French School Portrait Paintings

Dancers in Motion by Annie Faure (French 1940-2021) signed lower corner oil painting on canvas, unframed canvas size: 13 x 18 inches condition: overall very good, minor surface scuff...

Flamenco Dancer by Annie Faure (French 1940-2021) signed lower corner oil painting on canvas, unframed canvas size: 18 x 15 inches condition: overall very good, minor surface scuffs ...

Portrait of a Woman French School, 20th century signed oil on canvas, unframed canvas: 20 x 24 inches Provenance: private collection, France Condition: very good condition. For more...

Isidore-Alexandre-Augustin PILS (1815–1875) A bewitching portrait of a young redheaded woman attributed to Isidore Pils. The same sitter appears in another of his other paintings,...

Portrait of a Lady French artist, signed and dated 1915 oil on panel board: 13.75 x 10.5 inches provenance: private collection, France condition: scuffing to the edges from a previou...

Work on canvas Golden wooden frame 39 x 34 x 3 cm

Work on canvas Golden wooden frame 56.5 x 66 x 2.2 cm

Behold a mid-century marvel by André Minaux, a titan of the French School whose stylized Social Realist visions continue to captivate the art world. Painted in 1948, “Femme et Homard...

French Academic School, 18th century Portrait tête d’expression study of a gentleman, c. 1780-90 Oil on canvas 46.1 x 35 cm.; (within frame) 57.5 x 46.6. cm. Provenance: Private Co...

Lady's portrait - Nicola del Basso Italia 2011 - Oil on canvas cm. 100x80 In this painting we admire a noblewoman sitting at her writing desk, looking for inspiration to compose a lo...

François-Maurice ROGANEAU (Bordeaux 1883 - Aix-en-Provence 1973) Portrait of the model and future wife of the painter: Almerinda Caira Graphite, charcoal, and sanguine on paper H. 25...

Oriental girl - I. Di Matteo Italia 1997 - Oil on canvas cm. 60x50. The painting by I. Di Matteo depicts a typically oriental young woman in her hair an...

Child - Angelo Granati Italia 2013 -This is his reinterpretation of a greatest old master painting Le Goûter (Just a Taste) by W.A.Bouguereau. Oil on canvas cm. 110x90. Silver leaf...

SPRING BEAUTY - Oil on canvas painting by Angelo Granati, Italy 2011 Gold leaf gilded, pleated silk and mirror wooden frame ext. mis. cm. 164x106. This is his reinterpretation of pa...

Portrait of a Military General Fine 19th C European, Neo -Classical half-length portrait of a Military General, a handsome man wearing military regali...

Portrait of a lady . Louis Ferdinand Elle the Younger. ( Paris, 1612-1689), attributed. Circa 1680. Oil on canvas, resting on cardboard. In 19th-century giltwood frame. A female...

Jac MARTIN-FERRIÈRES (Saint-Paul Cap de Joux 1893 – Neuilly sur Seine 1972) The Painter (Self-Portrait) - Sketch Oil on canvas H. 65 cm; W. 65 cm Signed lower left, dated 1925 Exhibi...

The Wedding Day by Annie Faure (French 1940-2021) signed lower corner oil painting on canvas, framed framed: 35.5 x 35.5 inches canvas size: 31.5 x 31.5 inches condition: overall ver...

Pensive Thoughts by Annie Faure (French 1940-2021) signed lower corner oil painting on canvas, unframed canvas size: 19.5 x 24 inches condition: overall very good, minor surface scuf...

The Robin Encounter by Annie Faure (French 1940-2021) signed lower corner oil painting on canvas, unframed canvas size: 21.5 x 18 inches condition: overall very good, minor surface s...

Ballet Duet by Annie Faure (French 1940-2021) signed lower corner oil painting on canvas, unframed canvas size: 15 x 18 inches condition: overall very good, minor surface scuffs from...

