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Jules Breton (French 1827-1905) Raccommodeuse de Filets (Mending the Nets)

Raccommodeuse de Filets (Mending the Nets)
Oil on canvas, 39 ¾ x 26 inches
57 x 44 inches framed
Signed and dated lower right: Jules Breton 1876

Provenance:
1920-1969 Private Collection, Frankfurt
1969 Family descent to Private Collection, Frankfurt, then Berlin;
2006 Anderson Galleries, Beverly Hills

 

 

 

 

Charles Cres (d. 1908) A Walk in the Garden with Mother

A Walk in the Garden with Mother, 1888
Oil on canvas, 21 3/4 x 15 inches (36 x 29 1/4 inches framed)
Signed lower right: Cres

A listed 19th century genre painter, Charles Cres was born in Briare in the province of Loiret. As early as 1875 he exhibited at the annual Paris Salon and was subsequently awarded medals in 1888 and 1898. He is also listed as member of the Society des Artistes Francais.

While little else is known about the details of this talented artist's life it is recorded that he studied in the atelier of Jean Leon Gerome, one of the most eminent academic painters of the time. Gerome was known for his flawless draftsmanship and tight brushwork and demanding attention to research and detail for all his compositions. It's clear that Cres departed from the tenets of his master by 1888 when the present painting was executed. The generous impasto and loose handling of paint in A Walk in the Garden point towards Cres' early admiration of Impressionism. His mastery in presenting outdoor light is also reminiscent of the Impressionist school. Note the dappled sunlight marking the two figures and the jewel-like tones, which set off this charming scene. In Cres' masterful hands, a simple walk becomes an ode to summer and sunlight.

 

 

 

Louis-Theodore DeVilly (French) Tyrolese Girl

Tyrolese Girl
Oil on canvas
Signed and dated lower right

This intimate painting features a young woman at rest. She sits on a rocky embankment surrounded by a wooded landscape. Her dress identifies her as being a peasant from Tyrol, a historical region in Western Central Europe. Devilly was particularly adept at historical subjects and genre scenes such as this one. He is also acclaimed by art historians for his light effects, which typically shape the mood of his paintings. The lightning of this work augments the idyllic scene of peasant life in Europe, while creating a serene and contemplative mood.

Devilly was born in Metz in 1818. He initially studied under Paul Delaroche at the École des Beaux-Arts in Paris, but later returned to his native town and studied under Charles Marechal. Devilly worked on the production of stained glass windows with Marechal. He exhibited at the Paris Salon from 1840, winning a second metal in 1852. Appointed principal of the École des Beaux-Arts in Metz in 1864, he also took up the management of the École des Beaux Arts in Nancy in 1871, having opted to stay in France at the time of the annexation of Metz by Germany.

 

 

 

 

Narcisse Diaz de la Pena (1807-1879) Jeune Fille dans le Bois

Jeune Fille dans le Bois, 1853
(Young Girl in the Woods)
Oil on canvas, 22 x 16 inches (30 x 24 inches framed)
Signed lower left: N. Diaz 53

Jeune Fille dans le Bois presents a young woman cloaked in exotic garb, standing in a small clearing. Diaz was well-known for his figurative works, which were widely admired by artists such as Monticelli, Corot, and Renoir. While some of these paintings feature large fete gallants or mythological figures, this work is a charming portrait of a lone girl in the rich forest interior. Her white robe with accents of gold jewelry and vibrant, brocaded fabric calls to mind the influence of Eugene Delacroix and his Orientalist nymphs, Turks, and Bohemians. In Diaz's work, however, the subject is invariably placed outdoors, in a shady wooded grove or sunlit clearing in the forest. Even when painting figures, the influence of the forest forms a crucial part of his composition.

