We are pleased to unveil a recent discovery of an important 1875 oil on canvas painting by Armand Guillaumin depicting the Quais of the Seine. This work was offered for sale in a small French auction house as simply “French school”. The work immediately resonated with its colour palette and brushwork and we felt strongly that, although unsigned, it was an early painting by Guillaumin.
Following submission to the Comite Guillaumin the work was confirmed as authentic by Dominique Fabiani, Stéphanie Chardeau-Botteri & Jacques de la Béraudière. The work is now accompanied by the certificate of the Comite Guillaumin and will be included in the second volume of the Catalogue Raisonne which is under preparation.
This large work is on its original canvas and in its original frame. The painting was very dirty when originally purchased and our conservator has cleaned the work and brought this fantastic painting back to its original condition. The frame itself has the prestigious Paris makers mark of P Husson who were specialist carvers and gilders of the finest frames of the time. They numbered each and every frame they made and applied a brass plaque to the back – this particular example was created in 1903 and is numbered 2546 in their inventory. We are currently researching with the Archives National to locate the records of Husson and hopefully be able to find who owned this painting in 1903 – which currently is a mystery!
The painting dates to 1875 which is a highly important time for the painter as he had exhibited in the 1st Impressionist Exhibition in the previous year 1874 – exhibiting under the guise of the Anonymous Society of Painters, Sculptors, Engravers. At that time Guillaumin alongside Monet, Pissarro, Degas, Renoir, Sisley, Morisot and others, arranged the first aggregated collection of impressionist paintings with 165 works displayed. A critical failure but a highly important moment in art history.
View Armand Guillaumin paintings.
View our latest artwork for sale.
Might the brushstrokes of Monet still whisper secrets?
Impressionist Art: Exploring the World of Impressionist Paintings with AI
Impressionist art has captivated art enthusiasts for decades. The unique style and technique of impressionist painters have left a lasting impact on the art world. In this blog post, we will delve into the fascinating world of impressionist art and explore how AI technology is revolutionising the way we research and appreciate these masterpieces.
Impressionism emerged in the late 19th century as a reaction against the traditional art practices of the time. Instead of focusing on precise details and realistic representations, impressionist artists sought to capture the fleeting moments and sensations of everyday life. They embraced vibrant colours, loose brushstrokes, and the play of light and shadow to create a sense of movement and atmosphere in their paintings.
Research plays a crucial role in understanding and appreciating impressionist art. It allows us to uncover the historical context, influences, and techniques employed by the artists. By studying their works, we can gain insights into their creative process and the messages they intended to convey.
With the advancements in AI technology, researching impressionist art has become more accessible and efficient. AI algorithms can analyse vast amounts of data, including art collections, historical documents, and scholarly articles, to provide valuable insights and connections. This allows art enthusiasts and researchers to discover hidden patterns, explore new perspectives, and gain a deeper understanding of impressionist art.
There are several AI-powered tools available that can aid art enthusiasts in their research. These tools can assist in identifying and categorising artworks, providing detailed information about artists and their works, and even generating personalized recommendations based on individual preferences. By leveraging AI, art enthusiasts can enhance their knowledge and appreciation of impressionist art.
Impressionist art continues to inspire and captivate art enthusiasts around the world. With the help of AI technology, researching and understanding these masterpieces has become more accessible than ever. By embracing AI-powered tools and leveraging the wealth of information available, art enthusiasts can delve deeper into the world of impressionist art and gain a greater appreciation for its beauty and significance.
Consider a gallery awash with light, where Impressionist masters like Monet, Renoir, and Degas evoke emotions from canvases that are over a century old.
The advent of artificial intelligence in the realm of art research has ushered in an era of ‘digital impressionism’ – sophisticated algorithms that delve into the nuances of these timeless works, revealing complexities previously cloaked in mystery.
It has been interesting to note in the last few months some record prices for the landscape works of Maximilien Luce. Christie’s held a sale in the early part of March which included two relatively small landscape works on panel – one from 1895 and one from 1914 (illustrated below).
