Oil on canvas, signed (lower right), 75cm x 75cm, (93cm x 95cm framed), price on request

An influential figurative painter of the 20th century. From 1928 to 1948, he exhibited his work regularly at the Venice Biennale. His work is held is many public collections in Italy. In 1940, he became a professor at Florence’s Accademia di Bella Arti, a position he would hold until 1970. In 1932 Colacicchi painted ‘Fine d’Estate (End of Summer)’, (now in the collection of Modern Art, Uffizi, Florence) to which this painting relates. This work, slightly different in composition to the work a year earlier, is painted far more freely that his usual style.

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Sanguine and pastel on paper, signed and dated (twice) (lower right), 32cm x 48cm, (46cm x 59cm framed), Price on request

Eventually emigrating to Paris after the Russian Revolution, Somov was a founding member of Mir iskusstva (World of Art), a Russian artistic movement and magazine, edited by Sergei Diaghilev. In his private life, he had a longtime, younger male companion, Methodiy Lukyanov (who died in 1932), and an ambiguous artistic and personal relationship with a young boxer, Boris Snezhkovsky, whom he painted many times in 1930s; see for example The Boxer, 1933. Snezhkovsky initially modeled for Somov's illustrations for Daphnis and Chloe by Longus (Éditions du Trianon, Paris, 1931). This is a preparatory study for these illustrations.

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Charcoal, chalk and red chalk, signed (lower right) and titled (upper right), 42cm x 32cm, (57cm x 46cm framed), £1,500

A painter, engraver and illustrator, who trained at the Beaux-Arts Academie under Leon Joseph Bonnat (1883-1922). Leroux was a regular exhibitor at the Salon des Artistes Française and the Prix de Rome of 1906. Leroux's works can be found in private collections as well as major galleries and museums, including the Imperial War Museum, the Petit Palais in Paris, and the Musee Departemental de l'Oise in Beauvais.

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Charcoal on paper, studio stamp (lower right), 42cm x 31cm (57cm x 46cm framed), £1,500

Durand belonged to the Société Nationale des Beaux-Arts. This wonderful study of a centaur, combines classicism with Art Deco from the 20s & 30s. Durand also worked as a decorative artist, creating works for the Steamship Athos II, and the entrance hall in the Museum of Modern Art, Palace of Tokyo, Paris.

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Charcoal on paper, studio stamp (lower right), 32cm x 48cm (63cm x 46cm framed), £1,250

Durand belonged to the Société Nationale des Beaux-Arts. This wonderful study of an archer, (possibly as part of a study of a centaur - see other examples here), combines classicism with Art Deco from the 20s & 30s. Durand also worked as a decorative artist, creating works for the Steamship Athos II, and the entrance hall in the Museum of Modern Art, Palace of Tokyo, Paris.

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Pen and ink on paper, 20cm x 16cm, (36cm x 31cm framed), SOLD. Provenance: from the collection of the artist Michael Leonard (British 1933-2023)

First exhibiting at the RA in 1904, Philpot was elected as an Academician in 1923. Like many artists of his generation, he enjoyed a comfortable income from portraiture, which enabled him to paint less commercially successful and perhaps more personal subjects. His interest in the male nude and portraits of young men – thought to be friends, models and lovers – portrays his gradual acceptance and expression of his own homosexuality. Some of these later works were considered controversial because of their homosexual imagery. He was the subject of major exhibition at the Pallant House Gallery in 2022.

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Pen and ink on paper, 23cm x 16cm, (42cm x 33cm framed), £1,950 (Provenance: from the collection of the artist Michael Leonard (British 1933-2023)

First exhibiting at the RA in 1904, Philpot was elected as an Academician in 1923. Like many artists of his generation, he enjoyed a comfortable income from portraiture, which enabled him to paint less commercially successful and perhaps more personal subjects. His interest in the male nude and portraits of young men – thought to be friends, models and lovers – portrays his gradual acceptance and expression of his own homosexuality. Some of these later works were considered controversial because of their homosexual imagery. He was the subject of major exhibition at the Pallant House Gallery in 2022.

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Ink and wash on paper, signed 'Harry' and dated (lower right), 58cm x 38cm, (74cm x 54cm framed), £2,000

Henry Robertson Craig studied at the Dundee College of Art, where he met his lifelong partner the Irish artist, Patrick Hennessy (1915-1980). Moving to Dublin permanently in 1947, he set up studio with Hennessy. He was appointed an academician of the Royal Hibernian Academy in 1956. His work is held in the Hugh Lane Gallery, the Irish Museum of Modern Art, and the National Self Portrait Collection, University of Limerick.

