Leighton Fine Art Ltd

An outstanding example of the new-impressionist work of Rodolphe Wytsman . This large canvas depicts a tranquil summer day on the Meuse river near the town of Dave. Wytsman painted a number of landscapes in this area between 1910 and 1911 at the height of his artistic career. The use of colour and neo-impressionist execution are testament to his position as one of the finest Belgian painters of this period alongside Van Rysselberghe, Claus, Montigny and Georges Morren...

Signed oil on board figures in seascape painting circa 1910 by French post impressionist painter Henri Liénard de Saint-Délis. The work depicts sailing b...

A very beautiful large signed oil on canvas by Gustave Loiseau depicting figures in the street at Pont Aven in brittany. The work is signed lower left and unlined on its original canvas. This work will be included in the forthcoming catalogue raisonné of Gustave Loiseau currently being prepared by Didier Imbert...

Signed impressionist figurative pastel on board circa 1895 by sought after French impressionist painter Jean Louis Forain. The piece depicts a man asleep in a bed while a woman stands at the foot of the bed getting dressed. The room is dimly lit by the bedside lamp. Signature: Signed upper right Dimensions: Framed: 22"x26" Unframed: 15"x19" Provenance: Galerie Jean-Claude Bellier Jean Forain was the son of a painter and decorator and was apprenticed to a visiting card engraver. He studied briefly under Gérôme and Carpeaux at the École des Beaux-Arts in Paris and regularly visited the Louvre, where he copied works by the masters. It is said that for a time he made a precarious living by selling small drawings in the style of Grévin. He went on to collaborate on various publications as a draughtsman and columnist, starting in 1876 on La Cravache and then collaborating on the newspapers Le Journal Amusant, Le Figaro and L'Écho de Paris. This introduced him to the diverse worlds of Paris society - the world of the theatre, of shows, and of literature - where he wryly noted the habits and shortcomings particular to each. This led him to follow a route very characteristic of this period, already seen in the work of Steinlen, Caran d'Ache and Toulouse-Lautrec in the journals La Pléiade, La Vogue and La Revue Blanche. His work draws a picture of the society of the period, not in a strictly imitative fashion but in the form of the 'dessin-charge' or mild caricature. In 1880 he illustrated Parisian Sketches...

Signed still life oil on canvas by French expressionist and fauvist painter Charles Camoin. The work depicts a bright bouquet of flowers in reds, yellows, blues and pinks in a stoneware vase. Signature: Signed lower right Dimensions: Framed: 36"x28" Unframed: 29"x21" Provenance: Galerie Marcel Bernheim Exhibitied: Paris, Galerie Druet, March 1929, n°23 This work is included in the Archives Camoin and a certificate from Madame Grammont-Camoin is available on request Charles Camoin was the son of a paint manufacturer in Marseilles who died when Charles was six years old. His mother travelled extensively, absenting herself for long periods at a time, and Camoin's studies suffered accordingly. At 16, he enrolled at a commercial college in Marseilles, but also attended courses at the École des Beaux-Arts, where he was awarded a first prize for drawing and composition. In 1896, at the age of 17 (or in 1898 according to other, possibly more reliable sources), Camoin moved to Paris where he was admitted to Gustave Moreau's class at the École des Beaux-Arts, shortly before the latter's death. He soon left on his travels in the company of Albert Marquet - no doubt following Moreau's advice to 'go and paint buses', his recommendation to the two artists to search out their subject matter on the streets and in the cabarets of Paris. During his short time in Moreau's class Camoin made a number of lasting friendships, notably with artists who would go on to pioneer Fauvism: Henry Manguin, Georges Roualt and, in particular, Jean Puy and Henri Matisse, with whom he exchanged letters on a regular basis.In 1900, Camoin did his military service, first in Arles, where he painted compositions inspired by Van Gogh motifs, then in 1902 in Aix, where he frequently met with Cézanne, with whom Camoin maintained a life-long correspondence and whose advice and counsel he cited repeatedly. In 1903, Camoin exhibited for the first time - at the Salon des Artistes Indépendants in Paris. The following year (1905), he met Claude Monet (at Cézanne's instigation and, appropriately perhaps, underneath Giverny's Nympheas); he then held his first solo exhibition at the Berthe Weill Gallery in Paris. In 1905, Camoin exhibited alongside the 'Animals' at that year's Salon d'Automne, although it must be said that he did not share the graphic and chromatic violence of a Matisse or a Derain...

Signed post impressionist oil on canvas landscape by French painter Jacques-Emile Blanche. The work depicts crowds of people enjoying a day at Brighton beach on the south coast of England. Bathers are dotted across the sandy beach with the pier on the right hand of the scene and the Grand Hotel behind. Signature: Signed lower right Dimensions: Framed: 29.5"x47.5" Unframed: 22.5"x39.5" Provenance: Private collection - Italy This work will be included in the catalogue raisonne of the work of Jacques Emile Blanche currently under preparation by Dr Jane Roberts & Muriel Molines Blanche received training from Gervex and Fernand Humbert. His grandfather was Émile Antoine Blanche, the psychiatrist who treated the poet Gérard de Nerval on several occasions. He was awarded a gold medal at the Exposition Universelle in Paris in 1900, and was a Commander of the Légion d'Honneur. He was well known in French and British artistic circles, and married the daughter of John Lemoine, the leader of the Diary of the Proceedings ( Journal des Débats), and author of the Life of Brummel. He exhibited his works in London and Paris. Blanche had a wide circle of acquaintances, and the list of portraits which he executed is indicative of the diversity of those who used to meet at his home: Henri Bergson; Stéphane Mallarmé; Henry Bernstein (1902); André Gide (1912); Anna de Noailles (1912); Jean Cocteau (1912); Igor Stravinsky (1915); Francis Jammes (1917); Paul Claudel (1919); Jean Giraudoux; Paul Valéry; Marcel Proust; Max Jacob (1921); Maeterlinck (1931); Debussy; Antoine Bourdelle; George Moore; André Maurois; François Mauriac; Maréchal Foch and the Princess de Broglie. He also wrote novels, which were more or less autobiographical, and essays, such as From David to Degas; Dates; From Gauguin to the Negro Review; Journals of an Artist ( De David à Degas; Dates; De Gauguin à la Revue nègre; Cahiers d'un artiste) in six volumes, and Manet. During meetings at his studio, he used to collect any snippets that would flesh out the essays he wrote, which alternated between being sharp and emotive. He gave them in series to the magazine Comoedia, under the title of Studio Talk. It was said that he aroused tremendous debate, notably with André Lhote, a painter younger than himself, who also doubled as a critic. The latter initially attempted to define the main characteristics of the art of the 'rebellious and charming Jacques Émile Blanche,' but subsequently treated him less generously, referring to a painter 'attached to the notion of 'high-and-mighty' genre painting.' He added that this sort of painting was marvellously illustrated by Manet. The quality of his flat surfaces, the precious greys and silvery light effects cause Jacques Émile Blanche to be compared more with Manet, whom he admired, than with the Impressionists, with whom he was compared in terms of his early works. Nevertheless, his outdoor backgrounds with traces of sometimes vivid colours have something in common with them. In the aftermath of World War I, he spent a long time on an enormous composition entitled Tribute to those who Died in the War. It was executed in a style which was totally different to his work as a whole. He offered this work to the church in Offranville near Dieppe. He also donated around 100 of his works to the Musée des Beaux-Arts in Rouen. He regularly exhibited in Paris, at the Salon of the Société Nationale des Beaux-Arts (also known as the Salon de Mars) from the time it was founded in 1890. At the time of the initial exhibitions held by the Société Nationale des Beaux-Arts, he rapidly gained fame by exhibiting such portraits as Paul Adam and Charles Cottet...

