Late 19th Century Paintings

Louis-Emile Adan French, 1839-1937 A Lady in a Garden Oil on board 9 ⅝ by 13 in, w/ frame 14 ⅞ by 18 ⅛ in Signed lower left French painter Louis-Emile Adan was born in Paris. Little is known of his earliest introduction to the visual arts, but he was admitted to the École des Beaux-Arts, where he initially studied with François-Edouard Picot (1786 – 1866), a successful painter who had himself been part of Jacques-Louis David’s studio, and who was one of the most popular professors at the École. Adan’s work during the 1860s embraced the mainstream tradition of neo-classicism espoused by J.A.D. Ingres (1780-1867). Simultaneously, Adan seems to have taken an interest in painting elegant young women. These images had considerable popular appeal, especially when they featured fashionable clothing in the latest styles. The decade of the 1880s was very busy, both with annual painting submissions to the Salon and with an expanding role as a book illustrator. Toward the end of the decade, Adan’s painting changed significantly. His earlier curiosity about Realist themes took on a new urgency as the artist explored the rigors of rural life. By the middle of the 1880s, Adan was actively engaged in the naturalist movement. Adan’s submissions for the 1889 Exposition Universelle in Paris showcased his naturalist aesthetic. His reputation as a distinguished painter was further recognized in 1892 when he became a Chevalier of the Legion of Honor, and again in 1900 when he was asked to sit on the jury of both the Salon and the Salon des Artistes Français. Museums: Macon, Agen, Pau, Alençon, Lyon, Mulhouse, Rouen, Nice, Péronne, Nantes, Pfister Art...

This is a stunning artwork entitled a ‘Landscape with Highland Cattle’. It is circa 20th Century and is an original oil on canvas painting by the English Artist William Perring Holly...

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

Félix Henri Bracquemond was a French painter, etcher, and printmaker. He played a key role in the revival of printmaking, encouraging artists such as Édouard Manet, Edgar Degas and C...

Imogen Mary Collier (1873-1952) Portrait of Jerry and Dot Circa. 1895-1900 Oil on Canvas 49 X 42.5 Imogen Mary Collier (1873-1952) was born in 1873 at Whitchurch, Devon, England. She was the daughter of Mortimer John Collier...

GODCHAUX Emile (1860) Big Composition of roses with Oil on canvas signed low right Frame gilded with gold leaves Dim canvas : 90 X 129 cm Dim frame : 118 x 159 cm GODCHAUX Emile (1860 - nc) French School - 19th century - Born in 1860 Painter of genre scenes, landscapes, waterscapes, marines, flowers, still lives. He sold his paintings on the public place, and sometimes in Lotteries. He is related to Alfred Godchaux...

Napoleone Parisani (Camerino 1853 - Rome 1932), Portrait of a Lady Oil on canvas 42 x 30 cm.

Giovanni (Nino) Costa (Rome 1826 – Marina di Pisa 1903), The ‘Alba’ study for The awakening of nature Oil on canvas cm 25 x 53 signed lower left. Provenance: Reverend Stopford Br...

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...

original and certificated by gallery

"Le Paysage Avec Une Eglise" by Louis Abel-Truchet is an original oil on canvas and measures 24x32 inches. The impressionistic landscape has a white church standing behind purple and...

This original watercolor on paper features traffic on the River Humber in the City of Hull. Hull or Kingston upon Hull, is a port city in East Yorkshire, England. The painting is hig...

This beautiful oil on canvas painting of two sisters playing by the famous American Artist John G Brown has been lined. There is a slight touch up, and i...

George Roux French, 1853-1929 Les Jardin du Versailles Oil on canvas 23 ⅝ by 32 in, w/ frame 30 ¼ by 38 ½ in Signed lower right George Roux was a French ...

William Hubacek (American, 1871-1958) Signed: " W. M. Hubacek '83 " " San Francisco Bay near the Golden Gate ", 1893 Oil on Canvas 16 1/4" x 22" Housed in a 19th-century 3.5" Silver Gilt Ornamented Frame Outside Frame Size: 19 3/4" x 25 1/2" The item was lined and cleaned. The canvas appears to be in very good condition with bright colors. Hubacek was born in Chicago, moving with his family to San Francisco while still a child. His initial studies in art we're at the Mark Hopkins...

