19th Century Art

April: Otsuyu of Yanagibashi in Wisteria Arbor at Kameido Color woodcut, 1880 From the series: "Pride of Tokyo's Twelve Months" (Tokyo jiman juni kagetsu) Signed and sealed lower rig...

Oil on canvas Canvas size: 18.75 x 25 inches Framed size: 29.5 x 35.5 inches Signed and dated 1890 lower left

Signed and dated lower right in arrowhead: R. A. Blakelock / 1876

Label on stretcher bar: No. 175. / AMERICAN ART-UNION. /Road-Side View / Painted by / Seth Eastman / Distributed December 20, 1850.

Signed and dated lower left: J. W. Hill / 1867; on verso: On The Hudson – Looking North

Signed lower right: Louis Moeller.

Le Matin (Morning) Mezzotint, 1886 Signed and dated in the plate (see photos) Edition: at least 650 impressions in both states Reference: Wentworth 82 ii/II P...

A six panel Japanese Byobu in gold and green, paint on paper and wood by an unknown artist from the Meigi or Taisho peiord. The artwork is unsigned. Provenance: Private Collection Heather James Fine Art...

Based on a photograph of Mrs. Newton with a woman and child, presumably her sister, Mary Hervey and her niece Lilian. From the 1st edition, printed in London by Goulding Edition: 100 impressions printed by Goulding, London, 1881 200 impressions printed by Delatre, paris, 1882/3 In the estate vente there were 18 impressions "in different states" The plate was canceled and in the collection of the Sagot-LeGarrec heirs, Paris Printed on Dutch, Van Gelder watermark laid paper Signed and dated in the plate upper center plate edge Good morning, Thanks for your email about James Jacque Joseph Tissot works on paper. In addition to the example you wanted more information on, I have the following work by Tissot listed on 1st Dibs. Access them by place the LU_____ number (which is below the title) in the search box. It should take you right to the product page. Le Matin (Morning) LU1409989932 La Soeur ainee The Elder Sister LU1405402222 In Foreign Climes LU1406944542 Au bord de la mer (At the Sea Side) LU1409990002 Tissot is a very interesting artist. He was a close friend of both James Whistler and Edgar Degas. You can find a good biographical sketch on Wikipedia. There have been numerous museum exhibitions dedicated to his works in the United States, Europe and Japan. Please let me know if you have any other questions. All the best, Tom French...

The Story of Tamiya Bataro Color woodcut diptych, March 22, 1886 Signed and sealed by the artist (see photo) Yoshitoshi signature, Taiso seal Series: New selection of eastern brocad...

A Rimpa School six-panel screen with a chrysanthemum motif in gold, red, green, and white by an unknown Japanese artist from the Meiji Period. The artwork is unsigned. Provenance: Pr...

Original gouache by an unknown Neapolitan artist, circa 1840. Upper right panel after a fresco in Casa dei Dioscuri, Pompeii.

Vincenzo VELA (1820-1891) Last Days of Napoleon in St-Helena Created in 1866 Bronze with brown patina Signed ‘V. Vela F. 1867’ on the terrace. Signed ‘F. Barbedienne Fondeur’. Stamp ...

J. F. BUFFORD PUBLISHER and PRINTER LAST MOMENTS OF PRESIDENT LINCOLN, April 15, 1865 Lithograph, very good impression. The 2 lower publishing lines ...

Laurent, Juan (French, ). SPAIN. Folio (14 x 18 inches), morocco, gilt title, 50 leaves with 130 albumen photos on both sides depicting Spanish buildings and landscapes, artwork, armor, and other objects, all edges gilt. Not dated but circa 1870s-1880s. Ex collection Samuel Mather, with his bookplate. The photos, mostly about 13 1/2 x 9 7/8 inches, some about 5 1.2 x 7 1/4 inches, all in excellent conditionthe; binding with an expertly rebacked spine in well-matched morocco, and stabilization of the edges by Green Dragon Bindery. Jean Laurent, (French, 1816-1886) was a French photographer who worked mostly in Spain. He photographed architecture and landscape scenes throughout Spain, and sold the images separately, so that it is likely that our album was created for the buyer from images he had chosen. Laurent was the official photographer to the Queen of Spain and to the Prado Museum. Samuel Mather (American 1851-1931) was an Industrialist and philanthropist who was descended from Cotton Mather...

