Richard Taylor Fine Art

Jacob Kramer is a Jewish artist who migrated with his family to Leeds to escape the Russian pogroms when Kramer was only eight. This portrait oil painting was painted when Kramer was thirty, in 1922, shortly after his return to Leeds from living in London. It is a head and shoulders portrait of a gentleman with dark hair, gazing to his right, his identity unknown. The light from the left hand side of the painting strongly illuminates the left side of the gentleman's face, making it stand out from the darker background and casts strong shadow on the right. The brushwork is bold and confident in its execution. This is an excellent example of Kramer's Post Impresionist work in the early 1920's when at his artistic peak. Signed and dated 1922 lower right. Provenance. Yorkshire estate. Condition. Oil on canvas, 20 inches by 16 inches and in good condition. Frame. Housed in an ebonised frame, 23 inches by 19 inches, in good condition. Jacob Kramer (1892-1962) was born in the small town of Klintsy in 1892, then part of the Russian Empire, into an artistic middle class Jewish family. His father, Max, was a painter who had studied at the St Petersburg Fine Art Academy under Ilya Repin, and had become a court painter to Baron Ginsburg. Kramer's mother, Cecilia, was also artistic being a trained singer who was well known for touring a regional network of theatres established by her father, at which she performed traditional Slavic and Hebrew folk songs. Following the accession of Tsar Nicholas II in 1894 a new virulent anti-semitic policy was introduced to force Russian Jews...

This stunning 19th century still life floral oil on panel painting is by noted still life female Norwich School artist Emily Stannard. Emily Stannard and her niece Eloise Harriet Stannard are nowadays considered to be among the most accomplished British women still life painters of the 19th century. Stannard is associated with the Norwich School of painters. She also travelled to Holland to study Dutch art and was given permission to copy Jan van Huysum's work which was then highly praised. She had a long and distinguished career as an artist and many of her works are house in Norfolk Museums. Painted circa 1840, this lovely composition is a naturalistic floral arrangement in an urn on a marble ledge. The flowers are a mix of whites, pinks and blues with some geraniums, roses, daisies and mallow. There is a beautifully detailed dragonfly and butterfly as well as a little snail on the marble ledge. One side of the background is darker than the other which shows of the flowers against it to great effect. The colours are vibrant and brush work detailed. This painting is a fantastic example of Stannard's work and clearly shows how well she deserved her superb reputation as being one of the most accomplished female 19th century still life painters. Provenance: Oscar and Peter Johnson Gallery, London Condition. Oil on panel, 20 inches by 15 inches and in good condition. Frame. Housed in a beautiful gilt swept cradled frame, 27 inches by 22 inches and in good condition. Emily Stannard (née Emily Coppin; 8 February 1802 – 6 January 1885), who from 1826 called herself (even during her long widowhood) Mrs Joseph Stannard, was a British still life painter. She was associated with the Norwich School of painters, Britain's first provincial art movement. Along with her niece Eloise Harriet Stannard, she is considered to be the most accomplished British female still life artist of the 19th century. Stannard was born in Norwich of artistic parents. In 1820, she travelled with her father Daniel Coppin to the Netherlands to study the paintings of Jan van Huysum and other Dutch masters, an episode which influenced her artistic style. She married the Norwich artist Joseph Stannard in 1826, but was widowed four years later. She painted until she was in her eighties, mainly depicting paintings of flowers in vases...

This superb vibrant Dutch 18th century Old Master floral oil painting is attributed to circle of Gerard Van Spaendonck. Painted circa 1790, it is a beautiful mixed floral still life flower arrangement in an ornate urn on a marble ledge against a landscape. The flowers include roses, tulips, blue iris and trailing blue morning glory. The carved ornate grey/blue urn on the cream marble ledge create a strong textural contrast with the soft petals and leaves. This is a wonderful example of Dutch 18th century floral oil paintings with fine detail and brushwork. Provenance. Private Collection, UK (by descent). Condition. Oil on canvas, 30 inches by 25 inches unframed and in good condition. Frame. Housed in an ebonised frame, 39 by 34 inches framed and in good condition. Gerard van Spaendonck (1746-1822) was a Dutch painter. Gerard was born in Tilburg, an older brother of Cornelis van Spaendonck...

