Late 19th Century Art

A family of lions having green patination depicting a male lion feeding two cubs; mounted on a naturalistic base - signed and applied entitled plaque "Lion 1st Gibier" Paul Edouard Delabrierre...

Medium: etching (after the painting). Etched by French artist Frederic Auguste Laguillermie after the Millet painting. Published in Paris in 1873 by the Galerie Durand-Ruel for the r...

Edward Chalmers Leavitt (1842 - 1904) Rhode Island Artist Image Size: 36 x 28 Frame Size: 42.5 x 34.5 Newcomb Macklin Frame. Medium: Oil Dated 1889 "Duck Hunt" Mergansers Edward Chalmers Leavitt (1842 - 1904) Edward Chalmers Leavitt, artist, was born in Providence, Rhode Island, March 9, 1842, the son of Rev. Jonathan and Charlotte Esther (Stearns) Leavitt. His paternal ancestor was John Leavitt, who came to Massachusetts Bay in the first ship and settled in Hingham. On the maternal side, he is descended from John Alden and Priscilla Mullens, who came to Plymouth in the Mayflower. Leavitt was educated in private schools in Providence, and at Kimball Union Academy, Meriden, New Hampshire. During the Civil War in 1862 and 1863, he served in the navy on the U.S.S. Galena. In his profession of artist, Mr. Leavitt is especially noted as a painter of fruit, flowers and still life. He exhibited in the National Academy for several years and has made many successful exhibitions in Providence and Boston. He was a member of the Boston and Providence art clubs, and the Providence Press Club. He was also a member of the Grand Army of the Republic. In politics his proclivities are mainly Republican. He has been twice married: first, May 19, 1877, to Ellen M. Fuller; and second, April 22, 1880, to Elizabeth S. Chace. Submitted November 2004 by Edward Bentley, Art Collector and Researcher from Lansing, Michigan. Source is the publication "Men of Progress: Biographical Sketches and Portraits of Leaders in Business and Professional Life from the State of Rhode Island." New England magazine. 1896. Edward C. Leavitt, born in 1842, has been described as "Providence, Rhode Island's leading still-life painter" in the late 19th Century. (Zellman 324) His teacher, James Morgan Lewin, was a prominent still-life painter in Fall River, Massachusetts, a neighboring town. Leavitt, a detailed, sharp-focused, realistic painter, was in love with texture and light, and was prolific and successful, painting a variety of still life subjects including flowers, fruit and even fish and dead game animals. His objects, including costly antiques and household decorative items, were often placed on ornamental, gleaming surfaces. He was a frequent exhibitor at the National Academy of Design in the 1870s and 1890s. The artist, who died in 1904, moved from a position of success and popularity to being ignored for many years until the publication of William H. Gerdts and Russell Burke's American Still-Life Painting in 1971. It is uncertain whether this disastrous loss of respect took place because Leavitt's work declined in quality during the last decade of his life, or because he was a victim of the periodic shifts in taste and fashion that afflict the arts. Sources: Michael David Zellman, 300 Years of American Art Peter Hastings Falk, Editor, Who Was Who in American Art Biography from Roger King Fine Art Edward Leavitt was one of the leading still life artists of nineteenth century New England. He lived and worked in Providence, and studied with James Morgan Lewin, a leading painter of the Fall River School, which, in the late 19th Century, was one of the most important centers of still life painting. While Lewin branched out into other types of painting, Leavitt remained devoted to the art of the still life. His paintings are sharply focused, realistic, and carefully finished. Ornate objects such as urns, ewers, platters, cut glassware...

Circa 1890 Hand-tinted albumen print, 10 1/2 x 8 inches (266 x 203 mm), small handwritten number '285' in negative, lower left. Unmounted; housed in an archival mat with clear mounting corners. [Nagasaki University Library, Catalog Number : 1889] A woman wearing a towel over her head Anesama kaburi style picks up shells. The background is the sea. There are boats with sails on the beach. It is probably a dramatized photo. Ogawa Katsumasa (1860 – 1936) was a pivotal figure in early Japanese photography. He adapted cutting-edge Western technology in photo-printing processes to produce numerous half-tone and collotype publications which transformed the market which had previously concentrated on the more expensive souvenir albums. Ogawa's publications were also instrumental in introducing Japanese art and culture to a mass international audience. He built one of the most successful photographic businesses in late-Meiji Japan. He opened his first portrait studio in Tomioka, Gumma Prefecture, in 1877. [Bennett, Terry. Old Japanese Photographs...