Both were estimated at 12-18,000 and 15-20,000 GBP respectively. They realised prices of 56,000 and 69,000 – which would have been unprecedented a few years ago. His landscape paintings have remained relatively static in price for some years with the exclusion of the pure pointillist works that have always seen great demand. It’s high time that these lovely early paintings were recognised for the flat brush technique and vibrant use of colour. We currently have in stock a fine early landscape from 1898 which was exhibited at Galerie Druet in one of their first dedicated exhibitions of the painters work (illustrated below).
This upturn in the painters fortunes was sadly marred by the news of the death of Denise Bazetoux the long time expert on the works of Luce and Henri Lebasque. We had tried to contact her in early March only to speak with her son who advised us of her passing. She was an incredibly helpful and friendly expert to work with and happy to provide advice on a no cost basis when asked. Her passion was never ruled by money but a desire to further the interest and understanding of these two great painters. She will be sadly missed for her extensive knowledge and her warm character.
Most of us are aware of Paul Cezanne, but what do you know about his less famous contemporaries? Take a look, I think you’ll be surprised.
One of the things I love about living close to London is hanging out on the South Bank.
Whether it’s visiting The South Bank Centre, Shakespeare’s Globe, The National or Tate Modern. It’s always a great day out.
Speaking of Tate Modern, I’m looking forward to visiting their Cezanne exhibition which ends this coming March.
So, what’s the big deal with Post Impressionism?
Well for a start, the Post Impressionists were the Punk Rockers of their day.
If you do some basic research on these artists, you’ll find they wanted to change the world (just like artists of today), and they undoubtedly did.
Cezanne wasn’t only the father of Post Impressionism, but the father of modern painting. So, quite a revolutionary.
I don’t know about you but I’m quite particular on what I hang on my walls. I’m always on the lookout for something different, ideally, a great talking piece and even better if it’s something that no one else has.
I began working with Leighton Fine Art over three years ago. Now I’m even more interested in art than ever before.
With surprising starting prices, Nick’s collection is truly impressive.
One of my favourite artists is Victor Charreton. I was hoping Nick was going to let me have Les Baigneuses as a bonus for all the hard work we’ve been doing (but strangely enough I think he went temporarily deaf when I mentioned it).
It’s now sold, but it will be interesting to see what it comes back on the market for (knowing my luck, much more than I could have bought it for).
As you can gather, I’ve been learning loads about Impressionism, the First Exhibition and Post-Impressionism.
I’m sure everyone’s familiar with Paul Cezanne and his work, but what most people don’t realise (hopefully it’s not just me), is that there were plenty of his lesser-known contemporaries, who created arguably as good works, that are still available at relatively modest amounts.
Maybe you don’t have the time to get along to Tate Modern, but please start researching online for this increasingly popular market.
I like to think of Cezanne as a Johnny Rotten or Bob Marley figure.
I’m looking forward to finding out.
You can learn more here: French Impressionists.
About the author:
Richard Nolan is the founder of Rife Interactive and our Fractional CMO here at Leighton Fine Art.
We are delighted to announce some new arrivals at Leighton Fine Art.
This collection features a variety of new pieces from some of our favourite artists that we think you’ll love. Whether you’re looking for a statement piece for your home or office, or simply something to add to your growing collection.
Some of the standout pieces include a stunning painting by renowned artist Ivan Fedorovich Choultse (regarded as one of the finest painters of snow of his time), a piece by the much sought-after Jacques Martin-Ferrieres (son of the renowned artist Henri Martin), and a rare sketch by acclaimed artist Camille Pissaro (who associated with Claude Monet, Armand Guillaumin, Paul Cezanne and Edouard Manet). Whatever your taste, you’re sure to find something you love in this latest collection!
You can view the new arrivals here: https://issuu.com/leightonfineart/docs/june2022.pptx
Art is more than just a pretty picture; it’s an investment that can appreciate over time. Plus, it’s a great way to add personality and character to your space. Whether you’re looking for a conversation starter or simply something to brighten up your walls, a piece of art is always a welcome addition.
When it comes to fine art, there is no one correct taste. Some people prefer traditional paintings, while others prefer more modern pieces. There is no wrong answer – it all comes down to what you personally enjoy.
To find your own taste in fine art, start by exploring different styles and artists. Visit art galleries, or search online for images of paintings and sculptures. As you look at different pieces, pay attention to the ones that catch your eye. What is it about them that you find appealing? Once you have a better idea of the types of art you like, you can start narrowing down your search to find specific artists that match your taste.
