Leighton Fine Art Ltd Portrait Paintings

Signed oil on panel portrait circa 1890 by French Romantic painter Gustave Jean Jacquet. The work depicts a young redheaded woman wearing a red velvet jacket lined with white fur. On her head she is wearing an Easter bonnet trimmed with leaves. Signature: Signed lower right Dimensions: Framed: 14"x11.5" Unframed: 10"x7.5" Provenance: Baron Fine Art...

Signed fauvist figurative oil on panel by French painter Louis Valtat. The work depicts two girls playing with red marbles. Behind them we see the legs of elegantly dressed ladies - ...

Signed, titled and dated figurative oil on panel by French impressionist painter Norbert Goeneutte. The work depicts an elegant seated dancer getting dressed. She is wearing a dress with a black corset trimmed with yellow flowers around the bust and a white tuile skirt. A yellow flower contrasts against her dark hair. Signature: Signed upper right and titled and dated 1886 verso Dimensions: Framed: 9"x7" Unframed: 8"x6" Provenance: Private French collection Goeneutte studied under Pils and exhibited at the Salon from 1876 onwards. He was one of the organisers of the painter/engraver exhibitions ( Expositions des Peintres-Graveurs). His principal preoccupation lay in capturing scenes from everyday life in Paris, portraying its citizens and, above all, the women of the city. There is a discernible influence of Raffaëlli, although Goeneutte lacks the latter's expressive intensity. Examples of his work include Classroom, Boulevard de Clichy in the Snow, Arrival of the Wedding Party...

Signed oil on panel portrait by French realist painter Victor Gabriel Gilbert. The work depicts a young hunter wearing a brown outfit with laced up leather boots standing on a path i...

Signed oil on original canvas nude circa 1914 by French post impressionist painter Georges D'espagnat. The work depict a nude woman standing beside a wash basin in a boudoir. Signature: Signed lower right Dimensions: Framed: 45"x34" Unframed: 37"x26" Provenance: Private collection - Netherlands From the beginning of his career, it was a constant concern of Georges d'Espagnet 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'Espagnet 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's Evil Prayers ( Oraisons mauvaises) (1896), The Saints of Paradise ( Les Saintes du paradis) (1898), Simone (1907), Sistine ( Sixtine) (1922); Alphonse Daudet's The Immortal ( L'Immortel) (1930); André Gide's The Pastoral Symphony ( La Symphonie pastorale); Francis Jammes' Clearings in the Sky ( Chairières dans le ciel) (1948). D'Espagnet belongs to the group of artists who made the Courrier Français so successful. The drawings of his which are published in it are strongly expressive and some bear comparison with the designs of the great Renaissance masters. He also contributed to L'Image. He often placed cheerful nudes in a landscape, reminding us that, though he moved away from the Fauves, he retained their freedom of colour and arabesque. He painted many portraits, including those of Albert André, André Barbier, Victor Boucher, Déodat de Séverac, Albert Marque, André Marty and Albert Roussel. He also painted mural decorations, including a wall for the Palais de la Découverte (1937), the ceiling of the Victor Hugo Room in the Palais du Luxembourg (1939), a decorative panel for the Palais de Justice, Toulouse (1941) and interior decorations for private houses. His landscapes are Impressionist in inspiration, and work for a certain sobriety, an intimacy, both in their composition - one, two or three sketched figures and large open spaces - and in the choice of colours and treatment with the special hazy brushstroke that marks his style. D'Espagnet took part in a number of annual Parisian exhibitions, including the Salon des Indépendants, the Salon de la Société Nationale des Beaux-Arts, the Salon d'Automne (from 1903 to 1949, except in special circumstances), the Salon de la Libre Ésthétique, Brussels (1899, 1901), the Berlin Secessionists (1940). He also exhibited at the first Salon de la Société de la Gravure sur Bois. Among other exhibitions were 1912, A Century of French Art ( Centenaire de l'art français), St Petersburg; 1916, Kunstverein, Winterthur; 1918, 1926, Galerie M. Bertheim, Paris; 1930, Contemporary French Art...

