Jules Leroy Interior Paintings

This stunning oil painting on stretched canvas captures the majesty and power of a whale diving into the ocean, its tail splashing waves as it disappears beneath the water. Created u...

Parrot and Chrysanthemum, by New Jersey artist James Crawford Thom, is an interior still life. The oil on canvas is 42 x 23.5 inches, it is signed "Thom" lower right, and it is framed. Provenance: Private collection, Lambertville, New Jersey. Contact us for additional shipping options. Hudson River School style landscapist and genre painter James Crawford Thom was born in New York City in 1835, though he grew up on a farm just north of the City in Ramapo, New York. He studied at the National Academy of Design in New York City as an eighteen-year-old before going to Paris, where he studied with Camille Corot, Thomas Couture and Henri Picou...

Antique English impressionist dog portrait oil painting. Oil on canvas. Signed. Exhibited. Framed. Measuring: 22 by 27 inches image alone. Handsomely framed in white wood molding....

Incredible signed early American dog portrait painting. Oil on board. Signed. Housed in a period gold giltwood frame.

Modernist dog portrait. Finely painted. Measuring 24 by 30 inches.

Vintage American oil painting. Oil on canvas. Signed. Framed. Measuring: 21 by 17 inches overall, and 20 by 16 painting alone. Excellent condition, ready to hang and enjoy.

The Lobster by Georges Bordonave (French contemporary) signed oil painting on canvas, unframed dated 1978 canvas: 15 x 18 inches condition: very good provenance: from a large priva...

The Seafood Platter by Georges Bordonave (French contemporary) dated 1970's oil painting on board, framed framed: 25 x 28 inches board: 18.5 x 21.5 inches condition: very good proven...

Vintage American realist dog portrait oil painting. Oil on canvas. Framed. Measuring: 27 by 21 inches overall, and 23.5 by 17.5 painting alone. Unsigned. Excellent condition, ready...

Lobster by Georges Bordonave (French contemporary) signed oil painting on canvas, unframed dated 1978 canvas: 15.5 x 18.5 inches condition: very good provenance: from a large priva...

William M. Hart (1823 - 1894) Interior of a Stable Oil on canvas 17 x 12 inches Provenance William Macbeth Gallery, New York Mrs. Mabel Brady Garvan Collection Christie's New York, Sporting Art, November 28, 1995, Lot 116 Ann Carter Stonesifer, Maryland Estate of above Brunk Auctions, Asheville, North Carolina, January 27 2018, Lot 777 Exhibited New York, The Metropolitan Museum of Art, Life in America, April 24 - October 29, 1939, no. 123, illustrated. New York, Macbeth Gallery, 1892: Sixtieth Anniversary Exhibition, April 1952, p. 5, no. 18. Literature Turner Reuter Jr, Animal and Sporting Artists in America, Middleburg, Virginia, 2008, p. 306. Gary Stiles, William Hart: Catalogue Raisonné and Artistic Biography, no. 1126, illustrated. It should be noted that the Francis Patrick Garvan and Mrs. Mabel Brady Garvan collection, of which this painting was a part of, was one of the foremost American Art collections and now makes up a large part of the Smithsonian American Art Museum and the Yale University Art Gallery collections. Born in 1823 in Paisley, Scotland, William Hart emigrated with his parents to the United States at the age of nine and settled in Albany, New York. It was here that Hart first began his artistic training when he was placed under the tutelage of Messrs, Eaton & Gilbert, the prestigious coach-makers from Troy, New York. During this time, Hart learned how to decorate coach panels, covering them with either landscapes or figurative compositions. At the age of seventeen, he was eagerly contemplating an artist’s profession. Consequently, he left the mechanical trade of coach-making and began expanding his artistic pursuits to more refined endeavors. Hart followed coach-making with decorating window shades and later developed an interest in portraiture. Around 1840, he established his first formal studio in his father’s woodshed in Troy. There, he created many likenesses of individuals, affording him a nominal income. Once, he remarked that he felt prouder over his first fee of five dollars for painting a head then for the larger sums he would command later in his career. Nevertheless, his wages from portraits during this early period proved insufficient. Thus, he expanded into landscape painting, allowing him to barter his works or sell them for modest prices. In 1842, Hart moved to Michigan in an attempt to further his success; portraiture remained his primary means of support. Unfortunately, his experiences in the West were disappointing. Hart spent three years living a rough existence until he finally returned to Albany in 1845. Upon his return, he fully devoted himself to the art of landscape painting. Despite his failing health, he worked diligently to perfect his skill until 1849 when he traveled abroad to his native land of Scotland. This trip was made possible through the generosity of his patron and advisor, Dr. Ormsby of Albany. For three years, he studied in the open-air, creating brilliant sketches of the Scottish Highlands and the surrounding British Isles. Returning to Albany once more in 1852, Hart enjoyed improved health and was reinvigorated with purpose. The following year, he moved to New York and opened a studio, promoting himself as a specialist in landscape painting. Hart became a regular contributor to the National Academy of Design. His works received a great deal of attention from artists and connoisseurs alike, all of whom praised him for his fresh, self-taught style. In 1855, he was designated as an associate of the National Academy of Design; three years later he was elected to Academician. In 1865, he was unanimously chosen to be the first president of the Brooklyn Academy of Design. It was during his tenure there that he delivered his famous lecture The Field and Easel, which emphasized the distinguishing principles of landscape art in America. Hart argued that landscape painters should express the “look of the place” being depicted.Critics during the 1870s noted his sensitive balance between capturing a strict “real” interpretation of nature and that of a more “ideal” sentimental tone. For instance, in 1869, Putnam Magazine noted that Hart brought back “exquisite studies” of the surrounding Tappan...

Incredible signed early American dog portrait painting. Oil on board. Signed. Housed in a period gold giltwood frame.