1890s Art

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...

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 ...

Beautiful poster by Louis Galice for the Bois de Boulogne flower festival for the victims of duty. Louis Galice was an excellent draughtsman, as well as a highly talented illustrator...

"Vaches au paturage sur les bords de la Seine (Cows Grazing on the Banks of the Seine)" is a pastel on paper by Alfred Sisley. The artwork is signed lower left, "Sisley". The framed ...

JOSEPH PENNELL (1857-1926) The Thames, 1894 Signed Aquatint Plate size 20.5 by 26.5 cm., 8 by 10 ½ in. (frame size 42 by 46 cm., 16 ½ by 18 in.) Pennell was born in Philadelphia where he studied at School of Industrial Art and the Academy of Fine Arts. In 1884 he was commissioned by the Century Magazine to supply a series of drawings of London...

Alexander Frenz (1861 Rheydt - 1941 Düsseldorf). Plant impression in Locarno. Gouache and watercolour. 35 x 23,5 cm (visible size), 49,5 x 38,5 cm (fra...

An antique American folk art painting in its original period frame. Featuring a man walking his dogs in the woods with a stunning s...

R.Ellis English late 19th century landscape of a Watermill by a Stream Original frame oils on card Signed and dated on the reverse and lower right. Ellis was a landscape painte...

W. Mitchell (late 19th Century) oil on board, unframed board: 12 x 10 inches inscribed verso dated 1893 after Sir Edwin Landseer provenance: private collection, England condition: ve...

Danseuses s'habillant (Laurence adjusting her hair and Mignon adjusting hre clothes) Drypoint & aquatint, 1893 Signed in the plate (see photo) After the division of the plate into A. 81 (as here) and A. 82 Divant la glace Editon 100 printed on velin paper Issued by Pellet in the set, Les Petites du Ballet, Gustave Pellet editeur, 1893 (13 plates), second state (b) without remarque Reference: Arwas 81, top portion of the plate vii/VIII Plate/Image size: 6 x 8 7/16 inches Condition: excellent Louis Auguste Mathieu Legrand (29 September 1863 – 1951) was a French artist, known especially for his aquatint engravings, which were sometimes erotic. He was awarded the Légion d'honneur for his work in 1906. Life Legrand was born in the city of Dijon in the east of France. He worked as a bank clerk before deciding to study art part-time at Dijon's Ecole des Beaux-Arts. He won the Devosge prize at the school in 1883.[2] In 1884 Legrand studied engraving under the Belgian printmaker Félicien Rops. Legrand's artworks include etchings, graphic art and paintings. His paintings featured Parisian social life. Many were of prostitutes, dancers and bar scenes, which featured a sense of eroticism. According to the Hope Gallery, "Louis Legrand is simply one of France's finest early twentieth century masters of etching." His black and white etchings especially provide a sense of decadence; they have been compared to those of Henri de Toulouse-Lautrec, though his drawings of the Moulin Rouge, the can-can dance and the young women of Montmartre preceded Toulouse-Lautrec's paintings of similar scenes. He made over three hundred prints of the night life of Paris. They demonstrate "his remarkable powers of observation and are executed with great skill, delicacy, and an ironic sense of humor that pervades them all." Two of his satirical artworks caused him to be tried for obscenity. The first, "Prostitution" was a symbolic drawing which depicted a naked girl being grasped by a dark monster which had the face of an old woman and claws on its hands; the second, "Naturalism", showed the French novelist Émile Zola minutely studying the thighs of a woman with a magnifying glass. Defended by his friend the lawyer Eugène Rodrigues-Henriques (1853–1928), he was found not guilty in the lower court, but was convicted in the appeal court and then given a short prison sentence for refusing to pay his fine. Legrand was made famous by his colour illustrations for Gil Blas magazine's coverage of the can-can, with text by Rodrigues (who wrote under the pseudonym Erastene Ramiro). It was a tremendous success, with the exceptional quantity of 60,000 copies of the magazine being printed and instantly sold out in 1891. In 1892, at the instigation of the publishing house Dentu, Legrand made a set of etchings of his Gil Blas illustrations. The etchings were published in a book, Le Cours de Danse Fin de Siecle (The End of the Century Dance Classes). Legrand took a holiday in Brittany, which inspired him to engrave a set of fourteen lithographs of simple country life called Au Cap de la Chevre...

