Frederic Burnett Art

HERVE Jules René (1887-1981) Pond of the Tuileries Garden in Paris Oil on canvas signed low right Old frame gilded with leaves Dim canvas : 46 X 55 cm Dim frame : 67 X 76 cm HERVE J...

This gorgeous large American Impressionist oil painting is attributed to Lillian M. Genth. She was a favourite pupil of Whistlers whilst at an art school in Paris. She is best known for depicting female forms or nymphs in landscapes such as this, up until about 1928 when she focused on other topics. She had an estate in Connecticutt and would often paint models in the woods there. Although not initially accepted by Victorian Society, In 1908 her painting, The Lark, won her the Shaw Memorial Prize at the 83rd Annual Exhibition of the National Academy of Design. The Lark depicts a full female nude strolling through the woods with her head turned looking toward the sky as if she just heard a lark, as the title suggests. This painting successfully demonstrates Whistler’s influence on Genth through the integration of the nude form and the landscape. Our lovely painting's composition is of a nymph seated in a tree playing pipes with a blue sky as background, while sheep graze beyond her in a landscape. The dappled sunlight on her skin and hair are beautiful. This is a superb example of work by a female American Impressionist in the 1920's and visually stunning. Unsigned. Provenance: Berkshire estate. Christies London Condition. Oil on canvas, image size is 50 inches by 37 inches and in good condition. Frame. House an ornate gilt frame. Framed size is 57 inches by 44 inches and in good condition. Lillian Mathilde Genth (1876 – March 28, 1953) was an American impressionist artist. She is best known for her depiction of female nudes in landscape settings. However, in the middle of her career she swore off painting female nudes and began painting more conservative paintings inspired by her travels. In about 30 years Genth appeared in 233 exhibitions, and while well renowned for her paintings while alive, her story and artwork have been lost in the retelling of American art history. Lillian Mathilde Genth was born in Philadelphia, Pennsylvania, the daughter of Matilda Caroline Rebscher and Samuel Adam. Genth began her art career by attending the Philadelphia School of Design for Women in Pennsylvania on scholarship. During her schooling years she worked to help support herself as a dress designer. At the Philadelphia School of Design for Women her primary teacher was Elliott Daingerfield. Daingerfield greatly influenced her style, which can be seen in the similar tonalist and coloristic qualities of her landscape scenes. Genth graduated from Philadelphia School of Design for Women in 1900. She received the William L. Elkins European fellowship for attainment in art from the Philadelphia School of Design, which sponsored her to paint in Europe for a year. During her time in Europe, Genth first settled in Paris, France in October 1900 where she enrolled in art classes at the Académie Carmen, an art school run by James McNeill Whistler. Whistler became a large influence on Genth’s work and she was known to be a favorite pupil of his. During one of Whistler’s visits to the school in 1900, he was so impressed by Genth’s work that he gave her a paint palette; an honor that she used and treasured for the rest of her career. This was an incredible compliment from Whistler, who rarely accepted women painters. Genth’s style is typically attributed to Whistler because of her paintings' tonalist qualities and because he taught her to see her paintings as a whole instead of in individual parts. After the Academie Carmen closed in 1901, Genth stayed in Europe for three more years. During this time she worked on painting landscapes, genre scenes, and waterfronts; her nudes would not begin for a few more years. In 1904 Genth returned to the United States and was living in New York City. It was at this point that her career began to flourish. In 1904 Genth showed at three exhibitions: the National Academy of Design, Art Club of Philadelphia, and Worcester Museum. In October of that same year she appeared in her first individual show at the Pennsylvania Academy of Fine Arts. Also in 1904 Genth received the Mary Shaw...

Conditions : Very good original conditions. Original canvas. Undergone a magnificent restoration in 2025 by National Museum restorer of Bordeaux. This very important work by Alfred Smith...

"Funchal, le Port (Port of Funchal, Portugal)" Raymond Thibesart (France, 1874-1968) Pastel on paper 12 x 9 (18 3/4 x 15 5/8 frame) inches Stamp of studio on reserve INV Nbr. 821RT...

'Parc des Buttes-Chaumont' in Paris, gouache on art paper, by Lucien Génin (circa 1930s). A charming depiction of well turned out Parisians enjoying a day at the park. Boaters, strollers and swans all co-mingle around the peaceful lake. The reflection of the rocky bluff in the water is superbly treated by Génin. It's a cheerful and uplifting image of days-gone-by in 1930s Paris. The park takes its name from the 'bare hill' (chauve-mont) that once occupied the site. It became a place where gypsum was mined, and where the limestone was quarried to be used in buildings in Paris and the United States. Worse, though, it was a site that also became a dumping ground. Luckily, during the 19th-century renovation of Paris under Napoleon III, chauve-mont was chosen as a place for a large park, as part of the emperor's fascination with endowing Paris with green spaces. The artificial lake created at that time wraps around a hilly central island. The lake attracts waterfowl and other birds and is stocked with fish. The 19th-century planners cleaned up the site and added tons of soil to fill the pits left by a limestone mining operation. Then dynamite was used to "sculpt" the site into the craggy shapes seen today, including the 50-metre-high central hill with cliffs, an interior grotto, pinnacles, and arches. Up on top, overlooking the rest of the park - and depicted in this artwork - is a small, round belvedere, based on the Roman Temple of Vesta in Italy. From that spot you can see a lovely view of Montmartre and the white cupolas of the Sacre-Coeur. The painting is in very good condition. It has been newly framed and glazed with museum-quality glass (anti-reflective and UV protection) to preserve this significant artwork for decades to come. Dimensions with frame: H 62 cm / 24.4" W 76 cm / 29.9" Dimensions without frame: H 48.5 cm / 19.1" W 63 cm / 24.8" About the Artist: After the devastation of the First World War, Lucien Génin (1894 - 1953) left his provincial home in the autumn of 1919 to find his fortune among the lively Parisians in the heart of Montmartre. Génin befriended the painters Frank Will, Gen Paul, Émile Boyer, Marcel Leprin...

"La Colette" by Akos Biro (Hungarian 1911-2002) signed, oil painting on canvas, unframed painting: 16 x 13 inches provenance: the artists estate, France Original oil painting by t...

HERVE Jules René (1887-1981) Bandshell in Langres Garden Oil on canvas signed low right Old frame gilded with leaves Dim canvas : 46 X 55 cm Dim frame : 69 X 79 cm HERVE Jules René ...

HERVE Jules René (1887-1981) Tourists in Paris Montmartre Oil on canvas signed low right Gault framer (Paris) Dim canvas : 46 X 55 cm Dim frame : 66 X 75 cm HERVE Jules René (1887-19...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

3703 Oil on artist board Set in a vintage wood frame Image size 13x9.5"

Rolf Pettersson (Swedish, 20th Century) In the Forest, 1975 Oil on canvas Framed dimensions 25 1/4” Hx 31 9/16” W Signed and dated verso A charming original Swedish portrait from th...

"Portrait of a Lady" by Akos Biro (Hungarian 1911-2002) oil painting on card, unframed painting: 14 x 11 inches provenance: the artists estate, France Original oil painting by the...