Yitzchak Roman Art

An extraordinary example of Mexican devotional folk art, this 1934 oil and ink painting on tin—known as an Ex Voto—depicts a miraculous healing following a life-threatening fall from...

Colin Ruffell is an English painter of interiors, cityscapes, and many other unique subjects. This bold and evocative 1970s painting by English artist Colin Ruffell captures a nosta...

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...

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

This evocative oil painting, titled Studio Muse, depicts a seated nude in a quiet moment of contemplation. The model is shown in profile, resting on a simple wooden stool against a n...

Vintage American modernist interior scene with figures by Carol Lauttenbauch. Oil on canvas. Large scale work. Amazing detail and an intricate composition. Very impressive in per...

"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...

NYC Subway Mid 20th Century Modern American Scene Social Realism Contemporary David Atkins (1910 – 2012) Subway Train Departure 24 x 30 inches Oil on can...

This artwork titled "People of the Village" c.1980, is an oil painting on canvas by Hungarian artist Anton Kowalski, b.1926. It is signed at the lower right corner by the artist. The canvas size is 21 x 24 inches, framed size is 26.5 x 30.5 inches. Framed in original dark wood and green frame, with fabric liner. It is in excellent condition. About the artist: The artist was born in Sopron in Hungary in 1926. He was a student of the Academy of Budapest and during the uprising in 1956 against Communism he escaped from Hungary to Vienna where he now lives and works. He has become internationally known for his (typically East European style) “Naive” paintings depicting Village life in the four seasons in glorious color. Children especially like his works as each one tells a story. He has exhibited in many Galleries throughout Europe, particularly in Munich, Vienna, Tokyo, and Harrods in London. His work has been on permanent exhibition at the Stewart Gallery...

Charming mid-century naive painting of small figures and chickens in a rural landscape by an unknown artist (American, 20th Century). Signed with the monogram "I. M. H." on lower lef...

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist ..you want. Leonard Raven-Hill (1867-1942) Still Life of Flowers II Oil on canvas 24 x 19 cm In a handsome frame. Signed lower left 'L RavenHill'. A handsome oil painting of a still life of flowers by well-listed painter Leonard Raven-Hill, who has works in the Tate, British Museum, National Portrait Gallery and other famous collections. We have another painting by the same artist listed. Leonard Raven-Hill (10 March 1867 – 31 March 1942) was an English artist, illustrator, and cartoonist. He was born in Bath and educated at Bristol Grammar School and the Devon county school. He studied art at the Lambeth School of Art and then in Paris under MM. Bougereau and Aimé Morot. He began to exhibit at the Salon in 1887 but moved back to London when he was appointed as the art editor of Pick-Me-Up. He also continued to work as a painter and exhibited at the Royal Academy in 1889. In 1893 he founded, with Arnold Golsworthy, the humorous and artistic monthly The Butterfly (1893–94, revived in 1899–1900) but began his most prominent association with a publication when his drawings appeared in Punch in December 1895. By 1901 he had joined the staff of Punch as the junior political cartoonist. He contributed to many other illustrated magazines including The Daily Graphic, Daily Chronicle, The Strand Magazine, The Sketch, Pall Mall Gazette and Windsor Magazine. He also illustrated a number of books including · East London by Sir Walter Besant (1901) · Cornish Saints and Sinners by J. H. Harris · Three Men on the Bummel by Jerome K. Jerome · Stalky and Co by Rudyard Kipling · Kipps by H. G. Wells Raven-Hill published the impressions of his visit to India on the occasion of the tour of the Prince and Princess of Wales as An Indian Sketch...

Mother and child/maternité: a gorgeous, almost Picasso-like early oil on canvas by Petion Savain, dating from 1953. The painting is monogrammed and dated...