19th Century Art

'Les Arts Décoratifs - Etoffe de Genes' Depicts fabric from the 17th century. From 'Les Arts Decoratifs a toutes les epoques', printed by Lemercier & Cie, Paris. 300mm by 200mm (i...

Auguste Serrure 1825 - 1903, was a Flemish born painter. The description of his birthplace is generally described as Belgium, however the Flemish nationality became Belgian in 1830 a...

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...

Hjalmar Sandberg (1847-1888) Sweden Harvest Time, 1876 oil on canvas canvas size 14.96 x 18.11 inches (38 x 46 cm) frame 18.70 x 25.59 inches (47.5 ...

Mariano Sigüenza y Ortiz was a Spanish painter and engraver born in Valencia. This copper painter and engraver was a disciple of the Academy of Fine Arts of San Carlos, in the early years of the 19th century. It is known that he came from a family dedicated to the art of silk making, so it is not surprising that he began his training at the Academy of San Carlos with the intention of applying his knowledge to this field. However, it seems that he opted for painting and later for intaglio engraving. Of his production as a painter, a copy of the painting La Virgen con el Niño y San Juan Bautista, the work of Mengs, and Los santos penitentes Pablo y Antonio, for which he obtained the 17 January 1836 a Supernumerary Academic position, for painting. Later, he devoted himself exclusively to the exercise of copper engraving. As an engraver, he illustrated the Biographical Dictionary, by Oliva, and the History of Spain, by Father Mariana. The engraving of El Niño Jesús...

The painting may not illustrate your story, but it is universal—that desire to honor one’s forerunners and reflect on their daily lives. Consider the many opportunities, comforts and...

This is a framed hand-colored folio sized lithograph entitled "Campylopterus Hyperythrus" (Rufous-breasted Sabrewing Hummingbird), Plate 51 from John Gould's "A Monograph of the Trochilidae, or Family of Humming-birds", published in London in 1850. The print, which was drawn by Gould and Henry Richter and lithographed by Hullmandel and Walton, depicts three hummingbirds displaying multiple colors, including, green, blue and shades of brown highlights among burgundy and cream colored flowers. The hummingbirds are highlighted by bright iridescent metallic paint. This beautiful Gould hummingbird...

Laslett John Pott RSA British, (1837-1898) Bess of Hardwick Receiving Visitors at the High Great Chamber, Hardwick Hall Oil on canvas, signed & dated 1872 Image size: 18.75 inches x 29.5 inches Size including frame: 25.25 inches x 36 inches Provenance: Frost & Reed no. 30819 A wonderful historical painting by Laslett John Pott of figures at a table in the High Great Chamber at Hardwick Hall, Derbyshire. Two men in Elizabethan costume can be seen standing up to toast a lady as she reclines in a chair holding a fan, whilst a dog watches on. Meanwhile, another woman looks across the table as her seated companion has his glass refilled by a man servant. To the left of the painting, a lute with sheets of music can be seen lying on the ground whilst on the opposite side sits a wine cistern with a bottle next to it. The fashionable dress and bearing of the woman seated on the right indicate a woman of wealth and standing, most likely Bess of Hardwick, Countess of Shrewsbury who built Hardwick Hall in 1590. She was lady in waiting to Queen Elizabeth I and one of the wealthiest women in England. She commissioned the architect Robert Smythson to design the house, which included the extraordinary High Great Chamber located on the second floor. Decorated with a plaster frieze depicting Diana the huntress, a large alabaster and marble chimney piece and Brussels tapestries on the lower walls, it was used by the countess to greet and entertain guests. After her death, the property passed to her son William Cavendish 1st Earl of Devonshire in 1608 and later to his great grandson, William who was made the 1st Duke of Devonshire in 1694. In 1959, the property was transferred to the National Trust and most of its original features, including the plaster friezes, chimney piece and tapestries depicted in this painting, can still be seen today. The painting bears an old label for Frost & Reed, no. 30819, with the title ‘Interior of Haddon Hall’ which was wrongly given to the painting at the time. Later research uncovered the correct location as being Hardwick Hall. Pott used Hardwick Hall as the backdrop for a number of his works including: Mary Queen of Scots Being Led to her Execution, His Highness in Disgrace, Waiting for the King’s Favourite and Wayland Smith Showing Amy Robsart her Wedding Dress. Laslett John Pott was a genre and historical painter born in Newark, Nottinghamshire in 1837, the son of John Manger Pott, and his wife Sophia Charlotte Moss. His father was a successful auctioneer and land valuer and his wealth enabled Pott to receive a good education. Although he showed an early talent for art, his father wanted him to become an architect and at the age of 16 he became an apprentice at a local firm. After his apprenticeship, he was able to persuade his father to let him change careers and enrol at the Bloomsbury Art...

