French School Paintings

"Vue plongeante sur la porte d’Amont – Etretat" - Normandy, France "Overlooking the Porte d'Amont - Etretat" - Normandy, France Oil on canvas signed lower right, 92 x 60 x 2,5 cm, ti...

"L’étranglement du Verdon à son entrée dans le lac de Sainte-Croix" – Provence, France "The narrowing of the Verdon as it enters Lac de Sainte-Croix” Oil on canvas, signed at the bot...

French School, mid-19th century Figure of Christ Oil on canvas laid down on panel Unsigned 55.5 x 46 cm (unframed) 72.5 x 63 cm (framed) This depiction of Christ belongs to the tr...

Monogrammed work Work on cardboard

Work on canvas

Reference number A204 Framed with a natural oak floated frame 25 x 37 cm frame included (20 x 32 cm without frame) This work is painted with oil on a paper that is mounted on a board...

Reference number A34 Framed with a natural oak floated frame 29 x 23 cm frame included (24 x 18 cm without frame) This work is painted with oil on a paper that is mounted on a board ...

Maurice TASTEMAIN Caen 1878 - Paris 1944 Female nude in an interior Oil on panel Signed lower left 32.5 x 41 cm panel 45 x 53 cm frame good condition A student of Ménégoz at the Éc...

Work on paper Golden wooden frame with glass pane 47.5 x 38.5 x 2 cm

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...

Charles-Baptiste Schreiber (Paris, 1847 – Paris, 1902) Pompeii, the Way of the Tombs (Via dei Sepolcri) Oil on canvas H. 26 cm; W. 35 cm Located and dated lower right June 1875 Unsig...

Charles MERMÉ (Cherbourg 1818 – Lorient 1869) The Blessing of the Coureau de Groix at Larmor Oil on canvas H. 60 cm; W. 100 cm Signed and dated lower left, 1869 Exhibition : 1869, P...

Charming oil on canvas by the painter Dubuisson (1805–1870), depicting a lively pastoral scene with figures and horses in the foreground, and a winding path leading to two ancient to...

Guillaume-François Colson (1785-1860) Sur la plage oil on canvas 35 x 65 cm signed 'Colson' (lower right) Price: £18,000 GBP Provenance: MacConnal-Mason Fine Paintings Private coll...

A former student of the Ecole nationale des Beaux-Arts in Paris, Didier Lapène completed this renowned training by benefiting from an important stay at the Casa Velázquez in Madrid. ...

Scène galante dans un paysage pastoral Cercle de Jean-Baptiste Huet (1745–1811) Huile sur toile, 91 x 36,5 cm — cadre en bois sculpté à canaux Charmante scène bucolique dans le goût...

Joseph Urbain MÉLIN (Paris, 1814 – Avon, 1886) Hyena head Oil on canvas Signed and dated lower right 40,5 x 32 cm without frame 65 x 57 cm with frame 1854 Born in Paris on Februar...

Maurice Lemaître - Harbor Exit Circa 2000 Acrylic on cardboard Hand-signed by the artist lower right 65x50 cms Good condition

Boris BUCHET (1917-1999) Portrait of a man, circa 1940 Oil on canvas, signed lower right, Titled on a label on the back H. 81 cm - W. 54 cm Born to a French father and a mother Russ...

Maurice ALBE (Beaugency 1900 - Périgueux 1995) Falcon hunting, from a 16th century tapestry Oil on canvas (hessian type) H. 150 cm; L. 120 cm Signed and dated lower right 1554 (for 1...

Marie Madeleine Amélie LOISEAU, born DUMONT (Paris, 1860 - ?) Portrait of a worldly woman Oil on canvas Signed and dated lower left 117 x 89 cm 1881 Exhibition: Salon de Pontoise of 1881 or 1882 under number 292 Marie Madeleine Amélie Dumont was born in Paris on January 23, 1860. She married on June 10, 1883 in Paris Mr. François Paul Raoul Loiseau, lawyer at the Paris Court of Appeal. Three children were born from this union, two girls and a boy. Marie Loiseau was a student of Mademoiselle Espérance Langlois (active between 1860 and 1890) and Pierre Dupuis...

Incredibly beautiful paint surface! Incredible French Gilt frame. René Demeurisse began his exhibition career at the Salon de la Societé Nationale de...

Louis-Alexandre CABIE (Dol-de-Bretagne 1853 - Bordeaux 1939) The rock of Cayre-Vézère in Les Eyzies in the summer of 1900 Oil on panel H. 52 cm; L. 36 cm Signed lower right, dated 19...

