Ib Eisner Still-life Paintings

A joyous colorful floral still life painting depicting a bunch of freshly picked flowers placed effortlessly. The piece is done in a highly impressionistic manner and is a wonderful display of Reilly's more impromptu style, with bold colors of joyful yellow, deep rouge, and softer colors of light blue, hints of brown, and pops of pink. White ostrich daisies along with blue bluebells, orange, yellow and mamey flowers on a background of bright green grass and dark bushes in the background. This still life in nature, in the garden from nature. This bouquet reminds us of sunny summer days filled with the scent of flowers and nature. This piece is titled and has artist's estate stamp on the back, it comes housed in a contemporary gold leaf plain air wood frame with hanging wire on verso ready to be displayed. Art measures 30 x 24 inches Frame measures 37 x 31 inches John Reilly is a critically acclaimed and award-winning New Jersey artist, born in Brooklyn, NY in 1942. He received his early art training at the School of Art and Design, formally known as ‘The School of Industrial Art’ in Manhattan, where he studied advertising art. By the age of twenty-three, he operated a mid-town-based sales promotion agency, eventually expanding the business to service large companies such as Bacardi Rum, Johnson and Johnson, Nabisco, and KLM...

Rafael Duran Benet (1931-2015) - Still life - Oil on canvas on board Oil measurements 38x46 cm. Frameless. Rafael Duran Benet (Terrassa, 1931 - Barcelona, 2015) is a Catalan painter...

French Mid 20th Century oil on board Fauvist still life, flowers in a vase in an interior scene, by Hyppolite Roger. The painting is signed bottom righ...

"Interior with Chair and Vanity" circa 1918 Ricardo Gomez-Gimeno (Spain/France 1892-1954) Oil on cardboard Signed 17 1/4 x 14 1/4 (22 1/2 x 19 1/2 f...

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 and a serving jug Oil on board Signed ‘B. Buchet’ (upper left) 12.7/8 x 16.3/8 in. (32.8 x 41.5 cm.)

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...

Rafael Duran Benet (1931-2015) - Still life - Oil Oil on canvas glued to board. Measures work 46x55 cm. Frameless. Rafael Duran Benet (Terrassa, 1931 - Barcelona, 2015) is a Catalan...

Rafael Duran Benet (1931-2015) - Still life - Oil on canvas on board Oil measurements 38x46 cm. Frameless. Rafael Duran Benet (Terrassa, 1931 - Barcelona, 2015) is a Catalan painter...

Gustaf Fjaestad (Fjæstad) (1868-1948) Sweden Study of Tufts signed "G. A. Fjaestad," both recto and verso. oil on artist's sketching board (Wilhelm Becker, Stockholm) unframed 32.7...

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.)

Signed oil on board interior by French Les Nabis painter Edouard Vuillard. The work depicts a room with a large window, outside of which are bare trees. Inside the room are three chairs and a patterned rug on the floor. Signature: Signed lower left Dimensions: Framed: 20"x13" Unframed: 13"x6" Provenance: Prince Antoine Bibesco (1878-1951) - Special Envoy of Romania to the United States Piasa Encheres - Paris Lot no. 88 - 8th April 2005 - Sold EUR 118,000 hammer price Acquired at the above by Thomas Gibson Fine Art - London Acquired by the previous owner from Thomas Gibson Fine Art - TEFAF Maastricht November 2005 Literature: This work is included in the catalogue rasionne of the work of Edouard Vuillard under Ref Volume II No. 172 - illustrated and described Access to the raisonne online can be found at the Wildenstein Plattner Institute website. The work is described as being executed in the period 1899 to 1904 by Antoine Salomon and Guy Cogeval Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute. At first, Édouard Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner. About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye. In 1891, Édouard Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël. All too often, Édouard Vuillard is only admired in his role as the harmonist, the serene contemplator who combines an exquisite sense of nuance, rhythms, and values with the most acute observation. These singular investigations, these three-dimensional meditations including a table, a folding metal cot...