French, 1821-1886 The Unruly Goat Bears signature DUVERGER over remnants of a signature (ll) Oil on panel 13 5/8 x 10 1/2 inches (34.6 x 26.7 cm) (Framed 21 x 17 1/2 inches)
Théophile Emmanuel Duverger 1821 Bordeaux - 1898 letztmals erwähnt Rural scene of an interior with figures Signed lower left. Oil auf canvas. 51 x 77 cm. Restored. Minor damage. Framed (86 x 110.5 cm).
ARTIST: Theophile Emmanuel Duverger (France, 1821 - 1886) NAME: Man with Sword MEDIUM: oil on board CONDITION: Few small scattered inpaintings. Minor damages to frame. SIGHT SIZE: 9 x 6 inches / 22 x 15 cm FRAME SIZE: 15 x 13 inches / 38 x 33 cm SIGNATURE: lower left CATEGORY: old antique vintage painting for auction sale online AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 122710 US Shipping $49 + insurance. BIOGRAPHY: Sympathetic genre scenes, especially those including children, proliferated during the mid-nineteenth century in France, often finding their inspiration in 17th-century Dutch paintings. Artists combined the experience of the Realist painters and their depiction of scenes from everyday life - without the occasional grittiness of their depictions - with the increasing interest in children to generate a series of charming images evoking the pleasant simplicity of rustic life. Theophile-Emmanuel Duverger, like Benjamin Eugene Fichel, contributed to this genre tradition, creating sentimental and nostalgic images that continue to retain their appeal for today's audience.Theophile-Emmanuel Duverger was born in Bordeaux, France, on September 17, 1821. Duverger was an exceptional character since he was an autodidact, skipping the formal training taken by many of his contemporary artists who also found success at the Parisian Salon. Instead, Duverger relied on his artistic inclinations based on his experience with nature, especially during his time at Ecouen, as well as his understanding of other painters whose works he may have seen while visiting museums. This type of personal training had its benefits since one could follow whatever path they desired instead of being brought into the occasionally tumultuous world of the Parisian ateliers, where rivalries often ran rampant and occasionally polarized the art community.While Bordeaux did have its own art scene, Duverger relocated to the art colony of Ecouen, started by Pierre Edouard Frere, in the Seine-et-Oise region near Paris, where Duverger eventually found success at the Salon and later commissions. The Ecouen colony boasted many other artists, including Auguste-Frederic-Albert Schenk, Jules-Jacques Veryrasset, Emile Lambinet, Emile-Louis Vernier, and Andre-Henri Dargelas, among several others. Duverger was Dargelas' father-in-law, and their work shows many similar tendencies. Duverger may have been inspired by Frere's compositions which also focused on depicting the home, family, and especially children. Ecouen, just eight miles outside of Paris, was the perfect location for artists to retreat from the bustling city and maintain close ties with the Salon.Duverger began exhibiting at the Salon at a critical time - 1846, even before the Salon was held in the Louvre and just two years before the 1848 Revolution, when Parisians took to the streets in revolt against the corrupt government of the July Monarchy. Duverger's images were far removed from the grim reality of the social and political scene in Paris at this time and instead focused on the cheerful nature of family life in rural France. But this imagery evolved only over time, and in his early years, he began his public showings with portraiture. His debut painting at the Salon of 1846 was Portrait of Mademoiselle Z...D....After the 1848 Revolution, France ushered in the Second Republic and later the Second Empire. Duverger's charming and unchallenging imagery found a ripe audience during this period of the Second Empire in Paris. A Time when an increasing middle class began to seek out artists and imagery that had removed itself from the heavily academic interests of many of the other Salon artists still practicing historical or mythological painting. It was not until the early 1850s that Duverger moved away from exhibiting portraiture at the Salon to paintings that were more representative of the style now commonly associated with him. In 1861, fifteen years after first exhibiting at the Salon, Duverger earned his first award; a third-class medal for his numerous showings, including La Gamelle du Grand Papa (The Mess Tin of Grandfather), Attente (The Wait), Echard (The Splinter), La Convalescence, (The Convalescence), Les Dames de Charite (Women of Charity). In 1863 he received an honorable mention, and in 1865 he received a second medal for Le Paralytique (The Paralytic) and Le Laboureur et