Private Collection, United States
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.
Martin-Ferrières was born in 1893 in Saint-Paul de Vence in South Eastern France, into a family of artists, including his father Henri Martin, the famous pointillist. Firstly, he did not devote himself entirely to painting, studying literature and science instead and then drawing outside of lessons. However, gradually he became interested in human beings and life around them and so began his formal training at the École des Beaux- Arts in Paris, studying under Frederic Cormon and Ernest Laurent. He received his first major honour in 1923 in the Paris Salon after his painting Le Christ was awarded a Silver Medal and then purchased by the French state. He would exhibit at the Salon regularly for many years, receiving a travel scholarship the next year in 1924. This enabled him to discover Italy and the artistic wealth it possessed, influencing him to look away from the academic conventions and restraints of the day. During the period 1925-1928 Martin-Ferrières would continually return to Italy to study the Italian masters, and on return to France his paintings were well received.
After a successful year in 1928, where his painting Marche d’Assissi was awarded a Gold Medal at the Paris Salon and the The Legay-Lebrun prize, then being purchased by the City of Paris, Martin-Ferrières’ popularity grew and his talent was unanimously acknowledged by critics. Up until 1933 he devoted himself to painting powerful frescos of the church, Saint Christopher de Javel in Paris. In the following years he spent time in Spain, Greece and Yugoslavia where he significantly developed his palette, becoming
lighter and more energised. Despite his father’s strong influence in learning the pointillist technique, he became known for his own technique using a thick impasto, applying the paint in layers which created a surface of great vitality and a wonderful basis for his experimentation with the effects of light.
During the war years, Martin-Ferrières was part of the Resistance in Dordogne, where he was briefly captured by the Germans but his life was spared, however afterwards he did not continue to paint until 1950. He returned to Venice the same year and also went to new locations such as, Portugal, Switzerland, Belgium, Scandinavia and Holland. This demonstrates how travel was an integral part of Martin-Ferrières’ inspiration as he extracted the artistic essence of everywhere he visited.