London - Paintings

John Wilson Ewbank (1799 - 1847) Shipping in the Harbour, South Shields Oil on canvas 39.5 x 58 inches unframed 47.75 x 66.5 inches framed Provenance: Christie's October 2002; Lot 11. Fine Art Society; Private Collection This marvellous up to scale Ewbank is full of light and warmth and almost certainly his greatest work of the sort rarely - if ever - seen on the market. John W. Ewbank (4 May 1799–28 November 1847), was an English-born landscape and marine painter largely operational from Scotland. The Humber river is a large tidal estuary on the east coast of Northern England. Life Ewbank was born at Darlington on 4 May 1799, the son of Michael Ewbank, an innkeeper. He was adopted as a child by a wealthy uncle who lived at Wycliffe, on the banks of the River Tees, in the North Riding of Yorkshire. Intended for the Roman Catholic priesthood, he was sent to Ushaw College, from which he absconded. In 1813 Ewbank was apprenticed to Thomas Coulson, an ornamental painter in Newcastle. In around 1816 he moved with Coulson to Edinburgh, where he had some lessons with Alexander Nasmyth. He found work both as a painter and a teacher. He was nominated in 1830 one of the foundation members of the Royal Scottish Academy. In 1833 he is listed as living at 7 Union Street on the eastern fringe of the New Town in Edinburgh. Works His sketches from nature were especially admired, and a series of 51 drawings of Edinburgh by him were engraved by W. H. Lizars for James Browne's Picturesque Views of Edinburgh (1825). He also made a reputation with cabinet pictures of banks of rivers, coast scenes, and marine subjects. As an illustrator he illustrated some early editions of Scott's Waverley Novels and one edition of Gilbert White...

'Paris, la Bourse', gouache on paper, by Lucien Génin (circa 1930s). Created at the beginning of the 19th century by Napoleon, la Bourse, or the Stock Exchange, was intended to assert and encourage France’s prosperity in industry and trade. In 1826 the Stock Exchange was installed in the palace that the architect Brongniart had begun in 1808. Surrounded by a large peristyle of Corinthian columns, the rectangular structure reflects the official neo-classicism of the Empire Period. The artist, Génin, depicts a typically lively 1930s day in front of the building with cars of the period zooming by pedestrians on the walkway and others on the stairs leading to the entrance. He has an extremely charming, almost childlike style particularly the way he renders the people and the vehicles. The building, on the other hand, is accurate in its detail and more seriously presented. Our gallery has held and has sold over a dozen of Genin's paintings but this one stands out for its pure stylish appeal and ability to captivate while inducing a smile in the viewer. The artwork is in good overall condition - there are some minor blemishes not on the artwork itself but on the edges of the mount to which it is attached. The frame is in fair condition showing some nicks and scratches. Please enjoy the many photos accompanying the listing. Upon request a video can be provided. Signed by the artist in the lower right hand. About the Artist: After the devastation of the First World War, Lucien Génin (1894 - 1953) left his provincial home in the autumn of 1919 to find his fortune among the lively Parisians in the heart of Montmartre. Génin befriended the painters Frank Will, Gen Paul, Émile Boyer...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Reverie" by Abi Whitlock invites viewers to embark on a journ...

'The Olive Tree Behind the Stone Wall', ink on art paper, by Pierre Dionisi (circa 1930s). Sepia-toned, original drawing in a compelling style depicts a...

'Abstract Composition', oil on board (circa 1960s), by Edgar Stoëbel (1909-2001). In his very original style, artist Stoëbel's abstract image seems to form a human torso with the lively colours of a modernist work. The image has a pop art quality to it and was created just as that movement was emerging. Pop art challenged traditional painting by embracing colourful images from advertising, popular culture, comic books and mundane objects from everyday life. This artwork has a powerful intensity of tone and colour having somewhat faded with time. It speaks to Stoëbel's very distinctive style which remains completely approachable and appealing. In fact, this is not pop art. This is part of the post-war concrete abstract movement, or Constructive Art...

Jacopo BASSANO (c. 1510-1592, Italian) Portrait of a Procuratore Oil on canvas 30 ¼ x 26 inches (including frame) Provenance: Lucien Bonaparte’s Collection (as Portrait of Doge Priuli, Tiziano); Rich-mond, Virginia Museum, Portrait of Doge Lorenzo Priuli. The painting is a portrait of a man half-length, on a black background. It is a three-quarter portrait, according to a custom very common in the genre of portraiture in sixteenth century. The man is wearing a decorated...

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...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Sonata," an original floral painting by Minna George, is an e...

With the patterns of her beloved family Tartans and childhood blanket, Shizico weaves Scottish expensive ever-changing skies into a visual dance of the surrealism and realism. Throug...

