Victorian Drawings

Fine pair of Fisher & Son London hand coloured engravings from the early Victorian Period. Beautifully framed and mounted and in good condition. Detailed scenes of Cornwall...

This early 19th-century watercolor portrait is signed “Painted by Mr. King” and dated 1829. It shows the sitter, Hanah Tichbon, dressed as a proper young woman of the period, wearin...

This unique and very well executed portrait of a mid 19th century couple done in silhouettes is adhered to glass as in Verre Eglomise with a very charming drawing of a parlor in the ...

A beautiful drawing of The Grand Canal Fabulous quality. On wove quality paper/card Signed on verso. Unframed Free shipping *Robert Hindmarsh Grundy...

Wimbledon-Furniture Wimbledon-Furniture is delighted to offer for sale this stunning set of four original 19th century Old Master drawings by F Mazzoli Please note the delivery...

A fine French 19th century etching and drypoint Titled "Soirée d'été" (Summer Evening) by Jacques Joseph Tissot (French, 1836-1902) depicting Mrs. Kathleen Newton resting on a lounge chair. Signed and dated (l/l): J.J. Tissot, 1881 in the plate. Under the mat, the front of the sheet inscribed in pencil with a '1' in a circle, the verso of the sheet with old price inscription "450-" in pencil. Circa: 1881-1882. Measures: Plate Height: 9 inches (22.9 cm) Plate Width: 15 1/2 inches (39.4 cm) Sheet Height: 14 1/2 inches (36.8 cm) Sheet Width: 20 5/8 inches (52.4 cm) Frame Height: 19 inches (48.3 cm) Frame Width: 24 1/2 inches (62.2 cm) Frame Depth: 1 1/8 inches (2.9 cm) Literature: Wentworth 56. Note: Tissot's from 1881 is said to depict his lover, the Irish divorcee Mrs. Kathleen Newton, resting on a lounge chair. Provenance: Private collection, Los Angeles, California Jacques Joseph Tissot (French, 15 October 1836 – 8 August 1902), Anglicized as James Tissot, was a French painter and illustrator. He was a successful painter of Paris society before moving to London in 1871. He became famous as a genre painter of fashionably dressed women shown in various scenes of everyday life. He also painted scenes and characters from the Bible. Jacques Tissot was born in the city of Nantes in France and spent his early childhood there. His father, Marcel Théodore Tissot, was a successful drapery merchant. His mother, Marie Durand, assisted her husband in the family business and designed hats. A devout Catholic, Tissot's mother instilled pious devotion in the future artist from a very young age. Tissot's youth spent in Nantes likely contributed to his frequent depiction of shipping vessels and boats in his later works. The involvement of his parents in the fashion industry is believed to have been an influence on his painting style, as he depicted women's clothing in fine detail. By the time Tissot was 17, he knew he wanted to pursue painting as a career. His father opposed this, preferring his son to follow a business profession, but the young Tissot gained his mother's support for his chosen vocation. Around this time, he began using the given name of James. By 1854 he was commonly known as James Tissot; he may have adopted it because of his increasing interest in everything English. In 1856 or 1857, Tissot travelled to Paris to pursue an education in art. While staying with a friend of his mother, painter Elie Delaunay, Tissot enrolled at the Ecole des Beaux-Arts to study in the studios of Hippolyte Flandrin and Louis Lamothe. Both were successful Lyonnaise painters who moved to Paris to study under Jean-Auguste-Dominique Ingres. Lamothe provided the majority of Tissot's studio education, and the young artist studied on his own by copying works at the Louvre, as did most other artists of the time in their early years. Around this time, Tissot also made the acquaintance of the American James McNeill Whistler, and French painters Edgar Degas (who had also been a student of Lamothe and a friend of Delaunay), and Édouard Manet. In 1859, Tissot exhibited in the Paris Salon for the first time. He showed five paintings of scenes from the Middle Ages, many depicting scenes from Goethe's Faust. These works show the influence in his work of the Belgian painter Henri Leys (Jan August Hendrik Leys), whom Tissot had met in Antwerp earlier that same year. Other influences include the works of the German painters Peter Von Cornelius and Moritz Retzsch. After Tissot had first exhibited at the Salon and before he had been awarded a medal, the French government paid 5,000 francs for his depiction of The Meeting of Faust and Marguerite in 1860, with the painting being exhibited at the Salon the following year, together with a portrait and other paintings. Émile Péreire supplied Tissot's painting Walk in the Snow for the 1862 international exhibition in London; the next year three paintings by Tissot were displayed at the London gallery of Ernest Gambart. In about 1863, Tissot suddenly shifted his focus from the medieval style to the depiction of modern life through portraits. During this period, Tissot gained high critical acclaim, and quickly became a success as an artist. Like contemporaries such as Alfred Stevens and Claude Monet, Tissot also explored Japonisme, including Japanese objects and costumes in his pictures and expressing style influence. Degas painted a portrait of Tissot from these years (Metropolitan Museum of Art, New York), in which he is sitting below a Japanese screen hanging on the wall. Still on Top, 1873 Tissot fought in the Franco-Prussian War as part of the improvised defense of Paris, joining two companies of the Garde Nationale and later as part of the Paris Commune. His 1870 painting La Partie Carrée (The Foursome) evoked the period of the French revolution. Either because of the radical political associations related to the Paris Commune (which he was believed to have joined mostly to protect his own belongings rather than for shared ideology), or because of better opportunities, he left Paris for London in 1871. During this period, Seymour Haden helped him to learn etching techniques. Having already worked as a caricaturist for Thomas Gibson Bowles, the owner of the magazine Vanity Fair, as well as exhibited at the Royal Academy, Tissot arrived with established social and artistic connections in London. Tissot used...

