Late 19th Century Landscape Paintings

A romantic landscape depicting a bridge spanning a tranquil river, with a rocky mountain rising in the distance beyond. Signed and dated to the lower left. Well presented in a gilt-e...

This intimate plein air study by Olof Arborelius captures the quiet beauty of a sunlit forest edge reflected in still water. The confident, spontaneous brushwork and delicate handlin...

Christian Zacho Danish, 1843-1913 Deer in the Pasture Oil on canvas 16 ½ by 24 ½ in, w/ frame 25 by 32 ¾ in Signed lower right Zacho studied at the Academy of Beaux- Arts in Copenh...

Blackberry Picking Victorian oil painting by Thomas James Purchas (British 1855-1930) with name plaque to frame oil painting on board, framed within ornate scrolled gilt frame framed...

Hjalmar Sandberg (1847-1888) Sweden Harvest Time, 1876 oil on canvas canvas size 14.96 x 18.11 inches (38 x 46 cm) frame 18.70 x 25.59 inches (47.5 ...

The Woodland Path circle of George Turner (English 1841-1910) oil painting on canvas, framed framed: 19 x 25.5 inches canvas: 14 x 21.5 inches condition: very good provenance: privat...

A charming late 19th century oil depicting a lady in red with a horse and cart. Behind sits a quaint country cottage nestled amongst lush green trees. Unsigned. Well presented in a g...

Antique American modernist nocturnal street scene oil painting by Jerome Myers (1867 - 1940). Oil on board. Framed. Signed. Measuring 16 by 18 inches overall and 9 by 11 painting al...

Alfred Stevens Brussels 1823 – 1906 Paris Belgian Painter 'Moonlight on the Sea' Signature: signed lower right and dated 1892 ‘A Stevens 92' Medium: oil on canvas Dimensions: image size 81 x 65 cm, frame size 97,5 x 81,5 cm Biography: Alfred Stevens was born in Brussels, into a family deeply connected with the visual arts. His older brother Joseph (1816–1892) and his son Léopold (1866–1935) were both painters, while his other brother Arthur (1825–1899) was an art dealer and critic. His father, a veteran of the Napoleonic wars under the army of William I of the Netherlands, was an art collector with a notable collection of watercolors by Eugène Delacroix and other esteemed artists. Stevens’s upbringing was influenced by the environment of Café de l’Amitié, run by his maternal grandparents in Brussels, which served as a meeting place for prominent figures from the political, literary, and artistic spheres. Following the death of his father in 1837, Stevens left middle school to enroll at the Académie Royale des Beaux-Arts in Brussels. There, he came under the tutelage of François Navez, a Neo-Classical painter and former student of Jacques-Louis David, who was both the director of the academy and an old acquaintance of Stevens’s grandfather. Following a traditional curriculum, he initially drew from casts of classical sculptures and later transitioned to drawing from live models. In 1843, Stevens journeyed to Paris to join his already established brother, Joseph. He gained admission to the École des Beaux-Arts, the preeminent art school in Paris, although claims of him being a student of the director, Jean Auguste Dominique Ingres, are likely unfounded. One of his early works, The Pardon or Absolution (Hermitage, St. Petersburg), signed and dated 1849, showcased his mastery of a conventional naturalistic style influenced by 17th-century Dutch genre painting. Stevens’s work was first publicly exhibited in 1851, when three of his paintings were featured at the Brussels Salon. He received a third-class medal at the Paris Salon in 1853, followed by a second-class medal at the Universal Exposition in Paris in 1855. His painting Ce qu’on appelle le vagabondage (Musée d’Orsay, Paris) garnered attention from Napoleon III, leading to a change in policy regarding the use of soldiers to remove the poor from the streets. Two other paintings displayed at the Salon in Antwerp in the same year, Chez soi or At Home and The Painter and his Model, introduced subjects from “la vie moderne” that became characteristic of his oeuvre: elegant young women dressed in contemporary fashion and artists in their studios. In 1857, Stevens made his first significant sale to a private collector when Consolation was purchased for a rumored 6,000 francs by the Berlin collector and dealer Ravéné. He and his brother also became part of the artistic milieu in Paris, frequenting salons hosted by Princess Mathilde and popular cafes, where they mingled with the likes of the Goncourt brothers, Théophile Gautier, and Alexandre Dumas. Stevens married Fanny Juliette Albertine Marie Hortense Blanc (1836-1891), a member of a wealthy Belgian family and a long-time acquaintance of the Stevens family, in 1858. The wedding was witnessed by the renowned painter Eugène Delacroix. The couple had four children: Leopold, Jean, Catherine, and Pierre. Stevens depicted his wife in numerous portraits, including Regrets and Memories. After her passing, he expressed enduring grief at her loss. During the 1860s, Stevens rose...

