Mid-20th Century Animal Paintings

Work on canvas

Rare and well executed modernist wall plaque by Richard Kuehne. Paint on gesso plaque. Signed. Silver leaf incorporated frame as photographed.

Work on canvas Dimensions with frame141.5 x 82 x 3.5 cm This impressive work of art presents an expressive and captivating portrait, where the artist's rich details and bold techniq...

Margaret Maitland Howard. English ( b.1898 - d.1983 ). Pan, God Of Nature, Playing Panpipes. Oil On Canvas. Signed Lower Left. Image size 22.6 inches x 18.1 inches ( 57.5cm x 46cm ). Frame size 26.8 inches x 22.2 inches ( 68cm x 56.5cm ). Available for sale; this original oil painting is by the English artist Margaret Maitland Howard and dates from the 1930s. The painting is presented and supplied in a sympathetic contemporary frame (which is shown in these photographs), mounted with new fixtures. The canvas has been lined and mounted on a newly constructed custom made stretcher. The painted surface has benefitted from cleaning and conservation, all of which was performed on our instruction, supervision and approval. This vintage painting is now in very good condition. It wants for nothing and is supplied ready to hang and display. The painting is signed lower left. Margaret Maitland Howard was an accomplished and versatile English artist whose works spanned the early to mid-20th century. Known for her evocative and often mythologically inspired oil paintings, Howard’s work reflects a deep engagement with classical themes and her knowledge of nature, and the human form. She was also proficient working in watercolours and pastels and an accomplished sculptor. Margaret, who was always known as “Marjorie” was born in Friern, Barnet, London on 31 July 1898, the daughter of artist and civil servant Henry James Howard. She grew up at Sutton, Surrey, where she spent most of her life. She spent many years living and working from St. Katherine’s, Malgrave Road, Sutton, Surrey. She was educated privately, at the Byam Shaw and then attended the Vicat Cole School of Art, completing her studies at the Royal Academy Schools, where she won five silver medals and other awards. She was also the recipient of a British Institute scholarship and extension and won the 1926 prize for her portrait work at the National Welsh Eisteddfod in Swansea. She exhibited paintings at the Royal Academy, showing at least ten works of classical and biblical themes at Summer Exhibitions between 1923 and 1935. She was one of the early group of women who painted nudes, a practice which was considered somewhat risqué and vulgar in the early twentieth century. She also exhibited at other leading galleries and in the provinces and consistently pursued her art despite the challenges posed by the societal norms of the time. Howard had a significant professional career for a woman of her generation. Just after World War II she was appointed draughtsman to the Institute of Archaeology at London University where she worked from 1948 to 1960. This is now part of University College, London. Here, she worked as an illustrator and sculptor, creating models for Professor Frederick Zeuner to use in his lectures. She also illustrated one of his important books (Zeuner, F.E. Dating the Past, London: Methuen). She also created the bust of Gordon Childe, now in the Institute’s Library. After her retirement from the Institute of Archaeology she collaborated with Ian Wolfran Cornwall on his series of books about the prehistoric world. In 1956, whilst working for the British Institute for the Study of Iraq, she moved to Balawat and supervised the archaeological work at the site of an ancient Assyrian city in northern Mesopotamia. She subsequently prepared drawings of the Balawat Gates, which was significant and technical work. In addition to illustrating various books on ancient history and anthropology, Howard was also known as an illustrator of fictional books, producing an illustrated edition of the Fables of Aesop that was published by John Lane at The Bodley Head in 1926. She also illustrated Elizabeth Ward...

Up for sale is a beautiful vintage/antique oil painting on canvas by Danish Artist depicting horses in the field. Signed indistinctly in a lower right corner and dated 1938. Di...

Exotic Birds, ca. 1960. Enameled steel plate, 6.5 x 12.5 inches; 10 1/8 x 16 1/8 inches framed. Original studio label affixed on verso. Unsigned. UBALDO CINCIARINI (1940-2020) was an Italian enameller and embosser who studied his craft at the famous Ferruccio Mengaroni Art Institute in Pesaro, Italy before opening the "Studio Cellini...

