1880s Interior Paintings

Lucienne Lemercier was a French painter from the latter part of the 19th century through the early 20th century. She came from a family of creative people and took to painting at a...

A refined 19th-century interior scene. Oil on canvas, first canvas, painting signed G. Spangerberg lower right and dated 1886, attributed to the German painter Gustav Adolf Spangenbe...

Arthur Batt (British, 19th century) Scottie with Parrot Oil on canvas Circa 1880 In the original frame Signed bottom right This charming and unusual animal subject is a fine example...

Very nicely painted early American realist fruit still life painting by Cyrenius Hall (1830 - 1896). Oil on board. Signed. Framed. Image size, 14"H x 22"L.

A beautiful oil painting on canvas from the second half of the 19th century. It depicts a church interior with rare intensity. The attention to detail, the quality of the brushwork, ...

Chasing the Rat! by Frank Cassell (British 1862-1908) oil on canvas, framed framed: 14.75 x 19.75 inches canvas : 12 x 16 inches Provenance: private collection, UK Condition: very go...

HERRMANN LEON Charles (1838-1908) Portrait of a Dog in interior Oil on canvas signed low left Old frame re-gilded with gold leaves Dim canvas : 56 X 46 cm Dim frame : 69 X 59 cm HERRMANN LEON Charles (1838-1908) French painter 19th century Born 22 july 1838 in Le Havre. Died 1...

STEVENS Agapit (1848 – 1924) Reception at the Salon Oil on wood signed low left New Golden Frame Dim wood panel : 24 X 39 cm Dim Frame : 49 X 63 cm STEVENS Agapit (1848 – 1924) Be...

A gorgeous floral still life which marries the depth and the richness found in the work of the Flemish old masters with the elegance and light of French painting. As you will see, th...

BIVA Paul (1851 - 1900) Basket of Pansies Oil on canvas signed low left Framed by Gault (Paris) Dim canvas : 60 X 80 cm Dim frame : 80 X 100 cm BIVA Paul (1851 - 1900) French Pain...

CUGNOTET Edgard (19th Century) Portrait of two Children Oil on canvas signed low left and dated 1884 Frame gilded with leaves Dim canvas : 138 X 100 cm Dim Frame : 162 X 122 cm CUGNOTET Edgard Ferdinand Ludovic (19th Century) French painter 19th Century born in Dijon Figures, Portraits, Landscapes He was taught by François Édouard PICOT (1786-1868) royal Academy of Anvers. He exhibited at the Salon de Paris between 1868 and 1884. Museum : Langres « the hurdy gurdy...

Antique realist church interior oil painting. Oil on canvas. Framed. Measuring: 17 by 22 inches overall, and 13 by 17 painting alone. Excellent condition, ready to hang and enjoy.

Antique American folk art landscape oil painting. Oil on board. Signed. Framed. Provenance from a Sag Harbor, NY collection. Measuring: 16 by 19 inches overall. Handsomely framed in...

Italian painting from the second half of the 19th century. A large, striking oil on canvas artwork depicting an interior scene, a mother with children, the artwork is exquisitely pai...

Toulot Jules (1863-nc) Pianist officer in the Second Empire period Oil on canvas signed low right Old frame regilded with gold leaves Dim canvas : 65 X 43 cm Dim frame : 90 X 67 cm TOULOT Jules (1863-nc) French painter 19th century Born 11th November 1863 in Champeinx (Puy de Dôme...

1880 cottage interior oil on canvas 14.75 x 19.25 unframed, 18.25 x 22.75 framed Signature indecipherable

Gabriel Paul GUILLOT Reims, 1850 - 1914 The Servant's Judgment Oil on canvas 65 x 81 cm (77.5 x 97 cm with frame) Signed and dated on the left "P. Guillot / 1880" Wax seal on the bac...

ANTONIO CASANOVA Y ESTORACH (1847-1896) "La siège de Paris de 1590" signed, located and dated "Antonio Casanova y Estorach / Paris 1882" (lower left) oil on canvas 28-2/3 x 36-1/4 ...

Morston Constantine Ream (American, 1840-1898) Grapes Oil on canvas, 10 x 12 inches Framed: 22 x 24 inches (approx.) Signed at lower right: “Morston Ream” The still-life painter Mor...

JOSÉ GALLEGOS Y ARNOSA Spanish, 1857 - 1917 CORO DE MONAGUILLOS ENSAYANDO signed, located and dated "JGallegos / Roma 1883" (lower right) oil on...

ROGELIO DE EGUSQUIZA Y BARRENA LADY IN YELLOW signed "R. Egusquiza" (lower right) oil on panel 28-5/8 X 20-3/4 inches (72.5 X 52.7 cm.) framed: 32-5/8 X 24-3/4 inches (82.5 X 62.5 cm.) Rogelio de Egusquiza y Barrena (1845 – 10 February 1915) was a Spanish painter, known for his friendship with the German composer Richard Wagner, whose works he helped make familiar in Spain He was born in El Astillero, into a well-to-do family. He studied in Madrid and with Léon Bonnat at the École des Beaux-Arts in Paris. In 1868, after travelling and participating several times in the National Exhibition of Fine Arts, he returned to Paris and settled there. At first, he painted historical scenes, but later turned to genre scenes and portraits in the Academic style. Following the death of Marià Fortuny, he moved to Rome at the invitation of the Madrazos, Raimundo and Ricardo, taking Fortuny's place at their studio through 1875 and attending classes at the Spanish Academy in Rome. He heard Wagner's music for the first time in 1876, after returning to Paris. Three years later, he travelled to Munich to hear a performance of The Ring of the Nibelungen. His enthusiasm for what he heard led him to go to Bayreuth, where he introduced himself to Wagner and became his friend. In the following years, he and Wagner got together again several times; in Venice (1880), Berlín (1881) and Bayreuth (1882); where he was a guest at the premiere of Parsifal. After his first meeting with Wagner, he decided to devote his career to doing works on Wagnerian themes; mostly portraits of the characters rather than specific scenes. During his visits to Germany, he also created portraits of Arthur Schopenhauer (posthumous) and King Ludwig II...