Impressionist watercolour on paper circa 1890 by French Neo-Impressionist painter Henri Edmond Cross. The work is a rear view study of three workers in standing and kneeling position...

Signed fauvist figurative oil on panel by French painter Louis Valtat. This stunning piece depicts a nude orchestra with the conductor in the foreground. The musicians are playing ce...

Signed expressionist oil on board portrait circa 1950 by French painter and engraver Gen Paul. This charming work depicts a jockey wearing red jacket and breeches seated on a white horse. This work is likely a painting of the fictional character Don Quixote from the novel by Miguel De Cervantes. Paul painted this subject on numerous occasions. Signature: Signed lower right Dimensiosn: Framed: 26.5"x21.5" Unframed: 16"x11" Provenance: Private French collection of the work of Gen Paul Gen-Paul was born in the Rue Lepic, at the heart of Montmartre. His mother was an embroiderer, and his father was a café musician. Gen-Paul began painting from a young age. An apprentice interior decorative artist, he looked about him in the wealthy apartments where his work took him and observed the pieces collected by art lovers, and he learned anatomy by getting to know surgeons and going with them into operating theatres. He also attended the École des Beaux-Arts. He painted on discarded cigar boxes using coloured supplements from L'Illustration as models. This was in 1913. At the outbreak of World War I he volunteered for service and was wounded; a year later a second wound led to the amputation of his right leg. Back in Paris in 1916, he began to paint. His first oil painting, the Moulin de la Galette seen from his window, dates from 1916. His early works are not easy to identify, as he painted many views of Paris to satisfy customers who wanted a painting 'in the style of so-and-so'. In 1918 he first signed a canvas Gen-Paul. In 1920 he showed work at the Salon d'Automne, remaining faithful to this institution and to the Salon des Indépendants. His first solo show took place in the Galerie Bing in 1926. He illustrated several of Céline's books, including Journey to the End of Night, Death on Tick ( Voyage au bout de la nuit, Mort à crédit) in 1942. He also produced engravings, some of which were published as a collection entitled Views of Montmartre ( Les vues de Montmartre). When World War II ended he travelled frequently to the USA and New York. In 1952 the Galerie Drouant-David in Paris put on a retrospective dedicated to him. Gen-Paul did not exhibit much, had no dealer, and travelled frequently in France and Spain. Posthumous collective exhibitions include: Galerie Roussard...

Signed seascape oil on panel by Belgian realist painter Alfred Emile Leopold Stevens. The work depicts a sail boat in choppy waters at nightime. The moon glows brightly behind a dark...

Signed figures in interior oil on canvas circa 1925 by sought after French impressionist painter Edouard Leon Cortes. This charming and nostalgic work depicts a family in a typical B...

Signed symbolist oil on panel circa 1910 by French Les Nabis painter Ker-Xavier Roussel. This beautiful painting depicts nudes and figures dressed in robes in a wooded landscape. Signature: Signed lower left Dimensions: Framed: 31"x40" Unframed: 23"x32" Provenance: JPL Fine Arts - London c. 1985 Ker-Xavier Roussel met Édouard Vuillard at the Lycée Condorcet, which they both attended. Together they visited Eugène Ulysse Napoléon Maillard's studio, where Roussel became acquainted with Charles Cottet, going on to study at the Académie Julian under Bouguereau and Jules Lefebvre. There, he became interested in the Synthetism promoted by Sérusier, following Sérusier's heeding of the line Gauguin had adopted in Pont-Aven. He joined the Nabis group. He and his friends form a link between the Impressionists - he knew Cézanne, Degas, Renoir and Monet - and the Fauves and Cubists. In his earliest paintings, Roussel adopted a dark palette for Realist still-lifes. Later, his work bore the influence of Gauguin, Sérusier, the Nabis and Cézanne, in Intimist scenes painted in flat tints not yet clearly delineated. Their dull, saturated tones are reminiscent of Cézanne. In about 1900 he started painting mythological scenes full of nymphs and fauns and set in his home region of Île-de-France. After a bicycle trip in Provence with Maurice Denis, during which he met Cézanne, he lightened his palette, much taken by the cloudless skies below which he would now set the mythological and idyllic compositions which link him to Poussin and Corot. This wondrous, unreal world found its way into large-scale works, including the stage curtain of the Champs-Élysées theatre in 1913, a large Pax Nutrix for the Palais des Nations in Geneva and Dance for the Palais de Chaillot in 1937. He is best remembered for: Silenius' Triumph, Polyphemus, Diana, The Abduction of the Daughters of Leucippus. The nymphs and fauns of a mythology quite his own appear in clearings and woods from the outskirts of Paris, but the sun they rejoice in is Mediterranean. To capture the vibration of bright colours under a permanent sun, he later turned to pastels. He was more a Symbolist than a Nabi and signed himself K.-X. Roussel. He also produced lithographs. He took part in exhibitions from 1891 with the Groupe des Vingt at le Barc de Bouteville's gallery in Brussels. Then he exhibited in Revue Blanche Painters ( Les Peintres de la revue blanche) in Paris; with the Nabis at Café Volponi in Paris; before World War I with Free Aesthetics in Brussels; from 1901 at the Salon des Indépendants and the Salon d'Automne; in the 1930s in Revue Blanche Painters ( Les Peintres de la Revue blanche) hosted in Paris by designer Bolette Natanson, the daughter of the Revue Blanche's owner. He took part in The Masters of Contemporary Art ( Les Maîtres de l'art contemporain) at the Musée du Petit Palais in Paris, and at the 1938 Venice Biennale and 1939 New York World Fair. He featured posthumously in Toulouse-Lautrec and the Nabis ( Toulouse-Lautrec et les Nabis) at Bern Kunsthalle; From the Revue Blanche ( Autour de la revue blanche) in the Galerie Maeght, Paris, and in Tokyo and Brussels. He had one-man shows in Paris before his death in 1944. Retrospectives were mounted in the 1960s in London and Bremen. Museum and Gallery Holdings: Geneva (Petit Palais): Haystacks on the Seaside Paris (BNF): Training the Dog; Landscapes (engraving); Nymph and Faun (c. 1895, etching) Paris (Louvre): Poject for a Screen (drawing) Paris (MNAM-CCI): The Road (c. 1905); The Cyclops (1908); Venus and Cupid on the Seafront (1908); The Abduction of Leucippus' Daughters (1911); Pastorale (1920); Diana at Rest (1923); Portrait of Vuillard (1934) Paris (Mus. d'Orsay): The Gate (pastel); Woman in Profile with Green Hat; In Bed; Félix Valloton...

