Mid-19th Century Art

Medium: original lithograph. Executed in 1844. Catalogue references: Benedicte 26 and Fisher 4. This impression on wove paper was printed by Lemercier for Gazette des Beaux-Arts. Ima...

Three ships - an American Three-Masted Steam Schooner, a British Sailing Royal Navy Frigate and a British Sidewheel Steam Naval Frigate - are all challenged by a tempestuous sea in this English Channel crossing scene. The British sailors work in unison to reef and employ sails on both frigates, running with the heavy, wind-driven sea towards Ramsgate, while the fore-and-aft rigged steam schooner burns her boilers while keeping her sails up to help stabilize the pitch and roll of the American ship, headed to continental Europe. Buttersworth has expertly detailed the actions of the men, their ships and the dramatic setting. Many other ships lay at anchorages off the Kent coast, showing from the Cliffs of Dover to the fortifications of Ramsgate. This early visit by an American sail/steam vessel to England is remarkable. The first such transatlantic voyage happened in 1819, by the historic S.S. SAVANNAH, and it’d take almost 20 years to be repeated. Among the first names of American Steam Schooners to make British ports, ASP, HARRIET, and BRUTUS are among those recorded. MIDAS, a steam schooner owned by Robert Bennett Forbes, was the first American steamship to China, in 1844. Showing a varied and illuminated sky that is recognized as a signature of Buttersworth’s artistic talent in his paintings, the stormy clouds are split by a sunburst opening, reflective light creating an emotional, positive hope for the subjects. The English Channel is at its narrowest width in this stretch off Kent, home to the Cinque Ports regulating trade and naval protection in the English Southeast for centuries. Buttersworth is soon bound for life in America, making this one of his last, and in our opinion, best British scenes painted in England. Sight Size: 18 x 24 Inches Signed LR: J.E. Buttersworth Provenance: India House...

This is an original rare first octavo edition John James Audubon hand-colored lithograph entitled "Canada Grouse, 1. 2 Males, 3. Females, 4. Trillium pic...

This is an original John James Audubon hand-colored royal first octavo edition lithograph entitled "Red-cockaded Woodpecker, 1. 2. Male, 3. Female", No. 5...

Celebrations during Sumo Matches is a Woodcut print realized in the first half of the 19th century by Utagawa Kunisada. Good condition and Beautiful colored woodblock print. Thi...

Signed lower left, 'P. Lagiere' (French, 19th century) and dated, '1868'. After 'La Jeune Courtisane', 1821, by Xavier Sigalon (French, 1787–1837), held in the permanent collection o...

Medium: etching and drypoint. This is Seymour Haden's etched version of the painting by Thomas Wright of Derby entitled "Edwin the Minstrel". The man in the portrait was actually Sir...

A fine mid 19th century watercolour copy of Rembrandts original Tronie self portrait, depicting the young artist wearing a gorget and beret. Unsigned. The painting is well presented ...

This charming scene takes inspiration from the works of Henry Charles Bryant who was renowned for his farmyard and market compositions. The painting dep...

James Cassie was born at Keithhall near Inverurie, Aberdeenshire, the son of a prosperous tea and spirit merchant. Although briefly a pupil of the artist James Giles, Cassie was largely self-taught. He began his career as a painter of animals and portraits, but on moving to Aberdeen he increasingly turned his attention to local seascapes and coastal scenes, especially at dawn and sunset. He favored these outdoor scenes but continued to paint some domestic subjects and portraits throughout his life. In 1869 he moved to Edinburgh and was elected an associate of the Royal Scottish Academy. Shortly before his death in 1879 he was elected an Academician. This piece is framed in its original frame and the painting is signed lower right and inscribed on the reverse. From the inscription on the reverse, this painting was purchased from an important house sale...

Work on canvas Golden wooden frame 37 x 63 x 4.5 cm

Adrianus Eversen (1818-1897) was an artist who created outstanding paintings of cities, and his works are a time travel back to another era of archite...

A wonderful portrait of a Bostonian dated 1858, by Leopold Grozelier, the artist best known for creating the first electoral poster ever, bearing the portrait of Abraham Lincoln (186...

