TRINITY HOUSE - A collection of Fine Paintings by Masterart

A collection of Fine Paintings from Britain and Europe

67 High Street Broadway Worcestershire WR12 7DP Telephone: 01144 1386 859329 Facsimile: 01144 1386 859298 Website: www.trinityhousepaintings.com 1

Welcome Steven and I are delighted to present our latest online cataloge to you. We have assembled a strong selection of paintings from French Impressionism, including works by luminaries such as Eugene Boudin, Leon Lâ&#x20AC;&#x2122;hermitte, Alfred Sisley and Pierre Auguste Renoir. Collectors and curators already familiar with our gallery will also be aware that we have established a strong reputation dealing in Modern British masters and works by Sir Alfred Munnings, Sir Herbert James Gunn and Charles Spencelayh, which are also to be found within these pages. This cataloge is a representation of the many fine paintings that we shall exhibit at the American International Fine Art Fair in Palm Beach from February 3 - 8 in booth 602. We look forward to meeting with our American clients and welcoming new visitors to our gallery. If you would like further details on any of the paintings featured here, or would like to reserve a painting for purchase prior to the show, then please do not hesitate to contact the gallery. We are delighted to invite you as our guest to the show, for complimentary tickets please contact Ms Tara Hanks, tara@trinityhousepaintings.com From all at Trinity House we wish you a very happy holiday season and look forward to meeting you in Palm Beach. Simon Shore Director

Léon Augustin L’hermitte (French 1844 - 1925)

La Fenaison

A realist artist whose primary subject matter was of rural scenes depicting the peasant worker. He gained recognition after his show in the Paris Salon in 1864.His many awards include the French Legion of Honour (1884) and the Grand Prize at the Exposition Universelle in 1889. Lhermitte’s innovative use of the then contemporary media of pastels won him the admiration of his contemporaries. Vincent Van Gogh wrote that “If every month Le Monde Illustré published one of his compositions...it would be a great pleasure for me to be able to follow it. It is certain that for years I have not seen anything as beautiful as this scene by Lhermitte...I am too preoccupied

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by Lhermitte this evening to be able to talk of other things.” [1]Lhermitte’s etchings and paintings are housed in museums around the world including Boston, Washington, Chicago, Montreal, Brussels, Rheims, Paris, Moscow and Florence. The authenticity of this work has been confirmed by the Comité Lhermitte, Galerie Brame & Lorenceau, who will be including it in the supplement to their catalogue raisonné on the artist. Provenance: Private European Collection

Pastel on paper laid on canvas 19 inches 24 inches L L’hermitte lower right

Eugene Boudin (French 1824 - 1898)

Golfe Juan l’escadre dans la baie

In 1857 Boudin met the young Claude Monet who spent several months working with Boudin in his 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.

Born in Trouville, France, into a seafaring family, Eugène Boudin is mostly known for his paintings of the sea. In 1835 his family moved to Le Havre, where his father established himself as stationer and frame-maker and Boudin began work as his assistant before opening his own small shop. There he came into contact with local artists and exhibited the paintings of Constant Troyon and Jean-François Millet in his shop, who, along with Jean-Baptiste Isabey and Thomas Couture 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.

Debuted at the Paris Salon in 1859. He received a third place medal at the Paris Salon of 1881, and a gold medal at the 1889 Exposition Universelle. In 1892 he was made a knight of the Légion d’honneur. Provenance: Wildenstein & Co., New York Literature: This painting is listed as no. 3073 in vol. 3 of Robert Schmit’s Catalogue raisonné of the artists work.

He was profoundly influenced by Dutch 17th century masters and on meeting the Dutch painter Johan Jongkind, who had already made his mark in French artistic circles, Boudin was encouraged by him to paint outdoors (en plein air).

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Exhibitions: Paris, Salon of 1893

Oil on canvas 21 ¾ inches 35 ½ inches E. Boudin 93 Golfe Juan-Avil.

Alfred Sisley (British 1839 - 1899)

Bord de Seine près de Saint Cloud

Although his wealthy English parents had originally intended him for commerce, Sisley began painting as an amateur, and in Charles Gleyre’s studio in 1862 he began his association with Claude Monet, Pierre-Auguste Renoir, and Jean-Frédéric Bazille. The Franco-German War of 1870–71 brought financial ruin to the Sisley family and caused Sisley to flee temporarily to London. At this period of crisis he decided to make painting his full-time career. The rest of his life was a constant struggle against poverty. Shortly after his death his talent began to be widely recognized, and the price of his work rose sharply.Sisley was essentially a landscape painter. His works can be distinguished from those of his colleagues by their softly harmonious values. His early style was much influenced by Camille Corot, and his restricted and delicate palette continued to reflect something of Corot’s silvery tonalities. His snowscapes are particularly effective. Much of his best and most spontaneous work was done in

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the period 1872–80 in the neighbourhood of Paris, at Marly, Louveciennes, Bougival, Sèvres, Saint-Cloud, and Meudon, at a time when he was in close touch with Monet Saint-Cloud is a commune in the western suburbs of Paris, France. It is located 9.6 kilometres (6 mi) from the centre of Paris. Like other communes of the Hauts-de-Seine such as Marnes-la-Coquette, Neuilly-sur-Seine or Vaucresson, SaintCloud is one of the wealthiest cities in France, ranked 22nd out of the 36500 in average household income. Provenance: Collection Durand-Ruel, Paris 1927; Collection George Moos, Genève; Private collection

Oil on canvas 15 inches 18 inches Lower left Sisley, 79

Henri Eugene Augustin Le Sidaner (French 1862 - 1939)

Le Berceau

of the twentieth century he was not totally unaffected by the development of Impressionism and neo-Impressionism. His work is very much in the realist style but at the same time evocative and poetic, if combines a dreamy quality with a technical expertise and his atmospheric paintings, whether they be landscapes or still lifes, are symptomatic of his unique personal vision.