Andrew Mac Callum (British, 1821-1902) Title: The Great Pyramids of Giza Medium: Oil on canvas Size: 36 in x 52 in Markings: Signed lower right and dated 1878 Andrew MacCallum was ...

A lone figure collects firewood, dwarfed by the trees which tower above. Beyond, rolling hills recede into the distance beneath a brooding sky. Signed to the lower left. Well present...

This poignant portrait by Swedish artist Nina Bergstedt captures a quiet intensity that lingers in the viewer’s mind. The sitter, an unknown woman, is portrayed with deep emotional p...

Oil on unlined canvas, stamped 26 x 21¼ inches; 66.5 x 54 cm Framed dimensions: 95.5 x 83.5 cm ‘Wood & Co 190 Brompton Road London SW’ Signed with monogram and dated ‘1878’, centr...

19th C Landscape With Shepard & Herd of Sheep by Mystery Artist Signed Lower Right Indecipherable Oil on Canvas 20.75" x 28.5 Unframed 26.75" x 34.5" Framed

The English Gentleman and his Country House English artist, circa 1800-1820 period Fine Georgian period portrait of a young English gentleman, seated with distant view of his country...

Whistler, James A. M. READING BY LAMPLIGHT. Etching and drypoint, 1859. Glascow 37, W.25, K.32. Third state of three, with the revisions to the sitter's facial expression and the dar...

Medium: original etching. Executed by Tissot for the "Rene Mauperin" suite of etchings, published in Paris in 1884 by Charpentier in a limited edition of 550. This is a nice impressi...

A man sits in a chair, a jug in one hand and a pipe in the other, with a glass of whisky resting on the barrel at his side in this characterful genre scene. Attributed to Michel-Nico...

Farmyard Friends French artist, late 19th century oil on canvas, unframed canvas: 10.75 x 11.75 inches provenance: private collection, Paris condition: very good and sound condition

Le Village de Chanaz is a black and White etching realized by A. Appian in the 1860s.  Titled in the lower. Image size: 16x23. Very good impression with wide margins and a very fr...

A charming early 19th or possibly late 18th century oil landscape depicting a rooster and peacock perched on wooden casks. In the background, a court guard marches through an illumin...

Carl Oscar Borg (1879–1947) An Old Military Road, The Road over Dovrefjell, Norway gouache on paper, ca. 1900 signed sheet 12.5 cm x 17.5 (4.9 x 6.9 in) framed 23 × 28 cm (9 × 11...

Farmyard Friends by Edgar Hunt British, 1876–1953 Oil on Board Board size: 14 x 12 inches Framed size: 20 x 18 inches

This late 19th-century icon depicts various saints rendered in traditional Byzantine style. The composition features multiple sacred scenes including the Virgin Mary with the Infant ...

'Indian-Persian - Indo-Persian - Indisch-Persisch' Late 19th century interior design chromolithograph, from Racinet’s ‘L’Ornement Polychrome’, 1887. Published in Paris. Albert Raci...

The 1903 painting by Henri Louis Ottmann (1877-1927) which is in the Musée d'Orsay depicts vast train station with all its dynamism. Our painting, created three years earlier, shows ...

