Post-Impressionist Art

Danish-American artist Søren Emil Carlsen paints a post-impressionist landscape that blurs the line between representation and abstraction. With its open composition, the artist capt...

Designs by Josine Vignon (French 1922-2022) signed pastel/watercolor on paper, unframed painting: 13 x 20 inches good condition provenance: from the artists estate, France Josine V...

"The Portrait" by Geneviève Zondervan (French 1922-2013) pencil/ charcoal on thick paper, unframed paper size: 25 x 19.5 inches Beautifully decorative, mid 20th century French orig...

"The Park Bench" by Fernand Audet (French, Tarascon 1923- Mulhouse 2016) oil painting on canvas, unframed painting: 6.25 x 8.5 inches A fine oil painting by the listed French Impres...

Francis Biard (mid 20th century) titled verso signed oil on canvas, framed framed: 22 x 26.5 inches canvas: 21 x 25 inches Provenance: private collection, France Condition: very goo...

Beautifully executed oil pastel on archival paper by the renowned American artist Louis Kronberg. Signed lower left with the artist’s trademark Star of David symbol after his signat...

Andre DERAIN (after) London Viewed from the Thames Color lithograph after a painting Printed signature in the plate On Arches Vellum 50 x 65 cm (c. 20 x 2...

This impression (after the original woodcut) was printed on japon paper in 1943 in an edition of 250, and is one of Gauguin's beautiful Tahiti compositions. Image size: 6 1/4 x 12 in...

Neuquelman Lucien Paris 1909 – 1988 French Painter 'Old Harbor of Honfleur - Normandy' Signature: Signed bottom right Medium: Oil on board Dimensions: Image size 50 x 65 cm, frame s...

'A View of the Park in Menton', France, watercolour on art paper, by Tony Minartz (circa 1930s). This is a depiction of serenity in a painting. From the South of France, the artist p...

Artist: Henri Matisse Medium: lithograph Portfolio: Untitled from Les Lettres Portugaises Year: 1946 Edition: 250 Framed Size: 16 3/4" x 14 1/2" Reference: Duthuit 15 Signed: Unsigned

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur,...

Title: Original Oil Painting of Still Life with Melon Slices and Knife on a Plate Artist: Roland Pichard Signed: Bottom right M...

A masterful oil painting depicting a view of a riverside wooded park in a beautiful sunny day at the early fall season. A figure seated on a blue bench with a bridge behind, a couple...

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...

The Fruit Bowl by Josine Vignon (French 1922-2022) signed oil painting on canvas, framed framed: 39 x 32 inches canvas: 32 x 36 inches Colors: Green colors, yellow, blue, orange a...

"Paris" signed by Regine David (female French artist, 1910-2018) painting on artist paper, unframed panting: 12.5 x 19.5 inches condition: This painting is in excellent condition, wi...

This is an original work by Andre Kohn. Growing up near the Caspian Sea, Kohn's received a formal art education from the University of Moscow where he studied with members of the la...

Rafael Duran Benet (1931-2015) - Landscape - Oil on canvas Oil measurements 60x73 cm. Frameless. Rafael Duran Benet (Terrassa, 1931 - Barcelona, 2015) is a Catalan painter...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 158-159, 1966. Published by Aimé Maeght, Éditeur, Paris...

Mid Century French Landscape by Josine Vignon (French 1922-2022) Medium: Watercolour on artists paper Size: 7 height) x 9 (width) Stamped Verso Condition: Good Provenance: All the pa...

Studying art in college helped prepare Julie for 17 years of traveling the world as a professional location photographer. Houck’s travels throughout Europe, Asia and across the Unite...

'Spring in Provence' for Cheri-Anne Charles Fargue, 1927. Paris, Salon d'Automne, Post-Impressionist Woman Artist ---- Signed lower right 'Cheriane' for Cheri-Anne Charles Fargue, ...

View over Nice Tony Minartz (French, 1873 - 1994) signed watercolour on artist paper painting : 12.75 x 17 inches Provenance: private collection in the South of France, Condition: v...

A charming depiction of Snow in New York City by Washington Square Park on a cold snowy evening with city lights and buildings captured in the distanc...

Lausanne signed by Regine David (female French artist, 1910-2018) oil painting on canvas, unframed measures: 18 x 13 inches condition: the painting is in very sound and presentable c...