Ses Enfants (The Worker and His Children). The Salon critic, Louis Auvray, was taken with the latter painting and wrote in his Salon review, Exposition des Beaux-Arts: Salon de 1865, that:The painting of the worker and his children, by Mr. Duverger, is a composition that touches you profoundly. The worker, feeling that life is leaving him, brings together his children around his bed, and, holding out his hand to his oldest son, begs him to return to his duty. The child, with his head down, overwhelmed by the reproach, struggles internally against his negative bents, which he tries to dominate to promise a return to the better. But his wife, who is breast-feeding her last child, appears to doubt that there will be any change possible to her husband's bad behavior.Duverger also submitted his work to the 1889 Exposition Universelle in Paris, where he received a bronze medal. In 1893 his painting L'Intemperance (Intemperance) was shown at the 1893 Columbian Exposition in Chicago. Duverger continued submitting his work to the Salon until 1898. Towards the end of his career, he, like many other artists, began exhibiting drawings and paintings, but for his last work, Duverger exhibited the painting Allant aux Champs (Going to the Fields). He died on August 25, 1898.Duverger showed a range of capabilities in his choice of imagery, ranging from the most well-known cheerful scenes of domestic life, but also knew how to speak to a more aristocratic audience with works that concentrated on the luxury of idleness and the splendor of interior settings. Examples of his work can now be found in the Musee des Beaux Arts, Bordeaux; Le Musee Artistique et Archeologique, La Roche-sur-Yon, and the London Guildhall Art Gallery.
ARTIST: Theophile Emmanuel Duverger (France, 1821 - 1886) NAME: Classroom Antics MEDIUM: oil on board CONDITION: Very good. Minor stable craquelure. No visible inpaint under UV light. SIGHT SIZE: 14 x 10 1/2 inches / 35 x 27 cm FRAME SIZE: 24 x 20 inches / 60 x 50 cm SIGNATURE: lower left PROVENANCE: Auctioneer James D Julia, Date 2017-02-09, Lot 1248 CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 120893 US Shipping $60 + insurance. BIOGRAPHY: Sympathetic genre scenes, especially those including children, proliferated during the mid-nineteenth century in France, often finding their inspiration in 17th-century Dutch paintings. Artists combined the experience of the Realist painters and their depiction of scenes from everyday life - without the occasional grittiness of their depictions - with the increasing interest in children to generate a series of charming images evoking the pleasant simplicity of rustic life. Theophile-Emmanuel Duverger, like Benjamin Eugene Fichel, contributed to this genre tradition, creating sentimental and nostalgic images that continue to retain their appeal for today's audience.Theophile-Emmanuel Duverger was born in Bordeaux, France, on September 17, 1821. Duverger was an exceptional character since he was an autodidact, skipping the formal training taken by many of his contemporary artists who also found success at the Parisian Salon. Instead, Duverger relied on his artistic inclinations based on his experience with nature, especially during his time at Ecouen, as well as his understanding of other painters whose works he may have seen while visiting museums. This type of personal training had its benefits since one could follow whatever path they desired instead of being brought into the occasionally tumultuous world of the Parisian ateliers, where rivalries often ran rampant and occasionally polarized the art community.While Bordeaux did have its own art scene, Duverger relocated to the art colony of Ecouen, started by Pierre Edouard Frere, in the Seine-et-Oise region near Paris, where Duverger eventually found success at the Salon and later commissions. The Ecouen colony boasted many other artists, including Auguste-Frederic-Albert Schenk, Jules-Jacques Veryrasset, Emile Lambinet, Emile-Louis Vernier, and Andre-Henri Dargelas, among several others. Duverger was Dargelas' father-in-law, and their work shows many similar tendencies. Duverger may have been inspired by Frere's compositions which also focused on depicting the home, family, and especially children. Ecouen, just eight miles outside of Paris, was the perfect location for artists to retreat from the bustling city and maintain close ties with the Salon.Duverger began exhibiting at the Salon at a critical time - 1846, even before the Salon was held in the Louvre and just two years before the 1848 Revolution, when Parisians took to the streets in revolt against the corrupt government of the July Monarchy. Duverger's images were far removed from the grim reality of the social and political scene