Gallery of the Masters Paintings

Canvas Size: approx. 22 x 27 inches Framed Size: approx. 29 x 34 inches Edmund Adler (Austrian) 1876-1965 Known for his naturalness in color and expression, the artist Edmund...

Framed Size: approx. 37 x 55 inches Canvas Size: approx. 24 x 41.5 inches Thomas Rose Miles (British, 1844 - 1916) The grandeur of the oceans has always inspired artistic endeavors. Over, under and upon the boundless seas, dramatic vignettes take shape, and humans set to capture the array of the aquatic muse. Thomas Rose Miles was one such inspired artist, to illustrated the strength of his muse, who wrote poetic verse on the verso of nearly every painting he performed. The sea's beauty is most often shown in direct competition with its power and unpredictable nature on his canvases and watercolors. He includes the human element, usually over-matched yet persevering against the heavy swells and weather-driven might, carrying on the Marine Art Legacy that was birthed in the best of the Dutch Maritime...

Bucks On The Madison Bench, 1990 By Larry Zabel (1930-2012) Signed and Dated Lower Right Unframed: 18" x 36" Framed: 26.25" x 44.25" Cowboy artist Larry Zabel was born in Deer Creek, Minnesota, and settled about 70 miles from Yellowstone National Park near McAllister, Montana. Carving and drawing were primary boyhood interests of Zabels. He received an art degree from Long Beach State in California, and spent an additional year at the University of the Americas (formerly Mexico City College). This background led him into a career in technical and commercial illustration, including a decade at the Naval Weapons Center in the California desert, involved in various audio-visual activities. Zabel labeled himself a cowboy artist, as he and his wife moved to Montana in 1988, allowing him to live out a fantasy of Indians, cowboys, and bears. There he was able to paint the life he wanted to live. The subjects of his works include a wide variety of wildlife native to Montana, but his earlier paintings focused on cowboys and Indians. Zabel strove for accurate portrayals, and was most satisfied when the viewer recognized his canyons, ranches, and animals. His acknowledgements and awards include Artist of the Year at the Southern Maryland Wildlife Festival and Best Painting at the Charlie Russell...

Madonna by Louis Carl Hvasta (1913-1993) Unframed: 37" x 24" Framed: 47.75" x 34" Signed and Dated Lower Left Frame was Hand Made by the artist himself. A local Californian Artist, ...

Abe Lincoln by Louis Carl Hvasta (1913-1993) Unframed: 24" x 18" Framed: 30.5" x 24.5" Signed and Dated Top Right Frame was Hand Made by the artist himself...

Pope John 23rd in Cardinal Robe by Louis Carl Hvasta (1913-1993) Unframed: 35" x 23" Framed: 43" x 31" Signed and Dated Lower Left Frame was Hand Made by the...

Flight Into Egypt by Louis Carl Hvasta (1913-1993) Unframed: 24" x 36" Framed: 31.25" x 43" Signed and Dated Lower Left Frame was hand made by the ar...

Beach at Playa Del Rey California by Louis Carl Hvasta (1913-1993) Signed and Dated Lower Left Unframed: 21" x 34" Framed: 28.25" x 41" Frame was Hand made by ...

Still Life with Butterfly Sash by Louis Carl Hvasta (1913-1993) Unframed: 28" x 24" Framed: 35" x 31" Signed and Dated Lower Right A local Californian Artist, Hvasta is largely sel...

Little Village by Louis Carl Hvasta (1913-1993) Signed Lower Left Unframed: 9" x 11" Framed: 16" x 19" Frame was Hand Made by the artist himself A local Californian Artist, Hvasta i...

Pelicans by Louis Carl Hvasta (1913-1993) Signed and Dated Lower Left Unframed: 15" x 21" Framed: 23.75" x 33.25" Frame was hand made by the artist himself. A local Californian Art...

Siamese Cat by Louis Carl Hvasta (1913-1993) Unframed: 14" x 21" Framed: 23.5" x 30.5" Signed and Dated lower middle right Frame was hand made by the artis...