He exhibited at the Paris Salon, the Galeries Georges Petit in Paris and the Goupil Gallery in London. Although the work of Henri Le Sidaner appears to be impervious to the artistic changes taking place at the beginning

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Oil on canvas 24 inches 29 inches Lower right

Henri Martin (French 1860 - 1943)

Le Jardin de Fleur

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 Francais 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 colorful 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. In 1904, Ambroise Vollard organized for him a retrospective solo exhibition, gathering together one hundred and five works. Many other solo exhibitions were held by galleries such as

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Berthe Weil and Druet Galleries in 1905, Galerie Bernheim Jeune, Paris, in 1913, 1921, 1925 and, in 1918, Galerie Paul Guillaume, Paris. Bouquet de Fleurs epitomizes the vibrant palette of Van Dongen’s Fauvist works and provides a unique interpretation of th traditional still-life genre. Peonies erupt from a vase and dominate the canvas, transforming a typically unassuming subject into a dynamic composition. Paint is applied in thick brushstrokes and color assumes an expressive and highly charged quality. The artist has balanced the bursts of color in the flowers with the deep varied purple of the table top and uniquely complemented with the golden brown vase. The background with its rich blended hues of blue further enhances the vividness of the peonies. This extraordinary work, Bouquet de Fleurs with its important provenance, reflects Van Dongen’s affiliation with the Fauves, employing freely the contrasts of colors in a vibrant pictorial interpretation of the visual reality of the still life. Provenance Private Collection, US

Oil on canvas 41 inches 31 inches Lower right

Gustave Loiseau (French 1865 - 1935)

La Seine a’ Herblay, ete, 1906

Born in 1865, Loiseau’s parents, butcher shop owners, moved to Paris shortly after he was born. He became an apprentice to a decorator friend of the family and his parents, recognizing that he was unlikely to change his mind about his future sold their business and retired to Pontoise. Pontoise near Paris was important in French painting at the time, having been extensively depicted by Pissarro and Cezanne. In 1887 Loiseau received a legacy from his grandmother which enabled him to give up his job and devote his life to painting; he established in Montmartre and enroled for one year in the Ecole des Arts-Décoratifs and studied life-drawing, until an argument with his teacher prompted him to withdraw. While still working with the decorator, one of Loiseau’s jobs has been to redecorate the apartment of the painter Fernand Just Quignon. Upon his departure from the Ecole des Arts-Décoratifs, he turned to Quignon as his teacher. He

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befriended the myriad of artists in residence at Pont Aven in 1890 most importantly Paul Gauguin, as well as Maxime Maufra and Emile Bernard. After a period of pointillist experimentation he re-found his pure landscape ideals painting in a Postimpressionist manner directly from nature. 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. He debuted at the Salon des Indépendants in 1893, as well as in 1895 at the Salon de la Société Nationale. He also figured prominently at the group Impressionist shows in 1890 and 1896. Provenance: Private Collection; Richard Green, London; Private Collection United States

Oil on canvas 21 ¼ inches 28 ¾ inches Lower right, G. Loiseau

Gustave Loiseau (French 1865 - 1935)

La plage de Fécamp

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experimentation he re-found his pure landscape ideals painting in a Postimpressionist manner directly from nature. 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. He debuted at the Salon des Indépendants in 1893, as well as in 1895 at the Salon de la Société Nationale. He also figured prominently at the group Impressionist shows in 1890 and 1896. Fécamp is situated in the valley of the river Valmont, at the heart of the Pays de Caux, on the Albaster Coast. The history of Fécamp has always revolved around the fishing industry and its harbour , halfway between Dieppe and Le Havre. Provenance: Durand Ruel, Paris (acquired from artist on 25 February 1931);Private collection, France (acquired, 1943)

Oil on canvas 21 inches 32 inches Lower right

Henri Eugene Augustin Le Sidaner (French 1862 - 1939)

Le Fenêtre aux oeuillets, 1908

Le Sidaner travelled extensively throughout his life, visiting Holland, Belgium, Venice, London and New York; he also moved constantly throughout France. 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 his beautiful still lifes. He exhibited at the Paris Salon, the Galeries Georges Petit in Paris and the Goupil Gallery in London. Although the work of Henri Le Sidaner appears to be impervious to the artistic changes taking place at the beginning of the twentieth century he was not totally unaffected by the development of Impressionism and neo-Impressionism.

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His work is very much in the realist style but at the same time evocative and poetic, if combines a dreamy quality with a technical expertise and his atmospheric paintings, whether they be landscapes or still lifes, are symptomatic of his unique personal vision. Exhibited Paris, Galeries Petit, Société Nouvelle, 1909, no. 78 Literature Camille Mauclair, Le Sidaner, Galeris Georges Petit, Paris, 1928, p.29, illustrated Le Figaro Artistique, January 24 1929 Yann Farinaux, LE

Oil on canvas 39½ inches 32 inches Le Sidaner lower right

Henry Moret (French 1856 - 1913)

Doelan, basse mer

A gentle and thoughtful person, and an indefatigable worker, Henry Moret discovered Brittany during his military service in the 1870s. Having trained at the Ecole des Beaux Arts and in the studios of Gérôme and Laurens in Paris, Moret returned to Brittany in 1886 and settled in Pont Aven where he was immediately accepted by the group of artists that gathered around Paul Gauguin. Initially drawn to Syntheticism under the influence of Gauguin, Moret’s work developed rapidly, he depicted the Breton countryside and coastline, the peasants and the fisher folk using a palette dominated by blues, greens and pinks to depict the swirling seas and soaring cliffs.

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A contract with Durand-Ruel signed in 1895 relieved Moret of a considerable financial burden and enabled him to remain in Brittany and paint his beloved coastline whilst evolving his unique style. Following his death in 1913 Durand-Ruel held a number of posthumous exhibitions and in one catalogue Moret was described as having the ability ‘to express the Breton landscape exactly, … he occupies a unique place in the evolution of art at the end of the nineteenth century and the beginning of the twentieth century, as he has been able to fuse together two fundamentally opposing styles: the Syntheticism of Pont Aven and Impressionism.’