Artist/ School: Suzanne Crochet (French c. 1930), female French Impressionist artist Title: The Old Cottage Medium: oil on board, unframed Size: board: 9.5 x 13 inches Provenance: private collection, France Condition: The painting is in overall good and sound condition, there are a few minor marks and scuffs to the surface - curved board

Color lithograph after the work by Henri Matisse, plate-signed by Matisse from the edition of 200. This lithograph was printed and published in 2007 in Paris using 100% cotton 300 g...

Lavender Fields by Max Toutain (1935-2006) oil painting on canvas, unframed canvas : 18 x 22 inches Provenance: all the paintings we have by this artist have come from the artists es...

Signed and titled oil on canvas circa 1990 by French painter Hugues Claude Pissarro. The piece depicts a woman in a red dress collecting apples in an orchard. Signature: Signed lowe...

"The Bridge upon the Sauceron at Nesles la Vallée (Val d'Oise), 1918" Maurice Walter Edmond de Lambert (French, 1873-1952) Oil on cardboard Signed and dated lower right 10 3/4 x 8 3/...

ARTIST: Jacqueline Williams NEAC (1962-) British TITLE: "Still Life Interior Composition" SIGNED: lower right MEDIUM: oil on board SIZE: 55cm x 70cm CONDITION: excellent DETAIL: Pa...

Still Life of Fish (see notes below) by Regine David (female French artist, 1910-2018) oil painting on canvas, unframed canvas: 20 x 24 inches condition: This painting is in very goo...

The Old Olive Trees at the Fountain signed by Regine David (female French artist, 1910-2018) dated 82' gouache painting on artist paper, unframed board: 15.5 x 22 inches inscribed ve...

This elegant oil on mounted canvas is by André Hambourg (France, 1909-1999) and features a seaside composition. The artwork is signed in the bottom left corner. The landscape is a lo...

This expressive mid-century landscape painting captures a rugged mountain setting with bold, gestural brushwork and a vivid, modernist palette. Likely painted by a European post impr...

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur, 1948. Publ...

Oil on canvas by Eugene Edward Speicher signed lower right. Measures 28" x 25" including the frame. Provenance: Private Collection USA Brad...

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) Still Life Oil and graphite on paper Signed lower left 12.25 x 1...