This superb British 1950's abstract oil on board painting is by noted Slade School trained contemporary artist Leo Davy. Davy was born in Yorkshire but settled in Cornwall in 1968 an...

This lovely British Victorian portrait oil painting is by British portrait artist Edward Spilsbury Swinson. It was painted in 1891 and is dated and signed lower right. It is a half l...

This stunning 17th century Dutch Old Master Golden Age floral oil painting is by noted Dutch artist Simon Pietersz Verelst. The full attribution...

This superb exhibited Scottish interior oil painting with excellent provenance is by noted artist Patrick William Adam. Painted in 1915 it was exhibited that year at the Royal Scottish Academy and entitled the Drawing Room, 27 Drumsheugh Gardens which is in the Haymarket area of Edinburgh. It was lent for exhibition by its owner, J R Findlay who was Sir John Richie Findlay (1866-1930) 1st Baronet and Chairman of the National Galleries of Scotland and for a long time Chairman of the Edinburgh College of Art. He was also an original member of the Royal Fine Art Commission for Scotland. The painting is of a magnificent drawing room with a table with white flowers, possibly narcissi on in the middle. To the left is a glass cabinet with ornaments and to the right are several paintings on the wall in beautiful gilt frames, caught in the light. although the walls are quite dark, the section of wall below the dado rail is light yellow as are the coving and ceiling, really lightening the painting. There are numerous other ornaments and vases in the room and we can just see the edge of a much larger painting to the left. The detail and brushwork are superb as is the depiction of glancing. This is an excellent example of Adam's work with very good exhibition and ownership provenance and a really beautiful Scottish interior oil painting. Signed lower right and dated 1915. Provenance. Exhibited at the Royal Scottish Academy in 1915 no. 281 entitled The Drawing Room, 27 Drumsheugh Gardens (Haymarket Edinburgh) Lent by J R Findlay esq. P Findlay written on strecher verso. Written on stretcher verso that the painting was hung in the drawing room, right of fire. Doig, Wilson and Wheatley Edinburgh framers label verso. Remnants of another label verso. 1353 inscribed in chalk on stretcher verso. Condition. Oil on canvas, 35 inches by 25 inches and in good condition. Frame. Housed in the original ornate gilt frame, 43 inches by 33 inches, in good condition. Patrick William Adam RSA (1852-1929) - born in Edinburgh 12 October 1852 to Patrick Adam, a writer, and Louisa Roberts, Patrick William Adam exhibited an early talent for art. He began classes at the RSA in 1874 and studied under William McTaggart and GP Chalmers. Some of his work of that period is in the East Lothian collection: the then curriculum involved intensive study of ‘Old Masters’ – and the production of copies in the Masters’ styles. Adam won the Stuart prize for Life Drawing in 1877, by which time he had already been exhibiting at the RSA for several years He travelled to Rome, Venice and Russia and produced work in several media – watercolour, pastel and (principally) oil; subjects varied from landscapes through portraits to still life but his genre paintings and interiors were reckoned his best work. Much of this was (recognisably) produced from his studio at Ardilea, North Berwick, where he settled in 1908. In 1912 he became a founder member of the Society of Eight, a group of friends who exhibited for many years at the New Gallery in Shandwick Place, Edinburgh. Others in the original group were David Alison, FCB Cadell...

This Lovely Scottish portrait oil painting is by noted portrait artist James Bell Anderson who worked out of his studio in Glasgow. It was painted in 1919 and is signed and dated. It...

This superb British portrait oil painting is by noted artist Alfred Kinglsey Lawrence. Painted in 1919 it is a seated portrait of a young woman with a lush burgundy velvet curtain be...

This lovely Scottish Edwardian interior portrait oil painting is by noted Scottish artist Arthur Percy Dixon. Painted in 1906 it is a seated portrait of a lady in the corner of a roo...

This wonderful atmospheric Scottish Impressionist landscape oil painting is by much noted and exhibited Scottish artist William Stewart MacGeorge. Painted circa 1900 the view is of K...

This superb Scottish Impressionist landscape oil painting is by noted artist George Houston. The location is the River Ayr in spring and it was painted circa 1920. The choppy river i...

