London - Paintings

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Irina Trushkova’s Lime Juice is a masterful still-life paintin...

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Jo & Jimmy Gallaher Farm and Upper Clendra by Hugues Claude Pissarro (b. 1935) Oil on canvas 130 x 97cm (51 ¹/₈ x 38 ¹/₄ x inches) Signed lower right, Hugues Pissarro dit Pomié Execu...

Acrylic on canvas, signed and dated (lower right), 91cm x 62cm (112cm x 82cm framed). (Provenance: in the collection of the artist Michael Leonard (British 1933-2023) until his dea...

Provenance: Private collection, Orlando, Florida

DAVID BURLIUK [Burlyuk] 1882-1967 Kharkiv, Ukraine 1882-1967 Southampton, Long Island, New York (Ukrainian/Russian/American) Title: Vase of Flowers on the Seashore...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Yvonne Coomber’s "This is Where All of The Wildflowers Sing Lo...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Nature takes center stage in Tree Bathing, where Andrea Allen ...

Le Vierge et Monument, Arromanches, Oil on canvas by Hugues Pissarro dit Pomié (b. 1935) Oil on canvas 130 x 97cm (51 ¼ x 38 ¼ inches) Signed lower left, Hugues Pissarro dit Pomié T...

Oil on canvas Canvas size: 12.5 x 10.5 inches Framed size: 17.25 x 15.25 inches Signed lower left Provenance: Private collection Belgium

Bleeding Sky is an acrylic on canvas by artist Rene Gonzalez, depicting a group of foxes huddled beneath a tree, taking refuge from a celestial downpour ...

Nyarapayi Giles, a Ngaanyatjarra woman, began painting on canvas while settled in Patjarr Community, when the modern Desert Art Movement sprung from Papunya Tula and gained astoundin...

F. AC (Ficelle AC Bristol) by JEAN-PAUL RIOPELLE (1923-2002) Acrylic on paper laid down on canvas 89.7 x 49.5 cm (35 1⁄4 x 19 1⁄2 inches) Signed with initial lower right, R and titl...

Oil on board, signed and dated '44 lower right Image size: 15 x 19 inches (38 x 48.25 cm) Contemporary style hand made frame This portrait of an unknown man certainly captures the personality of the chosen sitter. With hat tilted to the side, eyebrow lifted and a half smile of the man's face, one gets the impression that he is finding the whole process of having his portrait painted rather amusing. Still in Ireland at this time, the sitter is likely to have been a friend of the artist, from Belfast. In 1944 there was a group exhibition in Belfast held at the textile business of William Ewart & Sons on Bedford Street. Here Smith showed his works alongside the artists Colin Middleton...

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...

Richard Hilder (1813-1852) Pastoral Landscape Oil on Panel 8 3/4 X 10 3/4 inches, Framed Provenance: Important Private Collection Richard H. Hilder was a landscape painter and occa...

Lyl is painted with Acrylic on a cotton canvas - 100 gsm My process starts with drawing the outlines of a face. One another piece of transparent paper I draw lines & shapes inspir...

Céline is painted with Acrylic on a cotton canvas - 100 gsm My process starts with drawing the outlines of a face. One another piece of transparent paper I draw lines & shapes in...

