The term ‘Impressionist’ was initially a criticism that became an accurate description for the unique attraction of the Impressionist group of artist’s work. It was precisely the artist’s personal, visual impression of contemporary France that they sought to communicate; they wanted to express the reality of modern life, within the contemporary landscape.

  • Sous Bois

    by Louis Valtat

    Valtat’s brushwork employs light strokes inspired by the Impressionists, combined with strong outlines influenced by his contemporaries. He is known as a member of the fauvists – sometimes translated as “wild beasts” for their aggressive use of colour. Dimensions: (unframed) 25.5 x 21.3 in Signature: Signed (lower left) Medium: Oil on canvas
  • Henri Jean Guillaume Martin was a French painter known for his Neo-Impressionist paintings. Like the work of Pierre Puvis de Chavannes, Martin’s paintings merge Symbolist imagery with controlled Pointillist brushstrokes and pastel colours. DIMENSIONS: (unframed) 21.5 x 18.0 ins/ 54.6 x 45.7 cm SIGNATURE: Signed 'Henri Martin' (lower right) MEDIUM: Oil on canvas
  • Henri Jean Guillaume Martin was a French painter known for his Neo-Impressionist paintings. Like the work of Pierre Puvis de Chavannes, Martin’s paintings merge Symbolist imagery with controlled Pointillist brushstrokes and pastel colours. The village of Collioure, situated in the foothills of the Pyrenees not far from the Spanish border, already boasted a rich artistic tradition by the time Henri Martin settled there in 1923. DIMENSIONS: (unframed) 36.3 x 30.0 ins/ 92.1 x 76.2 cm SIGNATURE: Signed 'Henri Martin' (lower right) MEDIUM: Oil on canvas
  • Henri Jean Guillaume Martin was a French painter known for his Neo-Impressionist paintings. Like the work of Pierre Puvis de Chavannes, Martin’s paintings merge Symbolist imagery with controlled Pointillist brushstrokes and pastel colours. In 1900 Martin’s career moved into the phase for which he is now justly renowned. He purchased ‘Marquayrol’ in Labastide-du-Vert in Lot where he lived and painted for the rest of his long life. Marquayrol, an old farmhouse with a beautiful garden and extensive views provided much of his subject matter over the years to come. DIMENSIONS: (unframed) 27.5 x 39.0 ins/ 69.9 x 99.1 cm SIGNATURE: Signed 'Henri Martin' (lower left) MEDIUM: Oil on canvas
  • Haystacks, 1907

    by Armand Guillaumin

    Noted for their intense colours, Guillaumin's paintings are represented in major museums around the world. He is best remembered for his landscapes of Paris, the Creuse département, and the area around Les Adrets-de-l'Estérel near the Mediterranean coast in the Provence-Alpes-Côte d'Azur region of France. Guillaumin was called the leader of the École de Crozant, a diverse group of painters who came to depict the landscape in the region of the Creuse around the village of Crozant. One of these depictions, titled Landscape in Crozant, is housed in the Art Institute of Chicago. His bust is in the square near the village church. Dimensions: (unframed) 21.3 x 28.5 ins/ 54.1 x 72.4 cm Signature: Signed 'Guillaumin' (lower left); dated (verso) Medium: Oil on canvas
  • Hotagen, Sweden 1928

    by Gottfrid Kallstenius

    This wonderful sunset painting is a charming and evocative rendition of an idyllic summer evening on a Swedish lake. It would make a lovely addition to any collection of Impressionist, Swedish Romantic or Landscape paintings.  Kallstenius is now represented at the National Museum in Stockholm, at the art museums in Gothenburg and Malmö and in a number of museum collections in Europe, South and North America. Dimensions: (unframed) 89.7 x 116.8 cm/35.3 x 46.0 ins Signature: Signed and dated 1928 lower right. Medium: Oil on canvas
  • Still Life, 1923