Sleeping Woman by Annie Faure (French 1940-2021) signed lower corner oil painting on canvas, unframed canvas size: 13 x 18 inches condition: overall very good, minor surface scuffs f...

"Oil Painting On Canvas Dated 1921, Military Portrait By Paul Leroy" Paul Alexandre A. LEROY (1860-1942), French school. Description: Very beautiful oil painting on canvas, represent...

Scène de chasse dans un paysage boisé Entourage de Carle Vernet (1758–1836) Huile sur panneau, 24,5 x 32,5 cm Charmante scène animée dans un paysage de sous-bois baigné d’une lumière dorée, cette composition illustre l’influence de Carle Vernet dans le genre du tableau de chasse et du paysage animé. On y retrouve l’élégance narrative propre à l’artiste et à son cercle, avec un sens aigu de la composition et du mouvement. Les cavaliers, les chiens, les chasseurs et les promeneurs, répartis avec naturel sur un chemin bordé d’arbres majestueux, apportent vie et profondeur à ce petit format. L’atmosphère est paisible, tandis que le ciel lumineux et les ombres douces soulignent la qualité de l’exécution. Ce tableau, par sa touche précise et son sens du détail, s’inscrit pleinement dans la tradition française du paysage néo-classique enrichi de scènes de genre...

Louis-Gabriel BLANCHET (Versailles, 1701 – Rome, 1772) Presumed self-portrait of the artist Oil on canvas H. 73 cm; W. 60 cm Circa 1730 Originally presented in a Restoration period frame with a "Mignard" cartouche, this beautiful painting initially appeared to us as a work from northern Italy. However, it exuded a rather French form of refinement, suggesting that its artist may have assimilated a dual influence from both sides of the Alps. We thank our colleague and friend Philippe Mendès for spontaneously and judiciously "bringing out" the name of Louis-Gabriel Blanchet, a Romanized French portraitist, whose spirit and stylistic characteristics we clearly recognize here. Blanchet's "French" years, before his final departure for Rome in 1728, following his winning of the second Grand Prix for painting after Subleyras in 1727, are extremely poorly documented. His father, Gabriel, was valet to Blouin, himself Louis XIV's first valet at the time. According to Thierry Lefrançois, Blanchet was one of the few students of Nicolas Bertin (1667-1736), whose studio he is said to have joined in the early 1720s. At a baptism on March 24, 1724, where he was godfather, he is mentioned as a painter in the picture store of the Duke of Antin, the director of buildings between 1708 and 1736. At this time, he was probably already married to Jeanne Quément, with whom he had a daughter also named Jeanne, who would marry Nicolas Aviet, the son of a valet in the queen's wardrobe, in Versailles in 1738. When Blanchet arrived in Rome in October 1728, he was accompanied by Subleyras, Trémolières, and Slodtz. He enjoyed the goodwill of Vleughels, the director of the Académie de France, which had been based at the Palazzo Mancini since 1725, even though the latter was not always kind to our resident. From 1732, he was under the protection of the Duke of Saint-Aignan when he took up his post as ambassador to Rome. Along with Slodtz and Subleyras, they formed a trio of friends, joined by Joseph Vernet shortly after his arrival in Rome in 1734. Slodtz and Blanchet, on the occasion of Subleyras's marriage in 1739, were there to attest that their friend was not bound by any marital commitment, and Blanchet was a witness at Vernet's wedding in 1745. It is most likely from these early years in Rome that our portrait of the artist dates, the expression and turn of his face irresistibly reminiscent of a self-portrait. The still relatively youthful features may correspond to Blanchet's thirty-something years, and the fluffy wig was still fashionable at this time. The painting fits well with the depiction of a young painter wanting to display both the beginnings of success and a certain simplicity or restraint. A slight smile expresses a form of assurance in this man with a gentle, sincere gaze and a face radiating a keen sense of wit. We find here the air of intimacy present in almost all of Blanchet's portraits, even those from the 1750s and 1760s, as well as an almost complicity with the viewer. The spirit of the painting is quite close to that of the presumed portrait of Bouchardon (painted around 1730) and the portrait of Pannini, painted in 1736, but it possesses a more natural quality, notably thanks to the absence of decorum. Our work exhibits the characteristics of Blanchet's paintings: elegance, luminosity (especially in the whites), vibrant and refined colors (here, the harmony of the garnet of the garment and the slate blue of the background, whose uniformity is tempered by a very sketched landscape and a grove of greenery), light complexions, rather rosy cheekbones, often full lips, and rather tight framing. According to the Academy's rules, Blanchet's stay should have ended in the spring of 1732, but, for reasons unknown, he remained in the Eternal City until his death, as did his friend Subleyras, with whom he shared accommodation until the late 1730s. The latter regularly called upon him to collaborate on his paintings, such as The Meal at Simon's. Through Saint-Aignan's intervention, Blanchet was employed in the late 1730s by the Stuart princely family, then exiled in Italy. He notably produced copies (now lost) after Liotard of the portraits of Charles Edward and Henry Benedict, the sons of James III Stuart. The latter also commissioned three other portraits (now in the National Portrait Gallery in London), whose more formal character contrasts with the intimate spirit of Blanchet's portraits. Blanchet frequented English painters, such as the landscape painter Richard Wilson, and studied with the Scottish portraitist Katherine Read...

