Audrey Hepburn, 1960s, Digital Print, in Flawless conditions. Designed 1960 to 1969

Ben Wood, Sundial Shell, 21st Century, Digital Print, in Flawless conditions. Designed from 2000 This piece has an attribution mark,
I am sure that it is completely authentic and take full responsibility for any authenticity
issues arising from misattribution

Key Largo Tapestry in Limited Edition by Mathieu Matégot, in Very Good conditions. Designed 1970 to 1979 This piece has an attribution mark,
I am sure that it is completely authentic and take full responsibility for any authenticity
issues arising from misattribution

Lovely mid-century french oil on board painting of orange flowers in a vase.

Presented in a simple provincial-style wood frame.

Framed dimensions: 27 1/2” h x 23” w x 3/4” d

Unframed dimensions: 26” h x 21 1/2” w x 1/8” d

Signed lower left, not entirely legible. Looks like “Louis Moufflet” or perhaps “Levi Moufflet”.

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We kindly suggest that you read the entire , as with it we try to give you detailed technical and historical information to ensure the authenticity of our objects. Painting oil painting on canvas is made with mixed technique brush and spatula; the author used traditional brushes for a first draft giving shape to the whole drawing with an expert, loose wrist play and with sure and decisive brushstrokes; the representation, in this case, is not a pure exercise of virtuosity, in fact, the author communicates us his intimate essence manifesting it through the language of colors, shapes, and composition. The artist finished his work with the technique of spatula painting, named after the protagonist’s instrument, redistributing the colors densely and consistently, making the painting take on a special body and depth. The painting is signed but we are unable to give definite information about the author, however, we confirm its extraordinary aesthetic and engaging vividness; the painting was made in 1989 in the author’s studio in Paris whose intentions were to celebrate the 200th anniversary of the French Revolution (1789). The painter was inspired by both French Expressionism and Symbolism; Expressionism exalts the emotional value of art; it is the artist’s desire to communicate inner feelings, while with Symbolism, painters tend to go beyond the objective representation of reality to focus instead on the subjective vision, in which inner feelings, emotions, and experiences are evoked above all. Our painting is overflowing with the symbolism of the French Revolution; it is practically an evocative essence of it. This important and overwhelming historical event is powerfully present in the soul of the artist who wanted to overbearingly communicate to us his deepest emotions by transposing them entirely in the painting with strong and vivid colors, he did not want to simply allude or hint but to express, indeed “shout” his own deep interiority. In his intentions, the painting schematically and symbolically represents a standard-bearer of the French Revolution wearing the classic “Phrygian” hat. The author used only the three colors white, red, and blue that characterized the flags of the French Revolution; they were the new banners, which opposed the traditional emblem of the monarchy, the lilies on a white field. Three were the colors because three were the goals of the Revolution: liberty, equality, and fraternity, and they represented the three classes into which French society of the time was divided: the clergy (blue), the nobility (white), and the third state (red). The “Phrygian” cap (Latin for pileus) painted in red in the painting also has a high symbolic value, In Roman times it was worn by the ” freedmen” to show that they were now freed slaves but in the French Revolution it became the very symbol of Liberty; a similar cap was worn by the freed Marseilles convicts in 1792, and was the symbol of the Jacobins during the French Revolution. Due to this fact, in addition to its historical meaning of freedom, it was later adopted as a symbol of the revolution itself, a symbol immortalized on the “Marianne,” the very emblem of France, in Eugène Delacroix’s famous painting “Liberty Leading the People.” Many of the anti-colonial revolutions in North and South America were inspired by the French Revolution. In current times the “Phrygian” appears, as a symbol of freedom, in the state flags of West Virginia and New Jersey, and as the official seal of the United States Army and the United States Senate. Our painting, in addition to its high artistic value, is a work that with its joyful freshness and high decorative effect lends itself to easily decorating any room in the home. The painting is in good condition, and the frame is a show model, you can simply replace it according to your interior design and enhance this particular painting even more. Measures width cm.50, height cm.60, depth cm.2.

Stuart Redler, Blue Turtle, 2000s, Digital Print, in Flawless conditions. Designed from 2000 This piece has an attribution mark,
I am sure that it is completely authentic and take full responsibility for any authenticity
issues arising from misattribution

Painting executed in the 70s by Aldo Gentilini.
Acrylic on canvas, framed with passe-partout.
Signature on the left.
Good general conditions.

