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Introduction

The original École de Paris was made up of immigrant artists who came to Paris following the First World War, usually Jewish and from Eastern Europe, artists like Chagall, Kisling, Lanskoy, Pascin and Hayden all of whom would have a significant impact on the already vibrant 20th Century art world. Paris had been the centre of the art world since the late 19th Century at the time of the Impressionists and in the early 20th Century, artists like Picasso and Matisse had brought a whole new dynamic and set a different pace- Avant Garde had arrived. The description École de Paris soon expanded to include virtually all progressive art in the 20th Century, and the early masters, Picasso, Vlaminck, Van Dongen and others were now included in this quite broad church. The immigrants brought with them their heritage and roots and soon a Slavic excitement and a Russian influence could be discerned, their work was termed poetic Expressionism, a strand in French painting between Cubism and Surrealism. This movement gathered pace and continued until 1939. In the early 1940’s the second École de Paris brought a new tempo to the world and both the established artists and the new generation took up the challenge to once again reinvent art. In 1950 an exhibition devoted to the work of the École de Paris was held in London at the New Burlington Galleries, and in the introduction to the catalogue it was noted that Paris had 130 galleries as opposed to 30 in most capital cities, and there were 20 salons each showing about 1000 artists each year, a third of them were foreigners. It is no wonder that Paris was the epicentre of the world of art for nearly 100 years and it was not until the great Abstract artists of the New York school came along in the late 1950’s early 1960’s that everything changed. Change is inevitable but nothing will ever reproduce the excitement and inventiveness of those early years in Paris.

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Roger Bissière 1888-1964

Nature Morte Cubiste, 1928

Oil on Canvas

65 x 45 cm

After studying at the Academy of Art in Bordeaux, Roger Bissière went to Paris in 1910. For four years he worked as a journalist and lived in North Africa where,

in 1918, he met André Lhote.

Lhote was already a well-established painter and a luminary of the Maison Cubiste; he in turn introduced Bissière to Georges Braque who was to be a major

influence on his life and with whom he also became firm friends.

During this period Bissière came to terms with Cubism, which he humanized. In the early twenties as well as developing his art he continued to write, producing

articles on Ingres, Seurat and Corot.

From 1925 to 1938 he taught at the Academy Ransom, where his pupils included Manessier, Le Moal, Bertholle and Viera da Sylva, all of whom would go on to

become major artists.

In 1939 Bissière contracted an eye complaint, which seriously impaired his sight and he consequently turned to the life of a farmer on a family property at

Boissierette.

In 1945 he began to paint again and in 1948 he underwent an operation, which partially restored his eyesight and in 1952 he was awarded the Grand Prix National

des Arts.

In conjunction with his friends Maurice Estève and Singier, as well as his former students, Bissière played a major role in the development of the second École de

Paris after 1945 when it began moving towards abstract expressionism.

By the end of his career Bissière was the highest paid living artist in France.

Nature Morte Cubiste, which dates from 1928, is illustrated in his catalogue raisonée, and demonstrates his humanist approach to cubism along with the intimacy

of his painting.

Museums: Agen, Amsterdam, Bordeaux, Chaux de Fonds, Colmar, Paris (Museum of Modern Art, Ville de Paris), Saint-Etienne, Zurich.

£15,000

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Louis Robert Arthur Latapie

1891-1972

Nature Morte Avec Baguette, 1947

Oil on Canvas

86 x 65 cm

Louis Robert Arthur Latapie studied at the Ecole des Beaux-Arts in Paris and also at the Academie Julian where he became friends with Lipschitz.

In 1912 he was called to do Military service and did not return to painting until 1919, having spent the whole of WWI at the front.

Latapie had been greatly affected by Cubism since his time studying and was later to pursue it in the ‘French way’, that is to say he was more sensitive to its

possibilities for stylising form rather than it’s liberating power tending towards abstraction.

Latapie began exhibiting his cubist work with Jacques Villon in 1912 and continued after the war, exhibiting at all the major Salons and in 1924 he was chosen to

represent France at the Venice Biennale. He had solo exhibitions in Paris in 1929-1969, and in 1970 there was a major exhibition at the Palais des Papes in

Avignon.

After Latapie’s death there were many posthumous retrospectives held all around France, ending with a Hommage at the Galerie Le Troisiéme Oeil, in Paris in

2004.

