London - Paintings

In his early years Colin Kent studied and worked as an architect. He was elected a member of the Royal Institute of Painters in Watercolours in 1971 and then became a full time paint...

Acrylic and oil on paper - Unframed In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and harmonies that emerge when structure meets intu...

Nicholas Thomas Dall (1706-1776) Bishopthorpe Palace Yorkshire Oil on Canvas 24 1/4 X 30 1/4 Provenance: Christie's New York: Friday, October 4, 1996 [Lot 00095] Sold for $10,350 ...

framed size: 95 x 95cm Ewa Adams is a landscape painter. Her painting is a contemporary take on Pointillism. She builds her images out of circles of pure colour juxtaposted next to ...

Oil on canvas Canvas size: 11.25 x 13 inches each Framed size: 18 x 20 inches each Signed lower right

Oil on paper - Unframed. In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and harmonies that emerge when structure meets intuition. Her ...

Pastel on paper - Unframed In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and harmonies that emerge when structure meets intuition. He...

Tim Fowler’s Pink Elephant is a striking, vibrant painting that explores bold contrasts and fluid abstraction within botanical forms. The composition features large, expressive leave...

"Florentine Expressions: A Portrait Series IV", oil on canvas, mounted on board, Florentine School (circa 1980s-90s). This gallery has acquired a number of paintings through an inter...

George Knapton 1698-1778 Portrait of a Girl Oil on canvas Image size: 20 x 18 inches Original giltwood frame This beautiful half length portrait  of a young woman, turned to left, gazing at the spectator, wearing a pink, white lace-embroidered, dress, in her hair a pink bonnet trimmed with lace to match her dress. The depiction of a young girl epitomises child portraiture of the late eighteenth century, in which painters such as William Beechey, Joshua Reynolds, Thomas Gainsborough had begun to discover and express the true character of children, in contrast to the stiff, miniature-adults of previous generations. The Artist Knapton was born in Lymington, one of four sons of James Knapton. He was apprenticed to Jonathan Richardson from 1715 to 1722, and in 1720 was a founding subscriber to the academy of St. Martin's Lane established by Louis Chéron...

Pen on tracing paper - Unframed. Richard Caldicott drawings have a minimal esthetic, an architectural character, created with only one or two lines. Pastel tones, softened colors, a...

Oil on canvas Canvas size: 30 x 50 inches Framed size: 38.25 x 58.25 inches Signed lower right

Executed with a palette knife, this painting by Henry Dawnay depicts the iconic King’s Road, with the Peter Jones, the famous superstore. The King’s Road was originally King Charles II’s private road, which he would use to travel between his palaces in St James’ and Hampton Court. Until the 1800s, access was only allowed for members of Royalty, courtiers and the aristocracy. The road become a hub of the Swinging 60s, with fashionistas, including the famous fashion designer Mary Quant, using it as a global hotspot. In the 1970s Led Zeppelin established their record label at number 484, and Vivian Westwood and Malcolm McClaren opened up their infamous ‘Sex’ clothing...

