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Late 19th Century Art

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Period: Late 19th Century
Melancolic Seascape with Sailboats - Original Lithograph, 1898
Located in Paris, IDF
Francis JOURDAIN Melancolic Seascape with Sailboats, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION...
Category

Symbolist Late 19th Century Art

Materials

Lithograph

At the Buttes-Chaumont (Plate 169)
Located in Greenwich, CT
At the Buttes-Chaumont (Plate 169) is an 1899 lithograph of Jules Chéret's poster, printed at Imprimerie Chaix by Jules Chéret and included in the famed collection of Belle Époque po...
Category

Art Nouveau Late 19th Century Art

Materials

Paper, Lithograph

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

Impressionist Late 19th Century Art

Materials

Canvas, Oil

Alexandra von Berckholtz (1821-1899) - 1890 Oil, Still Life of Peaches & Grapes
Located in Corsham, GB
A sparse arrangement of delicate peaches and robust grapes hang casually over a fine china plate in this exquisitely rendered still life study. Although best known for her portraits,...
Category

Late 19th Century Art

Materials

Oil

Le Soldat Prussien (The Prussian Soldier)
Located in Middletown, NY
Paris: Sagot, 1898. Wood engraving on cream wove paper, 8 1/2 x 6 1/4 inches (216 x 158 mm), full margins. Signed and numbered 11/25 in pencil, lower right. With the blindstamp of t...
Category

French School Late 19th Century Art

Materials

Handmade Paper, Woodcut

Nymphe dansante
Located in New York, NY
Nymphe dansante, decorative panel, two-color lithograph, 1899, signed in the stone. One corner defective but not affecting image. Ref: Berthon and Grasset p. No.5. The early works...
Category

Art Nouveau Late 19th Century Art

Materials

Lithograph

Antique Painting of Jack Russels, Labs, Terriers, and Fox Hounds
Located in New York, NY
Up for sale is a beautiful original painting by Valentine Thomas GARLAND (1868-1914). Garland was a painter of animal and genre subjects, working in both oil and watercolor. He was ...
Category

Academic Late 19th Century Art

Materials

Oil

Edmund Morison Wimperis (1835-1900) - 1876 Watercolour, Windsor Castle
Located in Corsham, GB
A delicate study of Windsor Castle in the afternoon sun. Ruskin Gallery label fixed to the reverse alongside Stanley W. Fisher label. Well presented in a gilt effect frame. Signed an...
Category

Late 19th Century Art

Materials

Watercolor

Antique French Post Impressionist Oil Painting Haystack Farm Landscape 1890
By Max Bouvet
Located in Portland, OR
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...
Category

Post-Impressionist Late 19th Century Art

Materials

Oil, Canvas

Children Playing Ernesto Fontana 1893 Between the Two Litigants The Third enjoys
By Ernesto Fontana
Located in Milano, IT
Antique Italian painting signed Ernesto Fontana, dated 1893 and titled Tra i Due Litiganti Il Terzo Gode 1893, oil on canvas work depicting three children playing happily rolling amo...
Category

Impressionist Late 19th Century Art

Materials

Gold Leaf

Peonies in a Blue Vase
Located in Mc Lean, VA
One of three still-life paintings by the French flower painter Germain-Theodore Ribot.
Category

Academic Late 19th Century Art

Materials

Canvas, Oil

English Native School, 19th Century, still life with fish
Located in Tricase, IT
English Native School, 19th Century, still life with fish Oil on canvas 54x63 cm frame included. Beautiful native English painting, representing an elegant still life of fish, cabba...
Category

English School Late 19th Century Art

Materials

Canvas, Oil

Harvest Time Surrey England
Located in Lake Worth Beach, FL
Harvest, Surrey England. Signed and titled antique gold leaf frame. John Horace Hooper was born in 1851-1906 England. Known for his captivati...
Category

English School Late 19th Century Art

Materials

Cotton Canvas, Oil

La paix, Heliogravure by Marcantonio Raimondi
By Marcantonio Raimondi
Located in Long Island City, NY
Marcantonio Raimondi, After by Amand Durand, Italian (1480 - 1534) - La paix, Year: 1875, Medium: Heliogravure, Size: 9.5 x 5 in. (24.13 x 12.7 cm), Printer: Amand Durand, Descrip...
Category

