Leighton Fine Art Ltd Still-life Paintings

Signed fauvist oil on canvas still life by French post impressionist painter Louis Valtat. The work depicts a green vase filled with roses in different shades of pink set against a y...

Signed divisionist style oil on canvas still life circa 1909 by French impressionist painter Achille Laugé. This stunning piece depicts a vase of flowers placed on table. The bouquet...

Signed fauvist oil on canvas landscape circa 1910 by French post impressionist painter Robert Antoine Pinchon. This piece depicts a garden in bloom in summer. The garden is beside th...

Signed oil on canvas landscape circa 1905 by French post impressionist painter Leon Detroy. This beautiful piece is painted in a divisionist style and depicts two large haystacks in ...

Signed oil on canvas landscape circa 1890 by French impressionist painter Paul Vogler. The piece depicts a view of a path running through a golden hay field on a bright summer's day....

Signed oil on canvas still life in interior circa 1920 by French post impressionist painter Lucie Cousturier.. The work depicts a planter filled with flowers in a kaleidoscope of col...

Signed pointillist landscape oil on canvas circa 1920 by French neo-impressionist painter Jeanne Selmersheim-Desgrange. The piece depicts a view of a French port, with boats dotted a...

Signed divisionist style oil on panel landscape circa 1906-1907 by French Neo-Impressionist painter Henri Edmond Cross. This brightly painted piece depicts a view Saint Tropez. This...

Signed impressionist landscape oil on canvas by French painter Jean Baptiste Armand Guillaumin. This stunning piece depicts a view of Crozant a commune located in the department of C...

Signed divisionist style still life oil on canvas by Swiss neo-impressionist painter Beatrice Duval. The work depicts a vase of flowers painted predominantly in yellows and greens an...

Signed oil on canvas still life circa 1960 by French modernist painter Andre Hambourg. This beautiful piece depicts a basket of fruit; grapes, pears and apples, placed on a white clo...

Signed and dated oil on board landscape by American impressionist painter Robert William Vonnoh. This stunning piece depicts red and orange wildflowers. This work would have been exe...

Signed fauvist oil on canvas landscape circa 1912 by French post impressionist painter Robert Antoine Pinchon. This piece depicts a blooming garden in summer. The garden is bursting ...

Signed oil on canvas riverscape by French post impressionist painter Paul Madeline. This beautiful work depicts a view of a meandering river. There are two trees on the bank to the r...

Signed oil on canvas still life circa 1920 by English impressionist painter Dorothea Sharp. The stunning piece depicts a beige ceramic vase filled with summer flowers of lilies and d...

Signed and dated oil on canvas coastal landscape by French post impressionist painter Paul Madeline. This beautiful work depicts a view of Cap Sizun, a headland forming the western e...