Ernst Albert Fischer-Cörlin (1853 Körlin - 1932 Persante). Feeding the Kittens, 1893. Pencil on painting cardboard, 38 x 29 cm. Signed and dated by the artist at lower left "E[rnst] A[lbert] Fischer=Cörlin 1893". - Lightly stained, somewhat dusty and minimally foxed. - Little cat mother - About the artwork Daughter, mother and grandmother gather in the sunlight to feed a litter of kittens. The mother and grandmother hold the lively, playful animals in their arms, while the young girl feeds two of the four kittens with cookies. There is also a small bucket of milk and a bowl of milk. The women and the girl watch as the cute, still blind animals eat. It is a scene taken from everyday life, but it also has an allegorical dimension, bringing maternal care into the representation. Three generations are represented, with the grandmother and the mother already mothers. They not only offer the kittens to the youngest, but also proudly observe the maternal care that the youngest gives to the kittens. Like the kittens, she will grow up and become a mother herself, so the image is also an allegory of life's ever-new beginnings. In keeping with this, the morning sun shines into the picture from the right. Fischer-Cörlin has masterfully worked out the quality of the light, with its light and dark areas, with the pencil used...

The Calm Sea Oil on mahogany panel, 8 7/16 x 6 1/2 inches Signed lower left (see photo) This work was inspired by Haskell's frined, teacher and mentor, James ...

Beautiful poster from 1899 for the Bal Spectacle du Syndicat de la Presse Marseillaise. Show - Press Tourangelle Tours

Standing Lincoln: The Man, Lincoln Park, Illinois Watercolor and graphite on paper , c. 1895 Signed in script lower right (see photo) The scene depicts the Augustus Saint-Gaudens bro...

Beautiful poster by Charles Toché for Chemins de fer d'Orléans in 1892: Bains de mer de Bretagne - Pornichet - Bonne source Charles Toché, born July 26, 1851 in Nantes and died Augu...

R.Ellis English late 19th-century landscape of a Watermill by a Stream and a bridge. Original frame oils on card Signed and dated on the reverse and lower right. Ellis was a la...

Beautiful advertising poster from 1893 for Lefèvre-Utile and Néva Russian cookies. It was in 1882, with the arrival of son Louis Lefebvre-Utile, that LU began to expand and mechanize...

Medium: original lithograph. This impression is from the rare 1897 portfolio "Art et Nature" by Leon Roger-Miles, published in Paris by Boudet in an edition of 525. Printed on Marais...

Circle of Fred MORGAN (1847-1927) c1890 A sensitively painted portrait, possibly a study for a larger work, of a young country girl. Indistinctly signed ** Morgan, possibly Fred. Unfortunately Fred signed in a number of different ways depending on the grandeur of his work. However, a consistent element was the colour, a reddish brown similar to the colour of the signature on this painting. I can offer no provenance with this painting, so I am selling at as circle of Morgan rather than actually by him. “Frederick Morgan ROI was an English painter of portraits, animals, domestic and country scenes. He became known for his idyllic genre scenes of childhood. Morgan was born in London to John Morgan and his wife, Henrietta Hester Clare. His father was a successful genre artist sometimes known as 'Jury Morgan' (after one of his paintings The Gentlemen of the Jury). At the age of 14, he was taken out of school by his father who then tutored him in art. At the age of 16, while still studying with his father, his first picture, The Rehearsal, was exhibited at the Royal Academy, and, after a hiatus of several years, his paintings were shown there regularly. For a while he worked as a portrait artist for an Aylesbury photographer; this training proved to be crucial as it "taught him how to observe closely and to give the greatest attention to detail." Eventually he turned to other subjects for his art, in particular idyllic genre scenes of country life and childhood. For many years, starting in 1874, Thomas Agnew & Sons' purchased all the work he produced. Although an excellent portrait artist, Morgan had problems in depicting pets and barnyard animals - he enlisted the aid of either Arthur John Elsley...

