Exhibiting at The Palm Beach Jewelry, Art & Antique Show

TRINITY HOUSE PAINTINGS London  The Cotswolds  New York

Exhibiting at the

13 – 17 February 2015 Palm Beach County Convention Centre

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JEAN BÉRAUD (1849- 1935) Portrait d’Une Jeune Parisienne Oil on canvas Size: 21.9 x 15.2 ins / 55.5 x 38.5 cms Signed lower right

TRINITY HOUSE London  The Cotswolds  New York

Ref: 2917 Provenance: Private Collection, Amsterdam

Literature: This work will be included in the forthcoming catalogue being prepared by the Wildenstein Institute.

Jean Béraud was an important French painter who was most famed for his paintings of Parisian life during the Belle Époque. During this pre-war period of peace and prosperity Beraud was highly regarded in Parisian society, initially due to the numerous genre paintings he produced.

Béraud was born in St. Petersburg and initially trained in law before the outbreak of the Franco-Prussian was in 1870 and the occupation of Paris.

When Béraud began his artistic career he exhibited his works at the Salon, doing so for the first time in 1872 when he was a student of Léon Bonnat. However, his work did not gain serious recognition until 1876, when he produced a genre painting entitled, ‘On the Way Back from the Funeral’.

Notably, this was after the first exhibition of the Impressionists at the Salon des Independants in 1874 and as a result, his work is somewhere in the midst of the impressionistic scenes of everyday life and the more academic art of the salon.

Much of his work would contain some sort of mockery of Parisian life at the turn of the century.

Beraud was a very popular artist during his lifetime, however his work was completely ignored by art historians of the period.

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GEORGES BINET (1865 – 1949) Le Touquet, Normandy Oil on canvas Size: 19 x 25 ins / 48.25 x 63.50 cms Signed lower right

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Ref: 2222 Provenance: Private Collection, United Kingdom

Georges Binet was born April 30, 1865 in Havre. At a young age he began taking courses at L’huillier, and at the age of eighteen, Binet entered the Beaux-Arts of Paris under the instruction of Raphael Collin and François Cormon. Binet remained in Paris after his studies had concluded. He began having exhibitions at the Salon de la Société Nationale des Beaux-Arts in 1889 and continued through 1939. In 1906, he exhibited at l’Exposition Coloniale. Binet won a number of awards beginning with a citation in 1899. This was followed by a third class medal in 1904 and a second class medal in 1912. Binet was made a chevalier of the Légion d’honneur in 1937.

Binet became inspired by the Norman Impressionists of the mid-19th Century following his completion of schooling. He had particular interest in those paintings marked by the atmosphere of the Seine and its estuary. Binet enjoyed the charms of crowds and its colors. He painted beaches and flower and vegetable markets. Binet also enjoyed painting his native Normandy as well as Paris.

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JACQUES EMILE BLANCHE (1861-1942) Régate a Henley Oil on panel, circa 1920 Size: 12.5 x 8.25 ins / 31.75 cms x 20.96 cms Signed with initials, lower left

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Ref: 2792 Provenance: Private Collection, United States

Jacques-Émile Blanche was born in Paris in 1861. He was the son of an eminent pathologist and enjoyed an excellent cosmopolitan education. Blanche was brought up at Passy in a house once belonging to the Princesse de Lamballe. The elegant atmosphere of the home influenced his artistic taste due to its atmosphere of 18th century refinement.

Blanche studied with Gervex and Fernand Humbert as well as spent time in studios of Manet and Degas. The quality of his flat surfaces, the precious grays and silvery light effect causes Jacques-Emile 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 vivid colors do have something in common with them.

Blanche's talents as a painter earned him considerable wealth and a prominent place in the art world of his time. His friends and social acquaintance ranged from the avant-garde to the upper bourgeoisie and he moved with ease from one group to the other. His many portraits are evidence of the range of his connections and the broad recognition of his talent, including not only Jean Cocteau but others among the most famous French writers of the early years of the century. He acquired a great reputation as a portrait painter.

From the early 1880s he was a frequent visitor to London, where he worked with Whistler and Sickert. A regular exhibitor at the Salon of the National Society of Fine Arts from 1890, he also frequently exhibited in London at the Leicester Galleries and was given a monographic show at the National Gallery, a rare distinction for a living painter.

Blanche exhibited in Paris throughout his life, as well as winning a gold medal at the Exposition Legion d’Honneur in 1900 and the Salon des Tuleries in 1933. Blanche exhibited at the Salon from 1882 to 1889 and at the Société Nationale des Beaux-Arts from 1890. In 1884, together with Ary Renan, he organized and exhibited at the first Salon des Indépendants at the Galerie Georges Petit in Paris.

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ROSA BONHEUR (1822-1899) Lion d’Afrique Oil on canvas Size: 17 x 12 ins / 43 x 30.5 cms Signed lower right

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Ref: 2355 Provenance: Private Collection, United Kingdom; Private Collection, Germany Marie-Rosalie Bonheur, later known simply as “Rosa Bonheur” painted and sculpted various subjects, mainly focusing on animals and realist themes. Originally from Bordeaux, Bonheur was from a family of artists as her father worked as a landscape and portrait painter and her mother (who died when Rosa was eleven) was a pianist and piano instructor. Interestingly, Bonheur’s father knew Francisco Goya Y Lucientes, the Spanish Romantic artist, who was in exile in France. It might seem exceptional that Rosa was trained to such a high degree in painting as a woman in the 19th Century, but her father adhered to a Christian-socialist sect that promoted the education of men and women equally – and believed in the prophesy of a female messiah.

A bit of an unruly character, Rosa was expelled from many schools, and drawing was often an alternative to teaching her to read and write. She finally settled down as an apprentice to her father when she was twelve – she was not allowed to attend the École des Beaux-Arts as they did not accept women. She did, however, develop her training independently, even going to the École Nationale Vétérinaire d’Alfort (the National Veterinary Institute in Paris) to perform dissections of animals.

She gained fame with her painting in the 1848 Salon entitled ‘Le labourage nivernais, le sombrage’, (Ploughing in the Nivernais) – which is now housed in the Musee d’Orsay in Paris. Her most famous painting is in the Metropolitan Museum of New York, entitled ‘The Horse Fair’ and painted in 1853-1855. She was a much acclaimed artist during her lifetime, and animals remained her favourite subject. She was so intrigued by their foreign anatomy that like many great artists before her, she would frequently visit slaughterhouses to study them in depth.

The result of such an obsession enabled Rosa to paint such mesmerizingly real paintings, where the animals possess a real sense of vitality and energy. This work, Lion d’Afrique, demonstrates Rosas exceptional anatomical understanding whilst showing her vision for a poignant and dramatic composition. The lion seen from the rear appears full of power and might, gazing over his kingdom. Rosa’s artistic skill did not go unnoticed and in 1865 she received the Legion d’honneur from the Empress Eugenie, which was an award previously only held for men. During her lifetime she also gained great renown in England, more than in her native France. She was represented by private art galleries, including that of Ernest Gambart (1814-1902) in Pall Mall.

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EUGÈNE BOUDIN (1824 – 1898) Golfe Juan l’escadre dans la baie, 1893 Oil on canvas Size: 21.75 x 35.50 in / 60 x 84cm Signed, inscribed and dated ‘93 Golfe Juan-Avil’

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Ref: 1873 Provenance: Wildenstein & Co., New York; McCol Fine Art, Private Collection, United States; Private Collection, United Kingdom Literature: This painting is listed as No: 3073 in Vol. 3 of Robert Schmit’s Catalogue raisonné of the artist’s work.

Eugène Boudin, La Vie et L’oeuvre d’apres les letters.

Exhibitions: Paris, Salon of 1893 About this painting: This view of the Golfe Juan in southern France seems to have been painted from the eastern side of the bay. The viewer looks towards the west, to Cannes (a fashionable holiday destination then, as now), and to the glimpses of light before nightfall.

Shadows appear in the clouds, as they are backlit by the sun. It is this play of light in the piece, as opposed to the detail of the objects which it falls upon, which was so important to Boudin. He once wrote, “It is fortunate that the Creator has scattered a little of his splendid and warming light everywhere; it is the world that is enveloped by this light that we painters reproduce”. This sense of unity of light, inherent to so much of Boudin’s work, would go on to influence Fauvism

Eugène Boudin was brought up in coastal regions of France (his father was a mariner) and was one of the forerunners of the French Impressionist movement. His work enormously influenced that of Monet and was exhibited in the first Impressionist Exhibition in Nadar’s studio in Paris in 1874. This exhibition, together with his views of what made a good painting, sealed his place in art history.

Boudin’s work is still attractive to our modern eyes because, in common with many artists of the 19th and 20th centuries, he wrestles with the place of art and the artist in bourgeois society and resolves the matter by separating the aesthetic from the moral.

