Post-Impressionist Art

Title: Vaucluse Provence Mountain Landscape Pastel Drawing Pierre Neveu Artist: Pierre Neveu (French b.1929) Medium: Pastel and coloured pencil on paper, unframed Size (H x W): 19.75...

Title: Cucuron Provence Village Rooftops Watercolor Gouache Pierre Neveu Artist: Pierre Neveu (French b.1929) Medium: Watercolour on thick paper, unframed Size (H x W): 21.75 x 29.25...

Provence Coastal View from the Garden Terrace signed by Max Toutain (1935-2006) oil painting on canvas, unframed canvas : 35 x 51 inches Provenance: all the paintings we have by this...

Acquiring a mid-20th-century Fauvist painting by Wilhelm Henning is an opportunity to own a piece of art that captures the vibrant spirit and expressive color palette of the Fauvist ...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Les Codomas (The Codomas), from Henri Matisse, Jazz, originates from the 1983 second edition published by George B...

Signed post impressionist figures in landscape oil circa 1980 by French painter Max Michel Agostini. The work depicts park-goers on a path beside a lake on a sunny spring day. There ...

Signed oil on board seascape circa 1960 by English post impressionist painter Edward Brian Seago. The work depicts barges racing in the Harwich approaches - a busy deep water channel...

The painting "Early Autumn in the Alps" is painted from life in oil on canvas, 60x50 cm. This is a gentle, lyrical landscape that conveys the beauty of Swiss nature on a sunny day, w...

This painting depicts a whimsical bouquet of flowers in a white vase resting on a table with a multicolored background. The piece is done in a highly impressionistic manner with uniq...

Title: Lakeside Mountain Landscape French Modernist Watercolour by Pierre Neveu Artist: Pierre Neveu (French b.1929) Medium: Watercolour on artist paper, unframed Size (H x W): 6.25 ...

Title: Original Oil Painting of a Vibrant Still Life with Lemons and Bottle Artist: Roland Pichard Signed: Bottom right Medium: Oil on oil paper, mounted on card Size: 14 (height...

Title: French River Seine Barge Harbor Landscape Watercolor Conflans Sainte Honorine Artist: Pierre Neveu (French b.1929) Medium: Watercolour on paper, unframed Size (H x W): 19.75 x...

Signed oil on canvas still life circa 1902 by French post impressionist painter Georges D'Espagnat. The work depicts a table covered in a white cloth with red stripes. On top sit two...

* No US duty or taxes to pay on works of art * A striking 1930's French post-impressionist oil on board portrait of a gentleman smoking a pipe by Antonin Guéton. Excellent quality...

This exquisite lithograph after Henri Matisse (1869–1954), titled Baigneuse dans les Roseaux (Bather in the Reeds), from Dernieres Oeuvres de Matisse 1950-1954 (Last Works of Matisse...

A lively and colorful winter scene oil painting depicting a snowy hill by the village with people sledding and skiing with much depth and detail. Capturing a cozy winter magic scene,...

➡️ Mountain scene Landscape⬅️ ⏩It is signed J Rohr⏪ ⭐Medium:⭐ Oil on woodpanel ⭐Technique: ⭐Impasto painting with expressive brushwork. ⭐Size:⭐61x77.5cm / 24x 30.5inch with fram...

Signed oil on canvas riverscape by French post impressionist painter Paul Madeline. This beautiful work depicts a view of a meandering river. There are two trees on the bank to the r...

A beautiful oil on canvas painting by the French artist, Jean Salabet. Salabet was a Parisian painter known for his colorful cityscapes depicting the times of his generation. His wor...

This exquisite lithograph by Pierre Bonnard (1867–1947), titled Sans titre (Untitled), from the album Pierre Bonnard, Correspondances, originates from the 1944 edition published by E...

This exquisite lithograph after Henri Matisse (1869–1954), titled Nu Bleu II (Blue Nude II), from Dernieres Oeuvres de Matisse 1950-1954 (Last Works of Matisse 1950-1954), Verve: Rev...

Title: Castellar Village Street Scene Provence Watercolour French Post Impressionist Artist: Pierre Neveu (French b.1929) Medium: Watercolour on artists paper, unframed Size (H x W):...