The Sand Barge by Jozef Israëls Oil on wood panel. 18 x 40 cm (7 1/16 x 15 3/4 in). Signed Artist biography Dutch-Jewish artist Jozef Israëls was born ...

Mezzotint after the painting by Robert Ker Porter (1777-1842). 25 1/4 x 17 (plate). Text: 'Robert Ker Porter pinx.t. W.Say sculp.t. London Published as the Act directs, June 19 1802, by John P. Thompson, Printseller to his Majesty and their Royal Highness's the Duke and Duchess of York...

Oil on canvas Canvas size: 12 x 18 inches Framed size: 15.75 x 21.75 inches Signed lower right

Keying Up - The Court Jester Etching with drypoint, 1879 Signed in the plate lower left corner (see photos) Proof before engraved title and engraved n...

Circle of FRANÇOIS DE LANSAC (1803-1890) "NAPOLEON AT ARCIS-SUR-AUBE, 1814" French Campain – Napoleon at Arcis-sur-Aube, 1814 Oil on canvas DIMENSIONS : –...

Alexandre DE ANDREIS (1830-1910) "Le Mousquetaire / The Musketeer" Oil on panel Signed lower right Painting: 45 x 29 cm (17 3/4 x 11 3/8 in.) Framed: ...

Woman Reading by JOZEF ISRAËLS (1824-1911) Oil on Panel 21 x 12.5 cm (8 1/4 x 4 15/16 inches) Signed lower right Executed circa 1870 Artist biography D...

Monogrammed and dated lower right: JW. 71; on verso: Indian Summer / By Jw. Williamson / N. Y. 1871 –

Imao Keinen, 'Flowering Quince and Cantonese Buttercup, Siskin' from the series 'Birds and Flowers of the Four Seasons', color woodblock Oban diptych, 1882. A fine impression, with fresh colors, on cream Japan paper, in excellent condition. Image size: diptych 12 5/8 x 17 7/8 inches (321 x 452 mm). Archivally sleeved, unmatted. ABOUT THE ARTIST Born in Kyoto, Imao Keinen (1845-1924) studied painting and calligraphy with Umegata Tokyo and Suzuki Hyakunen. He taught at the Kyoto Prefecture School of Painting and exhibited in shows in Japan and Paris. One of the most well-known Japanese painters of his time, Keinen was honored by his country with the title of 'Artist of the Japanese Empire...

American School. The Pond: Sunlight and Clearing Clouds. Late nineteenth century. 13 7/8 x 11 1/8 x 1 1/4. Unsigned. Frost & Adams stamp to the verso. The painting has been cleaned and relined; minor discolorations; craquelure. Housed in a linen liner with a gold lip and an elegant period-style 17 1/8 x 14 ½ x 2 1/8-inches. Frost & Adams (est.1869) was an artists' supply firm in Boston, Massachusetts, located in Cornhill, on the current site of Boston City...

Le Judgement de Paris ouf famille singe Lithograph, 1897 Signed and dated in the stone lower right (see photo) Published in L’Estampe Moderne with their blindstamp lower right corner, Lugt 2790 (see photo) Edition 2000 Printed by Chapenois, Paris Condition: Excellent Image size: 9 5/8 x 13 5/8 inches Sheet size: 12 x 15 3/4 inches Paul Jouve (1878-1973) Paul Jouve was two years old when his father set up his ceramist workshop on Boulevard Saint Jacques in Paris. It is in this artistic universe that he grew up playing with colors, modeling the earth, pampered by his young mother, who dreamed of making a teacher of her. Very early on, his father, seeing his passion for drawing, encouraged him, introduced him to the Jardin des Plantes, where he developed a passion for the big cats that he practiced drawing. For the Universal Exhibition of 1900, the architect Binet, commissioned a frieze of wild animals of more than 100m representing tigers, bears, lions, bulls, and mouflons. This frieze will be executed in greenish brown glazed flamed sandstone by the sculptor Alexandre Bigot. Binet also ordered four lions from him to decorate the main gate...