He successfully disassociates himself from any concerns he might have about the social status of his models and instead concentrates on their external appearance. He has narrated an image for the viewer that consists of fishermen hauling in their catch from a modest boat in the foreground with the yachts of those holidaying in Cannes in the distance. The yachters would have been the French middle classes as opposed to the more ‘revolutionary’ subject matter often favoured by other Impressionist artists of his era, which it is a moral issue that he had already come to terms with. In 1861 he wrote, “Peasants have their painters. That’s good. But, between you and me, these middle-class people who stroll along the jetty into the sunset, are they not also entitled to be captured on canvas, to be led towards the light? Between ourselves, they often work extremely hard, these people who step out from their offices and their studies.

If among them there are a few parasites, are there not also people who do their job properly”.

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HELEN BRADLEY (1900-1979) Look the Queen’s Coming Oil on canvas Size: 24 x 36.25 ins / 61 x 92 cms Inscribed with fly insignia (lower right), signed and dated 1971 and inscribed (on label verso)

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Ref: 2869 Provenance: Mercury Gallery, London, W.H.Patterson Fine Art, Richard Green, London, Private Collection, Spain Legend: '"Look the Queens coming", but I very nearly missed seeing our Dear Queen Alexandra driving along Regent St with Princess Mary, The Duchess of York. I was so busy looking at a beautiful shop full of Rose Perfume. We all set off straight away to London after Grandpa had read Anne's letter to Mother saying she had left Willie, but, she was already on the High Seas. "Well", said Grandpa "We must never speak of her again", and, as nothing more could be done He and Father went to attend to business matters, leaving Mother, George & I, Grandma, the Three Aunts and Miss Carter (who wore Pink) to look at the shops. Seeing the Queen, and the lovely Fair Duchess cheered everyone and after her carriage had passed we saw a strange sight, a Foreign Gentleman with Three wives and lots of children and the year was 1909'

‘Look the Queen’s coming’ is an enchanting painting that is a fine example of Helen Bradley’s ever-popular narrative scenes. This London street scene features all the key characters in Bradley’s oeuvre, Miss Carter, (who wore pink), the artist herself with her brother George, along with her mother and Grandmother.

Bradley was born November 1900 in Lancashire. She was always interested in Art throughout her life but it was not until Bradley was in her sixties and her grandchildren began asking what life was like when she was a child. Then Bradley began painting Edwardian scenes she could remember from her childhood.

These Narrative paintings were first exhibited at The Saddleworth Art Society in 1965, followed by a London Exhibition in 1966 and a sell-out exhibition at the appropriately named Carter Gallery in Los Angeles in 1968.

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ANDRE BRASILIER (b.1929) Les Cavaliers a Septembre

Oil on canvas.

Size: 22 x 35 ins / 55.9 x 88.9 cm, Signed Lower right and titled verso

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Ref: 2867 Provenance: Private collection André Brasilier’s work is famed for surreal landscapes where the figures and their surroundings often merge together creating dream-like canvases. Horses are a common motif for Brasilier, and in this work their simple forms and warm colouring echo that of the autumnal trees that they are racing past.

Brasilier’s work is inspired by nature, and he focuses on how objects and beings communicate with one another in their natural surroundings. Although he bases his paintings on reality and depicts figures in his work he is by no means a naturalistic or realistic painter. Instead Brasilier creates emotive scenes that reveal the natural beauty and harmony of our surroundings.

Brasilier, was born in 1929 in Saumur, France, into a family of painters. From a very early stage in his life Brasilier showed natural inclination for painting and he entered the Ecole des Beaux-Arts at the age of 20.

Brasilier won the Premier Grand Prix de Rome of painting when he was only 23 years of age and by 1988 he had held his first major retrospective of 100 artworks at the Musée Picasso-Château Grimaldi in Antibes (French Riviera).

He is very much an international artist, having exhibited around the globe, and has held retrospective shows in the prominent Hermitag Museum in Russia and Germany’ a Museum Haus Ludwig für kunstausstellungen.

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EDOUARD LEON CORTES (1882-1969) Place de Clichy, Paris, by dusk Oil on canvas Size: 15 x 18 ins / 38.10 x 45.72 cms Signed lower left

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Ref: 2654 Provenance: Private Collection, United Kingdom

Edouard Cortes was born in Lagny, France on April 26, 1882, a time when Paris was considered the center of the art world. Views of Paris, or as it became known ‘the City of Lights’, were in great demand by both collectors and tourists. Edouard Cortès, along with other artists like: Eugene Galien-Laloue (1854-1941), Luigi Loir (1845-1916) and Jean Beraud (1849-1936) answered their call. Specializing in Paris street scenes, each of these artists captured the city during its heyday and continued with these scenes well into the 20th Century.

Edouard was the son of Antonio Cortès – the Spanish Court painter – who was himself the son of the artisan André Cortès. Antonio began teaching his son at an early age and enrolled him in a private elementary school where he continued his schooling until the age of 13. From this point on he devoted his life to art – working and studying with both his father and older brother. In 1899, at the age of 16, Cortes exhibited his first work at the Société des Artistes Français entitled La Labour. The work was well received by the critics and the public - helping establish Édouard’s favorable reputation in Paris.

It was at the turn of the century, c.1900, that he began to paint the scenes that he would become most famous for – Paris’ streets and monuments. One of the more prolific artists of his time, Cortès had found his niche. His views of Paris are among the most beautiful images of this genre; capturing the city for more than 60 years.

He was an active member of the Union des Beaux-Arts de Lagny and was the Unions first president. Their inaugural exhibition was held in 1927 and Cortès continued to exhibit there until the late 1930’s.

During this period he received many awards, gained great notoriety and was a frequent exhibitor at the exhibition halls in Paris, including the Salon d’Automne.

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EDOUARD LEON CORTES (1882-1969) Place de la Republique Oil on canvas Size: 9.45 x 13 ins / 24 x 33 cms Signed lower right

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Ref: 3095 Provenance: Private Collection, United Kingdom

Edouard Cortes was born in Lagny, France on April 26, 1882, a time when Paris was considered the center of the art world. Views of Paris, or as it became known ‘the City of Lights’, were in great demand by both collectors and tourists. Edouard Cortès, along with other artists like: Eugene Galien-Laloue (1854-1941), Luigi Loir (1845-1916) and Jean Beraud (1849-1936) answered their call. Specializing in Paris street scenes, each of these artists captured the city during its heyday and continued with these scenes well into the 20th Century.

Edouard was the son of Antonio Cortès – the Spanish Court painter – who was himself the son of the artisan André Cortès. Antonio began teaching his son at an early age and enrolled him in a private elementary school where he continued his schooling until the age of 13. From this point on he devoted his life to art – working and studying with both his father and older brother. In 1899, at the age of 16, Cortes exhibited his first work at the Société des Artistes Français entitled La Labour. The work was well received by the critics and the public - helping establish Édouard’s favorable reputation in Paris.

It was at the turn of the century, c.1900, that he began to paint the scenes that he would become most famous for – Paris’ streets and monuments. One of the more prolific artists of his time, Cortès had found his niche. His views of Paris are among the most beautiful images of this genre; capturing the city for more than 60 years.

He was an active member of the Union des Beaux-Arts de Lagny and was the Unions first president. Their inaugural exhibition was held in 1927 and Cortès continued to exhibit there until the late 1930’s.

During this period he received many awards, gained great notoriety and was a frequent exhibitor at the exhibition halls in Paris, including the Salon d’Automne.

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CYRUS CINCINNATO CUNEO (Italian 1879-1916) A Night time festival procession beside a lake’ Oil on canvas Size: 54.61 cms x 46.99 cms/21.50 ins x 18.50 ins Signed & dated 1914

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Ref: 2983 Provenance: Private Collection, United Kingdom

Cyrus Cincinnati Cuneo was an Italian artist who was born in 1879 into a large family living in the Unites States of America. From an early age Cyrus or, ‘Ciro’ as he was known, was determined to be an artist, and in order to do so his ambition was to study art in Paris.

Due to his large family, Ciro had to fund his artistic ideas himself, and so took to boxing to earn some extra income. By the age of nineteen he was flyweight champion on San Francisco and had earned enough money to pursue his dream.

He began his studies at the Carlo Rossi academy in Paris, where in his second year of study he became the head student or ‘massier’ of Whistler. Interestingly, during this period he gave Whistler boxing lessons in exchange for money, this was a popular hobby throughout the Latin quarter of Paris.

When he was in his twenties, Ciro moved to England where he married Nell Tenison who was a distant relative of the poet Tennyson. Like Cuneo, she had spent time at the Carlo Rossi Academy. Whilst in London Cuneo worked mostly in magazines and on book illustrations, receiving many commissions. In 1910 when King Edward died, Ciro found himself working literally day and night in the office of the Illustrated London News, on spread after spread of the funeral and subsequent George V Coronation drawing.