Latapie designed tapestries that were produced at Gobelins, Beauvais and Aubusson; he designed wall decorations notably for the Pierre Coubertin Stadium in

1939, along with illustrating a number of books.

Museums:

Avignon, Dunkirk, Geneva,

Paris, Poitiers, Toulouse, and Villeneuve-sur-Lot.

£18,000

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Louis André Bethommé-Saint-André

1905-1977

La Mer À St Paul Doueil, Circa 1935

Oil on Canvas

69 x 78 cm

Louis André Bethommé-Saint-André was a pupil of Cormon and Paul Laurens at the École des Beaux-Arts in Paris, where he was awarded a silver medal and also

won a grant from the government of Algeria.

Bethommé-Saint-André exhibited widely, with the Salon des Artistes Français from 1924 to 1929, the Salon d’Automne in 1928, the Société Nationale des Beaux-

Arts from 1934 to 1936, the Tuilleries in 1935, the Salon des Comparisons, and the Salon des Peintres Témoins de leur Temps.

In 2003 Bethommé-Saint-André’s work was included in the exhibition Les Peintres de L’autre Rives at the Musée de la Castre at Cannes.

Bethommé-Saint-André was commissioned to produce a number of public murals including the entrance to the Direction des Beaux-Arts de la Ville in Paris, and

he has illustrated Zola’s Nana and Colette’s La Vagabonde. He was made an Officer of the Légiond’Honneur.

Bethommé-Saint-André’s work is probably best known for the paintings of beautiful young women in intimate poses, actresses and ladies of the night were also

among his favourite themes. However, he also won acclaim for his landscapes.

La Mer À St Paul Doueil displays the use of his vivid palette at work in a very exciting way, which has hardly been seen since the Fauves.

The museum of Narbonne has works by him.

£8,000

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Charles Camoin

1879- 1965

View of the Port Of Cannes, 1956

Oil on Canvas

56 x 48 cm

Charles Camoin was the son of a paint manufacturer in Marseilles who died when Charles was six years old. His mother travelled extensively, absenting herself

for long periods at a time, and Camoin’s studies suffered accordingly.

At sixteen, he enrolled at a commercial college in Marseilles, but also attended courses at the École des Beaux-Arts, where he was awarded a first prize for drawing

and composition.

In 1896 at the age of seventeen, Camoin moved to Paris where he was admitted to Gustave Moreau’s class at the École des Beaux Arts, shortly before the latter’s

death. He soon left on his travels in the company of Albert Marquet. During his short time in Moreau’s class Camoin made a number of lasting friendships,

notably with artists who would go on to pioneer Fauvism: Henry Manguin, Georges Roualt and, in particular, Jean Puy and Henri Matisse, with whom he

exchanged letters on a regular basis.

In 1900, Camoin did his military service, first in Arles, where he painted compositions which were inspired by Van Gough motifs. In 1902 he was based in Aix,

where he frequently met with Cezanne, with whom Camoin maintained a life-long correspondence and whose advice and counsel Camoin cited repeatedly.

In 1903, Camoin exhibited for the first time – at the Salon des Artistes Indèpendants in Paris. The following year Camoin held his first solo exhibition at the

Berthe Weil Gallery in Paris, .in the same year he also met Claude Monet

The following decade saw Camoin travelling extensively in the company of Marquet, visiting London, Frankfurt, Naples, Capri, Corsica, and Morocco- where he

was accompanied by Matisse.

In 1912, Camoin exhibited at the Galerie Kahnweiler in Paris and, in 1913 examples of his work featured at the now legendary Armory Show in New York City.

In 1918, Camoin and Matisse travelled to Cagnes to visit Renoir, the meeting was to prove decisive because it signalled the end of Cezanne’s influence on

Camoin’s work.

In 1920, at the age of forty one, Camoin married Charlotte Prost, their daughter Anne-Marie was born in 1933. Camoin worked latterly out of two studios, the

one in Montmartre that he had occupied since 1944, and the other in St. Tropez.

He was made an officer of the Legion d’Honneur that same year and in 1959 he was elected Commander of the Order des Arts et Lettres.

