14 Classic Works of Art, Marine Paintings - With Footnotes, 15

Joaquín Sorolla y Bastida, 1863 - 1923, SPANISH

PLAYA DE VALENCIA, c.  1910

Oil on canvas

48 by 56cm., 19 by 22in.

Valencia is one of the oldest cities in Spain, founded in the Roman period under the name (Valentia Edetanorum es) on the site of a former Iberian town, by the river Turia in the province of Edetania,  fronting the Gulf of Valencia on the Mediterranean Sea. More

Joaquín Sorolla y Bastida (27 February 1863 – 10 August 1923) was a Spanish painter. Sorolla excelled in the painting of portraits, landscapes, and monumental works of social and historical themes. His most typical works are characterized by a dexterous representation of the people and landscape under the sunlight of his native land. More

RICHARD HAYLEY LEVER, (AMERICAN 1876-1958)

Seascape with a Steamer, 

oil on canvas

16 x 24 cm (6 1/4 x 9 1/2 in.)

Richard Hayley Lever (28 September 1875 – 6 December 1958) was an Australian-American painter, etcher, lecturer and art teacher. He excelled in painting classes at Prince Alfred College under James Ashton and on leaving school continued to study under Ashton at his Norwood art school. He was a charter member of the Adelaide Easel Club in 1892.

Lever left to England in 1899 to further his career in painting. He moved to St. Ives, a fishing port and artistic colony on the Cornish coast. In St. Ives, Lever shared a studio with Frederick Waugh, and studied painting techniques under the Impressionists Olsson and Algernon Talmage. Lever also painted in the French port villages of Douarnenez and Concarneau, Brittany, directly across the English Channel from St. Ives.

RICHARD HAYLEY LEVER, (AMERICAN 1876-1958)

STEAMER IN PORT, CORNWALL, ENGLAND, c. 1908 
Oil on Canvas
6" x 9"

Lever arrived in New York City in 1912 and painted views of the Hudson River, Times Square and Central Park. Upon discovering the American east coast, he painted in Gloucester, MA for several summers and at Marblehead, MA. From 1919 to 1931, Lever taught art classes at the Art Students League of New York where he maintained a Gloucester studio and often traveled to paint on Nantucket and Martha's Vineyard. In 1924, Lever was commissioned to paint a portrait of the presidential yacht, Mayflower, which was subsequently presented to President Calvin Coolidge in the Cabinet Room of the White House. 

In later life, Lever was inflicted with arthritis in his right hand, which prevented him from further travel and forced him to concentrate on still-life subjects instead. As his arthritis advanced, he taught himself to paint with his left hand. However, following the death of his wife Aida in 1949, Lever was confined to his home, where he continued to paint from 1953 until his death. More

Lazaro Lozano, (Portuguese 1906-1999) 
Remeros, Rowers
Oil on canvas 
21-3/4 x 18 in (55.2 x 45.7 cm)

Bonifácio Lázaro Lozano ( Nazareth , 15 of February of 1906 - Madrid , 24 of April of 1999 ), was a Portuguese painter. He studied at the School of Arts and Crafts Setúbal and Lisbon in the Superior School of Fine Arts. Son of Spanish parents settled in Portugal and connected to the fish industry, Bonifácio Lázaro Lozano, an expressionist vein painter, devoted much of his work to the people of Nazareth (his homeland) and his constant struggle in the difficult chores sea and fishing.

LAZARUS LOZANO - 1906-1999

Fishermen

Oil on canvas

60 x 73 cm

Lázaro Lozano completed his career at the San Fernando Academy of Fine Arts in Madrid. His work was recognized several times with awards and medals. His works is included in museums, such as Portugal, the Museum José Malhoa (Caldas da Rainha), the Museum of Nazareth, in the Chiado Museum (Lisbon), among others; the Columbus Museum, Georgia (USA). In the UK, University of Leeds. In Spain, Provincial Museum (Badajoz), Ministry of Foreign Affairs (Madrid). Africa; Museum of the City of Lourenço Marques and several private collections scattered throughout the world. More

Friedrich Ernst Morgenstern, (German 1853-1919) 
Arrival Ashore 
Oil on canvas 
16 x 24 in (40.6 x 61 cm)

Friedrich Ernst Morgenstern, (Frankfurt am Main 1853 - Frankfurt am Main 1919) was born in Frankfurt am Main in 1853 as the son of the landscape painter Carl Morgenstern. In 1872, he went to Paris to take painting lessons. That very same year, Friedrich Ernst Morgenstern returned to Frankfurt and attended painting lessons under Johann Heinrich Hasselhorst, Gustav Kaupert and Eduard von Steinle at the "Städelsche Kunstinstitut". 

He also worked in his father's studio, and was inspired by the style of his father's oeuvre, which included landscapes and vedute. He undertook several study trips to Holland, Belgium, France, Italy, England and Scotland. Only after the death of his father, in 1893, did he manage to develop his own Impressionist style and artistic expression. 

