19th Century Animal Paintings

Description: The Painting is signed and dated Constant Troyon born on August 28, 1810, and passing away on February 21, 1865, Constant Troyon was a French painter associated with the...

Basse cour d'Alexandre Defaux (1826–1900) Huile sur panneau Dimensions : 45 x 31 cm Cadre ancien en bois doré à décor de godrons et perles Cette scène rurale baignée d’ombre et de ...

Predominantly working for private patrons, Dalby is known for his sporting art, landscapes, and dog portraits. His father and teacher David Dalby was also a painter who specialized i...

The Dog Yard, 18th Century attributed to Samuel RAVEN (1775-1847) Large 18th 19th Century English dog yard scene, oil on canvas attributed top Samuel Raven. Excellent quality and c...

Alfred de Breanski Snr British, (1852-1928) Near the Fairy Glen Betws-y-Coed Oil on canvas, signed & transcribed verso Image size: 23.5 inches x 35.5 inches Size including frame: 31 ...

William Edward Powell (English, 1878/85 - 1955) Signed: W. E. Powell (Lower, Left) " Contemplation ", circa 1910 (Titled on Verso) Watercolor on Paper 22 1/2" x 18 1/2" Housed i...

This beautiful painting depicts a crowded scene of a watering hole at a well in the midst of a sunny, hot day, located on the street of a provincial village supposedly located somewh...

If anyone would like to do the research on the painter “J. Ericson” who signed this wonderful late 19th-century painting of cows grazing in a swamp, you might find they were really n...

Jean-Charles Cazin Ploughing on the Hillside Signed lower left Oil on board 6 1/2 x 6 inches The son of a well-known doctor, FJ Cazin, he was born at Samer, Pas-de-Calais. After st...

Constant Ludovic Artz Dutch, (1870-1951) The Swimming Lesson Oil on canvas, signed Image size: 11.5 inches x 15 inches Size including frame: 16.5 inches x 20 inches An enchanting painting of ducks and ducklings next to a river by constant Ludovic Artz. A white duck can be seen about to enter the water with her ducklings. Two more ducks are depicted resting on the bank beside a male duck who is shown puffing his chest out. Constant David Ludovic Artz was born in Paris on 3 June, 1870, the son of David Adolph Constant Artz (1837-1890) and Josephine Jouanin. His father was a Dutch artist who had moved his family to Paris to set up a studio. The family returned to Holland in 1874 and settled in the Hague. Artz was taught art by his father and at the age of 12 enrolled at the Academy of Visual Arts in The Hague. He also received tuition from Hendrik Mesdag (1831-1915) and Willem Maris (1844-1910) who had an influence on his subject matter. He married Johanna Sophia Cecilia Ginjoolen at the Hague on 5 July, 1893. One of the witnesses was the artist Tony Offermans (1854-1911) whom he was apprenticed to at his studio. The couple went on to have two children together and to supplement his income, Artz also worked as an art teacher. One of his pupils was Leendert Scheltema (1876-1966). After divorcing from his first wife in 1915, he married Lucie Sophie van der Hoeven in 1917. At some point he moved to Soestdijk, living there until 1926 when he relocated to Katwijk at Sea in. He returned to Soestdijk in 1931 where he died on 23 February, 1951. Like his father, Artz was fascinated by nature and after painting a series of landscapes and seascapes began producing scenes featuring ducks and waterfowl usually on or by lakes and rivers. He was an expert at painting the play of light upon water and also preferred to work with smaller canvasses. His work can be found in private and public collections including the Rijksmuseum. Presentation: The painting is housed in a new, English made gilt frame which is in excellent condition. Condition: As with all of our original antique oil paintings, this work is offered in ready to hang gallery condition, having been professionally cleaned, restored and revarnished. © Benton Fine...

Oil on cardboard mounted on canvas, signed lower right Image size: 9 x 7 1/4 inches (23 x 18.5 cm) Original gilt frame This painting shows a horse standing in profile in front of, w...

George Cole British, (1810-1883) Rick Making, Lunchtime Oil on canvas, signed & dated 1883 Image size: 23.5 inches x 35.5 inches Size including frame: 30.5 inches x 42.5 inches Prove...