in Paris at this time and instead focused on the cheerful nature of family life in rural France. But this imagery evolved only over time, and in his early years, he began his public showings with portraiture. His debut painting at the Salon of 1846 was Portrait of Mademoiselle Z...D....After the 1848 Revolution, France ushered in the Second Republic and later the Second Empire. Duverger's charming and unchallenging imagery found a ripe audience during this period of the Second Empire in Paris. A Time when an increasing middle class began to seek out artists and imagery that had removed itself from the heavily academic interests of many of the other Salon artists still practicing historical or mythological painting. It was not until the early 1850s that Duverger moved away from exhibiting portraiture at the Salon to paintings that were more representative of the style now commonly associated with him. In 1861, fifteen years after first exhibiting at the Salon, Duverger earned his first award; a third-class medal for his numerous showings, including La Gamelle du Grand Papa (The Mess Tin of Grandfather), Attente (The Wait), Echard (The Splinter), La Convalescence, (The Convalescence), Les Dames de Charite (Women of Charity). In 1863 he received an honorable mention, and in 1865 he received a second medal for Le Paralytique (The Paralytic) and Le Laboureur et Ses Enfants (The Worker and His Children). The Salon critic, Louis Auvray, was taken with the latter painting and wrote in his Salon review, Exposition des Beaux-Arts: Salon de 1865, that:The painting of the worker and his children, by Mr. Duverger, is a composition that touches you profoundly. The worker, feeling that life is leaving him, brings together his children around his bed, and, holding out his hand to his oldest son, begs him to return to his duty. The child, with his head down, overwhelmed by the reproach, struggles internally against his negative bents, which he tries to dominate to promise a return to the better. But his wife, who is breast-feeding her last child, appears to doubt that there will be any change possible to her husband's bad behavior.Duverger also submitted his work to the 1889 Exposition Universelle in Paris, where he received a bronze medal. In 1893 his painting L'Intemperance (Intemperance) was shown at the 1893 Columbian Exposition in Chicago. Duverger continued submitting his work to the Salon until 1898. Towards the end of his career, he, like many other artists, began exhibiting drawings and paintings, but for his last work, Duverger exhibited the painting Allant aux Champs (Going to the Fields). He died on August 25, 1898.Duverger showed a range of capabilities in his choice of imagery, ranging from the most well-known cheerful scenes of domestic life, but also knew how to speak to a more aristocratic audience with works that concentrated on the luxury of idleness and the splendor of interior settings. Examples of his work can now be found in the Musee des Beaux Arts, Bordeaux; Le Musee Artistique et Archeologique, La Roche-sur-Yon, and the London Guildhall Art Gallery.
T E Duverger (1821-1901) - A pair of interior genre scenes depicting gentleman reading against a wall and a young lady sealing a letter, oil on panel, signed, 24 x 17 cm (2)
Théophile Emmanuel Duverger (French, 1821-1886) The Drummer Boy; The School Mistress a pair, both signed 'DUVERGER' (lower left) oil on panel each 33 x 24.5cm (13 x 9 5/8in). (2) For further information on this lot please visit the Bonhams website
Théophile Emmanuel Duverger (French, 1821-1886) A Timely Repair signed 'DUVERGER' (lower left) oil on panel 32 x 24cm (12 5/8 x 9 7/16in). For further information on this lot please visit the Bonhams website
Theophile Emmanuel Duverger (France, 1821 - 1886) Oil on board painting of a woman cutting a young girl's hair as she looks at her reflection in a mirror. Signed lower right. Housed in a gilt frame. Labels verso. Duverger was born in Bordeaux in 1821, and from 1846-1882 sent many of his genre paintings to the Salons of Paris. He won honours for his work in 1861, 1863, and 1865. He was a compatriot of Paul Seignac's, another 19th-century genre painter. Sight Size: 12.5 x 9.25 in. Overall Size: 18.5 x 15.25 in.
Theophile Emmanuel Duverger (France, 1821 - 1886) Oil on board painting of a woman cutting a young girl's hair as she looks at her reflection in a mirror. Signed lower right. Housed in a gilt frame. Labels verso. Duverger was born in Bordeaux in 1821, and from 1846-1882 sent many of his genre paintings to the Salons of Paris. He won honours for his work in 1861, 1863, and 1865. He was a compatriot of Paul Seignac's, another 19th-century genre painter. Sight Size: 12.5 x 9.25 in. Overall Size: 18.5 x 15.25 in.
