20th century

The beginning of December sees a flurry of activity in London's galleries and sale rooms in the form of Old Master Sales Week.  It is an opportunity for the Art World to focus on fine art by established artists from the past whose works have stood the test of time and whose legacies are clear for all to see.  Stair Sainty are delighted to be showing paintings at our gallery, 38 Dover Street, by Old Masters including Boucher, Subleyras, Oudry, Goya and Loir, as well as 19th century artists such as Delacroix, Degas, Manet and Levy-Dhurmer.   Come and visit out gallery weekdays from 10am to 6pm....

Delacroix’s Lion Devouring a Goat was owned first by Gustave Arosa and then his brother, Achille, successful business men and financiers in the latter half of the 19th century who each built up notable art collections. Gustave was the guardian of Paul Gauguin and perhaps the lover of his mother; he helped Gauguin financially, while introducing him to a wide social circle.

This dynamic portrayal of the eight times French singles champion Max Decugis (1882-1978) at the net, brilliantly captures the intensity of the moment. The artist, François Flameng, is remembered today mainly as a portraitist (of Queen Alexandra and King Edward VIII, as well as Russian Emperor Alexander III and members of his family), but also painted historical scenes and genre subjects. The talent that he demonstrated for capturing action and motion in this painting was also used to great effect in his many paintings and watercolours done at the front in the First World War. His only son was killed in action in 1915 and Flameng, in his grief, took considerable personal risks in his determination to bring the reality of war to the public at home. Max ‘s French singles record set in 1914 was beaten in 2014 by Rafael Nadal, who went on to win a total of eleven French Open championships but Ducegis’ fourteen French championship doubles and seven mixed doubles records wins remain unbeaten. He played as a junior at Wimbledon as a thirteen and fourteen year old (the first foreigner to do so), later reaching the semi-finals of the men’s singles there in 1911 (winning the doubles) and 1912 (defeated in the doubles finals). He was the victor at the European Championship and the Paris and German International Championship in 1901, winning the German again in 1902 and Paris in 1907, 1908, 1909, 1910 and 1912. He gained six Olympic medals, winning the singles silver in 1900 when not yet eighteen years old, the gold in the men’s singles at the Intercalated Athens Olympics of 1906, and the gold in mixed doubles, in 1920. He represented France sixteen times in the Davis Cup, the French team winning ten times. His last major tournament appearance was at Wimbledon in 1926 when he was knocked out in the third round. Max’s wife Marie Flameng, the artist’s daughter, with whom he won the mixed doubles at the 1906 Intercalated Olympics, and had married in 1905, died in 1969; Ducegis remarried the following year, dying shortly before his ninety-sixth birthday in 1978....

Masterpiece London 2018, the high point of the London Art Season, opens with week. 

Visit us on stand D7 from Thursday 28th June until Wednesday 4th July (preview 27th June) and see works by artists including, François Boucher, Corrado Giaquinto, Sir William Beechey, Bernard Boutet de Monvel, Federico Beltran Masses, Jacques-Émile Blanche and Pierre-Amédée Marcel-Bérroneau.

Gustave Moreau's students include some notable names, particularly Henri Matisse, Albert Marquet, and Georges Rouault, while Henri Evenepoel, Pierre Amédée Marcel-Béronneau, Georges Désvallières, and Edgar Maxence embraced the symbolism of the 1890s and early 1900s. Moreau’s influence, however, extended beyond his own splendid studio (now the Musée Gustave Moreau, at 14 Rue de la Rochefoucauld in the 9th arrondissement) to a much wider circle. Odilon Redon, who had studied with Jean Léon, was an admireras was the Belgian symbolist, Jean Delville while André Breton, who had visited the Musée Gustave Moreau as a sixteen year old, was overwhelmed by his portrayals of Salomé, Delilah, Sémélé and the Chimera, perceiving Moreau as the precursor of surrealism. Marcel-Béronneau may be considered Moreau’s closest disciple, but he was also influenced by the more powerful eroticism of Franz von Stuck. The paintings illustrated below mark his progression from reinterpreter of Moreau in the 1890s when, at his master’s urging, he submitted works to the 1897 Salon de la Rose+Croix, to his response to von Stuck from the second half of the first decade of the next century into the 1920s.

Stair Sainty Gallery is delighted to be exhibiting again at Masterpiece London. This prestigious fair, now in its 8th year, at the Royal Hospital Chelsea promises to be an exciting and vibrant event at the heart of London Art season.  This year Stair Sainty Gallery will be exhibiting paintings by artists including Francisco de Goya, Jean-Baptiste Oudry, Jean-Baptiste Greuze, Henri Rouart, Norbert Goeneutte, Albert Dubois-Pillet, Samuel Frédéric Cordey, Jean-Léon Gérôme, Bernard Boutet de Monvel, Jacques-Émile Blanche, Alexandre Séon, Alphonse Osbert, Pierre Amédée Marcel-Béronneau, Eduard Veith and Jean-Richard Goubie.    Visit us on stand D07 - for more information about Masterpiece, please click here or contact the gallery.    We are also participating in Mayfair Art Weekend so the gallery will be open on Saturday - 10am - 6pm and on Sunday 11am - 5pm. Come and pay us a visit!...

In conjunction with Stair Sainty Gallery's upcoming exhibition, Degas: Little Dancer Rediscovered, Dr Gregory Hedberg; the author of the new book Degas' Little Dancer, Aged Fourteen - The earlier version that helped spark the birth of modern art, will be giving a lecture on Thursday 4th May, 6pm at the Lansdowne Club, Mayfair. Dr. Hedberg’s lecture explores the various problematic findings regarding the physical state of Degas’ Little Dancer wax sculpture today and how the recently discovered plaster helps to explain these puzzles.  The influence of Degas’ Little Dancer in 1881 on Whistler, Manet, Sargent and Seurat will also be explored. To see a video of Dr Hedberg's lecture, please click here.  ...

The most direct evidence of the appearance of this iconic sculpture was a drawing, one of three on a single sheet, in which the young Marie van Goethem is presented from several different angles, including a full frontal image which shows her standing, facing forward with her weight evenly distributed on each leg. Her bodice has a low cut décolletage, and extends down to her navel, with her head only slightly tilted upwards. The other two drawings on the sheet show her from behind at slightly different angles, her arms stretched straight behind with her hands clasped lightly together. In one of the two her hair is partly plaited.