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Fair scene with actors

Pierre-Victor GALLAND Geneva, 1822 - Paris, 1892 Study of a woman for the figure of Industry for the ceiling of Jean-François Cail's hotel in Paris (actually town hall of the 8th arr...

Jean-Blaise GIRAUD Bordeaux, 1887 - Paris, 1952 Greek painter decorating a vase Painting, oil on canvas Signed and dated lower right: "July 1906 / Jean Giraud" Painting: 147 x 114 cm...

Edmond QUIGNARD 19-20th century, French Weaver in his workshop Painting, oil on canvas Signed upper left Painting: 68.5 x 96.5 cm (27 x 38 inches) Beautiful original frame: 94.5 x 12...

Anthony Eugène RENOUARD Cour-Cheverny, 1835 - Paris, 1921 Peasant scene, young woman giving bread Painting, oil on canvas Signed lower left Painting: 24...

Pinckney MARCIUS-SIMONS New York, 1867 - Bayreuth, 1909 Joan of Arc Painting, oil on canvas Signed Painting: 60 x 46 cm (23.6 x 18.1 inches) Frame: 78 x 64 cm (30.7 x 25.2 inches) Ve...

Edouard TOUDOUZE Paris, 1848 - Paris, 1907 Studies of three women's heads and an arm for the allegory of music for a rotunda of the Favard foyer of the Opéra Comique (Paris) Painting...

John William Godward 1861-1922 British A Pompeian Lady Signed and dated "J.W. Godward 1904" (lower right, partially covered by frame) Oil on canvas One of the last and greatest Victorian neoclassical painters, John William Godward is celebrated for his flawlessly executed images of graceful women posed in idealized ancient settings. In this work, entitled A Pompeian Lady, a classical beauty is caught idling in a moment of quiet, solitary reflection. Godward's elegant subjects are depicted with a degree of technical mastery that remains unsurpassed, and the work's dramatic palette, luxurious fabrics and classical vision are all characteristics of his unique take on the neoclassical style. Godward was unmatched in terms of his technical skill and attention to detail. A master of contrasting textures, he paints a diaphanous gown draping against the model’s smooth, milky white skin, which sits against the painstakingly rendered individual hairs of a tiger’s pel. Scintillating color permeates the canvas as well, energizing the otherwise static scene. Each element is given careful attention, and the overall effect is one of both immaculate technique and sensual tactility. Along with his contemporary and mentor, Sir Lawrence Alma-Tadema, Godward set the tone for the Victorian neoclassicist movement. He built his career upon creating images of idealized feminine beauty infused with a Greco-Roman-inspired style. Though greatly influenced by Alma-Tadema, Godward distinguished himself through his predilection for the solitary female figure. His fame rose dramatically in the first few years of the 20th century, when the present work was completed, due to the burgeoning strength of the British Empire and the Victorian society’s preoccupation with ancient Rome. To many of the newly affluent, Roman society was, as Iain Gale writes, “a flawless mirror of their own immaculate world.” The sensuality and mystery of Godward’s maidens, combined with his impressive antique backdrops...

The Crossing, 1855, by Theodore Frere (1814-1888) Oil on wood panel 9 x 14 inches unframed (22.86 x 35.56 cm) 17 ¾ x 22 ½ inches framed (45.085 x 57.15 cm...

Departure of the Caravan, 1834-1887, by Theodore Frere (1814-1888) Oil on wood 10 x 16 inches unframed (25.4 x 40.64 cm) 18 ¾ x 24 ¾ inches framed (47.625 x 62.865 cm) Signed on bott...

If Vogue magazine existed in the late 19th century, this sitter could be on the cover. The depth of her feminine beauty and sweetness is mesmerizing. She looks at you. You look ...

John Falter arranges figures and faces in a way that rival the old masters in their compositional perfection. And he makes it look easy. The expressions are captured so the emotion...

Domenico Bresolin (Padua 1813 - Venice 1890), Boy in a squero in Venice Oil on canvas applied to cardboard 27 x 16 cm initialed (DB) lower left. Publications D. Ritter, Venedig in...