19th Century Art

In this detailed and colorful rendering of a Vermont countryside entitled “Reminiscence of Vermont,” William Hart paints two figures walking along a stream

Francis Hopkinson Smith paints a watercolor of Venice with figures looking out onto the river with ships sailing by in his work entitled, “Venice (A View from the Ponte Sant’ Eufemia...

William Stanley Haseltine paints a beautiful river landscape in Roman Campagna at the end of day in his artwork entitled, “Sunset Glow, Roman Campagna.”

John Ferneley Jnr Stabled horses Oil on canvas Canvas Size - 20 x 24 in Framed Size - 27 x 31 in Born in about 1815 at Melton Mowbray, he was the eldest son of the important sporting artist John E Ferneley. The latters other two children, Claude Lorraine and Sarah, were also artists. He spent his early life at Elgin Lodge and his father was a major influence on his artistic development and was in all probability his sole teacher. His father took him on trips to London and in 1832 to Durham and York where the younger Ferneley later settled in about 1839, probably because of the large number of patrons in the area. His first work, of a Whipping-in, was engraved and published in the New Sporting Magazine in May 1833 and was followed in the next year by an engraving of a Hunter. John E Ferneley had established a significant career as an equestrian artist in the old English tradition largely due to being a pupil of Ben...

Oil on canvas Canvas size: 20 x 30 inches Framed size: 25.25 x 35.25 inches Signed lower right

Sunset over a Frozen Landscape by George Augustus Williams British 1814 - 1901 Oil on canvas Canvas size: 13 x 20 inches Framed size: 17 x 24 inches Monogrammed lower left

Signed with initials lower right The painting is one of the 4 illustrations that JWS did for the book “Evangeline: Tale of Acadia”, by Henry Wadsworth Longfellow...

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)

Medium: Pen and Ink on Board Signature: Signed Lower Right A political cartoon of a man and a woman at a dinner table.

Medium: Ink, Graphite, and Watercolor on Paper Mounted Signature: Signed Lower Right circa 1881 Exhibited: Kennedy Galleries, with their label suggesting the creation date of 1881.

Medium: Oil on Canvas Signature: Signed Lower Right

Oil on canvas Canvas size: 24 x 18 inches Framed size: 31 x 25.5 inches Signed lower left

Medium: Pastel on Paper Dimensions: 24.00" x 15.00" Signature: Signed Lower Right "His Rise to Power" Novel by Henry Russell Miller

Oil on canvas Canvas size: 6 x 12 inches Framed size: 13.5 x 17.5 inches Signed

Date: 1880 Medium: Oil on Board Dimensions: 18.20" x 24.00" Signature: Signed Lower Right

Oil on canvas Canvas size: 8.5 x 12 inches Framed size: 13.75 x 17.25 inches Signed lower right

Medium: Gouache and Pencil on Board Signature: Signed Lower Left Carter's Monthly, February 1898, cover illustration. Newly Framed.

Medium: Gouache Signature: Signed Lower Right a slave with shackles on the ground behind him appealing to Abraham Lincoln with the Civil War battle s...

Medium: Oil on Canvas Dimensions: 28.00" x 22.00" Signature: Signed Lower Right

Oil on canvas Canvas size: 24 x 18.25 inches Framed size: 31.75 x 25.75 inches Signed lower right

A silk and gold thread embroidery of titles. Japan's textile industry was one of the first to adopt Western science and technology, and thus the Meiji era produced some of the highes...

Oil on canvas Canvas size: 20 x 16 inches Framed size: 22.5 x 18.5 inches Signed lower right

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe...

Medium: Watercolor and Pencil on Board Sight Size 11.00" x 15.00", Framed 17.50" x 20.50" Signature: Signed Lower Left Sunday In Old Catskill, Harper's New Monthly magazine story il...

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Japan, Moore spent time in Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this sparkling portrayal of a young woman dressed in a traditional kimono and carrying a baby on her back, a paper parasol...

Napolitan School, 19th century "Views of Naples, Italy" Oil on canvas Sold as a pair Each work : Canvas: 20" high x 30" wide Frame : 24" high x 34" wide

Oil on canvas Canvas size: 20.5 x 27.5 inches Framed size: 24.75 x 32 inches Signed lower right

It was during the late Meiji period that exquisite examples of bronzes, such as this one, were first seen by the West during the international expositions. It was only the Japanese t...

Oil on canvas Canvas size: 18 x 12 inches Framed size: 23 x 16.75 inches Signed lower right

Signed (at lower right): FJK

Signed (at lower right): FJK

Signed lower right: Chauncey F Ryder

Henry Bernard Chalon (London 1770-1849) A Löwchen and a Toller Signed 'H. B. Chalon, 1796' lower right Oil on canvas Canvas Size 10 x 13 in Framed Size 14 x 17in Henry Bernard Chalo...

Thomas Buttersworth (1768-1842) Shipping in choppy coastal waters signed and dated lower left Oil on canvas Canvas Size - 9 x 12 1/2 in Framed Size - 13 x 16 1/2 Immerse yourself in...

James Loder of Bath (1784-1854) A grey horse, pony and terrier in a stable signed 'J Loder' (lower right) Oil on canvas Canvas size - 24 x 30 in Framed size - 27 x 34 in Provenance ...

The Draped Figure, Seated Lithograph on fine japanese paper, 1893 Signed in pencil with the butterfly (see photo) Signed in the stone with the butterfly on the sofa (see photo) Numbe...