This beautiful oil sketch, painted en plein air, was created by Swedish artist Olof Arborelius during his stay in Italy from the fall of 1870 until January 1872. The painting features a charming depiction of ancient Roman ruins—either a city wall or an aqueduct—surrounded by lush trees under the clear Italian sky. With loose brushstrokes and a soft, atmospheric touch, the artist captures the natural light and Mediterranean ambiance, demonstrating his profound understanding of plein air painting. Arborelius was heavily influenced by French artistic trends of the time, particularly in his color sensitivity and study of light and air. His time in Italy was critical for his artistic development, marking the height of his mastery in capturing the delicate interplay of light, color, and atmosphere. Several of Arborelius’ Italian oil studies, including similar small-format plein air works, were later exhibited at various prestigious exhibitions. These include the Svenska konstnärernas förening memorial exhibition in 1910, the Svensk-Franska Konstgalleriet in Stockholm in 1931, and a memorial exhibition at the Nationalmuseum in 1943. Viggo Loos praised Arborelius' Italian studies for their "sensitivity to color" and "intense exploration of light and atmosphere," highlighting these works as a high point in the artist's career. Loos emphasized how Arborelius skillfully captured the essence of the Mediterranean landscape, using vibrant tones and delicate brushwork to convey the interplay of light and air. Moreover, Folke Holmér, the curator of Arborelius’ 1943 memorial exhibition, described his Italian sketches as some of the most painterly pieces of his early production, worthy of comparison with the best works Swedish artists had produced in Italy. Among his notable works in major collections are three of his Italian oil studies held at the Nationalmuseum: View from Rome Towards the Arch of Septimius Severus...

Antique American realist cow farm landscape oil painting. Oil on canvas. Framed. Measuring: 29 by 41 inches overall, and 24 by 36 painting alone.. In excellent original condition. ...

This oil painting depicts a charming historical view of Hamburg, capturing a European street scene with traditional half-timbered architecture and historic buildings rendered in warm...