Signed and dated Helen Bradley 1972 (lower right) Story inscribed on the verso. Image dimensions: 28.5cm x 24cm / 11.2 inches x 9.5 inches Framed dimensions: 39.5cm x 34.4cm / 15.6 ...

Portrait of Princess de Joinville riding a Bay Horse Henri d’Aincy, Le Comte Monpezat (French 1817-1859) Painted circa 1837-9 oil on canvas 113 x 92 inches (including frame) 92 x 70 inches (unframed) Provenance – from a private royal collection This magnificent portrait depicts Princess de Joinville, the daughter of Pedro I, Emperor of Brazil and the King of Portugal. Through her illustrious family she was directly related Alexander III and Nicholas II of Russia and the Russian royal family, as well as to many of the great ruling families of Europe. The work clearly confirms Monpezat as one of the most accomplished equestrian portrait painters in France in the early nineteenth century. In terms of scale, quality and dramatic power, it must surely be considered amongst his finest works. The stance of the powerful thoroughbred - in half rear - emphasises the calm nature and courage of the Princess. Francisca of Brazil (1824-98) married a son of Louis Philippe I, the King of the French, and had three children. Born at the Imperial Palace of Saint Christopher, her youngest brother was the future Pedro II...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Expanding the canvas to a generous 70x70 cm for "At the Edge o...

Sir Peter Lely (Soest 1618 – 1680 London) Portrait of lady with a crown, possibly Bridget Drury Lady Shaw, formerly Viscountess Kilmorey, later Lady Baber (d.1696) c.1665 Oil on canvas 46 1/2 x 40 3/4 inches, Framed 42 1/4 x 36 1/4 inches, Unframed Inscribed left [……….]Isabella James Mulraine wrote the following for this piece: This portrait dates to the middle of the 1660s, the decade when Lely’s career took off as successor to Sir Anthony van Dyck. At the Restoration Charles II had appointed him Principal Painter to the King and paid a pension £200 per annum ‘as formerly to Sr. Vandyke...’1 Lely had trained in Haarlem and he was in his early twenties when he came to London in 1643. He was an astute businessman and a wise courtier. In 1650 he painted a portrait of Oliver Cromwell (Birmingham Museum and Art Gallery) while maintaining links with the Royalist exiles through the 1650s. He had arrived in England as a painter of small-scale portraits and lush scenes of nymphs in landscapes in a Dutch style. His experience of Van Dyck in English collections transformed his painting. His lavish and alluring vision of Arcadia exactly captured the spirit of the Court and as Principal Painter he dominated English portraiture for the next twenty years. Lely ran a highly efficient studio along Netherlandish lines, employing a team of specialists like the drapery painter John Baptist Gaspars and young artists-in-training like Nicolas de Largilliere. He had numerous rivals during that period, and by 1670 he had introduced numbered standard poses to speed up production, while collaborating with printmakers for further revenue and advertising. He died in 1680 of a stroke while painting, working to the last. The portrait, painted at a date when Lely’s poses and execution were still individual and inventive shows a lady sitting at three-quarter length facing away from the viewer. She has begun to turn towards the viewer, a pose with a long pedigree in art, first used by Leonardo da Vinci in the Mona Lisa (Louvre). She steadies her blue drapery where it might slip from her arm with the movement, a flash of realism beautifully captured. Like Van Dyck, Lely painted his female sitters in a timeless costume rather than contemporary fashion, showing a loose gown and floating silk draperies. It presented the sitter as a classical ideal. The portrait would not date. The saffron dress may be the work of a drapery painter but the brown scarf must be by Lely himself, and appears unfinished, broadly sketched in behind the shoulder. The delicate blue glaze and nervous highlights suggest shimmering translucence. Lely was a master of painting hands – his hand studies are marvels of drawing – and the lady’s hands are superb, exactly drawn, delicately modelled and expressive. The fidgety gestures, clutching the gown, fiddling with the edge of the scarf, give the portrait psychological bite, suggesting the personality behind the calm courtier’s expression, adding to the sense shown in the look of the eyes and mouth that the lady is about to speak. The portrait’s language is Vandykian. The inspiration comes directly from Van Dyck’s English portraits of women. Lely owned Van Dyck’s Portrait of Lady Elizabeth Thimbleby and Dorothy Viscountess Andover (National Gallery, London) and the sitter’s costume quotes Lady Andover’s saffron dress and brown scarf. But Lely paints a generation who sat nearer to the ground and through a dialogue of expression and gesture he shows sitters who are more flesh and blood than Van Dyck’s. The background with a column and curtain is different to those shown in most of Lely’s portraits of women. They tend to include trees or fountains, with a glimpse of landscape. But there are other examples. A portrait of the King’s reigning mistress, Barbara Villiers Duchess of Cleveland...