Color printed aquatint engraving with additional contemporary hand-colored details. Engraved by John Harris after the painting by Harry Hall. London, 1897. ...

Artemis Color lithograph, 1898 Signed in the stone lower right (see photo) Published in L’Estampe Moderne with their blindstamp lower right corner, Lugt 2790 Edition 2000 Printed by ...

Signed and inscribed lower right: MFH de Haas NA

Provenance: Collection of Emily Johnston De Forest and Robert Weeks De Forest, New York, by 1911-until 1942; thence by descent until 2018. Literature: ...

The career of William Stanley Haseltine spans the entire second half of the nineteenth century. During these years he witnessed the growth and decline of American landscape painting, the new concept of plein-air painting practiced by the Barbizon artists, and the revolutionary techniques of the French Impressionists, all of which had profound effects on the development of painting in the western world. Haseltine remained open to these new developments, selecting aspects of each and assimilating them into his work. What remained constant was his love of nature and his skill at rendering exactly what he saw. His views, at once precise and poetic, are, in effect, portraits of the many places he visited and the landscapes he loved. Haseltine was born in Philadelphia, the son of a prosperous businessman. In 1850, at the age of fifteen, he began his art studies with Paul Weber, a German artist who had settled in Philadelphia two years earlier. From Weber, Haseltine learned about Romanticism and the meticulous draftsmanship that characterized the German School. At the same time, Haseltine enrolled at the University of Pennsylvania, and took sketching trips around the Pennsylvania countryside, exploring areas along the Delaware and Susquehanna rivers. Following his sophomore year, Haseltine transferred to Harvard University. After graduating from Harvard in 1854, Haseltine returned to Philadelphia and resumed his studies with Weber. Although Weber encouraged Haseltine to continue his training in Europe, the elder Haseltine was reluctant to encourage his son to pursue a career as an artist. During the next year, Haseltine took various sketching trips along the Hudson River and produced a number of pictures, some of which were exhibited at the Pennsylvania Academy of the Fine Arts in the spring of 1855. Ultimately, having convinced his father that he should be allowed to study in Europe, Haseltine accompanied Weber to Düsseldorf. The Düsseldorf Academy was, during the 1850s, at the peak of its popularity among American artists. The Academy’s strict course of study emphasized the importance of accurate draftsmanship and a strong sense of professionalism. Landscape painting was the dominant department at the Düsseldorf Academy during this period, and the most famous landscape painter there was Andreas Achenbach, under whom Haseltine studied. Achenbach’s realistic style stressed close observation of form and detail, and reinforced much of what Haseltine had already learned. His Düsseldorf training remained an important influence on him for the rest of his life. At Düsseldorf, Haseltine became friendly with other American artists studying there, especially Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. They were constant companions, and in the spring and summer months took sketching trips together. In the summer of 1856 the group took a tour of the Rhine, Ahr, and Nahe valleys, continuing through the Swiss alps and over the Saint Gotthard Pass into northern Italy. The following summer Haseltine, Whittredge, and the painter John Irving returned to Switzerland and Italy, and this time continued on to Rome. Rome was a fertile ground for artists at mid-century. When Haseltine arrived in the fall of 1857, the American sculptors Harriet Hosmer, Chauncey B. Ives, Joseph Mozier, William Henry Rinehart...

