London - Art

Oil on canvas Canvas size: 17 x 14 inches Framed size: 18 x 21 inches Signed lower right

Jacob THOMPSON (1806 – 1879) Deer by the Banks of a Lake 1842 oil on canvas 18.9 x 27.6 inches; 22.5 x 31 inches Inc. frame Jacob Thompson (1806–1879) was an English landscape-pa...

Saratoga Springs by Toni Frissell Saratoga Springs Race Course New York August 1960 Giant oversize 60 x 40" inches / 152 x 101 cm paper size Archival pigment print unframed (fr...

Sun Palm II by Stuart Möller A solitary palm tree in strong sunshine monochrome sepia. Giant Oversize 60x40" inches / 152 x 101 cm paper size editioned 1 of 5 only and signed on ...

The Night stands as one of the most iconic series featured in the upcoming Summer Exhibition UK, 2025—a luminous ground of new works we’re thrilled to present. Painted entirely en pl...

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...

Oil on oak panel Image size: 20 1/2 x 23 1/2 inches (52 x 60 cm) Hand made frame Herri Met de Bles, also known as Henri Blès, Herri de Dinant and Herry de ...

Colourfield by EDMUND DE WAAL (b. 1964) Ten glazed porcelain vessels Largest 9.2 high x 19.9 cm in diameter (3 ⁵/₈ x 7 ⁷/₈ inches) Impressed with the ar...

Hand-coloured portrait of a human larvae bursting out of their cocoon, immobilised in marble. Representative of a safe and isolating space, the cocoon is both a cage and a shelter. This tale is a​ study of transformation, of breaking apart and coming back together as the larvae emerges from the silken threads. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). During the beginning of the 'Museum Age' in the 18th century , writer Johann Wolfgang Von Goethe discussed mythical sculpture...

Based in his homeland of Australia, David has painted extensively throughout his travels in the United States and the UK, where he is regularly represented by select commercial galle...

Chandra - meaning the Hindu God of the Moon – as the image was taken in Sri Lanka. The image was first gilded with copper then that was rubbed back to reveal most of the glass, and t...

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...

MARC CHAGALL 1887 - 1985 [Shagal, Mark, Zakharovich, Moses] Vitebsk, Belarus 1887 - 1985 Saint-Paul-de-Vence (Russian/French) Title: The Rainbow, 1969 Technique: Original Ha...

To see our other Modern British Art, and our other Peter Collins Holiday Brochures from Majorca, Lloret and other resorts, scroll down to "More from this Seller" and below it click o...

Carl Haag 1820 - 1915 One of the Howling Dawashes in Cairo Watercolour on paper, signed lower right & dated 1880 Image Size: 10 5/8 x 7 3/4 inches (27 x 19.5 cm) Original Frame 'One...

Civilised Snooze 1955 - Slim Aarons Estate Stamped Photographer Slim Aarons slouches in a chair with the Acropolis and its surroundings as a backdrop 20 x 20" inches / 51 x 51 cm p...

This stunning Original Diptych paintings by Shizico Yi on Canvas includes: Blue Serie- Foxgloves Blue in Pink Blue Serie- Foxgloves Blue in Yellow these are a part of Shizico Yi's Su...

This artwork presents a striking composition of simplicity and contrast. Dominating the scene, a vibrant pink house stands solitary amidst an expansive, golden-yellow field. The fiel...

Superluminal #44 is part of a series of abstract paintings made up of acrylics, inks, fluid paint and glitter. In astronomy superluminal motion is travelling faster than the speed of...

Lithograph in colours based on the cut-out of the same title, 1952 From 'Verve' Magazine Volume IX, Nos 35 & 36: 'Dernières Oeuvres de Matisse 1950-54' Pr...

