Canvas Figurative Paintings

"Standard bearer 11" is a painting by Maestro Christos Antonaropoulos About the artwork: TECHNIQUE: oil painting on canvas STYLE: Impressio...

"Standard bearer 3" is a painting by Maestro Christos Antonaropoulos About the artwork: TECHNIQUE: oil painting on canvas STYLE: Impression...

"Standard bearer 12" is a painting by Maestro Christos Antonaropoulos About the artwork: TECHNIQUE: oil painting on canvas STYLE: Impressionist, Contemporary Edition : Unique, si...

"Standard bearer 16" is a painting by Maestro Christos Antonaropoulos About the artwork: TECHNIQUE: oil painting on canvas STYLE: Impressio...

"Standard bearer 5" is a painting by Maestro Christos Antonaropoulos About the artwork: TECHNIQUE: oil painting on canvas STYLE: Impressionist, Contemporary Edition : Unique, sig...

"Standard bearer 2" is a painting by Maestro Christos Antonaropoulos About the artwork: TECHNIQUE: oil painting on canvas STYLE: Impressionist, Contemporary Edition : Unique, sig...

"Standard bearer 2" is a painting by Maestro Christos Antonaropoulos About the artwork: TECHNIQUE: oil painting on canvas STYLE: Impression...

"The Beach" by Henni de Korte measures 20x24 and is available for $7,500. It's a beutiful day at the beach as families set up colorful umbrellas and cha...

"Blooms in Morning Light" by Henni de Korte measures 24x20 and is available for $7,750. White and red roses drape a white table clothed table with a bra...

Original painting on canvas. Hand signed on front by the artist. Painting is stretched. Artwork is in excellent condition. Certificate of Authenticity included. All reasonable of...

Original painting on canvas. Hand signed on front; titled and dated on verso by the artist. Painting is stretched. Artwork is in excellent condition. Certificate of Authenticity i...

Impresionist cityscape from Oporto, Portugal

"Spring Reflection" by An He is an original oil on canvas portrait painting measuring 40x30 in. in a brown simple frame. A timid victorian lady in a white gown looks over her shoulder standing beneath a blooming cherry blossom tree with a basket full of red and pink flowers freshly picked in the spring. Chinese-American artist An He, also known as Hans Amis, is known for his magnificent portrait paintings of women...

Artist Commentary: I am captivated with how reflections and refractions caught in underwater photographs seem to expose hidden aspects of people's characters. I photograph friends an...

"l'Auberge de la Place au Manege" by Gerard Valtier is an original oil on canvas that measures 29x36 inches. Valtier uses many different bright and vivid c...

"Devant la Petit Theatre" by Gerard Valtier is an original oil on canvas that measures 29x36 inches. The vivid colors used in this impressionistic painting create a fun and lively en...

"Danse Enchanteresse" by Gerard Valtier is an original oil on canvas that measures 35x46 inches. Impressionistic painting uses an array of bright colors to create a fun, musical image. Two women in vibrant pink and orange skirts perform an enchanting dance on stage for others. Many appreciate the energetic work of the brush to describe the foliage or the luminous backgrounds irradiated with numerous vibrant colors. Seething with colors, sparkling, blazing, molten gold: the whole mystery of Gerard Valtier’s painting lies in the working of this colorful living chemistry, where the thickening cover of the glaze catches the reflections of the light, which progressively becomes incandescent. The contrasting blue and yellow, basically naturalistic colors - characteristic of the impressionist palette - create a feeling of bedazzlement which send out their own light, directly imitating the natural effects of light itself. Thus, the property of the color, the interaction of colors as well as their power to create some light, definitely are the basis of Valtier’s work. The artist can paint everything: barges along the quay, the busy crowds, Venice and its carnival, the bride and her procession - his whole painting is under the sign of the feast. Unlike Renoir or Cezanne, Valtier does not hesitate to use black as a true color, not one designed to soften or drain the pure color, as in the shadows. One will also appreciate the energetic work of the brush to describe the foliage or the luminous backgrounds irradiated with numerous vibrant colors. Valtier has had exhibitions throughout the world and has received many awards. He paints from his studio in Arles, France. He is listed in Mayers, Akoun, La Cote des Peinteres, Bordas International, and Financial Art.

