Charles-Édouard Boutibonne

A Fine Portrait of a Young Grecian Beauty by C. Boutibonne

Late 19th century

EDMUND ADLER Austrian, 1876-1965 Children Gathered in a Parlor Signed Edmund Adler l.l.; also numbered 21767 on verso Oil on canvas 21 1/4 x 26 1/2 inches

VINCENT G. STIEPEVICH Russian, 1841-1910 Lounging Odalisque in the Harem Signed ‘VG. Stiepevich’ L/R Oil on canvas 18 x 24 inches Frame: 26 x 33 inches

William Gale British 1823 - 1909 A Restful Moment signed with artist's monogram WG lower left oil on canvas Unframed: 30.6 by 41cm., 12 by 16¼in. Framed: 52 by 62cm., 20½ by 24½in. William Gale was a talented history and genre oil painter, born in London in 1823. He won many accolades as a student at Royal Academy Schools, and travelled to Italy in 1851 and the Middle East in 1862 and 1867. Due to his many influences , Gale's paintings are in an array of styles including sentimental, biblical, mythological subjects, portraits and orientalist pictures. Examples of his work are held by the Tate, Glasgow City Art Galleries and Museums and Art Gallery of New South Wales. William Gale was one of the many artists who, upon finishing his study at the Royal Academy Schools, set out to explore the east: namely North Africa, Algeria, Palestine and Syria. These remote countries at the crossroads of civilizations captivated his imagination, which he explored through his work. Following in the footsteps of the great Orientalists John Frederic Lewis and Jean Leon Gerome, William Gale evokes the Eastern Woman, the bright colors and delicate textures that can be found in the East. Using pure, rich glazes and extraordinary attention to detail, he renders the luxurious, beautifully embroidered headscarf. Eastern women kindled a curiosity in almost every Orientalist artist...

Title: Isabella Artist: Emile Eisman-Semenowsky (1857-1911) Origin: Polish/French Date: Early 20th century Medium: Oil on canvas Signature: signed and inscribed 'EISMAN-SEMENOWSKY/PA...

Oil paint on canvas Signed lower right

Provenance: Robert L. and Bertina Suida Manning, New York, until 1996 Private Collection, USA One of the leading artists in Genoa during the second half of the seventeenth century, Domenico Piola came from a successful family of artists, renowned for their many illusionistic ceiling programs throughout Genoese churches and palaces. A prolific draughtsman and painter, Domenico oversaw an extremely productive studio. In addition to his collaborations with numerous other artists, Domenico also provided many designs for book illustrations and prints that circulated throughout Europe, earning him international exposure and high acclaim in his own day. As Dr. Anna Orlando has indicated (written communication), the present work is an early work by Piola, datable from the late 1640s. At this time the young artist came strongly under the influence of Castiglione and Valerio Castello, while admiring the works of Giulio Cesare Procaccini. Piola’s works from this period are exuberant and fluid, and the artist’s love of portraying children is evident from the angels and putti that populate both his altarpieces and more intimate paintings. The present work depicts three angels...

Provenance: Suida-Manning Collection, New York Private Collection Exhibited: Venetian Paintings of the Sixteenth Century, Finch College Museum of Art, New York, October 30-December 15, 1963, no. 31. Veronese & His Studio in North American Collections, Birmingham Museum of Art, Oct. 1-Nov. 15, 1972, and Montgomery Museum of Fine Arts, Dec. 5-Dec. 31, 1972 Literature: Robert L. Manning, A Loan Exhibition of Venetian Paintings of the Sixteenth Century, exh. cat. New York 1963, cat. no. 31ill., as by Veronese Stephen Clayton and Edward Weeks, eds., introduction by David Rosand, Veronese & His Studio in North American Collections, Birmingham 1972, as by Veronese, p. 38 ill. Terisio Pignatti, Veronese, Venice 1976, I, p. 199, cat. no. A225, II, fig. 908, as attributed to Veronese Terisio Pignatti and Filippo Pedrocco, Veronese; catalogo completo dei dipinti, Florence 1991, no. 54°, as attributed to Veronese. Terisio Pignatti and Filippo Pedrocco, Veronese, Milan 1995, II, pp. 517-518ill., cat. no. A 56, under attributed paintings, by Veronese and workshop) John Garton, Grace and Grandeur; The Portraiture of Paolo Veronese, London-Turnhout 2008, p. 237, fig. 77, cat. no. R16, as workshop of Veronese. Scarsellino’s art is widely regarded as critical link between the Renaissance and the Baroque styles in Emilian painting; not only was he an important transmitter of the heritage of the Renaissance, but he was also open to innovative ideas, and was one of the earliest to experiment with the trend to naturalism that would become fundamental to art of the new century. Born around 1550, he received his earliest training from his father Sigismondo, an architect and painter; it was probably while working at his father’s side as a youth that he acquired the nickname Scarsellino, or “little Scarsella”. After absorbing the principles of his art in Ferrara and Parma, he went to Venice in 1570, staying for four years and working in the shop of Veronese. In the following decade, his art —especially in terms of its piety and its development of landscape— demonstrates a strong sympathy with that of the Carracci, with whom he worked in 1592-1593 at the Palazzo dei Diamanti in Ferrara. Maria Angela Novelli and later Alessandra Frabetti both propose that Scarsellino traveled to Rome, although such a trip has not been documented; if he did travel to Rome, it probably would have occurred during the years that Scarsellino’s colleagues Agostino and Annibale Carracci were there, that is, beginning in 1595 and until 1609. The last decades of Scarsellino’s career again involve stylistic experimentation, this time in a manner that would bring his work very close to the progressive figurative naturalism of Carlo Bononi and prepare the way for Guercino. The present portrait of a distinguished gentleman had been long thought to be by Paolo Veronese and was in fact attributed to him by such distinguished connoisseurs as Adolfo Venturi and Wilhelm Suida. The portrait’s style is, however, distinct from Veronese’s, although clearly indebted to it, and the attribution to the young Scarsellino is wholly convincing. The painting would then date from the 1570s – a date confirmed by the costume the subject wears. The puffed hat that appears in the painting had a rather short-lived vogue in the early 1570s. One sees it in Giambattista Moroni’s Portrait of Count...

Inscribed, upper left: “Miss Laura Keppel” Provenance: Commissioned from the artist and by descent in the Keppel family estate, Lexham Hall, Norfolk, to: Major Bertram William Arnol...