Sunflowers by Louis Carl Hvasta (1913-1993), Signed on Back Signed and Dated Middle Left Unframed: 24" x 14" Framed: 30.5" x 20.5" Frame was hand made by the artist. A local Califor...

Chimney Pots and Roof of Paris by Louis Carl Hvasta (1913-1993) Signed and Dated Lower Left Unframed: 24" x 28" Framed: 34" x 37" Frame was hand made by the artist. A local Californ...

Thistles by Louis Carl Hvasta (1913-1993) Signed and Dated Lower Right Unframed: 36" x 14" Framed: 41.5" x 22.5" Frame was hand made by the artist. A local Californian Artist, Hvas...

Roses by Louis Carl Hvasta (1913-1993) Signed and Dated Lower Left Unframed: 30" x 11" Framed: 36" x 18" Frame was hand made by the artist. A local Californian Artist, Hvasta is lar...

Falling Man, Black on White Background by Ernest Tino Trova. 52.5" x 52.5" Known for his Falling Man series in abstract figural sculpture, he created ...

Delphin Enjolras "In the Boudoir" Oil on Canvas Signed Lower Left Canvas: approx 29 x 22 inches Framed: approx. 37 x 30 inches Renowned as a portraitist of the upper echelons of s...

Framed Size: 21 x 26 inches *This work has been authenticated by Nicole Verdier Provenance: Johnson Gallery, Chicago IL, circa 1967/1968 Cortès was born in Lagny, France on April 26, 1882. During his early lifetime, Paris was the center of the art world. Artist from across the globe traveled there to study and paint it's beautiful countryside and cities; views of Paris, or as it became known 'the City of Lights', were in great demand by both collectors and tourists. Édouard Cortès, along with other artists like Eugene Galien-Laloue (1854-1941), Luigi Loir (1845-1916) and Jean Beraud (1849-1936) answered their call. Specializing in Paris street scenes, each of these artists captured the city during its heyday and continued with these scenes well into the 20th century.Édouard was the son of Antonio Cortès - the Spanish Court painter - who was himself the son of the artisan André Cortès...

Artist Statement Since Roger Weik was early in college in the 70's, he has always held an affinity for thickness and texture. There was something very organic about his work, a sens...

Ken Anderson (20th century) was active/lived in United States. Ken Anderson is known for Abstract hanging sculpture. *See included images and video

Early 20th Century Oil Painting by Victor Gilbert. Canvas dimensions 14.75 x 18 inches. Framed dimensions 22 x 25 inches. Born Paris, France 1847; Died 1933 Victor Gilbert's natural ability as an artist was recognized early, but his family lacked the financial resources to send the young man to the École des Beaux-Arts. Rather than enrolling in the École, Gilbert was apprenticed to Eugene Adam as an artisan painter and decorator. His only formal education was evening classes with Pierre Levasseur at the École de la ville de Paris. Perhaps it was his early immersion into la vie quotidienne that formed the basis for his later choices of subject matter for his art, that of the markets and streets of Paris. Despite his lack of formal training, Gilbert's admissions to the Paris Salons of 1873 and 1874 were very well received by audiences and critics alike; at this time he was supported by the dealer Paul Martin, who was an important proponent of the Impressionist movement. Gilbert emerged in the early 1880s as the primary Realist painter to record the French marketplace...

Bernard Pothast "The Reading Lesson" Oil on Canvas Signed Lower Right 25 x 30 inches 30.5 x 35.5 inches framed Born in Belgium, Bernard Pothast travel...