Oil on canvas of one of the lions from The Terrace of the Lions, Delos, Greece. Canvas measures 30 x 25; frame dimensions are 38 3/8 x 33 3/8 x 1 5/8. Artist's initials and date, lower right. Weight is 14 3/4 pounds. The Terrace of the Lions was dedicated to Apollo by the people of Naxos shortly before 600 BCE. It is originally thought to have had nine to twelve squatting, snarling marble guardian lions along the Sacred Way; today, one is inserted over the main gate...

A painting by Alexander Calder. "Mickey Mouse" is a Post-War abstract painting, gouache and ink on paper in bold colors of reds, blacks, yellows, and oran...

Vintage post impressionist landscape oil painting. Oil on canvas. Framed. Signed. In excellent original condition. Handsomely framed in a wood molding. Excellent condition, read...

Hellmuth Bachrach-Baree, a German artist, apprenticed with neo-impressionist painters. His early compositions depicted rural life, integrating people and animals into familiar landsc...

American school abstract painting. Watercolor on paper, circa 1960. Unsigned. Image size, 12"L x 9"H.

Post-impressionist gouache on paper by French artist Andrée Ruy Petroff, signed bottom left. A totally charming painting of a young boy sitting on ...

Landscape. 1942. Oil on cardboard, 36.5x47.5 cm Alfejs Bromults (1913.3.IV - 1991.11.I) His first professional education was at National University a...

Antique American modernist abstract oil painting. Oil on canvas. Framed. Signed. Measuring 48 by 48 inches overall and 40 by 40 painting alone. In excellent original condition. Hands...

The Sheep Dog French, mid 20th century signed oil painting on canvas, framed framed: 21 x 31 inches canvas: 20 x 30 inches provenance: private collection, France condition: overall...

Clarence Holbrook Carter (American, 1904-2000) Over and Above Surprise (Serpent), 1967 Casein on board Signed lower right 7.75 x 5.5 inches Clarence Holbrook Carter achieved a lev...

Landscape with a river. 1947. Oil on cardboard, 50x72 cm Harijs Veldre (Bullis till 1947) (1927.8.III – 1999.6.V) Harijs Veldre learned in Riga school of appl...

Original Painting Life Mag Published 1953 Birds Animals Illustration Mid Century Antonio Petruccelli (1907 - 1994) The World We Live In Birds of Paradise Life Magazine Illustration ...

One from a set of four watercolours of butterflies on silk, applied to handmade paper, with hand cut edges, by French artist La Roche Laffitte. Signed bottom right. (The other 3 items are available separately) A beautifully observed and detailed study of a butterfly painted...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

Wonderful English mid century portrait of a Saluki dog. Kate Gray was a British animal portrait painter during the last half of the 20th century. She also painted flower subjects. ...

Josine Vignon (French 1922-2022) ...

Whimsical oil on paper painting of a tabby cat resting on a rug and backed by large abstract cat forms, circa 1940. Signed lower left. Original artwork on paper displayed on a whit...

Francisco Chico da Silva was born in 1910 in Alto Tejo, Brazil. He started his career in 1935 in the city of Fortaleza. The artist grew up with north B...

Wonderful fairytale painting, oil on canvas - perfect for the child’s room. By Slavic artist Vejecoslav Pejacevic, created circa 1930's - 1940's. Depicts the well-loved Aesop Fable c...

A fine large oil, school of Pierre Bonnard. circa 1950's. oil on canvas 55cmx75cm The original wood and textured gesso frame 72cmx92cm Titled 'On the Window Sill'. Indistinctly sign...

The Stubborn Mule Italian School, 19th century oil on canvas, unframed canvas: 9.75 x 14 inches provenance: private collection condition: very good and sound condition, a little scru...

Dynamic depiction of a rider with a group of horses near the water's edge. Several horses are in for foreground, running towards the viewer. Just behind them, a rider in American col...