A black and white spaniel standing on a yellow silk damask covered day-bed in a sumptuous interior. Provenance: With Arthur Ackermann & Son Ltd., London. Anonymous sale; Christie's, South Kensington, 15 May 2007, lot 284 Private collection, London Samuel John Carter...

Charles Jones British, (1836-1892) Cattle & Sheep in the Scottish Highlands Oil on panel, signed with monogram & dated (18)75, further inscribed verso Image size: 19.75 inches x 15.75 inches Size including frame: 26.75 inches x 22.75 inches A dramatic Scottish landscape painting of Highland Cattle and Sheep by Charles ‘Sheep’ Jones...

Oil on board Signed within painting (on bucket): AFT Provenance Private collection Why We Love It Tait’s animal paintings were hailed for their masterful realism. Moreover, he capt...

This striking mid-19th century oil painting captures the drama and majesty of a perched eagle surveying its domain at dusk. Painted around the 1840s, the work evokes the spirit of th...

John Ferneley Jr. (1815–1862) was born in 1815 in Melton Mowbray, Leicestershire, the eldest son of renowned sporting artist John Ferneley Sr. Growing up in a family immersed in the ...

Abraham Cooper RA British, (1787-1868) A Surrey Hunter Oil on canvas, signed with monogram & dated 1850, further inscribed bottom left Image size: 24 inches x 29 inches Size includi...

Otto Eerelman 1839-1926 Dutch Newfoundland with a Kitten Oil on canvas Signed “O. Eerelman” (lower right) This monumental painting is by the celebrated Dutch artist Otto Eerelman...

Wonderful mid 19th Century painting of a stable's interior with two horses, stable hand, two spaniels, a rooster and ducks from a follower of John Frederick Herring, Sr. (British, 17...

This painting by William Osborne, an Irish artist from the 19th century, features a bay racehorse in a stable, captured in rich oil on canvas. The scene evokes a sense of realism and attention to detail, as Osborne was known for his vivid depictions of horses, particularly those involved in racing or in stables. The piece is signed with the artist’s initials, and still features the original frame. William Osborne is today best remembered as the father of the artist Walter Osborne. But he was a significant artist in his own right. He specialised in painting animals especially his own terriers who were often depicted in his studio. Strickland wrote ''His pictures of dogs...

Watercolor on paper, signed lower right Agustus Knoller and dated 1884. Inscribed on the reverse in pencil "This trotting came off Aug 15th 1884 at Belmont Park...

Antique Large Hunting Scene Dogs Edward Armfield British Oil Painting British, Late 19th Century Canvas: Height 76.5cm, width 127cm Frame: Height 118cm, width 168cm, depth 15cm This...

This serene Hudson River School painting by George Wright captures a peaceful moment of pastoral life, where three cows rest and graze under a wide, luminous sky. The composition gen...

The Rural Lane English School, mid Victorian period, circa 1860'1870 oil on canvas, framed framed: 21.5 x 27 inches canvas: 18 x 24 inches Provenance: private collection, England Con...

Charming 19th century landscape oil painting of a Farmyard scene by john Frederick Herring depicting a number of different animals including horses, chickens, goats, ducks and cows along with a farmer and his homestead. Oil on canvas, in heavy gilt frame behind glass with oval mount. Size of canvas, Height: 51cm Width: 61cm. Framed overall size Height: 81cm Width: 90cm approximately. signed This painting is in overall good condition. There is some age related craquelure throughout as to be expected (close up pics available on request) The original frame/slip shows some signs of age as to be expected including age related cracks and some minor losses which have been colour matched and regilded. This in no way detracting from this fine painting This painting is heavy and may need crating if shipping,this would need to be custom made and may cause delay in shipping John Frederick HERRING (1815-1907) John Frederick Herring Junior (1815 - 1907) was an English painter who is best known for his equine art. John F. Herring Jr...

Confrontation Van Den Eycken Charles Brussels 1859 – 1923 Belgian Painter Signature: Signed bottom right Medium: Oil on canvas Dimensions: Image size 28 x 21,50 cm, frame size 36 x 30 cm Biography: Van Den Eycken Charles (alias Charles Duchene) was born in Brussels in 1859. He was an animal painter, mainly dogs and cats and interiors. He was the son of Charles Van Den Eycken...

