American Realist Art

Signed (at lower right): FJK

Signed (at lower right): FJK

Still Life with Peaches and Grapes Oil on paper, 1890 Signed and dated lower right (see photo) Image size: 5 8 5/8 inches Frame size: 10 x 13 1/2 inches Housed in the original frame ...

John Livzey Ridgeway (American, 1859-1947) Signed: J. L. Ridgway Imperial Woodpecker, aka Ivory Billed Woodpecker, c. 1898 Gifted to Doris Barroll Amos in 1938 Original Watercolo...

"The World" Published by Cummings & Hilliard, No. 1, Cornhill, Boston Early 19th century engraved double hemisphere Atlas Map, titled "The World." Hand colored original outlines. Pu...

MOA-NA-HON-GA. GREAT WALKER. AN IOWAY CHIEF., from History of the Indian Tribes of North America Artist:Charles Bird King Publisher:McKenney and Hall hand-colored engraving on paper ...

Portrait of a Gentlemen, c. 1835 Oil on Canvas 30" x 25" Housed in a 2 1/2" Frame Overall Size: 34 1/2" x 29 1/2" Craquelure throughout, some inpainting. In otherwise good condi...

Presented is a wonderful example of mid-19th-century American Portraiture. Portrait of a Girl, c. 1850s Oil on Canvas 27" x 22" Housed in its original period frame Spandrel Sit...

John F Francis (American, 1808 - 1886) " Portrait of a Gentleman ", 1838 Oil on Canvas 30" x 25" Housed in a 3 1/2" Frame Overall Size: 37" x 32" ...

Clinton Loveridge was born in Troy, New York, in 1838. By 1859 Loveridge had his own studio and was known primarily for his pastoral landscapes with cattle and sheep. He exhibited at...

Antique American still life oil painting of hanging fruit and grapes. Oil on board. Framed

Antique American autumn mountain lake with village oil painting. Framed. Oil on canvas.

James E. Buttersworth's most sought-after artworks emerge from his depictions of American racing yachts going head to head in the major regattas...

Charming late 19th or early 20th century oil on board. This little gem has great detail of a horse with a feedbag in a landscape. It is signed or initialed but I cannot make it out. ...

Charles Cumberworth (1811-1852) Indian Huntress Bronze with double patina Vittoz chiseller Old cast France circa 1850 height 52 cm Biography: Charles Cumberworth (1811-1852), son...

Antique American realist figurative Blue Jay on a branch. Oil on board. Framed.

"Young Girl With Hat" is a classical Victorian portrait etching. It is signed in graphite in the lower right by the artist, F.M. Spiegle. It depicts a Victorian girl with curly hair ...

Now in a period frame, carved italian and gold leaf ask for images please In frame Little is know about George Frank Higgins, but his work sugge...

Likely a study for an illustration for Harper's Weekly, for which Wiser was a Civil War-era illustrator, focusing on shipwrecks and battles occurring along the mid-Atlantic coast. ...

Etching with aquatint on heavy laid paper, 7 x 9 1/4 inches (172 x 233 mm), full margins. Signed in the plate, lower right image area. Minor corner loss, top right, and a 1/4 inch ed...

American 19th Century Sea Scape oil painting.

Etching on thick, hand made laid paper, 8 1/8 × 5 13/16 inches (206 × 148 mm), full margins. Scattered light age tone surface soiling, dog-eared corners, and minor edge nicks. An imp...

"The Last War-Whoop!" is a lithograph by Currier & Ives. The framed size is 26 x 32.62 x 1.25 inches. Provenance: Private Collection

John Haberle (1856-1933) was an American painter in the trompe-l'œil period and was most commonly known for his skill of painting objects that were laid out so perfectly that they could be mistaken for the objects themselves. This artist is considered one of the three major artists of this period. Although he was most famous for his Still Life works, there are many portraits that he made. Mark Twain, a famous writer of the gilded age known for his many stories, especially The Adventures of Huckleberry Finn...

