19th Century Interior Paintings

Oil on canvas mounted on panel depicting a study from JP Laurens painting. According to the Gospels, Pilate ordered the execution and crucifixion of this Jewish preacher at the end o...

William M. Hart (1823 - 1894) Interior of a Stable Oil on canvas 17 x 12 inches Provenance William Macbeth Gallery, New York Mrs. Mabel Brady Garvan Collection Christie's New York, Sporting Art, November 28, 1995, Lot 116 Ann Carter Stonesifer, Maryland Estate of above Brunk Auctions, Asheville, North Carolina, January 27 2018, Lot 777 Exhibited New York, The Metropolitan Museum of Art, Life in America, April 24 - October 29, 1939, no. 123, illustrated. New York, Macbeth Gallery, 1892: Sixtieth Anniversary Exhibition, April 1952, p. 5, no. 18. Literature Turner Reuter Jr, Animal and Sporting Artists in America, Middleburg, Virginia, 2008, p. 306. Gary Stiles, William Hart: Catalogue Raisonné and Artistic Biography, no. 1126, illustrated. It should be noted that the Francis Patrick Garvan and Mrs. Mabel Brady Garvan collection, of which this painting was a part of, was one of the foremost American Art collections and now makes up a large part of the Smithsonian American Art Museum and the Yale University Art Gallery collections. Born in 1823 in Paisley, Scotland, William Hart emigrated with his parents to the United States at the age of nine and settled in Albany, New York. It was here that Hart first began his artistic training when he was placed under the tutelage of Messrs, Eaton & Gilbert, the prestigious coach-makers from Troy, New York. During this time, Hart learned how to decorate coach panels, covering them with either landscapes or figurative compositions. At the age of seventeen, he was eagerly contemplating an artist’s profession. Consequently, he left the mechanical trade of coach-making and began expanding his artistic pursuits to more refined endeavors. Hart followed coach-making with decorating window shades and later developed an interest in portraiture. Around 1840, he established his first formal studio in his father’s woodshed in Troy. There, he created many likenesses of individuals, affording him a nominal income. Once, he remarked that he felt prouder over his first fee of five dollars for painting a head then for the larger sums he would command later in his career. Nevertheless, his wages from portraits during this early period proved insufficient. Thus, he expanded into landscape painting, allowing him to barter his works or sell them for modest prices. In 1842, Hart moved to Michigan in an attempt to further his success; portraiture remained his primary means of support. Unfortunately, his experiences in the West were disappointing. Hart spent three years living a rough existence until he finally returned to Albany in 1845. Upon his return, he fully devoted himself to the art of landscape painting. Despite his failing health, he worked diligently to perfect his skill until 1849 when he traveled abroad to his native land of Scotland. This trip was made possible through the generosity of his patron and advisor, Dr. Ormsby of Albany. For three years, he studied in the open-air, creating brilliant sketches of the Scottish Highlands and the surrounding British Isles. Returning to Albany once more in 1852, Hart enjoyed improved health and was reinvigorated with purpose. The following year, he moved to New York and opened a studio, promoting himself as a specialist in landscape painting. Hart became a regular contributor to the National Academy of Design. His works received a great deal of attention from artists and connoisseurs alike, all of whom praised him for his fresh, self-taught style. In 1855, he was designated as an associate of the National Academy of Design; three years later he was elected to Academician. In 1865, he was unanimously chosen to be the first president of the Brooklyn Academy of Design. It was during his tenure there that he delivered his famous lecture The Field and Easel, which emphasized the distinguishing principles of landscape art in America. Hart argued that landscape painters should express the “look of the place” being depicted.Critics during the 1870s noted his sensitive balance between capturing a strict “real” interpretation of nature and that of a more “ideal” sentimental tone. For instance, in 1869, Putnam Magazine noted that Hart brought back “exquisite studies” of the surrounding Tappan...

Oil Painting by William Maw Egley "The Coming of Age" 1826- 1916 London historical genre painter. Exhibited at the R.A, B.I and R.B.A and worked with William Powell Frith. In many im...

Adrien Dauzats (1804 - 1888) Tomb of Edward the Confessor at Westminster Abbey Oil on canvas 76 x 88 cm Provenance: Dauzats sale, n°82 (1 - 4 Feb 1869, Paris, Drouot), its sales stam...

Pair of Roman scenes attributed to Annibale Gatti. Inscribed on reverse "A Gatti". 19th century. Oil on board. Paintings measure 14.5" x 4.5" without frames.

Oil on panel Panel size: 19.25 x 12.5 inches Framed size: 31.25 x 25.5 inches Signed lower left

Unknown Artist (probably American, nineteenth century) Tavern Scene Oil on canvas, 15 x 12 inches Framed: 21 x 18 inches (approx.)

Alessandro Sani (Italian, 1856-1927) A Woman and Her Suitors Signed A. Sani (lr) Oil on canvas 26 x 21.5 inches (66 x 54.6 cm) (Framed 37 x 32 inches)

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...

