• Moulin de Giverny, 1965

    by Andre Brasilier

    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 inches (95.3 x 127.0 cm) SIGNATURE:Signed ‘Andre Brasilier’ (lower right); Signed, dated and titles (verso) MEDIUM: Oil on canvas
  • The Iced Drink, 1922

    by Sir William Russell Flint

    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
  • Gelée Blanche à Crozant

    by Armand Guillaumin

    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.
  • Near Rouen, 1910

    by Robert Antoine Pinchon

    Robert Antoine Pinchonwas a French Post-Impressionist painter known for his depictions of ports, bridges, and rolling countryside. Born on July 1, 1886 in Rouen, France, his father was a playwright and close friend of the famed writer Guy de Mauspassant, who encouraged Pinchon to explore art as a youth. He began his studies at the Lycée Pierre-Corneille in Rouen in 1901, where he met both Marcel Duchamp and Pierre Dumont. Pinchon participated in the Salon d’Automne in 1907, where he and his contemporaries were lauded as the second group of talented artists to emerge after French Impressionists such as Claude Monet. In 1914, Pinchon was called to serve in World War I, where he was wounded several times being taken as a prisoner of war by Germany. The artist managed to escape captivity and returned to Rouen in 1918. He went on to reestablish his career, and exhibited works alongside Pierre Bonnard and Albert Marquet, among others. Pinchon died on January 3, 1943 in Bois-Guillaume, France. Today, many of his paintings are held in the collection of the Musée des Beaux-Arts in Rouen. DIMENSIONS: (unframed) 61.0 x 81.3 cm/24.0 x 32.0 ins SIGNATURE: Signed lower left / titled on original label verso MEDIUM: Oil on canvas
  • 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
  • Captain Cornish, 1854

    by Thomas Walker Bretland

    Thomas Walker Bretland was a British 19th Century painter who was born in Nottingham in 1820. His father owned and ran a carriage and coach business, which he joined in 1816 as an apprentice where he excelled. Bretland started sketching at an early age with his sole ambition to train and be an artist. DIMENSIONS: (unframed) 9.8 x 11.8 ins/ 24.8 x 30.0 cm SIGNATURE:Signed, dated 1854 and inscribed ‘Captain Cornish, 1854, Ridden by J. H. Peart Senr’ MEDIUM: Oil 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
  • Mischievous

    by Charles Sims

    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.
  • Personnage, 1960

    by Jean Dubuffet

    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  
  • Brasilier sunset horses
    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.  
  • The Meet

    by William Barraud

    DIMENSIONS: (unframed) 44.0 x 54.0 in./ 111.8 x 139.7 cm MEDIUM: Oil on canvas
  • Rue Royal, Madeleine

    by Edouard Leon Cortes

    DIMENSIONS: (unframed) 18.0 x 22.0 in./ 45.7 x 55.9 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • 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.”
  • Perplexed

    by Charles Spencelayh

    DIMENSIONS: (unframed) 27.00 x 42.00 ins 68.58 x 106.68 cms SIGNATURE: Signed MEDIUM: Oil on canvas