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, Firenze), to which this painting relates. This work, slightly different in composition to the work a year earlier, is painted far more freely denoting perhaps a painted study for a work not finally realised.
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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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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 on paper, studio stamp (lower right), 56cm x 35cm (71cm x 49cm 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), 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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Oil on canvas, 100cm x 67cm (118cm x 86cm framed), SOLD
A Swedish artist who studied at the Swedish Art Academy and in Paris in the first part of the 20th century, he is better known for his more traditional paintings and his work as an illustrator. However, throughout his career, he also created a far more homoerotic series of pictures, featuring male nudes, often in landscapes or outside. Placing the male nude outside, enabled an artist to create an alibi that he was painting in the tradition of Romanticism, thereby lessening the impact the picture would have otherwise had, in more reserved times.
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Oil on paper, 58cm x 42cm, (74cm x 57cm framed), SOLD
An immensely prolific artist, he worked equally in oil, watercolour and pastel. His work included portraits, interiors, landscapes and still life. His subjects included members of the British Royal Family, the aristocracy and American Society. Ranken’s work is represented in the majority of public art galleries in the UK. Although this work is an unattributed sitter, it is very likely that the subject was from a notable British family.
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Pencil on paper, 35cm x 24cm, (52cm x 41cm framed), SOLD
A student of the School of the Museum of Fine Arts in Boston, and also the Académie Julian, Paris, his studies were interrupted by World War I, during which he served with the U.S. military. Returning to Boston, he was apprenticed to painter and teacher William McGregor Paxton, also of the Boston School. Paxton had been a student of the French academic painter Jean-Léon Gérôme, who was himself a student of Jacques-Louis David. This influence is clearly visible in his work. After WWII, as well as becoming an eminent teacher, he created his best known sequence of paintings based on Francis Thompson's poem "The Hound of Heaven". Gammell painted symbolic images that reflected his study of literature, mythology, psychology, and religion.
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Charcoal on paper, signed (centre), 75cm x 56cm, (90cm x 70cm framed), £4,750
An American painter who gained prominence in the art world of the 1920s and 1930s. He was known for his gritty, social realist works depicting urban working-class scenes of New York and New Jersey. He is also well-known for these wonderfully expressive charcoal drawings of studies of male figures. He was elected as an Academician of the National Academy of Design in 1968. In 1980, he was awarded a one-man show at the Smithsonian Museum of Art in Washington.
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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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Charcoal, sanguine and white chalk on paper, initialled ‘F.B.’ (lower right), 48cm x 38cm (69cm x 57cm framed), £1,250
Brangwyn was an artistic jack-of-all-trades. As well as paintings and drawings, he produced designs for stained glass, furniture, ceramics, table glassware, buildings and interiors, was a lithographer and woodcutter and was a book illustrator. His work is held in many public galleries.
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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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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, studio stamp (lower left), 99cm x 65cm, (106cm x 73cm framed), £1,250
A highly successful artist in his lifetime, Bascoules exhibited extensively in France and Algeria. These works are purported to be studies for a mural in Marseille.
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Oil on board, signed (lower right), 44cm x 24cm, (48cm x 27cm framed), £2,500
Kluska was a German painter and illustrator born in Berlin. He studied from 1920 at the Berlin Academy under the artist of Max Koch. In 1929, Kluska, a Protestant by birth, converted to Catholicism; which might explain his later fascination for Dante. He mainly painted nudes, male and female, but was heavily inspired by Christian motives; and from 1935, especially by Dante’s Devine Comedy. He produced numerous large format depictions of sceneries of the Devine Comedy, in particular from the parts ‘Inferno’ and ‘Purgatorium’.
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Oil on board, signed (lower right), 31cm x 40cm, (34cm x 42cm framed), £2,000
Kluska was a German painter and illustrator born in Berlin. He studied from 1920 at the Berlin Academy under the artist of Max Koch. In 1929, Kluska, a Protestant by birth, converted to Catholicism; which might explain his later fascination for Dante. He mainly painted nudes, male and female, but was heavily inspired by Christian motives; and from 1935, especially by Dante’s Devine Comedy. He produced numerous large format depictions of sceneries of the Devine Comedy, in particular from the parts ‘Inferno’ and ‘Purgatorium’.
