• Landscape oil painting from a high viewpoint overlooking hills of fields and a village in the distance, and some trees on the left of the work by Armand Guillaumin Landscape oil painting from a high viewpoint overlooking hills of fields and a village in the distance, and some trees on the left of the work by Armand Guillaumin
    The artist’s most famous works are landscapes and experimentations with the effects of light. In this beautiful painting Guillaumin has depicted the view of a village in Crozant en-plein-air, using looser and more vigorous brushstrokes. Crozant was one of his popular choices of locations to paint as after Guillaumin won a large prize in the Loterie Nationale in 1891 he was able to dedicate his life to painitng and travel between Agay, Crozant, and Saint-Palais-sur-Mer throughout the year, painting multiple works in each area. DIMENSIONS: (unframed) 32 x 36.0 ins / 81.3 x 91.4 cm SIGNATURE: Signed 'Guillaumin' (lower left) MEDIUM: Oil on canvas
  • a group of well dressed men play a game around a table five men playing a table game

    End Game

    by Adolphe Alexandre Lesrel

    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
  • Three sailing ships on the sea with blue sky Large sailing ships on a sunny day
    This scene is from the area of coast on the Isle of Wight between Gurnard and Thorness Bay, just before Newtown Creak. DIMENSIONS: (unframed) 26.0 x 40.0 in. / 66.4 x 101.6 cm SIGNATURE: Signed lower left MEDIUM: Oil on canvas
  • Beryl Cook recorded human frailties and the absurdities of human behaviour with her own unique vision. Beryl’s personality though was in great contrast to her paintings. She was a shy and private person, often depicting the flamboyant and extrovert characters she would love to have been. She preferred to observe a crowd of people, her acute eye missing nothing. She recorded in minute detail scenes of everyday life and had an almost photographic memory. MEDIUM: Oil on canvas DIMENSIONS: (unframed) 38.2 x 29.7 ins/ 97.0 x 75.4 cm SIGNATURE: Signed 'B. Cook' (lower right)
  • Pacific Combers

    by Montague Dawson

    Montague Dawson RMSA, FRSA (1890–1973) was a British painter who was renowned as a maritime artist. His most famous paintings depict sailing ships, usually clippers or warships of the 18th and 19th centuries. He paints with painstaking detail, capturing the foaming waves and wind-whipped sails with incredible likeness and majesty. Paired with evocative titles, his compositions are recognisable and uniquely captivating. DIMENSIONS: (unframed) 20.1 x 30.1 ins/ 51.1 x 76.5 cm SIGNATURE: Signed lower left MEDIUM: Oil on canvas
  • landscape of a hill covered in snow with cattle grazing on top and moody sky in the background

    Snow at Llangwyfan

    by Kyffin Williams

    Kyffin Williams had a passion for the rugged landscape of North Wales, which we see in this piece depicting a part of the rural village in Llangwyfan, Denbighshire covered in snow. Once determined on an artistic course, Williams’ work was all-consuming and there was never any question as to subject matter, with the landscape before him demanding to be drawn or painted. With his highly distinctive technique these monumental landscapes came to assume an iconic status and so too did the man. DIMENSIONS: (unframed) 29.9 x 29.9 ins/ 75.9 x 75.9 cm SIGNATURE: Initialled (lower right) MEDIUM: Oil on canvas
  • A group of racehorses gathered on a racetrack with autumnal trees in the background by Maurice Brianchon

    Races at Auteuil, 1951

    by Maurice Brianchon

    Maurice Brianchon was an influential French Impressionist and Modern painter who is best known for his luminous canvasses often depicting nudes, still lifes and scenes at the French horse race courses, including St. Cloud, Longchamps and Auteuil. This vibrant painting, Races at Auteuil, depicts a moment of calm at the racecourse in Auteuil, in the Bois de Boulogne, Paris iand is characteristic of Brianchon’s later style. The artist’s simplification of the forms blurs the distinction between figures and setting. MEDIUM: Oil on canvas DIMENSIONS: (unframed) 19.7 x 16.1 ins/ 50.0 x 41.0 cm SIGNATURE: Signed ‘Brianchon’ (lower right)
  • Discretion, the Better Part of Valour

    by Federico Andreotti

    Andreotti's style was the result of technical anatomy training at the Academy, and an interest in the Impressionist's use of colour and brushstroke. The combination of these influences results in a vivid, lively quality to his brushwork, but without any element or likeness lost. Each figure exudes a unique character to the other, flaunting Andreotti's skill for detailed compositions. DIMENSIONS: (unframed) 26 x 36 ins/ 66 x 91.4 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • A woman sits on a rocky beach with her black dog by Vicente Palmaroli