Signed, Dated, Titled Verso BIO: Daniel Jefferson AKA "Bipolar Holiday" is a self-taught street artist. A native of St. Louis, he grew up in North St. Louis County in the cities of Normandy and Hazelwood. By the age of 3, he was drawing and painting alongside his father and together they shared studios and collaborations into his mid-20s. His father grew up in Tupelo, Mississippi and his mother in St. Louis. Expounding on his family history, Holiday speaks of his Quaker and Native American ancestry - along with his father, who is black, and his mother who is white - as forming his multiracial identity and upbringing. He expresses “not always fitting in,” - being neither “this nor that” - and residing on the margins between the social constructs of race. This emotional state is reflected in his artistic output. He cautions us to see that, while the subject matter of his work is not always a direct depiction of his experience of race, his existence as a person of color propels him and bears directly on his artistic focus and choice of materials, along with the application and gesture in each work. Anger and sadness are part of it – also love, joy, pride and humility. The artist often signs his work with a mark inspired by the ancient Egyptian Eye of Horas – a symbol of power, protection, and health. Throughout his career, Bipolar Holiday has been both a solo practitioner and a collaborator. Tagging as King Dee and later Melo, he worked variously in the St. Louis area from the mid- 1990s to early 2000s. In the 1990s, he painted with the then St. Louis-based graffiti artist Nick Miller and his crew. Choice spots ranged from free standing concrete walls on abandoned property to temporary fencing along construction sites. The artist's compositions contained expressive line and figural elements – human faces, eyes – and the ethereal and allegorical – angel, devil motifs, etc. Later, he moved his artistic focus to a more studio-based form starting in the early 2000s. Holiday had his first show alongside his father’s work at Urbis-Orbis Gallery in downtown St. Louis in 2003. Coming full circle, he occasionally works in a few items of collage or spontaneous marks made by his daughter during her early childhood. Bipolar Holiday has exhibited his work both locally and globally including St. Louis, New York, Grand Rapids and Antwerp. In 2019, he was featured in a four-page spread of JMG Lifestyle Magazine and a large-scale work whet to the Isabis Art Expo in 2019. St. Louis Magazine listed “Bipolar Holiday: Kyoto Girls” when the Walker-Cunningham Fine Art pop-up exhibit was named to the A-List in July 2020. Holiday's work can be found in numerous private and public collections. He lives in St. Louis City...

Signed, Dated, Titled Verso BIO: Daniel Jefferson AKA "Bipolar Holiday" is a self-taught street artist. A native of St. Louis, he grew up in North St. Louis County in the cities of Normandy and Hazelwood. By the age of 3, he was drawing and painting alongside his father and together they shared studios and collaborations into his mid-20s. His father grew up in Tupelo, Mississippi and his mother in St. Louis. Expounding on his family history, Holiday speaks of his Quaker and Native American ancestry - along with his father, who is black, and his mother who is white - as forming his multiracial identity and upbringing. He expresses “not always fitting in,” - being neither “this nor that” - and residing on the margins between the social constructs of race. This emotional state is reflected in his artistic output. He cautions us to see that, while the subject matter of his work is not always a direct depiction of his experience of race, his existence as a person of color propels him and bears directly on his artistic focus and choice of materials, along with the application and gesture in each work. Anger and sadness are part of it – also love, joy, pride and humility. The artist often signs his work with a mark inspired by the ancient Egyptian Eye of Horas – a symbol of power, protection, and health. Throughout his career, Bipolar Holiday has been both a solo practitioner and a collaborator. Tagging as King Dee and later Melo, he worked variously in the St. Louis area from the mid- 1990s to early 2000s. In the 1990s, he painted with the then St. Louis-based graffiti artist Nick Miller and his crew. Choice spots ranged from free standing concrete walls on abandoned property to temporary fencing along construction sites. The artist's compositions contained expressive line and figural elements – human faces, eyes – and the ethereal and allegorical – angel, devil motifs, etc. Later, he moved his artistic focus to a more studio-based form starting in the early 2000s. Holiday had his first show alongside his father’s work at Urbis-Orbis Gallery in downtown St. Louis in 2003. Coming full circle, he occasionally works in a few items of collage or spontaneous marks made by his daughter during her early childhood. Bipolar Holiday has exhibited his work both locally and globally including St. Louis, New York, Grand Rapids and Antwerp. In 2019, he was featured in a four-page spread of JMG Lifestyle Magazine and a large-scale work whet to the Isabis Art Expo in 2019. St. Louis Magazine listed “Bipolar Holiday: Kyoto Girls” when the Walker-Cunningham Fine Art pop-up exhibit was named to the A-List in July 2020. Holiday's work can be found in numerous private and public collections. He lives in St. Louis City...

