Félix Ziem

Coucher de soleil, quai des Esclavons by Félix Ziem

19th Century

Signed, inscribed and dated "R. Pinatel / Taroudant / 1926" (lower right) Oil on panel A stunning ode to the Moroccan landscape, this oil on panel was composed by the French Orientalist painter Raphaël Pinatel, whose lively works adeptly translated the romanticism of the East for a Western audience. The present work, which captures a market in Taroudant, a city in southeastern Morocco, exemplifies the artist’s distinctive approach as he brilliantly translates the energy and atmosphere of the desert city. Pinatel’s style is impressionistic in his brushwork and handling of light and atmosphere. In the present work, he brilliantly captures the effects of the direct desert sun...

Signed in Cyrillic "F. Zakharov" (lower right) and signed again and inscribed "Fedor Zakharov/Football" (on reverse) Oil on card laid down on panel Undoubtedly, football, or socc...

Raymond Allègre 1857-1933 French Pont Neuf Signed “R. Allègre" (lower right) Oil on panel This exquisite Parisian city scene displays Raymond Allègre's Impressionist style throug...

Gaston La Touche 1854 - 1913 French L’embarquement The Embarkment Signed "Gaston La Touche" (lower right) Oil on panel A fashionable group of merrymakers boards a rowboat at sundown in this oil on panel by renowned French painter Gaston La Touche. Softly lit and lushly detailed, the work represents the artist’s talent for capturing the gaiety of the Belle Époque. With its luminous coloring and feathery brushwork, this oil evokes the style and joie de vivre of the era rendered in La Touche’s distinctive, mature style. Fresh and airy, the work is a beautiful example of the artist’s skill at capturing the subtle qualities of light and color. Set against the plein air backdrop of a wooded pond awash in the soft glow of the golden hour, the scene reflects the influence of the Impressionists. The subject also recalls works by Manet, Monet and Renoir, who delighted in depictions of modern leisure among the expanding middle class. The scene is an informal one, and its unconventional cropping suggests that the viewer is invited to take a seat in the boat and join the group on their outing. Such relaxed, inviting scenes were remarkably popular among contemporary, modern audiences. However, La Touche's style is singular, possessing an element of fantasy and romance that set him apart from the Impressionists. Gaston La Touche was born in St. Cloud, outside of Paris, in 1854, and he showed a keen interest in art from a young age. At ten years old, he began taking private art instruction, which lasted until 1870, when his family was forced to flee to Normandy amid the Franco-Prussian War. This was the only formal art training La Touche would ever receive. Despite his lack of Academy training, he made his debut at the Paris Salon of 1875 with a sculptural medallion and etchings, and he exhibited his first painting at the Salon of 1881. Although he began his career painting dark-toned realist compositions, by 1890, his style had shifted to what would become his signature — a lighter, brighter, idealistic society world. The artist was associated with practically all of the most influential artists and thinkers of late 19th century France, including Édouard Manet, Edgar Degas, Émile Zola, who frequently met at the legendary Cafe de la Nouvelle Athenes to share their thoughts on modern society. In 1900, he was named a Chevalier of the Legion d'Honneur and an Officer in 1909. Additionally, he was well-decorated at the grand...

Felix Saturnin Brissot de Warville, in the style of the Barbizon School, regularly captured scenes of the French countryside and the people who lived and worked there. Paintings by B...

