Post-Impressionist Still-life Paintings

Boris Buchet (French, 1917 – 1999) Apples and a decorated jug Oil on board Signed and dated ‘B. Buchet.70’ (upper right) 18 x 21.1/2 in. (45.5 x 54.8 cm.)

Boris Buchet (French, 1917 – 1999) A carafe of wine, root vegetables and apples Oil on canvas Signed and dated ‘B.Buchet 72’ (upper left) 21.3/4 x 26. 5/8 in. (55.3 x 67.5 cm.)

Le Jardin by Gaston ANDRE (1884-1970) titled verso signed oil on canvas, framed framed: 26 x 32 inches canvas: 20 x 26 inches Provenance: private collection, Loire Valley, France Co...

Lesley Anne Spowart (American, born 1957) "Flowers" 2016 Oil Paint, Canvas, Stretcher Bars The artist signed the bottom right and back of the painting. In "Flowers", Lesley Anne Spo...

Marc Mouclier (1866-1947) Le Drapeau à la fenêtre, 1942 (The Flag in the window) signed and dated lower right oil on cardboard panel 41 x 32,8 cm framed 62 x 54 cm This magnificent...

Framed 23 x 15.75 Image 21.5 x 14.25 Pierre Jerome French 1905-1982 During his 50+ year career as an artist, he won several major awards, including awards at the Prix de Rome, in...

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...

Brilliantly-colored bouquet of flowers in a landscape, set against a dramatic sky. Oil on canvas measures 16 x 12; frame dimensions measure 24 x 20 x 1 1/2. Housed in a soft-gold to...

Botanical gouache on paper circa 1920 by French fauvist painter Raoul Dufy. The work depicts a study of apples and pears. This work was executed by Dufy as a fabric design. Dimensio...

Signed lower right 'H. Frank' for Harold Frank (American, 1917-1995), additionally stamped, verso, with certification of authenticity and painted circa 1975. An exuberant Post-Impre...

"Tulips In The Glass Vase"" is an beautiful oil painted from life in her studio in Provence by Maria Bertran. This Contemporary Impressionist painting captures the brilliant reds a...

This lovely Art Deco British Post-Impressionist floral oil painting is by noted and much exhibited female flower artist Theresa Norah Copnall. She studi...

Artist/ School: French School, mid 20th century Title: Colorful Still Life of Flowers in Vase Medium: oil painting on board, framed. Size: framed: 31 x 26.5 inches painting:...

Boris Buchet (French, 1917 – 1999) Apples and pots Oil on board Signed ‘B. Buchet’ (upper left) 12.7/8 x 18.1/8 in. (33 x 46 cm.)

Jean La Forgue (French 1901-1975) signed watercolour on paper, unframed painting: 8.5 x 10.5 inches provenance: the artists estate, France condition: very good and sound condition; ...

'Bouquet on an entablature' by Denise Dardel (French, mid 20th century) signed and dated 1944 oil on board, framed framed: 23 x 29 inches board: 19.5 x 26 inches provenance: private ...

Signed oil on board riverscape circa 1950 by French Post Impressionist painter Georges Charles Robin. The work depicts a view of the Dordogne river on a sunny day. The green trees an...

Boris Buchet (French, 1917 – 1999) Apples & Onions with a skillet Oil on board Signed ‘B.Buchet’ (upper right) 19.1/2 x 24 in. (49.5 x 61 cm.)

"Duo of Colorful Seaweed" is an acrylic painting on high-quality watercolor paper of minimal botanical algae, drawn and painted in the style of Henry Matisse...

Initialed lower right 'A.B.' for Axel Bentzen (Danish, 1893-1952) painted circa 1935. A large and lyrical oil still-life showing a view from the artist's window onto a sun-drenched ...

This superb Post Impressionist floral oil painting is by noted successful Russian born female artist Nadia Benois. Benois came to England and settled in L...

Boris Buchet (French, 1917 – 1999) Skillets, a ewer, a milk jug, an egg cup and a lemon Oil on board Signed ‘B. Buchet’ (lower right) 15 x 18 in. (38 x 46 cm.)

This rare subject of playing cards, books and objects spread out on a table was obviously a challenge and fun subject for the artist to tackle. He uses highly impastic paint thickly...