When the First World War broke out in 1914 Cuneo moved smoothly onto war subjects, without being affected by the collapse of many of the peacetime periodicals.

His war paintings were widely used for propaganda and to raise funds for support during the war, such as one canvas which was auctioned in 1915, raised enough to buy two ambulances which went to France, each bearing the inscription “The Cyrus Cuneo Ambulance”.

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ANDRIES DE CONINCK (-1659) Still Life of a pie on a silver dish, a Lobster, numerous fruits, blue and white boletes on a table with a view to a countryside landscape behind c.1650 Oil on canvas Size: 44.7 x 62.6 ins / 113.5 x 159 cms

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Ref: 3074

Provenance: Private Collection, Vienna

Andries de Coninck was a Dutch Old Master who specialized in opulent still life paintings. This works comes with a letter confirming the attribution of the work to de Conick from Fred G. Meijer, the curator of the department of Old Netherlandish Paintings in the Rijksbureau Voor Kunsthistorische Documentatie (Netherlands Institute for Art History). In this letter Mr. Meijer likens the work to a similar still life scene by the artist that was sold in 2007 by the J. Paul Getty Museum in Los Angeles for $500,000.

This ambitiously sumptuous scene is a classic example of de Coninck at his best, depicting a table laden with exotic fruit and delicacies such as the large lobster which features in many of his works. The open window in the background is another common motif that helps to identify this work as a de Coninck, along with the tilted fruit bowl and the partially eaten meat pie.

Although little is known of his early life, Andries de Coninck is mentioned in the Antwerp guild records of 1643-44 where he is listed as an apprentice as both ‘schilder’ (painter) and ‘handelaer’ (dealer) and he became a master of the guild in 1645/46. It may well be that he eventually discarded painting and concentrated solely on dealing, being listed in the 1658/59 guild records solely as ‘koopman’ (dealer).

His wife, Christina Benedetti, was probably a sister of Andries Benedetti (active 1636-1650) whose large still life’s are sometimes difficult to distinguish from those by de Coninck. Their main inspiration appears to have been the large luxury still life’s that Jan Davidsz. de Heem painted during the early 1640s.

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JOHN STEVEN DEWS (Born 1949) HMS Centurion

Oil on canvas Size: 76.20 x 111.76 cms (30 x 44 ins) Signed lower left Inscribed on Stretcher, “June 20th 1743 Cape Espiritu Santo. West South West 8 or 9 leagues. Log of Centurion. ‘The engagement began on both sides with great briskness’”

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Ref: 2944 Provenance: Private Collection, United Kingdom

This scene depicts the moment when British Navy Commodore George Anson succeed in capturing the Spanish treasure galleon off Cape Espiritu Santo on June 20, 1743. Cape Espiritu Santo was loaded with many important items such as gold and silver, however it also held important nautical charts that depicted the trading routes that the Spanish Galleons used between Manila and Mexico for the previous 2000 years. This discovery allowed the British to disrupt the Spanish on their trade routes, making the Spanish somewhat economically handicapped when it came to the New World.

After this feat, Anson was lauded as a national hero and the contents of this treasure galleon were paraded through London.

The artist was born in Yorkshire in 1949. Following his graduation, Steven Dews built up an amazing portfolio for his first exhibition back in 1976, on the Exhibition’s first night, almost his entire collection was sold. The following year he held an Exhibition in San Francisco which also sold out to great critical acclaim, and since then, Steven Dews has continued exhibiting regularly at leading galleries in London and throughout the world. He is now commissioned for several years in advance.

Confirmation of his pre-eminence came in the Sotheby’s sale of Maritime Art in London on April 28th 1999, where his original, entitled ‘Off Cowes’, sold for a phenomenal price for a living marine artist. Steven Dews’ work is avidly collected around the world. Above all, he lives and loves the subjects he paints, and spends any of his spare time, sailing.

Sotheby’s of London described this artist as, "the best, there's nobody else to touch him". He has also been described as one of the UK’s top living marine artists by The Mail on Sunday in January 1999.

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JOHN STEVEN DEWS (Born 1949) ‘Yankee’ leads the fleet – Silver jubilee cup. Cowes 1935 ‘Astra wins on handicap’

Oil on canvas Size: 76.20 x 111.76 cms (30 x 44 ins) Signed lower left Inscribed on Stretcher, 'Endeavour' rounds the mark behind Yankee' 'Yankee' has tacked head in shore to avoid the strong Incoming Tide.

'Velsheda' 'Astra' 'Shamrock' and 'Britannia' are still running down to the mark.

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Ref: 3055 Provenance: Private Collection, United Kingdom In this scene John Steven Dews has depicted the 1930 America’s cup race of four JClass yachts as possible defenders to the title. He has depicted the moment when Endevour is rounding the mark behind Yankee who has just tacked head in shore to avoid the strong incoming tide. In the background of the scene you can see the other yachts, Velsheda, Astra, Shamrock and Britannia that are still running down to the mark.

The artist was born in Yorkshire in 1949. Following his graduation, Steven Dews built up an amazing portfolio for his first exhibition back in 1976, on the Exhibition’s first night, almost his entire collection was sold. The following year he held an Exhibition in San Francisco which also sold out to great critical acclaim, and since then, Steven Dews has continued exhibiting regularly at leading galleries in London and throughout the world. He is now commissioned for several years in advance.

Confirmation of his pre-eminence came in the Sotheby’s sale of Maritime Art in London on April 28th 1999, where his original, entitled ‘Off Cowes’, sold for a phenomenal price for a living marine artist. Steven Dews’ work is avidly collected around the world. Above all, he lives and loves the subjects he paints, and spends any of his spare time, sailing.

Sotheby’s of London described this artist as, "the best, there's nobody else to touch him". He has also been described as one of the UK’s top living marine artists by The Mail on Sunday in January 1999.

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DELPHIN ENJOLRAS (1857 – 1945) La lettre Pastel on paper Size: 27.56 x 20.08 ins / 70 x 51 cms Signed lower left

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Ref: 2426 Provenance: Private Collection, United Kingdom

Delphin Enjolras was a French academic painter. He painted portraits, nudes, and interiors. His primary mediums were watercolours, oil and pastels. He is best known for his intimate portraits of young women performing mundane activities such as reading or sewing, often by illuminated by lamplight. He was born in Courcouron, Ardèche. Enjolras studied under watercolourist Gaston Gerard at the École de Dessin de la Ville de Paris, as well as under the strict academician Jean-Léon Gérôme at the École des Beaux-Arts, and under Pascal Dagnan-Bouveret.

In his early career, Enjolras painted mainly landscapes; later it became evident that his love was for painting women. He changed genres, focusing mainly on the portraiture of elegant young women by either lamplight or black lighting. He would become an excellent painter of nudes, and many of his later works are of an erotic and sensual nature. From 1890 and onwards, Enjolras exhibited his works at the Paris Salon, joining the Société des Artistes Français in 1901. The Musée du Puy and Musée d'Avignon both have collections of his works.

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HENRI FANTIN-LATOUR (French, 1836-1904) Nature Morte- Assiette de Fruits

Signed and dated, 1871 Oil on canvas Size: 7.2 x 10.5 inches / 18.3 x 26.7 cms

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Ref: 3031 Provenance: Collection Henri Vian Sale: Henri Vian; galerie Georges Petit, Paris, 27 November 1919, lot 7; Collection F. & G. Tempelaere, Paris (purchased from the above); E.J. Van Wisselingh, Amsterdam; collection H.E Ten Cate, Almelo, The Netherlands; Sale: Sotheby’s, London, 3 December 1958, lot 58; A. Tooth & Sons, London (purchased from the above); Collection N. Collins, London (purchased from the above); Sale: Sotheby’s, London, 28 June 1989, lot 105; private collection, Switzerland (acquired at the above sale)

Fantin-Latour was born in Grenoble on the 14th January 1836, into the family of Théodore Fantin-Latour, portrait painter and teacher of drawing, and a Russian mother. In 1841, his family moved to Paris. Henri started drawing at an early age, taught by his father, then, from 1850 through 1854 he studied drawing at the school of Lecoq de Boisbaudran. After a short period at the Ecole des Beaux–Arts, he worked temporarily at Courbet’s studio. From 1853 onwards he regularly copied works by the old masters in the Louvre, as well as paintings by Delacroix in the Musée du Luxembourg, and for twelve years lived mainly by copying.

He met Degas in the Louvre in 1855, Manet in 1857 and Berthe Morisot in 1858. In 1858, Henri Fantin-Latour became friends with Whistler and the two artists, along with Alphonse Legros, formed the Société des Trois. In 1859, Whistler invited him to visit London, where through Alphonse Legros and the amateur engraver Edwin Edwards he became associated with the artistic milieu of the English capital, and in 1864 exhibited at the Royal Academy. In London he was especially popular for his flower pieces, which he began to paint in the same year.

