Late 19th Century Art

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...

ULPIANO CHECA Spanish, 1860 - 1916 VENICE CANAL signed & located "U. Checa" Venezia (lower left) Also dedicated: "A Marguerite Pinédo affectueusement" ...

This is an equestrian sculpture of a Race Horse or Polo Pony of exquisite beauty. It is signed Delabrierre and does not appear to have any foundry marks. from my research I think this might be cast iron, A material he was known for. it might be bronze I am not positive. it is not dated but it definitely has age to it. Paul-Edouard Delabrierre (1829-1912) Edouard Delabriere was born in Paris in 1829. Delabrierre was an important member of the Animalier school in the late 19th Century. Having been educated by the painter Jean Baptiste-Delestre, he found his true talent in sculpture and later made his debut at the Salon of 1848, where he showed a wax model titled ‘Terrier holding a Hare’. Between 1848 and 1898 he regularly exhibited his lifelike sculptures...

Austrian genre painting of children in a classroom by Rudolf Geyling Austrian, late 19th Century Frame: Height 94cm, width 126cm, depth 8cm Canvas: Height 75cm, width 101cm, depth 2c...

Wonderful signed oil on panel cattle and figures in landscape by French impressionist painter Jean-Francois Raffaelli. The work depicts oxen being loaded onto ships in Honfleur, France en route to England. Signature: Signed lower right Dimensions: Framed: 18"x16" Unframed: 9"x8" Provenance: Exhibition Jean Francois Raffaélli held at Galerie Simonson, 19 Rue Caumartin Paris - October 1929 (number 44) Jean-François Raffaëlli's father was a failed Italian businessman and Raffaëlli himself was, among other things, a church chorister, actor and theatre singer. He then studied under Gérôme at the École des Beaux-Arts in Paris. He travelled to Italy, Spain and Algeria and on his return to France settled in Asnières. In 1876, on a trip to Brittany, he first saw the potential of realist subject matter, if treated seriously. He became involved in meetings of artists at the Café Guerbois, where the Impressionist painters used to gather. As a result, Degas, contrary to the advice of the group, introduced Raffaëlli to the Impressionist exhibitions - according to one uncertain source as early as the very first exhibition, at the home of Nadar, and certainly to those of 1880 and 1881. In 1904, Raffaëlli founded the Society for Original Colour Engraving. He first exhibited at the Salon de Paris in 1870 and continued to exhibit there until he joined the Salon des Artistes Français in 1881, where he earned a commendation in 1885, was made Chevalier of the Légion d'Honneur in 1889 and in the same year was awarded a gold medal at the Exposition Universelle. In 1906 he was made Officier of the Légion d'Honneur. He was also a member of the Société Nationale des Beaux-Arts. In 1884, a private exhibition of his work cemented his reputation. He contributed to several newspapers such as The Black Cat (Le Chat Noir) in 1885 and The French Mail (Le Courrier Français) in 1886 and 1887. He published a collection entitled Parisian Characters, which captured his favourite themes of the street, the neighbourhood and local people going about their lives. In 1880 he participated, with Forain, on the illustration of Joris Karl Huysmans' Parisian Sketches (Croquis Parisiens). He also illustrated Huysman's Works. As well as working as an illustrator, he also made etchings and coloured dry-points. His early attempts at painting were genre scenes, but once he was settled in Asnières he started to paint picturesque views of Parisian suburbs. From 1879 onwards, his subject matter drew on the lives of local people. These popular themes, which he treated with humanity and a social conscience, brought him to the attention of the social realist writers of the time such as Émile Zola. In addition to his realist style, Raffaëlli's dark palette, which ran contrary to the Impressionist aesthethic, helped to explain the opposition of those painters to his participation in their exhibitions. More concerned with drawing than colour, he used black and white for most of his paintings. Towards the end of his life, he lightened his palette, but without adopting any other principles of the Impressionist technique. After painting several portraits, including Edmond de Goncourt and Georges Clémenceau, he returned to genre painting, particularly scenes of bourgeois life. Later in his career, he painted mainly Breton-inspired sailors and views of Venice. His views of the Paris slums and the fortifications, sites which have almost completely disappeared, went some way towards establishing a genre in themselves and perpetuated the memory of the area: The Slums, Rag-and-Bone Man, Vagabond, Sandpit, In St-Denis, Area of Fortifications. His realistic and witty portrayal of typical Parisian townscapes accounts for his enduring appeal. Born in Paris, he was of Tuscan descent through his paternal grandparents. He showed an interest in music and theatre before becoming a painter in 1870. One of his landscape paintings was accepted for exhibition at the Salon in that same year. In October 1871 he began three months of study under Jean-Léon Gérôme at the École des Beaux-Arts in Paris; he had no other formal training. Raffaëlli produced primarily costume pictures until 1876, when he began to depict the people of his time—particularly peasants, workers, and ragpickers seen in the suburbs of Paris—in a realistic style. His new work was championed by influential critics such as J.-K. Huysmans, as well as by Edgar Degas. The ragpicker became for Raffaëlli a symbol of the alienation of the individual in modern society. Art historian Barbara S. Fields has written of Raffaëlli's interest in the positivist philosophy of Hippolyte-Adolphe Taine, which led him to articulate a theory of realism that he christened caractérisme. He hoped to set himself apart from those unthinking, so-called realist artists whose art provided the viewer with only a literal depiction of nature. His careful observation of man in his milieu paralleled the anti-aesthetic, anti-romantic approach of the literary Naturalists, such as Zola and Huysmans. Degas invited Raffaëlli to participate in the Impressionist exhibitions of 1880 and 1881, an action that bitterly divided the group; not only was Raffaëlli not an Impressionist, but he threatened to dominate the 1880 exhibition with his outsized display of 37 works. Monet, resentful of Degas's insistence on expanding the Impressionist exhibitions by including several realists, chose not to exhibit, complaining, "The little chapel has become a commonplace school which opens its doors to the first dauber to come along."An example of Raffaëlli's work from this period is Les buveurs d'absinthe (1881, in the California Palace of Legion of Honor Art Museum in San Francisco). Originally titled Les déclassés, the painting was widely praised at the 1881 exhibit. After winning the Légion d'honneur in 1889, Raffaëlli shifted his attention from the suburbs of Paris to city itself, and the street scenes that resulted were well received by the public and the critics. He made a number of sculptures, but these are known today only through photographs.[2] His work was also part of the painting event in the art competition at the 1912 Summer Olympics. In the later years of his life, he concentrated on color printmaking. Raffaëlli died in Paris on February 11, 1924 Museum and Gallery Holdings: Béziers: Peasants Going to Town Bordeaux: Bohemians at a Café Boston: Notre-Dame; Return from the Market Brussels: Chevet of Notre-Dame; pastel Bucharest (Muz. National de Arta al României): Market at Antibes; Pied-à-terre Copenhagen: Fishermen on the Beach Douai: Return from the Market; Blacksmiths Liège: Absinthe Drinker...