Vibrant oil on canvas by Catalan painter Enric Porta Mestre (1898–1993), depicting a colorful view of his hometown, La Pobla de Segur, nestled in the Mediterranean landscape. This ri...

Small, sun-like fruits glow among the branches, creating a quiet sense of warmth and vitality. Set against a dense, textured orange field, the mandarin tree radiates light and inner ...

Provencal Landscape by Louis Bellon (French 1908-1998) signed and dated 46' From a batch of similar work where most were dated 1942-1947 watercolour painting on paper, unframed meas...

Oil on canvas Canvas size: 20 x 24 inches Framed size: 28 x 32 inches Signed lower right

Title: Mid 20th Century Post Impressionist Pastel Landscape of the Vosges Mountains by Anne Marie Migette Perard (French 1902-1977) Signed: Yes Medium: Pastel on unframed paper Size:...

'Waters of Leith' (Scotland) by William B Dealtry (British 1915-2007): signed oil on board, framed framed: 10 x 14 inches board : 8 x 11 inches Inscribed verso with title Provenance:...

Title: Provence Village Flower Market Scene Watercolour French Post Impressionist Artist: Pierre Neveu (French b.1929) Medium: Watercolour on artists paper, unframed Size (H x W): 7 x 5 inches Condition: Good overall with light handling to the sheet edges and the natural deckle of the paper; colours remain fresh and surface is sound, consistent with age. Provenance: From the artist’s studio sale in France; all works by this artist in our collection originate from the artist’s estate. Description: A lively and colourful French market scene by Pierre Neveu, capturing the vibrancy of daily life in a Provençal village square. Executed in expressive watercolour, the composition centres around a tree-shaded market stall surrounded by vivid flower displays in pots and baskets. The artist’s confident brushwork and instinctive sense of colour bring the bustling charm of southern France to life—yellow, crimson, and violet blooms set against the warm ochre tones of sunlit village façades. Hints of figures, awnings, and architectural details evoke the gentle rhythm of a Mediterranean morning. Neveu’s fluid handling of the medium allows the paint to breathe and shimmer, suggesting movement, light, and atmosphere rather than rigid form. This scene is typical of his Post-Impressionist style—combining structure and spontaneity to celebrate the poetry of everyday French life. Collectors of French market paintings...

Fauve landscape with palm trees and Arab houses. 1 half of the 20th century. Gouache paintings on cardboard. Paintings is signed with monogram. Dimensions with Passepartout 45.5cm x ...

The painting "Panicled Hydrangea" (30x40 cm), done in oil on canvas in a vertical format, captures the eye with its brightness and liveliness. In the center of the composition is a b...

Yvonne Canu 1921 – 2008 Signed bottom right and signed, titled and numbered 967 on the reverse Canvas Size: 22 x 18" (55 x 46cm) Outside Frame Size: 28 x 24" (70 x 60cm) Yvonne Ca...

Botanical watercolour and gouache on paper circa 1920 by French fauvist painter Raoul Dufy. The work depicts flowers in red, blue and green. This work was executed by Dufy as a fabric design. Dimensions: Framed: 19.5"x19.5" Unframed: 12"x12" 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...

This captivating scene of Venice from the 20th Century is a wonderful display of Van der Plas's true passion for outdoor genre paintings. The vibrant colors and impressionistic brush...

