Prunella Clough

Deserted Gravel Pit - 20th Century, Oil on board by Prunella Clough

c. 1946

Oil on board, signed verso. Reynolds made numerous paintings on the theme of ‘moth barn’, in addition to a lithograph dating from 1956. Moth Barn Interior 3 (1952) is a diminutive va...

Signed lower right. From the later 1950s, Vaughan painted landscapes without figures that verged towards complete abstraction: works in which colour is tessellated into compositions ...

Tempera and volcanic ash on board. Signed lower left; also signed, titled and dated 1973 verso.

Signed and dated 1956 lower left Also signed, titled, dated 1956 and inscribed verso Sand has been incorporated into the pigment

Provenance: Leicester Galleries, London, 1956 Austin Desmond Fine Art, London

Signed lower right in ink, titled verso. In 1943 Piper received a commission to document a slate quarry inside the mountain of Manod Mawr, north Wales, where the collections of the N...

"The Lone Boat" is a contemporary seascape and sailboat with green and blue tones. Kelly Carmody’s work has been widely exhibited and collected. One of her major figurative works wa...

"Looking Out" is a contemporary seascape with a young woman in white admiring the view. Framed dimensions: 14 x 24 inches Kelly Carmody’s work has been widely exhibited and collect...

HOUSE AT DUSK Size: 37 x 53 cm (including frame) Oil on Board A moody and atmospheric semi-abstract mid-century landscape composition, painted in oil onto board. A solitary house ...

COASTAL BREEZE Size: 37 x 45.5 cm (including frame) Oil on Board A very pleasant and atmospheric mid-century expressive coastal landscape composition, executed in oil onto board. T...

PASTURE HOUSES Size: 56 x 67.5 cm (including frame) Oil on Board A richly coloured mid-century modernist landscape composition, painted in oil onto board and dated 1944. Featuring ...

Raoul Middleman (born 1935 in Baltimore, Maryland) is an American painter. Middleman has been a member of the Maryland Institute College of Art faculty since 1961. American University Museum at the Katzen Center has described Middleman as a "Baltimore maestro [whose] nudes are not pretty—they are sagging, dimpled, and real. His cityscapes reveal the underbelly of post-industrial rot, his narrative paintings give contemporary life to his personal obsessions. They are intelligent, messy, and utterly masterful." From an interview with RM "I was doing abstract art. Then Roy Lichtenstein came around, and I wanted to be current. I remember Grace Hartigan said, “You’ve gotta go to New York, seize destiny by the hand.” My friend Jon Schueler took my slides up to Eleanor Ward, who had the Stable Gallery. My Pop art paintings were discovered. I moved to New York into Malcolm Morley’s old loft down on South Street. Agnes Martin was upstairs... People who interest me come from different quarters. I knew guys around Schueler, like B.H. Friedman. But I also knew the Pop world pretty well – Al Hansen, Richard Artschwager, Lichtenstein. I became friends with Raoul Hague and I rented a place in Port Jervis, New York. I started doing my first landscapes up there. I thought making landscapes was the dumbest thing you could do. You got flies, insects, cow pies, humidity. But I loved it... I went down to the meetings of the Figurative Alliance. I met my friends there — Paul Resika, Paul Georges, Rosemarie Beck...