"A Quiet Repair" by Henni de Korte measures 27x35 and is available for $11,500. A man standing on a small white boat in calm waters is quietly trying to fix a problem before sailing ...

Arnaldo de Lisio (Italian, 1869-1949) Donna con Ventilatore Oil on Canvas Signed Lower Right 34 x 24 inches 41 x 31.5 inches Arnaldo De Lisio (9 December 1869 – 5 March 1949) was an...

Bateau Sous la Pont Yolande Ardissone (French, b. 1927) Oil on Canvas Signed Lower Center 30.25 x 25.25 31.5 x 36.5 inches with frame Born in Normandy on June 6, 1927 to an Italian ...

Purchased at Drouot-Richeleu, June 15th, 2001 Commissaire-Prisseur: Maitres Marie-Francoise CHOCHON BARRE/ Jean-PhilliPpe ALLARDI Victor Gabriel Gilbert was a French painter whose ...

'A Gallant Salute' is an extremely impressive work by Samual Edmond Waller, signed and dated 1894. Figurative 19th Century painting of three great noble royalty members dressed in p...

'Morning Activities' by Gabriel Deschamps captures the french serene countryside beautifully. Characterised by soft brushstrokes and a vibrant colour palette, this incredible work ev...

"Fillette a l'orange (Little Girl with Orange)" is a figurative portrait Impressionist oil on canvas painting by Pierre-Auguste Renoir in 1911. The artwork is 25 3/4 x 21 3/8 inches ...

Signed and dated oil on canvas figure in interior painting by American impressionist painter Frederick Carl Frieseke. The piece depicts a young girl in a pink dress seated at a piano...

An exceptional impressionist beachside scene with figures and powerful clouds by American artist Augustus B. Koopman (1869-1914). Koopman was born in Charlotte, North Carolina, initially studied at the Pennsylvania Academy of Fine arts, and going on to live a large portion of his short life in Paris, studying at the Academie Julian and the Ecole des Beaux Arts, painting many of his marine and figure paintings on the coast at Etaples, near Belgium. Among his teachers were William Bouguereau, Benjamin Constant, and Tony Robert-Fleury. He was well known for his genre, maritime, landscape, figure, and portrait paintings. His drypoints and etchings can be found in both the Congressional and New York Public Libraries, and his painting “Vision of the Grand Canyon” is displayed in the Santa Fe Railway...

Laverne Nelson Black (American, 1887-1938) "The Deer Hunters" Signed Lower Left Canvas: 24 x 22 inches Framed: 30.5 x 28.5 inches Born in Viola,...

Edward Cucuel (American, 1875-1954) Summer Idle, 1918 Signed Lower Right 35 x 43 inches 43 x 51 inches with frame Born in San Francisco, Edward Cucuel was an Impressionist painter o...