Artist: J. Bowker Title: St. Bernard Year: 1887 Medium: Oil on Canvas, signed and dated l.r. Size: 30 in. x 48 in. (76.2 cm x 121.92 cm)

Claude-Lorraine Ferneley Sir Richard Sutton's Most Famous Hunter Hotspur c.1840 24 X 28.5 inches framed A genuinely famous hunter! Even mention in...

Frank Reaugh (1860-1945) Dallas Artist Image Size: 3 3/4 x 5 1/2 Frame Size: 15 x 18 Medium: Pastel on paperboard Circa 1881 "Residence At Terrell" From the collection of Lucretia Coke. Signed F.R. Lower Left & S7 On Verso 1881 or 2, 2 or 3 miles from next house. Frank Reaugh (1860-1945) Charles Franklin Reaugh. THE FRANK REAUGH GALLERY AT THE PANHANDLE-PLAINS HISTORICAL MUSEUM by Michael R. Grauer, Curator of Art, Panhandle-Plains Historical Museum Called the pejorative "Rembrandt of the Longhorn" and "Longhorn Leonardo," and the gentler "Painter to the Longhorns," Charles Franklin "Frank" Reaugh was a master pastellist unparalleled in Texas and the greater Southwest. While he advertised himself as a "landscape and cattle painter" and insisted he was the historian of the Texas longhorn, he has effectively, and unfortunately, pigeonholed his art. More appropriately, Frank Reaugh is often called the "Dean of Texas Painters." His name is synonymous with the "old guard" of Texas art history, along with Robert Onderdonk, Hermann Lungkwitz, William Henry Huddle, Henry McArdle, and others. Reaugh's paintings focused on the landscape of the American West generally, and the American Southwest, specifically. He captured subtleties in a land of high contrast where others only saw the rawness. He painted the overwhelmingly blue sky, the illimitable plains, and the great gashes in the land that are called canyons, arroyos, or breaks in the West. And he painted the Texas longhorn, or Texas cattle, as he referred to them. Usually no more important than the mesquite, yucca, sagebrush, and cholla that also populate his compositions of the Western landscape, the Texas longhorn became his recognized symbol. Today, some commercial galleries even insist that one of his works is more valuable if it has a cow in it! These commercial zealots in their search for a longhorn often overlook the beauty of his landscapes; they cannot see the landscape for the longhorns. Born near Jacksonville, Illinois in 1860, Reaugh first came to Texas in a wagon in 1876 at the age of fifteen. He moved with his parents to a farm near Terrell, Texas, until 1890 when they moved to Dallas and settled in what is now the Oak Cliff area. Reaugh had no formal education but fared well without it for his mother, Clarinda Reaugh, was his teacher in all things. The daughter of a Presbyterian minister, his mother instilled in her only child an appreciation of nature, grounded in her own readings in zoology, botany, and natural history. Her teachings were infused with the philosophies of the famed Swiss zoologist Louis Agassiz and John Burroughs, supporter and contemporary of Walt Whitman, who wrote extensively on his symbiotic relationship with nature. Clarinda Reaugh also encouraged her son's interest in drawing through her own interest in the fine arts. Reaugh's father, George Washington Reaugh, was a mechanic, carpenter, cabinetmaker, and farmer, who had participated in the Gold Rush of 1849. It was from his father that Reaugh learned to be extremely adept with his hands, and later made his own picture frames and patented several inventions. George Reaugh's sense of adventure may have spurred his son's annual trips to West Texas and beyond, which began in the early 1880s. Reaugh's first exposure to art came through reproductions in popular magazines such as Harper's, Scribner's, and Century Illustrated. Rosa Bonheur's Horsefair, the Dutch painter Paulus Potter's Young Bull, and the landscapes of Frederic Edwin Church and J. M. W. Turner were favorites of his. (In fact, his late works are often especially reminiscent of Church and Turner.) From these early reproductions in black and white, Reaugh learned well the lessons of value and composition. While he studied and copied magazine reproductions, Reaugh also became interested in bovine anatomy. Using a "two-bit" book on cattle and sheep anatomy as his text, the young artist collected bones near the Reaugh farm and made measurements from family livestock. He supplemented his scientific studies with sketches made from longhorn cattle brought up from South Texas to fatten on grass nearby. In the early 1880s, Reaugh met two cattlemen, Frank and Romeo Houston, who had interests throughout North Texas, and accompanied them on cattle drives and roundups near present-day Wichita Falls and in Indian Territory (now Oklahoma). His first documented trip to Western Texas came in 1883; probably near present day Wichita Falls and Henrietta, Texas. Reaugh made numerous sketches during these trips, often from the saddle, and later enlarged and composed them in the studio. His field