Oil on canvas 26 inches 32 inches Lower right 1903

Pierre-Auguste Renoir (French, 1841-1919)

Coco Au Ruban Rose, 1905

Renoir was sixty years old when his third son, Claude was born on August 4, 1901. To the elderly artist the birth of Claude, called “Coco” by his parents, was an affirmation of life, and, as Jean Renoir later recalled, the blond child would become “one of the most prolific inspirations my father ever had” (Jean Renoir, “Pierre-Auguste, mon pere, “Paris, 1981, quoted in Colin B. Bailey, Renoir’s Portraits Impressions of an Age (exhibition catalogue), National Gallery of Canada, Ottawa, 1997-98, p.236) In the present work, Claude is depicted wearing a wide-collared yellow and rose shirt with jaunty bows adorning his neck and hair. Although small in scale, this work is carefully executed with precise strokes of richly-hued pigment and subtle washed of colour. Renoir’s portraits of Coco document the growth of the boy shortly after his birth through early adulthood and are a testament to the bond of father and son. There are a number of portraits in museums and private collections the world over, but this portrait is of particular historic and aesthetic interest due to the intensity of the child’s eyes staring directly at the viewer completely captivating the

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admirer. Few of the early portraits of Renoir’s children show the child gazing directly at the viewer especially with such loving intensity as in this masterpiece. Provenance Ambroise Vollard, Paris Galerie Tanner, Zurich Private Collection, Switzerland (sold Sotheby’s London, December 4 1990, lot 4) Sam Porter Fine Arts, Great Neck, New York The Estates of Murray and Irene Pergament Exhibited Shanghai International Art Fair, 2007 Tefaf, Netherlands 2008 Literature Ambroise Vollard, Tableaux, Pastels et Dessins de PierreAuguste Renoir, Paris 1918 Vol. 1, no 237, illustrated.

Oil on canvas 12.5 by 10.25 inches 15 inches Renoir

Kees van Dongen (Dutch 1877 – 1968)

Recuerdo de Toledo, 1908

Kees van Dongen was born on January 1, 1877, in Delfshaven near Rotterdam. Early in his artistic endevours, he was inspired by the Impressionists and influenced by their style. Van Dongen studied at the academy of Rotterdam but did not finish his studies there. He earned his livelihood working for the magazines “Groene” and “Rotterdam Neusblad.” His racy drawings of life around the habor were published with great scandal. Van Dongen arrived in Paris in 1897 but his official entry into the Paris art scene came in 1904, when an abundance of his paintings were exhibited at Vollard’s gallery, the Salon des Indépendants and the Salon d’Automne. Van Dongen moved with his wife and young daughter Dolly to a new, larger home on the Rue Saulnier after an exhibition at the Galerie Bernheim-Jeune in 1908 which included sixty-four of his

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canvases; the artist’s relationship with Bernheim-Jeune would soon grow into a lucrative seven-year contract. By 1909, van Dongen had earned his place in the circle of artists which included Derain and Vlaminck, but in comparison with his more harmonious colleagues, van Dongen’s ongoing use of bold colour and harsher, more brutal tones ultimately set him apart. Unsurprisingly, the German Expressionists appreciated his daring style; van Dongen’s paintings were exhibited at the Flechtheim gallery in Dusseldorf in 1908, and Pechstein enthusiastically invited him to participate in an event of the Brücke group. Provenance: Galerie Pétridès, Paris; Melas Kyriazi Collection, Switzerland; Private collection, London.

Oil on canvas 39 ¼ inches 39 ¼ inches ‘Van Dongen’ lower left; inscribed ‘Recuerdo de Toledo 1908’ on the reverse.

Kees Van Dongen (Dutch, 1877-1968)

Bouquet de Fleurs The Wildenstein Institute has certified this painting. A Condition Report from Brame & Lorenceau states that there are some minor micro restorations. Additional minor micro restorations have been further made. The painting is in a Louis XIV style frame. Kees Van Dongen was a painter born in Delfshaven, a suburb of Rotterdam, on 26th January 1877. His studies began at the Royal Academy of Fine Arts in Rotterdam when he was sixteen and continued his studies at the Ecole des Beaux-Arts in Paris. By 1899, Van Dongen had settled permanently in Paris and became assimilated in the artistic circles of Montmartre where his heavy Dutch Expressionist style was soon tempered by the late Impressionists. He took part in group exhibitions and on his arrival in Paris showed several canvases at le Pere Soulier; in February 1904, he showed six paintings at the Salon des Artistes Independents. In 1905, he appeared at the Salon d’Automne with two paintings in the famous room devoted to the work which came to be called Fauves. In 1908, he was invited to take part in an exhibition of Die Brucke, a group of German expressionists. This was a recognition, apart from his membership of Fauvism, that he belonged, as a man of the north, to Expressionism.

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In 1904, Ambroise Vollard organized for him a retrospective solo exhibition, gathering together one hundred and five works. Many other solo exhibitions were held by galleries such as Berthe Weil and Druet Galleries in 1905, Galerie Bernheim Jeune, Paris, in 1913, 1921, 1925 and, in 1918, Galerie Paul Guillaume, Paris. Provenance Baron Elie de Rothchild (unconfirmed) President Felix Houphouet-Boigny of the Cote d’ Ivoire Republic of the Cote d’ Ivoire Literature Van Dongen, by Gaston Diehl, The Uffici Press. The Fauve Landscape, by Judi Freeman, published 1990. Fierens, Paul. Van Dongen, l’homme et l’ oeuvre. Les Ecrivains Reunis. Paris 1929. Wentinck, Charles. Van Dongen. Les Beaux-Arts au Pays Bas. Amsterdam 1963. Chaumeil, Louis. Van Dongen, l’ home et l’ artiste, la vie et l’ oeuvre. Pierre Cailler. Geneva 1967.

Oil on canvas 24 inches 19½ inches Lower right Van Dongen

Paul Cesar Helleu (French 1859 - 1927)

Portrait de Madame de Guiroye (Jeanne Houssaye)

Paul Cesar Helleu was a painter and engraver whose work epitomises the charm and elegance of France at the turn of the century. His portraits of his wife, Alice, are considered to be amongst his most graceful and sensitive works. However, it was his commissioned portraits of society ladies that brought him considerable fame and fortune.

In 1876 Helleu and Sargent visited the Second Impressionist Exhibition which was to have a profound effect on their artistic careers. Helleu was greatly impressed by this new group of artists and was accepted as one of them. In 1886 he was invited to exhibit in the eighth exhibition but was urged not to do so by his friend Monet.