Antoine Blanchard (French 1910-1988) "Avenue des Champs-Elysses, Paris" Oil on Canvas Signed approx 18 x 22 (site) approx 26.5 x 30 (framed) Antoine Blanchard (c.1910-1988) was a prolific and successful Neo-Impressionist painter who specialized in nostalgic scenes of Fin de Siècle Paris. Inspired by the subjects as well as the success of earlier painters of Parisian life like E. Galien Laloue (1854-1941), Edouard Cortès (1882-1969), Jean Béraud (1849-1935) and Luigi Loir (1845-1916), Blanchard painted hundreds of views of the “City of Light.” In the late 1950s, his street scenes were exported to the United States and the United Kingdom, where they were sold briskly to collectors. By the1960s, Blanchard paintings were bringing several hundred dollars in galleries, so while they were not inexpensive, they were affordable to collectors who loved Parisian scenes but who could not afford the works of Cortes or one of the other French painters known for their views of Paris in Belle Époque. Eventually Blanchard’s more delicate, feathery pastel-toned scenes of rain-swept Paris became sought after in their own right and, when he died, he was considered the last of what the dealers described as the École de Paris or “School of Paris” painters. The most salient fact about the life and career of the painter Antoine Blanchard was that he was actually born Marcel Masson, the son of a furniture maker who lived in the scenic Loire Valley, south of Paris, where the French nobility had their chateaus. The date that is usually given for Blanchard’s birth is November 15, 1910. However, there has been some speculation that he was born even later, perhaps in 1918, but some of the facts of his life have always been clouded by early biographies that claimed even earlier dates for his birth, so that he would seem to be seen as a contemporary of the famous Belle Époque painters rather than a post-war interpreter of Paris. Blanchard grew up in the hardscrabble years following the First World War. Because he was artistically talented, he was sent first to the nearby city of Blois, the capital of the Loir-et-Cher Département, for artistic training and then to the École des Beaux-Arts in Rennes, on the Brittany peninsula, where he received a classical art education. By some accounts Blanchard also studied in Paris, where the historic École des Beaux-Arts is located, but the depth of his study and the style of his earliest work will require further research. Marcel Masson was married in 1939, as war clouds gathered on the French horizon. He was drafted for service in the French Army and participated in the short and futile struggle against the invading German Panzers before returning to his family and his art during the Nazi occupation. A daughter, Nicole, was born in 1944 with a second daughter, Eveline, who eventually came to the United States, following in 1946. Masson’s early art career was interrupted, first by World War II and later by the necessity of keeping his father’s workshop running in the years after his death. By the late 1940s, though, Masson returned to his art and moved to Paris in order to further his career. Exactly when Marcel Masson adopted the pseudonym Antoine Blanchard is not known, nor are we aware of his motivations for adopting a nom de plume, but the practice was not unusual for French painters. In most cases a pseudonym was adopted because the artist had contractual obligations with more than one agent or dealer. Another motivation could be to obscure the scope of a sizable artistic production. Dealers in that era also liked to keep an artist under their thumb, so a pseudonym was a way for Blanchard’s dealers to tuck him away, out of the sight of their competitors. Like many painters before him Masson may have initially painted different subjects under different names. Marcel Masson neé Blanchard would have been well aware that the famous and prolific French painter E. Galien Laloue (1854-1941) painted under no less than four names – three pseudonyms in addition to name he was christened with – and so the adoption of another name was probably not seen as a liability to him. However, he apparently never took the step to register his pseudonym, which was possible in France, to legally restrict its use. In any event, by the 1950s Marcel Masson had become “Antoine Blanchard,” a painter of Parisian views. With the aging Edouard Cortès (1882-1969) as a model, Blanchard began to specialize in romanticized scenes of la ville des lumières, or the “City of Light.” However, instead of painting contemporary Paris, the crowded metropolis of his own time, which he may have felt was lacking in romance, he chose to look at the French capital through the rear-view mirror. So Blanchard became known for his depictions of the hurly-burly life of Paris in the Belle Époque. For inspiration, he is said to have collected old sepia-toned postcards of life in La Belle Époque (“The Beautiul Era”), the long period of peace and relative prosperity between the end of the Franco-Prussian War and the horrors of the Paris Commune in 1871 and the start of the mass bloodshed of the First World War in August of 1914. In addition, however, the