He first exhibited at the Salon in Paris in 1861, and in 1862 along with Manet, Legros, Whistler and Jogkind he joined the Société des Aquafortistes. His painting Féérie was displayed at the Salon des Refusés in 1863. Despite close contacts and friendship with Impressionists, he rejected their theories and never took part in their exhibitions.

His portrait groups, Hommage à Delacroix (1864), The Toast (1865), A Studio in the Batignolles (1870), At the Table (1872), Round the Piano (1885) and others, make up a rich gallery of prominent personalities of his time: artists, poets and musicians. He left, according to Madame Fantin-Latour’s catalogue, twenty-three self-portraits. Both his still-lifes and portraits are in the tradition of the realistic manner of the old masters. Fantin’s many lithographs and paintings inspired by imaginative themes, reveal his romantic passion for Wagner, Berlioz and Schumann. These works strongly influenced later symbolist painters, such as Odilon Redon.

In 1875, Henri Fantin-Latour married a fellow painter, Victoria Dubourg, after which he spent his summers on the country estate of his wife's family at Buré, Orne in Basse-Normandie. He was awarded the Legion d’Honneur medal in 1879 before dying from lyme disease in 1904 at the family home in Basse-Normandie.

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SIR WILLIAM RUSSELL FLINT (British, 1880–1969) Traghetto, San Stae, Venice Signed W Russell Flint Watercolour 19.29 x 25.98 inches (49 x 66 cm)

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Ref: 2791 Provenance: Private Collection, United Kingdom This is a stunning scene of a ‘Traghetto’ or large Venetian gondola that show’s Flint’s mastery of watercolour. The traghetti boats were used to cross the Grand Canal in Venice before the Rialto Bridge was built in 1854, and they are still used in Venice today. These boats are normally undecorated and have no luxury trimmings or furniture on-board, in addition they are normally rowed by two oarsmen rather than conventional gondolas with just one oarsman.

Today there are only seven routes used by the traghetti, however when this work was produced there were around 30 routes they could have taken. This painting marks the tragehetto leaving from ‘San Stae’ or the Saint Eustachius Church in central Venice, in the Santa Croce region. Interestingly, within this typically Venetian Baroque Church there are many important artworks, such Giambattista Pittoni’s ‘The Torture of St. Thomas’.

William Russell Flint began his artistic career working for the Illustrated London News from 1903 to 1907. As an illustrator his true renown arose from his illustrations of the 1912 version of Chaucer's Canterbury Tales. In 1924 he illustrated a new edition of Homer's The Odyssey as well.

In the pre-war period, Flint and his wife rented a studio in Rome. It was in Italy that the artist discovered a local model called Peppina from Anticoli Corrado in the Sabine Hills. Her rural charm and natural beauty inspired Flint and made a lasting impression upon him.

Flint fought in the First World War, but after being decommissioned he travelled to Scotland, France, Italy and Spain, where he produced wonderful watercolours and drawings reflecting the local culture and customs. Flint's talent with both the watercolour medium and his skill in depicting the female form created a hallmark style which would later become legendary. In 1962 his work was acknowledged by a retrospective exhibition in the Diploma Gallery of the Royal Academy which was attended by 21,000 visitors.

Flint was elected as a Royal Academician in 1933, became President of the Royal Society of Painters in Watercolour in 1936 and was knighted by King George VI in 1947 alongside the actor Laurence Olivier.

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JOHN ATKINSON GRIMSHAW (1836 – 1893) Humber Dockside Oil on canvas Size: 20.25 x 30.50 inches / 51.44 x 77.47 cms Signed lower left

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Ref: 2880 Provenance: Private Collection, United Kingdom

This highly atmospheric harbour scene is characteristic of Grimshaw during his artistic peak. He painted many urban scenes in which moonlight and shadows were the most striking features, and the towns and docks that he painted most frequently were Glasgow, Liverpool, Leeds, Scarborough, Whitby and London.

Born in Leeds, the son of an ex-policeman, Grimshaw first took up painting while he was employed as a clerk for the Great Northern Railway. He married his cousin Frances Theodosia Hubbarde in 1858. By 1861, he had abandoned his job in order to devote all his time to becoming an artist. In his early work, John Atkinson Grimshaw was influenced by John Ruskin’s creed of ‘truth to nature’ and adopted the detailed Pre-Raphaelite technique of the Leeds painter, John William Inchbold. Grimshaw was also fascinated by the relatively new art of photography and may have used a camera obscura in developing his compositions. Towards 1865, he renounced this painting style. Grimshaw painted many urban scenes in which moonlight and shadows were the most striking features. The towns and docks that he painted most frequently were Glasgow, Liverpool, Leeds, Scarborough, Whitby and London. These works have become Grimshaw’s best known though he also painted landscapes, portraits, interior scenes, fairy pictures and neo-classical subjects. Grimshaw painted mostly for private patrons. He only exhibited five works at the Royal Academy between 1874 and 1876.

By 1870, Grimshaw had become successful enough to move to Knostrop Old Hall, a seventeenth Century mansion about two miles from the centre of Leeds, which featured in many of his paintings. He rented another home near Scarborough which he called ‘The Castle by the Sea’, towards 1876. Grimshaw suffered a serious financial disaster in 1879 and had to leave his house at Scarborough. He moved to London and rented a studio in Chelsea, leaving his family at Knostrop. He returned to Knostrop, where he died in 1893.

Grimshaw painted mostly for private patrons. He only exhibited five works at the Royal Academy between 1874 and 1876.

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PAUL CÉSAR HELLEU (1859 – 1927) Portrait of Madame Helleu in her Yachting dress, circa 1905 Crayon and chalk on paper Size: 25.5 x 16 ins / 64.77 x 40.64 cms Signed

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Ref: 2099 The Helleu family spent their summers yachting; over the years the artist hired four yachts; The Bird, The Brunette, Barbara and L’Etoile, mixing with both English and French society at Deauville, Trouville and Cowes. The ladies in their white yachting dresses, against the backdrop of the bright white sails of the yachts, appealed greatly to the artist and Helleu painted many canvasses of life on board and other harbour scenes.

The authenticity of this work has been confirmed by the Association les amis de PaulCésar Helleu.

To be included in the forthcoming Catalogue Raisonné being prepared by les amis de Paul-César Helleu.

Provenance: By descent from the Marchioness of Huntly, (Daughter of the first Viscount Kemsley Paul César Helleu worked as a painter and an engraver in France at the turn of the century. His work epitomises the charm and elegance of French culture at the time – the belle époque – with all its verve and focus on fashion. Whilst he was renowned for his portraits of society ladies on commission, and those of his childhood sweetheart who later became his wife (Alice Guerin).

Helleu was born in Vannes in 1859 and moved to Paris as a young man. He later became a pupil of Jean Leon Gérome at the École Nationale des Beaux-Arts and became a lifelong friend of fellow student John Singer Sargent. Gérome was to buy his first painting. Artists including Monet, Rodin and Tissot also recognised his talent whilst he was studying in Paris (he was later formally accepted as part of the Impressionist group). In fact, Tissot gave Helleu his own engraving tools because he was in such despair after the death of his beloved Kathleen Newton that he was unable to use them to make art. As a result, Helleu became an excellent drypoint engraver and one can see those skills for draughtsmanship and fine line work in this particular drawing.

Helleu immortalised many beautiful women in paint and graphite because he became the darling of fashionable, aristocratic ladies at the time (including Coco Chanel).

Perhaps what makes him all the more appealing to the modern viewer is that, despite this, he was not a cad; throughout their lives together, his favourite model was his wife.

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PAUL CÉSAR HELLEU (1859 – 1927) Study of a Woman’s face Size: 12.6 x 17.32 ins / 32 x 44 cms Signed lower left

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Ref: 3056

Provenance: Private Collection, Germany

Paul César Helleu worked as a painter and an engraver in France at the turn of the century. His work epitomises the charm and elegance of French culture at the time – the belle époque – with all its verve and focus on fashion. Whilst he was renowned for his portraits of society ladies on commission, and those of his childhood sweetheart who later became his wife (Alice Guerin).

Helleu immortalised many beautiful women in paint and graphite because he became the darling of fashionable, aristocratic ladies at the time (including Coco Chanel).

Perhaps what makes him all the more appealing to the modern viewer is that, despite this, he was not a cad; throughout their lives together, his favourite model was his wife.

This beautiful portrait study shows the artist’s skill and his mastery of the trios crayons technique of using just three colours of chalk, black red and white, to capture his sitters so brilliantly.