Signed post impressionist oil on canvas landscape by French painter Lucien Levy-Dhurmer. The piece depicts the gardens of a Moorish Palace at evening. Painted in largely blues, there are some flowering trees in the front of the work below a much larger bare tree. Beyond that the palace sits below a starry sky. Mr. Jumeau-Lafond believes the work was likely painted in Morocco but he also stated that Dhurmer often used imagination to construct settings for his ideas. Signature: Signed lower left Dimensions: Framed: 39"x31" Unframed: 32"x24" Provenance: Private collection - France The authenticity of this work has been confirmed by Jean-David Jumeau-Lafond A certificate of authenticity from Mr. Jumeau-Lafond is available upon request Lucien Lévy-Dhurmer did not follow the conventional route for education in fine arts but was nevertheless a pupil of the painters Raphaël Collin, Vio and Wallet. He was an ornamental painter in an earthenware factory in Golfe-Juan from 1887 to 1895, which influenced his use of pastel. He travelled to Italy in 1895. Around 1902 he painted the portraits of Rodenbach, Pierre Loti and Marguerite Moreno. Although he had not been instructed by Puvis de Chavannes or Gustave Moreau, he seemed to have much in common with those visionary 'painters of the soul' who had been exhibiting at the Salon de la Rose-Croix for several years: Edmond Aman-Jean, Louis Welden Hawkins, Henri Martin, Charles Maurin and Alphonse Osbert. Following the example of some of these artists, Lévy-Dhurmer admired Italian Renaissance art, evidence of which can be seen in pastels such as Woman with a Medal, Medusa, Circes and Florence. His translation of the Symbolist themes in the scores of Beethoven ( Appassionata), Fauré or Debussy into different hues made him seem like a visionary, but his aesthetic seems to have changed to some extent after 1900, when his landscape painting became more prominent. In fact, only his presentation and style changed. He continued to suggest feelings, interpretations and emotions but without relying on any traditional allegories. He became involved in the Intimist movement, along with Ernest Laurent, Charles Cottet, Henri le Sidaner and René Ménard, whose pastels presaged the Classicism of the 1930s. He exhibited at the Salon des Artistes Français in Paris from 1882. From 1906 he was associated with the Salon de la Société Nationale des Beaux-Arts. He showed his works in individual exhibitions, notably in 1896 at the Galerie Georges Petit in Paris, which was a very successful exhibition and earned him admiration in artistic and literary circles alike. Several decades later the exhibition Around Lévy-Dhurmer ( Autour de Lévy-Dhurmer) at the Galeries du Grand Palais in Paris in 1973 revealed a tendency in art which had been largely unknown until then and which remained on the margins of the great innovative movements of the 20th century, but which was nonetheless of a quality which could not be ignored. Lévy-Dhurmer obtained a distinction from the Salon des Artistes Français in 1896 and a bronze medal at the 1900 Exposition Universelle in Paris. He became a Chevalier of the Légion d'Honneur in 1902. Museum and Gallery Holdings Bayonne (Mus. Basque): Portrait of Pierre Loti (1896, pastel) Brest (MBA): Circes Detroit (AI): Vase with Dragonflies (1890, earthenware with iridescent glaze) Mulhouse: Harvest New York (Metropolitan Mus. of Art): Flower Pot (c. 1893, earthenware with metallic glaze) Paris (Mus. d'Orsay): Portrait of Georges Rodenbach (c. 1895, pastel on paper); The Woman with a Medal (1896, pastel on paper on card); The Lost Explorer...

Signed and titled pointillist oil on board coastal seascape circa 1900 by Belgian neo-impressionist painter Theo van Rysselberghe. The work depicts a view of the Opal Coast, a coasta...

Signed and dated oil on panel landscape by Canadian impressionist painter Robert Wakeham Pilot. The piece depicts a view of rural landscape in Quebec, Canada in winter. The bare trees and the ground are covered in blanket of white snow. Blue sky breaks through the cloud above. The spire of the church from a nearby village can be seen on the horizon. This work pairs with another recorded 5 x 7 inch example painted in 1916 by Pilot that was painted near the Hotel Dieu in Quebec City - the work was likely painted in February of that year just before Pilot enlisted in the Canadian Expeditionary Force to serve on the front lines in France. Signature: Signed and dated 1916 lower right Dimensions: Framed: 15.5"x17" Unframed: 5.5"x7" Provenance: The Dominion Gallery - Montreal, Canada (stock number B2594) The Isaacs Gallery - Toronto, Canada Robert Wakeham Pilot DCL MBE RCA (9 October 1898 – 17 December 1967) was a Canadian artist, who worked mainly in oil on canvas or on panel, and as an etcher and muralist. He is known for his ability to capture the tone and atmosphere, especially at twilight, of the landscape of Quebec. Pilot is the last of the Canadian painters considered "to lend authority to Canadian Impressionism". Pilot was born at St. John's, Newfoundland, to Edward Frederick Pilot and his wife Barbara (née Merchant). In 1910, his widowed mother married the artist, Maurice Cullen...

Signed fauvist oil on canvas landscape by French painter Louis Valtat. The work depicts a field of poppies. Signature: Signed lower right Dimensions: Framed: 22"x26" Unframed: 14"x...

