Victorian Art

Transporting oil painting on board of Duke Street Kingston Jamaica, executed in an impressionist style with houses and trees. Signed by noted American artist S. H. Geer and presented...

Standout 19th century majolica pedestal handcrafted in terra cotta. In an orientalist theme with a woman and an ostrich under a palm tree, decorated and glazed. Signed G & S 1847 on ...

Alfred Drury's (1856-1944) body of work locates him as a leading figure in the New Sculpture movement, yet his position as an innovator and conduit betwee...

Joseph Thors British, (1835-1920) A Country Track Oil on canvas, signed Image size: 15.5 inches x 23.25 inches Size including frame: 22.75 inches x 30.5 inches A charming landscape painting of a figure on a country track by Joseph Thors. A woman is shown walking along a lane bordered by with trees on one side. Through the open vista on the left, another figure can be seen in the distance in front of a farmstead and cottages...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Alfred Drury's (1856-1944) body of work locates him as a leading figure in the New Sculpture movement, yet his position as an innovator and conduit betwee...

George Bernard O'Neill Irish, (1828-1917) Children at the Tower Oil on canvas, signed Image size: 27.75 inches x 22.5 inches Size including frame: 37.25 inches x 32 inches A fine h...

Alfred Drury's (1856-1944) body of work locates him as a leading figure in the New Sculpture movement, yet his position as an innovator and conduit betwee...

Conditions : Excellent overall Condition. Framed under glass original. Complementary shipping worlwide by DHL, FEDEX. Returning customers : 25% OFF listed price on all Belfort SAS ca...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Unusual 19th century English Staffordshire musical figures crafted in porcelain and hand decorated depicting a female figure with an accordion and a male with a barrel piano.

Henry H Parker British, (1858-1930) Harvest Time Oil on canvas, signed & inscribed verso Image size: 18.75 inches x 14.5 inches Size including frame: 23.25 inches x 19 inches A lo...

Arthur Joseph Meadows British, (1843-1907) Livorno, Gulf of Genoa Oil on panel, signed & dated (18)98, with signed & inscribed label on reverse Image size: 9.75 inches x 11.75 inches Size including frame: 17.75 inches x 19.75 inches An attractive townscape depicting fruit sellers at the port of Livorno, Italy by Arthur Joseph Meadows. The scene shows the view looking across from the harbour wall to the church of Santa Caterina...

Roland "Ao" / "Armadillo" L'Estrange for Vanity Fair Magazine Berks and Bucks 5 November 1903 Lithograph 21 x 37 cm Depicting Sir Robert Rodney Wilmot, in red hunting clothes and whip, of the Berks & Bucks Draghounds at their opening meet. Wilmot was educated at Eton and Oxford, and his hobbies famously included croquet. The Vanity Fair magazine of 1868 to 1914 was subtitled 'A Weekly Show of Political, Social and Literary Wares'. Founded by Thomas Gibson...

"Les Petites Barnett" is an original color lithograph poster by Charles Levy. This poster features five dancers in matching dresses and it advertises an Operette. Unsigned. 23" x 30...

William Shayer British, (1787-1879) Fisher Folk on the Beach Oil on canvas, signed & dated 1839 Image size: 27.25 inches x 35.25 inches Size including frame: 37.25 inches x 45.25 in...

Thomas Baker British, (1809-1864) View on the Leam from the Private Estate of Lord Somerville Oil on canvas, signed & dated 1853 Image size: 19.25 inches x 29.25 inches Size includ...

Alfred Drury's (1856-1944) body of work locates him as a leading figure in the New Sculpture movement, yet his position as an innovator and conduit betwee...

"A Siamese Water Market" by Edwin Norbury. Edwin Arthur Norbury. R.C.A 1849- 1918 was a founder member of the royal Cambrian academy visited Siam in 1892 to...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chapu (1833-1891) and Marius Jean Antonin Mercié (1845-1916). Dalou was hugely influential and was a founding member of the Société des Artistes Français and later a founder of the Société Nationale des Beaux-Arts. He was officially rewarded with the highest rank of the Légion d'Honneur two years before his death, with the inauguration of the Triumph of the Republic, in 1899. He started his artistic training in 1852 at the Petite Ecole after being encouraged to do so by Jean-Baptiste Carpeaux, where he studied drawing and modelling. Carpeaux continued to support Dalou throughout his career and influenced his sculpture greatly. Dalou began employment in the field of decorative sculpture working for two companies in Paris, Lefèvre and Favière goldsmiths. During this time he contributed towards the architectural features of Hôtel de la Païva, the then home of the infamous French courtesan Esther Lachmann known as La Païva. Dalou's unique approach lay in his broad range of subject, painterly and sculptural source material, though which he absorbed an impressive spectrum of inspiration. The work of an eighteenth-century sculptor, Louis-François Roubiliac, played a significant role in Dalou's artistic development, whose sculptures he studied whilst in London. Dalou's work includes friezes, maquettes, reliefs, and individual bronze figures. He is known for Baroque-inspired allegorical group compositions, as much as for his depictions of the French rural labouring classes. Dalou encouraged students of art to free themselves from the constraints of established traditions, with his style and teachings thought to have awakened a new generation of young British sculptors whose work was later aligned to the New Sculpture movement. This rough plaster model was kept in the studio of Alfred Drury...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

