Attributed to Johann Peter Krafft

Portrait of Napoléon II

1818

William-Adolphe Bouguereau 1825-1905 French La fille du pêcheur (The Fisherman’s Daughter) Signed and dated “W-Bouguereau-1882” (middle right) Oil on canvas William Bouguereau's...

The greatest triumph of the artist’s career, this extraordinary and monumental oil on canvas by Gustave-Max Stevens perfectly represents the highly detailed compositions and richly h...

Emperor Napoléon I was and remains one of the most legendary military and political figures in history, having held, for a brief period, the fate of the Western world in his hands. Composed by the French painter Joseph Franque...

Signed “G-Seignac” (lower right) Oil on canvas French Academic painter Guillaume Seignac was renowned for his masterful treatment of the idealized nude. His languishing female subje...

Title: Virgin Mary and Child Jesus Artist: Francisco Ribera Gómez (1907-1990) Technique: Oil on canvas Dimensions: 31.9 x 25.6 inches (unframed) Date of creation: 1942 Style: Classical Academicism with Renaissance influences Description of the Artwork The painting depicts the Virgin Mary holding the Child Jesus in a tender and intimate moment. Warm colors, primarily reds, greens, and soft flesh tones, enhance the devotional nature of the scene. The use of golden halos, symbolizing sanctity, along with serene and realistic expressions, directly connects with the Renaissance pictorial tradition. The style belongs to classical academicism, characterized by a balanced composition, meticulous drawing, and a masterful use of chiaroscuro to give volume and depth to the figures. The detailed rendering of the flesh tones and draperies amplifies the spirituality and solemnity of the piece, evoking the works of great masters such as Raphael and Murillo. Artist's Biography Francisco Ribera Gómez (1907-1990) was a prominent 20th-century Spanish painter known for his depictions of religious scenes, female portraits, and costumbrist works. Trained at the Royal Academy of Fine Arts of San Fernando, Ribera Gómez received numerous accolades and was regarded as one of the great exponents of Spanish academicism. His work combines a rigorous technical foundation with luminous sensitivity and an idealized sense of beauty. Influences and Comparisons Francisco Ribera Gómez's work can be compared to other academic and religious artists who share a similar aesthetic: Bartolomé Esteban Murillo: In the emotional and approachable treatment of religious themes. William-Adolphe Bouguereau: For the idealization of human figures and technical mastery. Raphael (Raffaello Sanzio): For harmonious composition and the depiction of the Virgin Mary. Within the Spanish tradition, his style recalls Eduardo Rosales...

Title of the Artwork: Odalisque with Tray Artist: Rosendo González Carbonell Technique: Oil on canvas Dimensions: 24 x 20 inches Frame: Unfr...

Title: Portrait of a Young Man with a Straw Hat Artist: Josep Cusachs i Cusachs (1851-1908) Year: 1884 Technique: Oil on canvas Dimensions (unframed): 18.1 x 15 inches Dimensions (fr...

Very well executed portrait of Jacob Dolson Cox. See the sitter’s biography below. Signed top right and dated 1881. Relined canvas, very good condition. The portrait is housed in a contemporary replica of a period frame. Overall framed measurements are 33.25 by 28.25 inches. Provenance: A East Hampton, Long Island collector. Biography George Peter Alexander Healy was born in Boston on July 15, 1813, the first of five children of William Healy, an Irish immigrant and captain of a merchant vessel, and his wife Mary Hicks. Healy showed an early artistic interest: by 1830 the self-taught painter had opened a portrait studio from which he hoped to help to support his family. Although commissions were at first sparse, young Healy received important encouragement from Thomas Sully (1783-1872)) who advised him to make painting his profession. His fortunes also improved in 1831 when Mrs. Harrison Gray Otis, a leader in Boston society, granted him permission to paint her portrait and recommended his talents to other potential patrons. In 1834 Healy went to France where he studied with Baron Antoine-Jean Gros (1771-1835). A year later he traveled through Italy, visiting museums and churches in the company of Lady and Sir Arthur Faulkner who soon provided his introduction to London society. It was in England that Healy met and, in 1839, married Louisa Phipps. The couple settled in Paris where Healy embarked upon the beginning of a long and happy marriage and thriving career. His diplomatic and affable demeanor, together with his obvious skill, brought him tremendous success throughout Europe and the United States. Prolific, as well as talented, he had by 1867 produced more than six hundred portraits. The constant stream of commissions included dignified, imposing portraits of such celebrated figures as Pope Pius IX and Queen Elizabeth of Romania, the latter of whom developed a warm friendship with Healy and his family. Although Healy, sometimes accompanied by his wife, traveled to the United States several times during the 1840s and early 1850s, it was not until 1856 that the entire family settled in America. They took up residence in the booming city of Chicago, which Healy used as a base for his work in Boston, Philadelphia, New Orleans, and other cities. During the Civil War years he often traveled to Washington to paint military figures and members of the President's cabinet. The family returned to Europe in 1867, but George Healy...