Late 19th Century Art

LECOZ (XIXe) "Venice" Oil on canvas signed low right New golden frame Dim canvas : 50 X 100 cm Dim frame : 80 X 130 cm

Alfredo Tominz (Trieste 1854 – 1936), Passeggiata a cavallo a Trieste Dipinto ad olio su tela di cm 69 x 110 firmato e datato 1890 in basso a destra. Provenienza: Asta Stadion Trie...

GARAT Francis (1870 - NC) The Farm of The Donkey Oil on canvas signed and dated 1883 low right Frame guilded Size canvas : 50 X 76 cm - Size frame : 60 X 76 cm GARAT Francis (1870 -...

An exquisite set of a pair of North African orientalist/africanist terracotta sculptures of a man and female conveying water containers. Most likely by Goldsheider, incredibly molded...

Four young English girls with flowers are shown in a line and moving from left to right. They are pushed forward on the picture plane as if they were on a stage with a simple indica...

It is subjectively proven that artistic inspiration strikes individuals in varied and unique ways. In this single painting, an appreciative audience may examine how the early luminou...

Signed lower right. This painting was exhibited in the Christopher Pearse Cranch landscape exhibition in 2007 at the Lyman Allyn Art Museum and published and illustrated in the cata...

The ethereal beauty of gems captured in this oil painting of an exquisite gold sewn bracelet featuring extravagant materials in content and paint - pearls, ruby, citron and aquamarin...

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...

Albert Lebourg ​ Étude des paysans ​ pencil on paper, signed lower right, estate stamp on the reverse, 19 x 13.5cm ​ Provenance: Vente Maître Dumousset, Paris, May 1999: Pri...

A charming picture of two sitting, attentive dogs. Signed and dated. Hand carved and gilded frame.

Exhibited: Société Nationale des Beaux-arts, Paris, 1893 (as Jeune Fille arrosant ses fleurs) Literature: Michel, Jean Pierre, François Guiguet (Corbelin, France, 1996), p. 102 (n...

This portrait of a young boy with an apple is a beautiful piece by Georg Cornicelius.

Literature: Manuel Carrera, “Una ritrattistica manciniana nelle collezioni della Gnam,” Belle-Arti 131, no. 2 (2013), p. 44 (color illus.)

Ideal head by 19th-century American painter.

Achille Théodore CESBRON (1849-1915) Flower Arrangement Oil on oval canvas signed low right Framed by Gault (Paris - Fbg St Honoré) Dim canvas : 63 X 48 cm Dim frame : 79 X 64 cm Achille Théodore CESBRON (1849-1915) French school 19th-20th century Born the 5th of November 1849 in Oran (Algeria). Dead the 4th of January 1915. Painter of genre scene, portraits, still life, flowers, pastel. Pupil of Bonnat and Cormon, he regularly exhibited at the « Salon des Artistes Français », whose he became shareholder in 1883, getting several rewards and medals from 1882 to 1886. He has got the Marie...

Two figures in 19th century dress sit at a table in a cafe. Provenance: Private Collection, New Jersey Originally based in New York City, William Bodfish was a talented artist who gained recognition for his illustrations and cartoons in the late nineteenth century. A painter of genre scenes, he also created detailed illustrations of hunting, whaling and fishing adventures for such magazines as Harper's Weekly. In the years following the Civil War, he traveled to the American West, joining the legion of journalists and illustrators who recorded the development of the new frontier. He was considered by historians to be one of the most “able cartoonists” to tackle the West. During his lifetime, Bodfish exhibited work at the National Academy of Design and the Art Institute of Chicago. Likely created after the artist’s departure from New York, The Sister’s Visit records a quiet moment between two siblings. Seated before a lovely spread of luncheon items, including a bowl of oranges...

Portrait of the younger brother of Napoleon, Lucien Bonaparte, done with the Scagliola technique. Scagliola (from the Italian scaglia, meaning "chips") is a type of fine plaster came into fashion in 17th-century Tuscany as an effective substitute for costly marble inlays, the pietra dura works created for the Medici family...

ENRIQUE ATALAYA Spanish, 1851 - 1913 BELEM´S TOWER, LISBON signed "ATALAYA" (lower right) oil on wood panel 6-1/4 x 8-1/8 inches (15.8 x 20.5 cm.) fram...

