{"title":"The Complete Collection","description":"\u003cp\u003e\u003cstrong\u003eThe complete collection of GalerieClub Fine Art brings together European oil paintings from the 16th-century Old Master schools to the modern School of Paris, in one place.\u003c\/strong\u003e\u003c\/p\u003e\n\u003ctable class=\"gc-tuiles-siecles\" style=\"width:100%;max-width:880px;margin:18px auto;border-collapse:separate;border-spacing:8px;\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd style=\"width:25%;text-align:center;background:#f5f5f5;border:1px solid #e0e0e0;vertical-align:top;padding:0;\"\u003e\u003ca href=\"https:\/\/galerieclub.com\/collections\/17th-century-paintings\" title=\"17th century Baroque paintings\" style=\"text-decoration:none;color:#333;display:block;\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/collections\/Italian_Old_Master_oil_painting_of_Mary_Magdalene_penitent_17th_century_Baroque_framed_5d1f3716-5c21-4a40-b9c2-66e6ed0a8c01_400x280_crop_center.png\" alt=\"17th century Baroque oil painting, Mary Magdalene penitent, Italian Old Master\" loading=\"lazy\" style=\"width:100%;display:block;\"\u003e\u003cspan style=\"display:block;padding:10px;\"\u003e\u003cstrong style=\"color:#7a1f2b;\"\u003e17th Century\u003c\/strong\u003e\u003cbr\u003eBaroque Old Masters\u003c\/span\u003e\u003c\/a\u003e\u003c\/td\u003e\n\u003ctd style=\"width:25%;text-align:center;background:#f5f5f5;border:1px solid #e0e0e0;vertical-align:top;padding:0;\"\u003e\u003ca href=\"https:\/\/galerieclub.com\/collections\/18th-century-paintings\" title=\"18th century Rococo and Neoclassical paintings\" style=\"text-decoration:none;color:#333;display:block;\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/collections\/Portrait_of_a_gentleman_with_powdered_wig_and_red_flower_18th_century_Rococo_oil_painting_follower_of_Louis_Tocqu_framed_400x280_crop_center.png\" alt=\"18th century Rococo oil painting, portrait of a gentleman with powdered wig\" loading=\"lazy\" style=\"width:100%;display:block;\"\u003e\u003cspan style=\"display:block;padding:10px;\"\u003e\u003cstrong style=\"color:#7a1f2b;\"\u003e18th Century\u003c\/strong\u003e\u003cbr\u003eRococo to Neoclassic\u003c\/span\u003e\u003c\/a\u003e\u003c\/td\u003e\n\u003ctd style=\"width:25%;text-align:center;background:#f5f5f5;border:1px solid #e0e0e0;vertical-align:top;padding:0;\"\u003e\u003ca href=\"https:\/\/galerieclub.com\/collections\/19th-century-paintings-1\" title=\"19th century paintings, Barbizon to Impressionism\" style=\"text-decoration:none;color:#333;display:block;\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/desvarreux-larpenteur-heather-impasto-detail-farmhouse-treeline_400x280_crop_center.jpg\" alt=\"19th century French landscape oil painting, heather moorland with farmhouse\" loading=\"lazy\" style=\"width:100%;display:block;\"\u003e\u003cspan style=\"display:block;padding:10px;\"\u003e\u003cstrong style=\"color:#7a1f2b;\"\u003e19th Century\u003c\/strong\u003e\u003cbr\u003eBarbizon to Impressionism\u003c\/span\u003e\u003c\/a\u003e\u003c\/td\u003e\n\u003ctd style=\"width:25%;text-align:center;background:#f5f5f5;border:1px solid #e0e0e0;vertical-align:top;padding:0;\"\u003e\u003ca href=\"https:\/\/galerieclub.com\/collections\/20th-century-paintings\" title=\"20th century modern paintings and School of Paris\" style=\"text-decoration:none;color:#333;display:block;\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Signed_expressionist_oil_painting_of_Montmartre_street_scene_in_Paris_by_Georges_Berger_1975_French_cityscape_on_canvas_unframed_400x280_crop_center.png\" alt=\"20th century French Expressionist oil painting, Montmartre street scene by Georges Berger\" loading=\"lazy\" style=\"width:100%;display:block;\"\u003e\u003cspan style=\"display:block;padding:10px;\"\u003e\u003cstrong style=\"color:#7a1f2b;\"\u003e20th Century\u003c\/strong\u003e\u003cbr\u003eModern \u0026amp; School of Paris\u003c\/span\u003e\u003c\/a\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e","products":[{"product_id":"flight-egypt-holy-family-garland-flemish-brueghel-oil-panel","title":"Circle of Jan Peeter Brueghel, The Rest on the Flight into Egypt with a Floral Garland, 17th Century Flemish Oil on Panel, Framed","description":"\u003cp\u003eAt the centre of the composition, the Virgin sits with the Christ Child on her lap while Joseph stands behind them, leaning on his staff and looking out toward a range of hills. The scene is set in a wooded landscape and enclosed in a painted oval that opens at the middle of the panel. Around it runs a large garland of flowers that fills the entire surface. Roses, tulips, morning glories, a lily and other blooms are painted in dense clusters against a dark ground, forming a ring of colour around the sacred scene. The garland is rendered with attention to each petal and leaf, with light falling unevenly across the flowers to produce depth and volume. The palette pairs the warm flesh tones and blue drapery of the central figures with the yellows, creams, whites and deep greens of the surrounding garland, with a few notes of blue among the smaller blooms.\u003c\/p\u003e\n\n\u003cp\u003eThe garland painting was a distinctly Flemish genre that emerged in Antwerp in the early 1600s, pioneered by Jan Brueghel the Elder and Daniel Seghers. These works combined a central religious or allegorical scene, often painted by a figure specialist, with a surrounding wreath of flowers executed by a still life painter. By the second half of the century, workshops in Antwerp continued this collaborative tradition. Jan Peeter Brueghel, a great-grandson of Pieter Bruegel the Elder, was active in this circle and produced floral compositions in the family manner. The use of oil on wood panel was standard for small format devotional works in the Southern Netherlands, where collectors displayed them in private cabinets alongside other precious objects.\u003c\/p\u003e\n\n\u003cp\u003eThe panel carries a small chip at the top centre and the frame shows general age wear, both visible in the photographs.\u003c\/p\u003e\n\n\u003cp\u003e\u003ca href=\"https:\/\/galerieclub.com\/blogs\/collecting-guides\/reading-attribution\"\u003e\u003cstrong\u003e→ Where \"circle of\" sits between the master and a copy\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214927405388,"sku":"850","price":6900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Flight_to_Egypt_with_floral_garland_Flemish_oil_on_wood_panel_framed_17th_century_Old_Master_painting.png?v=1778612058"},{"product_id":"victor-spahn-formula-1-ferrari-rain-race-oil-painting-signed","title":"Formula 1 Racing Car in the Rain, Original Hand Painted Oil on Canvas by Victor Spahn, Signed","description":"\u003cp\u003eA single racing car comes forward out of a field of pure red. There is no track, no crowd and no horizon behind it, only red laid flat from the top edge down to the level of the wheels, where it breaks into white spray.\u003c\/p\u003e\n\u003cp\u003eThe car is red on red, held together by black. Its rear wing, its four tyres and the dark shapes beneath the bodywork are the only firm drawing in the picture, and the driver's helmet sits low between the roll hoop and the side pod. Everything below the wheels dissolves into wet reflection, a band of white, then black, then a run of green, violet and pale pink where the water carries colour across the asphalt.\u003c\/p\u003e\n\u003cp\u003eThe paint is sprayed, dragged and flicked rather than brushed. Speed is carried by the handling itself rather than by any detail of the machine.\u003c\/p\u003e\n\u003cp\u003eSigned at the lower left in white, the work is an original oil painted by hand on canvas rather than a print or a reproduction. It is sold unframed, ready for the moulding of your choice.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214927470924,"sku":"160","price":4355.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Victor_Spahn_signed_oil_painting_of_Formula_1_Ferrari_in_the_rain_French_Impressionist_on_canvas.png?v=1778605694"},{"product_id":"astoin-mountain-landscape-oil-panel-framed-post-war","title":"Signed Oil Painting, Mountain Landscape by Marie Astoin (1923-2011), 1950s French Expressionist Scene on Wood Panel","description":"\u003ch2\u003eColor and Rock Under a Provencal Sky\u003c\/h2\u003e\n\u003cp\u003eThe painting is small but the color hits hard. Pink and terracotta rock faces stack up across the middle of the panel, broken by patches of deep green where vegetation clings to the slopes. Astoin laid the paint on thick, working wet into wet so the blues of the sky bleed into the ridge line and the greens push into the warm ochres of the stone. The brushwork is fast and confident, almost aggressive in places, with the palette knife or a stiff brush dragging color across the surface in short, directional strokes. There is no fine detail here. The mountain reads as mass, weight, and light rather than as a topographic record. The sky above is a layered mix of pale blue and gray, with hints of pink near the horizon that echo the warm rock below.\u003c\/p\u003e\n \n\u003ch2\u003eAbout the Artist\u003c\/h2\u003e\n\u003cp\u003eMarie Astoin (1923-2011) was a French painter from Marseille who spent her career painting the landscapes of Provence and the Mediterranean coast. She worked primarily in oil, favoring bold color and a direct, physical handling of paint that places her firmly in the expressionist tradition. Astoin exhibited in regional salons in southern France and her work is held in private collections across Europe. She belongs to a generation of Provencal painters who absorbed the lessons of Cezanne and the Fauves and applied them to the landscape around them, treating the mountains, villages, and coastline of the Midi as subjects that demanded strong color and decisive form rather than gentle description.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214930321740,"sku":"136","price":2300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Signed_expressionist_oil_painting_of_mountain_landscape_by_Marie_Astoin_1950s_French_Provencal_scene_on_wood_panel_in_ornate_gilded_frame.jpg?v=1779479024"},{"product_id":"barbizon-lively-landscape-oil-panel-framed-19thc","title":"Antique Barbizon School Oil Painting, Lively Landscape With Figures by a River, 19th Century French Art on Wood Panel, Gilded Frame","description":"\u003ch2\u003eFigures and Cattle by the Riverbank\u003c\/h2\u003e\n\u003cp\u003eWhat you notice first is the way the light breaks through the canopy on the right side of the composition, opening up the sky behind a screen of tall, slender trees. The painter used the trees almost as architecture, dividing the panel into zones of shadow and brightness. On the left, everything is dark and close: dense foliage, heavy trunk, a figure barely visible against the undergrowth. On the right, the landscape opens out toward a river and a distant bank, with a town or village just suggested along the horizon. It is a composition that owes a clear debt to Corot and his followers, the way the foreground anchors you in shade while the middle distance glows with a diffused, silvery light that is very particular to the Ile-de-France countryside. The brushwork is confident but not showy. The trees are built up with overlapping touches of olive, gray-green, and brown, while the sky relies on thin, translucent layers that let the pale ground of the panel show through in places.\u003c\/p\u003e\n \n\u003cp\u003eTwo figures occupy the foreground, placed among the trees near the water's edge. One stands near the left margin, just a few strokes of warm color against the darker backdrop. The other appears closer to center, near what looks like a cow or two grazing by the bank. They are not portraits. They serve the composition the way staffage figures always do in Barbizon painting: they give the landscape scale and a sense of habitation without pulling focus from the natural world around them. The handling of the water is restrained, a band of reflected light that picks up the sky tones but stays darker, flatter, less detailed than the trees above. The overall effect is quiet, unhurried, the kind of scene that feels observed rather than staged. Whoever painted this knew the Barbizon vocabulary well, the palette, the compositional formulas, the way to balance a dark mass on one side with open space on the other.\u003c\/p\u003e\n \n\u003ch2\u003eThe Barbizon School and the French Landscape Tradition\u003c\/h2\u003e\n\u003cp\u003eThe Barbizon school grew out of a simple idea: go outside and paint what you see. In the 1830s and 1840s, a loose group of painters including Theodore Rousseau, Jean-Francois Millet, Charles-Francois Daubigny, and Narciso Diaz de la Pena began working in and around the village of Barbizon, on the edge of the Forest of Fontainebleau, south of Paris. They rejected the polished, studio-bound history paintings that the Salon favored and instead painted trees, rocks, ponds, and peasant life directly from observation. Corot, though not strictly part of the group, shared their commitment to plein-air study and became the most influential figure in French landscape painting of the mid-century. By the 1860s and 1870s, the Barbizon approach had spread far beyond the original village. Painters across France adopted the vocabulary: earthy palettes built around greens, browns, and silvery grays; compositions anchored by trees or water; figures integrated into the landscape rather than dominating it. This painting belongs to that broader second wave, the generation of painters who absorbed the Barbizon lessons and applied them to their own local landscapes, producing work that is less documented than the founders but often just as accomplished in its handling of light and atmosphere.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214930583884,"sku":"250","price":2700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Antique_Barbizon_school_oil_painting_on_wood_panel_lively_landscape_with_figures_by_a_river_19th_century_French_art_in_gilded_frame.png?v=1779111740"},{"product_id":"simon-auguste-flowers-blue-vase-oil-canvas-1950s","title":"Flowers in a Blue Vase, Signed Oil on Canvas, Mid-Century French Still Life, Framed","description":"\u003cp\u003eA slender arrangement of wildflowers rises from a pale turquoise vase decorated with gilt scrolls, the blooms in violet, pink and orange set against a warm patterned ground. A single butterfly hovers above the bouquet, and the tall, narrow format draws the whole composition upward. The handling is decorative and stylised, in the manner of the mid-twentieth century, the flowers touched in with quick, bright strokes.