This is an original 19th century hand-colored lithograph entitled "Petra, Shewing the Upper or Eastern End of the Valley" by David Roberts, from his Egypt, The Holy Land and Nubia volumes of the large folio edition, published in London by F. G. Moon in 1849. The lithographs were prepared by Louis Haghe (1806-1885) from drawings and paintings by Roberts. The resultant large folio editions of 'The Holy Land' and 'Egypt & Nubia' are considered the greatest lithographically illustrated works issued in the 19th century. This is one of Roberts' most famous and collectible works. The scene captures a view of the magnificent ruins of Petra in what is Jordan today, as it appeared on March 8, 1839, on the day of Roberts' visit. Multiple Arab men are approaching Petra; some on foot and others riding camels. They are dressed in their colorful local costumes. Roberts' signature and hand written date are reproduced in the plate on the left. This hand-colored lithograph is printed on wove paper with wide margins. There is some loss of color in the text in the title and a faint dark curvilinear area in the upper right. The print is otherwise in very good condition. It is presented in a gold-colored wood frame with a tan mat. It is glazed with UV protected conservation glass. All framing materials used are archival museum quality. The frame measures 23.63" high and 29" wide. There are two additional iconic David Roberts hand-colored lithographs for sale on 1stdibs that are matted and framed in identical styles, although slightly different sizes. They are scenes of Approach of Simoon, Desert of Gizeh and the Petra. They can be viewed by typing their reference #'s, LU1173211955452 and LU1173211969422, into the 1stdibs search field or typing Timeless Intaglio in the search field and tapping on the drop down name to be taken to our storefront. Two or all three of these pieces would make for a striking display grouping. A discount is available for the purchase of multiple pieces. David Roberts (1796-1864) was a Scottish painter who specialized in landscapes, architectural subjects, and scenes from the Middle East and Europe. Born in Edinburgh, Roberts began his career at age ten as an apprentice to a house painter and eventually became a scene painter for theater companies in Edinburgh and London. In the 1820s, J. M. W. Turner recognized his artistic talent and encouraged him to become a full-time artist. He began to focus on painting landscapes and architecture. In 1838 he traveled to Egypt and soon after to the Holy Land, concluding in Jerusalem. Roberts' travels in the Middle East had a profound impact on his art, and he produced a series of highly detailed and realistic paintings and sketches of the region's famous ruins and other landmarks, including the Pyramids of Giza, the Sphinx, the Temple of Abu Simbel...

Ionic Column Capital Graphite, wash, gouache and gum arabic, 4 Fev 57 (Feb 4 1857) Signed and dated lower right (see photo) Ionic columns are a classical architectural style characte...

This dignified lithographic portrait of His Imperial Majesty Tsar Nicholas II stands as a visual tribute to the last Emperor of Russia, created during the final years of Europe’s gre...

Antique Bronze Portrait of a Draft Horse Isidore Jules Bonheur (France, 1827-1901) Circa 1840s Cast bronze mounted on a rectangular plinth atop a marble s...

After the original by Károly Markó the Elder (1791–1860). A substantial, 19th century figural showing the meeting of Ruth and Boaz, set in a romantic Italianate landscape peopled w...

Artist/ School: signed French School, Bouchet (19th-20th Century) Title: Portrait of a bearded man Medium: oil on board Size: 11 x 8.5 inches Provenance: private collection, Fran...

Portrait of a Noble Lady English School, circa 1820's-1930's period oil on canvas, unframed painting: 35 x 28 inches provenance: private collection, London condition: some old restor...

PAUL GAUGUIN (French 1848 - 1903) DEAUX FEMMES MAORIES ACCROUPIES. 1894-5 (Kornfield 26: Guerin 87 ) Zincograph (Lithograph) on smooth, cream imitation Japan paper, edition 200. Pu...

* No US duty or taxes to pay on this item * A beautiful late 19th century English oil on canvas portrait of a white haired terrier wearing a leather collar. Excellent quality and f...

Leading them Home English School, mid 19th century oil on board laid on canvas, framed framed: 18.5 x 15.5 inches painting : 14 x 11 inches Provenance: private collection, the City o...

‘Piazza San Marco from the Palazzo’ by Edward Pritchett RWS (1807-1876). The painting – which depicts St. Mark’s Square and the Campanile seen from the Porto della Carta entrance to...

Here for your consideration is a wonderful large panoramic original oil painting by the well known American artist, Charles Wilson Knapp. Signed lower right. Circa 1880. Condition...

Alphonse Mucha's 1898 chromolithograph for the Lefèvre Utile (LU) brand's "Vanilla Wafers" is an iconic work that embodies the Art Nouveau aesthetic and testifies to the artist's cre...

William Shayer (1787–1879) & Henry Brittan Willis (1810–1884) Pastoral Landscape with Cattle and Sheep, circa 1830 Oil on canvas, Signed and inscribed on the reverse Presented in a h...

Dubucand Alfred 1828-1894 Two Hunting Dogs, Bronze on a Marble Base The Bronze with the monogram 'E.V.' and the number '2958' Two Hunting Dogs, Group Signed Alfred Dubucand, Fren...

"The Musicians" Charles H. Van den Eycken (Belgium, 1859 - 1923) Oil on wood panel with highly ornate original wood, stucco and gilt frame. Signed upper right and dated "1893.' 10 1...

Medium: etching (after the painting). Etched by Charles Courtry after Carolus Duran. This impression on laid paper was printed by A. Salmon and published in Paris for "L'Art" in 1875...

