19th Century Art

Grand tour circa 1860s bronze of the Wrestlers. Rich fine dark brown patina. Marked "F. Barbedienne Fondeur." The Wrestlers also known as The Two Wrestlers, The Uffizi Wrestlers...

Kennel Companions British School, late 19th century Kathleen Lee, after the painting by Edwin Landseer signed oil on canvas, unframed Canvas: 20 x 16 inches Provenance: private colle...

Charcoal and white chalk highlight on paper Label of J.M Maas Gallery (verso) 36cm × 28cm (54cm × 43cm framed) Etty, a student of Thomas Lawrence, R.A., was the first significant Br...

Artist: Frederick Goodall (English, 1822-1904) Title: "Susannah (Without the Elders)" *Monogram signed and dated by Goodall lower left Year: 1885 Med...

Artist/ School: Henry Cooper, British late 19th century Title: Loch Scene in the Scottish Highlands at Sunset Medium: signed oil painting on canvas , fr...

Medium: engraving (after the painting). Printed on Holland-style wove paper, from the rare large size deluxe portfolio entitled "Picturesque Views on the Southern Coast of England", ...

John Cousins Lawrence Croquet Signed lower right and on the overlap Oil on canvas 25 x 30 inches

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...

Terriers Ratting in the Barn by Frank Cassell (British 1862-1908) signed and dated 1889 oil on canvas, framed framed: 14.75 x 19.75 inches canvas : 12 x 16 inches Provenance: private...

Courtier Presenting Himself Before Elegant Ladies in Parkland French artist, circa 1800 period oil on canvas, unframed canvas: 26 x 19 inches provenance: private collection, France c...

Artist: Owen Manning (English, 1721-1801) Title: "Loseley House, The Seat of James More Molyneux Esq." Portfolio: The History and Antiquities of the County of Surrey Year: 1804-1814 ...

This is an original 19th century hand-colored McKenney and Hall lithograph of a Native American entitled "Not-Chi-Mi-Ne, An Ioway Chief ",...

Man with the Dragon is a superb color woodbloock print on rice-paper, realized by the great master of ukiyo-e print, Utagawa Toyokuni I (1769-1825) Depicti...

A richly detailed still life by the artist Luizo Denis, featuring an elegant arrangement of roses in a tall-stemmed vase set against a deep maroon backdrop. Signed to the lower left....

Much about this late 19th-century painting remains a mystery, including the name of the artist who only left their identity in a single-letter monogram. But the work's moody embrace ...