Helleu was born in Vannes in 1859. As a young man he moved to Paris and supplemented his allowance by decorating plates for the ceramic artist Deck. During this period he became a close friend of John Singer Sargent whom he joined to become a pupil of Jean Leon Gerome at the Ecole Nationale des Beaux Arts and who was to buy his first painting. At this time he met and fell very much in love with Alice Guerin who was only fourteen years old, Alice’s parents insisted that they could not marry until she was sixteen and even then they had to live with the Guerins for two more years.

As Helleu’s success as a society portraitist increased he was able to indulge his love of yachts and sailing which he had inherited from his father, a naval officer. He spent his summers at Deauville or Cowes mixing with both English and French Society which only served to increase his popularity. His wife enjoyed entertaining on their boat L’Etoile and Helleu painted many canvasses of life on board and other harbour scenes.

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Pastel laid on canvas 20 ½ inches 16 inches Lower right

Jean Beraud (French, 1849 - 1935)

Le Dame Utile

French painter and illustrator, Jean Beraud was born in St. Petersburg, son of a French sculptor. He studied law in Paris, then turned to painting after the Franco-Prussian War and studied for two years at the Ecole des Beaux-Arts under Bonnat.

He was an active founding member of the Société Nationale des Beaux-Arts, Paris, exhibiting there from 1890 to 1929. In 1936, a year after his death, the Société Nationale des Beaux-Arts and the Musée Carnavalet, Paris, held memorial exhibitions of his work.

Beraud began his career as a portrait painter, following the example of Bonnat, but by the end of the 1870s and through to the 1890s, he favoured depictions of the daily life of the Parisian boulevards. He cultivated the company of the FrancoRussian aristocracy in Paris, several of whom were his patrons. He achieved success and honours quickly, exhibiting regularly at the annual Salons from 1873 to 1889.

Awarded a gold medal at the 1889 Paris International Exhibition. Died in Paris.

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Provenance: Private Collection, US for over 75 years.

Oil on canvas 12 inches 15 inches Lower right

Luigi Loir (French 1845 - 1916)

La Place du Delta, Paris

Luigi Loir was born December 22, 1845 in Goritz, Austria and he died February 9, 1916 in Paris. He began his first formal art education in 1853 at the Beaux-Art Academy of Parma. Upon finishing his studies in 1865, Loir had his debut in the Salon of Paris with “” Paysage a Villiers-sur Seine”” for which he received the highest acclaim. Loir then enrolled into studies under Jean Amable Amedee Pastelot (1810-1870) to become a mural painter. One of Loir’s first commissions was to paint the murals and ceilings at the Chateaux du Diable in 1866. Many of Loir’s works, which include oils, watercolours, and lithographs, were acquired by the city of Paris and by French museums. During the Salon des Sciences at the Hotel de Ville, Loir exhibited “Les Preparatifs de la fete foraine.” The painting overwhelmed the museums. Loir had finally received the recognition he was due. The response would also influence the Municipal Council of Paris to purchase to “Le Marche a la Ferraille”, the city of Paris would acquire “La Rue de la Pitie, vue du Val de Grace” and The Empress of Russia to purchase the watercolor entitled “The Celebration of the Throne”.

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In 1870, he was commissioned into the military to record the battles of Bouret. Loir concentrated exclusively on painting views of Paris. In these works, Loir caught and expressed the many faces of Paris, at all hours of the day. Though some thought him excessively methodical, he was undeniably endowed with exceptional powers of observation and craftsmanship. It was because of his work during this campaign of 1870, that Loir was elected to be the official painter of the Boulevards of Paris. This boosted his career and reputation. In 1879 in was awarded the Bronze medal from the Exposant Fidele des Artistes Francais. Provenance: Private Collection, United States Literature: “Luigi Loir” Noe Willer; illustrated Illustrated on page 88 in the Catalogue Raisonné 1 - “Luigi Loir” Noe Willer.

Oil on canvas 19 ¾ inches 25 ¾ inches Lower right

Luigi Loir (French 1845 - 1916)

Apres la Pluie

Luigi Loir was born December 22, 1845 in Goritz, Austria and he died February 9, 1916 in Paris. He began his first formal art education in 1853 at the Beaux-Art Academy of Parma.

Ferraille”, the city of Paris would acquire “La Rue de la Pitie, vue du Val de Grace” and The Empress of Russia to purchase the watercolor entitled “The Celebration of the Throne”.

Upon finishing his studies in 1865, Loir had his debut in the Salon of Paris with “” Paysage a Villiers-sur Seine”” for which he received the highest acclaim. Loir then enrolled into studies under Jean Amable Amedee Pastelot (1810-1870) to become a mural painter. One of Loir’s first commissions was to paint the murals and ceilings at the Chateaux du Diable in 1866.

Many of Loir’s works, which include oils, watercolours, and lithographs, were acquired by the city of Paris and by French museums. During the Salon des Sciences at the Hotel de Ville, Loir exhibited “Les Preparatifs de la fete foraine.” The painting overwhelmed the museums. Loir had finally received the recognition he was due. The response would also influence the Municipal Council of Paris to purchase to “Le Marche a la

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Provenance: Private Collection, France

Watercolour and gouache on paper 13 ¾ inches 8 ¾ inches Lower right

Ivan F. Choultse (Russian b. 1877)

Moonlight

Choultse was a landscape painter, born in Petrograd, Russia in 1877. He studied painting with Constantin Krighitsky and became the court painter to Czar Nicholas II. After the Russian Revolution, he immigrated to Paris and in 1923 began exhibiting at the Salon des Artistes Francais. Although Choultse continued to paint Russian scenes whilst in Paris, he also undertook several trips to Switzerland. He was fascinated with the mountainous landscape of the area surrounding St. Moritz, especially in the winter.

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Critics wrote that no other artist was ever as adept at transferring the texture of settled snow to canvas. In his 1979 biography Memoirs of an Art Dealer, Toronto art dealer G. Blair Laing wrote: He painted spectacular snow scenes in which the light seems to come from behind the canvas and glow. Today his style of painting is much admired with Choultse being appreciated universally as a brilliant and analytical portrayer of nature.

