Bromoil Paintings

Bull! Whether on Wall Street or in the legendary bullrings of Spain these powerful beasts demand immediate attention and respect! The trio, during their midday grazing, keep one eye on their surroundings while nourishment prepares them for the glory and unknown ahead. Artist James McGinley...

"Sock Hop" Mid-Century American Modernism WPA Female Artist 20th Century Realism. 30 x 24 inches. Oil on canvas. Signed on stretcher, c. 1940s. Frame is likely original to the painting. Realist painter-printmaker Kyra Markham...

Title: Torero and Bull Artist: José María Tuser Vázquez (1919-1986) Technique: Oil on canvas mounted on board Dimensions: 18.9 x 15 inches Framing: Unframed Art Movement: Costumbrismo, Figurative Expressionism Theme: Bullfighting Date of Creation: Second half of the 20th century DESCRIPTION The painting Torero and Bull depicts a classic bullfighting scene, where a matador, elegantly dressed in a golden and violet traje de luces, performs a pass with the cape while the bull, wounded with banderillas, bows toward the ground. The composition conveys dynamism and tension, emphasizing the drama of the moment with loose and expressive brushstrokes. The background is rendered in warm, diffused tones, contrasting with the deep black of the bull and the vivid hues of the cape. The thick brushwork and vibrant oil application enhance the sense of movement and emotion in the scene, a distinctive feature of Tuser Vázquez’s bullfighting paintings. ARTIST'S BIOGRAPHY José María Tuser Vázquez (Barcelona, 1919 - 1986) was a Spanish painter specializing in bullfighting themes. He trained at the School of Arts and Crafts in Barcelona, where he developed a strong foundation in drawing and painting. From 1947 onwards, he dedicated his artistic production to tauromaquia, creating posters, illustrations, and paintings that captured the intensity of the bullfighting spectacle. He was a regular contributor to the magazine El Ruedo and designed a series of postcards featuring traditional Spanish costumes for Editorial Artigas in the 1940s. His work has been auctioned numerous times and is highly valued by collectors of bullfighting art...

Impasto Oil Painting of River Tree Scene British Postwar & Contemporary Artist, Terry Evans Terry Evans is a British Postwar & Contemporary Painte...

A fantastic MidCentury interior scene painted in 1963 and signed illegibly. This work comes in a contemporary wood frame.

Title: Bullfighting Scene Artist: José María Tuser Vázquez (1919-1986) Technique: Oil on canvas Dimensions: 16.1 x 13 inches (unframed) Date: c. 1950-1960 Condition: Good Provenance:...

"Great Gable and Black Sail Youth Hostel Emmerdale" by ARTHUR TERRY BLAMIRES (b.1930) signed and dated, 1995 oil painting on canvas, framed canvas: 20 x 3...