Signed impressionist oil on canvas still life by French painter Jeanne Baudot. The work depicts a bowl filled with red and green apples and grapes. Signature: Signed upper left Dimensions: Framed: 33"x29" Unframed: 26"x22" Provenance: By direct descent from Jeanne Baudot to her godson Jean Griot Jeanne Baudot's father, Emile, was doctor to French artist Auguste Renoir's relatives when they lived in Louveciennes. In 1893, she met Auguste Renoir through her cousin Paul Gallimard, an art collector. Renoir travelled from his studio in Montmartre to meet the aspiring painter and give his opinion on her work. Renoir was so impressed with what he saw that soon she became his only pupil. Form 1897 to 1914, she lived at 4, Rue du Général Leclerc in Louveciennes, where Renoir had his workshop. She became the godmother of Auguste Renoir's second son, Jean Renoir, at the Saint-Pierre de Montmartre church, while Georges Durand-Ruel was the godfather. Throughout her life she stayed close to Jean Renoir, who became a film director. He wrote the preface of the exhibition catalogue of her retrospective in 1960 at Galerie Durand-Ruel. Auguste Renoir painted several portraits of Jeanne Baudot. They became great friends, accomplices and confidants. They painted side by side, in the studio of the painter, in the studio of Jeanne and outside, in the countryside, in Louveciennes, in the South and elsewhere, chatting cheerfully. He gave her advice, and shared his own concerns, such as those caused by his talks with the representatives of the State to make them accept the paintings bequeathed by Gustave Caillebotte. Maurice Denis painted Auguste Renoir and Miss Jeanne Baudot in 1906. Jeanne Baudot was a childhood friend of painter Julie Manet, the daughter of Berthe Morisot and Eugène Manet, and appears in many instances of Manet's diary. Her name was given to a street in Louveciennes. Lifetime Exhibitions: 1905, Paris, Salon d'Automne. 1906, Paris, Salon des indépendants. 1925, Paris, Salon des Tuileries. 1930, Paris, Galerie Dru from November to December 1930. 1950, Paris, Galerie Durand-Ruel, from April 28 to May 15, 1950. Retrospective Exhibitions: 1966, Paris, Galerie Durand-Ruel, Dame & Demoiselles – Blanche Hoschedé, Jeanne Baudot, Paule Gobillard...

Signed divisionist oil, ink and coloured pencils on paper landscape by French post impressionist painter Henri le Sidaner. This stunning piece depicts a view of the roofs of the buil...

Signed fauvist oil on canvas still life by French painter Louis Valtat. The work depicts a green vase filled with red and pink roses which are beginning to wilt and their petals are ...

Signed and titled still life oil on canvas circa 1898 by French post impressionist painter Albert André. The work depicts a still life scene in an interior. A glass bowl filled with ...