\u003c\/p\u003e\n\u003cp\u003eThe painting is signed lower left and presented in a wood frame. Its unusual vertical format suits a narrow wall, a between-window space or a stair.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214931009868,"sku":null,"price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Simon_Auguste_signed_oil_painting_of_bouquet_of_flowers_in_blue_vase_French_Post-Impressionist_still_life_artwork.png?v=1778535244"},{"product_id":"adoration-magi-flemish-old-master-oil-painting-17th-century-baroque-religious","title":"Flemish School, Adoration of the Magi, 17th Century Old Master Oil Painting, Framed","description":"\u003ch2\u003eThe Adoration of the Magi\u003c\/h2\u003e\n\u003cp\u003eThis oil on canvas presents the biblical episode of the three\nMagi paying homage to the infant Christ (Matthew 2:1-12). The scene\nis set within a ruined architectural setting, with the Virgin Mary\nholding the Child at center while the eldest king kneels in\nveneration. The two remaining kings stand nearby bearing gifts,\ndressed in rich robes of red, blue, and gold. Attendants and\nonlookers fill the background, creating a dense and animated\ncomposition. The warm palette, dramatic contrasts of light and\nshadow, and the carefully rendered fabrics and expressions are\ncharacteristic of Flemish Baroque painting from this period. The\ncanvas has been relined, indicating early conservation attention.\u003c\/p\u003e\n\n\n\u003ch2\u003eFlemish Nativity Painting in the 17th Century\u003c\/h2\u003e\n\u003cp\u003eThe Adoration of the Magi was one of the most popular subjects\nin Flemish art during the 17th century. Workshops in Antwerp and\nBrussels produced these compositions for churches, monasteries,\nand private devotional collections across Catholic Europe. Painters\nworked within an established visual tradition inherited from\nearlier masters, combining Northern realism in the treatment of\nfaces and textiles with Italianate architectural backgrounds.\nThese multi-figure compositions served both devotional and\ndecorative purposes, and were often acquired by collectors in\nFrance, Spain, and the Southern Netherlands.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214931468620,"sku":"920","price":7900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Adoration_of_the_Magi_17th_century_Flemish_Old_Master_oil_painting_in_original_frame_baroque_religious_artwork.jpg?v=1778175417"},{"product_id":"fire-sodom-lot-daughters-flemish-old-master-painting","title":"The Fire of Sodom, Lot and His Daughters, Flemish Old Master Oil on Panel, Close to Gillis Mostaert, Framed","description":"\u003cp\u003eSodom burns in the middle distance, its towers and arcades collapsing into flame under a column of pale smoke that rises across the whole upper right of the panel. The light of the fire spreads along the plain and catches the ruins below. In the foreground, sheltered by a mass of rock and a great tree hung with a green cloth, Lot sits with his two daughters. One leans against him with her arm about his shoulders, the other holds a cup and a vessel and turns toward him, the moment from Genesis when the daughters give their father wine. A small dark figure stands alone on the path at the right, between the family and the burning city. The palette moves from the deep browns and greens of the rock and foliage to the reds and yellows of the fire, with the rose of Lot's mantle carrying the warm note forward into the foreground.\u003c\/p\u003e\n\n\u003cp\u003eThe destruction of Sodom and Gomorrah was a popular subject among Flemish painters in the late sixteenth and early seventeenth centuries. Artists in Antwerp and Brussels combined landscape painting with biblical narrative, placing small human figures in vast, dramatic settings. The tradition drew on the innovations of Joachim Patinir and Herri met de Bles, who had established the world landscape format in the early 1500s. By the 1590s, painters such as Gillis Mostaert and his circle were producing compact panels that paired carefully observed natural detail with scenes of divine punishment. These works were made for private collectors and often displayed alongside other Old Testament subjects.\u003c\/p\u003e\n\n\u003cp\u003eThe support is oil on wood panel assembled from two plates joined together, standard workshop practice in the Southern Netherlands during this period. The panel carries a horizontal slit at the middle right and small losses to the paint layer, visible in the photographs. It is unsigned and presented in an antique moulded wood frame with a dark patina, showing small gaps and age wear.\u003c\/p\u003e\n\n\u003cp\u003e\u003ca href=\"https:\/\/galerieclub.com\/blogs\/collecting-guides\/reading-attribution\" style=\"color:#7a1f2b;text-decoration:underline;\" title=\"Reading Attribution | GalerieClub Fine Art\"\u003e\u003cstrong\u003e→ What \"close to\" claims, and how it differs from \"after\"\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214931960140,"sku":null,"price":8700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Fire_of_Sodom_with_Lot_and_his_Daughters_Flemish_Old_Master_oil_on_wood_panel_framed_biblical_painting.jpg?v=1778193761"},{"product_id":"hugues-claude-pissarro-animated-landscape-garden-pastel-1960s","title":"Hugues Claude Pissarro, Garden Path with Birdbath, Original Signed Pastel on Paper, 1960s, Framed","description":"\u003cp\u003eThe light comes through a single gap in the trees at the centre, and everything else in the sheet is worked over and over.\u003c\/p\u003e\n\n\u003cp\u003ePastel on paper, 9 x 13 inches (23 x 33 cm), framed 20 x 24 inches (51 x 61 cm). Signed H. Claude Pissarro lower centre. Executed in the 1960s, in a moulded gilt frame under glass.\u003c\/p\u003e\n\n\u003cp\u003eA path runs from the lower left toward a stone birdbath on the right, with beds of flowers along its edge and a figure standing at the turn. The trees behind are still bare, the one on the right already in full leaf, and the two states of the season sit side by side in the same view. The figure is two strokes of blue grey and a pale head, half taken by the shrub beside her.\u003c\/p\u003e\n\n\u003cp\u003eThe pastel is laid in short crossed strokes throughout, dense in the beds and the foliage, thinner in the sky where the paper is left to carry the light. The colour is built up rather than blended, so that the greens hold pink, blue and straw within them at close range.\u003c\/p\u003e\n\n\u003cp\u003eThe frame is a deep moulded gilt pattern with a carved leaf and tongue outer course and a stepped inner moulding, over a wide cream mount. The sheet is clean and stable under glass.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214933041484,"sku":"470","price":8900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/pissarro-garden-path-birdbath-pastel-on-paper-1960s-framed.jpg?v=1788980728"},{"product_id":"dutch-school-bouquet-flowers-butterfly-oil-canvas-18th-century","title":"Dutch School, Bouquet of Flowers with Butterfly in a Glass Vase, Oil on Canvas, 18th Century, Relined, Framed","description":"\u003cp\u003eThe rose is the only thing in the picture that holds the light. Everything behind it goes to brown, and the butterfly on the ledge is the palest note in the lower half.\u003c\/p\u003e\n\n\u003cp\u003eOil on canvas, relined, 14 1\/4 x 11 1\/4 inches (36 x 29 cm), 18 1\/2 x 15 1\/4 inches (47 x 39 cm) framed, unsigned. Dutch School, second half of the eighteenth century, in a gilt frame.\u003c\/p\u003e\n\n\u003cp\u003eA short glass of water stands on a stone ledge, holding a rose, two blue morning glories, white narcissus, a marigold and a tall spike of white and pink flowers rising above the rest. A white butterfly with dark tips has settled on the ledge to the right of the glass. The bouquet is lit from the left against a plain dark ground, and the water in the glass catches a thin line of the same light.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border:none;border-collapse:collapse;table-layout:fixed;margin:1.5rem 0;\"\u003e\u003ctr style=\"border:none;\"\u003e\u003ctd style=\"border:none;background:#faf7f1;padding:18px 22px;\"\u003e\n\u003cspan style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.09em;text-transform:uppercase;color:#96763f;\"\u003eA bouquet that never existed\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family:Georgia,serif;font-size:15px;line-height:1.7;color:#2c2c2a;\"\u003eRose, morning glory, narcissus and marigold do not flower in the same weeks and could never have stood together in one glass. Painters of these pieces kept folders of single studies made across a whole year and built the bouquet from them, choosing each flower at its best. Nobody who bought one expected it to be a record of something seen. They were buying a year of a garden compressed into one glass of water.\u003c\/span\u003e\n\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\n\u003cp\u003eThe canvas is relined and stable, with a fine craquelure across the whole surface and scattered small losses in the thinly laid dark ground.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214933696844,"sku":null,"price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/dutch-school-bouquet-butterfly-oil-on-canvas-18th-century-framed.webp?v=1788981793"},{"product_id":"charles-suan-hunter-dog-portrait-french-romantic-oil-painting-1839-signed","title":"Charles Suan, The Hunter and His Dog, 1839, Signed French Romantic Oil on Canvas, Framed","description":"\u003cp\u003eThe dog looks up at the man. The man looks out at us, and the gun stands between them like a third figure.\u003c\/p\u003e\n\n\u003cp\u003eOil on canvas, 18 x 15 inches (46 x 38 cm), framed 22 x 18 inches (56 x 46 cm). Signed and dated 1839 lower right. French School, in a period gilt frame with carved corner ornaments.\u003c\/p\u003e\n\n\u003cp\u003eA young man in a dark shooting coat stands full length on a path, his gun grounded at his right hand, his cap held low in the left. A French pointing dog sits at his feet in a marked white and liver coat. Behind them the ground falls away to a river valley with a distant town, and a bank of grey cloud crosses the sky from the left with a single opening of blue above his head.\u003c\/p\u003e\n\n\u003cp\u003eThe autumn foliage on either side is worked in short dry touches, and a fallen trunk closes the composition on the right. The face is finished with the care of a commissioned likeness while the landscape is painted broadly, which is the usual division of labour in a portrait of this kind.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border:none;border-collapse:collapse;table-layout:fixed;margin:1.5rem 0;\"\u003e\u003ctr style=\"border:none;\"\u003e\u003ctd style=\"border:none;background:#faf7f1;padding:18px 22px;\"\u003e\n\u003cspan style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.09em;text-transform:uppercase;color:#96763f;\"\u003eFrance, 1839\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family:Georgia,serif;font-size:15px;line-height:1.7;color:#2c2c2a;\"\u003eShooting in France had passed out of the hands of the old landed order and become the sport of men who owned land because they had bought it. A gun, a trained pointing dog and a coat cut for the field were what that ownership looked like, and a full length portrait out of doors with all three was how it was recorded.\u003c\/span\u003e\n\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\n\u003cp\u003eThe canvas has never been relined. It sits on its original keyed stretcher with all eight keys in place, and two old patch repairs are visible on the reverse. The restorations that go with them can be seen in the sky and along the lower edge.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214934483276,"sku":"GC-SCEN-19-003","price":4900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/suan-hunter-and-dog-1839-oil-on-canvas-19th-century-framed.png?v=1788984284"},{"product_id":"chaplin-labrador-puppy-portrait-oil-panel-1882","title":"Charles Joshua Chaplin (1825-1891), Portrait of a Puppy, Signed and Dated 1882, Oil on Mahogany Panel, Framed","description":"\u003cp\u003eThe panel is the background. Bare mahogany, its warm red grain running vertically behind the dog, with no ground laid over it and no paint anywhere it was not needed.\u003c\/p\u003e\n\n\u003cp\u003eOil on mahogany panel, 9 1\/2 x 6 2\/3 inches (24 x 17 cm), 13 x 10 1\/4 inches (33 x 26 cm) framed. Signed lower left and dated 1882 lower right, the last figures covered by the rebate of the frame. French, in a carved and gilded frame.\u003c\/p\u003e\n\n\u003cp\u003eA young dog seen close, cut at the chest, its head turned to the viewer. The fawn coat is laid in with broad soft strokes, while the head is modelled with more attention, the dark mask around the eyes and muzzle worked in thin glazes. The ears fall soft against the head and the forelegs are barely indicated, so that everything holds on the gaze.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border:none;border-collapse:collapse;table-layout:fixed;margin:1.5rem 0;\"\u003e\u003ctr style=\"border:none;\"\u003e\u003ctd style=\"border:none;background:#faf7f1;padding:18px 22px;\"\u003e\n\u003cspan style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.09em;text-transform:uppercase;color:#96763f;\"\u003eThe dog's name was Souki\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family:Georgia,serif;font-size:15px;line-height:1.7;color:#2c2c2a;\"\u003eThe back of the panel carries a note in ink giving the animal a name, Souki, the family she belonged to, and a date in March 1964 when the picture passed from one hand to another. Eighty years after it was painted, somebody thought it worth writing down who the dog had been. Almost no animal picture of this age still knows its own name.\u003c\/span\u003e\n\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\n\u003cp\u003eThe mahogany panel carries a vertical split, restored with a cardboard backing at the reverse, and remains slightly curved.