This is an original unique watercolour by the artist. Florence Emily Lumb lived and exhibited her work between 1897 – 1901 in Liverpool at the Walker Art Gallery. Signed Lower Right...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

"En Auto" is an original color lithograph by Singils. The artist signed the piece in stone and wrote the title in the lower left. The edition number, also written lower left, is 46/5...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

The present hand-colored lithograph is an excellent example of patriotic mid-nineteenth century American imagery. The print shows the battle and several of the major figures involved in the Battle of Lake Erie: At the center is a view of several frigates on the lake, embroiled in conflict. Above the battle is the quotation: "We have met the enemy and they are ours." Surrounding are laurel-lined roundels with portraits of Oliver Hazard Perry (1785-1819), Stephen Dicateur (1779-1820), Johnston Blakeley (1871-1814), William Bainbridge (1774-1833), David Porter (1780-1843), and James Lawrence (1781-1813) - all of these framed by American flags, banners and cannons. This print shows that the Battle of Lake Erie, part of the War of 1812, still held resonance for American audiences several decades later and was part of the larger narrative of the founding of the country. 9.5 x 13.5 inches, artwork 20 x 23.38 inches, frame Entitled in the image Signed in the stone, lower left "Lith. and Pub. by N. Currier" Inscribed lower right "2 Spruce N.Y." and "No. 1" Copyrighted lower center "Entered according to Act of Congress in the year 1846 by N. Currier in the Clerk's office of the Southern District of N.Y." Framed to conservation standards using 100 percent rag matting and housed in a gold gilded moulding. 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...

Aimé-Jules Dalou (1838-1902) was one of only a handful of leading late-nineteenth century French Sculptors, whose reputation was perhaps second only to his contemporaries, Henri Chap...

Eugene Joseph Verboeckhoven Belgian (1798-1881) Coastal Companions Oil on panel, signed & dated 1868 Image size: 29 inches x 43 inches Size including frame: 37.25 inches x 51.25 inc...

Signed by artist. This stunning Lakeland landscape (one of a pair) by the artist Charles Leslie (1839–1886) is an original oil-on-canvas painting that is over 100 years old. Leslie was an English landscape painter during the Victorian era. Being from a family of painters and strongly influenced by his grandfather, Edward Williams, another successful landscape painter, Leslie learnt to paint during his formative years. He spent summers with his uncles where he would slave away painting landscape after landscape until he mastered his craft. He then went on to pioneer paintings...

"The New Year" is a pen and ink on paper portrait signed by Hannah de Rothschild. A girl sits quietly in a corner with a cap. Her focus is on a book in her lap, she is about to rip a...

"Windmills by a Dutch Waterway" by Joseph Paul. Joseph Paul was a Norwich landscape painter in the Dutch tradition. Regular local Exhibitor. Oil on canvas. Dimensions unframed heig...

"Birthplace of Henry Clay, Hanover County, Virginia" is an original hand-colored lithograph by Kelloggs & Thayer. The piece features a homestead and farm a...

"Woman Manicuring Her Nails" is an original lithograph by Maximilien Luce. The artist signed the piece lower right and it is numbered (#7). It features a woman seated in an interior taking care of her nails. 8 1/4" x 5 3/4" image 14 1/8" x 10 3/4" paper 19 1/4" x 16 1/2" frame Maximilien Luce (1858 – 1941) was a prolific French Neo-impressionist artist, known for his paintings, illustrations, engravings, and graphic art, and also for his anarchist activism. Starting as an engraver, he then concentrated on painting, first as an Impressionist, then as a Pointillist, and finally returning to Impressionism. Gausson and Cavallo-Péduzzi introduced Luce in about 1884 to the Divisionist technique developed by Georges Seurat. This influenced Luce to begin painting in the Pointillist style. In contrast to Seurat's detached manner, Luce's paintings were passionate portrayals of contemporary subjects, depicting the "violent effects of light". In addition to Pissarro and Signac, he met many of the other Neo-impressionists, including Seurat, Henri-Edmond Cross, Charles Angrand, Armand Guillaumin, Hippolyte Petitjean, Albert Dubois...