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...

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...

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...

Robert Monell Pratt (1811-1880) was a Rare New york Artist whose artworks were commissioned by wealthy merchants and Exhibited in museums The current work was deaccessioned from the...

STEVENS Agapit (1848 – 1924) Reception at the Salon Oil on wood signed low left New Golden Frame Dim wood panel : 24 X 39 cm Dim Frame : 49 X 63 cm STEVENS Agapit (1848 – 1924) Be...

Architectural Floral Wallpaper Fragment 19th Century Italian hand painted floral design wallpaper lined with linen, in gold leaf wood framed as is.

Jules-Arsène Garnier (1847 - 1889) Scene from Rabelais' Third Book, How Panurge Speaks to the Sibyl of Panzoust Oil on canvas 38.5 x 46.5 cm (67 x 74.8 cm with frame) Signed lower r...

Oil on panel Panel size: 7 x 5 inches Signed and date '1859' lower left

The Musical Performance by Antonio Ermolao Paoletti An italian genre painting showcasing two boys playing a trumpet and a guitar for their sist...

Watercolour painting of Russian peasants feasting by Teikh Russian, 1872 Frame: Height 92cm, width 122cm, depth 6cm Sheet: Height 76cm, width 107cm This fine watercolour painting is...

Oil Painting by Antonio Ermolao Pauletti "Shared Confidences" 1834 - 1912 Italian painter of costume drama scenes, lived and worked in Venice where he painted for a number of houses...

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...

Friedrich Fehr (1862-1927) Antique Impressionist Painting of a High Society Lady in White Hat, reading In a Moorish Japonais Interior. Painting is very well done with Persian carpets...

Barend Blankert (December 30, 1941 – July 11, 2023) was a Dutch painter known for his quiet, melancholic works. Born in Kampen, he studied at the National Normal School for Art Teach...

Oil on canvas Canvas size: 8.75 x 6.5 inches Framed size: 13.5 x 11.5 inches Signed and dated '1869' lower right

Presentation by Georges Croegaert French born 1848 – 1923 Oil on panel Panel size: 16 x 13 inches Framed size: 24.25 x 21.25 inches Signed

Signed and dated '1890' lower right

Oil on canvas Canvas size: 24 x 30 inches Signed lower left

Portrait Of A German Pinscher, 19th Century EDWARD AISTROP (1880-1920) Circa 1900 portrait of the head of a German Pinscher, oil on board by Edward Airstrip. Important early depict...

This Italian 19th century oil on alabastrer painting depicts an opulent interior in full ancient neoclassical Pompeian style with people festing. The figurative inner scene is painted on a rectangular alabaster slab and housed in a wonderful giltbronze frame resting on casted arrow feet. This is a single section of a bigger surtout de table. You can now use it as a decorative centrepiece on a table or on a console or turn it into a wall decoration. We can provide framing options in this case. The characters enjoy a rich banquet in an elaborate interior, the room renderings...

Oil on canvas Canvas size: 22 x 18 inches Framed size: 23.75 x 25 inches Signed lower left

A pair of Chinese reverse glass painting representing women and a child in a garden pavillion. Original "Chinese Chippendale" framing. China for expor...

An elegantly dressed woman sits gazing out of a window with a book on her lap. A fine example of the type of contemplative genre scenes for which Birney was well-known. William Verp...

Description: Antonio Maria Fabres (1854-1936) was a Spanish painter known for his exquisite artworks depicting historical and Orientalist themes. Born in Barcelona, Fabres displayed ...

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...

Francesco Brunery (1849–1926) Portrait at the Artist's Workshop Oil on wood panel Old frame gilded with leaves Dim panel : 30 X 24 cm Dim frame : 54 X 46 cm Francesco Brunery (1849...

Oil on canvas Canvas size: 24 x 18.25 inches Framed size: 31.75 x 25.75 inches Signed lower right

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 Nippon (which means, “The Land of the Rising Sun”), Moore spent time in locales such as 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 depiction of an interior of a dwelling. The location of the view is unknown, but the presence of a rustic rail fence demarcating a yard bordering a distant house flanked by tall trees, shrubs and some blossoming fruit trees, suggests that the work likely portrays a building in a city suburb or a small village. In his book, Japanese Homes and Their Surroundings, Edward S. Morse (an American zoologist, orientalist, and “japanophile” who taught at Tokyo Imperial University from 1877 to 1879, and visited Japan again in 1891 and 1882) noted the “openness and accessibility of the Japanese house...

Austrian genre painting of children in a classroom by Rudolf Geyling Austrian, late 19th Century Frame: Height 94cm, width 126cm, depth 8cm Canvas: Height 75cm, width 101cm, depth 2c...

