Romantic Art

A wonderful English watercolor painting depicting A Donkey, Lambs and a Robin in a stable the night before Christmas.. This piece was drawn ...

German School 19th Century, Portrait of a boy, pencil on paper 25.7 x 16 cm (view) Framed : 41.8 x 31.5 cm The style and execution are v...

Verwée Louis-Pierre Courtrai 1807 – 1877 Brussels Belgian Painter 'Landscape with Shepherds and Animals by the Water' Signature: signed lower right and dated 'L. P. Verwee 1851' Me...

Midsummer-Night's Dream is an original etching engraved by Jean Pierre Simon after the iconic romantic painting by Heinrich Füssli in 1790. Titled on plate: Midsummer-Night's Dream, Act IV, Scene I: A wood - Titania, Queen of the fairies, Bottom, fairies attending Mint conditions with little tears along the margin, and a glued tear in the center. Some light little foxings. The original oil painting is displayed at Tate Britain in London. It was commissioned for the Boydell Shakespeare...

Edgard Farasyn 1858 – Antwerp – 1938 Belgian Painter 'The Mischievous Little Artists' Signature: signed middle lower left and dated 'Edg. Farasyn 1881' Medium: oil on canvas Dimens...

A pair of early 19th century French oil on canvas paintings of a man and woman, probably husband and wife. Neoclassical and Napoleonic in style, these paintings are very well execute...

Antique Horse Study "Heads, Hooves and Rump, 1838" Wouterus Verschuur (Dutch, 1812-1874) Pencil on paper Signed and Dated "W Verschuuur 1838" 10 x 6 1/2 (17 1/2 x 14 frame) inches In his time Wouterus Verschuur was an acclaimed and celebrated painter of horses. Through careful observation he learned to capture their physique and movement to perfection. As a true-born romanticist he was also interested in their character, thereby painting powerful carthorses in their stable, thoroughbred saddled horses during an afternoon ride or harnessed horses in action. He was born to an Amsterdam jeweler and received his training from the landscape and cattle painters Pieter Gerardus van Os and Cornelis Steffelaar. As part of this education Verschuur had to copy works by the 17th century painter Philips Wouwerman. Like Wouwerman, Verschuur's subjects consist mostly of stable scenes, landscapes with horses and coastal landscape. These works reflect the enduring influence of the northern Baroque masters on nineteenth century art, revealing the artist's close study of his Dutch and Flemish predecessors harking back to Peter Paul Rubens. Showing talent from a very early age, at 15 Verschuur had a painting exhibited at the "Exhibition of Living Masters" at Amsterdam in 1828. In 1832 and 1833 he won the gold medal at the annual exhibition at Felix Meritis. In 1833 he was appointed a member of the Royal Academy in Amsterdam. In 1839 he joined the artists' society, Arti et Amicitiae. His reputation was also considerable abroad. He was often featured in the annual exhibitions which travelled the large European cities at that time. In 1855 Napoleon III purchased one of his paintings at the Exposition Universelle* in Paris. The Verschuur horse revels in its physicality, like a quintessential Baroque horse...

Willem De Klerk 1800 – Dordrecht – 1876 Dutch Painter 'A winter landscape with an ox-cart on a wooded road near a village' Signature: signed lower left ‘W. de Klerk f’ Medium: oi...

Louis-Camille d'Olivier, A painter of history and portraits, he returned to the Ecole des Beaux-Arts in 1850 and appeared at the Salon de Paris between ...

The works of William Smith were regularly exhibited at the Royal Academy in London between 1813 and 1859. Yet little is known about this artist. He lived in Shropshire and was active...

Hermann Werner Samswegen 1816 – 1905 Düsseldorf German Painter ‘Meal Time for all’ Signature: signed lower right and dated ‘H. Werner. 1870
' Medium: oil on canvas
 Dimensions: ima...

Gustave de Jonghe An Afternoon Visit Oil on panel Image Size: 32.8 x 25 inches Framed Dimensions: 41.7 x 33.5 Hand signed in lower left corner

Oil on canvas attributed Rousseau-Decelle, French painter of the XIXth century. Student of Bouguereau and Ferrier In 1903, the artist whose studio is located at 235 rue du Faubourg ...

