• A Dashing Cavalier

    by Adolphe Alexandre Lesrel

    £15,000
    During the 19th century people developed a vivid fascination for the past. This was particularly true in France where memories of the recently deposed monarchy were still strong and the political situation was volatile. Paintings emphasized the human qualities of the subjects and in Lesrel's works he alludes to the paternal qualities of the monarchy by painting the King's men at ease in their domestic situations. MEDIUM: Oil on panel DIMENSIONS: (unframed) 23 x 14.25 ins/ 58.42 x 36.20 cm
  • Nude bathing scene with a woman about to go into the sea by Serge Mendjisky Nude bathing scene with a woman about to go into a lake using a pointillist technique by Serge Mendjisky

    Nu

    by Serge Mendjisky

    £12,000
    Serge Mendjisky was a French contemporary artist known for his brightly coloured works. In this beautiful scene  Mendjisky uses tight block-like brushstrokes to create a mosaic of bright shades of blue and green combines with  lovely light tones of apricots whites and pink to depict a female figure about to go swimming in a lake, demonstrating a superb sensitivity of colour. Influenced by Vincent Van Gogh and Georges Seurat, Mendjisky employed complementary colours to create the vibratory effect of shimmering light MEDIUM: Oil on Canvas DIMENSIONS: (unframed) 32.0 x 23.0 ins/ 81.3 x 58.4 cm SIGNATURE: Signed ‘S. Mendjisky’ (lower right)
  • Street scene of Paris with people looking at flower sellers and buildings in the background by Cesar Villacres Street scene of Paris with people looking at flower sellers and buildings in the background by Cesar Villacres

    Paris

    by Cesar A. Villacres

    £15,000
    Cesar A. Villacres was an Ecuadorian painter who associated with the French Impressionists. In this vibrant work Villacres beautifully depicts an alive street in Paris showing street vendors, flower sellers and people going about their day, as he uses a mixture of quick brushstrokes and attention to detail to effortlessly capture this fleeting moment. MEDIUM: Oil on Canvas DIMENSIONS: (unframed) 20.0 x 24.0 ins/ 50.8 x 61.0 cm SIGNATURE: Signed ‘Villacres’ (lower right)  
  • Apollo

    by Astor Milan Salcedo

    £12,750
    Astor Salcedo began his career in the nineties as a fashion and portrait photographer, and travelled the world as a documentary filmmaker. In 2004 he worked as a Creative Director in the world of fashion on commercials for Hugo Boss, Gucci and Swarovski. In 2009 he won the highest award in German television, Deutscher Fernsehpreis for his documentary ‘Die Bombe’. Astor’s variety and depth of experience living in various cultures has taught him many techniques. His interdisciplinary talent frees him to express himself in numerous multi-media ways. Salcedo’s insatiable curiosity for politics, society and the arts are the sources of his inspiration. As mentioned, Astor’s foremost topic is the vital interchange between mankind and nature, which he sees as an ever-present theme in modern life. Through his work, he also explores the human struggle to find happiness, which seems to be present in every culture, but is approached and defined in countless different ways. DIMENSIONS: (unframed) 55.1 x 47.2 ins/140 x 120 cm MEDIUM: Oil on canvas
  • No Title II

    by Astor Milan Salcedo

    £4,500
    Astor Salcedo began his career in the nineties as a fashion and portrait photographer, and travelled the world as a documentary filmmaker. In 2004 he worked as a Creative Director in the world of fashion on commercials for Hugo Boss, Gucci and Swarovski. In 2009 he won the highest award in German television, Deutscher Fernsehpreis for his documentary ‘Die Bombe’. Astor’s variety and depth of experience living in various cultures has taught him many techniques. His interdisciplinary talent frees him to express himself in numerous multi-media ways. Salcedo’s insatiable curiosity for politics, society and the arts are the sources of his inspiration. As mentioned, Astor’s foremost topic is the vital interchange between mankind and nature, which he sees as an ever-present theme in modern life. Through his work, he also explores the human struggle to find happiness, which seems to be present in every culture, but is approached and defined in countless different ways. DIMENSIONS: (unframed) 19.5 x 15.50 ins/49.5 x 39.4 cm MEDIUM: Oil on canvas
  • Of Jesse’s Seed