Botanical watercolour and gouache on paper circa 1920 by French fauvist painter Raoul Dufy. The work depicts flowers in red, blue and green. This work was executed by Dufy as a fabric design. Dimensions: Framed: 19.5"x19.5" Unframed: 12"x12" Provenance: Private collection of works by Raoul Dufy for Bianchini Ferier Bianchini Ferrier Collection - Christie's London - July 2001 SF Fall Show Raoul Dufy was one of a family of nine children, including five sisters and a younger brother, Jean Dufy, also destined to become a painter. Their father was an accountant in the employ of a major company in Le Havre. The Dufy family was musically gifted: his father was an organist, as was his brother Léon, and his youngest brother Gaston was an accomplished flautist who later worked as a music critic in Paris. Raoul Dufy's studies were interrupted at the age of 14, when he had to contribute to the family income. He took a job with an importer of Brazilian coffee, but still found time from 1892 to attend evening courses in drawing and composition at the local college of fine arts under Charles Marie Lhullier, former teacher of Othon Friesz and Georges Braque. He spent his free time in museums, admiring the paintings of Eugène Boudin in Le Havre and The Justice of Trajan in Rouen. A municipal scholarship enabled him to leave for Paris in 1900, where he lodged initially with Othon Friesz. He was accepted by the École des Beaux-Arts, where he studied under Léon Bonnat, whose innate conservatism prompted Dufy to remark later that it was 'good to be at the Beaux-Arts providing one knew one could leave'. And leave he did, four years later, embarking with friends and fellow students on the rounds of the major Paris galleries - Ambroise Vollard, Durand-Ruel, Eugène Blot and Berheim-Jeune. For Dufy and his contemporaries, Impressionism represented a rejection of sterile academism in favour of the open-air canvases of Manet, the light and bright colours of the Impressionists, and, beyond them, the daringly innovative work of Gauguin and Van Gogh, Seurat, Cézanne, Toulouse-Lautrec and others. Dufy was an out-and-out individualist, however, and was not tempted to imitate any of these artists. He produced, between 1935 and 1937, Fée Electricité (Spirit of Electricity), the emblem for the French utilities company Electricité de France (EDF). Dufy visited the USA for the first time in 1937, as a member of the Carnegie Prize jury. In 1940, the outbreak of war (and his increasingly rheumatic condition) persuaded him to settle in Nice. When he eventually returned to Paris 10 years later, his rheumatism had become so debilitating that he immediately left for Boston to follow a course of pioneering anti-cortisone treatment. He continued working, however, spending time first in Harvard and then in New York City before moving to the drier climate of Tucson, Arizona. The cortisone treatment was by and large unsuccessful, although he did recover the use of his fingers. He returned to Paris in 1951 and decided to settle in Forcalquier, where the climate was more clement. Within a short time, however, he was wheelchair-bound. He died in Forcalquier in March 1953 and was buried in Cimiez. Between 1895 and 1898, Raoul Dufy painted watercolours of landscapes near his native Le Havre and around Honfleur and Falaise. By the turn of the century, however, he was already painting certain subjects that were to become hallmarks of his work - flag-decked Parisian cityscapes, Normandy beaches teeming with visitors, regattas and the like, including one of his better-known early works, Landing Stage at Ste-Adresse. By 1905-1906 Friesz, Braque, Matisse, Derain, Vlaminck, Van Dongen and Rouault were described collectively as Fauves (the wild beasts). What they had in common was a desire to innovate, but they felt constrained nonetheless to meet formally to set out the guiding principles of what promised to be a new 'movement'. Dufy quickly established that those principles were acceptable; moreover, he was most impressed by one particular painting by Henri Matisse ( Luxury, Calm and Voluptuousness) which, to Dufy, embodied both novelty and a sense of artistic freedom. Dufy promptly aligned himself with the Fauves. Together with Albert Marquet in particular, he spent his time travelling the Normandy coast and painting views similar...

Signed oil on canvas landscape circa 1920 by French post impressionist painter Leon Detroy. The piece is painted in a divisionist style and depicts blossoming apple trees in an orcha...

Signed still life oil on canvas circa 1920 by French impressionist painter Leon Detroy. The work depicts a ceramic vase filled with flowers in reds, pinks and yellows and set agains...

Signed oil on canvas still life in landscape circa 1980 by sought after French post impressionist painter Marcel Dyf. The work depicts a view of a harbour from beyond the open green ...

Signed and dated oil on panel landscape by sought after French post impressionist painter Jacques Martin-Ferrieres. This beautiful piece depicts a view of Auribeau-sur-Siagne, is a c...

Botanical gouache on paper circa 1920 by French fauvist painter Raoul Dufy. The work depicts a study of apples and pears. This work was executed by Dufy as a fabric design. Dimensio...

Signed oil on board riverscape circa 1950 by French Post Impressionist painter Georges Charles Robin. The work depicts a view of the Dordogne riv...

Signed still life oil on canvas circa 1930 by French impressionist painter Leon Detroy. The work depicts a vase filled with roses and peonies in deep reds and pinks. Signature: Sign...

Signed fauvist oil on panel seascape circa 1900 by French painter Louis Valtat. This stunning piece depicts a view of large waves crashing against large rocks at Agay on the Cote d'A...

Signed fauvist oil on canvas landscape circa 1910 by French painter Louis Valtat. This stunning piece depicts a view of Bagatelle Park in the north of France in summer when all of th...

Signed still life oil on canvas circa 1910 by French post impressionist painter Jacques Martin-Ferrieres. The work depicts a black ceramic jar with w...