A Cart Race Hand colored etching & aquatint, 1788 Signed in the plate (see photo) Published by William Hollande, London Inscribed in the plate with title, artist's name and publication line 'Rowlandson. 1788./ London. Pubd 1789 by Wm Holland No 50. Oxford Street.' Reference: M.Dorothy George, 'Catalogue of Political and Personal Satires in the British Museum', VI, 1938) British Museum Satires 7607 Grego, 'Rowlandson', i. 260, Grego II.392 Provenance: Chris Beetles Ltd., London (label), 2003 Jeffrey M. Kaplan, Washington, D.C. (label) Fursten zu Oettingen-Wallerstein, Lugt 2715a, verso (see photo) Condition: Excellent Printed on 18th century laid paper Archival framing by Chris Beetles Ltd., London Note: The British Museum has two impressions, one trimmed the other full sheet as this example. Accession Number: 1868,0711.35 The Metropolitan Museum has an impression: Accession number 59.533.314 Fitzwilliam Museum: Accession number: 34.14-286 Cleveland Museum of Art accession number: 1958.10 Image description per BM: Three ramshackle two-wheeled carts drawn by wretched horses race (right to left) against a background formed by the church... Note: The British Museum has two impressions, one trimmed the other full sheet as this example. Accession Number: 1868,0711.35 The Metropolitan Museum has an impression: Accession number 59.533.314 Fitzwilliam Museum: Accession number: 34.14-286 Cleveland Museum of Art accession number: 1958.10 Image description per BM: Three ramshackle two-wheeled carts drawn by wretched horses race (right to left) against a background formed by the clouds of dust which they have raised, with a row of gabled houses (right) inscribed 'St Giles', terminating in a church spire (left), and probably representing Broad St. Giles. The occupants of the carts are Irish costermongers typical of St. Giles. The foremost horse gallops, urged on by the shouts of a standing man brandishing a club. The other occupants, two women and a man, cheer derisively the next cart, whose horse has fallen, one woman falling from it head-first, another lies on the ground. The driver lashes the horse furiously. The third cart, of heavier construction, is starting. The horses are partly obscured by the clouds of dust, but denizens watch from casement windows and a door. Two ragged urchins (right) cheer the race; a dog barks. "It was said that the amount of copper Thomas Rowlandson etched would sheathe the British Navy. An inveterate gambler, for much of his life Rowlandson had to produce a flood of his comic prints to stay ahead of financial losses.A wealthy uncle and aunt raised Rowlandson after his textile-merchant father went bankrupt. His career developed quickly. He entered London's Royal Academy Schools in 1772, visited Paris in 1774, exhibited at the Royal Academy in 1775, and won a silver medal in 1777. He left school in 1778 to set up in business. Rowlandson's depictions of life in Georgian England exposed human foibles and vanity with sympathy and rollicking humor. During the 1780s he consolidated the delicate style he used for his coarse subjects. He worked mainly in ink and watercolor, his rhythmic compositions, flowing line, and relaxed elegance inspired by French Rococo art...

French school of the nineteenth century, LW (?) Harbor scene, animation around a skiff Pencil on paper Signed LW (?) Bottom right 15 x 21 cm Framed : 27 x 34.5 cm This very fine ...

Restrained landscape with a child playing with a cat by an unknown artist. Although nearly monochromatic, there is exquisite details in the foliage in the foreground. to the left. In...

This is an unsigned, but rare, late 19th century oil on canvas of a view of the French Broad River in North Carolina. It is amongst the world’s oldest rivers. The scene depicted is mountainous and the water is swiftly moving. This would put the location at the northern end of its course, north of Asheville and near the North Carolina and Tennessee border. Much like the Hudson River School in...

Francois Grenier de Saint Martin (1793-1867) A Young Lady on the beach, 1829, signed and dated on the lower left watercolor on paper 17 x 19.5 cm F...

Eutrope Bouret (French, 1833-1906) "Sans Famille" [Without Family] Patinated Bronze Sculpture, late 19th century, the standing musician carrying a harp, on a rockwork base, signed, a...

Narcisse Diaz de la Peña Nymphs in a Landscape Estate sale seal lower left Oil on board 9 1/4 x 11 1/4 inches Narcisse Diaz de la Peña was born in 1808 in...

Louis-Alphonse DAVID (1798-1849) Le Moulin de la Butte aux Cailles, Paris, (The Mill at la Butte aux Cailles) signed lower left Pencil and white chalk on paper 22,5 x 36 cm Framed : 40,5 x 55 cm Louis-Alphonse David is known for a relatively small body of work, including portraits and large compositions. In any case, in this work he shows a remarkable mastery of drawing, with particularly suggestive and subtle plays of light and shadow. The Butte aux Cailles, now part of the 13th arrondissement of Paris, was a hill covered in meadows, vineyards and woods, built with several windmills and overlooking the river Bièvre. It was named after Pierre Caille...

