• The Young Gamekeeper

    by Charles Hunt

    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

    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

    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

    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

    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

    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 SIGNATURE: Signed 'S.J. Lamorna Birch' (lower right)
  • Blue Barrier, 1982

    by William Gear

    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

    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)
  • Llyn-y-Gwynant, North Wales

    by William Mellor

    This painting depicts a scenic view of Llyn-y-Gwynant a lake in Snowdonia, North Wales. Mellor skilfully depicts this corner of the Nant Gwynant valley with the sunlight shining onto the luminous and reflective lake from behind the edge of the land, inviting the viewer into the tranquil setting. DIMENSIONS: (unframed) 28.0 x 36.0 ins/ 71.1 x 91.4 cm SIGNATURE: Signed 'William Mellor' (lower right) MEDIUM: Oil on canvas
  • Southwold Harbour

    by Edwin Hayes

    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
  • Cecil Kennedy was one of the foremost British flower painters, regarded as elevating the genre of still life to its rightful status 'as a complex and thoughtful, as well as aesthetically pleasing' form. With his extensive knowledge of botany, Kennedy was fascinated by the compositional and colouristic effects of nature and his paintings revered even the most common of species, such as a grasses, wildflowers and fruits. He also experimented with the difficulties of all white arrangements. In later life Kennedy's love for flower studies was shared by his wife, Winifred Ives, who assisted him in creating many of the arrangements seen in his works. DIMENSIONS: (unframed) 13.8 x 11.4 inches (35.0 x 29.0 cm) SIGNATURE: Signed ‘Cecil Kennedy’ and dated (lower right MEDIUM: Oil on canvas
  • Portrait of a Boy

    by Eva Koos

    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
  • 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
  • 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
  • The Jazz Club

    by Raymond Moretti

    Raymond Moretti was a French abstract painter. Combining Hebrew letters, lines, and colors he created dynamic works, which flit in and out of abstraction. DIMENSIONS: (unframed) 25.50 x 32.50 ins / 64.77 x 82.55 cms SIGNATURE: Signed (upper right) MEDIUM: Oil on canvas
  • Whip

    by Michael Thacker

    Michael uses natural forms as one of his primary references, seedpods, shells, fossils and plant buds. The idea that a form develops and grows from within a hard casing to burst forth and reveal a new appearance is paramount to his thought process. Unbalancing the original and juxtaposing taut polished geometric forms against roughly textured organic shapes that emerge from within. DIMENSIONS: 43.9 x 26.7 cm / 17.3 x 10.5 ins MEDIUM: Potoro Marble with Gold Leaf
  • Sheep, 1980

    by Mary Fedden

    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

    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

    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
  • Summer: Late Afternoon

    by Peter Kuhfeld

    Kuhfeld is the only child of a German prisoner of war and an English classical pianist. Between 1972 and 1976 he studied at Leicester School of Art. He worked from 1976 to 1978 at Rugby School of Art, where he gave lessons in drawing and painting, before securing a place at the prestigious Royal Academy School of Art. During 1977-80 Kuhfeld studied under the painter Peter Greenham CBE, RA. In 1978 he was created a Freeman of the Worshipful Company of Painters. While at the Royal Academy Schools Kuhfeld won various notable scholarships and prizes: 1978-79 David Murray Landscape Prize; 1979 Royal Academy of Art Silver Medal for Drawing, Royal College of Surgeons Dooley Prize for Anatomical Drawing; 1980 Elizabeth Greenshield Foundation Scholarship and Richard Ford Scholarship for study in Spain. Dimensions: (unframed) 84.0 x 142.0 cm/33.1 x 55.9 ins Signature: Signed (upper left) Medium: Oil on canvas
  • Hotagen, Sweden 1928

    by Gottfrid Kallstenius

    This wonderful sunset painting is a charming and evocative rendition of an idyllic summer evening on a Swedish lake. It would make a lovely addition to any collection of Impressionist, Swedish Romantic or Landscape paintings.  Kallstenius is now represented at the National Museum in Stockholm, at the art museums in Gothenburg and Malmö and in a number of museum collections in Europe, South and North America. Dimensions: (unframed) 89.7 x 116.8 cm/35.3 x 46.0 ins Signature: Signed and dated 1928 lower right. Medium: Oil on canvas
  • Fiumi Fountain, Piazza Navona, Rome