Florence Mabel Hollams British, (1876-1963) Craigwell Jewel Oil on panel, signed & dated (19)‘46, also inscribed ‘Craigwell Jewel’ Image size: 13 inches x 17.25 inches Size includin...

Original cover for The Saturday Evening Post magazine, published May 14, 1932 Joseph Christian Leyendecker’s Circus Bareback Rider (1932) is a standout example of his work for The S...

Eugene Pechaubes 1890 - 1967 Canvas Size: 24 x 43" (61 x 109cm) Outside Frame Size: 33 x 51" (84 x 130cm) Signed Bottom Left. Free shipping Born on 24th June 1890 and died on 2 Fe...

Rural Mountain Scene with Sheep in Ireland by Post War Modern Irish Artist, David Overend. Art measures 16 x 12 inches Frame measures 25 x 21 inches ...

“The Horse Race" #50 A Pierre Bosco, (1909-1993) Oil n canvas Signed lower right 12 x 15 inches “The savage art of Bosco bears its rudeness and its mystery. It is an art of pure ex...

French artist Etienne Poirier (1919-2002) designed this stunning modernist drawing. This artwork is a proud rooster drawn in charcoal on paper. Because...

Antique French American modernist horse barn painting. Mixed media painting on paper. Framed. Signed. Measuring 41 by 49 inches overall and 31.5 by 39.5 painting alone. In excellent ...

Bird Sketches by Josine Vignon (French 1922-2022) signed pastel/watercolor on paper, unframed painting: 13 x 20 inches good condition provenance: from the...

Horse portrait is an original modern artwork realized in the mid-20th century by Hans Cortes. A mixed colored oil painting on canvas. Hand signed by the artist on the lower margin....

Charles Walter Simpson. English ( b.1885 - d.1971 ). Dartmoor Ponies, Devon. Oil On Board. Signed Lower Right. Image size 20.7 inches x 28.2 inches ( 52.5cm x 71.5cm ). Frame size 29.5 inches x 37 inches (75cm x 94cm ). Available for sale; this original oil painting is by Charles Simpson and dates from the 1930s. The painting is presented and supplied in a contemporary and sympathetic wood frame (which is shown in these photographs) mounted using conservation materials and behind non-reflective Artglass AR 70™ glass. The previous ply backboard has been retained and is secured onto the new replacement backboard for posterity. This vintage painting is in very good condition, commensurate with its age. It wants for nothing and is supplied ready to hang and display. The painting is signed lower right. Previously with Harris & Sons, 70 George Street, Plymouth, Devon in July 1936. Charles Walter Simpson, known as Walter, was a leading figure in the Newlyn and St Ives art colonies in the early part of the twentieth century. He is perhaps best known in America for his horse paintings but is also widely acclaimed for his mastery of birds. It has been said that as a painter of wildfowl Simpson can have few rivals. He worked in oils, watercolors and tempera. Walter was born at Camberley on 8th May 1855. His mother was Leonora (nee Devas) and his father was Major-General Charles Rudyard Simpson of the Lincolnshire Regiment. Initially Walter was educated by a private tutor, and he later attended the Herkomer School at Bushey. As a youngster Walter was destined for a military career. However, this was prevented by a riding accident which affected both his hearing and sight. He had a considerable talent for drawing and determined to become an artist instead. Walter was initially largely self-taught, but then received guidance from family friends such as G.F. Watts and H.W.B. Davis, RA. He later studied for a short time under the renowned animal artist Lucy Kemp-Welch at Bishley, then with Sir Alfred Munnings, with whom he developed a life-long friendship, at Swainsthorpe. Munnings encouraged him to visit Cornwall, where he studied under Stanhope Forbes RA in Newlyn. Simpson’s first home in West Cornwall was Penzer House in Newlyn, where he was living in 1908. Finally, Simpson completed his studies at the Academie Julien in Paris in 1910. On his return from Paris, Simpson moved to Cornwall again and became engaged to fellow artist Ruth Alison just a couple of days after first meeting her. They were married in 1913, living first in Newlyn and then in Lamorna at “Brodriggy”. They had a daughter, Leonora, born in 1914. In 1916 Simpson and his family moved to St. Ives to set up their own School of Painting, which they ran from numbers 1 and 2 Piazza Studios. During this period Simpson dominated the St. Ives art scene. The family moved back to London in 1924 but returned to Cornwall in 1931. Altogether, they moved between West Cornwall and London eleven times. From his studio in Cornwall Simpson painted in earnest, often on a grand scale, producing wonderful large decorative canvases, specialising in wild ducks, gulls and other sea birds. He had a reputation as an outstanding animal and bird painter. Paget described Charles Simpson in 1945 as “undoubtedly the best bird painter living. He alone, of all artists past and present, can make his birds appear out of their backgrounds as one approaches them, or the light is increased as in nature…”. Simpson relished painting en plein air and Laura Knight commented, "He was so prodigal with paint, he could be traced by the color left on the bushes!". Simpson first exhibited at the Royal Academy in 1906, initially painting mainly non-sporting subjects. From then on, he was a regular contributor to the Royal Academy exhibitions. It was not until 1924, when a rodeo was held at Wembley during which he worked in the ring and produced a book call El Rodeo...