Oliver Messel 1904 - 1978 Portrait of a Young Man Oil on canvas, signed and dated 'Oliver Messel 1930' (on the stretcher) Image size: 30 x 25 inches (76.2 x 63.4 cm) Original frame Oliver Messel was born to Leonard and Maud Messel, née Sambourne, on the 13 January 1904 and was the youngest of three children. The family moved to Nymans, the Messel family home in Sussex, from nearby Balcombe in 1915. The house remained in the family until 1953 when it was bequeathed to the National Trust, following a fire in 1947 which destroyed a large portion of the house. The Messels originated from a line of German Jewish bankers on Leonard’s side, however, both family lines boast a number of artistic influences, including Maud’s father. Maud was brought up at 18 Stafford Terrace, Kensington (now known as the Linley Sambourne House Museum), amongst collections of antique porcelain and eighteenth-century furniture, and with a host of artistic visitors such as Henry Irving and Oscar Wilde. Oliver’s own upbringing appears to be influenced by his mother's, as the Messel family were also affiliated with artists and writers and were keen collectors of art, filling their home with textiles, paintings and collections of European and Asian fans from travels abroad. It was amongst such treasures that Oliver, Anne and Linley spent their childhood, in addition to the beauty of Nyman’s extensive gardens. Oliver was schooled at Eton but rather than going up to university was encouraged by family friends, gallery owner Archie Propert and painter and sculptor Glyn Philpot, to attend art school. In 1922 he enrolled at the Slade School of Fine Art in London, where he studied under Henry Tonks. Here, he met the artist Rex Whistler with whom he remained firm friends until Whistler’s death in WW2. Upon leaving the Slade in 1924 Oliver was apprenticed to the studio of portrait artist John Wells, where he learnt various Old Master painting techniques, and met artists such as Jacob Epstein, Augustus John and William Orpen. Whilst at the Slade Oliver developed his interest in Papier Mâché masks, a pastime popular amongst many art students at the time. Whilst apprenticed to artist John Wells several of Oliver’s masks were exhibited at the Claridge Gallery, London, alongside pieces by Whistler and other young artists. These were seen by Serge Diaghilev, director of the Ballet Russes, and Charles B. Cochran, a theatrical producer, both of whom made Oliver offers of work. His first job in the theatre was creating masks for the Ballets Russes’ Zéphyr et Flore, 1925, designed by the French artist Georges Braque, followed by numerous musical revues for Cochran, including Wake Up and Dream!, 1929, with music by Cole Porter. It was during these revues, working with Porter and Noel Coward, that Oliver also began to design headdresses and costumes. In 1932 he was rewarded with his first full commission to design both costume and sets for Helen!, directed by Max Reinhardt. The production design is still celebrated today for its innovative approach and ground-breaking ‘white on white’ aesthetic, which referenced ‘Greek temples, Rococo drapes, Baroque colonnades and Louis XIV carousels’. The success of Helen! led to further offers within the theatre including Reinhardt’s version of A Midsummer Night’s Dream at the Old Vic in 1937, starring Vivien Leigh as Titania and Robert Helpmann as Oberon, the Jean Cocteau play The Infernal Machine in 1940, and Christopher Fry’s translation of Jean Anouilh’s Ring Round the Moon, 1950. One of Oliver’s best-known productions during this period was the Russian ballet The Sleeping Beauty, performed by Sadler’s Wells Ballet in 1946 at the Royal Opera House, Covent Garden. Encompassing over 200 costumes and four set changes, Oliver’s romantic designs were celebrated for bringing colour back to post-war London, and variations on his designs are still used today. Additional designs for the ballet included Comus in 1940, for which he was released from war duties, and Homage to the Queen, choreographed by Frederick Ashton and performed in 1953 for the Queen’s coronation. His first opera was in 1940 for Mozart’s Die Zauberflöte at the Royal Opera House, followed by a series of productions at the newly founded Glyndebourne Opera House in Sussex, for which Oliver also designed the proscenium arch. He triumphed in 1956 designing a season of four different productions for their Mozart bicentennial, also providing illustrations for the programme covers. His popularity also spread beyond theatre to film, were he worked on over eight different feature films including Romeo and Juliet, 1936, directed by George Cukor. During a three-month research trip to Italy Oliver collected over 3,000 reference images including postcards of artwork by Piero della Francesca, Giovanni Bellini and Leonardo da Vinci, along with prints and photographs of textiles and architectural features. A production of Gabriel Pascal’s Caesar and Cleopatra, 1946, starring Vivien Leigh and Claude Rains, was celebrated for Oliver’s ability to recreate the opulence and luxury of ancient Egypt under the constraints of wartime rationing. Such was his skill that Vivien Leigh in a letter to Oliver declared that “I have of course told Pascal that nobody in the world must do the costumes except you.” He was later nominated for an Academy Award for his work on his final film Suddenly, Last Summer, 1959; an adaptation of Tennessee Williams’ American Southern Gothic mystery. Having started his artistic career as a portrait apprentice, capturing the faces of family and friends, Oliver continued to develop this practice until the end of his life.  His style is said to have been influenced by Glyn Philpot, the Messel’s family friend who encouraged Oliver from an early age in his pursuit of art and design. His most prolific period came in the 1950s during which he produced over 50 portraits, which were shown in exhibitions in New York, London and Barbados. The exhibitions included both well-known faces and anonymous sitters captured on Oliver’s travels, and a number of these works have entered private collections. He continued to paint after moving to the Caribbean in 1966, capturing society figures and the rich and famous including fashion designer Carolina Herrera and Bianca Jagger. His style remained unchanged throughout his career, using the same soft painterly strokes and subtle palette as in his theatre designs. By far his greatest contribution in addition to theatre and film was Oliver’s interior and architectural designs. Another, much celebrated commission included Rayne shoe shop in Old Bond Street, where he created jewel-like interiors using the same practice of scaled models as his set designs. Other notable interior designs include those for Norwich and Bath Assembly Rooms, Flaxley Abbey in Gloucestershire, Rosehill Theatre in Cumbria and the Reader’s Digest offices in Paris. However, upon moving to Barbados in 1966, Oliver embraced a new career envisioning architectural concepts for private houses, hotels and public buildings, utilising his experience with interior design to furnish them with bespoke items of furniture and textiles. His first project was Maddox, the deserted eighteenth-century plantation house bought by himself and his partner Vagn Riis-Hansen in 1964. The existing building and gardens were remodelled to Oliver’s designs embracing an inherent theatricality with views out to sea. These were framed by terraces and verandas which extended out from the living rooms creating what is often referred to as a Caribbean style of ‘indoor-outdoor’ living. For the woodwork he used a shade of green that is now known as ‘Messel green’ and often associated with the island of Barbados. Oliver was born into a wealthy family; he travelled extensively and was exposed to art and culture from a young age. A privileged youth, his name is often mentioned amongst the ‘Bright Young Things’, for whom costume parties at country houses and jaunts to Europe on a whim became a thing of fable. This informal group included people such as Cecil Beaton (a life-long friend whom Oliver first met at Eton), Lord Berners, Noel Coward, John Betjeman, Harold Acton, Nancy Mitford, Edith Sitwell, Stephen Tennant...