Helleu was born in Vannes in 1859 and moved to Paris as a young man. He later became a pupil of Jean Leon Gérome at the École Nationale des Beaux-Arts and became a lifelong friend of fellow student John Singer Sargent. Gérome was to buy his first painting. Artists including Monet, Rodin and Tissot also recognised his talent whilst he was studying in Paris (he was later formally accepted as part of the Impressionist group). In fact, Tissot gave Helleu his own engraving tools because he was in such despair after the death of his beloved Kathleen Newton that he was unable to use them to make art. As a result, Helleu became an excellent drypoint engraver and one can see those skills for draughtsmanship and fine line work in this particular piece.

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DAVID HOCKNEY (British b.1937) Almost Like Skiing, 1991 oil on canvas Signed titled and dated Size: 91.4 x 121.9 cms / 36 x 48 inches Executed in 1991

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Ref: 2962 Provenance Private Collection, USA. Anon. sale, Christie's New York, 11 November 2004, lot 192.

Peter Findlay Gallery, New York.

Acquired from the above in 2005 by Carolyn and Bill Powers Private Collection, New York Exhibited Chicago, Richard Gray Gallery, David Hockney: Recent Pictures, 1992 (illustrated in colour, p.15).

Venice, L.A. Louver Inc., David Hockney; Some New Paintings, Drawings, Prints and Gouaches 1989 1994, 1994.

Painted in 1991, Almost Like Skiing dates from an experimental phase in David Hockney's distinguished career when the artist was producing set designs for Richard Strauss's Die Frau Ohne Schatten, performed at the Royal Opera House at Covent Garden in London in 1992. In this work, whimsical abstracted forms stand proud upon a stage and are set amongst vividly coloured, interlocking shapes, where Hockney has conjured before us a theatre stage that is almost cubist in its composition. The deep royal blue and shadowy greys that are used to give the work a painterly frame help to evokes the darkness of the theatre, drawing our eye to the brightly lit stage and its lyrically surreal backdrop.

The vibrant colours of Almost Like Skiing create a sense of celebratory energy that seems to revel in the freedom that Hockney found returning to paint and canvas after designing sets. Through Hockeny’s use of curves and sweeping forms and his manipulation of the journey of the eye through forms, colour and texture his title is evoked. First the viewer’s gaze is drawn to the swirling circular forms of the centre of the composition, being first lead into the scene by the fresh green and then soaring round the slim white path at the top of the painting on the right hand side. From here we are then directed to double back across the width of the composition, where our gaze then drops down the canvas through a series of warped, curved triangles with our eyes finally resting on the stage below.

Notably, Almost Like Skiing, is a visual forerunner to Hockney’s series of Very New Paintings, that were painted and exhibited in 1992. This work for Hockney was crucial in that is saw him re-connect with the modernist principles enunciated by abstract artists and theorists, and enabled him to explore the limits of realism and abstraction that he so admired in Picasso. This work demonstrates Hockeny’s masterful sense of perspective and his imaginative and illusionistic space in this non-figurative piece.

During this period of abstraction Hockney sought his art to be creative and inventive reflections of subjective experiences, 'Although I am interested in theory, I am not of course a theoretician Picasso or Braque would have looked at their pictures after they were painted, they were not self-consciously thinking of Cubist theory while they painted. You allow a semi-consciousness to tell you how to go on, or else the painting would be intentional, and you couldn't be doing it intentionally. You make the discoveries of what is going on inside you; you don't need to know this; you work intuitively. Cubism was discovered intuitively, it was all intuition. Most artists, good artists, trust their intuition. I trust mine' (D. Hockney, quoted in That's the way I see it, London, 1993, p. 131).

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MARINUS ADRIANUS KOEKKOEK (Dutch 1807-1868 ) A Rest at the Brook, 1853 Oil on canvas Size: 18 ¼ x 24 ¼ ins / 46 x 61.5 cms Signed and dated 1853

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Ref: 3081 Provenance: Private Collection, United Kingdom, Private Collection, Ireland

Marinus Adrianus Koekkoek was born in Middelburg, the Netherlands into one of the most highly regarded artistic families of the Dutch Romantic era. He was the second son of Johannes Hermanus Koekkoek, the Dutch painter and draughtsman and his brothers Barend Cornelius and Hermanus were both successful artists in their own right.

Along with his elder brother Barend, Marinus began specializing in landscape painting in 1837. The two of them shared a studio in Kleve where they both produced works with an acute attention to detail and an emphasis on botanical accuracy.

Barend, was the most well-known member of the family and his magnificent paintings attracted many illustrious patrons throughout his career, including King Friedrich-Wilhelm IV of Prussia and King Willem II of the Netherlands. Due to this he was known as the ‘Prince of landscape painters’ and it is clear that the artist of the present work, Marinus, was highly influenced by his brother.

This carefully constructed Romanticized landscape is a classic example of Marinus’s work, with the foliage around the brook being depicted by Marinus in such a way that the viewer could imagine stepping into the scene themselves. Likewise, the attention to detail in depicting natural light effects has been carefully observed, with the trees casting deliberate shadows on the ground and the clouds adding a sense of atmosphere to this rural scene.

The interplay of the figures on the path and seated group under the tree along with the vast trees and expansive forest in the background suggest that nature reigns above man. This idea of a dominant nature was a common belief at the time Koekkoek was painting and was one of the key ideas behind the Romantic Movement throughout Europe.

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HENRI EUGÈNE AUGUSTIN LE SIDANER (1862 – 1939) La Table : harmonie grise, 1927 Oil on canvas Size: 35 x 29 ins / 80 x 73.75 cms Signed lower right

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Ref: 1853 Le Sidaner completed a series of “Harmonie” table paintings in 1927, in a variety of tones including mauve, rose, white, yellow, green, blue and red in addition to this grey version. The collection of items shown on the table here are beautiful in themselves but they primarily serve to allow Le Sidaner to put his techniques into practice. Undoubtedly the pearls were chosen for their lustre – in contrast to the matt tablecloth – whilst the blooms of the flowers in the vase are painted in detail to give a sense of the intricate beauty of nature juxtaposed against the linearity of the drape created by the manmade tablecloth.

Provenance: Galeries Georges Petit, Paris Mme Philippe Bérard, Paris Hôtel Drouot, Paris, 24th June 1983, lot 91 Christie's, London, 4th April 1989, lot 146 Private Collection, USA Exhibited: Paris, Galeries Georges Petit, Exposition Le Sidaner, 1927, no. 18 Literature: Camille Mauclair, Henri Le Sidaner, Paris, 1928, illustrated p. 211 Yann Farinaux-Le Sidaner, Le Sidaner, l'ouvre peint et gravé, Milan, 1989, no. 602, illustrated p. 224 Henri Le Sidaner was born in Mauritius and moved to Paris at the age of 18, becoming a pupil of Cabanel at the Ēcole des Beaux-Arts in 1884. The artist exhibited in Paris for the first time in 1887 at the Salon des Artistes Français. He also exhibited in Paris at the salon de la Societe Nationale des Beaux-Arts and in 1930 was appointed a member of the Institut at the Academie des Beaux-Arts.

In 1900 he visited the tiny village of Gerberoy (Seine-et-Oise) where he later bought the house which became the inspiration for many of his paintings and where he painted many of his beautiful still lifes. He described the town as a “haven of peace” and also described it as being “seeped in history and gentle nostalgia.” This is probably due to its crucial location both during the battles between the Normans and the English in the 11th Century, and the Hundred Years’ War in the 14th and 15th Century.

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Le Sidaner was interested in, and influenced by, the colour theories and pointillism of Neo-Impressionism that the 1900s brought with it. More specifically, the style of Eugene Carrière (which is characterised by indeterminate colours and a taste for a certain misty atmosphere) was admired by Le Sidaner and the piece seen here can be regarded as a development of Carrière’s technique. The focus for both Sidaner and Carrière was on light and how it could be shown on canvas to give objects a three dimensional effect as well as a sensation of calm and of atmosphere. The painting here causes one to reflect on the essence of stillness and the beauty that light creates, when time and light seem to be diffused.

He worked in the realist style, but his love of penumbra and twilight create a poetic and dreamy quality to his technical expertise. There is also undoubtedly an influence of optics on Le Sidaner’s work. The atmosphere of his paintings, whether they are landscapes or still lifes result from both his delicate style of painting and his choice of subjects.