Old Masters Late 19th Century Art

Materials

Etching

"Barque de pecheurs" original etching
Located in Henderson, NV
Medium: original etching. This impression on cream laid paper is from the edition printed for "French Etchers", published in New York in 1884. Plate size: 6 3/8 x 9 1/8 inches (158 x...
Category

Late 19th Century Art

Materials

Etching

Fruit Still Life
Located in Fredericksburg, VA
Edward L. Custer (1837–1881) was an American painter known for his landscape paintings, genre scenes, and still lifes often imbued with a romantic and idyllic quality. Custer's paint...
Category

Hudson River School Late 19th Century Art

Materials

Canvas, Oil

L'Enlevement d'Amymone, Heliogravure by Albrecht Dürer
Located in Long Island City, NY
Albrecht Durer, After by Amand Durand, German (1471 - 1528) - L'Enlevement d'Amymone, Year: 1873, Medium: Heliogravure, Size: 10.5 x 7.5 in. (26.67 x 19.05 cm), Printer: Amand Du...
Category

Old Masters Late 19th Century Art

Materials

Etching

Nature morte au bouquet de pivoines et roses sur une table nappée
Located in PARIS, FR
Oil on canvas set to oval Signed and dated F. Bonvin 1876 in the center right Provenance: • France, private collection
Category

Old Masters Late 19th Century Art

Materials

Oil

Flower Gardens at Generalife, Granada
Located in London, GB
Watercolour on paper, signed bottom left Image size: 13 3/4 x 9 1/2 inches (35 x 24 cm) Mounted and framed The Generalife was a summer palace and country estate of the Nasrid rulers...
Category

Victorian Late 19th Century Art

Materials

Paper, Watercolor

Victorian School head study of a golden haired boy
By George Elgar Hicks
Located in Harkstead, GB
A beautifully painted study of a cherubic young boy, his golden haired head turned to the sun, his eyes closed as he feels its warmth. Pre-Raphaelite School, late 19th century Head...
Category

Victorian Late 19th Century Art

Materials

Watercolor, Paper

Antique American Modernist Ashcan School Street Scene Nocturnal Signed Painting
Located in Buffalo, NY
Antique American modernist nocturnal street scene oil painting by Jerome Myers (1867 - 1940). Oil on board. Framed. Signed. Measuring 16 by 18 inches overall and 9 by 11 painting al...
Category

Modern Late 19th Century Art

Materials

Oil, Board

Portrait of an Elegant Lady 1897
Located in Saint-Ouen, FR
GENTY Emmanuel (1830-1904) Portrait of an Elegant Lady Oil on canvas signed low right and dated 1897 Old Frame regilded with gold leaves Dim canvas : 100 x 81 cm Dim frame : 120 x 10...
Category

Academic Late 19th Century Art

Materials

Oil

Opera Ceiling Project II
Located in Pasadena, CA
Albert Besnard entered the École des Beaux-Arts in 1866, studying with Alexandre Cabanel before making his debut at the Salon in 1868. Six years later he won the Prix de Rome with a ...
Category

Impressionist Late 19th Century Art

Materials

Pastel

Country Landscape - Late 19th Century Countryside Painting by Lewis George Fry
Located in Watford, Hertfordshire
Lewis George Fry (1860 - 1933) Lewis George Fry was a British painter who was born in 1860 in Clifton, Bristol UK. This piece was created with mixed media and is in a gilt frame un...
Category

Post-Impressionist Late 19th Century Art

Materials

Mixed Media, Watercolor

Portrait of a young girl from Genova, Benoit Blanc
Located in New York, NY
Benoît Blanc (1812-1888), was a painter born in Marseille who was a pupil of Horace Vernet and signed as 'Benoni' upon his return from Italy in 1832. He w...
Category