Martin Theodore Ward (1799-1874) Setters on the scent Signed M T Ward lower left Oil on canvas Canvas Size - 18 x 24 in Framed Size - 23 x 29 in Martin Theodore Ward, a distinguishe...

Arthur James Stark (1831-1902) Husky in a snowy landscape Signed 'a j Stark, 1879' lower right Oil on canvas Canvas size - 20 x 26 in Framed size - 26 x 32 in Arthur James Stark (18...

Thomas Mogford (1809-1868) Three horses in a woodland landscape signed and dated 'Thos Mogford. 1838' (lower right) Oil on canvas Canvas size - 25 x 30 in Framed size - 29 1/2 x 34 1...

Irving Ramsay Wiles paints a view up a sidewalk with green trees and houses in the distance in his artwork entitled, “The Village Street.”

Theodore Roussel (1847-1926), The Gate, Chelsea; etching and drypoint, 1889-1890, signed on the tab and inscribed imp [also signed in the plate lowere right]. Reference: Hausberg 33, fourth state (of 4), from the total printing of about 43 impressions. In excellent condition, trimmed by the artist all around on the plate mark except for the tab, 8 1/8 x 6 1/2 inches. A fine impression, printed on a light cream wove paper with plate tone (wiped to brighten the gate and doorway area) and substantial burr in the drypoint work. According to Hausberg, “The gate and house behind it still stand today at No. 4 Cheyne Walk...

Philip Reinagle (1749-1833) A huntsman with pointer in a landscape Oil on canvas Canvas size - 17 x 23 in Framed size - 22 x 28 in Philip Reinagle RA (1749-1833) was an English pain...

Frederick Richard Lee RA (1798-1879) View of Stirling from the Forth Oil on canvas Canvas size - 38 x 55 in Provenance with Ian MacNicol, Glasgow; where purchased by the present ow...

William Jones (c.1798-1860) Two spaniels working with a huntsman beyond Oil on canvas Canvas Size - 16 x 21 in Framed Size - 21 x 26 in William Jones’s work is well-known, emanating...

Ernst Haeckel, 'Art Forms in Nature' (Plate 56 - Calanus), color lithograph, 1899. Signed and titled in typeset, upper left. Titled 'Tafel 56 — Calanus'...

Human and Animal Locomotion. Plate 646. Jumping a hurdle; saddle; rider, 105, nude; gray mare Pandora 14 x 20 inch original vintage collotype print from 1887 Image size 6 1/2 x 17 in...

Human and Animal Locomotion. Plate 615. Canter; bareback; dark-gray Belgian horse Hansel 14 x 20 inch original vintage collotype print from 1887 Image size 9 x 12.75 inches Muybridge...

Human and Animal Locomotion. Plate 597. Trotting; bareback; dark-gray Belgian horse Hansel 14 x 20 inch original vintage collotype print from 1887 Image size 7 5/8 x 13 inches Muyb...

Human and Animal Locomotion. Plate 173. Walking; saddle; rider, 43, nude; light-gray horse Smith 14 x 20 inch original vintage collotype print from 1887 Image size 7.25 x 15.25 inche...

Human and Animal Locomotion. Plate 647. Jumping a hurdle; bareback; rider, 105, nude; gray mare Pandora 14 x 20 inch original vintage collotype print from 1887 Image size 5 7/8 x 17 ...

Human and Animal Locomotion. Plate 631. Gallop; saddle; thoroughbred bay horse Bouquet 14 x 20 inch original vintage collotype print from 1887 Image size 7 x 16 inches Muybridge copy...

Human and Animal Locomotion. Plate 620. Canter; saddle; thoroughbred bay mare Annie G. 14 x 20 inch original vintage collotype print from 1887 Image size 7 3/8 x 16 inches Muybridge ...

Human and Animal Locomotion. Plate 592. Racking (pacing); saddle; brown horse Pronto 14 x 20 inch original vintage collotype print from 1887 Image size 7.25 x 16.5 inches Muybridge c...

"Sun, Moon and Stars". Three beauties enjoy a full moon on the veranda of a teahouse or restuarant. The woman on the left kneels and adjusts her lavishly printed kimono. The beauty in the center has her hair down, and behind her is a screen against which shadows are beautifully silhouetted, which adds an air of mystery. The seated woman on the right is perhaps a geisha, as we see a shamisen lying next to her. Before her is a tray with an assortment of foods. One may surmise that the beauties are being compared to the sun, the moon, and the stars. On the left we glimpse a full moon shining over the peaceful bay, and boats at harbor. Original first edition Japanese color woodblock print triptych...

Westminster Palace Etching, Drypoint, Aquatint, roulette and salt ground lift 1884 Depicts the Houses of Parliament, Big Ben Clock and Tower and the River Thames in the foreground. S...

En plein soleil. (In the Sunlight). 1881. Etching and drypoint. Tissot 54, Béraldi 45, Wentworth 54. 7 13/16 x 11 1/2 (sheet 11 1/4 x 15). Edition about 100. Mat line and two hinge s...

Quai de Paris, à Rouen by Camille Pissarro (1830-1903) Etching 18 x 17.5 cm (7 ¹/₈ x 6 ⁷/₈ inches) Stamped with initials C.P. lower left and numbered 3/13 lower right This etching w...

New England Winter: The Old Homestead. 1896. Etching and aquatint printed in grey-green. 7 3/4 x 11 3/4 (sheet 10 x 13 1/16). A rich impression in p...