Signed and titled figures in cityscape oil on panel circa 1920 by American impressionist painter Guy Carleton Wiggins. This wonderful piece depicts a view of the New York Public Library in the United States of America during a winter snowstorm. Several cars and pedestrians can be seen passing along Fifth Avenue. A fantastic work in the artist's distinctive style. Dimensions: Framed: 16"x18" Unframed: 8"x10" Provenance: Roughton Galleries - Texas. This work is included in the catalogue raisonne under reference number GW00179 Guy Carleton Wiggins was the son of Carleton Wiggins, a painter of landscapes and animals. Wiggins first studied at his father's Art School in Connecticut and later enrolled in the National Academy of Design where he trained with William Merritt Chase and Robert Henri, after a brief spell studying architecture at the Polytechnic Institute in Brooklyn. At the age of 20 he was already well known and was the youngest American artist to have a work accepted for the permanent collection of the Metropolitan Museum in New York. Prior to the onset of World War I, Wiggins travelled to Europe and painted the English countryside. In England he met his future wife Dorothy Stuart Johnson. The couple returned to the US and set up home in Connecticut. He established a year-round art school, the Guy Wiggins Art School, in Essex. He liked to spend his winters in New York and summers in Connecticut. Wiggins' paintings reflect the influence of American Impressionism, a style of painting he would have encountered during his summers in Old Lyme. He is known for his snowy New York...

Signed expressionist oil on canvas portrait by French painter and engraver Gen Paul. This charming work depicts a seated musician wearing a green suit with a black bow tie playing the double bass. This beautiful example of Gen Paul's work dates to the 1950's when he painted numerous studies of musicians playing various instruments in jazz such as the saxophone, violin and the double bass. His interest in this was likely based upon his father's career as a cafe musician. Signature: Signed upper right Dimensiosn: Framed: 30"x21" Unframed: 22"x13" Provenance: Private French collection Gen-Paul was born in the Rue Lepic, at the heart of Montmartre. His mother was an embroiderer, and his father was a café musician. Gen-Paul began painting from a young age. An apprentice interior decorative artist, he looked about him in the wealthy apartments where his work took him and observed the pieces collected by art lovers, and he learned anatomy by getting to know surgeons and going with them into operating theatres. He also attended the École des Beaux-Arts. He painted on discarded cigar boxes using...

Signed figures in interior oil on canvas circa 1910 by sought after French impressionist painter Edouard Leon Cortes. This charming and nostalgic work depicts a family enjoying dinne...

Signed orientalist landscape oil on canvas circa 1875 by French impressionist painter Felix Francois Georges Philbert Ziem. The work depicts the Santa Maria della Salue - an important Roman Catholic church - which stands on The Grand Canal in Venice. In the distance the Campanile can be seen on the far left hand side of the canal. Gondola's can be seen travelling down the blue water of the vast canal. Signature: Signed lower right Dimensions: Framed: 33"x39" Unframed: 26"x32" Provenance: This work appears under reference 1236 in Pierre Miquel's catalogue raisonne of Felix Ziem. This work was exhibited at the American Art Association in New York - 1917 The authenticity of this work has been confirmed by the Association Felix Ziem (Mr. David Pluskwa & Mr. Ary Jan) and will be included in the forthcoming update to the catalogue raisonne of Felix Ziem. A certificate of authenticity from the Association Felix Ziem is available on request. Private collection United States. Félix Ziem's father was a Croat who settled in Bourgogne in 1814, and his mother was from the same region. He studied at the École d'Architecture et des Beaux-Arts in Dijon, which had been founded and was run by the painter Anatole Devosge, a pupil of David. He received a second prize in drawing and architecture in 1839. In 1841, after a long journey on foot, he settled in Nice, where he began to receive commissions from the city's bourgeoisie. From 1842, he travelled in Italy, visiting Rome, before discovering Venice, which became his second home. Between 1845 to 1892 he visited Venice regularly, often for several months in the year; he worked from his boat, which served as his studio as well as his living quarters. Ziem was a complete painter, at ease in portraits, still-lifes, flower painting and genre scenes, of both history and contemporary subjects. Nevertheless, he is most known for his landscapes. His body of work includes numerous watercolours. In his drawings, and especially in his travel journals, while showing his taste by his selection and composition of subjects, he left a precious testament of his times. After Guardi and Canaletto, he affirmed a new vision of Venice...

Signed and dated oil on canvas landscape by French post impressionist painter Paul Madeline. This beautiful work depicts the Tournant bridge over the River Arques at the seaport in D...

Signed and dated landscape oil on panel by impressionist painter Henri Duhem. The work depicts a snow-covered barge making its way down the canal in Douai at evening. Signature: Si...

Signed and dated abstract oil on canvas by French painter Jacques Germain. The piece is composed in swathes of thick impasto, particularly in red, blue, green and white. A truly interesting and unique work that would compliment a modern setting. Signature: Signed lower right/ further signed and dated verso Dimensions: Framed: 11"x16" Unframed: 10"x15" Provenance: Private French collection Jacques Germain was born in Paris in 1915. In 1931, on the advice of Blaise Cendrars, he became a pupil of Fernand Léger and Amédée Ozenfant at the Académie Moderne, Paris. He soon left for the Bauhaus in Dessau, where Jean...

Signed oil on panel landscape by French Impressionist painter Henri Duhem depicting an autumnal landscape. Two figures are by the canal beneath almost bare trees while a barge sails ...

