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George Peter Alexander Healy 1808-1894 Portrait of Cardinal John McCloskey Oil on Canvas 25” x 30” Signed top right and dated SLOCT2281-127 AC16000
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A Champlevé & Gilt-Bronze Clock Garniture (Set of 3 Pieces). Paris, circa 1880. The clock with Roman numeral dial above a glazed panel enclosing a stylized dark and light blue and white enamel foliate design, surmounted by a covered urn and flanked by putti upholding torches, on a shaped rectangular base and toupee feet. The clock dial is signed, E. Henry Paris; flanked by a pair of covered urn of ovoid form with handles in the form of Elizabethan maiden’s heads, on square bases and disc feet, the movement stamped 24568, striking on a bell. Clock Height: 18 ½ inches Vase Height (2): 11 inches SSP2999-353 AC43989 F-376
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Maximilien Luce (French, 1858–1941) “La fenaison a I’lli de France” Oil on paper laid down on canvas 11 ¼”x 17 ½” Stamped lower right COA by J. Bouin-Luce Maximilien Luce (13 March 1858 – 6 February 1941) was a prolific French Neo-impressionist artist, known for his paintings, illustrations, engravings, and graphic art, and also for his anarchist activism. Starting as an engraver, he then concentrated on painting, first as an Impressionist, then as a Pointillist, and finally returning to Impressionism. Born on 13 March 1858 in Paris. His parents, of modest means, were Charles-Désiré Luce (1823–1888), a railway clerk, and Louise-Joséphine Dunas (1822–1878). The family lived in the Montparnasse, a working-class district of Paris. Luce attended school at l'Ecole communale, beginning in 1864. In 1872, the fourteen-year-old Luce became an apprentice with wood-engraver Henri-Théophile Hildebrand (1824–1897). During his three-year xylography apprenticeship, he also took night classes in drawing from instructors Truffet and Jules-Ernest Paris (1827–1895). During this period, Luce started painting in oils. He moved with his family to the southern Paris suburb of Montrouge. His art education continued as he attended drawing classes taught by Diogène Maillard (1840–1926) at the Gobelins tapestry factory. Luce began working in the studio of Eugène Froment (1844–1900) in 1876, producing woodcut prints for various publications, including L'Illustration and London's The Graphic. He took additional art courses, at l'Académie Suisse, and also in the studio of portrait painter Carolus-Duran (1837–1917). Through Froment's studio, Luce became friends with Léo Gausson and Émile-Gustave Cavallo-Péduzzi. These three artists spent time around Lagny-sur-Marne creating Impressionist landscapes.
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Maurice de Vlaminck (French, 1876-1958) “Fleurs dans un vase bleu” Oil on canvas 18”x 14” Signed lower left COA by Wildenstein Institute
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After Jean Leon Gerome (French, 1824-1904) Sortie du Bal Masque Oil on panel. 9 x 13 ¼ in. (23 x 32.5 cm)
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Aleksei Mikhailovich Korin (Russian, 1865-1923 The bread seller oil on canvas
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Antonio Allegri da Correggio “The Mystic Marriage of Saint Catherine” Oil on canvas 10 ½” x 9” (26.7 x 22.8 cm) Antonio Allegri da Correggio (August 1489 – March 5, 1534), usually known as Correggio (Italian), was the foremost painter of the Parma school of the Italian Renaissance, who was responsible for some of the most vigorous and sensuous works of the 16th century. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the Rococo art of the 18th century. He is considered a master of chiaroscuro. In 1503 he was apprenticed to Francesco Bianchi Ferrara in Modena, where he probably became familiar with the classicism of artists like Lorenzo Costa and Francesco Francia, evidence of which can be found in his first works. After a trip to Mantua in 1506, he returned to Correggio, where he stayed until 1510.