Joseph-Auguste Rousselin French 1841 - 1916 Head Study Oil on board, signed with initials and signed verso Image size: 12 x 11 inches This head study provides an unbelievably moving portrait of an androgynous sitter. Employing incredible technique, the artist has achieved the highly finished porcelain skin, thoughtful eyes and pink lips of the sitter with incredible softness. The unfinished quality of the background make the composition of the work particularly satisfying to the modern eye. Loosely sketched dashes and brushy swoops outline the model's head. The mix of finished and more expressive elements reveals the artist's brilliant eye, technique and personality. Artistically, Rousselin does not seem to be influenced by the friendships that he forged with the Impressionists but rather he has remained rather faithful to the academic technique of William Bouguereau, whose studio he also used to frequent. This study is certainly comparable to the work by Bouguereau, specifically his graceful portraits of women. Bouguereau championed the traditional academic style and his methods were taught to him by a pupil of Ingres. Similar academic inspiration is apparent in this work, from the conscious posing of the subject to the evenly laid colours. Indeed, alike the work of Bouguereau this follows the same classical approach to composition, form and subject matter. The Artist Born in Paris in 1841, Rousselin grew up to be a French painter and art collector. From a young age he studied in the workshops of Charles Gleyre and Thomas Couture, here he met the young impressionist generation. His studio peers included Auguste Renoir, Alfred Sisley and Édouard Manet, with whom he forged strong bonds of friendship. It was at his invitation that his two friends Renoir and Sisley exhibited at the Salon of the Society of Friends of the Arts in Pau, a region where Rousselin had family ties. Manet invited him to his family home in Boulogne-sur-Mer where he had him pose in the summer of 1868 for 'Le Déjeuner dans l'Atelie'. Rousselin can be seen in the background of the painting as the man with the cigar, wearing a grey hat...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Timeless No. 2" by Cat Tesla is a captivating exploration of ...

Oil on canvas Canvas size: 19.5 x 24 inches Framed size: 25.75 x 30 inches Signed lower right

Keng Wai Lee’s gorgeously rich animal impressions are a synergy of decorative tableaux and depiction in paint on canvas of his memories and imagination. “Using acrylic as a medium, ...

Acrylic on canvas, signed, titled and dated verso. 47.6 x 59 cm (18 3/4 x 24 1/4 in)

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...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Step into the serene and orderly world of "Golfers 45," a char...

Oil on canvas Canvas size: 18.25 x 21.5 inches Framed size: 26 x 29.5 inches Signed lower right

Marco’s background is in engineering and architecture, making him familiar with mathematical design and the awareness of geometry.

Oil on mahogany panel Panel size: 47 x 36 inches Signed lower right

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Contemporary figurative artist Calvin Lai paints a provocative...

Gouache on paper, signed (lower left) and titled (lower right), 68cm x 88cm, (88cm x 108cm framed). The work is framed behind museum quality non-reflective UV glass. A realist pain...

Circle of Cornelius Johnson Circa 1620’s Portrait of a Officer Oil on canvas Image size: 28 x 24 inches Period style hand made frame Provenance Private European Estate This striking portrait dates to around 1620, as you can see from the images of the sash the detail is very high. The sash is decorated with gold thread and would have cost a small fortune at the time. Sashes were originally developed for a military function (making officers more visible for their men during combat), but soon became a primarily male fashion...

To create this abstract artwork, "Touch Me. Feel Me. Heal Me," I painted the palm of my left hand with many shades of yellow, gold, and copper and pressed it many times (with each co...

'Boy with Anemones', oil on cardstock paper, by Raymond Debiève (1965). Here the artist paints a young boy having his breakfast with a beautiful bouquet of an...