Signed Barbizon figures in landscape pastel on paper circa 1885 by French painter Leon Augustin Lhermitte. The piece depicts a first communion ceremony, with girls in white dresses and headscarves walking through a village as elder women look on. A wonderful piece in the artist's distinctive style. Signature: Signed lower left Dimensions: Framed: 27"x31" Unframed: 20"x24" Provenance: Arthur Tooth & Sons - London (label verso) Léon Augustin Lhermitte was the son of a school teacher. He painted from a very early age and settled in Paris in 1863, enrolling in the École Impériale de Dessin. His teacher was Lecocq de Boisboudran. In the early days of his career he earned a living doing illustrations for boxes of sweets and the catalogues of the cabinet-makers of the Faubourg St-Antoine, as well as publishing houses. In 1879 he went to Great Britain, to which he returned frequently. The same year he met the art dealer Paul Durant-Ruel who exhibited his works. He was one of the founders of the Société Nationale des Beaux-Arts, of which he became vice-president. Lhermitte initially produced charcoal drawings which revealed his deep feeling for nature. His first attempt, Banks of the Marne near Alfort, caused a sensation. Following this he executed canvases, showing himself to be a fine landscape artist and a skilful draughtsman. He painted scenes from rural life almost exclusively and benefited from exceptional interest generated by the prizes awarded to the works of J. F. Millet. But although he was very much affected by the work of the painter of Angelus, he himself sought only the pictorial element and not a synthetic translation. Many other French masters of the period share his completely objective vision, for example Bastien Lepage, Roll, J. C. Cazin and Rafaelli. Like them, he put into practice very early on the technique of 'clear painting' made fashionable by the pursuit of Impressionism. But this group of artists borrowed from this method only those elements which appealed to public taste, and ignored chromatic elements. Lhermitte also paid the price for the easy success of those early days. His peasants, which found general favour with the public at the time, nowadays seem rather feeble alongside Camille Pissarro's renderings of the same subject. However, in order to pass judgement on an artist such as Lhermitte, it is necessary to understand the era in which he worked, the era in which Realism was the only acceptable approach. It was in the atmosphere of the 'Théâtre Libre' of Antoine and the novels of Maupassant, Zola and their imitators that this type of art developed. In this context, Lhermitte is recognised as having painted the life of the peasants with great powers of objective observation and great insight into types and physiognomies. Nothing escaped his implacable eye and his bold and vigorous hand was guided by a lucid mind. The simplest elements of nature take on an air of true grandeur in his painting, despite their romantic and sentimental aspects. He is highly regarded both in France and in other countries by art lovers who look for nothing more than an attractive subject expertly painted. Among his most noteworthy works, outside those in museums, are: Les Halles, Washing the Sheep, Haymaking Time, and his large decorative panel...

Signed and dated pointillist landscape oil on canvas by Belgian impressionist painter Willy Schlobach. The piece depicts a coastal view looking out over the dark green sea to where it meets the powder blue sky on the distant horizon, with rock formations on either side. This work was executed in 1907 - the definitive mature period for Schlobach's work. Paintings by the artist executed between 1906 and 1908 are the pinnacle of his oeuvre and show the influence and ideas of neo impressionism brought by his friend and compatriot Theo van Rysselberghe who had learnt from Signac and Seurat in Paris. Schlobach painted numerous coastal views in this period which display a free approach to pointillism with theory being displaced by a desire to create luminosity and effect. Signature: Signed lower right and dated 1907 Dimensions: Framed: 29"x33" Unframed: 20"x24" Provenance: Private French collection Further information: This work was executed in 1907 - the definitive mature period for Schlobach's work. Paintings by the artist executed between 1906 and 1908 are the pinnacle of his oeuvre and show the influence and ideas of neo impressionism brought by his friend and compatriot Theo van Rysselberghe who had learnt from Signac and Seurat in Paris. Schlobach painted numerous coastal views in this period which display a free approach to pointillism with theory being displaced by a desire to create luminosity and effect. Willy Schlobach first studied at the Academy in Brussels and then later in Ghent. At the precocious age of nineteen he was already at the forefront of painters in Belgium numbering among his close friends Emile Verhaeren and Theo van Rysselberghe whose instructive influence on him was of great significance. He was one of the founding members of the group 'Les XX' who were broadly speaking avant-garde and influenced by the Parisian developments in painting but by no means uniform in their style or approach (see also have lots 201 and 233). Octave Maus, a lawyer and critic was the driving force behind 'Les XX' but the most important painter was Theo van Rysselberghe. Van Rysselberghe had lived and worked in Paris and brought to Belgium an intimate knowledge and understanding of the Neo-Impressionist techniques of Seurat and Signac which were to be a great influence on the younger generation of Belgian painters such as Willy Finch and Willy Schlobach. In the late 1880s Schlobach responded with enthusiasm to these new ideas emanating from Paris and produced some well structured and highly organised pointillist work in which his favoured subject matter was coastal scenes. Schlobach was also influenced by the other main group within 'Les XX' which was best represented by Fernand Khnopff. As well as working in a pointillist manner he produced paintings full of symbolism and reminiscent of the Pre-Raphaelites whose work he had studied and admired on visits to England. It is, however, in the neo-impressionist or luminist work that Schlobach found greater freedom of expression away from the sometimes claustrophobic subject matter of the symbolists. On his visits to London Schlobach had been influenced not only by the Pre-Raphaelite painters but also by the work of Turner whose atmospheric and misty paintings...

Signed figures in landscape circa 1950 by French impressionist painter Eduoard Cortes. The work depicts a view of La Madaleine, a Catholic parish church situated on Place de la Madel...

Signed impressionist oil on canvas circa 1890 by French painter and sculptor. The work depicts a young girl in a red dress and white bonnet pushing her doll in a wheelbarrow along a ...

Signed gouache on board impressionist landscape by French painter Luigi Loir. This work depicts the famous flood of Paris in 1910 when the Seine broke its banks in the largest flooding the city had seen in a 100 years. Loir likely painted this work "en plein air" as he encountered this rare natural occurrence. Signature: Signed lower left Dimensions: Framed: 13"x19" Unframed: 5"x11" Provenance: Private French collection He first exhibited at the Paris Salon in 1865 with a Landscape at Villiers-sur-Seine which brought him a certain amount of recognition. He was a regular exhibitor at the Salon des Artistes Français. Obtaining a third-place medal in 1879, and a second-place medal and a gold medal in 1889 at the Exposition Universelle in Paris. He was decorated with the Légion d'Honneur in 1898. Born in Austria to French parents who served the exiled French Bourbon royal family, Luigi Aloys-François-Joseph Loir moved with his family and the Bourbons to the Duchy of Parma in 1847. In 1860 his family returned to Paris following the expulsion of the Bourbons from Parma. But Luigi remained in the city, having enrolled, at the young age of eight, at the Accademia de Belle Arti. He eventually rejoined his family in Paris in 1863. There he studied with the decorative painter and set designer Jean Pastelot, making his Salon debut in 1865. Loir painted mainly views of Paris, in all seasons and at different times of the day or night. Loir was the Paris painter...

