Ffiona Lewis

Under the Suffolk Sward, 2023 - Contemporary Landscape Painting of Green Foliage

2023

Wildflower Meadow and Insect Visitors, 2024 oil on board 20.5 x 20.5 cm 8 1/8 x 8 1/8 in signed, titled and dated Jo Aylward is a British ruralist whose paintings are embedded in th...

Buildings and Lamp, Oil on Board Painting by John Christopherson, 1977 Additional information: Medium: Oil on board 35 x 44 cm 13 3/4 x 17 3/8 in Signed with initials; signed again and inscribed verso; further inscribed on an Artist's label attached verso John Christopherson was a painter of small dreamlike townscapes and abstract paintings that combine an almost naïve intensity with great sophistication. Born in Blackheath, London in 1921, Christopherson began his working life at Shell-Mex House in 1938, the period when Jack Beddington, the manager of the publicity department was pioneering the use of modern art in advertising. After a wartime illness, Christopherson worked at County Hall in London, choosing for his office wall a print of Paul Nash's Wood on the Downs and Nash's primeval landscapes and magical moons were later to have a lasting influence on Christopherson's own paintings. In 1950, while working as a civil servant at the Geological Museum in South Kensington, he became interested in the French Art Brut movement and corresponded with Jean Dubuffet, who offered encouragement when Christopherson himself began to paint. John Christopherson felt that his life in art did not really begin until 1950, when he met Jacob Epstein and started to visit West End galleries - he said that it was a revelation that 'such a magical world co-existed on the same level and at the same time as the boring, prosaic one of rationing, coupons and the civil service', and he determined to enter it. He said that his annus mirabilis was 1951, the year of the Festival of Britain. This was the time when his tastes and interests were moulded and when he found his vocation. In 1959, he resigned from his appointment in the civil service at the Geological Museum and became a full-time painter. From boyhood he was fascinated by the idea of antiquity. He was always interested in ancient stones, pavements, mosaics, archaeological sites, walls and buildings which had gradually changed and been eroded by time. Walls with faded posters and graffiti particularly attracted him - he treasured and identified himself with what he described as the 'forlorn poetry of the unregarded'. Christopherson's pictures linger in the memory. His image world is a distillation of cultural debris sifted with poetic intensity. His pictures are a microcosm of his tastes and obsessions. Each small painting is haunted by a sense of déjà vu, the ordinary becomes extraordinary. The subtle depths of layers of glazes are incised with the mysterious markings of a private language. Terence Mullaly once described how his works 'convey the impression of a world frozen in a dream'. George Melly...

Mediterranean View Across the Rooftops, Oil on Board Painting by John Copnall, 1954 Additional information: Medium: Oil on board 53 x 70 cm 20 7/8 x 27 1/2 in Signed and dated John...

Rain, Oil on Board Painting by Keith Purser B. 1944 Additional information: Medium: Oil on board Dimensions: 27 x 100 cm 10 5/8 x 39 3/8 in Signed with initials and dated Keith Pur...

Gabriel Deschamps (1919 - , France) "Port Brenton". Oil on board, framed. The frame is 21” x 24," the board is 15" high by 18" wide. This is a beautiful port scene with blues, gre...

Step into the bustling energy of a portside moment with René Genis’ “Les Grues” (The Cranes)”, a captivating oil-on-mat-board painting that transforms the in...

Andor Basch (1885-1944) Signed lower right, dated 1922 and inscribed "Norderney" 16 1/2" x 19 1/2" in 23kt gold leaf frame Possibly one of the first appearances of the 2-piece bathin...

Very well executed work by American artist William Harnden who specialized in Native American subjects. 23 3/4 x 29 1/2 in excellent condition frame.