Pierre Olivier Joseph Coomans

Pompeian Woman by Pierre Olivier Joseph Coomans

1870

Federico Zandomeneghi 1841-1917 Italian Les deux soeurs (The two sisters) Signed and dated "Zandomeneghi 95" (lower left) Oil on canvas Two sisters enjoy a quiet moment in a rich green landscape in this intimate oil on canvas from Federico Zandomeneghi. An Italian painter by birth who became a fixture in the Parisian Impressionist scene, Zandomeneghi is best remembered for his sentimental and affectionate scenes of women in both domestic and public spheres. Zandomeneghi’s creative and technical prowess in composition is highlighted in this painting. The artist deftly frames the young pair in the lower register of the canvas, imbuing the work with a remarkably observational feel. The girls pensively gaze off to the right, lost in thought; Zandomeneghi allows the viewer to witness a natural moment of discussion and contemplation shared among the sisters. The soft palette employed by the artist gives the whole scene an atmospheric glow, with dappled rays of sunshine breaking through the lush foliage. Though the girls remain in the shaded areas of the landscape, Zandomeneghi’s skillful application of paint allows a brightness to remain nevertheless. Federico Zandomeneghi was born in Venice to a long line of neoclassical sculptors. As if created to be an artist, Zandomeneghi began his artistic education early, enrolling in the Accademia di Belle Arti in Venice at just 15 years old before transferring to the Academy of Fine Arts in Milan. By 1862, the artist had arrived in Florence, where he became fast acquaintances with several Italian artists dedicated to executing landscape paintings en plein air. Zandomeneghi embraced the spontaneity, seeking to bring unparalleled luminosity to his works. When Zandomeneghi arrived in Paris in 1874, he found kindred spirits...

Eugen von Blaas Italian I 1843-1932 No Love Without Envy Signed and dated "Eugen von Blaas 1901" (lower right) Oil on canvas Eugen von Blaas masterfully captured the spirit and charm of Venice, and No Love Without Envy stands as one of his most exceptional compositions. Larger and more finely detailed than many of his works, this grand painting reflects his unparalleled mastery of light, color and narrative. Rich in detail and emotion, this scene is believed to feature a stylized self-portrait of the artist alongside his wife, Paola Prina. Set in a sun-drenched Venetian courtyard, the composition brims with life and intrigue. At its center, an orange seller—modeled by Prina—engages in a flirtatious exchange with an admirer, the artist himself, while three onlookers observe with amusement and envy. The interplay of light and texture is remarkable: von Blaas' exquisite brushwork renders the delicate lace, sumptuous fabrics and intricately adorned garments with near-photographic precision, while the soft flesh tones contrast beautifully against the timeworn stonework of Venice. This attention to detail, combined with the work’s luminous palette, creates a sense of immediacy and warmth that defines the best of von Blaas' Venetian genre paintings. Born in 1843 to Austrian parents in Italy, von Blaas was raised in a household steeped in artistic tradition. His father, Karl Blaas, was a renowned portraitist and history painter, while his brother specialized in military scenes. When Karl was appointed professor at the Venice Academy of Fine Arts, the family relocated to the floating city—a move that profoundly shaped von Blaas’ artistic vision. Though he studied in Rome, Vienna and Paris, it was Venice that remained his greatest muse. Captivated by its light, architecture and everyday moments of romance and social interplay, he became the foremost painter of Venetian genre scenes. During Venice’s Austrian rule, von Blaas adopted the Italianized name “Eugene de Blaas...

The greatest triumph of the artist’s career, this extraordinary and monumental oil on canvas by Gustave-Max Stevens perfectly represents the highly detailed compositions and richly h...

Two young children play an ill-advised game of gum stretching on the family couch in this charming composition by famed American illustrator, Leslie Thrasher. Painted towards the start of the Great Depression, Thrasher provided light-hearted images of the lives of everyday people to distract Americans from their troubles. These images appeared on the covers of Liberty Magazine, for whom he produced one cover illustration a week for six consecutive years. Born in 1889 in Piedmont, West Virginia, Thrasher studied at the Pennsylvania Academy of Fine Arts as a teenager and received a scholarship to study art abroad in Paris. Upon his return, he began studying under Howard Pyle, known as the “father of American illustration.” Thrasher sold his first cover illustration to the Saturday Evening Post in 1912, four years before Norman Rockwell’s first Post cover, and he would go on to produce over 360 magazine covers throughout his career. He painted humorous, relatable scenes of life in America with colorful characters set against white backgrounds. He was also a successful commercial artist, painting advertisements for Cream of Wheat, Chesterfield Cigarettes...

Pocket Crimson Strawberry is an original oil painting by Dani Humberstone as part of her Pocket Painting series featuring small scale realistic oil paintings, with a nod to baroque s...

Zegen Blessing Oil Painting on Canvas Flowers Still Life Bouquet In Stock Juane Xue (Hui Xue, Kaiffeng, China, 1962) has been drawing since her childhood. This helped her to go to t...

Exquisite, vibrant original oil on canvas painting of a French swordsman in an interior. Very finely done with exacting detail. Circa 1880. Signed lower left “Jean Lamaire”. Conditi...

Original oil on canvas painting of a lavish interior dinner party scene by Venancio Zolla. Signed lower right. Condition is excellent. Bibliography printed label on frame verso. O...