Signed post impressionist figures in cityscape oil on canvas circa 1960 by French painter Antoine Blanchard. The work depicts a bustling scene at Place de la Madeleine in Paris, France in autumn. The leaves on the trees are turning orange and brown and falling onto the wet ground below. Lights illuminate the shopfronts and the street lights glow as people walk along the paths and trams pass along the cobbled street. Signature: Signed lower right Dimensions: Framed: 20"x25" Unframed: 13"x18" Provenance: We wish to thank Rehs Galleries for confirming the authenticity of this work. This work is included in the catalogue raisonne of the painter under ref MDPME1318.0009 Southwest Gallery, Dallas, U.S.A. Antoine Blanchard trained at the École de Beaux-Arts in Rennes for three years. Then from 1932 attended the École de Beaux-Arts in Paris for four years. He painted exclusively Parisian street scenes in which the view is of an idyllic Paris in any season, but always in 1900. Blanchard received his initial artistic training at the Beaux-Arts in Rennes, Brittany. He then moved to Paris in 1932 where he joined the Ecole des Beaux-Arts. He won the Prix de Rome. Like Edouard Cortes (1882–1969) and Eugène Galien-Laloue (1854–1941), Antoine Blanchard essentially painted Paris and the Parisians in bygone days, often from vintage postcards. The artist began painting his Paris street scenes in the late 1950s. And like Cortès, often painted the same Paris landmark many times, in different weather conditions or various seasons. The most recurrent topics were views of the capital city on cloudy or rainy days. Showing streets busy with pedestrians in a rush to go home, and bright storefronts reflecting on wet streets. Many of the French Quarter art...

Signed nude in interior oil on canvas circa 1900 by French academic painter Delphin Enjolras. The piece depicts a red-haired nude resting on a bed in a lush boudoir with a sheer scar...

Signed and titled oil on board circa 1890 by American impressionist painter William Baptiste Baird. The piece depicts boats sailing and moored on the River Seine in Paris, France. Th...

Signed figures in cityscape oil on canvas circa 1890 by French impressionist painter Luigi Loir. The piece depicts people at the Quai d'Orsay, situated on the left bank of the River Seine in Paris, France on what looks to be a cold winter day in the city. Signature: Signed lower right Dimensions: Framed: 20"x16.5" Unframed: 13"x9.5" Provenance: Private French collection Blanchet & Associes - Paris He first exhibited at the Paris Salon in 1865 with a Landscape at Villiers-sur-Seine which brought him a certain amount of recognition. He was a regular exhibitor at the Salon des Artistes Français. Obtaining a third-place medal in 1879, and a second-place medal and a gold medal in 1889 at the Exposition Universelle in Paris. He was decorated with the Légion d'Honneur in 1898. Born in Austria to French parents who served the exiled French Bourbon royal family, Luigi Aloys-François-Joseph Loir moved with his family and the Bourbons to the Duchy of Parma in 1847. In 1860 his family returned to Paris following the expulsion of the Bourbons from Parma. But Luigi remained in the city, having enrolled, at the young age of eight, at the Accademia de Belle Arti. He eventually rejoined his family in Paris in 1863. There he studied with the decorative painter and set designer Jean Pastelot, making his Salon debut in 1865. Loir painted mainly views of Paris, in all seasons and at different times of the day or night. Loir was the Paris painter par excellence, capturing and expressing all aspects of the life of the city at all hours of the day and night. He may be criticised for excessive attention to the process, but his invaluable powers of observation are undeniable. Apart from those of his canvases which are in museum collections, his best-known works include: Preparations for the Fun Fair (acquired for the Salle d...

Signed still life oil on canvas circa 1920 by French post impressionist painter Georges D'Espagnat. The work depicts a ceramic vase placed on a wooden stall filled with pink peonies and yellow flowers. A beautiful piece in the artist's distinctive hand. Signature: Signed: Signed lower left Dimensions: Framed: 24"x21" Unframed: 16"x13" Provenance: To be included in the forthcoming Georges d’Espagnat Catalogue Raisonné being prepared by Jean-Dominique Jacquemond. From the beginning of his career it was a constant concern of Georges d'Espagne to assert his originality. His studies at the École des Arts Décoratifs, Paris, did not last very long, for he wanted immediate independence and decided to follow courses in the private academies of Montparnasse. In about 1900, he became acquainted with Maurice Denis, Bonnard and Vuillard, and his collaboration with Denis led to a renewal of religious art in France. In 1903, d'Espagne was one of the founders of the Salon d'Automne, and was appointed professor in charge of studios at the École des Beaux-Arts, Paris, in 1934. He illustrated a number of books: Rémy de Gourmont...

Signed figurative oil on board circa 1900 by American Realist painter William Aiken Walker. The work depicts an African American South Carolina gentleman smoking a pipe while she picks cotton...

Signed and dated symbolist figure in landscape oil on board by French painter Alphonse Osbert. The piece depicts a blonde woman in a full length purple...

Signed figurative oil on board circa 1900 by American Realist painter William Aiken Walker. The work depicts an African American South Carolina lady smoking a pipe while she picks cotton...

Signed impressionist oil on panel landscape circa 1900 by French painter Leon Giran-Max. The work depicts a view of fenced garden with pink flowers contrasting against the green foli...

Signed and dated nude oil on panel by French post impressionist painter Paul Elie Gernez. The work depicts a brunette nude relaxing on a fur rug, her ...

Signed and dated riverscape oil on canvas by French impressionist painter Louis Aime Japy. The work depicts two fisherman in a small punt in a river at sunset. The clouds in the sky ...