French hand coloured engraving on paper of generous size, early 19th century, after Horace Vernet (French 1789-1863). “Madame de la Valliere aux genoux de la Reine, lui demandant pardon” “Madame de la Valliere on the knees of the Queen, asking for forgiveness” Engraved by Le Grand (French, active early 19th century). Coloured by Charles Francois Gabriel...

Wonderful charcoal portrait of a girl. By a very good victorian artist, William Wardlaw Laing* Sitter unknown. Signed lower left Presented in an antique bleached tropical hardw...

Original drawing on paper. It has been made in England in the 19th century. It is representing the face of a young girl.

This period and vintage Label Riche black and white etching of woman with dropped shawl is very sensual. It is hallmarked at bottom left with male caricature and signed at bottom right. It is by Lobel...

Framed under glass, a Ernest D. Roth Etching signed in plate and by hand. In plate signature reads, E D Roth Pont Neuf Paris. By hand signature on lowe...

Framed under glass, a Ernest D. Roth Etching signed in plate and by hand. In plate signature reads, E D Roth 1914 Charters. By hand signature on lower ...

A beautifully reproduced antique map of Rome. A work of remarkable lithographic skill and artistry, the work features a delicate yet bold latin he...

This is a 19th Century drawing by John Brightman-Crockett. Its a drawing in pencil on paper. The frame is 19th Century.

This is a 19th Century drawing b John Brightman-Crockett. Its a drawing in pencil on paper. The frame is 19th Century.

Richard Beavis (British, 1824-1896) Near Arles on the Rhone Initialed and titled lower left. Ink and watercolor on paper/board. With an old attribution to Bonnington. Sight size: 6 x 13 in. The dimension given otherwise includes the frame. Framed in a charming late 19th century frame. Best known for his rural landscapes, the British painter Richard Beavis populated his scenes with picturesque grazing cattle and people hard at work as well illustrated in our watercolor. Provenance: The estate of Sir Edwin A.G. Manton (1909-2005) a driving force in the creation of the American International Group (AIG), a collector of paintings by John Constable...

A collection of 12 mid-19th century hand colured engravings of botanical specimens from the American Practice of Medicine, 1850 Each has been professionally mounted and framed in a ...

This striking Civil War era portrait captures a dignified 19th-century woman rendered in a refined charcoal and pastel technique popular in the mid-1800s. Her composed expression, ca...

This striking Civil War–era portrait captures the dignified presence of a 19th-century gentleman, rendered in the classic sepia-toned style popular during the mid-1800s. The sitter’s...

This Neoclassical charcoal drawing showcases a Greek or Roman nude male sculpture, rendered with skillful attention to anatomical precision typic...

We are delighted to offer this exquisite circa 1850 French school chalk on paper sketch of the side of a ship A beautiful example of the French school, the piece is very serene an...