English School, (circa 1600) Portrait of William Herbert, 3rd Earl of Pembroke Oil on panel, oval Image size: 29¼ x 23⅞ inches Painted wooden frame Provenance: 176, Collection of Francis Greville, 1st Earl of Warwick. The Trustees of the Lord Brooks’ Settlement, (removed from Warwick Castle). Sotheby’s, London, 22nd March 1968, lot 81. Painted onto wooden panel, this portrait shows a dark haired gentleman in profile sporting an open white shirt. On top of this garments is a richly detailed black cloak, decorated with gold thread and lined with a sumptuous crimson lining. With the red silk inside it’s all very expensive and would fall under sumptuary laws – so this is a nobleman of high degree. It’s melancholic air conforms to the contemporary popularity of this very human condition, evident in fashionable poetry and music of the period. In comparison to our own modern prejudices, melancholy was associated with creativity in this period. This portrait appeared in the earliest described list of pictures of Warwick castle dating to 1762. Compiled by collector and antiquary Sir William Musgrave ‘taken from the information of Lord & Lady Warwick’ (Add. MSS, 5726 fol. 3) is described; ‘8. Earl of Essex – an original by Zuccharo – seen in profile with black hair. Holding a black robe across his breast with his right hand.’ As tempting as it is to imagine that this is a portrait of Robert Devereux, the 2nd Earl Essex, we might take this with a pinch of salt. Its identification with this romantic and fatal Elizabethan might well have been an attempt to add romance to Warwick Castle’s walls. It doesn’t correspond all that well with Essex’s portraits around 1600 after his return from Cadiz. Notably, this picture was presumably hung not too far away from the castle’s two portraits of Queen Elizabeth I. The first, and undoubtedly the best, being the exquisite coronation portrait that was sold by Lord Brooke in the late 1970s and now hangs in the National Portrait Gallery. The second, described as being ‘a copy from the original at Ld Hydes’, has yet to resurface. The portrait eventually ended up being hung in the State Bedroom of Warwick Castle. Archival documents present one other interesting candidate. The Greville family’s earliest inventory of paintings, made in 1630 at their home Brooke House in Holborn, London, describes five portraits of identified figures. All five belonged to the courtier, politician and poet Sir Fulke Greville (1554-1628), 1st Baron Brooke, and were hung in the ‘Gallerie’ of Brooke House behind yellow curtains. One of them was described as being of ‘Lord of Pembrooke’, which is likely to have been William Herbert (1580-1630), 3rd Earl of Pembroke. William was the eldest son of Greville’s best friend’s sister Mary Sidney, and was brought up in the particularly literary and poetically orientated household which his mother had supported. Notably, the 3rd Earl was one of the figures that Shakespeare’s first folio was dedicated to in 1623. The melancholic air to the portrait corresponds to William’s own pretensions as a learned and poetic figure. The richness of the robe in the painting, sporting golden thread and a spotted black fabric, is indicative of wealth beyond that of a simple poet or actor. The portrait’s dating to around the year 1600 might have coincided with William’s father death and his own rise to the Pembroke Earldom. This period of his life too was imbued with personal sadness, as an illicit affair with a Mary Fitton had resulted in a pregnancy and eventual banishment by Elizabeth I to Wilton after a short spell in Fleet Prison. His illegitimate son died shortly after being born. Despite being a close follower of the Earl of Essex, William had side-stepped supporting Devereux in the fatal uprising against the Queen and eventually regained favour at the court of the next monarch James I. His linen shirt is edged with a delicate border of lace and his black cloak is lined on the inside with sumptuous scarlet and richly decorated on the outside with gold braid and a pattern of embroidered black spots. Despite the richness of his clothes, William Herbert has been presented in a dishevelled state of semi-undress, his shirt unlaced far down his chest with the ties lying limply over his hand, indicating that he is in a state of distracted detachment. It has been suggested that the fashion for melancholy was rooted in an increase in self-consciousness and introspective reflection during the late 16th and early 17th centuries. In contemporary literature melancholy was said to be caused by a plenitude of the melancholy humor, one of the four vital humors, which were thought to regulate the functions of the body. An abundance of the melancholia humor was associated with a heightened creativity and intellectual ability and hence melancholy was linked to the notion of genius, as reflected in the work of the Oxford scholar Robert Burton, who in his work ‘The Anatomy of Melancholy’, described the Malcontent as ‘of all others [the]… most witty, [who] causeth many times divine ravishment, and a kind of enthusiamus… which stirreth them up to be excellent Philosophers, Poets and Prophets.’ (R. Burton, The Anatomy of Melancholy, London, 1621 in R. Strong, ‘Elizabethan Malady: Melancholy in Elizabethan and Jacobean Portraits’, Apollo, LXXIX, 1964). Melancholy was viewed as a highly fashionable affliction under Elizabeth I, and her successor James I, and a dejected demeanour was adopted by wealthy young men, often presenting themselves as scholars or despondent lovers, as reflected in the portraiture and literature from this period. Although the sitter in this portrait is, as yet, unidentified, it seems probable that he was a nobleman with literary or artistic ambitions, following in the same vain as such famous figures as the aristocratic poet and dramatist, Edward de Vere...

