19th Century Paintings

Elegant portrait of the 19th century representing a romantic pose of a woman in its original frame of the 19th century.  

Decorate an office or den with this antique serene maritime landscape painting. Created in Holland circa 1895, and set in the original carved giltwood frame, the large painting is attributed to Herman Willem Koekkoek...

Allegorical Oil Sketch “al fresco” Picnic attrib. Pierre Puvis de Chavannes Allegorical oil sketch “al fresco” picnic painting. Preliminary study of t...

Thomas Chambers School Oil on Board Landscape Painting, Lake Scene, Unsigned, Framed, C1850 Measures - 18.25" x 24.25" x 3"

With a banana leaf palm on the left, at water's edge with geese. Perhaps a scene from the southern islands. Mineral pigments on mulberry paper with gold leaf and a silk brocade border.

A late 19th Century hand painted mature portrait in a bone and Bronze frame with velvet backing and bronze twig like stand. An impeccable piece and lovely on the desk or shelf. A w...

Set of six Chinese Export paintings on pith (rice) paper. The paintings depict Chinese processionals that include men in different settings such as playing instruments, carrying temp...

American Victorian oval mahogany framed oil painting portrait of Union soldier.

This painting, is an original oil painting. Representing an 19th century couple, in a horse team. They are dressed in the clothes of the time, impressive dress and top hat . It has b...

Saskia smiling with feather bar (circa 1633). Oil on canvas. Exceptionally beautiful copy after Rembrandt, back titled - copy after No. 1556, the royal pai...

Chinese Pheasants Yoshizawa Setsuan (1809-1889) Hanging scroll, ink and color on silk. Painting inscription: Setsuan Houyou Upper seal: Y...

A French framed and signed oil on board still-life painting from the late 19th century featuring pansies. Born in France during the Belle-Époque era in the later years of the 19th ce...

Miniature representing Marie Antoinette, late 19th century or early 20th century. A late 19th or early 20th century miniature of Marie Antoinette. H: 16cm, W: 14cm, D: 2cm

Oil on Canvas Painting by Ralph Albert Blakelock. Know for his landscapes, Blakelock ((1847-1919, American), in this landscape captures lush landscape peaking beyond an open space wi...

Two paintings, sold as a pair, from Italy circa 1880. Curved tops. Measurements: 39.75'' W x 71'' H x 3'' D.

An Italian oil on canvas still-life painting from the 19th century in carved giltwood frame, signed Florentine. Created in Italy during the 19th century, this still-life painting dep...

A wonderful late 19th century Tibetan Thangka depicting a portrait of a seated monk. Wearing the robes of a Tibetan Buddhist monk, the individual depicted in this portrait was probab...

This is a beautiful oil on canvas painting of the view of the The Grand Canal in Venice by the renowned British artist Alfred Pollentine (1836-1890) and signed lower right and verso, 'A Pollentine, circa 1870 in date. This beautiful landscape captures a striking view of the Grand Canal, it features a busy canal scene with gondoliers in the foreground, in the distance the facades of Santa Maria della Salute complete the painting. Housed in it's original and beautiful gilt gallery frame. Several examples of his work have sold at top auction...

A lovely romantic miniature drawing / watercolor painting, depicting a young child with a sheep. Estimated date and origin: France, circa 1890-1900. The work is framed with a red v...

American classical portrait of a lady. American School, unsigned. Measures: Oil on canvas 25"x 30" Period gilt frame 29" x 34" x 2" Professional...