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Deutsche Werkbund-Ausstellung, Kunst in Handwerk, Industrie und Handel Architektur (German Workers Union Exhibition Art in Handcrafts, Industry, Trade and Architecture), 1914 (printed), lithograph, initialled in the plate (middle left), 90cm x 63cm, (95cm x 65cm framed), £5,500

This poster advertises an exhibition held by the Deutsche Werkbund in Cologne in Germany in 1914. The artist Peter Behrens (1868-1940) was a pioneer of Modern design and was known for his work for AEG, the German electrical company. He was an admired designer at the time. He was asked to create this poster for the Deutsche Werkbund. The organisation was founded by artists, manufacturers and designers who were committed to improving the standard of German product design. A copy of this lithograph is in the Victoria & Albert Museum collection.

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Black chalk heightened with white chalk on blue paper, 19cm x 15cm, (32cm x 27cm framed), £3,750

First exhibiting at the RA in 1904, Philpot was elected as an Academician in 1923. Like many artists of his generation, he enjoyed a comfortable income from portraiture, which enabled him to paint less commercially successful and perhaps more personal subjects. His interest in the male nude and portraits of young men – thought to be friends, models and lovers – portrays his gradual acceptance and expression of his own homosexuality. Some of these later works were considered controversial because of their homosexual imagery. He was the subject of major exhibition at the Pallant House Gallery in 2022.

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Charcoal on paper, 56cm x 38cm, (79cm x 60cm framed), Provenance: The Artist’s sister, £3,500

From the mid-1940s to the early 1950s Colquhoun was considered one of the leading artists of his generation. Along with that of MacBryde, another artist and Colquhoun’s partner, his work was regularly shown at the Lefevre Gallery in London. Known as the ‘Two Roberts’, Colquhoun and MacBryde met at the Glasgow School of Art in 1932 and lived together until Colquhoun’s death in 1962. An exhibition of their work and life together was held at the Scottish National Gallery of Modern Art in 2015.

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Pencil on brown paper, signed (lower right) 28cm x 22cm (64cm x 56cm framed). £8,500

Known as the ‘Two Roberts’, Colquhoun and MacBryde met at the Glasgow School of Art in 1932 and lived together until Colquhoun’s death in 1962. An exhibition of their work and life together was held at the Scottish National Gallery of Modern Art in 2015. The attribution of the sitter in this picture, is recorded in Heinz Library, NPG, London. For further information about the ‘Two Roberts’ click HERE

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Pastel on paper, signed (lower left), 63cm x 49cm (framed 75cm x 60cm). £6,500

Bouchéne was a Russian artist and costume and set designer for theatre, opera and ballet. Primarily working in Paris, his notable clients included Serge Diaghilev and Anna Pavlova.

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Charcoal on paper, signed and dated (lower right), 33cm x 24cm, (66cm x 56cm framed), £4,750

Bortnyik was a painter and graphic designer, whose work was greatly influenced by Cubism, Expressionism and Constructivism. In 1922 he moved to Weimar, Germany and became connected to the Bauhaus. When he moved back to Hungary he founded an art school in Budapest, where he followed Bauhaus principles. He was also the director of Hungarian Academy of Fine Arts (1949–1956).

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Pen and ink, ink wash and pencil on paper, signed and dated (lower right), 38cm x 29cm (65cm x 55cm framed), £3,250

This penetrating and wonderfully executed self-portrait, is all the more surprising as very little is known about the career and life of the artist. Showing such technical skill and creative ability at such an early age, does not appear to have translated into success in later life.

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Watercolour and Chinese ink on paper, signed and dated (upper right), 10cm x 17cm (30cm x 38cm framed). £3,500

Barbier was one of the great French illustrators of the early 20th century. Aged only 29, he mounted his first exhibition in Paris in 1911. He was subsequently commissioned to design theatre and ballet costumes, illustrate books, and produce haute couture fashion illustrations. In the mid-1920s he worked with Erté to design sets and costumes for the Folies Bergère.

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Pencil on paper, 14cm x 12cm (framed 39cm x 34cm), £4,750

Provenance: Gabrielle Cross, the artist’s niece and The Fine Art Society (Cat. 63a), 1997. A successful portraitist in his lifetime, posthumously his work is more recognised for coded references to his sexuality, at a time when homosexuality was criminalised.

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Etching, 19.7cm x 13.2cm (plate size), (framed 37cm x 29cm), £2,250

Contained within the Sickert Print Catalogue Raisonné (Ruth Bromberg 167 iii/iii), this image is possibly of a female impersonator, from the pre-WW1 Cabaret in Dieppe.

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