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214935400780,"sku":"320","price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/chaplin-puppy-portrait-1882-oil-on-mahogany-panel-framed.png?v=1789074395"},{"product_id":"mary-magdalene-penitent-italian-old-master-baroque-oil-painting-framed","title":"Italian Old Master Oil Painting, Mary Magdalene Penitent, 17th Century Baroque Original on Canvas, Framed","description":"\u003cp\u003eThe Magdalene is shown half length, turned slightly to her right, her eyes lowered toward a skull that rests in her open left hand at the lower edge of the canvas. Her right hand lies flat against her breast. Long red gold hair falls in heavy waves over both shoulders and down her back. A white chemise slips from the shoulder and is caught by a rose coloured drapery across the body, with a fold of deep red behind. Behind her, a mass of brown rock closes the left of the composition, while at the upper right the sky opens in cool blue and grey cloud. The light falls from the upper left across the face, the shoulder and the hands, and leaves the rest in shadow.\u003c\/p\u003e\n\n\u003cp\u003eThe Penitent Magdalene was among the subjects most frequently painted by Italian artists during the 1600s. The theme allowed painters to combine religious devotion with the study of the human figure, of drapery and of dramatic lighting. Artists across Italy produced versions of it, drawing on the influence of Caravaggio and his followers, who established the contrast between deep shadow and focused illumination. The half length format with vanitas objects such as the skull became a standard composition, repeated throughout the century in workshops from Rome to Naples, Bologna and Venice, and painted at this scale for the wall of a private room rather than for a chapel.\u003c\/p\u003e\n\n\u003cp\u003eThe canvas has been relined and carries small losses to the paint layer along the lower edge and fine surface stripes, visible in the photographs. It is unsigned and presented in an antique gilded wood frame showing general age wear.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214938644812,"sku":"GC-RELI-17-001","price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Italian_Old_Master_oil_painting_of_Mary_Magdalene_penitent_17th_century_Baroque_framed.png?v=1777653622"},{"product_id":"moonlight-mill-impressionist-oil-canvas-framed-19thc","title":"Moonlight over Two Windmills, Signed Oil on Canvas, Late 19th Century, Gilt Frame","description":"\u003cp\u003eThe moon is the only thing in the picture that is not moving.\u003c\/p\u003e\n\n\u003cp\u003eOil on canvas, 13 x 18 inches (33 x 46 cm), 17 x 22 inches (43 x 56 cm) framed. Signed lower right, indistinctly. Late nineteenth century. Fluted and gilded frame.\u003c\/p\u003e\n\n\u003cp\u003eTwo windmills stand on either side of a canal that runs back from the bottom of the canvas, one turned three quarters away, the other showing its gallery and its stage. A third is barely there on the horizon. The clouds are dragged sideways in long strokes across the whole upper half, opened only where the moon is, and the light that comes through falls on the water and on the gable ends of two white cottages. Everything below the skyline is painted in greens and browns so close in value that the eye keeps returning to the sky.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border-collapse:collapse;border:none;margin:24px 0;\"\u003e\n\u003ctr style=\"border:none;\"\u003e\n\u003ctd style=\"border:none;background:#faf7f1;padding:18px 20px;\"\u003e\n\u003cdiv style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.12em;text-transform:uppercase;color:#96763f;margin-bottom:9px;\"\u003eA picture that could not be painted from the motif\u003c\/div\u003e\n\u003cdiv style=\"font-family:Georgia,serif;font-size:15px;line-height:1.65;color:#2b2b2b;\"\u003eA moonlit landscape cannot be worked on the spot. There is not enough light to mix a colour or to judge one against another, and the effect lasts as long as a cloud takes to cross. Painters who made them worked from daylight studies and from memory, back in the studio, which is why the moonlight subject is one of the few nineteenth century landscape types that never belonged to the plein air painters at all.\u003c\/div\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\n\n\u003cp\u003eThe canvas has not been relined. There is an old restoration, visible as a lighter patch on the reverse, and the gilt frame has small gaps in the moulding along the bottom edge.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214939070796,"sku":null,"price":3200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/moonlight-two-windmills-canal-19th-century-signed-oil-framed.png?v=1789119600"},{"product_id":"barbizon-women-river-landscape-oil-canvas-framed-19thc-edmond-renault","title":"French Barbizon School Oil Painting, Women by the River in an Animated Landscape, 19th Century Signed on Canvas, Ornate Gilt Frame","description":"\u003ch2\u003eWomen by the River\u003c\/h2\u003e\n\u003cp\u003eTwo women stand at the water's edge on the left, one in a red skirt and white blouse, the other in darker clothing, both partly screened by the trunk of a tall tree that anchors the left side of the composition. The river stretches out beyond them, its surface reflecting the pale silvery sky in broken touches of blue and white. On the far bank, a cluster of buildings rises through the haze, their forms softened by distance and the humid atmosphere that sits over the water. The whole scene has that particular quality of diffused light that the Barbizon painters understood better than anyone: nothing is sharp, nothing is hard-edged, and yet everything reads clearly. You can tell the time of day (late afternoon, probably), the season (late spring or early summer, given the dense green of the foliage), and the temperature (warm but not hot, with a slight dampness in the air). The brushwork is confident throughout, with the foliage handled in loose, feathery strokes that build up a convincing canopy without describing individual leaves, and the water laid in with horizontal sweeps of thin, almost transparent paint over a darker ground.\u003c\/p\u003e\n\u003cp\u003etially legible, in dark paint against the riverbank. The composition owes a clear debt to Corot and to the broader tradition of animated landscape painting that flourished in France during the second half of the nineteenth century, where small figures were placed in expansive natural settings not as the subject but as part of the landscape's rhythm. The frame deserves mention on its own: it is a substantial piece of carved and gilded woodwork, heavily ornamented in a style that would have been considered appropriate for salon exhibition, with deep moulding and foliate scrollwork at the corners. There are minor stains on the gilt surface consistent with age and handling, but the overall presentation is impressive. The canvas itself is stable, the paint surface shows normal age-related craquelure without active flaking, and the color range from warm earthy greens through cool silver-blues remains intact and readable. It is a painting that does what the best Barbizon-influenced work does: it makes you feel the air.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch2\u003eThe Barbizon Tradition and Animated Landscape Painting\u003c\/h2\u003e\n\u003cp\u003eThe Barbizon school emerged in the 1830s and 1840s around the village of Barbizon on the edge of the Fontainebleau forest, where painters including Corot, Daubigny, Rousseau, and Millet worked directly from nature in ways that broke with academic convention. By the second half of the century, the influence of these pioneers had spread widely through French painting, producing generations of landscapists who combined plein air observation with studio finish and who populated their landscapes with small figures engaged in everyday activities. The term \"animated landscape\" (paysage anime in French) was used to describe exactly this kind of painting: a landscape that includes human figures without being a figure painting. The tradition was enormously popular with collectors both in France and internationally, and it continued to produce accomplished work well into the 1890s and beyond. Oil on canvas was the preferred support for these larger, more finished compositions (as opposed to the smaller plein air panels), and the ornate gilt frames that typically accompanied them were considered an integral part of the presentation. Paintings of this type, showing women or villagers by a river or pond in a wooded setting, represent one of the most characteristic and enduringly appealing subjects of French nineteenth-century landscape painting.\u003c\/p\u003e\n\u003cp style=\"margin-top:16px;\"\u003e\u003ca href=\"https:\/\/galerieclub.com\/blogs\/artist-directory\/renault-charles-edmond-1829-1905\" style=\"text-decoration:underline;color:#7a1f2b;font-weight:bold;\"\u003e→ Discover the life of Charles Edmond Renault, pupil of Corot and Théodore Rousseau\u003c\/a\u003e\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214941102412,"sku":"245","price":3600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/57_35f84d14-7bc3-4398-a383-dc3f2675860b.png?v=1789136698"},{"product_id":"cherubini-bouquet-violets-oil-canvas-1931","title":"Bouquet of Violets in a Blue Vase, Signed Oil on Canvas, Dated 1931, Framed","description":"\u003cp\u003eA loose bouquet of violets and small pink and white blooms fills a round blue ceramic pot set on a dark surface, the flowers massed in soft violet, mauve and green against a deep red-brown ground. The warm, almost burgundy background pushes the cool flowers forward and gives the small canvas a grave, intimate mood. The paint is worked in thick, broken strokes, the petals built up wet into wet in the manner of the early twentieth century.\u003c\/p\u003e\n\u003cp\u003eThe painting is signed and dated 1931, and presented in a carved frame. The canvas is in good condition, its rich dark ground well preserved.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214941462860,"sku":"110","price":2700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Carlo_Cherubini_signed_oil_painting_of_bouquet_of_violets_1931_French_Impressionist_still_life.png?v=1778534216"},{"product_id":"fortune-teller-portrait-oil-painting-18th-century-french","title":"The Fortune Teller and the Stolen Purse, French Genre Scene, Oil on Canvas, 18th Century, Unframed","description":"\u003cp\u003eShe is looking at us, not at the woman holding her hand. That is the whole point of the picture, and the boy at the lower left has already taken advantage of it.\u003c\/p\u003e\n\n\u003cp\u003eOil on canvas, 29 x 25 inches (74 x 64 cm). Unsigned. French, second half of the eighteenth century. Unframed.\u003c\/p\u003e\n\n\u003cp\u003eThree figures against a column and an open sky. The seated woman is in pale gold silk with blue ribbons, a pleated lace ruff standing high behind her head. The older woman leans in from the right, wrapped in red and black, and takes her hand. Below on the left a boy in a dark cap raises one finger to his lips and lifts a red purse clear of the gold dress with his other hand. Two cypresses close the left side and the light drops behind them.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border-collapse:collapse;border:none;margin:24px 0;\"\u003e\n\u003ctr style=\"border:none;\"\u003e\n\u003ctd style=\"border:none;background:#faf7f1;padding:18px 20px;\"\u003e\n\u003cdiv style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.12em;text-transform:uppercase;color:#96763f;margin-bottom:9px;\"\u003eA costume already two hundred years old when it was painted\u003c\/div\u003e\n\u003cdiv style=\"font-family:Georgia,serif;font-size:15px;line-height:1.65;color:#2b2b2b;\"\u003eThe ruff, the slashed sleeves and the ribboned shoulders belong to the end of the sixteenth century, not to the period of the picture. Dressing a sitter in old clothes was a recognised pleasure in eighteenth century French painting, and it placed a scene at a comfortable distance from the person looking at it. The face and the powdered hair were not disguised, and they are of their own time.\u003c\/div\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\n\n\u003cp\u003eThe canvas has been relined at some point in its life, which is why a picture of this age is still flat and sound. The reverse carries a period ink inscription giving the name Comte d'Adhemar de Panat and an address in the seventh arrondissement of Paris. There are small paint losses along the edges, where an old frame sat, and the surface is otherwise stable.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215052742988,"sku":"GC-SCEN-18-001","price":5785.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/fortune-teller-stolen-purse-18th-century-french-genre-unframed.png?v=1789080162"},{"product_id":"french-school-allegory-winter-oil-panel-17th-century","title":"French School, 17th Century, Allegory of Winter, Oil on Wood Panel, Framed","description":"\u003cp\u003eThe panel is divided in two by an upright post. On the left, an old man in a red cap and a fur trimmed robe sits close to an open hearth, his hands held toward the flames, in a bare room with a leaded window behind him. On the right, the ground opens onto a winter landscape under a pale sky. Figures work among leafless trees, one on a ladder cutting branches, another carrying a bundle of faggots, a third bent over a load on the ground. A man in yellow chops wood in the foreground while a companion slips on the frozen slope beside him. Behind them a group of thatched houses stands on a rise, smoke rising from a chimney. The palette holds to cool greys, whites and browns, with the only warmth gathered around the fire.\u003c\/p\u003e\n\n\u003cp\u003eAllegories of the seasons were a well established tradition in seventeenth century European painting, each season shown through its characteristic figures and labours. Winter set the shelter of the hearth against the hardship of the outdoors, and the old man by the fire stood for both the season and the last age of life. French painters of the Baroque period drew on Northern and Italian precedents for these compositions and adapted them to local formats, often as panels set into woodwork or hung as a set.\u003c\/p\u003e\n\n\u003cp\u003eThe panel is painted on both sides, with a second composition on the reverse. Double sided panels of this period usually come from a decorative programme where the support was later reused, and they are of particular interest to collectors and to conservators for what they show of workshop practice.\u003c\/p\u003e\n\n\u003cp\u003eThe panel carries vertical splits and areas of paint loss, expected on a wood support of this age, and the frame shows gaps. Both are visible in the photographs. The work is unsigned.