Late 19th Century Figurative Paintings

Hubert Bellis 1831 - Brussels - 1902 Belgian Painter 'Red and Yellow Roses in a Glass Vase' Signature: signed lower right Medium: oil on panel Dimensions: image size 43,50 x 23 cm...

Wout Muller (June 18, 1946 – January 24, 2000) was a Dutch painter and graphic artist known for his detailed, often surrealistic works filled with symbolism and fantasy. Born in Hilv...

Alfred John Bouchette, 1844 - 1893 A London painter of figurative subjects and portraits. He exhibited with the Royal Society of British Artists in London, the Manchester City Art Ga...

Imperial Forums and Coliseum on the background is an artwork realized in 1899. Mixed colored oil painting on canvas. Titled and date on the lower margin. Unreadable monogram. Good...

A loving family study of two sister embracing. Signed to the lower right corner. On canvas on stretchers.

Oil on glass. Rare portrait of Anita Garibaldi, wife of Giuseppe Garibaldi. Realized in the late 19th century, it represents the beloved wife of the italian hero Giuseppe Garibaldi....

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 ...

Louis-Alexandre CABIÉ (Dol-de-Bretagne 1853 - Bordeaux 1939) Farmyard in Andernos Oil on panel H. 39 cm; L. 52 cm Signed lower right and dated 1889 Louis Cabié, renowned artist in F...

A very fine Italian oil on canvas titled "The Solo Violinist" by Luigi Da Rios (Italian, 1844-1892), depicting an interior 18th century room scene of a single violinist player; withi...

William Richardson Tyler was a painter in the White Mountains of New Hampshire and Keene Valley in northern New York, William Tyler was a resident of Troy, New York from 1862 to 1866...

VICNTE PALMAROLI y GONZÁLEZ Spanish, 1834 - 1896 PLAYING HIDE AND SEEK signed "V. Palmaroli" (lower right) oil on mahogany panel 17-3/4 x 13-1/2 inches (45 X 34 cm.) framed: 25-1/4 X 21-1/4 inches (64 X 53.7 cm.) PROVENANCE Leslie Hindman Inc., Auctionners Private Collector, Madrid Oil on table by Vicente Palmaroli...

Russian watercolour of the coronation of a Tsar Russian, late 19th Century Frame: Height 39cm, width 30cm, depth 0.5cm Sheet: Height 36cm, width 2...

Arthur SEVERN (Rome, 1842 – London, 1931) Twilight over an Estuary Watercolour on paper mounted on canvas H. 69 cm; W. 101 cm Signed lower left Provenance: Galerie The Fine Art Soci...

