Late 19th Century Figurative Paintings

Fine late 19th C oil painting on cradled wood panel by George Washington Nicholson. The painting is in very good cleaned condition and shows Surfmen rescuing a ship in distress. This...

Portrait of a Lady by Theodor Recknagl (1865-1945) German signed oil on board, unframed board : 7.5 x 6 inches Attached provenance documents Provenance: private collection, England C...

Richmond Castle, Yorkshire from the River Swale by Everett W. Mellor (1878-1965) signed oil on board, framed Framed: 15 x 19 inches Board: 10 x 14 inches Provenance: private collecti...

Portrait of a Lady English artist, circa 1870’s oil painting on canvas, framed framed: 36 x 31 inches canvas : 30 x 25 inches provenance: private collection, England condition: over...

Victorian 19th century Moonlight landscape with river, fishermen and a watermill. J.Barclay was the pseudonym for the illustrator Horace Hammond who lived in Birmingham. Most of his...

View of Venice is an original oil on canvas realized in the late 19th Century by a Master of Italian School. On the reverse: label with inscribed “E. Mareis” The painting represent...

Samuel S. Carr Harvest Signed lower left Oil on canvas 16 x 12 inches Samuel S. Carr was an American pastoral and landscape painter. Originally from England, he trained at the Roy...

This superb Victorian Scottish landscape oil painting is by noted landscape artist John MacWhirter. Painted circa 1880 the location is Glen Cloy, Arran, a very popular walking and holidaying destination along with the Fairy Glen. The composition is a stream in the foreground with a man and his dog approaching. Either side of them are rolling hills giving way to cloud enveloped mountains in the background. The palette of greens and brown of the flora and fauna is so rich and varied. An excellent example of Scottish Victorian art and of MacWhirter's work. Signed lower right. Provenance. Sotheby's 26.8.86 lot 694. Condition. Oil on canvas, 38 inches by 24 inches unframed, in good condition. Frame. Housed in a gilt swept frame, 50 inches by 37 inches in good condition. John MacWhirter RA (27 March 1839 in Slateford, Edinburgh - 28 January 1911 in London) was a Scottish landscape painter. John was the third of four children. One of his elder sisters, Agnes MacWhirter was also a noted artist of still lifes. He attended a school in Colinton, and after his father's death was apprenticed to Oliver & Boyd, booksellers in Edinburgh. He stayed there for only a few months and then in 1851 enrolled at the Trustees Academy under Robert Scott Lauder and John Ballantyne (1815–97). He spent long periods sketching and studying nature outdoors. His first painting to be exhibited at the Royal Scottish Academy at age 14, was 'Old Cottage at Braid'. In 1880, he was made an Honorary Member of the Royal Scottish Academy. Exploring and painting abroad he visited Italy, Sicily, Switzerland, Austria, Turkey, Norway and the U.S.A. - the Alps being a great inspiration. Of a drawing of wildflowers, Ruskin wrote i have never seen anything like it. Some of these sketches were later purchased by Ruskin and bequeathed to the Ashmolean, Oxford. He moved to London in 1867 and on 4 May 1893 was elected a Royal Academician. MacWhirter specialised in romantic landscapes with a great fondness for trees, spending much time in the hilly countryside of Perthshire. Initially, under the influence of John Everett Millais, he experimented with the detailed images of the Pre-Raphaelites, but later adopted a more sweeping style. His friendship with William McTaggart shows in his freedom of brush. With John Pettie...

Portrait of an Elderly Fisherman Italian School, 19th century oil on canvas, framed Framed: 14 x 12 inches Canvas: 10.5 x 9 inches Provenance: private collection Condition: several s...

Frank Walters (British, late 19th century) - Highland Cattle at the Lake. 51.5 x 76.5 cm without frame, 57 x 82 cm with frame. Antique oil painting on canvas, in a gilded wooden fr...