Antoine-Claude PONTHUS-CINIER (Lyon, 1812 - Lyon, 1885) The Trailer Ferry at Neuville-sur-Ain Oil on canvas H. 54 cm; W. 81 cm Sale stamp lower left. Provenance: 1885, Studio Sale, No. 18 Ponthus-Cinier belongs to what could be defined as the third (and, so to speak, last) generation of neoclassical or historical landscape artists, born in the 1810s and 1820s, such as Félix Lanoüe, Achille Bénouville, Paul Flandrin, Eugène Ferdinand Buttura, and Alfred de Curzon. More specifically, he is considered the leading and most popular representative of the Lyon School of landscape artists around the mid-19th century. A generous, honest, and pleasant companion, Ponthus-Cinier came from a family of merchants on his mother's side and magistrates on his father's. Destined for commerce by his parents, he preferred the artistic path, and after enrolling at the École des Beaux-Arts in Lyon in 1829 and training in Paris with Paul Delaroche, he exhibited his first works at the Lyon Salon of 1839, before participating in the Paris Salon in 1841. That same year, he received the second Prix de Rome for historical landscapes (won by Buttura in 1837, and Bénouville in 1845), beaten by the Versailles artist Lanoüe. To perfect his skills, Ponthus-Cinier then decided to travel to Italy, alone and at his own expense, for a single stay between 1842 and 1844; He discovered the Ligurian coast, Tuscany, Naples, and, of course, Rome and its surroundings, and executed a considerable number of studies (painted sketches or pen and ink sketches) that he used to compose views of Italy throughout his career. Ponthus-Cinier's main qualities probably lie in "the art of illuminating a canvas," as A. Jouve wrote in the 19th century, and in his sense of perspective, sometimes truly extraordinary; however, he seems, most of the time, a little less brilliant in his figures and in the transcription of details. This unsigned canvas...

Louis Jean LOTTIER (La Haye-du-Puits, 1807 – Mont-Saint-Père, 1892) View of Cairo, Egypt Oil on cardboard Annotated on the back: Offered by L. Lottier / to Mr. Ch. Ginoux / 1852 / ...

Superb oil on canvas from the late 19th century, French School, in the manner of François Boucher. This composition, of great decorative quality, depicts a lively group of putti ani...

Antoine-Claude PONTHUS-CINIER (Lyon, 1812 - Lyon, 1885) The Port of Banyuls Oil on paper mounted on cardboard H. 36 cm; W. 52 cm Unsigned Provenance: - B.R. Collection, Lyon Ponthu...

A former student of the Ecole nationale des Beaux-Arts in Paris, Didier Lapène completed this renowned training by benefiting from an important stay at the Casa Velázquez in Madrid. ...

19th-century French School oil on canvas by Auguste-François Lièvre, titled “Landscape with Herd” (Paysage au troupeau). Signed and dated 1854.

A very fine Caravaggesque-inspired painting, 19th century (circa 1840-1870),“Unsigned” French School, in the style of the 17th-century masters. "Young Page Removing or Adjusting a Kn...

Aude AZAÏS "The Shadow of Their Desire" - Terrace in Marqueyssac Pastel on paper (framed under glass) H. 65 cm; W. 50 cm Signed lower left - 2023 It was after seeing a small reprodu...

Maurice ALBE (Beaugency 1900 - Périgueux 1995) The grape harvest, from a 16th century tapestry Oil on canvas (burlap type) H. 170 cm; L. 100 cm Signed and dated upper left 51 Proven...

Entourage of Jacques SABLET Woman in mourning in a stormy mountain landscape Oil on canvas H. 60 cm; W. 84.5 cm Around 1805 More than a landscape, our painting is a psychological wo...

Scène de chasse dans un paysage boisé Entourage de Carle Vernet (1758–1836) Huile sur panneau, 24,5 x 32,5 cm Charmante scène animée dans un paysage de sous-bois baigné d’une lumière dorée, cette composition illustre l’influence de Carle Vernet dans le genre du tableau de chasse et du paysage animé. On y retrouve l’élégance narrative propre à l’artiste et à son cercle, avec un sens aigu de la composition et du mouvement. Les cavaliers, les chiens, les chasseurs et les promeneurs, répartis avec naturel sur un chemin bordé d’arbres majestueux, apportent vie et profondeur à ce petit format. L’atmosphère est paisible, tandis que le ciel lumineux et les ombres douces soulignent la qualité de l’exécution. Ce tableau, par sa touche précise et son sens du détail, s’inscrit pleinement dans la tradition française du paysage néo-classique enrichi de scènes de genre...

Hans SEILER (Neuchâtel 1907 – 1986) The cliffs of Marqueyssac and Castelnaud, seen from La Roque Gageac Oil on canvas H. 40 cm; L. 83 cm Signed lower right, dated 1973 Provenance : ...

Conditions: Excellent overall Conditions. No prior restorations under UV light. Signed lower left "P Vernon". An oil on wood panel. The frame is an original french stuck frame repa...

Jacques BERTAUX (attributed to) (c. 1745 Arcis-sur-Aube - 1818) Battle of Brigands Oil on canvas H. 38 cm; W. 45.5 cm Unsigned Certainly a pupil of Jean Pillement, Jacques Bertaux o...

