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.

  • Level Crossing with Train

    by L S Lowry

    £10,000
    This is a print of a beautiful scene by L. S. Lowry is from the later period in the artist’s life when he had become highly recognised. Lowry would often portray these figures in a simplistic and somewhat humorous manner. He insisted his work was based on real characters, often people he saw living on the streets. Also, the spontaneity of these drawings captured the energy of their location and that particular moment in time. MEDIUM: Print DIMENSIONS:  (unframed) 20 x 24 ins/ 50.8 x 61 cm (framed) 29.5 x 33 ins/ 75 x 83.8 cm SIGNATURE: Signed twice (lower left, lower right)
  • Cetona, 1987

    by Adrian Heath

    P.O.A.
    DIMENSIONS: (unframed) 40 x 30 in./ 101.6 x 76.2 cm MEDIUM: Oil on canvas This work is in Heath's signature medium of oils and is the epitome of his abstract work.
  • Where Larks Sing and Seabirds Call

    by Edward Atkinson Hornel

    P.O.A.
    DIMENSIONS: (unframed) 13.1 x 36.2 inches (33.3 x 91.9 cm) MEDIUM: Oil on canvas SIGNATURE: Signed ‘E. A. Hornel’ and dated (lower right) 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.  
  • Reclining figure in pencil Nude figure lounging on their front

    Reclining Figure, 1980

    by Henry Moore

    P.O.A.
    For the most part Moore favoured drawing from monumental, thickly-set figures which were always presented as contemplative and self-possessed. MEDIUM: Watercolour and chalk DIMENSIONS: (unframed) 6.0 x 11.0 in. / 15.24 x 27.94 cm SIGNATURE: Signed and dated 'Moore. 80' (lower left)
  • The Moelwyns in Winter

    by Kyffin Williams

    £48,000
    MEDIUM: Oil on canvas DIMENSIONS: (unframed) 22 x 30 in. / 55.9 x 76.2 cm Here Kyffin Williams depicts a rugged and snowy landscape scene, with Moelwyn Mawr - a mountain in the Snowdonia region of Wales - portrayed via vigorous sweeps of thick paint. Williams’ dark, monumental paintings of the North Welsh landscape and the people who lived and worked there, became instantly recognisable images and this work is no exception. Williams’ has cleverly used a limited colour palette and thick impasto to recreate the uneven, rocky terrain of the mountains and inclement weather which draws the viewer into the scene. Once determined on an artistic course, Williams’ passion for 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 palette-knife technique these dark, monumental landscapes of Snowdonia came to assume an iconic status and so too did the man, affectionately known as Kyffin.
  • Bridge at St Ouen

    by Edward Brian Seago

    P.O.A.
    MEDIUM: Oil on board DIMENSIONS: (unframed) 12.2 x 16.1 in. / 31 x 41 cm SIGNATURE: Signed 'Edward Seago' (lower left)
  • Quainton – Easter 1962

    by John Piper

    £19,500
    Famous for his romantic landscapes, views of ruined churches, stately homes and castles, John Piper is considered to be one of the most significant British artists of the 20th Century. This wonderful watercolour by John Piper depicts an atmospheric landscape in the English village Quainton in Buckinghamshire. DIMENSIONS: (unframed) 17.7 x 24.4 ins/ 45.0 x 62.0 cm SIGNATURE: Signed 'John Piper' (lower right); titled and dated (lower left) MEDIUM: Watercolour and gouache on paper
  • Honfleur

    by Edward Brian Seago

    £29,000
    MEDIUM: Oil on board DIMENSIONS: (unframed) 20.1 x 24 in. / 51 x 61 cm SIGNATURE: Signed 'Edward Seago' (lower left)    
  • Figures crowd around the gates of a factory by LS Lowry Figures wait outside the entrance to a factory by LS Lowry