Oil on canvas figures in cityscape circa 1970 by French post impressionist painter Antoine Blanchard. The work depicts a bustling scene at the Boulevard Haussmann in Paris, France. Lights illuminate the shopfronts and the street lights as people walk along the paths in their coats and horse drawn carts pass along the cobbled street. Signature: Signed lower right and stamped with artist's cachet verso Dimensions: Framed: 27.00" x 29.00" (68.6cm x 73.7cm) Unframed: 18.00" x 22.00" (45.7cm x 55.9cm) Provenance: The Boydell Galleries - Liverpool Antoine Blanchard trained at the École de Beaux-Arts in Rennes for three years. Then from 1932 attended the École de Beaux-Arts in Paris for four years. He painted exclusively Parisian street scenes in which the view is of an idyllic Paris in any season, but always in 1900. Blanchard received his initial artistic training at the Beaux-Arts in Rennes, Brittany. He then moved to Paris in 1932 where he joined the Ecole des Beaux-Arts. He won the Prix de Rome. Like Edouard Cortes (1882–1969) and Eugène Galien-Laloue (1854–1941), Antoine Blanchard essentially painted Paris and the Parisians in bygone days, often from vintage postcards. The artist began painting his Paris street scenes in the late 1950s. And like Cortès, often painted the same Paris landmark many times, in different weather conditions or various seasons. The most recurrent topics were views of the capital city on cloudy or rainy days. Showing streets busy with pedestrians in a rush to go home, and bright storefronts reflecting on wet streets. Many of the French Quarter art...

Signed and dated divisionist landscape oil on canvas by Belgian post impressionist painter Modest Huys. This stunning piece is titled "Radiant Autumn - Wak...

Signed oil on panel figures in landscape circa 1875 by French painter Adolphe Joseph Thomas Monticelli. The work depicts young ladies on a grassy bank - some are lying down and resting and others are picking violets. Signature: Signed lower right Dimensions: Framed: 24"x28" Unframed: 15"x19" Provenance: Galerie Marc Stammegna - Marseille - Exposition Adolphe Monticelli (18th September - 4th October 2008). This work is included in the Catalogue Raisonne of Adolphe Monticelli Tome I illustration 197, P. 106. A certificate from Marc Stammegna accompanies the painting Monticelli entered the Paris studio of Paul Delaroche at the age of 22. His parents initially favoured a career as a pharmacist, but were soon convinced of his artistic vocation, thanks more to their son's complete lack of enthusiasm for any other activity than to evidence of outstanding talent on his part. Adolphe was a relatively undistinguished student during his three years at the municipal school of drawing in Marseilles; his true inspiration was the Louvre, where he spent long hours copying works by Rembrandt, Veronese and Giorgione, and where he met Delacroix, whom he admired throughout his life. Museum and Gallery Holdings Aix-en-Provence: Ladies in a Park; Landscape; Head of a Ruffianly Soldier Aix-en-Provence (Mus. Granet): Park Scene (oil on canvas) Algiers: Woman with a Dog Allauch (Church of St-Sebastien): Let's Go for Heaven Amsterdam (Rijksmus.): Jesus among the Little Children; Sunlit Promontory; At the Altar; Woman in a Tailored Jacket; Outdoor Gathering of Ladies and Gentlemen; Elegant Company in a Park; Landscape Amsterdam (Stedelijk Mus.): Resting in a Forest Antwerp: Figure in a Park; The Port at Marseilles Baltimore: Track through the Woods; Allegory (oil sketch); Allegory; Spring Morning; Allegory; Sunset; Portrait of Monticelli Boston: Scene from Don Quixote; Scene on a Terrace; Landscape Bowes: Landscape Brussels: Autumn Bucharest (Muz. National de Arta al României): Scene in a Park; Portrait of a Woman Buffalo: Portrait of Madame Rosenthal (attributed); Cardiff: Capers Dijon: Departure of the Hunt Edinburgh (Nat. Gal. of Scotland): A Gypsy Encampment (oil/panel); The Fête (oil/panel); The Garden of Love (oil/panel); A Woodland Fête (oil/panel); A Garden Fête (oil?/panel); In the Grotto (oil/panel) Frankfurt am Main: painting; Scene in a Park Glasgow: Adoration of the Magi; A Garden Party; A Nuptial Procession Grasse: Scene in a Park Ixelles: Seascape Lille: Scene from the Decameron; Landscape London (NG): The Hayfield (1860-1880, oil/wood, on loan to the Hugh Lane Municipal Gallery of Modern Art, Dublin, since 1979); 12 paintings from Harry Wearne's collection Lyons: Portrait of Mme René; Scene in a Park; Bathing-party Manchester (City AG): A Woodland Glade; Ladies on a Terrace Marseilles (École des Beaux-Arts): Nude Marseilles (MBA): Women with Swans; Waterfowl; Portrait of Mme Pascal; Turks at the Mosque Marseilles (Mus. Cantini): Large Scene with Figures; Group of Figures with Mephistopheles; Riders and Figures; Provençal Landscape; Autumn Landscape (two works); Portrait of a child; Portrait of a Man; Portrait of a Woman; Portrait of M. Kahn Marseilles (Mus. du Vieux Marseille): Portrait of M. Vincent Torcat Marseilles (Mus. Grobet-Labadié): Bouquet of Flowers; Travelling Acrobats; Festive Scene in Spain; Faust and Margarete; Sketch; Monsoon; Landscape with Figures; Two Female Nudes; Two Cupids Milan: Adoration of the Magi Minneapolis (IA): Garden Scene (Scène de parc) (1868, oil on canvas) Montreal: Garden Party; An Intimate Gathering; Country Party; Dancing in a Garden; Donkey and Cart Moscow (Pushkin MFA): Landscape Mulhouse: Preparing for the Ball; Parrot New York: Ladies of Quality; Festive Scene New York (Metropolitan Mus. of Art): The Court of the Princess (La Cour de la Princesse) Paris (Louvre): Bathers; Strolling at Twilight; Serenade; Still-life; Gathering in a Park; Portrait of Mme Teissier; Women in a Glade Paris (Mus. des Arts décoratifs): Women in a Glade; Scene in a Park Paris (Mus. du Petit Palais): Gathering in a Park under the Valois Philadelphia (MA, Johnson Collection): Masquerade; Nymphs Bathing...

Signed and titled oil on panel figures in landscape circa 1920 by French impressionist painter Andre Devambez. The piece depicts couples and families en...

