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Late 19th Century Art

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Period: Late 19th Century
Le Voyage - Halte au bord de l'Oued
By Georges Washington
Located in Paris, FR
Georges Washington 1827-1910 American Le Voyage - Halte au bord de l'Oued Oil on canvas Signed lower right Canvas: 16 7/8" high x 23 5/8" wide Frame: 29...
Category

Old Masters Late 19th Century Art

Materials

Canvas, Oil

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

Allegory of Paris : Lutece - Original lithograph - 1898
Located in Paris, IDF
Adolphe Giraldon Lutece, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Lithograph created for the...
Category

Art Nouveau Late 19th Century Art

Materials

Lithograph

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

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

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

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

William Astor's Schooner AMBASSADRESS Leads the Regatta
Located in Costa Mesa, CA
William Astor Pilots the New York Yacht Club Run A superior and graceful schooner as grand as any ever built, AMBASSADRESS was William Backhouse Astor, Jr's "floating home" from its launch in 1877 until he sold it in 1884 and purchased his massive steam/sail yacht...
Category

American Realist Late 19th Century Art

Materials

Canvas, Oil

Lover, Portrait after a Poem of Ronsard - Original lithograph - 1899
Located in Paris, IDF
Félix BRACQUEMOND (1833-1914) Lover, Portrait after a Poem of Ronsard, 1899 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 1...
Category

Art Nouveau Late 19th Century Art

Materials

Lithograph

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

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

'Love lyrics, ' a romantic Italian genre painting by Antonio Paoletti
Located in London, GB
'Love lyrics,' a romantic Italian genre painting by Antonio Paoletti Italian, Late 19th Century Panel: height 40cm, width 50cm, depth 1cm Frame:...
Category

Late 19th Century Art

Materials

Oil, Panel

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

Les Trophées
Located in Middletown, NY
London: The Studio, 1898. Wood engraving on blue wove paper, 8 x 5 3/8 inches (202 x 137 mm), full margins. As published in The Studio, Volume 12, 1898, with the blindstamp in the l...
Category

French School Late 19th Century Art

Materials

Handmade Paper, Woodcut

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

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

Paintings 19th Century Still Life With Flowers
Located in Saint-Ouen, FR
GODCHAUX Emile (1860) Compositions of Flowers in Pair Oil on canvas signed low Left Old Frames gilded with gold leaves Dim canvas (each) : 130 X 89 cm Dim frame (each) : 149 x 109 cm...
Category

Academic Late 19th Century Art

Materials

Oil

Gentry People in The Park in 18th century
Located in Saint-Ouen, FR
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...
Category

Academic 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

"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

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

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

La Grosse Horloge (Côté de la Fontaine) by C.H. Toussaint - 1880
Located in Middletown, NY
Rouen: Rouen Augé, 1880. Etching and engraving on Arches laid paper with a partial watermark, 9 3/4 x 6 1/4 inches (241 x 157 mm), full margins. In very good condition with an exper...
Category

French School Late 19th Century Art

Materials

Handmade Paper, Etching

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

Dutch estuary landscape Oil on canvas, 30x40.5 cm
Located in Riga, LV
Dutch estuary landscape Oil on canvas, 30x40,5 cm The artwork depicts a landscape scene of an estuary in the Netherlands, showcasing the unique characteristics and natural beauty o...
Category

Realist 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

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

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

"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

Cavalry Charge 1st Empire - Edouard Detaille - French art
Located in PARIS, FR
Conditions : Very good original Conditions including a beautiful frame. Framed under glass, this rare composition for sale is an exceptionnel piece for Art collectors. Artist Biog...
Category

Academic Late 19th Century Art

Materials

Tempera

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

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

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

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

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

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

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

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

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

Médecine Expérimentale - Etching by Félicien Rops - 1854
Located in Roma, IT
Médecine Expérimentale (Experimental medicine), is an original etching, soft ground, on Japanese paper realized by Félicien Rops in 1854, signed in the ...
Category

Symbolist Late 19th Century Art

Materials

Etching

"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

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

Duck Hunting Scene
By James Craig Nicoll
Located in New York, NY
James Craig Nicoll paints figures obscured by tall grass on a small island off a coast lined with bare trees observing a flock of waterfowl in his oil painting, “Duck Hunting Scene.”
Category

Late 19th Century Art

Materials

Canvas, Oil

A Fine French 19th Century Oil on Board "A Standing Beauty with Spring Roses"
Located in LA, CA
A very fine French 19th century oil on board titled "A Standing Beauty with Spring Roses" by Charles Baptiste Schreiber (French, 1845-1903)...
Category

