Le Trianon Paintings

Peggy Reventlow American, 1915-2014 Abstract in Blue Oil on canvas 36 by 48 in, w/ frame 38 ¼ by 50 ¼ in Signed verso Reventlow studied at Le Cours Maintnon in Paris and at Le Coll...

Paul-Élie Gernez French, 1888-1948 Rue de Village et Maisons Oil on Canvas 23 ¾ by 28 ¾ in, w/ frame 34 ½ by 39 ½ in Signed lower right Paul-Élie Gernez (1888–1948) was a French pa...

Antoine Blanchard French, 1910-1988 Quai Du Louvre, Paris Oil on canvas 13 by 18 in, w/ frame 21 ¾ by 26 in Signed lower left Antoine Blanchard is the pseudonym under which the Fre...

Antoine Blanchard French, 1910-1988 Rainy Evening in Paris Oil on canvas 13 by 18 in, w/ frame 23 ⅞ by 27 ⅞ in Signed lower right Antoine Blanchard is the pseudonym under which the...

Pierre Roussel French, 1927-1995 Looking Through the Window Oil on Canvas 21 ½ by 28 ¾ in, w/ frame 29 ¼ by 36 ½ in Signed lower right

Lucien-Hector Jonas French, 1880-1947 Canal View Oil on Canvas 21 ¼ by 29 in, w/ frame 32 ½ by 40 in Signed lower left Jonas was born in the town of Anzin in northern France. He fi...

Henri Bénard French, 1860-1927 A Love Letter By the Sea Oil on Canvas 19 ¾ by 24 in, w/ frame 26 by 30 in Signed Henri Bénard lower left

Prosper Louis Senat American, 1852-1925 Monhegan Oil on Canvas 20 by 36 ¼ in, w/ frame 26 ¼ by 42 ¼ in With artist's plaque Born in Germantown, Pennsylvania, March 13, 1852, Prospe...

Jean Salabet French, Born 1900 Marche De Fleurs, Paris Oil on canvas 20 by 24 in, w/ frame 25 ¼ by 29 ½ in Signed lower left Jean Salabet was a School of Paris painter known for hi...

Alfred Nathaniel Oppenheim German, 1873-1953 Park Terrace in St. Cloud Oil on board 12 ¾ by 16 ¼ in, w/ frame 19 by 22 ½ in Signed and dated 1908

Charles Levier French, 1920-2004 Basket of Fruit Oil on Canvas 24 ¼ by 30 ¼ in, w/ frame 33 ½ by 39 ½ in Signed upper right Charles Levier was born in 1920 from a French father and...

Jean Colin Belgian, 1881-1961 View of Notre Dame Oil on Board 19 by 23 ¾ in, w/ frame 24 by 28 ¾ in Signed lower right Jean Colin was born in 1881 in Ixelles, Belgium. Colin traine...

Jean Even French, 1910-1986 Boats in the Harbor Oil on Canvas 21 ¼ by 25 ¾ in, w/ frame 29 ¾ by 34 in Signed Even lower right

Jules Rene Herve French, 1887-1981 Shoveling Snow Oil on Canvas 8 ¾ by 10 ¾ in, w/ frame 14 ½ by 16 ½ in Signed lower right J.R. Herve, an impressionist of our time, is the very ty...

Jules Rene Herve French, 1887-1981 Snow Day Oil on Canvas 8 ¾ by 10 ¾ in, w/ frame 14 ½ by 16 ½ in Signed lower left J.R. Herve, an impressionist of our time, is the very type of a...

André Raffin French, 1927-2005 Les Fruits Oil on Canvas 18 ¼ by 22 in, w/ frame 25 ½ by 29 ¼ in Signed lower right André Raffin was born in 1927 in Evreux, France. He was one of th...

Achille-Emile Othon Friesz French, 1879-1949 Vieux Bassin de Honfleur Oil on canvas 23 ½ by 28 ¾ in, w/ frame 31 ⅜ by 36 ½ in Signed lower right Achille-Emile Othon Friesz, who lat...