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215052874060,"sku":"270","price":4300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/French_School_17th_century_oil_on_wood_panel_Allegory_of_Winter_interior_and_winter_landscape_composition.png?v=1778428279"},{"product_id":"sainville-sunset-seascape-esterel-oil-cardboard-20th-century","title":"Sunset over the Esterel Coast, Signed Oil on Cardboard by Herve Le Loup de Sainville, French Impressionist, Carved Gilt Frame","description":"\u003cp\u003eThere is no sun in this sunset. The light comes from behind the headland on the left, and it reaches the picture only as a pale yellow that fills the whole upper half of the cardboard.\u003c\/p\u003e\n\n\u003cp\u003eOil on cardboard, 10 1\/2 x 16 inches (27 x 41 cm), 13 3\/4 x 19 1\/4 inches (35 x 49 cm) framed. Signed and titled by the painter on the reverse. French, early twentieth century. Carved gilt frame.\u003c\/p\u003e\n\n\u003cp\u003eThe sky is laid in small separate touches of cream, pale blue and yellow, with two streaks of pink low on the left. The rock on the right is painted the opposite way, in wide loaded strokes left exactly as they came off the brush. Between the two the sea is dragged flat and horizontal, a hard green set against the dark blue line of the far shore. The rock runs off the top edge.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border-collapse:collapse;border:none;margin:24px 0;\"\u003e\n\u003ctr style=\"border:none;\"\u003e\n\u003ctd style=\"border:none;background:#faf7f1;padding:18px 20px;\"\u003e\n\u003cdiv style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.12em;text-transform:uppercase;color:#96763f;margin-bottom:9px;\"\u003eA red coast, not a white one\u003c\/div\u003e\n\u003cdiv style=\"font-family:Georgia,serif;font-size:15px;line-height:1.65;color:#2b2b2b;\"\u003eThe massif the painter names on the reverse is volcanic rock, red in full daylight, and that is what sets this stretch of the French Mediterranean apart from the pale limestone coasts on either side of it. Under a low sun it turns violet. That is the colour on the cardboard here, from the boulders at the waterline to the wall of rock on the right.\u003c\/div\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\n\n\u003cp\u003eGood original condition. The impasto on the rock stands high enough to cast its own small shadows, and none of it has been flattened by a later pressing.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215053070668,"sku":"175","price":3400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/sunset-esterel-coast-le-loup-de-sainville-framed-overall.png?v=1789078052"},{"product_id":"gudin-fire-coast-boat-ship-oil-canvas-19th-century","title":"Circle of Theodore Gudin (1802-1880), Fire by the Coast, Oil on Canvas Study, 19th Century, Framed","description":"\u003cp\u003eThis oil study depicts a fire raging along a coastline at dusk. Flames and a column of orange smoke rise on the left, above a waterfront where a church tower stands out in silhouette against the blaze. Ships lie at anchor across the middle of the composition, their masts and rigging cutting dark lines against the light, and a large galley with a canopied stern and rows of oarsmen occupies the right foreground. The sky moves from cool grey blue on the left to a pale luminous gold on the right, where the water opens toward a distant headland. Small boats crowded with figures pull away from the burning shore.\u003c\/p\u003e\n\n\u003cp\u003eThe handling is rapid and gestural, laid in with confidence and with no attempt at finish. Studies of this kind were an essential part of the nineteenth century painter's working method, used to test a lighting effect and fix a composition before committing to a large canvas, and they are valued today for exactly the freedom that the finished salon picture tends to lose. The panel carries a fine craquelure across the sky and some loss of pictorial layer, visible in the photographs. The work is unsigned and is presented in a narrow gilt strip frame.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215056249164,"sku":"270","price":5600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Oil_painting_attributed_to_Theodore_Gudin_fire_by_the_coast_with_boats_and_ships_19th_century_French_marine_art.png?v=1778510125"},{"product_id":"19th-oil-canvas-french-realism-portrait-woman-with-blue-flowers-hair-c-1857","title":"Portrait of a Woman with Blue Flowers in Her Hair, Oil on Canvas, 19th Century French School, Gilt Oval Frame","description":"\u003cp\u003eA mid-nineteenth-century French portrait of quiet presence. The sitter faces us in a dark dress with a white lace collar, her hair parted and dressed with a spray of blue flowers, the single note of colour against a deep brown ground. The restrained palette and the direct, unidealised gaze are characteristic of French portraiture of the 1850s, painted in the years when Realism was reshaping the genre.\u003c\/p\u003e\n\n\u003cp\u003eThe work is monogrammed ELG and dated 1856 at the right, and is presented in its period gilded oval frame with a laurel-pattern border, an elegant format much favoured for portraits under the Second Empire. The condition is honestly stated. There are old restorations and a small paint loss in the lower right corner, visible in the detailed photographs, which form part of the description.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215056970060,"sku":"170","price":2730.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/57_7e142157-3097-4f7a-a5c5-8dcdb7b9aa6f.png?v=1775671503"},{"product_id":"couverchel-wedding-camel-desert-oil-canvas-19th-century","title":"Portrait of a Wedding Camel, Original Oil on Canvas by Alfred Couverchel, Signed, 19th Century","description":"\u003cp\u003eA single camel stands facing the viewer on a sandy track, dressed for a wedding. Over its back rises a tall canopied litter, its frame bound in bands of red, green and cream, and from its crown three dark plumes stand up against the sky. A deep fringe of woven wool falls from the litter over the animal's flanks on both sides, worked in blue green, brick red and cream, long enough to brush the ground.\u003c\/p\u003e\n\u003cp\u003eThe camel's own head is turned slightly to its left and its mouth is open. Its front feet are placed one before the other, so the whole load is caught in the moment of walking rather than standing still.\u003c\/p\u003e\n\u003cp\u003eBehind, low hills run across the picture in olive and khaki, dry and without vegetation apart from one green mass at the right. The sky above them is a flat clear turquoise. The ground is bare sand, warm and pale, and the animal throws a long shadow to the left, which places the sun low and to the right of the painter.\u003c\/p\u003e\n\u003cp\u003eSigned at the lower right, the canvas is presented in a wide painted frame, salmon brown on the outer mouldings and deep green on the inner panel, with quarter disc motifs at the sides. The frame shows small losses.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215058149708,"sku":"300","price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Alfred_Couverchel_signed_oil_painting_of_a_wedding_camel_in_the_desert_19th_century_French_Orientalist_art.jpg?v=1778587588"},{"product_id":"andre-chochon-portrait-woman-yellow-gloves-french-oil-painting","title":"Andre Chochon (1910-2005), Portrait of a Woman with Yellow Gloves, Signed French Impressionist Oil on Canvas, 1960s, Framed","description":"\u003ch2\u003eThe Woman with Yellow Gloves\u003c\/h2\u003e\n\u003cp\u003eA woman in a wide feathered hat sits against a deep blue background, her yellow gloves bright against the dark tones of her dress. White plumes and small red flowers crown the hat, and a light-colored parasol rests at an angle beside her. The face is turned slightly, rendered with quick, loaded strokes of pink, peach, and shadow. The brushwork is loose and physical throughout: thick dabs of cobalt and ultramarine fill the background, while the gloves and hat catch the light in short, decisive marks. The original French title, inscribed on the back of the canvas, translates to \"The Woman with Yellow Gloves.\"\u003c\/p\u003e\n\u003ch2\u003eAbout the Artist\u003c\/h2\u003e\n\u003cp\u003eAndre Chochon (1910-2005) was a French painter who worked in an impressionist manner through the second half of the 20th century. His subjects included portraits, landscapes, and figures, painted with bold color and visible brushwork. This canvas is titled and numbered on the verso (catalog reference A2097), indicating it was part of an organized body of work. Chochon signed his paintings in light paint against the background, a habit visible here at the lower right.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215058182476,"sku":"165","price":2400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Andre_Chochon_portrait_painting_in_ornate_gilded_frame_woman_with_yellow_gloves_1960s_French_impressionist_art.png?v=1778176045"},{"product_id":"habsburg-portrait-austrian-military-officer-oil-painting-19th-century","title":"Portrait of a Habsburg Officer in Austrian Military Dress, Early 19th Century Oil on Canvas, Framed","description":"\u003ch2\u003ePortrait of a Young Habsburg Officer\u003c\/h2\u003e\n\u003cp\u003eThis oil on canvas shows a young man in three-quarter view, wearing a white Austrian military coat with a blue standing collar and a black stock at the neck. A red and orange sash crosses his chest, and a prominent military order is pinned at the left breast, its cross-shaped star surrounded by a decorative surround of dark enamel. Three metal buttons run along the front of the coat. The figure has auburn curly hair, swept forward in the style of the early 19th century, and blue eyes that look steadily past the viewer. The background is a flat olive-green tone that keeps the focus entirely on the figure and his regalia.\u003c\/p\u003e\n\n\n\u003ch2\u003eAustrian Military Portraiture and the Habsburg Imperial Tradition\u003c\/h2\u003e\n\u003cp\u003eIn the first half of the 19th century, the Habsburg Empire maintained a vast military apparatus, and portraits of officers and members of the imperial family in uniform were a regular commission for court painters and their workshops. These portraits served ceremonial and administrative purposes, hung in barracks, government offices, and the private residences of the officers themselves. The white uniform coat with colored collar facings was the standard Austrian infantry officer's dress, and the accompanying orders and decorations identified the rank and service of the individual. Cabinet-format portraits, typically around 11 by 8 inches, were common for personal display and were often produced in series depicting members of the same regiment or family. This format made them portable and suited to display in a study or private library.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215058936140,"sku":"420","price":2900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Austrian_Empire_Cabinet_Portrait_of_a_Habsburg_Crownlands_Nobleman_-_19th_Century_Vorm_rz_Oil_Painting.jpg?v=1776170096"},{"product_id":"raquin-lake-district-impressionist-oil-canvas-framed-1964","title":"Lake District, an Oval Lake Landscape, Signed Oil on Canvas by Iris Raquin, 1964, Gilt Frame","description":"\u003cp\u003eThe water holds more colour than the land above it.\u003c\/p\u003e\n\n\u003cp\u003eOil on canvas, 15 x 11 inches (38 x 28 cm), 19 x 23 inches (48 x 58 cm) framed. Signed lower right and dated. Titled Lake District on the reverse in the painter's hand. French, 1964. Gilded frame with a grey linen mount.\u003c\/p\u003e\n\n\u003cp\u003eAn oval composition. A lake fills the lower half and takes the reflection of everything above it, broken into vertical strokes of rose, violet, pale blue and green that never resolve into a single shape. Above the far bank, wooded slopes in deep green and blue, then bare hills in pink and ochre, then a sky of white and turquoise laid on thick. The paint is worked with a knife throughout, ridged and stiff, catching light across the whole surface.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border-collapse:collapse;border:none;margin:24px 0;\"\u003e\n\u003ctr style=\"border:none;\"\u003e\n\u003ctd style=\"border:none;background:#faf7f1;padding:18px 20px;\"\u003e\n\u003cdiv style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.12em;text-transform:uppercase;color:#96763f;margin-bottom:9px;\"\u003eA French painter in Cumbria\u003c\/div\u003e\n\u003cdiv style=\"font-family:Georgia,serif;font-size:15px;line-height:1.65;color:#2b2b2b;\"\u003eThe title written on the back is the painter's own, and it names a place she travelled to. The Lake District is in the north west of England, four hundred miles from Paris, and it had been a destination for landscape painters since Turner went there. What a French painter of 1964 brought to it was a palette that owes nothing to English watercolour, all rose and turquoise laid on with a knife. The subject is English. The handling is not.\u003c\/div\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\n\n\u003cp\u003eThe painting is in good original condition, the impasto unflattened across the whole surface. The frame is a later one, fitted in the south of France, with its maker's label still on the back.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215060083020,"sku":"90","price":1900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/raquin-lake-district-oval-landscape-1964-signed-oil-gilt-frame.png?v=1789167594"},{"product_id":"18th-century-nobleman-portrait-powdered-wig-french-oil-painting","title":"Portrait of a Gentleman in a Powdered Wig, Oil on Canvas, French School, Late 18th Century, Unframed","description":"\u003cp\u003eHe is smiling, which almost no one does in a portrait of this kind.\u003c\/p\u003e\n\n\u003cp\u003eOil on canvas, 18 x 15 inches (46 x 38 cm). Unsigned. French, late eighteenth century. Sold unframed, on its original canvas and stretcher.\u003c\/p\u003e\n\n\u003cp\u003eA half-length turned three quarters against a plain brown ground. The wig is powdered and rolled at the sides, the hair carried back without a queue visible. A dark blue-black coat with a standing collar, a pale waistcoat beneath, and at the throat a white stock wound high with a lace jabot spilling over it, painted in loose white strokes that are the loosest thing in the picture. The face is worked smooth, the cheeks carrying most of the colour on the canvas.