Oil on panel Panel size: 6 x 8 inches Framed size: 10.25 x 12.25 inches Signed and date '1860' lower right

JUAN GIMÉNEZ MARTÍN Spanish 1855 - 1901 THE MANDOLIN SERENADE signed & located "Gimenez-Martin, Roma" lower left watercolour on cardboard 21-1/4 x ...

A pair of Chinese reverse glass painting representing women and a child in a garden pavillion. Original "Chinese Chippendale" framing. China for export, circa 1830.

CUGNOTET Edgard (19th Century) Portrait of two Children Oil on canvas signed low left and dated 1884 Frame gilded with leaves Dim canvas : 138 X 100 cm Dim Frame : 162 X 122 cm CUGNOTET Edgard Ferdinand Ludovic (19th Century) French painter 19th Century born in Dijon Figures, Portraits, Landscapes He was taught by François Édouard PICOT (1786-1868) royal Academy of Anvers. He exhibited at the Salon de Paris between 1868 and 1884. Museum : Langres « the hurdy gurdy...

ROGELIO DE EGUSQUIZA Y BARRENA LADY IN YELLOW signed "R. Egusquiza" (lower right) oil on panel 28-5/8 X 20-3/4 inches (72.5 X 52.7 cm.) framed: 32-5/8 X 24-3/4 inches (82.5 X 62.5 cm.) Rogelio de Egusquiza y Barrena (1845 – 10 February 1915) was a Spanish painter, known for his friendship with the German composer Richard Wagner, whose works he helped make familiar in Spain He was born in El Astillero, into a well-to-do family. He studied in Madrid and with Léon Bonnat at the École des Beaux-Arts in Paris. In 1868, after travelling and participating several times in the National Exhibition of Fine Arts, he returned to Paris and settled there. At first, he painted historical scenes, but later turned to genre scenes and portraits in the Academic style. Following the death of Marià Fortuny, he moved to Rome at the invitation of the Madrazos, Raimundo and Ricardo, taking Fortuny's place at their studio through 1875 and attending classes at the Spanish Academy in Rome. He heard Wagner's music for the first time in 1876, after returning to Paris. Three years later, he travelled to Munich to hear a performance of The Ring of the Nibelungen. His enthusiasm for what he heard led him to go to Bayreuth, where he introduced himself to Wagner and became his friend. In the following years, he and Wagner got together again several times; in Venice (1880), Berlín (1881) and Bayreuth (1882); where he was a guest at the premiere of Parsifal. After his first meeting with Wagner, he decided to devote his career to doing works on Wagnerian themes; mostly portraits of the characters rather than specific scenes. During his visits to Germany, he also created portraits of Arthur Schopenhauer (posthumous) and King Ludwig II...

Toulot Jules (1863-nc) Pianist officer in the Second Empire period Oil on canvas signed low right Old frame regilded with gold leaves Dim canvas : 65 X 43 cm Dim frame : 90 X 67 cm TOULOT Jules (1863-nc) French painter 19th century Born 11th November 1863 in Champeinx (Puy de Dôme...

A beautiful 19th Century Northern European School genre, as a young gentleman poses a question to the young lady, as the father looks on. All is original and with the period frame. A...

Oil on canvas Canvas size: 20 x 30 inches Framed size: 30 x 39.5 inches Signed lower left

Oil on canvas Canvas size: 16 x 13 inches Framed size: 18.5 x 22 inches Signed lower right

Pair of French Neoclassical oil paintings by Dubost French, 1809/11 Frame: Height 70.5cm, width 86cm, depth 9cm Panel: Height 45cm, width 61c...

Oil on canvas Canvas size: 12 x 9 inches Framed size: 19 x 15.75 inches Signed upper left

Oil on panel Panel size: 11.75 x 18 inches Signed lower right

Oil on panel Panel size: 8.75 x 7 inches Framed size: 13.75 x 11.75 inches Signed upper left

Oil on panel Panel size: 4.75 x 6 inches each Framed size: 9.25 x 11 inches each Monogrammed and dates '66

Oil on canvas Canvas size: 24 x 18 inches Signed lower right

Oil on board Board size: 8 x 6 inches Framed size: 15 x 13 inches Signed and dated '56 lower right

Oil on canvas Canvas size: 27 x 24 inches Framed size: 33 x 30.5 inches Signed and date '87 lower left

Middle Eastern Indoor Scene, watercolor of a man and a reclining woman. Artist: Giuseppe Aureli (1858 - 1929) Origin: Italian Date: 19th Century Medium...

Title: Middle Eastern Indoor Scene Artist: Amedeo Simonetti (1874 - 1922) Origin: Italian Date: 19th Century Medium: Watercolor Signature: Signed ‘Amedeo...

Oil on panel Panel size: 18 x 15 inches Framed size: 22 x 19 inches Signed lower right

Oil on panel Panel size: 9.5 x 12.5 inches Framed size: 14.75 x 17.75 inches Signed and dated 1870 lower right