London - Art

Down Stream is a limited-edition photograph by contemporary artist Luca Marziale. This photograph is sold unframed as a print only. It is available in only one dimension. There are...

White and blue, glazed, ceramic piggy bank. With rubber stopper, contained in the original cardboard box.

'Saint-Tropez Beach' 1971 Slim Aarons Limited Estate Edition Print The beach at Saint-Tropez, on the French Riviera, August 1971. Produced from the original transparency Certific...

'Paper flow' London, United Kingdom 2020. Limited edition of 20. Photograph printed on heavy-weight fine art paper. COA included.

'A Friendly Chat' A man wearing diving equipment talks with a girl in a wicker chair on the beach, Bahamas, 1967. Paper Size 24x20 inches / 60 x 5...

'Lounging In Gstaad' 1961 Slim Aarons Limited Estate Edition Print Holidaymakers in sun loungers on the slopes at at Gstaad, Switzerland, March 19...

Pine Sunset is a limited-edition photograph by contemporary artist Luca Marziale. This photograph is sold unframed as a print only. It is available in 2 dimensions: *50.8 × 76.2 cm...

Henri Matisse Repos sur la banquette 1929 Lithograph on Arches Velin paper, Edition of 50 Paper size: 49.5 x 65.5 cms (19 1/2 x 25 3/4 ins) Image size: 44.5 x 54.5 cms (17 1/2 x 21 1...

'Blue Seas' August 1984: Holidaymakers' yachts find a quiet haven off the Mediterranean island of Cavallo, Corsica. Paper Size 24x20 inches / 60 x 50 cm Estate Stamped Collec...

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Paysage d'Automne à Nesle la Vallée by Gustave Loiseau (1865-1935) Oil on canvas 65 X 81.2 cm (25 ⁵/₈ x 32 inches) Signed lower left, G Loiseau Executed in 1898 This work is accompanied by a certificate of authenticity issued by Didier Imbert. Painted in 1898 this oil landscape, shows Loiseau’s sophisticated approach to capturing rural landscapes. In both 1890 and 1896, Loiseau exhibited in the Impressionist exhibitions, with this piece proving indicative of the level of artistic maturity he had acquired towards the turn of the twentieth century. Provenance: Wally Findlay Galleries, Palm Beach ​Private collection, USA,​ acquired from the above in April 1975 Artist biography: Gustave Loiseau was born 3 October 1865 in Paris. A Post-Impressionist painter, he is remembered above all for his landscapes and scenes of Paris streets. Brought up in Paris and Pontoise by parents who owned a butchers shop, Loiseau served an apprenticeship with a decorator who was a friend of the family. In 1887, when an inheritance from his grandmother allowed him to concentrate on painting, he enrolled at the École des arts décoratifs where he studied life drawing. However, a year later he left the school after an argument with his teacher. While working as a decorator, Loiseau redecorated the apartment of the landscape painter Fernand Quignon (1854-1941). After he left the École des arts décoratifs, Quignon tutored him in painting. In 1890, he went to Pont-Aven in Brittany for the first time, fraternizing with the artists there, especially Paul Gauguin and Émile Bernard. After experimenting with Pointillism, he adopted his own approach to Post-Impressionism, painting landscapes directly from nature. His technique, known as en treillis or cross-hatching, gave his works a special quality. Loiseau first exhibited at the Salon des Indépendants in 1893 and at the Salon de la Société Nationale in 1895. He also exhibited at Impressionist exhibitions in 1890 and 1896. Loiseau's paintings, revealing his passion for the seasons from the beginning of spring to the harvests later in the autumn, often depict the same orchard or garden scene as time goes by. Series of this kind, which also include cliffs, harbours or churches, are reminiscent of Claude Monet. Although Loiseau did not complete many portraits, he often painted people at work: dockers together with their boats, villagers leaving a Sunday service in Brittany or arriving at the market in Pont-Aven, or even carriages in Paris driving across the Place de la Bastille and the Étoile. He is also remembered for his paintings of Paris streets...

Provence, France, 1955 - Elliott Erwitt (Black and White Photography) Signed, inscribed with title and dated on accompanying artist’s label Silver gelatin print, printed later Avail...

Children Water Skiing 1956 by Toni Frissell 12 x 16" inches / 30 x 41 cm paper size Archival pigment print unframed (framing available see example...

Equestrian Entrance Madame de la Haye-Jousselin on her horse at the gates to her chateau in Normandy. Paper size 40 x 40" inches / 101 x 101 cm...

'New England Skiing' 1955 Slim Aarons Limited Estate Edition Limited to 150 only Two women recline on improvised sun-beds in Cranmore Mountain, New Hampshire, circa 1955 (Photo by...