Camoin’s early work was influenced by the Provence tradition, striking colours applied liberally in bold brush strokes, to the point where some of his works were

wrongly attributed to Paul Gauguin. After his travels from 1905 to 1915 in the company of Matisse and Marquet, a change of technique became apparent as

Camoin began to focus more on light than on colour. In this respect, he and Marquet were as one, as their work dating from this period shows. Overall, his work

from what might be considered his genuinely Fauve period is targeted very much towards the critical audience identified at the 1912 Kahnweiler Gallery

exhibition and at the 1913 New York Armory Show.

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For an unknown reason, his personal success at both exhibitions provoked some form of depression in Camoin and he promptly destroyed more than eighty of

his canvases. There has been considerable speculation as to the reasons which may lay behind this episode of depression, but it is difficult to explain it away on

purely artistic grounds; that it was provoked by his association with the Fauves seems unlikely, given that he never fully espoused the Fauvist style or colours.

In the event, some of the paintings he opted to destroy were subsequently ‘retrieved’ by collectors, a fact which triggered a successful lawsuit in 1927 against

Francis Carco and resulted in a benchmark decision to the effect that a painting which has been destroyed and thrown away may be recovered in its existing form

but may not be subsequently ‘restored’ to its original form. In other words, the artist is and remains the sole arbiter.

After visiting Renoir in 1918, Camoin became increasingly obsessed with light and the interplay of light and colours. As a result, he painted both in the studio and

outdoors, directly from nature. His notebooks and journals document the difficulty he experienced in achieving a balance between the two.

Camoin’s productive life extended over fifty years up to 1964, although his output in the early years was minimal and consisted of mainly pastels and watercolours.

His total output is around 3,000 paintings of which one third were destroyed during his bout of depression and nearly 700 of the remainder are in major public

and private collections.

Much has been written about Camoin and his important role in Twentieth Century art.

This view of the Port of Cannes was one of a series he painted in 1956 when he was holidaying there; there is a very similar painting in the Camoin Retrospective

book (published the Lausanne Foundation) numbered 80, also in the book is another very similar view. All three of the paintings show the balcony differently,

demonstrating that he was not looking for a perfect image but experimenting with light and composition.

This painting was exhibited in the retrospective at the Marcel Bernheim Gallery in 1980.

Museums:

Aix-en-Provence, Albi, Algiers,

Berlin, Bonn, Boulognr-sur-Mer, Cannes,

Draguignan, Glesenkirchen, Geneva,

Grasse, Grenboble, Le Havre, Larseille,

Montpellier, New York (Museum of Modern Art, Manhattan),

Nice, Paris (Museum of Modern Art, Ville de Paris),

Quimper, Saarbrucken, Strasbourg,

Sydney, Toulon

£39,500

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Vlodzimierz Terlikowski

1873-1951

Pont Des Arts, 1920

Oil on Canvas

48 x 40 cm

Vlodzimierz Terlikowski was born in Poraj in Poland, and for him like so many artists also of his generation Paris was considered the Mecca of the art world, and

after arriving in Paris he soon became a member of the Montparnasse set.

He became a member of the Murols School (named after the village in the Auvergne) that formed around Victor Charreton and Léon Boudal between 1910 and

1925. Terlikowski learnt his love of sensual impasto from Charreton, in his own work he seeks to capture the fleeting momentary effects like those achieved so

beautifully by the Impressionists.

Terlikowski drew much inspiration for his use of light and his palette, from the South of France.

He was also an engraver, whose rough hatching conveyed the essential details around which his work would later develop.

Terliowski exhibited regularly in Paris from 1913 to 1929, and in 1927 he had a one-man show at the Hotel Charpentier in Venice.

A major retrospective of his work was held at the Centre Culturel Thibaud-de-Champagne in Troyes in 1981.

Pont Des Arts is typical of his Paris scenes, in that it captures as much of the atmosphere alongside the scene itself.

Museums:

Bordeaux, Lyons, Marseilles,

Paris, Riom

£10,500

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Pierre Charbonnier

1897-1978

Thé Avec Pipe, 1922

Oil on Canvas

158 x 130 cm

Pierre Charbonnier commenced his studies at the École des Beaux-Arts in Lyon before continuing at the École in Paris. He also received private lessons from

Maurice Denis, Vuillard and Bonnard.

He was in constant demand as a muralist for both public and private buildings and he also illustrated books for his good friend André Salmon, among others.

Charbonnier exhibited regularly from 1919 onwards, at the Salon des Indépendants, the Salon d’Automne and the Salon des Tuilleries.

