A few examples of appraisal values for
SHEPHERD SLEEPING

• Shepherd tending sheep farm
  Shepherd tending sheep farm scene; oil on board; 15 1/2" x 20"; signed I. Brown? lower right.
• Follower of Nicholas Berchem/Cows
  Follower of Nicholas Berchem/Cows and Sheep/tended by a sleeping herdsman, a castle on a hilltop beyond/oil on panel, 28cm x 34.25cm
• Sheep and shepherd in pastoral
  Sheep and shepherd in pastoral landscape; oil on canvas; 16" x 19 1/2"; signed "Salas" lower right. In ornate gilt gesso frame.
• After FRANZ LENBACH (German)
  After FRANZ LENBACH (German) Antique Figural Painting. "Sleeping Shepherds Boy" Dimensions: H: 21 inches: W: 29 inches --- Condition: Some surface blemishes to canvas. One small repair to back canvas.
• Artist Unknown (19th century)
  Artist Unknown (19th century) Shepherd and His Sheep oil on canvas 22 x 10 1/4 inches.
• Victorian Lithograph of Shepherd
  Victorian Lithograph of Shepherd with hisflock on the farm dogwoods in bloom image area 14'' x 26'' watercolor or gouache highlights.
• Old Master painting, shepherd by
  Old Master painting, shepherd by a pond with sheep, cows and goats, unsigned, oil on canvas, European, 18th century, 22-7/8 x 31-1/4 in.; fine 19th century gilt wood and composition cove molding frame. Lined, restretched on old stretcher, crackle, hole in varnish with some paint loss (burn?), retouch down right side (former stretcher mark?) and down left edge and some small points at top and bottom with less than 2 percent of surface affected; frame possibly regilt, minor losses, abrasions. Descended in Goncharoff family.
• Joseph Sheppard American, b. 1930
  Joseph Sheppard American, b. 1930 Study of a Sleeping Girl charcoal on paper signed and dated "Sheppard, 57"lr 8 1/4 x 10 3/4 in., framed
• Charles-André called Carle Van
  Charles-André called Carle Van Loo (French 1705-1765) "A Sleeping Shepherd" probably c. early 1760s red chalk (and graphite sketches of a left hand and a head at top right) inscribed in umber ink by a mid-18th c. hand "VanLoo Père" at bottom on cream-colored laid paper with untranslated watermark in four lines (beneath right arm) and countermark of a symbol (above left knee) with punctures for stitching on right edge 12 1/2 in. x 17 in. in a modern mount extensively numbered and inscribed. Provenance: Art Market New York; James R. Lamantia Jr. New Orleans and New York. Note: The most illustrious member of a famous five-generation dynasty of French draftsmen and painters originally from Flanders Carle Van Loo is here contemporaneously labeled as "Père" to distinguish him from his son Jules-César-Denis Van Loo (1743-1821 then in his twenties) who emigrated to Turin-like his father-and painted at the Piedmontese court. Carle born at Nice was trained at Turin from 1712 and Rome from 1714 where he studied with the sculptor Pierre Legros II (1666-1719) who was particularly celebrated for his fine drawings. Upon moving to Paris in 1719 Carle himself won a first prize in drawing from the Académie Royale in 1723 and was awarded the coveted Prix de Rome in 1724. Another of his drawings took first prize at the Accademia di San Luca in 1728 and he began to demonstrate the stylistic eclecticism which distinguished his career varying from the refined classicism of Raphael and Carlo Maratta to the dramatic dynamism of his own best contemporaries of whom François Boucher was his particular friend. After another highly creative stay in Turin (1732-34) Van Loo began a brilliant career in Paris in the following year when his 1735 admission to the Académie Royale was immediately followed by a host of official religious and royal commissions. He was ennobled in 1751 and appointed First Painter to the King in 1762; Baron von Grimm called him "the greatest painter in Europe." This very splendid sheet (despite its evidence of having been removed from an album) seems too regular and finished to be merely a preparatory sketch for a painting: rather it shows every evidence of being a presentation drawing in its own right exemplifying the precise technically perfect mastery which has made Van Loo's drawings conspicuously rare on the market. References: Laurie G. Winters "Carle Vanloo " Grove Dictionary of Art Jane Turner ed. London 1996 34 vols. vol. 19 645-647; Annamaria Petrioli Tofani et alia Disegni dell'Europa Occidentale dall'Ermitage Florence 1982 p. 86 no. 99 fig. 95 (dynamic style with inscription very similar to this); Pierre Rosenberg and François Bergot French Master Drawings from the Rouen Museum Washington 1981 pp. 88-89 no. 114 pl. 74 (sculptural style: this technique).
• EUROPEAN IMPRESSIONIST SHEPHERD
  EUROPEAN IMPRESSIONIST SHEPHERD LANDSCAPE PAINTING Europe,19th CenturyPastoral landscape depicting a shepherd resting in a field as his sheep graze under the shade of the forest.