Conditions: Very good condition. In its original frame and glass. A similar composition, but less accomplished, is currently part of the collections of the Musée des Invalides. Signed at the bottom and dated. Complementary shipping worlwide by DHL, FEDEX. Returning customers : 25% OFF listed price on all Belfort SAS catalogue. Description: This work of art, framed by a majestic golden frame, accurately depicts a group of soldiers in 19th-century uniforms. Every detail, from the golden buttons to the epaulettes, finely illustrates the military equipment of the time. Behind them stands a sober architectural structure, evoking a barracks or a guard post. The color palette, dominated by earthy tones and dark shades of blue, gives a solemn and dignified atmosphere to the scene. The disposition of the soldiers, turned towards the artist, with an attitude both alert and relaxed, captures a moment of daily military life. This painting, with its attention to detail and harmonious composition, transports the viewer into a bygone era, inviting reflection on history and military traditions. EDOUARD DETAILLE The emperor is accompanied by his aide-de-camp, Colonel Castelnau, and Marshal Canrobert. In a gilded wooden frame, under a Marie Louise blue background. Life and time Born in 1848 into a close-knit bourgeois family, Édouard Detaille, the eldest of eight children, displayed early talent in drawing. “He was a prodigy,” notes François Robichon. By the age of thirteen, he exhibited an astonishing surety of hand and a phenomenal sense of composition. His father, connected to Horace Vernet, encouraged him. At seventeen, after passing his baccalaureate, he entered Meissonier’s studio. This relationship, which developed into mutual affection, spared Detaille the academic detour through the École des Beaux-Arts. Rather than dictating an official art style, Meissonier, at the peak of his fame, traveled with his students, introducing them to the nuances of Titian, Rembrandt, and Rubens in Brussels and Lille. In 1867, the Paris of “free trade” dominated the world through the technological revolutions of the Universal Exhibition, and the amiable young man, striking in appearance, discovered the salon of Princess Mathilde and the theater of Dumas fils. He even approached the Empress, noting in his journals, “Not bad, the Empress.” This observation encapsulated Detaille: he had no doubts about his talent, cultivated panache, enjoyed the company of beautiful women, and aimed to conquer the circles of power without sacrificing his freedom. From childhood, he listened to his calling: “Before I could read, I could guess the subjects of battles, the names of famous generals, the weapons of officers and soldiers from the images I admired in the books of Norvins and Laurent de l'Ardèche.” He mingled with collectors and regularly attended military reviews on the Champs-Élysées. His first painting exhibited at the Salon in 1868, “La Halte de tambours,” was praised by critics who immediately recognized “a remarkable truth of observation and simplicity of effect.” The purchase of this work by Princess Mathilde, cousin of Emperor Louis-Napoleon, made Detaille, at twenty, an envied celebrity known to Sainte-Beuve, Théophile Gautier, the Goncourt brothers, and Flaubert. The young artist’s humanistic vision contrasted with the compositions of his predecessors, depicting soldiers in maneuvers, contemplative and resigned as war loomed. **The Combatant’s Vision** The Siege of Paris, where he nearly lost his life in 1870, and the deaths of two brothers in that defeat darkened his outlook. From 1871 onward, Detaille no longer concealed the cruelties of war: German riflemen mowed down by machine gun fire, cavalrymen and panicked horses caught in ambushes, fields plowed by shells strewn with dead animals. The unvarnished tragedy: “It is an absolute fact that no painter has ever rendered a battlefield covered with corpses as it is,” commented Jules Claretie. The fallen bodies still bear the appearance of life in their frozen rigidity. Detaille’s testimony of the devastating defeat and the catastrophic effects of the first total war in history was not a celebration of heroism but a lament, a “lesson in darkness.” “From war, once considered the supreme effort of human genius, we now see only melancholy and horrors,” judged one writer in response to his canvases. “Detaille experienced the reality of combat at a young age during a war that foreshadowed the two world conflicts of the 20th century,” explains François Robichon. With great realism, Detaille painted war from the perspective of the combatant. He introduced a humanity and a critical lucidity regarding the evolution of warfare. His works intensely captured the violence and firepower of new weapons like machine guns. Before he turned thirty, Detaille had become a chronicler of these painful years. He exhibited, as a critic noted, a “striking portrait of modern war” that both French civilians and soldiers had experienced firsthand. He embodied a youth humiliated and eager for revenge. Yet this scrupulous artist also remembered, in his expansive landscapes—from the chalky plateaus of Île-de-France to the Russian plains—the lessons of Corot and Courbet. Manet was not far off. “I wouldn’t want my art to be reduced to mere patriotic art,” he asserted. “A system I often employ and love is to first execute the landscape, very effective, very tight, based on nature…” Echoing Meissonier’s advice: “Always nature, always nature!” Detaille remained close to this father figure, constructing a grand townhouse next to his mentor’s studio at 129 boulevard Malesherbes at the age of 26, having purchased 425 m² of land from the Pereire brothers. He even chose the same architect as Meissonier: Paul Boesvilwald. A bachelor and incorrigible seducer, the painter welcomed his conquests, including Valtesse de la Bigne, amidst his collections, having built his studio in the courtyard. Diplomatic Actor As Detaille’s fame grew, his Malesherbes townhouse quickly became a gathering place for foreign princes, politicians, and heads of state, where Juliette Adam, Léon Gambetta’s muse, offered him valuable advice. The Prince of Wales, the future Edward VII, developed a genuine friendship with the painter. “This fervent patriot, friend of Déroulède, was extraordinarily open to the world,” recounts François Robichon. In just a few years, he gained considerable social, cultural, and international stature. Received at Windsor, at the English court, he was close to Tsar Alexander III and a great friend of Félix Faure. In this capacity, Detaille played a decisive role in the Entente Cordiale, signed in 1904 between England and France, and in the Franco-Russian alliance of 1894, thereby contributing to the Triple Entente among the three powers. An engaged witness of his time—associated with the birth of the “Ligue des Patriotes” alongside Alphonse de Neuville...

