Le Trianon

Frank Usher De Voll
American, 1873-1941

“Madison Square Tower and Park”

Oil on canvas

35...

Elie-Anatole Pavil French, 1873-1948 “La Promenade” Oil on canvas Signed ‘E.A.Pavil, lower right 14 by 23 in. w/frame 22 by 31 in. E...

Rene Couturier French, b. 1933 “Le Pom Pom Rouge” Oil on paper Signed ‘R. Couturier’ LR and titled LL 30 by 22 ½ in. w/frame 43 by 35 in. Rene Couturier is a worl...

A Fine Pair of Baroque Giltwood Two Arm Altar Sticks

The stand decorated with painted panels and pen work, the hinged top with a painted panel opening to a compartment, on a pen work base with cabriole legs, on pad feet.

Oil on Canvas 40 by 50 in. w/ frame 48 by 58 in. Esther exhibited at the Boston Museum of Fine Arts School; in Paris and Philip Hale. She was a member of the Rock Port Art Association, Copley Society and The New York Women...

Gertrude Partington Albright American, 1874 – 1959 “Our Garden” Oil on canvas Signed and titled on the back, Circa 1935 24 by 28in. w/frame 31 by ...

Life size marble of a Girl Sewing. By Salvatore Albano. dated 1880. Salvatore studied under Sorbille in 1860. after studied at the academy under sc...

“Dancing Girls” Oil on Board 14 ½ in. by 21 in. W/frame 21 ½ in. by 28 in. Benn studied at the Art Student League in NYC; National Academy of Design, 1904-1908. He was a member of the American Society of Artists Congress, Woodstock Artist Association. He exhibited at the Forum Exhibition of Modern American Painters...

Oil on canvas
Signed on back of canvas
64 by 51in. w/frame 65 by 52in.

Daniel Argimon painted for the French Government from 1965-1966 and for the Inte...

A Pair of Large Italian Gilt and Painted Wood Figures of Candle bearing Angels 16th Century Each carved with long wavy hair, each clad in a long robe, with their heads slightly til...

Attributed to Jean Francois HacheThe parquetry rectangular top with molded edge, above a bombe case with two short and one long paneled drawer, over a scalloped apron, raised on cabr...

Each Planter with lion head ring drop handles

Carved with figures, foliage and scrolls

Oil on canvas Signed and dated 1888 32 by 48 in. w/frame 44 by 60 in. Niss won the gold medal at the Universal Exhibition in Paris in 1882 and again silver medals in ...

Oil on canvas Signed 47 by 37 in. w/frame 54 by 44 in. Richard Bellias was born in Paris in 1921 and died in 1974. He studied at the Acadami...

The chair folds in the upright postition

Height 27 ½ in. Width 26 in. Depth 22 in.
Height open 39 ½ in

Each with a carved apron

Remarks: In original conditioned never electrified

American, b. 1949 “Cheetah” Oil on canvas Signed and dated ‘Eric Forlee 90’ 24 by 36in. w/frame 34 by 46in. A painter of large wild African...

Each with scrolled arms and fluting throughout.

Each arched panel covered in fabric woven in shades of brown, off-white and blue incorporating stylized foliage and strapwork Height 89 1/4 in. Width of each panel 21 1/4 in. P...

The tray depicts a woman standing in a wooded landscape; it is also stamped on the back and dated 1885. The tray is set in a later steel and gilt bronze stand.

From Provence

Each back with a stylized foliate crest rail above an elaborately carved splat, on a serpentine seat on cabriole legs terminating in carved pad feet, joined by shaped stretchers

Each with a female figure, one entitled “L’Esperance”, and the other “La Marmote”

Depicting the meeting between Gombaut and Masse, set within a landscape, and surrounded by floral border

An Important Neoclassical Style Bronze Cut Glass & Tole Peinte Eight Light Chandelier With scrolling candle arms and faceted tole panels painted wit...

John Warrington Wood English, 1839-1886 The gentleman wearing a moustache and sideburns Signed on verso of truncated shoulders J.Warrington Wood, Sculpt.Rome 1874

Each with flower carved cartouche back, padded arms, serpentine seats and cabriole legs

Each figure is painted and gilded, and each resting on painted and polychromed plinths

With a circular white enamel dial, surmounted by swags and ending with a woman’s face. Morbiere Movement

A Leather box with two decanters inside

Each Chandelier has five arms

Joseph Misraki Egypt, born in 1895 “Reclining Nude” Oil on canvas 30 by 40 in. W/frame 39 by 49 in. He was a member of the salon d’Autom...

Title: "Vaisseaux" From the series “Les ports de mer” This is one of the few seascapes woven at Beauvais. The series was based on the cartoons by joseph Van de Kerchove and Adrien Campion. Louis XIV ordered a set of four tapestries...

