Stephane Magnard Paintings

Colorful Corals II is a vibrant diptych that captures the rich diversity and texture of underwater coral life. The artist uses confident lines and bold, layered colors—reds, blues, y...

A beautiful composition capturing one of the well known buildings of Rouen, a city that was very popular with early 19th century watercolour painters. John Sell Cotman painted this v...

Gio Colucci (Italian 1892-1974) Untitled: Abstract Figure and Leaves. Gouache on paper laid down on matt board. Archival framing under glass. Originally from the Con-Agra Corporat...

A very striking image of the Pyramids of Giza at sunset with a felucca drifting by on the Nile. A most attractive palette and image with the ripples on the surface of the river and w...

The Duke of Buccleuch’s hunt was founded in 1827 and was once a famous event in Scotland but has now since died down because of the fox hunting bans around the area. Now the hunt has...

Two delightful watercolours, with wonderful details by the highly collectable Charles Robertson. They depict two different aspects of Victorian life, the first captures two boys fis...

This artwork depicts a maze of stairs and arks. This piece is provided without frame. Jean-Marc Boissy is a talented and promising French artist. His unique and very personal artis...

Signed lower right: H. GASSER; on verso: “Gloucester Vista” / HENRY GASSER / N.A.

'Towards Le Scathe Cove'. Contemporary mixed media landscape painting, Cornwall Original Artwork, Unframed _________________ January morning, heavy swell and a strong southwester, rain imminent, sheltering beneath lichen furred granite outcrops. A plein air painting from the series 'Holan ha Dor' (Meaning 'Salt and Earth in Cornish). West Cornwall is a harshly beautiful peninsula, jutting out into the wild tireless ocean, shaped and moulded by powerful salt laden Atlantic winds, and criss-crossed by ancient, tangled hedgerows. Drawn to the immediacy of moments, underpinned by enduring narratives, Sophia's fluid expressive paintings explores the flux and balance in the nature of all things: The freedom of the air and solidity of the soil; Of anchored stone and rhythmic water; Of human narratives written in the wild landscapes; In the sensual interplay of light and shadow. They capture an essence of the equilibrium between wild raw energy and serene stillness; chaos and harmony; and the enduring and the effervescent. Mixed media on watercolour paper Signed and inscribed Unframed 23 x 30cm / 9 x 12 inches __________________________ About The Artist Sophia Milligan is a contemporary multidisciplinary artist, exploring discourses on permanence & evanescence; the eternal, cyclical absolutes of birth & death; motherhood & childhood; and ancient immutable connections. With resonating ripples of intuition and instinct Sophia illuminates the presence of the ordinary, creating moments of sublime present. 'Born among the wild cliffs and tempestuous seas of west Cornwall, I grew with the intimate details in the twisting lanes and the intense changing light throughout the turbulent seasons. I formed a primordial connection with a deep instinctual sense of being part of the natural narrative, and wherever in the world I may be, this connectivity underpins my practice. Like the wind sculpted hawthorns and sensual coves of weather worn granite, I have been shaped by the powerful energy entwined in this ancient raw environment.’ ‘We are the stories of the journeys that came before. I weave into my work the tales of transitory circumstance; of struggle and survival; of forms and textures holding records of evolutionary millennia. I paint, I draw: with marks, mixtures, photography, words; the raw earth; the restless oceans; the whispered breeze. I work with time, and the immeasurable spaces of experience within, giving subtleties of existence a pause for contemplation. There is beauty in such poignant breaths. All moments are significant, every pebble of now forms the vast mountain of yesterday, and the great realm of tomorrow's possibilities'. Sophia has a 1st class honours Bachelor of Arts Degree in Visual Arts and World History, and a Masters Degree in Contemporary Visual Arts. Her work is held in prestigious international private collections, and exhibitions of her interactive, immersive installation, photography and mixed media works include 'Tabula Rasa', London; 'Superlative', Plymouth; 'Transition', Newlyn; The Eden Project, Cornwall; The European Parliament, Brussels; Kew Gardens, London; and 'The Cameraless Film Festival', Chicago...

David Fredenthal captures the chaotic rush of men leaving their jobs at the factory. The setting is possibly the Rouge Factory, one of Henry Ford's most important and earliest fact...

