Pierre Bisiaux Art

Signed lower left & titled verso. A printmaker and painter in abstract style who used wide brush marks, Henry Kallem was born in Philadelphia. His father was Morris Kallem, a portrait painter, with whom he studied, and his brother was sculptor Herbert Kallem...

Saint-Tropez-Le Port Color lithograph, 1897-1898 Signed in pencil lower right (see photo) Numbered in pencil lower right: No. 68 (see photo) From: Album des Peintres-Gravures, 1898 ...

A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Bacchanale". The original painting was completed circa 1922. In the 1970's after Picasso's d...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These...

“Still Life, 1936” by Katharine "Kitty" Duff Church (British, 1910-1999). This large, early painting by Katherine Church is among her finest canvases of the period. Characterized by its bold color palette, simplified forms, and expressive brushwork, this composition centers around a tabletop adorned with various objects: potted plants, a ceramic dish, bottles, and what appear to be books or papers. The two potted plants provide contrasting elements: on the left, what appears to be a cyclamen with red blossoms and delicate leaves, and on the right, a lush green plant with darker foliage. These plants, painted with loose, textured strokes, add an organic quality to the otherwise structured arrangement. The tabletop is cluttered yet thoughtfully composed, featuring additional objects like a clear, faceted glass bowl, a small bottle, and books or pads in striking red and green. The dynamic use of color blocks and the juxtaposition of shapes (round pots against rectangular books) create a sense of rhythm and harmony. The background is darker and less defined, emphasizing the brightly lit tabletop. Church's brushwork is gestural and modernist, leaning toward abstraction, challenging traditional still life conventions. This painting reflects Church’s interest in balancing everyday objects with bold artistic expression. It conveys both the simplicity and complexity of daily life, transforming an ordinary moment into a vibrant and engaging work of art. This work is oil on canvas and is signed and dated in the lower right. It is housed in its original gessoed frame and retains various labels and inscriptions on the reverse. Size: 28.25 inches tall by 36 inches wide (painting) 34 inches tall by 42 inches wide by 2 inches deep (frame) Provenance: Private collection, NY; Acquired from the above About the artist: Born in Highgate, north London, Katharine Church, known as ‘Kitty’ amongst friends and family, always wanted to paint. She trained at the Royal Academy of Arts between 1930-1933 and at the Slade between 1933 and 1934. In her early years Kitty exhibited regularly at the Royal Academy. Her first solo exhibition was in 1933 at the Wertheim Gallery. Other artists who exhibited there included Christopher Wood, Victor Pasmore and Cedric Morris. Kitty also showed with the New English Art Club, the London Group and between 1937-1947 her work was exhibited at the influential Lefevre Gallery, which supported avant-garde artists such as Henry Moore, Ben Nicholson and Barbara Hepworth. In 1954 the artist was invited to take part in the Figures in their setting exhibition held at the Tate Gallery. Henry Tonks and Philip Wilson Steer had a strong influence on Kitty’s early work, but it was her friendship with Ivon Hitchens that liberated her painting technique. In 1936 Kitty married Anthony West, the son of writers Rebecca West and H.G. Wells. The couple initially lived in London before moving to Quarry Farm, Chicksgrove, Tisbury, near Salisbury, where they brought up their children Caroline and Edmund. There they hosted many of their friends, including the New Zealand painter Frances Hodgkins. Other regular visitors before the War included John and Mywafany Piper, Ralph and Frances Partridge, Noel and Catharine Carrington, Julian Trevelyan and Mary Fedden. For many of those who visited Kitty would organise painting expeditions. After the war Kitty and Anthony separated, with Anthony moving to the United States. Anthony West moved to the United States to work as a journalist for The New Yorker. In the early years after their parting Kitty visited most years with the children. In the 1960s Kitty purchased Sutton House and ran the Hambledon Gallery at Blandford Forum. There she promoted the work of her early art-school friends Mary Fedden and Julian Trevelyan, alongside work by the Pipers, John Craxton...

Vintage American modernist still life oil painting. Oil on canvas. Signed "Bedell". Measuring: 25 by 20.5 inches overall, and 20 by 16 painting alone. Excellent condition, ready to h...

Oil on canvas, 24 x 19 inches overall, 20 x 15.75 inches image size. A modernist still life. Cubist elements as well. Signed lower right and presented in an a modernist frame. ...

Berthoud Prize - 1957 Maurice Redard (1922–1987) A Swiss painter active in Geneva, Maurice Redard developed a body of work focused on the representation of everyday objects and spac...

