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Andreotti's style was the result of technical anatomy training at the Academy, and an interest in the Impressionist's use of colour and brushstroke. The combination of these influences results in a vivid, lively quality to his brushwork, but without any element or likeness lost. Each figure exudes a unique character to the other, flaunting Andreotti's skill for detailed compositions. DIMENSIONS: (unframed) 26 x 36 ins/ 66 x 91.4 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas -
Vicente Palmaroli, born in 1834, was the son of painter and lithographer Gaetano Palmaroli, who was also his first tutor. He later moved to Rome and there became part of a collective of Spanish painters including Maria Fortuny, Alejo Vera, and Luis Alvarez Catala. With works created in Italy he won multiple First-Class medals for his participation in National Exhibitions in Spain. He progressed into a renowned portrait artist and an academic. His work then specialised in 'tableautins', which were small compositions depicting light and amusing themes designed for the home. Eventually he was appointed Director of the Museo del Prado - he held this position until his death in 1896. DIMENSIONS: (unframed) 30 x 19 ins/ 76.2 x 48.3 cm SIGNATURE: Signed in the bottom right corner MEDIUM: Oil on canvas -
Ricci was a Florentine artist, born in 1854, who typically painted anecdotal scenes of upper-class family life, with a particularly skilled hand for shimmering silks and satins. Collectors across Europe and the United States found Ricci's historical genre appealing, depicting what stood in stark contrast to the harsh realities of the Industrial Revolution: the perceived height of sophistication, decadence, and taste. DIMENSIONS: (unframed) 27 x 36 ins/ 68.6 x 91.4 cm SIGNATURE: Signed in the bottom right corner MEDIUM: Oil on canvas -
MEDIUM: Oil on canvas DIMENSIONS: (unframed) 73.7 x 106.7 cm/ 29 x 42 ins SIGNATURE: Signed and dated, with location Francesco Vinea (1845 - 1902) was an Italian painter recognised for his period costume genre subjects. He preferred dynamic, imaginative, and often witty depictions of dramas over more classical historical or landscape painting. The Dance is, as the name implies, a merry scene; a couple dances at its centre, encircled by jovial music players and characters drinking together. There are several curiosities about this composition - the dancer appears to be blindfolded, and a family of ducks strolls by as if part of a different narrative altogether. 6183 -
DIMENSIONS: (unframed) 41 x 26.5 ins./ 104.1 x 67.3 cm SIGNATURE: Signed lower left MEDIUM: Oil on panel Eduardo Leon Garrido was a Spanish artist born in Madrid in 1856, who went on to spend his adult life across Italy and France. His style was influenced by impressionism and romanticism, and artists he met such as Mariano Fortuny and Martin Rico. Garrido specialised in dance scenes and portraits of women, often in decadent Rococo rooms. 6182 -
DIMENSIONS: (unframed) 24 x 32 ins/ 60.96 x 81.28 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas This painting is also known as The Poet, and is one of Girardet's most famous works. It exemplifies his ability to portray character: note each figure's unique and expressive posture. -
Brasilier’s paintings depict a peaceful, comfortable world, free from care, in a very simple, stylish manner, with delicate harmonies bathed in accommodating sunlight. Brasilier had his first retrospective of one hundred artworks from 1950-1980 at the Château de Chenonceau in 1980 and a retrospective exhibition at the Musée Picasso-Château Grimaldi in Antibes, the French Riviera, in 1988. He has since been honoured with major retrospectives both at Russia’s renowned State Hermitage Museum in Saint Petersburg in 2005 and at the Museum Haus Ludwig für Kunstausstellungen Saarlois in Germany in 2007. DIMENSIONS: (unframed) 37.5 x 50.0 in./ 95.3 x 127.0 cm (framed) 47 x 60 in./ 119.4 x 152.4 cm SIGNATURE:Signed ‘Andre Brasilier’ (lower right); Signed, dated and titles (verso) MEDIUM: Oil on canvas -
Barn and stable interiors appear in Clausen’s sketchbooks as early as 1884, but it was not until 1897 that the first in a long series of such subjects was exhibited at the Royal Academy. This painting, The Old Barn, contrasts a farmer leaning on a stick in the middle distance with a man working in the background. DIMENSIONS: (unframed) 42.3 x 34.0 ins/ 107.5 x 86.4 cm (framed) 51 x 42 ins/ 129.5 x 106.7 cm SIGNATURE: Signed 'G Clausen' and dated (lower right); signed and dated 'G. CLAUSEN.1897' (lower left) MEDIUM: Oil on canvas -