"Tulips and Apples" is an beautiful oil painted from life in her studio in Provence by Maria Bertran. This Contemporary Impressionist painting captures the brilliant reds and pinks ...

Botanical gouache on paper circa 1920 by French fauvist painter Raoul Dufy. The work flowers in red and blues with green foliage against a yellow and white stripped background. Dimensions: Framed: 25"x20" Unframed: 18"x13" Raoul Dufy was one of a family of nine children, including five sisters and a younger brother, Jean Dufy, also destined to become a painter. Their father was an accountant in the employ of a major company in Le Havre. The Dufy family was musically gifted: his father was an organist, as was his brother Léon, and his youngest brother Gaston was an accomplished flautist who later worked as a music critic in Paris. Raoul Dufy's studies were interrupted at the age of 14, when he had to contribute to the family income. He took a job with an importer of Brazilian coffee, but still found time from 1892 to attend evening courses in drawing and composition at the local college of fine arts under Charles Marie Lhullier, former teacher of Othon Friesz and Georges Braque. He spent his free time in museums, admiring the paintings of Eugène Boudin in Le Havre and The Justice of Trajan in Rouen. A municipal scholarship enabled him to leave for Paris in 1900, where he lodged initially with Othon Friesz. He was accepted by the École des Beaux-Arts, where he studied under Léon Bonnat, whose innate conservatism prompted Dufy to remark later that it was 'good to be at the Beaux-Arts providing one knew one could leave'. And leave he did, four years later, embarking with friends and fellow students on the rounds of the major Paris galleries - Ambroise Vollard, Durand-Ruel, Eugène Blot and Berheim-Jeune. For Dufy and his contemporaries, Impressionism represented a rejection of sterile academism in favour of the open-air canvases of Manet, the light and bright colours of the Impressionists, and, beyond them, the daringly innovative work of Gauguin and Van Gogh, Seurat, Cézanne, Toulouse-Lautrec and others. Dufy was an out-and-out individualist, however, and was not tempted to imitate any of these artists. He produced, between 1935 and 1937, Fée Electricité (Spirit of Electricity), the emblem for the French utilities company Electricité de France (EDF). Dufy visited the USA for the first time in 1937, as a member of the Carnegie Prize jury. In 1940, the outbreak of war (and his increasingly rheumatic condition) persuaded him to settle in Nice. When he eventually returned to Paris 10 years later, his rheumatism had become so debilitating that he immediately left for Boston to follow a course of pioneering anti-cortisone treatment. He continued working, however, spending time first in Harvard and then in New York City before moving to the drier climate of Tucson, Arizona. The cortisone treatment was by and large unsuccessful, although he did recover the use of his fingers. He returned to Paris in 1951 and decided to settle in Forcalquier, where the climate was more clement. Within a short time, however, he was wheelchair-bound. He died in Forcalquier in March 1953 and was buried in Cimiez. Between 1895 and 1898, Raoul Dufy painted watercolours of landscapes near his native Le Havre and around Honfleur and Falaise. By the turn of the century, however, he was already painting certain subjects that were to become hallmarks of his work - flag-decked Parisian cityscapes, Normandy beaches teeming with visitors, regattas and the like, including one of his better-known early works, Landing Stage at Ste-Adresse. By 1905-1906 Friesz, Braque, Matisse, Derain, Vlaminck, Van Dongen and Rouault were described collectively as Fauves (the wild beasts). What they had in common was a desire to innovate, but they felt constrained nonetheless to meet formally to set out the guiding principles of what promised to be a new 'movement'. Dufy quickly established that those principles were acceptable; moreover, he was most impressed by one particular painting by Henri Matisse ( Luxury, Calm and Voluptuousness) which, to Dufy, embodied both novelty and a sense of artistic freedom. Dufy promptly aligned himself with the Fauves. Together with Albert Marquet in particular, he spent his time travelling the Normandy coast and painting views similar...