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border-collapse:collapse;border:none;margin:24px 0;\"\u003e\n\u003ctr style=\"border:none;\"\u003e\n\u003ctd style=\"border:none;background:#faf7f1;padding:18px 20px;\"\u003e\n\u003cdiv style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.12em;text-transform:uppercase;color:#96763f;margin-bottom:9px;\"\u003eThe canvas has never been off its stretcher\u003c\/div\u003e\n\u003cdiv style=\"font-family:Georgia,serif;font-size:15px;line-height:1.65;color:#2b2b2b;\"\u003eMost eighteenth century canvases have been relined at least once, the original given a second canvas behind it to hold it flat. This one has not. It sits on the stretcher it was painted on, with the original tension still in the weave and the tacking edges intact, which is uncommon enough on a picture of this age to be worth saying plainly. It is why the craquelure runs as it does, in a wide open network rather than the tight pattern a lining press leaves behind.\u003c\/div\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\n\n\u003cp\u003eThere are age cracks across the whole surface and small paint losses along the edges, all visible in the photographs. The canvas is unlined and structurally sound, and it is sold unframed.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215060377932,"sku":"300","price":3300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/portrait-gentleman-powdered-wig-french-school-18th-century-unframed.png?v=1789164969"},{"product_id":"guenard-woman-park-umbrella-oil-canvas-19th-century","title":"Woman Knitting in a Park, Signed Oil on Canvas by Octave Guenard, Late 19th Century, Carved Gilt Frame","description":"\u003cp\u003eHer umbrella is on the grass beside her, closed, and it has been there long enough to matter.\u003c\/p\u003e\n\n\u003cp\u003eOil on canvas, 11 x 16 inches (28 x 41 cm), 15 x 21 inches (38 x 53 cm) framed. Signed lower right. French, late nineteenth century. Carved and gilded frame with a linen slip.\u003c\/p\u003e\n\n\u003cp\u003eShe sits alone in the grass at the edge of a wood, in full black with a wide straw hat trimmed in cream, knitting with a ball of red wool in her lap. The red is the only strong colour in the picture and it sits at the exact centre. Everything around her is green worked wet into wet, the trees behind in short broken touches, the meadow opening out to the left under a pale sky. The figure is painted as a mass, without a drawn line anywhere.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border-collapse:collapse;border:none;margin:24px 0;\"\u003e\n\u003ctr style=\"border:none;\"\u003e\n\u003ctd style=\"border:none;background:#faf7f1;padding:18px 20px;\"\u003e\n\u003cdiv style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.12em;text-transform:uppercase;color:#96763f;margin-bottom:9px;\"\u003eBlack, in a field, in summer\u003c\/div\u003e\n\u003cdiv style=\"font-family:Georgia,serif;font-size:15px;line-height:1.65;color:#2b2b2b;\"\u003eFull black on a woman of this period was not a colour choice. It was mourning, worn for two years after a husband and a year after a parent, with fixed rules about when the crape came off and when grey or violet could return. The hat is the tell here, straw and trimmed in cream, which belongs to the second stage when a widow was allowed back into daylight. She has taken her knitting out to the field and put the umbrella down. It is the first summer she could.\u003c\/div\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\n\n\u003cp\u003eThere is a fine network of cracks across the surface, light wear to the paint layer and a small hole at the lower centre, all visible in the photographs. The reverse of the frame carries a period pencil note giving the painter's name, his school and the year he joined the Société des Artistes Français.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215060771148,"sku":"GC-SCEN-19-002","price":2700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/guenard-woman-knitting-park-signed-oil-canvas-19th-century-framed.png?v=1789163797"},{"product_id":"andrieux-snowy-landscape-impressionist-oil-panel-framed-early-20th","title":"Signed Impressionist Oil Painting, Snowy Landscape by Alfred Louis Andrieux (1879-1945), Early 20th Century French Winter Scene on Panel","description":"\u003ch2\u003eSnow and Mountains Under a Winter Sky\u003c\/h2\u003e\n\u003cp\u003eThe composition opens onto a broad, snow-covered valley, with low hills rolling toward a line of mountains in the distance. The snow is not a uniform white. Andrieux built it up in blues, pale violets, and creamy yellows, following the contours of the ground and catching the shadows cast by clouds overhead. A few bare trees or bushes break the middle ground, dark accents that anchor the eye. The sky takes up nearly half the panel, layered in grays and pale pinks that suggest either early morning or the flat light of an overcast winter day. The paint is applied with a loaded brush, quick and sure, with visible strokes that give the surface real texture.\u003c\/p\u003e\n \n\u003ch2\u003eAbout the Artist\u003c\/h2\u003e\n\u003cp\u003eAlfred Louis Andrieux (1879-1945) was a French painter known for landscapes, particularly mountain and winter subjects. He worked in oil, painting directly from nature in the impressionist and post-impressionist tradition. Andrieux exhibited at regional salons and built a reputation for his atmospheric handling of snow and light in the French countryside. His career bridged the late Belle Epoque and the interwar years, a period when many French painters continued to work in the plein air tradition while absorbing the color lessons of the post-impressionists.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/galerieclub.com\/blogs\/artist-directory\/andrieux-alfred-louis-1879-1945\"\u003e\u003cstrong\u003eRead the full biography of Alfred Louis Andrieux →\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215061262668,"sku":"75","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Signed_impressionist_oil_painting_of_snowy_mountain_landscape_by_Alfred_Louis_Andrieux_early_20th_century_French_winter_scene_in_carved_frame.png?v=1779121831"},{"product_id":"berger-montmartre-street-expressionist-oil-canvas-unframed-1975","title":"Original Street Scene with Figures, Oil on Canvas, Signed and Dated 1975","description":"\u003cp\u003eA narrow street runs back between tall buildings that lean toward each other as they rise. The facades on the left are laid in mauve and grey, those on the right in honey and warm brown, and both are cut through with black strokes that stand for shutters, gutters and window bars rather than describing them.\u003c\/p\u003e\n\u003cp\u003eFigures are marks rather than drawings. A group crosses the middle distance in dark strokes. Lower down, one figure in bright lime green stands at the left kerb and another in orange moves along the right, and these two notes carry most of the colour in the picture. At the top the buildings open onto a pale sky worked in green grey and cream. The handling is fast throughout, brush and knife together, with the canvas weave showing where the paint was dragged thin.\u003c\/p\u003e\n\u003ch2\u003eAbout the Artist\u003c\/h2\u003e\n\u003cp\u003eGeorges Berger was born in Normandy in 1908. He settled in Montmartre, where he became a friend of the painter Gen Paul, and the encounter placed him within the circle of expressionist painters who worked on the hill in the decades after the war. He kept to a small group of recurring subjects for the rest of his life, the streets of Paris, the quays of the Seine and the harbour at Honfleur, painted quickly and thickly with a loaded brush. He worked in oil and in pastel, and his canvases are usually signed G. Berger at one of the lower corners. He died in 1976, the year after this street scene was painted, which places it among his last works.\u003c\/p\u003e\n\u003cp\u003eThe canvas is signed at the lower left and sold unframed, ready for the moulding of your choice.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215061885260,"sku":null,"price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Signed_expressionist_oil_painting_of_Montmartre_street_scene_in_Paris_by_Georges_Berger_1975_French_cityscape_on_canvas_unframed.png?v=1779486546"},{"product_id":"christ-samaritan-woman-well-old-master-oil-painting-18th-century-french-religious","title":"Christ and the Samaritan Woman at the Well, Oil on Canvas, French School, 18th Century, Unframed","description":"\u003cp\u003eThe sky behind them has turned, and the whole picture is painted in the last light.\u003c\/p\u003e\n\n\u003cp\u003eOil on canvas, 22 3\/4 x 28 3\/4 inches (58 x 73 cm). Unsigned. French, second half of the eighteenth century. Sold unframed.\u003c\/p\u003e\n\n\u003cp\u003eChrist sits on the low stone kerb of a well at the right, in a rose robe and a deep blue mantle, one hand raised as he speaks, both feet bare on the ground. The Samaritan woman stands facing him in a yellow gown over a white shift, a veil on her head, her water vessel resting on the rim of the well and still held in both hands. A tall tree rises behind them and closes the composition on the right, where the ground falls away into shadow. To the left the land opens out, a stream running down through rough grass towards the foreground, blue hills in the far distance, and above them a sky of pale gold and rose where the light breaks through banks of grey cloud. The figures are small within the setting, and the landscape carries as much of the picture as they do.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border-collapse:collapse;border:none;margin:24px 0;\"\u003e\n\u003ctr style=\"border:none;\"\u003e\n\u003ctd style=\"border:none;background:#faf7f1;padding:18px 20px;\"\u003e\n\u003cdiv style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.12em;text-transform:uppercase;color:#96763f;margin-bottom:9px;\"\u003eThe hour was the point, and he changed it\u003c\/div\u003e\n\u003cdiv style=\"font-family:Georgia,serif;font-size:15px;line-height:1.65;color:#2b2b2b;\"\u003eJohn places the meeting at midday, and the hour is not a detail. Women drew water in the cool of the morning, together. A woman at the well alone at noon was a woman the others did not walk with, which is what makes the conversation that follows worth recording. This painter moved it to evening. He traded the detail that explained her for the light, and the sky is the finest thing in the picture.\u003c\/div\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\n\n\u003cp\u003eThe canvas has been relined, a standard measure for a work of this age, and carries fine age craquelure across the surface, visible in the photographs. It is unsigned and sold unframed.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215062245708,"sku":"500","price":4830.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/christ-samaritan-woman-well-18th-century-french-oil-canvas-unframed.png?v=1789132250"},{"product_id":"charles-suan-gentleman-dog-landscape-french-romantic-oil-painting-1839-signed","title":"Gentleman with His Gun and Dog in a Landscape, Signed and Dated 1839, Oil on Canvas by Charles Suan, Gilt Frame","description":"\u003cp\u003eThe gun is doing nothing. It rests on the ground and he holds it the way a man holds a walking stick.\u003c\/p\u003e\n\n\u003cp\u003eOil on canvas, 18 x 15 inches (46 x 38 cm), 22 x 18 inches (56 x 46 cm) framed. Signed and dated 1839, lower right. French. Period gilt frame with carved corner ornaments.\u003c\/p\u003e\n\n\u003cp\u003eHe stands three quarters to the viewer on a slope of rock and heather, one hand on his hip, the other on the barrel of a double gun. Dark frock coat, pale grey waistcoat buttoned high, fawn trousers strapped under the boot, a black stock at the throat. His top hat and white gloves are set down on the rock behind him. A white and liver pointer sits at his right, looking out of the picture in the same direction he does. Behind them the ground falls away to a plain, and the sky is worked in heavy grey with one break of blue.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border-collapse:collapse;border:none;margin:24px 0;\"\u003e\n\u003ctr style=\"border:none;\"\u003e\n\u003ctd style=\"border:none;background:#faf7f1;padding:18px 20px;\"\u003e\n\u003cdiv style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.12em;text-transform:uppercase;color:#96763f;margin-bottom:9px;\"\u003eFrance, 1839\u003c\/div\u003e\n\u003cdiv style=\"font-family:Georgia,serif;font-size:15px;line-height:1.65;color:#2b2b2b;\"\u003eHunting in France had stopped being a privilege fifty years before this was painted, and by 1839 it had become the pastime of the men who owned the land. The shooting licence, the double gun and the trained pointer were the three things that said so. A portrait of this kind was not a record of a day's sport. It was a way of being painted out of doors, on ground the sitter held, with the town clothes still on.\u003c\/div\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\n\n\u003cp\u003eThe canvas has old restorations, visible in the photographs, and the gilt frame has small losses to the gilding. Neither touches the signature, which stands clear in the lower right with the year written out beside it, so the picture says its own date.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215062606156,"sku":"GC-SCEN-19-004","price":4900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/suan-gentleman-gun-dog-landscape-1839-signed-oil-gilt-frame.png?v=1789162464"},{"product_id":"portrait-lord-thomas-howard-after-van-dyck-dutch-oil-painting-19th-century","title":"Portrait of Lord Thomas Howard, After Anthony van Dyck, 19th Century Dutch Oil on Panel, Framed","description":"\u003ch2\u003ePortrait of Lord Thomas Howard, Earl of Arundel\u003c\/h2\u003e\n\u003cp\u003eThis small oil on panel depicts a man in three-quarter view, wearing a white lace ruff collar and dark clothing. The sitter is Thomas Howard, 14th Earl of Arundel, one of the most important English art collectors of the early 17th century. The composition follows Anthony van Dyck's well-known portrait of Howard, with the figure set against a dark background that concentrates attention on the face and collar. The brushwork is firm and controlled, with visible attention to the texture of the lace and the modeling of the face. The warm flesh tones are set off by the deep blacks of the costume and the cool whites of the ruff.