Jacques Martin-Ferrières

Auribeau-sur-Siagne - Post Impressionist Landscape Oil by J Martin-Ferrieres

1933

Signed oil on panel landscape by post-impressionist painter Emile Octave Denis Victor Guillonnet. This colourful piece depicts a view of a garden in bloom in summer. Dimensions: Fr...

Signed post impressionist landscape oil on panel by popular French painter Georges D'Espagnat. The piece depicts the beach at Belle Ile, an island off the coast of Brittany in France, at sunset. An exceptional early painting by D'Espagnat which shows the precursor influence of Fauvism which was to dominate his paintings in the following few years. Signature: Signed lower right Dimensions: Framed: 23"x26" Unframed: 15"x18" Provenance: Private French collection A certificate of authenticity from Mr. Jean-Dominique Jacquemond is available upon request. This work will be included in the catalogue raisonne of Georges D'Espagnat under preparation by Mr. Jacquemond From the beginning of his career, it was a constant concern of Georges d'Espagnet to assert his originality. His studies at the École des Arts Décoratifs, Paris, did not last very long, for he wanted immediate independence and decided to follow courses in the private academies of Montparnasse. In about 1900, he became acquainted with Maurice Denis, Bonnard and Vuillard, and his collaboration with Denis led to a renewal of religious art in France. In 1903, d'Espagnet was one of the founders of the Salon d'Automne, and was appointed professor in charge of studios at the École des Beaux-Arts, Paris, in 1934. He illustrated a number of books: Rémy de Gourmont's Evil Prayers ( Oraisons mauvaises) (1896), The Saints of Paradise ( Les Saintes du paradis) (1898), Simone (1907), Sistine ( Sixtine) (1922); Alphonse Daudet's The Immortal ( L'Immortel) (1930); André Gide's The Pastoral Symphony ( La Symphonie pastorale); Francis Jammes' Clearings in the Sky ( Chairières dans le ciel) (1948). D'Espagnet belongs to the group of artists who made the Courrier Français so successful. The drawings of his which are published in it are strongly expressive and some bear comparison with the designs of the great Renaissance masters. He also contributed to L'Image. He often placed cheerful nudes in a landscape, reminding us that, though he moved away from the Fauves, he retained their freedom of colour and arabesque. He painted many portraits, including those of Albert André, André Barbier, Victor Boucher, Déodat de Séverac, Albert Marque, André Marty and Albert Roussel. He also painted mural decorations, including a wall for the Palais de la Découverte (1937), the ceiling of the Victor Hugo Room in the Palais du Luxembourg (1939), a decorative panel for the Palais de Justice, Toulouse (1941) and interior decorations for private houses. His landscapes are Impressionist in inspiration, and work for a certain sobriety, an intimacy, both in their composition - one, two or three sketched figures and large open spaces - and in the choice of colours and treatment with the special hazy brushstroke that marks his style. D'Espagnet took part in a number of annual Parisian exhibitions, including the Salon des Indépendants, the Salon de la Société Nationale des Beaux-Arts, the Salon d'Automne (from 1903 to 1949, except in special circumstances), the Salon de la Libre Ésthétique, Brussels (1899, 1901), the Berlin Secessionists (1940). He also exhibited at the first Salon de la Société de la Gravure sur Bois. Among other exhibitions were 1912, A Century of French Art ( Centenaire de l'art français), St Petersburg; 1916, Kunstverein, Winterthur; 1918, 1926, Galerie M. Bertheim, Paris; 1930, Contemporary French Art...

Stunning signed post impressionist oil on panel circa 1920 by French painter Emile Octave Denis Victor Guillonnet. The work depicts a summer garden filled with vibrant flowers in reds, pinks, yellows and whites, with green lawn and trees beyond. Signature: Signed lower left Dimensions: Framed: 28"x32" Unframed: 20"x24" Provenance: Private US collection Émile Guillonnet was a student of Lionel...

