Private collection, United States
Buy with confidence: our assurance to you
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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.
Born on December 11 1854 in Montmartre to French-Italian parents, Eugène Galien Laloue studied under his father Charles Laloue, a set designer. His debut was almost exclusively as a painter in gouache of Parisian street scenes and Galien Laloue’s early works reflect his traditional training. He painted landscapes, coastal and river scenes in Normandy and around Paris, the Seine and the River Marne. In contrast to his later works, these show a broad technique with significant use of impasto. It was at the turn of the Century that Galien Laloue commenced his detailed gouaches depicting Paris and Parisian life.
During the Great War he painted scenes in the ruined towns behind the front line and continued to depict Paris in wartime. He turned to pastel and gouache in the late 1880s, exhibiting one of each in 1886, and in 1889 two gouaches at the Paris Salon. His paintings of the early 1900s accurately represent the era in which he lived: a happy, bustling Paris, ‘la Belle Époque’, with horse-drawn carriages, trolley cars and its first omnibuses. Galien Laloue’s works are valued not only for their contribution to 20th Century art, but for the actual history, which they document. He was a populariser of street scenes, usually painted in autumn or winter.
His work can be seen at the Musée des Beaux-Arts, Louvier; Musée des Beaux-Arts, La Rochelle; Mulhouse, France. Galien Laloue has inspired and influenced many of yesterday’s and today’s artists, including renowned French impressionists Edouard Léon Cortès and Antoine Blanchard. Some artists or writers are content to have a pseudonym so as to disguise their work. Eugène Galien Laloue was particularly adept at establishing several identities, since over the course of his career he worked under three pseudonyms: ‘J. Lievin’ – after a soldier he met during the Franco-Prussian war, ‘E. Galiany’ – an Italianized version of his own names, and ‘L. Dupuy’ – after Dupuy Léon who lived in his same area. While these are three confirmed names that he used, there is the possibility that he used other names as well. Even his name ‘Galien’ is questionable, since on occasion he spelled it with one ‘L’ and on his birth certificate it is spelled ‘Gallien’. Why the artist went to such great lengths to perplex audiences and historians is the question that remains to be answered. Despite preoccupation with the reclusive nature of this man, he depicted Paris and the surrounding landscape with his cool palette; in doing so he became another recorder of popular Parisian life