The Lenora and Walter F. Brown Collection Colorful Impressions
“From the beginning of their many years of collecting, Walter and Lenora
Brown focused on acquiring vibrantly colorful and exqusitely painted Impressionist and Modern paintings that suited their particular taste. They lived with their art - it was personal and they loved it.”
- James Godfrey
Coyright Rachel Brown Fine Art Services LLC 2025 All rights reserved.
No portion of this book may be reproduced in any form without written permission from the publisher or author, except as permitted by U.S. copyright law.
This catalog is dedicated to my grandparents who spent their lives enjoying art and building collections that hold not only a piece of history but also a piece of themselves.
I am grateful to those that I interviewed and the time God gifted me for the research in order to make this catalog.
I hope reading through this catalog, admiring the art, and the stories behind the artists and those that collected them, inspires you to look deeper into life and to see the world as a Neo-Impressionist.
- Rachel Brown Mannix
Walter and Lenora Brown had an eye for a story.
Paris was Lenora and Walter’s mecca for artistic fulfillment. It was there they found Divisionism, a painting technique that developed in the city in 1886. Pioneered by Georges Seurat, the novel technique embraced a new way of painting that prioritized the basic elements of art. The Brown’s resonated with this. They quickly saw that there was something special beyond the canvas that needed to be told- a story of personal expression, collaboration, and a desire for innovation.
Encompassing a variety of artistic voices and styles from 1886 to 1935, each painting in the Brown’s collection serves as a chapter in this telling story of individualism and how the contemporary cadence of the time opened a door to a new style of art that would fuel the modern art scene. Assembled around Neo-Impressionism (the movement that began Divisionism), the collection explores the exciting environment that energized change in European style and thinking. This incentivized artists to push the boundaries of art and prioritize personal expression like never before.
With technological growth and urbanization brewing during the turn of the century, artists too favored advancement, but approached it from a more conceptual, almost spiritual attitude. Artists, now more than ever, sought a deep and personal relationship with their subjects. They found their progression through a dissection of the fundamentals of art as a way to discover this connection. By placing unblended spectral pigments next to one another, a doorway was opened, allowing artists to choose how to move artistically from this elemental breakdown. The Browns saw how Divisionism and its strict principles in fact opened a door to the most colorful and personally charged art. The beginning of this stringent and methodical way of painting birthed an artistic freedom that the Browns chose to build their collection upon.
This could not be more revealed than through the premier artists in the collection, Henri Edmond Cross, Maximilien Luce and Theo van Rysselberghe. These artists supported Neo-Impressionism’s ideology of color theory but harnessed it as a means for developing their own personal expression and style. The Browns were fascinated by how these artists promptly and unequivocally made application of this technique their own. With intrigue, the Browns assembled their collection around the influence of Divisionism, highlighting its technical specificities but also the flexibility artists approached the style with. Within their prolific acquisitions, the Browns collected artists who strongly adhered to Divisionism, artists who began with the style but then embarked on cultivating their own technique, and those who rejected the technique completely but were nonetheless influenced by its methodology. Some of the Brown’s most notable acquisitions are artists from Les Nabis, School of Rouen, and the School of Paris. All these movements vary stylistically from Neo-Impressionism, however they all endeavored for the same thing- a progression through a return to the art fundamentals.
With Cross and Luce as the leading French Pointillist painters of the collection, it is paramount to understand the importance of having Theo van Rysselberghe alongside them. Considered to be the most celebrated Belgian Neo-Impressionist, Rysselberghe, along with the avant-garde group Les XX, helped introduce Divisionism to Belgium. With his strong connections and many visits to Paris, Rysselberghe was a key promoter of the Divisionist technique but was also one who took liberty with its application. The Browns were aware of the growing presence of Divisionism, especially in Brussels, and were fascinated by how these artists interpreted it. Along with Rysselberghe, the Browns acquired Belgian painters Modest Huys and Hendricus Petrus Bremmer. These artists all collaborated with Divisionism, and in result created their own visual languages. With these purchases, the Browns set the stage for the story of Neo-Impressionism’s enduring influence.
Along with the well-known artists in their collection, the Browns were also cognizant of picking artists that were on the periphery of the art scene. Artists such as Louis Hayet, Ferdinand du Puigadeau, Lucie Cousturier, Marie Marevna, Albert Dubios-Pillet and Claude-Emile Schuffnecker, to name a few, were artists mostly unknown when the Browns acquired them. Now, with a stronger presence, these artists are getting their time to shine next to those who inspired them. With Hayet’s stippled brushwork and subtle color choices, to Pillet’s technical atmospheric works, and Custourier’s vibrant, cubist compositions, these artists continue the narrative of progress and collaboration that defined this period and inspired the Browns.