Friedrich Ernst Morgenstern did not immediately belong to the Kronberg painters' colony, but entertained friendly links with these artists in the Taunus region, just like his father and grandfather had gone to Kronberg before him. In 1919 Friedrich Ernst Morgenstern, the youngest and last representative of this Frankfurt dynasty of painters died in his home town.  More

Alexander Young, (British 1865-1923) 
Fish Market, Buckhaven 
Oil on canvas 
17 x 27 in (43.2 x 68.6 cm)

Alexander Young (British, 1865 - 1923) was born in 1865. Numerous works by the artist have been sold at auction, including 'Winter Afternoon' sold at Heffel 'Fall Auction of Fine Canadian Art' in 2008 for $614,773. There have been many articles about Alexander Young, including 'Heffel Auction: Harris and Carr on the block, with no record in sight' written by Murray Whyte for Toronto Star in 2016. The artist died in 1923. More

Norbert Goeneutte, PARIS 1854 - 1894 AUVERS-SUR-OISE
HARBOUR OF HONFLEUR, c. 1881
Oil on canvas 

38 x 46 cm; 15 by 18 in

The Port of Honfleur, is the harbour of the Norman town of Honfleur, France. The port was originally founded by Vikings. Honfleur's ships skirted Newfoundland in search of cod, and its explorers sailed the shores of America seeking the elusive passage to the west. Expeditions to Quebec from this harbour led to its foundation.

The Port of Honfleur featured in dozens of Impressionist paintings. Following the example of local painter Eugène Boudin, artists poured in from Paris to paint Honfleur's ever-changing light, often against the backdrop of the great wood and slate houses that surround the ancient harbour.

Norbert Goeneutte (23 July 1854, Paris - 9 October 1894, Auvers-sur-Oise) was a French painter, engraver and illustrator; notably for the novel La Terre by Émile Zola. He entered the École des Beaux-arts and began studies with Isidore Pils and Henri Lehmann. 

He frequented the Père Lathuille, a famous cabaret, where he met Manet and was introduced to the artistic circle at the Café de la Nouvelle Athènes. He soon began exhibiting at the Salon but, despite his friendship with many notable Impressionists, never participated in one of their group exhibitions. In 1879, he married Eva Gonzalès, one of Manet's models.

Norbert Goeneutte (French, 1854–1894)

Rotterdam Harbor, c. 1887

Oil on canvas

44 1/2 x 69 1/2 in. (113.03 x 176.53 cm)
 Milwaukee Art Museum

With the financial support of his brother, he frequently travelled abroad, including trips to London (1880) and Venice (1890). He also travelled extensively in France. These visits produced a multitude of landscapes and cityscapes. In 1889, he became one of the founders of the "Société des Peintres-graveurs Français", together with his friends Henri Guérard and Félix Bracquemond. That same year, he exhibited at the Exposition Universelle. Two years later, he found himself at odds with the Société when it refused admission to Camille Pissarro, who was not born in France.

In 1891, doctor Paul Gachet, an avid supporter of the arts and an amateur artist, diagnosed Goeneutte as having a weak heart and recommended that he settle in a rural area for his health. Gachet was able to find him a house near his own in Auvers-sur-Oise, called the "Villa Musette", where Goeneutte settled with his mother, his sister Reine and his brother Charles. Once there, he became involved with a group of artists associated with Charles-François Daubigny and did engraved illustrations together with Gachet. Three years later, he died of complications from what had turned out to be a lung disease. He is buried there, near the grave of Vincent van Gogh, who had also been treated by Gachet during his final illness. More

Johan Barthold Jongkind, (3 June 1819 – 9 February 1891)
LA PÊCHE DANS L'ESTUAIRE, FISHING ON THE ESTUARY, c. 1877
OIL ON CANVAS
25,1 x 32,4 cm ; 9 7/8 by 12 3/4 in

Johan Barthold Jongkind (3 June 1819 – 9 February 1891) was a Dutch painter and printmaker. He painted marine landscapes in a free manner and is regarded as a forerunner of Impressionism. Jongkind was born in the Netherlands. Trained at the art academy in The Hague, in 1846 he moved to Montparnasse in Paris, France where he studied under Eugène Isabey and François-Édouard Picot. Two years later, the Paris Salon accepted his work for its exhibition, and he received acclaim from critic Charles Baudelaire and later on from Émile Zola. He was to experience little success, however, and he suffered bouts of depression complicated by alcoholism.

Johan Jongkind (1819–1891)
Rotterdam, c. 1856
Color on canvas
56 × 68 cm (22 × 26.8 in)
Stedelijk Museum Amsterdam

Jongkind returned to live in Rotterdam in 1855, and remained there until 1860. Back in Paris, in 1861 he rented a studio on the rue de Chevreuse in Montparnasse where some of his paintings began to show glimpses of the Impressionist style to come. In 1862 he met in Normandy, in the famous ferme Saint-Siméon in Honfleur, with some of his artist friends, such as Alfred Sisley, Eugène Boudin, and the young Claude Monet, to all of whom Jongkind served as a mentor. Monet later referred to him as "...a quiet man with such a talent that is beyond words" and credited the "definitive education" of his own eye to Jongkind. In 1863 Jongkind exhibited at the first Salon des Refusés. He was invited to participate in the first exhibition of the Impressionist group in 1874, but he declined. He died in 1891 in Saint-Égrève. More

Samuel Colman, (1832-1909) 
MARINE SEASCAPE 
Watercolor
18 1/2 x 17 1/2 in.

Samuel Colman, (born March 4, 1832, Portland, Maine, U.S.—died March 27, 1920, New York, N.Y.) American painter, whose landscapes of the early West remain popular.