    by Jacques Martin-Ferrières

    Jacques Martin-Ferrières painted mostly still life works and landscape scenes, often travelling to a variety of places and painting everywhere he went. Dimensions: (unframed) 65.5 x 86.4 cm/25.8 x 34.0 ins Signature: Signed 'Martin Ferrieres' (lower right) Medium: Oil on canvas
  • Gustave Loiseau first employed pointillist techniques and then re-found his pure landscape ideals - painting 'en plein air' - directly from nature. Loiseau developed a type of 'cross-hatched' technique, called 'en treillis' (latticework), which gives his paintings the supple, almost touchable quality he is known for. Dimensions: (unframed) 66.0 x 81.3 cm/26.0 x 32.0 ins Signature: Signed 'G. Loiseau' (lower left) Medium: Oil on canvas Literature: F. Thiebault-Sisson, Gustave Loiseau, Paris, 1930. The authenticity of this work has kindly been confirmed by Didier Imbert.  
  • Gelée Blanche à Crozant

    by Armand Guillaumin

    Noted for their intense colours, Guillaumin's paintings are represented in major museums around the world. He is best remembered for his landscapes of Paris, the Creuse département, and the area around Les Adrets-de-l'Estérel near the Mediterranean coast in the Provence-Alpes-Côte d'Azur region of France. Guillaumin was called the leader of the École de Crozant, a diverse group of painters who came to depict the landscape in the region of the Creuse around the village of Crozant. One of these depictions, titled Landscape in Crozant, is housed in the Art Institute of Chicago. His bust is in the square near the village church. Dimensions: (unframed) 65.5 x 81.3 cm/25.8 x 32.0 ins Signature: Signed 'Guillaumin' (lower left) Medium: Oil on canvas Literature: The Comité Guillaumin (Dominique Fabiani, Stéphanie Chardeau-Botteri, Jacques de la Béraudière) will include this work in their forthcoming second volume of the Guillaumin catalogue raisonné.
  • DIMENSIONS: (unframed) 18.0 x 21.75 in./ 46.0 x 55.0 cm SIGNATURE: Signed ‘dubois-pillet’ lower right MEDIUM: Oil on canvas   La Cité, Vue de l'Hôtel de Ville, 1904, is a delightful record of Parisian life the turn of the twentieth century. The work was exhibited at the Musée Carnavalet in Paris in 1961, part of an exhibition on the changing views of Paris. Alternatively called ‘Le Marché aux Pommes’ (The Apple Market), it provides a snapshot into the daily working life of ordinary Parisians. Painted in 1904, the work hints toward the distinctive Fauve style the artist would soon adopt and his masterful use of line and colour are displayed here in full force. As recounted by Bryan Robertson: “Dufy’s characteristic use of a compact, tersely eloquent calligraphy and pure, clean, unfussed, fast-flowing line is perhaps the most radical extension in the first half of the twentieth century of Van Gogh’s passionately forceful and explosive handling of line and color in his own later paintings, and particularly in the drawings made with a reed pen” (quoted in Raoul Dufy (exhibition catalogue), Hayward Gallery, London, 1983, p. 18). Two preliminary sketches both titled “Le Marché aux Pommes Quai de l’Hôtel-de-Ville”   have been catalogued in Pierre Courthion’s book Raoul Dufy of 1951, ref. 14. & 15  p.XVII. This shows Dufy’s fascination with this particular subject; his interest lies with the light falling not on Paris’s famed Hotel-de-Ville which we see in the background but instead it illuminates the humble Parisians in the foreground.
  • Dufy often depicted people enjoying themselves in a bright colourful manner and he became best-known for his panoramic views of modern Paris, capturing the architecture, activities and electricity of the city. The Place de la Concorde was one of the artist’s favourite subjects, appearing in dozens of canvases he created from the 1930s through the 1950s. Here, Dufy has depicted the quay running right by the square using his signature stylized figures capturing its energy while focusing on such national symbols as the Palais Bourbon and the Pont Alexandre III. DIMENSIONS: (unframed) 13.0 x 20.0 in. / 33.02 x 50.8 cm SIGNATURE: Signed (lower centre) MEDIUM: Watercolour on paper  
  • Henri Jean Guillaume Martin was a French painter known for his Neo-Impressionist paintings. Like the work of Pierre Puvis de Chavannes, Martin’s paintings merge Symbolist imagery with controlled Pointillist brushstrokes and pastel colours. Henri Martin purchased a house in Collioure in 1923, captivated in his old age by its beautiful and remote setting on the Mediterranean. Though he was familiar with the sleepy fishing village, having visited his artist friend many times, it was not until his sixties that Martin himself put roots down there. Located at the foot of the Pyréneés near the Spanish border, Collioure became a popular location for many artists to paint by the 1880s, serving as the backdrop for some of the most significant Fauve paintings by Henri Matisse, André Derain and Paul Signac in 1905. While renovating his new home Martin rented a studio overlooking the port, a scene which recurs in his most successful compositions from this time. DIMENSIONS: (unframed) 65.0 x 96.0 cm/25.6 x 37.8 ins SIGNATURE: Signed lower left MEDIUM: Oil on canvas
  • In this work French painter, Guillard depicts a scenic view of the sun going down over a river. During the period this was painted, in the early 1920's, Guillard experimented with the pointillist and divisionist technique, executing a number of rare canvases of landscapes scenes painted with a square brush and very striking use of colour.
    DIMENSIONS: (unframed) 152.4 x 101.6 cm/60.0 x 40.0 ins SIGNATURE: Signed lower right MEDIUM: Mixed media on canvas
  • Ferdinand du Puigaudeau was a French Impressionist painter known for his colourful depictions of country fairs, fireworks, and sunsets. Merging elements of Symbolism and Neo-Impressionism with traditional Impressionism, Du Puidgaudeau’s paintings contributed a unique aesthetic voice to the movement. Born on April 4, 1864 in Nantes, France, he was largely self-taught before arriving at the famous artist colony of Pont-Aven in 1886, where he met Paul Gauguin. Through the dealer Paul Durand-Ruel, one of Du Puigaudeau’s paintings was purchased by Edgar Degas, who would become one of his closest friends. During the early 1900s, the artist travelled to Venice where he produced a number of important canvases depicting the iconic sights of the city. DIMENSIONS: (unframed) 50.8 x 61.0 cm/20.0 x 24.0 ins SIGNATURE: Signed lower right MEDIUM: Oil on canvas  
  • Clair De Lune, Gerberoy, 1910