Engulfed is a limited-edition photograph by contemporary artist Luca Marziale. This photograph is sold unframed as a print only. It is available in 2 dimensions: *76.2 × 50.8 cm (3...

MELA MUTER 1876-1967 (Maria Melania Muter) Warsaw 1876 - 1967 Paris (Polish) Title: Port in Saint Tropez, 1920 Technique: Signed Watercolour and Ink on Thick Textured Card Size: ...

One of a series of designs we have listed for Geo. M Hammer. To see them - and our other architectural and design-related drawings, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. Donald L Hadden (British, 20th century) Design for a Pair of Marquetrie Panels for Geo. M Hammer with two dancing figures 23x31.5cm Watercolour signed and dated 1927 Hadden was a senior designer for Geo M Hammer, designers and retailers of school and ecclesiastical furniture. Their lift-top school desks are particularly well regarded, and always carried their brass name plate. Hammer were renowned for their interior woodwork, they were commissioned to undertake the choir stalls in Sir Basil...

Girl On The Beach 1947 Beachwear fashion shoot, 1947. by Toni Frissell 16 x 20" inches / 41 x 51 cm paper size Archival pigment print unframed (framing available see examples -...

"Eclipsed in Time" suggests a moment of transition, obscurity, or transformation—much like an eclipse where something is temporarily veiled yet still present. The title reflects the ...

'Nassau Sailing' A flotilla of yachts, at Nassau in the Bahamas, March 1971. Paper Size 24x20 inches / 60 x 50 cm Estate Stamped Collection Edition to 150 Photo by Slim Aaron...

Skiers At Verbier 1964: Skiers relax in deckchairs on the slopes at Verbier in Switzerland. 60x60” / 152 x 152 cm - paper size Estate Stamped Collection Edition to 150 Photo...

To see our other original vintage posters, 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 poste...

Limited Edition Beryl Cook's appeal was classless and she rapidly became Britain’s most popular artist. She was a ‘heart and soul’ painter, compelled to paint with a passion. Her pai...

Tracks In The Snow 1955 A skier weaves their way downhill, shot for Sports Illustrated, Davos and Zermatt, Switzerland, 1955 by Toni Frissell 48 x 72" inches / 121 x 182 cm paper...

To see our other original vintage travel posters, 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...

WEINMANN, Johann Wilhelm. Melons Hieronymous Lenzius, Regensburg, [1735]-1737-1745. attractive plates, being one of the earliest examples of colour printing. Johann Weinmann (168...

The Perfect Piste 1960 Two downhill skiers on powder snow, Zermatt, Switzerland, 1960. by Toni Frissell 48 x 72" inches / 121 x 182 cm paper size Archival pigment print unframe...

Watercolour with touches of bodycolour on buff paper, signed lower middle and inscribed and dated '1839' lower left Image size: 8 1/2 x 12 1/4 inches (22 x 31 cm) Acid free mount and period style gilt frame This original watercolour by Roberts depicts the temple at Baalbek with the ruined palace behind, seen from the opposite bank of a brook, where a group of figures are seated and kneeling around a table, with an arched bridge nearby. David Roberts was the first professional British artist to travel independently to the Middle East in 1838. He was the first British artist to draw the ruins of Ancient Egypt and Roberts produced a series of finished watercolours, including the painting, which he had worked up from sketches made during his tour. Like many British artists he used the familiar visual language of European landscapes to capture the unfamiliar scenery. By using architectural motifs to provide structure to compositions like this he is able to present a dramatic scene of classical grandeur, illuminated by sunlight complemented by a large area of shade in the foreground. The dramatic scene is enhanced by the three groups of figures, which convey the sense of scale. The figures also give the picture richer, darker and redder tones that contrast with the sandy colours of the architecture. This painting uses a lot of the essential ingredients that make up a picturesque scene: distant mountains, classical ruins and figures for human interest and to convey motion. Robert's Trip to Baalbek David Roberts visited Baalbek near the end of his travels around Egypt and the Middle East. Roberts and his party rode to the site of Baalbek on 2nd May in a heavy-rain storm. He was miserable, totally drenched and feverish. But the sight of the ancient Roman settlement rallied him. Despite his physical debilitation, 'I was... so much struck with the magnificence of the temple, that I could not resist visiting and examining it'. The storm then continued through the night, pummelling the traveller's tents. In the morning, Roberts felt extremely ill and sought the help of a Greek priest, who found him dry shelter in a cowshed. For the first time on his gruelling journey, Roberts devoted the whole day to bed rest. On May 4th, regaining some strength, Roberts explored the site. With obscure origins connected with the god Baal, the city of Baalbek had grown to importance in Hellenistic times, when it was known as Heliopolis ('The City of the Sun'). In the first century B.C. the Romans had established a cult of the Heliopolitan Jupiter there, and both Josephus Flavius...

