Private Collection, United States
Private Collection, France
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.
Neo-Impressionist painter Achille Laugé was born in Arzens before moving to Cailhau near Carcassonne in France, where he spent most of his life. Laugé began his studies in Toulouse in 1878, and went to Paris in 1881. At the École des Beaux-Arts he studied with Alexandre Cabanel and Jean-Paul Laurens. There, Antoine Bourdelle, whom Laugé had known in Toulouse, introduced him to Aristide Maillol, and the three maintained a long and fruitful friendship. In 1888, after seven years in Paris, including a term of military service, Laugé returned to the south and established himself at Carcassonne. Finally, in 1895, he returned to Cailhau where he spent the rest of his life.
Laugé’s time in Paris spanned the critical years from 1886 to1888 (Seurat’s La Grande Jatte was first exhibited amidst much controversy in 1886) and his contact with Neo-Impressionism should not be underestimated. Laugé never followed his teachers’ methods and advice, and his work was considered radical for its time. In 1894, he exhibited at the Salon des Indépendants, as well as at a Toulouse exhibition with de Bonnard, Maurice Denis, Sérusier, Roussel, Toulouse-Lautrec and Vuillard. In addition, he held several one-man shows in Paris from 1907 to 1930.It was after his departure from Paris that Laugé developed his divisionist technique, following the lead of Seurat and the Pointillists. Although Laugé never adopted Seurat’s scientific attitude, his interest in the primacy and division of color resulted in work with a vivid, translucent palette. From 1888 until about 1896, Laugé composed his pictures with small points of color. At the end of the century, he abandoned the dots and dabs and painted his landscapes, portraits, and still-lives with thin, systematically placed strokes resembling crosshatching. After 1905, he applied his pigments more freely, with enlarged strokes and thick impasto that brought him closer to a traditional impressionist technique whilst maintaining his ability to paint the translucence of southern light.