Beautiful painting depicting a gallantry scene, an officer and a young lady sitting on a pool table inside a Tavern. Signed lower right Rigot and dated 1874. Austrian or German Sc...

A fine copy after "Une Bacchante" by William Bouguereau (1825-1905), oil on canvas, 115 x 185 cm. The original of "Bacchante playing with a goat", dating from 1862, is now part of th...

“War Chronicles of Osaka” (Osaka gunki no uchi). Okubo Hikozaemon, raising his sword, protects the hidden Tokugawa shogun from the spear of Gorô Matabei Mototsugu in a moonlit fores...

Koloman Moser (1868 –1918), AUSTRIAN Instead of applying his flair and art education solely to painting, Koloman Moser embodied the idea of Gesamt Kunstwerk (all-embracing art work) by designing architecture, furniture, jewelry, graphics, and tapestries meant to coordinate every detail of an environment. His work transcended the imitative decorative arts of earlier eras and helped to define Modernism for generations to come. Moser achieved a remarkable balance between intellectual structure (often geometric) and hedonistic luxury. Collaborating with Gustav Klimt and Josef Hoffmann, the artist was an editor and active contributor to Ver Sacrum, (Sacred Spring), the journal of the Viennese Secession that was so prized for its aesthetics and high quality production that it was considered a work of art. The magazine featured drawings and designs in the Jugendstil style (Youth) along with literary contributions from distinguished writers from across Europe. It quickly disseminated both the spirit and the style of the Secession. In 1903 Moser and Hoffmann founded and led the Wiener Werkstatte (Viennese Workshop) a collective of artisans that produced elegant decorative arts items, not as industrial prototypes but for the purpose of sale to the public. The plan, as idealistic then as now, was to elevate the lives of consumers by means of beautiful and useful interior surroundings. Moser’s influence has endured throughout the century. His design sensibility is evident from the mid-century modern furniture of the 1950s and ‘60s to the psychedelic rock posters...