    by PJ Crook

    £6,850
    PJ. Crook, as she is professionally known, was born in Cheltenham in 1945, where she still lives and works. PJ’s work is held in some of the world’s most prominent public and private collections and is considered in the highest echelons of British contemporary art. She is represented by the Panter & Hall gallery on Pall Mall in London and Galerie Alain Blondel in Paris. DIMENSIONS: 43.2 x 27.9 x 17.8 cm / 17.0 x 11.0 x 7.0 ins SIGNATURE: Signed MEDIUM: Mixed Media
  • Tree #1

    by Astor Milan Salcedo

    £3,800
    Astor Salcedo began his career in the nineties as a fashion and portrait photographer, and travelled the world as a documentary filmmaker. In 2004 he worked as a Creative Director in the world of fashion on commercials for Hugo Boss, Gucci and Swarovski. In 2009 he won the highest award in German television, Deutscher Fernsehpreis for his documentary ‘Die Bombe’. Astor’s variety and depth of experience living in various cultures has taught him many techniques. His interdisciplinary talent frees him to express himself in numerous multi-media ways. Salcedo’s insatiable curiosity for politics, society and the arts are the sources of his inspiration. As mentioned, Astor’s foremost topic is the vital interchange between mankind and nature, which he sees as an ever-present theme in modern life. Through his work, he also explores the human struggle to find happiness, which seems to be present in every culture, but is approached and defined in countless different ways. DIMENSIONS: (unframed) 50.0 x 50.0 cm/19.7 x 19.7 ins MEDIUM: Mixed media photography
  • Abstract stokes of moss green, brown and grey on wooden panel Abstract stokes of moss green, brown and grey on wooden panel

    11:11 UK

    by Matthew Goddard-Jones

    £6,800
    DIMENSIONS: (unframed) 31.9 x 31.9 in. / 81 x 81 cm SIGNATURE: Signed (verso) MEDIUM: Oil paint and cold wax on wooden panel
  • Abstract brown and grey strokes on wooden panel by Matthew Goddard-Jones Abstract brown and grey strokes on wooden panel by Matthew Goddard-Jones

    20:21 UK

    by Matthew Goddard-Jones

    £6,800
    DIMENSIONS: (unframed) 48 x 48 in. / 121.9 x 121.9 cm SIGNATURE: Signed (verso) MEDIUM: Oil paint and cold wax on wooden panel
  • Abstract strokes of cream, yellow, brown and red on wooden panel by Matthew Goddard-Jones Abstract strokes of cream, yellow, brown and red on wooden panel by Matthew Goddard-Jones

    17:56 UK

    by Matthew Goddard-Jones

    £3,800
    DIMENSIONS: (unframed) 31.9 x 31.9 in. / 81 x 81 cm SIGNATURE: Signed (verso) MEDIUM: Oil paint and cold wax on wooden panel
  • La Pointe de Manhattan, New York

    by Yves Brayer

    £9,500
    Yves Brayer was one of the painters who, between the two world wars, felt the need to become attached to the reality that surrounded them. Brayer counted among his friends, Francis Gruber who was at the origin of the New French Realism of the 1950s, and of which Bernard Buffet would be the shining example. Brayer realised that there are other harmonies than those of architectures created by man, those of pure and wild nature and he became fascinated by the diversity of the Alpilles and their limestone folds, then by the expanses of the Camargue populated by white horses and black bulls. His works can be found in various museums and in many collections both in France and worldwide. He was professor at the Académie de la Grande Chaumière for fifty years, President of the Salon d'Automne for five years and, as a member of the Academy of Fine Arts, curator of the Marmottan Museum in Paris for more than eleven years . DIMENSIONS: (unframed) 15.3 x 20.5 ins/ 38.9 x 52.1 cm SIGNATURE: Signed lower right MEDIUM: Signed ‘Yves Brayer’ (lower left)
  • landscape with a river next to a bank with green grass and pink trees on it. There is a bridge in the background

