Fernand Laval

'River Landscape', French Impressionist, Musée d'Art Moderne, Salon d'Automne

1948

Signed lower left, 'Ray Radliff' (American, 1900-1974) and painted circa 1964. Bearing old exhibition labels, verso, and titled 'High at 15:48'. Exhibited at: Santa Cruz Art League, ...

'Inscribed lower right, 'Len Chmiel' (American, born 1942) and painted circa 1980. Born in Chicago, Chmiel moved to California at the age of eight. He firs...

'View of Notre Dame & the Île de la Cité', Seine, Paris, Thieme Becker, Budapest Signed lower left, 'Frid. J. Bende.' for Friderika Bendéné Kovacsev (Hungarian, 1891-1975), titled, ...

Signed lower left, 'Karl Larsen' (Danish, 1897-1977) and dated 1922; additionally inscribed and stamped verso with provenance information. Provenance: Formerly in the collection of ...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. In "A View of Big Ben," Richard Gower delivers a captivating p...

In this oil painting, I imbue the stillness and reflection of urban life, contrasting the vivid city lights with the tranquil Thames. Expressing a harmony between the metropolitan pu...

Childe Hassam 1859-1935 American The Bather Signed and dated “Childe Hassam” (lower right) Oil on canvas Considered by many to be America’s foremost Impressionist painter, Childe Hassam composed his tranquil and intimate oil on canvas The Bather in the early years of the 20th century. The creation of the artwork aligns with a period of Hassam’s career where the artist’s palette was transforming, matching ever closer with the pale and pastel hues of French Impressionists like Claude Monet. Even the subject — a nude woman — represents a greater alignment with the Impressionist project, as artists of the movement and their non-mythological and non-biblical nudes still generated cries of indecency. With Hassam’s signature brushwork and attention to color, The Bather serves as a dream-like vision, serene and sensuous, of a young woman bathing in a lush forest. While the artist's skill for landscape painting is on display, it is Hassam's command of form, light and color that brings this canvas to life. He creates a captivating composition, placing the nude subject in the bottom left of the canvas. The soft, undulating curves of the woman's body in contrapposto and the glow of her fair skin are balanced by the strong verticals and deep earth tones of the tall trees to her right. Hassam delicately frames the nude in the vivid blues of the distant water, building luminous color that further draws the viewer’s eye and results in a somewhat voyeuristic appeal — endowing his nude with both a natural innocence and an intentional sensuality. Born in Dorchester, Massachusetts, Childe Hassam began his artistic career as a freelance illustrator, working for national publications such as Harper’s Weekly, Scribner’s Monthly, and The Century. His first solo exhibition of watercolors took place in Boston in 1883, and he quickly catapulted onto the international scene, winning a bronze medal at the Exposition Universelle in Paris in 1889. The year before the present work was created, he received the Webb Prize from the Society of American Artists for another landscape painted at Gloucester. Hassam would receive numerous other awards throughout his career, most notably the Gold Medal for Distinguished Services to Fine Art from the American Dealers Association. A true master, Hassam depicted a way of life characteristic of both American and French society, and his work elucidates a critical chapter in American art history. Today, his work resides in the Oval Office of the White House and in numerous important museums, including the Metropolitan Museum of Art in New York, the National Gallery of Art in Washington, DC and the Museum of Fine Arts in Boston, among others. This painting will be included in Stuart P. Feld's and Kathleen M. Burnside's forthcoming catalogue raisonné of the artist's work. Circa 1905 Canvas: 24 1/2“ high x 20 18” wide Frame: 35 7/8“ high x 31 1/4” wide x 3 1/4“ deep Provenance: Private Collection of William Young...

Henry Moret 1856-1913 French Barque de Peche en Mer Fishing Boat at Sea Signed and dated “Henry Moret 1912” (lower left) Oil on canvas A beautiful gestural composition imbued with the sublime beauty of the open sea, this oil on canvas by Impressionist Henry Moret showcases the artist's deft use of color and texture. One of the most celebrated painters of the Pont-Aven School, Moret’s lasting reputation is tied to his talent for capturing the bright skies, lively waterways and the diverse coastline of northern France. With a mastery of plein air composition and a deep appreciation for the natural world, Moret's Barque de Peche en Mer renders a fishing boat navigating through the ocean. Moret creates a visceral sense of the vitality of the water and the enormity of the open skies. The artist captures the vigorous energy of the sea with a profusion of green and blue hues applied with a thick impasto. Small yet mighty against the infinite backdrop, Moret's fishing boat forges ahead. Henry Moret was born in Cherbourg in 1856, though little else is known about his early life. He entered military service as a young man in 1875, and it was during that period when Moret discovered the beauty of France’s northern coasts, particularly those of Normandy and Brittany. After his tour ended, he embarked on his artistic career, completing his formal education at the École Nationale des Beaux-Arts under Jean-Leon Gérôme, and later, from about 1880, under Jean-Paul Laurens at the Académie Julian. He exhibited for the first time at the Paris Salon in 1880, submitting a landscape of the coast of Brittany. During his time in Paris, he frequently traveled to Brittany to paint the region he so loved. In 1888, he more firmly established himself in Pont-Aven, a town whose center had become an artistic refuge for artists such as the great Paul Gauguin, Ernest Ponthier de Chamaillard, Emile Jourdan and others. Under Gauguin's influence, he briefly explored the concept of Symbolism in his works, but after Gauguin left Pont-Aven in 1891, Moret returned to his Impressionist roots. He formed a relationship with the famed dealer Durand-Ruel in 1895, and his career was officially launched. Today, his works can be found in important museums including the Manchester Art Gallery, the State Hermitage Museum (St. Petersburg), the National Gallery of Art (Washington DC) and others. Dated 1912 Canvas: 28 3/4” high x 36 3/4” wide Frame: 36 5/8" high x 44 1/8" wide Exhibited:Henry Moret, Galerie Durand-Ruel, April 5-January 29, 1966, n° 47 Provenance: Sale Marcel Bernheim...