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THOMAS LUNY (1759 – 1837) Indiamen at anchor off Saint Helena Oil on canvas Signed and dated 1788 Size: 34.25 x 57.50 ins / 87.63 x 146.05 cms
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Ref: 1966 Provenance: John Trude Fripp; Private Collection, United Kingdom Exhibitions: Earls Court, London Naval, Shipping and Fisheries Exhibition, 1905, no. 1085 (incorrectly described as a view of Table Bay)
Saint Helena Island: Situated in the middle of the Atlantic Ocean, Saint Helena is one of the world’s most isolated islands. Crossing the Atlantic Ocean at the border between Namibia and Angola, Saint Helena Island will appear just less than half way to Brazil. It is the most populous of the United Kingdom’s territories in the South Atlantic.
Uninhabited when first discovered by the Portuguese in 1502, Saint Helena was garrisoned by the British during the 17th Century, to be used as a refreshment station for ships travelling to and from the East. It was a welcome port of call after many months at sea on the return voyage from India. The island has two museums. Longwood House, Napoleon Bonaparte’s home during the last years of his life has exhibits which make it the best Napoleonic museum in the world. The island’s own museum is managed by the Heritage Society. This museum is situated in Jamestown. It is the island’s only town and retains many of the Georgian buildings built in the heyday of sailing ships. This museum overlooks the harbour where the East India Company’s ships anchored to rest their crews and take on fresh provisions. Saint Helena Island was also known as the place of Napoleon’s exile from 1815 until his death in 1821. Its importance as a port of call declined after the opening of the Suez Canal in 1869.
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The artist was born in Cornwall. He painted mostly seascapes and other marine-based works. At the age of eleven, Luny left Cornwall to live in London. There he became the apprentice of Francis Holman, a marine painter who was to have a great and long lasting artistic influence on Luny. In September 1777, Luny left Holman's studio for a short period, to journey over to France. During this particular expedition he obviously travelled further. His first exhibited picture in London, (seen at the Society of Artists that same year), was given the title: ‘A distant view of the island of Madeira and Porto Santo', suggesting that an engraving had inspired his choice of subject. Luny was frequently exhibiting at The Royal Academy in a total of twenty-nine exhibitions between 1780 and 1802. In Leadenhall Street, Luny became acquainted with a "Mr. Merle", a dealer and framer of paintings who promoted Luny's paintings for over twenty years, to great success. The artist also found a wealthy source of business in Leadenhall Street, where the British East India Company had their headquarters; their officers commissioned many paintings and portraits from him. This relationship between the Company and Luny also had several non-monetary benefits. It seems probable that considering the great detail and realistic look of many of his sketches of locations such as Naples, Gibraltar, and Charleston, South Carolina, Luny was occasionally invited as a guest on the Company's ships for special occasions and voyages.
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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; 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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PAUL CÉSAR HELLEU (1859 – 1927) Portrait of an Elegant Lady Pencil and coloured chalks on paper Size: 11.22 x 13.39 ins / 28.50 x 34 cms Signed in pencil lower left
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Ref: 2122 Provenance: Private Collection, United Kingdom 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. 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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HENRI MATISSE (1869-1954) Tete Nezy, 1942 Ink on paper Size: 11 x 15 ins./27.94 x 38.10 cms Initialled lower left
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Ref: 2238 Provenance: Estate of the artist; Thence by descent; Private Collection, New York This drawing comes with a certificate of authenticity from Wanda de Guebriant, dated 29.02.2005, H291 in the archives of the artist
Henri Matisse was a French artist who worked as a draughtsman, sculpture, printmaker and most importantly painter. He was born in Nord-Pas-de-Calias, France and grew up in Northeastern France but went off to Paris to study law at the age of 19. Shortly thereafter he began to paint. In 1891 he became a student of William-Adolphe Bouguereau, focusing his art on still lifes, landscapes, and Chardin paintings in the Louvre. But ultimately it was John Peter Russell who Matisse credits with teaching him about color. Matisse’s prominence in Modern Art has been cemented by his near ubiquity in international museums. His style was unique and while it evolved over the course of his artistic career his expressive use of color. The first artistic movement Matisse was associated with was the Fauves who used bold and wild colors that were often different than the natural colors of the objects being displayed. Matisse became friends with many of the major artists in Montparnasse and was influential in exchanging ideas with artists like Derian and Picasso. Matisse’s work continued to mature and in 1910 he did what many consider to be his most important work Le Danse for the Russian patron Sergei Shchukin. In 1917 Matisse left Montparnasse for the French Riviera. His work began to become more simplified in form and while he retained his work ethic the pictures from this later time in his life appear to be more relaxed.
