19th Century Art

Actresses in Their Dressing Rooms etching & aquatint, 1879-1880 Unsigned as usual for all canceled plate impressions Reference: Delteil 28, Shapiro 50 vi/vi with the cancelation line...

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...

Oil on canvas Canvas size: 17 x 14 inches Framed size: 18 x 21 inches Signed lower right

Alfred Jacquemart 1824-1896 Le General Bonaparte en Egypte Bronze, Barbedienne Foundry 10 1/4" high x 8" wide x 4" depth Henry Alfred Jacquemart (1824-1896): born the February 22,...

CORITA KENT (Sister Mary Corita) 1918–1986 BIRDS FLAMING INTO THE SUN, 1961 Color Serigraph, signed and and titled. Edition unknown.. Image 10 3/8 x 17 3/8 Inches. Full margins, she...

Palace with Vignettes of Scenes of Royal Court Life Early 19th century Rajput School Gouache on heavy paper, mounted to gold flecked support board c. 1820 Unsigned as usual Inscribed on mount Provenance: De-accessioned from the Richmond, Indiana Art...

G Gray (Early 19th Century) Still Life of Fruit Oil on panel Signed Painting Size 17.5" x 20" (44.4 x 50.8cm) Framed Size 23 x 26 in

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...

Oil on canvas Canvas size: 20 x 30 inches Framed size: 29.5 x 39.5 inches Signed lower right

Human and Animal Locomotion. Plate 35. Walking, carrying child on right arm. 14 x 20 inch original vintage collotype print from 1887 Image size 8.25 x 13.5 inches. Muybridge copyrig...

Signed lower left in arrowhead: RA Blakelock.

Oil on canvas Canvas size: 19 x 27.25 inches Signed lower left

Oil on canvas Canvas size: 30 x 50 inches Framed size: 38.25 x 58.25 inches Signed lower right

Oil on canvas Canvas size: 12 x 18 inches Framed size: 18 x 24 inces Signed lower right

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...

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

Signed and inscribed lower right: Charles Sprague Pearce / Paris.

Human and Animal Locomotion. Plate 56. Walking, turning and stooping to lift train. 14 x 20 inch original vintage collotype print from 1887 (image size 6.875 x 17 inches)

Signed Lower Right by Artist Illustrated for the cover of The Girls of Canby Hall, Trouble Maker" By Emily Chase. Published by Scholastic in June 1987.

Human and Animal Locomotion. Plate 319. Heaving 75-lb. rock. 14 x 20 inch original vintage collotype print from 1887 (image size 5.25 x 15.125 inches)

JOHN MARTIN (1789 – 1854) DEATH OF THE FIRST BORN, Dedicated to His Majesty King Louise Philippe, King of the French, as a Tribute of the Artist’s Grateful...

Image dimensions: 5 ½ x 3 ½ inches Framed dimensions: 12 ⅛ x 10 ⅜ inches Inscribed at lower left: JS 220 Our drawing is also referred to as Young Boy Adjusting His Sandal, and is illustrated in the catalogue for Sargent's 1928 exhibition of drawings at Grand Central Art Galleries in New York. It is an example of an early study from life executed c. 1874-8.* Sargent drew continuously from an early age and had benefited from the emphasis on drawing at the Accademia delle Belle Arti in Florence where he entered the life class in 1870. He arrived in Paris on May 16th, 1874, with a large portfolio of drawings...

(Possibly after) THE WORKSHOP OF SEVERO DA RAVENNA (ITALIAN, 1465-1543) Satyr from a Padovan model 18th/early 19th Century bronze 21 x 14 x 16 cm (8¼...

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...

Oil on canvas Canvas size: 28 x 36 inches Framed size: 35.25 x 43.5 inches Signed lower left

bronze with dark brown patina 72 x 69 cm (28⅜ x 27⅛ in.) signed 'L. MIGNON'; with an indistinct foundry inscription PROVENANCE: Private collection, London

Human and Animal Locomotion. Plate 349. Fencing. 14 x 20 inch original vintage collotype print from 1887 (image size 7 x 16.5 inches)

Signed lower right: W Bradford

The Bathers Woodengraving, 1873 As published in Harper's Weekly, August 2, 1873 (p. 668) Provenance: Wunderlich & Co., Inc., New York, NY (Their stock no. ...