sketches resulted in his first two pastel masterpieces, Watering the Herd (1889) and The One-O Roundup (1894). and his oil The Approaching Herd (1902). These trips with the Houstons, begun as early as 1883, spurred a wanderlust for West Texas that lured Reaugh until he was nearly eighty. Reaugh took his first formal art training at the Saint Louis Museum and School of Fine Arts during the winter of 1884-85. He spent most of his time there drawing from plaster casts of Greek, Roman, and Italian sculpture and possibly live models. Reaugh also met Halsey C. Ives, director of the school, who lectured on avant-garde art trends in Europe, particularly French Impressionism. Later, Ives was instrumental in the acceptance of Reaugh's work for display at the Louisiana Purchase Exposition, held in Saint Louis in 1904. Following his studies at Saint Louis, Reaugh returned to Terrell and began teaching art to young ladies in the area. He supplemented his art classes with a stint at teaching public school, and by November 1888 had saved enough money for a trip to Europe. Upon arriving at Paris, Reaugh enrolled at the Academie Julian, a school very popular with international students, especially Americans. He drew and painted from the figure while at the Academie under Jules Lefebvre, John-Joseph Benjamin Constant, and Henri-Lucien Douciet, all members of the "juste milieu" in France. Reaugh studied at the Academie for half of each day then supplemented his formal instruction by making copies of or studying paintings in the Louvre and the Luxembourg Palace. Logically he was especially drawn to the pastels in what he later called the 'pastel room' in the Louvre. In his 1927 pamphlet, Pastel, Reaugh wrote of the pastel painters he saw in the gallery: "[John] Russell, of England, and [Maurice-Quentin de] La Tour, [Jean Etienne] Liotard, [Jean Simeon] Chardin, and [Madame Vigee] Le [sic] Brun. These were great painters. . .the work of all of them may be seen in the pastel room of the Louvre, as fresh and bright, apparently, as on the day it was done." In addition to the pastellists he mentioned, Reaugh also saw pastels in the Louvre by Rosalba Carriera, Francois Boucher, and Pierre Paul Prudhon. At the end of March 1889, Reaugh traveled through Belgium and Holland, studying paintings of the Flemish and Dutch schools, and particularly those of The Hague School, of which Anton Mauve was a part. He returned to Paris in time to see the Exposition Universelle, at which paintings by French Impressionists Cezanne, Manet, Monet, and Pissarro were exhibited. This may have been Reaugh's initial exposure to Impressionism. Reaugh returned to Texas at the end of May 1889. Between 1890 and 1915, Frank Reaugh enjoyed his greatest success as an artist. He exhibited works at two world's fairs: the World's Columbian Exposition at Chicago in 1893 and the Louisiana Purchase Exposition in 1904. He also exhibited at the prestigious National Academy of Design at New York, the Pennsylvania Academy of the Fine Arts at Philadelphia, and the Art Institute of Chicago. Moreover, Reaugh became a member of the Society of Western Artists and exhibited with that group all over the United States. Finally, Reaugh toured his pastels with much success, especially in the upper Midwest. Simultaneously, Reaugh continued his trips to the West and, beginning in the 1890s, he started using a camera as a sketching tool. He photographed the landscape as well as cattle, and in 1893 photographed in Palo Duro Canyon; perhaps his first trip to the 'Grand Canyon of Texas'. After 1900, Reaugh turned his genius to inventing and patented several devices including a folding lap easel, a water pump, and a cooling mechanism for internal combustion engines, among other things. He also patented Reaugh Pastels, using a formula he developed and shaped into an octagonal-shape stick for easier gripping. Allegedly, either John Singer Sargent or William Merritt Chase used Reaugh Pastels. Reaugh also became more active in Dallas art and civic circles. After first offering private art lessons, he organized the Dallas School of Fine Arts in 1899. He urged Dallas to build the city's first art gallery in 1900, to which he donated a painting, and helped found the Dallas Art Association in 1903. Furthermore, Reaugh arranged the loan of paintings from then-contemporary American artists in the East and Midwest for the State Fair of Texas. An vocational naturalist, Reaugh also organized a popular nature study club in Dallas, members of which were young ladies who grew to be influential Dallas civic leaders. Nevertheless, despite his ground-level work to bring art to Dallas, as the Dallas Art Association grew Reaugh was pushed aside by socialites and his contributions forgotten. Around 1910 and possibly earlier, he began taking students with him on his trips West. Among them were Texas artists Edward G. Eisenlohr, Florence McClung, Lloyd Goff...