Late 19th Century Art

Materials

Canvas, Oil

Beauties on the Beach with view of Mount Fuji
Located in Burbank, CA
Shichirigahama, Sagami Province. A beauty in the foreground waves to her young companions, who run towards her on the beach. The beauty at left wears a western-style golden ring. We ...
Category

Edo Late 19th Century Art

Materials

Handmade Paper, Mulberry Paper, Woodcut

Ships in the Moonlight
Located in Sheffield, MA
Charles Jay Taylor American, 1855-1929 Ships in the Moonlight Oil on Canvas 32 ¼ by 42 in, w/ frame 36 ¾ by 46 ¾ in Signed lower left Charles Jay Taylor was born in New York in 185...
Category

Barbizon School Late 19th Century Art

Materials

Oil

"The Gaiety Girl" from "Les Maitres de L'Affiche" series
Located in Hinsdale, IL
HARDY, DUDLEY (1867 – 1922) "A Gaiety Girl" Original lithograph from “Les Maitres de L’Affiche” series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #...
Category

Art Nouveau Late 19th Century Art

Materials

Lithograph

Late 19th Century genre portrait oil painting of a boy holding a lantern
Located in Nr Broadway, Worcestershire
Charles Spencelayh British, (1865-1958) The Lantern Oil on canvas, signed Image size: 13.5 inches x 9.75 inches Size including frame: 20.25 inches ...
Category

Victorian Late 19th Century Art

Materials

Canvas, Oil

Winter Landscape
Located in Pasadena, CA
Étienne-Prosper Berne-Bellecour (June 29, 1838 - November 29, 1910) was a French painter, engraver and illustrator. He was known for his art of war. Berne-Bellecour was born on June ...
Category

Impressionist Late 19th Century Art

Materials

Oil

Late 19th century color lithograph art nouveau floral ornate bookplate verso
Located in Milwaukee, WI
"From: Ilsée, Princess of Tripoli Recto: "Jaufre's Entrance" Verso: "Father Scolds Son" is an original color lithograph by Alphonse Mucha. Exquisite double-sided color lithographs f...
Category

Art Nouveau Late 19th Century Art

Materials

Lithograph

Edward Neale (1833-1904) - Framed 1884 Watercolour, Mallard at Kingsclear
Located in Corsham, GB
A rare late 19th century watercolour by the well listed Victorian artist Edward Neale (1833-1904). The scene depicts a skein of mallards landing on a body of water at dusk. Neale as ...
Category

Late 19th Century Art

Materials

Watercolor

Butterflies, late 19th century antique natural history colour lithograph
Located in Melbourne, Victoria
'1. 2. Helicopis acis 3. Zeonia chorinceus' Late 19th century colour lithograph of butterflies.
Category

Victorian Late 19th Century Art

Materials

Lithograph

Paul Berthon Original Color Lithograph, 1897. Lecon de Violon
Located in Phoenix, AZ
Wonderful original color lithograph by Paul Berthon (1872-1909). In excellent condition with great color. Unframed. Presents in a 2-Ply Museum Mat. Titled: "Lecon de Violon." Maitre ...
Category

Late 19th Century Art

Materials

Paper

'Beauty', a mischievous terrier
Located in London, GB
Jean Matet (French, 1870-1936) 'Beauty' - a mischievous terrier signed and dated ‘J. Matet' (lower left) and inscribed and dated 'BEAUTY. 1898’ (lower right) oil on canvas 13 x 9 ⅞ i...
Category

Realist Late 19th Century Art

Materials

Canvas, Oil

India 19th c British Landscape Listed Artist Alfred Crowdy Lovett Botanical Palm
Located in Norfolk, GB
Alfred Crowdy Lovett C.B.E (British, 1862-1919) Palm Tree & Coconut of Palm (in pencil on verso), single palm signed top right Watercolours on paper, mounted Single palm: Mount si...
Category

Post-Impressionist Late 19th Century Art

Materials

Paper, Watercolor

Original Painting French Barbizon School 19th Century
Located in Saint-Ouen, FR
MORIN Charles Camille (1846 – 1919) The Girl with goats by the river Oil on canvas signed low left Old frame gilded with leaves Dim canvas : 58 X 91 cm Dim Frame : 88 X 112 cm MORI...
Category