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

Herbert Cooper (British, 1842-1916), Group of Two Hand-Painted Porcelain Plaques, 1874, depicting still life scenes of fruit and flowers, signed "H Cooper / Dublin / 1874" lower righ...

This fine portrait is of the merchant bark ST. GEORGE sailing past the South Stack Lighthouse, the last signaling station in a chain of twelve leading ships along the Welsh coast and out to sea from Liverpool Harbor. Painted with great detail throughout, the ship features multiple figures on deck, in full sail and with flags flying including that of her owners Hall and Fairweather of St. John, New Brunswick, Canada. The bright scene has particularly nice cloud work in the sky and features the stylized short, green swells with a touch of white spray typical of the Liverpool school artists. At her bow, another sailing ship heads...

This wonderful oil on canvas landscape was done by the famed William Graham. William Graham was an American landscape painter who spent most of his life and career abroad. He was bor...

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

Portrait of a Chow Dog "Pagoda Mah Gye", 19th Century by Monica Gray (19th Century British) 19th Century English portrait of a Chow dog called Pagoda Mah Gye, oil on panel by Monica Gray. Excellent quality and condition example of Grays work, a popular turn of the century painter based in London commissioned by dog owners to capture their beloved pets. Presented in its original ebonised frame. Signed bottom left and titled. Measurements: 15" x 14" framed approx Artist Biography Matthijs Maris was the brother of Jacob and Willem Maris. He was awarded a retainer by the Dutch Crown. He moved to Antwerp around 1855 to be with his brother. There, he studied under Nicaise de Keyser...

The painterly work of Helga Scholler includes works from a period of more than 40 years and shows a range of uncompromising expressive works of all genres, which represents a further...

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

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

KPM Porcelain Plaque of Queen Louisa Oval shape polychrome enamel hand painted porcelain plaque set in a carved giltwood frame C. 1900 impressed KPM mark Germany Plaque 10.75" x...

A fine impressionist coastal painting with boats in the harbor and a cabbage garden in the foreground by French artist Louis Abel-Truchet (1857-1918). Louis Abel-Truchet was born in ...

Janos Vaszary (Hungarian, 1867-1939), View of Town at Dusk, Oil on Panel, signed "Vaszary J." lower left, carved giltwood frame. Image: 11.75" H x 16.75" W; frame: 16.75" H x 21.75" ...

MOSNY Henry (19th Century) Landscape by the mountain Stream Oil on canvas signed below and dated 1882 Black and Golden wood Frame Dim canvas : 73 X 92 cm Dim Frame : 94 X 113 cm MOS...

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

William Thornley French, 1857-1935 Barques De Peche Echouees Sur La Plage Oil on canvas 25 by 32 in, w/ frame 33 ½ by 40 ½ in Signed lower right William Thornley was born in 1857 i...

Oil on board, signed bottom left Image size: 6 1/2 x 9 1/4 inches (16.5 x 23.5 cm) Contemporary hand made frame A painter in oils of both landscapes and the sea. Not a lot is known...

"Cattle Watering in a Summer Landscape" by Eduard Spoerer is an impressionistic antique painting measuring 23x36 in. It is framed in the original ornate...

Guerrino Guardabassi (Rome 1841 - 1893) Portrait of a Young Lady Oil on canvas 24 x 20 1/4 inches (61 x 51.5 cm)x` 32.5 x 28.5 inches framed (82.5 x 72.5 cm framed) Signed lower left...

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

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...

Born in Leverett, Massachusetts, Erastus Field kept his home most of his life in that state but did study briefly with Samuel F.B. Morse in New York City where he lived from 1842 to ...

Approximate Date: 1897 Medium: Watercolor on Board Signature: Signed Lower Right Dimensions: 12.00" x 9.50"

Oscar Regan Coast was an American landscape painter. This artist was trained and studied in both Paris and Rome. After his studies, he moved back to the United States and spent a maj...