Oil on canvas 18 Â˝ inches 15 inches Lower right

Sir Herbert James Gunn (British 1893-1964)

Vera Savina

Sir Herbert James Gunn was born in Glasgow and first studied art at the Glasgow School of Art. His talents as an artist were soon recognised and Gunn was fortunate to be sent to Academie Julien in Paris. He remained in Paris until 1914 when the threat of an unsettled continent forced him back to the UK. It was, however, during his time in France that Gunn developed his radical approach to compositional arrangements. His often stark palette of grey tones was used to heighten the dramatic placement of forms.

Elizabeth II in her Coronation robes, a picture that hangs in the Royal Collection to this day. Vera Drake was an English dancer who joined the Ballets Russes in 1924 under the direction of the inspirational and dynamic leadership of Serge Diaghilev. At the time of joining the company, Vera’s name was Russianized to Vera Savina. She married the Principal and choreographer Leonide Massine in April of 1926 and became Principal herself in the season of 1927, the year of this portrait.

Gunn’s work was incredibly avant garde, challenging much of the sentimental landscapes that were still being reproduced by the bulk of commercial Edwardian artists in Britain.

Provenance: with Oscar and Peter Johnson Ltd., London, 1965.

On his return to the UK the artistic elite were ready to receive Gunn with the radical art colonies of Newlyn, Staiths and St Ives also challenging the accepted norm.

Exhibitions: London, Royal Academy, 1929, no.1. Bournemouth, Russell-Cotes Gallery.

After a successful career, Gunn later became a member of the Royal Academy and in 1953/4 he was invited to paint Queen

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Oil on canvas 25 inches 30 inches This painting is signed and dated H James Gunn ‘27’ (upper left corner).

Sir Ernest Albert Waterlow (British 1850 - 1919)

Lauterbrunnen Valley

Waterlow was a painter of landscapes and animals both in oil and watercolour. Born 24 May 1850 in London, to A. C. Waterlow, lithographer. Waterlow began his studies in Lausanne under F.L.D. Bocion, returning to England 1867, where he entered Careyâ&#x20AC;&#x2122;s School of Art. In 1872 he then went on to study at the R.A. Schools and in 1873 he won the Turner gold medal. He travelled widely, painting in France, Germany and Switzerland. In England he painted mostly in Suffolk, Swansea and Dorset

This work shows one of the most spectacular views in the Bernese Oberland, the Lauterbrunnen Valley, popularised by such celebrated tourists as Goethe and Byron. Provenance: The Verity Waterlow Bequest Exhibitions: Nether Stowey, Somerset: The Verity Waterlow Bequest: Painting and Drawings by Sir Ernest Albert Waterlow R.A. P.R.W.S.

His early influences were G. H. Mason and Fred Walker, and then later, Corot and the Barbizon painters. In 1902 Waterlow was knighted. He died in London on 25 October 1919. Medium: Canvas Height: Canvas Width:

Oil on board 14 Âž inches 22 inches

John Cosmo Clark (British 1897 - 1967)

Westminster Nocturne

John Cosmo Clark was born in London in 1897. He studied at the Goldsmithâ&#x20AC;&#x2122;s College School of Art from 1912-14 and again after war service from 1918-19 (from which he later published his war correspondence from the First World War) at Le Academie Julian in Paris, and finally at the Royal Academy between 1919-21, where he won a coveted Travelling Scholarship. Cosmo Clark was the Director of the

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Rural Industries Bureau from 1942 to 1963 and was elected RA in the winter of 1958. He exhibited widely, including at the RA, NEAC, Leicester Galleries, RI and ROI as well as throughout Europe, Canada and the USA where his works are held in many collections, both private and public. He died in 1967

Oil on canvas 20 inches 28 Âž inches Lower right

Patrick Heron CBE (British 1920 - 1999)

Dark Upright (Ice Green), March 1962

Before becoming a painter, Heron was formerly a textile designer and writer on art. Born 30 January 1920 in Leeds, son of T.M. Heron, founder of Cresta Silks and Christian sociologist. He lived at St Ives from 1925–30, and studied at the Slade School from 1937–9. Heron’s painting was interrupted by the war; in 1945 he settled in London and began to paint again. He held his first one-man exhibition in London at the Redfern Gallery 1947 and in New York at the Bertha Schaefer Gallery 1960. Heron became art critic to the New Statesman and Nation between 1947–50, and London correspondent to Arts (New York) from 1955–8.

of colour in Heron’s new work. The horizontal bands and stripes of his 1950s abstracts had been replaced by soft edged squares and discs, floating above or fading within seas of deep colour. Heron, who considered his paintings of this time as a kind of ‘juggling’, believed these drifting islands of distinct colour were mysteriously moved by some other force, drawn outwards as if by a magnet. In his essay The Shape of Colour, he discusses the sweeping or sucking to one side of the canvas of all the individual formal units so that they end up clustered along, or piled against, the right-hand edge, leaving threequarters of the picture area empty of incident .

In 1960, Patrick Heron was given his first one man show in London at Victor Waddington’s gallery, and his first exhibition in New York at the renowned Bertha Shaefer Gallery. The critics were struck by the richness and subtlety

Provenance: Private collection United Kingdom

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Literature: Gooding, Mel, Patrick Heron, Phaidon, 1994

Gouache on paper 15 inches 22 inches Signed, inscribed with title and dated March 1962 on the reverse

Patrick Heron CBE (British 1920 - 1999)

Dull Violet in Ultramarine with scarlett 1970

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Gallery. The critics were struck by the richness and subtlety of colour in Heron’s new work. The horizontal bands and stripes of his 1950s abstracts had been replaced by soft edged squares and discs, floating above or fading within seas of deep colour. Heron, who considered his paintings of this time as a kind of ‘juggling’, believed these drifting islands of distinct colour were mysteriously moved by some other force, drawn outwards as if by a magnet. In his essay The Shape of Colour, he discusses the sweeping or sucking to one side of the canvas of all the individual formal units so that they end up clustered along, or piled against, the right-hand edge, leaving threequarters of the picture area empty of incident . Provenance: Private collection, United Kingdom

Gouache on paper 23 ¼ inches 30 inches Signed & inscribed with title and dated March 1970 on the reverse

Mary Fedden (British 1915)

Stealing an Apple

Sometimes mistakenly described as the daughter of Roy Fedden (who was in fact her uncle), Mary Fedden studied at the Slade School of Fine Arts, London from 1932 to 1936. She then returned to Bristol where she painted and taught until World War II broke out. After the war was over, Fedden developed her own style of flower paintings and still-lifes, reminiscent of artists such as Matisse and Braque. In 1951, Mary Fedden married the artist Julian Trevelyan. She went on to teach painting at the Royal College of Art from 1958 to 1964, the first woman tutor to teach in the Painting School. Her pupils included David Hockney and Allen Jones. She subsequently taught at the Yehudi Menuhin School at Cobham in Surrey, from 1965 to 1970.

