Wally Findlay Galleries, Palm Beach;
The Estate of Lee Phillip Bell;
The Private Collection of Mr. Alexander Avenard
Buy with confidence: our assurance to you
We have built up a strong reputation for the quality of the paintings, drawings and sculpture that we curate, exhibit and sell. Our professional associations with bodies such as The British Antique Dealers’ Association (BADA) and the Association of Art & Antique Dealers (LAPADA) are as a result of our reputation for integrity, our wide knowledge of fine arts and the high quality of our stock. Our business standards and expertise are reviewed regularly to adhere vigorously to enforced Codes. Our memberships and commitment to its Code of Conducts gives our buyers confidence when purchasing a work from us.
Condition reports and certificates of authenticity vary in their nature by artwork, for more information on your pieces of interest, please enquire with the gallery.
We take pride in the attention we give to our images of the artworks for purchase and invest in these to ensure outputs are aligned as closely as possible to the item in reality. We do not apply filters or modify images, we provide high-quality images to reflect the high quality of our artworks.
Your purchase process
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The Trinity House promise to you
Shipping and packaging
Shipping and packaging requirements are assessed per piece to ensure the most suitable protection for the artwork. Trinity House will therefore call following purchase to agree the recommendations and costs.
Our After Sales services
We offer the following services which we will be happy to discuss with you following your purchase, alternatively, you can enquire for more information.
We offer insurance appraisals to protect your prised artwork and help you find the right cover and policy for you.
We are able to advise on framing and have access to every type and style to suit any artistic period or room setting.
The nature of the materials involved in a painting mean that on occasion some pieces are susceptible to movement and the effects of natural ageing. We are able to provide advice on practical measures to conserve the original condition of a piece and have relationships with restorers and framers to offer you a range of services to meet your needs.
Édouard Leon Cortès, of French and Spanish ancestry, was born in 1882. As an adolescent, he became fascinated with the arts and at seventeen began his studies at the École des Beaux-Arts in Paris. In 1901 he contributed a dramatic Parisian street scene at dusk to the Salon des Artistes Français, which brought him immediate fame. Later, as an active member of the prestigious Société des Artistes Français, Cortès exhibited his works yearly at the Société Nationale and the Salon des Independants in Paris.
On the topic of Cortès and his relationship to Paris, biographer David Klein writes: “Paris changed during the years that Cortès painted it, and the changes appear in his paintings. Horses and carriages disappear in favour of cars and trams; women’s hourglass silhouettes and picture hats give way to boyish figures in short skirts and little furs, gas streetlights turn into neon signs and glaring headlights. But despite two world wars and the introduction of the machine age, the Paris of Cortès remains primarily the city of the Belle Epoque. His paintings are often filled with nostalgia for the period.
The period we know today as La Belle Époque lasted from about 1880 to 1914. Many revolutionary ideas in politics, technology, science, poetry, music, literature and the fine arts emerged in Paris during this vibrant time. Paris was the cosmopolitan, fashionable stage on which the drama of the Belle Epoque was enacted. The city itself was in a state of dramatic change. The campaign of rebuilding undertaken by Napoleon III and Baron Haussmann in the 1850’s, 60’s, 70’s yielded wide tree-lined avenues, extensive parks, and elegant golden-gray stone buildings. Parisians thronged the new boulevards, parks and theatres to see and to be seen. In 1888 the Figaro Illustré devoted a special issue to this “spectacle de la rue”, calling the boulevards “the true theatre of Paris”.