This superb British Abstract Expressionist oil painting on board is by noted artist Bernard Kay. It was painted in London in 1955. This striking painting is a mix of shades of black ...

This stunning Scottish Abstract Expressionist oil painting is by noted Scottish artist William Gear. Painted in 1949 it is an early and significant painting which dates to the early part of his career. Entitled Abstract Landscape with Red and Green it was painted during Gear's time in Paris and involvement with COBRA. Mostly red and green shapes are incased in black on a vivid yellow background. A really pleasing composition to the eye and perfectly housed in an ebonised frame, it is an excellent example of Gear's work. Signed and Dated '49 lower right. Inscribed, titled and dated verso. Provenance: Cornish collection. Condition. Acrylic on canvas 25 inches by 20 inches and in good condition. Frame. Housed in an ebonised frame, 30 inches by 25 inches and in good condition. Few British painters have played an active role in the modern abstract movement of post-war Europe. William Gear was the most passionate and committed exception. He continued the tradition of the Edinburgh-Paris axis established by J.D. Fergusson, Samuel Peploe and others, spending vital years between 1947 and 1950 living and working in Paris. Significantly, in recent years, he received the greatest acclaim in France, Germany and the Netherlands. He was born in 1915 in Methil, Fife, into a mining family; the particular landscape of "pitheads, the sea, rocks, castles, trees, storms and poverty" marked his earliest identity with a place and probably remained the most influential to his art. Years later he recalled as a schoolboy visiting the local art gallery in Kirkcaldy and seeing 12 colourful still-lifes by Peploe. Art-history lessons during student years at Edinburgh College of Art, in particular Byzantine classes under David Talbot Rice, also influenced his concern for structure. This had as much to do with the formal language of painting as sheer delight in the medium itself. Gear never missed an opportunity to show people the merits of a well-constructed painting. On a travelling scholarship in 1937, he chose to study with Fernand Leger, described by Gear as "a keystone for me, seldom abstract, rather a degree of abstraction". The Second World War interrupted these formative years and, by 1940, Gear had joined the Royal Corps of Signals. Dispatched to the Middle East, he still had the discipline to paint - mostly works on paper of damaged landscapes - with exhibitions in Jerusalem, Tel Aviv, Cairo as well as Siena and Florence. His naturally robust and tenacious temperament was profoundly affected by visiting Bergen-Belsen, and this certainly influenced the later experiments with the black armature. As the British officer in Celle, working for the Monuments, Fine Arts and Archives Section of the Control Commission, he focused on securing the safety of the Berlin Art Collection in Schloss Celle, and organised an important series of modern art exhibitions, including the rejected work of Karl Otto Gotz...

This striking conceptual abstract oil painting is by British artist Penelope Ellis. It was painted in 1963. A superb image and ahead of the conceptual ideas of the swinging sixties a...

This charming Victorian landscape oil painting is by noted British artist Henry Dawson. It was painted circa 1850, when Dawson was working in London, producing some of his best works...

This lovely Surrey landscape oil painting is by noted British exhibited artist George William Mote. Painted circa 1870, the composition is a landscape with a stunning view into the d...

This large captivating and stunning oil painting is by noted Italian artist Francis Moltino. Painted in 1866 the painting is of a view of the Thames with Blackfriars Bridge and the c...

A fine floral oil painting by Glasgow Boy artist James Stuart Park. This is a super oil on canvas painting of white and pink hydrangea in a vase with a green fan by listed artist Par...

This atmospheric Victorian Spanish landscape oil painting is by noted British artist Harold Speed. It was painted in 1894 in a wonderful soft focus Impressionist palette of greys, bl...

This stunning, large British Edwardian Impressionist portrait oil painting is by noted portrait painter James Jebusa Shannon. Painted circa 1909 the sitter is his eldest daughter, Kitty. She is holding a family heirloom, the silver ship which has been depicted in several of shannon's works. The painting of his daughter, just on the cusp of entering womanhood, was dear to the artist and stayed within the family long after his death. The vibrant reds and bold brushwork, so unmistakable Shannon, make this an excellent example of a very personal and precious Edwardian family portrait oil painting. Provenance. The Artist. Lady Florence Shannon. By descent to Kitty Shannon Keigwin, the Artist's daughter. By descent to Julia Gibbons, the Artist's granddaughter. Estate of Julia Gibbons to the present owner. Exhibited. "Seeking Beauty: Paintings by James Jebusa Shannon," Debra Force...