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...

'Trumpet Daffodils and Poet's Narcissus' Flowers are numbered with a key to the varieties below the image. Antique English flower botanical chromolithograph.

'Aldborough Anemones' Flowers are numbered with a key to the varieties below the image. Antique English flower botanical chromolithograph.

James MacMaster Irvine Harbour Signed lower right Watercolor on paper 10 1/4 x 14 inches Provenance: Private Collection, New Jersey

Rembrandt van Rijn, After by Amand Durand, Dutch (1606 - 1669) - Rembrandt Dessinant (B22). Year: 1878 (of original 1648), Medium: Heliogravure, Size: 6.5 x 5 in. (16.51 x 12.7 c...

The instrument is done in a Brazilian Rosewood finish and is of the carved Victorian style. The piano has been fully restored and refinished, inside and out, and the restoration was ...

Antoine CALBET L'inconnue Original lithograph Printed signature in the plate 1897/98 Printed on paper Vélin Size 40 x 31 cm (c. 16 x 12") INFORMATION : Published by 'Estampe Mode...

William Thornley was a painter of coastal scenes whose work is very similar to Hubert and Charles Thornley, who may have been members of the same family. He painted scenes of genre, architecture, and landscapes as well. A number of the landscapes were of Belgium, Holland, Italy, and Norway. However, it is for his seascapes that he is best remembered. Thornley’s works are beautifully detailed and show a masterful understanding of the moods of both weather and sea. They are often small in size and put together with fine detail and great artistic merit. Thornley’s fishing scenes are spirited and similar in style to those of “Jock” Wilson, and are often painted in pairs. Thornley’s works have always been popular when they appear on the art market. He was believed to have first exhibited marines at the Royal Academy in 1859 from an address in Paddington, London and also at the British Institution from 1861 until it closed in 1867. He continued to exhibit at the Royal Academy until 1898. Thornley also exhibited at the Paris Salon and the Salon of French Artists, receiving an honorable mention in 1881 and a third-place medal in 1888. William Thornley also went by the names Georges William and William...

Charles-Théodore Frère (French, 1814-1888) "A Street Scene in Cairo" In a carved wood frame painted to mimic tortoiseshell with a pale green velour liner.  Circa 1888 Signed Oil...

Conditions: Excellent overall conditions. Oil on canvas framed. Mint. Free US No prior restorations under UV light. FREE CONTINENTAL shipping in all States, incl Europe and Asia. H...

This original 1893 illustrated program by Henri-Gabriel Ibels is a remarkable survival from the pioneering days of Le Théâtre Libre, André Antoine’s radical theatrical collective tha...

Edward Benjamin Herberte British, (1830-1896) The Meet Oil on canvas, signed & dated 1890, embossed makers mark to stretcher Image size: 15.5 inches x 23.5 inches Size including fra...

Bavella pass, Corsica, France - by Jean Thomas (1923-2019) Oil on paper laid on board, signed lower left 50 x 65 x 2,5 cm, 1980 Framed with a natural oak floating frame (55 x 70 x 3....

Original French poster: Cycles Clement Motocycles, La Plus Vaste Usine de Monde; artist: PAL, (Jean de Paléologue) 1860-1942, c. 1895 original stone lithograph; archival linen backe...

The Highland Loch by Sidney Yates Johnson, dated 1899 signed oil on canvas, unframed Canvas : 12 x 24 inches Provenance: private collection, UK Condition: very good condition Descri...

Medium: original etching. This impression was printed on laid paper and published in 1887 by the New York Etching Club. Plate size: 6 x 4 inches. Not signed.

Lithograph hand watercolored. Belongs to the Series "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration o...

'Cappella Sistina in Vaticano. Un giorno di Festa' Tinted lithograph by Philippe Benoist (1813-1881). From a French series titled 'Rome dans Sa Gr...

Medium: original etching. Catalogue reference Delteil 126. This impression on cream laid paper is from the edition printed for "French Etchers", published in New York in 1884. Plate ...

The painting (measures 89.5 x 124 cm; with gilded and carved wooden frame 126 x 158 cm) is an example of unfinished, as can be deduced from the background in which, in some parts, th...

