Harold Anderson Art

French School, Late 18th Century Alexander the Great in the House of Darius Oil on canvas H. 42 cm; W. 53.5 cm without frame Apocryphal signature lower right "Verhag..." This painti...

Exhibited: London, Royal Academy, 1800, no. 93 What was happening in British history painting in around 1800? In recent discussions of the emergence of a British School of history painting following the foundation of the Royal Academy in 1768, this is a question which is rarely posed and one which is not easily answered. Examination of surviving Royal Academy exhibition catalogues reveals a profusion of artists’ names and titles, few of which remain immediately recognizable, whilst endeavours to explain the impact of exhibition culture on painting - such as the 2001 Courtauld show Art on the Line - have tended to focus on the first and second generation of Royal Academician, rather than young or aspiring artists in the early nineteenth century. This makes the discovery and identification of the work under discussion of exceptional importance in making sense of currents in English painting around 1800. Executed by Edward Dayes...

Fine 19the century landscape by member of the renowned Williams family of artists, George Augustus (1814-1901). George Augustus was the son of Edward Williams (1781-1855), whose wife...

Eugène Modeste LE POITTEVIN (Paris, 1806 - Paris, 1870) Diana Resting Original oil on canvas (E. Picart, 16 rue du Bac) H. 33 cm; W. 40.5 cm Unsigned Red wax seal from the posthumous...

“Elephant In The Pool,” an original oil on canvas by Robert K. White, is a piece for the true collector. White’s careful attention to detail and vivid use of greens, browns, and blue...

Untitled (Still Life), an original oil on canvas by Denis Paul Noyer, is a piece for the true collector. Noyer's use of red immediately captures the viewer, which serves as the backd...

Flowers in A Basket by Jean-Baptiste Monnoyer. A Still Life of flowers in a basket including jasmine, honeysuckle, dahlias, parrot tulips, delphiniums and white carnations.

Contemporary figurative oil on canvas painting by Polish artist Rafal Gadowski. Painting in pop art style depicting colourful flamingos. The colours and composition are vibrant. Main...

Untitled Abstract, an original oil on canvas by Edward Gilliam, is a piece for the true collector. Gilliam's use of color and paint thickness immediately captivates the viewer. It is...

Landscape painting with figures, a large central deciduous tree, and cattle in the background. Unsigned. Oil on canvas, relined. Image size: 74 x 101 cm. Empire frame, gold-patinate...

A group of nine finely executed miniature oil paintings on cardboard, framed in a simple wooden frame. The subjects range from landscape scenes with soldiers to ducks by a riverside ...

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...