Botanical watercolour and gouache on paper circa 1920 by French fauvist painter Raoul Dufy. The work depicts flowers in red and butterflies in blues, yellows, black and white. This work was executed by Dufy as a fabric design. Dimensions: Framed: 17"x27" Unframed: 10"x20" Provenance: Private collection of works by Raoul Dufy for Bianchini Ferier Bianchini Ferrier Collection - Christie's London - July 2001 SF Fall Show Raoul Dufy was one of a family of nine children, including five sisters and a younger brother, Jean Dufy, also destined to become a painter. Their father was an accountant in the employ of a major company in Le Havre. The Dufy family was musically gifted: his father was an organist, as was his brother Léon, and his youngest brother Gaston was an accomplished flautist who later worked as a music critic in Paris. Raoul Dufy's studies were interrupted at the age of 14, when he had to contribute to the family income. He took a job with an importer of Brazilian coffee, but still found time from 1892 to attend evening courses in drawing and composition at the local college of fine arts under Charles Marie Lhullier, former teacher of Othon Friesz and Georges Braque. He spent his free time in museums, admiring the paintings of Eugène Boudin in Le Havre and The Justice of Trajan in Rouen. A municipal scholarship enabled him to leave for Paris in 1900, where he lodged initially with Othon Friesz. He was accepted by the École des Beaux-Arts, where he studied under Léon Bonnat, whose innate conservatism prompted Dufy to remark later that it was 'good to be at the Beaux-Arts providing one knew one could leave'. And leave he did, four years later, embarking with friends and fellow students on the rounds of the major Paris galleries - Ambroise Vollard, Durand-Ruel, Eugène Blot and Berheim-Jeune. For Dufy and his contemporaries, Impressionism represented a rejection of sterile academism in favour of the open-air canvases of Manet, the light and bright colours of the Impressionists, and, beyond them, the daringly innovative work of Gauguin and Van Gogh, Seurat, Cézanne, Toulouse-Lautrec and others. Dufy was an out-and-out individualist, however, and was not tempted to imitate any of these artists. He produced, between 1935 and 1937, Fée Electricité (Spirit of Electricity), the emblem for the French utilities company Electricité de France (EDF). Dufy visited the USA for the first time in 1937, as a member of the Carnegie Prize jury. In 1940, the outbreak of war (and his increasingly rheumatic condition) persuaded him to settle in Nice. When he eventually returned to Paris 10 years later, his rheumatism had become so debilitating that he immediately left for Boston to follow a course of pioneering anti-cortisone treatment. He continued working, however, spending time first in Harvard and then in New York City before moving to the drier climate of Tucson, Arizona. The cortisone treatment was by and large unsuccessful, although he did recover the use of his fingers. He returned to Paris in 1951 and decided to settle in Forcalquier, where the climate was more clement. Within a short time, however, he was wheelchair-bound. He died in Forcalquier in March 1953 and was buried in Cimiez. Between 1895 and 1898, Raoul Dufy painted watercolours of landscapes near his native Le Havre and around Honfleur and Falaise. By the turn of the century, however, he was already painting certain subjects that were to become hallmarks of his work - flag-decked Parisian cityscapes, Normandy beaches teeming with visitors, regattas and the like, including one of his better-known early works, Landing Stage at Ste-Adresse. By 1905-1906 Friesz, Braque, Matisse, Derain, Vlaminck, Van Dongen and Rouault were described collectively as Fauves (the wild beasts). What they had in common was a desire to innovate, but they felt constrained nonetheless to meet formally to set out the guiding principles of what promised to be a new 'movement'. Dufy quickly established that those principles were acceptable; moreover, he was most impressed by one particular painting by Henri Matisse ( Luxury, Calm and Voluptuousness) which, to Dufy, embodied both novelty and a sense of artistic freedom. Dufy promptly aligned himself with the Fauves. Together with Albert Marquet in particular, he spent his time travelling the Normandy coast and painting views similar...

Signed still life oil on canvas circa 1920 by French post impressionist painter Hippolyte Petitjean. depicting a beautifully coloured view of a vast landscape. The piece depicts a green jug, a bowl of red apples, a brown two-handled jug and a vase of flowers, all placed on a wooden table. Several landscape paintings adorn the wall behind. Signature: Signed with cachet lower right and again verso Dimensions: Framed: 26"x30" Unframed: 18"x22" Provenance: Galerie de l'Institut - Centenary Exhibition of Hippolyte Petitjean (1955 ) - original labels verso Hippolyte Petitjean started his training in Mâcon and then became a student at the École des Beaux-Arts, Paris, where he worked in Cabanel's studio. By selling two Seurat paintings...

