Johann Heinrich Wilhelm Tischbein

Alexander the Great and his Physician Philippos, Tischbein Circle, 18th/19th C

Late 18th/Early 19th Century

Wilhelm Marstrand (1810-1873), Don Quichote und Sancho Pansa. Oil on canvas with a very nice frame: 45,5 x 57 cm.

Depiction of a male nude in diffuse architectural scenery. Signed lower right (Paul) Anton Kaulbach (1864 Hannover - 1930 Berlin). Oil on canvas, in gold-patinated frame. Image size:...

Depiction of a young man with a lute sitting between two quarrelling men. Painting in oil on canvas Image size: 58 x 50 cm. In a baroque gold stucco frame. The reverse with old galle...

Painting of a returning crusader on horseback against a Mediterranean landscape backdrop. Horse and rider convey an exhausted impression. After the original by Karl Friedrich Lessing...

This painting by Jean-Léon Gérôme entitled La Danse pyrrhique is among the most fascinating compositions ever composed by the Academic master’s hand. Gérôme’s iconic scenes of the East captivated a generation, and this work showcases all of the artist’s unparalleled talents. Set in the Ptolemaic period of Ancient Egypt, its depiction of the ritual Pyrrhic dance is vivid and striking. Beautifully painted and rich with detail, it represents the best of Gérôme’s famed Orientalist scenes. In La Danse pyrrhique, Gérôme gives us a dramatic rendering of this ancient war dance. Greek in origin, it was performed by costumed dancers armed with swords who completed a series of movements set to music pantomiming combat. Homer wrote that Achilles performed this dance in a show of respect and grief at the funeral of his friend, Patroclus. When Julius Caesar introduced it to the Roman Games, its popularity spread across the Roman Empire to include Egypt, where Gérôme’s composition is set. Gérôme visited Egypt for the first time in 1856, and he returned throughout the late 19th century when this work was created. Gérôme’s first-hand familiarity with this setting is evident in this piece, and his visual narrative is unlike any other. His paintings combine the rationalist style of historical paintings and the theatrical...

John Falter arranges figures and faces in a way that rival the old masters in their compositional perfection. And he makes it look easy. The expressions are captured so the emotions of the story come alive. This Golden Age of illustration artist depicts fathers and children watching...

John William Godward 1861-1922 British A Pompeian Lady Signed and dated "J.W. Godward 1904" (lower right, partially covered by frame) Oil on canvas One of the last and greatest Victorian neoclassical painters, John William Godward is celebrated for his flawlessly executed images of graceful women posed in idealized ancient settings. In this work, entitled A Pompeian Lady, a classical beauty is caught idling in a moment of quiet, solitary reflection. Godward's elegant subjects are depicted with a degree of technical mastery that remains unsurpassed, and the work's dramatic palette, luxurious fabrics and classical vision are all characteristics of his unique take on the neoclassical style. Godward was unmatched in terms of his technical skill and attention to detail. A master of contrasting textures, he paints a diaphanous gown draping against the model’s smooth, milky white skin, which sits against the painstakingly rendered individual hairs of a tiger’s pel. Scintillating color permeates the canvas as well, energizing the otherwise static scene. Each element is given careful attention, and the overall effect is one of both immaculate technique and sensual tactility. Along with his contemporary and mentor, Sir Lawrence Alma-Tadema, Godward set the tone for the Victorian neoclassicist movement. He built his career upon creating images of idealized feminine beauty infused with a Greco-Roman-inspired style. Though greatly influenced by Alma-Tadema, Godward distinguished himself through his predilection for the solitary female figure. His fame rose dramatically in the first few years of the 20th century, when the present work was completed, due to the burgeoning strength of the British Empire and the Victorian society’s preoccupation with ancient Rome. To many of the newly affluent, Roman society was, as Iain Gale writes, “a flawless mirror of their own immaculate world.” The sensuality and mystery of Godward’s maidens, combined with his impressive antique backdrops...

Delphin Enjolras "In the Boudoir" Oil on Canvas Signed Lower Left Canvas: approx 29 x 22 inches Framed: approx. 37 x 30 inches Renowned as a portraitist of the upper echelons of s...