Ulysse Butin

Maternity: Pastel on paper. The Farewell By Ulysse Butin (1838-1883)

Signature lower right: J. Bail Relined and some restorations Joseph-Claude Bail was born during a period of intense disagreement in the Parisian art world. For several years the Salon juries had rejected many progressive artists works; printmaking was making a charge at establishing itself as a true art form; the Barbizon group of painters challenged the tradition of historical landscapes with their views of the modern countryside, and Realism was decades old and had brought forth such combative figures as Gustave Courbet. Yet not all artists can be said to belong to this modern view of the nineteenth century. Numerous artists found prestige and public acclaim both at the Salons and with the public with works that relied on past styles and traditions influenced by the “Little Masters” from seventeenth-century Holland and traditions from eighteenth-century France. Joseph Bail...

Amédée Elié Servin — (1829-1884) : Children playing in a forest A nice and confidently painted scene of three children playing in the midst of a dark forest. Through clever use of colour and light and dark effects, Elié Servin creates a mysterious and fairytale-like scene in which all attention is drawn to the playing children. Amédée-Élie Servin (1829-1884) Servin Amédée-Élie was a French painter and engraver, founder of the artistic community of Villiers-sur-Morin. Servin was born to a tanner, who, disappointed by his son's failure in his studies, apprenticed him to an upholsterer where he learned to draw cartoons. He then entered the École des Beaux-Arts and studied under the painter Michel Martin Drolling. At this school, he befriended students of his generation, such as Jean-Jacques Henner, Benjamin Ulmann and Paul Baudry...

La Chapelle de la Protection in Cagnes, circa 1925 Oil on panel, signed with the monogram lower left 27 x 34.5 cm Bibliography: The Painters of Cagnes, exhibition catalogue, Château-Musée Grimaldi, 2011, p.62 Paul Leduc...

Thomas Sidney Cooper was one of the foremost animal painters of the Victorian period. He was born in Canterbury, Kent, and as a small child he began to show strong artistic inclinations, but the circumstances of his family did not allow him to receive any systematic training. By the time he was twelve years old, he was working in the shop of a coach painter. Later he obtained a job as a scene painter, and he alternated between these two occupations for about eight years. He still felt a strong desire to become an artist, and all his spare moments were spent drawing and painting from nature. At the age of twenty, he went to London, drew for a while in the British Museum, and was admitted as a student of the Royal Academy. Subsequently, he returned to Canterbury, where he was able to earn a living as a drawing master and by the sale of sketches and drawings. In 1827, he settled in Brussels and married before taking up a position as a teacher in Brussels in 1829. There he befriended Eugène Joseph Verboeckhoven, the great Belgian animal painter, who greatly influenced his style. He was also influenced by the 17th Century Dutch School. Because of the Belgian Revolution, he returned to London where he settled and first exhibited at Suffolk Street in 1833. He exhibited forty-eight pictures at the British Institution between 1833 and 1863. ‘Landscape and Cattle’, Royal Academy 1833, was shown until 1902 without a break - a record for a continuous exhibit at the Royal Academy. Sheep and cattle were his most frequent subjects, although he did paint a few figurative subjects. Cooper collaborated between 1847 and 1870 with Frederick Richard Lee...

Numbered 1/8 Cast Fonderie Rocher A fine cast with a vivid green patina of a bird of prey

A fine quality, twentieth-century bronze model of a ram and a ewe by Alberic Collin (Belgian 1886-1962). Cast by the Rocher Paris foundry signed, inscri...

Late 18th Century French pastel portrait on paper of a young lady in period dress in a 'feigned oval'. In gilt wood frame presented under glass. Very much of its period and similar ...

Work on paper Brown wooden frame with glass pane 92 x 73 x 5 cm

Red crayon on brown light-wove paper, 6 3/4 x 4 3/4 inches (172 x 121 mm). Light toning and extremely minor, small losses at the very extreme top right and left corners (1/8-inch).

Graphite and crayon in color with white heightening on cream wove paper, 13 1/2 x 12 1/4 inches (343 x 310 mm) (sheet). In good condition with uniform toning, handling creases, and lightly dog-eared corners. The building on the left is a hotel particulier in Paris' Marais neighborhood, the Hôtel Salé, which now houses the Musée Picasso.

Jacques GAMELIN Carcassone 1738-1803 Study after the triton of the Triumph of Galatea by Raphaël 1768 Black stone and light white chalk on blue paper Signed and dated lower right 41...

In this charming scene a maid appears bashful as she is introduced by her mother to the shepherd’s son. Ink and wash on hand made, cool-toned cream laid paper, 6 3/4 x 8 7/8 inches...