A joined long oak table. The six-legged joined by strechers with carved decoration throughout the frieze.

Antoine Blanchard French, 1910-1988 Café de la Paix, L’Opera, Paris Oil on canvas 13 by 18 in. W/frame 19 by 24 in. Signed lower right Framed in a fi...

Antoine Blanchard French, 1910-1988 Flower Market, La Madeleine, Paris Oil on canvas 13 by 18 in. W/frame 19 by 24 in. Signed lower right Provenance: Catalda Fine Arts, Inc., New York Private Collection, New York Trinity House Paintings, London Private Collcetion, New York Alexander Avenard Collection Le Trianon...

Leon Dolice American, 1892-1960 Manhattan Skyline Pastel on paper 19 by 12 in. W/frame 25 by 18 in. Signed lower right The romantic backdrop of Vi...

Leon Dolice American, 1892-1960 Manhattan Skyline Pastel on paper 19 by 12 in. W/frame 25 by 18 in. Signed lower right The romantic backdrop of Vi...

Charles Cobelle French, 1902-1998 La Place de la Concorde, Paris Oil on canvas 20 by 24 in. W/frame 28 by 32 in. Signed lower right Born in Alsace-Lorraine, France, and becoming a U.S. citizen in the late 1920s, Charles Cobelle, whose birth name was Carl Edelman, began his career in Paris after earning Bachelor and Master's Degrees at the University of Munich. Later he studied at the L'Ecole des Beaux Arts in Paris and with Marc Chagall. At Menton on the Riviera, he apprenticed with Raoul Dufy. In the United States where he lived in Brookfield and Fairfield, Connecticut, he continued to create mixed-media paintings, and also did mural work for commercial establishments such as Neiman Marcus Company in Dallas, Texas; The Desert Inn...

John Edward Costigan, N.A. American, 1888-1972 Bathers Oil on canvas Signed ‘J.E. Costigan N.A.’ lower left 20 by 24 in. W/frame 26 by 30 in. John Costigan was born of Irish-American parents in Providence, Rhode Island, February 29, 1888. He was a cousin of the noted American showman, George M. Cohan, whose parents brought the young Costigan to New York City and was instrumental in starting him on a career in the visual arts. They were less successful in encouraging him to pursue formal studies at the Art Students League (where, however, he later taught) than in exposing him to the commercial art world through the job they had gotten him with the New York lithographing firm that made their theatrical posters. At the H. C. Miner Lithographing Company, Costigan worked his way up from his entry job as a pressroom helper, through various apprenticeships, to the position of sketch artist. In the latter capacity he was an uncredited designer of posters for the Ziegfeld Follies and for numerous silent films. Meanwhile, he had supplemented his very meager formal studies in the fine arts with a self-teaching discipline that led to his first professional recognition in 1920 with the receipt of prizes for an oil painting and watercolor in separate New York exhibitions. A year earlier, Costigan had wed professional model Ida Blessin, with whom he established residence and began raising a family in the sleepy little rural New York hamlet of Orangeburg, the setting for the many idyllic farm landscapes and wood interiors with which he was to become identified in a career that would span half a century. John Costigan’s first national recognition came in 1922 with his winning of the coveted Peterson Purchase prize of the Art Institute of Chicago for an oil on canvas, “Sheep at the Brook.” It marked the start of an unbroken winning streak that would gain him at least one important prize per year for the remainder of the decade. The nation’s art journalists and critics began to take notice, making him the recurring subject of newspaper features and magazine articles. The eminent author and critic Edgar Holger Cahill was just a fledgling reporter when he wrote his first feature, “John Costigan Carries the Flame,” for Shadowland Magazine in 1922. Costigan had his first one-man show of paintings at the Rehn Gallery on New York’s 5th Avenue in November, 1924, to be followed less than three years later by another at the Art Institute of Chicago. In addition, Costigan’s work has been—and continues to be included, side-by-side with that of some of America’s most high-profile artists, in museum and gallery exhibitions throughout the country. His renown had peaked in the early 1930s, by which time his work had been honored with nearly every major award then being bestowed in the fine arts and had been acquired for the permanent collections of several prestigious American museums, including New York’s Metropolitan (which only recently, in 1997, deaccessioned his “Wood Interior,” acquired in 1934). Although Costigan’s celebrity had ebbed by the late 1930s, the Smithsonian Institution saw fit in 1937 to host an exhibition exclusively of his etchings. And, in 1941, the Corcoran Gallery (also Washington, D.C.) similarly honored him for his watercolors. (Another Washington institution, the Library of Congress, today includes 22 Costigan etchings and lithographs in its permanent print collection.) During World War II, Costigan returned briefly to illustrating, mainly for Bluebook, a men’s pulp adventure magazine. A gradual revival of interest in his more serious work began at the end of the war, culminating in 1968 with the mounting of a 50-year Costigan retrospective at the Paine Art Center and Arboretum in Oshkosh, Wisconsin. Oils, watercolors and prints were borrowed from museums and private collections throughout the country, and the exhibition was subsequently toured nationally by the Smithsonian Institution. John Costigan died of pneumonia in Nyack, NY, August 5, 1972, just months after receiving his final prestigious award —the Benjamin West Clinedinst Medal of the Artist’s Fellowship, Inc., presented in general recognition of his “...achievement of exceptional artistic merit...” in the various media he had mastered in the course of his career. This painting depicts one of the artist's favorite themes --the farm family bathing...