"Shooting on the Prairie" is an original hand-colored lithograph by Currier & Ives. It depicts a hunter shooting at fowl in an open field. 8 1/2" x 12 1/2" art 20 1/4" x 23 3/4" frame Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Winslow Homer Snap The Whip, 1873 Engraving Sight: 14 1/4 x 20 in. Framed: 20 x 26 3/4 x 1 1/4 in. Inscription: in block: "Homer 1873, Lagarde Sc." printed below image: "Snap-the-Whi...

Beautiful Oil On Canvas, portrait of a musketeer French school 19th century This is a French 19th century school with large dimensions . Very decorative and exclusive portrait paint...

Pierre Eugene LaCoste (1818-1908) Opera Costume Watercolor C.1875 A beautifully detailed watercolor illustration of a 19th century opera costume by list...

CAZALS, FREDERIC-AUGUSTE (1865 -1941) "Salon des Cent" Original Lithograph, c. 1894 Signed in stone, lower left; “F.A. Cazals, 94” Printed by Bourgerie & Cie, Paris Image size: 24...

EDUARDO LEÓN GARRIDO Spanish, 1856- 1949 AN ELEGANT DANCE signed "E. L Garrido" (lower right) oil on mahogany wood panel 25-1/8 x 32 inches (63.5 x 81 cm.) framed: 31 x 38 inches (78.5 x 96 cm.) PROVENANCE Private Spanish Collector Eduardo León Garrido (Madrid, 1856 - Caen, 1949) was a Spanish painter. He began his training at the Higher School of Painting in Madrid and as a disciple in Vicente...

Le banc de jardin (The Garden Bench) Mezzotint and engraving on cream chine collé laid down on ivory wove paper, 1883 Signed in the plate (see photo) Condition: Brilliant impression...

Antique Orientalist equestrian oil painting by Wordsworth Thompson American, 1896 Canvas: Height 30cm, width 46cm Frame: Height 42cm, 57cm, d...

Henri Fantin-Latour Prelude de Lohengrin (2e planche) (The Appearance of the Holy Grail), 1898 Sight: 19 1/2 x 13 3/4 in. Framed: 24 3/4 x 17 1/2 x 1 1/2 in. Signed and dated in the ...

ARISTIDE PETRILLI Italian, (1868-1930) Flora (Allegory of Spring) Signed Prof Pedrilli; Galleria Bazzanti Firenze 49 inches high (Statue); 32 3/4 x 19 1/4 inches (Pedestal) Notes: Finely carved Italian carrara marble of a nude beauty signed Prof Petrilli...

A very attractive antique oil on canvas landscape painting by the French Post Impressionist artist Max Bouvet (1854-1942), the painting circa 1890. The painting depicts a pastoral sc...

MOSNY Henry (19th Century) Landscape of Mountains Oil on canvas signed below and dated 1882 Black and Golden wood Frame Dim canvas : 73 X 92 cm Dim Frame : 92 X 112 cm MOSNY Henry (...

LE ROY Jules Gustave (1853 - 1922 ) Cats in Interior Oil on canvas signed low right Old frame gilded with leaves Size canvs : 41 X 33 cm Size frame : 51 x 63 cm LE ROY Jules Gustave (1853 - 1922 ) 19th-20th century - French painter Jules Le Roy or Jules Leroy was born the 22th of December 1853. Dead in 1922 according to the Roubaix Museum Wildlife artist. He mainly painted cats...

Paul Cézanne (1839–1906) was born in Aix-en-Provence and initially studied law, as per his father's wishes. However, he soon turned to art, taking evening drawing classes at the Écol...

Georges Van der Straeten (Belgian, 1856-1941) "The Harpist" Patinated Bronze Sculpture, late 19th century, the elegant lady in a flowing dress holding a harp, on a square plinth sign...

A delicate portrait study of an elderly woman in navy dress and white bonnet sat against a simple background. We can see a small smile creep across her g...

PICOU Henri Pierre (1824-1895) Nymphs Dancing Oil on canvas signed and dated 1881 low left Old frame regilded with leaves Dim canvas : 62 X 82 cm Dim frame : 80 X 100 cm PICOU Henri Pierre (1824-1895) French Painter 19th century Born on February 27th, 1824 in Nantes - Died on July 17th, 1895 in Nantes Painter of History, allegorical subjects, genre paintings, Symbolist. Pupil of Paul Delaroche...

KPM, Madonna del Dito, oval, slightly curved porcelain picture plate by KPM Berlin in fine polychrome onglaze painting, 27 x 22 cm (plate size), 33 x 28.5 cm (frame), unsigned, press...

BACHMANN Alfred Félix August (1863-1956) Lively view of Venice Oil on wood panel signed low left Old frame regilded with gold leaves Dim wood : 24 X 34 cm Dim frame : 38 X 48 cm BA...