    Clocking on Time, 1969

    by L S Lowry

    P.O.A.
    A pencil on paper drawing by LS Lowry. Figures crowd around the gates of a workplace as they enter for their shift. Lowry captures the energy and emotion of a scene at a moment in time, drawing on random scraps of paper as he records the goings on of local people through his eyes. DIMENSIONS: (unframed) 9.8 x 10.8 in. / 24.9 x 27.4 cm SIGNATURE: Signed and dated lower right MEDIUM: Pencil on paper
  • The Lily Harvest, c. 1880

    by David Murray

    P.O.A.
    Dimensions: (unframed) 18 x 36 inches. (framed) 26 x 44 inches. Signature: Signed (lower right) Medium: Oil on canvas
  • In My Studio (Gabrielle), 1935

    by Sir William Russell Flint

    P.O.A.
    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  
  • Watercolour painting of a fountain in Rome showing a female figure and swan sculpture and trees in the background by Edward Seago Watercolour painting of a fountain in Rome showing a female figure and swan sculpture and trees in the background by Edward Seago

    A Fountain in Rome

    by Edward Brian Seago

    £15,000
    MEDIUM: Watercolour DIMENSIONS: (unframed) 10.6 x 15 in. / 27 x 39 cm This watercolour work by the artist Edward Seago focuses on a Roman fountain, with water spraying from the arms of a stone figure reclining. Behind there are the hints of colour and stonework characteristic of the historic architecture of Rome, as well as Mediterranean poplar trees.    
  • The Flag, 1958

    by Martin Bradley

    P.O.A.
    MEDIUM: Oil on board DIMENSIONS: (unframed) 16.0 x 36.0 ins SIGNATURE: Initialled and dated (lower left)
  • Mother and Child

    by Dorothea Sharp

    £18,000
    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)
  • Seaside View

    by Algernoon Talmage

    P.O.A.
    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
  • The Top of the Hill

    by William Kay Blacklock

    P.O.A.
    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)
  • Charcoal and chalk sketch of a street in Rhona showing houses on the left and a mountain in the background by David Bomberg Charcoal and chalk sketch of a street in Rhona showing houses on the left and a mountain in the background by David Bomberg

    Dark Street, Ronda

    by David Bomberg

    P.O.A.
    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
  • Pont Neuf, Paris

    by Edward Brian Seago

    P.O.A.
    MEDIUM: Oil on board DIMENSIONS: (unframed) 12.3 x 17 in. / 31.2 x 40.6 cm SIGNATURE: Signed ‘Edward Seago’ (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)
  • 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
    MEDIUM: Watercolour and pastel on paper DIMENSIONS: (unframed) 8.5 x 6 in. / 21.6 x 15.2 cm SIGNATURE: Signed ‘Fedden' and dated (lower left) 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 she has chosen to paint two cats rather than the dog featured 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.
  • scene of people dancing around with hats and masks on with bird and a dog in front of a castle by Mary Fedden

    Masque at Strawberry Hill, 1990

    by Mary Fedden

    £45,000
    MEDIUM: Oil on canvas DIMENSIONS: (unframed) 24.0 x 30.0 in. / 61.0 x 76.2 cm SIGNATURE: Signed ‘Fedden’  and dated (lower right) 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. 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.
  • landscape of a hill covered in snow with cattle grazing on top and moody sky in the background

    Snow at Llangwyfan

    by Kyffin Williams

    £75,000
    DIMENSIONS: (unframed) 29.9 x 29.9 in. / 75.9 x 75.9 cm SIGNATURE: Initialled (lower right) MEDIUM: Oil on canvas 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.
  • orange and brown watercolour landscape with hills and buildings in Italy by Mary Fedden

