Derek Hirst

1952 oil painting of a house fly by British artist Derek Hirst, in blacks greys

1952

John Leigh-Pemberton (British, fl. 1933 – 1959) Timber horses, Tazmania Signed ‘John Leigh-Pemberton 1934’ (lower right) Oil on canvas 25 x 30 in. (63.5 x 76.2 cm.) Leigh-Pemberton is mainly known for his illustrations for the shell guides...

Derek Hirst (British, 1930-2006) La Mouche No.I (1952) Oil on canvas 20 x 24.1/4 in. (51 x 61.6 cm.) Provenance: Flowers East Gallery, Richmond Derek Hirst (b. in Doncaster, Y...

A magnificent oil painting of grand proportions by the great British academic artist William Strutt RBA FZS of lions, elephants and zebras at a watering hole. William Strutt RBA FZS...

Catriona Millar (Scottish, b. 1956) Veva’s Guest Oil on canvas Signed with initials (lower left) 19.5/8 x 15.5/8 in. (50 x 39.7 cm.) Catriona Millar (born 1956) is a Scottish figura...

William Holt Yates Titcomb (British, 1858 – 1930) Gulls at St. Ives bay Oil on canvas Signed ‘W. H. Y. TITCOMB’ (lower right) 34 x 44 in. (86.3 x 111.8 cm.) Frame measurements: 110.3 x 136 cm.) William Holt Yates Titcomb (1858 - 1930) was an English artist. He was a figurative oil painter, particularly known for his depictions of the Cornish fisherfolk. Titcomb was born in Cambridge, the eighth child and first son of the Rev. Jonathan Holt Titcomb and his wife Sarah. He was educated at Westminster School in London and began his art training at the South Kensington School. His father was appointed the first Bishop of Rangoon, Burma in 1877 and Titcomb joined him there in December 1880. In Burma he made a series of paintings and sketches of life in the local monasteries. Titcomb was taught in Paris by Gustave Boulanger and at the Royal College of Art in Antwerp by Charles Verlat. He married Jessie Ada Morison, in 1892. She was also an artist, living at the time in St. Ives, Cornwall. His painting Primitive Methodists at Prayer, was displayed at the Dudley Museum and Art Gallery in 1889. It won many international medals and was the first of three paintings that Titcomb completed of the Primitive Methodist congregation of Fore street, St. Ives. In 1909, Titcomb settled in Bristol, where he was already an elected Academician of the Bristol Academy...

Owen Baxter Morgan (British, fl. 1905 – 1932) Returning home at sunset Oil on canvas Signed in capitals ‘BAXTER MORGAN’ (lower right) 14 x 21 in. (3...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Exercising Ponies by Orovida Camille Pissarro (1893-1968) Oil on board 101.5 x 76 cm (40 x 30 inches) Signed and dated lower right Orovida 1954 Provenance Estate of Orovida Pissarro With John Bensusan-Butt, cousin of the artist Sotheby's London, 12th October 1988 G Hassell, 25th November 1988 With John Noott, 10th June 1992 Literature K L Erickson, Orovida Pissarro: Painter and Print-Maker with A Catalogue Raisonné of Paintings, (doctoral thesis), Oxford, 1992, Appendices, no. 161 (illustrated) Exhibitions London, Bowmore Gallery, Women in Art 1850-1989, 2nd-11th November 1989 Fort Lauderdale, Museum of Art, Camille Pissarro and his Descendants, January-April 2000, no.123 This work was included in the above important museum exhibition and a catalogue of the Fort Lauderdale museum show will be included with this painting. Biography Orovida Camille Pissarro, the only child of Lucien and Esther Pissarro, was the first woman in the Pissarro family to become a professional artist and the first Pissarro of her generation to take up painting. Born in Epping, England, in 1893, she lived and worked predominantly in London, where she was a prominent member of several British arts clubs and societies. She first learned to paint in the Impressionist style from her father and, after a brief period of formal study with Walter Sickert in 1913, she renounced formal art schooling. Throughout her career, Orovida always remained outside mainstream British art movements. Much to Lucien's disappointment, she soon turned away from naturalistic painting and developed an unusual style that combined elements of Japanese, Chinese, Persian and Indian art. Her rejection of Impressionism, which, for the Pissarro family, was a way of life, and her simultaneous decision to drop her famous last name and use simply Orovida as a nom de peintre, reflected a desire for independence and distance from the family legacy, of which she nevertheless remained proud. Orovida's most distinctive works are her paintings from the 1920s...

DOG - Oil on canvas cm.60x60 by Alfonso Pragliola, Italy 2011

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Tiger Surprises Black Buck by Orovida Pissarro (1893-1968) Oil on canvas 127 x 101.5 cm (50 x 40 inches) Signed and dated lower left Orovida 1960 Provenance The Leicester Galleries, London, circa 1965 Literature K L Erickson, Orovida Pissarro: Painter and Print-Maker with A Catalogue Raisonné of Paintings, (doctoral thesis), Oxford, 1992, Appendices, no. 195 (illustrated) Exhibition London, Royal Society of British Artists, 3rd-25th November 1960, no. 82 (possibly; titled Tiger Entangled) London, Royal Academy, 1961, no. 534 Colchester, The Minories, 3rd- 24th March 1962 London, The Leicester Galleries, 1965, no. 37 Artist biography Orovida Camille Pissarro, Lucien and Esther Pissarro’s only child, was the first woman in the Pissarro family as well as the first of her generation to become an artist. Born in Epping, England in 1893, she lived and worked predominantly in London where she became a prominent member of several British arts clubs and societies. She first learned to paint in the Impressionist style of her father, but after a brief period of formal study with Walter Sickert in 1913 she renounced formal art schooling. Throughout her career, Orovida always remained outside of any mainstream British art movements. Much to Lucien's disappointment she soon turned away from naturalistic painting and developed her own unusual style combining elements of Japanese, Chinese, Persian and Indian art. Her rejection of Impressionism, which for the Pissarro family had become a way of life, together with the simultaneous decision to drop her famous last name and simply use Orovida as a ‘nom de peintre’, reflected a deep desire for independence and distance from the weight of the family legacy. Orovida's most distinctive and notable works were produced from the period of 1919 to 1939 using her own homemade egg tempera applied in thin, delicate washes to silk, linen or paper and sometimes embellished with brocade borders. These elegant and richly decorative works generally depict Eastern, Asian and African subjects, such as Mongolian horse...

Zita Sudnika, Horses of the sun. 2004. Oil on canvas, 80x120 cm Dynamic and vivid painting that captures the energy of running horses against the backdrop of an orange sunset. The s...

Vintage American school modernist fish still life oil painting. Oil on canvas. No signature found. Framed. Image size, 30L x 24H.

The English Countryside by Anthony Woodward, British contemporary oil painting on canvas: 40 x 50 inches framed: 47 x 57 inches condition: very good provenance: private collection, UK