    On The Beach

    by Vicente Palmaroli

    Vicente Palmaroli, born in 1834, was the son of painter and lithographer Gaetano Palmaroli, who was also his first tutor. He later moved to Rome and there became part of a collective of Spanish painters including Maria Fortuny, Alejo Vera, and Luis Alvarez Catala. With works created in Italy he won multiple First-Class medals for his participation in National Exhibitions in Spain. He progressed into a renowned portrait artist and an academic. His work then specialised in 'tableautins', which were small compositions depicting light and amusing themes designed for the home. Eventually he was appointed Director of the Museo del Prado - he held this position until his death in 1896. DIMENSIONS: (unframed) 30 x 19 ins/ 76.2 x 48.3 cm SIGNATURE: Signed in the bottom right corner MEDIUM: Oil on canvas
  • A portraitist stands by a frame whilst two women and two men look on by Arturo Ricci

    In The Artist’s Studio

    by Arturo Ricci

    Ricci was a Florentine artist, born in 1854, who typically painted anecdotal scenes of upper-class family life, with a particularly skilled hand for shimmering silks and satins. Collectors across Europe and the United States found Ricci's historical genre appealing, depicting what stood in stark contrast to the harsh realities of the Industrial Revolution: the perceived height of sophistication, decadence, and taste. DIMENSIONS: (unframed) 27 x 36 ins/ 68.6 x 91.4 cm SIGNATURE: Signed in the bottom right corner MEDIUM: Oil on canvas
  • A couple dance in the middle of a public house with ducks in the foreground and people looking on by Francesco Vinea

    The Dance

    by Francesco Vinea

    MEDIUM: Oil on canvas DIMENSIONS: (unframed) 73.7 x 106.7 cm/ 29 x 42 ins SIGNATURE: Signed and dated, with location Francesco Vinea (1845 - 1902) was an Italian painter recognised for his period costume genre subjects. He preferred dynamic, imaginative, and often witty depictions of dramas over more classical historical or landscape painting. The Dance is, as the name implies, a merry scene; a couple dances at its centre, encircled by jovial music players and characters drinking together. There are several curiosities about this composition - the dancer appears to be blindfolded, and a family of ducks strolls by as if part of a different narrative altogether. 6183
  • A lady in a large pink dress plays a lute guitar by Eduardo Garrido

    Lady with a Lute

    by Eduardo Leon Garrido

    DIMENSIONS: (unframed) 41 x 26.5 ins./ 104.1 x 67.3 cm SIGNATURE: Signed lower left MEDIUM: Oil on panel Eduardo Leon Garrido was a Spanish artist born in Madrid in 1856, who went on to spend his adult life across Italy and France. His style was influenced by impressionism and romanticism, and artists he met such as Mariano Fortuny and Martin Rico. Garrido specialised in dance scenes and portraits of women, often in decadent Rococo rooms. 6182
  • Three ladies in dresses sit aboard a small rowing boat on a lake with a gentleman reading from a book by Leon Girardet

    A Captive Audience

    by Leon Girardet

    DIMENSIONS: (unframed) 24 x 32 ins/ 60.96 x 81.28 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas This painting is also known as The Poet, and is one of Girardet's most famous works. It exemplifies his ability to portray character: note each figure's unique and expressive posture.
  • A large red roofed house next to tall trees by Andre Brasilier