A. GUILLAUME (Active in the 1830s) Watercolor on paper 32.5 x 47 cm (60 x 74.5 cm with frame) Signed and dated lower left (on the rock) “A. Guill. / 1838 » Beautiful 19th century fra...

Many of you clicking on this drawing are probably doing so because you know of Ellsworth Woodward, who with his brother William Woodward around the turn of the 20th century sparked an arts renaissance in the South, the arts and culture in general having been mostly moribund since the dispiriting defeat experienced in the Civil War. I won't bog you down with lots of detail here since all you have to do is Google his name to bring up a wealth of information about him. He is most famous for his leadership of the arts program at Newcomb College in New Orleans, and its famous Newcomb Pottery...

Early 20th Century French Countryside Pastoral Landscape Beautiful early 20th century Romantic period European landscape by an unknown artist, circa 1900. This pastoral scene featur...

Charles Emile Jacque (1813-1894) Dog in a doghouse Monogrammed "C. J. "lower right Pencil on paper 17 x 13 cm Mark of the Collection of Doctor Albert Finot "AF" (Lugt 3627) lower lef...

Elegant still life with calla lilies and amaryllis by an unknown artist. Completed in a classical style, two calla lilies and two amaryllis flowers sit in a vase with Chinese designs...

Louis Gallait (1810-1887) Portrait of a Gentleman, Watercolor and gouache on paper, square white lines, 24 x 16 cm Stamp of the Louis Gallait Estate on the mount on the lower righ...

Charles Chaplin 1825-1891, French Reverie (Dream) Oil on canvas Signed lower left Canvas: 27 1/2" high x 41 3/8" wide Frame: 35" high x 49 1/4" wide This masterpiece come from...

Enrique SERRA AUQUE Barcelona, 1859 - Rome, 1918 Oil on canvas Signed and dated lower left “ENRIQUE SERRA/ 1892 ” 40 x 33 cm (45 x 38 cm with frame) Nice old frame in wood Enrique S...

Continental painter (19th century) - Sailing boat on the lake. 46 x 77 cm. Antique oil painting on canvas, without frame (not signed). Condition report: Lined canvas. Good conditi...

Still Life with Pear and Grapes Quitton Edouard Péruwels 1841 –Brussels 1934 Belgian Painter Signature: Signed top right and dated 1881 Medium: Oil on panel Dimensions: Image size ...

Medium: Lithograph with tint stone Dimensions: Sheet: 13 3/4 x 10 1/2" (34.80 x 26.70 cm); Mat: 20 x 16" Publisher: G. Engelmann References And Exhibitions: Published by G. Engelmann Reference: Beraldi p. 17Medium: Lithograph with tint stone Dimensions: Sheet: 13 3/4 x 10 1/2" (34.80 x 26.70 cm); Mat: 20 x 16" Publisher: G. Engelmann References And Exhibitions: Published by G. Engelmann Reference: Beraldi p. 17 Medium: Lithograph with tint stone Dimensions: Sheet: 13 3/4 x 10 1/2" (34.80 x 26.70 cm); Mat: 20 x 16" Publisher: G. Engelmann References And Exhibitions: Published by G. Engelmann Reference: Beraldi p. 17 Joseph Louis Hippolyte Bellangé (17 January 1800 – 10 April 1866) was a French battle painter and printmaker. His art was influenced by the wars of the first Napoleon, and while a youth, he produced several military drawings...

JUST BEFORE SUNSET, Original Signed Contemporary Realist Landscape Painting 24" x 40" x 0.5" (HxWxD) Oil on Linen mounted on Gator Board Hand-signed by t...

Moody landscape in neutral sepia tones of a deserted western ghost town by Joseph Bodner (American, 1925-1982). Signed "Bodner" in block letters in the l...

A wonderful English watercolor painting depicting a terrier puppy with a kitten playing with a Christmas decoration under the Christmas tree This piece was drawn as an illustration f...