MONTBARD (Active XIX-XXth c.) "The Lion" Oil on canvas Painting: 78 x 62 cm Framed: 93 x 78 cm

Samuel Alken Jnr (1784-1825) The Hunt Breaking cover Signed 'S. Alken.' lower right Oil on canvas Canvas size - 24 x 36 in Framed size - 31 x 42 1/2 in Samuel Alken junior was the eldest son of Sporting artist Samuel Alken (1756-1815), he was born on April 10th. The family mostly became sporting artists, his younger brothers Henry Thomas (Ben Tally Ho), George and Sefferien. Little is known about his life, in his father's will he was the only son mentioned, but this was to leave him 1s., which presumably was a derogatory legacy perhaps because, as Shaw Sparrow suggests, he traded on his father's name, signing in the same manner. However, as he often signed quite clearly S. Alken Jnr one feels it unlikely, but it does imply S. Alken Snr also painted sporting pictures. There has always been great confusion over the Samuel Alkens and for a long time they were looked upon as one person. number of prints were published after Samuel Junior's work including a set of sixteen published in the early 1820's depicting various sports, including hunting, racing, shooting and fishing. In the works recorded by him, his style would seem closer to that of Barenger. A lot of small wooded shooting scenes...

"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 ...

Charles Towne (1763-1840) London : A distant view of the city from the south with a herdsman and cattle in the foreground Oil on canvas laid on panel Canvas Size - 14 1/2 x 19 in Fra...

WO RO SI IA ZIN Russian Soldier with His Family Color woodcut, 1861 2nd month Signed upper left (see photo) Titled upper right in black cartouche (see photo) Format: oban Style: Yokohama-e Publisherr: Sagamiya Tokichi (Marks #435) active 1955-1866 Metropolitan Museum of Art in New York, has an impression of this image RARE Condition: with usual aging Image size: 13 7/8 x 9 3/8 inches Rebecca Salter in her Japanese Popular Prints... on page 18 gives a different take on the situation that Yoshifuji found himself in. "A giant of the period, however, was Utagawa Kuniyoshi (1797-861). Although best known for warrior prints which reflected the militaristic undercurrents of the time, he was also responsible for some of the most light-heartend and humorous works in this book. His followers in the Utagawa school, Utagawa Yoshitsuya...

PAUL GAUGUIN (French 1848 - 1903) LA ORANA MARIA (HAIL MARY) 1894/5 (Mongan/Kornfield 27B:Guerin 51) Transfer zincograph on coarse-grained transfer paper, in...

Henry S. Cottrell (fl. 1840-1860) "Floss", a favourite spaniel, property of Ms Potter Signed 'H.S. Cottrell' lower right Inscribed lower centre Oil on canvas C...

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...

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 ...

Provenance: Private Collection, Spain. This intriguing and enigmatic sculpture depicts the head of a young African man emerging from a circular opening ...

Theodore Gericault (1791-1824) Passage du Mont Saint-Bernard Lithograph, 1822 Signed and titled in the stone As published in Arnault "Vie politique et militair...

E. Rusch (late 19th century) Memento mori - Study of a skull Pencil drawing Drawing Size - 11 x 18 in Framed Size - 17 1/2 x 24 1/2 in Memento mori is an artistic or symbolic trope acting as a reminder of the inevitability of death. The concept has its roots in the philosophers of classical antiquity and Christianity, and appeared in funerary art and architecture from the medieval period...

Human and Animal Locomotion. Plate 211. Stooping and lifting handkerchief; parasol in left hand. 14 x 20 inch original vintage collotype print from 1887 (image size 7.75 x 13.75 inch...

A Japanese screen. A six panel, Japanese Byobu screen depicting white birds perched in a pine tree and flying over a flowing river. Provenance: ...

