• La lettre

    by Delphin Enjolras

    DIMENSIONS: (unframed) 27.56 x 20.08 in./ 70.0 x 51.0 cm SIGNATURE: Signed lower right MEDIUM: Pastel
  • Girl Sewing with a Pink Apron

    by Charles Spencelayh

    DIMENSIONS: (unframed) 30.00 x 19.75 in./ 76.20 x 50.16 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • A Pinch of Snuff

    by Charles Spencelayh

    DIMENSIONS: (unframed) 16.50 x 13.50 in./41.91 x 34.29 cm SIGNATURE: Signed lower right MEDIUM: Watercolour
  • Ludlow at Night

    by Mark Senior

    Mark Senior is most remembered for his portrayal of the fishing community of Runswick and Staithes. His contemporaries were, Gilbert Foster, Harold and Dame Laura Knight, Frederick William Jackson, James William Booth (who was Senior’s pupil) Owen Bowen, Arthur Friedenson, Frederick William Mayor, Charles Mackie, and Roland Henry Hill who said of Senior, ‘he was one of the men for whom everybody had a great deal of affection and he regularly helped his fellow painters in a practical way’. Mark Senior was certainly entitled to the comparatively rare description of a colourist, for there was never a false note in his colour schemes which to the end of his career grew in richness and the prismatic quality sunlight can give. Dimensions: (unframed) 61.59 cms x 50.80 cms /24.25 ins x 20.00 ins Signature: Signed (lower right) Medium: Oil on canvas
  • Late Autumn on the Esk

    by John Atkinson Grimshaw

    DIMENSIONS: (unframed) 31 .25 x 46.5 inches (79.38 x 118.11 cm) SIGNATURE: Signed lower right MEDIUM: Oil on canvas This is a lovely, early Atkinson Grimshaw from the period in his career when Romanticism was meeting pre-Raphaelitism. Although JMW Turner and John William Inchbold’s work of this period had some influence over Grimshaw’s painting, Grimshaw himself was regarded by his contemporaries as a ground breaking artist in his own right. This is reflected in Whistler’s famous comment: “I thought I had invented the Nocturne until I saw Grimmy’s moonlights” (The Times Literary Supplement (London, England), Friday, June 09, 1989; pg. 640; Issue 4497) The painting shows the degree to which Atkinson Grimshaw’s communication of light and shade was central to his aim of depicting the sublime. The sheer enormity of the landscape and the sky have the effect of dwarfing the figure: a deliberate technique by the artist to remind the viewer that humanity only exists by the grace and favour of nature. The figure walks away from the viewer into the distance, to suggest an unknown beyond reach of all of us. It may be that Grimshaw is better known, nowadays, for his paintings of moonlit docks and of artificial light emanating from shops and houses in smoggy British industrialised towns. However, without the body of work from which ‘Late Autumn on the Esk’ was created, Grimshaw would not have been able to hone his skills and achieve such a sophisticated understanding as to how to evoke half-light and atmosphere in his compositions. This daytime piece would have been very contemporary for the period and appealing to the cultured upper classes of the time. This is somewhat ironic: the majority of Atkinson Grimshaw’s patrons had come into great wealth as a result of the industrial revolution. Yet, they chose to invest that wealth on images such as this, which seek to prove that industry is meaningless in the face of the power of nature. The palette of autumnal oranges and blue sky complement each other and were appreciated by artists of the Romantic movement. They evoke harmony in the mind of the viewer and, when combined with Grimshaw’s attention to detail, composition creates a quiet but stirring piece of work.
  • 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.” [woocommerce_currency_converter currency_codes="GBP, USD, EUR"]
  • Figures in a Park

    by Luigi Loir

    DIMENSIONS: (unframed) 13 inches x 18 inches / 33.02 x 45.72 cm MEDIUM: Oil on canvas Reference: 1170 [woocommerce_currency_converter currency_codes="GBP, USD, EUR"]
  • Perplexed

    by Charles Spencelayh

    DIMENSIONS: (unframed) 27.00 x 42.00 ins 68.58 x 106.68 cms SIGNATURE: Signed MEDIUM: Oil on canvas