Late 19th Century French Barbizon School oil on wood panel of poplar trees in a landscape by Richard. The painting is signed bottom left. The painting is on a quality chamfered panel. A very charming, almost impressionist, rendition of a line of iconic French trees in a landscape. Before them an earth drive has been ploughed up by the wheels of passing carts and horses. Richard has created a wonderful perspective that draws us in to the painting and he has created a contrast between the strong greens of the trees and fields against the whites and blues of the sky. The painting is reminiscent of the works of Monet from the 1890s. to whom the poplar trees were a continuing inspiration. The Barbizon school of painters was part of an art movement towards Realism in art, which arose in the context of the dominant Romantic Movement of the time. The Barbizon school was active roughly from 1830 through 1870. It takes its name from the village of Barbizon, France, on the edge of the Forest of Fontainebleau, where many of the artists gathered. Most of their works were landscape paintings, but several of them also painted landscapes with farmworkers, and genre scenes of village life. Some of the most prominent features of this school are its tonal qualities, colour, loose brushwork, and softness of form. The leaders of the Barbizon school were: Théodore Rousseau, Charles-François Daubigny, Jules Dupré, Constant Troyon, Charles Jacque, and Narcisse Virgilio Díaz. Jean-François Millet lived in Barbizon from 1849, but his interest in figures with a landscape backdrop sets him rather apart from the others. Jean-Baptiste-Camille Corot was the earliest on the scene, first painting in the forest in 1829, but his work has a poetic and literary quality which sets him somewhat apart. Other artists associated with the school, often pupils of the main group, include: Henri Harpignies, Albert Charpin, François-Louis Français and Émile van Marcke. In 1824 the Salon de Paris exhibited works of John Constable, an English painter. His rural scenes influenced some of the younger artists of the time, moving them to abandon formalism and to draw inspiration directly from nature. Natural scenes became the subjects of their paintings rather than mere backdrops to dramatic events. During the Revolutions of 1848 artists gathered at Barbizon to follow Constable's ideas, making nature the subject of their paintings. The French landscape became a major theme of the Barbizon painters. Millet extended the idea from landscape to figures — peasant figures, scenes of peasant life, and work in the fields. In The Gleaners (1857), for example, Millet portrays three peasant women working at the harvest. Gleaners are poor people who are permitted to gather the remains after the owners of the field complete the main harvest. The owners (portrayed as wealthy) and their laborers are seen in the back of the painting. Millet shifted the focus and the subject matter from the rich and prominent to those at the bottom of the social ladders. To emphasize their anonymity and marginalized position, he hid their faces. The women's bowed bodies represent their everyday hard work. In the spring of 1829, Jean-Baptiste-Camille Corot came to Barbizon to paint in the Forest of Fontainebleau, he had first painted in the forest at Chailly in 1822. He returned to Barbizon in the autumn of 1830 and in the summer of 1831, where he made drawings and oil studies, from which he made a painting intended for the Salon of 1830; "View of the Forest of Fontainebleau'" (now in the National Gallery in Washington) and, for the salon of 1831, another "View of the Forest of Fontainebleau"'. While there he met the members of the Barbizon school: Théodore Rousseau, Paul Huet, Constant Troyon, Jean-François Millet, and the young Charles-François Daubigny. During the late 1860s, the Barbizon painters attracted the attention of a younger generation of French artists studying in Paris. Several of those artists visited Fontainebleau Forest to paint the landscape, including Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and Frédéric Bazille. In the 1870s those artists, among others, developed the art movement called Impressionism and practiced 'plein air' painting. In contrast, the main members of the school made drawings and sketches on the spot, but painted back in their studios. The Post-Impressionist painter Vincent Van Gogh studied and copied several of the Barbizon painters as well, including 21 copies of paintings by Millet. He copied Millet more than any other artist. He also did three paintings in Daubigny's Garden. The Barbizon painters also had a profound impact on landscape painting in the United States. This included the development of the American Barbizon school by William Morris Hunt. Several artists who were also in, or contemporary to, the Hudson River School studied Barbizon paintings for their loose brushwork and emotional impact. A notable example is George Inness, who sought to emulate the works of Rousseau. Paintings from the Barbizon school also influenced landscape painting in California. The artist Percy Gray...

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...

A wonderfully detailed interior genre oil painting by Flemish artist Louis Tielemans (1826-1856). Tielemans was born in Anvers, and became known for his active genre scenes, emulatin...

Spanish Oil painting on Canvas, a reclining Nude 19Th attr. to Luis Ricardo Falero (23 May 1851 – 7 December 1896) Additional Info painting : Title: reclining nude Medium: original...

Portrait of Girl and Dogs is signed and dated 1861 and exhibited in 1862 is by Gourlay Steell, (1819-1894) RSA, appointed as Animal Painter for Scotland to Queen Victoria’s Court aft...

'Honesty' Process print from Frederick William Hulme’s ‘Familiar Wild Flowers’, circa 1890. Hulme was known as a teacher and an amateur botanist. He was the Professor of Freehand a...

Jozefina Kirchner (1890–1931) "The Pincio Fountain in Rome" (1923)** This atmospheric oil painting on canvas by Jozefina Kirchner, completed in 1923, captures a captivating view of t...

Color Lithograph on wove paper, 1896. Artist's orange-red and black signature stamps, numbered in pencil (#12), from edition of 100 published by A. Vollard in the 2nd "Album des esta...

EDWARD HENRY POTTHAST (American, 1857-1927) Wading oil on board signed E. Potthast, l.l. 11 1/4 x 15 1/2 in. (18 1/2 x 22 1/2 in.) Provenance: Traxel Art Galleries, Cincinnati,...

Egypt in words and pictures is an original rare book written by Georg Ebers between 1879 and 1880. Two volumes. Eduard Hallberger publisher, bound editions, moldy and dirty spots, pages with cracks. A marvellous edition of hundres of illustration depicting ancient Egypt and scene of ordinary life in late 19th Century. Georg Moritz Ebers (1837-1898) was a German Egyptologist and writer. With his historical novels and popular science books...