Charbonnier also took part in exhibitions overseas, notably the Sao Paulo Biennalees of 1952 and 1954, in 1953 he won the Prix Lissone.

Charbonnier staged his first solo exhibition in 1921 at the Théatre de l’Oeuvre in Paris and after this many more solo exhibitions followed.

As well as a successful career as a painter Charbonnier also designed sets for the cinema working with Robert Bresson and in 1930 he began to make his own

films: Contact and then Pirates du Rhone and Bracos de Sologne, in 1934 he produced a feature-length animation entitled La Fortune Enchantée.

In 1974 an exhibition of his work toured the provinces to great success.

The theatrical aspect of Charbonnier’s personality is evident in Thé Avec Pipe, which was shown at the Salon in 1922. It is a very dramatic and witty painting, and

is one of Charbonnier’s most significant pre-war works.

Museums:

Arles, Luxembourg, Lyons, Marseilles, Nancy, St-Etienne

Paris (Museum of Modern Art, Ville de Paris), Paris (National Museum of Modern Art),

Rio de Janeiro, Sao Paulo, Tokyo, Turin, Valencia

£45,000

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André Lauran

1922-2009

Parc Du Château, Circa 1960

Oil on Canvas

62 x 54 cm

André Lauran was born in Valence and studied at the École des Beaux-Arts in Lyon, where the southern light would never leave his paintings.

He was awarded a travel grant in 1946, and from 1951 to 1953 he lived and worked in the USA.

Lauran’s paintings are dominated by light, where the southern sun wipes out contours and the Paris tones are subdued in a palette of pale harmonious tones.

Lauran has featured in collective exhibitions at the museum of Valence, and in 1956 he was shown at the École d’Art in Romans and thereafter at the Salons in

Paris: the Salon des Artistes Français, the Salon d’Automne, of which he was a member, the Salon des Surindépendants and the Salon de Jeune Peintre.

In 1955 Lauran was awarded a silver medal at the Menton Biennale. He had solo exhibitions at the Château d’Aubenas in 1962 and 1964, and also in Paris and

Lyons.

Parc du Château perfectly espouses Lauran’s love of light, and is quintessentially part of the post-war period.

Museums:

Paris (Museum of Modern Art, Ville de Paris),

Valence, Annecy

£5,500

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André Lauran

1922-2009

Le Port

Oil on Canvas

93 x 80 cm

André Lauran was born in Valence and studied at the École des Beaux-Arts in Lyon, where the southern light would never leave his paintings. He was awarded a

travel grant in 1946, and from 1951 to 1953 he lived and worked in the USA.

Lauran’s paintings are dominated by light, where the southern sun wipes out contours and the Paris tones are subdued in a palette of pale harmonious tones.

Lauran has featured in collective exhibitions at the museum of Valence, and in 1956 he was shown at the École d’Art in Romans, and thereafter at the Salons in

Paris: the Salon des Artistes Français, the Salon d’Automne, of which he was a member, the Salon des Surindépendants and the Salon de Jeune Peintre.

In 1955 Lauran was awarded a silver medal at the Menton Biennale. He had solo exhibitions at the Château d’Aubenas in 1962 and 1964, and others in Paris and

Lyons.

Le Port perfectly espouses his love of light and is quintessentially of the post-war period.

Museums:

Paris (Museum of Modern Art, Ville de Paris),

Valence, Annecy

£6,500

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Reynold Arnould

1919-1980

Tete Cubiste, 1966

Oil on Canvas

92 x 56 cm

Reynold Arnould began painting very early on, and had his first exhibition in Rouen at the age of nine. Arnould studied at Rouen, Le Havre and later on at the

École des Beaux-Arts in Paris.

In 1939 he was awarded the Grand Prix de Rome. In 1949, whilst the director of an art school in Dallas, he was chosen to restore the museum of Le Havre. His

career as a muséographer eventually led him to the creation and curatorship of the national galleries of the Grand Palais in Paris in 1966 when he created this

painting in honour of France.

From 1945 to 1960 Arnould exhibited at the Salon d’Automne, the Salon des Tuilleries, and the Salon de Mai.

In 1960 he was a member of the French contingent at the Venice Biennale.

Arnould was the subject of many solo exhibitions not only in Paris, but also in New York, Dublin and London.