Signed post impressionist oil on canvas figure in landscape circa 1910 by French painter Lucien Levy-Dhurmer. The piece depicts a man in Arab dress seated on a high hillside platform praying amongst white clouds. We can see the faint online of a town below. Signature: Signed lower right Dimensions: Framed: 32"x40" Unframed: 24"x32" Provenance: Private French collection The authenticity of this work has been confirmed by Jean-David Jumeau-Lafond A certificate from Jean-David Jumeau-Lafond is available upon request Lucien Lévy-Dhurmer did not follow the conventional route for education in fine arts but was nevertheless a pupil of the painters Raphaël Collin, Vio and Wallet. He was an ornamental painter in an earthenware factory in Golfe-Juan from 1887 to 1895, which influenced his use of pastel. He travelled to Italy in 1895. Around 1902 he painted the portraits of Rodenbach, Pierre Loti and Marguerite Moreno. Although he had not been instructed by Puvis de Chavannes or Gustave Moreau, he seemed to have much in common with those visionary 'painters of the soul' who had been exhibiting at the Salon de la Rose-Croix for several years: Edmond Aman-Jean, Louis Welden Hawkins, Henri Martin, Charles Maurin and Alphonse Osbert. Following the example of some of these artists, Lévy-Dhurmer admired Italian Renaissance art, evidence of which can be seen in pastels such as Woman with a Medal, Medusa, Circes and Florence. His translation of the Symbolist themes in the scores of Beethoven ( Appassionata), Fauré or Debussy into different hues made him seem like a visionary, but his aesthetic seems to have changed to some extent after 1900, when his landscape painting became more prominent. In fact, only his presentation and style changed. He continued to suggest feelings, interpretations and emotions but without relying on any traditional allegories. He became involved in the Intimist movement, along with Ernest Laurent, Charles Cottet, Henri le Sidaner and René Ménard, whose pastels presaged the Classicism of the 1930s. He exhibited at the Salon des Artistes Français in Paris from 1882. From 1906 he was associated with the Salon de la Société Nationale des Beaux-Arts. He showed his works in individual exhibitions, notably in 1896 at the Galerie Georges Petit in Paris, which was a very successful exhibition and earned him admiration in artistic and literary circles alike. Several decades later the exhibition Around Lévy-Dhurmer ( Autour de Lévy-Dhurmer) at the Galeries du Grand Palais in Paris in 1973 revealed a tendency in art which had been largely unknown until then and which remained on the margins of the great innovative movements of the 20th century, but which was nonetheless of a quality which could not be ignored. Lévy-Dhurmer obtained a distinction from the Salon des Artistes Français in 1896 and a bronze medal at the 1900 Exposition Universelle in Paris. He became a Chevalier of the Légion d'Honneur in 1902. Museum and Gallery Holdings Bayonne (Mus. Basque): Portrait of Pierre Loti (1896, pastel) Brest (MBA): Circes Detroit (AI): Vase with Dragonflies (1890, earthenware with iridescent glaze) Mulhouse: Harvest New York (Metropolitan Mus. of Art): Flower Pot (c. 1893, earthenware with metallic glaze) Paris (Mus. d'Orsay): Portrait of Georges Rodenbach (c. 1895, pastel on paper); The Woman with a Medal (1896, pastel on paper on card); The Lost Explorer...

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...

As a French Impressionist artist, most of the Renee Theobald's works were produced in the Mid-20th Century. She was known for her charming compositions ...

Signed oil on canvas figures in landscape circa 1950 by French post impressionist painter Marcel Dyf. The work depicts doing a late summer harvest in Provence, France. Signature: Si...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Le Cirque (The Circus), from Henri Matisse, Jazz, originates from the 1983 second edition published by George Braz...

In creating this oil painting, I immersed myself in capturing the essence of a tranquil waterfront scene. With every brush stroke, I aimed to convey the serene atmosphere and the gen...

The painting "Easter Morning" is a hymn to maternal love, a symbol of rebirth to a new life. "The painting is full of hidden philosophical meaning." said Anna Shesterikova about th...

The painting "Sunset in Los Angeles" is made in oil on canvas measuring 20x20 cm and depicts a moment of solitary observation of the evening sunset. Thousands of people come to the s...

Signed double-sided pointillist oil on canvas by French painter Ludovic Vallee. The piece depicts a view of a garden with a path through the centre on a sunny day. To the foreground ...

Dancer Tying Her Shoes, executed around 1916, stands as one of the most important works within Dick Beer’s oeuvre. Created during a pivotal moment in his life, shortly after the trau...

Title: Chateauneuf de Grasse Provence Landscape Pastel Pierre Neveu Artist: Pierre Neveu (French b.1929) Medium: Pastel and coloured pencil on paper, unframed Size (H x W): 19.75 x 2...

For sale is a captivating painting by the Swedish artist, Rikard Lindström (1882-1943). Depicting a picturesque water canal, with charming houses lini...