Although suggesting a yacht or boating club due to its prime waterfront location, this panoramic view by Philadelphia artist Xanthus Smith, most likely shows a US Lifesaving Service facility in one of the mid-Atlantic states. Originating in the mid-1800’s, the U.S. Lifesaving Service’s earliest buildings were strictly utilitarian, but as the Service grew, so did the size of the stations. By the 1880s, they were becoming more fashionable and usually were made up of two or three structures as shown here. The main building contained the offices and berthing area for the crew and usually featured a lookout tower on the roof. Smaller buildings housed classrooms and medical facilities. Some were built to resemble a Swiss chalet and one was even designed with a clock tower. Noted architect A. B. Bibb designed stations like this one that looked much like beach resort homes with lookout towers. The stations were usually located near the approaches to major ports and were maintained by the United States Revenue Marine (later renamed the United States Revenue Cutter...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Silhouette (circa 1870) Lennox Gouache, pen, and ink 52 x 44 cm Prior to phot...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Silhouette (circa 1870) Miss Chapman Gouache, pen, and ink 52 x 44 cm One of ...

A stunning 19th century English Antique oil landscape with cows resting by a river. Alfred Vickers was a painter of marine subjects and landscapes. He exhibited extensively througho...

Mathilde LEHAUT (1816- nc) Cherubs Musicians in oval pair Two Oils on wood signed low Framed by Gault (Paris) - Gold leaves Dim wood panel (each) : 27 ...

Late 19th Century French Figures in an old French town oil on board, framed framed: 13 x 17 inches board: 9 x 15 inches provenance: private collection, England The painting is in ve...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Silhouette (circa 1870) The Hon Mrs F Byron Gouache, pen, and ink 52 x 44 cm ...

Orientalist Portrait of an Arab Man Half-length, turned to the left, oval, Jean-Horace Vernet (French 1789-1863) Circa 1830s Watercolor heightened with touches of white on paper Sign...

The oldest European buildings in China are along the once curved crescent shore of the Praya Grande, where the Portuguese explorers established and fortified their trading foothold with an entire continent. When they arrived in 1553, this small fishing village overlooked by a temple to an ocean goddess immediately became an important cultural center of the world and the stage for initial interactions between the East and West. Ever since, this port has played a role in the cosmopolitan course of world trade. (The harbor is extensively filled in and built upon today.) In this view, more than 300 years after the Dutch established contact in the early 17th Century and western ships first sailed in the harbor, a British Sidewheel Steamer is in the port of Macao, surrounded by more than 20 Chinese vessels. The artist's perspective, looking northwest towards the Praya Grande's center, brings Praha Hill and its stone stairway in view, with the church on top. The inlaid stone walkway of the port city is full of human figures, one wearing a special red jacket while the rest wear blue or white. One westerner in a top hat at the stern post of the closest Chinese ship directs its crew outward bound...

Gate Of The Metwáleys - Cairo is a beautiful original black and white etching engraved by Ebenezer Challis in 1860 ca. after an illustration that David Roberts realized for 'The Art ...

This is an original 19th century John James Audubon hand-colored first octavo edition lithograph entitled "Marsh Hare", No. 4, Plate XVIII, 18, from Audubon's "Quadrupeds of North Am...

This is a hand-colored folio sized lithograph entitled "Calothorax Yarrelli", Yarrell's Wood-star Hummingbirds by John Gould, published in his "A Monograph of the Trochilidae, or Family of Humming-birds", published in London in 1850. The print, which was drawn by Gould and Henry Richter and lithographed by Hullmandel and Walton, depicts three green, white, grey, and a little blue colored hummingbirds amid green cactus plants with white and pink colored flowers. The hummingbirds are augmented by gum-arabic paint, which gives them an iridescent appearance in areas in which it is used. This beautiful Gould hand-colored hummingbird lithograph is in excellent condition. The original descriptive text page from Gould's 19th century publication is included. There are several other unframed Gould hummingbird...

Gossip on the Street- This Mid 19th century watercolour depicts three boastful Frenchmen having a public natter in front of several french style houses. The artist has captured a dog...

Large Scale 19th Century American Impressionism Garden and Lighthouse Landscape Wonderfully large American Impressionist landscape of garden overl...

Still life of flowers and fruit by Joseph Panneel, (Belgian, 1807-1848) Belgian, 1844 Frame: height 93cm, width 83cm, depth 7cm Canvas: height 73cm, width 61cm, depth 2cm Working in...