Stunning naturalist landscape by Karl Bock (German, 1873-1940) in the style of and "after" (Paul Franz Flickel German, 1852-1903) . Signed ("K. Bock n. P. F...

Edward Antoon Portielje (1861 - 1949), C.H. Hermans, possibly his second wife Rosa Hermans Dutch riverlandscape with windmill Signed upperleft corner 'Edward Portielje' and lowerright corner C.H. Hermans 1880 Oil on panel Dimensions excl. frame: 17 x 26 cm. Dimensions incl. frame: 34 x 43 cm. Edward Antoon Portielje (8 February 1861, Antwerp – 18 December 1949, Antwerp) was a Belgian genre painter. He was born to the painter Jan Portielje and his wife Eulalie (née Lemaire, 1828–1903). His older brother, Gerard, was also a genre painter. His first art lessons came from his father. Then he attended the Royal Atheneum and, from 1873, took after-school classes at the Royal Academy of Fine Arts with Edward Dujardin. From 1877 to 1881, he was a full-time student at the Academy under the tutelage of Polydore Beaufaux, Charles Verlat and Nicaise de Keyser...

A delightful oil painting on canvas by Newlyn listed artist Samuel Lamorna Birch. Painted circa 1895 it depicts The River Lune and a fisherman near Lancaster and it is a stunning example of early British Impressionism. One of the best early works by this artist, the colours are just beautiful, very vibrant and in gallery condition. Signed lower right. Provenance. Midlands collection. Condition. Oil on canvas, 30 inches by 20 inches unframed and in excellent condition. Housed in a fine period gallery frame which enhances the colours in the picture, 37 by 27 inches framed. In excellent condition. Samuel John Lamorna Birch (1869-1955) the leading figure of the second flowering of the Newlyn School, Samuel John Birch was so smitten with the Lamorna valley...

Outstanding Late Victorian English river harvest landscape. John Horace Hooper lived in London. Landscape painter. English School. A prolific artist evidenced by the frequent appea...

George Henry Smillie (1840 - 1921) Stone Wall, Autumn, 1879 Oil on canvas 9 1/2 x 15 inches Signed and dated lower right Provenance: Skinner, Boston, September 19, 2014, Lot 389 The career of George Smillie (1840-1921) followed the arc of nineteenth-century U.S. landscape painting. Trained in the Hudson River School tradition, Smillie successfully adapted to changing U.S. tastes and growing interest in European trends. In the late 1800s, he moved to tonalist paintings full of brushwork and influenced by French Barbizon painting. By the end of his career, he had lightened his palette to produce works similar to those of the U.S. impressionists. Yet in all styles, he was never less than competent, and his tonalist work is among the best produced in the United States. Like many nineteenth-century painters, George Smillie’s artistic training began with the study of printing. His father, James Smillie...

This luminous 19th century oil on canvas captures a serene woodland path dappled with golden afternoon light. The artist’s masterful brushwork conveys both the weight and texture of ...

The present painting, Autumn mood in the garden by the female artist Elisabeth Warling (1858–1915) is a fine example of her impressionistic works. Signed "Elisabeth Warling" and with...

Artist/ School: English School, late 19th/ early 20th century. The painting came from a large collection of works by one artist. A very few of them are signed what looks to be 'F. Wa...

Springtime, Burnham by Daniel Sherrin (British 1868-1940) oil on board, framed inscribed verso titled to frame framed: 16 x 14 inches board : 10 x 8 inches Provenance: private collec...

Sunset by the River English School, late 19th century signed "T. Woods" signed oil on board, framed framed: 19 x 25 inches board: 18 x 24 inches Provenance: private collection, UK Co...

Here is a fine, early American Impressionist painting of a Venetian Canal. The painting is oil on canvass measuring 36" x 28". Overall framed dimensions are 44" x 35". The painting i...

European painter (late 19th century) - Grazing cows. 61 x 51 cm without frame, 66 x 56 cm with frame. Antique oil painting on canvas, in a gilded wooden frame. - Work signed indis...

"Waiting for Master" British School, 19th century oil painting on canvas, framed canvas: 26 x 32 inches framed: 29 x 35 inches Lovely quality Victorian oil painting, painted on thi...

