Evguéne Danilevsky Art

This early 20th-century oil painting by Danish artist Jens Sørensen (1887-1953) depicts a lively scene at Bakken, the world’s oldest amusement park. Jens Sørensen was predominantly ...

EMILIO GRAU SALA Spanish, 1911 - 1975 PADDOCK, 1961 signed "Grau Sala" (lower right) signed again, titled & dated "GRAU SALA / PADDOK / 1961" (on the reverse) oil on canvas 21-3/8 x ...

Frame size 83x72 cm.

Jordi Curós Ventura (1930-2007) - Market - Oil on canvas. Work measurements 46x55 cm. Frame size 51x60 cm. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Spanish painter. H...

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Tête de Femme Blonde by Pierre-Auguste Renoir (1841-1919) Oil on canvas 26.1 x 19 cm (10 ¹/₄ x 7 ¹/₂ inches) Signed upp...

"Portrait de Sylvie Lacombe" is a Post-Impressionist painting by Théo van Rysselberghe. The portrait is signed with monogram and dedication, upper right, "pour ma petite amie Sylvie ...

EMILIO GRAU SALA Spanish, 1911 - 1975 BOULEVARD OF PARIS signed Grau Sala (lower right) oil on canvas 25-1/2 X 32 inches (65 X 81 cm.) framed: 36-1/4 X 42-1/2 inches (92 X 108 cm.) PROVENANCE Sale: Sotheby´s Olympia London, 20 October 2006 Emilio Grau Sala came from a family of artists. He was born in Barcelona in 1911 and his father, a good cartoonist, had been one of the promoters of the "Salon des Humanistes" and made his exhibitions normally in the Parés Hall. His first works were exhibited at the Salon des Independents, in the years 1930-33. Grau Sala was essentially a Mediterranean painter, son of post-impressionism and enriched with French painting of the last fifty years. In this work Grau Sala has a loose, subtle brushstroke, in which the color shapes the entire work. The bright and transparent whites that give life to young schoolgirls contrast with the brushstrokes of blacks from the nun who accompanies them. The explosion of greens is refreshing, it surrounds us and transports us to an idyllic place, even if it is a citizen boulevard, which becomes friendly and beautiful. His works can be found in the Museums of the Villa de Paris, L'Ile de France Museum, at the Château de Sceaux, Honfleur Museum, La Rochelle Museum, Barcelona Museum, Tossa de Mar...

Theatre de Sara Bernhart et Place de Chatelet by Edouard Cortes was painted circa 1935-40 and signed lower right. It is an oil on canvas measuring 13x18...

Pascual Fresquet Almurin (1930) - La Barceloneta Barcelona Spain - Oil on canvas Oil measures 38x46 cm. Frame size 48x56 cm. Painter born in Hospital...

EMILIO GRAU SALA Spanish, 1911 - 1975 ESPAGNOLES, 1971 signed "Grau Sala" (lower left) signed again, dated and titled "Grau Sala, 1971, espagnoles" (on the reverse) oil on canvas 1...

*THIS PRICE INCLUDES 5% IMPORT DUTY APPLICABLE IF THE WORK REMAINS IN THE UK ONLY. Bords du Loing by Alfred Sisley (1839-1899) Oil on canvas 46.1 x 55.7 cm (18¹/₈ x 21⁷/₈ inches) S...

Oil on canvas by Henri-André Martin (1918-2004), France, ca.1960. Notre-Dame de Paris. With frame: 79.3x 60.3 cm - 31.2x23.7 inches. Without frame: 54x 73 cm - 21.3x28.7 inches. 20P format. Signed lower left "Henri A. Martin" (see photo). Born in Lyon in 1918, the child and the adolescent Henri-André Martin spent his youth in Saint-Étienne, his father, Edme Martin, first installed as a practicing doctor in Lyon, having been appointed doctor of the anti-tuberculosis dispensaries of the Loire. During his first years of studying medicine in Lyon, he nevertheless enrolled in the Beaux-Arts. Appointed hospital intern upon his return from captivity in 1942, he ended his medical career as director of the otolaryngology university clinic at Édouard-Herriot hospital. But painting was his passion. Painting was for Henri-André Martin the way of expressing his feelings. By nature very reserved and of an extreme modesty that many took for coldness, it was what allowed him to express his strong artistic sensitivity and, his pictorial periods are as many reflects of his anxieties, of his hopes, of his joys. At every period of his life, wherever he goes and whenever he has a moment, he paints gouaches, often of small size, but sometimes of larger size. He also paints beaches that have been compared to those of Boudin. Their invoice shows, however, that this figure is only appearance and that in fact, these beaches made of water, sky and sand, readily dispense with the motif, the work of the material seeming to have more importance. as the subject. Despite the fact that until the 1970s he painted "on the ground", his canvases remain far removed from the anecdote. Often harsh like the landscapes of Provence, the Parisian walls which express concern, or the railways, the switch tracks which suggest, in ocher and black, all the embarrassment of choice. We find the same nostalgic gravity in the canvases of the carcasses of boats which, as his friend Louis Pons later wrote, "seem to die of immobility" or in the canvases of Venice, or the landscapes of Eygalières. In the following years, his painting became simpler, more synthetic, such as these landscapes with tortured almond trees, black and gnarled olive trees, plane trees standing out against the ocher sky of the dawn of Provence, in winter. These are also the canvases of Hamburg in the dough becomes heavier, the colors darken, marking all the gravity of the port landscapes. Workshop work gradually takes precedence over motif painting. The pivotal period coincides with that of his work on the olive tree, during which he leads the realization of the "Trunks", a collection of six lithographic plates, of the book L'olivier comprising many lithographs and serigraphs, but also texts. poetic and numerous paintings. He then became passionate about everything related to the olive tree (literature, painting, traditions, history), but also to the tree itself, its thousand-year-old history, its poetry, its symbols, but also its culture, its size. oil production...