Luc Olivier MERSON (1846-1920) Biblical Mythology: Judith and Holofernes, 1899 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 ...

J. Clays (British, 19th-20th century) - Still life with fruit basket. 61 x 51 cm without frame, 67.5 x 58 cm with frame. Antique oil painting on canvas, in a gilded wooden frame. ...

Gabriel Paul GUILLOT Reims, 1850 - 1914 The Servant's Judgment Oil on canvas 65 x 81 cm (77.5 x 97 cm with frame) Signed and dated on the left "P. Guillot / 1880" Wax seal on the bac...

Wonderful turn of the century oil portrait of old civil war soldier circa 1900, by an unknown artist. Soldier is depicted wearing the Medal of Honor...

Set of Six Hand Coloured Botanical Prints/Lithographs and Engravings Published by G. Ridgway, S. Curtis, W. Baxter and W. Fitch Early Mid 19th Century Size: image: 8.5 x 5.5 inches P...

An elderly man sits beside an inglenook fireplace, where a pot cooks over the glowing logs. He closes his eyes, and a set of bellows rests in his lap. Signed and dated to the lower r...

Rural scene in watercolors. Presented in a gilt-effect frame with card mount. Unsigned. On watercolour paper.

Copy after Titian's Renaissance Painting "Lucretia and Her Husband Lucius Tarquinius Collatinus" Robert Azensky Fine art is pleased to offer this copy after Titian's Renaissance mas...

Many of you clicking on this are probably doing so because you know of Ellsworth Woodward, who with his brother William Woodward around the turn of the 20th century sparked an arts renaissance in the South, the arts and culture in general having been mostly moribund since the dispiriting defeat experienced in the Civil War. I won't bog you down with lots of detail here since all you have to do is Google his name to bring up a wealth of information about him. He is most famous for his leadership of the arts program at Newcomb College in New Orleans, and its famous Newcomb Pottery...

Alfred Pierre AGACHE (1843-1915) Imperia (Caprices of Verlaine), 1899 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) ...

Erotic Scene is a gouache and China ink original painting on silk, realized probably in the second half of XIX century by an anonymous Japanese artist of XIX century, From a collection of twelve Japanese erotic silk paintings, wrongly titled "Shunga", mounted under a yellow cardboard Passepartout, cm 37 x 26.8, this modern artwork of little dimensions, but of extraordinary quality represents an erotic scene between two young Japanese lovers portrayed in their intimate situation and with their sophisticated traditional costumes and hairstyle. Without ever being vulgar or too explicit but with extreme elegance, our ancient Japanese artwork...

A very fine museum quality Italian 19th-20th century life-size marble sculpture titled "Searching for Love" by Vito Pardo (Italian, born in Venice in 1872) Depicting a semi-nude life...

Medium: etching (etched by Theophile Narcisse Chauvel after the Jacomin painting). Published in Paris by L'Art in 1875 and printed by Francois Lienard on laid paper. The image measur...

John Rabone Harvey ( 1966 - 1922) graphic and chalk deep green artist paper , unframed artist paper : 5.5 x 7 inches Provenance: private collection Condition: very good condition Ha...

Signature bottom right Frederick Arthur Bridgman was born in Tuskegee, Alabama, then later moved to Boston and New York. Before long, he had enlisted a group of Brooklyn businessme...

This stunning circular 19th century oil painting is by noted prolific Royal Academy exhibited artist Rudolf Lehmann. A portrait artist, German born Lehmann moved to England in 1866 w...

This primitively rendered but admiring tribute to George Washington has a distinguished artistic lineage. The painter was undoubtedly in the presence of a much admired print engraved...