Signed fauvist landscape oil on canvas by French painter Louis Valtat. This stunning piece depicts a view of Bagatelle Park in the north of France in summer. The trees and the flower...

Signed and dated oil on board landscape by French Post-Impressionist painter Victor Charreton. The piece depicts a view of Lake Chambon, near Mont-Dore - with a view of the blue moun...

Signed post impressionist landscape oil on panel by popular French painter Georges D'Espagnat. The piece depicts the beach at Belle Ile, an island off the coast of Brittany in France, at sunset. An exceptional early painting by D'Espagnat which shows the precursor influence of Fauvism which was to dominate his paintings in the following few years. Signature: Signed lower right Dimensions: Framed: 23"x26" Unframed: 15"x18" Provenance: Private French collection A certificate of authenticity from Mr. Jean-Dominique Jacquemond is available upon request. This work will be included in the catalogue raisonne of Georges D'Espagnat under preparation by Mr. Jacquemond From the beginning of his career, it was a constant concern of Georges d'Espagnet to assert his originality. His studies at the École des Arts Décoratifs, Paris, did not last very long, for he wanted immediate independence and decided to follow courses in the private academies of Montparnasse. In about 1900, he became acquainted with Maurice Denis, Bonnard and Vuillard, and his collaboration with Denis led to a renewal of religious art in France. In 1903, d'Espagnet was one of the founders of the Salon d'Automne, and was appointed professor in charge of studios at the École des Beaux-Arts, Paris, in 1934. He illustrated a number of books: Rémy de Gourmont's Evil Prayers ( Oraisons mauvaises) (1896), The Saints of Paradise ( Les Saintes du paradis) (1898), Simone (1907), Sistine ( Sixtine) (1922); Alphonse Daudet's The Immortal ( L'Immortel) (1930); André Gide's The Pastoral Symphony ( La Symphonie pastorale); Francis Jammes' Clearings in the Sky ( Chairières dans le ciel) (1948). D'Espagnet belongs to the group of artists who made the Courrier Français so successful. The drawings of his which are published in it are strongly expressive and some bear comparison with the designs of the great Renaissance masters. He also contributed to L'Image. He often placed cheerful nudes in a landscape, reminding us that, though he moved away from the Fauves, he retained their freedom of colour and arabesque. He painted many portraits, including those of Albert André, André Barbier, Victor Boucher, Déodat de Séverac, Albert Marque, André Marty and Albert Roussel. He also painted mural decorations, including a wall for the Palais de la Découverte (1937), the ceiling of the Victor Hugo Room in the Palais du Luxembourg (1939), a decorative panel for the Palais de Justice, Toulouse (1941) and interior decorations for private houses. His landscapes are Impressionist in inspiration, and work for a certain sobriety, an intimacy, both in their composition - one, two or three sketched figures and large open spaces - and in the choice of colours and treatment with the special hazy brushstroke that marks his style. D'Espagnet took part in a number of annual Parisian exhibitions, including the Salon des Indépendants, the Salon de la Société Nationale des Beaux-Arts, the Salon d'Automne (from 1903 to 1949, except in special circumstances), the Salon de la Libre Ésthétique, Brussels (1899, 1901), the Berlin Secessionists (1940). He also exhibited at the first Salon de la Société de la Gravure sur Bois. Among other exhibitions were 1912, A Century of French Art ( Centenaire de l'art français), St Petersburg; 1916, Kunstverein, Winterthur; 1918, 1926, Galerie M. Bertheim, Paris; 1930, Contemporary French Art...

Signed and dated oil on canvas seascape by French impressionist painter Emilio Boggio. The piece in a view of the vast, open ocean - a rich blue sea with white ocean foam leading to ...

A beautiful oil on panel circa 1900 by French impressionist painter Emilio Boggio. The piece depicts a coastal scene. The blue-green water crashes against the rocks on a grey day. S...