Georges HYON (Paris 1840 – Saint Germain en Laye 1913) Cavalry review of the 2nd Lancers regiment Oil on canvas H. 115 cm; W. 146.5 cm Signed lower left A student of Portalis, Georg...

" The amateur " French watercolor on paper by Bernard Louis Borione Signed to lower left Title: L'amateur Dimensions watercolor : 38 cm x 50 cm Dimensions frame: 62 cm x 75 cm Artis...

Painting, oil on canvas, measuring 82 x 67.5 unframed and 98 x 82 cm with frame, by the painter Nicolas Baudesson ( Troyes 1611 - Paris 1680 ). Born in Troyes to a family of artists ...

Louis-Alexandre CABIE (Dol-de-Bretagne 1853 - Bordeaux 1939) Landes in Pessac - Gironde Oil on panel H. 31 cm; L. 55 cm Signed lower right Louis Cabié, re...

Robert DESSALES-QUENTIN (Brantôme 1885 - 1958) Large view of Treignac - Corrèze Oil on wood H. 82.5 cm; L. 123 cm Signed lower right Provenance: Private collection, Périgueux Rober...

Louis-Alexandre CABIÉ (Dol-de-Bretagne 1853 - Bordeaux 1939) l'Aumance à Hérisson - Allier Oil on panel H. 26.5 cm; W. 35 cm Signed lower left, dated 1899, located Titled on the back...

Image dimensions: 26cm x 34cm Framed dimensions: 44.4cm x 52.7cm Signed lower right. Henri Bouvrie is celebrated for his masterful watercolours, which are of universal appeal. The ...

Paul LUNAUD (Brantôme 1900 – 1949) The ironer Oil on wood H. 80 cm; W. 64 cm Signed and dated on the right in the center, formerly signed lower right. 1942 Provenance : Artist's stu...

Francisque POULBOT (Saint-Denis, 1879 - Paris, 1946) Poster project for the Bal de la Mode - February 25, 1922 Charcoal and oil on canvas H. 99 cm; W. 91 cm Signed lower right In th...

Léon Pierre FÉLIX (Périgueux 1869 - 1940) The coast at Ploumanac'h - Bretagne Oil on canvas H. 46 cm; L. 55 cm Signed lower left, dated 1901 Provenance: Private collection, Burgundy...

Pierre ALLARD SAMO ET, 2022 Oil on canvas Size: 92 x 73 cm Signed lower left Painting in perfect condition. Frameless. Sold with invoice and certificate of authenticity. Norman p...

Albert Eugène LECHAT (Lille 1863 – Berck sur Mer 1918) The crier's shop in Arras Watercolour, pencil and gouache highlights H. 22 cm; W. 27.5 cm Signed lower right. Exhibition labels...

Attributed to Pancrace BESSA (1772-1846) Fruits on a marble entablature Watercolor and graphite on paper H. 31 cm; W. 37 cm

Charles CHAPLIN (Les Andelys 1825 – Paris, 1891) Portraits of women Pair of oils on rectangular canvases H. 60 cm; L. 50 cm Signed Student of Michel Martin Drolling at the École des...

Guillaume BODINIER. Attributed to (Angers, 1795 - Angers, 1872) Carnac, the Druidic Stones Oil on paper laid down on canvas H. 26 cm ; W. 34.5 cm Unsigned 1850 Related works: severa...

Oil on canvas, unsigned Image size: 12 x 16 1/2 inches (30.5 x 42 cm) In this scene we see the in the doorway the miller with his back turned to us in conversation. To the right two people sit on the wall...

This artwork by Arthur Aeschbacher is a mixed-media collage that exemplifies his exploration of urban materials and graphic language. Composed of torn and layered fragments of printe...

Image dimensions: 41.5cm x 33cm Framed dimensions: 58.2cm x 50.5cm Signed lower left. This beautiful original oil painting by Alexandre Jacob depicts a snowy river scene. Alexandre ...

Monsieur lisant a la lumiere de la fenetre By. Louis Mettling (French, 1847-1904) Signed Lower Right Unframed: 16" x 10" Framed: 28.5" x 23" Louis Mettling...

Early 20th Century Oil Painting by Victor Gilbert. Canvas dimensions 14.75 x 18 inches. Framed dimensions 22 x 25 inches. Born Paris, France 1847; Died 1933 Victor Gilbert's natural ability as an artist was recognized early, but his family lacked the financial resources to send the young man to the École des Beaux-Arts. Rather than enrolling in the École, Gilbert was apprenticed to Eugene Adam as an artisan painter and decorator. His only formal education was evening classes with Pierre Levasseur at the École de la ville de Paris. Perhaps it was his early immersion into la vie quotidienne that formed the basis for his later choices of subject matter for his art, that of the markets and streets of Paris. Despite his lack of formal training, Gilbert's admissions to the Paris Salons of 1873 and 1874 were very well received by audiences and critics alike; at this time he was supported by the dealer Paul Martin, who was an important proponent of the Impressionist movement. Gilbert emerged in the early 1880s as the primary Realist painter to record the French marketplace...