Edward Seago was an English artist who mostly painted oils and watercolours. He travelled widely during his life starting from the 1930s when he joined a circus to Venice. He also visited Northern France, Holland, Portugal, Hong Kong, Antarctica and Africa. DIMENSIONS: (unframed) 55.9 x 91.4 cm/22.0 x 36.0 ins SIGNATURE: Signed 'Edward Seago' (lower left) MEDIUM: Oil on board -
Edward Seago was an English artist who mostly painted oils and watercolours. He travelled widely during his life starting from the 1930s when he joined a circus to Venice. He also visited Northern France, Holland, Portugal, Hong Kong, Antarctica and Africa. DIMENSIONS: (unframed)20.0 x 30.0 ins/ 50.8 x 76.2 cm SIGNATURE: Signed ‘Edward Seago’ (lower left) MEDIUM: Oil on board -
Henri Lebasque (French, 1865–1937) was a Post-Impressionist artist, known as the "painter of joy and light." Lebasque's works can be found in many important public and private institutions around the world, including the Thyssen-Bornemisza Museum in Spain, the National Museum of Western Art in Japan, and the Harvard University Art Museum. DIMENSIONS: (unframed) 37.6 x 45.7 cm/14.8 x 18.0 ins (framed) 61 x 71.1 cm/24 x 28 ins SIGNATURE: Signed ‘H. Lebasque’ and dated (lower right) MEDIUM: Oil on canvas -
Sir William Russell Flint, one of the most celebrated British painters of the 20th century, has enjoyed almost constant popularity since the 1920s. His best work reflects a genuine greatness in watercolour technique . The Times’ obituary paid tribute to his exceptional mastery of the watercolour medium: ‘Sir William Russell Flint, RA, who has died at the age of 89, will be chiefly remembered as a watercolourist of remarkable technical skill. Though he painted also in oils and tempera and produced a considerable number of etchings and dry-points, his most characteristic works were watercolour landscapes and figure compositions, elaborately carried out and displaying great virtuosity, in the gradations of a wash and a special manner of enriching its effect by taking advantage of a grained surface paper’. DIMENSIONS: (unframed) 49.5 x 66.8 cm/19.5 x 26.3 ins SIGNATURE:Signed 'Russell Flint' (lower right); Signed, dated and inscribed 'Concarneau' (verso) MEDIUM: Watercolour -
In this painting the magnificent clipper is seen entering the Thames with her sails at full tilt. Painted in the realist style, Dews’ ability to capture the tranquil movement of the waves is fully realised in this beautiful painting. By using a calm palette of light blues and of white a sense of serenity is conveyed which captures the security felt at a finished journey. DIMENSIONS: (unframed) 61.0 x 91.4 cm/24.0 x 36.0 ins SIGNATURE: Signed (lower left) MEDIUM: Oil on canvas -
Noted for their intense colours, Guillaumin's paintings are represented in major museums around the world. He is best remembered for his landscapes of Paris, the Creuse département, and the area around Les Adrets-de-l'Estérel near the Mediterranean coast in the Provence-Alpes-Côte d'Azur region of France. Guillaumin was called the leader of the École de Crozant, a diverse group of painters who came to depict the landscape in the region of the Creuse around the village of Crozant. One of these depictions, titled Landscape in Crozant, is housed in the Art Institute of Chicago. His bust is in the square near the village church. Dimensions: (unframed) 65.5 x 81.3 cm/25.8 x 32.0 ins Signature: Signed 'Guillaumin' (lower left) Medium: Oil on canvas Literature: The Comité Guillaumin (Dominique Fabiani, Stéphanie Chardeau-Botteri, Jacques de la Béraudière) will include this work in their forthcoming second volume of the Guillaumin catalogue raisonné. -
A pioneer in the perceptual art movement, painter Julian Stanczak built his life around seeking answers to questions about color, light, form and the way the expression of those things affected the human eye and emotions. Over the decades, Stanczak delved deeply into studies of light waves and the effects that colors had on each other in juxtaposition. With help from his father-in-law, he built a machine to cut rolls of tape to any width so he could mask off portions of his canvases to achieve edge precision. His studio was a festival of colors mixed with great care, allowing him as much control as possible over the experience of light and feeling on the part of the viewer. DIMENSIONS: (unframed) 55.9 x 55.9 cm/22.0 x 22.0 ins SIGNATURE: Signed (verso) MEDIUM: Acrylic and collage on canvas -