    by Henri Eugene Augustin Le Sidaner

    Henri Le Sidaner was a French painter best known for his Intimiste—or intimate portrayals of domestic interiors using Impressionist techniques—depictions of quiet street corners and gardens. Sidaner utilized uneven, dappled brushstrokes to create atmospheric and glowing light in his paintings. DIMENSIONS: (unframed) 26.7 x 35.6 cm/10.5 x 14.0 ins MEDIUM: Oil on panel
  • Near Rouen, 1910

    by Robert Antoine Pinchon

    Robert Antoine Pinchonwas a French Post-Impressionist painter known for his depictions of ports, bridges, and rolling countryside. Born on July 1, 1886 in Rouen, France, his father was a playwright and close friend of the famed writer Guy de Mauspassant, who encouraged Pinchon to explore art as a youth. He began his studies at the Lycée Pierre-Corneille in Rouen in 1901, where he met both Marcel Duchamp and Pierre Dumont. Pinchon participated in the Salon d’Automne in 1907, where he and his contemporaries were lauded as the second group of talented artists to emerge after French Impressionists such as Claude Monet. In 1914, Pinchon was called to serve in World War I, where he was wounded several times being taken as a prisoner of war by Germany. The artist managed to escape captivity and returned to Rouen in 1918. He went on to reestablish his career, and exhibited works alongside Pierre Bonnard and Albert Marquet, among others. Pinchon died on January 3, 1943 in Bois-Guillaume, France. Today, many of his paintings are held in the collection of the Musée des Beaux-Arts in Rouen. DIMENSIONS: (unframed) 61.0 x 81.3 cm/24.0 x 32.0 ins SIGNATURE: Signed lower left / titled on original label verso MEDIUM: Oil on canvas
  • Fleurs, 1930