This striking conceptual abstract oil painting is by British artist Penelope Ellis. It was painted in 1963. A superb image and ahead of the conceptual ideas of the swinging sixties a...

A fine Victorian Scottish genre oil on canvas painting which dates to 1868 and is titled The Gossip by famous Scottish artist William Fettes Douglas RSA. It is a stunning depiction o...

This lovely Dutch Old Master oil painting is attributed to artist Pieter Wouwerman. Painted circa 1660 it is figurative landscape with horseback travellers and their dogs in the foreground with ruins on their right. Beyond is a river and hilly landscape, all in the fading light of approaching dusk. There are some superb details making this an excellent Dutch Golden Age oil painting. Provenance: Devonshire estate. Condition. Oil on canvas, 24 inches by 20 inches and in good condition. Frame. Housed in a complementary gilt frame, 31 inches by 27 inches and in good condition. Pieter Wouwerman (1623-1682) was a Dutch Golden Age landscape painter. He was born in Haarlem. According to Arnold Houbraken, a biographer of artists from the Dutch Golden Age, Pieter Wouwerman was the brother of the landscape painters Jan and Philips Wouwerman, who, like his more famous brother, made a living selling Italianate landscapes in the manner of Pieter van Laer...

A beautiful, large landscape painting, oil on panel, by Scottish listed artist Joseph Milne. The river is the Tay, one of his favourites to paint and the view is from the foot of the tower on Binn Hill with the Fife hills given a little more majesty. This painting is a typical Scottish Impressionist painting with vibrant brushwork. It was painted circa 1900 and is in very good condition in its original frame from W Stewart of Perth. It has various labels verso. Milne exhibited extensively at The Royal Scottish Academy and The Royal Academy. This is a lovely example of an early twentieth century Scottish oil. Signed left. Provenance. R. Stewart Perth label verso. Condition. Oil on panel, image size 30 inches by 22 inches unframed, in fine gallery condition. Housed in an original Scottish frame 34 by 42 approx framed. In excellent condition. Joseph (Joe) Milne (1857-1911) was born in Edinburgh in 1857, the elder brother of the painter William Watt Milne (1869-1949) and the father of John Maclauchlan Milne...

This lovely Edwardian oil painting is by French artist William Albert Ablett. Dated 1901, the brush work and use of light are superb. Ablett has perfectly captured the movement and f...

This wonderful Post Impressionist exhibited horses portrait oil painting is by noted British artist Edgar Downs. Painted in 1912 it was exhibited the same year at the Royal Academy London. The painting is of two magnificent horses, one white one brown, waiting patiently while a man leans over to open the gate. Beyond is a canopy of trees. The impressionist brushwork and strong impasto create a light which is vibrant and colourful. This is an excellent example of Downs' work and one can see his infinity with the natural world. Signed and date lower right. Provenance. Exhibited at the Royal Academy London 1912 no. 789. Condition. Oil on canvas, image size is 36 inches by 30 inches and in good condition. Frame. Housed in a complementary frame 44 inches by 38 inches and in good condition. Edgar Downs, ROI, (1876–1963) was a British painter, known for painting agricultural scenes. Downs was born on 12 October 1876 at Claughton, Birkenhead, the son of William Downs. He was educated at Birkenhead School and the Academy of Fine Arts, Munich, and received a silver medal there. He exhibited paintings called Our Daily Bread and The Edge of the Bog at the Royal Academy in 1911, when his address was given as 12 Bedford Gardens, Kensington, London. His other addresses included Arun House at Clymping, West Sussex, and latterly Mudeford, Hampshire where he died. During World War I, he served as a war artist, including spells at Gallipoli in 1915 and Salonica in 1916. He was assigned to the 1st County of London Yeomanry in July 1918. One of his paintings made at this time hangs in the Headquarters of the Inns of Court & City Yeomanry. Two of his works, Gathering Kelp (1914) and Cattle Ploughing in an Open Landscape (c. 1914), are in the collection of Fordingbridge Town Council at Fordingbridge Town Hall. He was a member of the Royal Institute of Oil Painters ("ROI"), the London Sketch...

