Late 19th or early 20th Century oil on canvas.

An earlier owner of this work has written on the canvas frame on the back that they believe the painting to have been the work Frank Buchser, but we have nothing to support that supposition.

Portrait of a Girl from Brittany

Emile Bressler (1886 – 1966)
Well-known Geneva artist Emile Bressler was influenced by fauvism.

This oil on canvas mounted on board was most likely painted just before WWI when the artist spent several months in Brittany.

Signed “Bressler” lower right.

Annotated “Fillette de Pont-l’Abbé” on the reverse.

Fillette de Pont-l'Abbé - Detail

Portrait of a Girl by Egon Stolz

Two beautiful early 20th Century Austrian drawings on reverse sides of a single sheet. On one side, a portrait of a young girl with her head titled to one side.  On the other a nude sketch of a boy in a style reminiscent of Egon Schiele.

The Viennese artist Erwin Stolz (1896 Giesshuebel / Sauerbrunn – 1987 Vienna) was a member of the early 20th Century Austrian art group known as the “Hagenbund.”

Like the Secession, its members rebelled against the establishment in favor of a modernist approach.  The groups members included Oskar Laske, Georg Mayer-Marton, and Oskar Kokoschka.

Dimensions: 54 X 34 cm

Sketch of Boy on the Reverse

Full View with Frame

Portrait of a Girl Signed A. Sandoz

Young Girl in a White Dress in a Reflective Pose.

We believe this is the work of the Geneva portraitist and enameler Alfred Sandoz (Born 27.3.1901 St-Imier (Bern) – Died 19.3.1964 in Geneva).

Oil on Canvas

Signed A. Sandoz lower left

Annotation:  A. Sandoz – Geneve on the reverse

Dimensions: 73 X 60 cm

Victorian Woman Reading

Beautiful small gouache painting of an elegant Victorian woman reading a book in a park.  She wears a rich red dress and a scarf loosely draped around her neck.

The artist’s name was apparently M. A. Ansley since there is a stamp on the reverse which reads:

Nachlass: M.A. Ansley (Estate of M.A. Ansley).

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The work shown above is an original antique painting.

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Self Portrait of the Artist Dated 1930

Mihaly Erdelyi

Hungary 1894 – 1972

Self Portrait

Oil on Wood.  Signed and dated 1930.

Dimensions: 52 x 40 cm

Striking art deco self portrait of the Hungarian artist Mihaly Erdelyi with the figures of two women in the background.   There is clearly an intriguing story behind this evocative self portrait of the artist at the age of 36.

Full View in Frame

Pierre-Albert Rigot

Alexandre-Louis d’ Albert-Durade
(Swiss, 1804-1886)

Alexandre-Louis d’Albert Durade was a Genevan portraitist who also served as the Director fo the Athénée Museum.  Among his best known works is a portrait of the British novelist George Eliot, who stayed with the artist during her travels through continental Europe in the mid-19th Century.

Portraits of the brothers Henri Rigot and Pierre-Albert Rigot, members of the famous Rigot family of Varembé, Geneva, Switzerland.

The Rigot Family of Varembe

Henri and Pierre Albert Rigot, the subjects of these portraits, were the sons of Amadee Rigot, who was a local land-owning gentleman and the mayor of Petit-Saconnex in the 1830s.  The vast Rigot estate, of which only the Villa Rigot still exists, was in the area around the Place des Nations next to the current headquarters of the United Nations Office at Geneva.

Pierre Albert was a gentleman farmer and property owner in Varembé.

Henri was an “agente de change” and a negotiante in Geneva, but died at the young age of 25.

The Painter Alexandre-Louis d’Albert-Durade

Below is an excerpt from the Book George Eliot and the Visual Arts by Hugh Witemeyer (Reference Site) which gives an account of the relationship between the artist and the writer.

“In 1849-50 George Eliot spent eight months in Geneva, recovering from the fatigue and depression caused by her father’s illness and death. During five of those months, she lived in the family of Alexandre-Louis-François d’Albert-Durade (1804-86), a Swiss painter of portraits and scenes from Genevan history. D’Albert Durade had studied with Joseph Hornung and married Julie Covelle, an accomplished painter of flowers. “She has hung my room with pictures,” George Eliot wrote, “one of which is the most beautiful group of flowers conceivable thrown on an open Bible — painted by herself” (Letters, I, 314). Of M. d’Albert-Durade Eliot reported:

I love him already as if he were father and brother both. You must know he is not more than four feet high with a deformed spine — the result of an accident in his boyhood — but on this little body is placed a finely formed head, full in every direction. The face is plain with small features, and rather haggard looking, but all the lines and wavy grey hair indicate the temperament of the artist. [Letters, I, 307]

For this verbal and phrenological portrait, d’Albert-Durade reciprocated by painting an actual portrait of the writer (Haight, p. 77 and Plate IV). When he accompanied her back to England in the spring of 1850, George Eliot arranged for him to see the Windus collection of Turner’s work (Letters, I, 332).

She saw d’Albert-Durade again in June of 1860, when she and G. H. Lewes stopped in Geneva on the return from their tour of Italy. By then the painter had become director of the Athénée Museum. He took the Leweses there and also to the studio of [14/15] Calame, the Swiss painter whose Alpine landscapes had impressed George Eliot at Leipzig in 1858. Although she never saw d’Albert Durade again, George Eliot continued to correspond with his family, and d’Albert-Durade became the French translator of Adam Bede and The Mill on the Floss (Haight, pp. 330-33). One wonders what he thought of Philip Wakem.”

The above is quoted from: (Reference Site)

Henri Rigot

Portrait by G. Debillemont Chardon

Gabrielle Debillement-Chardon
(1860?-1957, France)

Portrait of a young woman with a blue headband bedecked with flowers.  Dated July 1946.

The French artist Gabrielle Debillement-Chardon specialized in miniatures and paintings of beautiful young women.  She was also the author of a book on the art of painting miniatures on ivory.

The collection of the Philadelphia Museum of Art includes a miniature by this painter.

Portrait of a Swiss Peasant - Verena Broger

Verena Broger

Charming naive / folk art portrait of a Swiss farmer in native costume smoking a pipe.  He holds an umbrella in one hand.

Signed Verena Broger and dated 2000.

Swiss Artist Verena Broger was born in 1943 in Zalwil near Zurich and originally trained as a textile designer.  Since 1972 she has lived and worked in Appenzell, focusing on affectionate portraits of peasants and country life in this picturesque and very traditional region of Switzerland.  Broger’s earlier  works were in pastel colors, but the intensity of her palette has grown over the years, as is evident in this striking naive portrait, with its vibrant blue background.

Portrait of a Swiss Peasant - Verena Broger - Full View

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Signed A.J.M. lower right.

Dimensions: 22 X 25 cm