    by Julian Barrow

    Julian Barrow was known for his landscapes and paintings of country houses, conversation pieces and interiors. He studied painting in Florence under Signorina Simi and Pietro Annigoni. He regularly exhibited at the Royal Academy Summer Exhibition, and had one man shows at the Fine Art Society in London and at the W M Brady Gallery in New York. He travelled extensively in India, South East Asia, France, Italy and the USA. From the mid-60s until his death he lived and worked at his studio in Tite Street, Chelsea, London, a Victorian building of studios once occupied by John Singer Sargent, Whistler and Augustus John. DIMENSIONS: (unframed) 45.7 x 61.0 cm/18.0 x 24.0 ins SIGNATURE: Signed and inscribed 'Rome 5am' (lower right) MEDIUM: Oil on canvas  
  • Children in the Garden

    by Marcel Dyf

    Dyf was famed for his impressionistic landscapes, still-lives, and portraits. His paintings had been exhibited throughout the world, with Shows in England, America, Canada, Germany and Algeria.  Today he is considered one of the last of the true Impressionist artists. Dyf died in September 1985. DIMENSIONS: (unframed) 60.96 cms x 71.12 cms /24.00 ins x 28.00 ins SIGNATURE: Signed (lower right) MEDIUM: Oil on canvas
  • Gathering Wild Flowers

    by Alice Squire

    DIMENSIONS: (unframed) 21.0 x 6.3 ins/ 8.3 x 2.5 cm SIGNATURE: Signed lower left MEDIUM: Oil on canvas   Gathering Wild Flowers depicts a young girl gathering flowers within a lush scene of greenery. This work is an example of Alice Squire’s romantic scenes which simultanesouly evoke both a sense of tranquillity and nostalgia for a simpler past time.
  • Near Reigate, 1809

    by Walter Williams

    DIMENSIONS: (unframed) 24.0 x 42.0 in./61.0 x 106.7 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas   William’s work is characterised by his reoccurring subject matter of the romantic landscape. The work Near Reigate is such an example of this romantic landscape as the golden glow of the light baths the composition with two figures strolling into the unknown golden landscape.
  • Jay, 1992

    by Mary Fedden

    Mary Fedden was an artist whose exquisitely executed paintings often take the form of a hybrid between a still life and a landscape. In these, a group of objects fruit, glasses, bottles, even cats – are depicted in fine detail in front of a striking background scene. These intriguing combinations illustrate the depth of vision, both in a figurative and literal sense, which Fedden portrayed in her work. DIMENSIONS: (unframed) 15.0 x 23.0 cm/5.9 x 9.1 ins SIGNATURE: Signed and dated 1992 MEDIUM: Gouache on paper
  • The Fisherman

    by Walter Langley

    Politically left wing for his era, Langley was noted for his social realist portrayals of working class figures, particularly fishermen and their families. He was a supporter of Charles Bradlaugh, a radical socialist politician. His own working-class background enabled him to identify with the villagers and the hardships they endured, many of his paintings reflect this sympathy with the working-class fisher-folk amongst whom he lived. DIMENSIONS: (unframed) 38.1 x 48.3 cm/15.0 x 19.0 ins SIGNATURE: Signed and dated '91 MEDIUM: Watercolour
  • Titania

    by Cathy Lewis

    Cathy Lewis’ work examines cultural identity, the importance of a cultural heritage and how this may be learnt and shared. Encouraging her audience to examine links between the past and the future, her works call into question how the future is consistently propped up by the past. DIMENSIONS: 15 ins high SIGNATURE: Signed at the base of the neck C.L 3/6 MEDIUM: Cast marble Edition 3 of 6
  • St-Raphaël

    by Jeanne Selmersheim-Desgrange

    Selmersheim-Desgrange lived and loved the area around St. Tropez –  and she replicated the relaxed atmosphere, the intense light, the brilliant earthen colors, dark tree silhouettes, and azure seas in her work as can be seen in this composition. Signac and Selmersheim-Desgrange lived in a small house in the South of France – “La Hune” and throughout her association with Signac, Jeanne was happy and most contented to stay in the shadows of “her great master.” DIMENSIONS: (unframed) 50.3 x 65.5 cm/19.8 x 25.8 ins SIGNATURE: Titled and dated 'St-Raphaël 1908' (lower right) MEDIUM: Oil on canvas
  • For Ken, painting is about three things. It is about revelation, communication and celebration. By revelation, he means giving people a way of seeing, revealing the world around them in a way they have never seen before, opening their eyes. By communication, he means revealing the world with a personal language, speaking directly in an instantly recognisable style. He wants it to celebrate life whether it be human dignity expressed by Velasquez or Cezanne, or the wonders of nature expressed by Corot and Monet. For Ken his main inspiration is light and it is through light that he wants to celebrate his world. DIMENSIONS: (unframed) 50.5 x 61.0 cm/19.9 x 24.0 ins SIGNATURE: Signed 'Ken Howard' (lower right) MEDIUM: Oil on canvas  
  • Broadway

