Modernism first began in Britain just after the First World War, with artists developing increasingly abstract work. Following from this in the post 1935 period artist such as Ben Nicholson settled in St Ives, Cornwall which became a centre of progressive painting and sculpture.
-
DIMENSIONS: (unframed) 27 x 21.8 ins/ 68.6 x 55.4 cm (framed) 36 x 30.5 ins/ 91.4 x 77.5 cm SIGNATURE: Signed 'William Russell Flint' (lower right) MEDIUM: Oil on canvas -
Scottish painter, Edward Atkinson Hornel is known for his flat tapestry-like paintings in jewelled colours, depicting girls in gardens and woodlands, as we can see with this charming painting of young girls hiding. As an artist he was strongly influenced by Japanese art and was also closely associated with ‘The Glasgow Boys’, a radical group of young painters that represent the beginning of modernism in Scottish painting. MEDIUM: Oil on canvas SIGNATURE: Signed ‘E. A. Hornel’ and dated (lower left) -
English artist, Edward Seago mostly painted oils and watercolours, travelling 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. MEDIUM: Watercolour DIMENSIONS: (unframed) 10.6 x 15.0 ins/ 27.0 x 39.0 cm -
MEDIUM: Oil on board DIMENSIONS: (unframed) 16.0 x 36.0 ins SIGNATURE: Initialled and dated (lower left) -
Dorothea Sharp believed colour to be as important as form in the creation of a work and painted quickly with a heavily loaded brush. These ideas and techniques were learnt in Paris where she became influenced by the Impressionists, particularly by Monet. She was well known for her paintings of women and children, like with this intimate scene of a mother and child which would be a lovely addition to any collection. MEDIUM: Oil on canvas DIMENSIONS: (unframed) 17.7 x 14.6 inches (45.0 x 37.1 cm) SIGNATURE: Signed ‘Dorothea Sharp’ (lower right) -
DIMENSIONS: (unframed) 36 x 50 in./ 91.4 x 127 cm (framed) 43.5 x 56.5 in./ 110.5 x 143.5 cm SIGNATURE: Signed 'A. Talmage' and dated '1922' (lower right) MEDIUM: Oil on canvas -
MEDIUM: Oil on canvas DIMENSIONS: (unframed) 22 x 30.5 ins/ 55.9 x 77.5 cm (framed) 29.5 x 37 ins/ 74.9 x 94 SIGNATURE: Signed ‘W.K. Blacklock’ (lower left) -
This study by David Bomberg was drawn from the artist’s bedroom window in Ronda, a town in the Spanish province of Málaga. Here, Bomberg uses sharp, expressive lines in chalk and a creeping sense of darkness to convey a sense of evening shadows, which encourages the viewer to explore the most ancient part of a city which had captivated the artist as soon as he arrived. MEDIUM: Chalk on paper DIMENSIONS: (unframed) 23.5 x 25.3 ins/ 59.6 x 64.2 cm -
Mary Fedden is renowned for her unique perspective and great talent for finding beauty in the everyday. 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 DIMENSIONS: (unframed) 7.1 x 5.9 ins/ 18.0 x 15.0 cm SIGNATURE: Signed ‘Fedden' and dated (lower left) -
Seago travelled to France at least five times on his boat the Capricorn, which he sailed himself from Yarmouth, via winding rivers, recording views on his way. Once in Paris he settled near the Place de la Concorde, primarily choosing subjects filled with light and movement. The artist was fascinated by the sunlight and shadow of the rivers, the crowded walks beneath trees and the ever moving colourful pattern of the people walking (E. Seago, With Capricorn to Paris, London, 1956, pp. 89-90). MEDIUM: Oil on board DIMENSIONS: (unframed) 12.3 x 17.0 ins/ 31.2 x 40.6 cm SIGNATURE: Signed ‘Edward Seago’ (lower left) -
English artist, Helen Bradley was known for her paintings that typically depict life in her hometown, Lancashire in the idyllic Edwardian age, including this enchanting painting, The Short Way Home from Great Aunt Buckley's. Her popular scenes led to the artist being known today as one of the greatest story tellers of the 20th Century, with her intricate narrative paintings. MEDIUM: Oil on canvas laid on board DIMENSIONS: (unframed) 18.0 x 22.0 ins/ 45.7 x 55.9 cm SIGNATURE: Signed with fly insignia (lower left) -
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) -
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 -
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) -