Signed figurative pastel on canvas circa 1910 by French genre painter Pierre Carrier-Belleuse. The work depicts three ballerinas wearing white tutus, warming up in a studio. Carrier-Belleuse was a contemporary of Edgar Degas and they exhibited simultaneously at the major Salons in Paris. This classic example evokes the Belle Epoque period in french history and is superbly executed. Signature: Signed lower right Dimensions: Framed: 29"x24" Unframed: 26"x21" Provenance: Private French collection Pierre Carrier-Belleuse studied at the École des Beaux-Arts in Paris under Alexandre Cabanel and the interior decorative artist Pierre Victor Galland. He started out as an oil painter and produced genre compositions, such as his Final Rendezvous. From 1885, however, he opted to work exclusively in pastel, producing a large number of sketches and portraits but always remaining faithful to his earlier genre compositions. Examples include Pierrot, Harlequin, Woman with Cat. The periodical Figaro Illustré published a large number of his sketches of dancers, a recurrent theme throughout his work. From 1875, Pierre Carrier-Belleuse exhibited frequently at the Paris Salon, receiving an honourable mention in 1887 and being awarded a silver medal at the Exposition Universelle of 1889. Museum and Gallery Holdings: Dunkirk: Dancer Adjusting her Shoe (pastel) Gray: On the Dunes; In the Sun La Rochelle: Dancer Le Puy-en-Velay: Fantasy Mulhouse: Mule's Bonnet Paris (Municipal Collection): Tender Vow (pastel) Versailles...

Signed impressionist figurative oil on board circa 1940 by Russian painter Constantin Terechkovitch. The piece depicts a portrait of a lady in a dress and sun hat undressing in a wooded area beside a lake. The red of the dress contrasts beautifully against the deep blue of the water. Signature: Signed lower right Dimensions: Framed: 23.5"x15.5" Unframed: 18.5"x10.5" Provenance: Private French collection - Angers Konstantin Tereshkovich went to school in Moscow, where his family had moved in 1907. In 1917 he attended classes briefly at the Moscow School of Painting, Sculpture and Architecture. In 1920, after the revolution and civil war, during which he may have served as a Red soldier, he made his way to Paris, where, since his adolescence, he had always dreamed of being a painter in the city's vibrant artistic climate. To welcome him in Paris were Larionov (this was the time of the Ballets Russes) and Soutine, who were full of the experience of living along with Chagall, Modigliani and many others in La Ruche, the famous rotunda built for the Paris Exposition and later used for artists' studios. Making a living as best he could, Tereshkovich went to draw at the Académie de la Grande-Chaumière. He joined the Montparnasse circle of Kisling, Kremen and Lanskoy and later that of Roland Oudot, Maurice Brianchon and Raymond Legueult. Later they went on to form Réalité Poétique (Poetic Reality), a spontaneous group of painters that only became formalised in 1948. Tereshkovich joined the French Foreign Legion in 1939 but was demobilised in 1940. In 1944 he fled with his family to Avallon, where he had often painted. From 1950 he lived and worked in Menton, travelling, either in search of new subject matter or for pleasure, and once every four years went to the Olympic Games, to indulge his taste for sport. When Tereshkovich arrived in Paris he was overwhelmed by it, at first letting himself simply be carried away like a tourist, by shows like the French Can-Can, whose young dancers he painted both on stage and backstage; these paintings brought him some success. In 1933, he designed sets and costumes for the Ballets Russes de Monte Carlo. That year, he also married. His wife became his favourite model, and she was joined later by their two daughters, in countless family scenes that show his evident happiness down the years. He painted a wide variety of subjects, including Portrait of Frédéric Lefèvre, L'Espagnole, La Belle Danoise, and Avallon Town Crier, all of which were typical of his style. He also painted still-lifes and landscapes, such as Church near Avallon and Landscape at Villeneuve, and many horse racing scenes (he was a great racing enthusiast). In addition, he also produced many lithographs, some of which were illustrations for works by Colette or Chekhov, as well as designs for ceramics and tapestries. In his landscapes of the outskirts of Paris and the nearby countryside he would seize on a sudden intense ray of light piercing the mists on the Seine and turn it into something quite personal. During his travels, he went in search of ever more distant landscapes, both in France and beyond. Over the years, he also painted many portraits of his painter friends and others whom he met. Some of these portraits are entirely predictable, such as that of Bonnard, for whom he had nothing but admiration, but some of his other subjects are more surprising. These include: Soutine, Bonnard, Matisse, Utrillo, Vlaminck, Dunoyer de Segonzac, Rouault, Derain, Friesz, Van Dongen and Braque. Tereshkovich exhibited in various group exhibitions, including: from 1925 at the Salon d'Automne, Paris; in 1929, in Moscow, Tretyakov Gallery, along with Chagall, Soutine, Zadkine and Puni (the exhibition of Russian artists working in France). He went on to show work in many exhibitions around the world, such as: 1951, 1st Menton Biennale, where he won the Grand Prix; 1954 to 1958, 1963, the École de Paris exhibition at the Galerie Charpentier; regularly at the Salon des Peintres Témoins de leur Temps; 1972 Galerie des Granges, Geneva, Les Maîtres de la Réalité Poétique; and 2003, Musée de Montmartre, Paris, A Russian Summer in Montmartre: St Petersburg Artists in Paris in the Early 20th Century. He also showed work in solo exhibitions: 1927 Paris, Galerie Ch. Aug. Girard; 1934 Geneva, Musée de l'Athénée; 1937 Chicago, New York; 1938 Paris, Galerie de l'Élysée; 1942 Paris, Galerie Pétridès; 1946 Paris, Galerie Dubourg; 1948, 1951 Paris, Galerie Bernier; 1953 Paris, Galerie Pétridès, and Nice, Galerie Matarasso (watercolours and lithographs); 1957 Paris...