    by Charles Thomas Cox

    This work would have been painted circa 1890 & illustrates the left hand side of the road when travelling up the high street.  These cottages have been preserved & can still be visited . DIMENSIONS: (unframed) 15.50 ins x 19.50 ins SIGNATURE: Signed lower left MEDIUM: Oil on canvas
  • Bringing in the Hay

    by Henry John Kinnaird

    Kinnaird often painted harvest scenes (as with this lovely example) in and around Surrey and Sussex. DIMENSIONS: (unframed) 40.64 cms x 60.96 cms /16.00 ins x 24.00 ins SIGNATURE: Signed MEDIUM: Oil on canvas
  • The Market Place, Dieppe

    by William Lee Hankey

    William Lee-Hankey was born in Chester, England in 1869. Hankey is notable for his paintings of French harbour scenes, figurative subjects and English country life. This painting is a wonderful example of this, as Hankey depicts the small, fishing-port town of Dieppe in France, reflecting the beauty he sees in everyday life. DIMENSIONS: (unframed) 49.5 x 59.7 cm/19.5 x 23.5 ins SIGNATURE: Signed MEDIUM: Oil on canvas
  • Burning of the Spa, Scarborough, 1876

    by Alphonse Neumans

    ‘The Burning of the Spa, Scarborough’ by the Belgian artist Alphonse Neumans (1853 to 1893) depicts the razing to the ground of the Scarborough Spa when it was consumed by fire on September 8 1876. Scarborough Spa was officially opened in 1858 after the discovery of the health-giving waters on the coast, and drew vast numbers of visitors to the town. There is a note on the back of the painting that indicates that it was actually painted at the scene and so constitutes an important eye-witness account of the event that must have shaken the Victorian town to its core. DIMENSIONS: (unframed) 29.0 x 60.0 cm/11.4 x 23.6 ins SIGNATURE: Signed and dated 1876 lower left, inscribed by the artist to an old paper label verso MEDIUM: Oil on canvas
  • Hunt Crossing the Field, c.1896

    by Robert Bevan

    Robert Bevan drew inspiration for subjects for painting from the countryside. He formed the habit of spending the summer on a painting trip in various rural locations such as a cottage called St Ives in Kingston near Lewes, Sussex), or in Russian Poland with his wife’s family. His work at this time reflected his first-hand experience with recent French art during his travels on the continent. Oil paintings and watercolours of agricultural scenes of the South Downs or Poland provided motifs with which to explore his concerns with the effects of light and the use of colour. Philip Hendy (later Director of the National Gallery) claimed that Bevan was the first Englishman to use pure colour in the twentieth century and was the ‘real pioneer’ of the modern English school. DIMENSIONS: (unframed) 34.0 x 25.0 cm/13.4 x 9.8 ins SIGNATURE: Studio stamp verso MEDIUM: Ink and wash
  • Garden at Cookham

    by Daphne Charlton

    Born in 1909, Daphne Charlton studied painting at the Slade School of Art. She married George Charlton, a fellow painter and teacher at the school, and the pair moved to 40 New End Square in 1932. In 1939, the Charltons became friends with Stanley Spencer, who had also studied at the Slade School of Art, who often visited them at their home in Hampstead. Daphne Charlton and Spencer sat for paintings for each other, and it is believed that they had an affair. DIMENSIONS: (unframed) 51.0 x 61.0 cm/20.1 x 24.0 ins SIGNATURE: Signed and inscribed verso with label of New England Art Club MEDIUM: Oil on canvas
  • The Doges Palace and Grand Canal Venice