Artist: Henri Matisse (1869–1954) (after) Title: The Swimming Pool I (La Piscine I) Year: July 28, 1958 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 42 inches (35.56 x 106.68 cm), with trifold and stitch perforations as issued Condition: Well preserved, consistent with age and medium Inscription: Unsigned and unnumbered as issued Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne reference: Duthuit, Claude. Henri Matisse: Catalogue raisonne des ouvrages illustres. Editions Claude Duthuit, Paris, 1988, illustration 139 Notes: Excerpted from the album (translated from French), This double issue of VERVE is entirely devoted to the last works of Henri Matisse-1950-1954. These works, rendered in color litbography, were made by the artist, in gouache papers, cut with scissors and glued. They are accompanied by drawings executed during the same period or before. Matisse specially composed the cover of this album. Under his direction were drawn, during the year 1954, the first of these lithographic plates. The work was completed on July 28, 1958 by Mourlot Freres for lithography and by Master Printers Draeger Freres for heliogravures and typography. Additional notes: This exquisite lithograph after Henri Matisse (1869–1954), titled La Piscine I (The Swimming Pool I), from Dernieres Oeuvres de Matisse 1950-1954 (Last Works of Matisse 1950-1954), Verve: Revue Artistique et Litteraire, Vol. IX, No. 35-36, originates from the July 28, 1958 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1958. This visionary composition reflects Matisse’s late mastery of form and color, translating his celebrated cut-out aesthetic into the lithographic medium with remarkable clarity and vibrancy. Dernieres Oeuvres de Matisse 1950-1954 (Last Works of Matisse 1950-1954), published as Verve Vol. IX, No. 35-36 on July 28, 1958, represents one of the most important posthumous tributes to Henri Matisse’s final period of artistic production. Conceived and directed by the visionary publisher Teriade, this issue of Verve is entirely dedicated to the works Matisse created between 1950 and 1954, a period defined by his pioneering cut-out technique. Produced in Paris with exceptional technical precision, the publication brings together color lithographs faithfully rendering Matisse’s gouache cut-outs alongside a selection of drawings executed during the same period or earlier. The lithographs were printed by Mourlot Freres, while Draeger Freres oversaw the heliogravures and typography, ensuring the highest level of craftsmanship. The project was initiated under Matisse’s direct supervision in 1954, with the artist guiding the early stages of translation from original cut paper compositions into lithographic form. As part of the broader legacy of Verve, one of the most influential artistic and literary publications of the twentieth century, this issue stands as a monumental record of Matisse’s final innovations, preserving the essence of his late style and affirming his enduring impact on modern art. HENRI MATISSE (1869–1954) was a French painter, sculptor, draughtsman, and printmaker whose revolutionary vision redefined modern art through his daring use of color, line, and form. Celebrated as one of the greatest artists of the 20th century, Matisse led the Fauvist movement and devoted his life to the pursuit of balance, beauty, and emotional expression in visual art. His early works burst with vibrant hues and liberated brushwork, while his later “cut-out” compositions achieved a poetic simplicity that transformed the relationship between color and space. Deeply influenced by the work of Paul Cezanne, Vincent van Gogh, and Georges Seurat, as well as by the rhythmic patterns of Islamic art, Byzantine mosaics, and Japanese prints, Matisse forged a new visual language that celebrated joy, movement, and serenity. He was part of an extraordinary generation of artists who shaped the evolution of modernism, maintaining lifelong dialogue and friendly rivalry with contemporaries such as Pablo Picasso, Georges Braque, Marc Chagall, Andre Derain, Albert Marquet, and Raoul Dufy—peers who, like him, sought to expand the expressive potential of color and composition. Matisse’s influence extended across generations, inspiring modern and contemporary masters including Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, each of whom drew upon his fearless experimentation and refined visual harmony. His paintings, sculptures, and works on paper are held in the most prestigious museums in the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Hermitage Museum, where his art continues to symbolize the essence of creativity and human emotion. The highest price ever paid for a Henri Matisse artwork is approximately $80.8 million USD, achieved in 2018 at Christie’s New York for Odalisque couchee aux magnolias (1923). Henri Matisse La Piscine...

Impressive Paris school modernist still life oil painting. Framed. Oil on canvas. Signed. Image size, 36H by 29L and overall 36 by 43 inches.

Vintage American school modernist apple still life. Signed oil on canvas, framed. Overall dimensions: 18 x 22 inches. Artwork alone: 16 x 12 inches.

Andre DERAIN (1880-1954) (after) Fauvist View of the Harbour of Collioure Lithograph after a 1905 painting (Mourlot Studio) Signed in the plate On Arches Vellum 50 x 65 cm (c. 20 x...

Vintage American modernist framed still life painting. Oil on canvas. Framed. Signed. Image size, 16 by 20 inches.

Color lithograph, circa 1950. With the artist's printed signature as issued, lower center, and numbered 84/200 in pencil, lower right. Printed and published by Mourlot, Paris. The...

This is an exclusive handprinted limited edition cyanotype. "Serene Cove Ripples" is a gorgeous original cyanotype diptych showing calming sea ripples in a Mediterranean cove. Details: + Title: Serene Cove Ripples + Year: 2022 + Edition Size: 100 + Medium: Handmade Cyanotype Print on Watercolor Paper + Stamped and Certificate of Authenticity provided + Measurements : 100x140 cm (40 x 55.2 in.) Each paper measures 70x100 cm (28x 40 in.) each, a standard frame size + All cyanotype prints are made on high-quality Italian watercolor paper WHAT IS A CYANOTYPE? The cyanotype (a.k.a. sun-print) process is one of the oldest in the history of photography, dating back to the 1840's. Cyanotypes were then made famous by Anna Atkins...