    Rivière Provençale

    by Henri Aurrens

    £18,500
    Louis Henri Joseph Aurrens was a French painter, illustrator and caricaturist. Aurrens’ is best known for his paintings later in life of the surrounding landscapes in Marseille, his hometown. He was adept in pointillism, yet made it his own; a kind of controlled abandonment gives a charm to his free, fine and personal interpretation of luminist doctrines. His work is notable for his characteristic use of the colour pink, tinging the scenes with a rosy nostalgia, as we see in this beautiful landscape, Rivière Provençale, depicting a river running next to a bank where Aurrens has used vibrant colours of green and pink. MEDIUM: Oil on canvas DIMENSIONS: (unframed) 24.0 x 29.0 ins/ 61.0 x 73.7 cm SIGNATURE: Signed ‘H. Aurrens’ (lower right)
  • diptych of two semi circles in the middle to create a full circle with dashes of paint in blue, black, yellow and orange

    World’s Apart

    by Beata Orosz

    £11,900
    Beata Orosz is a contemporary artist and Architectural Designer who combines her passion for painting, drawing and architectural appreciation to create unique and minimalist works of art that provoke emotion in the eye of the beholder. “I will always push my own personal creative boundaries to a point where my skills align and evolve.” – Beata Orosz. MEDIUM: Mixed media on canvas DIMENSIONS: (unframed) 39.4 x 39.4 ins/ 100.0 x 100.0 cm (each) SIGNATURE: Signed ‘B Orosz’ (lower right )
  • A man reaching out towards a hand that goes out of the image standing in a street of white stone buildings and with two cats in the front

    Buon Giorno, 1983

    by Mary Fedden

    £19,000
    This small watercolour by Mary Fedden is actually a remake of an earlier work painted by the artist in 1980. In both she depicts her partner, Julian Trevelyan, standing in a street of white stone buildings reaching out toward a disembodied hand. In this iteration however she has chosen to paint two cats rather than the dog in the 1980 version. This is an example of Fedden’s characteristic collaging together of imagery to form her compositions – she would make many sketches and pull from them to do this. MEDIUM: Watercolour and pastel on paper DIMENSIONS: (unframed) 8.5 x 6 ins/ 21.6 x 15.2 cm SIGNATURE: Signed ‘Fedden' and dated (lower left)
  • Marcel Dyf's wife sitting at a table with a vase and red rose on it

    Claudine and the Red Rose

    by Marcel Dyf

    £17,500
    Here French Impressionist artist, Marcel Dyf paints his wife Claudine sitting at a table. Using slight impasto, Dyf has cleverly conveyed the texture of the fabrics, furnishings and the objects on the table. In particular, the vibrant red flower in the foreground highlights the sitter’s rouge lips, bringing the focus to her and adding a romantic, rosy lens to the entire scene. Dyf had met Claudine in the 1950's when she was just 19. There was a big age gap of 36 years but after a many years posing for him, they married when Dyf was 66. This painting is a testament for the passion Dyf felt for his wife. DIMENSIONS: (unframed) 21.3 x 25.5 ins/ 54.1 x 64.8 cm SIGNATURE: Signed 'Dyf' (lower left) MEDIUM: Oil on canvas
  • orange and brown watercolour landscape with hills and buildings in Italy by Mary Fedden

    Landscape Study, Italy, 1975

    by Mary Fedden

    £12,750
    Mary Fedden’s is renowned for her unique perspective and great talent for finding beauty in the everyday. Her first solo exhibition followed the next year at the Mansard Gallery in Heal’s Department Store, where several of her still life flower paintings were displayed. Fedden developed her own style of flower paintings and still lifes, reminiscent of artists such as Matisse and Braque. She worked with bold palettes and simplified shapes, carefully orchestrating her still life compositions to draw out the extraordinary from ordinary objects. In fact, it was her constant progression and development throughout her career that makes her overall body of work so interesting; from her earlier pieces playing with colour, perspective, and patterns to her later work experimenting with light, texture, and crisper, cleaner lines. MEDIUM: Watercolour on paper DIMENSIONS: (unframed) 7.5 x 10.5 ins/ 19.1 x 26.7 cm SIGNATURE: Signed ‘Fedden’ (lower left); inscribed ‘Oleg Polunin’ and dated (verso)
  • Portrait of J. Louis Behrend