August Vilhelm Nikolaus Hagborg (Swedish, 1852-1921) In the Garden of His Eminence Oil on wood panel Signed lower left 21 x 25.5 inches 34 x 38.25 inches, framed August Vilhelm Nikolaus Hagborg was a Swedish painter who spent most of his life in France. His father was an associate professor. Against the wishes of his parents, he decided on a career in art and, from 1872 to 1874, he studied at the Royal Swedish Academy of Fine Arts in Stockholm with Vicente Palmaroli...

Provenance: Ina Colliander, relative of the artist; A private collection, Sweden; Bukowskis, Stockholm, Important Winter Sale, 2025, lot 711. Exhibited: Thielska Gallery, Stockholm,...

Alfred Augustus Glendening Senior (English, 1840–1921) River Landscape, oil on canvas, circa 1890 This lyrical river landscape by Alfred Augustus Glendening Senior is a quietly lumi...

In The Wool Winder, Emma Ekwall captures a moment of quiet domestic intimacy between a young woman and a man as they wind wool together—she with focused care, he with gentle attentiv...

Rick Borens' piece showcases a Native American chief standing in front of a landscape Dimensions without Frame: H: 20in x W: 31.5 in. Artist Bi...

Addison Thomas Millar (American, 1860-1913) Barn scene, 1892 Oil on board Signed and dated lower left 10.25 x 13.5 inches 15 x 18.5 inches, framed Addison Thomas Millar was an American painter and artist; best known for his genre scenes and Orientalist paintings. He was born to William H. Millar and Permelia Kennedy Millar. His father had emigrated to the United States from Scotland in 1845. He grew up in Warren, Ohio. During his primary education, he took some painting lessons from John Bell, a local landscape painter. In his late teens, he won three consecutive awards from The Youth's Companion, in their annual art contests. This prompted his parents to allow him to go to Cincinnati to take formal lessons from the genre painter, De Scott Evans...

Allegories of Carnal Love and Chaste Love by Paul GRANDHOMME (1851-1944) and Alfred GARNIER (1848-1908) Very important plaque in translucent and opaque polychrome enamel on copper, with gold spangles and gold highlights. Set in its original silver setting. Presented in its original morocco leather box...

KARL KAUFMANN Austrian, 1843 - 1901 VIEW OF VENICE signed & dated "K. Kaufmann 1894" (lower right) oil on canvas 38-3/4 x 56-1/8 inches (98 x 142 cm.) framed: 41-1/2 x 59-1/4 inches ...

Large antique Orientalist painting of Tangier, Morrocco by Herzog American/German, Late 19th Century Canvas: Height 51cm, width 72cm Frame: Heigh...

"A Day in June, Scene Eastchest, New York" 1898 Edward Gay (Irish, American, 1837-1928) Oil on Canvas Complimented by original frame in great condition Signed and Dated Lower Right T...

Titled Ball Players, this charming oil on paper by Charles Henry Miller (1842–1922) captures a lively scene of figures scattered across a bright green field beneath a dramatic, textu...

This charming nineteenth-century oil painting presents a quaint portrayal of rural life and childhood innocence. Several children tend to a floral obelisk structure in a humble farmy...

Fred Morgan, ‘The Hero of the Hour’, large Victorian oil painting English, Late 19th Century Canvas: Height 86cm, width 120cm Frame: Height 122cm, width 154.5cm, depth 11cm This su...

Bavella pass, Corsica, France - by Jean Thomas (1923-2019) Oil on paper laid on board, signed lower left 50 x 65 x 2,5 cm, 1980 Framed with a natural oak floating frame (55 x 70 x 3....

A perfect example of Charles Baxter's work. Two beautiful ladies , one holding a flower, dressed in their best finery. Despite being unsigned, the paint...

The River Cottage by Henry Cooper (British, active between 1890-1930) signed lower corner oil painting on canvas, framed framed size: 24 x 32 inches condi...

J. Clays (British, 19th-20th century) - Still life with fruit basket. 61 x 51 cm without frame, 67.5 x 58 cm with frame. Antique oil painting on canvas, in a gilded wooden frame. ...

"Guardian Angel" late 19th c. Original hand-painted KPM Porcelain In Jewel Encrusted Frame approx. 6 3/8 x 5 inches

Georgine Lara English Village landscape A painting by Georgina Lara depicting a 19th-century English village scene offers a charming and evocat...