    by Georges d'Espagnat

    Georges d'Espagnat was a French Post-Impressionist painter known for his depictions of nudes, still lifes, and landscapes. Made in the tradition of his mentor Pierre-Auguste Renoir, d’Espagnat believed that paintings should adhere to the formal concern of artists like Tintoretto, while also taking cues from nature. Born on August 14, 1870 in Melun, France, he moved with his family to Paris in the 1880s, where he studied the work of Old Masters in the Louvre Museum. He would go on to exhibit in the Salon des Refusés and in the company of Henri Matisse and Pierre Bonnard in the years that followed. During his career, the artist also illustrated books by the authors Alphonse Daudet and Remy de Gourmont. D’Espagnat died on April 17, 1950 in Paris, France. Today, his works are held in the collections of the Art Institute of Chicago, the Musée d’Orsay in Paris, and the Metropolitan Museum of Art in New York, among others. Dimensions: (unframed) 45.7 x 38.1 cm/18.0 x 15.0 ins Signature: Signed lower left Medium: Oil on canvas
  • Georges Stein is considered a Paris Boulevard painter and watercolourist from the French school. Georges Stein’s paintings are filled with movement, colour, and atmosphere depicting the hustle and bustle of the Parisian streets. Dimensions: (unframed) 48.3 x 73.7 cm/19.0 x 29.0 ins Signature: Signed lower right Medium: Oil on canvas
  • Loiseau painted the Seine as it ran through Paris, Herblay, Marly-le-Roi and Triel as well as its tributaries, especially the Yonne from Auxerre onwards. His canvases reveal an interest in depicting the effects of rain, frost, fog, morning mist and overcast skies with the clouds filtering the rays of sun. In order to create a more melancholy landscape he always avoided the intense and vibrant light found in the work of the Impressionists. Dimensions: (unframed) 53.3 x 66.0 cm/21.0 x 26.0 ins Signature: Signed 'G. Loiseau' (lower right) Medium: Oil on canvas
  • Henri Le Sidaner was a French painter best known for his Intimiste—or intimate portrayals of domestic interiors using Impressionist techniques—depictions of quiet street corners and gardens. Sidaner utilized uneven, dappled brushstrokes to create atmospheric and glowing light in his paintings. DIMENSIONS: (unframed) 28.75 x 36.25 in./73 x 92.1 cm SIGNATURE: Signed lower left MEDIUM: Oil on canvas
  • La Porte St Martin

    by Edouard Leon Cortes

    Though Cortès painted this area time and time again, each depiction remains unique and portrays the changes brought by time and the seasons. In response to a question asking him why he painted Paris so much, Cortès replied, “Because I adore Paris, and because wherever one turns there is something to put on canvas.” This admiration is seen in his vibrant depictions of the capital, like here, full of life and light. DIMENSIONS: (unframed) 19.5 x 25.0 in./ 49.5 x 63.5 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • Frederick Hall was a British artist whose work is characterised by his Impressionistic style, whilst concurrently focusing on the romantic subjects of landscapes, rustic subjects and portraits. He was a member of the Newlyn School in Cornwall.  It was during his time at the Newlyn School that his style shifted from focusing on the subjects of social realism to that of the impressionist mode. DIMENSIONS: (unframed) 12.2 x 15.7 ins / 31.0 x 40.0 cm SIGNATURE: Signed lower left MEDIUM: Oil on board
  • St-Raphaël