From 1956, his work had tended towards the Abstract as he sought a dynamic relationship between shapes, space and time. Correspondingly his last portraits,

including those of André Malraux, Charles Laughton and Miguel Angel Asturias, feature a mechanically unwinding image of the same face.

A large retrospective of his work was held at the Galerie de France in 1969, and a posthumous retrospective was held at the Grand Palais in 1983.

Tete Cubiste is an excellent example of post cubist painting, and Arnould masters the use of a very subtle palette.

Museums:

Besançon, Le Havre, Rouen

Paris (Museum of Modern Art, Ville de Paris)

£9,500

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Pierre Zucchelli,

1930 –

The Departure, 1961

Oil on Canvas

141 x 85 cm

The young Pierre Zucchelli had a promising start, exhibiting at the Galerie Breteau in Paris in 1953 and for many years thereafter.

In 1958 he exhibited with Jean Cocteau who was greatly taken by Zucchelli’s work and its relevance to the world.

In 1962 he exhibited with the Paris Museum of Modern Art in the USA, in 1963 he exhibited with the Galerie Maeght and at the Fondation Maeght. In 1965 he

exhibited with Pignon and in 1966 with Marcel Duchamp and in 1972-4 at the Salon de Mai.

Zucchelli continues to exhibit throughout France and Italy, and now lives quietly near Paris.

His work has echoes of El Greco and reflects the agonies of people being forced from their homes, a subject which Zucchelli returned to often.

The Fondation Maeght in Saint- Paul Vence, France has some of his work.

£18,000

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André Marchand

1909-1999

Nature Mort Aux Raisins, Circa 1948

Oil on Canvas

72 x 61 cm

André Marchand was born in Aix-en-Provence, he started painting at the age of fourteen and by nineteen he was studying in Paris. Two years later he was already

exhibiting at the Salon d’Automne.

In 1933 he began travelling and visited Algiers to paint, he was to spend much of his life moving from place to place but he always returned to Paris.

In 1937 he was awarded the Prix Paul Guillaume for painting although by this time he was already turning his talent in other directions; book illustration including

Gide’s Les Nourritures Terrestres, theatre design for the Opera Comique de Paris and even tapestry design for Aubusson.

In the late 1930s he developed a friendship with Giacometti, Tal Coat and Gruber and took part in the Young Painters in the French Tradition exhibition in Paris.

Like many of his contemporaries of the late 1930s and early post-war years, he objected to the apolitical character of ‘pure’ abstract art, believing that art should

have an explicit social commentary. What emerged was a mannered style of painting much influenced by Picasso.

Whilst Marchand was still alive, in fact quite early on in his career, he had several major retrospective exhibitions; in 1951 in Holland, in 1952 in Belgium, and in

1956 at the Galerie Charpentier in Paris.

Museums:

Algiers, Grenoble, Liege

Paris (Museum of Modern Art, Ville de Paris),

Paris (National Museum of Modern Art),

Toulouse, Holland, Belgium

£12,500

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Emile Blondel

1893-1970

La Pointe Court À Sete, Circa 1950

Oil on Canvas

46 x 40 cm

Emile Blondel was a member of a large family, and he began work at the age of six.

By the time Blondel was sixteen he was a ships boy on a fishing boat out of Newfoundland. He then became a docker at Le Havre, and went on to be the port

pilot before settling in St-Denis in 1925, where he was a bus driver.

It was in St –Denis that he began to paint, although he did not take it up full time until he retired at the age of fifty.

His work proved to be popular, his paintings tended to be based on his experiences and what he saw around him.

In 1950 he had his first solo exhibition at the Galerie Cambacérès in Paris and then in New York. He had another solo exhibition in Paris in 1953 at the Galerie

Conti, and in 1955 at Le Havre, and once more at the Galerie Cambacérès.

Blondel took part in the first international exhibition of Naïve Painting in Knokke-le Zoute in Belgium in 1958.

Blondel frequently visited Sete and painted there, feeling at home amongst the quays and ships.

Museums:

Nice, Le Havre,

Paris (National Museum of Modern Art)

£7,000

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Marcel Burtin

1902-1979

Femme Avec Cheveux Noir, 1944

Oil on Canvas

86 x 71 cm

Marcel Burtin was been born in Tunisia, he was the son of a miner and began his career in the French Navy and then later on as a draughtsman in the design

office of Renault. It was here that Edouard Pignon met Burtin and he encouraged Burtin to paint.