MANNER OF THEOPHILE EMMANUEL DUVERGER (1821-1898), framed pair oil on metal, unsigned, a young male laying on a rock in a costal scene, together with another similar. 25 cm x 18.5 cm.
Manner of Théophile Emmanuel Duverger (French 1821-1886)/The Connoisseur/a seated girl examining an oil painting with magnifying glass/bears signature/oil on canvas, 56cm x 43cm
Oil on mahogany wood panel. Housed in a wide deep molded wood pine frame. Signed lower left "Duverger" SIZE: 14" x 10-1/2". Overall: 23-3/4" x 20-1/4" CONDITION: Fine craquelure, very good, abrasion line just below the signature which may have been caused by a previous frame 50887-1
WINTER VILLAGE BY THEOPHILE EMMANUEL DUVERGER (FRENCH, 1821-1886). Oil on canvas mounted to board, signed lower right. Figure-filled genre scene in a snowy churchyard with a finely attired lady making an offering to a peasant child. 31.5"h. 42.25"w., french-style mid-20th century frame, 42"h. 52.5"w.
Oil on wood Théophile Emmanuel Duverger (1821-1898) – French autodidactic painter Signed at the lower left ‘Duverger’ Frame with plaque ‘T. E. Duverger born 1821’ Verso the labels of two art dealers Dimensions: 30.5 x 24.7 cm Frame: 41.5 x 35.1 cm Provenance: private property North Rhine-Westphalia, Germany Decorative genre painting depicting contemporary interior and habitus of the middle-class Condition: Painting and frame are in very good condition. In places slight surface abrasion along the edges. Under UV-light tiny touch ups appear occasionally. Théophile Emmanuel Duverger (1821-1898) The self-taught artist had its debut at the Salon de Paris in 1846. In the following years he regularly exhibited there. After having primarily focused on portrait painting, he went on to paint genre paintings with subtle interiors from the 1850s onwards. Thereby he usually chose small formats using bright, warm colors for enhancing light effects. Duverger's works can be found among others at the Kunsthalle in Hamburg, at the Guildhall Art Gallery in London, at the Metropolitan Museum in New York, at the Bordeaux Museums and at Musée de Cambrai. (nlu) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Oil on mahogany wood panel. Housed in a wide deep molded wood pine frame. Signed lower left "Duverger" SIZE: 14" x 10-1/2". Overall: 23-3/4" x 20-1/4" CONDITION: Fine craquelure, very good, abrasion line just below the signature which may have been caused by a previous frame 50887-1
Oil on panel France, second half of the 19th century Théophile Emmanuel Duverger (1821-1901) - French portraitist and genre painter Signed lower left ‘Duverger’ Dimensions: 32.5 x 23.5 cm Framed: 48 x 38.5 cm Good condition Provenance: Private Collection, Germany Characteristic interior genre scene with two children in a church dropping a prayer card, characterized by the use of warm and distinct colors; paintings by the artist fetch up to €72,000 in the international auction market Condition: The painting is in overall very good condition with only minor signs of age. No findings under UV-light, otherwise generally of very good impression. The image dimensions are 32.5 x 23.5 cm, framed 48 x 38.5 cm. Théophile Emmanuel Duverger (1821-1901) Duverger was born 1821 in Bordeaux. He taught himself to become a painter and made his debut at the Paris Salon in 1846. Until 1898 he regularly participated in the exhibitions of the Société des Artiste française. After he initially intensively devoted himself to portraiture, he begins with the representation of genre scenes from the Mid-19th century on. His works can be found in the museums of Bordeaux and Cambrai, or the Kunsthalle in Hamburg as well as the Guildhall Art Gallery in London and the Metropolitan Museum in New York. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Oil on panel France, 2nd half of the 19th century Théophile Emmanuel Duverger (1821-1901) - French portraitist and genre painter Signed lower left ‘Duverger’ Dimensions: 40 x 32 cm Framed: 57 x 49 cm Good condition Provenance: Oakland Museum of California, as a gift from Minna McGauley Stoddard (verso labeled by the museum); Gallery M. Newman Ltd., London, 1975 (verso gallery label); Art Dealer Düsseldorf; Private Collection, Germany Sensitive interior genre scene, characterized by the use of warm and distinct colors, paintings by the artist fetch up to €72,000 in the international auction market Estimate by Auctionata Expert: 3,000 Euro Condition: The painting is in good condition. The varnish is older. Occasionally small touch ups visible under UV-light. Otherwise generally of very good impression. The image dimensions are 40 x 32 cm, framed 57 x 49 cm. Théophile Emmanuel Duverger (1821-1901) Duverger was born 1821 in Bordeaux. He taught himself to become a painter and made his debut at the Paris Salon in 1846. Until 1898 he regularly participated in the exhibitions of the Société des Artiste française. After he initially intensively devoted himself to portraiture, he began with the representation of genre scenes from the Mid-19th century on. His works can be found in the museums of Bordeaux and Cambrai, or the Kunsthalle in Hamburg as well as the Guildhall Art Gallery in London and the Metropolitan Museum in New York. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Oil on panel France, second half of the 19th century Théophile Emmanuel Duverger (1821-1901) - French portraitist and genre painter Signed lower left ‘Duverger’ Dimensions: 32.5 x 23.5 cm Framed: 48 x 38.5 cm Good condition Provenance: Private Collection, Germany Characteristic interior genre scene with two children in a church dropping a prayer card, characterized by the use of warm and distinct colors; paintings by the artist fetch up to €72,000 in the international auction market Estimate by Auctionata Expert: 3,000 Euro Condition: The painting is in overall very good condition with only minor signs of age. No findings under UV-light, otherwise generally of very good impression. The image dimensions are 32.5 x 23.5 cm, framed 48 x 38.5 cm. Théophile Emmanuel Duverger (1821-1901) Duverger was born 1821 in Bordeaux. He taught himself to become a painter and made his debut at the Paris Salon in 1846. Until 1898 he regularly participated in the exhibitions of the Société des Artiste française. After he initially intensively devoted himself to portraiture, he begins with the representation of genre scenes from the Mid-19th century on. His works can be found in the museums of Bordeaux and Cambrai, or the Kunsthalle in Hamburg as well as the Guildhall Art Gallery in London and the Metropolitan Museum in New York. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Theophile Emmanuel Duverger, French 1821-1901- The Mousetrap and The Lesson; oils on panel, two, ea. signed, in near matching Louis XIII style gilt composition frames, 32.5x24cm and 34.5x27cm respectively, (2)
Oil on wood panel Housed in a fine modern gilt ribbed frame with gilt liner Signed lower left "Duverger" SIZE: 18" x 21-1/2" Overall: 25-3/4" x 29-1/2" CONDITION: Very good 9-92771
Theophile Emmanuel Duverger ( 1821-1886), FrenchTHE BILLET DOUX; Oil on panel; signed lower right13" x 9.25" - 33 x 23.5 cm.Provenance: Smith, New Bond Street, London;Ex-Coll. H.A. Sutton Esq., 11 Bramham Gardens;Leslie W. Lewis, London from The Cunningham Galleries, Hamilton, Ontario, on the accompanying invoice dated October 9th, 1940;The Estate of S.E. O'Brien, Canada;By descent
Theophile Emmanuel Duverger (1821-1886), French THE PUPPET SHOW (PLAYMATES); Oil on panel; signed lower left, signed and titled "Playmates" verso16.25" x 12.75" - 41.3 x 32.4 cm.Provenance: Frederick W. Thom Limited, Toronto
Duverger, Versuchung, Öl - Duverger, Théophile Emanuel Werke des Künstlers befinden sich in Museen in Luxemburg, in der Kunsthalle Hamburg und dem Metropolitan Museum, New York. - Literatur: Thieme/Becker 1999, Bd. 10, S. 247. Seduction - Flirtation with a servant. 1854. Oil on wood. Signed and dated. - Decoratively framed. Condition AA. Erster Aufruf 100 EUR / 120 SFR / 130 USD Versuchung - Flirt mit einer Dienerin. 1854. Öl auf Holzplatte. 240 x 200 mm. Signiert und datiert. - Dekorativ gerahmt. Zustand AA.