The significant impact of Divisionism is further heightened with the inclusion of the previously mentioned Les Nabis, a movement that was formed in opposition to the ideology of Neo-Impressionism. In similarity, the art of Les Nabis was also a breakdown of the elements, but into flat heavily contoured simple shapes and forms. Though Les Nabis rejected the scientific approach that Divisionism began with, this style nevertheless provoked this group of artists to embrace change and create a new visual language. Artists of this movement, Paul Sérusier, Emile Bernard and Louis Anquetin find themselves in the Brown’s collection creating strong dialogues with the Neo-Impressionists. The conversations between these works point to the growing desire to return to the art basics in pursuit of a deeper, more intimate engagement with their subjects.
Robert Pinchon and Albert Lebourg of the School of Rouen also uphold this sentiment. They embrace various styles in their work. The School of Rouen prized individuality and promoted experimenting with different styles. The first generation of artists from this school, Lebourg, being one of them, created works that alluded to the Impressionists. Pierre Dumont along with Pinchon, who were second generation artists, brought onto their canvas more of the stylistic attributes of Fauvism and Cubism. Having artists from the School of Rouen alongside the Neo-Impressionists and Les Nabis, emphasizes the evolution of art during this period and how the advent of Divisionism gave way to a stylistic breakdown that inspired other movements, such as Cubism and Fauvism to do the same.
The advent of Divisionism marked a new approach—not only to painting, but to perceiving the world. This new technique broke the boundaries of art and led artists into a new way of expressing themselves. Each artist in the Brown’s collection collaborated with this technique along with other emerging styles in order to progress and create their own visual vocabulary. The Browns, guided by their curiosity and desire to edify themselves, acquired what they saw as the purest reflections of expression and individualism. With it, they wrote a story of the impact of Neo-Impressionism and the desire to progress during this period. Through the Brown’s affinity for color and creativity, their collection shows the new freedom of expression that awakened from Divisionism, one that molded Modern Art and help form the contemporary art scene as it is today.
Louis Anquetin (French, 1861-1932)
Deux hommes causant, 1892
Oil on canvas
80.5 x 38 inches
25.5
Henri Edmond Cross (French, 1856 -1910)
Le Scarabee, 1906-1907
Oil on canvas
18 x 21 inches
Henri Edmond Cross (French, 1856 -1910)
Bords méditerranéens, 1895
Oil on canvas
x 36.25 inches
(French, 1856-1910)
Vue de Menton, 1899-1900
Oil on canvas
25.75 X 36.75 inches
1858-1941)
Le Louvre et le Pont du Carrousel, la nuit, 1890
Oil on canvas
25 x 32 inches
Henri Edmond Cross
Maximilien Luce (French,
32.18
Maximilien Luce (French, 1858-1941)
Les cheminees d’Usines, couillet pres de Charleroi, 1899
Oil on canvas
29 x 39.35 inches
Louis Valtat (French, 1869-1952)
Femme au jardin, 1902
Oil on canvas
x 39.5 inches
Le puits en hiver, 1887
Oil on canvas
15.5 x 18 inches
Claude-Emile Schuffenecker (French, 1851-1934)
Maison bretonne dominant la mer, 1886
Oil on canvas
19.5 x 24 inches
Henri Delavalle (French, 1862-1943)
Albert Dubios-Pillet (French, 1846-1890)
Les bords de Seine a Neuilly, 1886
Oil on canvas
23.5 x 32.18 inches
Albert Dubios-Pillet (French, 1846-1890)
Les Tours, Saint-Sulpice, 1887 Oil on canvas
32 x 23.75 inches
Francis Picabia (French, 1879-1953)
Moret, effet du matin, 1904
Oil on canvas
36.25 x 29 inches
Henri Martin (French, 1860-1943)
Le Pont L’Eglise et L’Ecole de la Bastide du Vert, 1920
Oil on canvas
45.5 x 43 inches
Marevna (Russian, 1892-1984)
Reclining Nude, 1932
20.5 x 28.5 inches
Jean Metzinger (French, 1883-1956)
Paysage Pointilliste, 1906-1907
Oil on canvas
25.25 x 36 inches
Marie
Oil on canvas
1883-1956)
Oil and colored pencil on canvas
27 x 31.5 inches
Jean Metzinger (French,
Paysage, 1905
Oil on canvas
20.5 x 26 inches
Lucie Cousturier (French, 1870-1925)
Femme assoupie, 1900
1863-1944)
15.5 x 20 inches
1864-1939)
La Plage au Pied des Falaise, 1928
Oil on canvas
37.5 x 45.5 inches
Lucien Pissarro (French,
Village d’Ile-de-France, 1889
Oil on canvas
Ludovic Vallée (French,
“To
establish the dream of realities…to strive for the pursuit of the intangible and meditate—in silence—to inscribe the mysterious meaning.”