Pietro Bazzanti - Barzanti (Italian, 1825-1895) "After the Bath" - A very Fine and large carved white Carrara marble figure of a semi-nude young maiden standing by the sea-shore. The smiling and posing young beauty, with bare breasts and back, her right arm juxtaposed over her head, while holding a blanket over her waist with her left hand and standing barefoot by a rocky seawall and wavy shoreline. Signed 'P. Barzanti/Florence' (on reverse) and raised on a cylindrical swiveling carved verde antico solid marble pedestal. circa: Florence, 1880-1890. Pietro Bazzanti or Barzanti (Italian, 1825-1895) was a 19th Century Italian sculptor born in Florence. Together with his brother, Niccolò Bazzanti (Firenze, 1802-1869) who was also a sculptor, they both worked the sprawling Florentine studio 'Pietro Bazzanti e Figlio' a hugely successful sculpture studio, operated within the family at their gallery on Lungarno Corsini until the mid-twentieth century. The studio was a place where many talented professors and apprentice sculptors specialized in sculpting marble genre scenes and allegorical figures as well as copies of antique and Renaissance sculpture catered to a prominent international clientele which included European and Russian aristocracy, and the Industrial fortunes being made in England and Americas drove considerable export demand. In 1861 the studio was awarded the medal for 'Ercole con cinghiale sulla spalla' (Hercules with boar on shoulder), 'Due Cani' (Two dogs) and 'Cinghiale' (Boar) sculptures at the National Exposition in Florence. In 1874 he exhibits his works in London and in 1876 in Philadelphia. Bazzanti frequently returned to the subject of 'After the Bath' or 'The Bather' in his works, having carved examples of the bathing Venus after the Antique and in dynamic and dramatic compositions such as the present sculpture. The finely-detailed work relates closely to popular figures produced by Bazzanti’s contemporary, Cesar Lapini, whose La Sopresa depicts a young woman stepping back from approaching waves. The sculptor’s penchant for realism is on full display with the contrasting matte and highly-polished finishes of the gently lapping waves at the figure’s feet, to the jutting rocks and soft skin. Elegant handling of textures is further exemplified in the draped fringe of the cloth. This monumental and Fine work is illustrated in situ at Bazzanti’s studio circa 1900 among other fashionable works of the period. Notes: Pietro Bazzanti was also known as Pietro Barzanti. There are conflicting dates of Pietro Bazzanti/Barzanti's birth/death year. Some auction houses and art galleries have described 'Pietro Barzanti' as Italian, 1842–1881 and Pietro Bazzanti as Italian, 1825-1895. However, according to Alfonso Panzetta – Nuovo Dizionario degli Scultori Italiani dell’ottocento e del Primo Novecento – 2003 Edition –Page 78, 'Pietro Barzanti' was in fact 'Pietro Bazzanti' one and the same, and it questions his year of his birth/death as "Firenze (?), ?, ?." thus we believe that the Italian, 1825-1895 description is the most plausible. Literature: Alfonso Panzetta – Nuovo Dizionario degli Scultori Italiani dell’ottocento e del Primo Novecento – 2003 Edition –Page 78. Auctions: Another example of this sculpture, probably also Pietro Bazzanti but almost a foot shorter (Height 44¾ in. (113.5 cm), unsigned and without its pedestal, was sold at Christie's New York, 19th Century Furniture, Sculpture, Works of Art and Ceramics Sale...

Bringing in the Harvest British School, late 19th century signed lower corner oil painting on canvas, framed framed: 29.5 x 55.5 inches canvas: 24 x 50.5 inches provenance: private c...

Artist/ School: Title: Medium: oil painting on canvas, unframed Size: canvas: 18 x 30 inches Provenance: private collection, France Condition: The painting is in overall very go...

A charming 19th-century pastoral scene depicting a mother and child gathering firewood, set against a backdrop of castle ruins and sweeping mountain vistas. Lush foliage and blue ski...

'Agaricus Vaginatus' (grisette or the grisette amanita) Antique Swiss mushroom / fungi chromolithograph, lithographed by H Furrer after Fritz Leuba. The print is titled with the sci...

This charming mid-19th-century oil painting depicts a river landscape with a thatched cottage, boatmen, and windmill. It’s reminiscent of works by English artist Edward Williams (178...

Rural scene in watercolors. Presented in a gilt-effect frame with card mount. Unsigned. On watercolour paper.

Spaniels on the Hunt British School, mid 19th century inscribed to frame plaque, unsigned oil on canvas, framed in antique gilt frame framed: 20 x 25 inches canvas : 12 x 18 inches L...