A fine large charcoal and pencil drawing by British listed artist James Stroudley. Executed in 1930, it is a stunning example of a 1930s Art Deco portrait. Very strong and bold, it d...

A fine large charcoal and pencil drawing by British listed artist James Stroudley. Executed in 1931, it is a stunning example of a 1930s Art Deco portrait. Very strong and bold, it d...

This superb late 18th century portrait oil painting is attributed to noted Scottish artist Alexander Nasmyth. Painted circa 1790 the sitter is of the Wagstaff family, either Thomas o...

A fine, large watercolour by British listed artist Thomas Ellison who exhibited at The Royal Academy and the British Art institutions. It is a busy scene depicting the market at Veni...

This lovely Impressionist Colourist oil painting is a fine example of the work of noted Scottish landscape and animal artist George Smith. He was particularly known for his paintings...

This vibrant Post Impressionist oil on canvas painting is by Bernard Fleetwood Walker circa 1925. The painting is of a French vineyard with the picturesque landscape running up to a hillside village. The impressionist palette really gives one the sense of it being a hot summer's day. Signed lower left. Provenance. Midlands estate. Condition. Oil on board, 18 inches by 14 inches approx and in excellent condition. Framed in a complimentary frame 25 inches by 21 inches framed and in good condition. Bernard Fleetwood-Walker , PPRBSA, (1893-1965) was an English artist and teacher of painting. In variably known as B. Fleetwood-Walker, he was born in Birmingham, a twin and one of five children. His father William Walker was an electrical engineer and co-inventor of the Walker-Wilkins battery, while his mother Electra Amelia (née Varley) was granddaughter of the 19th century watercolourist Cornelius Varley...

This captivating Victorian sanguine portrait drawing of a young girl is by Pre-Raphaelite British artist Edward Robert Hughes. The red chalk portrait dated 1885 is of Mildred, her name inscribed upper left. She is seated, hands in lap, her long hair flowing over her shoulders in typical Pre-Raphaelite manner. Great detail has gone into depicting the smocking on her dress and the artist has perfectly captured her sweet innocent nature. Signed and dated lower left. Provenance. Cambridge collection. Condition. Red chalk on paper, image size 22 inches by 18 inches and in good condition. Housed in a complimentary frame and glazed, 28 inches by 24 inches framed and in very good condition. Edward Robert Hughes - Not to be confused with Edward Hughes (1832 - 1908), who specialised in portrait painting. Edward Robert Hughes RWS (1851 – 1914) was an English painter who worked prominently in watercolours, but also produced a number of significant oil paintings. He was influenced by his uncle and eminent artist, Arthur Hughes who was associated with the Pre-Raphaelite Brotherhood, and worked closely with one of the Brotherhood's founders, William Holman Hunt. Having settled on his career choice, Edward Robert Hughes attended Heatherley's in London to prepare himself for the chance of auditioning for the Royal Academy School. Hughes became a student at the Royal Academy School in 1868. While Pre-Raphaelitism played an influential part in shaping Hughes work, Aestheticism is also seen in his paintings. E.R.Hughes is widely known for his works Midsummer Eve and Night With Her Train of Stars yet he built a career as a portrait painter to the upper classes. In addition to being an accomplished artist himself, E.R.Hughes was also a studio assistant to the elder artist and Pre-Raphaelite Brotherhood founding member William Holman Hunt when Hunt suffered from glaucoma. Two of the paintings that Hughes worked on with Hunt were The Light of the World, which is displayed in St Paul's Cathedral, and The Lady of Shalott, which is exhibited at the Wadsworth Atheneum. On his own he experimented with ambitious techniques and was a perfectionist; he did numerous studies for many of his paintings, some of which turned out to be good enough for exhibition. Hughes held several important offices within the artistic community over his lifetime such as becoming a member of the Art Workers Guild in 1888, and was on their committee from 1895 to 1897. He was elected to Associate Membership of The Royal Water Colour Society (ARWS) on 18 February 1891, and he chose as his diploma work for election to full membership a mystical piece (Oh, What's That in the Hollow?) inspired by a verse by Christina Rossetti entitled Amor Mundi. His painting A Witch was given by the Royal Watercolour Society to King Edward VII and Queen Alexandra to mark the coronation in 1902. In later years Hughes served as the Vice-President of the RWS before leaving in 1903. Throughout his career, E.R.Hughes exhibited his works in several galleries around London: Dudley Gallery, Grosvenor Gallery, New Gallery, The Royal Academy, and toward the end of his career he exhibited with The Royal Society of Painters in Water Colours (RWS). His works can be seen in public collections including Cartwright Hall, Bradford, Cambridge & County Folk Museum, Maidstone Museum & Art Gallery, Bruce Castle...