Don’t be afraid to experiment, and don’t worry if you don’t like everything you see. It takes time to develop a taste in fine art, so keep exploring until you find the pieces that speak to you.
If you have any questions or concerns, please don’t hesitate to contact us.
These new pieces add to our already impressive collection, and we are sure that they will be popular with our clients. We invite you to come and look for yourselves, and we look forward to your feedback.
Thank you for your continued support.
Nick Leighton Owner, Leighton Fine Art
We are always looking for quality paintings by the artists that we sell or other painters who are recognised names in the important period of art that encompasses impressionism and post impressionism. If you have original paintings in your collection that you are considering selling, then please contact us directly. We purchase paintings from all over the world, so distance is no issue. Shipping directly to us can be arranged worldwide.
We will often pay a premium on auction prices, and you will avoid the lengthy wait to get paid and the costly fees charged by auction rooms for selling your artwork, as well as the risk of the painting going unsold at the auction.
We buy all our paintings outright and pay immediately by bank transfer. We aim to offer a seamless and trouble-free sale process so please get in touch.
Painters of interest to us for immediate purchase are:
A painting may often appear too good to be true… and that is often the case. The art world is littered with forgeries, copies and anomalies so where there is a credible expert for any painter it is always worth checking with them as to the authenticity of a painting – but here is where the problems often begin rather than end…
Trustworthy art appraisal can be more involved than you think. Experts are a mixed bunch; some are very approachable and easy to work with whilst others are harder to track down and more difficult to communicate with. Some charge exorbitant fees relative to the value of a painting whilst others offer their services for free, or at a reasonable cost in relation to the value of a painting.
Some will charge whether the painting turns out to be genuine or not whilst others will charge only on the basis of an affirmative confirmation of a work. So, when buying a painting that’s sold unequivocally as by a certain artist it’s always worth ascertaining a few key criteria:
A few interesting anecdotes from our own experience – no names are mentioned for obvious reasons…
Some years ago, we purchased an impressionist painting by a highly noted painter of the time. The work had good gallery provenance from the early 20th century, so we were confident in the purchase. Comfort was also given by our own experience and knowledge of the painter. We sent the work to the accredited expert on the artist who happened to be a family descendant. The charge for expertise was very reasonable BUT there was one caveat… should the work be deemed a fake the family member wanted the ability to destroy the painting! The result was positive, but the risk was high as a significant amount of money was at stake… an exercise not for the feint hearted.
More recently we purchased a work for a substantial sum at auction in the United States. The painting was, and is, in our opinion a genuine work by the painter. Despite extensive provenance from one of America’s leading dealers of the 20th century in impressionist art and an ownership history that included important political figures in American history… the expert said NO. We consulted her prior to paying for the work and this saved us considerable problems. Despite the fact we and others believe the work to be genuine if the expert disagrees then the work cannot be sold in good faith.
More on The Art of Forgery
View our collection
Last month we were lucky enough to find a lost portrait by Henri Fantin Latour depicting an unknown gentleman and painted in 1856 when Fantin was renting a site with some of his friends from the Lecoq de Boisbaudrans studio. The painting corresponds well with a similar portrait of the same year by Fantin-Latour depicting the painter Alphonse Legros.
Brame & Lorenceau kindly inspected the painting and confirmed its authenticity – issuing a certificate and including it in the painters digital catalogue raisonne.
This enigmatic work is on its original canvas and signed and dated upper left.
It is with pleasure that we unveil a hitherto unrecorded painting by the highly important anglophile painter James Tissot. The painting was discovered in a private collection and after extensive research and the assistance of Krystyna Matyjaszkiewicz we were able to confirm the works authenticity. The painting dates to between 1860 and 1863 and depicts the subject of a theatrical evening at the home of Prince Napoleon Bonaparte which would be situated today at 18 Avenue Montaigne in Paris and was called the Maison Pompeienne. Prince Napoleon lived there between 1860 when the house was completed and 1866 when he fled to his countryside home after enraging his cousin Napoleon III. The house was demolished in 1891.