Barbizon School Late 19th Century Art

Materials

Oil

19th century color lithograph birds landscape nature grass sky water figure
Located in Milwaukee, WI
"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...
Category

Other Art Style Late 19th Century Art

Materials

Lithograph

Rare and exquisite 1896 calendar by Eugène Grasset - La Belle Jardinière
Located in PARIS, FR
This rare and exquisite 1896 calendar by Swiss-born French illustrator Eugène Grasset, created for the Parisian department store La Belle Jardinière, is a masterpiece of Art Nouveau ...
Category

Late 19th Century Art

Materials

Lithograph, Paper

Umewaka Shrine in the Rain
By Kobayashi Kiyochika
Located in Burbank, CA
Umewaka Shrine, from an untitled series of prints depicting Tokyo. A woman braces her umbrella against the rain and a man waits out the storm next to his jinriksha in this view of th...
Category

Edo Late 19th Century Art

Materials

Handmade Paper, Mulberry Paper, Woodcut

MUJERES COSIENDO
Located in Sant Celoni, ES
Óleo sobre lienzo de Baldomer Gili Roig – Mujeres cosiendo, firmado, con marco ornamentado. Magnífica pintura al óleo sobre lienzo del reconocido artista catalán Baldomer Gili Roig ...
Category

Late 19th Century Art

Materials

Oil

Capri
Located in Täby, SE
Olof Arborelius (1842‑1915). View from Capri with Vesuvius in the background. Monogram signed OA. Oil on canvas laid on cardboard, 31 x 46 cm. Certified on verso: "Painted by Olof A...
Category

Naturalistic Late 19th Century Art

Materials

Oil, Canvas

Study of an actor, ca 1880 dramatic oil young man staring into fire 19th Century
Located in Norwich, GB
A dramatic, one of a kind oil study. Certainly not your run of the mill 19th Century portait! Depicted is a young man, whose face is brightly lit from what is likely is an open fire....
Category

Academic Late 19th Century Art

Materials

Canvas, Oil

Tigre et Lion
Located in Paris, FR
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
Category

Late 19th Century Art

Materials

Bronze

Attrib. Henry Brewer RI (1866-1950) - Watercolour, Windmill and Church Tower
Located in Corsham, GB
A fine early 20th century watercolour by Henry Charles Brewer RI (1866-1950), depicting a country landscape with spinning windmill and church tower. Elegantly mounted in a gilt-effec...
Category

Late 19th Century Art

Materials

Watercolor

Clement Quinton (1851-1920) - Late 19th Century Oil, Ploughing the Field
Located in Corsham, GB
A fine and picturesque study of a farmer and his horses in a sun-drenched field, capturing a moment of quiet industry beneath a wide, open sky. The artist's confident brushwork lends...
Category

Late 19th Century Art

Materials

Oil

A Restful Moment in the Harem
Located in New York, NY
William Gale British 1823 - 1909 A Restful Moment signed with artist's monogram WG lower left oil on canvas Unframed: 30.6 by 41cm., 12 by 16¼in. Framed: 52 by 62cm., 20½ by 24½in. William Gale was a talented history and genre oil painter, born in London in 1823. He won many accolades as a student at Royal Academy Schools, and travelled to Italy in 1851 and the Middle East in 1862 and 1867. Due to his many influences , Gale's paintings are in an array of styles including sentimental, biblical, mythological subjects, portraits and orientalist pictures. Examples of his work are held by the Tate, Glasgow City Art Galleries and Museums and Art Gallery of New South Wales. William Gale was one of the many artists who, upon finishing his study at the Royal Academy Schools, set out to explore the east: namely North Africa, Algeria, Palestine and Syria. These remote countries at the crossroads of civilizations captivated his imagination, which he explored through his work. Following in the footsteps of the great Orientalists John Frederic Lewis and Jean Leon Gerome, William Gale evokes the Eastern Woman, the bright colors and delicate textures that can be found in the East. Using pure, rich glazes and extraordinary attention to detail, he renders the luxurious, beautifully embroidered headscarf. Eastern women kindled a curiosity in almost every Orientalist artist...
Category

