John French Art

Jacques BERLAND (1918-1999) Portrait of a woman, circa 1950 Oil on canvas 34 × 25 cm A figurative painter of the Paris School, Jacques Berland's work was brought back into the limel...

Andre KAUFFER (1893-1971) Seaside landscape - Quiberon, circa 1940 Oil on canvas Signed lower left Located “Quiberon” on the back 23 x 46 cm Old frame in painted wood Born in Nancy ...

In this vibrant oil painting, I've unleashed a wave of dynamic energy and emotion. The abstract forms blend with expressionist fervor, as the figures—a synthesis of impressionist and...

A substantial, sunlit landscape showing a fruit-tree in blossom in the foreground with verdant fields receding towards rolling hills beneath turquoise and lavender clouds. Signed ...

Signed lower left, 'Ejnar Kragh' (Danish, 1903-1981) and dated 1950. A substantial, mid-century Impressionist oil showing a view of Paris with a figure strolling beside the Seine. ...

Signed lower left, 'Hortense M. Gordon' for Hortense Crompton Mattice Gordon (Canadian, 1886-1961) and dated 1949. Previously with: Dominion Gallery of Montreal (stamp, verso). Photo courtesy of Art Gallery of Hamilton, Ontario, Canada. Hamilton artist Hortense Crompton Mattice Gordon was one of Canada’s earliest non-representational painters, embracing abstraction in the 1930s. She was also an active member of Canada's first English-speaking abstract group, Painters Eleven. A scholarship recipient, Hortense Mattice first attended the Hamilton Art School and, subsequently, moved to Chatham, Ontario. Initially focusing on porcelain painting, Mattice quickly began building a portfolio of oils and, from 1908, was exhibiting both her porcelain and landscapes at what is now the Chatham Cultural Centre (1908) and the Art Gallery of Ontario (1909). During this time, Mattice frequently traveled to the United States and, in 1915, visited the National Gallery of Art in Washington, DC, where she would have seen early works by important modernists including Picasso and Matisse. She started her teaching career in Chatham but, having received a job offer from the artist John Sloan Gordon, returned to Hamilton to teach at the Hamilton Art School in 1918. The two artists married in 1920. In 1922, Gordon and her husband took a study trip to France and, inspired by the fervent of Modernist ideas in Paris, expanded her own approaches to art, developing an increasingly soft, loose paint handling style. It was not until the 1930’s, after a few more trips to France and her discovery of Piet Mondrian’s work, that elements of abstraction began to appear in Gordon’s work. After the death of her husband in 1940, Gordon attended the Cranbrook Academy of Art and studied with Hans Hoffmann (1941-1945) whose influence and friendship pushed her to explore non-objective painting. After her training with Hofmann and in Cranbrook, Gordon began to exhibit regularly and with success in both Canada and the United States including at the Riverside Museum (New York, 1947), Creative Gallery (New York, 1952), in Ann Arbor (Michigan, 1952), Phillips Gallery (Detroit, 1952), the Flint Institute of Arts (Michigan, 1952), Mount Allison University (New Brunswick, 1952), the Galerie Agnes Lefort in Montréal and Art Gallery of Hamilton (retrospective, 1960). She was a member of the Contemporary Artists of Hamilton (honorary president in 1948), the Ontario Society of Artists, the Hamilton Women...

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, ...

Signed lower right, 'V. Isbrand' for Victor Isbrand (Danish, 1897-1989) and painted circa 1945. Precocious as a child, Victor Isbrand painted professionally from a young age and was...

Signed lower right, 'A. Naur' for Albert Naur (Danish, 1889-1973) and painted circa 1955. A cheerful, mid-century oil showing a pair of leisure chairs wit...

Signed lower left, 'W. Schwartz' for Walter Erwin Otto Schwartz (Danish, 1889-1958), dated 1935 and inscribed 'Skagen' lower right. A substantial, psychologically penetrating portrait of a young woman with braids, shown dressed in a charcoal wool coat and wearing a copper-colored neck-scarf. The self-possessed sitter stands and meets the viewers gaze directly, proving herself an unusually confident subject for this noted Danish Modernist. Nephew of the Danish academic artist, Frans Schwartz, Walter Schwartz grew up surrounded by the painters who frequented the Danish art colony on the picturesque island of Skagen. Walter first studied formally (1904-8) with Michael Ancher...

A substantial, mid-seventeenth century oil showing a group of men assembled in a neo-classical landscape beside a placid river; a lyrical and dynamic figural work showing both fine c...

Signed lower right, 'A. Naur' for Albert Naur (Danish, 1889-1973) and painted circa 1955. Albert Naur first studied Philosophy and Law in Copenhagen (1908...