Beautiful tonalist oil on canvas painting by the well known American artist, Royal Hill Milleson. Signed lower right. Milleson moved to Boston in 1...

A magnificent 1895 color print by R.L Emerson 🇺🇸 He designed many of the covers for Atlantic, an American monthly cultural magazine founded in 1857 in Boston, Massachusetts. Liter...

Felician Myrbach (1853-1940) The Musketeers bears the monogram "M" on the lower left Ink and pencil on paper 26,7 x 23,7 cm in good condition, In a mod...

Medium: original etching. Published in Paris in 1897 by Gazette des Beaux Arts. Catalogue reference: Sanchez & Seydoux 1897-13. A lovely impression in sanguine ink printed on cream w...

A beautiful signed and dated 1893 oil on board by Auguste Grass-Mick, the French impressionist painter who was friends and worked with Edgar Degas and Henri Toulouse-Lautrec. He pain...

Felician Myrbach (1853-1940) Pour Guitare solo, For Solo Guitar bears the monogram "M" in the middle left, titled in lower left Ink on paper 29,8 x 18,8 cm in good condition, traces...

Felician Myrbach (1853-1940) L'Araignée du Prophète, the spider of the Prophet bears the monogram "Mb" on the middle left, titled in the middle Ink on paper 31,8 x 21.9 cm in quite ...

Work on paper Golden wooden frame 72 x 61 x 7 cm

Late 19th century Scottish Highland Lock landscape, with Cattle watering E.Mulready was almost certainly a pseudo name for William Langley a well known English painter of landscapes...

The oil painting size is 13"x9.75". Classic work of Sarkis Diranian, with very smooth and artistic brush strokes. It is signed in the lower right corner. ...

William Arthur Breakspeare 1856-1914, typically dressed in Civil War costume a favourite theme throughout his career.

Antonin MERCIE (1845-1916) French Belle Époque Portrait A stylish portrait of a fashionable young woman dating to the Belle Époque period. Signe...

Literature: Manuel Carrera, “Una ritrattistica manciniana nelle collezioni della Gnam,” Belle-Arti 131, no. 2 (2013), p. 44 (color illus.)

RENOIR, PIERRE AUGUSTE (1841 -1919) "La Danse à la Campagne", 2nd plate (The Country Dance (second plate)) Delteil 2, Stella 2 Soft-ground Etching in black ink, c. 1890 Only State...

In this atmospheric Maine harbor view, the grey tone of the fog enveloping the sea and sky lend an air of realism to a striking composition. Granite and green are the colors of the Maine Coast...

FRANCISCO DOMINGO MARQUÉS Spain, 1842 - 1920 REST IN THE TAVERN signed, located & dated “Domingo / PARIS / 1890” (lower left) oil on wood panel 9-1/2 x 10-1/4 inches (24 x 26 cm.) Francisco Domingo Marqués was a Spanish painter born in Valencia in 1842. He was a self-taught artist who began his career as a decorative painter before turning to portraiture, genre scenes, and landscapes. Marqués gained recognition for his realistic depictions of everyday life and his ability to capture the essence of his subjects. In 1864, Marqués moved to Madrid and joined the Royal Academy of Fine Arts of San Fernando, where he studied under Federico de Madrazo. He quickly became a prominent member of the Madrid art scene and exhibited his works at numerous prestigious exhibitions, including the National Exhibition of Fine Arts and the Paris Salon. Marqués was known for his use of vibrant colors and his masterful handling of light and shadow. He painted a wide range of subjects, including religious scenes, still lifes, and landscapes, but he is perhaps best known for his portraits of Spanish royalty...