19th Century Dutch

Conditions : Very good overall Conditions. Few minor retouching under UV light. Original extra large canvas. No restauration necessary.. Complementary shipping worlwide by DHL, FED...

Kotah School, c.1880 A fine Kotah School miniature painting, c 1880. Examined by the British Museum in 2015. There is a similar known composition in the collection of LACMA depicti...

Decorative, antique oil painting, dog portrait, 19th century, signed and dated. Dimensions including frame.

Three Terrier Dogs in Landscape English artist, mid 19th century circle of George Armfield (English dog painter, 1808-1893) oil on board, framed framed: 19.5 x 23 inches board: 13 x ...

Very beautiful old artwork of the end of the 18th century ,after Jean Baptiste Oudry " Loup pris au piege ", an example of which is exhibited at th...

The experience of art itself can be an intimate one, and this bed canopy, hand-painted over 100 years ago by an artist in Canton, was more intimate than most. Delicately painted pheasants...

Watercolour on paper Paper size: 4 x 5 inches Framed size: 19 x 19.75 inches PROVENANCE A gift from Joseph Mallord William Turner to Miss Amelia Hawksworth (later Mrs Hotham), niece of Walter Fawkes. The watercolour descended through the ownership of Amelia Hawksworth, daughter of Francis Fawkes ( Walter Fawkes's brother) who was the main compiler of the Ornithological Collection (Miss Hawksworth owned five other bird studies by Turner). Private collection, London LITERATURE: For similar works by J M W Turner see Anne Lyles, The Tate catalogue for the exhibition 'Turner and Natural History, The Farnley Project', 1988. The present watercolour was drawn circa 1815-1820 for Walter Fawkes of Farnley Hall, for his Ornithological Collection Volume IV. Between 1808 and 1824, Turner visited Farnley Hall in Yorkshire to stay with the Fawkes family. Turner felt at home at Farnley - the Fawkes daughters reminded him of his own. He helped illustrate a five volume ornithological scrap book for the Fawkes children, making watercolour studies of the birds for the children to stick in opposite the pages on which feathers from similar birds were attached. His bird portraits were most effective, most "life-like", when in fact the bird was dead ! His watercolours of a live robin and goldfinch have a more hesitant touch. At this time Turner enjoyed the patronage first of Edward Lascelles, the heir to Harewood, and after 1808, of the radical landlord Walter Fawkes of Farnley Hall, near Otley. He became a close friend of the Fawkes family with whom he stayed for most summers until 1824. The last owner of Old Farnley Hall was Francis Fawkes, a rich widower with no direct heirs. When Francis Fawkes died in 1786 he left the house to Walter Beaumont Hawksworth of Hawksworth Hall, on condition that Hawksworth adopt the Fawkes name by Royal Licence. Walter Fawkes brought in architect John Carr of York to make extensions to the house, but he died before the work was completed, and Farnley Hall was passed on to his son, also called Walter who also took the Fawkes name and was known as Walter Ramsden Fawkes. It was this Walter who was a great friend of J M W Turner. Anne Lyles has confirmed the attribution and writes: "Everything fits in relation to the style of the watercolour and most especially the provenance - in the Turner and Natural History exhibition catalogue of 1988 we know that Amelia Hawksworth (Mrs Hotham) owned three studies of birds' heads by J M W Turner (previously with the Maas Gallery, and numbers 36, 37 and 61 in that catalogue) as well as two studies of dead game by the artist (catalogue numbers 59 and 63, the latter untraced in 1988). Interestingly, catalogue numbers 36 and 37 (the Merganser and the Smew) seem also originally to have been intended for Volume IV of the Ornithological Collection - it is likely that the "Study of the Head of a Moorhen...