    by Kyffin Williams

    Once determined on an artistic course, Williams’ passion for work was all-consuming and there was never any question as to his subject matter, with the landscape before him demanding to be drawn or painted. Venice, in particular, had always been an inspiration for Williams, first learning about Venetian painters like Canaletto and Guardi at Slade Art School, as well as those who visited including Monet, Turner and Sickert, to then being able to see the works he had admired for years in person, with his first visit to the city in 1950. As Williams states: I had always loved its exuberance and lack of inhibition and now I was able to see some of the greatest paintings in the world’. Thus, Venice went on to be a place that inspired the artist for more than half a century, producing many paintings in a variety of media: oil, watercolour, drawings and ink. He was fascinated by the way the light mirrored on the ever-present water and the elegance of the city, but also chose to depict the more unseen angles of Venice unlike his peers. As with this ink drawing, The Doges Palace and Grand Canal Venice, Williams depicts a view of the city at night time, still maintaining his distinctive style by painting the mirrored light of Venice in the colours of North Wales, using dark tones and loose brushstrokes, putting his own impression on Venice. Although, you can still see the effect of light as the dominant feature. DIMENSIONS: (unframed) 12.2 x 18.9 in./ 31.0 x 18.9 cm SIGNATURE: Monogrammed lower right MEDIUM: Ink on Paper    
  • Portrait of a young woman

    by Paul César Helleu

    Paul César Helleu worked as a painter and an engraver in France at the turn of the century. His work epitomises the charm and elegance of French culture at the time – the belle époque – with all its verve and focus on fashion. Whilst he was renowned for his portraits of society ladies on commission, and those of his childhood sweetheart who later became his wife (Alice Guerin). DIMENSIONS: (unframed) 43.18 cms x 30.48 cms /17.00 ins x 12.00 ins SIGNATURE: Signed and inscribed 'To Alice' MEDIUM: Black and Sanguine Chalk  
  • Right of Garden, Landscape

    by Hans Iten

    This charming painting depicts a curated garden in summer, and is by Hans Iten, the finest flower painter of his time. The garden is flooded in bright sunlight, while the trees in full leaf cause dappled shade. The composition makes the picture seem as though it is being viewed through a window, the tops of the trees projecting out of the picture plane. This gives the viewer the sense that they are experiencing the view through the trees in real life. DIMENSIONS: (unframed)53.3 x 67.3 cm / 21.0 x 26.5 ins SIGNATURE: Signed lower left MEDIUM: Oil on canvas
  • The Dunes at Wimereux, Normandy, 1934

    by Edmund Blampied

    Blampied put his hand to a variety subjects, the most dear are his scenes of domestic idiosyncrasy that depict life on the farm and small town and those that show the bond that develops between people of a close knit community.  He was a keen observer of everyday life who clearly enjoyed the quirks of human nature, even within amusing stereotypes.  Blampied’s humor is as precise and delicate as his line work.  His charming depictions rendered in a flourish with a skillful hand, float in and out of existence on the page like a cherished memory. DIMENSIONS: (unframed) 8.0 x 11.5 in./ 20.32 x 29.21 cm SIGNATURE: Signed 'Blampied' and dated (lower right) MEDIUM: Oil on board
  • A Peaceful Autumn Afternoon, 1965

    by Sir William Russell Flint

    Sir William Russell Flint, one of the most celebrated British painters of the 20th century, has enjoyed almost constant popularity since the 1920s.  His best work reflects a genuine greatness in watercolour technique . The Times’ obituary paid tribute to his exceptional mastery of the watercolour medium: ‘Sir William Russell Flint, RA, who has died at the age of 89, will be chiefly remembered as a watercolourist of remarkable technical skill. Though he painted also in oils and tempera and produced a considerable number of etchings and dry-points, his most characteristic works were watercolour landscapes and figure compositions, elaborately carried out and displaying great virtuosity, in the gradations of a wash and a special manner of enriching its effect by taking advantage of a grained surface paper’. DIMENSIONS: (unframed) 9.0 x 12.0 in./22.9 x 30.5 cm SIGNATURE:Signed lower left: W Russell Flint, signed again, titled and inscribed verso: Loch Nan Uamh (Western Highlands) MEDIUM: Watercolour
  • British Men-o-War Coastal Scene