Mary Fedden’s is renowned for her unique perspective and great talent for finding beauty in the everyday. She worked with bold palettes and simplified shapes, carefully orchestrating her still life compositions to draw out the extraordinary from ordinary objects. This delightful work Masque at Strawberry Hill held a particular significance to the artist at a time in her life. Mary’s husband, acclaimed artist Julian Trevelyan, had been commissioned by a collector and friend, John Iddon, to paint a picture of Strawberry Hill for him. Shortly after its completion Julian sadly died and Mary couldn’t part with the painting. Therefore, she painted two herself, one she sold to John and the other is the painting we have for sale. MEDIUM: Oil on canvas DIMENSIONS: (unframed) 24.0 x 30.0 ins/ 61.0 x 76.2 cm SIGNATURE: Signed ‘Fedden’ and dated (lower right) -
Mary Fedden’s is renowned for her unique perspective and great talent for finding beauty in the everyday. She worked with bold palettes and simplified shapes, carefully orchestrating her still life compositions to draw out the extraordinary from ordinary objects. Fedden travelled often throughout her career with some favoured locations being Sicily and Greece – which she hints at here with the dark, sun-soaked figures and mountainous coastline. MEDIUM: Oil on board DIMENSIONS: (unframed) 20.5 x 24.5 ins/ 52.1 x 62.2 cm SIGNATURE: Signed ‘Fedden’ and dated (lower left) -
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 -
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) -
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 -
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) -
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 -
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) -
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) -
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 -
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 -
Edward Seago was a celebrated painter of landscapes, seascapes and flowers. He was also an accomplished watercolourist and is often considered to be one of the leading British Post Impressionists. Although largely self-taught, Seago did receive some training from Bertram Priestman RA and also undertook evening classes at the Norwich School of Fine Art. He was a member of the Royal Society of British Artists from 1946, and of the Royal Watercolours Society from 1959. He exhibited in London, Glasgow, New York, Toronto, Montreal, Los Angeles, Oslo and Brussels. DIMENSIONS: (unframed) 40.6 x 61.0 cm/16.0 x 24.0 ins SIGNATURE: Signed 'Edward Seago' (lower left); titled (verso) MEDIUM: Oil on board -
This is a portrait of the son of Oliver St. John Gogarty (1878-1957), an Irish poet, author, surgeon, athlete, politician, and well-known conversationalist. He was a onetime friend of James Joyce and served as the inspiration for Buck Mulligan in Joyce's novel Ulysses. DIMENSIONS: (unframed) 14.0 x 10.0 ins/ 35.6 x 25.4 cm SIGNATURE: Signed 'G. Brockhurst' (lower right) MEDIUM: Watercolour and pastel -
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 -
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 -
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 -
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 -
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 -
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 -
Born in Bristol in 1915, Mary Fedden is renowned for her unique perspective and great talent for finding beauty in the everyday. 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. DIMENSIONS: (unframed) 50.8 x 40.6 cm/20.0 x 16.0 ins SIGNATURE: Signed M.Fedden and dated 1946 (lower right) MEDIUM: Oil on canvas -
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 -
Sir Alfred Munnings was a leading figure in the British art establishment in the first half of the 20th century and is one of the greatest equestrian painters in the history of British art. Although it was his horse portraits that brought him widespread acclaim, he was also a highly accomplished painter of pure landscapes. What sets Munnings apart from so many other artists of his era is his sheer ability as a painter, which is apparent in these landscapes, the freedom and spontaneity of his brushstrokes and his obvious enjoyment in the lusciousness of the paint itself combined brilliantly with his subtle and highly individual colouring. DIMENSIONS: (unframed) 16.5 x 24.1 cm/6.5 x 9.5 ins each SIGNATURE: Both initialled MEDIUM: Oil on canvas, a pair -
