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DIMENSIONS: (unframed) 17.3 x 21 inches (43.9 x 53.3 cm) SIGNATURE: Signed 'Dyf' (lower right) MEDIUM: Oil on canvas -
DIMENSIONS: (unframed) 18 x 21.7 inches (46 x 55 cm) (framed) 20 x 23.5 inches (50.8 x 59.7 cm) SIGNATURE: Signed 'C Venard' (lower right) MEDIUM: Oil on canvas Claude Venard has painted an ebullient still life composition, with thickly laid paint and his characteristic abstraction lending the static forms a sense of dynamism. -
Dimensions: (unframed) 24 x 36 inches. (framed) 32 x 44 inches. Signature: Signed (lower left) Medium: Oil on canvas Throughout his career, Gisson developed and refined the style and technique of impressionism, with its small broken brushwork and soft, vibrant colours. -
MEDIUM: Oil on canvas DIMENSION: (unframed) 30 x 30 inches. (framed) 31 x 31 inches. SIGNATURE: Signed (lower right), titled and dated (stretcher, verso) -
DIMENSIONS: (Unframed) 22 x 28 inches / 55.9 x 71.12 cm SIGNATURE: Stamped 'undenied' edition 1/40. MEDIUM: Acrylic Addressing the reiteration of tragedy in the media, the Electric Chair series juxtaposes bright colours with a morbid subject. Warhol began producing these works in 1963, the same year as the State of New York’s last execution by electric chair. The source image was a press photograph published in January 1953 of the electric chair at Sing Sing Prison in Ossining, New York, a maximum security prison. -
DIMENSIONS: (Unframed) 22 x 28 inches / 55.9 x 71.16 cm SIGNATURE: Stamped 'undenied' edition 1/40. MEDIUM: Acrylic on canvas Addressing the reiteration of tragedy in the media, the Electric Chair series juxtaposes bright colours with a morbid subject. Warhol began producing these works in 1963, the same year as the State of New York’s last execution by electric chair. The source image was a press photograph published in January 1953 of the electric chair at Sing Sing Prison in Ossining, New York, a maximum security prison. -
DIMENSIONS: (Unframed) 22 x 28 inches / 55.88 x 71.12 cm SIGNATURE: Stamped 'undenied' edition 1/40. MEDIUM: Acrylic on canvas Addressing the reiteration of tragedy in the media, the Electric Chair series juxtaposes bright colours with a morbid subject. Warhol began producing these works in 1963, the same year as the State of New York’s last execution by electric chair. The source image was a press photograph published in January 1953 of the electric chair at Sing Sing Prison in Ossining, New York, a maximum security prison. -
DIMENSIONS: (unframed) 21.3 x 25.5 ins/ 54.1 x 64.8 cm SIGNATURE: Signed 'Dyf' (lower left) MEDIUM: Oil on canvas Here French Impressionist artist, Marcel Dyf paints his wife Claudine sitting at a table. Using slight impasto, Dyf has cleverly conveyed the texture of the fabrics, furnishings and the objects on the table. In particular, the vibrant red flower in the foreground highlights the sitter’s rouge lips, bringing the focus to her and adding a romantic, rosy lens to the entire scene. Dyf had met Claudine in the 1950's when she was just 19. There was a big age gap of 36 years but after a many years posing for him, they married when Dyf was 66. This painting is a testament for the passion Dyf felt for his wife. -
MEDIUM: Lithograph DIMENSIONS: (unframed) 20.5 x 14.5 ins/ 52.1 x 36.8 cm SIGNATURE: Signed and edition numbered to lower margin Joan Miró rejected the constraints of traditional painting, creating works “conceived with fire in the soul but executed with clinical coolness,” as he once said. Widely considered one of the leading Surrealists, though never officially part of the group, Miró pioneered a wandering linear style of Automatism—a method of “random” drawing that attempted to express the inner workings of the human psyche. Miró used colour and form in a symbolic rather than literal manner, his intricate compositions combining abstract elements with recurring motifs like birds, eyes, and the moon. “I try to apply colours like words that shape poems, like notes that shape music,” he said. -
DIMENSIONS: (unframed) 37.5 x 50.0 in./ 95.3 x 127.0 cm (framed) 47 x 60 in./ 119.4 x 152.4 cm SIGNATURE:Signed ‘Andre Brasilier’ (lower right); Signed, dated and titles (verso) MEDIUM: Oil on canvas Brasilier’s paintings depict a peaceful, comfortable world, free from care, in a very simple, stylish manner, with delicate harmonies bathed in accommodating sunlight. Brasilier had his first retrospective of one hundred artworks from 1950-1980 at the Château de Chenonceau in 1980 and a retrospective exhibition at the Musée Picasso-Château Grimaldi in Antibes, the French Riviera, in 1988. He has since been honoured with major retrospectives both at Russia’s renowned State Hermitage Museum in Saint Petersburg in 2005 and at the Museum Haus Ludwig für Kunstausstellungen Saarlois in Germany in 2007. -
DIMENSIONS: (unframed) 22.0 x 17.5 ins/ 55.9 x 44.5 cm SIGNATURE: Signed ‘Calder’ (lower right) and numbered ‘IX/XXV’ (lower left) MEDIUM: Lithograph on paper One of fifteen original lithographs, signed and numbered by the artist, commissioned to illustrate the porfolio's text 'El Circulo de Piedra' by Carlos Franqui. Franqui was a Cuban revolutionary, a friend of both Castro and Guevara and editor of the Cuban National Newspaper, before his split with the regime over their lack of tolerance. From the Hors de Commerce Edition of only 25, aside from the edition of 125. -