Signed figures in interior oil on panel by French impressionist painter Jean-Francois Raffaelli. The piece depicts two old men seated in an interior. One is reading his paper as the other naps and there are several kittens on the floor. Painted in the artist's distinctive style. Signature: Signed lower left Dimensions: Framed: 9.5"x8" Unframed: 5.5"x4" Provenance: Brame & Lorenceau have confirmed the authenticity of this work and it will be included in the digital catalogue raisonne of the painter which is under preparation A certificate of authenticity fromBrame & Lorenceau accompanies this painting Private collection - United States Original artists label verso Jean-François Raffaëlli's father was a failed Italian businessman and Raffaëlli himself was, among other things, a church chorister, actor and theatre singer. He then studied under Gérôme at the École des Beaux-Arts in Paris. He travelled to Italy, Spain and Algeria and on his return to France settled in Asnières. In 1876, on a trip to Brittany, he first saw the potential of realist subject matter, if treated seriously. He became involved in meetings of artists at the Café Guerbois, where the Impressionist painters used to gather. As a result, Degas, contrary to the advice of the group, introduced Raffaëlli to the Impressionist exhibitions - according to one uncertain source as early as the very first exhibition, at the home of Nadar, and certainly to those of 1880 and 1881. In 1904, Raffaëlli founded the Society for Original Colour Engraving. He first exhibited at the Salon de Paris in 1870 and continued to exhibit there until he joined the Salon des Artistes Français in 1881, where he earned a commendation in 1885, was made Chevalier of the Légion d'Honneur in 1889 and in the same year was awarded a gold medal at the Exposition Universelle. In 1906 he was made Officier of the Légion d'Honneur. He was also a member of the Société Nationale des Beaux-Arts. In 1884, a private exhibition of his work cemented his reputation. He contributed to several newspapers such as The Black Cat (Le Chat Noir) in 1885 and The French Mail (Le Courrier Français) in 1886 and 1887. He published a collection entitled Parisian Characters, which captured his favourite themes of the street, the neighbourhood and local people going about their lives. In 1880 he participated, with Forain, on the illustration of Joris Karl Huysmans' Parisian Sketches (Croquis Parisiens). He also illustrated Huysman's Works. As well as working as an illustrator, he also made etchings and coloured dry-points. His early attempts at painting were genre scenes, but once he was settled in Asnières he started to paint picturesque views of Parisian suburbs. From 1879 onwards, his subject matter drew on the lives of local people. These popular themes, which he treated with humanity and a social conscience, brought him to the attention of the social realist writers of the time such as Émile Zola. In addition to his realist style, Raffaëlli's dark palette, which ran contrary to the Impressionist aesthethic, helped to explain the opposition of those painters to his participation in their exhibitions. More concerned with drawing than colour, he used black and white for most of his paintings. Towards the end of his life, he lightened his palette, but without adopting any other principles of the Impressionist technique. After painting several portraits, including Edmond de Goncourt and Georges Clémenceau, he returned to genre painting, particularly scenes of bourgeois life. Later in his career, he painted mainly Breton-inspired sailors and views of Venice. His views of the Paris slums and the fortifications, sites which have almost completely disappeared, went some way towards establishing a genre in themselves and perpetuated the memory of the area: The Slums, Rag-and-Bone Man, Vagabond, Sandpit, In St-Denis, Area of Fortifications. His realistic and witty portrayal of typical Parisian townscapes accounts for his enduring appeal. Born in Paris, he was of Tuscan descent through his paternal grandparents. He showed an interest in music and theatre before becoming a painter in 1870. One of his landscape paintings was accepted for exhibition at the Salon in that same year. In October 1871 he began three months of study under Jean-Léon Gérôme at the École des Beaux-Arts in Paris; he had no other formal training. Raffaëlli produced primarily costume pictures until 1876, when he began to depict the people of his time—particularly peasants, workers, and ragpickers seen in the suburbs of Paris—in a realistic style. His new work was championed by influential critics such as J.-K. Huysmans, as well as by Edgar Degas. The ragpicker became for Raffaëlli a symbol of the alienation of the individual in modern society. Art historian Barbara S. Fields has written of Raffaëlli's interest in the positivist philosophy of Hippolyte-Adolphe Taine, which led him to articulate a theory of realism that he christened caractérisme. He hoped to set himself apart from those unthinking, so-called realist artists whose art provided the viewer with only a literal depiction of nature. His careful observation of man in his milieu paralleled the anti-aesthetic, anti-romantic approach of the literary Naturalists, such as Zola and Huysmans. Degas invited Raffaëlli to participate in the Impressionist exhibitions of 1880 and 1881, an action that bitterly divided the group; not only was Raffaëlli not an Impressionist, but he threatened to dominate the 1880 exhibition with his outsized display of 37 works. Monet, resentful of Degas's insistence on expanding the Impressionist exhibitions by including several realists, chose not to exhibit, complaining, "The little chapel has become a commonplace school which opens its doors to the first dauber to come along."An example of Raffaëlli's work from this period is Les buveurs d'absinthe (1881, in the California Palace of Legion of Honor Art Museum in San Francisco). Originally titled Les déclassés, the painting was widely praised at the 1881 exhibit. After winning the Légion d'honneur in 1889, Raffaëlli shifted his attention from the suburbs of Paris to city itself, and the street scenes that resulted were well received by the public and the critics. He made a number of sculptures, but these are known today only through photographs.[2] His work was also part of the painting event in the art competition at the 1912 Summer Olympics. In the later years of his life, he concentrated on color printmaking. Raffaëlli died in Paris on February 11, 1924 Museum and Gallery Holdings: Béziers: Peasants Going to Town Bordeaux: Bohemians at a Café Boston: Notre-Dame; Return from the Market Brussels: Chevet of Notre-Dame; pastel Bucharest (Muz. National de Arta al României): Market at Antibes; Pied-à-terre Copenhagen: Fishermen on the Beach Douai: Return from the Market; Blacksmiths Liège: Absinthe Drinker...