Pignon introduced Burtin to Picasso, Matisse and Léger, but it was Picasso who took to the young and somewhat naïve painter under his wing, and therefore

greatly influenced Burtin’s style.

Soon Burtin was showing in the Paris Salons, particularly the Salon de Mai and the Salon des Artistes Français. He took part in many group exhibitions and

eventually turned to a sort of organic abstraction. Most agree, however, that Burtin’s best period of work was produced when he was in the south of France,

where he was located close to his mentor Picasso.

Femme Avec Cheveux Noir, which was produced around 1944 comes from that south of France period and may well have been painted whilst Burtin was staying

with Picasso. It combines all of the elements of the master’s work of that period.

£12,500

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Henry Hayden

1883-1970

Nature Morte au Pichet, 1915

Oil on Canvas

52 x 44cm

Henry Hayden was born in Warsaw, where he attended the school of fine art. In 1907 he went to Paris and studied at the Academie de la Palette. Hayden ventured

on to Pont-Aven and Pouldu, where he stayed until 1912 before returning to Paris which was to become his home, and where he was to become one of the most

influential painters of the inter war years.

The work Hayden had completed in Brittany attracted the attention of the critic Basler, who introduced him to André Salmon who became very interested in his

work and subsequently wrote many articles about it.

In 1912 Hayden showed ‘Woman with a Fan’ at the salon, a step away from cubism. From then on, using Cézanne as a starting point, he became one of the

founders of the Cubist movement along with his good friends Braque and Picasso.

Charles Malpel, an influential dealer saw Hayden’s work and bought it all. At the time Hayden was sharing a studio with De La Fresnaye and André Lhote, but

soon he became caught up with Picasso, Juan Gris, Lipschitz, Metzinger and Severini.

His early work was certainly the equal of Picasso and Braque and his landscapes, which are rare in cubism, were greatly admired. Max Jacob hailed him as the

‘Renoir of Cubism’.

From 1920 onwards Hayden left cubism and returned to a natural realism, taking influence from Matisse, Derain and Modigliani. His reputation grew both in

France and internationally and he was in constant demand for exhibitions.

Hayden left Paris for the Auvergne with the Delaunay, thence to Mougins, and afterwards on to the Vaucluse, where he spent the rest of the war and became a

close friend and chess partner with Samuel Beckett, who became a lifelong supporter of his work.

After the end of the war, Hayden’s name and fame assured him of a constant programme of exhibitions. There are many books written on his life and work,

perhaps the most impressive is “Hayden” by Samuel Beckett.

Hayden exhibited regularly from 1909 and in 1968 the Museum of Modern Art in Paris mounted a significant retrospective of his work.

Nature Morte au Piche dates from 1915, it perfectly exemplifies the influence of Cezanne in Hayden’s own route to Cubism.

Museums:

Aberdeen, Amsterdam, Birmingham, Cardiff, Chicago, Leeds,

Paris (Museum of Modern Art, Ville de Paris), Paris (National Museum of Modern Art),

London (The Tate), London (Victoria &Albert Museum), Marseille, Munich, Turin.

£22,500 CLICK TO RESERVE

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Andre Minaux

1923-1986

Head of a Young Girl, Circa 1955

Oil on Canvas

80 x 70cm

Andre Minaux studied at the Ecole des Arts Decoratifs between 1941 and 1945. He was a pupil of Roland Oudot and Maurice Brianchon.

In 1945 he went to Avignon and discovered the Mediterranean light and the paintings of André Marchand, these influences were evident during the Force-

Nouvelles period when his paintings were both realist and melancholy.

In 1943, a visit to an exhibition of Amedé de La Patelliere at the Musée d’Art Moderne, showed Minaux that what he had been attempting to accomplish had

already been achieved and this spurred him on to find his own strong personal voice for his art.

In the late forties Minaux subscribed to the principal of returning to everyday reality, as espoused by the Homme Temoin group; he painted compositions with

figures, especially female figures; his temperament led him always to accentuate the melancholy and was in keeping with the groups reputation for depicting angst-

ridden subjects.

As Minaux’s reputation grew so did the number of exhibitions he had in Paris, New York, London and thereafter onto Montreal, Tokyo and South America.

