Montague Dawson

Bird of Dawn, the Sir Lancelot

20th Century

Grand Canyon by Thomas Moran Thomas Moran 1837-1926 American Grand Canyon Signed with initials in monogram and dated “T Moran 1908” (lower left) and signed, inscribed and dated “Moran/To Mr. & Mrs. Carl Brant/Grand Canyon/July 12 1908” (on reverse) Oil on canvas Thomas Moran’s Grand Canyon...

Lucien Adrion 1889-1953 I French Les Grands Boulevards Signed “Adrion” lower right Oil on canvas This magnificent painting, Les Grands Boulevards, was painted by Lucien Adrion, a French Post-Impressionist renowned for his evocative portrayals of French landscapes and Parisian life. This work captures the vibrant energy of a quintessential Parisian boulevard under a radiant blue sky. Pedestrians, cars and horse...

Summer Garden Study VI by Dylan Lloyd [2022] original and hand signed by the artist Oil on Linen Board Image size: H:30 cm x W:20 cm Complete Size of Unframed Work: H:30 cm x W:20 c...

"In the series “This is a real place!” I was fascinated by how the underside of the pier at Saint Simons Island, GA was like a readymade collage. The way the pilings and rails divide and frame the spaces between them looks artificially imposed on the scene until you notice the way the waves bounce off the pilings and the railings cast shadows on the water. In some iterations, I chose to simplify the structures of the pier and lighten the values so that it would emphasize the detail in the water. Likewise, I omitted a family of starlings and their droppings in favor of highlighting the geometry of the architecture and the colors and patterns of the water. Making paintings in a series allows me to investigate the results of making different decisions about an image. How I crop or stylize it, the manner in which I apply the paint, what gets included or excluded all add shades of meaning to each piece. Additionally, depictions of the same subject in different weather, seasons, times of day, and tides allows me a deeper understanding. I notice more relationships, colors, and details every time I paint the subject. Every painting is a pile of decisions. Playing with removing more and more details to see what is truly important sometimes improves the painting. The fewer elements you include in an image, the more each one means, and the more important it is to get each thing perfect. At times I like to paint every single detail I can find in a scene, and other times I feel like the unadorned components are sufficient to hold each other in a satisfying composition. I often add simplified shapes to my paintings to highlight the presence of absence or to heighten the importance of each area by creating stark visual contrasts. ⁠The physicality of the paint also plays a role. I used highly textured, thickly applied paint to construct the solid structural elements, and luminous layers of thinly glazed paint for the delicate linework and subtle blending of the water." - Brooke Lanier...