European painter (late 19th century) - Landscape with Mill and Stream. 41 x 61 cm unframed, 46 x 66 cm with frame. Antique oil painting on canvas, in a gilded wooden frame (not sig...

Loch Tay, Perthshire Scottish School, late 19th century indistinctly signed oil painting on canvas, framed framed: 11.5 x 17 inches canvas: 10 x 16inches prov...

This gorgeous large Scottish Victorian Impressionist oil painting is by noted artist Robert McGowan Coventry RSA, also known as Robert Coventry. Painted circa 1890 the composition is...

Leon Hatot (French 1883-1953) French Impressionist oil painting on thick paper, unframed. painting: 10.5 x 18 inches. very good and ready to be enjoyed. all the paintings we have f...

Tranquil Pastures English School, 19th century oil painting on canvas, unframed canvas: 30 x 40 inches provenance: private collection, England condition: overall very good - small ...

Large summer landscape by the Swedish artist Alfred Thörne (1850–1916). A footpath leads toward sunlit meadows and trees along the edge of the canal/lake; in the distance a farmstead...

A charming little classical landscape capturing a figure fishing in the river. Well presented in an ornate gilt-effect frame. Signed. On canvas on stretchers.

Provenance The artist; By descent in the family to the artist's great-grandaughter, until 2023 Born on a small island near Martha's Vineyard, R. Swain Gifford and his family moved t...

William Hart (1823 - 1894) Pastoral Landscape, 1877 Oil on canvas 9 1/2 x 14 1/2 inches Signed and dated lower left Born in Paisley, Scotland, William Ha...

Andrew Mac Callum (British, 1821-1902) Title: The Great Pyramids of Giza Medium: Oil on canvas Size: 36 in x 52 in Markings: Signed lower right and dated 1878 Andrew MacCallum was ...

Frank Myers Boggs (1855-1926) A wonderful exhibited piece depicting the busy life of Paris at the end of the nineteenth century. It was exhibited as is shown on the reverse shot in the photos. It is in the original gold leaf frame. Signed and inscribed on the reverse. The exhibition label is on the frame. Oil on Board Painting Size: 21 x 26" (53 x 66cm) Outside Frame Size : 32 x 37" (81 x 94cm) The Impressionist Frank Myers Boggs spent his formative and mature years abroad and in 1923 became a naturalized French citizen. He was born in Springfield, Ohio...

Edgar Longstaffe (1852–1933) Children Playing by a Lakeside landscape , oil on canvas, circa 1890 This serene and luminous landscape by Edgar Longstaffe, painted circa 1890, capture...

Beautiful mountain landscape painting with river by notable Scottish artist John D. Taylor Oil on canvas board 9.5" x 13.5" unframed, 15" x 19.5" ...

Work on canvas Gray wooden frame 64.5 x 114.5 x 4 cm

This rare and impressive depiction of a white capped mountain and Indian encampment from the 1870's is a great image for a library or rustic room. Exquisitely painted, Young focused...

Edmond YON (Montmartre 1841 – Paris 1897) Riverbank with birds Oil on canvas H. 79.5 cm; L. 130 cm Signed lower right and dated 1876 Original frame Exhibition: 1876, Salon des Artis...

Artist/ School: English School, late 19th/ early 20th century. The painting came from a large collection of works by one artist. A very few of them are signed what looks to be 'F. Wa...

This is an unsigned, but rare, late 19th century oil on canvas of a view of the French Broad River in North Carolina. It is amongst the world’s oldest rivers. The scene depicted is mountainous and the water is swiftly moving. This would put the location at the northern end of its course, north of Asheville and near the North Carolina and Tennessee border. Much like the Hudson River School in...

Signed oil on board landscape by French impressionist painter Maximilien Luce. The work depicts a view of rolling French countryside on a summer's day with white clouds contrasting t...

Outstanding English Impressionist landscape with figures strolling under trees with the sea beyond. Joseph Vickers de Ville was a son of the farmers Joseph and Mary Deville. He was...

A mother and daughter walk along a wooded track in this charming late nineteenth-century countryside scene by John Joseph Barker of Bath (1824-1904). Signed to the lower left. Well p...