Les Pelerins d'Emmaus (The Pilgrims of Emmaus) After a 1894 painting by Denis in the Van Gogh Museum (see photo) Color lithograph, 1895 Signed in pencil ...

Estate stamp on verso

Utagawa Kunisada (Tokoyuni III), 'Tokaido', color woodblock, 1863. Signed in the cartouche, lower right. A fine impression, with rich, fresh colors and pronounced woodgrain, the full...

A pair of Portraits of a Rabbi by José Schneider (1848-1893) Oil on canvas 2 parts, 21.2 x 18.4 cm (8 ³/₈ x 7 ¹/₄ inches) each Signed lower left on second panel, José Schneider

A silk embroidery by an unknown Japanese artist. “Fukusa, Pair of Lobsters” is from the Meiji Period and in golds and blues. The artwork is unsigned. Provenance: Private Collection, Palm Springs Heather James Fine Art, Palm Desert

Recruits on a March Ink and watercolor on paper, mounted on support Unsigned Condition: watercolor sheet laid down on paper, moderately faded Original Ackermann frame and matting Ima...

John Constable A Heath (Hampstead Heath, Stormy Noon - Sand Diggers)' 1830 Mezzotint by David Lucas, as directed by John Constable, printed on laid pap...

Moses Breaking the Tablet of the Law. (after Parmigianino. 1503-1540.) Pencil drawing mounted onto paper. 12 1/4 x 3 3/4 inches. Collector's seal verso: Gustav Grunwald, (Lugt 1155b)...

Holiday in Camp -- Soldiers Playing "Foot-Ball" Wood engraving, 1865 After Winslow Homer Unsigned (Signed in text in title caption, see photo) Published in Harper's Weekly July 15, 1...

Le Soir: Cerf et Herons (The Evening: Stag and Herons) Lithograph printed with brown tint stone, 1858 From: Animaux et Paysages d’apres Nature Published by Goupil, 1858 Signed in the stone lower left, Karl Bodmer Pinx. et lith. (see photo) Published by Goupil et Cie, Paris, with their blindstamp center, below image Printed by Bertauts, Paris (see photo) Condition: Excellent One stain verso, not visible on recto Full sheet Image size: 11 1/4 x 18 inches Sheet size: 17 3/4 x 24 3/4 inches Reference: Delteil 70 IFF 22, No. 1 Karl Bodmer (1809—1893) Painter, draftsman, and printmaker. Although he spent only two years in the United States and its territories, Bodmer's depictions of Western Indians...

Signed with the artist's initials lower left From: Les Douze Mois de 1889 As published in Vol. 9, No. 425 of Les Hommes d'Aujourd'hui. Published by Sagot, Paris Proof before letters...

Signed, lower right: Fantin Provenance: Gustave Tempelaere (1840–1904), Paris; possibly by descent to his son: Julien Tempelaere (1876–1961) and with F. & J. Tempelaere, Paris, prob...

Oil on canvas 46 x 55 cm (18 ⅛ x 21 ⅝ inches) Signed lower left, Ridgway Knight Artist biography American artist Daniel Ridgway Knight was born in Pennsylvania and studied at the École des Beaux-Arts in Paris. From 1872 he lived and worked at Poissy on the River Seine, just to the west of Paris. Best known for his landscapes and depictions of peasant women in the fields, Knight earned distinction at the Paris Salon of 1882. He went to be was awarded the Silver Medal and Cross of the Legion d’Honneur at the Exposition Universelle in 1889, the Gold Medal of Honour from the Pennsylvania Academy of Fine Arts in 1893 and in that same year was created a Knight of the Royal Order...