The Bathers Woodengraving, 1873 As published in Harper's Weekly, August 2, 1873 (p. 668) Provenance: Wunderlich & Co., Inc., New York, NY (Their stock no. ...

The painting features a 3/4 bust portrait of a gentleman from the Verplanck family of Orange County, New York. The painting shows a young man seated for her portrait in a fine black ...

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...

A large oil on Canvas painting by the California artist William Weaver Armstrong (1862-1906), Mount Hood Oregon landscape, circa 1885. This large lan...

Herman Hyneman (1849-1907) Portrait of the Artist's Wife, c. late 19th century Oil on canvas 21 1/2 x 29 1/2 in. Framed: 27 1/2 x 35 1/4 in. The following is from Peter Jung who credits "a friend named Jeff Gold on Long Island." Herman N. Hyneman (1849 - 1907) was born in 1849 to one of the most prominent Jewish families in Philadelphia. Unlike most Jewish families of the time, his embraced and encouraged his artistic talent. In 1874, Hyneman followed his first cousin Moses Ezekiel, National Academy member, to Europe to study. They first went to Germany and then to France where Hyneman began eight years of study with Leon Bonnat, the French Master. In Paris, the twenty-five year old Hyneman resided in a studio building at 75 Boulevard Clichy, with expatriates Frederic Arthur Bridgeman, Charles Sprague Pearce, Milne Ramsey, and Edwin Blashfield. Hyneman was clearly exposed to the works of these more experienced artists, as well as that of Walter Gay. In 1879, one of Hyneman's genre paintings, entitled "Desdemona", was accepted into the Paris Salon. That painting received favorable reviews both in Europe, and later in Philadlephia where it was exhibited alongside the works of other Philadelphia Artists exhibiting at the Salon that included Thomas Eakins, Pearce, Edward May...

Herman N. Hyneman (American, 1849-1907) Untitled (Sunset Landscape), 19th Century Oil on canvas 20 1/4 x 26 in. Signed lower right: H. N. Hyneman Herman N. Hyneman was a noted Ameri...

Watercolor on paper executed by German-American artist Richard Veenfliet "My Old Kentucky Home" references one of the ballads written by American composer Stephen Foster in 1852.

An important American watercolor painting study for a stained glass panel, by the celebrated American artist John La Farge (1835-1910), the painting titled an...

Though he was born in Norwich, England in 1833 and lived in London for the second half of his life, George Henry Boughton’s formative years as a self-taught artist began in Albany, New York, where his family settled in the 1830’s. Recognized as a leading landscape and genre painter in the United States and abroad, Boughton illustrated editions of Washington Irving’s Rip Van Winkle...

The painting features a 3/4 bust portrait of a refined lady from the Verplanck family of Orange County, New York. The painting shows a young woman seated for her portrait in a fine b...

American School, 19th century Faint/ indistinct signature and date middle right (see photo). We think the date is 1859. Portrait of Roger Sherman (1721-1793), full-length, seated at his desk with books and globe. oil on canvas, unframed canvas: 21 x 25 inches private collection, France the painting is in overall very good and sound condition The painting seems to based upon an earlier version after Ralph Earl...

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...

"Winter, Horses and Sleigh" is a 30 x 50 original oil on canvas, snowy landscape by Pennsylvania painter C F Witman. The subject of the painting is of the North American/Canadian fro...