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...

Oil on panel Image size: 5 1/2 x 8 inches (14 x 2o cm) Contemporary hand made frame A charming scene of an English country lane, featuring a group of travellers resting on their journey. Two maids seem deep in discussion while they wait with a gentleman wearing a tricorn hat and fashionable maroon...

Imogen Mary Collier (1873-1952) Portrait of Jerry and Dot Circa. 1895-1900 Oil on Canvas 49 X 42.5 Imogen Mary Collier (1873-1952) was born in 1873 at Whitchurch, Devon, England. She was the daughter of Mortimer John Collier...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Step into the captivating scene of "Walking Under Blossom" by ...

This original landscape painting by Carlos Arriaga depicts a spectacular, fantasy cityscape scene, combing familiar Chelsea landmarks. Incorporating the stylish attributes of the are...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. In "Azure Tempest," Lia Madsen presents a breathtaking vista o...

Pastel and acrylic on paper - Unframed In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and harmonies that emerge when structure meets i...

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...

Pam was born in Ayrshire on the scenic West Coast of Scotland she graduated from Glasgow School of Art in 1986. Encouraged by her artistic parents she started an early career in desi...

The multi award winning artist Claire Wiltsher was born in Wales and studied at both Lancashire and Northumbria Universities. Claire’s work has attracted critical acclaim. In 2010 th...

A maritime conflict scene depicting The Battle of Trafalgar. Derek Gardner is widely considered to be the leading British maritime painter of the twen...

Aurum 13 by Keng Wai Lee and Marco Araldi Mixed media painting on boxed canvas Free shipping within the United Kingdom including exper...