\u003c\/p\u003e\n\n\n\u003ch2\u003eVan Dyck Copies and the Dutch Old Master Tradition\u003c\/h2\u003e\n\u003cp\u003eCopying the works of celebrated painters was a central practice in European art training from the Renaissance through the 19th century. Anthony van Dyck, court painter to Charles I of England and one of the greatest portraitists of the Baroque era, was among the most copied artists in the Western canon. His portraits of English aristocrats, including several of Thomas Howard, became reference works studied and reproduced by generations of painters across Europe. In the Netherlands, where Van Dyck had trained under Rubens and first established his reputation, the tradition of copying his portraits remained active well into the 1800s, both as studio exercises and as commissions for collectors who valued the compositions.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/galerieclub.com\/blogs\/collecting-guides\/reading-attribution\" style=\"color:#7a1f2b;text-decoration:underline;\"\u003e\u003cstrong\u003e→ What \"after Van Dyck\" means, and what it does not claim\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215063359820,"sku":"GC-PORT-19-001","price":2800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/57_033cbe1b-6d0f-4713-abaf-eaea3a8dab24.png?v=1775671526"},{"product_id":"stenn-landscape-trees-post-impressionist-oil-panel-framed-mid-century","title":"Signed Post-Impressionist Oil Painting, Landscape with Trees by Henri Stenn (1903-1993), Mid-Century French Forest Scene on Panel","description":"\u003cp\u003eAn avenue of tall trees runs into the depth of the panel, their trunks rising bare for most of their height before opening into a canopy of green and teal that closes the top of the picture. Three or four small figures walk away down the path, two of them touched with red, reduced to a few strokes each. On either side the ground falls away to open fields in pale yellow and green, and a low horizon shows through the trunks at the left and the right. The paint is laid on thickly with a loaded brush, the foliage built in short dabs and the path in long horizontal strokes that carry the eye toward the far end of the avenue.\u003c\/p\u003e\n\n\u003cp\u003eHenri Stenn (1903-1993) was a French painter who worked in an Impressionist manner through the twentieth century. His subjects were parks, tree lined avenues and street views, handled with loose brushwork and a palette that placed atmosphere before detail. The tree lined avenue running into depth is one of the oldest devices in French landscape painting, used to draw the viewer into the picture, and Stenn returned to it throughout his career. His works have appeared at auction in France.\u003c\/p\u003e\n\n\u003cp\u003eThe painting is on Isorel panel, a hardboard support widely used by French painters from the 1940s onward for its stability and its smooth surface. It is signed at the lower left and presented in a carved and whitewashed frame with a pale grey slip, which shows small gaps.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215067291980,"sku":"140","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/57_ab4aabc2-50bb-4f62-bdb8-e5dda26f2a4f.png?v=1775671528"},{"product_id":"berger-port-honfleur-boats-oil-canvas-20th-century","title":"Georges Berger (1908-1976), Port of Honfleur with Boats, Signed Oil on Canvas, Unframed","description":"\u003cp\u003eThis oil on canvas depicts the port of Honfleur with sailing boats gathered in the harbor basin, the distinctive silhouette of the Sainte Catherine church rising in the background against the Normandy sky. The composition is rendered with bold, expressive brushwork in a direct, gestural manner that emphasizes the energy of the working port and the constant movement of water in the basin. The hulls and masts of the boats are built up with thick strokes of color, their reflections broken and fragmented in the surfacate\u003cspan style=\"font-size: 0.875rem;\"\u003ee of the water below. Strong colour contrasts between the olive and grey tones of the water, the warm ochres of the buildings, and the bright whites and reds of the sails create a dynamic visual rhythm across the canvas.\u003c\/span\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e, the warm tones of the buildings, and the bright whites and reds of the boat hulls create a dynamic visual rhythm across the canvas. Thick impasto passages give the painting a physical, sculptural presence, with the texture of the paint surface becoming an expressive element in its own right. The sky is handled with broad, sweeping strokes that suggest the movement of clouds and the changing quality of coastal light. The painting is signed in the bottom left \"G.Berger\", confirming the attribution. The work is sold unframed.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003eGeorges Berger (1908-1976) was a French painter associated with the Montmartre artistic community in Paris, where he worked alongside other painters, sculptors, and writers who maintained the neighborhood's tradition as a center of artistic production throughout the 20th century. He worked in an Expressionist style, using strong color, thick impasto, and gestural brushwork to paint urban scenes, ports, and landscapes with a directness and energy that distinguished his work from the more controlled approach of academic painters. Honfleur, the historic port town on the Normandy coast at the mouth of the Seine estuary, has been one of the most painted locations in French art since the 19th century. Eugene Boudin, Claude Monet, Johan Barthold Jongkind, and Raoul Dufy all produced significant works depicting the harbor, establishing Honfleur as a landmark of French landscape and marine painting. Berger's treatment of the port continues this tradition with a more expressionist approach, capturing the visual energy of the harbor through bold color, physical paint texture, and the dynamic interplay of boats, water, and architecture. Paintings of Honfleur harbor from the 20th century are collected by those who appreciate French coastal scenes and the connection to one of the most historically significant painting locations in Normandy.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215069651276,"sku":null,"price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Georges_Berger_signed_oil_painting_of_the_port_of_Honfleur_with_boats_French_Expressionist_artwork.jpg?v=1778582614"},{"product_id":"follower-louis-tocque-portrait-woman-rococo-oil-painting-framed","title":"Portrait of a Lady in Blue-Green Silk, Oil on Canvas, Follower of Louis Tocqué, 18th Century, Gilt Frame","description":"\u003cp\u003eThe silk is painted with a freedom the face never gets.\u003c\/p\u003e\n\n\u003cp\u003eOil on canvas, 20 x 16 inches (51 x 41 cm), 24 x 20 inches (61 x 51 cm) framed. Unsigned. French, second half of the eighteenth century, follower of Louis Tocqué. Gilt wood frame with a dark inner liner.\u003c\/p\u003e\n\n\u003cp\u003eShe is turned three quarters against a plain brown ground, her hair powdered and dressed high with a white ribbon bow at the crown. A single string of pearls at the throat. The gown is blue-green silk scattered with small flowers, open over a white stomacher with a pink rose pinned at the breast, the sleeves finishing in lace engageantes. A ring on one finger, a closed fan in the hand, and behind her left shoulder the studded red back of a chair.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border-collapse:collapse;border:none;margin:24px 0;\"\u003e\n\u003ctr style=\"border:none;\"\u003e\n\u003ctd style=\"border:none;background:#faf7f1;padding:18px 20px;\"\u003e\n\u003cdiv style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.12em;text-transform:uppercase;color:#96763f;margin-bottom:9px;\"\u003eIt has been through the rue Sainte-Anne\u003c\/div\u003e\n\u003cdiv style=\"font-family:Georgia,serif;font-size:15px;line-height:1.65;color:#2b2b2b;\"\u003eThe label on the back belongs to the Cabinet Turquin, the Paris office that has examined Old Master paintings since 1987 for auction houses in France and abroad, and which handles some ten thousand enquiries a year. A label of this kind is put on a picture when it arrives for examination and is left there when it goes out again. It records a passage through the office. It is not a certificate, and nothing here is offered as one, but it does mean this canvas has been in front of people who look at pictures of this period for a living.\u003c\/div\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\n\n\u003cp\u003eThe canvas has been relined, a standard measure for a work of this age. There are small paint losses and old restorations, visible in the photographs, and light wear to the gilding of the frame. The label is intact on the crossbar, its file number written on it by hand.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215069749580,"sku":"700","price":5700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/tocque-follower-portrait-lady-blue-green-silk-18th-century-framed.png?v=1789161521"},{"product_id":"labonne-horse-racing-oil-canvas-1960s","title":"At the Races, a Woman in Orange with a Horse Passing Behind, Signed Oil on Canvas by Michel Labonne, 1960s, Gilt Frame","description":"\u003cp\u003eShe has her back to the race.\u003c\/p\u003e\n\n\u003cp\u003eOil on canvas, 16 x 10 1\/2 inches (41 x 27 cm), 18 x 12 3\/4 inches (46 x 32 cm) framed. Signed lower right. French, 1960s. Gilded frame with a dark red inner slip.\u003c\/p\u003e\n\n\u003cp\u003eA woman stands at the rail in the lower half of the canvas, seen from behind, bare shoulders above an orange dress and a white wrap fallen to the elbows, a hat built out of squares of red, white and yellow. Above and behind her a horse crosses at full stretch with a jockey in yellow folded over its neck. The paint is laid on thick with a knife over the whole surface, and the grey of the course is worked as heavily as the figures. Nothing is outlined.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border-collapse:collapse;border:none;margin:24px 0;\"\u003e\n\u003ctr style=\"border:none;\"\u003e\n\u003ctd style=\"border:none;background:#faf7f1;padding:18px 20px;\"\u003e\n\u003cdiv style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.12em;text-transform:uppercase;color:#96763f;margin-bottom:9px;\"\u003eA dealer's letter from June 1966, on the back\u003c\/div\u003e\n\u003cdiv style=\"font-family:Georgia,serif;font-size:15px;line-height:1.65;color:#2b2b2b;\"\u003eTaped to the reverse is a letter on the headed paper of the Galerie d'Art G. and B. Charrier, 24 rue Dusevel in Amiens, dated June 1966 and addressed to a collector who already owned a painting by Labonne. In it the dealer reports that two canvases by the painter shown in a group exhibition in New York had been acquired, and that the American gallery had offered Labonne an exclusive contract for the United States. The letter is reproduced here in full and is sold with the picture. It is a dealer's own account of his artist, written at the time, and we pass it on as that.\u003c\/div\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\n\n\u003cp\u003eThe paint stands proud of the canvas across the whole surface and has not been flattened. The gilded frame has small gaps in the moulding.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215071387980,"sku":null,"price":2700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/labonne-woman-orange-races-signed-oil-canvas-1960s-gilt-frame.png?v=1789129627"},{"product_id":"madonna-child-after-raphael-sanzio-oil-canvas-19th-century","title":"Madonna and Child with St. John the Baptist, After Raphael Sanzio, 19th Century Oil on Canvas, Framed","description":"\u003cp\u003eThe Virgin is not looking at the Child who is looking at her. Her eyes have dropped below his face, and the whole group turns on that half inch.\u003c\/p\u003e\n\n\u003cp\u003eOil on canvas, 18 x 12 3\/4 inches (46 x 32 cm), 23 3\/4 x 18 1\/2 inches (60 x 47 cm) framed. Unsigned. French, nineteenth century, after Raphael. Period gilt frame with applied floral corner ornaments.\u003c\/p\u003e\n\n\u003cp\u003eThe Virgin sits on a low rock in an open landscape, her blue mantle falling over a red bodice and gold sleeves, a white veil bound across her hair. The Child stands at her knee and reaches for her hand. The young Saint John kneels at the right, half wrapped in a skin, holding his reed cross. Behind them a lake, a line of blue mountains, and a small pink town on the far bank. The three faces are worked smooth to a finish while the grass and the rock are laid in broadly and left.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border-collapse:collapse;border:none;margin:24px 0;\"\u003e\n\u003ctr style=\"border:none;\"\u003e\n\u003ctd style=\"border:none;background:#faf7f1;padding:18px 20px;\"\u003e\n\u003cdiv style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.12em;text-transform:uppercase;color:#96763f;margin-bottom:9px;\"\u003eIt runs the right way round\u003c\/div\u003e\n\u003cdiv style=\"font-family:Georgia,serif;font-size:15px;line-height:1.65;color:#2b2b2b;\"\u003eMost copies after the Old Masters were painted from engravings, and an engraving comes off the press in mirror image, so the copy reverses the original. This one does not reverse it. The Child stands on the left and Saint John kneels on the right, exactly as Raphael placed them in the picture that has hung in Paris since the sixteenth century. Whoever painted this had the canvas itself in front of him.\u003c\/div\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\n\n\u003cp\u003eThe canvas has been relined. There are small losses in the paint layer at the lower right, and the gilt frame keeps its applied floral corners on all four sides.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215072764236,"sku":null,"price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/belle-jardiniere-after-raphael-19th-century-oil-canvas-gilt-frame.jpg?v=1789123456"},{"product_id":"habsburg-lady-tiara-portrait-austrian-oil-painting-19th-century","title":"Presumed Habsburg Portrait of a Lady with a Jeweled Tiara, Oil on Canvas, Early 19th Century, Gilt Frame","description":"\u003cp\u003eA young woman faces us in the high-waisted dress of the Empire years, a jeweled tiara set in her dark curls and a red shawl draped over her pale blue gown. The lace-edged collar frames her face against a deep olive ground, and the painter has given all his attention to the jewels, the complexion and the quiet self-possession of the sitter.\u003c\/p\u003e\n\n\u003cp\u003eOil on canvas, 9 x 6 inches (23 x 15 cm), framed 12 x 9 inches (30 x 23 cm). Unsigned, Austrian School, early nineteenth century, in a period gilt frame.