The Favourite Hat by S. Lenormand (French 20th century) signed to the front and back, titled and dated 1992 oil painting on canvas, framed canvas: 25.5 x 31.75 inches framed: 31.75 x 38 inches Painted with beautifully deep and rich colors, this vibrant French oil painting captures this kitchen table interior scene Fresh flowers and fruit sit on the surface whilst a favourite hat is casually perched on the old wooden chair...

A substantial, mid-century oil showing sunflowers informally arranged in a glass vase. An accomplished tonalist work with delicate color and animated, calligraphic brush-work showing...

' Blue Vase' by Édouard Righetti (1924-2001) Dated 1973 Signed lower front oil painting on canvas, beautifully painted with thick impasto oil and bold colors. very good condition...

"Red and Yellow Roses" is an beautiful oil painted from life in her studio in Provence by Maria Bertran. This Contemporary Impressionist painting captures the brilliant red and yell...

Still Life by Josine Vignon (French 1922-2022) stamped verso oil painting on canvas, unframed canvas: 26 x 18 inches Colors: Brown colors, blue, pink, white and red Very good cond...

A beautiful 1950's French post-impressionist oil on board still life depicting a bottle of Pastis (an anise flavoured spirit and aperitif from France) with cigarette and other items ...

Boris Buchet (French, 1917 – 1999) A terracotta ewer with a bowl of sugar, apples and orange Oil on canvas Signed ‘B. Buchet’ (upper right) 21.3/8 x 23.1/2 in. (54.3 x 60 cm.)

Signed lower right, "Karl Larsen" (Danish, 1897-1977) and painted circa 1955. Beginning in 1917, Karl Larsen participated in numerous exhibitions in France and Denmark including the...

Still Life Painting of a Poinsettia Plant on a Persian Rug by Contemporary British Artist Art measures 18 x 24 inches Frame measures 24 x 30 inches Angela Wakefield has twice bee...

"Apples" On The Table II is an beautiful oil painted from life in her studio in Provence by Maria Bertran. This Contemporary Impressionist painting captures the brilliant red and go...

Signed oil on canvas still life in landscape circa 1980 by sought after French post impressionist painter Marcel Dyf. The work depicts a view of a harbour from beyond the open green ...

"Peonies and Apples On The Table" is an beautiful oil painted from life in her studio in Provence by Maria Bertran. This Contemporary Impressionist painting captures the brilliant r...

Signed lower left, 'Belle Golinko' (American, 20th century) and painted circa 1945. This Israeli-American woman Modernist exhibited widely and with success, including at the Dallas ...

Bright, colorful Fauvist figurative painting of a woman with vase of flowers in a vibrant interior space, by an unknown Bay Area artist (American, 20th...

Signed, verso, 'Di Gesu' for Victor Di Gesu (American, 1914-1988) and stamped with the artist's estate seal. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los A...

Signed lower right 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 d...

This painting depicts a beautiful still life of flowers in a pot sitting atop a table with a view from the town houses through a window opening. This piece has very earthy tonalities...

Bowl of Irises, 1935, by Emmanuel Mané-Katz (1894-1962) Oil on canvas 24 x 20 inches unframed(60.96 x 50.8 cm) 33 ½ x 29 ½ inches framed (85.09 x 74.93 cm) Signed on bottom right De...

Signed lower right, "Di Gesu" for Victor Di Gesu (American, 1914-1988) and painted circa 1965. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art Cen...

Signed lower left, 'Roger Derieux' (French, 1922-2015) and painted circa 1960. Born in Paris, Roger Derieux first studied at the Académie de la Grande Chaumière and, subsequently, ...

A stunning early 20th century British Post-Impressionist floral oil painting by noted "Modern British" artist Elliott Seabrooke. He was a very interesting painter, and this post-Impr...

Maurice Asselin (1882-1947) A Bouquet of roses and nasturtiums Signed lower right Oil on cardboard canvas In good condition 39.5 x 31.5 cm Framed : 58.5 x 51.5 cm Maurice Asselin w...