A charming 19th Century painting of Anemone flowers in a wicker basket. It has a warm, seasonal and festive feel. I love the great simplicity and sincerity it exudes. French in origi...

Albert Roosenboom was a Belgian genre painter celebrated for his elegant depictions of everyday life in the mid to late 19th century. A pupil of the renowned Constantin Meunier, Roos...

This small oil painting on board (21.5 x 33 cm) is a rare early work by Swedish landscape painter Carl Johansson (1863–1944). Painted during the artist’s 1894 travels to the Canary I...

KARL KAUFMANN Austrian, 1843 - 1901 VIEW OF VENICE OF THE DOGE'S PALACE, VENICE signed & dated "K. Kaufmann 1894" (lower right) oil on canvas 38-3/4 x 56-1/8 inches (98 x 142 cm.) fr...

EMILIO SÁNCHEZ PERRIER Spanish, 1855 - 1907 A ORILLAS DEL GUADALQUIVIR signed and located "E Sanchez Perrier / Sevilla" (lower left) oil on wood...

"In Full Pursuit" English School, late 20th century oil painting on canvas, unframed painting: 24 x 20 inches Superb oil painting on canvas depicting this characterful spaniel hunt...

A charming 19th-century genre scene after Anton Dieffenbach (1831-1914) depicting a young girl feeding her eager pets, who wait patiently atop a small table. As she prepares to slice...

Victorian English Landscape, Haymaking near Hazlemere, Surrey A Victorian English harvesting landscape by John Seymour Adams captures the essence of a bygone era, offering more than...

Watercolor and gouache Drawing on cardboard 43 x 62,5 cm (46,8 x 66,5 cm) = 16.9 × 24.6 in (18.4 × 26.2 in) Monogrammed lower right Originally from Nantes, Georges Barbier arrived i...

19th Century Impressionist Original Oil Painting of Malaysian Fishermen and Schooner by Alberto Bonghi The painting is a depiction of a scene in Malaysia with a Schooner in backgro...

Raja Ravi Varma - Untitled (Lord Rama’s reunion) Oleograph 14.5 x 10.1 inches, Circa ( Framed & Delivered ) Raja Ravi Varma (29 April 1848 – 2 October 1906) was an Indian painter an...

Italian School, late 19th century Christ in the Garden of Gethsemane miniature painting, framed framed: 3.5 x 3 inches image: 2.5 x 2 inches provenance: private collection, Italy con...

Oil on pannel by J.E. KARNEC, born in 1865 (in Austria after GERALD SCHURR), died in 1934. Painter of landscapes, seascapes, port landscapes, water landscapes. "Orientalist trend" (...

Bernard Hemy - Bernard Benedict Hemy (1844 - 1910). Marine and Coastal painter in oil and watercolor. Born in Newcastle to Henry F. Hemy, brother...

Hermanus Koekkoek the Younger was part of the famous Koekkoek artist family: grandson of Johannes Hermanus Koekkoek, nephew of the landscape painter, Barend Cornelis Koekkoek...