Oil on board, signed and dated '1974' lower right Image size: 31 x 48 inches (79 x 122 cm) June 1987 Exhibition label on verso Original frame Provenance The Artist's Estate Exhibited "Raymond Booth, A Memorial Exhibition", The Fine Art Society, London, 12th August - 9th September 2016, no.62 "Raymond Booth, In the Wild", The Fine Art Society, London, 02 May -29 May 2017, No. 11 Booth was above all a great recorder of the natural world who could translate his observations of the Yorkshire countryside, its fauna and flora, into compositions of a beauty and intensity rivalling the greatest of his Victorian predecessors. This intense, yet intimate, landscape depicts a section of woods around Booth's home in Alwoodley, Leeds, where he spent much of his time. Here Booth has worked slowly to develop the densely worked, close-up, landscape in which the woodland and meadows have acquired a poetic quality through his sensitivity to season, weather and time of day. Raymond Charles Booth Intensely private, and possessing an obsessive work ethic and passion for the natural world, Raymond Booth earned a reputation as one of the greatest botanical painters and illustrators, despite rarely leaving his Yorkshire home. Eschewing the more fashionable modernist principles of the early mid-twentieth century, he instead produced beautiful, intense compositions in oil of British flora and fauna, that rival the very finest Victorian followers of the genre. Raymond Booth was born in Wetherby, West Yorkshire, on 8 August 1929, to John Booth, a member of the local police force, and his wife Margaret Edna. When Raymond was still a young child, the family moved from their first home in the crowded streets of central Leeds, to Fearnville Place, in the leafy suburb of Roundhay. His father was a keen rambler and impressed upon Booth from an early age a respect and understanding for the British countryside. Just a short walk from his childhood home was Roundhay Park, the second largest urban park in Europe, comprised of over 700 acres of parkland, lakes and woodland. It is likely that growing up so close to such an environment had a profound influence on him, helping to develop what would become a lifelong obsession with natural world. Booth’s early passion for nature was surely heightened by the number of summer holidays he spent on an estate near Winterslow, Wiltshire, where an uncle worked as a gamekeeper. In 1946, at the age of 17, Booth won a scholarship to study at Leeds College of Art. However, his studies were put on hold during two years of National Service, which he spent largely with the RAF in Egypt, guarding the Suez Canal. He returned to Leeds College in 1949, graduating in 1953. While at Leeds College, he had frustrated his teachers and fellow students by insisting on working in a more traditional, precise style, and rejecting the more Modernist principles that were being promoted. As a result, his teachers convinced him that he was unlikely to earn a living as an artist, and encouraged him instead to study for a teaching diploma. Shortly after graduation however, he was diagnosed as suffering from tuberculosis, a consequence of his time in Egypt, and was admitted to a sanatorium, where he would stay for the next six months. Years later, Booth would joke ‘I am one of the few people who can say, “Thank God for TB”’ (The Times obituary, 9 September 2015), as his months of recuperation gave him countless hours to develop his skills as a botanical artist. This enforced focus on his work gave him the confidence to submit a number of his drawings to a botanical art exhibition in London organised by the Royal Horticultural Society. These works attracted the attention of a number of prominent horticulturalists, including Dr Harold Fletcher, the director of the RHS’s gardens at Wisley, Sir George Taylor...

La Seine à Paris by Armand Guillaumin (1841-1927) Oil on canvas 45.3 x 61 cm (17 ⁷/₈ x 24 inches) Signed lower right, A Guillaumin Executed circa 1874 Literature: G. Serret & D. Fab...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Bursting with life and energy, New Beginnings is a vivid celeb...

80 x 94 cms (31.5 x 37 ins) Edition of 100

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Sherbert Sky" bursts with joyous colour and sweeping energy, a...

Screenprint in colours, 1997, on White Lana mouldmade paper, signed and dated in pencil, 69th from edition of 75 (there were also 15 artist’s proofs), printed by Tyler Graphics, Ltd....

Princess Caroline Of Monaco 1981 - Slim Aarons Estate Stamped Princess Caroline of Monaco in the winter-garden room of her house on the palace grounds, Monte Carlo, Monaco, August 1...

The Japanese film poster for Star Wars Return of the Jedi, featuring very cool artwork by acclaimed Tokyo born illustrator Kazuhiko Sano. Actual poster size is 20 1/4 x 28 3/4 inch...

Colen Campbell (1676-1729) Althrop Hall in Northamptonshire the Seat of the Rt Honourable The Earl of Sunderland & co. 35x50cm Engraving (1715-1725) from 'Vitruvius Britannicus, or the British Architect...' Althorp Hall - as it is now written, but still pronounced 'Althrop' - is the seat of the Earl Spencer and the location of the grave of Diana, Princess of Wales...

Based in his homeland of Australia, David has painted extensively throughout his travels in the United States and the UK, where he is regularly represented by select commercial galle...

Edition of 40. Archival Fine Art Giclée Print available 75 cm x 60 cm : £800 Hugh Turvey is a British artist and photographer who uses x-ray technology t...