Subscription lithograph Full plate: 77 Presented in an acid free mount Original hand coloured subscription edition and modern hand-coloured lithograph for the first edition of David...

Victorian Landscape Watercolour with Children by a stream with Church and Buildings in background. A signed Watercolour on Paper, mounted and on board. Framed in a handmade gold Fram...

General View of the Island of Philae, Nubia First edition lithographs in stock Full plate: 151 Philae is at the head, and is the most eastern of the group of islands and rocks which...

"Crofters by the Coast" Oil Painting by Joseph Horlor. Joseph Horlor 1809-1886 was a Bristol painter of rustic and coastal landscapes, he exhibited at th...

Lofty set of six watercolors on paper depicting the surprising diverse beauty of moth species. Presented in wood frames, matted and under glass. Unsigned.

Inspired by Victorian era taxidermy dioramas, 'Dark Flora' is a series of photographs using wild plants and flowers in a curated yet naturalistic arrangement. The plants are foraged ...

William Duffield British, (1816-1863) Still Life of Fruit & a Vase Oil on canvas, signed & dated 1850 Image size: 13.5 inches x 18.5 inches Size including frame: 18.5 inches x 23.5 inches A wonderful still life painting of fruit and a vase by William Duffield. An array of fruit including grapes, peaches and a Melon are depicted grouped together on a table. Nestled behind them can be seen a grey crackle glazed ring handled vase...

Hubert Thornley British, (exh. 1858 -1898) Hay Barge on the Medway Oil on canvas, signed Image size: 23.5 inches x 17.5 inches Size including frame: 30.5 inches x 24.5 inches A fine...

Franz Xavier Bergman Austrian, (1861-1936) Whirling Dervish Bronze, cold painted, signed 'B' in a vase Height: 6¾ inches Width: 2 inches Depth: 2 inch...

Henry H Parker British, (1858-1930) The River Kennet Oil on canvas, signed, further signed & inscribed verso Image size: 19.5 inches x 29.5 inches Size incl...

A British Female Illustrator paints a warm and fuzzy scene from a child's imagination, with ducks and teddy bears gazing at a "Mr Willoughby's eyeglass" standing on it's edge as it l...

George Bernard ONeil 1828-1917 Oil on canvas, signed & dated (18)76 lower right Image size: 22 ½ x 17 inches Original frame The painting depicts the arrival of the new teacher, a curious pupil peeps around a door to see her, while her friends look through the open door to the classroom to catch a glimpse. The artist has gone to great lengths with the painting, such as the highly detailed Dutch tiles on the bottom right of the picture or the window above the door in the background. O'Neil often painted works with several doorways leading off and giving a sense of depth to the work. The use of light and shadow is also cleverly depicted across the work, one light source arrives from where the viewer stands filling the room and the new teacher with light, while the other window above the door in the background also gives a warm glow. George Bernard O'Neill was born on 17th July 1828 in Dublin the ninth of fifteen children of Bernard and Sarah O...

William Henry Hunt 1790 - 1864 Bird's Nest Oil on canvas Image size: 11½ x 8⅜ inches William Henry Hunt was a painter and watercolourist of fruit and flowers, landscapes and rust...

Jane Maria Bowkett British, (1837-1891) Gathering Blackberries Oil on canvas, signed with monogram Image size: 22.75 inches x 34.75 inches Size including frame: 28.75 inches x 40.75...

Conditions : Very good overall Conditions. Large original canvas No prior restorations under UV light. Includes the Original frame. Size including frame is 67 x 51 cm. Complemen...

Pair of expressive, hand-painted, terracotta dogs with glass eyes from England.

Sir David Murray Scottish, (1849-1933) The Bridge Oil on canvas, signed & further inscribed verso Image size: 17.75 inches x 23.75 inches Size including frame: 26.25 inches x 32.25 ...

Victorian Cornish Sunset Landscape with Young Lady on a Coastal Path near Bude, Cornwall. A Watercolour and gouache painting on Paper, laid on board with mount, Framed and Glazed. J...

Frame Size: Hight: 15.50″ x Width: 12.50″ Frame Thickness: 3″ Picture Size: Hight: 9.25″ x Width: 6.25″ Immerse yourself in the presence of a distinguished gentleman with this exceptional Antique KPM Porcelain Plaque...

Portico of The Temple of Dendera Subscription or First Edition in stock Full plate: 161 Presented in an acid free mount £2,000 Scroll down for more information.

BRITISH SCHOOL 19th Century STIRLING CASTLE Watercolour, signed lower right Image size: 12 x 10 inches (30 x 25.5 cm)

Transport yourself to the elegance of Victorian French fashion with this vintage lithograph print featuring exquisite ladies' La Mode dresses. The unframed size of the print measures...