Watercolour on paper Paper size: 4 x 5 inches Framed size: 19 x 19.75 inches PROVENANCE A gift from Joseph Mallord William Turner to Miss Amelia Hawksworth (later Mrs Hotham), niece of Walter Fawkes. The watercolour descended through the ownership of Amelia Hawksworth, daughter of Francis Fawkes ( Walter Fawkes's brother) who was the main compiler of the Ornithological Collection (Miss Hawksworth owned five other bird studies by Turner). Private collection, London LITERATURE: For similar works by J M W Turner see Anne Lyles, The Tate catalogue for the exhibition 'Turner and Natural History, The Farnley Project', 1988. The present watercolour was drawn circa 1815-1820 for Walter Fawkes of Farnley Hall, for his Ornithological Collection Volume IV. Between 1808 and 1824, Turner visited Farnley Hall in Yorkshire to stay with the Fawkes family. Turner felt at home at Farnley - the Fawkes daughters reminded him of his own. He helped illustrate a five volume ornithological scrap book for the Fawkes children, making watercolour studies of the birds for the children to stick in opposite the pages on which feathers from similar birds were attached. His bird portraits were most effective, most "life-like", when in fact the bird was dead ! His watercolours of a live robin and goldfinch have a more hesitant touch. At this time Turner enjoyed the patronage first of Edward Lascelles, the heir to Harewood, and after 1808, of the radical landlord Walter Fawkes of Farnley Hall, near Otley. He became a close friend of the Fawkes family with whom he stayed for most summers until 1824. The last owner of Old Farnley Hall was Francis Fawkes, a rich widower with no direct heirs. When Francis Fawkes died in 1786 he left the house to Walter Beaumont Hawksworth of Hawksworth Hall, on condition that Hawksworth adopt the Fawkes name by Royal Licence. Walter Fawkes brought in architect John Carr of York to make extensions to the house, but he died before the work was completed, and Farnley Hall was passed on to his son, also called Walter who also took the Fawkes name and was known as Walter Ramsden Fawkes. It was this Walter who was a great friend of J M W Turner. Anne Lyles has confirmed the attribution and writes: "Everything fits in relation to the style of the watercolour and most especially the provenance - in the Turner and Natural History exhibition catalogue of 1988 we know that Amelia Hawksworth (Mrs Hotham) owned three studies of birds' heads by J M W Turner (previously with the Maas Gallery, and numbers 36, 37 and 61 in that catalogue) as well as two studies of dead game by the artist (catalogue numbers 59 and 63, the latter untraced in 1988). Interestingly, catalogue numbers 36 and 37 (the Merganser and the Smew) seem also originally to have been intended for Volume IV of the Ornithological Collection - it is likely that the "Study of the Head of a Moorhen...

Tennis In The Bahamas Two women stand talking to a man on the edge of a tennis court in the Bahamas, circa 1957. Behind the main group stand a second group of people talking. Gorge...

Girl On The Beach 1948 Beachwear fashion shoot by Toni Frissell 40 x 30" inches / 101 x 76 cm paper size Archival pigment print unframed (framing available see examples - plea...

Water Skiing 1956 A waterskier contemplates the water, 1956. by Toni Frissell 40 x 30" inches / 101 x 76 cm paper size Archival pigment print unframed (framing available see ...

To see our other views of Oxford and Cambridge, 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 view you want. Mabel Oliver Rae (1868 - 1956) Queens' Bridge, Cambridge Etching 13 x 9 cm Titled lower left and signed lower right in plate, and again in pencil outside plate. The college's famed Mathematical Bridge, which reflects in the ruffled waters of the River Cam. Kate Hillman of the Cambridge University Engineering Department notes that: "One of the most recognisable structures on the Cam, Queens' College bridge was originally built in 1749 by James Essex the Younger. Since then it has been rebuilt twice to the original design of William Etheridge, once in 1866 and again in 1905. In 1866 the bridge deck...

The TASCHEN book on Annie Leibovitz is a tribute to the photographer's illustrious career, renowned for her intimate and iconic portraits of celebrities and cultural icons. From her ...

Swimwear 1946 Fashion shoot featuring a model in swimwear, 1946. by Toni Frissell 48 x 72" inches / 121 x 182 cm paper size Archival pigment print unframed (framing available ...

Oil on canvas Canvas size: 18.75 x 25 inches Framed size: 29.5 x 35.5 inches Signed and dated 1890 lower left

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Les Bords de l’Orne au Soleil Couchant by Paulémile Pissarro (1884-1972) Oil on canvas 54 x 65 cm (21 ¹/₄ x 25 ⁵/₈ inch...