Antique Horse Study "Legs and Rumps, 1838" Wouterus Verschuur l (Dutch, 1812-1874) Pencil on paper Signed and Dated "W Verschuur 1838" 10 x 6 1/2 (17 1/2 x 14 frame) inches In his time Wouterus Verschuur was an acclaimed and celebrated painter of horses. Through careful observation he learned to capture their physique and movement to perfection. As a true-born romanticist he was also interested in their character, thereby painting powerful carthorses in their stable, thoroughbred saddled horses during an afternoon ride or harnessed horses in action. He was born to an Amsterdam jeweler and received his training from the landscape and cattle painters Pieter Gerardus van Os and Cornelis Steffelaar. As part of this education Verschuur had to copy works by the 17th century painter Philips Wouwerman. Like Wouwerman, Verschuur's subjects consist mostly of stable scenes, landscapes with horses and coastal landscape. These works reflect the enduring influence of the northern Baroque masters on nineteenth century art, revealing the artist's close study of his Dutch and Flemish predecessors harking back to Peter Paul Rubens. Showing talent from a very early age, at 15 Verschuur had a painting exhibited at the "Exhibition of Living Masters" at Amsterdam in 1828. In 1832 and 1833 he won the gold medal at the annual exhibition at Felix Meritis. In 1833 he was appointed a member of the Royal Academy in Amsterdam. In 1839 he joined the artists' society, Arti et Amicitiae. His reputation was also considerable abroad. He was often featured in the annual exhibitions which travelled the large European cities at that time. In 1855 Napoleon III purchased one of his paintings at the Exposition Universelle in Paris. The Verschuur horse revels in its physicality, like a quintessential Baroque horse...

Romantic School, circa 1860 A pavilion in a garden , an animated view Pen and black ink, black ink wash on paper 19.5 x 26.5 cm In good condition, slightly undulating. Framed : 39 x ...

Georges-Antoine Rochegrosse 1859-1938 French La Princesse Bleue Oil on canvas Signed lower left Canvas: 27 1/8" high x 32 1/8" wide Frame : 37 3/8" high x 41 3/4" wide Exposed...

Still life with vase of flowers Italian School of the nineteenth century Oil on canvas cm. 74 x 92,5 frame 97 x 112 Beautiful painting representing a rich still life, of great deco...

Oil on canvas, approximately 16â€

I wish I knew who painted this dramatic Romantic seascape depicting a rough surf crashing on the rocky shores of some volcanic island. The sea is en...

Oil on canvas mounted on panel depicting a study from JP Laurens painting. According to the Gospels, Pilate ordered the execution and crucifixion of this Jewish preacher at the end o...

19th Century French School, Studies of horses and small scenes, pencil on paper 14.5 x 21 cm Framed : 25.5 x 32.7 cm This study sheet, which brings together studies of horses and...

French Romantic School, 19th Century Portrait of a man, a selfportrait ? oil on paper 17.5 x 12 cm oval Framed under glass : 43 x 34.5 cm This rather mysterious portrait is perhaps a self-portrait of the artist who painted it. This is suggested by the three-quarter pose and the gaze fixed on the viewer. What this man seems to be staring at is himself. Similarly, the model's appearance is reminiscent of the image of the romantic, bohemian, tortured artist. It's also very interesting that he used a range of dark colours to reinforce this idea of melancholy. It has been suggested that this small oil on paper is close to the art of François Bonvin (1817-1887) and Théodule Ribot...

Many of you clicking on this are probably doing so because you know of Ellsworth Woodward, who with his brother William Woodward around the turn of the 20th century sparked an arts r...

Antique Dog Portrait Lithograph in the Taste of Alfred De Dreux Bulldog and Frog France, circa 1870 Lithography 25 5/8 x 19 5/8 (28 x 20 frame) inches Six lithographs of dog portr...

Alexandre Bida (1813-1895) A Young Woman in Profile Signed with the monogram lower right Pencil on grey-blue paper 17.7 x 11.5 cm Framed : 36.5 x 27 cm This drawing shows Bida's tec...

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...

The painting is signed on the bottom left: MGordigiani. It can be added to his mature production, as we can deduce from the clear Macchiaioli and Paris avant-guard influences, and with the stylistic affinity with the draft of the portrait of the Queen...

Beautiful seascape oil painting of boats sailing on the Nile, showing the city in the background by an unknown artist, c.1920. Unsigned. Rustic frame. Image, 20"H x 44"W.