Oil on canvas Image size: 9 1/4 x 7 inches (23.5 x 18 cm) Original pierced gilt frame This wonderful Pre-Raphaelite self-portrait contributes to the artistic tradition of representi...

Framed Size: 70 x 88 cm Unframed Size: 60 x 77 cm Nicolle was born in Zimbabwe (Rhodesia as it was then) and grew up in Africa and then travelled the world for some years before set...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Raw energy pulses through Resonance in Motion, a piece that em...

Ellie Hesse was born in New York in 1972 but spent most of her childhood in the Yorkshire Dales. Travel has always been an important feature of her life since then, exploring Asia an...

Oil on canvas, signed bottom left Image size: 11 x 9 1/2 inches (28 x 24 cm) Gilt frame Provenance Thos. Agnew & Sons Pyms Gallery Robert Gemmell Hutchinson A native of Edinburgh, R. Gemmell Hutchison was born in 1855, and died on 22nd August 1936. After his school days he began work as a seal engraver, but soon left that occupation for painting and studied at the Art School of the Board of Manufactures. He exhibited for the first time in the Royal Scottish Academy in 1878 and in the Royal Academy in 1881. A very early work was acquired by the Royal Association for the Promotion of the Fine Arts in Scotland. An assiduous and prolific worker, Hutchison painted in oil, water, and pastel, and with varied subjects—figures, landscapes, the seashore, domestic interiors and occasionally portraits. As indicated, his works from the first found a ready sale, and he is represented in the permanent collections of Oldham - Glasgow, Kelvingrove Gallery; Modern Arts Association, Edinburgh; Liverpool, Walker Art Gallery ; Bolton; Toronto, Canada; Fine Art Association, Canada ; Blackpool; Hamilton Trustees, Glasgow; Paisley...

Born in Portsmouth, England in 1969, Claire Smith graduated from Falmouth School of Art in 1991 with a 1st Class degree in ‘Fine Art & Printmaking’. Four years later, Claire moved t...

John Shelley Fennys Lane 1938-2020 Oil on board, signed and dated '1968' on verso Image Size: 35 1/2 x 27 1/2 inches (90 x 69.8 cm) Original frame Provenance The artist, whom exhibi...

Dominicus van der Smissen Early 18th Century Portrait of Conrad Friedrich Hurlebusch Oil on canvas Image size: 20½ x 16¼ inches Period gilt frame This is a portrait of Conrad Friedrich Hurlebusch, composer, Kapellmeister and organist, whom Van der Smissen most probably portrayed during his stay in Hamburg, Brunswick or Amsterdam. The identification is based on the reproduction of the portrait which was engraved by Pieter Anthony Wakkerdak (1740- 1774). Van der Smissen has reduced the face of the sitters to an egg-shaped oval in three-quarter view, applying diminution to one half of the figure’s torso, which is farther away from the viewer. This partial side view, with the head turned to look at the viewer over the shoulder, creates spatial depth and brings the figure to life by avoiding the stiffness of a frontal depiction. Because the artist chose to highlight the figure from above, a distinct shadow is cast under the tip of the nose, in the shape of a triangle. This is an often recurring and almost ‘signature’-like feature in Van der Smissen’s oeuvre. Hurlebusch's garments are of a very high quality and serve to reflect the sitter’s wealth, status and elegance. During this period, gentlemen often shaved their heads in order to facilitate the wearing of a wig, which wouldbe worn with a suit. Here Hurlebusch has been depicted in a luxurious turban-like cap lined with lynx fur, a highly fashionable and expensive material at the time. Over his shirt, he wears a velvet fur-lined gown adorned with decorative clasps fashioned from silver braid. The elegant informality of his appearance can be seen in his unbuttoned shirt and the unfastened black ribbon hanging from his button hole, which has been artfully arranged into a fluttering drape by the portraitist. The Sitter Hurlebusch was born in Brunswick, Germany. He received the first instructions in his field from his father Heinrich Lorenz Hurlebusch, who was also a musician. As an organ virtuoso, he toured Europe, visiting Vienna, Munich and Italy. From 1723 to 1725 he was Kapellmeister in Stockholm; later he became Kapellmeister in Bayreuth and Brunswick, and lived in Hamburg from 1727 to 1742, where he had contact with fellow composers Johann Mattheson and Georg Philipp Telemann. He made his living composing, performing and teaching. In 1735 and 1736, he is believed to have visited Johann Sebastian Bach in Leipzig, who promoted Hurlebusch’s compositions as the local seller...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Empire State Colors" by Juan Del Pozo captures the dynamic be...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. “Love Is in the Air” by Shazia Imran presents a deeply romanti...