\u003c\/p\u003e\n\n\u003cp\u003eThe work belongs to the small-format court portraits painted in the Austrian lands in the first decades of the nineteenth century, made to be kept close, in a study or a private cabinet, rather than displayed in state. The lace is built up in raised white over a fine grey outline, and the tiara in a few dozen touches of pure white on a pink ground, the work of a hand used to painting small.\u003c\/p\u003e\n\n\u003cp\u003eThe gilt frame is water gilded over red bole, which shows through along the ridges and the whole left upright.\u003c\/p\u003e\n\n\u003cp\u003eA few small losses in the background and the fine age craquelure normal to an early nineteenth century painting. The canvas has never been relined, and remains on its original keyed stretcher with all eight keys in place.\u003c\/p\u003e\n\u003cp\u003eA few small losses in the background and the fine age craquelure normal to an early nineteenth century painting. The painting comes from a suite of seven small portraits of the same format and the same hand, presumed to represent members of the Habsburg family. The canvas has never been relined, and remains on its original keyed stretcher with all eight keys in place.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215073583436,"sku":"420","price":3400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Early_19th_Century_French_Princess_Portrait_-_Oil_on_Canvas_in_Period_Frame_f53005c3-e0f8-4a5c-88bf-268b607c18ee.jpg?v=1776233702"},{"product_id":"leon-printemps-exposition-universelle-paris-oil-panel-1900","title":"Leon Printemps (1871-1945), The Exposition Universelle in Paris, Signed Oil on Wood Panel, 1900, Framed","description":"\u003ch2\u003eThe Exposition Universelle in Paris\u003c\/h2\u003e\n\u003cp\u003eThis oil on wood panel shows a view of the Exposition Universelle in Paris, the international fair held in 1900 that drew visitors from across the world. The composition captures the architecture and activity of the event grounds, with warm tones and loose brushwork typical of French Impressionist painting at the turn of the century. The panel is signed, titled, and dated 1900 on the reverse, placing it as a contemporary record of the fair painted on site or shortly after.\u003c\/p\u003e\n\u003ch2\u003eAbout the Artist\u003c\/h2\u003e\n\u003cp\u003eLeon Printemps (1871-1945) was a French painter who worked in the Impressionist tradition during the late 19th and early 20th centuries. He is recorded in the Akoun dictionary of listed artists. His subject matter included Parisian views and landscapes, and his work from around 1900 coincides with the period of the Exposition Universelle, one of the largest world fairs ever held in Paris. The fair transformed the city with new structures including the Grand Palais and the Pont Alexandre III, and attracted painters who documented the spectacle firsthand.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/galerieclub.com\/blogs\/artist-directory\/printemps-leon-1871-1945\"\u003e\u003cstrong\u003eRead the full biography of Leon Printemps →\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215074337100,"sku":"150","price":1900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Leon_Printemps_signed_oil_painting_of_the_Exposition_Universelle_in_Paris_1900_framed_French_Impressionist_artwork.png?v=1778281589"},{"product_id":"louis-de-france-portrait-after-rigaud-french-school-18th-century","title":"Antique French Baroque Royal Portrait — Oil on Canvas, After Hyacinthe Rigaud, 18th Century, Framed","description":"\u003ch2\u003ePortrait of a Young Nobleman in French Court Dress\u003c\/h2\u003e\n\u003cp\u003eThis oil on canvas shows a young man in a long powdered wig and a red velvet cloak draped over a white lace cravat. The pose is frontal and composed, the background dark and neutral. The face is painted with smooth modeling and soft light falls from the left, picking out the pale skin against the deeper tones of the fabric. The brushwork on the cloak is loose in places, with visible texture in the folds.\u003c\/p\u003e\n\u003ch2\u003eFrench Court Portraiture in the Age of Louis XIV\u003c\/h2\u003e\n\u003cp\u003eBetween 1700 and 1710, French portraiture was dominated by the formal style of the royal court at Versailles. Hyacinthe Rigaud (1659–1743) was the leading portrait painter of this era and ran a large studio that produced numerous works for the aristocracy. Paintings from his circle typically follow a set format: a three-quarter view of the sitter in court dress, dark background, and careful attention to textiles and wigs. The subject here is identified in historical records as Louis de France, a title used by several princes of the Bourbon line during this period.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/galerieclub.com\/blogs\/collecting-guides\/reading-attribution\" style=\"color:#7a1f2b;text-decoration:underline;\"\u003e\u003cstrong\u003e→ What \"after Rigaud\" claims, and what it leaves open\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215075090764,"sku":"650","price":4800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Antique_French_baroque_royal_portrait_oil_painting_on_canvas_early_1700s_framed_circle_of_Rigaud.png?v=1776419091"},{"product_id":"circle-van-diepenbeeck-mary-magdalene-repentant-oil-copper-17th-century","title":"Mary Magdalene Repentant, Circle of Abraham Van Diepenbeeck, 17th Century Flemish Oil on Copper, Period Ripple Frame","description":"\u003cp\u003eThe Magdalene is shown half length, her arms crossed over her breast and her eyes raised, her long red gold hair falling loose over her shoulders and covering the body. Behind her to the right stands a wooden cross bearing the INRI titulus, and at the lower edge a glass vessel catches the light, the ointment jar that identifies her. The ground opens into a bare landscape of rock and cloud, painted in soft browns and greys that hold the figure in the centre of the light. The copper support gives the flesh its enamelled smoothness and lets the modelling of the face and hands carry detail that no canvas of this size could hold.\u003c\/p\u003e\n\n\u003cp\u003eThe painting bears an attached monogram AD, and a cartouche on the reverse attributes the work to Abraham Van Diepenbeeck. An examination label from Cabinet Turquin, Paris, is attached to the reverse. The copper shows paint loss, light surface marks and small old restorations.\u003c\/p\u003e\n\n\u003cp\u003eThe frame is a Flemish ripple moulding in ebonised wood, its surface cut in waves that catch the light across the whole width. Frames of this kind were made in Antwerp in the seventeenth century for exactly this class of small cabinet picture, and they are collected in their own right. It carries a plaque naming Van Diepenbeeck, an old attribution rather than a document of one, and a small gap at the upper left of the reverse.\u003c\/p\u003e\n\n\u003cp\u003eAbraham Van Diepenbeeck (1607-1675) was a Flemish painter, draughtsman and designer of stained glass, born in 's-Hertogenbosch. He trained in Antwerp and became a master in the Guild of Saint Luke in 1636. He worked closely with Peter Paul Rubens and continued in the Antwerp tradition after Rubens died in 1640, producing religious paintings, mythological scenes and designs for prints and for church windows across the Southern Netherlands. His oil paintings on copper are noted for their refined handling and their attention to light on small scale figures.\u003c\/p\u003e\n\n\u003cp\u003e\u003ca href=\"https:\/\/galerieclub.com\/blogs\/collecting-guides\/reading-attribution\"\u003e\u003cstrong\u003e→ What \"circle of\" claims, when an old frame plaque says otherwise\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215076958540,"sku":"635","price":5600.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Mary_Magdalene_Repentant_attributed_to_Van_Diepenbeeck_17th_century_oil_on_copper_framed_Flemish_painting.png?v=1778278968"},{"product_id":"samoyed-dogs-portrait-oil-canvas-19th-century-french","title":"Portrait of Two White Spitz Dogs, Unsigned Oil on Canvas, 19th Century French School, Framed","description":"\u003cp\u003eTwo white dogs are set against a dark ground, the larger seated with its tail curled along the earth and its head turned to the left, mouth open, the smaller standing close against its flank and looking straight out. Both have the pricked ears, pointed muzzle and heavy ruff of the spitz breeds kept as companion dogs in nineteenth century France. The white coats are the whole subject of the picture, worked in long soft strokes that follow the fall of the fur and carry a faint grey and ochre warmth in the shadows. Behind them, to the left, a break in the darkness opens onto a small landscape of trees against a green blue sky, painted much more thinly.\u003c\/p\u003e\n\n\u003cp\u003eDog portraiture was a well established genre in nineteenth century France, commissioned by owners in much the same spirit as a family portrait. Works of this kind were painted across the whole range of the trade, from Salon animaliers to competent provincial hands, and they are collected today for their directness. The painting is unsigned and carries no attribution. The canvas shows small losses of pictorial layer, visible in the photographs, and it is presented in a moulded gilt frame.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215080071500,"sku":"295","price":2700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/19th_century_oil_painting_of_Samoyed_dogs_unsigned_French_school_framed_antique_dog_portrait.jpg?v=1778537294"},{"product_id":"brigot-fox-duck-hunt-scene-oil-canvas-19th-century","title":"A Fox with a Fallen Duck, Original Oil on Canvas by Ernest Brigot, Signed, 19th Century","description":"\u003cp\u003eA fox stands over a duck it has just killed. Its jaws are closed on the bird's neck and its head is turned down and back toward the body, one forepaw planted on the ground beside it. The bird lies on its back with both wings thrown wide, the white underside of the plumage spread across the whole lower half of the canvas, and the dark head hanging at the centre.\u003c\/p\u003e\n\u003cp\u003eThe fox is painted in deep russet and grey brown, its brush lifted behind it and the pale mask of its muzzle catching what light there is. Everything around the two animals is dark. A heavy tree fills the upper left, and behind it a bank of foliage runs across to the right, where the wood opens onto a low pale sky with a thin bare tree and a distant line of hills.\u003c\/p\u003e\n\u003cp\u003eThe light comes from that opening, late and weak, and it falls on the duck's feathers before anything else. The white of the bird is the brightest thing in the picture and the composition is built on that contrast.\u003c\/p\u003e\n\u003cp\u003eSigned at the lower right, the canvas is square and sold unframed. There is minor loss to the paint layer along the edges, while the canvas itself and the signature are intact.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215081808204,"sku":"750","price":13000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/57_841188e8-bfe8-455e-af51-4e5887c8ce56.png?v=1775671607"},{"product_id":"flemish-school-putti-musicians-oil-panel-17th-century","title":"A Concert of Putti in a Landscape, Oil on Panel, Flemish School 17th Century, Period Gilded Frame","description":"\u003cp\u003eFive infants make music on a grass bank at the foot of a rocky outcrop. One sits at the left with an open score across his knee. Beside him a second raises a slender pipe to his lips. A third stands at the centre, a length of pink drapery wound about his hips and one arm lifted with the index finger raised, beating time for the others. To the right a fourth plays a shawm with a flared bell, and in the foreground a fifth lies flat on his stomach, head turned out toward the viewer, a second open score on the ground before him.\u003c\/p\u003e\n\u003cp\u003eBehind them the ground rises into broken rock and dark foliage. The sky fills the upper third of the panel, grey blue and heavily clouded, with one pale opening at the right where the trees thin out. Against that weight the flesh of the children is the brightest thing in the picture.\u003c\/p\u003e\n\u003cp\u003ePainted on a small wood panel in the cabinet tradition, the work belongs to the Flemish school of the seventeenth century. It is presented in a deep gilded frame carved with palmettes and a beaded inner moulding, which shows small losses.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215082168652,"sku":"400","price":4800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/57_6b077ca5-5026-4b1d-97c9-da169a3751db.png?v=1775671611"},{"product_id":"hagar-ishmael-angel-biblical-oil-painting-18th-century","title":"Circle of Januarius Zick (1730-1797), Hagar and Ishmael Saved by the Angel, 18th Century German Oil on Canvas, Unframed","description":"\u003cp\u003eHagar lies at the foot of a rock in the left foreground, in a yellow bodice and a blue skirt, one hand raised to her face and her eyes turned upward. Behind her and slightly above, an angel leans out from the rock with wings spread and one arm extended, pointing away toward the right. In the middle distance on that side, a small figure in red lies alone on the ground. That is Ishmael, set down apart from his mother, as in Genesis 21, where Hagar leaves the child under a bush and withdraws so as not to watch him die. The wilderness closes around them in dark pines and heavy foliage, opening only at the upper right onto a pale ochre sky and a distant range of hills. The palette is held to deep greens and browns, with the blue and white of the angel and of Hagar's skirt carrying the only cool notes.\u003c\/p\u003e\n\n\u003cp\u003eReligious subjects remained central to German painting throughout the eighteenth century, particularly in the Catholic regions of southern Germany. Artists working in the Rococo tradition favoured dynamic compositions, warm palettes and strong contrasts between light and shadow for biblical narratives. The story of Hagar and Ishmael in the desert was a recurring theme, valued for its emotional intensity and for the moment of divine intervention it turns on. Painters active in this period often trained in Italy or studied the works of Tiepolo and Piazzetta, absorbing the Venetian approach to colour and movement, and the result was a distinctly German reading of the Rococo, combining Italian theatricality with Northern attention to landscape and atmosphere.\u003c\/p\u003e\n\n\u003cp\u003eThe canvas has been relined and carries an age craquelure and traces of old varnish, visible in the photographs. It is unsigned, with an attribution to Januarius Zick inscribed on the reverse, and is sold unframed.