Guy Charon

'Breton Harbor', Post-Impressionist Coastal Scene, Salon d'Automne, MAM Paris

Signed, lower left, 'W. Georgetti' for Wedo Georgetti (American, 1911-2005) and painted circa 1955. Additionally signed, lower center. Born in Italy, Wedo Georgetti came to the Uni...

Signed lower center, 'Loeb' for John Loeb (American, 20th century) and dated 1994; accompanied by old exhibition poster and title label from Loeb's Laudenbach solo retrospective. A ...

Signed lower right, Canete' for Robert Canete (American, born 1948) and painted circa 2000. Post-Impressionist-style coastal scene showing waves rolling in past lavender cliffs ont...

Signed lower right, "Valeur" for Mogens Valeur (Danish, 1927-1999) and dated 1963. A vibrant, Post-Impressionist seascape showing green breakers rolling in towards a sandy shore beneath an evening sky tinged with lilac and mauve. A prominent member of the Bornholm School, Mogens Valeur was, at heart, a colorist and focused on representing his chosen subject with line and forms. A student of Peter Rostrup...

Paul Charlot ( French, 1906- 1985) was a French painter and printmaker influenced by the intense use of colors in Fauvism and the whimsical biomorphic abs...

When we mention Bernard Buffet, we instinctively think of his tortured portraits and dark representations of human emotions. However, his work presents a much richer and more complex dimension, such as this less conventional canvas, which, instead of focusing on characters, captures a Parisian scene in a landscape format. In this work, a view of the Seine and the sky, a fragment of the Eiffel Tower blending into a green that seems largely fantasized, a bridge and a total absence of human figures launch the viewer into a visual meditation of the secrets that reside at the heart of the City of Lights. The artist uses black not simply as a color but as a proper tool for sculpting. Shapes are drawn and delineated, contrasting with washed-out colors such as blue and green. Black symbolizes the mystery and inaccessibility of the emotions that the artist seeks to express. Unlike his other works, adding characters to tell a story, Buffet, with this piece, appears more interested in the elements and structural aspects of the composition itself. Buffet succeeds in establishing a link between the observer and the piece represented. The Eiffel Tower and the bridge become the keepers of secrets, frameworks that bear the weight of Paris's history. The river mirrors...

Signed oil on paper laid on board figures in landscape circa 1890 by French Neo-Impressionist painter Albert Dubois-Pillet. This pointillist piece depicts and elegant couple enjoying...

'Parc des Buttes-Chaumont' in Paris, gouache on art paper, by Lucien Génin (circa 1930s). A charming depiction of well turned out Parisians enjoying a day at the park. Boaters, strollers and swans all co-mingle around the peaceful lake. The reflection of the rocky bluff in the water is superbly treated by Génin. It's a cheerful and uplifting image of days-gone-by in 1930s Paris. The park takes its name from the 'bare hill' (chauve-mont) that once occupied the site. It became a place where gypsum was mined, and where the limestone was quarried to be used in buildings in Paris and the United States. Worse, though, it was a site that also became a dumping ground. Luckily, during the 19th-century renovation of Paris under Napoleon III, chauve-mont was chosen as a place for a large park, as part of the emperor's fascination with endowing Paris with green spaces. The artificial lake created at that time wraps around a hilly central island. The lake attracts waterfowl and other birds and is stocked with fish. The 19th-century planners cleaned up the site and added tons of soil to fill the pits left by a limestone mining operation. Then dynamite was used to "sculpt" the site into the craggy shapes seen today, including the 50-metre-high central hill with cliffs, an interior grotto, pinnacles, and arches. Up on top, overlooking the rest of the park - and depicted in this artwork - is a small, round belvedere, based on the Roman Temple of Vesta in Italy. From that spot you can see a lovely view of Montmartre and the white cupolas of the Sacre-Coeur. The painting is in very good condition. It has been newly framed and glazed with museum-quality glass (anti-reflective and UV protection) to preserve this significant artwork for decades to come. Dimensions with frame: H 62 cm / 24.4" W 76 cm / 29.9" Dimensions without frame: H 48.5 cm / 19.1" W 63 cm / 24.8" About the Artist: After the devastation of the First World War, Lucien Génin (1894 - 1953) left his provincial home in the autumn of 1919 to find his fortune among the lively Parisians in the heart of Montmartre. Génin befriended the painters Frank Will, Gen Paul, Émile Boyer, Marcel Leprin...