Late 19th Century Art

This exquisite eastern watercolour depicts a native cattle farmer, leading his two haltered oxen to feed in a barren desert landscape. The painting has been signed and dated to the l...

Beautiful poster by Jules Chéret in 1895. One of the many products promoted by Chéret's cheerful redhead was Quinquina Dubonnet, a fortified wine made from herbs mixed with quinine....

Medium: original etching. This impression on Alton Mill laid paper was printed in 1883 for "An English Version of the Eclogues of Virgil" and published in London by Seeley and Company. Samuel Palmer had planned a series of etchings to illustrate his translation of Virgil's Eclogues, but died in 1881 before finishing the project. Moeris and Galatea is one of four etchings...

Tsukioka Yoshitoshi Taira no Koremochi Vanquishing the Demon of Mount Togakushi From Series: “New Forms of Thirty-six Ghosts” 「新形三十六怪撰」 「平惟茂戸隠山に悪鬼を退治す図」 C. 1890 Size: Oban Ex...

A fine American School oil landscape from the late 19th Century, showing a figure walking beside their logging cart, pulled by a horse under a golden sunset. Stark trees stand to the...

Antique Horse Bronze Portrait of a Trotting Stallion Isidore Jules Bonheur (France, 1827-1901) Cast bronze mounted on a rectangular plinth with dark brown patina, Signed: I. BONHEUR 17 x 11 3/4 A brilliant exploration of a stallion in full trot. The patina is a deep, warm walnut brown with honey-colored tones. Isidore Bonheur was best known and the most distinguished of the 19th century French animalier sculptors. Isidore, the younger brother of Rosa Bonheur and older brother of Auguste, began his studies of painting initially with his father, who was friends with Francisco Goya. By 1848 he debuted at the Paris Salon having discontinued animal and landscape painting to concentrate on creating sculptures and in 1849, Bonheur enrolled at the Ecole des Beaux Arts. He won medals at the Paris Salon in 1859 and did so again in 1865 and in 1869. After entering the Exposition Universelle 1855, he won the Gold Medal in 1889. In the 1870s exhibited in the London at the Royal Academy of Arts where he earned great prestige and won the coveted Medaille d’Or. After winning numerous other medals and prizes, Bonheur was awarded the Legion d' Honneur in 1895 and he was Knighted in Portugal, Spain and France. Bonheur continued exhibiting at the Paris Salon until 1899. Many of his bronzes were fabricated at the foundry owned by Hippolyte Peyrol, Bonheur's brother-in-law by marriage to Isidore’s youngest sister Juliette Bonheur. The Peyrol casts for both Rosa and Isidore are exceptionally well executed which suggests a strong working relationship between the founder and sculptor. There is little doubt that Isidore Bonheur was an acute observer of nature; his animals were not anthropomorphized but modelled to catch movement or posture characteristics of the particular species he was sculpting. He achieved this most successfully with his sculptures of horses which are usually depicted as relaxed rather than spirited. These figures are among his most renowned works and his equestrian models became very popular, particularly among the British aristocracy. An acute observer of nature, his sculptures reflect his commitment to the Realist school - with precise detailing of the movements of animals in their natural habitats. Ultimately, His naturalistic studies of animals are now some of the most highly sought after works by any of the animalier. He was possibly inspired by his many visits to the Buffalo Bill Wild West Show...

Original antique circus advertising poster - Cycling The Air of the Bros. Wichmann - featuring a colourful design depicting two men performing tricks on...

Medium: original etching with drypoint. Catalogue reference: Fiorani 38. This impression on laid paper was printed in 1884 and published in Paris by the Gazette des Beaux Arts. Plate...

Henry Hucks Gibbs, British 1819-1907 View of Dunwich, near Southwold (Suffolk) oil painting on canvas, unframed painting: 10 x 13.5 inches provenance: private collection, England con...

The View is a print realized by Alfred Stevens (1823-1906), in the late 1880s. Lithograph on ivory-colored paper. Signed on the plate on the lower. Good conditions with diffused foxing due to the time. The artwork is realized by soft strokes, the tender...