Johannes Schiefer Dutch-American, 1896-1979 Monaco - Monte Carlo Oil on canvas 25 ¼ by 30 ⅛ in, w/ frame 33 ½ by 38 ½ in Signed lower right, titled lower left Johannes Schiefer, pa...

Jules Rene Herve French, 1887-1981 Mother and Children Having a Picnic Oil on canvas 28 ¾ by 36 ¼ in, w/ frame 38 ¼ by 45 ½ in Signed lower right J.R. Herve, an impressionist of ou...

Michel Dureuil French, born 1929 Côte d’Azur Oil on Canvas 15 by 18 ¼ in, w/ frame 22 ¾ by 25 ¾ in Signed lower right Michel Dureuil was born in Paris...

Émile Marie Beaume French, 1888-1967 Corsican Shore Oil on Canvas 18 ⅛ by 21 ⅝ in, w/ frame 25 ½ by 29 ¼ in Signed lower right French painter, lithographer, engraver and fresco art...

Charles Levier French, 1920-2004 La Plage a Girolato Oil on Canvas 30 by 40 in, w/ frame 38 ⅝ by 49 in Signed lower left, titled verso Charles Levier was born in 1920 from a French...

Kurt Polter German, 1914-1987 Young Girl on a Balcony Oil on Canvas 31 ¼ by 39 ½ in, w/ frame 39 ⅝ by 47 ½ in Signed lower right Kurt Polter was born in 1914 in Kassel, Germany. Hi...

Frederick William MacMonnies American, 1863-1937 Les Jardin Du Giverny Oil on Canvas 21 by 25 in, w/ frame 27 ⅞ by 31 ⅞ in A sculptor of classical figures, American-born Frederick ...

Frank Myers Boggs American, 1855-1926 Pont Neuf Oil on Canvas 21 ⅜ by 25 ½ in, w/ frame 27 ⅜ by 31 ¾ in Signed and dated 1896 At an early age, Frank Myers Boggs moved from Springfi...

Walt Francis Kuhn American, 1877-1949 At the Flower Market Oil on Canvas 15 by 18 in, w/ frame 22 ½ by 25 ½ in Signed lower right A painter and major organizer of the Armory Show, ...

John Ivar Berg Swedish, 1916-2003 Sunlight on the Water Oil on Canvas 32 ¼ by 38 ½ in, w/ frame 32 ¾ by 39 in Signed lower right John Ivar Berg was a Swedish artist who studied at ...

Pierre Anfosso French, 1928-2004 Personnages Dans un Parc Oil on Canvas 15 by 18 in, w/ frame 21 ½ by 24 ½ in Signed lower left Pierre Anfosso (1 Dece...

Antoine Blanchard French, 1910-1988 Café de la Paix, L’Opera, Paris Oil on canvas 13 by 18 in. W/frame 19 by 24 in. Signed lower right Framed in a fi...

Antoine Blanchard French, 1910-1988 Flower Market, La Madeleine, Paris Oil on canvas 13 by 18 in. W/frame 19 by 24 in. Signed lower right Provenance: Catalda Fine Arts, Inc., New York Private Collection, New York Trinity House Paintings, London Private Collcetion, New York Alexander Avenard Collection Le Trianon...