A wonderful mid-century interpretation of prehistoric, Paleolithic cave paintings; done in reddish earth tones and rich in visual texture by Sausalito, California artist Nan Street F...

The Lioness English artist, circa 1930's oil on board, framed framed: 10.5 x 9.5 inches board: 8 x 7 inches provenance: private collection, UK condition: overall good and sound

Frank Hoffman (1888-1958) New Mexico, Illinois Artist Image Size: 27 x 41 Frame Size: 37 x 50 Medium: Oil Circa 1930s - 1940s "The Encounter" Indian & Bear Frank Hoffman (1888-1958) Growing up in New Orleans where his father raced horses, Frank Hoffman developed a great love for these animals, which was reflected in his paintings. He worked as an illustrator for the "Chicago American" newspaper, which gave him an opportunity to draw many subjects from opera to prize fights, and eventually he became head of the department. During that time, he took formal art training from J. Wellington Reynolds, a portrait painter. In 1916, having been rejected for military service because of poor eyesight, he went West and lived with cowboys and Indian tribes and served as public relations director for Glacier National Park. Eventually he settled on a ranch near Taos, New Mexico, and became part of that art colony and studied with Leon Gaspard, who encouraged him to use color freely. Advertisers including General Motors, General Electric, and the Great Northern Railway hired him because they loved his bold, broad brush work and striking colors. He also did magazine illustrations, specializing in western subjects. Because of the spaciousness of his ranch that he called Hobby Horse Rancho, he kept live models of cow ponies, thoroughbred horses, longhorn steers, several breeds of dogs, eagles, a bear and burros. From 1940 Brown & Bigelow Publishing Company of St. Paul, Minnesota had him under exclusive contract, and during the next 14 years, he produced 150 paintings for that company. Source: Walt Reed, The Illustrator in America, 1860-2000 Known as a traditional Western illustrator, painter and sculptor, Frank Hoffman was born in Chicago, Illinois. He grew up around his father's New Orleans, Louisiana, racing stables. Through a family friend, Hoffman was hired to make sketches for the Chicago American, later becoming head of the art department. While working for the paper, he had five years of formal art training in private lessons from J. Wellington Reynolds, a portrait painter. In 1916, Hoffman went West to paint, living with the Indian tribes and the cowboys. During that time, he also worked as public relations director for Glacier National Park, where he met noted artist John Singer Sargent. In 1920, Hoffman joined the young art colony in Taos, New Mexico. He studied with Leon Gaspard, learning the use of color. Although focusing on his fine art, Hoffman also painted for corporate advertising campaigns and illustrated Western subjects for the leading national magazines in the 1920's. Hoffman became the best-known New Mexico illustrator of the time. As his success grew, he bought his own Hobby Horse Rancho, where he raised quarter horses and kept as live models the longhorns, dogs, eagles, burros, and even a bear that he had begun to sculpt in the 1930's. Later, beginning with 1940, Hoffman was under exclusive contract to Brown and...

