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Perez’s artworks are recognisable for their sultry, atmospheric quality, and a thread of idealised romanticism that unites his portfolio. They transport us into a moment of seduction, moodiness, and intrigue, capturing a quality that the artist himself refers to as ‘emotionalism’. MEDIUM: Oil on canvas DIMENSIONS: (unframed) 40 x 30 ins/ 101.6 x 76.2 cm SIGNATURE: Signed (lower right) -
Allen Tucker was often called “the American Van Gogh.” His closest friend, critic Forbes Watson, described him as “brilliantly communicative, passionately in love with art in all its forms, with an ear for music, an eye for painting … genial and provocative in talk.” (Goley, in The Vibrant Landscape, 1997). MEDIUM: Oil on canvas DIMENSION: (unframed) 23.0 x 19.0 ins/ 58.4 x 48.3 cm SIGNATURE: Signed 'A. Tucker' and dated (lower right) -
The artist’s most famous works are landscapes and experimentations with the effects of light. In this beautiful painting Guillaumin has depicted the view of a village in Crozant en-plein-air, using looser and more vigorous brushstrokes. Crozant was one of his popular choices of locations to paint as after Guillaumin won a large prize in the Loterie Nationale in 1891 he was able to dedicate his life to painitng and travel between Agay, Crozant, and Saint-Palais-sur-Mer throughout the year, painting multiple works in each area. DIMENSIONS: (unframed) 32 x 36.0 ins / 81.3 x 91.4 cm SIGNATURE: Signed 'Guillaumin' (lower left) MEDIUM: Oil on canvas -
During the 19th century people developed a vivid fascination for the past. This was particularly true in France where memories of the recently deposed monarchy were still strong and the political situation was volatile. Paintings emphasized the human qualities of the subjects and in Lesrel's works he alludes to the paternal qualities of the monarchy by painting the King's men at ease in their domestic situations. MEDIUM: Oil on panel DIMENSIONS: (unframed) 23 x 14.25 ins/ 58.42 x 36.20 cm -
Beryl Cook recorded human frailties and the absurdities of human behaviour with her own unique vision. Beryl’s personality though was in great contrast to her paintings. She was a shy and private person, often depicting the flamboyant and extrovert characters she would love to have been. She preferred to observe a crowd of people, her acute eye missing nothing. She recorded in minute detail scenes of everyday life and had an almost photographic memory. MEDIUM: Oil on canvas DIMENSIONS: (unframed) 38.2 x 29.7 ins/ 97.0 x 75.4 cm SIGNATURE: Signed 'B. Cook' (lower right) -
Kyffin Williams had a passion for the rugged landscape of North Wales, which we see in this piece depicting a part of the rural village in Llangwyfan, Denbighshire covered in snow. Once determined on an artistic course, Williams’ work was all-consuming and there was never any question as to subject matter, with the landscape before him demanding to be drawn or painted. With his highly distinctive technique these monumental landscapes came to assume an iconic status and so too did the man. DIMENSIONS: (unframed) 29.9 x 29.9 ins/ 75.9 x 75.9 cm SIGNATURE: Initialled (lower right) MEDIUM: Oil on canvas -
Maurice Brianchon was an influential French Impressionist and Modern painter who is best known for his luminous canvasses often depicting nudes, still lifes and scenes at the French horse race courses, including St. Cloud, Longchamps and Auteuil. This vibrant painting, Races at Auteuil, depicts a moment of calm at the racecourse in Auteuil, in the Bois de Boulogne, Paris iand is characteristic of Brianchon’s later style. The artist’s simplification of the forms blurs the distinction between figures and setting. MEDIUM: Oil on canvas DIMENSIONS: (unframed) 19.7 x 16.1 ins/ 50.0 x 41.0 cm SIGNATURE: Signed ‘Brianchon’ (lower right) -
Francois Flameng was a French painter who lived and worked between the 19th and 20th centuries. He had an incredibly varied and masterful repertoire, from portraits to bustling historic scenes to vivid depictions of war. He was a friend of John Singer Sargent, who painted his portrait alongside Paul Helleu. DIMENSIONS: (unframed) 25 x 32 ins/ 63.5 x 81.3 cm SIGNATURE: Signed lower right MEDIUM: Oil on panel -
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 -
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 -
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 -
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) 18.0 x 22.0 in./45.7 x 55.9 cm SIGNATURE: Signed Charles C Curran lower left MEDIUM: Oil on canvas -
DIMENSIONS: (unframed) 6.7 x 9.4 ins MEDIUM: Oil on panel -
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) 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) 36.00 x 32.00 ins 91.44 x 81.28 cms SIGNATURE: Signed MEDIUM: PastelIn this elegant portrait by Paul Cesar Helleu, a young woman stares softly at the viewer, lightly meeting their gaze. The gentleness of the portrait is reflected in the loose gestural draughtsmanship of Helleu. This looseness and ease of depiction suggests that the work was finished in situ, rather than through a series of studies, which is how Helleu preferred to work. The appearance of a chair in the lower right hand corner suggests an informal setting, and implies that the artist was well-acquainted with the sitter. A further softness is brought to the work by the use of chalk and by the harmony of three main colours; green, yellow and peach. Furthermore, the use of peach on the sitter’s blushing cheeks and lips combined with her bright blue eyes give her an angelic look.