Oil Study of Two Horses Oil on canvas, c. 1880 Unsigned Estate stamp verso of canvas and on stretcher (see photo) Condition: Excellent New gilt frame aptterned after the period frame Painting size: 4 1/8 x 8 3/8 inches Frame size: 6 3/4 x 11 inches Provenance: Estate of the Artist Jill Newhouse Gallery, New York Eric G. Carlson Fine Prints, New York "Frederick (sic) Arthur Bridgman relocated from Alabama to New York with his family while still a youth. He was eventually employed as an engraver with the American Bank Note Company. He began studying art in his spare time inthe Art Schools of Brooklyn and the National Academy of Design in New York. He traveled to Paris in 1866 and became a favorite student of Gérôme which lead to Bridgman's exhibition in the Paris Salon in 1868. He made France his permanent home in 1870, and spent his summers on sketching tours of Brittany. He exhibited with the National Academy of Design in 1871. He lived in Egypt in 1873; scenes from Egyptian antiquity were prominent in his work. Bridgman's talents extended to writing and music; he was a noted composer and musician. The artist died in Rouen, France, in 1928." Courtesy SAAM (Smithsonian American Art Museum) "Frederick Arthur Bridgman was a well-known landscape and historical painter. He is most admired for his Orientalist subjects, including views of North Africa, in particular Egypt and Algeria, and his scenes from Ancient Egyptian history. Although born in Alabama, Bridgman came from a Yankee family. After the death of his doctor father and amid the mounting tension before the Civil War, the Bridgmans returned to their native New England, settling in New York. Young Frederick showed artistic gifts and was apprenticed as an engraver to the American Banknote Company. He attended evening classes at the Brooklyn Art Association at the same time. He also studied at the National Academy of Design, where he met Harry Humphrey Moore and Thomas Hovendon. In these early years, Bridgman exhibited at the Brooklyn Art Association. Bridgman travelled to France, where he visited Pont Aven, the artists’ colony in Brittany frequented by Paul Gauguin and Emile Bernard as well as a circle of American painters around the Philadelphian Robert Wylie (1839-1877). Bridgman also studied in Paris with Jean Léon Gérôme at the Ecole des Beaux-Arts. Bridgman made an important reputation for himself in France at the annual Paris Salons; in Britain, where he exhibited at the Royal Academy between 1871 and 1904, and in Germany, where he showed at the Grosse Berliner Kunst Ausstellung. His work was included in the American displays at the 1889 Universal Exposition held in Paris. In 1872 Bridgman travelled to Spain and North Africa in the company of a British artist known only as ‘S’. In the winter of 1873-4 he made a second trip, visiting Egypt in the company of fellow American artist Charles Sprague Pearce. Bridgman married a young Bostonian, Florence Mott Baker; the deterioration of his wife’s health from the terrible inherited neurological disorder Huntington’s Chorea led him to return to Algiers in 1885 for a respite for them both in a warm climate. He wrote a fascinating travel narrative describing his journeys in North Africa, Winters in Algiers, published in 1888 and illustrated with woodcuts from his works. Bridgman’s great success culminated at the Paris Salons of 1877, 1878 and 1879 with a trio of paintings portraying life in the ancient Near East...

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...

Oil and India ink on canvas, 34 1/4 x 54 1/4 in. Signed (at lower right): Joseph Lee Painted about 1876 EX COLL.: Captain Oscar Conrad Kustel (1834–1921), ...

This interior portrait of a woman dressed in an elegant lace shawl is a 30" x 25" oil on canvas painting in the style of Jacob Eichholtz. The artist is unknown but the painting is believed to have been painted in the 1840's. It is not signed but framed and in good condition. Provenance: Private Collection, Old Queens Gallery...

A beautiful and rare antique American portrait of a young woman in a stunning period frame, likely original to the piece. Unsigned but beaut...

Portrait of Juliet Hyneman by Jewish American artist Herman N. Hyneman Signature lower left Framed dimensions: 25 1/2 x 21 1/2 in. The following is from Peter Jung who credits "a friend named Jeff Gold on Long Island." Herman N. Hyneman (1849 - 1907) was born in 1849 to one of the most prominent Jewish families in Philadelphia. Unlike most Jewish families of the time, his embraced and encouraged his artistic talent. In 1874, Hyneman followed his first cousin Moses Ezekiel...