This lovely oil painting is by noted 19th century born Wolverhampton artist Joseph Vickers De Ville. The Wolverhampton gallery is home to many of his works, some of which are usually...

This superb RSA exhibited Scottish Edwardian interior oil painting is by Glasgow Boy artist Alexander Ignatius Roche. It was painted circa 1914 when Roche was living at 8 Royal Terrace, on Calton Hill, a very prestigious property in Edinburgh, now the Halcyon Hotel. The painting is a view of Roche's studio, quite possibly one of the rooms at the above address. The painting was exhibited at the Royal Scottish Academy the following year, no. 333 entitled The Studio. The painting shows Roche beneath the vast window in his studio against a red wall that meets pale floorboards. Various items and furniture are scattered about. The balance of the white window and pale floorboards with the red wall intersecting is perfect. A really lovely example of this great Glasgow Boy artist's work and a very personal piece showing his inner sanctum. Signed lower right. Provenance. Exhibited at the Royal Scottish Academy 1915 no. 333, entitled The Studio. Condition. Oil on canvas, 24 inches by 20 inches and in good condition. Frame. Housed in a gilt frame, 32 inches by 28 inches and in good condition. Alexander Ignatius Roche RSA NEAC RP (1861-1921) was a Scottish artist in the late 19th century and an important figure in the “Glasgow Boys. He was born in the Gallowgate in Glasgow, the son of a milliner, Alexander Roche. He attended St Mungo’s Academy in Bridgeton, Glasgow. He originally trained as an architect, but then changed to art, studying at the Glasgow School of Art and, from 1881, at L’Ecole des Beaux Arts in Paris. Here he studied under Gustave Boulanger and Jean-Leon Gerome. In his time here he befriended William Kennedy, John Lavery, Thomas Millie Dow and William Stott. In the early 1880s he joined a colony of Scots artists in Grez-sur-Loing south of Fontainebleau. On his return to Scotland in 1885 he joined with the Glasgow Boys working on murals for the 1888 International Exhibition. In 1888 he travelled to Capri where he befriended Fabio Fabbi and Harold Speed. In following years he visited both Venice and Florence, and married an Italian girl on the latter trip. This marriage was short-lived and they separated. As both were Catholics there seems to have never been any divorce. In 1896 he moved from Glasgow to Edinburgh and began to distance himself from the Glasgow Boys. His work drifted from largely landscape to portraits. In 1906 he remarried (possibly bigamously), to Jean Alexander, daughter of Robert Alexander. During this period they enjoyed the friendship of Joseph Crawhall...

This charming Scottish Victorian oil painting is by noted Scottish artist Patrick William Orr. Painted circa 1880, this marine portrait is of two fishermen sailors at sea, sorting th...

An intriguing 1930's Art Deco Slade School oil on canvas painting. The work depicts a mother and child bathing, surrounded by other bathers. It possibly has religious overtones. This...

An original French Impressionist oil by Scottish artist Alexander Jamieson. This painting is one of his best and dates to 1922. It is a fine example of an early 20th century Scottish...

A fine oil on panel by noted British listed artist Harold Speed. It depicts a scene in Wassen in the Swiss Alps and was painted in an impressionist style in 1894. The use of light is...

This lovely historically interesting British marine oil painting is by Newcastle artist Joseph Henry Kirsop. Painted in 1914, the location of the painting is the port of Newcastle up...