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HENRI EUGÈNE AUGUSTIN LE SIDANER (1862 – 1939) Table au Clair de Lune, 1928 Oil on canvas Size: 28.75 x 36.25 ins / 73.03 x 91.82 cms Signed lower right

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Ref: 3043 Provenance: Private Collection, circa 1960; Acquired from the estate of the above by the present owner; Private Collection, United Kingdom Literature: Included in Yann Farinaux-Le Sidaner, Yann. Catalogue Raisonné Le Sidanerl’Oeuvre peint et grave, Milan, 1989, no. 648 illustrated, page 241 Henri Le Sidaner was born in Mauritius and moved to Paris at the age of 18, becoming a pupil of Cabanel at the Ēcole des Beaux-Arts in 1884. The artist exhibited in Paris for the first time in 1887 at the Salon des Artistes Français. He also exhibited in Paris at the Salon de la Societe Nationale des Beaux-Arts and in 1930 was appointed a member of the Institut at the Academie des Beaux-Arts.

In 1900 he visited the tiny village of Gerberoy (Seine-et-Oise) where he later bought the house which became the inspiration for many of his paintings and where he painted many of his beautiful still lifes. He described the town as a “haven of peace” and also described it as being “seeped in history and gentle nostalgia.” This is probably due to its crucial location both during the battles between the Normans and the English in the 11th Century, and the Hundred Years’ War in the 14th and 15th Century.

Le Sidaner was interested in, and influenced by, the colour theories and pointillism of Neo-Impressionism that the 1900s brought with it. More specifically, the style of Eugene Carrière (which is characterised by indeterminate colours and a taste for a certain misty atmosphere) was admired by Le Sidaner and the piece seen here can be regarded as a development of Carrière’s technique. The focus for both Sidaner and Carrière was on light and how it could be shown on canvas to give objects a three dimensional effect as well as a sensation of calm and of atmosphere. The painting here causes one to reflect on the essence of stillness and the beauty that light creates, when time and light seem to be diffused.

He worked in the realist style, but his love of penumbra and twilight create a poetic and dreamy quality to his technical expertise. There is also undoubtedly an influence of optics on Le Sidaner’s work. The atmosphere of his paintings, whether they are landscapes or still lifes result from both his delicate style of painting and his choice of subjects.

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DYLAN LEWIS (Born 1964) Lion Lying on Rock, Maquette Bronze Size: 11.50 x 9.50 x 22.50 ins / 29.21 x 24.13 57.15 cms ‘Dylan Lewis S 189’ ‘SCS Foundary’ stamp Edition No: 14 of 15

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Ref: 2466 Provenance: Private Collection, United States

Lewis born in Johannesburg comes from an artistic family. His grandparents were both artists, his late father was a well known sculptor and his mother and brother are now both practising artists.

When he was 18 years he enrolled to study Fine Art in Cape Town. He went on to work at Rodevlei Nature Reserve, always having had a close interest in the natural world. He then took on a number of projects which included the studying of painting and taxidermy at the Ruth Prowse School of Art. Lewis was 25 years when he became interested in sculpture, he spent twelve months at the Timbavati Nature Reserve. Later he travelled to Europe studying art in various museums. He then returned to Stellenbosch where he built his studio and bronze foundry, casting his own works.

In 1995 he represented South Africa at the ‘Artists for Nature Foundation Expedition’ to Cordova Alaska.

Dylan is known to have said the following: ‘I sketch continuously, sometimes for weeks at a time, until an understanding of form and movement emerges, then I sculpt small compositional studies, followed by the final sculpture. Under the surface often lie fully sculpted skeleton and muscle studies. The discipline gives me the freedom to concentrate on the abstract sculptural aspects of the work while retaining the animal form’ His international career covers twenty years of exhibiting in Paris, Sydney, Toronto, Houston and San Francisco as well as many Shows in London, where he is among the few living artists to have held solo auctions at Christies Auction House.

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GUSTAVE LOISEAU (1865-1935) Plaine et Coteaux c.1890 Oil on canvas Size: 54 x 73 cms / 21¼ x 28¾ ins signed ‘G LOISEAU’ lower left

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Ref: 2865 Provenance: Barincou collection Sale: Galerie Georges Petit, Paris, 11 June 1906 Galerie Durand-Ruel et Cie., Paris (acquired at the above sale; until 1949) (no.

5603/8229) Private collection, France Sale: Christie's London, 5 February 2002, lot 116 Private collection, Canada (acquired at the above sale) Sale: Christie’s New York, 7 November 2007, lot 331 Private collection, London (acquired at the above sale) Private Collection, UK Literature: This work will be included in the forthcoming catalogue raisonné being prepared by Didier Imbert.

Gustave Loiseau was born in Paris in 1865 where he soon became an apprentice butcher and then painter, however it was only at the age of 22, that Loiseau's inheritance from his grandmother enabled him to give up his job and devote his life to painting. Moving to Montmartre, he enrolled for one year at the École des ArtsDécoratifs to study life-drawing, until an argument with his teacher prompted him to withdraw.

Departing from the École des Arts-Décoratifs, he reconnected with painter Fernand Just Quignon, whose apartment Loiseau worked as a decorator. He then became a pupil in Quignon's studio. In 1890 he befriended the myriad of artists now known as the Pont-Aven School, most importantly Paul Gauguin, as well as Maxime Maufra and Emile Bernard. This school focused on bold usages of colour and the painting of Symbolist subjects.

He first employed pointillist techniques and then re-found his pure landscape ideals painting 'en plein air' - directly from nature. Later on in his artistic career Loiseau developed a type of 'cross-hatched' technique, called 'en treillis' (latticework), which gives his paintings the supple, almost touchable quality he is known for.

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HENRI MARTIN (1860 – 1943) Kleines Bergdorf, Austria, 1889 Pencil on paper Paper size: 8.27 x 9.84 ins / 21 x 25 cms Signed and dated 1889 lower right

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Ref: 1919 Provenance: Private Collection, United Kingdom

In 1885 Martin took a trip to Italy where he spent four years travelling the country.

During this period it is thought that Martin took time to visit Austria and as a result executed this present drawing.

Present day view of Kleines Bergdorf Henri Martin was born August 5, 1860 in Toulouse. His early works were devoted to poetic and allegorical themes reflecting his training at the Ecole des Beaux-Arts in Toulouse. After winning the Grand Prix he moved to Paris in 1879 to study at the Ecole des Beaux-Arts under Jean-Paul Laurens. Martin exhibited at the Salon des Artistes Français in Paris from 1880, winning a medal at the 1883 Salon.

A visit to Italy in 1885 brought a new lyrical freedom to his work. On Henri Martin's return to Paris in 1889, he began experimenting with pointillism and turned almost exclusively to landscape painting, specializing in the beautiful rolling countryside around his house. He produced colourful canvases full of light, studying the landscapes at different times of the day and rendering works of shadow and sun. In 1889 Henri Martin exhibited at La Fete de la Federation where he was presented with a gold medal.

He was named Chevalier of the Legion of Honour in 1896, and in 1900 won the grand prize at the Exposition Universelle. Martin was named Commander of the Legion of Honour in 1914, and became a member of the Institute in 1918. Henri Martin is buried in the cemetery at La Bastide-du-Vert

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ANNA LEA MERRITT (1844-1930) Luna ‘wandering companionless among the stars that have a different birth’ – Shelley Oil on canvas 20.50 x 16.50 inches.

Signed and dated 1881.

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Ref: 3083 Provenance: Christies, London, Lot No: 64 19th March, 1937.

Private Collection, Uk. ‘Luna’ exhibits a rare moment of intimacy in Merritt’s work. The personification of the moon is not shown full figure in a classical or woodland setting, as are many of her subjects paintings, but rather she is pushed close against the picture plain and cut off at the waist. Luna rolls her head dreamily to the side, her eyes downcast. She is self-contained and sensuous. Sheer waves of glowing white fabric surround and caress her body as she in return grasps it softly with her fingers.

Perhaps the viewer has caught her in a moment just before she runs the smooth handful across her cheek. Indeed, from the perspective she is shown, Luna appears in the guise of a sleepy lover lying in bed sheets. The intimate and almost erotic nature of the image make it likely that this piece was a personal composition, either for herself or for a client, and not meant to be exhibited.

Born in Philadelphia, Pennsylvania, U.S., Anna Lea Merritt arrived in London after completing her artistic education in Paris, Rome and Dresden. Throughout her career she executed a large number of portraits – including many prominent figures such as Horace Howard Furness, James Russell Lowell and Rose Hawthorne – and exhibited extensively at the Royal Academy in London.

The artist was the first woman to have a painting bought by the Chantrey Bequest. ‘Love Locked out’ one of the most prominent works to date, now in Tate Britain, was conceived as a monument to her husband, Henry Merritt, who had died within a year of her marriage.

‘The Moon’ by Percy Bysshe Shelley And, like a dying lady lean and pale, Who totters forth, wrapp’d in a gauzy veil, Out of her chamber, led by the insane And feeble wanderings of her fading brain, The moon arose up in the murky east A white and shapeless mass Art thou pale for weariness Of climbing heaven and gazing on the earth, Wandering companionless Among the stars that have a different birth, And ever changing, like a joyless eye That finds no object worth its constancy?