François Désiré Antoine Gailliard. Belgian ( b.1861 – d.1932 ). Le Petit Jardinier, 1887. Oil On Canvas. Signed & Dated Lower Right. Image size 36.6 inches x 28.5 inches ( 93cm x 72.5cm ). Frame size 41.7 inches x 33.5 inches ( 106cm x 85cm ). Available for sale; this original oil painting is by the Belgian luminist artist François Gailliard and is dated 1887. The canvas and the painted surface have benefitted from cleaning, restoration and conservation, which was performed on our instruction, supervision and approval. The painting is presented and supplied in its original frame. The frame has been restored and reinforced with supporting brackets along with new replacement hanging fittings. This antique painting is now in very good condition. It wants for nothing and is supplied ready to hang and display. The painting is signed and dated lower right. The renowned Belgian luminist painter, François Désiré Antoine Gailliard (also known as Frans or Franz Gailliard) was born in November 1861, in Brussels, Belgium. He was the son of Désiré Gailliard, a baker, and Anne Hubert. He grew up during a period when the country’s artistic landscape was flourishing. Raised in an atmosphere that encouraged artistic expression, Gailliard showed an early talent for drawing and painting. He pursued formal training at the Académie Royale des Beaux-Arts in Brussels, one of Belgium’s most prestigious art institutions. There, he studied under influential artists and developed the foundational skills that would shape his career. Gailliard initially joined the studio of Jean-François Portaels, then went on to study with Jules Hoeterickx, François Bossuet, and James Ensor. He also worked alongside Fernand Khnopt and became friends with James Abbott McNeill Whistler, the American artist, who he met in 1887 during stays in Berlin and Paris. He became part of the artistic and intellectual circles of Belgium, and other close friends included artists such as Alfred Stevens, Jean-Louis Forain and Félicien Rops. Finally, he joined the studio of Jean-Léon Gérôme in Paris. The academic environment in Brussels exposed Gailliard to various artistic traditions, but his work reflected an interest in pushing beyond academic conventions. Gailliard was particularly drawn to the evolving styles of the time, especially Realism and early explorations of Impressionism and Luminism, which would later define his signature style. Gailliard’s early work showed influences from the Barbizon School and other European Realists, focusing on meticulous, lifelike representations of nature, figures, and everyday scenes. Like many artists of his generation, he was deeply impacted by the works of French artists such as Jean-François Millet and Camille Corot, who emphasized the beauty in the ordinary and the rural. This focus on realism, combined with a sensitivity to light and atmosphere, became a defining feature of Gailliard’s work. However, Gailliard also admired Impressionism and its experimental use of colour and light. By the late 19th century, the work of French Impressionists like Claude Monet and Pierre-Auguste Renoir had gained international attention, and Belgian artists, including Gailliard, were beginning to incorporate these new approaches into their own work. His art became a fusion of detailed realism and a growing interest in capturing fleeting moments, light, and atmosphere—characteristics that placed him in alignment with Belgium’s Luminism movement. Gailliard’s paintings from this period are characterized by their use of light and their focus on everyday scenes, especially those connected to nature and the rural life of Belgium. While he was not a strict follower of Impressionist techniques, his work often employed similar methods, particularly the soft, diffused use of colour to create atmosphere. “Le Petit Jardinier” (1887), is one of his most notable works and exemplifies his ability to render both figures and nature with careful attention to light. Gailliard’s paintings were usually large canvases presenting genre scenes, portraits, nudes and landscapes. His works often highlighted the beauty in the ordinary and displayed a sense of quiet dignity and respect for his subjects. He also produced news cartoons, presented in French, Belgian and English weekly newspapers such as Le patriote illustré, Le petit bleu, and the London Illustrated News. Gailliard’s work was regularly exhibited both in Belgium and abroad. He presented his first painting at the 1881 Brussels Salon, then from 1882 to 1891 exhibited at the Salon des Artistes Français de Paris. He also exhibited in Berlin, and participated in major exhibitions, including those organized by influential art societies in Belgium such as Les XX and La Libre Esthétique, both known for promoting avant-garde art. Although Gailliard was not a founding member of these groups, his participation in their exhibitions placed him alongside other significant artists of his time, and he gained a reputation for his refined style and technical mastery. In 1897 he painted a portrait of King Chulalongkorn of Siam during his official visit to Belgium. Gailliard married Julie Constantine Maus in Brussels in 1898. They had a son, Jean-Jacques Gailliard, who also became an artist, designer and engraver. As Gailliard matured as an artist, his style remained rooted in realism and Luminism, though he also incorporated elements of Symbolism and Romanticism. His later works showed a deepening appreciation for mood and emotion, with a focus on portraits, landscapes, and scenes that often carried a sense of introspection. His paintings evoke a sense of calm and reflection, with light used not just to illuminate but to convey a deeper emotional or symbolic meaning. Gailliard went on to become the director of the Academy of Fine Arts of Saint Gilles, where, through the later efforts of his son, his reputation lives on. François Gailliard died in 1932 in Saint-Gilles, Brussels, where a street was named after him. He left behind a body of work that, while perhaps overshadowed by more radical movements of the time, remained respected for its craftsmanship and its commitment to realism and light. In the decades following his death, his work has been rediscovered and appreciated for its role in bridging the gap between Realism and the evolving movements of Impressionism and Luminism in Belgium. In 1957 he was given a retrospective tribute exhibition in the City Hall of Saint Gilles, organised by the Group d’Art Saint Gillois. Today, Gailliard’s paintings are celebrated for their quiet elegance, their masterful treatment of light, and their sensitive portrayal of everyday life. His work continues to be exhibited in Belgian art institutions, and he is regarded as one of the key figures of late 19th and early 20th century Belgian art. © Big Sky Fine Art “Le Petit Jardinier” (1887) by François Gailliard (also known as Franz or Frans Gailliard) is a captivating and significant oil on canvas painting, signed and dated by the artist in the lower right corner. In this evocative piece, a young boy, dressed in a blue apron over a striped shirt, stands confidently against a textured background of warm, earthy tones. His gaze is calm and proud. He holds a red geranium plant in a terracotta plant pot...