Oil on canvas Canvas size: 24.25 x 40.5 inches Framed size: 29 x 45.75 inches Signed lower left

"Florentine Expressions: A Portrait Series VIII", oil on canvas, mounted on board, Florentine School (circa 1980s-90s). This gallery has acquired a number of paintings through an int...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Springtime Forest" by Denis Ribas is an exquisite original la...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Park Life, The Dog Walkers II" unveils the enchanting tapestr...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Iris Field" by Denis Ribas is a captivating original French Impressionism landscape painting that transports viewers to a world of textured beauty and vibrant colors. Executed with textured oil on canvas, Ribas's brushstrokes create an immersive experience, inviting the observer to lose themselves in the enchanting Iris Field under the embrace of a sunset sky. The medium of textured oil adds a tactile quality to the painting, allowing Ribas to convey the intricate details of the iris flowers and the dynamic texture of the landscape. The impressionistic style is evident in the artist's expressive strokes, capturing the essence and immediacy of the scene. The focal point of the painting is the Textured Iris Field, where the iris blooms stand tall and proud, their textured petals creating a mesmerizing dance of purple and green hues. The textured surface adds depth and dimension, allowing the observer to feel the tactile richness of the floral landscape. As the sun sets, the sky becomes a canvas of warm oranges, casting a gentle glow over the iris field. The color scheme, dominated by shades of purple, green, and orange, mirrors the vibrant hues of an iris field bathed in the golden light of dusk. Ribas's skillful use of color captures the magic of the moment, where nature's palette is at its most vivid. Denis Ribas's signature graces the painting, marking it as an authentic piece of art ready to be displayed. "Iris Field" is an invitation to immerse oneself in the textured beauty of nature, where each brushstroke tells a story of the changing seasons and the timeless allure of the iris. This exquisite artwork is currently available for purchase at Signet Contemporary Art in Chelsea and online. Art enthusiasts have the opportunity to bring the vibrant charm of an Iris Field into their living spaces, where Ribas's artistry captures the essence of nature in every textured detail. Immerse yourself in the beauty and texture of "Iris Field," where the magic of a sunset sky meets the timeless elegance of impressionism. Artist Biography: Born in 1954 in Perpignan, Denis Ribas draws inspiration from his Catalan heritage and a childhood infused with his father's passion for nature. Painting exclusively outdoors, Ribas uses pure linen canvas, manually nailed, stretched, and coated. The paint itself adheres to multi-centenary techniques, with supplies sourced from Bruno Charvin's workshop, Denis Ribas' preferred and exclusive supplier. Notably, a yellow hue in the palette has been christened "Jaune Ribas." The thickly applied paint and the expansive color palette harmonize to create a captivating piece of contemporary art. Each painting is a single, uninterrupted creation, reflecting Ribas' commitment to never altering a finished piece—a testament to the spontaneity and authenticity of his artistic process. RECENT EXHIBITIONS 2016/2017 : Shanghai salon du 11 au 15 JanUARY Dalian(China) expo Solo Exhibition12 to 16 January Edinburgh Solo Exhibition (1-3 February) Paris Art 3F. 24 - 26 February Marseille SIAC. From 17 -19 March Hong Kong. And Nantes Art 3F 24-26 March Divonne Solo Exhibition 22 - 27 March Lyon Art3F 7- 9 April World Art Dubai art Fair: 12 - 16 April Mirabel aux Baronies: private expo until. July 9th Metz Art 3F From 28 - 30 April Shanghai Hk,Hangzhou And Xiamen(China) Solo Exhibition 9 - 23 March Art...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Concrete Capital II" by Lori Mirabelli stands as a bold and t...

David Hinchliffe has been painting, exhibiting and selling his work in galleries since the age of 12. He has won numerous competitions as a young artist (Sunday Mail Art Prize, ABC A...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Bursting with energy and movement, Fragments of Light is a cel...

Framed Size - 65 x 65 cm Born in Persia Gohar Goddard was educated in France and the foothills of the Himalayas. She came to England in her teens, working for a variety of organisat...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Yvonne Coomber’s "The Sea Whispers Sweet Tenderness" is a tran...