Colman was a pupil of Asher Durand in New York City and from 1860 to 1862 studied in Spain, Italy, France, and England. In 1871–76 he was again in Europe. With James D. Smillie, he founded the American Water Color Society (1866), becoming its first president. His own watercolour paintings are particularly fine. He was elected a member of the National Academy of Design in 1862. Among his works are “The Ships of the Western Plains” and “The Spanish Peaks, Colorado.” More

Mosè Bianchi, (Monza, 1840–1904) 

BOATS ON THE LAGOON OF VENICE

OIL ON PANE

28,8 x 43 cm ; 11 1/4 by 16 7/8 in

Mosè Bianchi (Monza, 1840–1904) was an Italian painter and printmaker. Bianchi enrolled at the Brera Academy. Having interrupted his studies to serve in the second war of independence, he returned to attend the school of painting directed by Giuseppe Bertini.


The award of a grant in 1867 enabled him to visit Venice and then Paris in 1869. He took part with some success at the Brera exhibitions and the Vienna Exhibition of 1873. It was in this period that he began to paint genre scenes in 18th-century settings and numerous portraits, soon becoming one of the artists most in demand with the Milanese middle classes. He returned to Venice in 1879 and visited Chioggia for the first time. Both places were to be featured also in later years in a series of intense views exhibited at exhibitions in Milan and Venice alongside genre scenes, views of Milan and landscapes of the countryside around Gignese. More

Angelo BROMBO, (ITALIAN, 1893 - 1962)

Figures in the Harbor

Oil on canvas

74 x 88 cm

Angelo Brombo (Chioggia 1893 - Venice 1962). Angelo's vocation to become a painter comes from his  father Eugenio, who kept his shop under the arcades in Vena fondamenta in the district of Santa Maria where he worked until 1940.

From 1925 to 1929 Angelo taught design at the School of Applied Art in Chioggia. His debut was in a exhibition was in 1922 when he participates in a collective in Chioggia. In 1926/27 he was invited to the maritime art exhibition in Rome.

Since 1927 he took part in numerous solo and group exhibitions in Italy and abroad. Among these are the Opera Bevilacqua La Masa, 1930, 31, 32 and an exhibition at the Napoleon hall of the Palazzo Reale in Venice with over fifty works in 1945. 

In 1944 he moved with his family to Venice where he continued painting until his death in 1962. More




Acknowledgement: Bonhams, Weschler's, Sotheby's, 

Images are copyright of their respective owners, assignees or others

27 Paintings of Parisian Street Scenes by the Artists of the time, 19 Century, with footnotes #2

Luigi Loir (French, 1845-1916)

A boulevard in Paris on a rainy day, the Pantheon beyond

Oil on canvas

9¼ x 13 in (23.5 x 33 cm.)

Private collection

Sold for USD 7,800 in Apr 2007

Luigi Aloys Francois Joseph Loir, born 22 December 1845 in Goritz, Austria (now Nova Gorica in Slovenia ), and the died 9 February 1916 in Paris, was a painter , illustrator and lithographer.

Luigi Loir is the son of Tancred Loir François and Thérèse Leban, his wife, respectively valet and housekeeper of the French royal family in exile in Austria. Housed in the duchy of Parma in 1847, Luigi Loir studied at the School of Fine Arts in Parma in 1853. His first painting wass the landscape in Villiers-sur Seine (1865), two years after his return to Paris. He became known for his ceiling paintings. He worked with Jean Pastelot (1820-1870).

He was appointed Knight of the Legion of Honour in 1898. More on Luigi Aloys Francois Joseph Loir

ANTOINE BLANCHARD (FRENCH 1910-1988)

Paris, Apres la Pluie, 

oil on canvas

51 x 61.5 cm (20 x 24 in.)

Private collection

Estimated for $7,000 – $9,000 on May 2016

Antoine Blanchard is the pseudonym under which the French painter Marcel Masson (15 November 1910 – 1988) painted his immensely popular Parisian street scenes. He was born in a small village near the banks of the Loire.

Blanchard received his initial artistic training at the Beaux-Arts in Rennes, Brittany. He then moved to Paris in 1932 where he joined the Ecole des Beaux-Arts. He won the Prix de Rome.

Like Édouard Cortès (1882–1969) and Eugène Galien-Laloue (1854–1941), Antoine Blanchard essentially painted Paris and the Parisians in bygone days, often from vintage postcards. The artist began painting his Paris street scenes in the late 1950s, and like Cortès, often painted the same Paris landmark many times, in different weather conditions or various seasons. The most recurrent topics were views of the capital city in cloudy or rainy days, showing streets busy with pedestrians in a rush to go home, and bright storefronts reflecting on wet streets.

Antoine Blanchard died in 1988. More on Antoine Blanchard 

Eugène Galien-Laloue (1854–1941) 

Summer Afternoon on Avenue Foch, 

gouache on paperboard

18 x 30.3 cm (7 1/4 x 12 in.)

Private collection

Sold for $4,750 USD in September 2016

Eugène Galien-Laloue (1854–1941) was a French artist of French-Italian parents and was born in Paris on December 11, 1854. He was a populariser of street scenes, usually painted in autumn or winter. His paintings of the early 1900s accurately represent the era in which he lived: a happy, bustling Paris, la Belle Époque, with horse-drawn carriages, trolley cars and its first omnibuses. Galien-Laloue's works are valued not only for their contribution to 20th-century art, but for the actual history, which they document. His work can be seen at the Musée des Beaux-Arts, Louvier; Musée des Beaux-Arts, La Rochelle; Mulhouse, France.