DIMENSIONS: Unframed 20.0 x 16.0 inches (50.8 x 40.6 cm) SIGNATURE: Stamped 'undenied' edition 1 / 40. MEDIUM: Acrylic Initially produced as part of an identical series in 1964, this self-portrait in orange depicts Warhol directly meeting the viewer’s gaze. Warhol’s piercing gaze is confrontational, as is the entire composition. The use of strong contrast means that his facial features are reduced to light and dark tones, mimicking the effect of an over-exposed photograph. The orange background is the only colour featured. By colour blocking, Warhol confronts the viewer with the aesthetic of commodity culture. -
DIMENSIONS: (unframed) 55.9 x 55.9 cm/22.0 x 22.0 ins SIGNATURE: Signed (verso) MEDIUM: Acrylic and collage on canvas A pioneer in the perceptual art movement, painter Julian Stanczak built his life around seeking answers to questions about color, light, form and the way the expression of those things affected the human eye and emotions. Over the decades, Stanczak delved deeply into studies of light waves and the effects that colors had on each other in juxtaposition. With help from his father-in-law, he built a machine to cut rolls of tape to any width so he could mask off portions of his canvases to achieve edge precision. His studio was a festival of colors mixed with great care, allowing him as much control as possible over the experience of light and feeling on the part of the viewer. -
DIMENSIONS: (unframed) 59.7 x 73.7 cm/23.5 x 29.0 ins SIGNATURE: Signed lower right MEDIUM: Oil on canvas Dyf showed a talent for art at an early age but began his adult life as an engineer. By the age of 23 years, he became a professional self-taught artist, setting up a studio in Arles in 1922. His career flourished as a landscape artist – painting views of the surrounding countryside. Much of Dyf’s influence and inspiration came from the Impressionist and Post-Impressionist artists; among his favourites was Pierre Renoir. -
DIMENSIONS: (unframed)38.6 x 55.1 cm/15.2 x 21.7 ins SIGNATURE: Signed 'Maufra' (lower right) MEDIUM: Oil on canvas In his paintings Maufra stayed often quite traditional, but sometimes borrowed the more pointillisit technique of Pissarro or Sisley, and also took the strong colors and powerful drawing of the Pont Aven school. However, Maufra stayed an independent artist all his life, and dedicated his art to recording the beauty of nature. -
DIMENSIONS: (unframed) 21.0 x 26.5 in. / 53.3 x 67.3 cm SIGNATURE: Signed (lower left) MEDIUM: Oil on canvas This charming painting depicts a curated garden in summer, and is by Hans Iten, the finest flower painter of his time. The garden is flooded in bright sunlight, while the trees in full leaf cause dappled shade. The composition makes the picture seem as though it is being viewed through a window, the tops of the trees projecting out of the picture plane. This gives the viewer the sense that they are experiencing the view through the trees in real life. -
DIMENSIONS: (unframed) 39.4 x 31.9 in./ 100 x 81 cm (framed) 44.5 x 37 in./ 113 x 94 cm SIGNATURE: Signed 'Venard' lower left MEDIUM: Oil on canvas Claude Venard is known for his powerful abstract compositions that explore the inner forces and underlying rhythms of subjects, rather than their outward appearance. This opens up the viewer to new perspective and way of looking by projecting spatial vistas into every part of the canvas, in accordance with an emotional rather than a physical order. Venard’s optimistic attitude and obvious enjoyment of life imbues everyday objects and his views of Paris with an undeniably French joie de vivre. The artist said of his approach to his paintings “One must be wary of works that seduce at first sight; I do not mean that ugliness is a virtue, but a painting should be powerful without the use of trite devices.” -
DIMENSIONS: (unframed) 40.0 x 47.0 in./101.6 x 119.4 cm SIGNATURE:Signed and dated 1922 MEDIUM: Oil on canvas This beautiful painting shows the fishing habour of Polperro in Cornwall. Here, Jan Wolter has cleverly depicted the Cornish sun as it bounces off the boats, cliff and sand, with the light refracting to reveal bright oranges, greens, blues and yellows. -
DIMENSIONS: (unframed) 20.5 x 28 in./ 52.1 x 71.1 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas -
DIMENSIONS: (unframed) 30.5 x 23.0 in./ 77.5 x 58.4 cm SIGNATURE: Signed ‘Calder’ (lower right) and numbered ‘E.A’ (lower left) MEDIUM: Lithograph on paper Here Calder has introduced the shapes and colours associated with the circus- balloons and bold primary colours- to produce a dynamic piece full of joy reminiscent of his sculptural mobiles. -
DIMENSIONS: (unframed) 20.5 x 28.3 ins/ 52.1 x 71.9 cm SIGNATURE: Signed ‘Calder’ (lower right) and numbered ‘83/100’ (lower left) MEDIUM: Lithograph on paper This striking lithograph by Alexander Calder depicts the Great Pyramids of Giza just outside of Cairo, the vibrant red sun rising in the distance. The pyramids and their surroundings were a theme Calder returned to time and time again. The pared-down palette satisfied the artist’s taste for contrast. Here Calder has used a limited palette of red, white, blue, black and yellow to depict them. -
DIMENSIONS: (unframed) 15.00 x 21.75 in./38.1 x 55.2 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas There is precise technique in Vollet's landscapes, using a multitude of tiny, blue and red coloured dots are blended to create movement and depth. Rather than mixing the colours on the palette beforehand, the close proximity of small dots of colour seem to blend in the viewer’s eye. His creative originality is demonstrated by his ability to combine tones of colour: here he mixes blue, red, yellow, orange and white to reproduce the vibrancy of a summer’s day, shimmering with colour and light. -
DIMENSIONS: (unframed) 24 x 36 ins SIGNATURE: Signed MEDIUM: Oil on canvas