    by John Thomas Serres

    Both son and pupil of the prolific maritime painter Dominic Serres (1722–1793), John T. Serres benefited from his father’s artistic connections and exhibited regularly at the Royal Academy between 1780 and 1825. His reputation for draughtsmanship was rewarded with the appointment of Master of Drawing at the Royal Naval College in Chelsea. Further recognition followed as he replaced his father as Marine Painter to the King, while in 1800 he became Marine Draughtsman to the Admiralty. John Thomas Serres was soon travelling by sea throughout the expanding empire, particularly in the Mediterranean, recording coastlines and documenting enemy positions. DIMENSIONS: (unframed) 10.0 x 14.0 inches/ 25.5 x 35.5 cm SIGNATURE: Signed lower right MEDIUM: Watercolour
  • Falaises vers Etretat, 1906

    by Paul Madeline

    This splendid little painting is titled Falaises vers Etretat (Cliffs to Etretat) and depicts Etretat, a town on the north coast of France and its striking rock formations carved out of its white cliffs. DIMENSIONS: (unframed) 34.0 x 46.0 cm / 13.4 x 18.1 ins SIGNATURE: Signed lower left MEDIUM: Oil on canvas
  • Vent, Beau Temps, au Large (Deauville)

    by Andre Hambourg

    In 1970, Hambourg was sufficiently well-known to be granted a retrospective of five hundred paintings at the Maison de Culture in Bourges, and exhibitions and commissions continued all over the world until his death. The Normandy coastline remains one of the most collectable subjects of Hambourg’s career. Today his works can be found in the collections of museums such as the Musée National d’Art Moderne, the Musée National de la Marine, and the Musée des Arts d’Afrique et d’Océanie. DIMENSIONS: (unframed) 8.8 x 13.8 in./22.4 x 35.1 cm SIGNATURE: Signed 'A. Hambourg' (lower left); titled and inscribed (verso) MEDIUM: Oil on canvas
  • 5650-Houghton-Heavenly


    by Jeremy Houghton

    Jeremy has a real passion for birds – specifically, for depicting them in flight. This interest was ignited when he began watching the local flamingo population in Cape Town, where he spent a number of years running an art school after finishing his degree in law (something he says he hated and did because art wasn’t seen to offer “proper” prospects). Houghton’s images of migrating flocks are unexpectedly quiet pieces, with an even more marked deployment of empty space than the sports paintings. Houghton says that in essence all his paintings are an attempt to depict movement, and that blank space is crucial to this, given that by nature movement sits right at the edge of what it is possible to represent. DIMENSIONS: (unframed) 15.7 x 15.7ins/ 40.0 x 40.0 cms SIGNATURE: Signed with monogram lower right MEDIUM: Oil on canvas
  • 5642-anshelm-Schultzberg-winter

    Winter Twilight

    by Anshelm Schultzberg

    DIMENSIONS: (unframed) 20.5 x 28 in./ 52.1 x 71.1 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • 5637-gustave-Jacquet-the-french-coquette

    The French Coquette

    by Gustave Jean Jacquet

    Here Jacquet has used fine brush stokes to capture the muse's delicate features and translucent skin. He has added a splash of colour with her yellow dress, blue neck tie and flowers in her hair. He has skilfully captured this elegant ladies beauty. DIMENSIONS: (unframed) 15.6 x 12.4 in./39.5 x 31.4 cm SIGNATURE:Signed and artist stamp on stretcher verso MEDIUM: Oil on canvas
  • 5654-antonietta-bradeis-A view of Posillipo, Naples

    A view of Posillipo, Naples

    by Antonietta Brandeis

    'Antonietta Brandeis lived in Venice for many years. She devoted herself mostly to landscapes of the city and its surrounding countryside. DIMENSIONS: (unframed) 6.9 x 9.4 in./17.5 x 24.0 cm SIGNATURE: Signed 'ABrandeis' (lower right); inscribed (verso) MEDIUM: Oil on board
  • 5540-fred-hall-man-on-horseback

    Man on Horseback

    by Fred Hall

    Fred Hall interpreted his surroundings with a light touch and a realistic approach. He spent a considerable amount of time in Newlyn painting 'en plein air'. Newlyn had a number of things guaranteed to attract artists: fantastic light, cheap living, and the availability of inexpensive models. The artists were fascinated by the fishermen’s working life at sea and the everyday life in the harbour and nearby villages. DIMENSIONS: (unframed) 12 x 14 in./30.5 x 35.6 cm SIGNATURE: dedicated lower right: Fred Hall to W.R.W., label on verso: Vose Galleries signed on back Thulin 1917 296 MEDIUM: Oil on panel  
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