Signed oil on canvas landscape circa 1890 by French post impressionist painter Albert Charles Lebourg. The work depicts a view of a road to Hondouville, a commune in nothern France, ...

Landscape WIth Young Girls In A Garden Signed lower left Chirinos. Ramon Chirinos Venezuelan was born in 1950. Painter and draftsman. He studied drawing and painting with Professor ...

Adolphus Knell 19th-century English Warship at sea Owning in a 19th-century English fishing boat captured at sea circa 1880 by Adolphus Knell, with the sun rising or setting, offer...

Signed and dated in the right hand corner. Beautiful and impressive painting by the italian painter Giuseppe Raggio, both in size and atmosphere, representing a Lake in the countrys...

Dutch painter (late 19th century) - Landscape with windmill. 30 x 40 cm without frame, 42 x 52 cm with frame. Antique oil painting on panel, in gilded wooden frame (not signed). C...

Jean Paul SINIBALDI (Paris, 1857 - Bourg-en-Bresse, 1909) Elegant Parisian strolling in a public garden Oil on panel Signed lower left 37 x 23 cm A pupil of Alexandre Cabanel at t...

A charming late 19th-century genre scene depicting a lady in traditional dress spinning yarn beside a fire. The artist has rendered the figure in fine detail, paying close attention ...

Girl in restaurant in Paris. 19th century, oil on wood, 46x37,5 cm Eduardo Léon Garrido (1856-1949) Eduardo León Garrido was born in Madrid in 1856. He falls within the Group of Spaniards in Paris, as he warns in his style, with clear influences of Impressionism, somewhat reminiscent of Manet. He was the eldest son of Luis Garrido Fernandez, an official at the Ministry of Finance. His father would have liked him to embrace an administrative career but Eduardo León moved towards the artistic career. Trained in the Escuela Superior de Madrid, he painted his first work « the theft of the Sabine women », at only eighteen years old. Then he entered the Studio of Vicente Palmaroli (1834-1896). He will always consider the latter as his true teacher. In 1875, at the age of 19, he arrived in Paris to continue his studies with a scholarship from the city of Madrid. The same year he exhibited for the first time at the Salon where he presented a « Saint Jerome ». Very quickly he appears to be noticed by the famous merchant of the Rue Chaptal, Adolphe Goupil, for who he worked a few years. Notice that Vincent van Gogh worked for Goupil & Cie from 1869 till 1876 (his brother Theo entered in 1873. From 1876 on Garrido exhibits portraits and stylish, contemporary scenes. Catalogues indicates that he changed his dealer for the gallery Borniche around 1880. During the years 1882-1894 he did not expose anymore at the Salon (except once, in 1887, with the portrait of his friend, the painter Bréauté) . However, he painted a lot to feed the gallery of his dealer and a few galleries in Madrid. During that period he had also some student : Anne Blanche Dillaye (1851-1931), the american painter, studied with him from 1885 till 1887. From 1892 onwards it is the merchant Félix Gérard (one of the first dealers of work by Manet and Courbet), of the Rue Lafitte, which concludes with him an exclusive contract. He probably imposed to the artist to paint a different style. This sealed a radical departure from his 1880-1890 period, during which he painted the streets of Paris, café terraces, newspaper kiosks, and was likened to very fashionable Belle-Époque artists. From 1892 onwards, Garrido painted almost solely gallant scenes in the 18th century style, in keeping with current tastes and clients’ demands. Meanwhile, Garrido left Paris. In 1888 he established a studio on the banks of the Marne at La Varenne-Saint-Hilaire (Val-de-Marne near Paris). He married there in 1892 one of its models, Leonie Beck, and in 1893 their first child, Louis- Edouard, was born. He is quickly integrated into local life and became an art teacher in the Philotechnic Association of La Varenne. From 1895 onwards he presented new works at the Salon des Artistes Français and in 1914, he obtained the French citizenship, while two of his son went into battle (World War I). He continued painting, mainly landscapes, portraits of family members (children, granddaughter Odile born in 1923) and flowers. At the end of his life and because of poor eyesight he painted exclusively flower bouquets. In 1939, Eduardo León and his wife Leonie arrive at Caen. They settled with their son, Louis- Edouard, who resided there. Eduardo Leon Garrido died there in 1949. He is buried in the family burial at the cemetery Venoix in Caen. Some of his paintings can be seen in the Museo del Prado (Madrid), the Museo Carmen Thyssen (Málaga), the Museo Nacional de Bellas Artes (Argentina), Bilbao Fine Arts Museum and private collections such as the Bellver Collection in Sevilla. In the Musée Charles Léandre...