Unknown Artist, Thailand, 19th century Miniatures with Text from the "Legend of Phra Malai" Double folio; ink, color and gold leaf, c. 1900 Unsigned Script: Khmer (Cambodian) These texts are written in Khom script, a variant of Khmer script often used in Central Thai religious manuscripts. Paired devas (lesser gods) on throne-like plinths addorse Khmer (Cambodian) script containing tales of Phra Malai, a Sri Lankan arhat or Buddhist saint known for his travels to hell. There, the compassionate monk gave teachings and comfort to sufferers. Phra Malai stories taught the karmic effects of human actions to the faithful as well as conveying Maitreya's message of hope for attaining nirvana. Though known in neighboring countries, the stories of Phra Malai achieved their greatest popularity and influence in Siam (present day Thailand) Condition: Very good Sight window) size: 11-1/8 x 27 inches Frame size: 19-5/8 x 34-7/8 x 3/4 inches The legend of Phra Malai, a Buddhist monk of the Theravada tradition said to have attained supernatural powers through his accumulated merit and meditation, is the main text in this 19th-century Thai samut khoi (folding book) held in the Thai, Lao, and Cambodian Collections of the British Library. Phra Malai figures prominently in Thai art...

Théophile Pierre Wagner, 'Vague Lumineuse' (Luminescent Wave), lithograph, edition not stated but small, c. 1895. Signed and titled in pencil. Initialed in the stone, lower left. A f...

Unknown Artist, Thailand, 19th century Two Miniatures and text from the "Legend of Phra Malai" Ink and color on paper, c, 1900 Unsigned as usual Script: Aksar Chrieng or Khmer These texts are written in Khom script, a variant of Khmer script often used in Central Thai religious manuscripts. Phra Malai was a Budhist monk whose meditations permitted him to travel to heaven and hell. Condition: Good, with minor staining to text Sight (window) size: 11-1/8 x 27 inches Frame size: 19-3/4 x 35 x 3/4 inches Framed in solid cherry wood with archival, acid free materials The legend of Phra Malai, a Buddhist monk of the Theravada tradition said to have attained supernatural powers through his accumulated merit and meditation, is the main text in this 19th-century Thai samut khoi (folding book) held in the Thai, Lao, and Cambodian Collections of the British Library. Phra Malai figures prominently in Thai art...

Charles Towne (1763-1840) Riders and dogs on a country path Oil on canvas 28 5/8 x 36 1/8 in 72.6 x 91.8 cm Provenance With Thomas McLean, London; With Arthur Ackermann & Sons, Lond...

Thomas Luny (1759-1837) Hauling in a boat Signed and dated 'Luny/1832' lower left Oil on canvas Canvas Size - 10 1/4 x 14 1/8 in Thomas Luny was born in Cornwall in 1759. After moving to London about the age of 11, Thomas became apprenticed to the London marine painter Francis Holman...