Dinner Jazz American Jazz trumpeter and singer Louis Armstrong enjoys a plate of spaghetti in Rome. Paper size 20 x 20" inches / 51 x 51 cm Estate Stamped Collection Edition to...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Breaking Through" by Bill Bate is a compelling original figur...

Linder Soul Meets Soul on Lovers' Lips, 2025 Giclee print on 310gsm Hahnemühle PhotoRag Bright White archival pure cotton paper Edition of 75 hand-signed and numbered by the artist ...

Leisure And Fashion 1961 by Slim Aarons Slim Aarons Limited Estate Edition A woman watching a poolside fashion show at the Colony Hotel, Palm Beach, Florida, 1961. unframed c typ...

Edition of 60 71 x 79 cms (28 x 31 ins)

Framed Size - 84 x 84 cm Inspired by the stunning Jurassic coastline and the rolling hills of Somerset and Dorset, Katie Brent works expressively with a variety of mediums: oils, ac...

David Shrigley Hiss, 2023 27 3/5 × 19 7/10 in / 70 × 50 cm Limited Edition of 350 published by Shrig Shop

Christopher Rainham has always been inspired by the natural world and more specifically an experience of the natural world. He is inspired by the way flora and fauna are woven into l...

Keng Wai Lee is a painter trained to a high level. Keng Wai Lee’s gorgeously rich nature impressions are a synergy of decorative tableaux and depiction in paint on canvas of his memo...

'Small Boat and Bather in Dinard', gouache and charcoal on art paper, by French artist, Jean Pons (1961). Painted in a naïve style, the piece dep...

This original lithograph in colours is hand signed in pencil by the artist "Miró" at the lower right corner. It is also hand numbered in pencil from the edition of 125, at the lower ...

Mixed metal multiple with lightbulb, 1990, signed in black ink, dated, numbered from an edition of 91 unique works, published by Edition Mönchehaus-Museum, Goslar, Germany, height: 5...

'Palm Beach Ladies' 1964 Slim Aarons Limited Estate Edition Print American socialite Wendy Vanderbilt (right) and another woman wearing Lilly Pulitzer ...

The first Playboy Club in London opened in 1965, following legalisation of gambling in the United Kingdom. Herrmann was dispatched by the Sunday Times to take fly-on-the-wall documen...

Framed Size - 43.7 x 45.7 cm Inspired by the stunning Jurassic coastline and the rolling hills of Somerset and Dorset, Katie Brent works expressively with a variety of mediums: oils...

Sir George Harvey was a prominent Scottish painter, born on 1 February 1806 in St Ninians (now Stirling), the son of a watchmaker. Although he initially apprenticed as a bookseller i...

Jayne Mansfield Casino 1955 by Frank Worth This action shot features bombshell star Jayne Mansfield playing roulette in Las Vegas circa 1955 Captured by celebrity photographer Fr...

Yayoi Kusama, Pumpkin Cast Resin Figure - Red, Yellow, 2015 The nine decades of Yayoi Kusama's life have taken her from rural Japan to the New York art scene to contemporary Tokyo, ...

“Last of the Showers” by Harry Brioche is a mesmerizing original realist landscape painting that captures a moment of calm after the storm. With expert use of oil on board, Brioche c...

Steam Train Press, Wyoming, 1954 - Elliott Erwitt (Black and White Photography) Signed, inscribed with title and dated on accompanying artist’s label Silver gelatin print, printed la...

William Huggins (1820 - 1884) A lion and a lioness in a landscape Oil on panel  Signed and dated, lower right: 'Huggins 1847' With gallery and exhibition labels, verso Provenance: ...

