Bell Collection: Name that Painting . . .

4/18/25 32 Comments

Authored & Curated By

M.J.G.

This fascinating photo is listed among the Bell Papers as Bell Home Interior. The room is strikingly different from the other rooms we've explored, in several noticeable ways that you'll discover during this in-depth study. What we see here is a classic example of an 1880s interior decorating style—specifically, that of a gallery or artist’s room—featuring juxtaposed paintings on a papered background, artistic accoutrements clustered on shelves and tables, and layered carpeting. These are among my favorite types of rooms to explore.

As we examine the many intriguing objects in this space, we must remember that while it is listed as part of the Bell Home collection, it remains unclear whether this room was actually part of that home. What do you think?

When reviewing the photo, consider the following:
First. Was this photo taken before the fire? The mantel appears to be of an older style.
Second. Was this photo taken after the fire, and could these be paintings that were cleaned and salvaged from the home?
Third. Was this room located on the second floor of the home? The ceiling appears lower than those seen in first-floor photos and is more consistent with second-floor ceiling heights.
Fourth. Was this photo even taken in this home at all?

Don't forget to click the image to make it larger!

To many modern eyes this room may appear disorderly, disheveled, or too cluttered. While yes, we can agree there is a lot happening here, a closer look reveals that this room is anything but disorderly or disheveled. Quite the contrary. The paintings and prints on the wall follow a mostly symmetrical arrangement. I ask you to take a step back and imagine the thought that needs to go into this. You have 40 paintings and prints laying on the floor, and now you need to arrange them all to be symmetrically placed. There is a lot of thought that goes into that. Scan from left to right, using the mantel clock as the center point, you’ll notice that the layout is generally balanced. The wall on the right begins to cluster into a new symmetry—prompting one to wonder if a door or window to the far right might have created this equal balance.

These are among the most rewarding rooms to research, as they are filled with historical detail.

Let’s dive deep into this photo. We’ll start at the top left and move across the upper row first, then snake our way back and forth across the walls of this fascinating room.

The painting or print on the left appears to be either a painting or a replica print of a work by Jean Aubert. The piece on the right depicts a beautiful scene of mountains and water, with a boat resting at the center. Can you identify it? Post your thoughts in the comments below. Also, take note that the frame is missing a large section on the left side.

Here is an example of the Jean Aubert painting. It’s slightly different from the one we see in the photo—the trees in the upper left don’t match, and the version in the old photo appears to include a lower portion that’s missing from this example. It remains a unique and intriguing subject.

The subject of the painting on the left is especially intriguing—it appears to show a person seated on a wagon or carriage. In the center, there seem to be two figures under an umbrella. The painting on the right remains difficult to interpret due to its lack of clarity.

If you look closely, you’ll notice that none of the artwork in this room is hanging from the picture rail—there are no visible hooks or wires. Instead, all of the paintings appear to be mounted directly onto the wall.

Both frames show visible signs of damage, and the picture rail molding itself is in rather poor condition. This brings up a few questions: if this room was part of the original structure, was the photograph taken before the fire? Or could it be that this space wasn’t severely damaged and was simply repaired instead of being completely reconstructed?

Let’s pause from studying the paintings to take a closer look at the room itself. There’s a wallpaper small frieze border running just below the picture rail around the room. It’s somewhat difficult to see, as many of the frames cover the seam—but if you look closely, you’ll spot it a darker floral repeat. You can also see what appears to be a large pin or nail for hanging a photo, though interestingly, there doesn’t seem to be any wire attached to it. The cove molding also appears to be painted in a darker color from the picture rail and ceiling.

As we reach the corner, it becomes difficult to clearly identify the painting on the left. In contrast, the one on the right is much more visible, though its frame once again appears to be damaged. All the way to the right, you can just make out the dividing line of the frieze border.

Update!
Thanks to Obscurus for identifying this painting as ‘La folie d’Haydée’, 1848, by Charles Louis Lucien Müller!

As we move down to the mid-level of the wall, smaller paintings and prints are closely arranged, creating a striking juxtaposition. The frames at the corner nearly collide—a fascinating choice during an era known for its emphasis on order and precision. The central image features two sheep, while the pieces on the left and right appear to depict grapes and other objects arranged on a table.

A little lower, we can see a shadow box painting. These gilded works, enclosed in glass, are always intriguing and add another level of visual interest to the room.

The frameless paintings on the left and right are also interesting to see mixed in among the more ornate gilded frames. Below, the two small paintings depicting scenes might even have been created by a resident of the home—an intimate touch in an already richly layered display.

Moving to the left, we see a print on the right and a fruit print on the left. The frame of the fruit print is damaged along the bottom.

Moving below, we have another set of three paintings. The dark painting on the right is difficult to make out, the one all the way to the left appears to be a street scene, possibly depicting Amsterdam or another Dutch town. Willem Witsen was known for many of these types of scenes. The center photo looks like a scene shows two figures in a gondola on the water, with one figure standing and using a pole to propel the boat. The background seems to depict a hazy or misty landscape, typical of Venetian lagoon scenes.

Some of these paintings are difficult to make out and require a bit of time to focus on. The painting on the right appears to depict a basket with doves or pigeons—perhaps a piece you might find in a dining room. The painting in the center of this scene shows a person playing a woodwind instrument while reading sheet music, possibly outdoors.

