Janet Ament De La Roche

'Seated Nude', Musee d'Art Moderne, Paris, SFAA, LACMA, California Woman Artist

Circa 1955

Painted circa 1955 by Victor Di Gesu, (American, 1914-1988). Stamped verso with certification of authenticity. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Lo...

Created circa 1955 by Victor Di Gesu (American, 1914-1988) and stamped, verso, with certification of authenticity. Winner of the Prix Othon Friesz, Victor di Gesu first attended th...

Signed lower center, 'Shepherd' for Sydney Horne Shepherd (British, 1909-1993) and painted circa 1960; accompanied by old exhibition label. A lyrical watercolor of a woman reclining and gazing towards the viewer. Born in Dundee and educated at Harris Academy, Sidney D’Horne Shepherd attended Dundee School of Art from 1924-1926 and then Glasgow School of Art...

Stamped, verso, with estate stamp for Victor Di Gesu (American, 1914-1988) and created circa 1950. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art...

Stamped verso for estate of Victor Di Gesu (American, 1914-1988) and painted circa 1955. A Post-Impressionist figural watercolor showing a young woman partially-clothed in evening w...

Estate stamped, verso, for VIctor Di Gesu (American, 1914-1988) and created circa 1955. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art Center and...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Moroccan Dancer by Georges Manzana Pissarro (1871-1961) Watercolour, coloured crayon and pencil 26.3 x 20.2 cm ( ...

Watercolor by Louis BERTHOMME SAINT-ANDRE, France, ca.1925. The nap. With frame: 75x60.5 cm - 29.5x23.8 inches, without frame, just the watercolor: 53x39 cm - 20.9x15.35 inches. Signed lower left "Berthomme St André" (see photo). Louis Berthommé Saint-André is a figurative painter, fresco painter, decorator, illustrator, engraver, ceramist and French lithographer born in 1905. He comes from rural and commercial France: his father ran a wine and grocery business. In his youth, Louis Berthommé Saint-André was injured by a kick, which left him with a stiff leg, preventing him from driving, among other things. The family left Oise to settle in Saintes, where the artist studied at La Recouvrance. He entered as a student architect with Georges Naud, responsible for the historical monuments of Charente then, in 1921, he entered the School of Fine Arts in Paris. Louis Berthommé Saint-André is one of the great representatives of French figurative painting in the 20th century. He was trained at the School of Fine Arts by two very old masters who died during his training: Fernand Cormon (1845-1924) and Jean-Paul Laurens (1838-1921). He retains from their training the taste for well-learnt techniques, but from his first works, he is part of modernity. His constructions show decomposed forms inspired by Cézanne, while maintaining a keen sense of rigour. He never strayed from realism, but his very colourful, sometimes incisive palette and his freedom in representation gave his painting a bite and an acidity that placed Louis Berthommé Saint-André among the great talents of his time. Silver medal at the Salon of French Artists where he exhibited from 1924 to 1929, he won the Abd-el-Tif Prise in 1925 and was then the youngest resident of the villa in Algiers. Friend of Jean Launois, in addition to his recognised portraits, he painted Algiers and the Kasbah. His studies of women recall those of Eugène Delacroix, but if his luminous inspiration is due to the Algerian sun, his touch is more Cézanne than purely orientalist. He left Algeria in 1928, to return there in 1931. Before the war, Berthommé Saint-André exhibited regularly in all the major Salons: from 1928 at the Salon d'Automne, at the Salon des Beaux-Arts (1934 to 1936) at the Salon des Tuileries since 1935. His inspiration is close to surrealism . During the Occupation, he became very "fauve", in reaction to the darkness of the war. He joined the Resistance, and collaborated with Vaincre (Resistance newspaper). After the war, he developed a style close to poetic reality (Brianchon, Legueult, Oudot, Terechkovitch, Cavaillès. Caillard, Limouse, and Planson), without however ever being part of the group so called. He is present at the Salon Comparaison, at the Salon of painters Witnesses of our time, is president of the Salon of drawing and water-based painting. He has exhibited solo internationally, in Europe, the USA and Japan in particular. In 1977, he received just before his death, the grand prise of Painters Witnesses of their Time. He died on October 1, 1977 in Paris. Bibliography - Michel Droit. Berthommé Saint-André. Éditions de la revue moderne, 1981 Wall frescoes Entrance to the Direction, National School of Fine Arts, Paris Lycée Charlemagne, Paris, Notre-Dame and the banks of the Seine, 1952 Staircase of the Staff of Poitiers Personal exhibitions Villa Abd-el-Tif, Alger, 1922 Galerie Armand Drouant, Paris, 1928 Galerie Marcel Bernheim...