paintings of Loir, Baraud, Laloue and Cortès could be found and studied in the flea markets of Paris as well as the auctions at the l’Hôtel Drouot. Reminders of the Belle Epoch were thus all around Blanchard, and of course the architecture that he painted had survived the Second World War intact, because Paris was spared bombing or a siege by the allies. Soon he was painting the horse-drawn omnibuses that took turn-of-the-century Parisians on longer trips throughout the city as well as the tradesmen, children and fashionably dressed ladies that populated Baron Haussmann’s Grand Boulevards. Blanchard’s early work was clearly modeled after the paintings of Edouard Cortès, but he was always his own man and never a slavish copyist. These paintings were darker in palette than the later Blanchard paintings most American collectors have become familiar with, and his red and blue tones were often bolder than those of Cortès. He never adopted the heavy “impasto,” the build-up of paint on the highlights of Cortes’ work, leaving that artistic trademark to the master. Blanchard’s brushwork was painterly, but the buildings in the paintings were always well rendered, for he had an excellent command of composition and perspective. By the late 1950s, agents began to purchase Blanchard’s paintings and then to export them to the United States, selling them to commercial galleries in far away Houston, Los Angeles, San Francisco, Chicago and New York. By the early 1960s, his work was already well known enough to be in reproduced by print publishers and the Donald Art Company published a number of popular prints that are now often mistaken for original paintings. By the end of the 1960s, Blanchard had begun to develop his own mature style by employing a lighter, brighter, palette and a deft, almost calligraphic style of brushwork. This helped him step out of Cortès’ shadow and become a sought-after painter in his own right. Blanchard worked through agents, essentially brokers, who purchased his work and created a demand for it in the United States and Canada. By the 1970s Blanchard’s paintings were being sold by galleries across the United States, and the American market absorbed virtually all of his work. In 1969, with the passing of Edouard Cortès, he became the last of the long series of prolific French painters of Parisian life. Blanchard’s later works were usually daylight scenes, with Paris seen awash in rain or with a mantle of soft snow, and so collectors no longer confused him with Cortes, whose Parisian clock seemed to always be set at twilight. These paintings were rendered in softer, pastel tones and he used his brush with a light touch. These qualities gave Blanchard’s work of the 1970s and 1980s a lighter, more decorative appearance. In the late 1970s, the French agent Paul Larde published a lavish book that was claimed to be an authorized biography of Antoine Blanchard by his “exclusive” dealer. Today, this book is almost impossible to find, because it was apparently the subject of a lawsuit in France. Some of the information in the Larde book was contested and found to be inaccurate and so it was withdrawn from publication. One claim that Larde made was that Blanchard’s production was extremely limited. While he was not as prolific as Cortès or Laloue, he was a hard-working painter who managed to supply a long list of galleries with his work. He produced thousands of paintings during his career. When the motivation for a monograph is marketing rather than art history, accuracy and detail can be swept aside by exaggeration, hyperbole and claims of exclusivity that were meant to discourage collectors or galleries from buying Blanchard’s from other representatives. Blanchard’s legitimate paintings were sold by several agents, who dealt directly with the artist, at least one of whom was American, one Austrian and a few French dealers. The details of Antoine Blanchard’s life are not well known because he never sought the limelight. He was content to work in his studio and ship his paintings to his agents who sold them abroad. Eventually both his daughters – Nicole and Evelyn – followed in his footsteps and became painters themselves. Evelyn (1946-2008) was savvy enough to adopt the Blanchard nom de plume, and she began painting street scenes that closely resembled her father’s later work. Antoine Blanchard passed away in 1988, leaving hundreds of paintings of Belle Époque Paris– the Notre Dame Cathedral, the Opera, the Arc de Triomphe and Place Concorde – as his lasting legacy. Notes on the Authentication of Antoine Blanchard’s Paintings: The vast majority of Blanchard’s paintings were smaller works, which were sent to the United States in tubes and stretched and framed by the galleries that sold them. Virtually all of these Blanchards were painted in European centimeter sizes, which convert to 13” x 18” or 18” x 21 1/2?, but on very rare occasions he painted much larger works in American sizes – such as 24” x 36” – on commission for dealers such as Howard Morseburg in Los Angeles or the dapper Wally Findlay, who had a chain of galleries. The first way to assess the authenticity of a Blanchard...