Attributed to Jacques DUMONT aka DUMONT LE ROMAIN (Paris 1701 - 1781) Presumed portrait of Louis-Joseph de Formanoir (?-1732) Oil on canvas H. 91.5 cm; L. 73 cm Signed on the helmet:...

Camille METRA or METRA-HUBBARD (Paris, 1864 – Paris, 1936) The cup of the King of Thule Oil on canvas Signed lower right and dated 113.5 x 146 cm 1896 Exhibition: Salon de l'Union des Femmes Peintres et Sculpteurs de 1896 (N°627) Camille Métra, eldest daughter of the chemist Louis Métra and Rosalie Merny, was born on November 28, 1864 in Paris. We know nothing to this day of her artistic training, however she was recognized in Parisian circles for her qualities as a figure painter and pastellist. Camille married for the first time on January 18, 1887 in Paris with Adolphe Fernand Blayn...

Portrait of Lady in Blue Dress French School 18th century, painting done in oil on canvas depicting a gentlewoman. The female figure wears a light blue dress with white lace neckline...

French school from the beginning of the 19th century Three-quarter bust portrait of a man Oil on panel 28 x 21 cm Circa 1820 This portrait of a man, typical of the French school o...

French school circa 1815 Portrait of Madame Leblond Oil on canvas H. 66 cm; W. 55 cm Named on the back Comparable to the works of painters such as Louis Hersent, our portrait, unsig...

Oil on canvas probably representing a finding of adultery at the end of the 19th century. The scene is painted with many details in a camaieux of gray colors . The edges of the paint...

French school of the second half of the 19th century, follower of Oudry Blue macaw perched on a branch Oil on canvas 73 x 60 cm

Conditions: Excellent overall conditions. Signed upper right and dated 1889. Oil on original canvas and frame. Painter and Teacher at the Academy des Beaux-Arts of Brussels. Complem...

Benjamin Théophile CHARON-LÉMERILLON (Paris, 1807 – Bouzareah (Algiers), 1873) Full-length portrait of Jules Michel Simonet (1834-1881) as a child with his dog Oil on canvas Signed...

Joseph BEAUME (Marseille, 1796 – Paris, 1885) Souvenir from Italy: pifferaro playing the zampogna with the family Oil on canvas Signed lower left 73.5 x 60 cm Provenance: probably...

Monsieur lisant a la lumiere de la fenetre By. Louis Mettling (French, 1847-1904) Signed Lower Right Unframed: 16" x 10" Framed: 28.5" x 23" Louis Mettling...