Jean-Gabriel Domergue

Nu au Sofa (Nude on the Couch)

20th Century

Grigory Gluckmann 1898-1973 Belarussian Nu de dos Oil on panel Signed lower right Panel : 10 5/8" high x 13 3/4" wide Frame: 17 1/8" high x 20 1/2" wide ...

Adolphe LA LYRE 1850-1935 French "La danse des Sirènes" Oil on canvas Signed and dated lower left Painted in 1909 Canvas: 59" high x 78 3/4" wide Frame: 64"high x 84 5/8" wide ...

Albert LYNCH (1851-1936) French "Rêverie" Oil on canvas Signed lower left Canvas: 43 1/4" high x 24 3/4" wide Frame: 49 5/8" high x 30 3/4" wide Albert LYNCH: Born in Lima in 1851, Albert Lynch studied art at L'Ecole des Beaux-Arts de Paris and in the studios of the figure painters Gabriel Ferrier and Henri Lehmann...

Delphin Enjorlas 1857-1945 French La Lecture Oil on canvas Signed lower left Canvas: 18 1/8" high x 24" wide Frame: 27 1/8" high x 33 1/8" wide Delphin Enjolras was a French g...

Marguerite AROSA (1850-1903), French "Baigneuse" (Bather) Oil on canvas Signed lower left Canvas: 66 1/5" high x 50" wide Frame: 74 1/5" high x 57 1/2" wide This painting was e...

Baron Pierre Narcisse GUERIN (Circle of) 1774-1833 French Venus et Adonis (Venus and Adonis) Oil on canvas Canvas: 53" high x 39 1/2" wide Frame: ...

Artist: Eugenio Agneni Title: Diptych “The Cries of Fire”; “The Voices of the Stream”, c. 1865-71. Medium: oil on canvas mounted on wood, cm 128 x 60 each Signature: Signed at the bottom on the base of the frames provenance: Marquis Corsi Salviati; Rome, private collection The two canvases mounted on wooden supports are clearly attributable to Eugenio Agneni (Sutri, 1816 - Rome, 1879), a paradigmatic figure of an Italian painter of the Risorgimento years who combined a successful and continuous international artistic activity with an intense political and military activity, starting from the Roman effervescence following the election of Pius IX to the Mentana expedition and then in the early years of Rome as capital city, a period in which he held various administrative posts. The clarity of attribution of the works derives not only from the large central inscription inserted in the elaborate neo-Gothic scenic layout that encloses the two works in a diptych, but also from the direct kinship that links them to the cycle of frescoes painted between 1865 and 1868 for Marquis Antonio Maria Corsi Salviati in the reception hall of the family villa in Sesto Fiorentino. Agneni resided more or less permanently in the Florentine area between 1863 and 1871 after a phase of European-wide wanderings that began at the end of the Roman republican experience of 1849, in which he was involved to the point of having to hide for some time from July of that year at the home of Marquis Salviati, whom he therefore already knew before his subsequent move to Florence. The need to stay away from Italy, as well as his connections with Mazzinian exiles and evidently also a proven ability to reinvent himself in different cultural spheres allowed Agneni to profitably frequent the artistic scenes of London and Paris, cities in which he lived and worked, obtaining commissions of absolute importance (he decorated several rooms at Buckingham Palace, the Covent Garden Opera and the Louvre), and presenting his works at the Royal Academy in London. Therefore, if we are to keep faith with the remarks of his friend Luigi Calamatta ("you are full of money...

French 19' century painting oil on canvas . Young Venus nude figure surrounded by delicious playing putti . Finely carved and gilt-wood frame of the same period . Measurements w...

This charming oil painting on marouflé canvas was designed by Robert Roujas (1908-2000). This romantic composition presents a study of a reclining nude seen from behind in a weary po...

A Palatial and Opulent Belle epoque giltwood & oil on canvas three-panel screen, circa 1890. "Allegory of Youth" Comprising of three exquisite hand-painted triptych oil on canvas panels of cherubs and putti amongst a peacock, all by Ferdinand Wagner II (German, 1847-1927). Each panel depicting different playful and joyous scenes of putti and cherubs. All three-in-one panels within individually carved giltwood and upholstered frames. One panel signed at the lower left: Ferd.Wagner. A truly magnificent and one of a kind piece, perfect for any room in the home. Overall: 101" high 85" wide x 5" deep Very good condition. Ready to place. Ferdinand Wagner II (German, 1847-1927) was the son of Passau Ferdinand Wagner Senior, a teacher at a vocational art school who began training him professionally at a young age. After traveling to Italy in 1867-1868, he continued with his art studies at The Munich Academy of Arts led by Peter Von Cornelius and Julius Schnorr Von Carolsfeld. Wagner II was influenced by the Munich School of master painters and by his art teacher, Karl von Piloty, who had been teaching at the Munich Art Academy since 1856. Piloty’s approach to historical paintings was influenced by the French art academic Paul Delaroche and by the fine artworks by Rubens and the Venetians. After his return to Germany he was commissioned to decorate the former the Tenormayer Wine Tavern in Munich, subsequently he received numerous other commissions as a decorator. Ferdinand Wagner II wall paintings and ceiling frescos...

Jean-Jules-Antoine Lecomte du Nouÿ (1842-1923) A shoulder and back study, oil study oil on canvas 34 x 19.5 cm In good condition, a few small inpainti...

Romantic Portraits Richir Herman Brussels 1866 – 1942 Belgian Painter Signature: Attributed to Richir Herman Medium: Oil on canvas Dimensions: Image size 67,50 x 62,50 cm, frame size 69,50 x 64,50 cm Biography: Richir Herman Jean Joseph was born in Ixelles (Brussels), on November 4, 1866. He was a Belgian painter of portraits, still lifes, genre paintings, nudes and landscapes. He made decorative paintings to fit into private homes. Richir mainly painted portraits. His clients usually belonged to the higher circles. He portrayed amongst others King Albert and Queen Elisabeth, Cardinal Mercier and Countess d’Oultremont. Less known are the landscape paintings he made Limburg and Kempen, where he regularly stayed with befriended artist Emile Van Doren (1865 – 1949). Herman Richir first studied at the Sint-Joost-ten-Node Academy with Gustave Biot and Charles Hermans, continued his education at the Royal Academy of Fine Arts in Brussels (1884-1889) with the master teacher and artist Jean-Francois Portaels (1818 – 1895). In 1886, during his studies, he won second Prize of Rome for Painting. Richir lived in Schaarbeek. In 1900 he became a teacher of drawing and in 1905 first teacher of painting after nature at the Brussels Academy. He was director there several times 1906-1907, 1910, 1911, 1915-1919, 1925-1927. He was retired in 1927. His pupils included Albert Alleman (1892 – 1933), Éliane de Meuse (1899 – 1993), Paul Hagemans (1884 – 1959), Maurice Mareels (1893 – 1976), Guy Onkelinx (1879 – 1935), Georges Rogy (1897 – 1981), José Storie (1899 – 1961), Charles Swyncop (1895 – 1970), Maurice Schelck...