Art Deco Animal Drawings and Watercolors

An 80's style Art Deco oil painting of a fashionable lady petting her precious cat by contemporary artist Erik Freyman. The work is signed lower left, unframed. White Cat Erik Freym...

Panthère dans les bambous, 1926 Gouache, or et traits de crayon sur papier Signé et daté en bas à droite 15 x 15 cm (sujet) Panther in the bamboos, 1926 Gouache, pencil and gold on paper Signed and dated to the lower right Provenance Collection particulière, France - Private collection, France Bibliographie/Literature : Emmanuel Bréon "Gaston Suisse, splendeur du laque art déco", Somogy Editions d'art, Paris 2013, oeuvre décrite et reproduite page 104. (l’oeuvre décrite et reproduite est la lithographie tirée d'après l’oeuvre originale que nous présentons.) Nous présentons ici l'oeuvre originale à la gouache, or et crayon de la panthère noire. L’artiste en réalisa une gravure sur bois dont il tira lui-même une vingtaine d’épreuve. Ces épreuves ne furent pas commercialisées telles quelles, Gaston Suisse reprit chacune des épreuves en utilisant des lavis d’encre de Chine et des ors de différentes couleurs, afin d’obtenir des effets différents pour chaque épreuve, qui sont donc des œuvres originales uniques. We present here the original work in gouache, gold and pencil of the black panther. From this original, the artist made a wood engraving of which he made about twenty prints himself. These proofs were not marketed as they were, Gaston Suisse reworked each of the proofs using Indian ink washes and golds of different colors, in order to obtain different effects for each proof, which are thus unique original works. Born in 1896 in a family of artists, his father Georges was a close friend of Siegfried Bing and a great lover of Japanese art and a bibliophile. He passed his taste for art to his son whom he often took to draw at the Botanic Garden . Around 1910, Gaston Suisse, who hasn't entered yet the artistic school, met Paul Jouve, then 18 years his elder, who was already famous. In 1911, at the age of 17, he entered the National School of Decorative Art where he followed the teachings of Paul Renouard. Thanks to his knowledge and taste for the Japanese art, he chose lacquer painting as his specialty. His practice of this noble and demanding subject were so much appreciated that he was awarded with two gold medals in 1913 and 1914. Mobilized during the war , he joined the army and go in Salonika where he found his friend Jouve. In 1918, he finished his studies at the School of Applied Arts in order to perfect his training. He learned in particular the techniques of gilding and oxidation of metals. The first productions of Gaston Suisse, furniture and objects in lacquer with geometrical patterns, were an instant success and Suisse was appointed as member of Salon d'Automne in 1924, the very year of his first exhibition. Considered as an artist-decorator, his sincere and deep friendship with Jouve linked him in parallel with the groups of the animaliers of the Jardin des Plantes and became a close friend of Edouard-Marcel Sandoz. When travelling to Maghreb and Middle-East between 1923 and 1925, he produced numerous drawings representing antelopes, apes and fennec foxes...

Pierre Olivier DUBAUT (1886-1968) A horseman, Bertrand Larcher riding "Dandy", 1936 Signed lower right Watercolor and pencil on paper 19.5 x 26 cm Titled and dated on the reverse ...

Edward Julius Detmold (British, 1883 – 1957) A blackbird in song Pencil and ink on paper 15.8 x 12 cm. Signed with monogram ‘ED’ (lower right) Edward Julius Detmold (21 November 1883 Putney, Wandsworth, Surrey - 1 July 1957 Montgomery) and his twin brother Charles Maurice Detmold (1883-1908) were prolific Victorian book illustrators. Their parents were Edward Detmold and Mary Agnes Luck. Their father, an electrical engineer was chronically ill, and they lived with their uncle and guardian, Dr Edward Barton Shuldham, who saw to their tuition and was a noted collector of porcelain and Japanese woodprints of plants and animals. Dr Shuldham occupied a house in Upper Richmond Road, Putney, where the twins had been born. He ensured their interest in natural history and art, and created a nurturing environment for their precocious talents. They also spent time with another uncle, the painter Henry E. Detmold, who encouraged them in their art. Most of their prodigious energy was expended on depicting animal subjects and their work showed great influence from traditional Japanese art, Albrecht Dürer and later the Art Nouveau movement. They were exhibiting watercolours at the Royal Academy and the Royal Institute of Painters in Water Colours at the age of 13. Edward Burne-Jones praised their work and warned against the dangers of uniformity inherent in art schools. The twins subsequently mastered the techniques of watercolour etching and of colour printing with copper plates, buying a printing press and producing their own proofs at home. In 1898 they compiled a portfolio of colour etchings of animals and flowering plants done in the Japanese style. These were much sought after and were rapidly sold out. They collaborated on the etchings and illustrations for their first book Pictures From Birdland published in 1899. This book resulted from a number of drawings being shown in the autumn of 1897, to the publisher J. M. Dent, who was so impressed that the two brothers were asked to provide coloured illustrations for a book of his. The first title mooted was Alphabet of Birds, eventually becoming Pictures from Birdland. "Particularly noticeable are the early influences in the paintings, Edward's design for an osprey, with its unusual water effects, testifying to a Japanese contribution. Already apparent is that style in which a searching study of natural forms, especially bird plumage, is subordinated to decorative arrangement" - David Larkin (The Fantastic Creatures of Edward Julius Detmold) This was followed in 1900, by an exhibition at the Fine Art Society's Gallery in London. Their next joint project was to produce a set of 16 watercolours for Rudyard Kipling's The Jungle Book published in 1903, by Macmillan. The success of their painting careers seemed assured, but Maurice ended his life by inhaling chloroform in April 1908, shortly before they were due to leave for a holiday in Sussex with Dr Shuldham, who had arranged that Maurice put down the household cats using the anaesthetic. Although stunned by the death of Maurice, Edward threw himself into his work. The recognition accorded the twins' illustrations of Kipling's classic tale was extraordinary. Consequently, in 1909 Edward illustrated The Fables of Aesop, producing 23 colour plates and a host of pen & ink drawings. This proved so popular that in 2006 The Folio Society of London published a facsimile of the original Hodder & Stoughton edition. In 1911, Detmold worked on illustrations for Maurice Maeterlinck's The Life of the Bee, Camille Lemonnier's Birds and Beasts and Florence Dugdale's Book of Baby Beasts. In the following year he worked on Maeterlinck's Hours of Gladness, in 1913, on Florence Dugdale's Book of Baby Birds and in 1919, on W. H. Hudson's Birds in Town and Village In 1919, he also produced a portfolio of Twenty Four Nature Pictures and, in 1921, on Our Little Neighbours and Jean-Henri...

PATRICK FERGUSON MILLARD, RBA (1902-1977) “Cheeta” Signed Coloured chalks 41.5 by 35.5 in., 16 ¼ by 14 cm. (frame size 64 by 56.5 cm., 25 ¼ by 22 ¼ in.) Exhibited: London, Brook Street Art Gallery Pat Millard was born in Aspatria, Cumbria, educated at St John’s School, Leatherhead and studied at Liverpool School of Art and at the Royal Academy Schools (1921-25) under Charles Sims...

ARTHUR H TRANTER Flourished 1920–1940 Gouache Image size: 22½ x 15¾ inches (57.25 x 40 cm) Hand made Art Deco frame This rare work is the original painting which was used to...