Sir Henry Raeburn (1756-1823) James Sinclair, 12th Earl of Caithness (1766-1823) Oil on Canvas 30 X 25 inches Unframed 37 X 32 inches framed Sir Henry Raeburn FRSE RA RSA (4 March 1756 – 8 July 1823) was a Scottish portrait painter and Scotland's first significant portrait painter since the Union to remain based in Scotland. He served as Portrait Painter to King George IV in Scotland. Raeburn was born the son of a manufacturer in Stockbridge, on the Water of Leith: a former village now within the city of Edinburgh. He had an older brother, born in 1744, called William Raeburn. His ancestors were believed to have been soldiers, and may have taken the name "Raeburn" from a hill farm in Annandale, held by Sir Walter Scott's family. Orphaned, he was supported by William and placed in Heriot's Hospital, where he received an education. At the age of fifteen he was apprenticed to the goldsmith James Gilliland of Edinburgh, and various pieces of jewellery, mourning rings and the like, adorned with minute drawings on ivory by his hand, still exist. Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught. Gilliland watched the progress of his pupil with interest, and introduced him to David Martin, who had been the favourite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Raeburn was especially aided by the loan of portraits to copy. Soon he had gained sufficient skill to make him decide to devote himself exclusively to painting. George Chalmers (1776; Dunfermline Town Hall) is his earliest known portrait. In his early twenties, Raeburn was asked to paint the portrait of a young lady he had noticed when he was sketching from nature in the fields. Ann was the daughter of Peter Edgar of Bridgelands, and widow of Count James Leslie of Deanhaugh. Fascinated by the handsome and intellectual young artist, she became his wife within a month, bringing him an ample fortune. The acquisition of wealth did not affect his enthusiasm or his industry, but spurred him on to acquire a thorough knowledge of his craft. It was usual for artists to visit Italy, and Raeburn set off with his wife. In London he was kindly received by Sir Joshua Reynolds, the president of the Royal Academy, who advised him on what to study in Rome, especially recommending the works of Michelangelo, and gave Raeburn letters of introduction for Italy. In Rome he met his fellow Scot Gavin Hamilton, Pompeo Girolamo Batoni and Byers, an antique dealer whose advice proved particularly useful, especially the recommendation that "he should never copy an object from memory, but, from the principal figure to the minutest accessory, have it placed before him." After two years of study in Italy he returned to Edinburgh in 1787, and began a successful career as a portrait painter. In that year he executed a seated portrait of the second Lord President Dundas. Examples of his earlier portraiture include a bust of Mrs Johnstone of Baldovie and a three-quarter-length of Dr James Hutton: works which, if somewhat timid and tentative in handling and not as confident as his later work, nevertheless have delicacy and character. The portraits of John Clerk, Lord Eldin, and of Principal Hill of St Andrews belong to a later period. Raeburn was fortunate in the time in which he practised portraiture. Sir Walter Scott, Hugh Blair, Henry Mackenzie, Lord Woodhouselee, William Robertson, John Home, Robert Fergusson, and Dugald Stewart were resident in Edinburgh, and were all painted by Raeburn. Mature works include his own portrait and that of the Rev. Sir Henry Moncrieff Wellwood, a bust of Dr Wardrop of Torbane Hill, two full-lengths of Adam Rolland of Gask, the remarkable paintings of Lord Newton and Dr Alexander Adam in the National Gallery of Scotland, and that of William Macdonald of St Martin's. Apart from himself, Raeburn painted only two artists, one of whom was Sir Francis Leggatt Chantrey, the most important and famous British sculptor of the first half of the 19th century. It has recently been revealed that Raeburn and Chantrey were close friends and that Raeburn took exceptional care over the execution of his portrait of the sculptor, one of the painter's mature bust-length masterpieces. It was commonly believed that Raeburn was less successful in painting female portraits, but the exquisite full-length of his wife, the smaller likeness of Mrs R. Scott Moncrieff in the National Gallery of Scotland, and that of Mrs Robert Bell, and others, argue against this. Raeburn spent his life in Edinburgh, rarely visiting London, and then only for brief periods, thus preserving his individuality. Although he, personally, may have lost advantages resulting from closer association with the leaders of English art, and from contact with a wider public, Scottish art gained much from his disinclination to leave his native land. He became the acknowledged chief of the school which was growing up in Scotland during the early 19th century, and his example and influence at a critical period were of major importance. So varied were his other interests that sitters used to say of him, "You would never take him for a painter till he seizes the brush and palette." In 1812 he was elected president of the Society of Artists in Edinburgh; and in 1814 associate, and in the following year full member, of the Royal Scottish Academy. On 29 August 1822 he was knighted by George IV and appointed His Majesty's limner for Scotland at the Earl of Hopetoun house. He died in Edinburgh. Raeburn had all the essential qualities of a popular and successful portrait painter. He was able to produce a telling and forcible likeness; his work is distinguished by powerful characterisation, stark realism, dramatic and unusual lighting effects, and swift and broad handling of the most resolute sort. David Wilkie recorded that, while travelling in Spain and studying the works of Diego Velázquez, the brushwork reminded him constantly of the "square touch" of Raeburn. Scottish physician and writer John Brown wrote that Raeburn "never fails in giving a likeness at once vivid, unmistakable and pleasing. He paints the truth, and he paints it with love". Raeburn has been described as a "famously intuitive"portrait painter. He was unusual amongst many of his contemporaries, such as Reynolds, in the extent of his philosophy of painting directly from life; he made no preliminary sketches. This attitude partly explains the often coarse modelling and clashing colour combinations he employed, in contrast to the more refined style of Thomas Gainsborough and Reynolds. However these qualities and those mentioned above anticipate many of the later developments in painting of the 19th century from romanticism to Impressionism. Sir Henry Raeburn died in St Bernard's House (17 St Bernards Crescent), Stockbridge, Edinburgh. He is buried in St. Cuthbert's churchyard against the east wall (the monument erected by Raeburn in advance) but also has a secondary memorial in the Church of St John the Evangelist, Edinburgh. James Sinclair, 12th Earl of Caithness was born at Barrogill Castle (Castle of Mey) on 31 May 1766. He was the son of Sir John Sinclair of Mey, Baronet who he succeeded in the baronetcy in 1774. He succeeded as 12th earl of Caithness in 1789. He was lord-lieutenant of the county of Caithness and lieutenant-colonel of the Ross-shire militia. He married at Thurso Castle on 2 January 1784 Jane, second daughter of Alexander Campbell...

