John Reilly Paintings

Sir Matthew Smith, CBE (British, 1879 – 1959) Still life with sculpture oil on board 21.1/4 x 23.3/4 in. (54 x 60.3 cm.) Provenance: Removed with the contents of his Aix studio, by Marion Monay, tfor the aertistin early 1940, to Beauchene, the nearby house of fellow artist Harry Morton Colvile (1905-1992) Given by the artist toColvile in January 1946 along with otherstudio effects. Given by Colvile’s only child, Professor Georgiana Colvile (1943-2018) to the present owner circa 2000 Literature: Alice Keene, ‘The Two Mr Smiths, The Life and Works of Matthew Smith’, 1995, pp.61,65,70 & 128 When in early 1940 Smith went back to Aix to pack up and close his studio there and send back to London all the paintings possible, the residue was hidden (see Literature, Keene 1995, p.61,65 &70) in various locations around Aix by Marion Monay, a good deal at Beauchene the house of his and her friend Harry Colvile who had been Monay’s lover prior to Smith (see Literature, Keene 1995, p.59) In 1946 with the war over, Smith went to Aix to retrieve all he could manage to ship back to England but what he had to leave at Beauchene he give to Colvile, including the clay female...

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 ...

Mediterranean Harbor Oil Painting, Cadaqués Coastal Village, Spanish Post-Impressionism Artist: Rafael Duran Benet (1931–2015) Origin: Spain, Catalonia Period: 1980s–1990s, circa 19...

Signed and dated oil on board figures in landscape by French post impressionist painter Gustave Cariot. The piece is set in Wiesbaden, Germany depicts a breathtaking view of the Rive...

"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 frame) This painting and its mat...

Mid-Century post impressionist oil on board of waterlillies by French artist Marc Mussier. Signed and dated 1959 to the reverse. This evocative oil painting captures a serene aquat...

A powerful Parisian cityscape by French master Lucien Adrion (1889–1948). Known for his vibrant Impressionistic crowd scenes, this particular work captures the sharper, more structur...

Title: Spanish Landscape with Farmhouse Artist: Rafael Duran Benet (Barcelona, 1931–2015) Technique: Oil on canvas board Dimensions: 13 x 16.1 in Signature: Signed "R. Duran" in ...

This luminous landscape painting by Oscar Lycke captures the rolling hills and deep forests of northern Sweden, likely from the Sundsvall region. The foreground is dominated by lush ...

Carl Johansson (1863–1944) Sweden Lavaklippstrand, Tenerife (Lava Coast, Tenerife), 1894 signed lower left “Carl Johansson” oil on canvas, executed in grisaille unframed 27.5 × 49.5 cm (10.8 × 19.5 in) framed 39 × 61 cm (15.4 × 24 in) Literature: För Svenska Hem. Illustrerad Familjetidskrift, first year, 1895–1896, issue 26, pp. 416–417, reproduced across the centre spread. The contemporary caption reads: “Bild från Tenerife: Lavaklippstrand. Efter en oljemålning för ‘För Sv. Hem’ af Carl Johansson.” Condition report: Please contact the gallery for a detailed condition report. Essay: Painted during Carl Johansson’s journey to Tenerife in 1894, Lavaklippstrand presents the volcanic Atlantic coastline as an austere study of rock, water and light. Jagged formations of dark lava dominate the foreground and middle distance, breaking the surface of the sea in an irregular progression towards the horizon. Behind them, the coast dissolves gradually into mist, while the almost colourless sky occupies the upper half of the composition. The painting is unusually restrained for a landscape executed during a period when Johansson had recently encountered the brighter palette of modern French painting. Here, instead, he deliberately reduces the scene to a near monochrome range of blacks, greys, browns and white. Johansson was born in Härnösand in 1863 and studied at the Royal Swedish Academy of Fine Arts in Stockholm between 1882 and 1885, where his teachers included Edvard Perséus and the landscape painter Per Daniel Holm. He belonged to the generation of Swedish artists that increasingly looked beyond academic landscape conventions during the 1880s and 1890s. A period in France in 1891 and 1892 brought him into closer contact with contemporary French landscape painting...

Signed oil on board pointillist landscape circa 1910 by French post impressionist painter Lucie Cousturier. The work depicts a castle on a hilltop in Provence, in the south of France...

This luminous painting by Oscar Lycke captures a tranquil sunset scene deep within a Nordic forest. The warm, golden light of the setting sun filters through the dense spruce trees, ...

This atmospheric painting depicts Kornhamnstorg in Gamla stan during the quiet hours of evening. The scene unfolds along the waterfront where the historic square meets the water, wit...

Olof Thunman (1879–1944) Sweden Sandö, Wallda Varby, Halland, 1913 oil on canvas (laid on panel) unsigned unframed 31 x 47 cm (approx. 12.2 x 18.5 in) framed 42 x 58 cm (approx. 16...

After Amaldus Nielsen (1838–1932) Norway Evening at Fredrikstad, 1918 signed indistinctly, possibly “Hj. U…”, and dated “18” lower right oil on board unframed 42 × 55 cm (16.5 × 21.7 in) framed 53 × 65 cm (20.9 × 25.6 in) Comparative work: Amaldus Nielsen, Aften ved Fredrikstad (Evening at Fredrikstad), 1909, oil on canvas, present location unknown. Condition report: Very good condition with bright and clear colors. Ready to hang. Please contact the gallery for a detailed condition report. Essay: This atmospheric evening seascape was painted in 1918 by an as yet unidentified artist and closely follows Amaldus Nielsen’s Aften ved Fredrikstad of 1909. The relationship between the two compositions is unmistakable. In both, a sailing boat occupies the central waters beneath an expansive and dramatically clouded sky, while a narrow strip of intense evening light separates sea from horizon. Smaller vessels recede into the distance, establishing both scale and a sense of stillness across the broad surface of the water. The present painting is nevertheless not a mechanical copy. The unidentified artist has altered several details and developed the scene through a more concentrated and chromatically intense palette. The central vessel is brought into sharper prominence, its sails forming a strong silhouette against the illuminated horizon. Deep blues dominate the foreground water and the upper sky, while streaks of orange, ochre and pale turquoise register the last light of sunset. The sky occupies approximately two thirds of the composition and becomes almost a subject in itself. Heavy clouds gather above the tranquil water, their dark masses opening intermittently to reveal passages of luminous blue and warm reflected light. The model for the composition was created by Amaldus Nielsen, one of the most important Norwegian painters of the coast during the nineteenth and early twentieth centuries. Born at Halse near Mandal in 1838, Nielsen studied in Copenhagen before continuing his training with Hans Gude at the Düsseldorf Academy. Gude’s emphasis on close observation of landscape remained fundamental to Nielsen, but he gradually moved away from the constructed romantic landscape towards an increasingly direct study of nature. Nielsen became especially associated with the coastlines of southern and western Norway and has often been described as one of Norway’s earliest naturalist landscape painters. From the 1860s onward he frequently completed paintings outdoors before the motif, an unusually direct working method in Norwegian art of the period. Light, weather and changing atmospheric conditions became central to his practice. The same location might be returned to repeatedly under different conditions of morning, evening, mist or changing weather. Fredrikstad and its surrounding archipelago formed part of this geography. Nielsen is documented working at Arisholmen near Fredrikstad as early as 1884, and surviving paintings demonstrate his continued interest in the coastal landscape of Østfold. By the time he painted Aften ved Fredrikstad in 1909, the theme of boats at rest or moving quietly across evening water had become deeply embedded within his art. The 1909 painting...