Academic Late 19th Century Art

Materials

Wood, Oil

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

Venise sauvee, play in five acts by Thomas Otway. 1895.
Located in New York, NY
Venise sauvee, play in five acts by Thomas Otway. 1895. Lithograph on simili Japan Framed. .Very good condition with the exception of a slight center fold. Framed. Rare Ref: Artis...
Category

Art Nouveau Late 19th Century Art

Materials

Lithograph

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

Still Life with Steak
Located in Sheffield, MA
Henri Léon Mabboux French, 1843-1895 Still Life with Steak Oil on canvas 23 ½ by 32 ½ in, w/ frame 29 by 38 ¼ in Signed upper left
Category

Naturalistic Late 19th Century Art

Materials

Oil

A Monmartre (Moulin Rouge).
Located in New York, NY
Ca 1895. Printed and stamped by Eugene's father, August Delatre. Signed in pencil lower right, and signed in the plate. Sheet size 13 3/4 x 9". Image size 10 x 4" Eugène Delâtre...
Category

Art Nouveau Late 19th Century Art

Materials

Etching

"Village en Suede" etching
Located in Henderson, NV
Medium: etching (etched by Theophile Narcisse Chauvel after the Wilhelm von Gegerfelt painting). This impression on japon paper was printed in 1875 (before letters were added) and pu...
Category

Late 19th Century Art

Materials

Etching

Charles Henry Miller Tonalist Countryside landscape Painting 1876
Located in New York, NY
Countryside, 1876 Oil on canvas 13 1/2 x 11 in. Framed: 17 1/2 x 15 x 1 1/2 in. Signed lower left and dated 1876
Category

English School Late 19th Century Art

Materials

Canvas, Oil

Star Island, Isles of Shoals
Located in Bryn Mawr, PA
Star Island, Isles of Shoals is a fine example of Warren Sheppard’s great love and respect for the sea. As an expert navigator and yachtsman, Sheppard had a deep reverence for the oc...
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

Ancient Views of Aden - Original Albumen Print - 1880s/90s
Located in Roma, IT
Ancient views of Aden is a set of 2 original vintage albumen prints on single cardboard: 34 x 26 cm. Two Images one front 28 x 22 and on the rear 22.5 x 28. They were realized betw...
Category

Modern Late 19th Century Art

Materials

Photographic Paper

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

“Flower Picking”
Located in Southampton, NY
Beautifully executed original hand colored lithograph using gouache and watercolor. Scene in Surrey, England. Signedxwith monogram in plate lower left, Myles Birket Foster. Published by M. H. Long. Condition is very good. In original 2 inch wide birdseye maple antique frame with thick museum mat with gold innner edge. Overall 22 by 26 inches. Biography Myles Birket Foster (4 February 1825 – 27 March 1899) was a popular English illustrator, watercolour artist and engraver in the Victorian period. His name is also to be found as Myles Birkett Foster. Life and work Foster was born in North Shields, England of a primarily Quaker family, but his family moved south to London in 1830, where his father founded M. B. Foster & sons — a successful beer-bottling company. He was schooled at Hitchin, Hertfordshire and on leaving initially went into his father's business. However, noticing his talent for art, his father secured an apprenticeship with the notable wood engraver, Ebenezer Landells, where he worked on illustrations for Punch magazine and the Illustrated London News. On leaving Landells' employ, he continued to produce work for the Illustrated London News and the Illustrated London Almanack. He also found work as a book illustrator and, during the 1850s, trained himself to paint in watercolours. His illustrations of Longfellow’s Evangeline and books of poetry by other contemporaries were a great success, and he quickly became a successful artist in watercolours. Birket Foster became an Associate of the "Old" Watercolour Society (Later the Royal Watercolour Society) in 1860 and exhibited some 400 of his paintings at the Royal Academy over more than 2 decades. Birket Foster travelled widely, painting the countryside around Scotland, the Rhine Valley, the Swiss lakes and in Italy, especially Venice. In 1863 he moved to Witley, near Godalming in Surrey where he had a house ("The Hill") built. Being friendly with Edward Burne-Jones and William Morris, he had the house decorated and furnished in contemporary style, with tiles and paintings by Burne-Jones and Morris' firm, Morris and Company. The same year he published a volume of "English Landscapes," with text by Tom Taylor...
Category

Impressionist Late 19th Century Art

Materials

Lithograph, Watercolor, Gouache

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

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

Summer
Located in Mc Lean, VA
Exhibited: Royal Academy, London, 1880, no. 355 (as Summer)
Category

Academic Late 19th Century Art

Materials

Canvas, Oil

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