Carmen Espel

Still life with the sea in the background oil on canvas painting

c.1980

Carmen Espel (1926) - Still life with the garden in the background Oil on canvas - Hand signed Oil measures 65x92 cm. Frameless. Contemporary Barcelo...

Frame size 75x55 cm. Contemporary Barcelona painter. She began to present her work on the occasion of the Women's Salons held in her city in 1949 and 1950 (Casa del Libro). He also ...

Frame size 75x55 cm. Contemporary Barcelona painter. She began to present her work on the occasion of the Women's Salons held in her city in 1949 and 1950 (Casa del Libro). He also ...

Carmen Espel (1926) - Chicken Coop - Oil on canvas Oil measures 38x46 cm. Frame measures 46x54 cm. Contemporary Barcelona painter. She began to prese...

Carmen Espel (1926) - Landscape with farmhouse - Oil on canvas Oil measures 33x41 cm. Frameless Contemporary Barcelona painter. She began to present ...

Contemporary Barcelona painter. She began to present her work on the occasion of the Women's Salons held in her city in 1949 and 1950 (Casa del Libro). He also participated in variou...

A stunning oil painting depicting figures at the beach in the 20th Century. Duteurtre was known for his charming intimate figurative scenes portraying life in Europe. He was active, picking up subjects from the markets, beaches, parks, restaurants, and home life. This painting comes housed in a stunning carved giltwood frame. Signed lower left. Art measures 18 x 22 in Frame Measures 24 x 28 in Pierre Eugene Duteurtre...

'Still Life with Fruit', oil on board (1968), by Juliane Solignac. An engaging yet unusual artwork with vibrant colours, thickly applied with a painting knife. Nonetheless, through t...

Paul Leduc 1876-1943 Belgian Vue panoramique de Saint-Tropez (Panoramic View of Saint-Tropez) Signed "Paul Leduc" (lower left) Oil on canvas The extr...

A wonderful still life oil on canvas circa 1920 by French painter Georges d'Espagnat. The piece depicts vases of flowers, a blue and a red teapot and a plate of fruit on a table in a blue interior. Titled "Fleurs, Pommes et Prunes" on original artist's label verso. Signature: Signed lower right Dimensions: Framed: 35"x42" Unframed: 29"x36" Provenance: Private collection - Geneva To be included in the forthcoming Georges d’Espagnat Catalogue Raisonné being prepared by Jean-Dominique 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...

PABLO PICASSO (1881-1973) Grand Tête (Portrait de Jacqueline aux Cheveux lisses) linocut in colors, on Arches paper, 1962, signed in pencil, numbered 12/50, with full margins, pale ...

Signed lower right, 'T.K.S' and painted 2019; additionally signed verso. A large and vibrant study of poppy blossoms contrasted against a background of fragmented lilac, forest green and indigo. (The following is the artist's self-description of her work and process.) Teresa Smith received her B.A. in Visual Arts at Naropa University. Informed by spiritual practice and a naturalist philosophy, her art combines the richness of oil paint as a visceral material with contemplative practice, producing paintings on ecology with nature as icon. Influenced by Turner, O’Keeffe, Cezanne, and The Canadian Group of Seven, Smith paints the soul in nature. An appreciation for aesthetics and the deep woods provide seeds for the work revealing color combinations, line, and form. Bold colors and lyrical brushstrokes, scratches and drips of oil paint mutate creating a language of vital sensuality. Teresa’s oil paintings are about the mystery beneath the surface, the layer woven between worlds. The romance and richness of beauty, earth, salt air, wild roses, cedar and tide. My Process I paint landscapes. I live on a rural island surrounded by wild creatures, huge trees, ocean, mountains and open spaces. I ride a black Arabian mare through the old growth forest trailed by an Irish wolfhound named Griffin. As we move through the woods and vistas, I notice colors as they contrast with one another. I notice color, shapes, line and form that I would never have conjured on my own. I especially pay attention to the abstract spaces and patterns. We pause under ancient cedar and listen to water falling. Feeling into the spirit of the place. The forest, especially the ancient ones are rich with a presence. In the studio I stretch canvas and linen. I do this because I want the finest of quality and workmanship but also to honor and form relationship with surface. I use oil paint because of its buttery quality and vibrancy of color. I love the smell and the feel under my brush. I love that it is the medium of my lineage of painters. I love its softness and that it is archival and in my opinion the highest quality medium I can use. I love that I can create soft edges and blend beautiful passages. I use lavender essence or soybean oil to clean my brushes and make mediums of lavender, alkyd and walnut oil for making glazes. I worked in watercolors for many years and as with that medium see the benefit of glazing. That is using layers of paint and alkyd mixtures to create luminosity and light that makes a work “glow.” I work on several paintings at one time allowing them to dry between layers. It takes weeks, months or longer to finish a painting but in the end the work and time pay off. I am a contemplative painter. My time in the woods is separate from the studio but the influence is present. I paint from the heart. What comes up as first thought is what I put down. The thought that happens before it is analyzed and translated. I don’t usually have any idea of a direction when I start a painting. I begin with a thin drippy wash in a warm color like Indian yellow, ochre or transparent orange. I let the layer dry, then the next day create some chaos. Without any pre contrived ideas throw, squish, drip, scrub or scrape some paint on the canvas. The more chaotic the better. At this point I begin making order of the chaos one brushstroke at a time. This is where knowledge of color, composition, design and painterly quality come in. I begin to embellish and refine the shapes that were formed during the first couple of washes. Color is probably my most important consideration. I now focus on what color is a perfect combination to one that is down already. I contrast texture – thin wash next to impasto, for example. I work the shapes as if they are puzzle pieces, I use thin glazes to add luminosity and create colors that are unique and luscious. If things begin to seem too contrived I will grab a palette knife and arbitrarily add thick layers of paint. I will take a sharp instrument like a palette knife and cut through the layers revealing the colors underneath. There is really no beginning and no end. The work goes on for days, weeks or months. The closer to done a painting gets the slower I go. I stop when the painting feels resolved and seems to have a life of its own. EDUCATION 2012 Bachelor of Arts, Naropa University, Boulder CO...

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...

Artist/ School: French School, indistinctly signed, circa 1944 Title: Flowers and Fruit, remnants of old label verso Medium: oil on canvas, unframed Painting: 24 x 20 inches Prov...

The Flower Garden (with portrait sketch verso) French School, circa 1920's-30's period circle of Maurice Denis (French 1870-1943) oil painting on canvas, framed framed size: 27 x 31 inches condition: very good indeed provenance: from a private collection in France Beautifully painted original 1920's-1930's French oil, thickly painted with lovely impasto oil and almost square brush technique. Depicting this floral garden and parkland, the work is presented in this highly impressive swept frame too. The painting is unsigned that we can tell, though brilliantly painted. The style is close to the Les Nabis...

Artist/ School: Marie Louise Eber (French mid 20th century), signed lower front, dated 1958 verso. Title: "La Serenite", a beautiful Post-Impressionis...

Waiting is a vibrant floral depicting a luxurious flower bouquet on a table. Comes unframed and ready to hang.