitting in the studio. Watercolour painting, 43 x 27 cm (visible size), 73 x 53 cm (frame), monogrammed at lower right, estate stamp. Upper right corner neatly repaired, small tear in the wall to the left of the sitter. - Thinking about art - About the artwork The sitter, an elderly man, is seated in a studio on a pedestal reminiscent of an academy hall. The earthy, dark tones give the scene a weighty quality. The lightest tones are found in the incarnate parts of the figure, which do not stand out from the other colours of the picture, but are linked to them. As a result, the sitter's face is both part of and the highlight of the colour references in the picture. The colour of the sitter's skin is reflected in his pink coat, while his white-grey hair matches the colour of the wall next to him. This almost monochrome wall surface, in turn, is connected across the portrait to the framed picture standing on the floor, which seems to have been erased by this correspondence with the empty wall surface. Through the palette, which is positioned directly behind the sitter's head, the reference to painting, which is already given by the studio space, is explicitly linked to the sitter, who thus seems to be contemplating the question of the meaning of art. This raises the question of whether Faber Du Faur, who had become lonely in his old age, might have painted a self-portrait here in his later years. In addition to the studio setting, the sitter's explicit reference to the palette and the fact that the picture was part of his estate, the only summary elaboration of the body suggests a self-portrait, while the representation of the face is concretised with the wide-open eyes typical of a self-portrait. This concentration on the face gives the impression of the artist's melancholy introspection, captured by the palette and related to the meaning of painting, whose dark character is reinforced by the concealment of the palette hanging on the right of the picture in the light tones so characteristic of Faber Du Faur. In the course of this resignation, Faber du Faur advises his son Hans, who has also become a painter: "Promise me one thing: never move to Munich, they'll kill you here!" Whoever the sitter may be, the references to painting make the portrait a resigned self-contemplation by Faber Du Faur, focused on art. About the artist After leaving school, Otto Faber du Faur entered the service of the Württemberg army, at the same time cultivating his artistic talent. In 1851, on the recommendation of his father Christian Wilhelm, who was himself a battle painter, he spent six months in Munich as an apprentice to Alexander von Kotzebue. In 1852 he was granted a year's leave of absence from military service to study battle painting in the studio of Adolphe Yvon...

Cottage by a River Scottish School, late 19th century signed by F. Mclvor oil on canvas, framed framed: 17.5 x 22 inches canvas: 15 x 20 inches provenance: private collection, UK con...

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...

Original antique food advertising poster for the Франко Русская Фабрика / Franco Russian Factory featuring a Belle Epoque style illustration o...

Paul Friedrich Meyerheim (1842 Berlin - 1915 ibid.). Sketch of a female torso with hands and an umbrella. Pencil on paper, 27.5 x 22.5 cm (visible size)...

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.

Beautiful Corrida poster monogrammed E.A.D. dating from 1890. Gran plaza de toros de Bayonne. Corrida - Sport - Basque Country Two major Hispano - Lande races - Navarrais novillos ...

A large French oil on canvas portrait of a dignitary from the Caucasus by Théophile Paul Marie Bérengier. The painting is signed and dated b...

Original poster for the North Pole, the first artificial ice rink in Paris. According to Japhet's poster, going to the North Pole is about seeing and being seen, with a little skatin...

Francis Dodd R.A. 1874-1949, was a British landscape and portrait painter and printmaker. After extensive travels in Europe he returned to settle in Manchester before moving to Black...

An antique American oil painting in its original period frame. This tonalist work features a stunning luminescent quality of the sun reflecting off a lake surrounded by trees. Thi...

"Young girl from Bou-Saada" by Louis-Ernest BARRIAS (1841-1905) A very fine bronze sculpture with a gilded patina. cast by SUSSE stamped "Copy right by Susse Frères 1893" Standing on its original natural wood base France 1893 height with the base 38,5 cm width of the base 33,5 x 33,5 cm Biography : Louis-Ernest Barrias (1841-1905) was a French sculptor . He came from a family of artists. His father was a porcelain painter and his older brother, Felix-Joseph Barrias, a recognized painter. Louis-Ernest Barrias entered the School of Fine Arts in Paris in 1858, he abandoned painting to move towards sculpture under the direction of François Jouffroy. In 1864, he won the Prix de Rome, on the theme of "The Foundation of Marseille", and was engaged on the site of the Paris Opera house. He later produced many sculpted works, most of them in marble. In 1881, Louis-Ernest Barrias was awarded a medal of honor of the fine arts and named knight of the Legion of Honor in 1878, then promoted officer in 1881 and commander in 1900. The artist replaced Auguste Dumont at the Institute in 1884, then succeeded Jules Cavelier as a professor at the School of Fine Arts, where, among his most notable students, there were Victor Ségoffin, Charles Despiau and Paul Landowski.

Antique American realist still life of corn and a bottle of corn whiskey. Oil on board. Signed. Framed. Image size, 5L x 7H.

Medium: original etching. Printed on laid paper in 1892. Plate size: 2 7/8 x 4 1/2 inches (72 x 114 mm). Signed in the plate (not hand-signed). Condition: the margin is narrow on t...