A typical Galien-Laloue painting depicts sidewalks and avenues crowded with people or tourists mingling before the capital's monuments. He also painted the landscapes of Normandy and Seine-et-Marne, as well as military scenes he was commissioned to produce in 1914. The Republic of France selected Galien-Laloue to work as a 'war artist,' both during the Franco-Prussian War and World War I, chiefly in watercolor. More on Eugène Galien-Laloue

The Avenue was constructed during the reign of Emperor Napoleon III, as part of the grand plan for the reconstruction of Paris conducted by Napoleon's Prefect of the Seine, Baron Haussmann. It was designed to connect the Place d'Etoile with another important part of Haussmann's plan, the Bois de Boulogne, the new public park on the west end of the city. 

It was later named after Maréchal Ferdinand Foch, the French hero of the First World War, in 1929. It is one of the most prestigious streets in Paris More on The Avenue

EUGENE GALIEN LALOUE (FRENCH 1854-1941)

Paris, the Seine and Pavilion de Flore Under Snow, 

gouache on paper laid on board

19 x 31.1 cm (7 1/2 x 12 1/4 in.)

Private collection

Sold for  $4,000 USD in September 2016

Eugène Galien-Laloue (1854–1941), see above

The Pavillon de Flore, part of the Palais du Louvre in Paris, France, stands at the southwest end of the Louvre, near the Pont Royal.[1] It was originally constructed in 1607–1610, during the reign of Henry IV, as the corner pavilion between the Tuileries Palace to the north and the Louvre's Grande Galerie to the east.[2] The pavilion was entirely redesigned and rebuilt by Hector Lefuel in 1864–1868 in a highly decorated Second Empire Neo-Baroque style. More on The Pavillon de Flore

Eugène Galien-Laloue, 1854-1941, FRENCH

L’EGLISE DE LA TRINITÉ, RUE DE LA CHAUSSÉE D’ANTIN

gouache, watercolour and pencil on paper

36.5 by 53cm., 14 by 20½in.

Private collection

Eugène Galien-Laloue (1854–1941), see above

Rue de la Chaussée-d'Antin was graded and resurveyed as a wider boulevard with a width of eight toises under an ordinance dated 4 December 1720, which also extended it to meet the grands boulevards to the south. This new boulevard stretched from the end of Rue Louis-le-Grand (fr) to Rue Saint-Lazare.

The frequent stays of Louis XV in Paris led him to build splendid homes such as that of Louis Antoine de Pardaillan de Gondrin, the Duke of Antin (1665–1736). Son of the marquise de Montespan, the duke was the superintendent of the Bâtiments du Roi, or buildings of the king. His residence[2] faced this street and his name became associated with it as early as 1712. More on Rue de la Chaussée-d'Antin

ANDRE COTTAVOZ (FRENCH 1922-2012)

Cafe de la Rotonde, Paris, 

oil on paperboard

20.5 x 38 cm (8 x 15in.)

Private collection

Estimate for $1,500 – $2,000 in September 2016

The Café de la Rotonde is a famous café in the Montparnasse Quarter of Paris, France. Located on the Carrefour Vavin, at the corner of Boulevard du Montparnasse and Boulevard Raspail, it was founded by Victor Libion in 1911. Along with Le Dome and La Coupole it was renowned as an intellectual gathering place for notable artists and writers during the interwar period. More on The Café de la Rotonde

Kostya Terechkovitch, 1902-1978,

Woman in a Hat with a Red Ribbon

oil on canvas

55.5 x 46 cm (21 7/8 x 18 1/8 in.)

Private collection

Sold for $750 USD in May 2021

Kostya Terechkovitch , 1902-1978, usually known as Kostia Terechkovitch, was born near Moscow. In 1920 he went to Paris to study art at the Académie de la Grande Chaumière. Welcomed by compatriots such as Mikhail Larionov and Soutine, Terechkovitch settled in Montparnasse, where his close friends included Moise Kisling and Andre Lanskoy.

Kostia Terechkovitch was eventually to become the only Montparnasse artist of the between-the-wars School of Paris to maintain his own racing stable, an indication of the keen interest in sport and high living. 

Kostia Terechkovitch was a key member of the loose alliance of colourists known as La Réalité Poètique; the others included Roland Oudot, Maurice Brianchon, André Planson, Jules Cavaillès, and  ... More on Kostya Terechkovitch

After Edouard Henri Leon Cortès, (French, 1882-1969)

PORTE SAINT DENIS 

Oil on canvas

18 x 21 in

Private collection

Sold for US$32,500 in November 2015

The Porte Saint-Denis is a Parisian monument located in the 10th arrondissement, at the site of one of the gates of the Wall of Charles V, one of the now-destroyed fortifications of Paris. It is located at the crossing of the Rue Saint-Denis continued by the Rue du Faubourg Saint-Denis, with the Boulevard de Bonne-Nouvelle and the Boulevard Saint-Denis. More on The Porte Saint-Denis

Edouard Léon Cortès (1882–1969) was a French post-impressionist artist of French and Spanish ancestry. He is known as "Le Poete Parisien de la Peinture" or "the Parisian Poet of Painting" because of his diverse Paris cityscapes in a variety of weather and night settings.