Dimensions:
Length 67cm depth 5.5cm – Height 86.5cm
Canvas 50cmx70cm This piece has an attribution mark,
I am sure that it is completely authentic and take full responsibility for any authenticity
issues arising from misattribution

An original c.1800 watercolour painting, Circle of Thomas Girtin, Figures on a Country Lane.This attractive and intriguing watercolour bears the inscription ‘Girtin’ on the verso, and shares stylistic similarities with the great artist’s work.The art of watercolour was transformed during Thomas Girtin’s brief life (1775–1802). Girtin, along with his friend and rival J.M.W. Turner, abandoned the careful stained drawings of their predecessors, widening the scope of the watercolour medium to communicate mood and atmosphere, and establishing it as a reputable art form.Girtin’s early work resembles the 18th-century topographical sketches of his master Edward Dayes (1763–1804), using a traditional linear style, to which tone and colour were then added. But his mature style developed the distinctive brushwork and rich colouration evident in the present watercolour; innovatively, he conceived his pictures as a single cohesive entity rather than a collection of parts.Girtin completed a number of sketching tours during his short life, journeying into the English countryside, visiting North Wales, the Lake District, Yorkshire and the West Country. But in comparison with other topographical artists, and notably his contemporary Turner, he was not particularly well travelled. Instead, throughout his career, Girtin would often use secondary sources as the basis for his watercolours and also construct compositions in his studio. The composition of the present watercolour bears similarity to some of the more modest rural subjects resulting from Girtin’s short excursions in the vicinity of London, such as a sketch at Turver’s Farm, Wimbish, nr Saffron Walden, Essex (BM no. 1855,0214.13) and Lane at Hampstead (V&A no. 1089-1884).Also unlike Turner, Girtin remained something of an outsider to the art establishment: he did not study at the Academy’s schools, and was rumoured to have radical, or even revolutionary sympathies. As well, he tried to break away from the traditional reliance on patronage, partly by trying to sell his work on the open market.The connection of the present watercolour to Girtin is unclear. It certainly warrants further investigation in light of the collaboration and copying that went on at the Monro School around this time.On wove paper laid down on card.All artworks come with a Certificate of Authenticity and—if it is a collection artwork—its accompanying collection text or artist biography. Signed: No. Inscribed: Inscribed with artist’s name verso. Height: 14.6cm (5.7″) Width: 26.8cm (10.6″) Condition: Some minor age toning and marks, as shown. There are remnants of red sealing wax at the corners on the verso of the card from historic mounting. Please see photos for detail. Presented: Unframed.

Mid century organic free form sculpture made from one piece of plastic. Signed on underside.

Girl on street corner, Chicago is a Black and White Print of Hahnumuhle paper available in this size of 8″ x 10″ in an Edition of 10.

All prints are produced to order. Lead times between 5-10 days.

The body of work, States of America, is the photographic legacy of one of the UK’s leading photographic talents whose untimely death in 1991 ended prematurely the highly promising career of a distinctive and powerful photographic voice.

Michael Ormerod was born in Cheshire in 1947. He lived in Newcastle, but spent many years travelling America. Fascinated by the American image, and following in the footsteps of Robert Frank, Ormerod took to the American West to find a washed out dream of capitalism.

His images capture a strange juxtaposition of an American beauty tainted by a hidden sense of menace and corruption. The photographs are understated, but show an unseen America, where the industrial heartland is decaying, highways stand empty and towns are deserted.

His photographs are those of the outsider, constantly travelling through a no-man’s-land. A sense of pessimism pervades, showing how the commercial boom of the 1950s has collapsed, leaving deserted streets, rubbish dumps and alienation. It is a land where the American Dream has turned sour.

Ormerod’s book, States of America, was published shortly after he died to mark an exhibition held at the Zelda Cheatle Gallery, London. Since then, only one major exhibition of his work has taken place in Sheffield in 2003. A reappraisal of his powerful and uncompromising chronicle of America is long overdue. This piece has an attribution mark,
I am sure that it is completely authentic and take full responsibility for any authenticity
issues arising from misattribution