Signed and titled still life oil painting circa 1950 by Scottish post impressionist painter Anne Redpath. The piece depicts a vase of deep purple gloxinias - the green foliage set against a purple, blue and red background. Signature: Signed lower right and titled verso Dimensions: Framed: 27"x31" Unframed: 20"x24" Provenance: The Lefevre Gallery, London (labels verso) Sotheby's, Gleneagles, 2 September 1998, lot 1503 Anne Redpath was the daughter of a textiles designer. From 1913 to 1919 she attended the Edinburgh College of Art. She continued her training in Paris, Florence and Siena. When she got married she accompanied her husband, the architect James Beattie Michie, to France in 1920, and stopped painting to look after her family. In 1934 she returned to Edinburgh and took up painting again. Various academies presented her with awards. From 1919 onward she exhibited at the Royal Scottish Academy exhibitions, but only showed her work there again regularly from 1935, and then practically every year until she died, each time with several works. She was elected to the Royal Scottish Academy in 1952. She also took part in many group exhibitions but mainly held solo shows. In her early career she produced mostly still-lifes, then later focused on landscape painting. She was active in Paris, the South of France, Italy, Spain, Brittany and Corsica. In her work she was clearly influenced by the inter-war School of Paris, and her painting is tasteful, decorative, and in a tradition somewhere between Maurice Brianchon and André Marchand. She was considered one of the most important Scottish painters of her time. Solo Exhibitions: 1965, Anne Redpath: A Memorial Exhibition, Arts Council of Great Britain, Scottish Committee, Edinburgh 1979, 1995, Aberdeen Art Gallery 1996, Scottish National Gallery of Modern Art, Edinburgh Museum and Gallery Holdings: Aberdeen (AG): White Cyclamen (1962, oil on canvas); Flowers in a Teapot Adelaide (AG of South Australia) Brighton (Hove Mus. & AG): Cups and Saucers (1949, oil/panel); Altarpiece (c. 1963, oil/panel) Brisbane (Queensland AG) Coventry (Herbert Art Gallery and Mus.) Dundee (McManus Galleries) Edinburgh (Royal Scottish Academy): The Chapel of St John - Treboul (c. 1954, oil on panel) Edinburgh (Scottish Nat. Gal. of Modern Art): Landscape at Kyleakin (c. 1958-1960, oil/panel); White Tulips (c. 1963, oil/card); The Indian Rug (Red Slippers...

"Mirabell Gardens. Salzburg" Painting Polyptych 61" x 79" in by Nikita Makarov The painting is created in the author's technique, which consists of a complex synthesis of classical ...

Gustaf Fjaestad (Fjæstad) (1868-1948) Sweden Study of Tufts signed "G. A. Fjaestad," both recto and verso. oil on artist's sketching board (Wilhelm Becker, Stockholm) unframed 32.7...

Fruit On The Table Artist signed lower right, Motyka custom made gold leaf frame, canvas size 30x24 frame 38x32. Judith Sobel was born in Lwow Poland in 1924. After World War II, she attended the Academy of Fine Arts in Lodz, Poland. There she studied with the famous abstract constructionists, Wladyslaw Strzeminski and Stefan Wegner from whom she learned the principles of Modern Art as laid down by the European Cubists. Sobel’s work was selected for the First Exhibit of Modern Art Museum Krakow in 1948-49. Judith Sobel emigrated to the newly found Israel where she lived for five years, becoming very active in Israel’s emerging art world. Her work was collected and exhibited by the major art museums of Israel including the Museum of Modern Art at Haifa; her art was regularly shown in the Israeli galleries. In 1956, Sobel came to New York on a scholarship, and before that she lived in France for two years. The same year she received the First Prize at the Exhibition in the Saks...

Born in Hunan, China, Annie Peony Zhang studied at the Guangzhou Academy of Fine Arts and, for over 30 years, has been integrating her Chinese Classical training with modern Western art styles including Impressionism and Post-Impressionism. Zhang has exhibited widely and with success and her works are held in both private and public collections. Annie Peony Zhang's paintings: “Childhood”, (2018), “Wish”(2019) and “Memories” (2020), were accepted into Crocker Art Museum. Three of her works (“Beautiful California”, “Delta Scenery”, “Sacramento River...