Brian Horswell

Scottish Highland Landscape, Signed Oil

c.2000

Still Life of Fruit including plums, raspberries and what we believe to show a Quince fruit. by Oliver Clare (British 1853-1927) signed lower right oil painting on canvas: 8 x 10 in...

Artist/ School: David Hicks, British late 19th century, signed Title: The Scottish Highlands Medium: signed oil painting on canvas, oak wood framed Size: framed: 27.5 x 23.5 inch...

Scottish Cliffside, Antique Oil Painting, Signed by F. E. Jamieson (British 1895-1950) Signed on the lower right hand corner oil painting on canvas, framed Framed size: 23 x 33 inche...

Artist/ School: E. Baladon, French circa 1930's period. Title: a sprig of roses Medium: oil painting on board, framed framed: 13 x 18 inches board: 9.5 x 15 inches Provenance:...

Maggy Clarysse (1931-2011) Oil on thick card, unframed 7 x 10 inches Signed inverso ...

The French Park Landscape by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back signed oil painting on board, unframed measures: 7.5 high by 9.5 inches wi...

19th century English still life of flowers , fruit, birds nest in on a mossy bank by Ellen Ladell Purchasing Ellen Ladell's 19th-century English still life of flowers, fruit, and a ...

Henry John Livens was born in 1858, in St Pancras, London the direct descendant of Jan Liebens who had left his native Holland in the 1600’s to paint a portrait of the King and subse...

Daffodil, Daniel Blagg, Oil on Canvas, 42 x 54", 2019 A well-known figure of the contemporary Fort Worth art scene, Daniel Blagg has worked in the DFW ar...

Caduceus, 2011, Daniel Blagg, Oil on canvas, 80 x 60" By meticulously depicting forgotten road signs and roadside debris, Daniel Blagg invites his viewe...

GUN SALE is an oil on canvas painting standing at 54 inches tall and 41 inches wide, featuring an inflatable advertiser standing adjacent to a gunshop seated in a dark, night sky background. A well-known figure of the contemporary Fort Worth art scene, Daniel Blagg...

"My life as a painter began in the late 1950s when abstraction was “The only game in town”. I followed and progressed through gesture, organic and finally, geometric non-objective painting. The radical move for me was to discover that the real world of landscape lurked behind all that past work. My childhood in the mountains of Pennsylvania pervaded my “way of seeing” and I wanted to investigate and celebrate the infinite variety of tone, color and composition that I found around me. Sky, the structure of trees, mist and water appeared to fill a hunger to look again and again. There was mystery and danger lurking behind the beauty, and my aim was to try to avoid the cliché and explore the infinite structure of the visual landscape. Now I use my camera as a sketchbook and search for images that seem to offer odd structure and “mystery”. I shoot multiple points of view, cull, crop, and mostly discard. The surviving photographs become the catalyst for the paintings and the process is always a mediation between memory and the small image pinned to my easel...