Oil Painting by Henry Charles Woollett "Winter" 1826 - 1890 Henry was born in Brighton then lived in Cheltenham and Liverpool. He painted rustic landscape with animals found in the ...

Louis Aimé Japy 1840 - 1916 Oil painting on canvas Fully signed Picture Size: 32 x 25.5" (82 x 66cm) Outside Frame Size: 39 x 33.5" (99 x 83cm) Excellent age appropriate condition. ...

After a Good Hunt Kremer Petrus Antwerp 1801 – 1888 Belgian Painter Signature: Signed bottom left Dimensions: Image size 49,50 x 44 cm, frame size 63,50 x 58,50 cm Medium: Oil on panel Biography: Kremer Petrus was born on May 9 in 1801 in Antwerp. He was a Belgian painter of genre scenes with religious and historic context, still lifes and portraits. He studied at the Antwerp Academy of Fine Art, with master teachers and artists Guillaume Herreyns (1743 – 1827) and Mattheus van Bree (1773 – 1839). He perfected himself in Paris, travelled in 1838 Germany, France and Italy where he studied in the museums the pictures of the Dutch and Flemish masters. He excelled in the representation of flowers, poultry and game. Some of his paintings were engraved by English engraver Joseph Brown (1809 – 1887) and other artists. Belgian painter Gustaaf Wappers (1803 – 1874) painted his portrait. Kremer was honoured with several medals at various exhibitions, notably in London in 1929. He exhibited at the Brussels National Exhibition of 1842 “Examination of Don Carlos...

Charles Jones British, (1836-1892) Sheep Grazing on a Cliff Top Oil on canvas, signed with monogram Image size: 7.5 inches x 11.5 inches Size including frame: 13.5 inches x 17.5 inches A lovely landscape painting of sheep on a coastal cliff by Charles ‘Sheep’ Jones. The sheep and her two lambs are depicted against the backdrop of the sea with shipping and chalk cliffs in the distance. The location is likely to be the Devon coast, an area Jones visited often. Charles Jones was an animal painter who was born in Stepney, London in 1836. He was the son of the artist Samuel John Egbert Jones (1797-1861) and Dinah Jones. He lived with his parents and 9 siblings in Mile End and was a pupil of his father. In September 1859, he married Frances Rosalinda Downe, who was born in America. His son Arthur Bertram Loud (1863-1930) also became an artist. They lived at 12 Hayes Place, Lisson Grove from where he made his debut in London at the Royal Academy in 1861. He also exhibited at the British Institution, Suffolk Street, New Watercolour Society, Royal Institute of Oil Painters and the Royal Institute of Painters in Watercolours. By 1867, he had become a successful artist and had moved to 7 Paragon Place, Brixton Hill. From 1874, he lived at Heathercroft, Balham Hill where he spent the rest of his life. As well as the major London galleries, he also exhibited provincially at various locations including: the Royal Cambrian Academy where he was elected a member in 1886, the Glasgow Institute of Fine Arts, Manchester City Art Gallery, Royal Hibernian Academy, Royal Society of British Artists, Birmingham and the Walker Art Gallery, Liverpool. Some of the smaller more intimate galleries he exhibited at were Arthur Tooth & Sons and Thomas Richardson...

George Cole British, (1810-1883) Waiting for a Treat Oil on canvas, signed & dated 1857 Image size: 19.5 inches x 29.5 inches Size including frame: 26.25 inches x 36.25 inches A cha...

‘Morecambe Bay’ by Alfred de Breanski ARCA (1852-1928). The painting - which depicts cattle grazing on Heysham salt marshes in Morecambe Bay with a view of the Old Man of Coniston an...

Exquisite painting by Léolaf, the artistic name of León Lafourcade, a French-born artist active between the 19th and 20th centuries. He participated in various exhibitions, including...