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JOHN STEVEN DEWS (Born 1949) Overhauling sails before the heat of the day, “Sea Witch” Hong Kong 1849 Oil on canvas Size: 76.20 x 111.76 cms / 30 x 44 Inches Signed lower left
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Ref: 2989 Provenance: Private Collection, United Kingdom
The artist was born in Yorkshire in 1949. Following his graduation, Stephen 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, Stephen 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. Stephen Dews’s 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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SAM FRANCIS (America 1923-1994) Untitled (69-008) 1969 Acrylic on paper Signed and dated verso Size: 78.7 x 109.2 cms / 31 x 43 inches
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Ref: 2958 Literature: Sam Hunter,American Art of the 20th Century, Harry N. Abrams, 1972, p. 197, plate 362 (illustrated) This work is registered at the Sam Francis Foundation under SF: 69.008 Provenance Andre Emmerich Gallery, New York Private Collection, Nevada
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DAMIEN HIRST (Born 1965) Butterfly Spin Painting Acrylic on paper Size: 21.25 x 27 ins / 54 x 68.60 cms Stamped signature and dated on stamp on verso
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Ref: 2960 Provenance: Private Collection, United Kingdom Created with public collaboration at the Damien Hirst spin workshop to celebrate the opening of requiem at the Pinchuk Art centre, Ukraine.
Hirst is one of the most prominent artists of his generation. His widely recognised and often controversial works include a dead shark suspended in formaldehyde, a dissected cow and her calf, two huge windowless exhibition rooms swirling with live tropical butterflies hatched from pupae pinned to canvasses, not to mention the outrageously extravagant diamond-encrusted skull with a cool price-tag of £50million. Hirst’s work calls into question our awareness and convictions about the boundaries that separate life and death, beauty and horror, reason and faith, desire and fear, and the tireless theme of love and hate. Often using the iconography of science and religion, Hirst creates sculptures and paintings whose intensity transcends our familiar understanding of these concepts. The artist has said:- “There are four important things in life: religion, love, art and science. At their best, they’re all just tools to help you find a path through the darkness. None of them really work that well, but they help. Of them all, science seems to be the one right now. Like religion, it provides the glimmer of hope that maybe it will be all right in the end…”. Hirst first came to the public attention in 1988 when he conceived and singlehandedly curated “Freeze”, an exhibition of his work and that of his fellow students at Goldsmith’s College, London. In the quarter century since that pivotal show, Hirst has gone from strength to strength to reportedly become the UK’s richest living artist. With exhibitions worldwide Hirst remains in a league of his own when it comes to both making and marketing works of art. And whilst he is no stranger to controversy, Hirst is also renowned for his charitable generosity including a recent auction of his Mickey Mouse remake which raised just shy of £1million for a children’s charity.
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BERNARD BUFFET (1928-1999) La Grande Mosquee Oil on canvas Size: 114 x 146 cms / 44.8 x 57.5 Signed and inscribed
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Ref: 2956 Provenance: Opera Gallery, Singapore Acquired from the above by the previous owner Private Collection, United Kingdom This work is accompanied by a photo-certificate from Galerie Maurice Garnier. This is one of Bernard Buffet’s latest works, as it was completed just four years before his death in 1999. Parisian Born Buffer studied at the École Nationale Supérieure des Beaux-Arts (National School of the Fine Arts) from 1944-5. He was awarded the Prix de la Critique jointly with Lorijou in 1948 at the mere age of 20, and from then onwards he managed to achieve international celebrity almost imminently. Buffet’s work is characterized by his highly stylised linear forms, and still life’s that are expressive of austere and anxious periods in France during the Occupation. His work during this period was often rather somber and he used a much more muted colour palette than in his later works. In 1955 he was voted the most outstanding young French painter by Parisian critics who listed their top ten post-war artist in the ‘Connaissance’ magazine. Three years later, in 1958 he was given his first retrospective at the age of just 30. In 1961 he painted a series of religious works, depicting the life of Jesus Christ. These paintings were intended to decorate the interior of the Chapelle de Chateau l’Arc in Marseilles. These works, however, are now on display in the Vatican museum as they were offered there at the request of monseigneur Pasquale Macci who was at the time, secretary to Pope Paul VI. Buffet’s oeuvre consists of more than 800 paintings whilst he also worked as an illustrator and stage designer. Throughout his career his works can be seen to reflect the artist himself, with their unmistakable Gothicism and elegant forms that are somewhat somber and melancholy, yet at the same time create a strong sense of power.