In 1852, twenty-nine year old William Bradford was a failing shopkeeper in Fairhaven, Massachusetts. With a wife and child at home, Bradford, by his own admission, “spent too much time in painting to succeed” in business. Rescued from insolvency by his well-to-do in-laws, this is not the beginning of a narrative that generally leads to a happy ending. Not so with Bradford, who ultimately found international fame and fortune as a painter of arctic seascapes and dramatic marine paintings. William Bradford, the artist, was a lineal descendant of the 17th-century Separatist leader William Bradford, a founder of the Plymouth Plantation, signer of the Mayflower Compact and Governor of the Plymouth Colony. Our Bradford born to a New Bedford ship outfitter in Fairhaven, Massachusetts By the nineteenth century, this line of Bradfords were Quakers, living on the tract purchased nearly two centuries earlier by their pilgrim ancestor. Fairhaven, across the mouth of the Acushnet River from the whaling center of New Bedford was described by a New York journalist in 1857 as “the Brooklyn of New Bedford” (Home Journal, January 3, 1857). Young Bradford displayed an early predilection for the arts, but his Quaker parents were disinclined to support this particular pursuit. After working in his father’s business and then for a dry goods merchant in New Bedford, by 1849 Bradford had set up in New Bedford as a “merchant tailor” offering outfits for “those going to California,” “seamen’s clothing,” custom-tailored “piece goods...

Trompe l'oeil. [Punch and Judy]. Watercolor and drawing, undated, circa 1830. Paper size 10.25 x 14" (26.1 x 35.6 cm). On "J. Whatman" watermarked paper. Unidentified artist. A 19th-century visual montage of Cruikshank's "Punch & Judy." The images are taken from the book "The Tragical Comedy, or Comical Tragedy of Punch and Judy." As told to John Payne Collier by Giovanni in 1827, illustrated by George Cruikshank and published by S. Prowlett, London 1828. The central circle illustrates a drawing showing two allegorical female figures with two putti. The text under this image: “E Musao Hugonis Howard Armig, from Guercino.” On top of that illustration is a handsome painting of a flintlock pistol. Trompe l’oeil is an art of illustration – the name translates to ‘Trick of the Eye.” The puppet show of Pulcinella or Punch and Judy has a long and fascinating history. “A puppet play that would have featured a version of Punch was first recorded in England in May 1662 by the diarist Samuel Pepys. He noted seeing it in Covent Garden, London, performed by the Italian puppet showman Pietro Gimonde from Bologna, otherwise known as Signor Bologna. The earliest script of a Punch and Judy show...

Dory Fishermen Frederick Schiller Cozzens created this watercolor entitled “Dory Fishermen” in 1888. This piece is signed in brush, lower left “Fred S. Cozzen...

Etching and drypoint. Schneiderman 133.v/xi. 7 3/4 x 16 3/8 (sheet 9 1/4 x 17 1/2). A rich impression with plate tone printed in black/brown in on antique cream wove paper. Signed in...

Berthe Etching with drypoint, 1883 Signed in the plate (see photo) This etching was inspired by an 1882/3 pastel which the artist included in his ambitious "Femme a Paris" exhibition at Galerie Sedelmeyer, Paris, in 1885. Reference: Beraldi 65 Wentworth 74, published state Tissot 76 Condition: Excellent Plate/Image size: 14 1/4 x 11 inches Sheet size: 19 1/2 x 15 inches Frame size: 23-1/2 x 20-1/4 inches Donald Morris Gallery, Birmingham, Michigan (Morris had a distinguished collection of Tissot prints...