John Edward Costigan, N.A. American, 1888-1972 Bathers Oil on canvas Signed ‘J.E. Costigan N.A.’ lower left 20 by 24 in. W/frame 26 by 30 in. John Costigan was born of Irish-American parents in Providence, Rhode Island, February 29, 1888. He was a cousin of the noted American showman, George M. Cohan, whose parents brought the young Costigan to New York City and was instrumental in starting him on a career in the visual arts. They were less successful in encouraging him to pursue formal studies at the Art Students League (where, however, he later taught) than in exposing him to the commercial art world through the job they had gotten him with the New York lithographing firm that made their theatrical posters. At the H. C. Miner Lithographing Company, Costigan worked his way up from his entry job as a pressroom helper, through various apprenticeships, to the position of sketch artist. In the latter capacity he was an uncredited designer of posters for the Ziegfeld Follies and for numerous silent films. Meanwhile, he had supplemented his very meager formal studies in the fine arts with a self-teaching discipline that led to his first professional recognition in 1920 with the receipt of prizes for an oil painting and watercolor in separate New York exhibitions. A year earlier, Costigan had wed professional model Ida Blessin, with whom he established residence and began raising a family in the sleepy little rural New York hamlet of Orangeburg, the setting for the many idyllic farm landscapes and wood interiors with which he was to become identified in a career that would span half a century. John Costigan’s first national recognition came in 1922 with his winning of the coveted Peterson Purchase prize of the Art Institute of Chicago for an oil on canvas, “Sheep at the Brook.” It marked the start of an unbroken winning streak that would gain him at least one important prize per year for the remainder of the decade. The nation’s art journalists and critics began to take notice, making him the recurring subject of newspaper features and magazine articles. The eminent author and critic Edgar Holger Cahill was just a fledgling reporter when he wrote his first feature, “John Costigan Carries the Flame,” for Shadowland Magazine in 1922. Costigan had his first one-man show of paintings at the Rehn Gallery on New York’s 5th Avenue in November, 1924, to be followed less than three years later by another at the Art Institute of Chicago. In addition, Costigan’s work has been—and continues to be included, side-by-side with that of some of America’s most high-profile artists, in museum and gallery exhibitions throughout the country. His renown had peaked in the early 1930s, by which time his work had been honored with nearly every major award then being bestowed in the fine arts and had been acquired for the permanent collections of several prestigious American museums, including New York’s Metropolitan (which only recently, in 1997, deaccessioned his “Wood Interior,” acquired in 1934). Although Costigan’s celebrity had ebbed by the late 1930s, the Smithsonian Institution saw fit in 1937 to host an exhibition exclusively of his etchings. And, in 1941, the Corcoran Gallery (also Washington, D.C.) similarly honored him for his watercolors. (Another Washington institution, the Library of Congress, today includes 22 Costigan etchings and lithographs in its permanent print collection.) During World War II, Costigan returned briefly to illustrating, mainly for Bluebook, a men’s pulp adventure magazine. A gradual revival of interest in his more serious work began at the end of the war, culminating in 1968 with the mounting of a 50-year Costigan retrospective at the Paine Art Center and Arboretum in Oshkosh, Wisconsin. Oils, watercolors and prints were borrowed from museums and private collections throughout the country, and the exhibition was subsequently toured nationally by the Smithsonian Institution. John Costigan died of pneumonia in Nyack, NY, August 5, 1972, just months after receiving his final prestigious award —the Benjamin West Clinedinst Medal of the Artist’s Fellowship, Inc., presented in general recognition of his “...achievement of exceptional artistic merit...” in the various media he had mastered in the course of his career. This painting depicts one of the artist's favorite themes --the farm family bathing...