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Literature: Illustrated pg. 12 Mary Fedden: Enigma’s and Variations by Christopher Andreae Provenance: Private Collection, UK (bought directly from the RA show)

Oil on canvas 27 ½ inches 35 ¼ inches Lower left

Alan Davie (British 1920)

Magic Trick

Born in Scotland in 1920 Alan Davie studied at Edinburgh College of Art between 1937 and 1940. In 1942 he won the Guthrie Award for the best painting by a young artist at the Scottish Royal Academy summer exhibition.

the speed at which he works (he has usually has several paintings on the go at once), he is adamant that his images are not pure abstraction, but all have significance as symbols.

Davie went on to gain international recognition and today he is considered by many to be one of the most important British artists of the post-war era. His work can be seen in galleries and museums worldwide, in Britain these include the Tate and the Scottish National Museum of Modern Art. Davie is also an accomplished jewellery designer and jazz musician.

As well as painting, whether on canvas or paper (he has stated that he prefers to work on paper), Davie has recently produced several screenprints. He found a public for his work on the continent and in America some time before the British art public could reconcile itself to his mixture of ancient and newly invented of symbols and his explosive brushwork. His paintings appear at once apocalyptic and triumphant. In his lectures Davie stressed the importance of improvisation as his chosen method. His stance was that of an inspired soothsayer resisting the inroads of rational civilization.

Davie travelled widely and in Venice became influenced by other painters of the period, such as Paul Klee, Jackson Pollock and Joan Miró, as well as by a wide range of cultural symbols. In particular, his painting style owes much to his affinity with Zen. Having read Eugen Herrigel’s book Zen in the Art of Archery (1953) he has assimilated the spontaneity which Zen emphasises. Declaring that the spiritual path is incompatible with planning ahead, he has attempted to paint as automatically as possible, which is intended to bring forth elements of his unconscious. Like Pollock, many of Davie’s works have been executed by standing above the painting, which is laid on the ground. He adds layers of paint until sometimes the original painting has been covered over many times. However, despite

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Provenance: Bought directly from the artist Private Collection, UK

Oil on board 40 inches 48 inches Signed and dated 1968 verso

Charles Spencelayh (British 1865 - 1958)

Part of Stock in trade

Acclaimed by one critic as ‘the modern Meissonier of British Domestic life’, Charles Spencelayh was a painter of figure subjects, genre scenes and portraits. He has also been compared to William Powell Frith in his skilful evocation of sentiment and meticulous rendering of detail. He worked in many media achieving great acclaim as a miniaturist, watercolourist and etcher. Charles Spencelayh was the son of Henry Spencelayh, an engineer and iron and brass founder. He was born in 1865 in Rochester, Kent. He first studied at the National Art Training School (later renamed the Royal College of Art), where he won a prize for figure drawing. Spencelayh continued his training in Paris where he exhibited at the Paris Salon.

in 1958. He was a founder member of the Royal Society of Miniature Painters, joining in 1897. He was also elected an honorary member of the Royal Birmingham Society of Artists and Vice-President of the British Watercolour Society. Provenance: Private collection, United Kingdom Literature: This piece is noted in the book by Aubrey Noakes and says ‘This amazing painting contains more than two hundred items and took three months to paint’. Exhibitions: This work was exhibited at the Royal Academy in 1949.

Spencelayh exhibited predominantly in Britain. He showed 30 paintings at the Royal Academy from 1912 until his death

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Oil on canvas 24 ½ inches 20 inches Lower left, 1948

Charles Spencelayh (British 1865 - 1958)

‘His Old Wedding Hat’

Spencelayh exhibited predominantly in Britain. He showed 30 paintings at the Royal Academy from 1912 until his death in 1958. He was a founder member of the Royal Society of Miniature Painters, joining in 1897. He was also elected an honorary member of the Royal Birmingham Society of Artists and Vice-President of the British Watercolour Society. Provenance: Private collection, United Kingdom

Charles Spencelayh was the son of Henry Spencelayh, an engineer and iron and brass founder. He was born in 1865 in Rochester, Kent. He first studied at the National Art Training School (later renamed the Royal College of Art), where he won a prize for figure drawing. Spencelayh continued his training in Paris where he exhibited at the Paris Salon.

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Literature: Spencelayh by Aubrey Noakes

Oil on canvas 22 inches 18 Inches Lower left, 1943

John Atkinson Grimshaw (British 1836-1893)

Liverpool Docks by Moonlight

John Atkinson Grimshaw, (1836 - Leeds - 1893 - Knostrop) Grimshaw was born in Leeds, his father was a policeman and he started work as a railway clerk. His parents were opposed to his taking up art as a career.

‘At Anchor 1893’. He seemed to be moving towards a freer, less formal style of painting, perhaps influenced to a degree by Whistler. Unhappily this change of direction was not to, be as Grimshaw died of cancer in 1893.