L'Inspecteur Général "Revizor" is a litograph realized by Hermann Paul in 1897-98, for the Theatre Magazine "L'Art et la Scène". Signed on Plate. Edition Grande Imprimerie Centrale,...

Artist/ School: English School, late 19th/ early 20th century. The painting came from a large collection of works by one artist. A very few of them are signed what looks to be 'F. Wa...

Beautiful orientalist original gouache by the well known French artist, Paul B. Pascal. Circa 1885. Signed lower right. Condition is excellent. The scene is of a Bedouin encampment at sunset. Newly professionally matted and framed in antique style frame. Under glass. Overall measurements are 11 by 13 inches. Provenance: A Sarasota, Florida estate. Paul B. Pascal (1839–1905) was a French landscape painter. He did landscape paintings of the Middle East and the Mediterranean coast with gouache. After he emigrated to the United States in 1893, he did paintings of the American wilderness...

Alphonse Mucha (Czech, 1860–1939) Lily from The flowers  Les Lys : Les fleurs Original Poster,  1898  Image size: 102.2×41.6 cm Sheet size: 105.7×45.7 cm Framed Condition: laid down...

The painting is signed on the right side "AVILLA". Aleardo Villa was a pupil of Giuseppe Bertini and Bartolomeo Giuliano and he graduated at the Fine Arts Academy of Brera, becoming ...

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.

Les Demoiselles is a modern artwork realized by Pierre- Georges Jeanniot in the Late 19th Century Charcoal drawing. Hand signaed on the lower margin. The artwork is depicted throu...

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...

Medium: original etching. This impression on Alton Mill laid paper was printed in 1883 for "An English Version of the Eclogues of Virgil" and published in London by Seeley and Company. Samuel Palmer had planned a series of etchings...

A striking Victorian portrait in an unusual mix of watercolour and graphite, finished with delicate scraffito work, giving a hazy, almost ghostly appearance to the sitter. The artist...

This charming seascape depicts several Italian fishermen, readying boats in a rocky quay. Well presented in a beautiful veneer maple frame with a crisp white mount. Indistinctly sign...

Here is a rare late 19th Century-early 20th Century painted and stenciled Jewish plate with a Yiddish greeting. A rare piece of Jewish Porcelain from the...

Rare and remarkable set of ten 19th century Japanese calligraphy prints on paper executed in a woodblock technique and presented under glass in a gi...

Signed and titled lower left

En Attendant l'Ami is a black and white Drawing realized by Hermann Paul. Passpartout included: cm 50x35 Good condition. René Georges Hermann-Paul (27 December 1864 – 23 June 194...

'1-4 Morchella Lutescens 5-7 Morchella Abietina' Antique Swiss mushroom / fungi chromolithograph, lithographed by H Furrer after Fritz Leuba. The print is titled with the scientific...

WILLIAM SHACKLETON, NEAC (1872-1933) Camellia, Kew Signed, extensively inscribed and dated ‘98 Pencil and watercolour Framed 33.5 by 27 cm., 13 ¾...

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...

A terrier named Joe standing in an English country house walled garden, painted by the eminent animal painter John Emms (1844-1912) in the late 19th cent...

French School, indistinctly signed/ dated 1898 signed and dated oil painting on canvas, unframed painting: 13 x 9 inches provenance: from a private collection, France condition: over...

An exquisite late 19th-century French watercolour attributed to the artist Hector Caffieri. The artist has captured a (slightly portly) farmer who carr...

Paris.Ischia is a print realized by Luc-Olivier Merson (1846-1920), in the 1880s. Lithograph on paper. Signed on the plate on the lower. Good conditions with diffused foxing due t...

A delightful watercolour by landscape painter James Whaite (fl.1876-1896), depicting cockle pickers on a large North Wales beach. Signed to the lower left...

Internazionale Just-Ausstellung - Munchen Secession is vintage offset and Lithograph realized after Franz Von Stuck in 1897. Included a Passepartout: ...

English school (late 19th/ early 20th century) A river scene with figure in a punt, oil painting on board: 11.5 x 17 inches framed: 18 x 25 inches condition: very good and presentabl...