    by Jeanne Selmersheim-Desgrange

    Selmersheim-Desgrange lived and loved the area around St. Tropez –  and she replicated the relaxed atmosphere, the intense light, the brilliant earthen colors, dark tree silhouettes, and azure seas in her work as can be seen in this composition. Signac and Selmersheim-Desgrange lived in a small house in the South of France – “La Hune” and throughout her association with Signac, Jeanne was happy and most contented to stay in the shadows of “her great master.” DIMENSIONS: (unframed) 50.3 x 65.5 cm/19.8 x 25.8 ins SIGNATURE: Titled and dated 'St-Raphaël 1908' (lower right) MEDIUM: Oil on canvas
  • Esquisse de Paysage

    by Pierre Auguste Renoir

    This spontaneous sketch depicts a town landscape. Though unfinished, it reveals how Renoir layered light tones over dark tones. For example, the front wall of the house on the left shows how white has been layered over an ochre base. This technique is also visible in the surrounding foliage, and lends the composition warmth. The haziness with which the scene has been depicted not only indicates the spontaneity of this sketch, but also shows how Renoir carefully considered the mixing of colours. DIMENSIONS: (unframed) 5.75 ins x 10.25 ins SIGNATURE: Stamped signature lower left MEDIUM: Oil on canvas
  • Most of Blanche's works were done in Giverny (where the family home was based) from 1883 to 1897. Here she painted alongside Claude Monet and became Monet's assistant and pupil, often carrying his easel and his canvases on a wheel barrow. Monet enquired in 1884, when Blanche was 19, "Has Blanche been painting, and has she been making progress?" She painted landscapes with trees such as pines and poplars, and meadows along the Risle river. In the 1920s, she also painted on several occasions at Georges Clemenceau's property in Saint-Vincent-sur-Jard (Vendée department) in the west of France - paintings of the garden, house and the Atlantic Ocean. After Monet's death, she remained in Giverny and continued painting. DIMENSIONS: (unframed)54.1 x 81.5 cm/21.3 x 32.1 ins SIGNATURE: Signed lower left MEDIUM: Oil on canvas
  • Port de Cherbourg, 1929

    by Achille Emile Othon Friesz

    This peaceful painting depicts Cherbourg Harbour with the blues and oranges of sunset covering the whole canvas. These muted colours lend an air of tranquillity to the piece denoting that the day is coming to a close. In his later years, Othon Friesz often portrayed this vista, fascinated by the comings and goings of the boats. One can almost imagine the artist sitting on the quay, painting the view before him. DIMENSIONS: (unframed) 15.0 x 18.1 in./38.0 x 46.0 cm SIGNATURE: Signed 'E. Othon Friesz' and dated (lower right) MEDIUM: Oil on canvas  
  • Voiliers

    by Jean Dufy

    Voiliers is an incredibly expressive nautical scene by Jean Dufy who was known for his depictions of leisurely social activities of the French bourgeoisie. Dufy was strongly influenced by the musical figures that surrounded him, especially in Paris. The expressiveness of Voiliers, recalls the music that Dufy would have heard in the cafés of Paris- a culture Dufy was very much a part of. The strong vertical brushstrokes in Voiliers conveys the sense of movement associated with jazz and also recalls the fluid motion of waves. The title itself, ‘Voiliers’ refers to the specific type of boats depicted in this painting; the name of which is derived for the French word for sail or veil. The boats were previously mercantile ships but during Dufy’s lifestyle they were used as leisure boats, as seen by the graphic figures in the foreground. DIMENSIONS: (unframed) 16 x 9.50 ins / 40.75 x 24.25 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • This sketch depicts Ida Nettleship, who was the artist’s wife. Ida was an art student at the Slade School of art. Towards the end of her time at Slade she met Augustus John and they married in 1901. A portrait of Ida by John from around 1901, while she was in her first pregnancy, is held by the National Museum of Wales. The family moved to London in 1903, where John co-founded Chelsea Art School with William Orpen.  Later in 1903, Nettleship's life with John was complicated when Dorelia McNeill became John's model and mistress. From 1903 to 1907, the three lived together, first at Matching Green in Essex and from 1905 in Paris. Nettleship had three further sons with John in quick succession. During this period, Dorelia also had children with John, in 1905 and 1906. Given John's limited income and the growing family, Nettleship eventually gave up painting to take care of the children and the housework. Although she found this wearisome and considered leaving John, she did not live long enough to do so. She died of puerperal fever in Paris in 1907 after the birth of her fifth son, Henry. DIMENSIONS: (unframed) 12.7 x 10.8 cm/5.0 x 4.3 ins MEDIUM: Pencil on paper
  • Portrait of a Woman