\u003c\/p\u003e\n\n\u003cp\u003e\u003ca href=\"https:\/\/galerieclub.com\/blogs\/collecting-guides\/reading-attribution\" style=\"color:#7a1f2b;text-decoration:underline;\" title=\"Reading Attribution | GalerieClub Fine Art\"\u003e\u003cstrong\u003e→ What \"circle of\" claims, when an inscription on the back says otherwise\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215082398028,"sku":"500","price":5800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Hagar_and_Ishmael_saved_by_the_Angel_18th_century_German_Rococo_oil_painting_biblical_Old_Master_artwork.png?v=1778173042"},{"product_id":"man-top-hat-portrait-oil-painting-19th-century-english","title":"English School, Portrait of a Man in a Top Hat, Oil on Canvas, Early 19th Century, Carved Gilt Frame","description":"\u003cp\u003eThe hat is painted flatter than anything else. Pure black, no highlight, no modelling, a single silhouette sitting on a head that is otherwise worked in warm reds and pinks.\u003c\/p\u003e\n\n\u003cp\u003eOil on canvas, 9 x 6 inches (23 x 15 cm), 12 x 9 inches (30 x 23 cm) framed, unsigned. English School, early nineteenth century, in a carved gilt frame.\u003c\/p\u003e\n\n\u003cp\u003eA man of middle years seen at half length against a plain brown ground, turned slightly to his right. He wears a tall black hat with a flat brim, a dark coat and a white stock wound high under the chin above a ruffled shirt front. The face is ruddy, the cheeks and nose carrying more red than the rest, and the eyes are set close and level. One hand comes into the lower edge of the picture holding something the paint no longer describes.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border:none;border-collapse:collapse;table-layout:fixed;margin:1.5rem 0;\"\u003e\u003ctr style=\"border:none;\"\u003e\u003ctd style=\"border:none;background:#faf7f1;padding:18px 22px;\"\u003e\n\u003cspan style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.09em;text-transform:uppercase;color:#96763f;\"\u003ePainted with his hat on\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family:Georgia,serif;font-size:15px;line-height:1.7;color:#2c2c2a;\"\u003eA man sat for his portrait bareheaded. He removed his hat indoors, and every rule of manners said so. This one kept it on, tall and flat brimmed in the shape worn in England between about 1810 and 1830, and had himself painted as he looked in the street rather than in a drawing room. It is a small thing and it changes the whole picture.\u003c\/span\u003e\n\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\n\n\u003cp\u003eThe paint layer is stable throughout, under a fine age craquelure.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215082430796,"sku":"330","price":2600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/english-school-man-top-hat-oil-on-canvas-19th-century-framed.png?v=1789075683"},{"product_id":"christ-samaritan-woman-well-oil-canvas-old-master-17th-century","title":"Christ and the Samaritan Woman at the Well, Oil on Canvas, 17th Century, Ebonised Frame","description":"\u003cp\u003eHe is sitting and she is standing, which is the wrong way round for a picture of Christ and almost nobody paints it.\u003c\/p\u003e\n\n\u003cp\u003eOil on canvas, 20 1\/2 x 25 1\/2 inches (52 x 65 cm), 25 x 30 inches (64 x 76 cm) framed. Unsigned. Seventeenth century. Ebonised frame with painted scrollwork and star motifs.\u003c\/p\u003e\n\n\u003cp\u003eChrist sits on the left edge of a heavy stone well head that runs across the middle of the canvas, in red under a blue mantle, one bare foot forward and a hand open towards the woman. She stands on the far side of it, holding a copper bucket by its iron handle with the rope still hanging loose to the ground. A grey gown, a heavy ochre wrap gathered over one arm. Behind her a walled town in warm stone with two small figures coming out under the archway, and behind him a dark tree and a run of blue hills.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border-collapse:collapse;border:none;margin:24px 0;\"\u003e\n\u003ctr style=\"border:none;\"\u003e\n\u003ctd style=\"border:none;background:#faf7f1;padding:18px 20px;\"\u003e\n\u003cdiv style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.12em;text-transform:uppercase;color:#96763f;margin-bottom:9px;\"\u003eThe two figures at the gate arrive too late\u003c\/div\u003e\n\u003cdiv style=\"font-family:Georgia,serif;font-size:15px;line-height:1.65;color:#2b2b2b;\"\u003eThe scene comes from the fourth chapter of John. Christ stops at a well outside a Samaritan town while his disciples go in to buy food, and he asks a woman for water. The passage says he was tired from the road and sat down, which is why painters put him below her and leave her standing, one of the very few compositions in which Christ is the lower figure. The disciples come back at the end of the conversation, and the small figures under the archway are them, still walking.\u003c\/div\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\n\n\u003cp\u003eThe canvas has been relined at some point in its life, which is why a picture of this age is still flat and sound. The varnish has yellowed and the greens of the foreground have worn thin. The ebonised frame has gaps in its moulding.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57222043173196,"sku":"280","price":5300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/christ-samaritan-woman-well-17th-century-oil-canvas-ebonised-frame.png?v=1789127472"},{"product_id":"delahaye-pekingese-dog-portrait-oil-panel-19th-century","title":"Portrait of a Pekingese Named Kit, Signed Oil on Panel by Ernest Jean Delahaye, Circa 1910, Oak Frame","description":"\u003cp\u003eThe face is given the frontal attention of a human sitter.\u003c\/p\u003e\n\n\u003cp\u003eOil on wood panel, 13 x 10 inches (33 x 25 cm), 18 x 15 inches (46 x 38 cm) framed. Signed lower right, E J Delahaye, and inscribed Kit upper left. French, circa 1910. Oak frame with an embossed metal inner border.\u003c\/p\u003e\n\n\u003cp\u003eThe dog sits square to the viewer against a pale ground worked in soft greys and greens. The coat carries the picture, laid in with short curling strokes of russet, gold and cream that follow the fall of the mane over the shoulders and the plume of the tail carried to one side. The paint is thin and the grain of the panel shows through in places. Only the muzzle and the eyes are worked tightly.\u003c\/p\u003e\n\n\u003ctable style=\"width:100%;border-collapse:collapse;border:none;margin:24px 0;\"\u003e\n\u003ctr style=\"border:none;\"\u003e\n\u003ctd style=\"border:none;background:#faf7f1;padding:18px 20px;\"\u003e\n\u003cdiv style=\"font-family:Helvetica,Arial,sans-serif;font-size:10.5px;letter-spacing:0.12em;text-transform:uppercase;color:#96763f;margin-bottom:9px;\"\u003eA breed that had been in Europe for fifty years\u003c\/div\u003e\n\u003cdiv style=\"font-family:Georgia,serif;font-size:15px;line-height:1.65;color:#2b2b2b;\"\u003eThe Pekingese was kept exclusively at the Chinese imperial court until 1860, when British and French troops sacked the Summer Palace outside Peking and five of the dogs were carried back to Europe. One of them was presented to Queen Victoria. When this panel was painted the breed was still a recent arrival in the West, which is part of why a dog like this one was worth a commissioned portrait with its name written across the top corner.\u003c\/div\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e\n\n\u003cp\u003eThe painting is in good original condition. The oak frame has small gaps in the moulding, and the stamp of the Paris colour merchant who supplied the panel is still crisp on the reverse.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57222043861324,"sku":"300","price":2900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/pekingese-kit-delahaye-signed-oil-panel-1910-oak-frame.png?v=1789122238"},{"product_id":"italian-school-nymph-satyr-oil-canvas-18th-century","title":"Italian School, 18th Century, Nymph and Satyr, Oil on Canvas, Framed","description":"\u003cp\u003eA nymph runs from left to right across the canvas, her head turned back and raised, one arm thrown up and the other stretched forward, her white chemise slipping from the shoulder and a red drapery caught around her hips. Behind her a satyr lunges, his human torso pitched forward and his goat legs braced, one hand reaching for her shoulder. Both figures are set against a ground of near black, where tall reeds are just visible, and the light falls only on the flesh, the white linen and the red cloth. The composition holds the two bodies at the moment before contact.\u003c\/p\u003e\n\n\u003cp\u003eThe pursuit of a nymph by a satyr is one of the oldest subjects in European painting, taken from Ovid and treated across four centuries. Painters used it to set two bodies in violent motion against each other and to test how far a figure could be pushed while remaining legible. Italian workshops of the eighteenth century produced these mythological compositions for aristocratic collections throughout Europe, drawing on the tradition that runs from Titian and the Carracci onward.\u003c\/p\u003e\n\n\u003cp\u003eThe canvas has been relined, a standard measure that reinforces the support while preserving the original paint layer. The work is unsigned and presented in a carved and gilded frame with foliate corner ornaments, which shows small gaps.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57222044156236,"sku":"260","price":2900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Italian_School_18th_century_oil_on_canvas_Nymph_and_Satyr_bacchanal_scene_mythological_painting.png?v=1778429404"},{"product_id":"dilley-woman-musician-peacock-oil-canvas-1996","title":"Woman Musician with a Peacock, Original Oil on Canvas by Ramon Dilley, Signed and Dated 1996","description":"\u003cp\u003eA woman stands full length on a path beside water, playing two long golden pipes held one in each hand. Her hair is deep blue and falls past her shoulders. A garland of small pink flowers hangs from her neck to below her knees, and her legs are painted the same deep blue as the trees.\u003c\/p\u003e\n\u003cp\u003eTwo slender trunks rise on either side of her, blue against dark green canopies. Behind, a river runs across the picture in grey blue strokes broken by warm reflections, with a line of low trees and a pale sky above. At the right, two clusters of pink hydrangea sit close to the ground. At the left, the spread tail of a peacock fills the lower corner, its eyes marked in blue and dark green.\u003c\/p\u003e\n\u003cp\u003eThe colour is laid on flat and saturated throughout, the drawing simplified and the forms outlined rather than modelled. Signed and dated at the lower centre, the canvas is also signed and titled on the reverse.\u003c\/p\u003e\n\u003cp\u003eThe frame is part of the work. It is hand painted in bright green with a foliage pattern in gold and sienna running across all four sides, and it brings the framed dimensions to 38 by 22 inches. The painting is in good condition and the frame shows very small gaps.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57222045729100,"sku":"210","price":4300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Ramon_Dilley_woman_musician_and_peacock_displayed_in_a_French_corner_parlour.jpg?v=1787072194"},{"product_id":"cals-haystacks-impressionist-oil-canvas-framed-19thc","title":"Signed Oil Painting, Haystacks Landscape by Adolphe Felix Cals (1810-1880), Listed French Impressionist, Oil on Canvas","description":"\u003ch2\u003eGolden Stacks in a Low Normandy Light\u003c\/h2\u003e\n\u003cp\u003eTwo haystacks sit heavy in the foreground, their rounded shapes catching a warm golden light that separates them sharply from the cooler tones of the field behind. Cals painted them with real weight. The straw reads as solid, textured mass rather than as a flat shape, and you can see where he built up the surface with short, thick strokes that follow the curve of each stack. The ground around them is a patchwork of green and brown, handled loosely enough that you feel the unevenness of the terrain without seeing any single blade of grass. Behind the stacks, the landscape opens up into a flat, wide horizon under a sky that takes up nearly half the canvas. The sky itself is layered: a warm gray-blue in the upper register that lightens toward the horizon into the kind of pale, luminous band you get in northern France on a late summer afternoon. This is a small painting, but the composition has a sense of space that feels much larger than the canvas. Cals understood how to use a low horizon line and a wide format to give a seven-inch-tall painting the breathing room of a much bigger landscape.\u003c\/p\u003e\n \n\u003ch2\u003eAbout the Artist\u003c\/h2\u003e\n\u003cp\u003eAdolphe Felix Cals (1810-1880) was a French painter and printmaker who occupies a distinctive position in the history of Impressionism. He began as a student of Leon Cogniet at the Ecole des Beaux-Arts in Paris and spent years working in a conventional academic manner before gradually shifting toward plein-air painting and the direct study of light that would define his later career. By the 1860s and 1870s he was painting alongside the Impressionists and exhibiting with them. Cals participated in the first Impressionist exhibition of 1874 and continued to show with the group in subsequent years. He was a close friend of Johan Barthold Jongkind and, through him, connected to the wider circle of painters working on the Normandy coast and in the Ile-de-France. His work is held in the Musee d'Orsay in Paris, the Musee des Beaux-Arts de Rouen, and other French public collections. Cals died in 1880 at Honfleur, where he had spent much of his later life painting the countryside and the coast.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/galerieclub.com\/blogs\/artist-directory\/cals-adolphe-felix-1810-1880\"\u003e\u003cstrong\u003eRead the full biography of Adolphe Felix Cals →\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57222046024012,"sku":"190","price":8900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/57_62c41778-3185-47c1-97c8-e67bcc446a56.png?v=1775738681"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/collections\/Emile_Michel_signed_oil_painting_of_a_pastoral_shepherdess_in_the_fields_1872_French_realist_framed_artwork_493f15f1-6419-47a3-a953-76a11c0e4b2c.png?v=1785406595","url":"https:\/\/galerieclub.com\/collections\/all.oembed","provider":"GalerieClub Fine Art","version":"1.0","type":"link"}