Signed, Dated, Titled Verso BIO: Daniel Jefferson AKA "Bipolar Holiday" is a self-taught street artist. A native of St. Louis, he grew up in North St. Louis County in the cities of Normandy and Hazelwood. By the age of 3, he was drawing and painting alongside his father and together they shared studios and collaborations into his mid-20s. His father grew up in Tupelo, Mississippi and his mother in St. Louis. Expounding on his family history, Holiday speaks of his Quaker and Native American ancestry - along with his father, who is black, and his mother who is white - as forming his multiracial identity and upbringing. He expresses “not always fitting in,” - being neither “this nor that” - and residing on the margins between the social constructs of race. This emotional state is reflected in his artistic output. He cautions us to see that, while the subject matter of his work is not always a direct depiction of his experience of race, his existence as a person of color propels him and bears directly on his artistic focus and choice of materials, along with the application and gesture in each work. Anger and sadness are part of it – also love, joy, pride and humility. The artist often signs his work with a mark inspired by the ancient Egyptian Eye of Horas – a symbol of power, protection, and health. Throughout his career, Bipolar Holiday has been both a solo practitioner and a collaborator. Tagging as King Dee and later Melo, he worked variously in the St. Louis area from the mid- 1990s to early 2000s. In the 1990s, he painted with the then St. Louis-based graffiti artist Nick Miller and his crew. Choice spots ranged from free standing concrete walls on abandoned property to temporary fencing along construction sites. The artist's compositions contained expressive line and figural elements – human faces, eyes – and the ethereal and allegorical – angel, devil motifs, etc. Later, he moved his artistic focus to a more studio-based form starting in the early 2000s. Holiday had his first show alongside his father’s work at Urbis-Orbis Gallery in downtown St. Louis in 2003. Coming full circle, he occasionally works in a few items of collage or spontaneous marks made by his daughter during her early childhood. Bipolar Holiday has exhibited his work both locally and globally including St. Louis, New York, Grand Rapids and Antwerp. In 2019, he was featured in a four-page spread of JMG Lifestyle Magazine and a large-scale work whet to the Isabis Art Expo in 2019. St. Louis Magazine listed “Bipolar Holiday: Kyoto Girls” when the Walker-Cunningham Fine Art pop-up exhibit was named to the A-List in July 2020. Holiday's work can be found in numerous private and public collections. He lives in St. Louis City...

Framed Size: 25.5 x 23 inches Joseph Gyselinckx was born in 1817. He was a genre painter in Antwerp. The artist was a student of F. de Brakeleer. He had two paintings included in ...

Antoine Blanchard "Le Quais et la Louvre" Oil on Canvas Signed Canvas Size: 13 x 18 inches Framed Size: 22.5 x 27.5 inches Antoine Blanchard French (1910-1...

Provenance: This is an early painting by Huldah Mae Cherry (also known as Huldah Cherry Jeffe), done in her "Impressionist years" and painted after a painting by another American I...

Bernard DeHoog (1867-1943) "Mother and Children" Oil on Canvas Signed Lower Left Site Size: approx. 32.5 x 39.5 inches Framed Size: approx. 39 x ...

Robert Elton Tindall (1913-1983) "Bleeding Heart" 1944 Egg Tempera with Resin Oil Glazes on Panel Signed and Dated 5/44 Lower Right Site: 12.5 x 15.5 i...

Robert Elton Tindall (1913-1983) "Philodendron" 1941 Egg Tempera with Resin Oil Glazes on Panel Signed and Dated Lower Right Site: 13.5 x 11.5 inches Framed: 21 x 19 inches Proteg...