This is an original 19th century John James Audubon hand colored lithograph entitled "Crab-eating Raccoon", No. 31, Plate CLV, 155, from Audubon's "Quadrupeds of North America", prin...

Parisian is aLithograph realized by Gustave Dore in 1854. Good conditions except for some foxings. Hand-singed. The artwork is depicted in a well-balan...

This is an original 19th century hand-colored McKenney and Hall lithograph of a Native American entitled "Tah-Ro-Hon, An Ioway Warrior", lithographed by J. T. Bowen after a painting by Charles Bird King and published by Rice and Hart & Co. in Philadelphia in 1848. For his portrait Tah-Ro-Hon is wearing a feathered multicolored headdress, long ornamental earrings, a chain necklace, a presidential piece medal on a ribbon necklace and he holds a multicolored staff with feathers. This original McKenney and Hall hand-colored lithograph is printed on a sheet measuring 10" high and 7" wide. There is a tiny spot of red paint adjacent to a red feather hanging...

Marmot of Quebec is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was pu...

Charming 19th Century Italian School portrait of peasant girl by unknown artist, circa 1840. Partial signature lower right edge. Condition: fai...

Wonderfully preserved hand-colored 1830's lithograph "Ground Squirrel" by Thomas Doughty (American, 1793 - 1856), circa 1830. From "The Cabinet of Natural History and American Rural Sports." Phila: J.&T. Doughty, 1830-32. Sold previously by Bland Gallery, Early 20th century East Side gallery specializing in miniatures. Presented in frame with new acid-free mat under plexiglass. Image size: 7.25"H x 8.75"W. Doughty’s short-lived magazine “The Cabinet of Natural History and American Rural Sports” is an important imprint in the history of American printing. It contained the first colored sporting prints made in America. Issued in monthly parts and published from the end of 1830 until the spring of 1834, “The Cabinet” featured articles on hunting, detailed descriptions of newly discovered flora and fauna, and some of the finest examples of early American hand-colored lithography. It was originally the work of the Doughty brothers, Thomas and John, with virtually all of the plates being the work of Thomas, who also founded the Hudson River School. But, by the spring of 1832, the partnership had broken up and Thomas had moved to Boston. An abbreviated third volume lacked Thomas’ touch. Printed by Childs & Inman, the partnership between Philadelphia engraver and lithographer Cephas G. Childs and New York portrait...

This drawing is a study inspired by antique frieze representing a volute of leaf with a running dog among them.

Collage heightened in gilt ink laid down to card stock. Light band of moisture stain running horizontally along the top margin, above the image area. Light attenuation, otherwise in good condition. Presented beautifully in a period burled walnut frame. _______ William Hubard, sometimes known as "Master Hubard," was a British born American artist who settled in Boston in about 1820, in his late teenage years. He opened a gallery on the corner of Milk and Congress Streets at Julien Hall, in the heart of Boston's Financial District. His gallery became well known for Hubard's silhouette's, which he produced prodigiously for sitters in moments, using nothing but black paper, a pair of scissors, and sometimes a dash of gold ink. Hubard filled his gallery with silhouette likenesses of famous people, beggars, fiddlers, great works of architecture, and all types of animals. Each evening he presented a panharmonicon concert in his gallery, and for 50¢ the public was invited to enjoy the gallery, the concert, and have their likeness created by hand in moments by Hubard. In the early 1830s Hubard married the daughter of a wealthy patron, and moved to Richmond, Virginia, where he won major commissions to paint portraits of notables such as Andrew Jackson, and James Marshall, as well as several commissions from the Virginia General Assembly. Hubard enjoyed a successful career until his death in February 1862, when he was killed in an accidental explosion while making munitions for the Confederate States...

This is a hand-colored folio sized lithograph entitled "Saucerottia Cyanifrons", Blue-capped Saucerottia Hummingbirds by John Gould, published in his "A Monograph of the Trochilidae, or Family of Humming-birds", published in London in 1850. The print, which was drawn by Gould and Henry Richter and lithographed by Hullmandel and Walton, depicts two green, blue and a little brown colored hummingbirds about a plant with green leaves and pink flowers. This beautiful Gould hand-colored hummingbird lithograph has a few very small faint spots, but it is otherwise in excellent condition. The original text page is included. There are other unframed Gould hummingbird...