SAMUEL ROTHBORT (Russian-American, 1882-1971), still life with wild flowers, oil on canvas board, signed lower left. Framed 25.5 X 30, board 18.5 X 23 Samuel Rothbort (Russian American Jewish folk artist 1881-1972) was born in the small town, shtetl of Wolkovisk in the Russian Woodlands.During his youth he worked as a cantor and traveled to various towns and villages, gaining many impressions of life in that era. Poverty as well as the political unrest of the times led to his immigration to America in 1904. Upon arrival in America, Samuel Rothbort worked as a laborer and muralist eventually giving that up to become a watchman of newly built homes. While on duty he began molding figures in clay and upon the advice and encouragement of his employer and colleagues he began to take his artistic talents more seriously and pursued this endeavor. Rothbort therefore began doing free-hand painting, murals on walls and ceilings for private homes and commercial establishments. In 1909 he met and married Rose Kravitz, which marked the start of his career as an artist. Well known for his scenes of New York City life, executed in heavy impasto. Rothbort exhibited from the 1920s-60s, at the Salons of America, Pratt Institute, Brooklyn Museum, and a gallery at Rockefeller Center; however, he refused to sell his work, and in 1948, opened the Rothbort Home Museum of Direct Art, in his studio-home. Samuel Rothbort was a self taught, naive, outsider artist painting every subject in his own folk art impressionistic style. His artistic range was broad and he never stopped creating. He was fascinated with nature and his works are filled with his delightful perceptions of his surroundings. Rothbort worked in oil, watercolor, and pen & ink. In the years of the depression there was little money, Rothbort could not afford paint or canvas. It was there that he began carving wood and stone using found materials like driftwood, rails, and old fence posts. Rothbort entered the art world and spent much of his life in pursuit of modernist painting and sculpture. He was a member the Society of Independent artists, the Salons of America, the People's Art Guild, and the Brooklyn Society of Artists. During the 1920's and early 1930's , Samuel Rothbort was regularly represented in exhibitions organized by The Brooklyn Museum of Art. Through the 1930's , Rothbort exhibited his watercolors and sculptures at Grant Studios in Brooklyn. In 1940, he began a 28 year relationship with the Barzansky Gallery on Madison Avenue in New York City exhibiting oils, watercolors, and sculpture in individual and group shows. From 1915 through the 1960's, he was represented by many commercial galleries. Hamilton Easter Field, artist, publisher and founder of the Brooklyn Society of Artists was an early supporter of Rothbort's artwork and helped further his career. Rothbort received much recognition for his naive folk art paintings...

"Purple Hydrangeas" is a gorgeous oil painted from life in France by Maria Bertran. This Contemporary Impressionist still life captures the brilliant lavender, purple, and mauves of ...

This stunning original Post-Impressionist oil painting features a vibrant vase of pink and blue wallflowers. Jean Dulac was born on Bourgoin but from the age of 5 became a lifelong...

"Yellow Roses" is an beautiful oil painted from life in her studio in Provence by Maria Bertran. This Contemporary Impressionist painting captures the brilliant yellows of the flowe...

Here for your consideration is a beautiful oil on canvas painting laid down on board by the well known Scottish artist, David Foggie. This still life of poppies in a ceramic pitcher...

Rosina Beatrice Wild (British, 1878-1962) Pomegranates, grapes, apples, a melon and a marrow beside a pot plant Oil on board Signed `R B Wild’ (lower left) 18.1/4 x 21.1/4 in. (46.5 ...

Alai Ganuza’s “Crispy Eggs” is a captivating round oil and acrylic still life painting on a solid birch wooden panel, created in 2025. Measuring approximately 19.69 cm in diameter (7...

A substantial, Post-Impressionist oil still-life showing a view of various objects including fruit, a glass bottle and a sea-shell assembled on a draped table-top. A dynamic and vibr...