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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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Oil on board, signed and dated (middle left), 30cm x 30cm, (36cm x 36cm framed), SOLD
Lefèbre initially studied at the Fine Arts Academies in Dusseldorf and Munich before enrolling in the Academie Julian in Paris, in 1898, under the tutelage of Ferrier, Jean-Paul Laurens and Bouguereau. He was master of landscapes and genre scenes.
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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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Pen and ink on paper, 27cm x 20cm, (54cm x 48cm framed), £2,000. Provenance: Alexander Iolas Gallery, New York.
Bérard, an artist, fashion illustrator and designer. Bérard and his lover Boris Kochno, who directed the Ballets Russes, were one of the most prominent openly gay couples in French theater during the 1930s and '40s. By the end of the 1920's, he was an influence on and an inspiration to several fashion designers, notably Christian Dior and Elsa Schiaparelli. His work also appeared in Harpers Bazaar. In 1935 he appeared in Vogue. He was one of the great Bohemian characters of Paris.
Alongside his artistic career, he played an important role in the development of theatrical design in the 1930s and 1940s. He also worked as a fashion illustrator for Coco Chanel, amonst others. Bérard also designed for Jean Cocteau's film La Belle et la Bête (1946). After his sudden death in 1949, Cocteau dedicated his film Orphée (1950) to him.
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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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Etching, signed in pencil (lower right), 51cm x 64.5cm (plate size) (81cm x 94cm framed), SOLD
Brangwyn was an artistic jack-of-all-trades. As well as paintings and drawings, he produced designs for stained glass, furniture, ceramics, table glassware, buildings and interiors, was a lithographer and woodcutter and was a book illustrator. His work is held in many public galleries.
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Black and red chalk on paper, signed and dated (lower right), 31cm x 27cm (50cm x 45cm framed), £1,750
Delmotte was a painter, draftsman, watercolourist and Belgian sculptor. A realist painter at first, he was influenced by Expressionism of the beginning of the century. An impressive list of gallery exhibitions of his work during his lifetime, either independently or as part of a group, indicate that he was a known and successful figure in art worlds of Belgium and Europe.
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Black and red chalk on paper, signed and dated (lower right), 28cm x 20cm (47cm x 39cm framed), £1,750
Delmotte was a painter, draftsman, watercolourist and Belgian sculptor. A realist painter at first, he was influenced by Expressionism of the beginning of the century. An impressive list of gallery exhibitions of his work during his lifetime, either independently or as part of a group, indicate that he was a known and successful figure in art worlds of Belgium and Europe.
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Charcoal on paper, signed and dated (lower left), 68cm x 48cm (86cm x 64cm framed). £1,350
Pierre-Paul Montagnac was equally talented as a fine artist and a decorative artist. He was educated in both disciplines, studying with Eugene Carriére, the French Symbolist artist, as well as at the Académie de la Grande Chaumiére, both in Paris.
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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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Charcoal, red and white chalk on cardboard, 72cm x 47cm (92cm x 69cm framed). £2,000
Drawings and paintings of the nude were central to academic art training in Europe from the 16th century onwards.
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Pencil on paper, 24cm x 18cm (47cm x 40cm framed). £1,950
The intensity of this portrait, suggest that it is a self-portrait of an unattributed artist.
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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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Mixed media (ink, watercolour & gouache) on paper, signed (middle right), 26cm x 42cm, (42cm x 63cm framed). £1,500
Calbet was a gifted artist and illustrator, working in Paris. This illustration is a wonderful depiction of Paris life before the war. For further information about Calbet click HERE
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Ink and charcoal on paper, signed (lower right), 48cm x 28cm, (59cm x 42cm in mount), unframed. £1,250
Georges Artemoff, painter and sculptor of Russian origin, is intimately linked to the artistic innovations of the first half of the twentieth century in France. In his early years in Paris, he mixed with figures such as Juan Gris, Modigliani, Jules Pascin and Picasso.
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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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