Exceptional 19th century landscape painting by Important American artist William Keith. Titled "Harvest". Barbizon School oil on canvas painting featuring figures at harvest with cart and oxen. Amazing luminescent sky. Signed lower left corner "W. Keith '96". Retains original museum quality gilt frame. Canvas measure 30"H 50"W. Accompanied with period correct Stereograph black and white photograph depicting actual painting in a parlor with handwritten pencil title "Parlor, Berkeley, Cal. '97". This is a museum quality work of art. William Keith (1838-1911) William Keith became in the late 19th and early 20th centuries a leading Northern-California landscape artist. In fact, he was so well known that he is referred to as the "Dean of California painters" and "California's Old Master." Born in Aberdeenshire, Scotland, Keith came to New York with his family and, apprenticed to a wood engraver. In 1859, he moved to San Francisco where he worked for an engraver and later set up his own engraving business. Studying with Samuel Marsden Brookes in 1863, he determined to become a painter. He married artist Elizabeth Emerson and did watercolor painting with her guidance. In 1868, he became a full-time painter, and that same year was commissioned to paint scenes along the Columbia River including Mount Hood. By August 1869 he had sold enough paintings to finance an extended journey to the East Coast and Europe including Dusseldorf, Germany throughout most of 1870, studying with Albert Flamm. After a visit to Paris, he expressed great admiration for "the modern school of French landscape painting including the Barbizon School. During the winter of 1871-1872, the Keiths lived in Boston where they shared a studio with William Hahn. Keith's work received critical acclaim there and in New York at the National Academy of Design. In 1872, he returned to San Francisco. A friendship with naturalist John Muir exposed Keith to many remote places and in-depth knowledge of nature. During the 1870s, he painted several "epic" eight by ten-foot High Sierra views. He also visited Alaska, and his paintings of Alaska were exhibited upon his return to San Francisco in a show at the Bohemian Club, titled 'Dreams of Alaska'. Keith's Alaska works are significant because they are not close transcriptions of actual scenery, but rather are fantasies inspired by Alaska. They are important as they represent a major break from the documentary tradition in landscape painting of Alaska, as they show an interest in capturing its spirit versus just the topography. In 1891, he shared his studio for several weeks with East Coast Tonalist George Inness, Sr. [1825-1894]. Both men painted in a similar style and were followers of the mystical teachings of Swedenborg. Among the locations where Inness and Keith painted together were Monterey and Yosemite, and it was reported they discussed art from every possible angle. Under Inness' influence, Keith painted more than ever in a Barbizon-influenced vein with many sunset and twilight scenes. Keith’s first wife died in 1882, and in 1883, he married Mary McHenry, the first woman graduate of Hastings Law School. They soon went to Europe, and Keith studied portrait painting in Munich with consultations from J. Frank Currier...

Emanuel Oberhauser (Austrian, 1854-1919) an exceptional quality full length oil on canvas painting of a Young Orientalist Queen or Odalisque, 19th c...

Oil on panel measuring 21" x 24.5" including the frame. The painting is signed in the lower right corner, but we cannot attribute the signature. The scene is a lively naval battl...

Striking original oil on canvas painting of Madonna and child with the infant Saint John the Baptist. Unsigned. After the original by Guercino (Giovanni Francesco Barbieri) dated ca....

An antique still life oil painting with fruit, pear, apple, grapes and peeled mandarin. In the background a wine bottle. The painting is signe...

A fine early 19th Century painting of the Virgin Mary in prayer between two saints, painted in the artistic centers of Cuzco and the Altiplano r...

Watercolor in the manner of Alexei Alexeievitch Harlamoff "Russian, 1842-1915" portrait of a young girl, signed Harlamoff on the lower right, Marked A. Harlamoff on the gold matting....

A Chinese Qing Dynasty period framed painting from the 19th century of an official's wife with bird-adorned buzi, painted on a linen canvas. Created in the North-Eastern province of Shanxi during the Qing dynasty, this 19th century painting showcases a frontal depiction of an official's wife recognizable thanks to the bird-themed rank badge sitting on an elegant armchair with scrolling arms and carved apron. Wearing a red robe and topped with an ornate headdress, the figure is highlighted with gold foil accents and stands out beautifully on a linen canvas. The print size is 17.5"W x 41.5"H. These paintings traditionally come from Shanxi province which was home to many of the wealthy merchant families associated with the imperial court during the Qing dynasty. Set inside a custom made frame, this 19th century Qing Dynasty official's wife painting...

Exceptional Folk Art reverse painting on glass with foil/tinsel back (églomisé) - original hand made wood frame with carved and painted details - unsigned - United States - circa 185...

This is a large antique portrait. An English, framed watercolour behind glass, by Henry Benjamin Roberts (1831-1915), dating to the late Victor...

Late 19th century Italian screen with a gorgeous oil painting of floral scene. The oil paint colors are vibrant and in good condition. The frame is made of canvas over a wooden frame...

A pink-yellow, antique French still life oil on canvas painting, depicting a white ceramic vase with many roses, painted by Dominique Hubert Rozier in a handcrafted, original gilded ...

A wonderful example of a circa 1870 German Folk Art naïve military scene in townscape annotated to celebrate a soldier. In ceremonial regalia in watercolou...