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Ben Nicholson (British 1894 – 1982) Still Life with Red, 1972 Oil, Gouache, wash and pencil on paper Size: 10.04 x 8.86 inches / 25.50 x 22.50 cms Signed, dated & titled verso

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Ref: 2971 Provenance: Marlborough Galleries, London Galerie Beyeler, Basel Bernard Jacobson, London Private Collection, United Kingdom

This work from 1972, the year after Nicholson returned from Switzerland to live in England. Upon his return Nicholson made frequent trips around Britain and Europe, producing a series of Still Life’s as well as more architectural studies.

Ben Nicholson was the son of the painters Sir William Nicholson and Mabel Pryde, Ben and his siblings all went on to become artists themselves. His first training as an artist began in London at the Slade School of Fine Art, where he was a contemporary of Paul Nash, Stanley Spencer, Mark Gertler, and Edward Wadsworth.

His first notable work was following a meeting with the playwright J. M. Barrie on holiday in Rustington, Sussex. As a result of this meeting, Barrie used a drawing by Nicholson as the base for a poster for the play Peter Pan; his father William designed some of the sets and costumes.

From 1920 to 1933, he was married to the painter Winifred Nicholson and lived in London. After Nicholson's first exhibition of figurative works in London in 1922, his work began to be influenced by Synthetic Cubism, and later by the primitive style of Rousseau. In London, Nicholson met the sculptors Barbara Hepworth (to whom he later married for over 10 years) and Henry Moore.

On visits to Paris (with Hepworth) he met Mondrian, whose work in the neoplastic style was to influence him in an abstract direction, and Picasso, whose cubism would also find its way into his work. His gift, however, was the ability to incorporate these European trends into a new style that was recognizably his own. He believed that abstract art should be enjoyed by the general public, as shown by the Nicholson Wall, a mural he created for the garden of Sutton Place in Guildford, Surrey. In 1943 he joined the St. Ives Society of Artists.

It was in 1954 that both the Tate gallery and The Venice Biennale held major retrospectives of his work, establishing him as not only a very popular but also as an academic artist. Nicholson was awarded the first Guggenheim International painting prize in 1956 and the following year he won the prize for painting at the Sao Paulo Bienal in 1957.

Along with Naum Gabo and Sir Leslie Martin, Nicholson edited the first monograph on constructivist art which was entitled, ‘CIRCLE’. This monograph laid down the ideas and guidelines behind the modernist movement, which had a major impact on art-historical thinking.

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HIPPOLYTE PETITJEAN (French 1854 - 1929) In the Garden Oil on canvas Size: 19 x 15 ins / 48.26 x 38.10 cms Signed

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Ref: 2875 Provenance: Private Collection, Southern France

This lovely sun-filled scene depicts a woman relaxing in her garden by doing some sewing, a common past time in the late nineteenth century in Paris. The dappled sunlight that seeps through the trees creates a sense of warmth to the picture, and the use of purple throughout the canvas brings a sense of harmony to peacefulness to the composition.

Hippolyte Petitjean was a Post-Impressionist painter, born in Mâcon, France in 1854.

From the young age of 13 Petitjean became an apprentice in the workshop of an artisan painter and partook in evening studies at the École de Dessin in Mâcon.

Shortly after beginning this course the town gave him a grant to study in Paris at the Ecole des Beaux-Arts. It was here that Petitjean studied under Alexandre Cabanel and Pierre Puvis de Chavannes, artists who were prominent in Paris at the time.

In 1884 Petitjean met Seurat which turned out to be the most significant event in his career. Seurat convinced Petitjean to join the Neo-Impressionists, where he was then inspired by Paul Signac and Camille Pissarro. As a result, Petitjean adopted the pointillist technique of painting with small, distinct dots of colour to allow the colours to blend as their viewer sees them on the canvas rather than pre-mixing the colours on the palette.

From 1894 Petitjean then developed this technique and began painting with a more feathery brushstroke and looseness of form which is seen in this work.

From 1898 he became an Art teacher in Paris for the Municipal Council. In 1910-12 his style of drawing went back to Neo-Impressionism with a selection of decorative Watercolor’s of Landscapes.

Today, Petitjean’s work is held in important collections worldwide, including the Musée d’Orsay in Paris, The Wallraf-Tichartz-Museum et Fondation Courboud in Cologne, and the Musée Thyssen-Bornemisza, Madrid.

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PABLO PICASSO (1881-1973) Nature Morte a la Pastèque, 1962 Lino Cut Size: 24 x 29 ins / 60.96 x 73.66 cms Signed lower right and numbered 63/160

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Ref: 2770 Provenance: Private Collection, United States Nature morte a la Pastèque is a fine example of Picasso’s eye for composition, where a simple still-life scene is brought to life using the linocut medium. The brightness of the yellow used throughout the work brilliantly captures the warmth of summer sun.

The rays that shine onto the watermelon and bunch of cherries appear to be zapping the fruit with energy and life, making them grow and flourish. The inclusion of a grey border and a heavily outlined composition frames the scene and enhances the beauty of these two pieces of fruit on their table-top setting.

Interestingly, where many of Picasso’s linocuts would only be formed of two colours, this work uses a total of eight colours and was printed on three separate blocks. The artist’s use of crosshatching in the foreground creates an interesting effect on the paper Pablo Ruiz Picasso was born in Malaga, Spain. His father was a painter and a Professor of art at the School of Crafts and the Curator of a local museum. Picasso learnt the basics of art from his father and them went on to attend the Academy of Arts in Madrid, but dropped out within a year of attending it. He made his first trip to Paris in 1900 where he lived with a friend Max Jacob who was a journalist and poet.

Jacob worked in the day and slept at night while Picasso slept during the day and worked through the night. It was a hard time for the artist and many of his paintings were burned to keep himself warm.

During 1901, Picasso started a magazine called ‘Arte Joven’ in Madrid with his friend Soler. He completely illustrated the first edition of the magazine and it was at this point that he began to sign his paintings as simply ‘Picasso’ rather than ‘Pablo Ruiz y Picasso’. While in Paris, the artist had a love of entertaining and had among his friends, Andre Breton and Gertrude Stein. He also had an active love life and usually had several mistresses along with a wife or a primary partner.

All works by Picasso are classified into various ‘periods’ based on the moods and styles of paintings. These were largely affected by his personal life. His career as a painter is said to have begun around 1894. In 1897 his realistic style of painting became influenced by Symbolism and came across in a series of landscapes in which he used violet and green tones in the colours. From 1899 to 1900 was a period where Picasso was creating paintings in a Modernist style which emerged due to his influence and exposure to the works of Rossetti, Edward Munch etc.

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1901 to 1904 is called Picasso’s Blue Period because many of his paintings in that time were in the shades of blue and blue-green. The subjects of these paintings were prostitutes and beggars. It was also during this time, that he began using the image of the harlequin, in checkered clothing, as his personal motif in his paintings.

1905 to 1907 is called Picasso’s Rose Period where his paintings became cheerful with the use of orange and pink colours. There were also many harlequins featured.

1907 to 1909 is called his African Influenced Period where his drawings were inspired by African artefacts. 1909 to 1912 is called Picasso’s Analytic Cubism Period. This style of painting was developed along with Georges Braque and was characterized by the use of monochrome, brown colours.

1912 to 1919 is called Picasso’s Synthetic Cubism Period where he began to use collage in his art. He would add paper fragments of wallpaper or newspaper pages and paste them into his work.

During the 1930s he returned to a more neo-classical style of painting. Another major change was the use of the Minotaur as his motif, rather than the harlequin in his paintings. In the 1950s he started reinterpreting the works of great masters, including Goya, Manet and Delacroix.

In 1967, the ‘Chicago Picasso’ was unveiled. A huge fifty foot sculpture made on abstract themes, defies interpretation. Picasso did not take the $100,000 payment offered for it, but donated it all to the people of the city. From 1968 to 1971 he produced several paintings and copperplate etchings in the style now known as NeoExpressionism.

Pablo Picasso died on the 8th of April, 1973 while he and his wife Jacqueline were entertaining friends for dinner.

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RUBENS SANTORO (1859-1942) The Zattera and church of the Jesuate, Venice Oil on unlined canvas Size: 13.19 x 16.34 ins / 33.5 x 41.5 cms Signed lower right & initialled & dated ’02 on the sail

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Ref: 2425 Provenance: Richard Green Paintings, London; Private Collection, United Kingdom Rubens Santoro was born in Italy in 1859 and was influenced by the great Mariano Fortuny; Santoro’s works reflect similar electric brush strokes and naturalistic details.