Signed oil on canvas circa 1965 by French expressionist painter Andre Brasilier. The work depicts four military men in French naval uniform on black horses. A wonderful piece in the artist's distinctive style. Signature: Signed: Signed lower left Dimensions: Framed size: 28"x32" Unframed: 20"x24" Provenance: Private French collection André Brasilier was the son of the painter Jacques Brasilier. After studying in Saumur and St-Germain-en-Laye, he joined Brianchon's studio in 1949 at the École des Beaux-Arts in Paris. He was awarded the Prix Florence-Blumenthal in 1952 and the Grand Prix de Rome in 1953. He lived at the Villa de' Medicis from 1954 to 1957. He also received the Prix Charles-Morellet at the Salon de la Jeune Peinture in 1961 and the Prix de Villeneuve-sur-Lot in 1962. Brasilier's paintings are populated by beautiful, elegant women, respectable nudes and high-class gentlemen and are set in pleasant Val-de-Loire backgrounds, resplendent with landscapes and charming towns. Revealing the distant inspiration of Gauguin and the well-assimilated influence of certain other artists, Brasilier depicts a peaceful, comfortable world, free from care, in a very simple, stylish manner, with delicate harmonies bathed in accommodating sunlight. Brasilier took part in group exhibitions from 1956, including many in Paris: at the Salon de la Jeune Peinture; regularly at the Salon d'Automne; at the École de Paris exhibition at the Galerie Charpentier (1954-1957); at the Paris Biennale (1961 and 1963); and at the Salon Comparaisons (1961-1964). Mainly, however, he showed his work in solo exhibitions, including: at the Galerie Drouet in Paris (1959); at the Galerie Weil in Paris (1960 and 1964); at the David B. Finlay Gallery in New York (1962, 1971 and 1974); at the Atelier Mourlot in Paris (1964); at the Galerie Guiot in Paris (1967); at the Galerie de Paris (1969, 1972 and 1976); at the Yoshii Gallery in Tokyo (1969, 1974 and 1977); at the Galerie Matignon in Paris (1979); a first retrospective at the Château de Chenonceau in Paris (1980); at the Nichido Gallery in Tokyo (1983); a retrospective at the Musée Picasso in Antibes...

Signed and titled abstract landscape oil on canvas by French painter Camille Hilaire. The predominantly blue toned piece depicts a view of the village of Eygalieres in the Apilles in France. Signature: Signed lower right and further titled verso Dimensions: Framed: 21"x24" Unframed: 15"x18" Provenance: Private French collection Camille Hilaire was a pupil at the École des Beaux-Arts in Paris. He also worked in the free academies, including that of André Lhote, whose teaching had a major influence on his work. He executed numerous mural decorations...

Signed and titled cubist oil on canvas circa 1980 by French painter Camille Hilaire. This wonderful and colourful piece depicts a gondola on the Grand Canal, Venice with old palace behind. Signature: Signed lower right and titled verso Dimensions: Framed size: 21"x24" (53.3cm x 61.0cm) Size: 15"x18" (38.1cm x 45.7cm) Provenance: Private French collection Camille Hilaire was a pupil at the École des Beaux-Arts in Paris. He also worked in the free academies, including that of André Lhote, whose teaching had a major influence on his work. He executed numerous mural decorations...

Signed coastal landscape oil on panel circa 1890 by French impressionist painter Jean Baptiste Antoine Guillemet. The piece depicts several women in ...

Signed oil on canvas circa 1920 by French post impressionist painter Henri Lebasque. The work depicts a nude brunette woman lying on a beach, her arm draped over her head covering her face. A beautifully brushed piece. Signature: Signed lower left Dimensions: Framed: 22"x27" Unframed: 13"x18" Provenance: With thanks to Denise Bazetoux for confirming the authenticity of this work This painting is included in the Catalogue Raisonne of Henri Lebasque - Volume I No. 1409 Maitre Blache, Versailles, 21st November 1967 Lot 117 Maitre Lombrail, Enghien-les-Bains, 23rd September 1984 Sotheby's, London, 1st July 1987 Lot 317 Miromesnil Fine Art, Paris - 1988 Henri Lebasque studied at the École des Beaux-Arts in Angers, then, after moving to Paris in 1886, studied briefly under Bonnat, then under Humbert, whom he assisted in the decoration of the Panthéon. More importantly, he met and learned from Pissarro. In 1893 he met Luce and Signac at the Salon des Indépendants, and as a result he adopted Pointillism for a few years. In the 1900s he lived in Lagny with his family and painted landscapes of the neighbouring Marne forest. His painting underwent drastic changes when he discovered the south of the country. He would thereafter live in other French regions: Vendée, Brittany and Normandy, where he stayed at Les Andelys for some time, but his home from home was between Sanary and Nice. He painted members of his family in the settings in which he lived, mostly in Provence. His work shares some themes of his friend Bonnard. But although he exhibited with the Fauves, and admired Matisse, Rouault, Dufy, Valtat and Manguin (who introduced him to the Midi), he remained distinct from them in style. Lebasque was well known in his lifetime. He collaborated on the decorations of the Théâtre des Champs-Élysées and of the Atlantic liner Paris. He is remembered for: Nymphs at their Bath; The Sunshade; Girl with Hydrangeas; Great Nude on a Pink Sofa. He took part in the following collective exhibitions: Salon des Indépendants, 1886; Salon des Artistes Français; and later the Salon d'Automne, of which he was a founding member in 1903 and on whose committee he sat until his death. A set of his works was shown in 1937 at Masters of Independent Art ( Maîtres de l'Art Indépendant) at the Petit Palais. In 1957, 20 years after his death, a retrospective exhibition was held at the Musée des Ponchettes in Nice, and in 1981 his works were exhibited at St-Paul-de-Vence. Museum and Gallery Holdings Angers: The Artist's Mother Geneva (Petit Palais): The Child's Toilette (1900) Lille (MBA): Notre-Dame under Snow Nantes: Vallée de la Garde Paris (MAM): The Cigarette; Nude; Woman with Necklace

Signed and titled oil on canvas landscape circa 1910 by French Impressionist painter Marie Duhem. The work depicts a woman in a garden on a cloudy day tending to a flowerbed filled with red, pink, yellow and orange flowers. A path runs through the garden leading to a white gate. Beyond the garden are green trees and bushes with hills on the horizon beyond. Signature: Signed lower right/titled on original label verso Dimensions: Unframed: 29"x36" This painting is not currently framed but a suitable frame can be sourced if required Provenance: The collection of the artist's family Marie Duhem, was born in Guemps on March 18, 1871 and died in Douai on July 9, 1918. Marie Duhem's parents ran a lace factory. From her childhood, she became familiar with the work of model designers. She becomes the student of the painter Adrien Demont...

Signed and titled still life oil on canvas circa 1900 by French impressionist painter Marie Duhem. This stunning piece depicts pink and yellow roses in a white ceramic vase with a fan resting beside it. A truly beautiful painting. Signature Signed lower left and titled on original label verso Dimensions: Framed: 25"x29" Unframed: 18"x22" Provenance: The collection of the artist's family Marie Duhem's parents operated a lace factory, so she became familiar with the work of designers and models from an early age. She began her art studies with Adrien Demont...