‘Between Us’ is an Impressionist Figurative painting by Robert Gemmell Hutchison R.S.A. It is highly evocative of the Scottish Coast, a hopeful and optimistic oil painting. Hutchinson was born in Edinburgh in 1855 the first son of a brass-founder. After first training as a seal-engraver he was encouraged to pursue oil painting and trained under James Campbell Noble at the Trustees Academy on Picardy Place. He set up his own studio at 1 India Buildings (at the top of Victoria Street...

The Opium Smoker; The Opium Eater by N.C. Wyeth was created in 1913. The painting is signed upper right. Dedication lower left that reads "To Swayne / Fro...

'Boats in the Harbour' Colourful 20th Century Figurative Painting of Fishing Boats in a harbour. Blues, reds and oranges. William Lee Hankey was born in Chester. Married to Mabel Lee Hankey and then Edith Garner. Studied at Chester School of Art under...

'La Feria' a very busy figurative middle eastern market scene with various characters. Jewellery seller, women, children and animals. John Haynes-William...

Signed lower left. A blond woman clad in a red blouse and skirt sits atop a blue blanket at the top of a set of stairs leading to a garden at the edge of a large body of water, with wooded hills in the distant background. Her back is turned from the viewer, her left hand and arm supporting her from behind as she gazes out beyond, her face hidden and sheltered from the sun by a straw hat. Arne Kavli...

For Pierre-Auguste Renoir, Impressionism's pre-eminent figure painter, depicting the nude was an exercise in bringing the canvas to life. He once said, “I look at a nude, I see myriads of minuscule shades. I have to find those which will make the flesh on my canvas come to life and resonate.” This compelling portrait by Renoir entitled Après le bain presents the nude figure of a woman in a serene, private moment, absorbed in the task of drying herself after a bath. The artist’s mastery of light and shading is incredible, achieving a sense of vitality in this otherwise ordinary scene. Renoir is celebrated for his figural work, especially his Rubenesque female nudes, however, it was not until the artist was in his forties that he depicted the nude with any frequency. In 1881, Renoir traveled to Italy, where he studied the works of the Renaissance masters and the ancient art of Pompeii and Rome. Upon his return to France, the nude became his favored subject, and he used the motif to combine the spontaneity of Impressionism with the solid modeling of classical painting. Renoir’s medium here, sanguine, a reddish-brown chalk, was used extensively in the Renaissance by Leonardo (who employed it in his sketches for the Last Supper), Michelangelo and Raphael. Its warm hue lends itself well to depicting flesh, and the chalk drawing allows for a greater focus on line, form and texture in a departure from the aspects of color and light that so often preoccupied the Impressionists. Après le bain conveys the impression of arrested motion with perfect naturalness, deftly capturing the moment before the elegant lines of the sitter's form change position. The sitter is almost certainly Gabrielle Renard, the nanny to Renoir’s children and a frequent model for the artist. Gabrielle was the cousin of Renoir’s wife, Aline, and came to Montmartre to work for the family at the age of 16. She developed a strong bond with the family and became a favorite subject for Renoir, appearing in several of his most important works, including his 1911 Gabrielle with a Rose (Musée d'Orsay). When Renoir began to suffer from severe rheumatoid arthritis that would eventually leave him unable to walk and scarcely able to grasp a paintbrush, it was Gabrielle that would assist the artist by positioning the paintbrush between his crippled fingers. Born in Limoges, France in 1841, Renoir began his career as an apprentice to a painter of porcelain wares. He later moved to Paris at the age of 21, enrolling at the prestigious École des Beaux-Arts. It was here, while studying under Charles Gleyre, that Renoir attained a tremendous appreciation for the academic style of painting, a quality that would last throughout his career. This was also when he met Claude Monet and several other classmates, with whom he would later form the Impressionists. Working closely with Monet, Renoir began experimenting with the portrayal of light and its effect on his canvases. The youngest member of the Impressionist movement, an astute Renoir recognized how a subject was constantly changing due to the dynamic effects of light on color. Relying heavily upon his academic training that focused on composition, lines and descriptive details, Renoir distinguished himself among his contemporaries. His intuitive use of color and expansive brushstroke, along with acute attention to his subject, have placed him among the finest painters in history. This work is accompanied by a certificate of authenticity and will be included in the forthcoming catalogue raisonné of the work of Pierre-Auguste Renoir from the Wildenstein Plattner Institute. Circa 1898 Canvas: 43 1/2" high x 35 1/2" wide Frame: 57 3/4" high x 49 1/4" wide Provenance: Galerie Durand-Ruel, Paris (acquired from the artist on January 25, 1899) J. Pereire Collection, France (1966) Sam Salz, New York (before 1981) Claus Virch, Paris French Compagny, Inc., New York Larry Silverstein, New York (circa January 1987) Le Clos de Sierne Gallery, Geneva Galerie Heyram, Paris (October 1987) Francis Gross M.S. Rau, New Orleans Literature: B. Schneider, Renoir, Berlin, 1957, p. 95 (illustrated in color, p. 83) M. Gauthier, Renoir, Paris, 1958, p. 83 (illustrated in color; erroneously dated '1916' and titled 'Woman in her toilet') F. Fosca, Renoir, L'homme et son obra, Paris, 1961, p. 280 (illustrated, p. 95; erroneously dated 'about 1890' and titled 'After the Bath...