John Scott (1850-1918) British figure and genre painter. Oil on board in good condition, framed under glass. Measures: 12 7/8" H x 9 5/8" W. Frame: 19" H x 15 1/2" W. Original frame,...

A Vienna style porcelain burgundy-ground tray, 'triumph Der Venus' late 19th century, blue beehive mark, signed bergère Pinh. The oblong octagonal tray painted with Venus rising from the sea...

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Japan, Moore spent time in Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this sparkling portrayal of a young woman dressed in a traditional kimono and carrying a baby on her back, a paper parasol...

The painting up for sale is probably one of the nicest first tier paintings any collector can purchase on firstdibs! The quality and the detail of this painting is in the same leagu...

Date: 1898 Medium: Ink and Gouache on Paper Affixed to Board Dimensions: 16.50" x 12.00" Signature: Signed Lower Left Carter's Monthly, March 1898, cover illustration. Decades lat...

Literature: Manuel Carrera, “Una ritrattistica manciniana nelle collezioni della Gnam,” Belle-Arti 131, no. 2 (2013), p. 44 (color illus.)

A charming, signed and dated 1883, oil on canvas painting of a soldier and his horse in period gilt-wood frame.

Signed lower right: Geo

Charles Lewis Fussell (American, 1840–1909) Children Playing on a Boat Oil on canvas, 11 x 16 3/4 inches Framed: 19 x 25 inches (approx.) Signed at lower left: “C.L. Fussell” Charle...

Very Large Antique Orientalist Figurative Oil Painting Street Scene E. Jeen Continental, 1894 Canvas: Height 139cm, width 113cm Frame: Heigh...

Orientalist oil painting of a market scene by Bernard Continental, Late 19th Century Panel: Height 53cm, width 41cm Frame: Height 70cm, width 58cm, depth 6cm This oil on panel by ...

AMEDEO SIMONETTI Italian, 1874-1922 The Rug Merchant Signed Amedeo Simonetti Watercolor on paper 21 x 14 inches Framed: 27 1/2 x 20 1/2 inches

Gustave David (British, 1824-1891) Tasting the Soup Oil on paper, mounted; 9 1/2 x 7 inches Signed at lower left: "G. David" Inscribed on verso: "GUSTAVE DAVID 1824-1891"

ANTONIO REYNA MANESCAU Spanish, 1859 - 1937 VENETIAN CANAL signed & located "A. Reyna, Venezia" (lower left) oil on canvas 11-1/2 x 19-3/4 inche...

This delicate watercolor, attributed to American artist Francis Coates Jones, captures a peaceful moment of femininity and leisure. A young woman in a soft white gown is seated on a ...

19th century oil painting of a market scene by H. C. Bryant English, 1877 Canvas: Height 51cm, width 76.5cm Frame: Height 68cm, width 93.5cm, depth 5cm Painted by the English artist Henry Charles Bryant, this lively scene is typical of Bryant’s oeuvre. Bryant specialised in market and farmyard scenes, inspired by 17th century Dutch genre painting which similarly depicted vignettes of everyday life. Bryant’s realistic painterly style also recalls these Dutch genre scenes, which in turn were inspired by the form and content of Early Netherlandish...

If Vogue magazine existed in the late 19th century, this sitter could be on the cover. The depth of her feminine beauty and sweetness is mesmerizing. She looks at you. You look ...

"Reading After School," attributed to Edward Lamson Henry, offers a glimpse into the everyday moments of 19th-century American life. Known for his meticulous detail and his ability t...

Portrait of a seated man , oil on canvas painting from the 19th century Wonderful and large oil on canvas of a seated man, Flemish school from the end of the 19th century. Sold with...

Oil Painting Pair by Alessandro Sani "Flirtation" 1856 - 1927. Italian painter of domestic and historical scenes and professor of Art. Based in Flore...

AMEDEO SIMONETTI Italian, 1874-1922 Writing a Letter Signed ‘Amedeo Simonetti’ Oil on canvas 30 x 20 inches

RICARDO BRUGADA Y PANIZO Spanish, 1867 - 1919 LA HORA DEL TÉ signed & dated "Ricardo Brugada. 1897." (lower left) oil on canvas 22-1/8 x 31.5 inches (5...