 

 

 

 

Henri Fantin-Latour (1836-1904) Andromeda

Andromeda
Oil on canvas, 25 5/8 x 19 inches (30 x 26 1/2 inches framed)
Signed lower left: Fantin

Provenance:
Gustave Tempelaere,Paris
Vonjean, Paris
Michel Pelletier (his sale), Hotel Drouot, Paris, 1 June 1922, lot 57
F. & J. Tempelaere, Paris
C.W. Kraushaar, New York
Kurt E. Schon, New Orleans
Private Collection California

Literature:
Madame Fantin-Latour, Catalogue de l'Oeuvre Complet de Henri Fantin-Latour, Paris, 1936, p. 205, no 1919

This painting will be included in the forthcoming catalogue raisonne of Fantin-Latour's paintings and pastels by Galerie Brame & Lorenceau

At the age of ten, Henri Fantin-Latour began painting with his father, Theodore Fantin-Latour (1805-1875). In 1850 he left Grenoble and moved to Paris to study under Horace Lecoq de Boisbaudran, an innovative and nontraditional instructor who developed and published his own unique teaching method based on painting and drawing from memory. Fantin studied with him for six years and then attended the Ecole des Beaux-Arts for less than a year in 1854. Encouraged by the renowned J.A.M. Whistler, whom he met in 1858 at the Louvre, Fantin-Latour made several trips to London from 1859 to 1881, where he exhibited at the Royal Academy. London collectors appreciated his still lifes, and he began accepting numerous portrait commissions from English patrons. It was in London, through Whistler's brother-in-law Francis Seymour Haden, that Fantin first learned to etch (Fantin was also a master lithographer).

 

 

 

 

Fanny Laurent Fleury (French, b. 1843) Portrait d'une jeune femme

Born in 1848 in Paris, Fanny Laurent studied in her hometown under the renowned Jean-Jacques Henner and Carolus Duran, whose work influenced hers.  Married at a young age, she is best known under her married name of Fanny Fleury.  She exhibited at the Paris Salon between 1869 and 1889, and developed a reputation as a talented portraitist and painter of figure studies.  She also painted genre scenes and still life, which she exhibited at the Salons of Saint-Etienne and Dijon.  She received an honorable mention at the Exposition Universelle of 1889.  Examples of her work are in a number of import!ant collections including the museums of Beziers (l’ abri de Varech) and Cette (Le repos du modele).

 

 

 

 

Victor Gilbert (French 1847-1933) Elegantes au Marches aux Fleurs

Elegantes au Marches aux Fleurs
Oil on canvas, 25 ½ x 20 inches
(32 ½ x 26 ¾ inches framed)
Signed lower left

 

 

 

Victor Gilbert (1847-1933) La Gaterie

La Gaterie, 1922
Oil on canvas, 21 x 25 1/4 inches (31 x 35 inches framed)
Signed and dated lower left

 

 

 

Victor Gilbert was born in Paris in 1847, and lived eighty-six years in France, passing away in 1933. Though his ability as an artist was recognized at an early age, he was forced to work as an artisan due to financial circumstances. He eventually gained some formal art training later in life from Pierre Levasseur at the Ecole de La Ville de Paris. He also studied under Victor Adam and Charles Busson.

Despite his lack of training, he established himself as a French genre painter, and was quickly recognized by the Parisian public. Especially noted for his market scenes, Gilbert often chose to paint images of vegetables, flowers, poultry, and fish with particular attention to fine details. He also painted many portraits of elegant young women and girls, as well as scenes of Paris, and the landscapes of Normandy, concentrating mainly on the cliffs and harbors.

Gilbert first exhibited at the Salon in 1873 and 1874, and it was during this time that he formed a close friendship with Pierre Martin. Martin was a primary supporter of the Impressionists, and collected works by Monet, Van Gogh, Cezanne, Gauguin, and Victor Gilbert. In fact, it was Martin's patronage that allowed Gilbert to abandon his career as a decorator, and devote his full concentration to painting.

Gilbert exhibited faithfully at the Salon des Artistes Francais, and in 1889 was given the award d'argent. In 1897 he was made a knight of the Legion d'honneur, and in 1926 won the Prix Leon Bonnat. Gilbert's work also adorns the Hotel de Ville in Paris as part of the original decoration. The Chateau Museum in Dieppe, France, houses Gilberts work today.

 

 

 

 

Wilhelm Hempfing (German, 1886-1948)
The Orange Umbrella

The present work features an intimate scene of three women at leisure.  A canopy of trees envelope this quiet river setting, where they are enjoying a pleasant afternoon.  In the background, one of the woman faces away from the viewer as if deep in thought while standing on the bow.  Meanwhile another woman tugs playfully at tree branches as she balances herself upright on her skiff.  In the foreground, a bright orange umbrella serves as the focal point of the composition.  This radiant punch of color stands out in an otherwise relatively subdued palate.