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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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EUGÈNE BOUDIN (1824 – 1898) Port, Les Oriflammes Oil on board laid down on Cradled Wood Size: 7.76 x 12.87 inches / 19.70 x 32.70 cms Signed lower left
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Ref: 2872
Provenance: Gustave Cahen, Paris. Anon, Sale. Christies, London 28 June 1988, lot 111 The estate of Paul Mellon (Acquired at the above sale by the late owner) Literature: C. Roger-Marx E.Boudin, Paris 1927 (illustrated, p17 with Incorrect support) R. Schmit, Eugene Boudin, Paris 1973 vol 1, page 73 No 231 (Illustrated)
Born in Trouville, France, Eugène Boudin is known for his paintings of the sea. In 1835 his family moved to Le Havre, where Boudin began working as an assistant to his father. There he came into contact with local artists and exhibited the paintings of Constant Troyon (1810-1865) and Jean-François Millet (1814-1875) in his stationery shop, who, along with Jean-Baptiste Isabey (1767-1855) and Thomas Couture (18151879) encouraged young Boudin to follow an artistic career. At the age of 22 he abandoned the world of commerce, began painting full-time, and travelled to Paris and then through Flanders. In 1850 he earned a scholarship that enabled him to stay in Paris, although he often returned to paint in Normandy and, from 1855, made regular trips to Brittany. He was profoundly influenced by Dutch 17th Century masters and on meeting the Dutch painter Johan Jongkind (1819-1891), who had already made his mark in French artistic circles, Boudin was encouraged by him to paint outdoors (en plein air). In 1857 Boudin met the young Claude Monet who spent several months working in Boudin’s studio. They remained lifelong friends and Monet later paid tribute to Boudin’s early influence. Boudin joined Monet and his young friends in the first Impressionist exhibition in 1874, but never considered himself a radical or innovator. He debuted at the Paris Salon in 1859 and received a third place medal at the Paris Salon of 1881 followed by a gold medal at the 1889 Exposition Universelle. In 1892 he was made a knight of the Légion d’honneur.
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JOHN SINGER SARGENT (1856-1925) Cypresses and Pines Oil on canvas Canvas size: 28 x 36 ins / 71.12 x 91.44 cms Signed lower right Painted in the autumn of 1913
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Ref: 2806 The painting will appear in vol. 8 of the Sargent catalogue raisonne 'Figures and Landscapes, 1908-1913' to be published in 2014 by Yale University Press. “Cypresses and Pines was probably painted on the slopes of Mount Baldo, lying inland from Lake Garda, possibly ‘the wonderful sacred mountain near here (San Vigilio) with wonderful cypresses and stone pine’, which is mentioned by Jane de Glehn in a letter to Roger Quilter of 13 October 1913: ‘It is wonderful in the afternoon and evening. There is no-one there but a little cow herd who chants and is answered a long way off by another. Wilfrid and John are doing lovely things up there’. I think it is a magnificent work, with late afternoon sunlight streaming into the glade, and the trees standing round like silent sentinels. Maybe the little boy is the cowherd mentioned by Jane de Glehn.” Richard Ormond February 2013 Provenance: M. Knoedler & Co., London, November 1913; M. Knoedler & Co., New York, June 30, 1914; Robert J. Edwards, December 1914; Copley Gallery, Boston, c. 1924; Private Collection, New York and Florida, c. 1920s; By descent in the family until 2008 Exhibited: Royal Academy, London, 1914, no. 220; The oil was widely reviewed in the press and much praised:Literature: “Art at Home and Abroad: Sargent at the Royal Academy,” New York Times, May 17, 1914, SM10:‘Cypresses and Pines (220) is a likeness of nature and nothing more. But here we are carried away by the force of the illusion. We can almost smell the sharp aromatic scene and hear the crackling grass of the hot Southern hillside; and there is a rhythm, too in the paint, lacking in the portrait (of Henry James), which seems to express the painters eagerness of definition and which communicates to us his (Sargent) own delight in the sharpness of his sensations’. An extract from the article.
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The Evening News called it perhaps the best landscape in the Royal Academy Exhibition. The Daily Telegraph described the picture as ‘a study of all penetrating Italian sunlight and luminous shadow, superbly composed, and painted with a certainty, an accomplishment that could hardly be surpassed. It is a moment of intense though only exterior beauty that we have here so vividly realised; a vibration of all Nature in response to the victorious wooing of the sun’.