    by Stanley Spencer

    £5,000
    Stanley Spencer made portrait drawings of his friends and patrons for much of his life, often head and shoulder views, as if they were seated before him. He enjoyed this activity, he said, because of his 'exquisite appreciation of heads'. This work, Portrait of J. Louis Behrend, is a prime example of his keen attention to detail, as he focuses on his face, with his torso fading into the paper. Also, his gaze directly confronts the viewer, yet is soft. Spencer’s light use of pencil captures his subject’s gentle demeanour. MEDIUM: Pencil on paper DIMENSIONS: (unframed) 8.3 x 7.0 ins/ 21.1 x 17.8 cm
  • Dreambackday (Diptych)

    by Martyn Jones

    £3,650
    Martyn Jones is a British contemporary painter who explores the relationship between ‘place and time’ with the natural shape and form that his paintings take, until they finish themselves. Jones aims to challenge the viewer’s perspective through the compositional elements that are employed within each painting that capture the spirit of immediacy, as well as with the natural ambiguity that occurs, which is in no way construed. MEDIUM: Oil on canvas DIMENSIONS: (unframed) 16.0 x 20.0 ins/ 40.6 x 50.8 cm SIGNATURE: Signed ‘Martyn Jones’ and titled (verso)
  • Lucid Emerald (Diptych)

    by Martyn Jones

    £3,650
    Martyn Jones is a British contemporary painter who explores the relationship between ‘place and time’ with the natural shape and form that his paintings take, until they finish themselves. Jones aims to challenge the viewer’s perspective through the compositional elements that are employed within each painting that capture the spirit of immediacy, as well as with the natural ambiguity that occurs, which is in no way construed. MEDIUM: Oil on canvas DIMENSIONS: (unframed) 16.0 x 20.0 ins/ 40.6 x 50.8 cm SIGNATURE: Signed ‘Martyn Jones’ and titled (verso)
  • Martyn Jones is a British contemporary painter who explores the relationship between ‘place and time’ with the natural shape and form that his paintings take, until they finish themselves. Jones aims to challenge the viewer’s perspective through the compositional elements that are employed within each painting that capture the spirit of immediacy, as well as with the natural ambiguity that occurs, which is in no way construed. MEDIUM: Oil on canvas DIMENSIONS: (unframed) 16.0 x 20.0 ins/ 40.6 x 50.8 cm SIGNATURE: Signed ‘Martyn Jones’ and titled (verso)
  • Rose Madder Sundae (study), 2020

    by Martyn Jones

    £2,200
    Martyn Jones is a British contemporary painter who explores the relationship between ‘place and time’ with the natural shape and form that his paintings take, until they finish themselves. Jones aims to challenge the viewer’s perspective through the compositional elements that are employed within each painting that capture the spirit of immediacy, as well as with the natural ambiguity that occurs, which is in no way construed. MEDIUM: Oil on canvas DIMENSIONS: (unframed) 8.0 x 10.0 ins/ 20.3 x 25.4 cm SIGNATURE: Signed ‘Martyn Jones’ and titled (verso)
  • Julep Midsummer, 2020

    by Martyn Jones

    £6,950
    Martyn Jones is a British contemporary painter who explores the relationship between ‘place and time’ with the natural shape and form that his paintings take, until they finish themselves. Jones aims to challenge the viewer’s perspective through the compositional elements that are employed within each painting that capture the spirit of immediacy, as well as with the natural ambiguity that occurs, which is in no way construed. MEDIUM: Oil on canvas DIMENSIONS: (unframed) 39.4 x 49.2 ins/ 100.0 x 125.0 cm) SIGNATURE: Signed ‘Martyn Jones’ and titled (verso)
  • Jardin de Nuit, de Été, 2020