John Edward Costigan, N.A. American, 1888-1972 Woman and Child Oil on canvas Signed ‘J.E. Costigan N.A.’ lower left 24 by 30 in. W/frame 32 by 38 in. John Costigan was born of Irish-American parents in Providence, Rhode Island, February 29, 1888. He was a cousin of the noted American showman, George M. Cohan, whose parents brought the young Costigan to New York City and was instrumental in starting him on a career in the visual arts. They were less successful in encouraging him to pursue formal studies at the Art Students League (where, however, he later taught) than in exposing him to the commercial art world through the job they had gotten him with the New York lithographing firm that made their theatrical posters. At the H. C. Miner Lithographing Company, Costigan worked his way up from his entry job as a pressroom helper, through various apprenticeships, to the position of sketch artist. In the latter capacity he was an uncredited designer of posters for the Ziegfeld Follies and for numerous silent films. Meanwhile, he had supplemented his very meager formal studies in the fine arts with a self-teaching discipline that led to his first professional recognition in 1920 with the receipt of prizes for an oil painting and watercolor in separate New York exhibitions. A year earlier, Costigan had wed professional model Ida Blessin, with whom he established residence and began raising a family in the sleepy little rural New York hamlet of Orangeburg, the setting for the many idyllic farm landscapes and wood interiors with which he was to become identified in a career that would span half a century. John Costigan’s first national recognition came in 1922 with his winning of the coveted Peterson Purchase prize of the Art Institute of Chicago for an oil on canvas, “Sheep at the Brook.” It marked the start of an unbroken winning streak that would gain him at least one important prize per year for the remainder of the decade. The nation’s art journalists and critics began to take notice, making him the recurring subject of newspaper features and magazine articles. The eminent author and critic Edgar Holger Cahill was just a fledgling reporter when he wrote his first feature, “John Costigan Carries the Flame,” for Shadowland Magazine in 1922. Costigan had his first one-man show of paintings at the Rehn Gallery on New York’s 5th Avenue in November, 1924, to be followed less than three years later by another at the Art Institute of Chicago. In addition, Costigan’s work has been—and continues to be included, side-by-side with that of some of America’s most high-profile artists, in museum and gallery exhibitions throughout the country. His renown had peaked in the early 1930s, by which time his work had been honored with nearly every major award then being bestowed in the fine arts and had been acquired for the permanent collections of several prestigious American museums, including New York’s Metropolitan (which only recently, in 1997, deaccessioned his “Wood Interior,” acquired in 1934). Although Costigan’s celebrity had ebbed by the late 1930s, the Smithsonian Institution saw fit in 1937 to host an exhibition exclusively of his etchings. And, in 1941, the Corcoran Gallery (also Washington, D.C.) similarly honored him for his watercolors. (Another Washington institution, the Library of Congress, today includes 22 Costigan etchings and lithographs in its permanent print collection.) During World War II, Costigan returned briefly to illustrating, mainly for Bluebook, a men’s pulp adventure magazine. A gradual revival of interest in his more serious work began at the end of the war, culminating in 1968 with the mounting of a 50-year Costigan retrospective at the Paine Art Center and Arboretum in Oshkosh, Wisconsin. Oils, watercolors and prints were borrowed from museums and private collections throughout the country, and the exhibition was subsequently toured nationally by the Smithsonian Institution. John Costigan died of pneumonia in Nyack, NY, August 5, 1972, just months after receiving his final prestigious award —the Benjamin West Clinedinst Medal of the Artist’s Fellowship, Inc., presented in general recognition of his “...achievement of exceptional artistic merit...” in the various media he had mastered in the course of his career. This painting depicts one of the artist's favorite themes --the farm family bathing...

John Edward Costigan, N.A. American, 1888-1972 Bathing Group Oil on canvas board Signed ‘J.E. Costigan N.A.’ lower left 12 by 16 in. W/frame 20 by 24 i...

Andre Gisson American, 1921-2003 Mother & Child in a Landscape Oil on canvas 24 by 36 in. W/frame 32 by 44 in. Signed lower left Framed in an important Carrig Rohane frame...

Michael Gloeckner American, 1915-1989 Pale Morning Oil on canvas 30 by 30 in. W/frame 31 by 31 in. Signed lower right, & titled & dated 1966 on reverse on stretcher Michael lived ...

Wilhelm von Gegerfelt Swedish, 1844-1920 Moonlight Over the Promenade Oil on canvas 27 by 45 in. W/frame 39 by 57 in. Signed lower right Wilh...

Jean Salabet French, 20th Century La Poste Jean Salabet was a School of Paris painter know for his colorful Parisian cityscapes. His work is comparable to th...