Although Leeds remained his base - his commercial success allowed him to buy Knostrop Hall on the outskirts of the city for a short time in the mid 1880s, he had a London Studio. It is rumoured that he was a friend of Whistler, however Grimshaw’s output was much more varied than just this. He painted portraits, interiors, fairy pictures, and most accomplished fancy pictures, of attractive gorgeously dressed young women in opulent interiors. In the early 1890s Grimshaw’s style seemed to be developing in new directions, three pictures showing this are ‘Sand, Sea, Summer’, ‘Fantasy of 1892’ and

Provenance Private collection Major and Mrs Ambler Leeds Private collection, UK

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Oil on canvas 12 inches 18 Inches Signed and inscribed on verso

Sir Alfred Munnings (British 1878 - 1959)

Fort Garry’s on the March

Born in Mendham, Suffolk, Alfred Munnings was the son of a miller. He was apprenticed to a firm of lithographers from 1893 to 1898 and studied at the Norwich School of Art and in Paris. There, Munnings was impressed with plein-air naturalism; this, together with his introduction to the racecourse in 1899, influenced the themes for which he became famous. While in Mendham, Munnings painted many scenes of country life, particularly horse fairs. He went to Cornwall in 1908, and for many years was an important addition to the Newlyn School of artists. When the First World War broke out, Munnings enlisted, despite having the use of only one eye owing to an accident in 1899. He became an army horse trainer near Reading and later went to France as an official war artist, attached to the Canadian Cavalry Brigade.

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The year 1919 was a major turning-point in all aspects of Munnings’s life; he painted his first racehorse, Pothlyn, the winner of the Grand National, and became an Associate of the Royal Academy. Munnings met Violet McBride, whom he was to marry, and bought Castle House, Dedham, where the Munnings Memorial Trust maintains a permanent exhibition of his pictures. Munnings’s prolific career, spanning over 60 years, brought him honour, with election to the Presidency of the Royal Academy in 1944, a Knighthood in 1945, and a personal award from the Sovereign in 1947, when Munnings was created Knight of the Royal Victorian Order. Provenance: Private collection, United Kingdom

Pencil on paper 7 inches 10 inches Signed with Monogram

Thomas Gainsborough (British 1727 - 1788)

Landscape with figures and cows

Thomas Gainsborough was born in Sudbury, Suffolk. His father was a weaver in the wool trade and at the age of thirteen he was so impressed with his sons penciling skills, he allowed Gainsborough to go to London to study art. Here he first trained under engraver Hubert Gravelot but eventually became associated with William Hogarth and his school. One of his mentors was Francis Hayman. Gainsborough married Margaret Burr in the 1740s, an illegitimate daughter of the Duke of Beaufort and. in 1752, he and his family, now including two daughters, moved to Ipswich and then in 1759 Bath. Whilst in Bath, he studied portraits by van Dyck and was eventually able to attract a high society clientele. In 1761, he began to exhibit at Society of Arts in London (now the Royal Society of Arts, of which he was one of the earliest members); and from 1769 onwards, he submitted works to the Royal Academyâ&#x20AC;&#x2122;s annual exhibitions. He selected portraits of well-known or notorious clients in order to attract attention. These exhibitions helped him acquire a national reputation, and he was invited to become one of the founding members of the Royal Academy in 1769. His relationship with the RA, however, was not an easy one and he stopped exhibiting his paintings there in 1773.

his paintings again at the Royal Academy, including portraits of contemporary celebrities, such as the Duke and Duchess of Cumberland. Exhibitions of his work continued for the next six years. Gainsborough painted the portraits of King George III and his queen in 1780, following which he received many royal commissions, giving him some influence with the Academy, which allowed him to dictate the manner in which he wished his work to be exhibited. However, in 1783, he removed his paintings from the RA and transferred them to Schomberg House. In his later years, Gainsborough often painted relatively simple, ordinary landscapes. With Richard Wilson, he was one of the originators of the eighteenth-century British landscape school; though simultaneously, in conjunction with Joshua Reynolds, he was the dominant British portraitist of the second half of the 18th century. Provenance: Ernest C. Innes; Christies London 13 December 1935, lot 29. W. Hetherington, Private Collection. Literature: J. Hayes, The Drawings of Thomas Gainsborough, London, 1970, no. 425, pl. 128a. M. Woodall, Gainsboroughâ&#x20AC;&#x2122;s Landscape Drawings, 1939, p. 50, no. 61

The following year, Gainsborough and his family moved to Schlomberg House, London and in 1777 he began to exhibit

Medium: Pencil drawing Drawing Height: 10 inches Drawing Width: 13 inches

John R. A. Constable (British 1776 - 1837)

Portrait of Mary Constable, Reading

John Constable was born on 11 June 1776 in East Bergholt in Suffolk, the son of a prosperous miller. He was educated at Dedham Grammar School, then worked for his father’s business. He persuaded his father to send him to study at the Royal Academy Schools, which he entered in 1799. In 1816, after much opposition from her father, Constable married Maria Bicknell. She suffered from tuberculosis, so they lived in Hampstead in north London, which was thought to be healthier than central London. In the early 1820s they began frequent visits to Brighton, also for Maria’s health. Constable believed that his paintings should come as directly as possible from nature. He made hundreds of outdoor oil sketches, capturing the changing skies and effects of light. He was happiest painting locations he knew well, particularly in his native Suffolk. He also frequently painted in Salisbury, Brighton and Hampstead, making numerous studies of the clouds over the Heath.

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Maria’s death in 1828 was devastating for Constable and left him responsible for their seven children. The following year he was belatedly elected to full membership of the Royal Academy. Constable received little other recognition in Britain in his lifetime, but was much better known in France. In 1824, ‘The Hay Wain’ won a gold medal at the Salon in Paris and Constable had a profound influence on French Romantic artists. Provenance: By descent in the Constable family Collection: Richard Constable Literature: Graham Reynolds, The Early Paintings and Drawings of John Constable, Yale, 1996, p. 168, entry12.13, pl.941

Pencil on paper 6 inches 3½ inches Inscribed in a later hand in pencil verso: Mary Constable/by JC; and below: Hugh Inscribed by a member of the family recto below: John Constable, Mary The drawing is on a sketch-book page watermarked Britannia

Laurence Stephen Lowry (British 1887 - 1976)

Ladey

L.S. Lowry was an English artist born in Barrett Street, Stretford, Lancashire. Many of his drawings and paintings depict nearby Salford and the surrounding areas, including Pendlebury, which is where he lived and worked for over 40 years at 117 Station Road, opposite St. Mark’s RC Church. Lowry is famous for painting scenes of life in the industrial districts of northern England during the early 20th century. He had a distinctive style of painting and is best known for urban landscapes peopled with human figures often referred to as “matchstick men”.