    Moulin de Giverny, 1965

    by Andre Brasilier

    Brasilier’s paintings depict a peaceful, comfortable world, free from care, in a very simple, stylish manner, with delicate harmonies bathed in accommodating sunlight. Brasilier had his first retrospective of one hundred artworks from 1950-1980 at the Château de Chenonceau in 1980 and a retrospective exhibition at the Musée Picasso-Château Grimaldi in Antibes, the French Riviera, in 1988. He has since been honoured with major retrospectives both at Russia’s renowned State Hermitage Museum in Saint Petersburg in 2005 and at the Museum Haus Ludwig für Kunstausstellungen Saarlois in Germany in 2007. DIMENSIONS: (unframed) 37.5 x 50.0 in./ 95.3 x 127.0 cm (framed) 47 x 60 in./ 119.4 x 152.4 cm SIGNATURE:Signed ‘Andre Brasilier’ (lower right); Signed, dated and titles (verso) MEDIUM: Oil on canvas
  • Marshland Village

    by Edward Brian Seago

    Edward Seago was an English artist who mostly painted oils and watercolours. He travelled widely during his life starting from the 1930s when he joined a circus to Venice. He also visited Northern France, Holland, Portugal, Hong Kong, Antarctica and Africa. DIMENSIONS: (unframed) 55.9 x 91.4 cm/22.0 x 36.0 ins SIGNATURE: Signed 'Edward Seago' (lower left) MEDIUM: Oil on board
  • A Barnyard in Norfolk

    by Edward Brian Seago

    Edward Seago was an English artist who mostly painted oils and watercolours. He travelled widely during his life starting from the 1930s when he joined a circus to Venice. He also visited Northern France, Holland, Portugal, Hong Kong, Antarctica and Africa. DIMENSIONS: (unframed)20.0 x 30.0 ins/ 50.8 x 76.2 cm SIGNATURE: Signed ‘Edward Seago’ (lower left) MEDIUM: Oil on board
  • Chromatic Fold/ Green, blue

    by Julian Stanczak

    A pioneer in the perceptual art movement, painter Julian Stanczak built his life around seeking answers to questions about color, light, form and the way the expression of those things affected the human eye and emotions. Over the decades, Stanczak delved deeply into studies of light waves and the effects that colors had on each other in juxtaposition. With help from his father-in-law, he built a machine to cut rolls of tape to any width so he could mask off portions of his canvases to achieve edge precision. His studio was a festival of colors mixed with great care, allowing him as much control as possible over the experience of light and feeling on the part of the viewer. DIMENSIONS: (unframed) 55.9 x 55.9 cm/22.0 x 22.0 ins SIGNATURE: Signed (verso) MEDIUM: Acrylic and collage on canvas
  • La Maison Bleue aux Environs de Giverny

    by Blanche Hoschede-Monet

    Most of Blanche's works were done in Giverny (where the family home was based) from 1883 to 1897. Here she painted alongside Claude Monet and became Monet's assistant and pupil, often carrying his easel and his canvases on a wheel barrow. Monet enquired in 1884, when Blanche was 19, "Has Blanche been painting, and has she been making progress?" She painted landscapes with trees such as pines and poplars, and meadows along the Risle river. In the 1920s, she also painted on several occasions at Georges Clemenceau's property in Saint-Vincent-sur-Jard (Vendée department) in the west of France - paintings of the garden, house and the Atlantic Ocean. After Monet's death, she remained in Giverny and continued painting. DIMENSIONS: (unframed)54.1 x 81.5 cm/21.3 x 32.1 ins SIGNATURE: Signed lower left MEDIUM: Oil on canvas
  • Farm house and trees, Brittenden

    by William Nicholson

    Nicholson primarily produced still-life, landscapes and portraits. His delicate landscapes look back, recalling the tradition of romantic British landscape, realised in soft, hazy hues. Portraiture constituted his main source of income: his early sitters were mainly children but during his career he painted numerous aristocratic ladies, businessmen, politicians, military leaders and academics. These genres are, however, united by Nicholson's continual interest in the effects of light produced by oils - utilising the transparency of oils, Nicholson creates stunning yet subtle effects of darkness, shadow, reflection and illumination. DIMENSIONS: (unframed) 30.5 x 39.4 cm/12.0 x 15.5 ins SIGNATURE: Monogrammed MEDIUM: Oil on panel
  • Mischievous

