Late 19th Century Still-life Paintings

This striking 19th-century painting signed "A. Malevolti 1877 Florence" is a fine example of the trompe l’oeil tradition, in which artists skillfully render imagery that "tricks the ...

Flowers & Birds Nest by Oliver Clare (English, 1853-1927) signed lower right oil on canvas, framed framed: 15.5 x 13.5 inches canvas: 8 x 5.5 inches Provenance: private collection, S...

Very finely painted 19th Century American realist still life painting. Oil on canvas. In excellent original condition. Handsomely framed in a period giltwood molding. Excellent c...

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...

Profusion of Flowers Classical Still Life Dutch School, 19th century oil on canvas, unframed canvas : 32 x 21 inches provenance: private collection condition: very good and sound con...

Still life of grapes, peaches and red currants on a stone ledge. Well presented in a gilt-effect frame with a crisp white mount. Signed 'E. Stanfield' to the lower right and dated 18...

A charming still life study depicting oysters, lobsters and a platter of fruit painted in a Dutch Golden Age style. Unsigned. Presented in a gilt frame. On canvas.

HUBERT HENRARD (Belgium 1816-1898) Still Life with Cornflower and Harebells Signed l.r.: Hubert Henrard Oil on canvas Framed 25 by 20.5 cm., 10 by 8 in. (frame size 41.5 by 36.5 c...

A large late 19th century still life of fruit, captured alongside a freshly shot pheasant. Signed' J. Urban' to the lower left. On canvas on stretchers.

Measures Painting 22.25 x 16.25 inches Framed 30.25 x 24.125 inches Hugo Possner was a 19th-century California artist known for his still-life paintings, particularly of fruit and f...

John White Alexander's graceful depictions of beautiful women earned him critical acclaim both in Europe and America. However, his career did not get off to an easy start—Alexander b...

A charming oil study of a birds nest full of eggs nestled between lilies, cornflowers, primroses and forget-me-nots. Painted with a delicate hand, he artist captures the intricate fl...

1-4064 Oil on canvas applied to board of a vintage French farmhouse illegibaly signed lower left set in a hand carved gilt wood frame

Still Life of Fruit French School, mid 19th century indistinctly signed lower right corner oil on canvas laid on board, framed framed: 27 x 35 inches board: 25 x 33 inches provenance...

Italian painter (19th-20th century) - Still life with vase of flowers. 83 x 62 cm without frame, 96.5 x 76.5 cm with frame. Antique oil painting on wood, in a wooden frame. Condit...

Initialed upper right, 'C.N.' (Danish, 19th Century) and dated 1898. A late nineteenth-century oil composed with a fresh palette and finely-observed detail. This elegant feline stud...

Artist/ School: David Hicks, British late 19th century, signed Title: The Scottish Highlands Medium: signed oil painting on canvas, oak wood framed Size: framed: 27.5 x 23.5 inch...

Jean Baptiste Olive This premiere piece shows his work and influence which he had with Antoine Vollon. It is in its museum quality gold leaf frame. The piece has been exhibited in many shows with the exhibition labels on the reverse testimony. Artwork Size: 22 x 18" (56 x 46cm) Artwork Size with Frame: 31 x 27" (79 x 69cm) Free Shipping French, 1848-1936 Jean-Baptiste Olive was undoubtedly one of the greatest masters of the Marseille school at the end of the 19th century, along with Paul Guigou...

This elegant still life painting showcases a vibrant floral arrangement in a glass vase, accompanied by delicate seashells on a draped surface. The composition balances the lively co...

Still Life is an artwork realized by an unknown artist in the late 19th Century. Oil on Canvas Mounted on Board. Original wooden frame. 18 x 13 cm. Good conditions

Original frame to the painting. Dramatic highlights and shadows.

Flowers in a White Bowl by Alfred Rouby (French 1849-1909) Rouby lived in Paris and trained under Pierre-Marie Beyle (1837-1902). signed oil on canvas, unframed canvas: 25.5 x 32 in...

Still Life of Roses French artist, late 19th century signed watercolour painting on thin board, unframed painting: 17 x 22 inches provenance: private collection, France condition: ve...

Incredible early American realist still life featuring pineapple and strawberries on a table. Oil on canvas. Incredible detail and masterfully painted. Signed illegibly, last n...

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. ...

Signed with the initials 'A. M. G.' Presented in a gilt frame with acanthus details and a panel slip. On canvas laid to board.