Xavier Bueno (Active Spain/Italy, 1891-1979) "Shelter" Oil on Canvas Signed Upper Left Framed Size: approx. 38 x 30 inches Site Size: approx. 35 x 28 inc...

Mark Tobey "Men at the Seattle Public Market" (Two Figures) 1958 Ink and Tempera on Silk Signed and Dated Lower Left *This is a rare and important work. See attached images with book...

Robert Elton Tindall (1913-1983) "Tending the Garden" (Girl with a Hoe) c. 1940 Egg Tempera with Resin Oil Glazes on Panel Signed Lower Left Site: 10 x 9 inches Framed: 15 x 14 inch...

Charles Harold Davis (1856-1933) "Gray Brothers" Oil on Canvas Signed Lower Left Canvas Size: 30 x 24 inches Framed Size: 35 x 30.5 inches Born in Amesbury, Massachusetts, Charles ...

Huang Gang (b. 1961) "Face with Chinese Calligraphy" Mixed Media including Gold Gilding, Decoupage, Oil on Panel approx 23.5 x 23.5 inches Huang Gang 黄钢 Hu...

Mark Christopher Weber (b. 1949) "The Grand Canyon" Oil on Panel approx 37 x 60 inches Mark Christopher Weber is a master artist whose style and technique can only be compared to th...

Clement Nye Swift "Breton Chores" 1870 Oil on Canvas Signed and Dated Lower Right Canvas Size: approx 27 x18 inches Framed Size: approx 34 x 35 inches Provenance: Private Midwes...

Auguste Toulmouche (1829-1890) "A Lovely Reflection" 1874 Oil on Panel Signed and Dated Lower Left Site Size: approx 17 x 14 inches Framed SIze: approx. 27.5 x 24 inches Provenan...

William Henry Howe (1846-1929) "Made in the Shade" 1887 Oil on Canvas Signed and Dated Site Size: approx. 14.5 x 21.5 inches Frames Size: approx. 17.5 x 24.5 inches Provenance: Private Collection, St. Louis, Missouri thence by descent William Henry Howe was born in Ravenna, Ohio in 1846. Of him it was written: "In the late nineteenth century no American artist was more thoroughly identified with the painting of cows than William Henry Howe." (Richter 128). In a style that combined Tonalism and Realism, he was a painter of light-filled pastoral landscapes that sometimes had sheep as well as cattle tended by their shepherds and herders. He began a career as a businessman in St. Louis, and in his mid-thirties, changed course and went to Dusseldorf Germany to study art at the Royal Academy. In 1881, he went to Paris and studied with animal painters Felix Vuillefroy and Otto de Thoren. He also exhibited his work at the Paris Salons and the Paris Universal Exposition of 1889. Travels in Holland in the 1880s with other artists inspired his interest in pastoral subjects, and during that time he began his cattle paintings...

Paul Cornoyer “Central Park Autumn” c. 1910 Oil on Canvas Framed Size: approx 29 x 35 inches Canvas Size: approx 22 x 26.5 inches Provenance: The Artist to Private Collection, St. Louis thence by Descent Conservation report: Excellent condition. On original canvas, not relined. No in-painting. Paul Cornoyer was born in 1864 in St. Louis, Missouri. He studied there at the School of Fine Arts in 1881. His first works were in a Barbizon mode, and his first exhibit was in 1887. In 1889, he went to Paris for further training, studying at the Academie Julien, and returned to St. Louis in 1894. By the early 1890s, his work was more lyrical and Tonal, and he applied this style to subjects such as cityscapes and landscapes. In 1894, he painted a mural depicting the birth of St. Louis for the Planters Hotel in that city. His activities during the next six years were not particularly profitable, however, and the whereabouts of his St. Louis paintings are scarcely known. One exception is the triptych, A View of Saint Louis, with its strong urban realism. It shows the Eads Bridge...

Hans Hamza (Austrian 1879-1945) In the Study Oil on Panel Signed Site Size: approx. 8 x 6 inches Framed Size: approx. 14 x 12 inches

Richard Hayley Lever (1876 - 1958) "Fishing Pier - St. Ives, Cornwall Oil on Canvas Canvas: approx 6 1/3 x 9 1/3 inches Framed Size: approx. 11 x 14 inches Born in Adelaide, Austr...