Born in Florence to American parents, John Singer Sargent went on to become a wellknown portrait painter of the rich and famous at the turn of the twentieth century. He worked in manic amounts: his oeuvre includes around nine hundred oil paintings and more than two thousand watercolours, without counting his sketched and charcoal drawings. After growing up in Italy, Sargent initially applied to the Academy of Florence. The school was reorganising at the time and instead Sargent moved to Paris to study with Carolus-Duran (1837-1917). He entered the École des Beaux-Arts, in 1874. He won a silver prize in his drawing and anatomy classes there. He shared a studio with James Carroll Beckwith, who became both a valuable friend and his primary connection with the American artists abroad – but he spent most of his time alone, drawing and painting in museums and outside. In 1879, Sargent exhibited at the Paris Salon with a painting of his teacher, CarolusDuran. He was only twenty-three at the time, and this success both served as a tribute to his teacher and an advertisement for portrait commissions. By the 1880s, he was a regular exhibitor. Most of his works were full-length portraits of women including Madame Edouard Pailleron in 1880 and Madame Ramón Subercaseaux in 1881, clad in finery and received with positive critical responses. In 1884 he caused a controversy by exhibiting Portrait of Madame X (Madame Pierre Gautreau), now housed in the Metropolitan Museum of New York. The work is now considered one of his best works, and was the artist's personal favourite at the time. At the time, however, the untoward forwardness of the portrait and the reactions it caused when it was unveiled at the Salon in Paris was likely the reason for Sargent’s decision to move to London afterwards.
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He thrived in London as he had in Paris. He exhibited at the Royal Academy in 1887, with the Carnation, Lily, Lily, Rose. This large piece painted on site of two young girls lighting lanterns in an English garden was produced in the Cotswolds village of Broadway, on the same High Street as Trinity House gallery. The painting was immediately purchased by the Tate Gallery, where it is still exhibited today. Sargent travelled extensively, painted constantly and inspired countless people, making him one of the most proclaimed portrait artists of the turn of the twentieth century.
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NEIL B. HELYARD (born 1951) Pipeo Mixed media on paper laid on board Size: 60.96 x 60.96 cms / 24 x 24 ins Signed lower right
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Ref: 2932 Provenance: Acquired directly from the artist
Neil Helyard is a talented draughtsman, whose work focusses on portraiture and the human and living form. Born in Beverley, East Yorkshire in 1951, Neil Helyard always had a passion for art. Whilst working as an art tutor and mentor, and drawing on influences from Auerbach, Egon Schiele and the Italian Renaissance period, Neil pursued this passion, establishing himself for his variety of portrait styles and for executing his work in both a classical and contemporary manner whilst working in varying mediums. This varying style and medium, together with Neil’s use of colour, creates a dramatic, exciting and unexpected effect. ‘I need to satisfy my own creativity. A lot of artists only paint in one style, however for me, my style, whether it be classical, contemporary or expressive, depends very much on how I feel.’ Neil Helyard Initially exhibiting in private galleries, Neil quickly progressed to exhibit in numerous prestigious exhibitions held at the Royal Society of Portrait Painters (Annual Exhibitions) from 2005, winning the Prince of Wales Award for Portrait Drawing in 2009; The Royal Watercolour Society; The Pastel Society; The Garrick/Milne 2005 (Christies, London) and Leeds City Art Gallery to name a few. In his finished works, Neil succeeds to reveal the beauty in everyday life, celebrating his subjects in his own distinctive style.
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NEIL B. HELYARD (born 1951) My Gang II Oil on Canvas Size: 91.44 x 91.44 cms / 36 x 36 Inches Signed lower right
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Ref: 2934 Provenance: Acquired directly from the artist
Neil Helyard is a talented draughtsman, whose work focusses on portraiture and the human and living form. Born in Beverley, East Yorkshire in 1951, Neil Helyard always had a passion for art. Whilst working as an art tutor and mentor, and drawing on influences from Auerbach, Egon Schiele and the Italian Renaissance period, Neil pursued this passion, establishing himself for his variety of portrait styles and for executing his work in both a classical and contemporary manner whilst working in varying mediums. This varying style and medium, together with Neil’s use of colour, creates a dramatic, exciting and unexpected effect. ‘I need to satisfy my own creativity. A lot of artists only paint in one style, however for me, my style, whether it be classical, contemporary or expressive, depends very much on how I feel.’ Neil Helyard Initially exhibiting in private galleries, Neil quickly progressed to exhibit in numerous prestigious exhibitions held at the Royal Society of Portrait Painters (Annual Exhibitions) from 2005, winning the Prince of Wales Award for Portrait Drawing in 2009; The Royal Watercolour Society; The Pastel Society; The Garrick/Milne 2005 (Christies, London) and Leeds City Art Gallery to name a few. In his finished works, Neil succeeds to reveal the beauty in everyday life, celebrating his subjects in his own distinctive style.
