French School Paintings

French School circa 1645 Portrait of Cardinal Mazarin - Sketch Oil on canvas H. 41.5 cm; W. 27 cm Provenance: Collection of the Reverend Georges Downing Bowles (1789-1863) Would ...

Beautiful Antique Portrait – Circle of Alexis Grimou -unsigned – Elegance and Refinement of the 18th Century Magnificent 18th-century female portrait, presented as a work from the c...

This early 20th century oil painting on wooden panel, titled "Chemin de Guicherd. Savoie Nuit," is attributed to François Charles Cachoud (1866-1943), a French master of nocturnes. W...

Lokre. 20ème Siècle Toulon, Le Port, La Vieille Darse, Mai 1939. (Quai Cronstadt). Oil On Canvas. Signed Lower Left. Image size 25.4 inches x 19.5 inches ( 64.5cm x 49.5cm ). Frame ...

Gaston Le Sargeant De MONNECOVE Oil on Canvas Picture Size : 18 x 24" (46 x 61cm) Outside Frame Size: 26 x 32" (66 x 81cm) A classic example of De Monnecove's work capturing French hunting art...

Jean-Louis PREVOST (attributed to) (Nointel, 1745 – Paris, 1827) Flowers in a Glass, Resting on a Book Gouache on paper H. 38.5 cm; W. 30.5 cm Unsigned The biography of Jean-Louis P...

Circle of Léon Lhermitte (1844-1925) Meditation Oil on canvas 32 x 24 cm This painting depicts an old man seated on a chair, his hands clasped in his lap, his gaze lowered, pensiv...

Mythcial Kindgom by Jean Fourie (1927-2015) French artist, painting in the Champagne region of France watercolour and pencil painting on card , unframed painting: 16.5 x 21 inches co...

Jean François Marie Bellier (Paris 1745 – Paris 1836) Portrait of a Man Oil on oval canvas laid flat H. 45 cm; W. 55 cm Signed on the left Circa 1790 Jean François Marie Bellier occ...

Green Field Landscape by Jean Fourie (1927-2015) French artist, painting in the Champagne region of France oil painting on un stretched canvas , unframed painting: 14 x 20.5 inches...

French Modernist Charcoal Still Life Pineapple on Dish Original Drawing Laure Noetzlin-Azam (French, 1929–2024) Pupil of André Lhote. Medium: charcoal and pencil on artist paper, unf...

Waterline Fine Art, Austin, TX is pleased to present the following work: Oil on canvas. Signed and dated lower right; signed, dated, and titled verso. 38.25 x 51.25 in. 39.75 x 52....

Jean Marie Constantin Joseph (Jan) VAN BEERS Oil on Panel Panel Size: 32 x 24" (81 x 62cm) Outside frame Size: 38 x 33" (97 x 83cm) Van Beers (1852 ...

Ducks by a Pond By Laure Noetzlin-Azam (French, 1929–2024) Pupil of André Lhote Gouache on artist paper, unframed Artist paper: 14 × 18 inches Provenance: from the artist’s estate, ...

Alexis Pierre MILON (Rouen, 1784 - After 1858) View of one of the aisles of the apse of Saint-Germain-des-Prés, Paris Oil on canvas Signed and dated lower left 50.5 x 34.5 c...