This artwork might be one of two versions, the other one being in the Museum in les Invalides Paris. Note. This version has a more accomplished academic style. Dimensions with original gold frame 107 x 87 cm Conditions Excellent overall, supported by an original frame withan antique glass. EDOUARD DETAILLE The emperor is accompanied by his aide-de-camp, Colonel Castelnau, and Marshal Canrobert. In a gilded wooden frame, under a Marie Louise blue background. Life and time Born in 1848 into a close-knit bourgeois family, Édouard Detaille, the eldest of eight children, displayed early talent in drawing. “He was a prodigy,” notes François Robichon. By the age of thirteen, he exhibited an astonishing surety of hand and a phenomenal sense of composition. His father, connected to Horace Vernet, encouraged him. At seventeen, after passing his baccalaureate, he entered Meissonier’s studio. This relationship, which developed into mutual affection, spared Detaille the academic detour through the École des Beaux-Arts. Rather than dictating an official art style, Meissonier, at the peak of his fame, traveled with his students, introducing them to the nuances of Titian, Rembrandt, and Rubens in Brussels and Lille. In 1867, the Paris of “free trade” dominated the world through the technological revolutions of the Universal Exhibition, and the amiable young man, striking in appearance, discovered the salon of Princess Mathilde and the theater of Dumas fils. He even approached the Empress, noting in his journals, “Not bad, the Empress.” This observation encapsulated Detaille: he had no doubts about his talent, cultivated panache, enjoyed the company of beautiful women, and aimed to conquer the circles of power without sacrificing his freedom. From childhood, he listened to his calling: “Before I could read, I could guess the subjects of battles, the names of famous generals, the weapons of officers and soldiers from the images I admired in the books of Norvins and Laurent de l'Ardèche.” He mingled with collectors and regularly attended military reviews on the Champs-Élysées. His first painting exhibited at the Salon in 1868, “La Halte de tambours,” was praised by critics who immediately recognized “a remarkable truth of observation and simplicity of effect.” The purchase of this work by Princess Mathilde, cousin of Emperor Louis-Napoleon, made Detaille, at twenty, an envied celebrity known to Sainte-Beuve, Théophile Gautier, the Goncourt brothers, and Flaubert. The young artist’s humanistic vision contrasted with the compositions of his predecessors, depicting soldiers in maneuvers, contemplative and resigned as war loomed. **The Combatant’s Vision** The Siege of Paris, where he nearly lost his life in 1870, and the deaths of two brothers in that defeat darkened his outlook. From 1871 onward, Detaille no longer concealed the cruelties of war: German riflemen mowed down by machine gun fire, cavalrymen and panicked horses caught in ambushes, fields plowed by shells strewn with dead animals. The unvarnished tragedy: “It is an absolute fact that no painter has ever rendered a battlefield covered with corpses as it is,” commented Jules Claretie. The fallen bodies still bear the appearance of life in their frozen rigidity. Detaille’s testimony of the devastating defeat and the catastrophic effects of the first total war in history was not a celebration of heroism but a lament, a “lesson in darkness.” “From war, once considered the supreme effort of human genius, we now see only melancholy and horrors,” judged one writer in response to his canvases. “Detaille experienced the reality of combat at a young age during a war that foreshadowed the two world conflicts of the 20th century,” explains François Robichon. With great realism, Detaille painted war from the perspective of the combatant. He introduced a humanity and a critical lucidity regarding the evolution of warfare. His works intensely captured the violence and firepower of new weapons like machine guns. Before he turned thirty, Detaille had become a chronicler of these painful years. He exhibited, as a critic noted, a “striking portrait of modern war” that both French civilians and soldiers had experienced firsthand. He embodied a youth humiliated and eager for revenge. Yet this scrupulous artist also remembered, in his expansive landscapes—from the chalky plateaus of Île-de-France to the Russian plains—the lessons of Corot and Courbet. Manet was not far off. “I wouldn’t want my art to be reduced to mere patriotic art,” he asserted. “A system I often employ and love is to first execute the landscape, very effective, very tight, based on nature…” Echoing Meissonier’s advice: “Always nature, always nature!” Detaille remained close to this father figure, constructing a grand townhouse next to his mentor’s studio at 129 boulevard Malesherbes at the age of 26, having purchased 425 m² of land from the Pereire brothers. He even chose the same architect as Meissonier: Paul Boesvilwald. A bachelor and incorrigible seducer, the painter welcomed his conquests, including Valtesse de la Bigne, amidst his collections, having built his studio in the courtyard. Diplomatic Actor As Detaille’s fame grew, his Malesherbes townhouse quickly became a gathering place for foreign princes, politicians, and heads of state, where Juliette Adam, Léon Gambetta’s muse, offered him valuable advice. The Prince of Wales, the future Edward VII, developed a genuine friendship with the painter. “This fervent patriot, friend of Déroulède, was extraordinarily open to the world,” recounts François Robichon. In just a few years, he gained considerable social, cultural, and international stature. Received at Windsor, at the English court, he was close to Tsar Alexander III and a great friend of Félix Faure. In this capacity, Detaille played a decisive role in the Entente Cordiale, signed in 1904 between England and France, and in the Franco-Russian alliance of 1894, thereby contributing to the Triple Entente among the three powers. An engaged witness of his time—associated with the birth of the “Ligue des Patriotes” alongside Alphonse de Neuville...

Large Abstract Celestial Painting by Alex K. Mason. "Ultralight Beam". Acrylic, Gouache, Ink on Canvas, 48"H x 48"W x 3"D. Blues, Golds, Whites,...