Portrait of a Young Lady wearing pink and a Turban headpiece by Henri-Charles Daudin (1864-1917, French) signed oil on wood panel, unframed board: 14 x 10.5 inches provenance: privat...

Summers Evening in the Highlands by Frank Hider (c. 1861–1933) signed, titled verso oil painting on canvas, framed framed: 17 x 25 inches canvas: 12 x 20 inches Provenance: Private ...

"Le Verdon à son entrée dans le lac de Sainte Croix – Coté Canyon", Provence, France “The Verdon at its entrance to Lake Sainte Croix - Coté Canyon”, Provence, France Oil on canvas s...

In this exquisite painting by Victor Ravet, we are transported to an elegant interior setting reminiscent of the grandeur of high-class homes. The focal point is a woman adorned in a shimmering pink gown, radiating grace and sophistication. Bathed in gentle light, her dress catches the glimmer, accentuating her beauty. She holds a treat for a dog in her hand, enticing the furry companion who stands on its hind legs in eager anticipation. The canine's eyes fixated on the delicious morsel, capturing a moment of playful interaction between the woman and her loyal companion. The scene takes on a narrative quality as the young woman's other hand delicately lifts a curtain, hinting at another room beyond. This subtle gesture adds depth to the composition, suggesting a world of hidden secrets and intriguing possibilities within the opulent surroundings. Victor Ravet took inspiration from the Dutch Golden Age painters of the 17th century, such as Vermeer, Jacob Ochtervelt, and Gerrit Dou. This homage to their style and subject matter pays tribute to the timeless allure of domestic scenes, capturing a slice of life in a bygone era. With meticulous attention to detail, Ravet masterfully recreates the textures and fabrics, immersing the viewer in the sumptuousness of the period. The soft play...

Signed, lower right: Fantin Provenance: Gustave Tempelaere (1840–1904), Paris; possibly by descent to his son: Julien Tempelaere (1876–1961) and with F. & J. Tempelaere, Paris, prob...

Oil on canvas 133,5 x 116 cm (161,3 x 146,5 cm avec l’encadrement) = 52.6 × 45.7 in (63.5 × 57.7 in with frame) Signed lower right A pile of luxurious fabrics, a velvet jacket and t...

Large oil painting by C. Delort entitled ‘The Wedding, Fontainebleau’ French, Late 19th Century Canvas: Height 90cm, width 130cm Frame: Height 109cm, width 148cm, depth 7cm This s...