    by Paul César Helleu

    Paul César Helleu has created an exquisite drawing of a his eldest daughter, Ellen, at rest on her dainty chair. Ellen was born in 1887. Therefore date of this work is probably between 1905 and 1910. DIMENSIONS: (unframed) 20.5 x 30.25 ins / 52.07 x 76.84 cms SIGNATURE: Signed lower right MEDIUM: White, black and red pastel on buff paper
  • This beautiful portrait study shows the artist’s skill and his mastery of the trios crayons technique of using just three colours of chalk, black red and white, to capture his sitters so brilliantly. DIMENSIONS: (unframed) 59.69 cms x 75.56 cms /23.50 ins x 29.75 ins SIGNATURE: Signed lower right and inscribed MEDIUM: Pencil on paper
  • Élégante

    by Paul César Helleu

    Referenced in the archives of the Amis de Paul-César Helleu under the n° 4338. Authenticated by Mrs. Howard-Johnston in 1988. In this elegant drawing, Paul César Helleu has rapidly drawn this stylishly attired woman using his signature loose gestural draughtmanship. 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. Although this drawing was clearly composed rapidly, Helleu has taken careful care in depicting the sitter’s fashionable furbelowed dress and  hat with jaunty feathers. Additionally, he has delicately rendered her up to date makeup and hairstyle by judicious application of colour. Paul César Helleu has created an exquisite drawing of a society lady; his trademark. DIMENSIONS: (unframed) 70.00 cms x 48.00 cms /27.56 ins x 18.90 ins x 0.0 ins SIGNATURE: Signed lower left MEDIUM: Crayon on paper
  • Portrait of a young woman

    by Paul César Helleu

    Paul César Helleu worked as a painter and an engraver in France at the turn of the century. His work epitomises the charm and elegance of French culture at the time – the belle époque – with all its verve and focus on fashion. Whilst he was renowned for his portraits of society ladies on commission, and those of his childhood sweetheart who later became his wife (Alice Guerin). DIMENSIONS: (unframed) 43.18 cms x 30.48 cms /17.00 ins x 12.00 ins SIGNATURE: Signed and inscribed 'To Alice' MEDIUM: Black and Sanguine Chalk  
  • Although Moret and his family were from Normandy it was Brittany that held a life-long fascination for the artist.  Moret worked there and in the coastal villages and islands along the south coast of Brittany, painting in Douelan, Clohar and Belle Ile and on Graix and on the remote island of Ouessant on the western tip of Brittany. Moret sought out the local fisherman and farmers, painting the landscape and rocky coastline of this remote and desolate area. DIMENSIONS: (unframed) 54.4 x 81.0 cm/21.4 x 31.9 ins SIGNATURE: Signed 'Henry Moret' and dated (lower left); titled (verso) MEDIUM: Oil on canvas
  • Bassin, Lentilles Vertes

    by Henri Eugene Augustin Le Sidaner

    Le Sidaner said that no landscape was worth painting unless it was enhanced by some play of light. He experimented with all sources of light, including sunlight, sunset and the illuminating “clair de lune”. The son of a sea captain, he was drawn in particular to the play of light on water. DIMENSIONS: (unframed) 23.9 x 28.9 in./ 60.7 x 73.4 cm SIGNATURE: Signed lower right and inscribed MEDIUM: Oil on canvas
  • Barques dans le port, 1924