Cortes was born on August 8, 1882, in Lagny-sur-Marne, about twenty miles east of Paris. His father, Antonio Cortès, had been a painter for the Spanish Royal Court.

At the age of 17, Edouard began his studies at the École des Beaux-Arts in Paris. His first exhibition in 1901 brought him immediate recognition. Cortès stressed his independence. Once, in responding to a journalist who asked if he was a student of Luigi Loir, he replied in pun: "No, a student of myself only."

He was awarded the prestigious Prix Antoine-Quinson from the Salon de Vincennes.

In 1914 Cortès married Fernande Joyeuse, with whom he had a daughter in 1916.

Although Cortès was a pacifist, when war came close to his native village he was compelled to enlist in a French Infantry Regiment at the age of 32. As a contact agent Cortès was wounded by a bayonet, evacuated to a military hospital, and awarded the Croix de Guerre. After recovery he was the reassigned to utilize his artistic talent to sketch enemy positions. Later in life his convictions led him to refuse the Légion d'Honneur from the French Government. In 1919 he was demobilized.

His wife had died in 1918 and he soon married his sister-in-law Lucienne Joyeuse.

Cortès lived a simple life amid a close circle of friends. He died on November 28, 1969, in Lagny, and has a street named in his honor. More on Edouard Léon Cortès

Edouard Henri Leon Cortès, (French, 1882-1969)

City of light, Paris 

Oil on canvas

33 x 45.5cm (13 x 17 15/16in)

Private collection

Sold for £15,000 in September 2016

Edouard Léon Cortès (1882–1969), see above

Edouard Henri Leon Cortès, (French, 1882-1969)

Boulevard Beaumarchais with the July Column in the distance

Oil on canvas 

33 x 46cm (13 x 18 1/8in)
Private collection

Sold for £13,750 in September 2016

Edouard Léon Cortès (1882–1969), see above

The Boulevard Beaumarchais is a boulevard of the 3rd, 4th and 11th arrondissement of Paris. It is named after Pierre-Augustin Caron de Beaumarchais, a French polymath. At various times in his life, he was a watchmaker, inventor, playwright, musician, diplomat, spy, publisher, horticulturist, arms dealer, satirist, financier, and revolutionary (both French and American). More on The Boulevard Beaumarchais

EDOUARD LÉON CORTÈS
Evening Snow at the Institute of France, c. 1919
Oil on Canvas
26 × 36 in, 66 × 91.4 cm
Private collection

Sold for $98,500 in September 2016

Edouard Léon Cortès (1882–1969), see above

A night scene of a snowy Parisian avenue, this energetic oil on canvas by Edouard Léon Cortès captures the beauty and vitality of winter in the City of Lights. Cortès depicts a busy thoroughfare from a unique perspective, emphasizing the dynamic movement of the vehicles and pedestrians and also the graceful geometric lines of the architecture and street. Darkened by the nightfall, Cortes illuminates his scene with the warm light of the trolley car and the incandescence of the gas lamps. More on this painting

The Institut de France, is a French learned society, grouping five académies, the most famous of which is the Académie française.

The Institute, located in Paris, manages approximately 1,000 foundations, as well as museums and châteaux open for visit. It also awards prizes and subsidies, which amounted to a total of €5,028,190.55 for 2002.[citation needed] Most of these prizes are awarded by the Institute on the recommendation of the académies. More

Louis Marie de Schryver, 1862 - 1942
La Marchande de Fleurs Paris (The Flower Seller, Paris), ca. 1889
Oil on canvas
29 1/4 × 35 in, 74.3 × 88.9 cm

Private collection

Estimated for € 80.000 - 100.000 in June 2013

Cropped from the lower edge of the picture, a wagon with rose-colored flowers of various kinds is standing on a street. On the right behind the wagon, the old flower lady is in the process of tying gladioli and ranunculus together to present them to the buyer on the other side of the table. She is fashionably dressed in midnight blue with a hat and white gloves. Her little daughter in a white summer dress and a small straw hat stands next to her and watches as her mother pays. In the background you can see other ladies in clothes from the 1920s, walking along the pavements along the large palaces. A large car seems to be heading straight for the old saleswoman. More on this painting

Louis Marie de Schryver, 1862 - 1942, offers a glimpse of Avenue de l'Opéra in this portrait of a flower seller. The artist's skill for genre painting is on display in the work. The scene is an example of de Schryver's very best works. Capturing a glimpse into a bygone age, de Schryver's oeuvre places him in the upper echelons of the greatest Belle Époque painters.

Throughout his life, de Schryver used a refined and detailed method to construct lively genre scenes celebrating joie de vivre within a majestic, yet modern framework. His women are striking in their stylish dress, depicted in the grand boulevards of Paris amidst horse-drawn carriages and colorful street vendors. In La Marchande de Fleurs, Paris, he captures a young girl with her mother on the fashionable Avenue de l'Opéra as they purchase blooms of gladioli and ranunculus from a flower seller. The extravagant flowers appear to spill over the seller's cart, imbuing the scene with stunning color and vibrancy.

