Alfred Hutty Furniture

Antique Art Deco Louis Icart print titled "Manon" depicts a woman walking from a carriage. Embossed lower left L.I Paris 6 of 492, pencil signed lower right, framed in a beautiful go...

Anonymous watercolor and drawing "Gendarme on horseback" after the work of the painter Lalaisse which is part of the collection of watercolor...

Filled with floating nude, mythological figures, highly stylized in the Art Deco manner, this study for the lid of the famous grand piano given by the Steinway Company to the White H...

Set of three 20th century pencil sketches / architectural drawings of the fronts of houses. One signed by T. Voorhees and double dated April 25, '22 and '24. Beveled wood frame with ...

The Tomb of Caecilia Metella, Rome. Red chalk on paper. Provenance: H. Shickman Gallery, New York (D1311). Label verso where given to Hubert Robert. This sumptuous drawing is a ...

A fine French 19th century etching and drypoint Titled "Soirée d'été" (Summer Evening) by Jacques Joseph Tissot (French, 1836-1902) depicting Mrs. Kathleen Newton resting on a lounge chair. Signed and dated (l/l): J.J. Tissot, 1881 in the plate. Under the mat, the front of the sheet inscribed in pencil with a '1' in a circle, the verso of the sheet with old price inscription "450-" in pencil. Circa: 1881-1882. Measures: Plate Height: 9 inches (22.9 cm) Plate Width: 15 1/2 inches (39.4 cm) Sheet Height: 14 1/2 inches (36.8 cm) Sheet Width: 20 5/8 inches (52.4 cm) Frame Height: 19 inches (48.3 cm) Frame Width: 24 1/2 inches (62.2 cm) Frame Depth: 1 1/8 inches (2.9 cm) Literature: Wentworth 56. Note: Tissot's from 1881 is said to depict his lover, the Irish divorcee Mrs. Kathleen Newton, resting on a lounge chair. Provenance: Private collection, Los Angeles, California Jacques Joseph Tissot (French, 15 October 1836 – 8 August 1902), Anglicized as James Tissot, was a French painter and illustrator. He was a successful painter of Paris society before moving to London in 1871. He became famous as a genre painter of fashionably dressed women shown in various scenes of everyday life. He also painted scenes and characters from the Bible. Jacques Tissot was born in the city of Nantes in France and spent his early childhood there. His father, Marcel Théodore Tissot, was a successful drapery merchant. His mother, Marie Durand, assisted her husband in the family business and designed hats. A devout Catholic, Tissot's mother instilled pious devotion in the future artist from a very young age. Tissot's youth spent in Nantes likely contributed to his frequent depiction of shipping vessels and boats in his later works. The involvement of his parents in the fashion industry is believed to have been an influence on his painting style, as he depicted women's clothing in fine detail. By the time Tissot was 17, he knew he wanted to pursue painting as a career. His father opposed this, preferring his son to follow a business profession, but the young Tissot gained his mother's support for his chosen vocation. Around this time, he began using the given name of James. By 1854 he was commonly known as James Tissot; he may have adopted it because of his increasing interest in everything English. In 1856 or 1857, Tissot travelled to Paris to pursue an education in art. While staying with a friend of his mother, painter Elie Delaunay, Tissot enrolled at the Ecole des Beaux-Arts to study in the studios of Hippolyte Flandrin and Louis Lamothe. Both were successful Lyonnaise painters who moved to Paris to study under Jean-Auguste-Dominique Ingres. Lamothe provided the majority of Tissot's studio education, and the young artist studied on his own by copying works at the Louvre, as did most other artists of the time in their early years. Around this time, Tissot also made the acquaintance of the American James McNeill Whistler, and French painters Edgar Degas (who had also been a student of Lamothe and a friend of Delaunay), and Édouard Manet. In 1859, Tissot exhibited in the Paris Salon for the first time. He showed five paintings of scenes from the Middle Ages, many depicting scenes from Goethe's Faust. These works show the influence in his work of the Belgian painter Henri Leys (Jan August Hendrik Leys), whom Tissot had met in Antwerp earlier that same year. Other influences include the works of the German painters Peter Von Cornelius and Moritz Retzsch. After Tissot had first exhibited at the Salon and before he had been awarded a medal, the French government paid 5,000 francs for his depiction of The Meeting of Faust and Marguerite in 1860, with the painting being exhibited at the Salon the following year, together with a portrait and other paintings. Émile Péreire supplied Tissot's painting Walk in the Snow for the 1862 international exhibition in London; the next year three paintings by Tissot were displayed at the London gallery of Ernest Gambart. In about 1863, Tissot suddenly shifted his focus from the medieval style to the depiction of modern life through portraits. During this period, Tissot gained high critical acclaim, and quickly became a success as an artist. Like contemporaries such as Alfred Stevens and Claude Monet, Tissot also explored Japonisme, including Japanese objects and costumes in his pictures and expressing style influence. Degas painted a portrait of Tissot from these years (Metropolitan Museum of Art, New York), in which he is sitting below a Japanese screen hanging on the wall. Still on Top, 1873 Tissot fought in the Franco-Prussian War as part of the improvised defense of Paris, joining two companies of the Garde Nationale and later as part of the Paris Commune. His 1870 painting La Partie Carrée (The Foursome) evoked the period of the French revolution. Either because of the radical political associations related to the Paris Commune (which he was believed to have joined mostly to protect his own belongings rather than for shared ideology), or because of better opportunities, he left Paris for London in 1871. During this period, Seymour Haden helped him to learn etching techniques. Having already worked as a caricaturist for Thomas Gibson Bowles, the owner of the magazine Vanity Fair, as well as exhibited at the Royal Academy, Tissot arrived with established social and artistic connections in London. Tissot used...

Charming red chalk study of a woman from the First Empire period, 19th century. Study of a woman in elegant costume typical of the Napoleon I period, sitting on a chair and turned 3/...

Jörn Stender, Danish artist. Pastel on paper. Two country scenes with houses from the Faroe Islands. June 1996. Signed and dated in pencil. Perfect condition. Dimensions for each: 19...

Richard Sloan "Brown Pelican" lithograph, hand-signed, copyright 1972 (American, 1935-2007)

Very nice sketches of characters. Representing different emotions, clothes and personalities. We have a portrait of a strong woman with arrows. Below this woman, there is a representation of oriental characters, also called barbarians during Antiquity. Finally, on the left, another woman is represented with her head in her hands and sitting on a Klismos chair. This chair is typical of the ancient period. It is written at the bottom right "March 15", surely the date of creation of this sketch. The Empire style and period are inspired by Greco-Roman art, it is called the neoclassical. The woman on this drawing wears an empire style dress...

Beautiful painting representing a woman of the XVIIIth century. The scene is set in a typical interior of the period, recognisable by the furniture, armchair and bench in the Louis X...

Set of four etchings by American artist William Goodrich Beal, circa 1880s. Scenic Massachusetts coastal towns and beaches. All signed in ...