Classic British Officer at Sandhurst oil on panel by A.J. Crowther 1891 (LR) Art Sz: 14 3/4"H x 11 1/2"W Frame Sz: 18 1/2"H x 15 1/4"W

Etienne Billet (French, 1821-1888), Portrait of William Harold Fitch, Oil on Canvas laid on Board, circa 1870, signed mid left, inscribed "William Harold Fitch / of Marseilles France...

This beautiful impressionist oil-on-canvas painting entitled ‘Spring Air’ is over one hundred years old and is by the artist Isidoor Verheyden (1846-1905). Verheyden was a Belgian...

Charles Caleb Ward was born in St. John, New Brunswick, Canada, the grandson of a New York Ward who had left for New Brunswick around the time of th...

George Loring Brown American, 1814-1889 Lake Of Nemi, Near Rome Oil on canvas 28 by 48 in. W/frame 36 by 56 in. Circa 1876/7 signed & dated lower left , inscribed verso: "Lake of ...

Antique Italian Orientalist watercolour of a market square by Rosati Italian, Late 19th Century Paper: Height 36cm, width 52cm Frame: Height 62cm, width 78cm, depth 4cm This late 19th century Orientalist watercolour, created by esteemed Italian artist Giulio Rosati...

Signed lower right & dated 1888.

An exquisite Berlin painted rectangular porcelain plaque of a wistful young beauty, standing beside a fence in a landscape, in the manner of Baron Bodenhausen. Maker: K.P.M. Origin:...

Maritime paintings of the late 19th Century often give great insight into the massive transition which happened in shipbuilding in that period: the end of the sailing ships as mercha...

Follower of Emile Jean Horace Vernet (French, 1789–1863) Marine Harbour With Characters Oil on canvas signed low left - Signature to read Old frame gilded with leaves Size canvas : 4...

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...

Oil on canvas mounted on board. As twilight descends over the ancient city of Cairo, the iconic silhouette of the Citadel emerges against the fading light. This is the scene that Robert Swain...

Alfredo Tominz (Trieste 1854 – 1936), Passeggiata a cavallo a Trieste Dipinto ad olio su tela di cm 69 x 110 firmato e datato 1890 in basso a destra. Provenienza: Asta Stadion Trie...

Oil on board, signed 'W.H. Jones' bottom right Image size: 8 1/2 x 11 1/2 inches (21.5 x 29.25 cm) Framed Inscribed on reverse 'The Old Quay, which ceased to exist after the coming ...

Medium: Gouache Signature: Signed Lower Right a slave with shackles on the ground behind him appealing to Abraham Lincoln with the Civil War battle s...

George Bernard ONeil 1828-1917 Oil on canvas, signed & dated (18)76 lower right Image size: 22 ½ x 17 inches Original frame The painting depicts the arrival of the new teacher, a curious pupil peeps around a door to see her, while her friends look through the open door to the classroom to catch a glimpse. The artist has gone to great lengths with the painting, such as the highly detailed Dutch tiles on the bottom right of the picture or the window above the door in the background. O'Neil often painted works with several doorways leading off and giving a sense of depth to the work. The use of light and shadow is also cleverly depicted across the work, one light source arrives from where the viewer stands filling the room and the new teacher with light, while the other window above the door in the background also gives a warm glow. George Bernard O'Neill was born on 17th July 1828 in Dublin the ninth of fifteen children of Bernard and Sarah O...

Hermanus Koekkoek Jr. (Dutch, 1836-1909). View of Dutch A Harbor in Winter. Oil on canvas. Measures: 24 x 36 inches (61.0 x 91.4 cm). Signed lower left: J van Couver. A powerful ye...

Antonio Maria Fabrés y Costa (Barcelona 1854 - Rome 1938), In the Restaurant (1880) Oil painting on panel 14 x 21 cm signed and dated on the right.

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

Medium: Oil on Canvas Signature: Signed Lower Right

Date: 1893 Medium: Oil on Panel Dimensions: 14.50" x 21.00" Signature: Signed and Dated Lower Right: J. Delaunay. 1893

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