'Le Port' by Leon Bellemont. A beauitufl harbour scene of figures, boats and sails in a french Provence town. The colours are vibrant and bold. Reds, blues and touches of white. A pe...

Framed Size: 21 x 26 inches *This work has been authenticated by Nicole Verdier Provenance: Johnson Gallery, Chicago IL, circa 1967/1968 Cortès was born in Lagny, France on April 26, 1882. During his early lifetime, Paris was the center of the art world. Artist from across the globe traveled there to study and paint it's beautiful countryside and cities; views of Paris, or as it became known 'the City of Lights', were in great demand by both collectors and tourists. Édouard Cortès, along with other artists like Eugene Galien-Laloue (1854-1941), Luigi Loir (1845-1916) and Jean Beraud (1849-1936) answered their call. Specializing in Paris street scenes, each of these artists captured the city during its heyday and continued with these scenes well into the 20th century.Édouard was the son of Antonio Cortès - the Spanish Court painter - who was himself the son of the artisan André Cortès...

'The Harvest' is a stunning pastoral scene by Victor Gabriel Gilbert. Victor Gabriel Gilbert was born in Paris, 13th February 1847. He studied for a perio...

A lush verdant painting of three nude bathers in a French river. It speaks of summer days spent wild swimming, picnics filled with cheese & wine and hear...

Jose Royo (b. 1941, Spain) Title: "Andaluza" Medium: Oil on Canvas Dimensions: 20 x 20 in. (canvas) Markings: Signed LR "Royo" Framed

Antoine Blanchard "Le Quais et la Louvre" Oil on Canvas Signed Canvas Size: 13 x 18 inches Framed Size: 22.5 x 27.5 inches Antoine Blanchard French (1910-1...

Carl Iver Gilbert (1882-1959) "A Place in the Sun" Oil on Canvas Signed Image: 10 x 12 inches Framed Size: 15 x 18.5 inches Carl Ivar Gilbert was a...

Pierre Eugene Duteurtre (1911-1989) "La Lecture" c. 1960 Oil on Canvas Signed Canvas Size: 18 x 22 inches Framed Size: approx 26.5 x 30.5 inch...

Antoine Blanchard "Boulevard de la Madeleine sous la Neige" Oil on Canvas Signed Canvas Size: 13 x 18 inches Framed Size: approx 18 x 23 inches Antoine Blanchard French (1910-1988)

Francois Gerome "The White Dress" c. 1940s/50 Oil on Canvas approx. 10 x 8 inches approx. 16 x 13 inches framed FRANCOIS GEROME French, 1895 Francois Ger...

Roy Andersen (b. 1930) "Old High Country Woman" Oil on Canvas 12 x 16 inches 21.5 x 25 inches framed Known as a western painter, Roy Andersen did paintings of Crow, Cheyenne, and Apache Indians. He began his career living in Chicago and New York and working as an illustrator. He did numerous covers for Time Magazine including portraits of Albert Einstein and Prince Fahd. He also did illustrations for National Geographic magazine, and did a stamp series on Dogs and American Horses, and in 1984 and 1985, won Stamp of the Year Award. As a muralist, he has filled commissions for the National Park Service, the Royal Saudi Naval Headquarters, and the E.E. Fogelson Vistor Center at Pecos National Monument in New Mexico. To pursue his talent for painting, Roy Anderson went West, living in Arizona and settling in Cave Creek. In 1990, he was voted official artist for Scottsdale's Parada del Sol, the "world's largest" horse-drawn parade commemorating the Old West. Andersen grew up on an apple farm in New Hampshire and learned about Indian customs from his many hours spent at the Chicago Museum of Natural History. He is meticulous about being historically accurate in his paintings. Of him it was written: "There are no 'happy accidents' in an Andersen painting. He has a knowledge of his subject that is attained only through extensive research. You will not find an Apache medicine bag...