George Stanfield Walters (1838-1924) "Sunset on the Midway" c. 1880s Oil on Canvas Signed Canvas: approx 25 x 36 inches Framed Size: approx. 31 x 42 inches George Walters - George Stanfield Walters was born in 1838 and died in 1924. A marine and coastal painter. He was grandson to ship portraitist Miles Walters, and son and pupil of Samuel Walters...

Siegfried Reinhardt "Surreal Landscape and the Artist with his American Underslung and Rolls Roys" 1948/50 Oil on Panel Signed and Dated Twice Lower Right Panel Size: approx. 11 x 24 inches Framed Size: approx. 13.5 x 26.5 inches Siegfried Gerhard Reinhardt born July 31, 1925 in Eydkuhnen, Germany, died October 24, 1984 in St. Louis, Missouri was a prolific artist and teacher based for most of his career, 1955-1970 at Washington University in St. Louis, where he had taken his Bachelor of Arts degree in English Literature in 1950. He was also a prominent member of the St. Louis Artists Guild. He was the son of Otto Frederick and Minni (Kukat) Reinhardt, and emigrated with them in 1928 (naturalized in 1936). His best-known work is perhaps the series of murals he executed at Lambert International Airport illustrating the history of aviation. He was a pioneer in combining elements of realism and surrealism in a style known sometimes as superrealism. From 1949 to 1984 he worked with Emil Frei in the design and execution of stained glass windows, including the (1960) Easter Window in the Lutheran Church of the Resurrection, in Sunset Hills, Missouri, of which Reinhardt said: "The 'flame' symbolizes the Holy Spirit as it descended in tongues of fire over the heads of the disciples in the miracle of the upper room in the presence of the Lord Jesus...

Carl Iver Gilbert (1882-1959) "A Place in the Sun" Oil on Canvas Signed Image: 10 x 12 inches Framed Size: 15 x 18.5 inches Carl Ivar Gilbert was a...

Pierre Eugene Duteurtre (1911-1989) "La Lecture" c. 1960 Oil on Canvas Signed Canvas Size: 18 x 22 inches Framed Size: approx 26.5 x 30.5 inch...

Francois Gerome (b. 1895) "Le Panier de Fleurs, L'Arc de Triomphe" c. 1950 Oil on Canvas Signed "F. Gerome" Lower Right Canvas Size: 20 x 24 inches Framed Size: approx. 26 1/2 x 30 ...

Antoine Blanchard "Boulevard de la Madeleine sous la Neige" Oil on Canvas Signed Canvas Size: 13 x 18 inches Framed Size: approx 18 x 23 inches Antoine Blanchard French (1910-1988)

Antoine Blanchard "Quai de Louvre" Oil on Canvas Signed Canvas Size: approx 13 x 18 Framed Size: approx. 22 x 26

Cecil Crosley Bell "Snow and Gray Sky with Rusty" c. 1950 Oil on Panel Signed Lower Right *Original Kraushaar Galleries, New York Label on Verso ** There is another landscape painti...

Cecil C. Bell "The Blind Peanut Vendor" 1958 Oil on Panel Signed; Titled & Dated Verso Panel Size: approx. 14 x 18 inches Framed Size: approx 21.25 x 25.25 inches Cecil Bell was b...

Francois Gerome "The White Dress" c. 1940s/50 Oil on Canvas approx. 10 x 8 inches approx. 16 x 13 inches framed FRANCOIS GEROME French, 1895 Francois Ger...

Edith Stone Philips (American 1900-1988) "Maelstrom" 1965 Oil on Canvas 30 x 40 inches Signed and Dated Lower Left EDITH STONE PHILIPS, 88 St. Louis Post-Dispatch (MO) - Sunday, Oc...