Signed watercolour on paper landscape by American post impressionist painter Maurice Brazil Prendergast. The work depicts children playing on the beach in Saint Malo, France as boats sail in the blue sea and white clouds role through the sky overhead. This work has remained in the Prendergast family for 3 generations and depicts a rare view of Saint-Malo executed during Prendergast's visit to the french coastal town in 1907 Signature: Signed lower left Dimensions: Framed: 21"x22" Unframed: 13'x14" Proveance: The collection of Charles Prendergast (1863-1948) The collection of Eugénie Prendergast-Van Kemmel (1895-1994) -wife and inheritor of the estate of Charles Prendergast The collection of Henri Van Kemmel (Lille, 1903-1963) - cousin of Eugenie Prendergast
- Madame Henri Van Kemmel Maurice Prendergast came with his family to Boston in 1861. Working in a textile store, Maurice Prendergast was at first self-taught in painting, making souvenir cards and shop signs. He went to Britain in 1886, then to Paris in 1891 and registered at the Académie Julian with Jean-Paul Laurens, Benjamin-Constant, and Charles Blanc as teachers, working also with Gustave Courtois at the Académie Colarossi. More importantly he saw the Impressionists’ paintings and the Nabis at the Galerie Durand-Ruel. He returned to the United States in 1895, settling in Winchester (Massachusetts) and went frequently to New York. In 1898 he again went to Europe where he stayed until 1900, visiting Paris, Florence, Siena, Rome, Capri, and Venice, where he spent six months. Between 1907 and the beginning of World War I he went again four times to Europe but never returned there after the war. In New York where he finally settled, with William Glackens, Robert Henri, and John Sloan among others, Prendergast was one of the members ofThe Eight, gathered by Robert Henri to counter the pervading academicism. The group exhibited in 1908 at the Macbeth Galleries and took part in the Armory Show of 1913. After that Prendergast did not exhibit again with the group. In 1914 he left Boston definitively for New York. Prendergast was in his thirties before he began to devote himself to painting. In his late beginnings he painted in the open air as the Impressionists did, mainly in watercolours with clear brushstrokes and an elegant virtuosity recalling his then admiration for James Whistler and Claude Monet. Between 1892 and 1905 he carried out two hundred monotypes, a technique of which he was the undisputed master in America at that time and which expressed the influence of Japanisme. During his stays in France he painted views of Paris, but also Brittany and Normandy. In this period, in 1896, he was chosen to illustrate My Lady Nicotine by Matthew Barrie. During his third stay in Europe, from 1898 to 1900, he painted in Paris, at Saint-Malo, and mainly in Venice, where, influenced by Vittore Carpaccio he introduced brightly coloured banners into his animated compositions. In oils he painted slowly, touching up his paintings by superimposed brushstrokes, sometimes over several years. He chose to use the divided stroke in an early period, a technique which had similarities with Post-Impressionism. After his travels in Europe and his discovery of Paul Cézanne, he evolved in the direction of the neo-Impressionism of Georges Seurat, placing little dots of colours with a knife, then of the Nabis and even later Fauvism, painting large brushed surfaces in bright colours. After 1899, his Ponte della Paglia in Venice freed itself from strict divisionism, adopting the dense composition in vertically superimposed planes of the Nabis. Like the members of the group of eight, he took his subjects from the daily life of ordinary people, in scenes in the parks or on the beaches of New England, picnics or sometimes circuses. Nevertheless the happy vision that he had of the world separated him strongly from the evolution that led his companions to paint the most miserable and populous milieus, which gave them the name of The Ashcan School. His compositions are arranged in surfaces superimposed vertically, without depth; while the Impressionists and Post-Impressionists were influenced by the layout of Japanese prints, Prendergast was inspired more by Persian miniatures. The decorative elements and the build-up of characters in crowds are placed frontally, like garlands on a tapestry, particularly as he seeks a texture effect, covered entirely by the subject without any empty spaces. His attraction to colours caused him to research all the motifs that he introduced into these compositions: umbrellas, parasols, balloons, draperies. In 1911–1912, he experimented with pastel and treated new subjects, nudes and still-lifes. After 1913, in sympathy with the Symbolists, he put nude figures and everyday characters side by side in the same composition. In his last years, and above all in the watercolours, he discarded the divided stroke and applied larger brushstrokes, similar to the technique of Henri Matisse. Fidelity to the leisurely settings and elegant grooming of the period gave his works, apart from their artistic value, a charming sociological aspect. Singular, almost marginal in his time, his paintings stand out by the density of their composition, in form and colouring, characterised by the accumulation of detail, minutiae of scenery, the serried ranks of people that animate them, the chromatic polyphony of elegance, umbrellas, parasols, and flags. He is a complete painter, particularly generous, who would never be happy to provide only samples of his art. Following Whistler and Mary Cassatt, Maurice Prendergast is one of the most interesting and original Post-Impressionist American painters, and perhaps marks exactly the boundary between the 19th and the 20th centuries. He was considered to be an ‘old master’ from 1920 on, and his works appeared in very many exhibitions of modern American painting. He had his first solo exhibition in 1897 at the Chase Gallery of Boston, where his works were noticed by Madame Montgomery Sears, who made a collection, taking the advice of Mary Cassatt. In 1915 six paintings and watercolours exhibited at the Carroll Gallery of New York established his success and drew the great collectors to him, among whom were Albert Barnes and John Quinn. Group Exhibitions 1974, Ten Americans, Andrew Crispo Gallery, New York 1976, Art of Impulse and Color, University of Maryland Art Gallery, College Park (Maryland) 1982, American Impressionists, Smithsonian Institution, Washington, DC (also presented at the Musée du Petit Palais, Paris) 1999, Town and Country: American Artists, 1870–1920 (Ville et campagne: les artistes américains, 1870–1920), Musée d’Art Américain, Giverny 2002, Japonisme in America: Works on Paper, 1880–1930 (Le Japonisme en Amérique: œuvres sur papier, 1880–1930), Musée d’Art Américain/Terra Foundation for the Arts, Giverny 2007, American Impressionists: Painters of Light and the Modern Landscape, Phillips Collection, Washington, DC 2008, Coming of Age: American Art 1850–1950, Paintings from the Addison Gallery of American Art, Massachusetts, Dulwich Picture Gallery, London 2008, Portrait of a Lady: Paintings and Photographs of American Women in France 1870–1915, Musée des Beaux-Arts, Bordeaux Solo Exhibitions 1934, Maurice Prendergast Memorial Exhibition, Whitney Museum of American Art, New York 1938, Retrospective Exhibition of the Work of Maurice and Charles Prendergast, Addison Gallery of American Art, Andover, MA 1960, Maurice Prendergast, 1859–1924, Museum of Fine Arts, Boston 1990, Art Institute of Chicago 2009, Prendergast in Italy, Peggy Guggenheim Collection, Venice Museum and Gallery Holdings Andover, MA (Addison Gal. of American Art): At the Shore, St. Malo No. 1 and 2 (c. 1907, watercolour and graphite on wove paper, 2 works); Along the Cove (1910–1913, oil on canvas); seven sketches of Paris (1893, oil on wood) Chicago (AI): In the Park (1918–1919) Chicago (Terra Foundation for American Art Collection): Festa del redentore (c. 1899, monotype); The Opera Cloak...