• Charles-André called Carle Van
  Charles-André called Carle Van Loo (French 1705-1765) "A Sleeping Shepherd" probably c. early 1760s red chalk (and graphite sketches of a left hand and a head at top right) inscribed in umber ink by a mid-18th c. hand "VanLoo Père" at bottom on cream-colored laid paper with untranslated watermark in four lines (beneath right arm) and countermark of a symbol (above left knee) with punctures for stitching on right edge 12 1/2 in. x 17 in. in a modern mount extensively numbered and inscribed. Provenance: Art Market New York; James R. Lamantia Jr. New Orleans and New York. Note: The most illustrious member of a famous five-generation dynasty of French draftsmen and painters originally from Flanders Carle Van Loo is here contemporaneously labeled as "Père" to distinguish him from his son Jules-César-Denis Van Loo (1743-1821 then in his twenties) who emigrated to Turin-like his father-and painted at the Piedmontese court. Carle born at Nice was trained at Turin from 1712 and Rome from 1714 where he studied with the sculptor Pierre Legros II (1666-1719) who was particularly celebrated for his fine drawings. Upon moving to Paris in 1719 Carle himself won a first prize in drawing from the Académie Royale in 1723 and was awarded the coveted Prix de Rome in 1724. Another of his drawings took first prize at the Academia di San Luca in 1728 and he began to demonstrate the stylistic eclecticism which distinguished his career varying from the refined classicism of Raphael and Carlo Maratta to the dramatic dynamism of his own best contemporaries of whom François Boucher was his particular friend. After another highly creative stay in Turin (1732-34) Van Loo began a brilliant career in Paris in the following year when his 1735 admission to the Académie Royale was immediately followed by a host of official religious and royal commissions. He was ennobled in 1751 and appointed First Painter to the King in 1762; Baron von Grimm called him "the greatest painter in Europe." This very splendid sheet (despite its evidence of having been removed from an album) seems too regular and finished to be merely a preparatory sketch for a painting: rather it shows every evidence of being a presentation drawing in its own right exemplifying the precise technically perfect mastery which has made Van Loo's drawings conspicuously rare on the market. References: Laurie G. Winters "Carle Vanloo " Grove Dictionary of Art Jane Turner ed. London 1996 34 vols. vol. 19 645-647; Annamaria Petrioli Tofani et alia Disegni dell'Europa Occidentale dall'Ermitage Florence 1982 p. 86 no. 99 fig. 95 (dynamic style with inscription very similar to this); Pierre Rosenberg and François Bergot French Master Drawings from the Rouen Museum Washington 1981 pp. 88-89 no. 114 pl. 74 (sculptural style: this technique).
• 18th century painting, figure of
  18th century painting, figure of shepherd playing musical instrument, with sheep, unsigned, possibly Peruvian School, oil on panel, 12 x 8-1/2 in.; carved gilt wood and composition frame with mirror insets. Flaking, grime, split running entire length; frame with abrasions, loss to composition.
• After the original painting by
  After the original painting by George Morland (British 1763-1804), "Shepherds Reposing"; color print; 18" x 14"; London, published 1803 by H. Macklin.
• WILLIAM PHELPS IMPRESSIONIST
  WILLIAM PHELPS IMPRESSIONIST SHEPHERD PAINTING New Hampshire,1848-1923Depicting a young man standing amongst a flock of sheep at dawn. Phelps studied art in Munich and Paris, later returning to the United States to exhibit at the National Academy of Design.
• Oil on canvas painting of sheep
  Oil on canvas painting of sheep grazing on a hillside and shepherd with his dog overlooking a village signed verso "Abendsegen" and "----hoff---- 1954". 16"x20"
• Oil on canvas landscape painting of
  Oil on canvas landscape painting of a shepherd flock of sheep and thatched roof cottage titled "Going to Pasture" and signed l.r. "P. Grau". 19"x29.5"
• Franz Van Severdonck painting
  Franz Van Severdonck painting (Belgian, 1809-1889), sheep resting in a field, French title inscribed verso, signed lower left "F Van Severdonck/ft 1874" and verso on label "F. Van Severdonck", oil on panel, 7 x 10-1/4 in. sight; 19th century gilt wood and composition cove-molding frame with acanthus, laurel leaf and berry decoration. Repaired split left edge 2-3/4 in. with retouch, craquelure, uneven varnish layer (possibly bonding resin); frame with some loss to gilding and surface.
• Oil Painting of Shepherdtaking
  Oil Painting of Shepherdtaking his flock down a country lane cottage along side signed M.B. 1914 image area 16'' x 18'' fine gilt frame.
• Attributed to Stepano Della Bella
  Attributed to Stepano Della Bella (1610-1664)/Sheep Lying Down/pen and ink, 7cm x 5cm
• 16TH C. ETCHING OF SHEPHERD A Young
  16TH C. ETCHING OF SHEPHERD A Young Shepherd with a Staff, a hat and two dogs in a landscape, unsigned, trimmed to edge, in water gilt molded frame, floated within mat and glazed, OS: 9 1/2" x 8", SS: 4 1/4" x 2 3/4". Toned at top corners from old mount. From the collection of Howard Hibbard.
