Mary Newcomb

Huts, Oil on Board Painting by Mary Newcomb, 1964

1964

Mont St. Michel I, Oil on Board Painting by Peter Greenham Additional information: Medium: Oil on Board 6 1/8 x 12 1/4 in 15.5 x 31.1 cm Signed with initials lower left A larger p...

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...

Baro Harbour, Sunset (Nigeria), Oil on Board Painting by Derek Hill 1916-2000 Additional information: Medium: Oil on board 18.5 x 41 cm 7 1/4 x 16 1/8 in Titled verso Provenance Acquired from the Artist by Adrian Stokes, and thence by descent. Exhibitions London, Marlborough Gallery, as 'Lagameno Harbour - sunset', with label attached verso Arthur Derek Hill was born in Southampton in 1916. He and his two older brothers attended Marlborough College, where he demonstrated an interest in, and a talent for, painting. His father persuaded him to study stage design rather than painting as that had greater prospects for employment. Consequently he enrolled to study stage design in Munich at the age of 17. He later studied under Paul Colin in Paris and under Dr Josef Gregor in Vienna. Dr Gregor introduced him to Tairov, the director of the Mamemney Theatre in Moscow, where he spent six months in 1936. After working in Moscow he took time out to travel east via the Trans Siberian Express to Japan, China, Bali and Siam. In 1937 Hill returned to England to a job as costume designer at Sadlers Wells but after a short time he went back to Paris. Encouraged by Edward Molyneux, a couturier and collector of impressionist art, he rented an old mill in the Loire and took up painting in earnest. When war broke out he returned to Wiltshire in England as a conscientious objector and worked as a farm worker. He painted in his spare time and met many artists including Victor Pasmore and Mary Kessell. In 1943, at the age of 27, Hill had a one man exhibition in London at the Nicholson Gallery and he also organised exhibitions of the work of other artists including Degas. In 1946 Hill spent a year painting in Ireland. He had relations in Co Wicklow but mostly painted in Galway, Mayo and Achill Island where he painted with the Irish artist Louis LeBroquey. From 1947 Hill spent a great deal of time in Italy. He met the art historian Bernard Berenson who admired his work and became a father figure to him following the death of his own parents. He spent many winters at Berenson’s home, the I Tati estate, outside Florence. During his time in Italy he met many Italian artists including Antonio Music, Renato Guttuso, Bruno Saetti and Giorgio Morandi. He also met the American Henry McIlhenney, who was working at the American Academy in Rome. McIlhenney owned Glenveagh Castle in Donegal at the time and invited Hill to visit him there in 1949. Hill returned again and again to Donegal and in 1953 he bought the house the old St Columb’s rectory, Churchill, now Glebe House, and moved in the following year. Glebe House was Hill’s main home from 1954 until 1981 although he continued to travel extensively during those years. He was appointed the Art Director at the British School in Rome where he met such artists as John Bratby and Joe Tillson as well as the more famous Francis Bacon, Henry Inlander, John Craxton and Keith Vaughan. In 1956/8 Derek Hill visited Tory Island for the first time and was fascinated by the light and rugged scenery. He rented a hut there and spent many weeks every summer painting. His example and encouragement led to the development of a whole school of naïve painting, the Tory Island Painters, of whom the best known artist is James Dixon. Hill’s career as a painter, particularly of portraits, blossomed and he was commissioned to paint many famous people some of whom visited St Columb’s. His portraits include those of Daniel O'Donnell, Yehudi Menuhin, Arthur Rubenstein...

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...

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.

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.

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...