Jean Salabet French, 20th Century Vue du Sacre Coeur, Paris Jean Salabet was a School of Paris painter know for his colorful Parisian cityscapes. His work is comparable to those of ...

Jean Salabet French, 20th Century La Place de L'Opera, Paris Jean Salabet was a School of Paris painter know for his colorful Parisian cityscapes. His work is comparable to those of...

Jean Salabet French, 20th Century Marche de Fleurs, La Madeleine Paris Jean Salabet was a School of Paris painter know for his colorful Parisia...

Jean Salabet French, B. 1900 Le Grand Hotel, Paris ,1954 Jean Salabet was a School of Paris painter know for his colorful Parisian cityscapes. His work i...

Jean Salabet French, B. 1900 Moulin Rouge Jean Salabet was a School of Paris painter know for his colorful Parisian cityscapes. His work is comparable to those of Jules Herve, Antoi...

Jean Salabet French, 20th Century Montmartre Jean Salabet was a School of Paris painter know for his colorful Parisian cityscapes. His work is comparable to those of Jules Herve, An...

Renato Guttuso Italian 1911-1987 Father & Child Oil on canvas 30 ½ by 19 in. W/frame 31 ½ in. by 20 in. Signed verso "Guttuso" Signed lower center "Guttuso" Dated 1966 Titled vers...

Jean Salabet French, 20th Century La Madeleine, Paris Oil on canvas 10 ¾ by 13 ¾ in. W/frame 16 ½ by 19 ½ in. Signed lower right Jean Salabet was a School of Paris painter know ...

Gaston Sebire French, 1920-2002 At The Seaside Oil on canvas 25 by 31 in. W/frame 33 ½ by 39 ½ in. Signed lower right Gaston Sebire (1920 – 2002) Gaston Sebire, was one of Europe’s leading landscapists, was born in the village of Saint-Samson in Normandy in 1920. A self taught artist, he began to paint seriously at the age of eighteen. For eight years he worked as a postal clerk in the Rouen, sorting letters at night in order to support his career as a painter. In 1952 Gaston Sebire had his first exhibition at the Galerie Gosselin in Paris. The following years he enjoyed the double triumph of winning both the coveted Prix de la Critique and the Prix Casa Velasquez. The Latter award made it possible for him to spend a year and a half in Spain. Of this formative period he said, “They were my first, wonderful years without worry. For fifteen years I had never known what the next day would bring.” The year 1957 marked another important stage in his career. His painting “La Dinde” won the Greenshields Prize in a field of 136 competitors, making it possible for him to paint for another two years without the worry of finances. Winning the awards naturally drew public attention to the artist from Normandy, and his works were presented in highly successful one-man shows in Paris. Sebire was a Norman, a man strongly attached to the soil, and after his exhibitions in Paris, he returned to Rouen to his large house overlooking the town and once again plunged into painting the countryside. Gaston Sebire was a strongly built man with square hands and a rather heavy walk. He had immense vitality, and used that to his advantage.  As he said of himself, “When the snow falls, I can’t stay indoors. I set out with my paint box. I paint outdoors from nine in the morning until five at night. If it were only a question of money, one could just as well paint in one’s own room.” But Sebire went into the countryside, or into the village, and sets up his easel. When there is a café into which people are going; there is a fence, a telegraph pole, a few buildings in the background. The scene takes on life, vivid life, with a sense of some event about to take place in the scene. Like many artists, and like a typical Norman, Sebire was silent and solitary by nature, with a personality as strong and frank as his paintings. A painting, he says, “must have an element of mystery, show an effort to look beyond the aura surface of things.” Sebire’s early paintings were somber with much use of black and white tones. In 1970 he turned to colour. The subtle light of the Normandy skies; the shifting light and color along the seacoast; the magnificent blues of the Rouen pottery...

George Frost America, 1843–1907 View of Alexander Nevsky Cathedral, Nizhny Novgorod Oil on Canvas 20 by 30 in. W/frame 28 by 38 in. Signed lower l...