A beautiful painting with historic importance, three schooner yachts line up before the Sandy Hook Lightship for the start of the world's first Transatlantic Yacht Race held in 1866. In his book, "J.E. Buttersworth, 19th Century Marine Painter", biographer Rudolph J. Schaefer has noted six views by the artist of this event. This is largest of the known works of this important benchmark in American yacht racing. Identification of the racing schooners is assisted by the special colored flags worn by the yachts. Foremost in the painting, wearing the Blue was HENRIETTA, owned by renowned newspaper publisher and infamous yachtsman James Gordon Bennett, Jr. White was atop the mast of VESTA, owned by tobacco baron and racehorse aficionado Pierre Lorillard, who initiated the competition with a dinner party boast over turtle soup...

COLIN François (1798-1864) The Declaration of love Oil on canves signed low left Old frame regilded with leaves Dim canvas : 41 X 57 - Dim frame : 56 X 71 cm COLIN François (1798-1...

French bronze of Sappho Leaning Against a Column Holding Her tortoise Lyre, Original rich brown patina intact. Artist: Jean Jacques Pradier (Swi...

Unknown Artist, Possibly Gustaf Brandelius (1833-1884) Portrait of a Young Boy With Hat oil on tree panel painted c.1850-70 panel 9.05 x 5.90 inches ...

This luminous work depicts the American merchant brigantine E. MILLER. The sun sits low behind the ship, illuminating the sky with colors of yellow and deep rose tones. The sun has just touched the sea at the ship's bow and around her stern, creating a halo of light in the small waves. The E. Miller is in full sail with sailors active on her deck, with her brightly colored name pennant snapping in the wind alongside the American flag and company flag. Though unsigned, this is clearly the work of artist Elisha Tyler Baker. Baker only signed about a third of his paintings, so this is not unusual for the artist. The rendering of the vessel to his touch in the sea and sky all give very clear clues that the work is his. Though little information remains about her voyages we know the ship E. MILLER was built in Virginia by the Surry Company in 1856 and had a weight of 132 tons. Sailing out of Richmond she was also known to frequent the port of Baltimore. From Richmond she would have carried out agricultural goods, lumber, and iron, while importing manufactured goods and guano to fertilize Virginia's tobacco fields. Given that she was built before the Civil War and was ported in Richmond throughout the war, it's likely the E. MILLER was involved in moving goods to supply Confederate forces. Sight Size: 23 3/4 x 32 Inches Vallejo Gallery features the finest in marine and maritime antiques...

Antoine-Claude PONTHUS-CINIER (Lyon, 1812 - Lyon, 1885) Lake Albano, Castel Gandolfo and the Roman countryside Oil on canvas mounted on cardboard H. 38 cm; L. 55 cm Signed lower left Ponthus-Cinier belongs to what could be defined as the third (and so to speak last) generation of neo-classical or historical landscape painters, born in the years 1810/1820, like Félix Lanoüe, Achille Bénouville...

Signed and dated right of center: J.F. Cropsey / 1852

Romantic style painting of figures crossing a stream in a coastal European landscape. The painting dates to the 19th century and is presumed to...

Antique Horse Bronze Exceptional Bronze of a Draft Horse Pierre Jules Mêne (French, 1810-1879) Circa 1860s 4 3/4 (W) x 3.25 (H) As Mêne personally ov...

Auguste Mayer (1803-1890 A seascape with a boat signed with the initials on the lower left Pencil and heightenings of white gouache on paper 17.5 x 26 cm In fairly good condition, ma...

An Orientalist figurative or genre painting by Conrad Kiesel.

Yoshikazu Utagawa (active circa 1850 - 1870) Yoshinaka and the Shitenno Confront a Serpent at Okuyama This is the middle panel of three c. 1844 - 1848 Oban Good impression and ...