Dame Elisabeth Frink. English ( b.1930 - d.1993 ). Hawk, 1969. Watercolor. Signed & Dated Lower Right. Image size 25.4 inches x 19.5 inches ( 64.5cm x 49.5cm ). Frame size 34.4 inches x 28.1 inches ( 87.5cm x 71.5cm ). Available for sale; this original painting is by Dame Elisabeth Frink and is dated 1969. The painting is presented and supplied in a glazed frame and mount dating from June 1997. This vintage watercolor is in very good condition, commensurate with its age. The watercolor is signed and dated lower right. Previously with Beaux Arts, London and Bath in 1999. Dame Elisabeth Frink was one of Britain’s most important post-war sculptors, an accomplished draughtsman, illustrator and teacher. She was part of the post-war school of expressionist British sculptors dubbed the Geometry of Fear, and enjoyed a highly acclaimed career that was commercially successful, broke boundaries and contributed greatly to bringing wonderful sculpture to public places. She was born on 14 November 1930 in Thurlow, the daughter of a cavalry officer, and brought up in rural Suffolk near to an active airbase. She was brought up a Catholic and educated at the Convent of the Holy Family, Exmouth. She then studied at the Guildford School of Art from 1947-1949 under Willi Soukop and Henry Moore’s assistant, Bernard Meadows, and then at the Chelsea School in London 1949-1953. She taught at Chelsea School of Art 1951-61, St. Martin’s School of Art 1954-62 and was a visiting instructor at the Royal College of Art 1965-1967, after which she lived in France until 1973. Frink first came to the attention of the public in 1951 at an exhibition at the Beaux Arts Gallery, London. In 1952 she represented Britain at the Venice Biennale, being described by Herbert Read as “the most vital, the most brilliant and the most promising of the whole Biennale”. The same year the Tate bought its first work by her, and she began to enjoy commercial success. Thereafter she exhibited regularly and was for 27 years associated with Waddington’s, London. The subjects which Frink was most concerned with were man, dog and horses, with and without riders. Interestingly she seldom sculpted the female form, drawing on archetypes of masculine strength, struggle and aggression. Her work has the recurring themes of the vulnerable and the predatory, in the spirit of an authentic post-war artist. It has been said that she was more concerned with representing mankind that portraits of individuals. The appeal of her work lies in its directness, provoking a frank statement of feeling. The anatomy is often exaggerated or incorrect; the impact growing more out of her interest in the spirit of the subject. Her animals and birds may be drawn from nature but verge on the abstract, conveying raw emotion and character rather than a realistic depiction. Her unique style is characterised by a rough treatment of the surface which embeds each piece with vitality and her personal impression. In her later work even the distinction between human and bird figures becomes blurred. Commentators have noted that the often rugged, brutal and contorted surfaces of her work reflect the destruction and terror of the six-year world-wide conflict that she witnessed as a child. Frink was an active supporter of Amnesty International. In the 1960s and early 1970s Frink produced a notable series of falling figures and winged men. Later, living in France during the Algerian war, she began making heads, blinded by goggles which had a threatening facelessness. Frink produced many notable public commissions, including Wild Boar for Harlow New Town, Blind Beggar and Dog for Bethnal Green, Noble Horse and Rider for Piccadilly, London, a lectern for Coventry Cathedral, Shepherd for Paternoster Square beside St. Paul’s Cathedral and a Walking Madonna for Salisbury Cathedral. In the early 1980s she produced a set of three larger than life figures The Dorset Martyrs which stand on the edge of the old walled town of Dorchester on the site of the old gallows, as a memorial to those who had been executed there ‘for conscience sake’. Frink’s Canterbury Tales was a collection of 19 etchings drawn directly on to copper plates and etched by her. The ‘book’ was issued in three limited editions. Her illustrations have been praised as “amongst the most successful illustrations of the century, encompassing the mood of the text in concise delineations and disarmingly ribald humour”. She illustrated other books with colored lithographs or drawings. Frink was on the Board of Trustees, British Museum from 1976, and was a member of the Royal Fine Art Commission 1976-81. CBR (1969), DBE ((1982), Associate of the Royal Academy (1971), Royal Academy (1977). She was made a Companion of Honour in 1992. She died on 18 April 1993, but not before completing her last commission, a monumental but unusual figure of Christ for the front of the Anglican Cathedral in Liverpool, unveiled a week before her death. For several decades Frink exhibited widely in the UK and abroad. In her later years she lived and worked in Dorset where her home and garden became an arena for her work. In 1985 she had a retrospective at the Royal Academy. She died on 18 April 1993, but not before completing her last commission, a monumental but unusual figure of Christ for the front of the Anglican Cathedral in Liverpool, unveiled a week before her death. There was a memorial show at Yorkshire Sculpture Park, Bretton Hall in 1994. Today Frink is venerated as one of the great twentieth century British sculptors. Her unique work is represented in the Tate Gallery and major public and private collections world-wide. © Big Sky Fine Art This original watercolor on paper painting of a hawk by Dame Elizabeth Frink...