Cardboard, oil. 6.2x8 cm

6035 Antique miniture gouache painting of the three wise men in a newer decorative frame. Monogramed T/S Image 5x2.75"

A wonderfully impressionist view of French market in Mantes-la-Jolie, France. Women gather at stalls under canopies, one woman walks towards the viewer in the foreground, a basket ov...

Henry John Yeend King R.B.A, R.I., R.O.I. (British, 1855-1924) "A Victorian Lady Standing by a Sundial in the Park" Oil on panel. Signed lower right: Yeend King. "YK" Sticker en ver...

SIR HUBERT VON HERKOMER, RA, RWS (1849-1914) The Pipe’s of Pan Signed with initials and dated 26/2/74 Watercolour and bodycolour on paper 17 by 22 cm., 6 ¾ by 8 ¾ in. (frame size ...

A fine 19th century watercolour copy of the original work in the Pitti Palace, Florence, Italy. Ten full-length figures; Apollo centre, dressed in male/female classical robe and openwork buckskin boots, a quiver strapped to his left shoulder with bow and arrows, he is holding hands and dancing with a circle of nine female figures. gold background. A scroll beneath inscribed with names. Unsigned. The painting has been presented in a contemporary Hogarth frame...

Francis Dodd R.A. 1874-1949, was an English landscape and portrait painter, draughtsman and etcher. He attended the Glasgow School of Art and travelled throughout Europe, France, Ita...

After Francois Christophe Armand Toussaint (French, 1806-1862) "Dancing Indian" Patinated Bronze Sculpture, circa 1880, cast by Graux-Marly Freres Foundry, on a circular base inscrib...

John Henry Dolph, best known as painter of domestic animals, especially cats, was born in 1835 in Fort Ann, New York. In 1841 Dolph's family moved to Ohio and in 1849 Dolph began an ...

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

Charles Lewis Fussell (American, 1840–1909) Collins Center Oil on canvas, 8 3/4 x 6 3/4 inches FRAMED: 14 x 12 inches (approx.) Collins Center, is a small town in Erie County in nor...

An interesting late 19th century watercolours study showing an early morning street scene. The artwork has been complete with impressive attention to all architectural details, as we...

A charming 19th Century watercolour showing a quaint thatched cottage on a river lock with a distant castle on a hilltop on the hazy horizon. The artist has signed and dated to the l...

Napoleone Parisani (Camerino 1853 - Rome 1932), Portrait of Carlotta Parisani Oil on canvas 35 x 24 cm with monogram at lower left and lower right, on back: inscribed "A M.r and M.m...

Here for your consideration is a brilliant sunset over a bucolic county landscape painting. The artist is the very well known Dutch victorian artist, Joseph Thors. Signed verso by th...

Osmar Schindler, (German 1867-1927), Internationale Kunst Ausstellung, Dresden, 1897 Lithograph, signed (in the plate) (middle right), 96cm x 75cm (100...

Francis Luis Mora was considered one of America's finest "sketchers". A collection of his Sketchbooks are at the Smithsonian and this work came out of one in the early 1990's from t...

Emil Faesch (1865 Basel - 1915 Basel). Sketch of a head. Charcoal on painting cardboard, 60 x 47.5 cm (folio size), signed and dated at lower right "E. Faesch. 1888.". Minor browning. - Carved in stone - About the artwork The life-size head has an immensely present presence. This effect is due to the fact that Faesch took his cue from academic classical...

Jose Arpa (1858-1952) San Antonio Artist Image Size: 25 x 20 Frame Size: 29 x 24 Medium: Oil "Lady in Mantilla" From the Robert Tobin Collection. Robert Tobin (deceased) San Antonio, Texas Developer and Philanthropist. Details This painting was exhibited in 2016-2017 at Several Texas Museums including the Panhandle Plains Museum.  Exhibition tag on verso. Biography Jose Arpa (1858-1952) Born in Carmona, Spain, José Arpa y Perea was known as "The Colorist Painter" of figures and landscapes, especially in Texas where he brought a fresh approach to San Antonio painting in his bright, sunlit local scenes.  He was also an etcher, illustrator, and muralist as well as an art teacher, and he started and ended his career in Spain.  His subjects include the Grand Canyon of Arizona. He began his art study as the pupil of Eduardo Cano de la Pena at the Academy of Fine Arts in Seville and then spent six years in Rome followed by extensive travel through Africa and Europe.  His reputation was solid enough that the Spanish government sent four of his paintings as part of the exhibition to the 1893 World's Columbian Exposition in Chicago. In 1894, as an illustrator, he accompanied a Spanish army expedition to Morocco where the Spanish had been defeated by Rifi tribesmen.  In the mid-1890s, he was brought to Mexico City, reportedly by a special Mexican naval vessel, to head the Academy of Fine Arts, but declined the position once he understood the responsibilities.  Instead he joined one of his Spanish schoolmates and went to his home in Puebla, Mexico, where his use of bright colors earned him the name of "Sunshine Man."  He became close to the children of this man, and in 1903, accompanied them as a guardian to school in San Antonio.  After twenty years of traveling in Spain, Mexico, the Southwest, and South America, Arpa settled in 1923 in San Antonio, Texas, where he became Director of the San Antonio Art School and painted bright, sun-filled landscapes.  He taught landscape and portrait painting and was exceedingly prolific, and several San Antonio collectors accumulated large numbers of his works.  Among his close artist friends were Robert and Julian Onderdonk, Tom and Joe Brown, and Charles Simmang.  They were members of a San Antonio group who painted together and called themselves the "Brass Mug...