Nicolas Edward GABE (Paris, 1814 - Paris, 1865) The death of General Négrier on Place de la Bastille on June 25, 1848 Oil on canvas Signed and dated lower right 82 x 101 cm 1849 Nicolas Edward Gabé is a 19th century artist who is still little studied to this day and yet seems to have enjoyed, according to the artistic press of the time, a certain notoriety, in particular for his seascapes. The few bibliographical elements that we have come from the Salon booklets and tell us that the artist was born in Paris in 1814, therefore shortly before the end of the Empire. No elements on his artistic training are mentioned in the booklets, we just know that Gabé exhibited at the Paris Salon from 1835 to 1864 where he first practiced miniature then then approached easel painting, risking himself as well in still life that the seascapes, the landscape, the portrait or the hunting. According to press articles, he also took part in various exhibitions in the provinces such as Boulogne-sur-Mer and Marseille. Notably, Gabé did not exhibit at the Salon his large historical canvases on the revolution of 1848, which today are of obvious documentary and iconographic interest; probably for political reasons which are easily understandable to us today in view of the historical events of then. Gabé died in Paris at the age of 51 on January 4, 1865 with a mention in the January 7, 1865 edition of L'Union des Arts: “The death of Mr. Gabé, painter, well known in the export trade in paintings as well as to the auctioneers' hotel, whose sales it supplied through its numerous navies. “ "On June 25, 1848, in front of the barricades erected in the Bastille by the insurgents of the Red Republic, General Négrier fell to death, while he was uttering words of order and conciliation". Here are the opening lines of the tribute paid by Colonel Borgarelli d´Ison, friend of General Négrier. General Négrier belonged to a family from Maine, brought back by Marshal Lannes from emigration. Born in Le Mans on April 27, 1788, François Marie Casimir de Négrier entered, barely 18, as a volunteer in the 2nd Light Infantry Regiment. He began in 1806 with the campaigns of Prussia and Poland, during which he earned, through his bravery, the rank of sergeant and the decoration of the Legion of Honor. He made the following campaigns in Spain and Portugal, and left, with his regiment, only for the campaign of France, in 1814, after having risen successively, by actions of brilliance and by a serious wound, to the ranks of head of battalion and officer of the Legion of Honor, with which he was provided from October 1813. The Restoration retained his rank in his regiment. After having fought and wounded a second time seriously in Waterloo, Négrier was recalled in 1816 under the second Restoration. He was appointed, in 1825, lieutenant-colonel, then colonel in 1830, brigadier general in 1836, and of division in 1841. From March 1837 he participated in the conquest of Algeria. The Revolution of 1848 found Negrier in possession of the important command of the 16th Military Division in Lille. Quaestor of the Assembly in these times which promised to be troubled, Négrier reviewed the Place de la Concorde on June 23 at around noon various mobile guard battalions. He then took the head of 2,000 men provided by the 10th and 11th legions of the national guard and bivouacked on the Place du Palais until the next day 24. On Sunday 25 at nine o'clock, the Négrier division resumed the fight towards the Saint suburb. -Antoine. The troop gains continual advantages. At around two o'clock the column of Négrier had seized the Pont Marie: it had removed the barricades from the Quai Saint-Paul, the rue de l'Etoile, the rue des Barres...

Farmyard Chickens Laure Noetzlin-Azam (French, 1929–2024) Pupil of André Lhote. Medium: gouache on artist paper, unframed. Artist paper: 8.5 × 11 inches. Provenance: from the artist...

French school circa 1810 Portrait of a woman in front of a landscape in a trompe l'oeil H. 106 cm; L. 91 cm Oil on canvas Preserved in its original vine leaf frame, this large portr...

Adrien DAUZATS (Bordeaux, 1804 – Paris, 1868) Mosque in Cairo, sketch Oil on canvas 35,5 x 27,5 cm without frame Unsigned c. 1840 Adrien Dauzats was born on July 16, 1804, in Bo...

Charles-Emile FRANÇOIS (Paris 1821 - 1902) The Painter's Studio Oil on panel H. 28 cm ; W. 22 cm Signed and dated lower right 1901 A native of Paris, Charles-Emile François exhibite...

Golden Leaf Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing paper, unframed overall design overall paper size...

"Conversation" is a 1977 french postwar figurative oil on canvas by Linda Le Kinff. It is signed and dated by the artist. This elegant interior scene depicts two seated women in Lind...

20th century French painting View of the quays of Dieppe, Normandy Oil on canvas (old canvas) Located at the bottom left "Dieppe" 47 x 65 cm Naïve art of th...

