Jean Dupas (French, 1882-1964) – Bordeaux, 1937 (Poster) – – An alluring, Art Deco, allegorical beauty representing the wonderment of all that Bordeaux has to offer is actually showing off those very same attributes in the form of ships from the city’s famous harbor, monuments and the wine for which the region is so renowned.
O’Kley was a pseudonym for Nantes-born Pierre Gilardeau, the man behind some of the most collectable Folies Bergère posters. Here, Can Can dancers in black stockings, white feathers and sparkling jewelry are dancing against a red and yellow background.
Henri-Jean Guillaume Martin (French, 1860-1943) – La Muse du Peintre, c.1900 (Oil on canvas) – – Painted circa 1900, the present work is the culmination in a series of allegorical figures and muses that Martin produced in the 1890s. Martin was particularly fond of the theme of the muse in the form of a beautiful young woman ‘visiting’ the artist. He first explored the subject in 1885 in the painting Le Philosophe ou L’Inspiration du poète.
Ettore Tito (Italian, 1859-1941) – The Reading, 1907 (Oil on canvas) – Tito was an particularly known for his paintings of contemporary life and landscapes in Venice and the surrounding region. He trained at the Accademia di Belle Arti in Venice and from 1894 to 1927 was the Professor of Painting there. Tito exhibited widely and was awarded the Grand Prize in painting at the 1915 Panama-Pacific International Exposition in San Francisco.
Carl Larsson (Swedish, 1853-1919) – The Letter, 1885 (Oil on panel) – The work captures the delightful light-filled drawing room in Lilla Hyttnäs in Sundborn, the cottage occupied at the time by Karin Larsson’s two great-aunts Ulla and Maria. Ulla, beautifully presented in her finely tailored dress, is perched on one of two Gustavian chairs engrossed in reading a letter, itself a traditional compositional pose.
Edward Burne-Jones (English, 1833-1898) – The Garden of the Hesperides, c.1869-73 (Watercolor on paper on canvas. Hamburger Kunsthalle) – Burne-Jones copied details from Botticelli’s Primavera (circa 1478) in the rhythmic concept of the Hesperide group. The faces, on the other hand, were modeled on real models, including his beloved Mary Zambaco. The physicality of the dancers and the lightness of their movement is accentuated by the transparent robes.
John Singer Sargent (American, 1856-1925) – The Sketchers, 1913 (Oil on canvas. Virginia Museum of Fine Arts) – Mary Foote, a member of the San Vigilio circle that September in 1913, intently works on an unseen canvas in a lush olive grove in San Vigilio, overlooking Lake Gard. The seated figure viewed from the back is Wilfrid de Glehn. This fluidly painted, dynamic work reveals Sargent at his arguably most modern and experimental stage of picture making, marking an exciting transitional moment in his career.