Wilfrid Constant Beauquesne (1847 - 1913) "Franco-Prussian Battle Scene" c. 1900 Oil on Canvas Signed Lower Right Site Size: approx 22 x 28 inches Framed Size: approx 35 x 40 inches French artistry was deeply influenced by three wars during the 19th century and, accordingly, the artistic imagination was not lost upon the public. "Patriotism comes to the aid of battle painters," a contemporary remarked, "presenting them with a sympathetic public already fascinated by the subject." After the brief Franco-Prussian conflict of 1870, French painters were particularly anxious to retrieve national pride by presenting works which reflected their own national heroism versus enemy brutality. Known for his scenic depictions of this war, Wilfried Beauquesne, a native of Rennes, France, was undoubtedly influenced in his selection of subjects by his instructors at the Ecole des Beaux Arts in Paris. Vernet-Lecomte and Horace Vernet were both well known military artists. Vernet had actually lived and worked during the period of Napoleonic conflicts - being awarded the Legion of Honor by the Emperor's own hand. Beauquesne exhibited regularly at the annual Paris Salon between 1887 and 1899, as well as throughout Europe. In 1890, illustrating the fortunes of life, The Art Amateur ran the following item in its "Gossip Column:" "A queer story comes to me from Paris. A commission agent made a bargain with a poor painter, living out at Saint-Maude, to paint military subjects for him, at two francs an hour. The agent changed the signature to that of Gaubault, and sold the pictures to various dealers. On day, by chance, the poor painter came to Paris, went to the Salon, and was astonished to see one of his pictures there. He look at the catalogue, and found the name of the artist and the address of the dealer where he was to be found, The poor artist went to the dealer and introduced himself saying, "I am Gaubault." "Most happy to make your acquaintance," replied the dealer. "Your pictures sell very well, and I have been wanting to see you for the last six years." "But my name is not Gaubault, it is Beauquesne." Explanations followed. The dishonest commission agent disappeared; and Beauquesne restored his real signature on the pictures, which had made his pseudonym almost famous...

Hans Amis (AKA An He) "Morning Reflection" Oil on Canvas 30 x 40 inches, site 38 x 48 inches framed An He was born in Guangzhou, China into an artistic family. He was drawn to the...

Paul Cornoyer “Central Park Autumn” c. 1910 Oil on Canvas Framed Size: approx 29 x 35 inches Canvas Size: approx 22 x 26.5 inches Provenance: The Artist to Private Collection, St. Louis thence by Descent Conservation report: Excellent condition. On original canvas, not relined. No in-painting. Paul Cornoyer was born in 1864 in St. Louis, Missouri. He studied there at the School of Fine Arts in 1881. His first works were in a Barbizon mode, and his first exhibit was in 1887. In 1889, he went to Paris for further training, studying at the Academie Julien, and returned to St. Louis in 1894. By the early 1890s, his work was more lyrical and Tonal, and he applied this style to subjects such as cityscapes and landscapes. In 1894, he painted a mural depicting the birth of St. Louis for the Planters Hotel in that city. His activities during the next six years were not particularly profitable, however, and the whereabouts of his St. Louis paintings are scarcely known. One exception is the triptych, A View of Saint Louis, with its strong urban realism. It shows the Eads Bridge...

Canvas Size: approx 32 x 39 inches Framed Size: approx. 37 x 45 inches Nicola Simbari is a painter of semi-abstract impressionist works. He is a colorist who favors brilliant tones...