Signed and titled oil on canvas landscape circa 1910 by French Impressionist painter Marie Duhem. The work depicts a gated garden surrounded by bushes and trees and a tall tree in the centre. There are stars in the dark blue night's sky and the glow of the moon can be seen low behind the bare trees. Signature: Signed lower right/further signed and titled on original label Dimensions: Framed: 34"x29" Unframed: 26"x21" Provenance: The collection of the painter's family Marie Duhem, was born in Guemps on March 18, 1871 and died in Douai on July 9, 1918. Marie Duhem's parents ran a lace factory. From her childhood, she became familiar with the work of model designers. She becomes the student of the painter Adrien Demont...

Signed still life oil on canvas circa 1910 by French impressionist painter Marie Duhem. This stunning piece depicts delicate pink and yellow peonies in a vase placed on an ornate marble-topped table with a fan resting beside them and a mirror behind. Signature Signed lower left Dimensions: Unframed: 29"x20" This painting is not currently framed but a suitable frame can be sourced if required Provenance: The collection of the artist's family Marie Duhem's parents operated a lace factory, so she became familiar with the work of designers and models from an early age. She began her art studies with Adrien Demont...

Signed and dated riverscape oil on canvas circa 1870 by Dutch impressionist painter Johan Barthold Jongkind. The work depicts boats sailing on the Dordrecht canal in the Netherlands....

Signed figurative oil on canvas circa 1955 by French naive painter Camille Bombois. This charming work depicts circus performers - three clowns and a stro...

Signed and dated figures in landscape oil on panel by French impressionist painter Henri Duhem. The work depicts a view of a mother and child walking along a path in a French village in Bergues, Northern France. The buildings of the village can be seen and a church just behind them. Thick cloud envelopes the blue sky. Signature: Signed lower right and dated 1914 and titled verso Dimensions: Unframed: 5.5"x7" This painting is not currently framed but a suitable frame can be sourced if required. Provenance: The artist's estate Descendant of an old Flemish family, Henri Duhem was born in Douai on April 7, 1860. He worked as a lawyer at the Bar of the Court of Douai from 1883, he practiced at the same time his passion for drawing and watercolor. In 1887, he enrolled in Henri Harpignies' drawing course in Paris and, at the same time, befriended the painter Émile Breton...

Signed and dated oil on panel landscape by French impressionist painter Henri Duhem. The piece depicts a view of artists's home and garden. It is a winter scene with snow laying heavy on the ground. The sun has gone down and the light from a tall window spills onto the snowy ground. Signature: Signed lower left and dated 1907 verso Dimensions: Unframed: 8.5"x12" This painting is not currently framed but a suitable frame can be sourced if required Provenance: The artist's estate Descendant of an old Flemish family, Henri Duhem was born in Douai on April 7, 1860. He worked as a lawyer at the Bar of the Court of Douai from 1883, he practiced at the same time his passion for drawing and watercolor. In 1887, he enrolled in Henri Harpignies' drawing course in Paris and, at the same time, befriended the painter Émile Breton...

Signed and dated impressionist oil on panel figures in landscape by French painter Henri Duhem. The work depicts a man fishing in a river as the moon rises over a cottage in the background. Signature: Signed lower left and dated 1911 verso Dimensions: Framed: 15.5"x19" Unframed: 9.5"x13" Proveance: The artist's estate Descendant of an old Flemish family, Henri Duhem was born in Douai on April 7, 1860. He worked as a lawyer at the Bar of the Court of Douai from 1883, he practiced at the same time his passion for drawing and watercolor. In 1887, he enrolled in Henri Harpignies' drawing course in Paris and, at the same time, befriended the painter Émile Breton...

Signed and dated oil on panel figure in landscape by French impressionist painter Henri Duhem. The work depicts a man in a blue jacket walking along a path beside a small farm building. Birds fly overhead and rolling fields can be seen on the horizon. Signature: Signed lower left and dated 1903 verso Dimensions: Unframed: 7.5"x9.5" This paintings is not currently framed but a suitable frame can be sourced if required Provenance: The artist's estate Descendant of an old Flemish family, Henri Duhem was born in Douai on April 7, 1860. He worked as a lawyer at the Bar of the Court of Douai from 1883, he practiced at the same time his passion for drawing and watercolor. In 1887, he enrolled in Henri Harpignies' drawing course in Paris and, at the same time, befriended the painter Émile Breton...

Signed and dated oil on panel landscape by French impressionist painter Henri Duhem. The work depicts two women walking on a green grassy bank by a stream in a summer landscape. Signature: Signed lower left and dated 1926 verso Dimensions: Unframed: 9.5"x7.5" This piece is not framed but a suitable frame can be sourced if required Provenance: The artist's estate Descendant of an old Flemish family, Henri Duhem was born in Douai on April 7, 1860. He worked as a lawyer at the Bar of the Court of Douai from 1883, he practiced at the same time his passion for drawing and watercolor. In 1887, he enrolled in Henri Harpignies’ drawing course in Paris and, at the same time, befriended the painter Émile...

Signed figures in landscape oil on canvas circa 1940 by sought after French post impressionist painter Marcel Dyf. The piece depicts people enjoying a sunny winter's day at the port ...

Signed impressionist oil on panel portrait circa 1910 by French painter Armand Francois Henrion. The work depicts a happy, smiling Pierrot - a French clown - with his face painted white wearing white ruffles and a mint green hat. Signature: Signed lower right Dimensions: Framed: 9"x7.5" Unframed: 7"x5.5" Provenance: Private French collection Armand François Joseph Henrion...

Signed, titled and dated impressionist landscape oil on canvas by French painter Henri Duhem. The work depicts a barge moored on the side of the river with two men on the path on the riverbank. The sun is setting creating the most beautiful shades of pink and yellow in the sky which is reflecting in the water below. Signature: Signed lower right and titled and dated 1933 verso Dimensions: Unframed: 15"x18" This painting is not currently framed but a suitable frame can be sourced if required Provenance: Exhibited at the Salon des Tuileries - 1933 Private French collection Descendant of an old Flemish family, Henri Duhem was born in Douai on April 7, 1860. He worked as a lawyer at the Bar of the Court of Douai from 1883, he practiced at the same time his passion for drawing and watercolor. In 1887, he enrolled in Henri Harpignies' drawing course in Paris and, at the same time, befriended the painter Émile Breton...

Signed and dated figure in landscape oil on panel by French impressionist painter Henri Duhem. The work depicts a woman in a summer dress and bonnet walking beside a tree lined wall ...