Signed figures in landscape oil on canvas circa 1880 by French impressionist painter Stanislas Victor Edouard Lepine. The piece depicts two workers haymaking on a summer's day. A mother nestled in the hedges cradles her baby beside a path and there is a river to the left of the painting. Signature: Signed lower right Dimensions: Framed: 22"x23" Unframed: 13"x16" Provenance: Private French collection This work is included in the Catalogue Raisonee of Stanislas Lepine by Manuel Schmit - Supplement 1 / Ref L.1119 Stanislas Victor Édouard Lépine was the pupil of Corot in Paris between 1860 and 1875. His first paintings hardly attracted attention. He would perhaps have remained unknown for a long time if Count Armand Doria, struck by the feeling visible in his landscapes, had not taken him under his protection with Adolphe Félix Cals...

Lithograph hand watercolored. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable p...

This delightful painting by Carl Ewald Lönngren captures a serene moment of rural life in late 19th-century Sweden. The scene shows a mother kneeling by a wash basin, surrounded by h...

An original oil painting by the listed British artist Anthony Sandys (1806-1883) depicting figures foraging in a woodland. Well presented in a period gilt frame with an internal slip...

(after) Arthur Marie Gabriel comte du Passage (1838-1909) Horse training with its stable lad A rare large bronze group with nuanced dark brown patina circa 1896 signed on the base "...

European painter (late 19th century) - Landscape with grazing cows. 101 x 76 cm. Old oil painting on canvas, without frame. - Work signed lower right. Condition report: Lined can...

Emil Orlik (1870 Prague - 1932 Berlin), Ensemble guest performance by members of the Deutsches Theater zu Berlin, 1899. Color lithograph on wove paper, 20 cm x 13.3 cm (image), 29.5 ...

This striking 1892 illustrated program by Henri-Gabriel Ibels represents a rare surviving artifact from the golden age of Le Théâtre Libre, the pioneering independent theatre led by ...

Paper Size: 24.5 x 18.3 cm Mount Size: 35.8 x 27.8 cm More details to follow

View of Venice is an original oil on canvas realized in the late 19th Century by a Master of Italian School. On the reverse: label with inscribed “E. Mareis” The painting represent...

'Einsiedlerkrebse' (Hermit crabs) German wood-engraving, circa 1895. 240mm by 155mm (sheet)

"Mount Otawa Moon: Bright God Tamura" - Woodblock on Paper by Tsukioka Yoshitoshi From the series "One Hundred Aspects of the Moon" This piece depicts the general Sakanoe no Tamura...

The Hunter French School, late 19th century oil painting on canvas, framed framed size: 32 x 42 inches provenance: private collection, France Superb large scale French oil painting,...

Charming 19th century/20th century oil on canvas painting in carved wooden frame, signed A. Willett in lower right corner. Arthur Willett (1868-1951) is known for his landscape paintings in both watercolor and oil, many of a similar size. Pleasant rural scene with windmills, sky and water. Great price for an original landscape oil painting by a known and respected landscape artist, this one is presented in wooden frame with gilt retouches, and a carved wood inset against the canvas. The painting stands 13" high and 16" wide, and the canvas sight is 9" high by 12" wide. The carve inset is in overall very good condition. The wooden gilded frame...

"Night's Rest" from the series "The Times of the Day" Original lithograph Signed "Mucha" and dated "99" for 1899, at the lower part of the plate. There is no hand-written signature ...

Lithograph hand watercolored. Belongs to the Series "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration o...

Depicts a sunny summer day in the Alps with figures of fishermen and working lumberjacks processing logs with a water-powered sawmill located on the bank of a turbulent mountain rive...

With a socially critical eye and Berlin humor, the prints by Heinrich Zille (1858 - 1929) capture the milieu of the "little people" around 1900. The fact that the famous artist was a...

With a socially critical eye and Berlin humor, the prints by Heinrich Zille (1858 - 1929) capture the milieu of the "little people" around 1900. The fact that the famous artist was a...

Nishiki-e (woodcut print), in vertical oban format (31x20.5) realized by Mizuno Toshikata in 1893 (Meiji 26). Belongs to the Series "Sanjûroku Kasen" (Thirty-Six Beauties in Compari...

Late 19th-Century American Gilt Frame with Ornamental Acanthus Details This impressive 1880s American giltwood frame exemplifies the richly decorative style embraced by the Barbizon ...

A fine 19th century Continental School portrait depicting a distinguished lady, set against a dark background with a floral arrangement adding colour and depth. The portrait is beaut...

Francois GUIGUET The Lamp : Evening Work , 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Lithogra...

