1. Gandalf's Gallery was founded as a non-profit making, educational vehicle. The gallery claims no copyright over the art exhibited. Visitors may, therefore, download images for purely non-commercial purposes. If you feel that your copyright has been infringed, please contact the gallery immediately. Please note that the nude figure is a tradition in Western Art and is included within the gallery's collection. 

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    David Hockney - Rudston to Sledmere, August [2005]
    “I was painting the land, land that I myself had worked. I had dwelt in those fields, so that out there, seeing for me, necessarily came steeped in memory.” [David Hockney]

    [Christie’s, London - Oil on canvas, 61.4 x 91.5 cm]
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    Marc Chagall - The Circus or The two Big Green and Blue Faces in the Circus
    For Chagall, the temporary quality of the circus and its combination of joy and drama represented a symbol of life itself. He identified with the emotions played out in a circus performance, and the magic of the circus, his artistic vision and life all merged into a single world of fantasy. The artist explained his fascination with this theme: ‘These clowns, bareback riders and acrobats have made themselves at home in my visions. Why? Why am I so touched by their make-up and their grimaces? With them I can move toward new horizons. Lured by their colours and make-up, I dream of painting new psychic distortions.’

    [Sotheby’s, London - Gouache, pastel and black crayon on paper, 58.2 x 44.9 cm]
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    Gustave Loiseau - Banks of the Eure in Summer [1899]Painted in 1899, this work depicts a magnificent row of poplar trees standing on the edge of the river Eure in Normandy. This enchanting and wonderfully evocative composition is imbued with the soft rose light of a late summer’s afternoon as a gentle breeze rustles the uppermost leaves of the trees. The extraordinarily rich surface, composed using vigorous brushwork and areas of dappling paint, exemplifies the technical virtuosity Loiseau had achieved by the end of the decade.

    [Sotheby’s, London - Oil on canvas, 65 x 81.7 cm]

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    Conrad Felixmüller - The Flower Girl [1925]
    Conrad Felixmüller (Dresden, May 21, 1897 - Zehlendorf, March 24, 1977)  was a German expressionist painter and printmaker. Born in Dresden as Conrad Felix Müller, he chose Felixmüller as his nom d’artiste. Felixmüller was one of the youngest members of the Objectivity movement. His paintings often deal with the social realities of Germany’s Weimar Republic. He was mentor to the German Expressionist Otto Dix.

    [Sotheby’s, London - Oil on canvas, 80 x 85 cm]
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    Camille Pissarro - Farmyard at the Red House, Pontoise [1877]
    The first owner of this painting was Eugène Murer, a pâtissier and restauranteur by profession and a renowned Impressionist art collector who would amass more than a hundred Impressionist canvases by 1890. He was a friend of many of the artists in the Impressionist group and sat for a wonderful portrait by Renoir, now in the collection of The Metropolitan Museum of Art, in 1877, the year the present lot was painted. Pissarro wrote to Murer in December 1878, discussing the purchase of the present painting and another: “I think you will be pleased with my two paintings… they are carefully studied canvases, especially the one of the red house. I’ve never done anything better.”

    [Sotheby’s, New York - Oil on canvas, 54.6 x 64.5 cm]

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    Frédéric Bazille - Thérèse reading in the Park of Méric [1867]
    Thérèse des Hours, was Bazille’s cousin and primary subject for many of his best known canvases. The Bazille and des Hours families summered together at the Méric estate, a magnificent homestead in Castelnau-le-Lez near Montepellier. Méric was of central importance to both families, serving not only as their summer residence but also a source of income, given the thirty acres of vineyards encompassed within its sweeping grounds. As Gabriel Sarraute once wrote, “Méric for him would always be synonymous with the heavenly long vacations.”

    [Sotheby’s, New York - Oil on canvas, 92 x 59.2 cm]
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    Albert Anker - The Public Notary [1876]
    [Sheffield Museums - Oil on canvas, 58.4 x 48.6 cm]
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    This work is of impGyula Tornai - Travelling Musicians, Tangier [1891]
    This work is of impressive size, drawing the spectators in and enveloping them in an exotic atmosphere. It exhibits all the hallmarks for which Tornai’s Orientalist works are best known. Depicting a North African street scene, it exudes a sense of informal spectatorship. The viewer has stumbled into a group of local musicians and is, like the people depicted, witnessing a local custom. Each figure is quietly absorbed by the music and the picture planes are crowded with groups of figures. The overall effect is to create a painting that is both soothing and entertaining, inviting the eye to wander across a panoply of interlinked figures, colours and textures.

    [Christie’s, London - Oil on canvas, 118.1 x 185.4 cm]
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    Kees van Dongen - Moulin de la Galette [c.1905]
    Moulin de la Galette was originally part of one of van Dongen’s most ambitious paintings. Conceived on monumental scale, stretching over two metres and capturing all the swirling energy of that infamous dance floor, the work was the crowning glory of the artist’s ambitious contribution to the Salon des Indépendants in 1906. The canvas remained in van Dongen’s possession until at least the 1950s when a sudden resurgence of interest in his early work prompted him to divide the work into six segments and sell them separately. This work was a key part of the original composition; Van Dongen uses expressive and richly impastoed daubs of paint to capture the frenetic energy of the dance floor and the brilliant brightness of the new electric lights, whilst the lower section details the revellers, two of whom bear the large-eyed gazes that would become characteristic of van Dongen's Fauve portraiture.

    [Sotheby’s, London - Oil on canvas, 54.3 x 73.3 cm]
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