Frederick Arthur Bridgman

Landscape of Fontainebleau Georges Bousquet Moret (1904-1976) was, first, an engineer passionate about arts. This passion led him to devote his f...

Richly-colored and vibrant Edwardian Beach Scene, British oil painting on canvas in impressionist style, presented in contemporary gold frame. The oil paint is raised and textured, lifting the beach sands, sea, sky and dresses from the canvas. Gathering in Edwardian period costuming looks out over the sands to the sea and clouds, with distant sailboats and children playing in the waves. This is a delightful contemporary painting, unsigned, but original oil dating to the 20th century. Framers tags verso from Oxford and Glasgow. In very good condition, with a few minor chips on the gold frame, but otherwise the painting is bright and beautiful. Provenance to gallery in the United Kingdom, imported by Saltire Gallerie...

Original small oil painting on canvas . green leaf with positive vibes from sun glare. How often are we in the moment, genuinely captivated by the beauty of nature, connecting with ...

Vintage Caribbean signed tropical seaside balcony painting. Great color and composition. Framed. Signed.

Antique European impressionist harbor oil painting. Oil on board, circa 1920. Signed. Framed. Image size, 15"L x 18"H.

Serrat Calvo - Gypsies in the river - Oil on canvas Oil measures 25x33 cm. Frame measures 45x52 cm.

The Great Fire of London in September 1666 was one of the greatest disasters in the city’s history. The City, with its wooden houses crowded together in narrow streets, was a natural fire risk, and predictions that London would burn down became a shocking reality. The fire began in a bakery in Pudding Lane, an area near the Thames teeming with warehouses and shops full of flammable materials, such as timber, oil, coal, pitch and turpentine. Inevitably the fire spread rapidly from this area into the City. Our painting depicts the impact of the fire on those who were caught in it and creates a very dramatic impression of what the fire was like. Closer inspection reveals a scene of chaos and panic with people running out of the gates. It shows Cripplegate in the north of the City, with St Giles without Cripplegate to its left, in flames (on the site of the present day Barbican). The painting probably represents the fire on the night of Tuesday 4 September, when four-fifths of the City was burning at once, including St Paul's Cathedral. Old St Paul’s can be seen to the right of the canvas, the medieval church with its thick stone walls, was considered a place of safety, but the building was covered in wooden scaffolding as it was in the midst of being restored by the then little known architect, Christopher Wren and caught fire. Our painting seems to depict a specific moment on the Tuesday night when the lead on St Paul’s caught fire and, as the diarist John Evelyn described: ‘the stones of Paul’s flew like grenades, the melting lead running down the streets in a stream and the very pavements glowing with the firey redness, so as no horse, nor man, was able to tread on them.’ Although the loss of life was minimal, some accounts record only sixteen perished, the magnitude of the property loss was shocking – some four hundred and thirty acres, about eighty per cent of the City proper was destroyed, including over thirteen thousand houses, eighty-nine churches, and fifty-two Guild Halls. Thousands were homeless and financially ruined. The Great Fire, and the subsequent fire of 1676, which destroyed over six hundred houses south of the Thames, changed the appearance of London forever. The one constructive outcome of the Great Fire was that the plague, which had devastated the population of London since 1665, diminished greatly, due to the mass death of the plague-carrying rats in the blaze. The fire was widely reported in eyewitness accounts, newspapers, letters and diaries. Samuel Pepys recorded climbing the steeple of Barking Church from which he viewed the destroyed City: ‘the saddest sight of desolation that I ever saw.’ There was an official enquiry into the causes of the fire, petitions to the King and Lord Mayor to rebuild, new legislation and building Acts. Naturally, the fire became a dramatic and extremely popular subject for painters and engravers. A group of works relatively closely related to the present picture have been traditionally ascribed to Jan Griffier...

Oil measures 27x22 cm. Frame measures 38x33 cm. Signed Domenech.

Oil size 54x81 cm. Frameless

José Martinez Lozano - Landscape - Oil on board Oil measurements 37x41 cm. Frame measurements 46x50 cm. Josep Martínez Lozano was born in the Born district of Barcelona on March 2...

Paper, 2020, Daniel Blagg, Oil on canvas, 38 x 58" By meticulously depicting forgotten road signs and roadside debris, Daniel Blagg invites his viewers to re-consider objects that ...

This piece, "7th Avenue Twilight", is a 30x30 oil painting on canvas by artist Benoit Havard featuring a moody view down a bustling Manhattan New York City street. Buildings loom on both sides, giving a unique and life-like perspective to the viewer. An overall blue tone gives the painting a moody evening setting. Lights from taxi cabs and cars dot the painting with little glows of light. About the artist: Benoît Havard is an award-winning French artist whose works have been displayed nationally and in the United States. For him, artistic creation is an everyday search, where he is alone facing the canvas with his emotions and experience. Havard is intrigued by large cities filled with history. His practice is a constant search for composition and balance relating to gestures and graphics. He uses oils to 'paint in thickness and sculpt in matter'.This piece, "Broadway, NYC", is a 39x39 oil painting on canvas by artist Harvard...