 
Wilhelm Hempfing was a German painter and printmaker. He was born July 15, 1886 in Schonau near Heidelberg. He is best known for his impressionist style landscapes, portraits and his numerous painted nudes. Hempfing studied at the Kunstakademie Karlruhe (Karlsruhe Academy of Fine Arts) with Professor Friedrich Fehr. He was also an import!ant and excellent etcher trained by Walter Conz at the Karlsruhe Academy. He traveled frequently, painting in England, France, The Netherlands, Spain, Italy, Croatia, Macedonia, Greece and the German coastal areas along North Sea and Baltic Sea. He died June 6, 1948 in Karlsruhe, Germany.

 

 

 

 

Charles Emile Jacque (1813-1894) Entering the Stable

Entering the Stable
Oil on canvas, 20 x 23 1/2 inches (31 x 35 inches framed)
Signed lower left

Charles Jacque was a primary and influential member of the Barbizon School or "Men of 1830". His strong, realistic yet sensitive depiction of shepherds and their flocks form one of the most cohesive and import!ant bodies of work produced by the movement. Born in Paris, Jacque began his training, not in painting but in etching, as an apprentice to a map engraver. In this area, Jacque was unsurpassed among his colleagues in the Barbizon School. After military service, he went to England where he worked as an engraver for La Charivari. Returning to France after two years abroad, he made his Salon debut in 1833 and regularly contributed paintings every year until 1870. Winning medals for both etching and painting, he was awarded the Legion d'honneur in 1867.

During the 1840s, he and his friend Millet moved to the village of Barbizon, where they felt they cou1d more realistically portray nature. He was also involved in non-artistic activities, such as land speculation and poultry breeding (about which he wrote a book, Le Poulailler, monographie des poules indigences et exotiques, published in 1848), which kept him from fully devoting his life to art. However, even with his outside interests, Jacque continued to produce a great many works in the two mediums of painting and etching. Employing a new and more vigorous style helped make him a popular artist with many patrons in the Lowlands, the British Isles and the United States.

 

 

 

Daniel Ridgway Knight (1839-1924) Far Away Thoughts

Far Away Thoughts
Oil on canvas, 46 1/4 x 33 inches (60 x 46 inches framed)
Signed and inscribed lower left: Ridgway Knight Paris

 

 

 

Fernand Toussaint (1873-1955)
La Comtesse de la Villegas

La Comtesse de la Villegas
Oil on panel, 16 1/2 x 13 inches (22 1/2 x 20 inches framed)
Signed lower left: FToussaint
Title and date on obverse

A prolific and very successful painter, Toussaint was a luminary in Belgian painting during the early 20th century. Amongst his many works, Toussaint painted marinescapes, landscapes, genre scenes, portraits, interiors, and still lifes. He was also a talented draftsman, engraver, and watercolor painter.

Toussaint studied under Jean-Francois Portaels at the Academie des Beaux-Arts of Brussels. He later exhibited with the Salon des Artistes Francais de Paris, winning a third-class medal in 1901. Toussaint divided his time between Belgium and Paris, often painting commissioned portraits for affluent members of European society. The portrait here features a young Comtesse de Villegas, a member of a royal Belgian family (the Comte de Villegas later played a defining role in Belgian government). The young girl appears as naive and demure as any child but her fine attire and the rich fur seat point to her privilege and regal lineage. Her charm is undeniable however and her unfussy pose adds accessibility to the portrait of the little comtesse.

 

 

Constant Troyon ((French, 1810-1865)) The Shepherd

The Shepherd
Oil on canvas
20 1/8 x 24 in. (51.1 x 61 cm)
Signed lower left: C. Troyon

 

 

 

 

Louis Valtat (1869-1952) Portrait de Femme

Portrait de Femme
Oil on canvas, 32 x 25 1/2 inches (41 1/4 x 35 inches framed)
Signed lower right: L.V.

The present work, Portrait de Femme, is a beautiful example of Valtat's command of female portraiture. The woman in this piece is pictured in profile, casually resting in an armchair and gazing off to our left. She appears informal yet refined as she sits for the artist. As per his signature technique, Valtat utilizes petal-like strokes of subtle color in this painting. His muted palette is complemented with touches of vibrant color, which keep the viewer's eye engaged. Like his other portraits of women, Portrait de Femme includes many softly curving lines; the enveloping armchair, her rounded flowing dress, and soft topknot of auburn hair all speak to the femininity of Valtat's subject.