Bryson Burroughs

The Well of Merlin

1921

Signed top left: "Polonsky". Titled verso: "The Wagner Mirror".

Signed and dated lower left: "Ben Norris / 29 - XII - 50". With label verso: "Landscape Variations II - Sardonic Interlude / by Ben Norris". From the Estate of the Artist. Exhibite...

Hannah Barrett’s paintings imagine a colorful, absurdist world inhabited by eccentrics of ambiguous genders and time periods. With tongue-in-cheek nods to the past, Barrett combines...

Signed and dated top right: “Norris (c) 1982”. With label verso: “Ben Norris, 1982 / Coronation / watercolor, 52 x 31 1/4 inches”. As a teacher, academic, and artist, Ben Norris had...

Oil on its original canvas, arched in the upper part Trace of signature at the bottom center Provenance: - France, Private collection

Mystical Scene with Figures by Guy Nicod (French 1923 - 2021) signed oil on canvas laid on board, framed Framed: 35.5 x 27 inches Canvas: 32.5 x 24 inches Provenance: private collec...

Signed symbolist oil on panel circa 1910 by French Les Nabis painter Ker-Xavier Roussel. This beautiful painting depicts nudes and figures dressed in robes in a wooded landscape. Signature: Signed lower left Dimensions: Framed: 31"x40" Unframed: 23"x32" Provenance: JPL Fine Arts - London c. 1985 Ker-Xavier Roussel met Édouard Vuillard at the Lycée Condorcet, which they both attended. Together they visited Eugène Ulysse Napoléon Maillard's studio, where Roussel became acquainted with Charles Cottet, going on to study at the Académie Julian under Bouguereau and Jules Lefebvre. There, he became interested in the Synthetism promoted by Sérusier, following Sérusier's heeding of the line Gauguin had adopted in Pont-Aven. He joined the Nabis group. He and his friends form a link between the Impressionists - he knew Cézanne, Degas, Renoir and Monet - and the Fauves and Cubists. In his earliest paintings, Roussel adopted a dark palette for Realist still-lifes. Later, his work bore the influence of Gauguin, Sérusier, the Nabis and Cézanne, in Intimist scenes painted in flat tints not yet clearly delineated. Their dull, saturated tones are reminiscent of Cézanne. In about 1900 he started painting mythological scenes full of nymphs and fauns and set in his home region of Île-de-France. After a bicycle trip in Provence with Maurice Denis, during which he met Cézanne, he lightened his palette, much taken by the cloudless skies below which he would now set the mythological and idyllic compositions which link him to Poussin and Corot. This wondrous, unreal world found its way into large-scale works, including the stage curtain of the Champs-Élysées theatre in 1913, a large Pax Nutrix for the Palais des Nations in Geneva and Dance for the Palais de Chaillot in 1937. He is best remembered for: Silenius' Triumph, Polyphemus, Diana, The Abduction of the Daughters of Leucippus. The nymphs and fauns of a mythology quite his own appear in clearings and woods from the outskirts of Paris, but the sun they rejoice in is Mediterranean. To capture the vibration of bright colours under a permanent sun, he later turned to pastels. He was more a Symbolist than a Nabi and signed himself K.-X. Roussel. He also produced lithographs. He took part in exhibitions from 1891 with the Groupe des Vingt at le Barc de Bouteville's gallery in Brussels. Then he exhibited in Revue Blanche Painters ( Les Peintres de la revue blanche) in Paris; with the Nabis at Café Volponi in Paris; before World War I with Free Aesthetics in Brussels; from 1901 at the Salon des Indépendants and the Salon d'Automne; in the 1930s in Revue Blanche Painters ( Les Peintres de la Revue blanche) hosted in Paris by designer Bolette Natanson, the daughter of the Revue Blanche's owner. He took part in The Masters of Contemporary Art ( Les Maîtres de l'art contemporain) at the Musée du Petit Palais in Paris, and at the 1938 Venice Biennale and 1939 New York World Fair. He featured posthumously in Toulouse-Lautrec and the Nabis ( Toulouse-Lautrec et les Nabis) at Bern Kunsthalle; From the Revue Blanche ( Autour de la revue blanche) in the Galerie Maeght, Paris, and in Tokyo and Brussels. He had one-man shows in Paris before his death in 1944. Retrospectives were mounted in the 1960s in London and Bremen. Museum and Gallery Holdings: Geneva (Petit Palais): Haystacks on the Seaside Paris (BNF): Training the Dog; Landscapes (engraving); Nymph and Faun (c. 1895, etching) Paris (Louvre): Poject for a Screen (drawing) Paris (MNAM-CCI): The Road (c. 1905); The Cyclops (1908); Venus and Cupid on the Seafront (1908); The Abduction of Leucippus' Daughters (1911); Pastorale (1920); Diana at Rest (1923); Portrait of Vuillard (1934) Paris (Mus. d'Orsay): The Gate (pastel); Woman in Profile with Green Hat; In Bed; Félix Valloton...

This artwork is a captivating representation of The Trinity, created by the British artist Robert Arthur Wilson. It vividly demonstrates Wilson's profound engagement with avant-garde theories related to colour, music, and emotion, which had a significant impact on his artistic vision. Wilson's exploration of colour abstraction was groundbreaking and played a pivotal role in establishing him as one of the most promising artists of his time. His innovative approach to colour abstraction is evident not only in the portrayal of the sky but also in the overall composition of this piece. Robert Arthur Wilson (British, 1884 – 1979) Triune Tempera on panel Signed ‘R.A. Wilson’ (lower right) and titled on a label on the reverse 29.1/8 x 29.1/8 in. (69 x 69 in. ) Robert Arthur Wilson was a British painter. Wilson was born in Sunderland in 1884. Leaving school at the age of thirteen, he was employed for a time as a bookkeeper before beginning an apprenticeship under a local sign...