• Italian Old Master painting,
  Italian Old Master painting, Adoration of the Shepherds, nativity with shepherds, two angels holding banner Gloria in Eccelcis Deo , unsigned, oil on canvas, possibly 17th century, 56 x 49 in.; modern gilt wood and composition frame. Restretched on new stretcher, lined with wax and linen, retouch throughout affecting approximately 20 percent of surface, frame abrasions, flaking, cleavage, cupping, crackle; frame with abrasions. The Estate of the Late Francis Reese, Ball Ground, Georgia
• Wilhelm Schroeder Shepherd Boy
  Wilhelm Schroeder Shepherd Boy and Sheep oil on canvas signed Wm. Schroeder (lower left) 23 x 38 inches.
• SHEEP BY ALFRED MONTGOMERY.
  SHEEP BY ALFRED MONTGOMERY. American, 1857-1922. Oil on canvas, signed lower right. Sheep in a barn with nearby guard dog. Patched repairs with inpainting. 22"h. 36"w., framed, 30.75"h. 44.75"w.
• ABRAHAM BLOEMAERT RELIGIOUS GENRE
  ABRAHAM BLOEMAERT RELIGIOUS GENRE SCENE ETCHING Netherlands,1564-1651Surreal depiction of a young man keeping watch over a sleeping shepherd while the sky above opens up with with many cherubic figures and a wall of Latin text explaining the context.
• A Derby figure of a shepherdess
  A Derby figure of a shepherdess in a floral bocage with lamb at her feet on a scrolling base 23cm (9") high
• A. Cortez (Spanish, fl. ca.
  A. Cortez (Spanish, fl. ca. 1870-1927) "Love Awakens the Shepherdess", a galants scene of a young shepherd awakening a young slumbering shepherdess in a bucolic landscape in the manner of Francois Boucher (French, 1700-1773), fourth quarter 19th century, presented in a later broad giltwood frame in the neoclassical taste, signed lower right, h. 24", w. 38".
• UNUSUAL STAFFORDSHIRE FIGURAL GROUP
  UNUSUAL STAFFORDSHIRE FIGURAL GROUP Circa 1860, the scene involves a dog protecting his sleeping mistress from a large spread-wing predatory bird.
• A needlework picture of shepherds
  A needlework picture of shepherds with their dogs, circa 1830, 48.25cm high
• Manner of Eugene Verboeckhoven
  Manner of Eugene Verboeckhoven (Belgian, 1799-1881) "Resting Sheep", oil on panel, 15" x 21". Presented in a carved gilt and gesso exhibition frame.
• FRANZ MARC, (GERMAN, 1880-1916),
  FRANZ MARC, (GERMAN, 1880-1916), SCHLAFENDE HIRTIN (SLEEPING SHEPHERDESS), WOODCUT, 7 7/8 X 9 1/2 IN.FRANZ MARC, (German, 1880-1916) Schlafende Hirtin (Sleeping Shepherdess), woodcut stamped and signed in pencil by Maria Marc, verso 7 7/8 x 9 1/2 in. Provenance: The artist's widow, Maria Marc, to Lyonel Feininger (1871-1956); by descent to his son, T. Lux Feininger; The Estate of T. Lux Feininger. Condition: Condition: Imperfections in paper, particularly in left margin; right edge slightly creased.
• PASTORAL SCENE WITH SHEEP. American
  PASTORAL SCENE WITH SHEEP. American school, early 20th century. Oil on canvas, unsigned. Sheep near a farm stream. 12.5"h. 24.5"w., framed, 17"h. 29"w.
• GEORG WOLF (GERMAN, 1882-1962),
  GEORG WOLF (GERMAN, 1882-1962), SHEPHERD WITH FLOCK Oil on canvas, signed at lower left, presented in a vintage frame.
• AESOP FABLE IMAGE, OIL "The Wolf in
  AESOP FABLE IMAGE, OIL "The Wolf in Shepherd's Clothing," Early 20th century, Oil on canvas; of sheepdog protecting flock from wolf.
• Follower of Nicholas Berchem/A
  Follower of Nicholas Berchem/A Shepherd and Shepherdess with Cattle, Sheep and Goats/in a wooded landscape/oil on copper, 24.75cm x 31cm
• John E. Califano (1862-1946 Van
  John E. Califano (1862-1946 Van Nuys CA) Shepherd Tending to Sheep
• SHEEP HERDING IN WINTER STORM BY
  SHEEP HERDING IN WINTER STORM BY JOHN CALIFANO (1862 ROME-1942 CALIFORNIA). Oil on canvas signed lower right. Signature and 1908 pasted on reverse. Running sheep under grey skies. Remounted. 14''h. 26''w. in a frame 17''h. 28 1/2''w.