Medium: original etching and drypoint with aquatint and roulette. This is an exquisite impression on japon paper, of what is arguably the most famous Felix Buhot...

Antique American Hudson River School sunset landscape oil painting. Oil on canvas, circa 1874. Signed in monogram. Housed in a giltwood frame. Image size, 30L x 22H.

Alphonse Mucha Salomé Original lithograph Printed signature, as issued 1897/98 Printed on paper Vélin (wove) Size 40 x 31 cm (c. 16 x 12") REFERENCES : Ann Bridges, Alphonse Mucha...

This beautiful and light filled painting testifies of a new dawn: in the 1880s the landscape and animalier artist William Baird turns to Impressionism. Our Sunny Path, with looser brushwork and lighter colours, convey the fleeting nature of the present. Our lovely oil on canvas may well be homage to Claude Monet - according to Baird's inscription on the stretcher, it was painted in Mantes, which is only about 6 miles from Vétheuil, where Monet was living and working in the 1880s! William Baptiste Baird was born in Chicago, Illinois, in 1847, but as an adult moved to Paris to perfect his painting technique. In Paris, Baird studied under Adolphe Yvon...

Medium: original etching. This impression on Alton Mill laid paper was printed in 1883 for "An English Version of the Eclogues of Virgil" and published in London by Seeley and Company. Samuel Palmer had planned a series of etchings to illustrate his translation of Virgil's Eclogues, but died in 1881 before finishing the project. The Cypress Grove is one of four etchings...

Image dimensions: 24 x 27.8 cm Original title: Die Najaden The Neiads is a black and white xylograph on Japon applied on ivory-colored paper, after Arnold Böcklin, realized by the German artist Johann Jacob Weber (Basel 1803, Leipzig 1880). A really superb plate with lifetime impression, from the collection "Sechzehn Holzscnitte nach Gemälden Arnold Böcklin (Meisterwerke der Holzschneidekunst, Neue Folge Heft V), leipzig, verlagsbuchhandlung von J.J. Weber", printed in 1898 by J.J. Weber. All the plates of this print suite are woodcuts on the head wood and taken from Böcklin's most famous paintings. Johann Jacob Weber was the talented executor and creator of the Meisterwerke der Holzschneidekunst series which also includes a famous folder of his woodcuts taken from the artworks by Sascha Schneider...

This interesting late 19th-century drawing by Swedish artist, Axel Kulle (1846-1908) depicts six men at a leather tannery. They’re absorbed in their work, each with their head down. ...

An American Still Life of an Apple, Pear and Grapes Oil on canvas on board Signed illegibly circa late 1800s 9 3/4 x 5 7/8 (16 x 12 3/4 frame) inches This is an example of late 19...

A wonderful architectural study by British artist Benjamin J. M. Donne (1831-1928), depicting the magnificent theatre of Marcellus with peasant gathere...

A fine late 19th watercolour depiction of the idyllic Chillon Castle on Lake Geneva. The painting is unsigned and handsomely presented in a 19th Century gilt frame with ornate floral...

Medium: original etching. This impression on Arches laid paper was printed in 1880 for Philip Gilbert Hamerton's very scarce "Etching and Etchers". Plate size: 4 3/4 x 7 7/8 inches (...

Buffon's Skua is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917) . Woodcut print, hand colored, published by London, Bell & Sons, 1870. ...

This rare original lithograph print is from 1899. It is one sheet of a huge 24 sheet poster that was created in 1899 to announce Buffalo Bills Wild West. The size of the complete 24 sheet poster would have been approx. 10 feet tall by 20 feet wide and would have been posted on barns and buildings in 1899 to promote Buffalo Bills Wild West before it would come to towns. This 1 sheet of the 24 sheet lithograph is in such good condition because it was found in the Lithographers draws of the print shop that created the poster. It is black and white because it was a proof that was used to create the final layout of the color poster. It indicates on the image that it is No. 2 Buffalo Bill San Juan Hill 1899, so it would have been the 2nd poster down on the left side of the large total image comprised of 24 separate sheets all unique to create the full image. You can see the two black printed lines on the left side indicate where the edge of the poster would have been. We have never seen a complete image of this rare 1899 poster. When we first acquired this rare proof over 20 years ago, we contacted the The Ringling Museum in Florida that houses a large Buffalo Bill poster...