Leon Herbo Belgian, 1850-1907 Vase de Fleurs Oil on canvas 22 ½ by 18 in. W/frame 34 ½ by 30 in. Signed and dated 1906 Leon exhibited in Brussels, Munich, Gand, Cologne and Paris....

Alexandre Marie Guillemin French, 1817-1880 Scene de Chasse Oil on Panel 9 by 12in. w/frame 17 ½ by 20 ½in. Signed lower right He studied with Baron Gros. He exhibited at the Salo...

Frank Vincent Dumond American, 1865-1931 Sunny Hedge Oil on canvas Signed "F.V. DuMond," lower right 24.5 in. by 29 in. W/frame 32.5 by 37 in. Born in Rochester, New York in 1865, Frank DuMond left his work as an illustrator at age 23 to study in the rigorous classical atelier tradition of the Academie Julian Paris in 1888.  Upon his return to New York in 1892, DuMond embarked on a painting and teaching term at the Art Students League spanning nearly six decades until his death. A painter of diverse talents, he was an accomplished landscape, portrait and still life painter, muralist, and leader of the Tonalist then Impressionist art colonies of Lyme, Connecticut.  In particular, DuMond was noted for his use of landscape green.  American Impressionist expert William H. Gerdts wrote of DuMond, "As one might speak of Velazquez's blacks, one must speak of DuMond's greens."  Scholars have described him as a deft painter of the American Impressionist landscape and the figure, but he will perhaps be remembered as among the most outstanding educators in American art history.  Though an accomplished painter, he is said to have considered himself more of an educator than an artist. By all accounts, DuMond is described by his students as a man whose art and teaching methods were based on deeply held religious and philosophical beliefs.  One student recalls, "There were occasions when DuMond revealed a clear intent to educate us on a deeper level than might casually be associated with painting."  His students remember him fondly as "a genial, generous, and perceptive instructor…whose warmth and kindness pervaded everything he did."  Under his tutelage, many prominent American artists were brought to recognition, including Georgia O'Keeffe, Norman Rockwell, and John Marin.  Still other protégés of DuMond renown became influential teachers, such as Baroque-style painter Frank Mason, whose influence emerged in New York at the Art Students League; and Arthur Maynard...

Marie Antoinette Boullard-Deve French, 1890-1970 Segovie Oil on canvas 29 by 21 ½ in. W/frame 39 by 31 ½ in. Signed lower left and titled and dated 1951 on the back Marie was born...