EDOUARD LÉON CORTÈS French, 1882 - 1969 PARIS EVENING signed "EDOUARD CORTÈS" (lower right) oil on canvas 25-3/4 x 36-1/4 inches (65 x 91.5 cm.) unframed This work is accompanied by a certificate of authenticity issued by "Comité Édouard CORTÈS" PROVENANCE Private Collection, France Edouard Léon Cortès (1882–1969) was a French post-impressionist artist of French and Spanish ancestry. He is known as "Le Poète Parisien de la Peinture" or "the Parisian Poet of Painting...

In this oil painting, I've captured the vivacious essence of a bustling harbor. Each stroke is imbued with the dynamic interplay of light and shadow, reflecting the fleeting moments ...

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...

"Les Artistes du Cirque" is an original painting in ink, watercolor, and gouache on paper by leading Fauvist artist Kees Van Dongen, signed in the lower right. In the piece, two circus performers stand against against a wall. On the left, a pale woman in a blue leotard with red flowers on the shoulder stands with her arms crossed, looking out at the viewer. The painter fills in her tights with delicate white brushstrokes, lending them an almost iridescent appearance. Her strawberry blond hair is piled on top of her hair according to the fashion of the period. On the right, an African man stands in a vivid orange toga, looking somewhere off to the left. His feet are clad in bright white shoes...

Pink Step Pathway Harold Storey ( 1888 - 1965) signed and dated 1925 verso oil on board, unframed board : 14 x 10 inches Provenance: private collection Condition: some scuffs and pa...

Femme au Plateu - Le Petit Déjeuner (Madame Baron et Mademoiselle Popo) is a color lithograph realized by Henri de Toulouse Lautrec in 1896.  cm. 45,5 x 58, matted. Monogrammed in ...

Whitney Myron Hubbard's wife in the garden Signed in pencil lower left Whitney M. Hubbard. Framed in a contemporary gold leaf frame 16 by 13.75 inches. A seventy year resident of G...

The Luberon Hilltop Perched Village French Impressionist artist, signed lower corner, inscribed verso dated 2016 oil on canvas, unframed canvas: 32 x 39.5 inches provenance: private...

Artist: Henri Renard, French (1920 - ) Title: French Street Scene Year: circa 1950 Medium: Oil on Canvas, signed l.r. Image Size: 24 x 36 in. (60.96 x 91.44 cm) Frame Size: 31.5 x 44...

Medium: pochoir (after the gouache). This pochoir illustrates a scene from Oscar Wilde's "Salomé". It was printed in 1955 by l'Imprimerie Nationale de Monaco and published by Fermier...

This losely rendered and highly narrative Post Impressionist Lithograh entitled “LE HAVRE” by Raoul Dufy originates from France, Circa 1930. A striking composition, this lithograph f...

Jordi Freixas Cortés (1917-1984) - Spanish village landscape - Oil on canvas Oil measures 65x54 cm. Frameless. Jordi Freixas Cortés (1917-1984) Jordi...

Rafael Duran Benet (1931-2015) - Cadaques - Oil on canvas on cardboard Oil measurements 33x41 cm. Frame size 43x51 cm.. Rafael Duran Benet (Terrassa, 1931 - Barcelona, 2015) is a Ca...

Medium: Lithograph on vélin paper. Year: 1952 Paper Size: 12.25 x 9.5 inches; image size: 9.45 x 6.69 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From th...

Signed and titled 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 ...

ARTIST: Benjamin Mowll RSMA ROI (1967-) British TITLE: “Faversham Creek” SIGNED: lower right MEDIUM: oil on board SIZE: 75cm x 60cm inc frame CONDITION: excellent DETAIL: Ben Mowll h...

This artwork presents a vibrant and intricate bouquet of irises, masterfully blending a spectrum of purples, blues, and yellows. The composition captures the fluidity and elegance of...

A dynamic oil painting depicting a high energy horse race with abstract details and bursts of energy showcased with use of fast brush work and thick impasto oil paint. Jockeys, weari...

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

"Salinas Valley Farm" - Fauvist Landscape in Oil on Artist's Board Bright and saturated landscape by Will H. Light (American, 1926-2004). The viewer stands at the edge of a farm, lo...