Portrait of Mrs. Christian Wahl, 1873, oil on canvas, 47-1/2" × 31-1/8” c.1880s American Barbizon frame, gilded applied composition ornament on wood, molding width 7” Layton Art Collection, Inc., Gift of Mrs. Lucius Nieman L1937.1

The Two Farewells, 1873, oil on canvas, 20-3/4” X 32-1/4” c. 1870s-1880s American painting frame, gilded applied composition ornament on wood, period outside frame molding fit around original triple liners. Layton Art Collection, Inc., Gift of Frederick Layton L1888.8

Still Life, Eggs, n.d., oil on canvas, 23-3/4” x 29” 18th-century Dutch painting frame, ebonized wood, dimensional reverse profile, gilded liner.  VAR Molding width: 6-1/4” Painting: Layton Art Collection Inc., Gift of Frederick Layton L120

The Pilot Boat (Trouville Fishing Boat in a Fresh Breeze), ca. 1839, oil on canvas, 41" × 56-1/2". Mid-19th-century Continental painting frame. Molding width: 7-3/4” Painting, Layton Art Collection, Inc., Gift of Frederick Layton L1888.6

Arabs (Cavaliers Arabes en observations dans la montagne), 1873, oil on panel, 17-3/8" × 14-9/16" Custom-made replica c. 1880s American Orientalist painting frame; gilded applied cast ornament on wood. Molding width: 5-1/8”  Painting, Layton Art Collection, Inc., Gift of Mr. and Mrs. Arthur N. McGeoch, Sr. L1941.7

The Two Majesties (Les Deux Majestés), 1883, oil on canvas, 27-1/4” × 50-3/4” Late-19th-century Italian frame, elegant gilded hand-carved wood ornament, finely detailed scrolling foliate punch-work on bevel panel,, molding width 6-1/2” “This painting is remarkable for its quiet solemnity. A huge, solitary lion, the king of the beasts, gazes across the seemingly endless terrain at the majestic setting sun, thus explaining the romantic title. The eerie grandeur is dramatized by the lion's profile, the single vertical element, against the horizontal planes of the desert. Jean Léon Gérôme embodied the artistic establishment of late nineteenth century Paris. A highly esteemed Salon painter and respected professor at the École des Beaux Arts, Gérôme recorded the daily life and customs of the people and places he saw on his many travels to North Africa and the Near East.” —museum label. Layton Art Collection, Inc., Gift of Louis Allis L1968.82

Minding the Sheep, n.d., oil on canvas, 27-1/8” × 37-5/8” 19th-century French Louis XIV-style frame with ornamented liner design in Barbizon tradition, gilded cast ornament on wood, molding width: 5-7/8” Layton Art Collection, Inc., Gift of Charles Pfister L170

The Old Stagecoach, 1871, oil on canvas, 36-1/2” x 60-5/16”. Custom-made replica c. 1870s American painting frame, gilded applied composition ornament on wood; Molding Width: 7”  "The early 1870s marked the height of Eastman Johnson’s career. His sentimental genre scenes of rustic youth and rural life were extremely popular in the wake of the Civil War, evoking a nostalgia for simpler times. Images of innocent and carefree children offered promise for a new beginning to a generation troubled by industrialization and decaying urban conditions. The traditional New England character of Nantucket attracted Johnson to spend his summers there. This energetic and convincingly spontaneous scene of children playing on the wreck of a stagecoach was actually staged in Nantucket on a platform, which the artist altered in the studio to conform to an abandoned coach he had drawn in the Catskills. Despite its contrived origins, the painting is a joyful celebration of the hope of a nation as embodied in the laughter of its youth." — museum label. Layton Art Collection, Inc., Gift of Frederick Layton L1888.22

Study of a Model, 1885, oil on canvas, 41-1/2 × 31-1/2 in. Period framec. 1900-1910 American frame, gilded applied composition ornament on wood, molding width 5-1/2” “Max Pietschmann was a young student at the Art Academy in Dresden when he painted this sensitive study, in 1885, during an especially fraught historical period for Germany. Indeed, just the year before, Germany had established its first colonies in Africa, and visitors to Germany from Africa not only increased but also were regarded with great curiosity by German citizens. Although we do not know his identity, the model for this painting was likely an African performer from a circus that passed through Dresden in November, the month Pietschmann completed the painting. The artist’s study offers a window into a complex social moment, creating an image of a Black man that foregrounds his dignity and self-possession at a time when such a portrayal was far from common in German art.” —museum label. Purchase, with funds from Avis Martin Heller in honor of the Fine Arts Society M2020.39

View on the Outskirts of Granville (Environs de Granville), 1831–32, oil on paper mounted on canvas, 16-9/16 × 25-13/16 in.  19th-century French Barbizon frame, gilded cast ornament on wood, molding width: 5-1/2”   Layton Art Collection, Inc., Gift of Mr. and Mrs. Arthur N. McGeoch, Sr. L1941.6 “In this view near the town of Granville, in Normandy, France, a single stroke of blue paint indicates the English Channel in the distance, and the roiling clouds evidence the rapidly changing weather Théodore Rousseau found along the coast. Rousseau painted the sketch outdoors, or en plein air, employing rapid brushwork and a wet-on-wet technique; he created such sketches to record the character of the light, details of the terrain, and general atmosphere at the sites where he painted for later use in his finished works. The finished work created from this study was exhibited at the 1833 Salon in Paris, and is now at the State Hermitage Museum in Saint Petersburg, Russia.” —museum label

The Wallachian Post-Carrier, oil on canvas, before 1891, 48” × 79” Period Frame c. 1880s French Barbizon painting frame; gilded applied cast ornament on wood; molding width: 6-7/8” “The real subject of this painting is the dramatic power of the six horses that pull the postman’s wagon. Some pull forward, some rear back, creating a tension that is emphasized by the active brushwork with thick impasto paint. Wallachia, referred to in the title, today is southern Romania. After studying in art schools in Germany and Paris, Christian Adolf Schreyer made a career out of depicting the exotic lands he encountered while traveling throughout eastern Europe and northern Africa.” —museum label. Layton Art Collection, Inc., Gift of Washington Becker L108

Still Life, probably 1880s. oil on canvas, 58-1/2” × 45-1/2” 19th-century Italian Neoclassical frame, gilded hand-carved wood, molding width 5-3/8” Layton Art Collection, Inc., Purchase L1898.1

Destruction by Night of the Spanish Batteries Before Gibraltar, 1783, oil on canvas, 36-3/8” × 60-5/8”  Mid-20th century replica of 17th-century Italian Salvator Rosa-style frame, gilded applied ornament on wood, molding width 4-3/4” “This dramatic scene shows the pivotal moment in the furious Spanish assault on the British stronghold on the peninsula of Gibraltar. The Spanish had attacked the British fort from a floating battery they had constructed from old warships. Here, the tide of the nocturnal battle has shifted, and the British are winning the day—even rowing in to save the drowning Spanish soldiers from their burning vessels. This patriotic painting was the very first work that Thomas Whitcombe, a prolific marine painter, ever exhibited at the Royal Academy, in 1783.” —museum label. Gift of Mr. and Mrs. R. V. Krikorian M1981.161