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 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 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 figurative oil on board circa 1890 by French Nabis school painter Edouard Vuillard. The work depicts two seated ladies dressed in black with grey pinafores enjoying coffee together. Illustrated in the Catalogue Raisonne of Edouard Vuillard by Antoine Salomon and Guy Cogeval - Volume I, Page 229 - Reference IV-7 This striking work dates to between 1890 and 1891 which was without doubt Vuillard’s greatest decade as an artist. At this time the painter was working with the group of artist known as "Les Nabis" which included Pierre Bonnard, Maurice Denis, Paul Ranson, Ker-Xavier Roussel, Félix Vallotton, Paul Sérusier and Auguste Cazalis. The group played a large part in the transition from impressionism and academic art to abstract art, symbolism and the other early movements of modernism. They believed that a work of art was not a depiction of nature, but a synthesis of metaphors and symbols created by the artist. Signature: Signed lower right Dimensions: Framed: 19.25"x20.25" Unframed: 9.25"x10.25" Provenance: Renou et Poyet - Paris Roland, Browse & Delbanco - London (labels verso) c. 1955 The collection of Sir Alec Guinness Galerie Jan Krugier, Geneva - 1972 Nichido Gallery - Tokyo 1972 Private collection - Japan Christie's London - Impressionist & Modern Art - June 2016 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, 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, 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, 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...

Beautiful signed and dated divisionist oil on canvas portrait by sought after French post impressionist painter Henri Martin. The depicts a side view the artist's wife who is wearing...

Signed impressionist oil on panel circa 1910 by French painter Armand Francois Henrion. This charming work depicts a portrait of a surprised Pierrot - a French clown - with a white powdered face wearing white ruffles and a pink hat. The pierrot is set against a brown background. Signature: Signed lower right Dimensions: Unframed: 7"x5.5" This painting is not currently framed but a suitable frame can be sourced if required Provenance: Private French collection Armand François Joseph Henrion...

Wonderful signed impressionist oil on panel circa 1910 by French painter Armand Francois Henrion. The work depicts a portrait of a mischievous Pierrot - a French clown - wearing white ruffles, a yellow hat and a monocle. The yellow of the hat is contrasted against the grey background. Signature: Signed lower right Dimensions: Unframed: 11"x8.5" This painting is nit currently framed but a suitable frame can be sourced if required Provenance: Private French collection Armand François Joseph Henrion...