Artist: Paul Rodolphe Joseph Dujardin (French, 1843-1913) Title: "Portrait de Mlle L... (Portrait of Miss L...)" Portfolio: Gazette des Beaux-Arts *Signed by Dujardin after Lehmann i...

Bruno Paul (1874 Seifhennersdorf - 1968 Berlin). Self-portrait, c. 1895. Pencil on paper, mounted on cardboard, 53.5 x 35 cm, signed 'Paul' at upper left. - Homo nudus - About the artwork In a mirrored situation, Bruno Paul looks at himself in the picture. While his body, which is the size of the format, is shown in profile parallel to the picture, he turns his head into the picture in order to become aware of himself there, whereby the lighter use...

Felician Myrbach (1853-1940) Le Cadeau de Sahagun, The Gift of Sahagun bears the monogram "M" on the lower left, titled on the lower left Ink on paper 29,8 x 18.7 cm In a modern fra...

Very well executed original watercolor and gouache marine painting on archival paper by the well known American artist, Edmund Darch Lewis. Signed lower left and dated 1899. Conditio...

Original antique food advertising poster for Chocolat Poulain Goutez et compare / Taste and Compare featuring an illustration of a young boy i...

Alfred Stieglitz. Wet Day on the Boulevard (Paris), from Picturesque Bits of New York and Other Studies. Camera Notes. 1897. Vintage photogravure. 6 x 11.25".

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...

Artist: August Töpfer Work: Original Watercolor painting, handmade artwork, one of a kind Medium: Watercolor on Satin Paper Year: 1834-1911 Style: Classic Art Title: Tower, Size: 12...

Work on canvas Molded frame in plaster and gilded wood 59 x 49.5 x 5 cm

Saint-Tropez-Le Port Color lithograph, 1897-1898 Signed in pencil lower right (see photo) Numbered in pencil lower right: No. 68 (see photo) From: Album des Peintres-Gravures, 1898 Published by Ambrose Vollard, Paris Printer: Auguste Clot, Paris Edition: 100 Numbered: No. 68 Reference: Una Johnson, Vollard, No. 188, reproduced pale 35 Kornfeld & Wick, No. 19 b/b Condition: Very fresh colors One tiny spot in the upper margin above the image (see photo) Image size: 17 1/8 x 13 inches Frame size: 32 3/4 x 27 1/4 inches Archival framing by Galerie Maximilian, Aspen, CO Museum glass 22K Gold leaf hand carved frame...

Signed lower right, 'Laurence Bell' (British, died 1916) and painted circa 1910. Bell studied at the Bushey School of Art in Hertfordshire in England. His preferred subject was land...