Dutch Old Master style (19th Cent) black framed oil painting portrait of old man writing in a book with lady in background (Enrico Caruso Estate).

This is a truly splendid antique oil on canvas painting featuring a period interior scene by Francesco Bergamini (1851-1900) Italian, signed and dated 1894. This beautiful oil pai...

A French Napoleon III period still-life painting from the second half of the 19th century, signed and set in giltwood frame. This French still-life painting was born at the end of th...

A French oil on canvas animal painting signed Laroche from the late 19th century with giltwood frame. This French oil on canvas painting features two lovely kittens playing with a st...

Mineral pigments on gold leaf with brocade border. Calligraphy and sketching on back paper.

This is a magnificent set of four antique Italian oil on canvas paintings of the Four Seasons by Guiseppe Mazzolini (1806 - 1876), signed. These stunning paintings features four po...

As found in Europe, this very serene landscape of a boy in the forefront in a field carrying hay. A simple and relaxed scene yet very effective in composition. Sweeping brushstrokes...

Antique French painting Impressionist oil painting "Landscape with flowering heather" executed by Gaston Anglade in the late 1800s.The author was born on September 29,1854 in Bordea...

Kishi Renzan (1804-1859) Tigers Pair of six-panel Japanese screens. Ink and gold-leaf on paper. In this monochromatic pair of six-fold Japanese screens painted on gold-leaf, Kishi Renzan has created a breathtaking composition of a family of tigers. The screens are filled with a sense of drama which is conveyed by both the subject matter and the wet, expressive brushwork. The running mountain stream and the towering waterfall allude to refreshment during the summer months and we feel the tiger families familiarity and security within their environment. Renzan’s master, Kishi Ganku...

A large 19th century German Meissen rectangular porcelain plaque depicting Mary Magdalene reclining reading from a book. After Antonio Allegri (Ita...

Set of Six Chinese export birds Paintings on Pith Paper, 19th Century A refined series of six Chinese export paintings depicting birds amidst del...

19th Century Italian Watercolor of Fishing Boats in the Bay of Naples. Charming antique watercolor depicting the Bay of Naples with fishermen and their boats at their daily chores. ...

A almost life size depiction of a human skeleton holding a length of chain, with a banner at the base. We believe the piece to be Italian from the language used within the banner, ...

19th century oil on canvas painting of the Madonna and Child, shown seated with an open book in a moment of quiet intimacy. The work is presented in a wide giltwood frame with beaded...

A pair of large antique reproductions: - A very large antique reproduction oil painting after Eugéne Delacroix. Apty titled "The Barque of Dante (French: La Barque de Dante)" featur...

Early 19th Century Children’s Portraits Oil on Canvas, A Pair Charming pair of Danish Early 19th Century paintings oil on canvas. Thes...

Magnificent Antique oil on canvas portrait painting signed A. Robert (1817-1890). A. Robert was a Belgian Royal Academy Artist. His works are on displa...

Antique 19th century French oil on canvas framed maritime painting.

A set of three hand painted wooden plaques, each featuring a religious portrait within a decorative frame. The center panel is a portrait of a man with shoulder length hair and a be...

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520) The circular canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame (all high quality gilt is original) which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting, circa 1890-1900. Subject: Religious painting Measures: Canvas height: 29 1/4 inches (74.3 cm) Canvas width: 29 1/4 inches (74.3 cm) Painting diameter: 28 1/4 inches (71.8 cm) Frame height: 57 7/8 inches (147 cm) Frame width: 45 1/2 inches (115.6 cm) Frame depth: 5 1/8 inches (13 cm).   Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Beautiful antique painting, oil on panel, depicting two King Charles Cavalier Spaniels and a cat. It is a lovely painting, not too big, wit...

This magnificent painting dates to the 19th century after the original by Francois Boucher. François Boucher was a French painter, draughtsman and et...

English Victorian large oil painting of a yachting scene with figures (Edward VII) on a deck in a gilt rope frame. (titled: "On the Brittania" by Thomas Henry).   

This captivating oil on canvas, titled "A Berkshire Landscape," is a remarkable example of the work of John Bunyan Bristol, a distinguished 19th-century American artist known for his...

Oil on panel. With MacConnal-Mason and Son, Ltd label on reverse. Featuring the 'kill' of an English fox hunt scene. Painting measures 7.25" x 15" an...