Nu Assise by Ludovic-Rodo Pissarro (1878-1952) Charcoal on paper 31.3 x 24.2 cm (12 ⅜ x 9 ½ inches) Signed lower right, L.Rodo This work of art is accompanied by a certificate of authenticity signed and dated by Lélia Pissarro. Artist biography: Ludovic-Rodolphe Pissarro, born in Paris in 1878, was Camille Pissarro’s fourth son. Encouraged by his father, he began drawing from nature at an early age. He was familiarly known as “Rodo” and generally signed his works "Ludovic-Rodo", or early on in his career simply "Rodo". The impact of Camille’s art and teaching on Rodo was considerable. His artistic production encompassed a wide range of media, including oil painting, tempera, watercolour, gouache, wood engraving, drawing and lithography. Rodo exhibited regularly at the Salon des Indépendants over a forty-year period. In 1894, at the age of sixteen, Rodo published his first wood engravings in the anarchist journal, Le Père Peinard. When Camille left France for the safety of Belgium during the anarchist upheavals of the same year, Rodo joined him there. Rodo moved into his first studio in Montmartre with his brother Georges in 1898. Works of this early important period until just after the death of his father in 1903 were post-impressionist and clearly painted under the influence of his father. By 1904 living in Paris, he found the nightlife and the habitués of the cafes, theatres, circuses and cabarets compelling subjects for his work and changed dramatically the style of his painting, affiliating himself to the Fauve artists. Rodo became close to artists such as Kees Van Dongen, Maurice de Vlaminck and Raoul Dufy. In 1905 he participated in the first Fauve exhibition at the Salon des Indépendants. In 1907 he visited Van Dongen in Rotterdam and the two artists continued to paint together, something they often did in Paris. In 1914 he married, though he never had children. Later that year at the outbreak of the War Rodo moved to England. Over the next seven years he lived mainly in and around West London. He worked closely with his brother Lucien to establish in 1915 the Monarro Group, formed with the aim of exhibiting work by contemporary artists inspired by Impressionism. Many of the works produced by Rodo while he was in England were of London landmarks but, he was also interested in the urbanisation of West London. After 1921, when Rodo had already returned to France, he divided his time between Paris and Les Andelys in Normandy, living and working closely with his elder brother Georges Manzana. Despite his rich artistic heritage and his achievements as an artist, Rodo is perhaps best remembered for his contribution to art history. For ten years he researched and compiled a catalogue of his father’s paintings...

SOLD UNFRAMED Traditional nude drawings by Paulémile Pissarro (1884-1972) Pencil on paper 34.1 x 26.5 cm (13 ³/₈ x 10 ³/₈ inches) Signed lower left, Paulémile-Pissarro- This work ...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Undressing by Georges Manzana Pissarro (1871-1961) Pencil on paper 13.6 x 10.6 cm (5 ³/₈ x 4 ¹/₈ inches) Signed w...

THIS WORK IS SOLD UNFRAMED Yvonne debout by Paulémile Pissarro (1884-1972) Pencil on paper 30.5 x 26 cm (12 x 10 ¹/₄ inches) Signed lower centre, P...