This artwork titled "A Burro Train, New Mexico" 1880 is an original etching on Laid paper by noted British/American artist Peter Moran, 1841-1914. It is signed in the plate as issue. The plate mark (Image) size is 9.15 x 6.5 inches, framed size is 14.75 x 18.75 inches. It is framed in a wooden silver frame, with light grey matting. It is in excellent condition, especially considering the age. I like to mention that example of this particular etching is held in the following museums, including, The Toledo Museum Of Art, Toledo, The British Museum, London and The Smithsonian Museum Of Art, Washington D.C. It was also illustrated in American Art Review, volume #2 1881, page 163. About the artist: The younger brother of Thomas Moran, Peter Moran was a painter-etcher best known for his Romantic sensibility and landscape compositions incorporating animals. The Moran family immigrated to the United States from England in 1844, when Peter was three. He began his artistic career as an apprentice to a lithographic firm and eventually studied painting with his brothers Edward and Thomas. He was influenced by the animal paintings of Rosa Bonheur and Constant Troyon and visited England in 1863 to see those of Edwin Landseer. Moran took up etching in 1874, using that medium to record genre scenes that he observed while traveling in New Mexico and Arizona in 1881 on an ethnographic expedition to study Pueblo Indian culture. He later returned to the Southwest in 1890 as an artist for the Bureau of Indian Affairs. In 1882, Moran joined Henry R. Poore, an artist friend, on a visit to Taos Pueblo where the two were given a room and spent a week watching the activities associated with the harvest. Poore recounted the details of their travels in an article titled "A Harvest with the Taos Indians...

The Beach at Long Branch Woodengraving, 1869 Signed in the block lower right "WH" ( see photo ) Published in Appleton’s Journal of Literature, Science and Art, August 21, 1869 Condition: Double page illustration, with centerfold. Tipped in binding. Very good condition. Displayed in a bird’s eye maple frame with French matting. Image size: 15 1/2 x 21 7/16 inches Frame size: 25 x 31 Reference: Goodrich 43 Beam 158 Kushner, Gallati & Ferber 65 Provenance: Donaldson, Lufkin & Jenerette Americana Collection Credit Suisse...

A portrait of two young girls by the Royal Portraitist Chen Yanning. Both the artist as well as the sitters of this magnificent portrait are from racial...

In 1852, twenty-nine year old William Bradford was a failing shopkeeper in Fairhaven, Massachusetts. With a wife and child at home, Bradford, by his own admission, “spent too much time in painting to succeed” in business. Rescued from insolvency by his well-to-do in-laws, this is not the beginning of a narrative that generally leads to a happy ending. Not so with Bradford, who ultimately found international fame and fortune as a painter of arctic seascapes and dramatic marine paintings. William Bradford, the artist, was a lineal descendant of the 17th-century Separatist leader William Bradford, a founder of the Plymouth Plantation, signer of the Mayflower Compact and Governor of the Plymouth Colony. Our Bradford born to a New Bedford ship outfitter in Fairhaven, Massachusetts By the nineteenth century, this line of Bradfords were Quakers, living on the tract purchased nearly two centuries earlier by their pilgrim ancestor. Fairhaven, across the mouth of the Acushnet River from the whaling center of New Bedford was described by a New York journalist in 1857 as “the Brooklyn of New Bedford” (Home Journal, January 3, 1857). Young Bradford displayed an early predilection for the arts, but his Quaker parents were disinclined to support this particular pursuit. After working in his father’s business and then for a dry goods merchant in New Bedford, by 1849 Bradford had set up in New Bedford as a “merchant tailor” offering outfits for “those going to California,” “seamen’s clothing,” custom-tailored “piece goods...

Artist: Charles Xavier Harris Title: Speak Medium: Oil on Wood Panel Nationality: American (1856 - 1936) Year: 1885 Dimension: 20.5 x 16.25 Fra...

This portrait depicts a seated colonial woman, painted in a realist style that can be compared to John Smibert. This painting has beautiful details such a...

J. F. BUFFORD PUBLISHER and PRINTER LAST MOMENTS OF PRESIDENT LINCOLN, April 15, 1865 Lithograph, very good impression. The 2 lower publishing lines ...