Snowmass Gathering Two women, wearing brightly-coloured skiwear, stand in the foreground of a group of people attending a party in Snowmass Village, in Pitkin County, Colorado, in A...

This beloved painting marks Shizico Yi’s return to painting en plein air in her garden after a long, chilly winter and an unusually hot spring. At last, the weather softened—invitin...

Oil and Polyviny on board, signed on reverse Image size: 15 1/2 x 11 3/4 inches (39.5 x 30 cm) Original frame Exhibited Pictures for Scottish Schools, 1967 Elspeth Spottiswood Bo...

Harriet At Mougins Viscountess Harriet de Rosiere at Mougins, near Cannes in France. Paper size 12 x 12" inches / 30 x 30 cm Estate Stamped Collection Edition to 150 Photo by ...

'Hotel Du Cap-Eden-Roc' 1969 Slim Aarons Limited Estate Edition Print Waterskiing from the Hotel Du Cap-Eden-Roc in Cap d'Antibes, France, 1969. Produced from the original transpa...

Young boy by Max Band (1901-1974) Oil on canvas 81.2 x 54.4 cm (32 x 21³/₈ inches) Signed lower left Max Band Provenance Private collection, London

From a series of Bawden Cat illustrations we have listed. To see the others and our other Modern British Art, scroll down to "More from this Seller" a...

Big Jay McNeely, 1951 - Bob Willoughby (Portrait Photography) Archival pigment print Printed on 20 x 24 inch paper From an edition of 25 Also available in alternative sizes Bob ...

Damien Hirst (b.1965) Abacus - The Dream is Dead 2007 silver 14.5 x 14 x 21 cm incised, titled and numbered ‘Abacus Damien Hirst The Dream is dead 2/12’ (on the verso) edition 2/12 Price: $85,000 USD Provenance: White Cube, London Private collection, New York Sale: Christie’s London, 29 June 2011, lot 114 Private collection, London (acquired at the above sale) Notes: ‘I remember I was thinking that there were four important things in life: religion, love, art and science. At their best, they’re all just tools to help you find a path through the darkness. None of them really work that well, but they help. Of them all, science seems to be the one right now. Like religion, it provides the glimmer of hope that maybe it will be all right in the end.’ (D. Hirst, quoted in conversation with S. O’Hagan in New Religion Damien Hirst, exh. cat., British Council, London, 2006, p. 5) Born in 1965 in Bristol, Hirst grew up in Leeds and subsequently went to Goldsmith's College in London. Between 1988 and 1990 he curated a series of exhibitions of work by his contemporaries including the highly acclaimed group shows Freeze, Modern Medicine and Gambler. In his own work Hirst has continually challenged the boundaries between art, science, the media and popular culture. A 12-foot tiger shark, a cow and her calf sawn in two, pharmaceutical bottles...

'Checkered Flag' The checkered flag signals the end of the race during the 1963 Nassau Speed Week. 40 x 60" inches / 101 x 152 cm paper size Esta...

Alfred Daniels 1924 - 2015 Crews Training at Hammersmith Mixed Media, signed & dated lower left Image size: 56 x 76 cm Original frame

Swimming In The Bahamas 1959 by Slim Aarons Slim Aarons Limited Estate Edition Brightly coloured swimmers in a pool in Nassau on the island of New Providence in the Bahamas, 1959....

To see our other architectural drawings and watercolours, scroll down to "More from this Seller" and below it click on "See all...

'Porto Ercole' A jetty juts out from the rocky shoreline at the Hotel Il Pellicano in Porto Ercole, Tuscany, August 1973. Beautiful greens of the sea water contrast with the red and...

To see our other views of Oxford and Cambridge, 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 ...

A luxury house in South Africa with stairs leading to the swimming pool in the garden, 1958. Gorgeous print measuring a large 30 x 30" inches / ca 76 x 76 cm's. Estate Stamped Col...

'Harbour Isle Beach' 1973 Slim Aarons Limited Estate Edition Print Holidaymakers on the beach at Harbour Isle in the Bahamas, March 1973. Produce...

Half-Limousine coachwork design for an Austro-Daimler. Gouache and watercolour heightened with gum-arabic on very dark green card, annotated in pale ink with body type below, numbere...

Edition of 125 40 colour screenprint with hand applied 24-carat gold leaf on Somerset Tub Sized Satin White 410gsm. 76 x 60 cm (29.9 x 23.6 in) Signed and dated by the artist Chris...

Roquebrune-Cap-Martin 1981 by Slim Aarons Slim Aarons Limited Estate Edition The Monte-Carlo Beach Hotel on the Pointe de la Vieille in Roquebrune-Cap-Martin, southeastern France,...

To see our other views of Oxford and Cambridge, 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 view you want. Margaret Souttar...