    by Jacques Martin-Ferrières

    Jacques Martin-Ferrières painted mostly still life’s and landscape scenes, often travelling to a variety of places and painting everywhere he went. This tranquil painting depicts a peaceful scene of boats docked in a harbour, basked in golden light. Light and warm colours fill the background of the painting, as the golden light playfully bounces off the cool tones of the water. The quick brushstrokes, paired with the romantic scene evoke a sense of romanticism and imbue the feeling of a warm summer’s day in the south of France. DIMENSIONS: (unframed)50.0 x 64.7 cm / 19.7 x 25.5 ins SIGNATURE: Signed and dated lower left MEDIUM: Oil on canvas
  • Blampied put his hand to a variety subjects, the most dear are his scenes of domestic idiosyncrasy that depict life on the farm and small town and those that show the bond that develops between people of a close knit community.  He was a keen observer of everyday life who clearly enjoyed the quirks of human nature, even within amusing stereotypes.  Blampied’s humor is as precise and delicate as his line work.  His charming depictions rendered in a flourish with a skillful hand, float in and out of existence on the page like a cherished memory. DIMENSIONS: (unframed) 8.0 x 11.5 in./ 20.32 x 29.21 cm SIGNATURE: Signed 'Blampied' and dated (lower right) MEDIUM: Oil on board
  • Falaises a Varengeville

    by Robert Antoine Pinchon

    Robert Antoine Pinchon is best known for his Post-Impressionist landscape scenes, favouring en plein air painting to being inside a studio. Born into an artistic family in 1886, Pinchon played a prominent part in the Rouen school of artists. It was in Rouen that Pinchon met the master of Impressionists, Claude Monet, with whom he exhibited in 1903 at the Exposition des Beaux Arts in Rouen. Monet said that Pinchon had ‘a surprising touch in the service of a surprising eye’. Naturally this early contact with Monet had a major impact on Pinchon’s artistic career . DIMENSIONS: (unframed) 45.0 x 62.0 cm / 17.7 x 24.4 ins SIGNATURE: Signed lower right MEDIUM: Watercolour
  • Falaises a Varengeville

    by Robert Antoine Pinchon

    Robert Antoine Pinchon is best known for his Post-Impressionist landscape scenes, favouring en plein air painting to being inside a studio. Born into an artistic family in 1886, Pinchon played a prominent part in the Rouen school of artists. It was in Rouen that Pinchon met the master of Impressionists, Claude Monet, with whom he exhibited in 1903 at the Exposition des Beaux Arts in Rouen. Monet said that Pinchon had ‘a surprising touch in the service of a surprising eye’. Naturally this early contact with Monet had a major impact on Pinchon’s artistic career . DIMENSIONS: (unframed) 45.0 x 62.0 cm / 17.7 x 24.4 ins SIGNATURE: Signed lower right MEDIUM: Watercolour
  • This splendid little painting is titled Falaises vers Etretat (Cliffs to Etretat) and depicts Etretat, a town on the north coast of France and its striking rock formations carved out of its white cliffs. DIMENSIONS: (unframed) 34.0 x 46.0 cm / 13.4 x 18.1 ins SIGNATURE: Signed lower left MEDIUM: Oil on canvas
  • 4445-Kallstenius-Summer Sunset

    Summer Sunset, 1928

    by Gottfrid Kallstenius

    This painting is a beautiful, late Impressionist piece by Swedish painter Kallstenius Gottfried. The painting is a demonstration of Kallstenius’ aptitude with pigments, especially in the way in which the warm sunlight of a summer sunset has been achieved. Although the brushstrokes are visible and choppy, the clever depiction of light seems to evoke the feeling of the golden hour better than any photograph. This work captures the moment just before dusk on a summer’s evening; the sky above is pink and orange, and the water below reflects its iridescence, while the surrounding shrubbery looks dark and a little sinister. It seems that Gottfrid was fascinated by the warm light of the evening sun, and he evokes it perfectly here. DIMENSIONS: (unframed) 29.0 x 39.0 in./73.66 x 99.06cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • In 1970, Hambourg was sufficiently well-known to be granted a retrospective of five hundred paintings at the Maison de Culture in Bourges, and exhibitions and commissions continued all over the world until his death. The Normandy coastline remains one of the most collectable subjects of Hambourg’s career. Today his works can be found in the collections of museums such as the Musée National d’Art Moderne, the Musée National de la Marine, and the Musée des Arts d’Afrique et d’Océanie. DIMENSIONS: (unframed) 8.8 x 13.8 in./22.4 x 35.1 cm SIGNATURE: Signed 'A. Hambourg' (lower left); titled and inscribed (verso) MEDIUM: Oil on canvas
  • Une Vue de Venise