    by Martyn Jones

    £6,950
    Martyn Jones is a British contemporary painter who explores the relationship between ‘place and time’ with the natural shape and form that his paintings take, until they finish themselves. Jones aims to challenge the viewer’s perspective through the compositional elements that are employed within each painting that capture the spirit of immediacy, as well as with the natural ambiguity that occurs, which is in no way construed. MEDIUM: Oil on canvas DIMENSIONS: (unframed) 39.4 x 49.2 ins/ 100.0 x 125.0 cm) SIGNATURE: Signed ‘Martyn Jones’ and titled (verso)
  • Night Garden, April Spangle, 2020

    by Martyn Jones

    £7,950
    Martyn Jones is a British contemporary painter who explores the relationship between ‘place and time’ with the natural shape and form that his paintings take, until they finish themselves. Jones aims to challenge the viewer’s perspective through the compositional elements that are employed within each painting that capture the spirit of immediacy, as well as with the natural ambiguity that occurs, which is in no way construed. MEDIUM: Oil on canvas DIMENSIONS: (unframed) 39.4 x 59.1 ins/ 100.0 x 150.0 cm) SIGNATURE: Signed ‘Martyn Jones’ and titled (verso)
  • Oil contemporary painting with blue, yellow and pink colours
    Martyn Jones is a British contemporary painter who explores the relationship between ‘place and time’ with the natural shape and form that his paintings take, until they finish themselves. Jones aims to challenge the viewer’s perspective through the compositional elements that are employed within each painting that capture the spirit of immediacy, as well as with the natural ambiguity that occurs, which is in no way construed. MEDIUM: Oil on canvas DIMENSIONS: (unframed) 39.4 x 59.1 ins/ 100.0 x 150.0 cm) SIGNATURE: Signed ‘Martyn Jones’ and titled (verso)
  • Night Garden – May

    by Martyn Jones

    £1,450
    ‘Colour has always played a fundamental role in my painting. The importance of colour was impressed on me at an early stage, by the British artist Patrick Heron. My paintings explore and are specific to, the theme of ‘place and time’. The work is descriptive in essence, natural shape and form taken from the world at large. Ideas for paintings begin with preliminary studies ‘in situ’, working directly from landscape or primary sources. Initial ideas are translated into larger scale paintings, working on paper or canvas. The compositional elements that are employed within each painting aim to capture a spirit of immediacy and simplicity. The content of my work has been described as capturing a natural ambiguity, but that ambiguity should not be construed as being manufactured in any way. Within each image an open invitation is challengingly presented to the percipient. It is difficult to determine when a painting is finished, but usually I instinctively know when that moment has arrived. I can say more often than not, my paintings finish themselves.’ – Martyn Jones MEDIUM: Watercolour on paper DIMENSIONS: (unframed) 4.3 x 4.3 ins/ 10.9 x 10.9 cm SIGNATURE: Signed ‘Jones 2020’ (lower right) and titled (lower left)
  • Night Garden – May II

    by Martyn Jones

    £1,450
    ‘Colour has always played a fundamental role in my painting. The importance of colour was impressed on me at an early stage, by the British artist Patrick Heron. My paintings explore and are specific to, the theme of ‘place and time’. The work is descriptive in essence, natural shape and form taken from the world at large. Ideas for paintings begin with preliminary studies ‘in situ’, working directly from landscape or primary sources. Initial ideas are translated into larger scale paintings, working on paper or canvas. The compositional elements that are employed within each painting aim to capture a spirit of immediacy and simplicity. The content of my work has been described as capturing a natural ambiguity, but that ambiguity should not be construed as being manufactured in any way. Within each image an open invitation is challengingly presented to the percipient. It is difficult to determine when a painting is finished, but usually I instinctively know when that moment has arrived. I can say more often than not, my paintings finish themselves.’ – Martyn Jones MEDIUM: Watercolour on paper DIMENSIONS: (unframed) 4.3 x 4.3 ins/ 10.9 x 10.9 cm SIGNATURE: Signed ‘Jones 2020’ (lower right) and titled (lower left)
  • The Young Gamekeeper

    by Charles Hunt

    £12,000
    Charles Hunt Snr. was an engraver and painter of contemporary genre scenes, often being humorous, as well as historical subjects, although he is most well-known for these charming interior scenes with mischievous little children. MEDIUM: Oil on canvas DIMENSIONS: (unframed) 36.0 x 28.0 ins/ 91.4 x 71.1 cm SIGNATURE: Signed and dated
  • Untitled, 1968