Composition by ANDRÉ LANSKOY (1902-1976) Oil on canvas 81 x 54 cm (31 ⅞ x 21 ¼ inches) Signed lower right, LANSKOY This work is accompanied by a certificate of authenticity issued and signed by the artist, and by a certificate of authenticity dated 15th April 2015 from the Comité Lanskoy, confirming its inclusion in the forthcoming catalogue raisonné currently being prepared by the Comité Lanskoy. Artist biography: André Lanskoy was born Andrei Michailovich Lanskoy in Moscow in 1902, the son of Count Lanskoy. The family moved to St. Petersburg in 1909 and in 1918 he moved to Kiev, where he made his first paintings. During the Russian Civil War Lanskoy fought in the Tsarist White Army but after an injury moved to Constantinople and in 1921 arrived in Paris where he stayed for the rest of his life. Recalling his arrival in the French capital, Lanskoy said: "Literally in the first night...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Flying NYC" by Juan del Pozo is a mesmerizing oil on canvas p...

Oil on canvas, signed bottom right Image size: 20 1/2 x 24 1/2 inches (53 x 62 cm) Original gilt frame Provenance Artist’s Estate Robert Deborne Robert Deborne was born in 1870 in...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Juan Del Pozo’s ChinaTown is a breathtaking oil painting that ...

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 Council, Jaeger and the NHS. In mid career, she set up Ziggurat, an elegant shop in Kensington, specialising in luxury yarns, followed by the creation of her own design label, English Weather, specialising in cashmere knitwear and silk and cashmere scarves...

"In This Life, My Soul is at the End of the Journey" is a very personal abstract painting. I used acrylic on paper as a material, and the year of this artwork is 2024. This paintin...

Oil on canvas Image size: 30 x 25 inches (76 x 63.5 cm) Contemporary hand-carved frame This is a charming 18th century portrait of a young boy, sporting a golden child's two-piece w...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Golfers 46" is a captivating oil painting that beautifully me...

Found Objects Gouache 55 x 38 cm Provenance: The family of A. E. Halliwell. Little is known about the artist other than the fact that he studied under the celebrated artist A. E. H...

A. E. Halliwell (1905-1987) Spring Gouache 26 x 15 cm Provenance: Family of the artist A.E. Halliwell (1905–1986) was a British artist, illustrator, and designer best known for h...

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...

signed 'Gillian Ayres 88' (lower left)

Based in Cornwall, UK Brad creates expressive and abstract paintings with a graffiti influence that scale smaller mounted works to larger street art murals...

Still Life With Pomegranate is a unique modern expressionist still life painting in vibrant tones of acrylic wash and oil pastel by British contemporary artist Rose Fulbright. The ...