Early 1900s Figurative Paintings

Stunning post impressionist seascape oil on canvas circa 1900 by sought after French painter Ferdinand du Puigaudeau. The work depicts a cottage by the sea at sunset with the dying l...

Signed impressionist gouache on board circa 1890 by sought after French painter Eugene Galien-Laloue. The piece depicts a bustling evening city scene at the Place de Bastille in Pari...

Signed and dated 1908 oil on panel by French impressionist painter Henri Duhem. The work depicts boats moored on the side of a canal in winter. Signature: Signed lower centre-left ...

Louis-Alexandre CABIE (Dol-de-Bretagne 1853 - Bordeaux 1939) The bridge over the Vézère, in front of Les Eyzies Oil on canvas H. 70 cm; L. 100 cm Signed lower left, dated 1909 Provenance: Private collection, Paris Louis Cabié...

Signed impressionist oil on board circa 1900 by French painter Eugene Louis Gillot. This stunning image depicts a view of Augustin Dumont's Genie d...

A charming watercolour on paper by French impressionist genre painter Henri Jules Jean Geoffroy. The piece is a portrait of a young boy with blue eyes and fair hair wearing a blue an...

Born in Ilfracombe, Devon, Robb studied at Aberdeen School of Art and then under Bouguereau and Aman Jean in Paris. He specialized in figures and landscape subjects and particularly favored depicting figures in ballroom attire masquerading and playing instruments. He exhibited at the Royal Academy, other leading London galleries, and at the Paris Salon. A one-man show of his work was held at The Fine Art Society in 1920. He lived in London and died on the 5th of August 1940. A studio sale of the work which remained in the attic of his home for many years after his death was held at Bonhams on Lots Road...

Dutch school vintage oil painting, signed with initials A.M., in beautiful gold leaf frame. c.1900 51 x 41 Inches with the frame. The painting is in go...

An interesting and beautifully painted oil on canvas by French academic painter Pierre Bonnaud. The piece depicts a flute of champagne beside an open bottle. There's a lit cigar rest...

A beautiful oil on canvas by French Nabis painter Edouard Vuillard depicting a nude woman resting in a chair in an interior. An absolutely stunning piece. Signature: Signed lower right Dimensions: Framed: 20"x15" Unframed: 14"x19" Provenance: The atelier of the painter Galerie Girard, Paris Collection of Georges & Jacqueline Herbin Bibliography: Vuillard, The Inexhaustible Glance by Antoine Salomon & Guy Cogeval, Catalogue Raisonne - Skira/Seuil - Wildenstein Institute, 2003, described and reproduced in Volume II, page 664 with the number VII-248. Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute. At first, Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner. About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye. In 1891, Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël. All too often, Vuillard is only admired in his role as the harmonist, the serene contemplator who combines an exquisite sense of nuance, rhythms, and values with the most acute observation. These singular investigations, these three-dimensional meditations including a table, a folding metal cot...

An art noveau oil on canvas by French painter Jacques Wely. This work is titled "The Debt" and depicts a woman beautifully dressed looking glum whilst discussing the money she owes t...

A simply beautiful French Impressionist School oil on panel of a young girl in a boater hat sitting on a sandy beach playing with pebbles with a view of vibrant blue sea in the dista...