Sir Alfred Munnings was one of the finest British Impressionist painters of the 20th century. His work largely depicts rural scenes, racing and hunting, and most commonly his favourite animal, the noble horse. He was an important addition to the Newlyn School of artists. DIMENSIONS: (unframed) 50.8 x 40.6 cm/20.0 x 16.0 ins SIGNATURE: Signed and dated 1904, inscribed verso MEDIUM: Oil on canvas -
Lee-Hankey won a gold medal at the Barcelone International Exhibition in a bronze medal in Chicago. His work is represented in collections both in England and abroad. Exhibitions include: the Royal Academy; the Old Watercolour Society; the New Watercolour Society; the Royal Institute of Painters in Oil Colours. In 1936 he became a member of the Royal Society of Painters in Watercolours, and was elected president in 1947. DIMENSIONS: (unframed) 11.5 x 13.5 ins/ 29.2 x 34.3 cm SIGNATURE: Signed lower left 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 -
In this striking view of Pont Mirabeau in Paris, the physical location plays second fiddle to the technical structure of the composition, with only a brief visual reference to Le Trocadero on the horizon. We have to remember that although we are now quite used to seeing pictorial arrangements like this in the 21st Century, when this oil on board was executed in 1913, his work was incredibly avant-garde, challenging much of the sentimental landscapes that were still being reproduced by the bulk of commercial Edwardian artists in Britain. -
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 (framed) 71.1 x 81.3 cm/ 28 x 32 ins SIGNATURE: Signed MEDIUM: Oil on canvas -
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 -
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 -
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 -
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) 20.3 x 27.3 in./51.6 x 69.3 cm (framed) 32 x 38.5 in./81.3 x 97.8 cm SIGNATURE: Signed ‘W. Russell Flint’ (lower right); inscribed and dated (verso) MEDIUM: Watercolour -
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 -
This painting, from leading member of the Glasgow Boys, George Henry, depicts an elegant woman standing at a sundial in a stylistically painted garden. She stands opposite a Japanese lady in traditional clothing, who looks down at the two dogs in the foreground. The painting is representative of the elements that Henry learned throughout his career as a painter. The loose, expressive brushstrokes indicate the influence of the Impressionists upon Henry’s style. Similarly, the naturalistic use of colour and the idyllic subject matter demonstrate the departure from the saccharine Victorian style of painting, from which Henry and his group sought to remove themselves. DIMENSIONS: (unframed) 24.0 x 22.0 in./61.0 x 55.9 cm SIGNATURE: Signed 'George Henry' (lower left) MEDIUM: Oil on canvas -
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
-
DIMENSIONS: (unframed) 9.0 x 12.0 in./22.9 x 30.5 cm SIGNATURE: Signed lower right MEDIUM: Oil on panel This work is a refreshing change from Mellon’s paintings of Gorleston and would be a unique addition to a discerning collection. -
DIMENSIONS: (unframed)13.5 x 9.76 in./ 34. 3 x 24.8 cm SIGNATURE: Monogrammed ‘PN’ and signed ‘Nash’ lower right MEDIUM: Watercolour and pencil
Here, Nash has depicted the gardens of his parents’ home Wood Lane House at Iver Heath in Buckinghamshire. The property had been specially built for the family in 1901 and included a plot of about an acre and a half, bordered by great elm trees and carefully planted with maturing shrubbery. The morning room, which Nash used as a studio, looked over what became known as the 'Bird Garden' and has been described by Roger Cardinal as 'where it all began' (R. Cardinal, The Landscape Vision of Paul Nash, London, 1989, p.63).