Botanical watercolour and gouache on paper circa 1920 by French fauvist painter Raoul Dufy. The work depicts flowers in red and butterflies in blues, yellows, black and white. This work was executed by Dufy as a fabric design. Dimensions: Framed: 17"x27" Unframed: 10"x20" Provenance: Private collection of works by Raoul Dufy for Bianchini Ferier Bianchini Ferrier Collection - Christie's London - July 2001 SF Fall Show Raoul Dufy was one of a family of nine children, including five sisters and a younger brother, Jean Dufy, also destined to become a painter. Their father was an accountant in the employ of a major company in Le Havre. The Dufy family was musically gifted: his father was an organist, as was his brother Léon, and his youngest brother Gaston was an accomplished flautist who later worked as a music critic in Paris. Raoul Dufy's studies were interrupted at the age of 14, when he had to contribute to the family income. He took a job with an importer of Brazilian coffee, but still found time from 1892 to attend evening courses in drawing and composition at the local college of fine arts under Charles Marie Lhullier, former teacher of Othon Friesz and Georges Braque. He spent his free time in museums, admiring the paintings of Eugène Boudin in Le Havre and The Justice of Trajan in Rouen. A municipal scholarship enabled him to leave for Paris in 1900, where he lodged initially with Othon Friesz. He was accepted by the École des Beaux-Arts, where he studied under Léon Bonnat, whose innate conservatism prompted Dufy to remark later that it was 'good to be at the Beaux-Arts providing one knew one could leave'. And leave he did, four years later, embarking with friends and fellow students on the rounds of the major Paris galleries - Ambroise Vollard, Durand-Ruel, Eugène Blot and Berheim-Jeune. For Dufy and his contemporaries, Impressionism represented a rejection of sterile academism in favour of the open-air canvases of Manet, the light and bright colours of the Impressionists, and, beyond them, the daringly innovative work of Gauguin and Van Gogh, Seurat, Cézanne, Toulouse-Lautrec and others. Dufy was an out-and-out individualist, however, and was not tempted to imitate any of these artists. He produced, between 1935 and 1937, Fée Electricité (Spirit of Electricity), the emblem for the French utilities company Electricité de France (EDF). Dufy visited the USA for the first time in 1937, as a member of the Carnegie Prize jury. In 1940, the outbreak of war (and his increasingly rheumatic condition) persuaded him to settle in Nice. When he eventually returned to Paris 10 years later, his rheumatism had become so debilitating that he immediately left for Boston to follow a course of pioneering anti-cortisone treatment. He continued working, however, spending time first in Harvard and then in New York City before moving to the drier climate of Tucson, Arizona. The cortisone treatment was by and large unsuccessful, although he did recover the use of his fingers. He returned to Paris in 1951 and decided to settle in Forcalquier, where the climate was more clement. Within a short time, however, he was wheelchair-bound. He died in Forcalquier in March 1953 and was buried in Cimiez. Between 1895 and 1898, Raoul Dufy painted watercolours of landscapes near his native Le Havre and around Honfleur and Falaise. By the turn of the century, however, he was already painting certain subjects that were to become hallmarks of his work - flag-decked Parisian cityscapes, Normandy beaches teeming with visitors, regattas and the like, including one of his better-known early works, Landing Stage at Ste-Adresse. By 1905-1906 Friesz, Braque, Matisse, Derain, Vlaminck, Van Dongen and Rouault were described collectively as Fauves (the wild beasts). What they had in common was a desire to innovate, but they felt constrained nonetheless to meet formally to set out the guiding principles of what promised to be a new 'movement'. Dufy quickly established that those principles were acceptable; moreover, he was most impressed by one particular painting by Henri Matisse ( Luxury, Calm and Voluptuousness) which, to Dufy, embodied both novelty and a sense of artistic freedom. Dufy promptly aligned himself with the Fauves. Together with Albert Marquet in particular, he spent his time travelling the Normandy coast and painting views similar...

Still life , blue, yellow , orange ,Russian art,Lemon, Published in a monographic catalogue Maya kopitzeva’s works have been acquired by the Russian Ministry of Culture, by the Foun...

Signed still life oil on canvas circa 1920 by French post impressionist painter Hippolyte Petitjean. depicting a beautifully coloured view of a vast landscape. The piece depicts a green jug, a bowl of red apples, a brown two-handled jug and a vase of flowers, all placed on a wooden table. Several landscape paintings adorn the wall behind. Signature: Signed with cachet lower right and again verso Dimensions: Framed: 26"x30" Unframed: 18"x22" Provenance: Galerie de l'Institut - Centenary Exhibition of Hippolyte Petitjean (1955 ) - original labels verso Hippolyte Petitjean started his training in Mâcon and then became a student at the École des Beaux-Arts, Paris, where he worked in Cabanel's studio. By selling two Seurat paintings...