Marcel François Leprin

Le Bal de Moulin Rouge - Modernist Figurative Oil by Marcel Francois Leprin

1921

Signed impressionist figurative oil on canvas circa 1890 by sought after French impressionist painter Jean Louis Forain. The piece depicts bathers in a dark landscape. Signature: Signed lower right Dimensions: Framed: 32"x37" Unframed: 24"x29" Provenance: Private French collection Jean Forain was the son of a painter and decorator and was apprenticed to a visiting card engraver. He studied briefly under Gérôme and Carpeaux at the École des Beaux-Arts in Paris and regularly visited the Louvre, where he copied works by the masters. It is said that for a time he made a precarious living by selling small drawings in the style of Grévin. He went on to collaborate on various publications as a draughtsman and columnist, starting in 1876 on La Cravache and then collaborating on the newspapers Le Journal Amusant, Le Figaro and L'Écho de Paris. This introduced him to the diverse worlds of Paris society - the world of the theatre, of shows, and of literature - where he wryly noted the habits and shortcomings particular to each. This led him to follow a route very characteristic of this period, already seen in the work of Steinlen, Caran d'Ache and Toulouse-Lautrec in the journals La Pléiade, La Vogue...

Signed figures in interior oil on canvas circa 1920 by sought after French impressionist painter Edouard Leon Cortes. This charming and nostalgic work depicts a family in a typical Breton kitchen scene. An elderly lady is seated at the table with her back to the artist and a young girl also sits at the table beside a bowl of oranges and a carafe of red wine. Another lady stands at the table under the light of the lamp. Signature: Signed lower right Dimensions: Framed: 29.5"x34" Unframed: 21.5"x26" Provenance: Salon des Independants - 1922 exhibition Galleries Maurice Sternberg - Chicago Original artists label with title and number "9" on the reverse. Edouard Leon Cortes, the son of the painter Antonio Cortès, was sent to the front during World War I to sketch enemy positions. In civilian life, his base was in Lagny in the former studio of Cavallo-Peduzzi. Although he travelled extensively in France. Notably in Normandy, Brittany, the Champagne region and Savoy painting...

Signed and dated oil on canvas figure in interior painting by American impressionist painter Frederick Carl Frieseke. The piece depicts a young girl in a pink dress seated at a piano...

Signed figures in interior oil on canvas circa 1910 by sought after French impressionist painter Edouard Leon Cortes. This charming and nostalgic work depicts a family enjoying dinner in a typical Breton kitchen scene. A man and lady are seated at the table while a woman serves them from a steaming pot. The light of an overhead oil burner illuminates the room. Signature: Signed lower right Dimensions: Framed: 26"x23" Unframed: 18"x15" Provenance: This work will be included in the supplement to Tome III of the Catalgue Raisonne of Edouard Cortes under preparation by Mme. Nicole Verdier This work is accompanied by a photo certificate from Mme. Nicole Verdier under reference EC221203/HT/GEO-241 Edouard Leon Cortes, the son of the painter Antonio Cortès, was sent to the front during World War I to sketch enemy positions. In civilian life, his base was in Lagny in the former studio of Cavallo-Peduzzi. Although he travelled extensively in France. Notably in Normandy, Brittany, the Champagne region and Savoy painting...

Colin Ruffell is an English painter of interiors, cityscapes, and many other unique subjects. This bold and evocative 1970s painting by English artist Colin Ruffell captures a nosta...

The Guildhall, Worcester English School, mid 20th century indistinctly signed verso oil on canvas canvas: 20 x 24 inches provenance: private collection, UK condition: very good and sound condition The Worcester Guildhall was originally built as a meeting place for Worcester merchants around 1227. As with many other guildhalls, it became the centre for civic administration, a role it maintained after the merchant guild had disappeared. The present Worcester Guildhall is a superb Queen Anne building, begun in 1722 by Thomas White, a pupil of Sir Christopher Wren. White was badly paid for his efforts, and he died in poverty in 1738, bestowing the money he was owed on the Worcester Royal Infirmary. The city finally paid its debt in 1753. The exterior of the Guildhall is brick, dressed with stone. White himself is said to have carved the figure of Queen Anne over the entry, as well as those of Charles I and II, a reminder of the city's long history of royal support. The interior is superb, boasting exceptional period decoration. The Tourist Information Centre is now located in the Guildhall. HISTORY In 1227 Henry III granted the citizens of Worcester a royal charter granting them the right to establish a guild of merchants. The guild was responsible for controlling trade in the city, but their meeting place gradually became the main centre of administration for city government and acted as a courthouse. So, in effect, the Guildhall was the town hall, and though the city guilds have long since vanished, the Guildhall name lives on. The medieval guild merchants would not recognise the building that faces onto High Street now. Their guildhall was a large timber-framed building, occupying the same site, with a piazza for shops fronting the street, courts of justice at each end, and a prison to the north of the building. Part of the prison was a cell called 'the peephole', which gained a notorious reputation. There was a gaoler's house, and attached to it an alehouse from which the gaoler sold ale at extremely high prices to any prisoner who could afford the cost. In 1717 the city administration decided on a new Guildhall, and they knew just who to call; upon to build it. Thomas White was not an architect in the way we think of it today, but a stonemason. In 1705 he had carved a statue of Queen Anne to stand in front of the medieval Guildhall and was made a Freeman of the City. The total cost of the fashionable new red-brick building was £3727. The Corporation only put forward £800, and the rest had to be raised by public subscription. The centre section of the new Guildhall was finished by 1724 and has remained almost unchanged since then. The central facade is a wonderful example of early Georgian style, with three bays flanked by Corinthian pillars. Over the entrance is a huge carving incorporating the Hanoverian royal arms. White's earlier statue of Queen Anne was placed in a niche over the door, and on either side were statues of Charles I, depicted holding a church, and Charles II, with an orb and royal sceptre. On the rooftop are figures of Labour, Peace, Justice, Plenty, and Chastisement. North and south wings were added within a few years of the central block. The south wing was used as a judge's lodging when the assizes were taking place, but throughout the rest of the year it housed a coffee shop. The most striking external feature of the Guildhall is a set of iron gates...

The Hareem Interior French Orientalist School, late 20th century (painted after an earlier style) oil on canvas, framed framed: 30 x 34 inches canvas: 20 x 24 inches provenance: priv...

The Card Game in the Casino French Modernist, circa 1970's oil on canvas, unframed canvas: 21.5 x 25.5 inches provenance: private collection, France condition: very good and sound co...