In 1976, he died of pneumonia at The Woods Hospital in Glossop, Derbyshire on 23 February, aged 88 and he was buried in Chorlton’s Southern Cemetery in Manchester, next to his parents. He left his estate, valued at £298,459, together with a considerable number of artworks by himself and others to Carol Ann Lowry, who, in 2001, obtained trademark protection of the artist’s signature.

He also painted mysterious unpopulated landscapes, brooding portraits, and the secret ‘marionette’ works (the latter only found after his death).

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Pencil drawing 7½ inches 5½ inches Signed and dated 1963 lower right

George Stubbs (British 1724 - 1806)

The Harvest Wagon

George Stubbs was born in 1724 and is perhaps the most important sporting artist of all time. Stubbs made his name through his remarkable capacity to portray the anatomy, muscle structure and movement of the horse. He acquired this talent after extensive travels to study the work of Renaissance Masters in Italy and his own learned researches in what he called his ‘equine pathological laboratory’, where dead horses were suspended from the ceiling for dissection. The result of his labours was perhaps the greatest book in racing literature, The Anatomy of the Horse, which was published in 1766 and which changed the world of equestrian art for ever with its emphasis on precise anatomical detail. Stubbs’s enormous talents were soon recognised and he began a series of classic pictures for great patrons, mainly featuring relaxed friezes of mares and foals, hunters at grass and thoroughbreds out in the paddocks with their jockeys or stable lads.

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(A painting by Stubbs entitled “Baboon & Macaque”, in the collection of the Royal College of Surgeons, is on a similar support of almost identical size) Can be associated with “Haymakers and Reapers” 1785, Tate Gallery Collection Provenance Stubbs’s studio sale(Peter Coxe,26-27 May 1807) lot 76, 26 May 1807, Landscape, a view from Nature during the Corn Harvest,and women and children gleaning, sold for £43.1..0; buyers name not recorded. Rev RL Barker, Charlbury, 1886 Major Roller, Tadley, Christie’s, London 10 December 1910, lot 88 Col GM Barnett, Glympton Park, 1939 With Roy Miles Fine Paintings, London Christie’s London, 22 March 1974, lot 36 Private Collection, UK

Oil/wax/resin on composite board 37½ inches 26 inches Signed near lower edge, right of centre: Geo Stubbs 1785

George Stubbs (British 1724 - 1806)

Portrait of a Gentleman upon a Grey Hunter

The sitter’s pose is a variation of that used in the portrait of William Evelyn, 1770, and in Stubbs’ own self portrait of 1782. Basil Taylor, comparing this picture with Stubbs’ Self Portrait on Grey Mare of 1782 suggests that ‘The man’s features show such a strong resemblance to the artist’s, whilst being considerably younger, that one is bound to consider the possibility that the picture may represent his natural son, George Townly Stubbs’. No certain portrait of GT Stubbs is known, so this suggested identification must remain speculative. There is certainly a lack of pretension about the sitter which might suggest that he was at least a friend of Stubbs. It is worth noting that this picture and the Portrait of a Lady Reading were both in Robert Nesham’s sale in 1928, though so far it is not known how and when he acquired them. Both portraits have a private, informal look which suggests that the sitters belong to a circle in which Stubbs felt at home. With few exceptions, Stubbs’ paintings on panel date from after 1770 and represent his interest in a more solid base than the usual canvas, an interest that also resulted in his works in enamel, on copper and on Wedgewood ware.

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Provenance Robert Nesham (his adminstrators); Christies, 23 July 1928, Lot 153 (1,000 Guineas to Ellis and Smith) Arthur Ackerman 1929 Mrs Robert Emmet, Paris Mrs St. Clair Balfour, Hamilton, Ontario John Alistair Campbell, Alberta 1964 Mr & Mrs Paul Mellon KBE, USA Private Collection Exhibited London Royal Academy, Painting in England 1700-1850 from the collection of Mr & Mrs Paul Mellon 12 December 1964 28 February 1965, no. 264 New Haven, Connecticut, Yale University Art Gallery, Painting in England 1700 - 1850 from the collection of Mr & Mrs Paul Mellon, 15 April - 20 June 1965, no. 176 New Haven, Connecticut, Yale Centre for British Art Tate Gallery, London, George Stubbs 1724 - 1806, 13 February - 7 April 1985, no. 122 illustration.

Oil on panel 28 inches 24 inches Geo. Stubbs pinxit / 1781 lower right

George Stubbs (British 1724 - 1806)

A grey horse belonging to Lord Westmorland, seen against a dark background

Stubbs’s enormous talents were soon recognised and he began a series of classic pictures for great patrons, mainly featuring relaxed friezes of mares and foals, hunters at grass and thoroughbreds out in the paddocks with their jockeys or stable lads.

The result of his labours was perhaps the greatest book in racing literature, The Anatomy of the Horse, which was published in 1766 and which changed the world of equestrian art for ever with its emphasis on precise anatomical detail.

Illustrated in George Stubbs Painter Catalogue Raisonne by Judy Eggeton - page 266.

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Stubbs died in 1806, classified both then and now as one of the greatest English painters of his age.

Oil on panel 21 ½ inches 29 inches Geo:Stubbs pinxi / 1786, lower right

Index Jean Beraud

Eugene Boudin

Ivan F. Choultse

John Cosmo Clark

John R. A. Constable

Alan Davie

Kees van Dongen

24, 26

Mary Fedden

Thomas Gainsborough

John Atkinson Grimshaw

Sir Herbert James Gunn

Patrick Heron

44, 46

Paul Cesar Helleu

Léon Augustin L’hermitte

Luigi Loir

32, 34

Gustave Loiseau

14, 16

Laurence Stephen Lowry

Henri Martin

Henry Moret

Sir Alfred Munnings

Pierre-Auguste Renoir

Henri Eugene Augustin Le Sidaner

10, 18

Alfred Sisley

Charles Spencelayh

52, 54

George Stubbs

66, 68, 70

Sir Ernest Albert Waterlow

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