American School (20th century)

'Wharf with Dock Workers', American School, Oakland, San Francisco Bay Area Oil

Circa 1920

Signed lower left, 'V. Rorup' for Viggo Julius Rorup (Danish, 1903-1971) and dated 1967. A substantial, Post-Impressionist oil landscape showing a view of the Mediterranean with an orange tree and blossoming apple trees in the foreground, framing a view across cultivated fields towards the azure ocean beneath a clouded lilac and ivory sky. A charming and robust work that exemplifies the artist's characteristically lyrical and painterly brushwork, elegantly expressing it here in a gentle palette of moss, teal, lavender and soft pastels. Viggo Rorup was still a student at the Royal Danish Academy of Fine Arts when he made his 1928 debut at the Free Exhibition at the Charlottenborg Palace. Following his graduation in 1930, he moved to Odsherred, where he continued his studies under Karl Bovin. Together, they formed the foundation of the avante-garde group of Modernists, The Corner, that first introduced the principles of Modernism to Danish painting. Rorup traveled widely, including to Italy, Austria, Spain, and most importantly to France, where his studies of the Impressionists and the Post-Impressionists had a great stylistic impact on his later work. His palette grew brighter, and his earlier defined contours were subsumed into the nuances of light. We are pleased to offer a dazzling work from the artist's late period, that exemplifies these later qualities of his mature work, harmoniously capturing the warmth and color of a southern summer landscape. Exhibitions: KE 1928-29, 1933-38; Corner Harvest 1939-41; Corner 1942- 71, 1981; Liljevalchs, Sth. 1946; Union Frcia 1947; Nordic Arts Association. 1947; Wild Wheat, Kunstindustrimus. 1948; New Carlsberg Foundation, Charlottenborg Palace, 1952; Cromisterne 1952;Kalundborg 1952; Da. contemporary art, Charlottenborg Palace 1956, 1958; Danish Institute Contemporary Art, Freedom Hall, Sønderborg 1961; Ostseeländer, Rostock 1961-62, 1969; Artists in Odsherred, 1977; Copenhagen 1978; Danish. landscapes, Norwegian Art Museum. 1981; Danish Cultural Institute, The Artists House, Ukraine 1986. Separate Exhibitions: Binger Gallery Copenhagen. 1938; Art Unite., Copenhagen. 1964 (retrosp.); Haagen-Müller Kunsthdl., Copenhagen. 1966; Farumgaard, Farum 1971 (Artist Retrospective); Odsherred painter Retrospective, Odsherreds Museum, 1983; Norwegian Art Museum. 1985; Odsherreds Art Museum. 1993; et al. Literature: Pol. 1.4.1957; 03/08/1983; 05/17/1985; Holbæk County Venstrebl. 28/06/1958; Ulf Hoffmann in: Cat. Corner, 1959; News 15/11/1964; Gunnar Jespersen: The abstract, 1967, 107; Berl. Time. 17/01/1971; Inger Hjorth Nielsen: Cat. Corner, 1971-72; January Garff in: Corner Book...

Signed lower left, 'T. Takashima' for Tsuneo Takashima (Japanese, 1922-1975) and dated 1968; additionally signed, verso, in Kanji, 高島 常雄 (Takashima Tsuneo), titled, ベニス (Venice) and ...

A substantial mid-century, pointillist oil cityscape showing a view of San Francisco with Coit Tower overlooking the neighborhood of Telegraph Hill looking ...

Signed lower right, 'R. Bothwell' (American, 20th century) and painted circa 1975. Framed dimensions: 37 x 1.5 x 49 inches. A substantial, American Impressionist oil landscape sho...

Signed lower right, 'Monteagudo' for Philippe Monteagudo (French, 1936-2016) and dated 1968. A panoramic winter view of St. Marks Square in Venice with numerous pedestrians gathered...

Signed lower right, 'Horning' for Elizabeth Horning (American, born 1943) and painted circa 1985. Accompanied by artist biography and old label on or...

Signed oil on canvas figures in landscape by sought after French post impressionist painter Marcel Dyf. The work depicts workers picking flowers in a poppy field in St Paul de Vence,...