Signed lower left, 'Sydney J. Yard' for Sydney Janis Yard (American, 1855 -1909) and painted circa 1905. Sydney Janis Yard was born 1855, in Rockford, Illinois where he first studie...

'The Cavalier's Pets' by Sir Edwin Henry Landseer was exhibited in 1845, and is now in the collection of the Tate Museum of Art in London. This is a fine oil painting copy of the famous Landseer painting. This is a well executed work with all the hallmarks of a Victorian 19th century painting...

Johann Till II (Austrian, 1827-1894) Plethora, c. 1860 Oil on canvas Signed lower right 47.5 x 35.5 inches 54.5 x 43 inches, framed Johann Till the Younger trained in Vienna under h...

View on the Cannaregio Canal, Venice Italian School, 19th century, after Francesco Guardi, Italian 1712-1793 oil on panel Painting: 8 x 10 inches condition: overall very sound, with ...

Richmond Castle, Yorkshire from the River Swale by Everett W. Mellor (1878-1965) signed oil on board, framed Framed: 15 x 19 inches Board: 10 x 14 inches Provenance: private collecti...

19th Century Bronze Figure of Crouching Venus or Naked Aphrodite Bronze with dark patination 22.5 x 13 x 11 inches The Crouching Venus is a Hellenisti...

Jean François Portaels 1818 - Brussels - 1895 Belgian Painter ‘Oriental Girls - Mediants à Tanger, Maroc’ Signature: signed lower right ‘J. Portaels’ Medium: oil on canvas Dimensions: image size 40,5 x 28,5 cm, frame size 67,5 x 56 cm Biography: Jean François Portaels, also known as Jan Portaels, was a versatile Belgian painter born on April 3, 1818, in Vilvoorde and passed away on February 8, 1895, in Schaerbeek. He was celebrated for his genre scenes, biblical stories, landscapes, portraits, and Orientalist subjects. As a teacher and director of the Academy of Fine Arts of Ghent and the Académie Royale des Beaux-Arts in Brussels, Portaels significantly impacted Belgian art, becoming a pivotal figure in the Belgian Orientalist school. His works were known for their 'everyday elegance and feminine grace,' and he played a crucial role in influencing the next generation of Belgian artists, including notable figures like Théo van Rysselberghe. Portaels was the son of a wealthy brewer who also served as Vilvoorde's mayor. Showing an early passion for drawing, he was sent to the Académie Royale des Beaux-Arts in Brussels in 1836, where he studied under François-Joseph Navez, a former student of Jacques-Louis David. Navez invited him to his studio, which was renowned at the time, allowing Portaels to refine his skills alongside other talented students like Charles de Groux and Joseph Stallaert. In 1841, Portaels moved to Paris, enrolling at the Ecole des Beaux-Arts and studying under Paul Delaroche. He became influenced by the emerging Orientalist movement, which was gaining traction in Paris. In 1842, he won the Grand Prix de Rome, which funded his travels across Italy and other regions, including Morocco, Algeria, Egypt, Lebanon, Judea, Spain, Hungary, and Norway. These journeys profoundly influenced his artistic vision, particularly his Orientalist works. Upon his return to Belgium in 1847, Portaels was appointed Director of the academy in Ghent. In 1849, he married Marie Hélène Navez, the daughter of his first teacher. Despite being offered the directorship of the Brussels Academy, he initially declined, opting to preserve his independence. He later accepted a teaching position at the Academy and eventually became its director in 1878, succeeding Eugène Simonis. Portaels was known for his broad range of artistic talents, including history painting, portraiture, and genre art. He was particularly recognised for his Orientalist depictions, often portraying the 'Oriental woman' with distinctive features like arched eyebrows and almond-shaped eyes. His style, marked by charm and elegance, distinguished him from the dominant artistic movements of Classicism and Romanticism. He was a pioneer in monumental art in Belgium, working with Jean Baptiste van Eycken to introduce fresco techniques like water glass painting...

Gerardine Van de Sande Bakhuyzen Dutch, 1826 – The Hague – 1895 An outstanding opportunity to purchase one of Holland's most outstanding and no...

Antique American nautical ship oil painting. Oil on canvas. Signed. Framed.

Very rare and well painted mid 1800s folk art portrait. Incredible frame. Oil on canvas. Image size, 24 by 28 inches.