Spine Church signed by Jean Fourie (1927-2015) French artist, painting in the Champagne region of France oil painting on un stretched canvas , unframed painting: 15.5 x 19.5 inches ...

Gustav VERMEHREN (Copenhagen 1863 – Copenhagen 1931) Rest Oil on canvas H. 72 cm; W. 79 cm Signed lower right and dated 1911 (twice) Exhibition: 1963, F...

Mallard Ducks by the Water Laure Noetzlin-Azam (French, 1929–2024) Pupil of André Lhote. Medium: gouache on artist paper, unframed. Artist paper: 7 × 18 inches. Provenance: from the...

Artisan at Work Beneath a Tree Laure Noetzlin-Azam (French, 1929–2024), pupil of André Lhote Canvas: 9.5 x 13 inches Medium: Oil on canvas, unframed. Inscribed verso. Provenance: Fr...

French Blue Teapot Still Life Laure Noetzlin-Azam (French, 1929–2024), pupil of André Lhote Canvas: 10.5 x 9 inches Medium: Oil on canvas, unframed. Provenance: From the artist's es...

Two Figures at a Café with Bearded Cleric Man Laure Noetzlin-Azam (French, 1929–2024), pupil of André Lhote Canvas: 9.5 x 13 inches Medium: Oil on canvas, unframed. Provenance: From ...

A fine & large antique oil painting on canvas by Raimond Louis Lecourt (1882-1946), the cliffs at the Atlantic Ocean, Etretat, Normandy, France, circa 1910. Lecourt was the quintessential painter of scenes of Normandy France, this is a large and very fine example of his work. The painting depicts the Falaise d' Amont located near Etretat, Normandy, the Falaises (cliffs) are on the Atlantic coast and are a very impressive formation of flint cliffs with huge naturally created archways. The painting is beautifully rendered and in some areas the artist has employed impasto technique (thickly applied paint) to provide texture to the ocean & cliffs, in the foreground of the cliffs is a flock of herring gulls circling overhead. The painting is signed "Lecourt" lower right with a dedication, the painting is housed in the original sponge decorated gesso frame, also created by the artist. Condition is excellent, this charming painting is ready to hang on your wall. The artist was born in Le Havre, and studied at the National School of Fine Arts and the Regional School of Fine Arts of Rouen, he studied under Charles Lhuillier and Léon Bonnat. He received the Croix de Guerre 1914-1918 Military medal during WW1. Lecourt studied at the Le Havre School of Fine Arts under the direction of Charles Lhuillier , then with Léon Bonnat at the Paris School of Fine Arts . He then lived in Fontaine-la-Mallet , where he painted in the Normandy region, which was his favorite subject. In 1899, Lecourt obtained the honorary prize for the upper course with the city's silver medal. A municipal scholarship which allowed him to enter the Paris School of Fine Arts in the studio of the painter Léon Bonnat . There he found his comrades from Le Havre who had preceded him there: Othon Friesz , Raoul Dufy , the brothers René and Henri de Saint-Delis . He debuted at the Salon of French Artists in 1901 with his painting Le Herseur . He completed his studies in the studio of Luc-Olivier Merson and it was around this time that he got into the habit of spending his holidays in Fontaine-la-Mallet with his comrade Othon Friesz . He settled there permanently in 1907, after a trip to Brittany from where he brought back numerous sketches and portraits. During the First World War , he was mobilized on August 1, 1914 in the same regiment and behaved like a hero, decorated with the Croix de Guerre and the Military Medal . During an engagement at Courcy - Brimont , September 14, he was injured by a gunshot to the right forearm. He continued to draw with his left hand then, after a long rehabilitation, he regained the use of his right hand. He became a member of the Society of French Artists, also exhibited at the Salon des Indépendants, and made regular submissions to the Salons. Many paintings by him appear in museums & galleries in Denmark , Germany, the United States, Japan, and in England where the "Dogs of the Duchess of Manchester" painting was exhibited and won Lecourt great acclaim. After the outbreak of World War II, Lecourt takes the German Occupation of France very badly. After General Philippe Petains's handshake with Hitler in Montoire-sur-le-Loir, he returned his military medal to the Chancellery, accompanied by this comment: "We have no need for decorations in a country which no longer has the sense of honor" During this period, he resided with Charles Toussaint, a Le Havre broker and companion from the 74th infantry regiment, at the Frescinet manor, a property which would disappear under the bombings of the September 11, 1944. At this time, he painted mainly on wood, as canvases were rare and expensive at this time. In the winter of 1943-1944, he was hit by a military truck which skidded on the ice, during the fighting for the liberation of the port of Le Havre, the village of Fontaine-la-Mallet, where he lived, was raised to the ground under heavy bombing. His house, his studio, his notes and sketches were destroyed. However he went back to work with courage, but something had broken inside him. The following winter, he caught a cold and contracted pneumonia which took him away in eight days, unable to be properly treated following the refusal of an American army colonel, to give to civilians penicillin that only the Americans had at the time. His friends mourned him and others said that he was a gifted painter of Cauchoise (Normandy) painting, and who knew so well how to render plough horses, Normandy cows...