Signed figures in landscape oil on canvas circa 1920 by French post impressionist painter Lucien Adrion. The painting depicts people going about their daily lives on the streets of P...

Signed post impressionist figures in cityscape oil on canvas circa 1960 by French painter Antoine Blanchard. The work depicts a bustling scene at Place de la Republique - a square in...

Signed oil on canvas landscape circa 1950 by sought after French post impressionist painter Marcel Dyf. The work depicts a breakfast table with bread laid out and a blue vase filled ...

Signed post impressionist oil on canvas landscape by French painter Jacques-Emile Blanche. The work depicts crowds of people enjoying a day at Brighton beach on the south coast of England. Bathers are dotted across the sandy beach with the pier on the right hand of the scene and the Grand Hotel behind. Signature: Signed lower right Dimensions: Framed: 29.5"x47.5" Unframed: 22.5"x39.5" Provenance: Private collection - Italy This work will be included in the catalogue raisonne of the work of Jacques Emile Blanche currently under preparation by Dr Jane Roberts & Muriel Molines Blanche received training from Gervex and Fernand Humbert. His grandfather was Émile Antoine Blanche, the psychiatrist who treated the poet Gérard de Nerval on several occasions. He was awarded a gold medal at the Exposition Universelle in Paris in 1900, and was a Commander of the Légion d'Honneur. He was well known in French and British artistic circles, and married the daughter of John Lemoine, the leader of the Diary of the Proceedings ( Journal des Débats), and author of the Life of Brummel. He exhibited his works in London and Paris. Blanche had a wide circle of acquaintances, and the list of portraits which he executed is indicative of the diversity of those who used to meet at his home: Henri Bergson; Stéphane Mallarmé; Henry Bernstein (1902); André Gide (1912); Anna de Noailles (1912); Jean Cocteau (1912); Igor Stravinsky (1915); Francis Jammes (1917); Paul Claudel (1919); Jean Giraudoux; Paul Valéry; Marcel Proust; Max Jacob (1921); Maeterlinck (1931); Debussy; Antoine Bourdelle; George Moore; André Maurois; François Mauriac; Maréchal Foch and the Princess de Broglie. He also wrote novels, which were more or less autobiographical, and essays, such as From David to Degas; Dates; From Gauguin to the Negro Review; Journals of an Artist ( De David à Degas; Dates; De Gauguin à la Revue nègre; Cahiers d'un artiste) in six volumes, and Manet. During meetings at his studio, he used to collect any snippets that would flesh out the essays he wrote, which alternated between being sharp and emotive. He gave them in series to the magazine Comoedia, under the title of Studio Talk. It was said that he aroused tremendous debate, notably with André Lhote, a painter younger than himself, who also doubled as a critic. The latter initially attempted to define the main characteristics of the art of the 'rebellious and charming Jacques Émile Blanche,' but subsequently treated him less generously, referring to a painter 'attached to the notion of 'high-and-mighty' genre painting.' He added that this sort of painting was marvellously illustrated by Manet. The quality of his flat surfaces, the precious greys and silvery light effects cause Jacques Émile Blanche to be compared more with Manet, whom he admired, than with the Impressionists, with whom he was compared in terms of his early works. Nevertheless, his outdoor backgrounds with traces of sometimes vivid colours have something in common with them. In the aftermath of World War I, he spent a long time on an enormous composition entitled Tribute to those who Died in the War. It was executed in a style which was totally different to his work as a whole. He offered this work to the church in Offranville near Dieppe. He also donated around 100 of his works to the Musée des Beaux-Arts in Rouen. He regularly exhibited in Paris, at the Salon of the Société Nationale des Beaux-Arts (also known as the Salon de Mars) from the time it was founded in 1890. At the time of the initial exhibitions held by the Société Nationale des Beaux-Arts, he rapidly gained fame by exhibiting such portraits as Paul Adam and Charles Cottet...

Stunning signed landscape oil on canvas circa 1910 by sought after French post impressionist painter Victor Charreton. A wonderful and colourful depiction of a green church garden la...