A very early, seminal work by this highly important British artist dating to 1893. The artist was a good friend of John Singer Sargent and they painted together around Europe. The...

A beautiful late 19th century English oil on canvas portrait of a black and white terrier wearing a leather collar. Excellent quality and finely detailed head study of the well groo...

Colour lithograph, 1890. 285mm by 210mm (sheet). From W Peck's 'A Handbook and Atlas of Astronomy', 1890. Sir William Peck FRSE FRAS (1862 – 1925) was a Scottish astronomer and scien...

La rentrée du Berger by Camille Pissarro (1830-1903) Etching 7.6 x 10.9 cm (3 x 4 ¹/₄ inches) Stamped with initials C.P. lower left, and numbered 13/18 lower right This work was crea...

The Drummer French School, late 19th century Post-Impressionist School oil on canvas, framed framed: 28 x 22.5 inches canvas: 24 x 18 inches provenance: private collection, France co...

A good antique miniature French School oil on panel painting, a post battle cavalry scene, James Alexander Walker (1831-1898), British, circa 1875. The painting depicts two French cavalry officers riding through a rural landscape, each on horseback, one is evidently wounded and is being supported by the other. The painting is signed to the verso of the walnut panel it is painted on and titled "Hors de Combat", meaning out of combat due to injury. Walker's auction record for a painting was at Christies London, for more than $191,000 in 2007. The painting is housed in the original ebonized frame with gilded Fleur de Lis decoration, condition is good, unrestored antique condition and ready to hang. James Alexander-Walker (1831 – 1898), was a British painter of French descent for his battle scenes. He was born in Calcutta, but from 1871 he lived in Paris where he made historical scenes of soldiers. He died in Paris...

An oil painting by Florence White from 1898. A Victorian-era scene of a girl and a dog engaged in playful interaction on a shaded lawn. Signed and dated lower left, framed in antiqued gold frame. Artist: Florence White, British (1932) Title: Girl and her Dog...

Original oil painting by the Italian artist Enrico Altrui. Rural folk felling trees in a landscape. Presented in a beautiful gilt-effect frame. Boldly signed to the reverse. On canva...

Danish School 19th Century A typical Scandinavian composition showing a woman heading towards a gate. This genre of painting is designed to intrigue the viewer and ask the question,...

A charming late 19th-century oil landscape depicting a donkey and geese grazing outside a country farmstead. Well presented in a gilt-effect frame with delicate running patterns. Sig...

Charles Thomas Bale (British, 1845 - 1925) - Still life of fish and shrimp. 30.5 x 60.5 cm without frame, 50 x 80 cm with frame. Antique oil painting on canvas, in wooden frame. -...

Hendrik Barend Koekkoek Amsterdam 1849 – 1909 London Dutch Painter 'Figures Strolling through a Forest in Winter' Signature: signed lower right 'H B Koekkoek', c. 1882-1900 Medium: oil on canvas Dimensions: image size 76,5 x 64 cm, frame size 103 x 89,5 cm Biography: Hendrik Barend Koekkoek, often signing as Hendrik Barend (H.B.) Koekkoek, in the realm of 19th-century art, emerges as a captivating painter born in Amsterdam on November 23, 1849. A scion of the esteemed Koekkoek family, he gained renown for his landscapes and woodland scenes, following in the artistic footsteps of his father, marine painter Hermanus Koekkoek. Barend Hendrik Koekkoek’s life unfolds with a certain mystery, his artistic journey shaped by training from his father and, likely, his uncle Marinus Adrianus. In 1878, he tied the knot with Carolina Allardina Cornelia Pierson and ventured into the artistic scenes of Hilversum and Brussels, simultaneously opening an art dealership in Amsterdam. Around 1882, the call of London beckoned, echoing the path paved by his brother Hermanus Koekkoek the Younger. In England, he painted landscapes near Guildford, akin to his cousin Pieter Hendrik Koekkoek. The latter part of his life remains shrouded in obscurity. Barend Hendrik Koekkoek’s artistic style, steeped in the romantic tradition of the Koekkoek family, adorned canvases with landscapes, woodlands, and marine scenes. His London sojourn witnessed the creation of winter landscapes with towering trees, showcased in exhibitions across Dutch cities. He breathed his last in London before 1909. His artistic legacy lives on in institutions like the Paul Tétar van...

Alluring two-piece edo woodblock print of Japanese actors by Toyohara Kunichika (Japanese, 1835-1900). Titled, dated and signed on verso. Presented...