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D. Lawrence R.A. “Lake” Oil on canvas 35” x 28 ½” Signed @AC-NB
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John George Brown 1831-1913 Portrait of a Man Oil on canvas 10 ½” x 12 ½” AC12000 AC28000 @AC-NB
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CLOCK (F-785): A Louis XVI Style Ormolu-mounted Carrara Marble Mantel Clock, circa 1890. The circular enamel dial surmounted by a cloud borne Cupid, on rectangular pedestal flanked by classically-draped caryatids issuing scrolling and fruiting foliage, above a shaped rectangular plinth mounted with -urn en flambeau finials supported on triple ram’s head monopodiae and inset to the front with a cockerel, on toupie feet, the dial inscribed […]/240 RUE RIVOLI/A PARIS 21 ¼ inches Candelabra: A Pair of Gilt-Bronze and Onyx Candelabra. Each base has malachite square on the front and Putto holding a Five-Light branch stem. Height: 23 inches. (AC10000) CNYAPR2401-121 AC19740 F-785 / F-64
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Narcisse Virgilio Díaz de la Peña (French, 1807-1876) “La foret” oil on canvas 18’’x 12’’
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British School (19th Century) "Floral Still Life" Signed with initials and dated Feb. '67 Oil on canvas 14 x 18 inches (35.6 x 45.7 cm)
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Bartoloméo Estenban Murillo 1618-1682, Spanish “The Virgin with the Infant Christ Standing” Oil on canvas 62” x 42” 157.5 x 106.7 cm CL102794-63 9115603-2 @AC-NB
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Carlo (Vavaliere) Maratta (Italian, 1625-1713) “Time Revealing Truth and Justice” Oil on canvas 53 x 43 ½ inches (134.6 x 110.5 cm) CL102794-128 3108801-2 NB-1040 #49
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A French Ormolu and Gilt-Bronze Clock Garniture. Sevres-style painted dial with classic scene signed HUDESINE/ de Bronzes /RUE TURENNE 64 Paris Clock Dimensions: Height 17 ½ inches, Width 12 ¾ inches, and 6 ½ inches deep. Candelabra Dimensions: Height: 17 ½ inches, with 5 lights. F-147
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Henri Martin (French, 1860-1943) “Orphee” Oil on canvas 21 ¼” x 32” Signed lower right COA by David Roy Henri-Jean Guillaume Martin (5 August 1860 – 12 November 1943) was a renowned French impressionist painter. Born in Toulouse to a French cabinet maker and a mother of Italian descent, Martin successfully persuaded his father to permit him to become an artist. He began his career in 1877 at the Toulouse School of the Fine Arts, where he was under the tutelage of Jules Garipuy (he was also a pupil of Henry-Eugéne Delacroix). In 1879, Martin relocated to Paris and with the help of a scholarship, was able to study in Jean-Paul Laurens' studio. Four years later, he received his first medal at the Paris Salon, where he would hold his first exhibition three years later in 1886. The year after he won his first medal, Martin was awarded a scholarship for a tour in Italy, where he studied the work of veterans such as Giotto and Masaccio. His 1889 canvas submission to the Salon earned him the gold medal for work that has been described as Pointillist. That same year he became a member of the Legion of Honour. At the 1900 World Fair, he was awarded the Grand Prize for his work. During this period, he became friends with Auguste Rodin. Although Martin's work as a neo-impressionist is not considered groundbreaking, his work was rather well-received, and has been associated with world-class symbolist painter, Puvis de Chavannes. Due to his introverted temperament, Martin decided to move away from Paris. After a decade of searching for an ideal home, Martin bought Marquayrol, a mansion overlooking La Bastide du Vert, near Cahors. He performed his best work in the new tranquil environment, and died there in 1943. Martin also taught; among his pupils was the American painter Nellie Ellen Shepherd.
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George Rouault (French, 1871-1958) “La Route” Oil on cradled board 29 ½”x 10 ¼” Signed, also titled on the reverse Painted in 1947 COA by I. Rouault LITERATURE: P. Couthion, 1961, #439, illustrated p. 445 I. Rouault and B. Dorival, Vol. 2, 1988, #2369, p. 236
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Portrait of a Man ArtistUnknown 19th Century 37 x 25 in.
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Josef Johann Süss (Austrian, 1857-1937) “Courting Couple” Signed, “Josef Süss” Oil on canvas 23” x 17 ¼”
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Alfred Vickers (British, 1786-1868) "On the Medway" Oil on canvas A beautiful horizontal scape of the shore with sailboats dispursed in the water, and two figures on the shore. Delicately painted clouds above, and a blend of colours that meet the horizon. Frame contains plaque of Title, Artist name, and descent.