Louis Tinayre (1861-1942) An encampment of journalists in Chambéry, signed and titled lower left "Campement de journalistes à Chambéry" Ink on paper In quite good condition, a a visible vertical fold in the centre, some stains and foxings 21 x 29 cm Framed : 33.7 x 45.5 cm Louis Tinayre's background and adventurous life obviously shed light on this humorous and detailed scene. He shows a remarkable sense of observation, capturing as a journalistic illustrator this scene of extraordianarian life. We don't know for the moment why these journalists had to improvise a camp, probably in a hotel room. No doubt it was to cover a trial or a sensational news item that had filled all the hotels in the city with journalists who had flocked for the occasion. In any case, what interests Tinayre as an almost ethnographic observer is this camp of journalists, of which he makes a tender and comical scene. One understands him better when one knows how he could be fascinated in the same way by the territories of Madagascar, the North Pole or the Far West that he painted and drew. Louis Tinayre was born on 14 March 1861 in Neuilly-sur-Seine. His mother, Victoire Tinayre, was a teacher and a member of the International Workers' Association. Louis was the son of a Communard couple. His father, Jean Joseph, known as Jules Tinayre (Issoire 1821 - Paris 1871) was shot during the Bloody Week. His mother, Victoire Tinayre, fled with her children. Louis was the first to be sent to Hungary, and the rest of the family (including his brother Julien) joined him there later. He studied Fine Arts at the Hungarian University of Fine Arts in Budapest. Returning to Paris in 1880 (after the amnesty), Louis Tinayre assiduously frequented Le Chat noir, where he met the positivists and Adèle Jacomet (Buenos Aires 1867-1946), whom he married in 1888. He became an animal painter and press illustrator and was sent by Le Monde Illustré to cover the second expedition to Madagascar (then under French protectorate) in 1895. He stayed there, fascinated, for six months and produced numerous drawings and photographs. Back in France, he created eight 5 x 4 meters dioramas presented at the National and Colonial Exhibition in Rouen in 1896. He returned to Madagascar in 1898 to prepare the creation of a giant panorama representing the surrender of Antananarivo in 1895. The Malagasy pavilion at the 1900 Universal Exhibition in Paris allowed him to admire the dioramas (on the ground floor) and the panorama (on the first floor). On his second trip, Tinayre took a Lumière cinematograph with him to document the daily life of the Malagasy people, no doubt to facilitate the design of the vast panorama. These short films were donated to the Cinémathèque française in 2009 by his grandson, Alain Tinayre. One of the admirers of Tinayre's drawings, watercolours, paintings and photographs at the Universal Exhibition was Prince Albert I of Monaco: from 1901 onwards, Tinayre accompanied him on his hunts, painting scenes in North Africa, Russia, the Far West (Wyoming) and the North Pole. Tinayre, the official painter of the Prince's scientific expeditions, left his name to a glacier. Together with the painter Alexandre Jean-Baptiste Brun, he painted the four murals in the large amphitheatre of the Oceanographic Institute in Paris. Louis Tinayre painted the figures while Alexandre Brun...

Returning to a familiar subject, Renoir captures fellow painter Berthe Morisot's daughter and her cousin in a sweet moment. Morisot, one of the few woman Impressionists to figure as ...

EUGÈNE BOUDIN (HONFLEUR, 1824 – DEAUVILLE, 1898) Entrée du port de Saint-Valéry-sur-Somme 1891 Huile sur toile 35 x 57 cm. Signé « E. Boudin » (en bas à ...

A fine and Large oil on canvas painting by Karl Julius Rose (1828-1911), "Norwegian Fjord", signed and dated 1890. The artist also painted under the names;...

"Fernand Clément & Cie" framed lithograph poster by Pal (Jean de Paléologue.) Inscription on side reads Imp. Paul Dupont, 4 Rue du Bouloi, Paris. Recreation 84 Wannabe Affiche, Ltd. ...

A beautiful and rare example of a figurative work by the French post-impressionist Ferdinand du Puigaudeau

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...

Ex Libris - Wim Rengelink is a Modern Artwork realized in 1989. B/W woodcut on paper. The work is glued on cardboard. Total dimensions: 20x 15 cm. Excellent conditions . ...

Louis Adolphe TESSIER (Angers 1858 – Angers 1915) Portrait de femme sous une treille et au panier de pêches Pastel H. 115 cm ; L. 75 cm Signé en bas à droite et daté 1890 Peintre a...

"Troupe de M'lle Eglantine" 1974 reproduction of an 1896 poster by Henri Toulouse-Lautrec produced under the auspices of the Lautrec Museum in Albi, France. Authenticated with museum...

Artist: Carl Reichert  Title: Christmas Year c. 1890 Edition Details: 12-color archival pigment print on 100% cotton fine art paper, available in the following sizes: 11x14 unsig...

'Tempt me Not' by Frederick French (British flourished 1883-1916) signed with monogram lower left, signed and dated 1896 to the reverse, titled to frame plaque oil painting on canva...