–Henry van de Velde, 1890
Théo van Rysselberghe (Belgian, 1862-1926)
Les voiliers (prés d’Anvers), 1892 Oil on canvas
27.75 x 35.5 inches
Hippolyte Petitjean (French, 1854-1929)
Baigneuse au bord de la Riviere
Oil on canvas
21 x 14.5 inches
Hendricus Petrus Bremmer (Dutch, 1871-1956)
Landscape with Houses Oil on canvas
16 x 22 inches
(French, 1886-1943)
30 x 40 inches
15.5 x 24.5 inches
Robert Pinchon
Embarcadere sur la Seine
Oil on canvas
Robert Pinchon (French, 1886-1943)
Environs de Rouen, L’Hiver, 1929
Oil on canvas
Robert Pinchon (French, 1886-1943)
Rouen Cathedral
Oil on canvas
31 x 25 inches
Robert Pinchon (French, 1886-1943)
Le quai St. Sever Sous la neige a Rouen, 1929
Oil on canvas
31.5 x 55.5 inches
(French, 1849-1928)
Albert Lebourg
Lever de Lube sur La Seine en Automne, 1913
Oil on canvas
19.5 x 28.5 inches
Albert Lebourg (French, 1849-1928)
Fine de jour, La Seine a Dieppedalle Environs de Rouen Oil on canvas
19.5 x 28.5 inches
1849-1928)
Albert Lebourg (French,
Village au Bord de la Seine en Hiver Oil on canvas
18 x 30 inches
Carlos Reymond (French, 1884-1970)
Les Acanthes Oil on canvas
22.5 x 29 inches
Carlos Reymond (French, 1884-1970)
Coup de soleil sur le Jardin de la Marthoune
Oil on canvas
25.5 x 21.25 inches
Carlos Reymond (French, 1884-1970)
Tartanes a Saint Tropez, 1912
Oil on tracing paper
16 x 19.5 inches
George Lemmen (French, 1865-1916)
La Jetee, 1892-1894
Oil on canvas
6 x 9 inches
Louis Hayet (French, 1864-1940)
Elegants sur le Boulevard
Oil on canvas
7.5 x 10.5 inches
Louis Hayet (French, 1864-1940)
Le Village Oil on canvas
8 x 12 inches
Louis Hayet
(French, 1864-1940)
Marche aux Fleurs Oil on canvas
7.5 x 7.5 inches
George Lacombe (French, 1868-1916)
Le Boucheron et la Femme, 1896
Oil on canvas
45 x 63.75 inches
Paul Sérusier (French, 1864-1927)
Vasque de Saint Herbot, 1895
Oil on canvas
43.5 x 55 inches
Charles Kvapil
(Belgian, 1884-1958)
La Louette
Oil on canvas
21.5 x 28.75 inches
Charles Kvapil (French, 1884-1958)
Fruits et fleurs
Oil on canvas
17.5 x 21 inches
Celso Lagar (Spanish, 1891-1966)
Landscape with River Boats
Oil on canvas
24 x 29 inches
Celso Lagar (Spanish, 1891-1966)
Harbor Scene
Oil on canvas
24 x 29 inches
Ferdinand du Puigaudeau
(French, 1864-1930)
La Place a Pont Aven
Oil on canvas
19.5 x 22.5 inches
Armand Guillaumin (French, 1841-1927)
Nature morte, fruits, pichet et legumes, 1910
Oil on canvas
23.5 x 28.5 inches
Vue de Boulevard Dest Italiens, Pres De Notre Dame de Lorette
Oil, goauche, watercolor on brown paper laid down on board
25 x 32.5 inches
Georges d’Espagnat (French, 1870-1950)
Les baigneuses
Oil on canvas
28 x 40 inches
Jean-François Raffaëlli (French, 1850-1924)
Jean-François Raffaëlli (French, 1850-1924)
La Route de Louveciennes
Oil on panel
9 x 12.5 inches
