José Royo

A Quiet Evening

1984

Oil on artist board signed and dated lower right featuring pool players playing a point match in the pool hall. Great WPA feel and texture impasto. Most likel...

Signed and dated 92 lower left. Oil on canvas. Frank Bramley British, 1857-1915 Frank Bramley is considered one of the most important artists of the Newlyn School, the group of artists who settled in Newlyn, Cornwall during the 1880s and 1890s, drawn by the light, lifestyle and the example of Alexander Stanhope Forbes, and were at the forefront of 'British Impressionism'. He was particularly ‘in the news’ when his painting of a woman reading in a garden made the astonishing price of $590,000 at Sotheby's New York in late May 1996. As the seminal catalogue of the famous Newlyn School exhibition states, Bramley's reputation has rested for some time on Hopeless Dawn, his major RA exhibition of 1888, and which in recent years has been hung almost constantly at the Tate Gallery. Bramley was born in Lincolnshire and trained at Lincoln Art School, later at Verlat's Academy in Antwerp, from where he went to Venice in 1882-83, where our painting was executed. He first showed at the Royal Academy in London in 1884 (both paintings were Venetian scenes), and it was in the winter of 1884/5 that Bramley settled in Newlyn. He was a quiet and reserved figure, prone to bouts of melancholy. He worked on his own in a tiny studio in an old thatched cottage - the cottage consisted of two rooms, one at ground level (which was the studio) and one which was below ground which was inhabited by a woman who'd lost her arms and who managed to look after a set of tiny children as well as a small potato and turnip shop. Bramley moved to a purpose-built glass studio in 1889. He is known as the master of the so-called 'square-brush technique' which characterizes much of the best Newlyn School work and he used this until 1893, later than most of his colleagues. Bramley was friendly with the great artist Sargent and with him was elected an associate of the Royal Academy in 1894, being elected a full member in 1911. In 1891 he had married, and 4 years later they moved to the Midlands where his work became less socially orientated and more purely decorative. His last years were spent in a London flat...

Oil on canvas, inscribed on the stretcher bar reverse. The painting is presented in a flat black frame that complements it well. Horace Bundy was an itin...

Oil on panel, measures 17" x 21" painting and with frame 24" x 27.5". Signed and dated 1885 lower left. Charles Green studied at Leigh’s School of Fine Art and under the engraver, J W Whymper, before quickly establishing himself as a painter and illustrator. Specialising in genre pieces, he joined the Langham Sketching Club and was elected to the Royal Institute of Painters in Water Colours (ARI 1864; RI 1867). His elder brother, Henry Towneley Green, was also a member. His contribution of contemporary subjects to the early numbers of The Graphic were admired by Van Gogh, but he was best known for his depiction of period settings and for his illustrations to The Old Curiosity Shop...

This oil on canvas is signed and date in the upper left and measures 38" x 45.25" including the frame. Sam Uhrdin (Swedish School, 1886-1964). Sam Uhrdi...

Oil on canvas, signed and dated in the upper left and inscribed on the reverse. Painting features a Swedish girl knitting by the fire. The work has a lovely warm feel to it. Sam Uhrdin...

Family scene. Oil sketch on cardboard. This work will be recorded in the catalogue raisonné of the work of the artist currently in preparation. Jules Van Biesbroeck was the son of Jules Evariste van Biesbroeck, a painter of Ghent, but was born in Italy, in Portici, near Naples, while his parents were staying there. (In the 19th century many artists made educational trips to Italy). It was a long visit: the child was two years old by the time the family returned to Ghent.[1] After a short period of practice with his father, van Biesbroeck was enrolled in the Academy of Fine Arts in Ghent. His first painting, "The Shepherd" (French: Le pâtre), was sold at the Triennale in Ghent. In 1888, when he was only 15 years old, he made his debut at the "Salon des Champs-Elysées" in Paris with his monumental work "The Launch of the Argo" (French: Le lancement...

'Cours de maison Blida'. Oil sketch on cardboard. Signed and titled on the back. This work will be recorded in the catalogue raisonné of the work of the artist currently in preparati...

A fine mid 20th century post impressionist oil of a young woman sewing by lamplight circa 1960's oil on canvas 46cmx 70cm good gallery frame 63cmx 88cm Very atmospheric light effect painted in expressive colourfield palette creating a soft diffused atmosphere under the old lamp...

David R. Buchanan 20th Century British. 'Men at Work' circa 1930's oil on canvas 45cmx60cm good quality gallery frame 61cmx76cm A dymanic scene of a gang of road workers laying mains...

Literature Dorival, Bernard & Rouault, Isabelle, Rouault, L’Oeuvre peint(Monaco, 1988), vol. 2, p. 150, no. 1864 (illus.) Executed in 1937, Carlotta belongs to a group of portraits...

A beautiful woman sits at an open window, gazing down at a small bird who has landed nearby in this serene portrait by Charles Levier. Warm orange tones are played off their complements in shades of blue, the artist utilizing several different layers of oils to create a subtle and relaxed view of a spring day near the sea. Beyond the window a small chapel sits on a peninsula, surrounded tranquil blue waters. This work, like many of Levier's, belongs to the French figurative movement of the Glorious Thirty (Les Trente Glorieuses) - the golden period of thirty years after WWII which were a time of great hope and prosperity in France. Inspired by Hollywood cinema, Charles Levier sought harmony in composition and purity of color and form. His said that his creations represented "a light and delicate world, of dark and subtle shades and colors." Levier worked in a somewhat abstracted, cubist style. Additionally he often employed the French technique of "cloisonnism" (after the French for "partition"), a style of post-Impressionist painting with bold and flat forms separated by dark contours, also seen in this work. The term was coined by critic Edouard Dujardin on the occasion of the Salon des Indépendants, in March 1888 and was commonly used by artists like Émile Bernard, Louis Anquetin, Paul...