Outstanding English 19th century still life of fruit, a German Stein with silver top in an interior. Charles Thomas Bale was born in Soho, London in 1849, the son of Thomas Bale, a basket maker. His older brother Thomas Charles Bale (1831-1899) was an artist and picture restorer. He lived with his family in St James, Westminster and although little is known about his education, he would have undoubtedly received encouragement and drawing tuition from his brother. Bale started exhibiting in 1866 at the Institute of British Artists, Suffolk Street. He also exhibited at the Royal Academy in 1872, the same year he married Caroline Leathem. Together, they spent their married life in St Pancras. He specialized in still life paintings predominantly of fruit, but he frequently incorporated baskets, a homage to his family’s profession, as well as pottery, glass, and game. Bale’s work was influenced by the English still-life artists George Lance and William Duffield...

Charles Thomas Bale (British, 1845 - 1925) - Still life of fish and shrimp. 30.5 x 60.5 cm without frame, 50 x 80 cm with frame. Antique oil painting on canvas, in wooden frame. -...

Alfred Arthur BRUNEL DE NEUVILLE A wonderful painting for any situation whether it is as a statement, piece due to the undoubted quality, or as a piece for a kitchen/dining area due...

Signed landscape oil on canvas circa 1885 by French impressionist painter Jean Baptiste Armand Guillaumin. The work depicts a farmland with haystacks pilled up into the distance unde...

Edouard Michel Lançon (1854-c.1930), Nice still-life painting with flowers

French School, late 19th century Post Impressionist painter, circa 1880-1890 period oil on canvas, framed framed: 12.5 x 15 inches canvas: 7.75 x 10 inches provenance: private collec...

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...

Very High quality French or Flemish still life of fruit. Framed in its original 19th-century hand-made counted corner frame the painting is a wond...

Here for your consideration is an outstanding still life painting of plums and assorted fruits by the master English artist, Oliver Clare. Signed lower right. Circa 1890. In very g...

Very impressive antique American flower still life oil painting. Stunning and unique original frame. Oil on canvas. Painting size, 18H by 14L. Exceptional quality. Signe...

European painter (19th-20th century) - Still life with tray, flowers and fruit. 81 x 100cm. Oil on canvas, unframed. - Work signed lower left. Condition report: Original canvas. ...

Still Life is an artwork realized by an unknonwn artist in the late 19th Century. Oil on Board. 21 x 15 cm. Good conditions

Conditions ; Excellent condition, original canvas frame, no prior retouching or restauration, and no future restauration necessary. Original Victorian gilet frame in perfect conditio...

Still Life is an artwork realized by an unknown artist in the late 19th Century. Oil on Canvas Mounted on Board. 18 x 13 cm. Good conditions

Signed oil on board interior by French Les Nabis painter Edouard Vuillard. The work depicts a room with a large window, outside of which are bare trees. Inside the room are three chairs and a patterned rug on the floor. Signature: Signed lower left Dimensions: Framed: 20"x13" Unframed: 13"x6" Provenance: Prince Antoine Bibesco (1878-1951) - Special Envoy of Romania to the United States Piasa Encheres - Paris Lot no. 88 - 8th April 2005 - Sold EUR 118,000 hammer price Acquired at the above by Thomas Gibson Fine Art - London Acquired by the previous owner from Thomas Gibson Fine Art - TEFAF Maastricht November 2005 Literature: This work is included in the catalogue rasionne of the work of Edouard Vuillard under Ref Volume II No. 172 - illustrated and described Access to the raisonne online can be found at the Wildenstein Plattner Institute website. The work is described as being executed in the period 1899 to 1904 by Antoine Salomon and Guy Cogeval Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute. At first, Édouard Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner. About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye. In 1891, Édouard Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël. All too often, Édouard Vuillard is only admired in his role as the harmonist, the serene contemplator who combines an exquisite sense of nuance, rhythms, and values with the most acute observation. These singular investigations, these three-dimensional meditations including a table, a folding metal cot...

English Still Life Floral Display with Daffodils by Henry George Moon (British 1857-1905) on linen canvas, unstretched, unframed, unsigned measurements: canvas 10 x 12 inches prove...

Lucienne Lemercier was a French painter from the latter part of the 19th century through the early 20th century. She came from a family of creative people and took to painting at a...

This lovely British Victorian still life oil painting is by noted still life Birmingham artist George Clare. Painted circa1870 the composition is one of his favourites, a bird's nest...

Annie L. Morgan Still Life with Cherries, Grapes, and Pomegranate, circa 1880 Signed lower left Oil on canvas 20 x 16 inches

ISIDOR Rosenstock, born in Strasbourg in 1880, died in 1956. 20th century painter of landscapes and flowers, watercolor. He exhibited in Paris at the Salon of French Artists, the...

