Helen Hafer Paintings

Urbain Huchet (French, 1930-2014) Le Pont Neuf a Paris Description: An original oil or acrylic painting on canvas depicting a Parisian cityscape landscape with a bridge over the Sein...

Mountain landscape in oil, spring, mountain, Switzerland, impressionist, horizontal "Margelkopf In April" (50 × 40 cm, oil on canvas) is a subtly emotional mountain landscape painte...

Scottish Bluebells in April/May feature in this contemporary painting of woodlands in the Scottish Colourist tradition. Large, four feet wide in the frame, this artwork brings spring...

➡️ Moutain Landscape in Autumn) ⬅️ ⏩It is signed A Boulgaric⏪ ⭐Medium:⭐ Oil on canvas ⭐Technique: ⭐Impasto painting with expressive brushwork. ⭐Size:⭐55x46cm / 21.7x18.1 inch w...

A vibrant impressionist oil painting depicting a still life setting with a beautiful Mediterranean coastal view. The lively scene is set indoors, looking out through an open window o...

Signed and dated post impressionist oil on canvas interior scene by French painter Jean Dufy. This colourful piece depicts a view of the artist's studio with a view of the city of Mo...

Emil Oelieden (1875-1934) 'A Town in Flanders' ‍ Oil on canvas 50 x 40 cm Signed lower left

"Fish from the Chinese Garden" 60 x 80 cm, acrylic, oil, oil pastel on canvas The painting "Fish from the Chinese Garden" was painted based on the artist's impressions of visiting t...

A charming depiction of Snow in New York City by Washington Square Park on a cold snowy evening with city lights and buildings captured in the distanc...

This atmospheric harbour scene by Hermanus Koekkoek Jr., working under the pseudonym Jan van Couver, exemplifies the artist’s mature approach to maritime and town views during his London period. The composition presents a Dutch waterfront animated by boats, windmills, and clustered buildings, all set beneath a vast and dynamic sky. The emphasis on shifting weather conditions and the interaction between water, light, and architecture reflects a deep engagement with both tradition and contemporary developments in nineteenth century painting. Koekkoek belonged to one of the most distinguished artistic dynasties in the Netherlands. As the son of Hermanus Koekkoek the Elder and nephew of Barend Cornelis Koekkoek, he inherited a strong foundation in landscape and marine painting. His early training within the family atelier in Amsterdam provided him with a disciplined understanding of composition and natural observation. However, his later move to London in 1869 marked a decisive shift in both style and market orientation. It was during this period that he adopted the name Jan van Couver, a strategic choice that aligned his work with a broader European appeal. The present painting reveals a confident and increasingly free handling of paint. The foreground water is rendered with swift horizontal strokes that capture the movement of the surface, while the boats and harbour structures are constructed through more concentrated applications of pigment. The use of impasto is particularly notable, lending the painting a tactile presence and enhancing the interplay between light and texture. This painterly richness contributes to a vivid sense of immediacy, as if the scene were observed directly on site. The sky dominates the composition, occupying a large portion of the pictorial space. Broad, swirling brushstrokes articulate the mass of clouds, which appear to gather and disperse in response to changing atmospheric conditions. This treatment reflects the influence of the Hague School, whose artists sought to convey the mood and variability of the Dutch landscape through tonal harmony and expressive brushwork. Koekkoek’s interpretation is more animated, however, suggesting an openness to impressionistic tendencies that were gaining ground across Europe. At the same time, the painting remains anchored in a clear compositional structure. The line of the harbour guides the viewer’s eye into the distance, where the forms dissolve into a softer haze. The presence of windmills, a quintessential feature of the Dutch landscape, reinforces the sense of place while also introducing vertical accents that balance the horizontal expanse of water and sky. The architecture is suggested rather than fully defined, allowing atmosphere and light to take precedence over detail. Koekkoek’s work occupies an interesting position between tradition and modernity. While rooted in the conventions of Dutch marine painting...

A very atmospheric and idyllic view of a Southern fishing port, painted most likely in Italy or France. Resolutely post-impressionist, the landscape is imbued with the light of the M...

Signed lower right and dated 1930. Lever’s “Fishing Harbor in Brittany” is as much a scene celebrating the boats and quaint architecture of coastal France, as it is a nod to its ...