Edward Francis Rook American, 1870-1960 Brittany Oil on Canvas 30 by 30 in. W/frame 38 by 38 in. Signed lower left Circa, 1898-1900 Rook, born in New York City on September 21, 1870, became one of the most original impressionists at Old Lyme. First he was a student of Benjamin Constant and Jean-Paul Laurens at the Académie Julian.  Life started out to be rather promising for Rook, around the turn of the century.  He exhibited at the Cincinnati Art Museum and at the Pennsylvania Academy of the Fine Arts, both in 1898, when his harbor scene, entitled Pearl Clouds — Moonlight was reproduced in International Studio, in April.  In addition, the PAFA presented him with the Temple Gold Medal for Deserted Street, Moonlight, which the Academy purchased.  Three years later, Rook was awarded a bronze medal at the Pan-American Exposition in Buffalo, where he exhibited three landscapes.  Caffin (1902, p. xxxvi) praised the artist's "translucent quality of color," which suggests a study of color theory.  Also in 1901, Rook married Edith Sone.  For most of 1902, the Rooks were in Mexico. Rook came to Old Lyme in October of 1903.  The date is significant because Childe Hassam was also there that month.  Hassam would more or less re-orient the artists' colony from Tonalism to impressionism.  Rook would move there permanently two years later.  He took two medals at the St. Louis Universal Exposition (1904) where his landscapes from the Mexican trip were displayed.  More awards followed: a silver medal at the International Fine Arts Exposition in Buenos Aires, 1910, a gold medal at San Francisco's Panama-Pacific International Exposition in 1915,  a Corcoran Bronze Medal, and a William A. Clark Award in 1919 for Peonies.   By 1924, the artist was made a National Academician.  Despite all these awards and recognition, Rook did little in the way of selling his art and reportedly, his prices were too high.  His paintings were handled by Macbeth and Grand Central Art Galleries. Rook was active in Old Lyme's art community.  As stated above, he would have met Hassam that October in 1903 but Willard Metcalf had departed at the end of the summer.  As several writers have explained (Connecticut and American Impressionism, 1980, p. 123), Hassam "was the catalyst around whom [impressionism] coalesced."   Rook's niece, Virginia Rook Garver, who happened to be the grand-niece of Hassam, confirmed that Rook and Hassam knew each other in Europe — before they went to Old Lyme (Fischer, 1987, p. 19).  Rook was one of the relatively young painters to come to Old Lyme, along with Gifford Beal, William Chadwick, and Robert Nisbet, on the wave of impressionism, initiated there by Hassam and Metcalf.  Old Lyme became a center of American impressionism, and as Donelson F. Hoopes remarked, "under Hassam, the shoreline of Connecticut became a kind of Giverny of America."  Among Ranger's group, palettes started to become lighter, except those of the most determined tonalists.  Ranger himself, perhaps admitting defeat, moved to Noank in 1904.  Rook is best known for his views of Bradbury's Mill, which was soon called Rook's Mill, owing to the painter's many versions of the scene.  One, called Swirling Waters, dated ca. 1917, is in the Lyme Historical Society.  Even more famous is Rook's Laurel, dated between 1905 and 1910 (Florence Griswold Museum), in which a profuse laurel bush (the state flower), is set off by a spectacular Constable-like background.  But Swirling Waters could never be confused with Constable, with its violent brushwork, impasto-layered water, and bright, almost chalky, plein-air palette.  Gerdts (1984, p. 226) compares the paintings of Walter...

Marcel Dyf French, 1899-1985 Djeuner Champtre Oil on canvas 23 ½ by 28 ¾ in. W/frame 31 ½ by 36 ¾ in. Signed lower left Marcel Dyf (Marcel Dreyfus) was born in Paris on October 7,...

Morston Constatine Ream American 1840-1898 Still Life with Peaches Oil on canvas Signed Lower Middle 16 by 20 in.  w/frame 22 ½ by 26 ½ in. Morston Constatine Ream was a specialist in fruits and dessert still lifes...

“I Will”, Marie-Joseph-Leon-Clavel French, 1850-1923 Septembre, La Meuse a Dordrecht Oil on canvas, Signed 13 ¼ by 19 ½ in. W/frame 23 ¼ by 29 ½ in. Marie-Joseph-Leon-Clavel took ...

Everett Lloyd Bryant American, 1864-1945 Woman in Kimono Oil on canvas Signed lower right 30 by 25 in. W/frame 35 by 30 in. Everett studied wit...

Andrew Thomas Schwartz American, 1867-1942 Blue Ridge Mountains, Virginia Oil on canvas 24 by 30 in. W/frame 28 ½ by 34 ½ in. Signed lower right...

Suzanne Eisendieck French, 1908-1998 Ballet D'enfants Oil on canvas 36 by 29 ½ in. W/frame 44 by 37 ½ in. Signed lower right She was born in Danzig (now Gdansk, Poland) in 1908 ...

Andre Raffin French, 1927-2005 Les Fruits Oil on Canvas 18 in. by 22 in. W/frame 25 ½ in. by 29 ½ in. Signed & dated 61 lower left André Raffin was bor...

Remo Michael Farruggio American, 1905-1981 Studio Oil on canvas 24 by 35 in. W/frame 28 by 39 in. Signed lower right & titled on stretcher “Studio” Circa 1959 Remo Michael Farrugg...