Woodcut on vélin Utopian paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Gauguin, A portfolio of 12 color woodblocks, Paul Gauguin, French, 1848-1903 from the collection of the Museum Of Fine Arts, Boston, 1946. Rendered by Albert Carman (1899-1949); published the Museum Of Fine Arts, Boston and The Studio Publications, Inc., New York and London; printed by Holme Press Inc., New York, in an edition of MMMD. Excerpted from the folio, Paul Gauguin and Emil Bernard at Pont-Aven, Brittany, in 1888, each made a bas-relief, wooden panel to decorate a piece of furniture for a friend. In order to keep a record of their designs, a few inked impressions were made on paper. The illustration at left is a reproduction of a print which is possibly one of the above mentioned. It is further possible that this experiment later gave Gauguin the idea of making woodcuts. Just as his work in painting expressed a revolt against the overemphasis on factual representation of the nineteenth century in favor of decorative pattern and color, so also his woodcuts leaned strongly to the same side of the balance. Ten of the cuts reproduced (all excepting Soyez Amoureuses and Changement de Residence), which constitute the whole of his best known series, were made at Pont-Aven beginning in the fall of 1894, after Gauguin's return from his first trip to Tahiti and after he broke his ankle. They were at first roughly cut with a common carpenter's gouge, and the flat surfaces sandpapered and engraved with a sharp in-strument, perhaps an engraver's burin. A few trial proofs were printed in black ink only. Then the hollows were deepened with a woodcutter's gouge and highlights were added. An edition of thirty to fifty impressions of each subject, with the addition of color blocks (one, two or three), was made by Louis Roy...

This vibrant artwork exuberantly captures a flourishing garden of lilies, their petals painted in shades of yellow, pink, and red. The dynamic brushstrokes create a lively texture, g...

An extraordinary, full-scale painted stage backdrop created for the 2013 Princeton University production of Stephen Sondheim’s Sunday in the Park with George painted by Susan Donner....

Elegant Young Lady In The Landscape. Portrait depicting a beautiful young woman in the landscape dressed in a tulle dress and hat decorated with pink roses...

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...

Carl Axel Elvegård (1883–1962) Sweden Early Winter in Dalarna, 1920 signed and dated lower right 26/9 1920 oil on canvas unframed 65 × 100 cm (25.6 × 39.4 in) framed 81 × 116 cm (3...

Title: Coastal Estuary with Distant Boats and Tidal Posts Watercolour Artist: Pierre Neveu (French b.1929) Medium: Watercolour and Gouache on card, unframed Size (H x W): 6.75 x 11.7...

The painting "Summer Silence", made in oil on canvas, measuring 70x60 cm, conveys the atmosphere of a warm and peaceful June in Switzerland. The painting depicts a landscape with a v...

Yves Ganne (French, 1931 – 2019) Le Colombes, circa 1950 Oil on canvas 15.3/4 x 22.1/2 in. (40 x 57 cm.) Provenance: From the estate of the artist Born in Angers, Anjou, in 1931, Yv...

Title: Mediterranean Lighthouse Artist: Kiku Poch (Barcelona, 1963) Medium: Oil on canvas Dimensions: 81 × 60 cm 31.9 × 23.6 in Format: 25 Landscape (P) Support: Stretched canvas Pe...

Signed post impressionist figures in landscape oil on panel circa 1910 by French painter Eugene Henri Alexandre Chigot. The work depicts a mother and child outside a thatched cottage beside a pond. In the centre of the painting is an apple tree in blossom - beautifully painted in pinks, blues and greens. Signature: Signed lower right Dimensions: Framed: 19"x22.5" Unframed: 12.5"x16" Provenance: Private French collection A pupil of his father Alphonse Chigot, Eugène Chigot...

Artist/ School: Suzanne Dinkés (French, 1895 - 1984) Medium: oil on board, unframed Size : 9.5 x 7.5 inches Provenance: private collection, France Condition: The painting is in overa...

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Venise, palais et gondoliers sur le Grand Canal by Henri Martin (1860-1943) Oil on canvas 68.5 x 96 cm (27 x 37 ³/₄ inc...

An oil on canvas by American artist Gordon Hope Grant featuring a schooner off of the coast. This painting is signed and dated i1945 n the lower left and measures 33.5" x 33.5" inclu...