This charming Hudson River School study by Virginia Granbery captures a tender and distinctly American moment: children playing baseball in a sunlit clearing. Painted by one of the f...

Pietro Gabrini (Italian, 1856-1926) A Very Fine and Large Oil on Canvas "Three Singing Italian Beauties on The Road" depicting three young maidens walking through a road path while e...

An exceptionally vibrant original oil painting of chrysanthemums, estimated late 1800s. The movement of the flowers contrasts beautifully with a charmingly naiive vase and table. Ye...

F. Luis Mora's "Colonial Ladies Reading" is a captivating portrait that beautifully encapsulates a moment of shared intellectual pursuit and companionship during the colonial era. Th...

This huge Italian 19th century armorial painting features the coat of arms of Montini, a noble Italian family that has among its ancestors the Archbishop of Milan, later known as Pope Paul VI. The large oval canvas has a brown and red background, the latter shaped like a shield, in which six mountains (from the etymology of the surname) and three white fleur de lis are painted. This big scale palatial oil painting...

Italian School, "The Antiquarian", Oil on Canvas, late 19th century, depicting a gentleman standing at a table covered with a carpet, books, his dog and a small mouse underfoot, unsi...

If Vogue magazine existed in the late 19th century, this sitter could be on the cover. The depth of her feminine beauty and sweetness is mesmerizing. She looks at you. You look ...

Illustration for the article ”Old New York Taverns” by John Austin Stevens for Harper’s New Monthly Magazine, published May 1890, Page 849. The article explores the significant role...

Exhibited: Salon, Société des Artistes Français, Paris, 1879 (no. 647)

A Woman Lounges in a Hammock Whilst Her Suitor Reads Aloud” by Robert C. Kluth – Oil on Canvas, c. 1890–1910 (Unframed) A poetic and tranquil genre painting by Robert C. Kluth (Germ...

Signed and dated '1890' lower right

Louis-Alexandre CABIE (Dol-de-Bretagne 1853 - Bordeaux 1939) Landes in Pessac - Gironde Oil on panel H. 31 cm; L. 55 cm Signed lower right Louis Cabié, re...

French Orientalist watercolour by Émile Boivin French, late 19th Century Frame: Height 33cm, width 39.5cm, depth 3cm Sheet: Height 23cm, width 29.5cm Thi...

Signed with monogram lower right

Watercolor on paper executed by German-American artist Richard Veenfliet "My Old Kentucky Home" references one of the ballads written by American composer Stephen Foster in 1852.

George Bacon Wood Rowboat in a Summer Landscape Signed lower left Oil on wood panel 6 1/4 x 8 inches Born in Philadelphia, landscape painter George Bacon Wood, Jr., studied at the ...

BRITISH SCHOOL (circa 1890) The Farmer Oil over a photographic base, on card and mounted onto original canvas Framed in original frame and behind glas...

Playful Moment – Girl and Kitten by Robert Koehler (Signed) Description: A heartwarming and finely detailed oil painting by German-American artist Robert Koehler (1850–1917). This g...

Beveled wood painting depicting a landscape of river banks with lavandieres by a painter from Spain. He works in Paris and exhibited at the Salon des Artistes Français Very good co...

ENRIQUE ATALAYA Spanish, 1851 - 1913 BELEM´S TOWER, LISBON signed "ATALAYA" (lower right) oil on wood panel 6-1/4 x 8-1/8 inches (15.8 x 20.5 cm.) fram...

Berlin (K.P.M.) Porcelain Plaque of a Woman Late 19th century. Circa 1896 A very fine and detailed oil painting on porcelain by the Königliche Porzellan-Manufaktur (KPM) depicting a...

Illustration for "The Man For the Hour: The Devoted and Heroic Patriotism of Colonel John Laurens" by James Barnes for McClure's Magazine, published December 1899. The full caption reads: "At the same time he extended toward King Louis...

Oil on canvas, signed lower right Image size: 28 x 36 1/2 inches (71 x 93 cm) Orientalist Gilt frame George Edward Robertson George Edward Robertson (born 1864) painted portraits, ...

This painting is signed bottom left. This Monumental Middle Eastern Figurative painting by Charles Theriat (1860-1937) is an oil on canvas and comes with frame. His artistic training...