Horse Riders by Guy Nicod (French 1923 - 2021) watercolour on artist paper, unframed painting : 15.5 x 19 inches stamped verso provenance: artists estate, France condition: very good...

Cavalli,Inverno,Slitta,Neve Luminosa scena invernali con Cavalli nella neve

Autumn. 1967. Oil on cardboard, 68x57 cm Edgars Vinters (1919-2014) Edgars Vinters is working in oil, watercolor and monotype techniques. He paints landscapes in different seasons a...

Title: Bullfighting Scene Artist: José María Tuser Vázquez (Barcelona, 1919 - 1986) Medium: Oil on panel Dimensions: 18.1 x 15 inches Signed: Yes, lower right corner "Tuser" Framed: ...

Roger Lersy, French (1920 - 2004) Painting on paper (not sure if this is watercolor, acrylic or oil, the paper has a velvet finish and texture to it and there is some texture to the ...

'Swans In Lakes' by Édouard Righetti (1924-2001) Signed lower front and back oil painting on canvas, beautifully painted with rick thick impasto oil and bold colors. very good con...

Harry P Jr Sutton (1897 - 1984) was active/lived in Massachusetts. Harry Sutton is known for figures, interiors, and still life painting. This is a uniq...

Antique American dog portrait oil painting. Oil on board. Signed. Framed. Measuring 8 by 10 inches overall and 6.5 by 9 painting alone.

Artist/ School: Signed by Eric Roberts and inscribed verso Title: titled verso Medium: oil on canvas on board, framed Framed: 22 x 29 inches Painting: 15 x 22 inches Provenance: ...

The Favourite Pet, portrait of young lady with Alsatian dog. French Schoo, signed indistinctly, dated 1940 oil on canvas, framed framed: 23 x 29 inches c...

Mid Century oil on canvas view of the Moorish arch in the Plaza de Zocodover in Toledo, Spain by Louis Léo Hourdille. The painting is signed and titled to the back of the canvas. Ho...

Oil painting representing "Basset Griffon Vendéen" hunting dogs in a wooded landscape. Oil on canvas in perfect condition (fully restored in our worksh...

Vernon Beauvoir Ward (1905–1985) was a British painter and commercial artist renowned for his evocative depictions of Edwardian life, wildlife, and landscapes. Born in Hampstead, Lon...

John Rattenbury Skeaping. English ( b.1901 - d.1980 ). Rodeo. Bareback Bronco, 1966. Gouache On Paper. Signed & Dated Lower Right. Image size 21.3 inches x 29.1 inches ( 54cm x 74...

Trout Painting by Josine Vignon (French 1922-2022) stamped verso oil painting on board, unframed board: 22 x 18 inches Colors: Red colors, brown, grey...

Mid-century gouache painting of long horned steer in warm tones of browns and greens by French artist Roger Desmare, 1952. Signed lower left. Original artwork on paper displayed o...