Over the fireplace mantel, we see some fascinating paintings: on the right, a woman sits with a baby and a dog, while on the left, a man stands beside a child who appears to have her hands raised in front of the mantel. The painting in the center is a beautiful winter scene. While I’m not sure the exact painter of this painting, or any of the paintings for that matter, I have been able to identify the location. See below.

The location appears to be the Werner Chapel in Oberwesel, similar to this one by Karl Bender. It’s difficult to know the exact painter in any of these paintings as they could be from a school of painters that copy originals for training like Hudson River School. Or perhaps independent artists that sold their paintings privately or at galleries. The 19th century showed a massive appreciate for art, new and old.

To the right there is a boy in front of a large fireplace with a desk and chair. To the left is an ocean view with boat, but the central picture is actually quite fascinating we’ll explore next.

Update!
Thanks to Obscurus for identifying this etching which is published in “The Casquet of Literature” Volume 4, ed. Charles Gibbon, 1874. It is attributed as painted by H Hollander, engraved by D J Sluyter.

Let’s zoom in closer on the center painting before moving on. This painting is fascinating and moody. I’m very interested in learning more about this piece. It depicts a very foggy or smoky scene, with what appears to be a person wearing a large basket on their head or perhaps a large headdress. It’s difficult to tell whether there are faces obscured in the painting, or if the entire piece is intentionally blurry, giving it a dreamy, ethereal quality. This is the kind of painting that I personally could study for hours.

The lower portion of the walls features unframed paintings, along with a Middle Eastern hookah resting on a Turkish fringed chair and table. On the lower left, leaning against the wall, is another picture. The painting on the wall in the top left appears to be damaged.

Note, the baseboard molding is painted in two colors.

Tired yet? Shall I ring the bell on the wall to summon the maid for tea or coffee? This is a mechanical bell system, where pulling the crank sends a signal through a wire running in the wall through pipes, ringing a bell in the servant’s quarters, such as the kitchen or another service room.

Now, let’s take a little break from the paintings and inspect the fireplace area. The heavily draped fireplace is packed with interesting details. Notice that the mantel itself appears to be an older marble design, complete with an arched coal insert—adding to the mystery of this photo. One might wonder, if this room was in the Bell house, why he chose to either retain the original mantel or, perhaps, if this room wasn’t badly damaged by the fire. The beautiful Islamic style table in the center is also attractive, with two large smoking pipes crisscrossing over the octagonal surface.

Update!
Thanks to Grant for identifying the large pair of pipes crossed in front of the fireplace. They are chibouks, a type of tobacco pipe.

Looking closely at the mantel shelf, we have an array of carefully arranged and symmetrically placed objects. Let’s explore each item from the center outward:

A mantel clock with a bust topper sits dead center, anchoring the entire arrangement as well as the room around it.
Flanking the clock on both sides are column fragment replicas believed to represent the Temple of Castor and Pollux from the Roman Forum—perhaps collected as a souvenir from a trip to Italy.
On the right side, there is a mass-produced decorative vase. To balance the symmetry, the left side features a contrasting piece—a small Turkish teapot.
Next in the arrangement are two large obelisks accompanied by two cabinet card photographs. The photo on the left shows a person dressed in costume, while the one on the right appears to be a more traditional portrait.
Both photographs are displayed in metal stands, one on each side of the mantel.
Above the mantel, on the wall, are two paintings, one on the left and one on the right, completing the visual symmetry.

Also, did you notice that behind the clock, there is another frameless painting leaning against the wall?

Update!
Thanks to Wright for finding this photo of antique souvenirs popular during the 19th century. The link to the website is listed in the comments section below.

The embroidered mantel scarf was a common decorative piece in the 1880s and 1890s, often used to cover old or outdated mantels, offering a stylish way to update the look of a room without the need for a major renovation.

The carpet laid over the wall-to-wall carpeting appears to be a tapestry, adding a layer of texture and visual interest to the floor, likely contributing to the room’s overall decorative style.

The pipes crisscrossing on the table are beautiful in their design and appear to have an inlay. To the right sits a wrought iron candelabra, and behind it, there appears to be a drawing or print of some type of plant.

Two beautiful bases rest on the floor, one holding a Venus de Milo statue near the mantel. The octagonal inlaid table also showcases several interesting objects. Additionally, there appear to be two or three frameless paintings leaning against the walls and mantel, adding to the eclectic and artistic atmosphere of the room. Before moving to the next picture, behind the vase on the right is an interesting object. There is another one in the next picture.

Here you can see the other mystery object on the right, and on the left, the bowl used for burning tobacco from the ornate pipe. Another Turkish tufted chair with fringe on its typical casters to move freely across the room when needed. On the right is a beautifully painted pedestal or umbrella stand and further is another unframed work of art resting against the wall.

Update!
Thanks to Shelley for identifying the Ottoman silted clog or harem shoes!

In the final picture of this collection, perched on the beautifully painted pedestal, is an artist’s mannequin. An unframed painting lies casually across the chair, adding an informal touch. The posed plaster horse might also be part of a study for drawing, reflecting the artist’s focus on form and detail.

This concludes the series on The Bell Mansion.
I hope you’ve enjoyed this time travel as much as me. Please post your thoughts below in the comments section if you think you identified an object or painting in the room.

Previous Chapters:
Click the images below to go back.

Bell Mansion: The Exterior

Bell Mansion: Hall & Sitting Room

Bell Mansion: Dining Room & Parlor

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