Side View Seated Female Nude Graphite on paper, c. 1890's Unsigned Provenance: Rookwood Pottery Factory Collection, Cincinnati Spanierman Gallery, New York (label) Drawings from the sketchbook are in the collections of the Munson Williams Proctor Institute in Utica, New York and the Picker Art Gallery, Colgate University, Hamilton, New York. Condition: Excellent Sheet size: 9 1/4 x 6 1/4 inches Frame size: 16 x 12 1/2 inches Frank Duveneck (1848-1919) Born in Covington, Kentucky, Frank Duveneck had the birth name of Frank Decker. He became a well-trained academic painter whose work ranged from single figures in interiors to plein air canvases of figures in landscape and often included the depiction of low-life persons. His styles included Realism, Social Realism, and Impressionism, and his work was ever influenced by the dark tones and vigorous brush-strokes of the Munich style, which he learned at the Munich Academy in the 1870s. Art historian Matthew Baigell described Duveneck's mature style as having "loose highlights brushed over ruggedly blocked-out forms emerging from a richly suggestive chiaroscuro." He apprenticed to a church decorator, Wilhelm Lamprecht, in Cincinnati, and worked in Catholic Churches in Covington, Cincinnati, Latrobe, Pennsylvania and Quebec, Canada. At age 22, entered the Royal Academy of Munich where he intended to further his interest in church decoration but instead veered to fine-art painting on canvas. One of his most influential teachers was realist Wilhelm von Diez, and Duveneck, also impressed by the realism of French painter Gustave Courbet, became known for adopting this revolutionary approach with rich brushwork. In Munich, Duveneck shared a studio with William Merritt Chase. Returning to Cincinnati, he painted portraits and decorated churches and also taught art classes. At first he did not gain much attention, but an exhibition in Boston in 1875 gained him good attention. In 1875, he went back to Europe and opened an art school in Munich and also in Poling in Bavaria, and many Americans who became known as "Duveneck's Boys," studied with him. Several years later, he opened his school in Italy where he spent the winters in Florence and the summers in Venice. In 1879, he and his followers went to Venice where he began etching and briefly shared a studio with James Whistler in order to learn from him. He also did sculpture. During this period, his painting changed drastically from dark interiors with heavy, impasto paint to outdoor, plein air painting in much lighter colors giving the appearance of sunlight. Among his students was the future Impressionist painter John Henry Twachtmann, and also Elizabeth Boott, whom he married in 1886 and who died two years later. In 1888, he returned to Cincinnati where from 1900 he taught at the Cincinnati Art Academy. He spent the summers in Gloucester, Massachusetts painting...

Madame Helleu Looking at Watteau drawings at the Louvre. (En regardant les Watteau de Louvre). c. 1895. Drypoint printed in 2 colors - black and sepia. 11 3/4 x 15 7/8. Goncourt 3, d...

oil on canvas, signed and dated 'Louis Carrier-Belleuse 1874' (lower right)

La Machine hydraulique (The Hydraulic Machine). 1862. Original cliché-verre. Delteil, Melot 147. Delteil 147. 8 3/8 x 13 1/2 (sheet 11 x 14). Edition 150, #85. A posthumous impressio...

Maurice Denis, Untitled (Mother and Child), lithograph, 1897, edition not stated. Signed in the stone, lower right. Annotated in linotype 'MAURICE DENIS, ORIGINAL LITHOGRAPHIE PAN III' in the lower left sheet corner. A fine, atmospheric impression, in warm, dark gray ink, on buff wove paper, with full margins (2 1/2 to 1 3/4 inches); a small discoloration in the bottom left sheet corner, otherwise in good condition. Image size 8 5/8 x 6 7/8 inches; sheet size 13 7/8 x 10 5/8 inches. As published in 'Pan', the leading German magazine of the period devoted to art and literature. Matted to museum standards, unframed. Collection: Los Angeles County Museum of Art. Reproduced: German Expressionist Prints...

Color lithograph from Vanity Fair of Mr. Abington. London, circa 1890.

Standing Male Nude (recto) Study of the Head of the Standing Male Nude (verso) Unsigned Provenance: Estate of the artist Helen Chase Storm (the arti...

Original cliché-verre. Delteil, Melot 139. 11 1/2 x 14 1/4 (image and sheet). Edition 150, #71. Posthumous impression from the 1921 edition of 150 printed in Paris by Sagot-Le Garrec...

CAMILLE PISSARRO (French 1830-1903) VACHERE au BORD de l’EAU 1890 (Delteil 93 viii/viii) Etching, unsigned as published in “Gazette des Beaux Arts”, Paris, 1890. On laid paper Very...