Jobs for Fighters. Original post World War 1 vintage poster, linen backed. Artist: Gordon Grant. Printer: United States Department of Labor - United States Employment Service...

The career of William Stanley Haseltine spans the entire second half of the nineteenth century. During these years he witnessed the growth and decline of American landscape painting, the new concept of plein-air painting practiced by the Barbizon artists, and the revolutionary techniques of the French Impressionists, all of which had profound effects on the development of painting in the western world. Haseltine remained open to these new developments, selecting aspects of each and assimilating them into his work. What remained constant was his love of nature and his skill at rendering exactly what he saw. His views, at once precise and poetic, are, in effect, portraits of the many places he visited and the landscapes he loved. Haseltine was born in Philadelphia, the son of a prosperous businessman. In 1850, at the age of fifteen, he began his art studies with Paul Weber, a German artist who had settled in Philadelphia two years earlier. From Weber, Haseltine learned about Romanticism and the meticulous draftsmanship that characterized the German School. At the same time, Haseltine enrolled at the University of Pennsylvania, and took sketching trips around the Pennsylvania countryside, exploring areas along the Delaware and Susquehanna rivers. Following his sophomore year, Haseltine transferred to Harvard University. After graduating from Harvard in 1854, Haseltine returned to Philadelphia and resumed his studies with Weber. Although Weber encouraged Haseltine to continue his training in Europe, the elder Haseltine was reluctant to encourage his son to pursue a career as an artist. During the next year, Haseltine took various sketching trips along the Hudson River and produced a number of pictures, some of which were exhibited at the Pennsylvania Academy of the Fine Arts in the spring of 1855. Ultimately, having convinced his father that he should be allowed to study in Europe, Haseltine accompanied Weber to Düsseldorf. The Düsseldorf Academy was, during the 1850s, at the peak of its popularity among American artists. The Academy’s strict course of study emphasized the importance of accurate draftsmanship and a strong sense of professionalism. Landscape painting was the dominant department at the Düsseldorf Academy during this period, and the most famous landscape painter there was Andreas Achenbach, under whom Haseltine studied. Achenbach’s realistic style stressed close observation of form and detail, and reinforced much of what Haseltine had already learned. His Düsseldorf training remained an important influence on him for the rest of his life. At Düsseldorf, Haseltine became friendly with other American artists studying there, especially Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. They were constant companions, and in the spring and summer months took sketching trips together. In the summer of 1856 the group took a tour of the Rhine, Ahr, and Nahe valleys, continuing through the Swiss alps and over the Saint Gotthard Pass into northern Italy. The following summer Haseltine, Whittredge, and the painter John Irving returned to Switzerland and Italy, and this time continued on to Rome. Rome was a fertile ground for artists at mid-century. When Haseltine arrived in the fall of 1857, the American sculptors Harriet Hosmer, Chauncey B. Ives, Joseph Mozier, William Henry Rinehart...

Woman with Bicycle: Two Views Graphite on paper, c. 1890 Unsigned Graphite study of standing female nude verso Provenance: Rookwood Pottery Factory ...

Holiday in Camp -- Soldiers Playing "Foot-Ball" Wood engraving, 1865 After Winslow Homer Unsigned (Signed in text in title caption, see photo) Published in Harper's Weekly July 15, 1...

Signed and dated (at lower left): W. R. Miller 1891; (at lower right): No. 10

This elegant and rare still life of red roses is by one of America's finest still life artists. It is framed in a fine Empire style 24 karat gilded and carved frame. Roses in a Copper Bowl represents the pinnacle of still life painting as Carlsen has described it above. Before painting marine landscapes, Carlsen was first known as one of the finest still-life painters of his era. Painted in 1893 during Carlsen’s period in New York, this canvas also draws comparisons to the work of John LaFarge, John White Alexander...

William C Ostrander: 1858-1933. Listed NYC and California artist. In the 19th century he taught at Metropolitan Museum of Art in NYC. His works are very scarce as I could only find o...