Slade School Late 19th Century Portrait of a Mary Hardy (nee Sulman) Oil on panel Image size: 8 x 7 inches Contemporary frame Provenance Lady Town (Grandda...

Finely painted after Rembrandt with a self-portrait of the artist and his spouse, Saskia, in a tavern, in the guise of the Prodigal Son LATE 19TH CENTURY, IMPRESSED MONOGRAM AND SCE...

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...

Himalayan Nuthatch - John Gould lithograph with hand-coloured size 54 cm X 37 cm excellent Condition Accompanied by the information page from 'The Birds of Asia...

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...

French Post-Impressionist painter Georges d’Espagnat captures a charming moment between a mother and her child in this vibrant oil on canvas. Rendered with a studied use of complementary colors and bold brushstrokes, the painting showcases the artist's unique Post-Impressionist style. Remembered as one of the most individualistic artists of the 20th century, his distinctive canvases bring together the loose brushwork of the Impressionists and the bold color palette favored by the Fauves. Together, they achieve a vibrant spontaneity that lends itself well to the carefree subjects of the present work. Masterfully composed, La lecture au jardin moves beyond the Impressionist instinct to capture a fleeting moment on canvas. Rather, d'Espagnat succeeds in creating a deep feeling of harmony in the work. Warm colors are perfectly balanced with cool tones, while vertical and horizontal lines are softened by the curves of the foliage and his subjects' figures. Through his simplification of forms and intentional use of color and line, he creates a scene that is carefully designed and thoroughly modern. A similar view of a mother and her child by d'Espagnat is currently in the collection of the Metropolitan Museum of Art (New York). The Post-Impressionist painter was an individualist since his youth, choosing to forgo traditional schooling in order to independently study the Old Masters in the Louvre. He soon became involved with the most prominent Impressionist and Post-Impressionist painters of the age, including Pierre-Auguste Renoir and Paul Signac, who themselves existed outside the traditional norms of French Academic training. In 1891, he exhibited at the Salon des Refusés, and again the following year at the Salon des Indépendants. By 1895, he held his first one-man show in Paris, and just three years later his success earned him a solo show at the prestigious Durand-Ruel Gallery. Between 1905 and 1910 he made several trips to visit Renoir on the Côte d’Azur. Their close friendship resulted in a group exhibition at Marcel Bernheim...

ERNEST BLANC-GARIN (1843-1916) Portrait of a Young Lady around 1880 Oil on wood panel signed low Old Original frame gilded with leaves Dimensions wood : 40 X 30 cm Dimensions frame : 62 X 53 cm ERNEST BLANC-GARIN (1843-1916) Belgian Painter 19th Century Born 8 October 1843 in Givet (France) Died 1916 in Brussels (Belgium) Painter of Portraits and Urbanscapes. In Brusssels he was taught by Jan Portaëls (1818-1895); then in Paris by Alexandre Cabanel (1823-1889) He took part in the Salon de Paris from 1868. After a trip to Italy in 1870, he came back to Brussels for creating a private Art Academy providing a very liberal teaching. His portraits are made with a lot of freedom and gracefulness. Bibliography : Dictionary of Artists E. Benezit Book II / 373 Gérald SHURR : Les petits Maîtres de la Peinture 1820- 1920 Book V

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.

This drawing by Léon Bonnat, the greatest portrait painter of the Third Republic, shows a woman of indeterminate age, caught in a melancholic pose. 1. Léo...

Medium: Oil on Canvas Signature: Signed Lower Right

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

A late nineteenth century polychrome painted panel, depicting a foliate and ornithological arabesque upon a white ground. Oil on panel, set within an ebonised frame.

PIETRO BARZANTI Italian, 1825-1895 Allegory Of Spring Signed ‘P. Milanes/Galleria/P.Bazzanti/Florence.’ Carved White Italian marble circa 19TH C...

Toulot Jules (1863-nc) Pianist officer in the Second Empire period Oil on canvas signed low right Old frame regilded with gold leaves Dim canvas : 65 X 43 cm Dim frame : 90 X 67 cm TOULOT Jules (1863-nc) French painter 19th century Born 11th November 1863 in Champeinx (Puy de Dôme...