Blue chair, original painting by Pierre Coquet (1926-2021) Oil on paper laid on a board, signed in the bottom right 38 x 41 cm (43 x 46 x 3,5cm frame included) In a Pierre Bonnard s...

Camille MERLAUD (Verteillac 1877–1957) Pointing Dogs Oil on panel H. 22 cm; W. 33 cm Signed lower left. Dated 1909 Provenance: Private collection, Périgord/Charente Born i...

Georges Paul MASURE (Active 1900s/1910s) Oil on canvas 80 x 65 cm (97 x 82cm with the frame) Signed and dated lower right "G. P. Masure / 1912" Painting exhibited at the Salon des Indépendants in 1913 (2032. « Fleurs et japoneries ») Beautiful 19th century frame Georges Paul Masure was a Parisian painter in the Montparnasse area. He exhibited at the Salon des Indépendants in the years 1900/1910. Our painting is the painting he exhibited at the Salon des Indépendants in 1913 under the number 2032 and titled "Flowers and Japaneries". It represents a still life with a bunch of flowers, a magnificent basket of oranges, a pomegranate and a Japanese sculpture with a little fisherman with a red Koi carp. 2500 years ago, when the son of Confucius was born, he received as a gift from King Shoko of Ro, a fish that was first called Koi. It represents the symbol of strength, because this fish was the only one able to go up the steam of the Yellow River. Owning a koi will long remain the prerogative of the Japanese nobility. The dominant colors in the painting are orange and red. And in Japanese Shinto...

Joseph CONTINI ( 1827 - 1892 ) " CANNES " vu de l'Ile Sainte Marguerite circa 1878 Huile sur toile

This splendid early 18th-century French oil painting represents an ‘ex-voto’ with Emilian Jacobin and a depiction of the Virgin Mary with Christ and angels. Ex votos are votive offe...

Portrait of a Military General Fine 19th C European, Neo -Classical half-length portrait of a Military General, a handsome man wearing military regali...

Title: Portrait of Democritus Médium: oil on canvas laid on wooden panel Signature: signed under right Provenance: private collection France Dimensions canvas: 49 cm x 49 cm Dimensio...

Famous french painter of XXth century, born in Moscow in 1902 and died in Paris in 1976. The Count André Lanskoy works are exhibited in the world's greatest museums like : National ...

Circle of Jacob Ferdinand Voet Portrait of a Little Girl Oil on canvas H. 44 cm; W. 38 cm Unsigned This delicate portrait of a child, from the circle of Jacob Ferdinand Voet, demons...

French school end of 19th century Landscape by the river oil on paper 29 x 49,5 cm In good condition In a modern frame : 33,5 x 53.5 cm This intimate river landscape, executed in o...