Oil on canvas Canvas size: 12 x 16 inches Framed size: 18 x 22 inches Signed and dated 1890 lower right

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...

Based in Kent, UK, Adam De Ville says - I am a self taught painter of landscapes, cityscapes, still life, abstract and portraits. Painting is about storytelling, feeling, character...

Living and working in Suffolk in the UK not far from the sea. Like many artists and creatives, he has been drawing, doodling, painting and playing around since early childhood. Havin...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. In "Rain-Bow 17," Stephanie Ho brings the charm of modern mini...

This beautifully vibrant and uplifting painting has been built over many thin layers of paint and grew out of a slow process. Its palette attempts to capture the notion of vibrancy a...

En Provence by Gabriel Deschamps French 1919 - 2011 Oil on canvas Canvas size: 18 x 21.75 inches Framed size: 26 x 29.5 inches Signed lower left

Pastel on paper, signed (lower left), 63cm x 49cm (framed 75cm x 60cm). Bouchéne was a Russian artist and costume and set designer for theatre, opera and ballet. Primarily working ...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Juan del Pozo invites you to witness the magic of a new day wi...

Oil on canvas Canvas size: 27.5 x 19.5 inches Framed size: 33.75 x 26 inches Signed upper left

Rivière et Saules by Paulémile Pissarro (1884-1972) Oil on canvas 46.1 x 55.2 cm (18 ¹/₈ x 21 ³/₄ inches) Signed and dated lower left Paulémile-Pissarro-1931 Titled on the reverse P...

This is a painting of a beautiful river in the Sussex landscape where I live, which is under threat due to pollution. The painting embodies my deepest love for this place that I have...

framed size: 77 x 97 cm Ewa Adams is a landscape painter. Her painting is a contemporary take on Pointillism. She builds her images out of circles of pure colour juxtaposted next to...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences while a surreal narrative take...

Born in Persia Gohar Goddard was educated in France and the foothills of the Himalayas. She came to England in her teens, working for a variety of organisations including the British...

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...

Signed and dated Oil and watercolour on paper, mounted on board 18 x 22 inches

Two oil on panel Old Master landscape paintings by Johannes Jakob Hartmann (Bohemian, 1680-1730) Bohemia, early 18th Century Panel: Height 73c...

Alfred East The Wood Cutter Oil on board Signed lower right and titled on back Image size: 10 1/4 x 15 inches (26 x 37.5 cm) Carved gilt frame This romantic landscape by East, certainly shows the influence that the Barbizon school had on his work. The Barbizon school were drawn together by their passion and desire to elevate landscape painting as a response to the Academic elevation of historical and mythological themes. Here, East truly revels in the beauty of the English landscape but also captures the mood of the time in which there was a growing concern at the rapidity of social change and its impact upon the countryside. East regularly painted the Cotswolds from the early 1890s until the end of his life - it is probable that this scenes depicts that part of the country. He focused principally on the area around Upper Swell, which he referred to as 'Over Swell', hoping to avoid the village becoming a focus for visitors seeking out the views that he portrayed. East adopted a well established three-stage-technique that made great use of the under-painting, a second layer concerned with the correction of values, and a final stage for the addition of details; all painted with lean oil paint. As can be seen in the work, during this process East practically repainted the entire canvas after the first layer and then proceeded to pick out isolated sections that required further reworking and detail. Provenance Pelter Sands Gallery Bristol, 1975 Exhibition of Twentieth Century British Painting. This work was part of Andrew Vicari...

Oil on canvas Canvas size: 20 x 30 inches Framed size: 30 x 39 inches Signed lower right

Nothing beats a British Autumn - "Autumn Series" is one of the most personal projects of Shizico Yi, with the sensual colours and her signature expressive and confident brushstrokes,...

Shadows Dancing is an acrylic painting on canvas by artist René Gonzalez representing two men sitting in a cave surrounded by a groupe of foxes. Dimensions are 75 × 50 cm (29.6 x 19...