    by William Gear

    £3,300
    William Gear was a Scottish painter known for his abstract compositions and as one of the most international in spirit among British artists of his generation and one of the relatively few to make a reputation outside Britain. Gear is recognised for his fondness for heavy black line as a division of colour, predominately reds, yellows and oranges. He regarded the structure and architecture, like the building of his painting to be the most essential basis of a work. MEDIUM: Mixed media DIMENSIONS: (unframed) 22.8 x 15.4 ins/ 58.0 x 39.0 cm SIGNATURE: Signed ‘Gear’ and dated (lower right)
  • Joan Miró rejected the constraints of traditional painting, creating works “conceived with fire in the soul but executed with clinical coolness,” as he once said. Widely considered one of the leading Surrealists, though never officially part of the group, Miró pioneered a wandering linear style of Automatism—a method of “random” drawing that attempted to express the inner workings of the human psyche. Miró used colour and form in a symbolic rather than literal manner, his intricate compositions combining abstract elements with recurring motifs like birds, eyes, and the moon. “I try to apply colours like words that shape poems, like notes that shape music,” he said. MEDIUM: Lithograph DIMENSIONS:  (unframed) 20.5 x 14.5 ins/ 52.1 x 36.8 cm SIGNATURE: Signed and edition numbered to lower margin
  • Winter Landscape

    by Harald Pryn

    £12,000
    This is a charming painting from the popular oeuvre of the Danish landscape artist Harald Pryn. He had an obsession for snowy countryside scenes, and is the most coveted artist for this particular genre. MEDIUM: Oil on canvas DIMENSIONS: (unframed) 27.6 x 39.8 ins/ 70.0 x 101.0 cm SIGNATURE: Signed ‘Harald Pryn’ (lower left)
  • Alpine Road, 1934

    by Harald Pryn

    £12,000
    This painting is a charming picture from the popular oeuvre of the Danish landscape artist Harald Pryn. He had an obsession for snowy countryside scenes, and is the most coveted artist for this particular genre. He painted a great number of these winter landscapes, and Alpine Road is a particularly fine example, in which the artist has managed to capture the uniqueness of the cold light on a bright day in Northern Europe. MEDIUM: Oil on canvas DIMENSIONS: (unframed) 28.0 x 39.5 ins/ 71.1 x 100.3 cm SIGNATURE: Signed ‘Harald Pryn’ (lower right)
  • Four Figures

    by John Piper

    £12,500
    This wonderful watercolour by John Piper is a study for his commission to design the tapestry for the High Altar of Chichester Cathedral, describing it as being “in some ways the most frightening commission” he had ever been given. He came up with a design based on the dedication of the cathedral which was the Holy Trinity. DIMENSIONS: (unframed) 14.6 x 18.9 ins/ 37.0 x 48.0 cm SIGNATURE: Signed 'John Piper' (lower right) MEDIUM: Watercolour, gouache and Arabic gum
  • Hills and Valleys

    by Samuel John Lamorna Birch

    £12,500
    This painting beautifully depicts Birch’s favourite idyll, Lamorna Valley. It is a later work by the artist and potentially one of his last of this tranquil and much loved place. MEDIUM: Oil on canvas DIMENSIONS: (unframed) 19.3 x 23 ins/ 49.0 x 58.5 cm (framed) 27.5 x 31.5 ins/ 69.8 x 80.o cm SIGNATURE: Signed 'S.J. Lamorna Birch' (lower right)
  • Blue Barrier, 1982

    by William Gear

    £5,500
    William Gear was a Scottish painter known for his abstract compositions and as one of the most international in spirit among British artists of his generation and one of the relatively few to make a reputation outside Britain. Gear is recognised for his fondness for heavy black line as a division of colour, predominately reds, yellows and oranges. He regarded the structure and architecture, like the building of his painting to be the most essential basis of a work. MEDIUM: Acrylic DIMENSIONS: (unframed) 31.1 x 16.1 ins/ 79.0 x 41.0 cm SIGNATURE: Signed ‘Gear’ and dated (lower right)
  • Fairground Flight, 1979