The Parisian Flower Arranger Painted in 1884, Christian-Henri Roullier’s *The Parisian Flower Arranger* is an unusually rich combination of portraiture and still life. Measuring 57 x 42 inches, the large oil on canvas shows a young woman seated in a greenhouse or conservatory, surrounded by flowers and foliage. She holds a newly gathered bouquet in her lap, while her pale dress, lace collar, and carefully rendered features give the scene an unmistakably Parisian elegance. Much of the painting’s appeal comes from Roullier’s treatment of the flowers themselves. Roses, lilacs, pansies, geraniums, and other blossoms fill nearly every part of the composition. Rather than becoming decorative background, they are painted with enough individuality that each seems to have been closely observed. Reds, purples, yellows, pinks, and greens are set against the softer tones of the woman’s dress and the filtered light of the conservatory. The setting allows Roullier to play with both natural and controlled light. Sunlight filters through the glass and foliage, touching the flowers, the sitter’s face, and the folds of her gown. Darker passages among the plants give the picture depth and keep the abundance of color from overwhelming the figure. Despite the sheer amount of detail, the composition remains calm and carefully balanced. There is also something distinctly of its period in the subject. Flower arranging was associated with domestic refinement, taste, and cultivated leisure in late 19th-century France. Roullier takes that familiar theme and gives it considerable scale and importance. The woman is not merely placed among flowers. She appears entirely at home within this cultivated world, surrounded by the materials of her work and pleasure. The Artist Christian-Henri Roullier was born in Lyon in 1845, but his life soon took an unusual turn. As an infant, he traveled with his family to San Francisco during the California Gold Rush. The family initially struggled, but their circumstances improved after Roullier’s father found employment at the White House, the prominent San Francisco department store owned by the French-born merchant Raphael Weill. Roullier eventually returned to France to pursue serious artistic training. In Paris, he studied painting with Jean-Léon Gérôme, one of the best-known academic painters of the period. He also studied sculpture with Emmanuel Frémiet. Roullier continued to work in both painting and sculpture, and the influence of that training can be seen in the solidity of his figures and his careful understanding of form. His paintings share some of the qualities associated with Gérôme’s academic approach, particularly precise drawing, careful composition, and close attention to surface and detail. Roullier, however, often brought a warmer and more intimate quality to his subjects, particularly when painting portraits, landscapes, and scenes of everyday life. Roullier exhibited regularly at the Paris Salon from 1878 through 1914. He also maintained strong ties to San Francisco and exhibited with the San Francisco Art Association and at the Mechanics’ Institute in 1883. Among his artistic acquaintances was Jules Tavernier, the French-born painter closely associated with the development of art in California and Hawaii. Roullier painted Tavernier at work in the lively portrait "Tavernier Painting". His subject matter was varied. In addition to portraits, he painted rural scenes in France and traveled farther afield, producing colorful views of Tunisia. Across these different subjects, Roullier showed a particular interest in light, atmosphere, and richly observed surroundings. France and California When Roullier was not working in Paris, he and his sister Blanche spent time at the family property in Saint-Nizier-sous-Charlieu in the Loire region of France. Blanche Roullier was herself an accomplished pastel artist who exhibited regularly at the French salons and received recognition for her work. The countryside around Saint-Nizier-sous-Charlieu provided Christian-Henri Roullier with another source of inspiration. His rural paintings often have a quieter character than his formal portraits and elaborate interiors, but they reveal the same careful observation. Although Roullier spent much of his adult life in France, his early connection to California remained an important part of his biography. His career effectively joined two very different artistic worlds. He was trained in the traditions of the French academy, yet he had grown up in the rapidly changing environment of San Francisco. That combination helps explain the range of his work and perhaps some of its openness to vivid color and strong natural light. A Major Work *The Parisian Flower Arranger* brings many of Roullier’s strengths together in a single painting. His academic training is evident in the drawing of the figure, the organization of the composition, and the extraordinary amount of carefully observed detail. At the same time, the picture never feels like a technical exercise. Its real charm comes from the quiet mood Roullier creates. The sitter, the flowers, and the conservatory all belong to the same world. Nothing feels hurried. The flowers have been gathered and arranged, sunlight enters through the glass, and the young woman pauses within a setting devoted almost entirely to beauty. Roullier died in Paris on July 25, 1926. Later that year, a retrospective exhibition of his work was held at the Paris Winter...

JUAN GIMÉNEZ MARTÍN Spanish 1855 - 1901 THE MANDOLIN SERENADE signed & located "Gimenez-Martin, Roma" lower left watercolour on cardboard 21-1/4 x ...