Late 19th Century Art

Materials

Oil, Canvas

Woman in thought and Child: the page boy intriguing 19th Century Master drawing
Located in Norwich, GB
A virtuoso charcoal sketch by the Frech 19th Century master Gustave Jean Jacquet (1846-1904). It depicts a thoughtful woman (or woman in thought?) with her face resting on her hand...
Category

French School Late 19th Century Art

Materials

Charcoal, Laid Paper

April: Otsuyu of Yanagibashi in Wisteria Arbor at Kameido
Located in Fairlawn, OH
April: Otsuyu of Yanagibashi in Wisteria Arbor at Kameido Color woodcut, 1880 From the series: "Pride of Tokyo's Twelve Months" (Tokyo jiman juni kagetsu) Signed and sealed lower rig...
Category

Other Art Style Late 19th Century Art

Materials

Woodcut

Beautiful Woman, The Coy Look - like Bouguereau French painter
Located in Miami, FL
If Vogue magazine existed in the late 19th century, this sitter could be on the cover. The depth of her feminine beauty and sweetness is mesmerizing. She looks at you. You look ...
Category

Academic Late 19th Century Art

Materials

Oil

Pair of Bronze Geese Sculptures
Located in Palm Beach, FL
Important pair of Japanese bronze birds in the form of geese masterfully crafted. One with a closed beak the other open, both with quirky expressi...
Category

Edo Late 19th Century Art

Materials

Bronze

JAN WYSOCKI Reclining Nude Woman Mirror & Roses LARGE Oil 19th century POLISH
By Jan Wysocki
Located in Rancho Santa Fe, CA
JAN WYSOCKI (Polish 1873-1960) Reclining Nude Woman with Mirror and Roses Oil on canvas 39 x 48 inches Signed lower right In a period gold leaf frame Jan Wysocki was born on Februar...
Category

Realist Late 19th Century Art

Materials

Canvas, Oil

Peasants, Oil On Canvas Signed Garnier
Located in SAINT-OUEN-SUR-SEINE, FR
Peasants at work. Oil on canvas signed Garnier, signature to be identified. Superficial cracks and very small paint losses, good general condition. 32 x 40 cm.
Category

Late 19th Century Art

Materials

Canvas, Oil

"The Falls of Tivoli" original etching
Located in Henderson, NV
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: 8 1/2 x...
Category

Late 19th Century Art

Materials

Etching

“A Page of Love”
Located in Southampton, NY
Here is a wonderful original watercolor and gouache depicting a scene from Emile Zola book “A Page of Love” by the American artist, Jean Leon Gerome Ferris....
Category

Victorian Late 19th Century Art

Materials

Watercolor, Gouache, Archival Paper

Young Elegant Lady In A Hat, Nocturne
Located in PARIS, FR
François Clément SOMMIER, known as Henry SOMM Rouen 1844 - Paris 1907 Young Elegant woman in hat, nocturnal Watercolor Signed lower right 32 x 21 cm 50 x 40 cm framed Very good cond...
Category

Impressionist Late 19th Century Art

Materials

Watercolor

Antique American Fluffy Pomeranian Dog Portrait Wide Gold Frame Oil Painting
Located in Buffalo, NY
Incredible signed early American dog portrait painting. Oil on board. Signed. Housed in a period gold giltwood frame.
Category

Realist Late 19th Century Art

Materials

Canvas, Oil

Antique French Oil Painting Portrait of Country Lady in Bonnet with Basket Roses
Located in Cirencester, Gloucestershire
Picking Roses French School, late 19th century oil on canvas, unframed canvas: 22 x 18 inches provenance: private collection, France condition: good and sound condition
Category

Romantic Late 19th Century Art

Materials

Oil

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

Impressionist Late 19th Century Art

Materials

Drypoint, Etching

Ausable
Located in Saratoga Springs, NY
Signed lower right. A landscape and marine painter, William Ongley was born in England in 1836 and came to America with his family and settled in New York. His art studies took him ...
Category

Hudson River School Late 19th Century Art

Materials

Canvas, Oil

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