Signed oil on board landscape circa 1860 by Barbizon painter Narcisse Diaz de la Pena. The work depicts a view of a clearing in a forest, with large rocks scattered around. A break above the trees shows a dark nighttime sky. Signature: Signed lower left Dimensions: Framed: 27"x32" Unframed: 17"x22" Provenance: Vente Diaz, Hotel Drouot, Paris, January 1877 Holland Galleries, New York c. 1900 M. Knoedler Gallery, New York; Valuable Modern Paintings Collected by the Late James Buchanan Brady Sotheby's - Sale of James Buchanan Brady at the American Art Association, New York, January 14, 1918 (Sold $1,550.00 USD) Collection Lawrence & Champeau East, New York Literature: This work is included in the Catalogue Raisonne of Narcisse Diaz - Pierre Miquel, Rolande Miquel, Narcisse Diaz De la Pena, Catalogue raisonne de l'oeuvre peint 2006, vol. II, p. 186, no. 1209, illustrated Narcisse Virgilio Diaz de la Peña's father, Thomas, a bourgeois from Salamanca exiled by King Joseph following a political conspiracy, had settled in Bordeaux with his wife Maria Manuela Belasco. The family then moved to England, believing they could find a safer sanctuary there. However, Thomas died after three years, leaving Maria with sole responsibility for her child's education. She returned to France, moving to Bordeaux, Montpellier and Lyons in quick succession before finally settling in Paris, where she supported herself and her son by teaching. Narcisse was scarcely ten years old when she died, and he was taken in by a Protestant minister who led a secluded life at Bellevue. He took refuge in solitude, spending time in the woods at Fleury, Meudon, Sèvres and St-Cloud. Whilst out walking, he was bitten by a viper and had to undergo an amputation due to blood poisoning. He initially found employment with a printer, where he worked under particularly difficult conditions, before finding employment in a porcelain factory in Paris. He studied for a while with the painter Souchon, David's former pupil, although Diaz was largely self-taught. He exhibited for the first time at the Paris Salon in 1831, and then nearly every year from 1834 to 1859, sometimes showing three or even four pictures. In 1831, he exhibited Love Scene. In 1834, he showed Flight of the Turks; A Turk; View of the Region around Saragossa; and Archers Pursuing Wicked Boys. In 1835: the Battle of Medina-Coeli; Spanish Girls Bathing by a River; and Park, Stirling Castle. In 1836, the Adoration of the Shepherds. In 1837: Ferry Crossing with the Effect of the Setting Sun; A Mill, Sunset Effect; and View of the Gorges of Apremont. In 1838: Old Ben Emeck, Retired to Lush Countryside, Tells His Wives the Extraordinary Adventures of His Life as a Pirate. In 1840: Nymphs in Calypso's Grotto Sing of the Battles of Ulysses; and Women of Algiers. In 1841: The Dream; and Flight into the Desert. In 1844: View of Bas-Bréau; Bohemians Going to a Festival; Evil Spell; and Oriental Woman. In 1845: Portraits of Mme A.; Mme L. L; and Mme de T. In 1846: Deserted Women; Garden of Love; Forest Interior; Enchantress; Leda; Oriental Woman; Desertion; and Wisdom. In 1847: Bas-Bréau; Forest Interior; Dogs in a Forest; Oriental Repose, The Dream; Oriental Woman; Women of Algiers; Conversation; Cupid Waking a Nymph; and Bathing Girl In 1848: Diana Departing for the Hunt; Venus and Adonis; Bohemians Listening to the Predictions of a Young Girl; The Walk; and Pack in the Forest of Fontainebleau. In 1855: Last Tears; Nymph Tormented by Cupid; The Rival; Nymph Asleep; and End of a Beautiful Day. In 1859: Galatea; Cupid's Education; Venus and Adonis; Cupid Punished; Don't Come In; Fairy with Toys; Viper Pond; and Portraits of Mme A. F. and Mme S.. Diaz was primarily an independent painter. The essential and characteristic difference between Diaz's style and that of, say, Théodore Rousseau resides in the fact that Diaz painted the ephemeral. In his woodland scenes, he observes the movements of light and shade over a very small area. By contrast, Rousseau paints vast landscapes, evoking a sense of permanence that corresponds to their dimensions, in which variations of light and shade do not appreciably affect the subject as a whole. Diaz was essentially a painter of the moment, and because of his 'snapshot' approach he can be considered a Pre-Impressionist. His influence was far-reaching. Monticelli, who used a knife and depicted forms imprecisely, was influenced by him, as was Fantin-Latour, who adopted the same principles and used no definite structure in his brushwork. Fantin-Latour was a great friend of Renoir, in whose home it wasn't unusual to find Diaz. Diaz's colour and design, and even his brushwork, can be found in Ziem's Venetian extravaganzas and magical oriental worlds. Comprehensive exhibitions of his work have been rare, although he is frequently represented in group exhibitions dedicated to the development of landscape painting or to the Barbizon School. However, the 1877 exhibition at the École National des Beaux-Arts in Paris and the 1968 exhibition at the Pavillon des Arts in Paris are worthy of note. Museum and Gallery Holdings Amsterdam: Idyll; Flowers Amsterdam (Stedelijk Mus.): Flowers; The Wood; Eurydice Wounded Bayonne: Landscape Berlin: Forest Interior Béziers: Landscape Bordeaux: Forest of Fontainebleau Chantilly: Mme la Duchesse d'Aumale's Bedroom Ceiling Clamecy: Forest Study Glasgow: In the Forest; Flowers; Flowers Grenoble: Cupid Disarmed...

Charles Francis De Klyn was born in Westchester County, New York, in 1865. A landscape, marine, portrait and figure painter, De Klyn studied in New York and Paris from 1886 to 1891, then taught at the Cleveland Art Club and the Cleveland School of Art. In 1893, he was one of the founders of the Cleveland Brush and Palette Club, and he exhibited at the National Academy of Design in 1894 and 1895. He was also a member of the Society of Western Artists. "A Fontainebleu" by Charles Francis De Klyn is a beautifully rendered Barbizon oil...

Oil on panel " Scene Galante " Attribution Diaz De La Pena 19th century It can certainly be closely compared stylistically and compositionally with other k...