Louis Marie de Schryver, 1862 - 1942

LA MARCHANDE DE FLEURS — RUE DE RIVOLI, c. 1892

Oil on canvas

28 3/4 by 36 1/4 in., 73 by 92 cm

Private collection

Sold for 310,000 USD USD in May 2015

Rue de Rivoli is one of the most famous streets of Paris, a commercial street whose shops include the most fashionable names in the world. It bears the name of Napoleon's early victory against the Austrian army, at the battle of Rivoli, fought January 14 and 15, 1797. The rue de Rivoli marked a transitional compromise between an urbanism of prestige monuments and aristocratic squares, and the forms of modern town planning by official regulation. More on Rue de Rivoli

In the present work, two smartly dressed women consider the bounteous and varied blooms offered from thirty to fifty centimes for the choicest specimens while the vendor patiently braces herself as she supports the heavy basket.  The floral display mirrors the costume of the lady dressed in a pink and purple pattern, her pale yellow hat matching the form and color of the roses on offer.  Her companion's chic blue-gray costume expertly coordinates with the pale tones of the bouquet she has just purchased. The day's flowers secured, the lovely pair will join fellow strollers along the rue de Rivoli, one of Paris' most famous streets flanked by arcade facades running past many of the city's popular landmarks. In the present work, de Schryver depicts the intersection of the rue de Rivoli with the rue de Castiglione which leads to the Place Vendôme, its easily recognizable column rising in the distance. In the late nineteenth century this area became a center for the fashionable set, heavily trafficked, with many of the city's best and most expensive hotels located nearby. More on this painting

Born in Paris in 1862, Louis Marie de Schryver began his artistic career under the tutelage of the portrait painter and orientalist Gabriel-Joseph-Marie-Augustin Ferrier. He exhibited for the first time at the Paris Salon at the young age of 13, showing two works, both still life canvases of flowers. 

Louis Marie de Schryver, 1862 - 1942

A Young Man's Fancy, 1898

Oil on canvas

Private collection

The choice of subject would permeate throughout the entirety of his long career. He earned numerous awards from 1879 onwards, including a number of honorable mentions at the Salon, as well as the Universal Expositions of 1891, 1896 and 1900. Highly praised by both critics and the public alike, de Schryver enjoyed enormous success during his lifetime, and his works remain highly sought after. More on Louis Marie de Schryver

Louis Marie de Schryver, 1862 - 1942

Apres laverse, place du Theatre Francais/ After the shower, Place du Theater Francais

Oil on canvas

Private collection

Sold for 37,500 USD in May 2014

Pissarro, Camille

Place du Theatre-Francais, Spring, c. 1898

Oil on canvas

65,5x81,5 cm

The State Hermitage Museum, St Petersburg, Russia

Place du Théâtre is an urban public space in the municipality of Lille in the French department of Nord .

The origin of the square is linked to that of the Place du Général-de-Gaulle . Before the construction of the stock exchange, "  Vieille Bourse  ", the two places were one.

Contrary to what its name suggests, the square does not border a theatre; it was burned and destroyed in 1903. In replacement, an opera house was erected. More on Place du Théâtre

Here Pissarro depicted that part of Paris near the Comedie Francaise, although the theatre building itself remains outside the painting. The artist was interested not in famous views, but in the everyday life of the city itself, such as the stop for horse-drawn trams in the foreground. With free, clearly differentiated strokes, the artist captures the traffic and tiny human figures, the fresh spring leaves of the trees. He manages to convey the atmosphere and the sunlight, giving the city a vivid charm. More on More on this painting

Camille Pissarro (10 July 1830 – 13 November 1903) was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas (now in the US Virgin Islands, but then in the Danish West Indies). His importance resides in his contributions to both Impressionism and Post-Impressionism. Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54.

In 1873 he helped establish a collective society of fifteen aspiring artists, becoming the "pivotal" figure in holding the group together and encouraging the other members. Art historian John Rewald called Pissarro the "dean of the Impressionist painters", not only because he was the oldest of the group, but also "by virtue of his wisdom and his balanced, kind, and warmhearted personality".  More on Camille Pissarro

PIERRE BONNARD

Dans la rue, deux figures, ca. 1906

Oil on cradled panel

15 × 18 in, 38.1 × 45.7 cm

Private collection

Known for painting light-soaked interiors, nudes and still lives, Pierre Bonnard’s lush canvases echo Claude Monet and Henri Matisse. Bonnard played a central role in Nabis, a group emphasizing the basic aesthetic properties of painting. Describing his method, Bonnard has said, “the principal subject is the surface, which has its color, its laws over and above those of object.” Rather than simply observe and reproduce the world around him, Bonnard sought to instill each picture with, in the words of Nabis colleague Maurice Denis, “a beauty outside nature.” More on this painting

Pierre Bonnard (3 October 1867 — 23 January 1947) was a French painter and printmaker, as well as a founding member of the Post-Impressionist group of avant-garde painters Les Nabis. Bonnard preferred to work from memory, using drawings as a reference, and his paintings are often characterized by a dreamlike quality. The intimate domestic scenes, for which he is perhaps best known, often include his wife Marthe de Meligny.

Bonnard has been described as "the most thoroughly idiosyncratic of all the great twentieth- century painters", and the unusual vantage points of his compositions rely less on traditional modes of pictorial structure than voluptuous color, poetic allusions and visual wit. Identified as a late practitioner of Impressionism in the early 20th century, Bonnard has since been recognized for his unique use of color and his complex imagery. More on Pierre Bonnard

Gustave Caillebotte, 1848—1894

Paris Streets, Rainy Day (1877)

Oil on canvas

212.2 × 276.2 cm (83 1/2 × 108 3/4 in.)