A Venetian scene of the Palazzo Dario by F. R. Unterberger Austrian, c.1898-1900 Frame: height 97cm, width 85cm, depth 7cm Canvas: 83cm, width 70cm, depth...

Robert William Vonnoh (1858-1933) Spring in the Meadow Signed lower left: Vonnoh Oil on canvas 20 x 24 inches 50.8 x 61 cm Framed dimensions: 26.5 x 30.5 inches Provenance Private c...

The Jacobite Tartan Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a sheet of descriptive text.

Charles Valton 1851-1918 French Tigre et Lion Bronze with brown patina Both item measure 13 1/2" high x 15" wide x 6 1/5" depth

Mielatz, Charles. IN THE BOWERY. Etching, 1891. Edition size not known. Signed and dated in the plate. 9 7/8 x 7 inches. In excellent condition. Mielatz, taught etching at the Nation...

A delightful watercolour study of a medieval minstrel playing the lute. The artist captures the costume of the musician in fine detail. Presented in a simple gilt frame. On paper.

Walter Gay (1856 - 1937) Cardinal Flowers Still Life, June, 1875 Signed lower left; dated on the reverse Oil on board 24 3/4 x 7 1/8 inches Provenance: Private Collection, Brunswick, Maine Born in Hingham, Massachusetts, Walter Gay became a painter who specialized in interiors, particularly those of eighteenth-century French buildings. His style was traditional, and he ignored the influences of modernist paintings he saw while studying in Paris beginning 1876. He remained in Europe the rest of his life. In his compositions, the rooms are nearly always devoid of human presence but suggest that someone has been there. Many of his interiors are museum settings, and although he was not an impressionist, his work often had atmospheric effects. When Gay died in 1937, he was described in The New York Times as the "Dean of American Painters in France," where he and his Matilda moved in 1876. His first paintings there were genre subjects and realistic views of peasant life in Britanny, but he tired of these works, which he called "pot boilers." In the 1890s, he began his signature interiors, mostly rooms in fashionable houses of the Gays and their friends. Reproductions of many of these paintings were published in 1920 by Albert Gallatin, also a painter. The Gays, with a retinue of about twenty servants, loved old houses, and lived in an eighteenth-century apartment on the Left Bank in Paris from January through April and beginning 1904, in a chateau in the countryside at le Breau, near Fontainebleau. There they had 300 acres of grounds to roam. In 1907, they purchased this chateau which became quite a showplace and where they entertained extensively. However, during World War II, when Matilda was living there as a widow, German soldiers occupied the chateau, ruining much of the structure and plotting the destruction of the country the Gays loved...

'Flower maidens,' a large oil-on-canvas painting by Émile Eisman-Semenowsky French/Polish, Late 19th Century Frame: height 72.5cm, width 111cm, depth 9cm Canvas: height 54cm, width 9...

Born in Philadelphia John Hamilton was known for portraits, figure paintings and illustrations. He studied at the Pennsylvania Academy of the Fine Arts with Christian Schuessel and Thomas Eakins and then traveled to Europe where he studied in Paris with Jean-Léon Gerome at the Ecole des Beaux-Arts and at the Royal Academy of Fine Arts in Antwerp. He lived abroad, mostly in London, for many years, although he maintained a Philadelphia address. He was the official painter to the English Prime Minister, William...

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

LEVIGNE Théodore (1848-1912) "Genre scene in 18th century" Oil on canvas signed low right Old original frame Dim canvas : 72 X 100 cm Dim frame : 103 X 127 cm LEVIGNE Théodore (1848...