John Edward Costigan, N.A. American, 1888-1972 Woman and Child Oil on canvas Signed ‘J.E. Costigan N.A.’ lower left 24 by 30 in. W/frame 32 by 38 in. John Costigan was born of Irish-American parents in Providence, Rhode Island, February 29, 1888. He was a cousin of the noted American showman, George M. Cohan, whose parents brought the young Costigan to New York City and was instrumental in starting him on a career in the visual arts. They were less successful in encouraging him to pursue formal studies at the Art Students League (where, however, he later taught) than in exposing him to the commercial art world through the job they had gotten him with the New York lithographing firm that made their theatrical posters. At the H. C. Miner Lithographing Company, Costigan worked his way up from his entry job as a pressroom helper, through various apprenticeships, to the position of sketch artist. In the latter capacity he was an uncredited designer of posters for the Ziegfeld Follies and for numerous silent films. Meanwhile, he had supplemented his very meager formal studies in the fine arts with a self-teaching discipline that led to his first professional recognition in 1920 with the receipt of prizes for an oil painting and watercolor in separate New York exhibitions. A year earlier, Costigan had wed professional model Ida Blessin, with whom he established residence and began raising a family in the sleepy little rural New York hamlet of Orangeburg, the setting for the many idyllic farm landscapes and wood interiors with which he was to become identified in a career that would span half a century. John Costigan’s first national recognition came in 1922 with his winning of the coveted Peterson Purchase prize of the Art Institute of Chicago for an oil on canvas, “Sheep at the Brook.” It marked the start of an unbroken winning streak that would gain him at least one important prize per year for the remainder of the decade. The nation’s art journalists and critics began to take notice, making him the recurring subject of newspaper features and magazine articles. The eminent author and critic Edgar Holger Cahill was just a fledgling reporter when he wrote his first feature, “John Costigan Carries the Flame,” for Shadowland Magazine in 1922. Costigan had his first one-man show of paintings at the Rehn Gallery on New York’s 5th Avenue in November, 1924, to be followed less than three years later by another at the Art Institute of Chicago. In addition, Costigan’s work has been—and continues to be included, side-by-side with that of some of America’s most high-profile artists, in museum and gallery exhibitions throughout the country. His renown had peaked in the early 1930s, by which time his work had been honored with nearly every major award then being bestowed in the fine arts and had been acquired for the permanent collections of several prestigious American museums, including New York’s Metropolitan (which only recently, in 1997, deaccessioned his “Wood Interior,” acquired in 1934). Although Costigan’s celebrity had ebbed by the late 1930s, the Smithsonian Institution saw fit in 1937 to host an exhibition exclusively of his etchings. And, in 1941, the Corcoran Gallery (also Washington, D.C.) similarly honored him for his watercolors. (Another Washington institution, the Library of Congress, today includes 22 Costigan etchings and lithographs in its permanent print collection.) During World War II, Costigan returned briefly to illustrating, mainly for Bluebook, a men’s pulp adventure magazine. A gradual revival of interest in his more serious work began at the end of the war, culminating in 1968 with the mounting of a 50-year Costigan retrospective at the Paine Art Center and Arboretum in Oshkosh, Wisconsin. Oils, watercolors and prints were borrowed from museums and private collections throughout the country, and the exhibition was subsequently toured nationally by the Smithsonian Institution. John Costigan died of pneumonia in Nyack, NY, August 5, 1972, just months after receiving his final prestigious award —the Benjamin West Clinedinst Medal of the Artist’s Fellowship, Inc., presented in general recognition of his “...achievement of exceptional artistic merit...” in the various media he had mastered in the course of his career. This painting depicts one of the artist's favorite themes --the farm family bathing...

John Edward Costigan, N.A. American, 1888-1972 Bathing Group Oil on canvas board Signed ‘J.E. Costigan N.A.’ lower left 12 by 16 in. W/frame 20 by 24 i...

Andre Gisson American, 1921-2003 Mother & Child in a Landscape Oil on canvas 24 by 36 in. W/frame 32 by 44 in. Signed lower left Framed in an important Carrig Rohane frame...