Julius EXNER (Copenhagen, 1825 - Copenhagen, 1910) Model stripping Oil on canvas H. 122 cm; L. 74 cm Signed and dated 1842 lower right Exhibition: most likely Charlottenborg Salon of 1845, under number 110, titled Modelfigur, awarded with a silver medal Provenance: Emilio Fernando Bolt (c.1860 - 1944), acquired from the artist around 1900, then by descent Our painting was produced as part of the summer sessions organized between 1839 and 1850 by Christoffer Wilhelm Eckersberg (1783-1853), the master of Danish painting of the first half of the 19th century, in his private studio-apartment on the ground floor. floor at the Royal Academy of Fine Arts in Copenhagen. The master brought together a few students there between June and September, rented one or two models for the season, which were painted from different angles, the artists (including Eckersberg himself) sitting side by side. Eckersberg used to paint a fairly small version, the pupils of the larger formats. The work fits more generally into the legendary context of the research and reforms carried out by Eckersberg concerning the studies of nudes and in particular of female nudes, to make this exercise a genre of painting in its own right. Following his two-year stint in Jacques-Louis David's studio in Paris in 1811, Eckersberg had been made aware of work on the nude and in particular on live models, in natural light, while in Denmark the drawings were then only made from casts of antique models or other mannequins. In 1822, when he had been a professor there since 1818, it was he who had the Royal Academy of Copenhagen authorize the study of nudes, no longer in the evening by candlelight, but in natural light; from 1833, it was still he who allowed students to work on nude female models, even if the official authorization of the Academy did not take place until 1839. It was this same year that he instituted his summer sessions, on a private basis, to orient his painting and that of his students towards a new conception of the representation of models: even if the nude remains the real theme, it does not however, this is more than just an academic exercise. The subject is placed in a contemporary interior, with a rather sophisticated decor, and occupied with an intimate activity (it is this type of intimate vein that we will find later in Degas or Cassatt for example); thus in our painting, the young woman is supposed to take off her clothes to wash. The objective is that the viewer forgets that the master and his students are painting a model during a posing session, and that he instead has the impression of being alone with the model, but invisible, almost like a voyeur in spite of himself. Moreover, in these paintings, the model never looks towards the spectator, inducing a psychological distance with him, whereas model and artist are actually physically very close. On the other hand, it is not a question of idealized nudes either, even if Eckersberg, proof of his debt to the antique, chooses fairly classic models and poses. The sensuality is real and very present, with dreamy, even innocent, and timeless expressions (the models do not seem to have a defined age), suave and slow attitudes and movements, and especially with clothes that hide or reveal skillfully parts of the female body: upper buttocks, pronounced hips... Made by an artist under 20, our sensual painting is probably one of the most beautiful and spectacular produced by the students of Eckersberg during these summer sessions. With a perfect balance between the firmness of an ancient statue (it recalls the Venus de Milo) and the softness of the feminine forms, highlighted by a harmonious palette, it captures the attention with many details: the almost photographic folds white clothing...

French school circa 1840 Portrait of a Lady watercolor on Bristol paper 25.5 x 20 cm oval in quite good condition : slightly yellowed by time, multiple little scratches, stains (see ...

Signed with initials in carriage: CHC

The drawing, composed by a single sheet without watermark of 20.4 x 12,5 inch, comes from the collection of Placido Fabris’s heirs The drawing shows, on a tempera dark background, a ...

Utagawa Kuniyoshi 歌川国芳 Title Yamabuki Gozen (山吹御前) Yamabuki Gozen seated on several shields by a log fire mending the coat of her husband Yoshin...

Etching and drypoint in black ink on fine ivory laid Japan paper. Second state of two. Signed and dated in plate lower right "Whistler. 1859". Very good condition. Ref. Kennedy 51 i...

Lithograph on on white wove paper, 4 1/2 x 7 3/8 inches (112 x 187 mm), wide margins. First state (of 6). A very good impression with minor scattered spots of very light discoloration. [Delteil 91.1] __________ At an early age Delacroix became a lover of music and literature and had been drawing from the time he entered school.  He expected painting would be a hobby, but on the death of his father he found he had to make his own way in life.  In 1817 he entered the studio of Pierre-Narcisse Guerin; amongst his fellow pupils was Gericault.  His first exhibited work was Dante and Virgil...

Katsushika Hokusai (Japanese, 1760–1849) Poem by Bunya no Asayasu (Fumiya no Asayasu), from the series One Hundred Poems Explained by the Nurse (Hyakunin isshu uba ga etoki) 「百人一首うはか...

Samurai is an original Woodcut print realized in mid 19 century by Utagawa Kunisada. Beautiful colored woodblock print, included a cardboard passpartout. Includes frame: 45.5 x 35...