A Still Life of Turtles, An Eel, Pike, Lobsters and other Fish on the Shore, A Ship in the Stormy Seas Beyond Signed and dated lower left 1640 Inscribed with inventory number lower right: no. 44 Oil on canvas Framed 29.5 x 37.9 inches Provenance Anonymous sale, London, Sotheby's, 15 April 1999, lot 87, (as 'Circle of Giuseppe...

NOZEMAN, Cornelius and Jan Christian SEPP. A Group of Four Birds Nests: NIDUS ARDEAE, Nycticoracis; NIDUS PLATALEA, Leucorodia; NIDUS ARDEAE STELLARIS and NIDUS PELECANI, Carbonis f...

Poppy No.6 printed on archival Hahnemühle Photo Rag Baryta fine art paper, this limited edition piece measures 100x 125 cm and is part of an exclusive series of 10 prints, each hand-...

Cherry Kate by BATIK BATIK is an increasingly collectable pop artist currently living and working in London. The artist is purposely elusive with their true identity, sex and age ...

The dramatic luminescence of Bill Bate’s other-worldly figures are evocative, atmospheric and mesmerising. From the depths of the ocean to celestial heights, the rich pigmentation o...

Richard Prince, The Greeting Card Jokes #1: The Fireman, 2011 As new condition, never framed or displayed. Hand signed and numbered by the artist, verso. Private collection (UK). Signed and numbered by artist in ink on interior of card. From a limited edition of 100. Edition 91/100 6.25 x 8.5 in (15.9 x 21.6 cm) Notes: Incorporating jokes reflective of the “borscht belt” humor prevalent in the 1950's, Prince's Joke works tap into social preoccupations of the national subconscious. Prior to Prince's use of the jokes, many had infiltrated popular culture, gradually losing their original authors to become adopted by a largely oral tradition. Beginning in 1984, Richard Prince began assembling one-line gag cartoons and ‘borscht belt’ jokes from the 1950's which he redrew onto small pieces of paper. "Artists were casting sculptures in bronze, making huge paintings, talking about prices and clothes and cars and spending vast amounts of money. So I wrote jokes on little pieces of paper and sold them for $10 each". Following the hand-written jokes and subsequent works in which cartoon images were silk-screened onto canvas, in 1987 Prince adopted a more radical, formulaic strategy of mechanically reproducing classic one liners and gags onto a flat monochrome canvas. Richard Prince's work has been among the most innovative art produced in the United States during the past 30 years. His deceptively simple act in 1977 of rephotographing advertising images and presenting them as his own ushered in an entirely new, critical approach to art-making — one that questioned notions of originality and the privileged status of the unique aesthetic object. Prince's technique involves appropriation; he pilfers freely from the vast image bank of popular culture to create works that simultaneously embrace and critique a quintessentially American sensibility: the Marlboro Man...

Original handmade fibreglass relief sculpture from Ron Hitchins' own home. Uniquely handmade and signed by the artist. Part of a series of 3 (see our other listings for the other two...