Santoro devoted much of his career to painting picturesque, almost photographic, Venetian canal scenes. The crisp colours, sparkling light, and serene compositions make Santoro’s canal scenes some of the most popular in their genre (Source: Bonhams). In this piece, the artist is playing with the colour spectrum, using it successfully to create an impression of the bleached stone of the buildings set against a background of vibrant colour and vibrancy of the Italian sky and the people of Venice going about their business. The use of red is a direct homage to the work of artists such as Boudin, who developed the technique of using specs of red within a muted palette to focus the viewer’s attention. Another example of Santoro’s interest in this style and subject of painting is shown below.

J. B. Bullen’s 2005 work, entitled ‘Continential Crosscurrents’ discusses the impact of British attitudes towards continental painting – particularly that of Venice – on wider art history. His analysis and commentary have the effect of transforming Santoro paintings of Venetian canal scenes from one of pure genre and street scene interest into works with a specific logic behind them.

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Increasingly, during the late nineteenth and early twentieth centuries, the British looked to the continent in their search for origins or in pursuit of sources of purity and originality. This cult of the primitive took many forms, but these included the opening up of new ways of interpreting Venetian painting and the value of, as here, returning to religious subjects in art.

This British interest in Venetian art is reflected in the nation’s general devotion to Santoro’s work since the artist’s mid-career. Sheffield Art Gallery and Manchester Art Museum acquired, and still hold, works completed by the artist at around the same time. How refreshing these images must have been in contrast to the landscape of the industrial Britain! An extract from the Handbook to the Manchester Art Museum from 1880 (p. 45) reads: “At the head of the stairs there is a group of pictures representing human life lived under conditions which contrast strongly with those of life in Manchester. Two oilpaintings, by the Italian artist, Rubens Santoro, show us life in Naples. In one we see a group of women sitting at work in the open air [image below]; in the other we are shown the pause for rest at noon, which is needed in hot countries. The cloud of dust rising from the road tells us of the dry heat of the climate. In both pictures we see bright blue skies and the sharp definition of objects given by strong light and clear air.”

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HENRY GEORGE TODD (1846-1898) Still Lifes A Pair, Oil on canvas Size: 12.25 x 10.25 ins / 31.12 x 26.04 cms each Both signed and dated 1879 lower right

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Ref: 2229 Provenance: Private Collection, Florida

Henry George Todd was born in Bury St Edmunds, in Suffolk. When Todd reached the age of 18, it was decided that he should attend art school where he could develop his artistic talent. He subsequently enrolled at the Royal Kensington School of Art, where he studied painting and drawing, and became a great admirer of the Dutch Masters.

At the age of 22 Henry Todd returned to Suffolk, where he entered the family business, working in design, decoration and gilding. After a few years in Bury, Todd left for Ipswich where he obtained a position with Stearns - the most important decorating company in the town. Although Todd was working full time he still found time to paint his still life pictures and Suffolk landscapes.

In his day he was said to be one of the finest grape painters. His work has a quality reminiscent of the Dutch School. Todd's early works have been confused with those of Edward Ladell.

Henry George Todd exhibited at the Royal Academy in 1888 and at the Ipswich Fine Art Society from 1875 to 1897.

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LOUIS VALTAT (1869 – 1952) A Quiet Moment Oil on board Size: 7.25 x 7.25 ins / 18.41 x 18.41 cms Initialled ‘LV’ Lower left

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Ref: 3096 Provenance: Private Collection, Florida, USA

Born in Normandy and raised near Versailles, Louis Valtat decides to follow an artistic career and enrols at the École des Beaux Arts de Paris in 1887. He continued his studies at the Académie Julian under Jules Dupré (1811-1889) who was a Barbizon landscape artist.

As a Parisian art student, he befriended Albert Andre (1869-1954), Maurice Denis (1870-1943), Pierre Bonnard (1867-1947) and Edouard Vuillard (1868 – 1940) – all members of the Nabis movement influenced by Paul Gauguin’s sythesist methods – using simple forms and strong, pure colours. Valtat did not become a Nabi, but he did learn and later used their style as an influence.

Valtat exhibited throughout his career and even worked together with sculptor Aristide Maillol (1861-1944) on some projects, and with Henri Toulouse-Lautrec (1864-1901) on the décor of the Paris theatre L’Ouevre in 1894. Valtat’s health obliged him to move to the Mediterranean coast in the autumn and winter seasons.

Here he and his family would often visit Paul Signac (1863-1935) in Bollée and Pierre-Auguste Renoir (1841-1919) in Cagnes.

Valtat’s brushwork employs light strokes inspired by the Impressionists, combined with strong outlines influenced by his contemporaries. His father was trained in landscape painting, and Valtat completed some landscapes, but his most famous works were of still lifes. He is known as a member of the fauvists – a French term sometimes translated as “wild beasts” – for their aggressive use of colour.

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MAURICE DE VLAMINCK (1876-1958) Le Bouquet Oil on canvas Size: 21.50 x 18.11 ins / 54.60 x 46 cms Signed lower right

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Ref: 2873 Provenance: Dr Ruth Morris Bakwin, New York Perls Galleries, New York (no.6135)(titled Le Bouquet Estival and dated 1937 on label on verso) Mr Herbert Landsberger, Ridgefield, Connecticut (acquired from the above in 1958) Private collection, U.S. (acquired in 1966) Sale: Sotheby’s New York, 18 May 1990, Lot 395 (sold for $286,000) Private collection, London

Maurice de Vlaminck was three years old when his family moved from Paris to Vésinet. He first pursued the same musical career as his parents, who were both musicians, leaving his home as a trained double-bass player in 1892 to move to Chatou near Versailles.

After absolving his military service in Vitré Maurice Vlaminck worked as a musician until he accidentally met André Derain in 1900. It was Derain who kindled Vlaminck's artistic ambitions. He decided to become a painter and rented an old hut in which he and Derain shared a studio.

A crucial turning point in Vlaminck's artistic development was a visit to a van Gogh exhibition in Paris in the following year. In 1902 the young painter met Henri Matisse, who encouraged him to exhibit at the "Salon des Indépendents". In 1905 Maurice Vlaminck had a group exhibition with Matisse, Derain, Friesz, Manguin and others at the "Salon d'automne". The radically new colour scheme with large areas of pure colour inspired the critic Vauxelles to refer to the artists as the "Fauves". The lively acceptance of this new painting style is reflected in the following acquisition of Vlaminck's entire work by the art dealer Ambroise Vollard. He also arranged the artist's first one-man exhibition in 1906. A brief interest in Cubism is merely reflected in a short intermezzo of a few Cubist compositions.

Maurice Vlaminck's artistic work was interrupted for four years in 1914 when he was drafted into the war. After his release Vlaminck established a small studio in Paris where he prepared for his next exhibition. It took place in 1919 at Druet, bringing about the artist's definite break-through. The show was so successful that he was able to buy a house in Valmondois in the same year. Here, in this rural environment, Vlaminck was finally able to develop his own style as a landscape painter. His interest in rural landscapes never ceased, even after his move to the Département Eure-etLoire in 1925.

His work was honoured in numerous international exhibitions during the 1930s. The last years of Maurice Vlaminck's life were determined by his friendship with the Swiss doctor Sigmund Pollag, who collected the artist's graphic oeuvre and donated it to the Kunstmuseum Bern in 1970.

Vlaminck wrote more than 20 books, including autobiographic texts.

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Andy Warhol (1928-1987) Marilyn

Screen print in colour published in 1967 on wove paper size: 39.5 x 32 ins/ 100.33 x 81.28 cms Signed in pencil on the reverse, lower left Stamp Numbered 135/250 verso (lower right) and Aetna silkscreen Products Inc New York, lower centre

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Ref: 2839 Provenance: Private Collection

Andy Warhol was an American painter, film-maker and author. Born in Pittsburgh and originally named Warhola, he studied pictorial design at the Carnegie Institute of Technology, Pittsburgh, 1945-9. In 1949 he moved to New York and worked as a commercial artist when he was awarded the Art Directors' Club Medal for his shoe advertisements 1957.

Obsessed with celebrity, consumer culture, and mechanical (re)production, Pop artist Andy Warhol created some of the most iconic images of the 20th century. As famous for his quips as for his art—he variously mused that “art is what you can get away with” and “everyone will be famous for 15 minutes”—Warhol drew widely from popular culture and everyday subject matter, creating works like his 32 Campbell’s Soup Cans (1962), Brillo pad box sculptures, and portraits of Marilyn Monroe, using the medium of silk-screen printmaking to achieve his characteristic hard edges and flat areas of colour.

Known for his cultivation of celebrity, Factory studio (a radical social and creative melting pot), and avant-garde films like Chelsea Girls (1966), Warhol was also a mentor to artists like Keith Haring and Jean-Michel Basquiat. His Pop sensibility is now standard practice, taken up by major contemporary artists Richard Prince, Takashi Murakami, and Jeff Koons, among countless others.

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