As the years passed his work continued to develop, but it never quite reached the powerful heights of his early work

Museums:

London (The Tate),

Paris (Museum of Modern Art, Ville de Paris),

Colmar.

£11,000

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Georges Braque (After)

1882-1963

[Titles, pg.36 L-R] L’oiseau de feu Le Nid Les Oiseaux Noirs

La Mandoline La paquet de bleu Grenande et Pipe

[Titles, pg. 37 L-R] Nu aux bras levés* Les Pommes Nu aux Feuilles

Le Char Grec Le Vase Profil Torero

Offset lithographs, signed in the plate from the Original Portfolio "Espace"

Printed by L'Imprimier Union a Paris.

Published by Au Vent d'Arles, Paris, 1957

Portfolio Edition Number: 49/300

Lithograph Paper Size: 49 x 40 cm

Georges Braque was a major 20th-century French painter and sculptor who, along with Pablo Picasso, developed the art style known as Cubism. He was born in

Argenteuil, Val-d'Oise and grew up in Le Havre where he trained to be a house painter and decorator like his father and grandfather. However, he also studied

artistic painting during evenings at the École des Beaux-Arts, in Le Havre, from about 1897 to 1899. In Paris, he apprenticed with a decorator and was awarded

his certificate in 1902. The next year, he attended the Académie Humbert, also in Paris, and painted there until 1904. It was here that he met Marie Laurencin and

Francis Picabia.

During the period between the wars, Braque exhibited a freer style of Cubism, intensifying his colour use and a looser rendering of objects. However, he still

remained committed to the cubist method of simultaneous perspective and fragmentation. In contrast to Picasso, who continuously reinvented his style of

painting, producing both representational and cubist images, and incorporating surrealist ideas into his work, Braque continued in the Cubist style, producing

luminous, other-worldly still life and figure compositions. By the time of his death in 1963, he was regarded as one of the elder statesmen of the School of Paris,

and of modern art. *Original work in the collction of Christian Dior.

£1,200 each, framed

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Jack Senné

1893-1943

Lavandiéres au Bord de L’étang, 1930

Oil on Canvas

57 x 50 cm

Jack Senné was born near Brussels and initially trained as a house painter before his passion for art took him to Paris. Here he visited the Louvre and all the salons

where he was continually learning about the subject of art, whilst simultaneously developing a passion for it.

Senné took evening classes in order to develop his talent, but it was his love of Impressionism that primarily drove him.

He pursued his learning with a real talent which surprisingly brought him little recognition during his lifetime. Unfortunately his art was considered to be ‘old

fashioned’ when compared to the mainstream art movements of the Twentieth Century.

Despite this Senné did eventually find a following, and as Lavandiéres au Bord de L’étang shows, he is able to portray a luscious slice of life brought in from the

plein air just as the Impressionists did before him.

Senné’s work does not often come to the market very often, this is a rare and beautiful example of his love of colour whilst also reflecting the speed with which he

could apply it.

£5,500

CLICK TO RESERVE

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Pablo Piccaso

1881 – 1973

The Coffee Grinder [Left]

Limited edition lithograph, signed in pencil

14 x 19 inches

£6,950

Grand Colombe Bleu [Right]

Limited edition lithograph, signed in pencil

20 x 18 inches

£16,500

During the 1950s and 60s the organisation known as the Paris Peace Movement published a number of prints by Pablo Picasso. The Paris Peace Movement - also

known as Combat Pour La Paix - was a Communist organisation during the height of the Cold War. It was well known that Picasso was a Communist

sympathiser, and as such he would customarily donate an original drawing to the Peace Movement and give them the authority to print it in a limited edition.

Once printed, Picasso would sign them and the Peace Movement was free to sell them. This was Picasso’s method of contributing to the Peace Movement in lieu

of money. Belgravia Gallery is delighted to offer to our clients just a few of Grande Colombe Bleu, La Ronde (colour) and La Ronde (black and white), which are

instantly recognisable images worldwide. It is clear from these images that the overriding theme is one of peace. These charming lithographs are available

unframed or with a stunning handmade silver leaf frame with a gesso mount.

CLICK TO RESERVE

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TO PLACE AN ORDER CONTACT US:

45 Albemarle Street

London

W1S 4JL

+44 (0) 20 7495 1010

laura@belgraviagallery.com

www.belgraviagallery.com

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