Jean Frédéric COUTY Issoudun, 1829 - 1904 Oil on canvas 47 x 61 cm (63.5 x 79 cm) Signed and dated lower left "JFCouty / 1899" Very beautiful wooden frame and gilded stucco decorat...

Félix COTTRAU (Paris, 1799 - Paris, 1852) The adoration of the shepherds Oil on canvas Signed and dated lower right 100.5 x 76 cm 1842 Exhibition: Paris Salon of 1842 under number...

Lija Būmane (1940–1990) – painter, art teacher, book illustrator. Participated in exhibitions since 1966.

Suite of four large family portraits, kept together to this day. Created around 1840 by the painter Théophile Morel, who presented portraits at the Salon des Artistes Français from t...

Kristaps Zarins’ painting always addresses the viewer with a form based on the reality – a figure, turn of the head, facial expression and body posture, richness of colors and artist...

Marc Joseph Octave Théodule BOISSIN (Bénévent-l’Abbaye, 1839 - Paris, 1891) Allegory of Geography Oil on canvas Signed lower right 75 x 125 cm without frame 100 x 150 cm with frame...

Oil on canvas by Pierre TROFIMOFF (1925-1996), France, 1992. "STILL LIFE WITH BASKET". Another version of this still life, very close to this one and entitled "Still life with the bl...

French Modernist Portrait of an Elegant Woman with Necklace and Waved Hair Laure Noetzlin-Azam (French, 1929–2024) Pupil of André Lhote. Medium: charcoal and pencil on artist paper, ...

French Modernist Still Life with Coffee Pot, Grinder, Eggs and Kitchenware Laure Noetzlin-Azam (French, 1929–2024) Pupil of André Lhote. Medium: charcoal and pencil on artist paper, ...

Eugène Modeste LE POITTEVIN (Paris, 1806 - Paris, 1870) Sunset by the Sea Oil on panel H. 15 cm; W. 19 cm Signed and monogrammed lower left Probably circa 1845 Le Poittevin (whose r...

The Elegance of Tied Silver Ring With Blue Emerald Jewelry Design circa mid 20th century by Paul Touzet (French b. 1917) original gouache painting, with pencil on tracing paper, unf...

French Modernist Female Portrait Study in Charcoal and Pencil, 20th Century Laure Noetzlin-Azam (French, 1929–2024) Pupil of André Lhote. Medium: charcoal and pencil on artist paper,...

"La Dame au Fauteuil" is a 1977 French postwar figurative oil on canvas by Linda Le Kinff. Signed and dated by the artist, this work is highly representative of her distinctive style...