François-Marius GRANET (Circle of) Aix-en-Provence, 1775 – Aix-en-Provence, 1849 Convent interior with nuns Oil on canvas 35 x 27.5 cm (39.5 x 31 cm with frame) Beautiful black and g...

Charles HORTIN (Attributed to) (XIX) Black chalk and white gouache Signed lower right 12 x 16 cm

Charming figurative genre painting of Dutch family in the forest. Signed illegibly lower left. Presented in a period giltwood frame. Image size, 27.25"H ...

This beautiful 19th century framed engraving "Dover" by Thomas Lupton is based on an original painting by the renowned British artist J.M.W. Turner, which depicts a panoramic view of the harbor of Dover, a town in southeastern England, that has been an important port for centuries. The engraving captures the dramatic sky and sea that Turner was known for, with billowing clouds and waves crashing against the shore. The town and its famous white cliffs are visible in the background, while ships and boats dot the harbor in the foreground. Several wooden rowboats...

Paul Albert Girard Paris 1839 – 1920 French Painter 'The Greek Temples of Paestrum' Signature: Signed lower left
 Medium: Aquarelle
 Dimensions: Image size 29 x 49 cm, frame size 41 x 61cm Provenance: Paestum, designated as a UNESCO World Heritage Site, stands as the best-preserved Greek archaeological site in Italy. Situated just south of Salerno, near the picturesque Amalfi Coast, and in proximity to Pompeii, Paestum remains somewhat undiscovered by many travelers. In its prime, Poseidonia thrived, evident in the remnants of city walls, colossal temples, and the overall urban layout. As Magna Grecia expanded and established trade routes, conflicts arose between the Greek colonists and the indigenous Samnite and Lucani tribes. Archaeological findings, however, suggest a period of peaceful coexistence between the Greeks and the Lucanians. This harmony was disrupted in 273 BC with the arrival of the Romans. The Romans, while altering the city's name to Paestum, did not obliterate it. Remarkably, their admiration for the splendidly constructed temples played a role in shaping classical architecture on the Italian peninsula, influencing subsequent Roman development and style. The Romans made additions to Paestum, including a forum, an amphitheater, a temple of their own, and residential structures, some of which still stand today. In 79 BC, the eruption of Vesuvius dealt a partial blow to Paestum, altering its landscape. Despite this setback, the city's survival attests to its resilience and enduring cultural significance. Today, visitors can explore the fascinating remnants of Paestum, a testament to the confluence of Greek and Roman influences, and the architectural prowess that has withstood the test of time. Born on December 13, 1839, in the artistic heart of Paris, Paul-Albert Girard emerged as a luminary in the world of 19th-century French painting. The son of the esteemed painter Pierre Girard, he inherited not just a name but also a passion for the arts that would define his illustrious career. Biography: Born on December 13, 1839, in the artistic heart of Paris, Paul-Albert Girard emerged as a luminary in the world of 19th-century French painting. The son of the esteemed painter Pierre Girard, he inherited not just a name but also a passion for the arts that would define his illustrious career. Paul Albert was a versatile artist, displaying his mastery across various genres – from capturing the essence of everyday life in genre scenes to breathing life into captivating portraits and landscapes. His prowess extended to watercolors, mural compositions, and the rich tapestry of Orientalist paintings depicting scenes from North Africa. In 1857, Paul-Albert embarked on his formal artistic education at the prestigious École des Beaux-Arts in Paris. Under the guidance of eminent mentors such as Jean Joseph Bellel, François Edouard Picot, and Hippolyte Flandrin...

Gustave WAPPERS (Attributed to) Anvers, 1803 - Paris, 1874 Oil on panel Trace of monogram lower right 42.5 x 31.5 cm (59.5 x 49.5 cm with the frame) XIXth century frame in carved woo...

French School circa 1850 Villefranche sur mer, the Harbour Watercolor on paper 16 x 24 cm In good condition Framed 29 x 38 cm This very fine wat...

ROBERT O’RORKE (Born 1945) Orpheus Signed and dated l.r.: Rbt O’Rorke ’93; signed, dated 1993 and inscribed The Dance No.3 on a label attached to the backboard Watercolour on grey ...

Pastoral Landscape with distant river valley in haze, flock, cattle watering and figures in lightly wooded foreground - Idyllic scene painted in oils by unknown professional mid-19th...

P Deltour (?) French school of the 19th century The artist with his model and friend in his workshop Oil on canvas Signed "P Deltour" (?) and dated 1879 on the lower, an indistinct i...