Ferdinand Barbedienne (Saint-Martin-de-Fresnay 1810 – 1892 Paris) after Lorenzo Ghiberti (Florence, 1378 – 1455) Signed at the lower right of the principal relief: F. BARBEDIENNE Provenance: Private Collection, USA. Barbedienne’s “Gates of Paradise” reliefs are one of the triumphs of nineteenth-century bronze casting and patination. The nine panels that comprise our example are half-size reductions of the famous originals by Lorenzo Ghiberti, made for the Baptistery of Florence and now housed in the Museo del Opera del Duomo. Mounted in an impressive, mullioned frame surround, our work is an exceptional exemplar of the Renaissance Revival, the broadly influential style and movement that infused architecture, design, and artistic culture in the latter half of the nineteenth century. The central scene, The Story of Joseph, is perhaps the most celebrated of the entire series depicting as it does seven episodes from the Biblical narrative integrated into a single composition: Joseph cast by his brethren into the well, Joseph sold to the merchants, the merchants delivering Joseph to the pharaoh, Joseph interpreting the pharaoh’s dream, the pharaoh paying him honor, Jacob sending his sons to Egypt, and Joseph recognizes his brothers and returns home. The surrounding reliefs—two vertical figures in niches, two recumbent figures, and four portrait heads in roundels—are as well faithful reductions of Ghiberti’s original bronzes on other parts of the doors. The maker of these casts was the renowned 19th-century French fondeur Ferdinand Barbedienne. Gary Radke has recently written of this great enterprise: “The Parisian bronze caster Ferdinand Barbedienne began making half-sized copies of ancient and Renaissance sculpture in the 1830s. His firm benefitted enormously from the collaboration of Achille Collas, whom Meredith Shedd has shown was one of numerous pioneers in the mechanical reproduction of sculpture. Their competitors largely devoted themselves to reproducing relief sculpture, but Collas devised a process for creating fully three-dimensional copies. A tracing needle, powered by a treadle, moved over the surface of a full-sized plaster cast or bronze of the original and triggered a complementary action in a cutting stylus set over a soft plaster blank…He signed an exclusive contract with Barbedienne on November 29, 1838, and won medals for his inventions in 1839 and 1844. Barbedienne’s half-sized copies of the Gates of Paradise were famous not only for their fidelity to the original, but also for the way their gilding…suggested the glimmering surface that was hidden under centuries of dirt. Some critics even saw Collas’s and Barbedienne’s work as ‘philanthropic, an exemplary adaptation of industry to the requirements of art, the artist, the workers, and the public alike.’ At 25,000 francs, Collas’s and Barbedienne’s reduction of the Gates of Paradise was singularly more expensive than any other item for sale in their shop. All the reliefs, individual statuettes, and busts were cast separately and could be purchased either by the piece or as an ensemble. Fittingly, Barbedienne’s accomplishment earned him the Grand Prix at the 1878 Paris Exposition Universelle, along with numerous other medals.” Three complete examples of the Barbedienne-Ghiberti doors are known. One, first installed in a chapel in the Villa Demidoff of San Donato near Pratolino, was later acquired by William Vanderbilt...

Human and Animal Locomotion. Plate 140. Descending stairs, looking around and waving fan. 14 x 20 inch original vintage collotype print from 1887 (image size 11.75 x 9.75 inches)

Human and Animal Locomotion. Plate 465. Two models, child 70 N, bringing bouquet to 12. 14 x 20 inch original vintage collotype print from 1887 (image size 7.63 x 14.88 inches)

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...

Imao Keinen, 'Tree Peony and Blue and White Flycatcher' from the series 'Birds and Flowers of the Four Seasons', color woodblock Oban dipty...

Oil on panel Panel size: 7 x 5 inches Signed and date '1859' lower left

Human and Animal Locomotion. Plate 733. Elephant; walking. 14 x 20 inch original vintage collotype print from 1887 (image size 8.125 x 14.875 inches)

Human and Animal Locomotion. Plate 365. Head spring, a flying pigeon interfering. 14 x 20 inch original vintage collotype print from 1887 (image size 8 x 14.25 inches)

The Ghost of Seigen Haunting Sakurahime Color woodcut, May 1889 Signed: Yoshitoshi; seal: taiso, lower right (see photo) Plate 5 from the series "New Forms of the Thirty-six Ghosts" Publisher: Sasaki A very fine lifetime impression of the second state (bi-colored cartouche) (see photo) The murdered lover of courtesan Sakurahime appears in the smoke from her brazier Format: Oban Condition: Excellent Image size: 14 3/8 x 9 3/4 inches Reference: Beauty and Violence, Plate 6 Stevenson, "Ghosts", Plate 5 TAISO YOSHITOSHI (1839-1892) Taiso Yoshitoshi was born in the city of Edo (now Tokyo) just before Japan’s violent transformation from a medieval to a modern society. In the mid 19th century pressures from the United States and Europe brought an end to Japan’s two hundred years of self-imposed isolation. In 1868 a pivotal period began known as the Meiji Restoration. It was marked by the return of Imperial power, heightened militarism, a new constitution and industrial advancement, as well as social and political reform. In the midst of shifting values, woodblock print artists like Yoshitoshi struggled to create images that would satisfy the public’s changing tastes. During the Edo period (1600-1868) woodblock prints...

Charles Martin Powell (Chichester 1775-1824) Dutch shipping in a choppy sea Signed 'CPowell' lower right Oil on canvas Canvas Size - 16 x 19 in Framed Size - 24 x 26 in Provenance: The Parker Gallery...