Gordon Scott

Summer Flowers

Gordon Scott ARCA 1914 - 2016 Summer Flowers Oil on canvas, signed lower left Image size: 23.5 x 20 inches Contemporary style frame Gordon Scott was trained at the Royal College of Art (1934-38) under Gilbert Spencer, Alan Sorrell and Charles Mahoney. In 1938 he was awarded a Travelling Scholarship by the R.C.A. for painting. A reserved and highly principled man, during WWII he was a conscientious objector, stationed at Bulford Camp on Salisbury Plain. His defined role there is unknown, but during his time there he produced a number of sketches and paintings of soldiers and other personnel who passed through the camp. In 1946 Joseph Dixon...

Oil on canvas, signed and dated '1975' bottom right Image size: 10 1/4 x 12 inches (26 x 30cm) Contemporary style frame This still life is a meticulous study by the artist of a selection of plants and flowers that could be found in any English hedgerow or roadside verge. Here Newcombe has depicted wild grasses, flowering nettles and dandelions in various states in their life cycle; pre-bud, full flower and having lost all of the fluffy seeds. The detail in this work is fine and reminiscent of the accuracy that was executed in 17th century Dutch artworks...

Oil on canvas Image size: 23 1/4 x 19 1/2 inches (59 x 50 cm) Dutch Ripple frame PROVENANCE Private Collection, London Here a glass vase containing an exuberant display of flowers stands on a ledge. With only one known exception, Verelst included vases in all of his flower paintings. The asymmetrical arrangement of the flowers fills most of the canvas and the vibrant bouquet contains peonies, a bearded iris and a poppy set amidst a perfusion of twisting leaves and stems. Poppies were one of Verelst's favourite flowers and were commonly featured in his still life's. This painting shows a superb understanding of light and colour that is consistent with Verelst's other works. Indeed, the strong contrast between the brightly lit, the colourful blossoms and the surrounding darkness lends to the flowers and foliage a hyper realistic quality and a strong sense of three-dimensionality. The Artist Verelst was born in The Hague in 1644 and came from a family of painters. His brothers Johannes and Herman also became painters and, like Simon, were trained by their father. In 1663 Simon became a member of the Confrérie Pictura, the painter's association in The Hague, and soon afterwards moved to nearby Vooburg with his brother Herman, who also painted flowers. In 1668 Simon he moved to London where the Duke of Buckingham became his principle patron and on 11 April 1669 he met with Samuel Pepys. He was enormously successful in London and his elegant portraits became popular for a time during the 1670s among court circles. He painted this portrait of Prince Rupert, son of Frederick V, Count Palatine and Elizabeth Stuart...

Oil on canvas, signed on the reverse Image size: 19 1/2 x 23 1/4 inches (49.5 x 59 cm) Contemporary frame This still life provides an example of neo-impressionism, specifically of m...

Oil on canvas, signed and titled on reverse Image size: 12 x 16 inches (31 x 40 1/2 cm)

Oil on canvas Image size: 15 ½ x 19 ¼ inches (39.5 x 49 cm) 18th Century carved gilt frame Provenance Irish Country Estate This complex and convincing composition is painted from a...

Flowers in a Vase, oil on canvas on cardboard, 71.5x55.5 cm Fridrihs Milts (1906.21.XII – 1993.5.XI) Fridrihs Milts graduated studio of Figurative painting (under the guidance of G. Eliass) in Latvia Art academy (1932). He took part in exhibitions of association “Zala varna” (since 1929). Artist also took part in exhibitions of Culture Foundation. Self-exhibition was made in Riga (1943) and the rest ten exhibitions were made when artist lived in exile. In 1950 – 60th F. Milts took part in exhibitions of group “Cetru grupa”. In 1960 he got prize from Culture Foundation of North American Latvians. Artist was a leader of New York Latvian...

Georgina Klitgaard Apples and Pears Still Life Signed lower right Oil on canvas 8 x 10 inches Georgina Klitgaard’s art has sometimes gotten lost in the critical propensity to assign artists to membership in one school or another. Unfortunately for her posthumous reputation, Klitgaard defied easy characterization. She was a U.S. modernist, working in both oil and watercolors, but never abandoned figurative painting. She made her reputation in landscape but also excelled in portraits, flower studies, and even cityscapes. Yet despite Klitgaard’s ambiguous status in art history, her paintings continue to fascinate viewers attracted to the unsteady ground between twentieth-century realism and expressionism. Georgina Klitgaard (née Berrian) was born in Spuyten Duyvil, New York (now part of the Bronx); the Berrians had lived in the area since at least the U.S. Revolution. After graduating from Barnard College, she studied art at the National Academy of Design. In 1919 she married Kay Klitgaard, a Danish artist and writer. The next year, her life took a decisive turn when the couple visited friends in Woodstock, NY—about 120 miles north of New York City--and fell in love with the area. In 1906, L. Birge Harrison helped found the Art Students League Summer School in Woodstock and the area became a magnet for landscape painters. The Klitgaards bought a house in 1922 on a steep ledge at the end of Cricket Ridge, high above Bearsville, which provided panoramic vistas overlooking the Catskill Mountains and the Hudson Valley. Klitgaard joined the artists’ colony in the area, which at the time included artists Ernest Fiene and Katherine Schmidt. Klitgaard exhibited widely and her career slowly developed momentum. She was a regular contributor at Whitney Museum shows from 1927 to 1944. In 1929, she exhibited a painting entitled “Carousel” in the Whitney Studio Club’s famous exhibition “Circus in Paint.” Gertrude Vanderbilt Whitney acquired five paintings by Klitgaard in the early 1930s and served as a significant patron for the artist. Klitgaard s New York dealer, Frank Rehn...

Still Life on a Table is an original oil painting on canvas realized in the 20th Century. Good conditions (the painting has been restored in some parts). Frame included (83x108 cm).

John Atherton 1900-1952 American The Bass Season Saturday Evening Post cover, June 29, 1946 Signed "Atherton" (lower right) Inscribed "The Bass Season opens in the east July 1st /...

Bold outlines and strong weighty forms coalesce with a compositional delicacy that forms the hallmark of Hartley's work. The work has a long and distinguished provenance and exhibit...

Monogr. and dat. lower left: AW / 37 The work is present in the catalogue raisonné of the Belvedere under the number Ex 26402. Provenance: Private property, Graz (Austria) Catalogu...