    by William Gear

    £8,500
    This striking work, Fairground Flight, was painted towards the end of Gear’s career in 1979 when he had developed a distinctive style after his time at Birmingham University. In this period, Gear painted dynamic, diagonal black armatures against vibrant detonations of colour, perfecting a new, thrilling evocation of light pulsing through foliage MEDIUM: Acrylic DIMENSIONS: (unframed) 20.1 x 28.3 ins/ 51.0 x 72.0 cm SIGNATURE: Signed ‘Gear’ and dated (lower right)
  • Tillman Crane is an American photographer who specialise in the creation of platinum and palladium photographs. His works focus on the elusive qualities of light, texture and space to bring the spirit of the ordinary in everyday locations where he lives and teaches into extraordinary in his photographs. In particular, he concentrates on the unique sense of each place, calling himself a reactionary photographer. DIMENSIONS: (unframed) 15.0 x 18.0 ins/ 38.1 x 45.7 cm SIGNATURE: Signed ‘Tillman Crane’ (lower right); numbered edition 4 of 25 (lower left) MEDIUM: Photograph, archival print on photography paper
  • One Day (Diptych), 2020

    by Martyn Jones

    £9,800
    Bright and often clashing colour has always played a fundamental role in Martyn Jones’ paintings. The artist has said that; “The importance of colour as a vehicle of expression in painting was impressed on me at an early stage of my development, by the British artist Patrick Heron. My work mainly adheres to, and is inspired by, European traditions in painting. My deepest influences lie in the work of Miro, Braque, Kandinsky and Heron”. DIMENSIONS: (unframed) 23.6 x 70.9 ins/ 60.0 x 180.0 cm SIGNATURE: Signed, titled and dated (verso) MEDIUM: Oil on canvas
  • Rose Madder Sundae, 2020

    by Martyn Jones

    £6,495
    Bright and often clashing colour has always played a fundamental role in Martyn Jones’ paintings. The artist has said that; “The importance of colour as a vehicle of expression in painting was impressed on me at an early stage of my development, by the British artist Patrick Heron. My work mainly adheres to, and is inspired by, European traditions in painting. My deepest influences lie in the work of Miro, Braque, Kandinsky and Heron”. DIMENSIONS: (unframed) 39.4 x 49.2 ins/100.0 x 125.0 cm SIGNATURE: Signed, titled and dated (verso) MEDIUM: Oil on canvas
  • Southwold Harbour

    by Edwin Hayes

    £7,950
    Hayes painted a large number of marine seascapes and landscapes , as well as ships and boats of all types. Locations for his plein-air-painting included the shores and harbours of the English coast, as well as the coasts of France, Spain and Italy. His vast knowledge of and 'eye for' the sea allowed him to capture all aspects of marine activity and scenery, and he is considered one of the outstanding exponents of marine visual art in Ireland. DIMENSIONS: (unframed) 7.0 x 11.5 ins/ 17.8 x 29.2 cm SIGNATURE: Signed ‘Edwin Hayes’ (lower right) MEDIUM: Oil on board
  • Portrait of a Boy

    by Eva Koos

    £10,000
    DIMENSIONS: (unframed) 50.0 x 50.0 cm (Oval)19.7 x 19.7 ins SIGNATURE: Signed 'Eva Koos' (lower left) MEDIUM: Oil on canvas
  • El Circulo de Pietra, 1971

    by Alexander Calder

    £5,500
    One of fifteen original lithographs, signed and numbered by the artist, commissioned to illustrate the porfolio's text 'El Circulo de Piedra' by Carlos Franqui.  Franqui was a Cuban revolutionary, a friend of both Castro and Guevara and editor of the Cuban National Newspaper, before his split with the regime over their lack of tolerance.  From the Hors de Commerce Edition of only 25, aside from the edition of 125. DIMENSIONS: (unframed) 22.0 x 17.5 ins/ 55.9 x 44.5 cm SIGNATURE: Signed ‘Calder’ (lower right) and numbered ‘IX/XXV’ (lower left) MEDIUM: Lithograph on paper
  • Bridge of Sighs