Art Institute of Chicago

This complex intersection, just minutes away from the Saint-Lazare train station, represents in microcosm the changing urban milieu of late nineteenth-century Paris. Gustave Caillebotte grew up near this district when it was a relatively unsettled hill with narrow, crooked streets. As part of a new city plan designed by Baron Georges-Eugène Haussmann, these streets were relaid and their buildings razed during the artist’s lifetime. In this monumental urban view, which measures almost seven by ten feet and is considered the artist’s masterpiece, Caillebotte strikingly captured a vast, stark modernity, complete with life-size figures strolling in the foreground and wearing the latest fashions. The painting’s highly crafted surface, rigorous perspective, and grand scale pleased Parisian audiences accustomed to the academic aesthetic of the official Salon. On the other hand, its asymmetrical composition, unusually cropped forms, rain-washed mood, and candidly contemporary subject stimulated a more radical sensibility. For these reasons, the painting dominated the celebrated Impressionist exhibition of 1877, largely organized by the artist himself. More on this painting

Gustave Caillebotte, (born August 19, 1848, Paris, France—died February 21, 1894, Gennevilliers) French painter, art collector, and impresario who combined aspects of the academic and Impressionist styles in a unique synthesis.

Born into a wealthy family, Caillebotte trained to be an engineer but became interested in painting and studied at the École des Beaux-Arts in Paris. He met Pierre-Auguste Renoir and Claude Monet in 1874 and showed his works at the Impressionist exhibition of 1876 and its successors. Caillebotte became the chief organizer, promoter, and financial backer of the Impressionist exhibitions for the next six years, and he used his wealth to purchase works by other Impressionists, notably Monet, Renoir, Camille Pissarro, Paul Cézanne, Edgar Degas, Alfred Sisley, and Berthe Morisot. More on Gustave Caillebotte

Gustave Caillebotte

The Orange Trees (1878)

Oil on canvas

61 × 46 in. (154.9 × 116.8 cm)

Houston Museum of Fine Arts

The image depicts a daytime scene. Caillebotte's brother Martial is reading while sitting in the shade of the orange trees with his back towards the viewer. He is dressed in the same way as Gustave himself in Renoir's Oarsmen at Chatou. Their cousin, Zoé Caillebotte, is standing at one of the Versailles tubs, then fashionable as garden planters, which contain the trees. The poses of Martial and Zoé suggest that they are each enjoying the afternoon quietly with their private thoughts. The lightweight painted sprung-steel garden chairs in the foreground appear in other works painted at Yerres, and can be seen in a contemporaneous photograph of the estate. In the background, the bright sunlight illuminates a circular flower bed surrounded by a curving gravel path, at the edge of which a dog appears to be sleeping. More on this painting

Gustave Caillebotte, 1848—1894, see above

Eugène Galien-Laloue (French 1854-1941) 
Coin à Montmartre, Paris 
Gouache on paper
7-1/2 x 12-1/2 in (19.1 x 31.8 cm) 
Private collection

Estimate for $10,000 - $15,000 in March 2016

Montmartre is a large hill in Paris's 18th arrondissement. It is 130 metres high and gives its name to the surrounding district, part of the Right Bank. The historic district established by the City of Paris in 1995 is bordered by rue Caulaincourt and rue Custine on the north; rue de Clignancourt on the east; boulevard de Clichy and boulevard de Rochechouart to the south. Montmartre is primarily known for the white-domed Basilica of the Sacré-Cœur on its summit and as a nightclub district. The other, older, church on the hill is Saint Pierre de Montmartre, which claims to be the location at which the Jesuit order of priests was founded.

At the beginning of the twentieth century, during the Belle Époque, many artists had studios or worked in or around Montmartre, including Salvador Dalí, Amedeo Modigliani, Claude Monet, Henri de Toulouse-Lautrec, Piet Mondrian, Pablo Picasso, Camille Pissarro and Vincent van Gogh. More on Montmartre

Eugène Galien-Laloue (1854–1941), see above

Eugène Galien-Laloue (French 1854-1941) 
Les Bouquinistes Sur le Quai du Louvre, Paris 
Gouache on paper
7-1/2 x 12-1/2 in (19.1 x 31.8 cm) 
Private collection

Estimated for  $10,000 - $15,000 in March 2016

The Quai François Mitterrand is a quay by the River Seine in Paris, France, along the stretch where the Palais du Louvre is situated. Formerly Quai du Louvre, it was renamed Quai François Mitterrand after the former French president on October 26, 2003. More on The Quai François Mitterrand

Eugène Galien-Laloue (1854–1941), see above

GUSTAVE MADELAIN, (FRENCH, 1867-1944) 
LE PONT DES ARTS, SEINE 
Oil on canvas
22 x 26 in.
Private collection

Estimate for $1,000 - $1,500 in September 2016

GUSTAVE MADELAIN, (FRENCH, 1867-1944) was a French painter of landscapes, Gustave Madelain was born in Charly, France in 1867. He exhibited at the Salon des Indépendants from 1907, gaining a fine reputation as a Post-Impressionist painter. His main subjects were street and river views in Rouen, L'Havre and Paris. More on GUSTAVE MADELAIN

GUSTAVE MADELAIN, (FRENCH, 1867-1944) 

"VIEW OF NOTRE-DAME AND THE PONT DE L'ARCHEVECHÉ"
Oil on panel
9” x 10 ½ ”

Private collection

The composition, brushwork and execution are all of the highest quality. The use of light is exceptional.  The Notre Dame and Pont de L'Archeveche are silhouetted against an evening sky along the Seine with its riverboats and dockworkers, probably ending their day.  There is an enigmatic sense of both energy and quiet about the scene, created by Madelain's use of color, brushwork and space.  More on this painting

The Pont de l'Archevêché is the narrowest road bridge in Paris. It was built in 1828, by the engineer Plouard, for the society Pont des Invalides after the demolition of the suspension bridge at Les Invalides.