Rupert Shephard, Slade School trained and Euston Road artist painted this lovely British city landscape. Painted in 1945, it depicts Battersea park in London and the view shows the ...

A Welsh artist, Morgan studied at Cardiff College of Art under Ceri Richards. He was a renowned imaginative artist and friend of Cedric Morris. He was influenced by the Benton End ar...

This lovely British 19th century watercolour landscape painting is by highly regarded and much exhibited artist, Edward Richardson. The artist was noted for his British and European ...

This superb floral still life oil painting is by Scottish artist David Alison. Painted circa 1930 it is an arrangement of pink roses in a glass vase on a table. The darker background...

This lovely city landscape oil painting is by noted British artist Dennis Gilbert. Painted in 1970 from an elevated perspective, the composition is of Richmond Bridge, spanning the River Thames. The large building on the right of the bridge in the foreground is now the Pitcher and Piano pub. Numerous figures can be seen going about their daily lives in the sunshine. Beyond that the Thames flows under the bridge with several boats and rowers and a surprisingly green and tree populated London sprawls on in the background. This is a charming detailed painting of a grand old bridge and its surrounding making London look very appealing. Richmond Bridge is an 18th-century stone arch bridge that crosses the River Thames at Richmond, connecting the two halves of the present-day London Borough of Richmond upon Thames...

An original oil on canvas by Ernest Burnett Hood which depicts a Glasgow industrial seascape marine with boats under a bridge. Very atmospheric this stunning work was exhibited at The Glasgow Art Club. The oil is signed lower right and dates to 1970. Provenance. The Glasgow Art Club, label verso. Condition. Large oil on canvas, image size is 36 inches by 30 inches and in fine gallery condition. Housed in a gallery frame in excellent condition. Framed size is 42 inches by 36 inches. Ernest Burnett Hood (1932-1988) - born Edinburgh. Painter in oil and watercolour of industrial landscapes and topographical scenes, occasional portraits, still life and scenes from opera: also aquatintist and lithographer. Educated in Glasgow. After being apprenticed to a lithographer studied Glasgow School of Art where he was befriended by William and Mary Armour...

This gorgeous Art Deco portrait oil painting is by British female artist Elsie March. Elsie was one of 9 siblings, eight of whom became artists. Although Elsie later went on to focus...

A fine large oil painting by John Bulloch Souter. This is a super evocative oil on canvas depicting a scene in Madrid and was painted in 1921. It is housed in its original gilded oak...

A stunning British RA exhibited still life oil painting by artist Mary Kent Harrison who exhibited throughout her career. This stunning oil is a bold, adventurous and confident still...

This captivating post-Impressionist portrait is by American artist David L Swasey circa 1953. The painting depicts a seated woman, turning to look at the artist with stunning blue ey...

An original large abstract oil on canvas by British Canadian artist William John Bertram Newcombe. This stunning abstract expressionist oil in blues and greys is a bold, adventurous ...

This charming British portrait oil painting is by female artist Dod Procter. It was painted in 1949 and exhibited at the Royal Academy London the same year. The painting is of a litt...

This charming Flemish genre oil painting is attributed to Ferdinand de Braekeleer the Elder. Painted circa 1850 it is a fine realist genre scene of the interior of a school room, a t...

An original watercolour dated 1881 of Venice from the lagoon with boats and the Doges Palace in the distance. Painted by Robert Weir Allan who was a well travelled Scottish artist an...

An original large abstract oil on canvas by British Canadian artist William John Bertram Newcombe. This stunning abstract expressionist oil painting is a bold, adventurous and conf...

A large oil on canvas by noted abstract landscape artist Lawrence Self. Painted circa 1970 this is a fine large oil of an Essex landscape. A superb painting with lovely brushwork and...

This striking conceptual abstract oil painting is by British artist Penelope Ellis. It was painted in 1963. A superb image and ahead of the conceptual ideas of the swinging sixties a...

Newlyn School, circle of Frank Bramley is the attribution for this lovely Victorian portrait oil painting. Painted circa 1890 on panel, it is a head and shoulders portrait of a young girl in a straw hat...

This superb oil painting of horses is by Scottish female artist Doris Zinkeisen. Painted circa 1960 the composition has six horses in a landscape. There is great impasto and brushwor...