KPM Porcelain After Angelo Asti (French, 1847-1903) "Épanouissement" c. 1900 With Original Gold Gilded Frame Image Size: approx. 6 x 4 inches Framed Size: approx. 9 x 6 inches Eve...

KPM Style German "Napoleon" c. late 19th c. Signed "Bock" Original Hand-Painted Porcelain Marked Verso approx 7 x 5 inches/approx 10 x 8 framed

KPM Porcelain "Queen Louise" c. late 19th century Original Hand-Painted Porcelain Signed "R. Dittrich" Since 250 years, the royal sceptre brand stands fo...

Marguerite Hand Painted Porcelain w/crown stamp #107 Signed "Wagner" Original Gilded Florentine Frame approx 6 x 4 inches /approx 14 x 8 inches framed Since 250 years, the royal sc...

Sevres 19th C. Original Hand Painted Porcelain Signed "G Poitevin" approx 9 x 5 inches/15 x 12 framed The vast and diverse production of the Sèvres factory in the nineteenth century resists easy characterization, and its history during this period reflects many of the changes affecting French society in the years between 1800 and 1900. Among the remarkable accomplishments of the factory was the ability to stay continuously in the forefront of European ceramic production despite the myriad changes in technology, taste, and patronage that occurred during this tumultuous century. The factory, which had been founded in the town of Vincennes in 1740 and then reestablished in larger quarters at Sèvres in 1756, became the preeminent porcelain manufacturer in Europe in the second half of the eighteenth century. Louis XV had been an early investor in the fledgling ceramic enterprise and became its sole owner in 1759. However, due to the upheavals of the French Revolution, its financial position at the beginning of the nineteenth century was extremely precarious. No longer a royal enterprise, the factory also had lost much of its clientele, and its funding reflected the ruinous state of the French economy. However, the appointment in 1800 of Alexandre Brongniart (1770–1847) as the administrator of the factory marked a profound shift in its fortunes. Trained as both an engineer and a scientist, Brongniart was both brilliant and immensely capable, and he brought all of his prodigious talents to the running of the troubled porcelain factory. He directed the Sèvres factory as administrator until his death in 1847, and during those five decades influenced every aspect of its organization and production. Much of the factory’s old, undecorated stock was immediately sold off, and new forms—largely in the fashionable, more severe Neoclassical style—were designed to replace out-of-date models. The composition for hard-paste porcelain was improved, and the production of soft paste, for which the factory had been famous in the previous century, was abandoned in 1804. New enamels colors were devised, and Brongniart oversaw the development of a new type of kiln that was both more efficient and cost-effective. Much of the factory’s output during Brongniart’s first decade reflected the prevailing Empire taste, which favored extensive gilding, rich border designs, and elaborate figural scenes (56.29.1–.8). Backgrounds simulating marble or a variety of hardstones were employed with greater frequency (1987.224); the new range of enamel colors developed under Brongniart made it easier to achieve these imitation surfaces, and it is thought that his interest in mineralogy provided the impetus for this type of decoration. For objects produced in sets, such as dinner, tea, and coffee services, and even garnitures of vases, Brongniart preferred decorative schemes that linked the objects in terms of subject matter as well as stylistically. Dinner services were given coherence by the use of an overall theme, in addition to shared border patterns and ground colors. One of the best examples of this can be found in the “Service des Départements,” which was conceived by Brongniart in 1824 (2002.57). Each of the plates in the service was decorated with a famous topographical view of the département (administrative unit) of France that it represented, and its border was painted with small cameo portraits of figures from the region, as well as symbols of the major arts, industries, and products of the area. This same type of thematic unity is found on a coffee service produced in 1836 (1986.281.1ab–4). All of the pieces of the service are decorated with scenes depicting the cultivation of cacao, from which chocolate is made, or various stages in the preparation of chocolate as a beverage. The compositions were conceived and executed by Jean Charles Develly, a painter at Sèvres who was responsible for many of the most ambitious dinner services produced at the factory during Brongniart’s tenure. The range of objects produced in the first half of the nineteenth century was enormous, as were the types of decoration that they employed. A recent exhibition catalogue