Date: 1880 Medium: Oil on Board Dimensions: 18.20" x 24.00" Signature: 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...

JEAN-BAPTISTE AUGUSTE CLÉSINGER French, 1814-1883 Dancer Zingara Inscribed F. BARBEDIENNE.FONDEUR with the reduction mecanique A. Collas Brevete seal Patinated bronze, brown ...

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

CHARLES GEORGES FERVILLE-SUAN French, 1847-1925 Bronze group of a winter scene A winter scene of a man on skates, pushing the woman’s sled ...

William CRUICKSHANK (1844-1922) Two still-Life Gouache in pair signed low Dimensions : 20 X 30 cm and 35 X 45 cm (framed) DImensions : 26 X 31 cm and 39 X 46 cm (framed) Golden wood frames William CRUICKSHANK (1844-1922) British painter born December 25, 1848 in Broughty Ferry...

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

Medium: Mixed Media on Board Sight Size 21.50" x 14.50", Framed 26.00" x 19.00" Signature: Signed Lower Left Illustration for the "Exhibition of the American Water Color Society."

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...

ADDISON THOMAS MILLAR American, 1850-1913 The Sword Merchant Signed Addison T Millar Oil on board 10 in x 8 in Framed: 18 in x 10 in

Signed, dated, and titled, lower left: L Ury/ 1883/ Studie zum Hiob Provenance: Mr. and Mrs. Dennis Berger, New York, until 2005; thence by descent. Literature: Illustrated in...

‘Diana Nemorensis’ by Max Nonnenbruch (1857-1922). The painting – which depicts the Goddess Diana of the Woods beside Lake Nemi – is signed by the artist and presented in a fine gol...

Late 19th century still life of a beautiful floral bouquet by Elisabeth Von Wundt (German, b-1856) . Signed " Wund"; lower left. Artist's signature on verso. Presented in a giltwood ...

As we gaze upon this artwork, we are immediately struck by the warmth and tenderness exuding from the scene. The woman, with a gentle smile on her face, carefully feeds the pet calf,...

Les Maîtres de l'Affiche n°35 PAL dit, Jean de Paleologu (Ro) 1865 † 1942 Miami Beach (U.S.) Grand Ballet Brighton. 1893-1896. H400xL290mm. Lithographie imprimée en couleurs sur pap...

Adolphus Knell 19th century English fishing boast at Sea. Investing in a 19th-century English fishing boat captured at sea circa 1880 by Adolphus Knell, with the sun rising or sett...

Olof Per Ulrik Arborelius, born November 4, 1842 in Orsa, died June 2, 1915 in Stockholm, was a Swedish folk life and landscape painter and professor at the Art Academy in Stockholm ...

An exceptional Italian landscape by American artist Ross Sterling Turner (1847-1915). Turner was born in Westport, New York, and after moving to Alexandria, Virginia, took his first...

Signed post impressionist landscape oil on canvas by French painter Henri Le Sidaner. This stunning piece depicts two fishing boats moored in a fishing village at sunset. The last l...

Richard Wagner Etching, c. 1880 Signed in the plate (see photo) Edition: c. 200 impressions Condition: mint Image/Plate size: 6 5/8 x 4 3/4 inches Sheet size: 14 3/8 x 10 7/8 inches ...

Rare pair of "Tiger and Lion walking" by Antoine-Louis BARYE (1796-1875) A very fine pair of bronze sculptures with a nuanced brown patina each signed "Barye" on the base cast by "F...

VICTOR JEAN BAPTISTE BARTHELEMY BINET French, 1849-1924 This very attractive & early painting, circa 1875 by Binet, quintessentially defines the late Barbizon School period. Depicti...

19th century China Trade Tea Clipper at Sea in Full Sail. Owning in a 19th-century China Trade portrait of a tea clipper at full mast at sea offers a captivating glimpse into a pivo...

‘Jeune Fille en Blanc’ by Jacques-Émile Blanche (1861-1942). The painting – which depicts one of the artist’s favourite models Wanda Zielinska – is signed and dated 1896. It is lis...