Raja Ravi Varma - Untitled (Lord Rama’s reunion) Oleograph 14.5 x 10.1 inches, Circa ( Framed & Delivered ) Raja Ravi Varma (29 April 1848 – 2 October 1906) was an Indian painter an...

Beautiful mountain landscape painting with river by notable Scottish artist John D. Taylor Oil on canvas board 9.5" x 13.5" unframed, 15" x 19.5" ...

Roses is an original modern artwork realized by François Langlois in the 19th Century. Mixed colored etching. Includes passepartout and a frame in ...

Antique oil painting featuring brids. Oil on canvas. Framed. No signature found.

Harriet Peale Portrait of Rebecca, 1840 Inscribed verso, “Portrait of Rebecca Greenwood (?)/ Aged 25 years/ Painted by Harriet C. Cany/ May 1840” Oil on canvas 28 3/4 x 23 3/4 inches...

George Turner British, (1843-1910) Near Tonge, Leicestershire Oil on canvas, signed Image size: 15.25 inches x 23.25 inches Size including frame: 22.75 inches x 30.75 inches A cha...

A very fine and Large Italian 18th-19th century oval-shaped oil on canvas titled "The Triumph of Venice" After the original work by Paolo Veronese (Venice, 1528-1588). The original of this painting hangs in the Palazzo Ducale, Venice. The 'Ricci' coloration suggests a late 17th-early 18th century date. In 1715 Charles de la Fosse advised Ricci to paint only "Veroneses and no more Riccis", Venice, circa 1800. Measures: Height: 45 1/4 inches (115 cm). Width: 29 inches (73.7 cm). Frame height: 58 1/4 inches (147.9 cm). Frame width: 43 1/4 inches (109.9 cm). Frame depth: 5 1/4 (13.3 cm). Provenance: Royal Academy of Scotland. Paolo Veronese (Born 1528, Verona, Republic of Venice - died April 9, 1588, Venice) was an Italian painter of the Renaissance in Venice, famous for paintings such as The Wedding at...

Pair of oil on canvas paintings by Filippo Palizzi. This beautiful pair was purchased by me to a well known Italian family from Buenos Aires. In very good condition, they were always...

Charles BULTEAU Active in the 1870s and 1880s View of the interior of the church of Saint Germain de Charonne in Paris Oil on panel 29 x 24 cm (50 x 48 cm with the frame) Very beauti...

A lady in fashionable dress holds a lily of the valley flower in this finely detailed watercolour and graphite portrait. Signed to the lower left. Presented in a gilt-effect frame wi...

Original L'Andalouise au Temps des Maures vintage art nouveau poster. L'Andalousie au Temps des Maures. Exposition de 1900. Imprimerie C...

This is beautiful little 19th century oil painting on panel. Painted in the barbizon school style. It is a lovely example of pastoral artwork, depicting a sweet little country scen...

Artist/ School: J. Langlois, British 1855-1904, signed lower corner Title: Chasing the Mouse! Medium: oil on board, framed framed: 6 x 7.5 inches board: 4.75 x 6.75 inches Proven...

Framed size: 26" x 36" Signed bottom right B.W.LEADER This evocative oil painting captures a quiet, idyllic moment beneath the Welsh sky: 3 figures, two children with a woman, stand...

Fine, aged maritime painting of sailing ships in a late evening sky, this oil painting is on old thick wood and period frame. Johannes Keokkeok (1788-1852) is the father of a family ...

A fine oil study depicting a young boy sleeping under a large leaf. The artist captures the soft summer scene in exceptional detail, creating a peaceful, accomplished composition. Si...

Ferdinand du Puigaudeau French, 1864-1930 Moonlight Scene Oil on canvas 29 x 23 inches (73.7 x 58.4 cm) Framed: 30 x 35 1/2 inches (76 x 90 cm) Signed: F de Puigaudeau Provenance: Alexander Gallery, NY Private collection, Florida Ferdinand du Puigaudeau was born in 1864 in Nantes, France. After receiving a traditional education at various boarding schools, Puigaudeau traveled to Italy and Tunisia in 1882 and learned to paint, as encouraged by his uncle. His earliest works were produced in Brittany in the late 1880s, where he met Paul Gauguin and Charles Laval...

Antique American impressionist horse portrait painting. Oil on canvas. Framed. Measuring: 33 by 30 inches overall, and 26 by 24 painting alone. In excellent original condition. Han...