    Landscape Study, Italy, 1975

    by Mary Fedden

    £12,750
    MEDIUM: Watercolour on paper DIMENSIONS: (unframed) 7.5 x 10.5 in. / 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
  • 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)
  • 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
  • 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)
  • Château Gaillard

    by Edward Brian Seago

    P.O.A.
    DIMENSIONS: (unframed) 16 x 24 in. / 40.6 x 61 cm SIGNATURE: Signed 'Edward Seago' (lower left); titled (verso) MEDIUM: Oil on board This is a landscape painting of what remains of the medieval Château Gaillard, sat proudly atop a lush green hill as it overlooks the River Seine. The sky is populated with clouds which reflect in the perfectly static waters of the river.  
  • 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
  • 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
  • Sheep, 1980

    by Mary Fedden

    £11,500
    DIMENSIONS: (unframed) 5.9 x 8.3 in. / 15 x 21 cm SIGNATURE: Signed ‘Fedden’ and dated (lower left) MEDIUM: Gouache This is a small gouache composition by the artist Mary Fedden, depicting green pastures populated with sheep and lambs. In the scene beyond, she has depicted pale rocky hills and a forest. 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.”
  • 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
  • Summer: Late Afternoon

    by Peter Kuhfeld

    £18,500
    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
  • Fiumi Fountain, Piazza Navona, Rome

    by Julian Barrow

    £6,500
    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  
  • Flowers in a vase by Mary Fedden

    Floral Still Life, 1946

    by Mary Fedden

    £21,500
    DIMENSIONS: (unframed) 20 x 16 in. / 50.8 x 40.6 cm SIGNATURE: Signed and dated (lower right) MEDIUM: Oil on canvas This is a still life painted by Mary Fedden in a more academic style than her later works, evidencing her technical talent for depth and tonality. The composition is of a vase filled with flowers and foliage, painted over a background of various hues of natural blues and greens. 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.
  • Jay, 1992

    by Mary Fedden

    £10,500
    DIMENSIONS: (unframed) 5.9 x 9.1 in. / 15 x 23 cm SIGNATURE: Signed and dated (lower right) MEDIUM: Gouache on paper Mary Fedden has here painted in gouache a small jay against a distant landscape. The piece is full of colour and character, ranging from blurred swatches of colour to crisp lines of detail to show the delicacy of the bird's feet. 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.
  • The Entrance to La Rochelle

    by William Lee Hankey

    £8,500
    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
  • DIMENSIONS: (unframed) 19.9 x 24 in. / 50.5 x 61 cm SIGNATURE: Signed 'Ken Howard' (lower right) MEDIUM: Oil on canvas This is an oil painting by the artist Ken Howard of the campo Santa Margherita central to Venice, in the warm amber-tinted light of dusk. Chairs and tables are organised outside of the restaurants and cafes which line the square, and a flock of birds can be seen flying above a tree just right-of-centre, which throws a blueish shadow over the foreground.
  • Pont Mirabeau, Paris

    by Sir Herbert James Gunn

    £25,000
    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.
  • The Market Place, Dieppe

    by William Lee Hankey

    £15,000
    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
  • Farm house and trees, Brittenden

    by William Nicholson

    £78,000
    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
  • Hunt Crossing the Field, c.1896

    by Robert Bevan

    £5,000
    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

    £12,000
    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 inches SIGNATURE: Signed and inscribed (verso with label of New England Art Club) MEDIUM: Oil on canvas
  • A Peaceful Autumn Afternoon, 1965

    by Sir William Russell Flint

    £7,500
    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
  • The Sundial, Henley-on-Thames

    by Henry George

    £48,000
    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
  • 5540-fred-hall-man-on-horseback

    Man on Horseback

    by Fred Hall

    £12,500
    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  
  • Herefordshire View

    by Campbell Archibald Mellon

    £6,950
    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).
  • Phantoms from Knossos II, 1988

    by Terry Frost

    £22,000
    In Phantoms from Knossos II, Terry Frost has used his signature circles and luminous colours to capture the atmosphere of the ancient city in Crete. Direct reference to the site are elicited through the mythological figures in the circles, reminiscent of medallion coins, that revolve around the bright, overpowering sun. Additionally the vibrant blues, yellows and reds conjure up the feeling of the warm Cretan sky and sun. DIMENSIONS: (unframed) 24.0 x 30.0 inches (61.0 x 76.2 cms) MEDIUM: Oil on canvas SIGNATURE: Signed and dated (verso)
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