The painting is signed and dated 1894 Description: Eugene Alexis Girardet (1853-1907) was a prominent Swiss painter known for his remarkable attention to detail and his ability to capture vivid and dynamic scenes. Born in Paris, France, Girardet came from a family of artists and received early artistic training from his father, Paul Girardet, and his uncle, Jules Girardet, both respected engravers. He later studied at the prestigious École des Beaux-Arts in Paris, where he honed his skills and developed a deep appreciation for historical and orientalist subjects. He was interred at the Père-Lachaise Cemetery. In addition to several museums in France, his works may be seen at the Dahesh Museum of Art and the National Museum of Fine Arts of Algiers, as well as at museums in Switzerland and New York City. Girardet’s artwork often depicted historical and exotic scenes, particularly focusing on Middle Eastern and North African themes. His meticulous attention to detail and his ability to convey a sense of movement and drama made his works highly sought after. One of his most renowned paintings, “The Charge,” exemplifies his exceptional talent and his ability to create a captivating and immersive experience for viewers. In “The Charge,” Girardet presents an army of Arab camel...

Thomas Baker British, (1809-1864) Cows with a Willow Tree Oil on canvas, signed & dated 1860 Image size: 14 inches x 11.75 inches Size including frame: 20.5 inches x 18.25 inches P...

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...

Arthur Heyer, 1871-1932 Oil on canvas, 22" x 27" Signed on the front. A bulldog is depicted guarding his bowl of food from a fluffy white cat, who keeps ...

Known to his contemporaries as “Fred,” the junior Herring painted farm and equestrian scenes similar in subject matter and style to those of his father. His paintings are chiefly dis...

Frank Cassell (British 19th century) signed oil painting on canvas, framed framed: 18.5 x 22 inches canvas: 12 x 16 inches provenance: private collection...

Oil Painting by Cornelius Jansen Walter Winter "A Favourite Hunter" 1817- 1891. Born in Bungay the son of a stained glass painter. Pupil of Edwin Cooper of Beccles. Painted Norfolk A...

German School or Swiss School, 19th Century, Hunting Scene, Hunter with Dogs, Hares, Painting indistinctly signed. Fine and detailed painted scene of a hunt with dogs, a hunter and h...

Hippolyte LECOMTE (Puiseaux, 1781 – Paris, 1857) Colonel of Russian cuirassiers Oil on canvas H. 33 cm; W. 24 cm Signed and dated at the bottom towards the center 1817 Exhibition: S...

The New Forest Foxhounds, 19th Century by E G Chapman (19th Century British) 19th Century English portrait of the New Forest Foxhounds, oil on canvas by E G Chapman. Excellent qual...

Stag & Deer Grazing In The Frozen Scottish Highlands, 19th Century by ROBERT HENRY ROE (BRITISH 1822-1905) Large 19th Century Scottish Highland scene of a deer & Stag grazing in a ...

A painting of a chestnut hunter in a landscape with a horse and rider accompanied by two hounds by a woodland river in the distance. Signed and inscribed 'Melton Mowbray', lower left. Oil on canvas in a giltwood frame. John Ferneley Sr (1782-1860) was born the son of a Leicestershire wheelwright, the youngest of six children. He is known as one of the great British equine artists, perhaps only second to Stubbs in terms of raw ability. Ferneley originally worked with his father, until by chance the Duke of Rutland saw some of his work on the side of a cart on which Ferneley and his father had been working. The Duke was so impressed with Ferneley that he persuaded John's father to allow him to become the pupil of Benjamin Marshall. Ferneley was so talented that apparently he produced almost perfect copies of his tutor's paintings and they were said to have been indistinguishable from the master’s. Marshall also enrolled him as a student of the Royal Academy Schools. In 1804 Ferneley paid a man named Thomas Harrison...

John Peter Russell was a pioneering Australian impressionist, born in Sydney in 1858. After studying engineering in England, he turned to art and trained at the Académie Julian in Pa...

A terrier named Joe standing in an English country house walled garden, painted by the eminent animal painter John Emms (1844-1912) in the late 19th cent...

C. Calusd (1860-1936) Signed lower right An American painter specializing in Marine night paintings and Orientalist Scenes, he lived in Constantinople and had a studio at 225 5th Ave...