Louis-Gabriel BLANCHET (Versailles, 1701 – Rome, 1772) Presumed self-portrait of the artist Oil on canvas H. 73 cm; W. 60 cm Circa 1730 Originally presented in a Restoration period frame with a "Mignard" cartouche, this beautiful painting initially appeared to us as a work from northern Italy. However, it exuded a rather French form of refinement, suggesting that its artist may have assimilated a dual influence from both sides of the Alps. We thank our colleague and friend Philippe Mendès for spontaneously and judiciously "bringing out" the name of Louis-Gabriel Blanchet, a Romanized French portraitist, whose spirit and stylistic characteristics we clearly recognize here. Blanchet's "French" years, before his final departure for Rome in 1728, following his winning of the second Grand Prix for painting after Subleyras in 1727, are extremely poorly documented. His father, Gabriel, was valet to Blouin, himself Louis XIV's first valet at the time. According to Thierry Lefrançois, Blanchet was one of the few students of Nicolas Bertin (1667-1736), whose studio he is said to have joined in the early 1720s. At a baptism on March 24, 1724, where he was godfather, he is mentioned as a painter in the picture store of the Duke of Antin, the director of buildings between 1708 and 1736. At this time, he was probably already married to Jeanne Quément, with whom he had a daughter also named Jeanne, who would marry Nicolas Aviet, the son of a valet in the queen's wardrobe, in Versailles in 1738. When Blanchet arrived in Rome in October 1728, he was accompanied by Subleyras, Trémolières, and Slodtz. He enjoyed the goodwill of Vleughels, the director of the Académie de France, which had been based at the Palazzo Mancini since 1725, even though the latter was not always kind to our resident. From 1732, he was under the protection of the Duke of Saint-Aignan when he took up his post as ambassador to Rome. Along with Slodtz and Subleyras, they formed a trio of friends, joined by Joseph Vernet shortly after his arrival in Rome in 1734. Slodtz and Blanchet, on the occasion of Subleyras's marriage in 1739, were there to attest that their friend was not bound by any marital commitment, and Blanchet was a witness at Vernet's wedding in 1745. It is most likely from these early years in Rome that our portrait of the artist dates, the expression and turn of his face irresistibly reminiscent of a self-portrait. The still relatively youthful features may correspond to Blanchet's thirty-something years, and the fluffy wig was still fashionable at this time. The painting fits well with the depiction of a young painter wanting to display both the beginnings of success and a certain simplicity or restraint. A slight smile expresses a form of assurance in this man with a gentle, sincere gaze and a face radiating a keen sense of wit. We find here the air of intimacy present in almost all of Blanchet's portraits, even those from the 1750s and 1760s, as well as an almost complicity with the viewer. The spirit of the painting is quite close to that of the presumed portrait of Bouchardon (painted around 1730) and the portrait of Pannini, painted in 1736, but it possesses a more natural quality, notably thanks to the absence of decorum. Our work exhibits the characteristics of Blanchet's paintings: elegance, luminosity (especially in the whites), vibrant and refined colors (here, the harmony of the garnet of the garment and the slate blue of the background, whose uniformity is tempered by a very sketched landscape and a grove of greenery), light complexions, rather rosy cheekbones, often full lips, and rather tight framing. According to the Academy's rules, Blanchet's stay should have ended in the spring of 1732, but, for reasons unknown, he remained in the Eternal City until his death, as did his friend Subleyras, with whom he shared accommodation until the late 1730s. The latter regularly called upon him to collaborate on his paintings, such as The Meal at Simon's. Through Saint-Aignan's intervention, Blanchet was employed in the late 1730s by the Stuart princely family, then exiled in Italy. He notably produced copies (now lost) after Liotard of the portraits of Charles Edward and Henry Benedict, the sons of James III Stuart. The latter also commissioned three other portraits (now in the National Portrait Gallery in London), whose more formal character contrasts with the intimate spirit of Blanchet's portraits. Blanchet frequented English painters, such as the landscape painter Richard Wilson, and studied with the Scottish portraitist Katherine Read...

Waterline Fine Art, Austin, TX is pleased to present the following work: Oil on canvas. Signed and dated lower left. 47.25 x 47.25 inches 48.75 x 48.75 inches (framed) Custom fram...

An early 20th Century French School oil on canvas painting of a lady and her dog in a garden in summertime. This high-quality warm and vibrant, although unsigned, work is deftly pain...

French Mid Century Blue & Gilt Decorative Picture Frame French, mid 20th century painted and gilt wooden picture frame Overall size: 29 x 24.5 inches Internal rebate / sight size: 2...

Franz Kaspar Huibrecht VINCK (Antwerp, 1827 - Berchem, 1903) The two lovers Oil on canvas Signed at the bottom 82 x 56 cm Pupil of Edward Dujardin (1817-1889) and Joseph Dyckmans ...

Gustave DURAND (1863 – 1938), Still life with a pearl necklace, late 19th century – early 20th century, oil on canvas, signed upper right, 60 x 73 cm Good general condition of the c...

The rarest of combinations: a painting which is both elegant and and radiates joyful simplicity. Our post-war still life by the French painter Lucie Valore (1878–1965), depicts a bou...