The Guildhall, Worcester English School, mid 20th century indistinctly signed verso oil on canvas canvas: 20 x 24 inches provenance: private collection, UK condition: very good and sound condition The Worcester Guildhall was originally built as a meeting place for Worcester merchants around 1227. As with many other guildhalls, it became the centre for civic administration, a role it maintained after the merchant guild had disappeared. The present Worcester Guildhall is a superb Queen Anne building, begun in 1722 by Thomas White, a pupil of Sir Christopher Wren. White was badly paid for his efforts, and he died in poverty in 1738, bestowing the money he was owed on the Worcester Royal Infirmary. The city finally paid its debt in 1753. The exterior of the Guildhall is brick, dressed with stone. White himself is said to have carved the figure of Queen Anne over the entry, as well as those of Charles I and II, a reminder of the city's long history of royal support. The interior is superb, boasting exceptional period decoration. The Tourist Information Centre is now located in the Guildhall. HISTORY In 1227 Henry III granted the citizens of Worcester a royal charter granting them the right to establish a guild of merchants. The guild was responsible for controlling trade in the city, but their meeting place gradually became the main centre of administration for city government and acted as a courthouse. So, in effect, the Guildhall was the town hall, and though the city guilds have long since vanished, the Guildhall name lives on. The medieval guild merchants would not recognise the building that faces onto High Street now. Their guildhall was a large timber-framed building, occupying the same site, with a piazza for shops fronting the street, courts of justice at each end, and a prison to the north of the building. Part of the prison was a cell called 'the peephole', which gained a notorious reputation. There was a gaoler's house, and attached to it an alehouse from which the gaoler sold ale at extremely high prices to any prisoner who could afford the cost. In 1717 the city administration decided on a new Guildhall, and they knew just who to call; upon to build it. Thomas White was not an architect in the way we think of it today, but a stonemason. In 1705 he had carved a statue of Queen Anne to stand in front of the medieval Guildhall and was made a Freeman of the City. The total cost of the fashionable new red-brick building was £3727. The Corporation only put forward £800, and the rest had to be raised by public subscription. The centre section of the new Guildhall was finished by 1724 and has remained almost unchanged since then. The central facade is a wonderful example of early Georgian style, with three bays flanked by Corinthian pillars. Over the entrance is a huge carving incorporating the Hanoverian royal arms. White's earlier statue of Queen Anne was placed in a niche over the door, and on either side were statues of Charles I, depicted holding a church, and Charles II, with an orb and royal sceptre. On the rooftop are figures of Labour, Peace, Justice, Plenty, and Chastisement. North and south wings were added within a few years of the central block. The south wing was used as a judge's lodging when the assizes were taking place, but throughout the rest of the year it housed a coffee shop. The most striking external feature of the Guildhall is a set of iron gates...

Bettina Mauel expresses vitality and sensuality in her abstract and figurative paintings. “I paint what I experience,” she articulates. “This includes landscapes, dancers and people ...

Bettina Mauel expresses vitality and sensuality in her abstract and figurative paintings. “I paint what I experience,” she articulates. “This includes landscapes, dancers and people ...

Title: Cape Maneuver Artist: José María Tuser Vázquez (Barcelona, 1919 – 1986) Technique: Oil on canvas mounted on board Dimensions: 19.7 x 23.6 in (50 x 60 cm) Date: Circa 1980s Signature: Signed "Tuser" in the lower left corner Condition: Excellent; thick, vibrant brushwork and vivid colors well preserved. 📝 Description This painting captures a dramatic moment in the bullfight — the classic verónica — as the matador gracefully halts the bull’s charge with a sweeping motion of the cape. The vivid contrast of magentas, blues, and golds intensifies the theatrical tension between man and beast. The composition is dynamic yet controlled, emphasizing the poise of the torero against the raw force of the bull. The expressive brushstrokes and thick impasto enhance the sense of movement, while the abstracted background ensures focus remains on the central figures. The piece is a striking blend of figuration and emotional energy, characteristic of Tuser’s taurine works. 👤 About the Artist: José María Tuser Vázquez José María Tuser Vázquez was a Spanish painter born in Barcelona in 1919. He studied at the Barcelona School of Arts and Crafts and began exhibiting in the 1940s. By 1947, he had fully devoted his career to bullfighting scenes, developing a distinctive figurative expressionist style with impressionist influences. He collaborated with the magazine El Ruedo, creating numerous illustrations and covers, and designed collectible postcards for Editorial Artigas. His work became well-known in Spanish artistic circles and is now part of both private and institutional collections, including the Club Taurino of London. His paintings have been auctioned internationally, reaching up to $3,000 depending on size and subject. His legacy is that of a painter who masterfully captured the emotion, tradition, and drama of the Spanish corrida. 🎨 Similar Artists José María Tuser Vázquez’s work shares thematic and stylistic elements with: Roberto Domingo – A pioneer of bullfighting art...

"## The poetry of an ancient city on canvas In this enchanting work, artist Alexander Khrapachov masterfully revives the spirit of ancient Dubno, a town where every cobblestone echo...