Most of Blanche's works were done in Giverny (where the family home was based) from 1883 to 1897. Here she painted alongside Claude Monet and became Monet's assistant and pupil, often carrying his easel and his canvases on a wheel barrow. Monet enquired in 1884, when Blanche was 19, "Has Blanche been painting, and has she been making progress?" She painted landscapes with trees such as pines and poplars, and meadows along the Risle river. In the 1920s, she also painted on several occasions at Georges Clemenceau's property in Saint-Vincent-sur-Jard (Vendée department) in the west of France - paintings of the garden, house and the Atlantic Ocean. After Monet's death, she remained in Giverny and continued painting. DIMENSIONS: (unframed)54.1 x 81.5 cm/21.3 x 32.1 ins SIGNATURE: Signed lower left MEDIUM: Oil on canvas -
Nicholson primarily produced still-life, landscapes and portraits. His delicate landscapes look back, recalling the tradition of romantic British landscape, realised in soft, hazy hues. Portraiture constituted his main source of income: his early sitters were mainly children but during his career he painted numerous aristocratic ladies, businessmen, politicians, military leaders and academics. These genres are, however, united by Nicholson's continual interest in the effects of light produced by oils - utilising the transparency of oils, Nicholson creates stunning yet subtle effects of darkness, shadow, reflection and illumination. DIMENSIONS: (unframed) 30.5 x 39.4 cm/12.0 x 15.5 ins SIGNATURE: Monogrammed MEDIUM: Oil on panel -
Although Moret and his family were from Normandy it was Brittany that held a life-long fascination for the artist. Moret worked there and in the coastal villages and islands along the south coast of Brittany, painting in Douelan, Clohar and Belle Ile and on Graix and on the remote island of Ouessant on the western tip of Brittany. Moret sought out the local fisherman and farmers, painting the landscape and rocky coastline of this remote and desolate area. DIMENSIONS: (unframed) 54.4 x 81.0 cm/21.4 x 31.9 ins SIGNATURE: Signed 'Henry Moret' and dated (lower left); titled (verso) MEDIUM: Oil on canvas -
DIMENSIONS: (unframed) 29.00 x 36.00 in./73.7 x 91.4 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas
This beautiful painting sees Charles Sims demonstrating his incredible talent, depicting two young children frolicking on the beach. He was a highly regarded artist having won the Royal Academy Schools Silver Medal in 1893 and the Landseer Scholarship in 1895. -
The strong structure and free brush strokes of La Cathédrale d'Auxerre reveal the techniques the artist learned first-hand from Gauguin as well as his debt to Sisley and Pissarro. In 1890, after a period of pointillist experimentation, Loiseau moved to Pont-Aven where he re-found his pure landscape ideal painting in a Post-Impressionist manner directly from nature. He had a particular interest in the depiction of water within a landscape, exemplified by this painting. With a contract from Durand-Ruel, Loiseau was free to travel extensively in France, painting in Burgundy - as presented here in Auxerre's Gothic tour de force - in the Dordogne, Dieppe and on the banks of the Seine. DIMENSIONS: (unframed) 25.5 x 21.3 ins/ 64.8 x 54.1 cm SIGNATURE: Signed 'G. Loiseau' (lower left) MEDIUM: Oil on canvas -
DIMENSIONS: (unframed) 12.0 x 9.3 in./30.5 x 23.6 cm SIGNATURE:Signed with the artist’s initials and dated ‘JD Juin 60’ lower right MEDIUM: Ink on paper
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DIMENSIONS: (unframed) 21.14 x 28.62 in./53.70 x 72.70 cm SIGNATURE: Signed front and signed and titled verso MEDIUM: Oil on canvas The authenticity of this work has been confirmed by Mr Alexis Brasilier. -
DIMENSIONS: (unframed) 44.0 x 54.0 in./ 111.8 x 139.7 cm (framed) 50.5 x 59.5 in./ 128.3 x 151.1 cm MEDIUM: Oil on canvas -
DIMENSIONS: (unframed) 21.5 x 25.75 in./ 55.0 x 65.6 cm SIGNATURE: Signed lower right ‘Iw. F Choultsé’ MEDIUM: Oil on canvas -
DIMENSIONS: (unframed) 18.0 x 22.0 in./ 45.7 x 55.9 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas -
DIMENSIONS: (unframed) 26.0 x 20.0 in/ 66.04 x 50.80 cm MEDIUM: Oil on canvas
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DIMENSIONS: (unframed) 36.00 x 28.00 ins 91.44 x 71.12 cms SIGNATURE: Signed and dated 1874 MEDIUM: Oil on canvas Along with his brother Henry, Walter created many detailed and naturalistic street, river, and cityscapes of England. They studied life drawing with M. Barthe at Limerston Street in Chelsea where they met James Abbott McNeill Whistler (1834-1903) in 1863. Walter was captivated by Whistler’s artistic style and way of life. The Greaves brothers developed a friendship with Whistler and served as his assistants and pupils. Walter Greaves recalled, “We used to get ready his colours and canvasses, prepare the grey distemper ground which he so liked working upon, and painted the mackerel-back pattern on the frames.” -
DIMENSIONS: (unframed) 27.00 x 42.00 ins 68.58 x 106.68 cms SIGNATURE: Signed MEDIUM: Oil on canvas