Rare and beautiful lithograph by Edouard Manet . "La Barricade " illustrates a group of soldiers executing a band of rebels on a street corner. This artwork deals with a subject in...

A charming oil painting, depicting a rural scene with an old watermill and a figure nearby. Signed to the lower left-hand corner. Presented in a gilt-effect slip and in an ornate, gi...

Large Italian genre painting of 'The Little Model' by Francesco Beda Italian, 1840-1900 Frame: height 111cm, width 168cm, depth 7cm Canvas: height 96cm, ...

Medium: original etching. This impression on wove paper was printed in 1885 for the Sylvester R. Koehler portfolio of etchings and published by Cassell & Company. Plate size: 5 x 6 1/2 inches (130 x 166 mm). Signed in the plate, not by hand. Condition: there is soiling in the margins and an old library...

A fine impressionist oil painting of the artist’s studio interior by American artist Charles Herbert Woodbury (1864-1940). Woodbury was born in Lynn, MA, and sold his first painting when he was fifteen years old and became the youngest member elected into the Boston Art...

Artist/ School: English School, late 19th/ early 20th century. The painting came from a large collection of works by one artist. A very few of them are signed what looks to be 'F. Wa...

PAUL GAUGUIN (French 1848 - 1903) DEAUX FEMMES MAORIES ACCROUPIES. 1894-5 (Kornfield 26: Guerin 87 ) Zincograph (Lithograph) on smooth, cream imitation Japan paper, edition 200. Pu...

Highland Cattle Watering is a landscape/cattle painting, late 19th century/early 20th Century by Scottish artist Douglas Cameron. This is an oil painti...

Franz Xaver Graessel (1861 Oberasbach/Baden - 1948 Emmering). In the forest of Durlach. 1881. Pencil drawing, heightened with white, on grey-green paper. 33 x 41.7 cm. Signed, dated and inscribed by the artist himself: 'Franz Graessel. Durlach, 12 April 1881". About the artwork The drawing depicts a view of the woods which, as if sharpening the visual focus, remains diffuse at the edges and does not allow the viewer to locate himself in the picture. As a result, the landscape appears to be an apparition, but at the same time it is given real substance by the solidity of the massive arched bridge made of quarry stone. As the main motif of the painting, the bridge, which blends in with nature like an archaic relic, also acts as a visual guide, drawing attention to the white, raised waters of the stream and the surrounding vegetation. The diffusion of perception that takes place there, however, draws the eye back to the bridge and thus to the overall view. This movement initiating a constant alternation of diffusion and concretion, which is the specific tension of the painting that brings the landscape to life. The materialisation and dematerialisation, however, does not take place solely through the eye's wandering through the picture; it is simultaneously linked to the viewer's approach to and distance from the picture, which loses its richness of detail precisely in the close-up, only to reconfigure itself with increasing distance. In this work, which dates from Graessel's studies in Karlsruhe, the artist reflects on the emergence of pictorial objectivity. Here, however, nature is more than a mere motif. The real connection between culture and nature is symbolically expressed by the choice of green paper. The drawing is an impressive testimony to Graessel's mastery of the sprezzatura with which he skilfully applies the most abstract of strokes, which visibly merge towards the centre of the picture. The signature and the exact date prove that Graessel gave this work more than the character of a mere sketch. About the artist Franz Graessel grew up in an environment that was to nourish his later key motifs: his parents' house was a mill. After attending the Karlsruhe Academy of Art from 1878 to 1884, where he studied under Carl Hoff, Graessel continued his training at the Munich Academy from 1886 to 1890 as a pupil of Wilhelm von Lindenschmidt. Trained primarily in genre and portrait painting, he initially portrayed the life of Black Forest farmers. From 1894 he turned increasingly to animal painting, concentrating on the depiction of ducks and geese, which earned him the nickname 'Enten-Graessel'. Graessel's work thus parallels that of Alexander Koester...