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W J Scott (American, 19th Century) ‘Raven Crag Burn, Haltwhistle’ signed and dated 1886, oil on board. 14 ½ x 19 ¾ in. (36.8 x 50.2 cm)
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Eugene Grivaz (Swiss, 1852-1915) "Elegant figures dancing in a Landscape" Watercolor on paper 18 x 25 ¼ “ (45.7 x 64.1 cm) Signed lower right, 'E. Grivaz'
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Gustave Wappers (Belgian, 1803-74) ‘The Reading’ signed, oil on panel 19 ½ x 15 ¼ in. (49.5 x 38.7 cm)
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Charles Michael Verlat (Belgian, 1824-1890) Playmates Oil on panel, signed. 6 ¼ x 8 5/8 inches
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Scandinavia school ‘Portrait of a Young person' oil on canvas 39 x 31 in.
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Ernest Fiene (American, 1894-1965) "June Morning, Maine" Oil on canvas 22 x 28 in.
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Cesare Auguste Detti (Italian, 1847-1914) ‘An Elegant Couple’ Watercolor on paper Signed lower left 18” x 14”Cesare Augusto Detti (1847-1914) was an Italian artist, best known for his historical genre paintings in the nineteenth century. From Spoleto, Cesare moved to Paris during the Belle Epoque. Some of his works are included in the collections of the Uffizi and Galleria Borghese of Rome. Augusto Detti, painter of portraits, scenes usually in costume, and historical subjects, was capable of intriguing a refined, erudite audience with his works. In the 1870s he moved to Paris, where he participated at many Salons and was continuously successful. His works can be seen today in important museums in Italy, as well as collections in America and France.
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Artist Unknown Landscape with Figures 19th Century 21 ¼ x 43 ¼ in.
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L Roekler (German, 19thCent.) 'Playing with the cat’ signed and dated 73, oil on canvas 25 x 18 in. (63.5 x 45.7 cm)
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Louis Alois Franz Uhl (Austrian, 1860-1909) ‘Portrat Einer Dame In Weissem Kleid’ (Portrait of Lady in a White Dress) Signed-oil on canvas. 48 ¼ x 34 ½ in. (122.6 x 87.6 cm)
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Benjamin Rutherford Fitz Shopkeeper Signed and Dated 1888 Oil on Canvas 29 x 36 in. Sotheby’s LA 10-5-81, Lot# 161
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George Goodwin Kilburne (British, 1839-1924) ‘The Love Token’ Signed, oil on canvas. 40 x 30 in. (101.6 x 76.2 cm)
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Ernest Fiene (American, 1894-1965) "New England Church" Oil on canvas 26 x 36 ½ in. Ernest Fiene (1894–1965) was a 20th-century American graphic artist who primarily worked in New York City and Woodstock, New York. Fiene was known primarily for his varied printed works, including lithographs and etchings. His notable work includes cityscapes, views of New York City in particular, landscapes and other figural art. Born in Germany in 1894, Fiene fled his native land in 1912 to avoid military service in what would become World War I. Traveling first to the Netherlands, he continued on to the United States. From 1914 to 1914 he studied at the National Academy of Design in New York City, and from 1916 to 1918 at the Beaux Arts Institute. In 1923, Fiene continued his study of printmaking at the Art Students League of New York. In 1921 he married Jeannette Etarre. From 1928 to 1929 he studied in Paris and traveled in France. Fiene was hired in 1940, along with eight other prominent American artists, to document dramatic scenes and characters during the production of the film The Long Voyage Home, a cinematic adaptation of Eugene O'Neill's plays. In 1945 he divorced his first wife and was married to Alicia Wiencek. Fiene re-established his relationship with the Art Students League in 1948, returning to teach classes in painting and drawing there. In 1948, he was elected into the National Academy of Design as an Associate member, and became a full Academician in 1952. In the 1950s he also served on the faculty of the Famous Artists School in Westport, Connecticut. Fiene died of a heart attack in Paris in 1965.
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Vincenzo Irolli (Italian, 1860-1949) "Portrait of a Lady" Oil on canvas 20 ¼ x 16 ¼ in.
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Constantin Stoitzner (Austrian, 1863-1934) ‘The Moonlit Muse’ signed, oil on canvas 50 x 31 in. (127 x 78.7 cm)
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Antonio Casanova Y Estorach (Spanish, 1847-1896) ‘Best Friends’ Oil on canvas laid on board 15 ¾ x 12 ¾ in.