After the Pont des Arts was cleared of its display of padlocks in 2010, and similarly the Passerelle Léopold-Sédar-Senghor, lovers started to place their 'love padlocks' on this bridge. The original two bridges for this were footbridges, but this one, a bit narrower, is a road bridge. More on Pont des Arts

LE PONT DES ARTS, see below

Giuseppe Canella, 1788 - 1847
LE PONT NEUF, PARIS
Oil on board 
12 x 15.3 cm; 4 3/4 by 6 in
Private collection

Sold for 18,750 EUR in June 2016

The Pont Neuf is the oldest standing bridge across the river Seine in Paris, France. Its name, which was given to distinguish it from older bridges that were lined on both sides with houses, has remained after all of those were replaced. It stands by the western (downstream) point of the Île de la Cité, the island in the middle of the river that was, between 250 and 225 BC, the birthplace of Paris, then known as Lutetia, and during the medieval period, the heart of the city. More on The Pont Neuf

Giuseppe Canella (28 July 1788 – 11 September 1847), also referred to as Giuseppe Canella the Elder, was an Italian painter. Initially trained by his father Giovanni, an architect, fresco painter and set designer, Giuseppe Canella started out producing stage sets and decorating stately homes in Verona and Mantua. His brother, Carlo Canella, was also a painter. It may have been under the influence of Pietro Ronzoni, a landscape painter of international renown active in Verona, that he took up landscape painting. The first views were not produced until 1815, after a short stay in Venice. After making his debut at the Fine Art Exposition at the Brera Academy of 1818, he made a long journey through Spain, the Netherlands and France for study purposes.

Giuseppe Canella, 1788 - 1847
LE PALAIS BOURBON, PARIS, c. 1830
OIL ON PANEL
12 x 15,5 cm ; 4 3/4 by 6 in
Private collection

Sold for 21,250 EUR in June 2016

The set of 13 landscapes shown at the Expositions at the Brera in 1831 proved a great success with the public and critics alike, not least due to the fame achieved in Paris with works exhibited in the Salons, commissions from Louis Philippe of Orleans and the award of a gold medal in 1830. He returned to Milan in 1832 and devoted his energies to urban views characterised by an interest in the events of contemporary life. Landscape came to predominate as from 1835 with subjects drawn from the Lombard countryside and lakes. More on More on this painting

The Palais Bourbon is a government building located in the 7th arrondissement of Paris, on the left bank of the Seine, across from the Place de la Concorde. It is the seat of the French National Assembly, the lower legislative chamber of the French government. The Palace was originally built beginning in 1722 by Louise-Françoise de Bourbon, the duchesse de Bourbon, the legitimized daughter of Louis XIV, as a country house, surrounded by gardens. It was nationalized during the French Revolution, and from 1795 to 1799, during the Directory, it was the meeting place of the Council of Five Hundred, which chose the government leaders. Beginning in 1806, Napoleon Bonaparte added the classical colonnade, to mirror that of Church of the Madeleine, facing it across the Seine and the Place de la Concorde. The Palace complex today includes the Hôtel de Lassay, on the west side of the Palais Bourbon; it is the official residence of the President of the National Assembly. More on The Palais Bourbon

Giuseppe Canella (28 July 1788 – 11 September 1847), see above

Giuseppe Canella, 1788 - 1847
L'HÔTEL DES INVALIDES, PARIS, c. 1830
 OIL ON PANEL
12 x 15,5 cm ; 4 3/4 by 6 in
Private collection

Sold 21,250 EUR in June 2016

Les Invalides, commonly known as Hôtel national des Invalides (The National Residence of the Invalids), or Hôtel des Invalides, is a complex of buildings in the 7th arrondissement of Paris, France, containing museums and monuments, all relating to the military history of France, as well as a hospital and a retirement home for war veterans, the building's original purpose. The buildings house the Musée de l'Armée, the military museum of the Army of France, the Musée des Plans-Reliefs, and the Musée d'Histoire Contemporaine, as well as the Dôme des Invalides, a large church with the burial site for some of France's war heroes, most notably Napoleon Bonaparte (lists below). More on Les Invalides

Giuseppe Canella (28 July 1788 – 11 September 1847), see above

Giuseppe Canella, 1788 - 1847
LE PONT DES ARTS, PARIS, c. 1827
OIL ON PANEL
13 x 17,5 cm ; 5 by 6 7/8 in
Private collection

Sold 21,250 EUR in June 2016

The Pont des Arts or Passerelle des Arts is a pedestrian bridge in Paris which crosses the River Seine. It links the Institut de France and the central square (cour carrée) of the Palais du Louvre, (which had been termed the "Palais des Arts" under the First French Empire). More on The Pont des Arts

Giuseppe Canella (28 July 1788 – 11 September 1847), see above

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