    by Julien Gustave Gagliardini

    DIMENSIONS: (unframed) 21.0 x 29.0 in./ 53.3 x 73.7 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas This painting is a beautiful depiction of Venice, with vibrant colours that show the warmth of the sun reflecting off the water. As the viewer you get a real sense of the love Julien Gagliardini shared for his surroundings in Venice, especially in choosing to paint the edge of the city and unseen parts rather than the more famous landmarks.
  • 5642-anshelm-Schultzberg-winter

    Winter Twilight

    by Anshelm Schultzberg

    DIMENSIONS: (unframed) 20.5 x 28 in./ 52.1 x 71.1 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • Reflections c.1930

    by Jacques Martin-Ferrières

    DIMENSIONS: (unframed) 32 x 26 in./81.3 x 66 cm SIGNATURE: Signed upper left MEDIUM: Oil on canvas Jacques Martin-Ferrières continually painted subjects of landscapes and nature within Southern regions of France, usually standing out for his vivid use of colours and excellent skill. He gradually became known for his technique of thick application of paint, applying layers to the canvas in a freer brushstroke, to create balanced compositions of animation and tantalising effects of light. We can see this in the painting Reflections, as he reflects the light off the water of a river, with subtle harmonies of ochre and green tones.
  • The Flamboyant Tree

    by Frits Lucien Ohl

    DIMENSIONS: (unframed) 36.00 x 24.00 in./ 91.40 x 60.00 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas Frits Lucien Ohl (1904-1976) was a painter whose works were mostly of Indonesian landscapes and Asian panoramas. He was a skilled artiste, watercolourist, and draughtsman in the style reminiscent of the late of GP. Adolfs. He worked in a colourful and impressionistic manner, depicting Indonesian landscapes and culture, often using his palette knife.
  • La Table, Gerberoy, 1901

    by Henri Eugene Augustin Le Sidaner

    DIMENSIONS: (unframed) 14.75 x 14 inches (37.5 x 35.5 cms) SIGNATURE: Signed 'Le Sidaner' lower right MEDIUM: coloured crayon, watercolour and pencil on paper
  • Edouard Leon Cortes Place de Clichy Edouard Leon Cortes Place de Clichy

    Place de Clichy, Paris, by night

    by Edouard Leon Cortes

    DIMENSIONS: (unframed) 13.00 x 18.00 in./ 33.0 x 45.7 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • Eugene Galien Laloue Arc de Triomphe Laloue arc de triomphe

    L’Arc de Triomphe, c. 1925-1930

    by Eugène Galien Laloue

    DIMENSIONS: (unframed) 7.3 x 12 ins SIGNATURE: Signed 'E. Galien-Laloue' (lower left). MEDIUM: Gouache on paper This beautiful work shows the Arc de Triomphe in Paris on a crisp autumn evening. The sky is filled with the oranges of sunset, capturing the light and atmosphere of the scene.
  • Coastal View

    by Hilda Clements Hassel

    DIMENSIONS: (unframed) 3.50 x 5.25 in./8.89 x 13.34 cm SIGNATURE: Signed HCH lower right MEDIUM: Watercolour
  • Harbour Corner, Ibiza, 1936

    by Hilda Clements Hassel

    DIMENSIONS: (unframed) 14.00 x 18.00 in./ 35.56 x 45.72 cm MEDIUM: Oil on panel