• Mao

    by After Andy Warhol

    This work was made by one of Warhol’s master printers, using Warhol’s original acetates and the same pigments used during the artist’s life, this painting is presented as a faithful, but posthumous body of work and accredited ‘After Warhol’. DIMENSIONS: Unframed 60.0 x 48.0 inches (152.4 x 121.9 cm) SIGNATURE: Stamped 'undenied' edition 1 / 40. MEDIUM:: Acrylic and silkscreen ink on canvas
  • Self Portrait (Orange)

    by After Andy Warhol

    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 20.0 x 16.0 inches (50.8 x 40.6 cm) SIGNATURE: Stamped 'undenied' edition 1 / 40. MEDIUM:: Acrylic
  • The Jazz Club

    by Raymond Moretti

    Raymond Moretti was a French abstract painter. Combining Hebrew letters, lines, and colors he created dynamic works, which flit in and out of abstraction. DIMENSIONS: (unframed) 25.50 x 32.50 ins / 64.77 x 82.55 cms SIGNATURE: Signed (upper right) MEDIUM: Oil on canvas
  • André Lhote was a prolific artist and theorist, who worked and exhibited regularly until the 1950’s. This painting was owned by and depicts Mme Anne Fonjallas, shown on the left wearing the yellow dress. DIMENSIONS: (unframed) 22.8 x 27.6 ins/ 58.0 x 70.0 cm SIGNATURE: Signed 'A. LHOTE' (upper right)  MEDIUM: Oil 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) 55.9 x 55.9 cm/22.0 x 22.0 ins SIGNATURE: Signed (verso) MEDIUM: Acrylic and collage 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) 59.7 x 73.7 cm/23.5 x 29.0 ins SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • Claude Venard (1913-1999), the French post-Cubist painter, 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. DIMENSIONS: (unframed) 39.4 x 39.4 in./ 100.0 x 100.0 cm SIGNATURE: Signed ‘Venard’ lower left 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)38.6 x 55.1 cm/15.2 x 21.7 ins SIGNATURE: Signed 'Maufra' (lower right) 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)53.3 x 67.3 cm / 21.0 x 26.5 ins SIGNATURE: Signed lower left MEDIUM: Oil on canvas
  • La Table

    by Claude Venard

    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) 39.4 x 31.9 in./ 100.0 x 81.0 cm SIGNATURE: Signed 'Venard' lower left MEDIUM: Oil on canvas
  • Polperro Harbour, Cornwall

    by Hendrik Jan Wolter

    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) 40.0 x 47.0 in./101.6 x 119.4 cm SIGNATURE:Signed and dated 1922 MEDIUM: Oil on canvas
  • maurice-vlaminck-oil-on-canvas

    Bois à La Jonchère, 1912

    by Maurice Vlaminck

    Maurice Vlaminck worked as a musician until he accidentally met André Derain in 1900. It was Derain who kindled Vlaminck's artistic ambitions. He decided to become a painter and rented an old hut in which he and Derain shared a studio. A crucial turning point in Vlaminck's artistic development was a visit to a van Gogh exhibition in Paris in the following year. In 1902 the young painter met Henri Matisse, who encouraged him to exhibit at the "Salon des Indépendents".  In 1905 Maurice Vlaminck had a group exhibition with Matisse, Derain, Friesz, Manguin and others at the "Salon d'automne". The radically new colour scheme with large areas of pure colour inspired the critic Vauxelles to refer to the artists as the "Fauves". DIMENSIONS: (unframed) 32.0 x 40.0 inches/ 81.28 x 101.60 cm SIGNATURE: Signed lower left MEDIUM: Oil on canvas
  • 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
  • 5508-dyf-still-life-with-flowers
    Dyf's richness of palette combined with the powerful use of stubby brushes produced the strength and spontaneity which are the hallmarks of his work. His versatility was unbounded and the ability to produce flattering portraits, enchanting landscapes and fresh coastal scenes accounted for his international success. DIMENSIONS: (unframed) 13.8 x 10.8 in./35.1 x 10.8 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.
  • Personnage, 1960

    by Jean Dubuffet

    DIMENSIONS: (unframed) 12.0 x 9.3 in./30.5 x 23.6 cm SIGNATURE:Signed with the artist’s initials and dated ‘JD Juin 60’ lower right MEDIUM: Ink on paper  
  • DIMENSIONS: Unframed 40 x 30 inches (101.6 x 76.2 cm) each SIGNATURE: Signed on each print ‘Andy Warhol 58/150’ MEDIUM: Silkscreen print in colours In 1977, Warhol photographed Muhammad Ali at his training camp in Deer Lake, Pennsylvania. New York collector Richard Weisman had commissioned Warhol to do a series of portraits of well-known athletes such as the footballer Pelé, which came to be known as his Athletes series. What was unique about this series was that the image was taken by Warhol with his camera rather from a stock photo. Each athlete had to allow the artist to take as many Polaroids as he needed, trying to capture the perfect image for his final work.
  • Still Life

    by Claude Venard

    DIMENSIONS: (unframed) 44.5 x 57.25 in./ 113.03 x 145.42 cm SIGNATURE: Signed'C. Venard' lower right MEDIUM: Oil on canvas  
  • Giacomo Balla Landscape and Swallows in Flight
    DIMENSIONS: (unframed) 30.5 x 30.5 in./ 77 x 77 cm SIGNATURE: Signed 'Futur Balla' (lower left); Signed 'Balla' and titled on the reverse MEDIUM: Oil on canvas DATE: Circa 1919 Painted in around 1929, this is a vivacious and colourful prefiguration of Balla’s prominent twenties abstract works, a symmetrical arrangement of interlocked shapes and plastic experimentation in line with Futurist ideology. The twenties mark the artist’s interest in rich, decorative schemes for interior decorations, furniture, and clothing as a way to integrate his artistic credo and the idea of abstract chromatic decorativism into daily life.
  • Bathers on the Beach

    by Alexander Garbell

    DIMENSIONS: (unframed) 24 x 36 ins SIGNATURE: Signed MEDIUM: Oil on canvas