    by Charles Sims

    DIMENSIONS: (unframed) 29.00 x 36.00 in./73.7 x 91.4 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas This beautiful painting sees Charles Sims demonstrating his incredible talent, depicting two young children frolicking on the beach. He was a highly regarded artist having won the Royal Academy Schools Silver Medal in 1893 and the Landseer Scholarship in 1895.
  • La Cathédrale d’Auxerre, 1907

    by Gustave Loiseau

    The strong structure and free brush strokes of La Cathédrale d'Auxerre reveal the techniques the artist learned first-hand from Gauguin as well as his debt to Sisley and Pissarro. In 1890, after a period of pointillist experimentation, Loiseau moved to Pont-Aven where he re-found his pure landscape ideal painting in a Post-Impressionist manner directly from nature. He had a particular interest in the depiction of water within a landscape, exemplified by this painting. With a contract from Durand-Ruel, Loiseau was free to travel extensively in France, painting in Burgundy - as presented here in Auxerre's Gothic tour de force - in the Dordogne, Dieppe and on the banks of the Seine. DIMENSIONS: (unframed) 25.5 x 21.3 ins/ 64.8 x 54.1 cm SIGNATURE: Signed 'G. Loiseau' (lower left) MEDIUM: Oil on canvas
  • Personnage, 1960

    by Jean Dubuffet

    DIMENSIONS: (unframed) 12.0 x 9.3 in./30.5 x 23.6 cm SIGNATURE:Signed with the artist’s initials and dated ‘JD Juin 60’ lower right MEDIUM: Ink on paper  
  • Misty Afternoon, Cragsmoor, NA 1923

    by Charles Curran

    DIMENSIONS: (unframed) 18.0 x 22.0 in./45.7 x 55.9 cm SIGNATURE: Signed Charles C Curran lower left MEDIUM: Oil on canvas
  • On the Beach

    by Philip Wilson Steer

    DIMENSIONS: (unframed) 6.7 x 9.4 ins MEDIUM: Oil on panel
  • View of Capri

    by Ivan Federovich Choultsé

    DIMENSIONS: (unframed) 21.5 x 25.75 in./ 55.0 x 65.6 cm SIGNATURE: Signed lower right ‘Iw. F Choultsé’ MEDIUM: Oil on canvas
  • 4632 Petrus van Schendel - The Night Market - Framed 4632 Petrus van Schendel - The Night Market - Unframed
    DIMENSIONS: (unframed) 26.0 x 20.0 in/ 66.04 x 50.80 cm MEDIUM: Oil on canvas
  • DIMENSIONS: (unframed) 36.00 x 28.00 ins 91.44 x 71.12 cms SIGNATURE: Signed and dated 1874 MEDIUM: Oil on canvas Along with his brother Henry, Walter created many detailed and naturalistic street, river, and cityscapes of England. They studied life drawing with M. Barthe at Limerston Street in Chelsea where they met James Abbott McNeill Whistler (1834-1903) in 1863. Walter was captivated by Whistler’s artistic style and way of life. The Greaves brothers developed a friendship with Whistler and served as his assistants and pupils. Walter Greaves recalled, “We used to get ready his colours and canvasses, prepare the grey distemper ground which he so liked working upon, and painted the mackerel-back pattern on the frames.”
  • Jeune Femme Blonde

    by Paul César Helleu

    DIMENSIONS: (unframed) 36.00 x 32.00 ins 91.44 x 81.28 cms SIGNATURE: Signed MEDIUM: Pastel In this elegant portrait by Paul Cesar Helleu, a young woman stares softly at the viewer, lightly meeting their gaze. The gentleness of the portrait is reflected in the loose gestural draughtsmanship of Helleu. This looseness and ease of depiction suggests that the work was finished in situ, rather than through a series of studies, which is how Helleu preferred to work. The appearance of a chair in the lower right hand corner suggests an informal setting, and implies that the artist was well-acquainted with the sitter. A further softness is brought to the work by the use of chalk and by the harmony of three main colours; green, yellow and peach. Furthermore, the use of peach on the sitter’s blushing cheeks and lips combined with her bright blue eyes give her an angelic look.
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