devoted to Brongniart’s years at Sèvres indicates that ninety-two new designs for vases were introduced, as were eighty-nine different cup models, and the types of objects produced by the factory included every sort of form required by a dinner or dessert service, coffee and tea wares, decorative objects such as vases, and functional objects such as water jugs, basins, and toiletry articles. A new form rarely replaced an older one; the range of production simply increased. The same was true with types of decoration, as the factory was working in a wide variety of styles at any given time. From the earliest years of the Sèvres factory, its painters had copied not only contemporary compositions but also prints and paintings from earlier periods. However, under Brongniart, the factory sought to copy famous paintings with the specific intention of recording the “true” appearance of works increasingly perceived to be fragile. Works by a wide variety of artists were copied, but those by Raphael were especially popular. Raphael’s stature is reflected in a vase of 1834 in which a cameo-style portrait of the artist decorates the primary reserve, while on the back an artist’s palette is encircled by the names Titian, Poussin, and Rubens (1978.373). Just as works by earlier artists were copied, so too were decorative techniques of previous centuries. The interlace patterns of so-called Saint-Porchaire ceramic ware of the sixteenth century served as the inspiration for the decoration on a cup of 1837 (2003.153). The form of the cup itself derives from Renaissance silver forms made in Italy and France. However, the palette of vibrant reds, greens, blues, and yellows contrasts markedly with the muted browns and off whites of Saint-Porchaire wares and reflects the reinterpretation of historical styles that was characteristic of so much of nineteenth-century decorative arts. Interest in the Gothic style emerged early in Brongniart’s tenure at Sèvres and remained popular for much of the nineteenth century. Strict adherence to Gothic motifs was rarely observed, however, and the Gothic style was more evoked than faithfully copied. This tendency is reflected in a pair of vases (1992.23.1) for which the model was designated vase gothique Fragonard (named after the vase’s designer, Alexandre Evariste Fragonard [1780–1850]. The Gothic elements lie more in the painted decoration than in the form itself, and the style of the painting reflects a Renaissance technique rather than a medieval one. The palette of grays and whites on a blue ground instantly recalls the enamel-on-copper wares produced in Limoges, France, in the sixteenth century, and its use on these vases indicates the willingness to freely mix artistic styles and techniques of different periods in order to achieve new aesthetic effects. The eclecticism and historicism that characterized so much of the production during Brongniart’s tenure continued after his death in 1847. The factory’s output reflected an ongoing desire for technical innovation as well as a wide embrace of diverse decorative styles that were employed simultaneously. A tea and coffee service of 1855–61 (69.193.1–.11) embodies the selective borrowing of forms and motifs that is found so frequently in Sèvres production of the middle decades of the nineteenth century. The shapes used for the different components of the service evoke both China and the Near East, an obvious allusion to the origins of the two beverages. The openwork decoration refers directly to Chinese ceramics made in this technique, and the decoration employs a variety of Chinese emblems. However, the palette of pink and gold, entirely European in character, serves to neutralize the Asian aspects of the service. Perhaps the only thread that can be said to run through much Sèvres production of the nineteenth century is the proclivity to borrow freely from various historical styles and then to either reinterpret these styles or combine them in unprecedented ways. A standing cup of 1879 (1990.238a,b) draws upon silver cups of the Renaissance for its form, but in this instance the size of the porcelain cup dwarfs any of its metal prototypes. Its style of decoration derives from Limoges painted enamels of the sixteenth century, but the prominent use of gilding throughout reflects its wholly nineteenth-century character. This cup was presented by the French government to one of the first-prize winners at the 1878 Exposition Universelle. It was with the advent of the Art Nouveau style at the very end of the nineteenth century that historicism lost its grip at Sèvres, and indeed throughout the decorative arts, and forms inspired by nature and often characterized by asymmetry become dominant. This reliance upon natural forms is fully evident in a coffee service of 1900–1904 (1988.287.1a,b). The designer, Léon Kann...