    by / attributed to Gaston la Touche

    £12,500
    The Bridge of Sighs is one of the most known bridges in the world, however it can it only be seen be seen from two places: Canonica Bridge and Ponte della Paglia. It connects the New Prison to the Doge’s Palace and the view from the bridge was the very last view that convicts would have seen before their imprisonment, being allowed one final glimpse of Venice’s beauty. DIMENSIONS: 10.5 x 15.3 inches (26.7 x 38.7 cm) SIGNATURE: Signed ‘Gaston La Touche' and annotated 'Venezia’ (lower left) MEDIUM: Oil on panel
  • Portrait of the Artist’s Wife, 1873

    by Ellen Stevens Bromley Phillips

    £6,500
    This beautiful portrait depicts a lady of American society resplendent in her finery. Using a very thin layer of paint, the artist has artfully captured the sheen of her green silk dress and the delicate lace at her throat and wrists. DIMENSIONS: (unframed) 40.0 x 34.5 ins/ 101.6 x 87.6 cm SIGNATURE: Signed ‘Phillips’ and dated (lower right) MEDIUM: Oil on canvas    
  • Hermann Armin von Kern (14 March 1838 – 18 January 1912) was an academic painter, one of the most popular Austrian genre painters of his time and a court painter at the court of Franz Josef I in Vienna. Dimensions: (unframed)48.0 x 32.0 cm (18.9 x 12.6 ins) Signature: Signed (lower centre0 Medium: Oil on panel
  • Tortured Landscape, 1966

    by William Gear

    £9,950
    Painted in 1966, Tortured Landscape transports the viewer to a fantastical countryside scene with the dynamic black shapes and juxtaposition of colour creating a sense of depth and movement. DIMENSIONS: (unframed) 23.0 x 30.8 ins/ 58.4 x 78.2 cm SIGNATURE: Signed 'Gear' and dated (lower right) MEDIUM: Mixed media on paper
  • As a marine artist, Cooke worked under the painter Clarkson Stanfield making drawings of nautical details and studied onboard the West Indiaman Thetis and HMS Agamemnon.  In 1833 Cooke began painting in oils. He took formal lessons from James Stark in 1834. He emulated nature and the works of Richard Parkes Bonington and began exhibiting at the Royal Academy and the British Institution from 1835. He was elected an Associate of the Royal Academy in 1851 and was made a Royal Academician in 1863. Dimensions: (unframed)9.50 x 13.5 ins / 24.13 x 34.29 cms (each) Signature: Each signed and dated 1848, both with artist’s seal verso Medium: Oil on board
  • Sheep, 1980

    by Mary Fedden

    £11,500
    In 1955, in an article in 'The Artist' magazine, Fedden wrote: “I really float from influence to influence. I found the early Ben Nicholson's fascinating as were the paintings of his wife Winifred. I also admire the Scottish artist Anne Redpath and the French painter Henri Hayden.” DIMENSIONS: (unframed) 15.0 x 21.0 cm/5.9 x 8.3 ins SIGNATURE:Signed ‘Fedden’ and dated (lower left) MEDIUM: Gouache
  • Circus Performer

    by Dame Laura Knight

    £4,500
    This lovely drawing is from a period in Knight’s career when she was fully established as an artist. As ever, she was engrossed with the art of performance, in particular with ballet and the theatre. Knight would spend her time sketching either in London’s many parks and gardens, or backstage at the Royal Opera House, favouring performances and rehearsals of the Bolshoi Ballet. Dimensions: (unframed) 50.0 x 35.0 cm/19.7 x 13.8 ins Signature: Signed ‘Laura Knight’ (lower right) Medium: Pencil on paper
  • In the Heat of the Day, Flatford

    by David Murray

    £18,500
    This is a study for a picture of the same subject exhibited at the Royal Academy, 1904, no. 326. This is a prime example of David Murray working on rural subject matters, depicting this tranquil scene in Flatford, Sussex. Dimensions: (unframed) 60.96 cms x 91.44 cms /24.00 ins x 36.00 ins Signature: Signed David Murray (lower right) Medium: Oil on canvas
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