This lovely British Victorian still life oil painting is by noted still life painter George Clare. Painted circa1870 the composition is different fruit, including green and red grape...

Antique American still life oil painting of hanging fruit and grapes. Oil on board. Framed

An expatriate painter, noted for figurative paintings of peasants as well as classical works, Biblical scenes, mythological subjects, and still lifes, William Babcock was born in Bos...

Antique still life of flowers by W. J. Wainwright English, Late 19th Century Canvas: Height 127cm, width 101cm Frame: Height 144cm, wi...

Antique American oil painting. Oil on canvas. Signed. Framed. Measuring 21 by 25 inches overall and 14.5 by 18.5 painting alone.

Henri A. Hebert was born in Geneva in the 19th century. Genre painter and son of Jules Hebert both belonging to the Swiss school. The Geneva museum prese...

Edward Chalmers Leavitt (1842 - 1904) Rhode Island Artist Image Size: 36 x 28 Frame Size: 42.5 x 34.5 Newcomb Macklin Frame. Medium: Oil Dated 1889 "Duck Hunt" Mergansers Edward Chalmers Leavitt (1842 - 1904) Edward Chalmers Leavitt, artist, was born in Providence, Rhode Island, March 9, 1842, the son of Rev. Jonathan and Charlotte Esther (Stearns) Leavitt. His paternal ancestor was John Leavitt, who came to Massachusetts Bay in the first ship and settled in Hingham. On the maternal side, he is descended from John Alden and Priscilla Mullens, who came to Plymouth in the Mayflower. Leavitt was educated in private schools in Providence, and at Kimball Union Academy, Meriden, New Hampshire. During the Civil War in 1862 and 1863, he served in the navy on the U.S.S. Galena. In his profession of artist, Mr. Leavitt is especially noted as a painter of fruit, flowers and still life. He exhibited in the National Academy for several years and has made many successful exhibitions in Providence and Boston. He was a member of the Boston and Providence art clubs, and the Providence Press Club. He was also a member of the Grand Army of the Republic. In politics his proclivities are mainly Republican. He has been twice married: first, May 19, 1877, to Ellen M. Fuller; and second, April 22, 1880, to Elizabeth S. Chace. Submitted November 2004 by Edward Bentley, Art Collector and Researcher from Lansing, Michigan. Source is the publication "Men of Progress: Biographical Sketches and Portraits of Leaders in Business and Professional Life from the State of Rhode Island." New England magazine. 1896. Edward C. Leavitt, born in 1842, has been described as "Providence, Rhode Island's leading still-life painter" in the late 19th Century. (Zellman 324) His teacher, James Morgan Lewin, was a prominent still-life painter in Fall River, Massachusetts, a neighboring town. Leavitt, a detailed, sharp-focused, realistic painter, was in love with texture and light, and was prolific and successful, painting a variety of still life subjects including flowers, fruit and even fish and dead game animals. His objects, including costly antiques and household decorative items, were often placed on ornamental, gleaming surfaces. He was a frequent exhibitor at the National Academy of Design in the 1870s and 1890s. The artist, who died in 1904, moved from a position of success and popularity to being ignored for many years until the publication of William H. Gerdts and Russell Burke's American Still-Life Painting in 1971. It is uncertain whether this disastrous loss of respect took place because Leavitt's work declined in quality during the last decade of his life, or because he was a victim of the periodic shifts in taste and fashion that afflict the arts. Sources: Michael David Zellman, 300 Years of American Art Peter Hastings Falk, Editor, Who Was Who in American Art Biography from Roger King Fine Art Edward Leavitt was one of the leading still life artists of nineteenth century New England. He lived and worked in Providence, and studied with James Morgan Lewin, a leading painter of the Fall River School, which, in the late 19th Century, was one of the most important centers of still life painting. While Lewin branched out into other types of painting, Leavitt remained devoted to the art of the still life. His paintings are sharply focused, realistic, and carefully finished. Ornate objects such as urns, ewers, platters, cut glassware...

Work on canvas

Henri Léon Mabboux French, 1843-1895 Still Life with Steak Oil on canvas 23 ½ by 32 ½ in, w/ frame 29 by 38 ¼ in Signed upper left

Antique American realist flower still life oil painting. Oil on board, circa 1900. Unsigned. Image size, 10L x 14H. Housed in a period giltwood frame.

A Branch with Apples, watercolor and gouache on paper by Swedish artist Otto Strandman (1871–1960). The composition features a delicately rendered branch with green and reddish apple...

Henry John Livens was born in 1858, in St Pancras, London the direct descendant of Jan Liebens who had left his native Holland in the 1600’s to paint a portrait of the King and subse...