Stunning signed and dated modernist oil on canvas by Argentinian painter Alfredo Guttero. The work depicts a portrait of a young Argentinian woman. It is beautifully and the brush strokes make it almost pointillist like. This work has come from the collection of the esteemed Jewish art collector Gaston Prosper Levy and was gifted top him by the painter. Prosper Levy held one of the most important collections of modern French art - many of the works were taken by the Nazis from his home in France in 1940. This work has been assessed by the Art Loss Register and is not recorded on their database. Signature: Signed, dedicated and dated 1918 upper right Dimensions: Framed: 29"x24.5 Unframed: 26"x21.5" Provenance: Original exhibition number to frame The collection of Gaston Prosper Levy Alfredo Nicolás Guttero was born in Buenos Aires on May 26, 1882. He studies music as a child and from an early age he shows his drawing abilities. He starts a law career which he quits two years later to start painting full time. Ernesto de la Cárcova and Martín Malharro encourage him towards this change and, in 1904 he gets a scholarship to travel to France to further his work. His scholarship only lasted a year, but with his family’s help and his work related to decorative art, he manages to stay in Paris until 1917, where he studies under Maurice Denis. He moves to Spain, and towards 1917, he studies in Madrid and La Coruña. Then he moves to Segovia in 1918. In this occasion he takes parts in a collective exhibition of Argentine painters and sculptors, together with artists such as Fray Guillermo Butler and Pablo Curatella Manes, among others. After his passing through Germany, Austria and Italy, in 1925 he settles in Genova where he holds an exhibition of his entire artistic production to date. After 23 years in Europe, on September 26, 1927, Guttero arrives in Buenos Aires, and on October 20, he holds an exhibit at Asociación Amigos del Arte. That same year, the Comisión Nacional de Bellas Artes acquires for the Museo Nacional his piece: Mujeres indolentes (Indolent women). A week later he takes part in the Feria del Boliche de Arte invited by Leonardo Estarico and Atalaya. Upon his return from Genova, he continues his investigation and development of the pictorial techniques denominated by him as “cooked plaster”, a technical procedure based on a paste of plaster with pigments mixed in with glue that the artist generally applied mounted on wooden supports. As of this moment, Guttero starts in Buenos Aies an intensive array of exhibits and other activities which make a big impact on the local cultural scene, apart from continuing with his personal art production. Between 1927 and 1932, the year of his sudden death, Alfredo Guttero takes part, among other projects, in the “3ª Exposición Comunal de Artes Aplicadas e Industriales 1927- 1928”, where he is awarded the Grand Prize in the Sección Pintura Decorativa; and the “X Salón de Otoño de Rosario” (1928) where he gets the Gold Medal for the Figure category; he presents works in the exhibits organized by Ateneo Popular de la Boca (1928); “XVIII Salón Nacional“ (1929) and is awarded the Second Municipal Prize for his work Playa (Beach). In 1929, he organizes the “Nuevo Salón” in Buenos Aires, Rosario and La Plata. He presents his work at the “XIX Salón Nacional de Bellas Artes” where he gets the First Prize in painting with his work Feria (Street market); in September of that same year he inaugurates his fourth individual exhibition at Amigos del Arte and participates in the selection of paintings which will appear in post cards that this institution would print eventually. In 1930 he is named artistic advisor of the Asociación Wagneriana and director of its Plastic Arts Section. That same year he organizes the “Salón de Pintores Modernos. Primer Grupo” in Buenos Aires; exhibits at Amigos del Arte, at the “Salón de Pintores y Escultores Modernos” and at show rooms in Rosario and Santa Fe. In January, 1931 he takes part in the “First Baltimore Pan-American Exhibition of Contemporary Paintings” and is awarded the Museum of Art Award with his piece Anunciación (Announcement), which he later donates to the Museo Nacional de Bellas Artes de Buenos Aires. That same year he organizes exhibits of Miguel Carlos Victorica and Demetrio Urruchúa in Amigos del Arte and, in May, Guttero presents his work at the Salón Centenario de Montevideo, “Primer Grupo Argentino de Pintores Modernos”. In June he directs together with Falcini, courses on Plastic Art and works on stage scenery for the Colón Theater. Also in 1931, he organizes the “Salón de Pintores Modernos” in Amigos del Arte and takes part at the Salón Nacional, being awarded the Eduardo Sívori Prize. On April 15, 1932 they open together with Pedro Domínguez Neira, Raquel Forner and Alfredo Bigatti the Cursos Libres de Arte Plástico (Free plastic art courses). That same year Guttero is awarded the First Municipal Prize for his work Oda (Ode). In November, he is invited to take part in the “Salón de Arte del Cincuentenario de La Plata” and, on December 1, he dies in Buenos Aires at the age of 50. The following year, between October and November, the Dirección Nacional de Bellas Artes organizes...

A simply beautiful French Impressionist School oil on canvas of an elegant woman wearing a white blouse and black skirt and hat seated in a chair reading. Her parasol rests against t...

A charming oil on panel circa 1900 by French impressionist painter Armand Francois Henrion depicting a portrait of a happy Pierrot - a French clown - wearing white ruffles and a black hat. The portrait is contrasted by an orange-red background. Signature: Signed lower right Dimensions: Framed: 9.5"x8" Unframed: 7"x5.5" Provenance: Private French collection Armand François Joseph Henrion...

Signed expressionist oil on canvas portrait circa 1942 by French painter Jean Albert Pougny. The work depicts a violinist in an interior. Signatur...