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NEIL B. HELYARD (born 1951) Racing, III Mixed media on canvas Size: 36 x 36 ins / 91.44 x 91.44 cms Signed lower right
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Ref: 2729 Provenance: Acquired directly from the artist
Neil Helyard is a talented draughtsman, whose work focusses on portraiture and the human and living form. Born in Beverley, East Yorkshire in 1951, Neil Helyard always had a passion for art. Whilst working as an art tutor and mentor, and drawing on influences from Auerbach, Egon Schiele and the Italian Renaissance period, Neil pursued this passion, establishing himself for his variety of portrait styles and for executing his work in both a classical and contemporary manner whilst working in varying mediums. This varying style and medium, together with Neil’s use of colour, creates a dramatic, exciting and unexpected effect. ‘I need to satisfy my own creativity. A lot of artists only paint in one style, however for me, my style, whether it be classical, contemporary or expressive, depends very much on how I feel.’ Neil Helyard Initially exhibiting in private galleries, Neil quickly progressed to exhibit in numerous prestigious exhibitions held at the Royal Society of Portrait Painters (Annual Exhibitions) from 2005, winning the Prince of Wales Award for Portrait Drawing in 2009; The Royal Watercolour Society; The Pastel Society; The Garrick/Milne 2005 (Christies, London) and Leeds City Art Gallery to name a few. In his finished works, Neil succeeds to reveal the beauty in everyday life, celebrating his subjects in his own distinctive style.
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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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EDGAR HUNT (1876 – 1955) Farmyard Friends A pair, Oil on canvas Size: 12 x 18 ins / 30.48 x 45.72 cms each Signed and dated 1918
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Ref: 2616 Provenance: Private Collection, United Kingdom
Edgar Hunt and his brother Walter who were born in Birmingham, were the third generation in the Hunt family to become artists. His grandfather was Charles Hunt (1803-1877) who was well-known for his humorous genre subjects which he exhibited from 1846 at the Royal Academy and other prestigious venues. Edgar's father was Charles Hunt Jr. (1829-1900). He painted in a similar vein to his father but he also did some animal subjects. With this background of artistic achievement it was natural for Edgar and Walter (1861-1941) to become painters. Edgar had no formal art training but was schooled by his father. He specialised in painting exquisitely detailed works of farmyard scenes and animals, executed meticulously in a realistic style which never changed throughout his career. Hunt was devoted to animals from a very early age. He had originally intended to be a farmer and had worked on a farm near Lewes in Sussex for a short period. The artist lived in the Midlands and sold many of his pictures there. As a result of the Industrial Revolution the middle classes in England had grown increasingly wealthy. Those who had made money in the towns yearned nostalgically for an image of the country and the demand for animal paintings was huge both in England and abroad. Hunt continued the tradition of English animal painting which had begun with Landseer. Landseer was the first English artist to portray animals for their own sake, imbuing them with human characteristics and emotion. Other artists of the period continuing the pastoral tradition were T.S. Cooper, E. Verboeckhoven and Verhoesen. Edgar Hunt was best known for his paintings of chickens but he also painted other birds such as ducks which were very popular during the period. Donkeys, goats and ponies were also in demand and at which he excelled. He was not a public man and rarely exhibited his work. However, he did show eleven animal scenes at the Royal Society of Artists in Birmingham. He was a great friend of the artist J.F. Herring Jr. (1815-1907) by whom he was influenced artistically. Highly successful during his life-time, Edgar Hunt remains ever popular to this day with collectors throughout the world avidly seeking his work.
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SIR WILLIAM RUSSELL FLINT (1880 – 1969) A Blue Day, Bamburgh, 1921 Watercolour Size: 10 x 13 ins / 25.40 x 33.02 cms Signed lower right, also signed, titled and dated Aug. 1921 verso
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Ref: 2816 Provenance: Frost & Reed, Bristol, 1951; Private Collection, Chicago, acquired from the above; Thence by descent The artist describes the view on the reverse of this work as follows: "In the extreme distance is the Berwickshire Coast stretching out to St. Abbs Head & on the right is Holy Island (Lindisfarne) with its old castle."
William Russell Flint moved to London in 1900. Initially employed to do medical drawings, he was later appointed to work on 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 paintings of Spanish girls were particularly popular, both as originals and reproductions, and escalated his standing amongst art collectors. 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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