The work shows numerous figures enjoying an evening of music and dance under the guise of a Commedia Dell’Arte. We can see in the image a Colombine and Harlequin as well as Japanese inspired figures which fit with Tissot’s known interest in Japonaiserie.
The painting is very personal and was likely painted from the memory of his visit as the columns in the scene are differently configured than in the actual Library of the Maison Pompeienne, images of which are available on public record.
A fascinating work by this master painter – it is accompanied by an extensive essay on the painting by Krystyna Matyjaszkiewicz who was the co-author of the recent publication entitled James Tissot which was written in collaboration with Melissa E. Buron and published by the Fine Arts Museums of San Francisco in 2019.
We have recently acquired an outstanding early painting by Edouard Vuillard. The work was originally owned by Prince Antoine Bibesco who was a Romanian exile who lived in Paris. The work remained in Private hands before being sold by Piasa in Paris in 2005 for 118,000 Euros. The work was purchased by Thomas Gibson Fine Art and then sold to a Swiss collector who owned it until it was acquired by us.
The painting is illustrated in Volume II of Vuillard’s raisonne published by Wildenstein and described as follows:
“The window in the background appears to be of stained glass. Through it can be seen a garden, the branches of the trees resembling the strips of lead used to hold together the pieces of glass (blues and blacks at the top , oranges and yellows below). On the right are a green wall and the edge of a door, on the right couch and a bright pink table with a bowler hat on it: and in the foreground a chair with a gleaming back, to the right of which are two over-lapping patches of w richly coloured, brightly lit rug”
A few months ago a beautiful painting appeared for sale in Paris – the work was sold in a 17th century frame and was thus consigned to the later stages of an old master paintings sale. There were a few clues to its potential – the distinct letters “IN” popping out from the edge of the frame and a date of 1887. The work was clearly of great quality and it was acquired by us with a view to further research – in the conviction that this was an unrecorded painting by Henri Fantin Latour.
Having consulted with Brame & Lorenceau in Paris we submitted the work to the Fantin Committee for assessment. Three weeks later a letter arrived confirming what we had initially believed – that the work was by the hand of the master himself. Brame & Lorenceau subsequently issued a certificate for the painting and their confirmation of its inclusion in the Fantin archive and the Catalogue Raisonne which is currently in preparation.
The painting has lost some of its signature on the left side and we have concluded this was likely trimmed during the Second World War to deter the Nazis from confiscating the painting during their occupation and looting of Paris. A number of Fantin paintings were taken by the Nazis from France in WWII as the artist was on the list of painters that were sought out by them for the planned Fuhrermuseum which never materialised.
It is with great pleasure that we can now offer this work for sale having managed to save it from obscurity.
We are pleased to unveil a recent discovery of an important 1875 oil on canvas painting by Armand Guillaumin depicting the Quais of the Seine. This work was offered for sale in a small French auction house as simply “French school”. The work immediately resonated with its colour palette and brushwork and we felt strongly that, although unsigned, it was an early painting by Guillaumin.
Following submission to the Comite Guillaumin the work was confirmed as authentic by Dominique Fabiani, Stéphanie Chardeau-Botteri & Jacques de la Béraudière. The work is now accompanied by the certificate of the Comite Guillaumin and will be included in the second volume of the Catalogue Raisonne which is under preparation.
This large work is on its original canvas and in its original frame. The painting was very dirty when originally purchased and our conservator has cleaned the work and brought this fantastic painting back to its original condition. The frame itself has the prestigious Paris makers mark of P Husson who were specialist carvers and gilders of the finest frames of the time. They numbered each and every frame they made and applied a brass plaque to the back – this particular example was created in 1903 and is numbered 2546 in their inventory. We are currently researching with the Archives National to locate the records of Husson and hopefully be able to find who owned this painting in 1903 – which currently is a mystery!
The painting dates to 1875 which is a highly important time for the painter as he had exhibited in the 1st Impressionist Exhibition in the previous year 1874 – exhibiting under the guise of the Anonymous Society of Painters, Sculptors, Engravers. At that time Guillaumin alongside Monet, Pissarro, Degas, Renoir, Sisley, Morisot and others, arranged the first aggregated collection of impressionist paintings with 165 works displayed. A critical failure but a highly important moment in art history.
View Armand Guillaumin paintings.
View our latest artwork for sale.