Michael Gloeckner American, 1915-1989 Pale Morning Oil on canvas 30 by 30 in. W/frame 31 by 31 in. Signed lower right, & titled & dated 1966 on reverse on stretcher Michael lived ...

Wilhelm von Gegerfelt Swedish, 1844-1920 Moonlight Over the Promenade Oil on canvas 27 by 45 in. W/frame 39 by 57 in. Signed lower right Wilh...

Jean Salabet French, 20th Century La Poste Jean Salabet was a School of Paris painter know for his colorful Parisian cityscapes. His work is comparable to th...

Jean Salabet French, 20th Century Vue du Sacre Coeur, Paris Jean Salabet was a School of Paris painter know for his colorful Parisian cityscapes. His work is comparable to those of ...

Jean Salabet French, 20th Century La Place de L'Opera, Paris Jean Salabet was a School of Paris painter know for his colorful Parisian cityscapes. His work is comparable to those of...

Jean Salabet French, 20th Century Marche de Fleurs, La Madeleine Paris Jean Salabet was a School of Paris painter know for his colorful Parisia...

Jean Salabet French, B. 1900 Le Grand Hotel, Paris ,1954 Jean Salabet was a School of Paris painter know for his colorful Parisian cityscapes. His work i...

Jean Salabet French, B. 1900 Moulin Rouge Jean Salabet was a School of Paris painter know for his colorful Parisian cityscapes. His work is comparable to those of Jules Herve, Antoi...

Jean Salabet French, 20th Century Montmartre Jean Salabet was a School of Paris painter know for his colorful Parisian cityscapes. His work is comparable to those of Jules Herve, An...

Jean Salabet French, 20th Century Marchand de Fleurs, Paris Jean Salabet was a School of Paris painter know for his colorful Parisian cityscapes. His work is comparable to those of ...

Renato Guttuso Italian 1911-1987 Father & Child Oil on canvas 30 ½ by 19 in. W/frame 31 ½ in. by 20 in. Signed verso "Guttuso" Signed lower center "Guttuso" Dated 1966 Titled vers...

Jean Salabet French, 20th Century La Madeleine, Paris Oil on canvas 10 ¾ by 13 ¾ in. W/frame 16 ½ by 19 ½ in. Signed lower right Jean Salabet was a School of Paris painter know ...

Gaston Sebire French, 1920-2002 At The Seaside Oil on canvas 25 by 31 in. W/frame 33 ½ by 39 ½ in. Signed lower right Gaston Sebire (1920 – 2002) Gaston Sebire, was one of Europe’s leading landscapists, was born in the village of Saint-Samson in Normandy in 1920. A self taught artist, he began to paint seriously at the age of eighteen. For eight years he worked as a postal clerk in the Rouen, sorting letters at night in order to support his career as a painter. In 1952 Gaston Sebire had his first exhibition at the Galerie Gosselin in Paris. The following years he enjoyed the double triumph of winning both the coveted Prix de la Critique and the Prix Casa Velasquez. The Latter award made it possible for him to spend a year and a half in Spain. Of this formative period he said, “They were my first, wonderful years without worry. For fifteen years I had never known what the next day would bring.” The year 1957 marked another important stage in his career. His painting “La Dinde” won the Greenshields Prize in a field of 136 competitors, making it possible for him to paint for another two years without the worry of finances. Winning the awards naturally drew public attention to the artist from Normandy, and his works were presented in highly successful one-man shows in Paris. Sebire was a Norman, a man strongly attached to the soil, and after his exhibitions in Paris, he returned to Rouen to his large house overlooking the town and once again plunged into painting the countryside. Gaston Sebire was a strongly built man with square hands and a rather heavy walk. He had immense vitality, and used that to his advantage.  As he said of himself, “When the snow falls, I can’t stay indoors. I set out with my paint box. I paint outdoors from nine in the morning until five at night. If it were only a question of money, one could just as well paint in one’s own room.” But Sebire went into the countryside, or into the village, and sets up his easel. When there is a café into which people are going; there is a fence, a telegraph pole, a few buildings in the background. The scene takes on life, vivid life, with a sense of some event about to take place in the scene. Like many artists, and like a typical Norman, Sebire was silent and solitary by nature, with a personality as strong and frank as his paintings. A painting, he says, “must have an element of mystery, show an effort to look beyond the aura surface of things.” Sebire’s early paintings were somber with much use of black and white tones. In 1970 he turned to colour. The subtle light of the Normandy skies; the shifting light and color along the seacoast; the magnificent blues of the Rouen pottery...

George Frost America, 1843–1907 View of Alexander Nevsky Cathedral, Nizhny Novgorod Oil on Canvas 20 by 30 in. W/frame 28 by 38 in. Signed lower l...