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

A large impressive original Victorian oil painting which was painted circa 1890 by Scottish listed artist Joseph Farquharson RA. This Romantic Scottish landscape view is in fine condition and is framed in a Victorian gilt gallery frame. He was a noted landscape painter of snow scenes around Finzean in Aberdeenshire and often painted at dusk or dawn. This painting however depicts a sublime Scottish river landscape with a river and the mountains in the background. It is a very expansive panoramic view. A large painting in good condition and a lovely example of a 19th century Scottish landscape. Similar examples of his paintings are on display in Kelvingrove Art Gallery Glasgow and the National Gallery Scotland. Signed Joseph Farquharson. Provenance. Scottish collection. Condition. Oil on canvas. Image size is 37 inches by 27 inches, fine condition. Framed size is 44 by 34 inches, housed in a gilt gallery frame. Excellent condition. Born in Edinburgh, Scotland in 1846, Joseph Farquharson combined a long and prolific career as a painter with his inherited role as a Scottish laird. He painted in both oils and water colors. His mother, a celebrated beauty, was an Ainslie. His early days were spent in his father's house in Northumberland Street below Queen Street Gardens and later at Eaton Terrace beyond the Dean Bridge, Edinburgh and at Finzean. His father Francis was a doctor and laird of Finzean in Aberdeenshire. Joseph was educated in Edinburgh and permitted by his father to paint only on Saturdays using his father’s paint box. When Joseph reached the age of 12, Francis Farquharson bought his son his first paints he could call his own and only a year later he exhibited his first painting at the Royal Scottish Academy. His first major portrait was of ' Miss Alice...

Mary Kollock (American, 1840-1911) [illegible] France, 1892 Oil on canvas 30 1/2 x 23 1/4 in. Frame: 36 1/2 x 33 x 2 7/8 in. Signed, titled, and dated lower right Landscape, still l...

Late 19th Century Original English Landscape of a Cottage in Cambria Wonderful original antique painting of a thatched cottage in Cambria by...

Signed and dated neo-impressionist landscape oil on canvas by French painter Leo Marie Gausson. Gausson painted this picturesque view of then fields above Triel-sur-Seine, a small to...

This exquisite painting by renowned Victorian English artist Oliver Clare beautifully captures a vibrant still life of fruit on a mossy bank. The composition is a testament to Clar...

Charles Henry Miller (American, 1842-1922) Untitled (Sunrise on the Farm), c. 1885 Oil on canvas 13 x 24 in. Signed lower right: Chas. H. Miller, N.A. Charles Henry Miller was a noted artist and painter of landscapes from Long Island, New York. The American poet Bayard Taylor called him, "The artistic discoverer of the little continent of Long Island." Miller was educated at Mount Washington Collegiate Institute, and graduated in medicine at the New York Homeopathic Institute in 1864. Before his graduation, he had occasionally painted pictures, and in 1860 he exhibited The Challenge Accepted at the National Academy of Design, in New York City. He lived in Queens at the summer estate, Queenslawn, originally purchased by his parents. He went abroad in 1864 and again in 1867, and was a pupil in the Bavarian Royal Academy at Munich under the instruction of Adolf Lier...

"Harvest Scene With Farmer and Scythe, 1886" is a captivating painting by the Swedish artist Alfred Thörne. Created during his travels through Germany, France, Italy, and Belgium bet...

Arvid Mauritz Lindström (1849–1923), a Fall Landscape The painting presents a vast autumn landscape illuminated by the soft glow of a setting sun. At the center, a stream winds its w...

Early 20th Century English Autumn river landscape with cows drinking from a stream. Abraham Hulk Junior was born in the Netherlands in 1851 to ren...

Woodland Scene, 1885 Oil on canvas, 38 x 50 inches (96.5 x 127 cm) Framed dimensions: 49 3/8 x 61 3/8 inches Signed and dated lower left: W Bliss Baker 1885 Provenance Albert E Clue...

John Ross Key Sailboats in a Bay Signed lower right Oil on canvas 15 x 26 inches Provenance Private collection, St. Simon's Island, Georgia Private Collection, by descent Private Co...

The Monte-Carlo Opera House & Promenade French School, late 19th century signed watercolor on artists paper, unframed painting: 11 x 18.5 inches provenance: private collection, the F...