-In light of new tariffs, we’ve applied a 20% discount off the market price of this piece to support our collectors in facing potential added costs. At the gallery, we work closely w...

Oil on canvas Canvas size: 25.5 x 21.25 inches Framed size: 33.5 x 29.25 inches Signed lower right

Julius von Blaas (1845-1923) At The Gallops circa 1905 Oil on canvas Signed and dated “Julius von Blass / 1905” (lower left) 110 x 200 cm (140 x 230 cms framed ish) This enormous and grand depiction of horses exercising is an iconic image not only of the edwardien era but also of today’s racing elite. Julius von Blaas was taught by his father Carl von Blaas (1815-1994) and trained in Venice, Florence and Rome. He was also influenced by his celebrated brother Eugen von Blaas...

Innokentiy Fateev, Irises, 2022 Acrylic paint on canvas canvas 50cm x 60 cm height Innokentiy Fateev (Russia, 1980) is originally from Tomsk, Siberia; in 2001 he moved to Faenza, It...

Oil on canvas Canvas size: 32 x 45 inches Framed size: 35.5 x 50 inches Signed lower right

'Portrait of a Woman with Short Hair', oil on board, by Peter Robert Keil (1983). A wide-eyed woman gazes out to the viewer with a tranquil smile. The colou...

Aftrer Anthony VAN DYCK - maybe Studio (1599, Antwerp – 1641, London) Flemish Double Portrait of George Villiers, 2nd Duke of Buckingham (1628-1687) & Lord Francis Villiers (1629-1648) Oil on Canvas 170 x 147 cm Anthony Van Dyck (1599-1641) No painter has done more to define an era than Anthony van Dyck. He spent only seven and a half years of his short life (1599- 1641) in England. He grew up in Antwerp, where his precocious talent was recognised by Peter Paul Rubens, the greatest painter of his age. He worked in Rubens’s studio and imitated his style as a religious artist, painting biblical scenes redolent of the lush piety of the counter-reformation. But soon he was on the move. In 1620, he visited London for a few months, long enough to paint a history picture, The Continence of Scipio, for the royal favourite, George Villiers, Marquess of Buckingham, and a portrait of his other English patron, the great art collector, Thomas Howard, 2nd Earl of Arundel. After a stint in Italy, making imposing portraits of the wealthy aristocracy and sketching and copying works by Titian, he returned to the Spanish Netherlands in 1627, becoming court artist to Archduchess Isabella before departing for The Hague in 1631 to paint the Dutch ruler Frederick Henry, Prince of Orange. Charles I’s invitation in 1632 led Van Dyck back to London where he was knighted, paid an annual salary of £200 and installed in a house in Blackfriars with a special jetty at which the royal barge might tie up when the King was visiting his studio. By this time Van Dyck was recognised as the leading court painter in Europe, with Velazquez at the court of Philip IV of Spain his only rival. He also excelled as a superbly observant painter of children and dogs. Van Dyck’s notoriety in depicting children led to the introduction of groups of children without their parents as a new genre into English painting (amongst other new genres). For the next 300 years, Van Dyck was the major influence on English portraiture. Nearly all the great 18th Century portraitists, from Pompeo Batoni and Allan Ramsay to Thomas Gainsborough and Joshua Reynolds, copied Van Dyck’s costumes, poses and compositions. George Duke of Buckingham & his brother Francis Villiers Painted in 1635, this double portrait was originally commissioned by Charles I, who raised the two brothers after their father, George Villiers, was assassinated in 1628. Together with their sister, Lady Mary Villiers, they enjoyed the King’s favour absolutely. Francis whose absolute ‘inimitable handsomeness’ was noted by Marvell (who was killed in a skirmish near Kingston upon Thames). The young duke who commanded a regiment of horse at the Battle of Worcester, remained closely associated with Charles II, held a number of high offices after the Restoration and was one of the most cynical and brilliant members of the King’s entourage, immortalised as ‘Zimri’ in Dryden’s Absalom and Achitopbel. As a young man he had sold his father’s great collection of pictures in the Spanish Netherlands, many of them to the Archduke Leopold Willhelm. Painted for Charles I and placed near the portrait of their sister in the Gallery at St James’ Palace. The handling of both costumes is very rich, and the heads are very carefully and sensitively worked. That of the younger boy in particular is more solidly built up than the lower part of the figure. A preparatory drawing for the younger boy is in the British Museum. There are copies at, e.g., Highclere Castle...

'The Family', gouache on fine art paper (1984), by Raymond Dèbieve. In a clear nod to Picasso's influence both stylistically and in terms of subject matter ...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Rendered in a luminous haze of oil and atmosphere, After the M...

Oil on canvas, signed lower right Image size: 33 1/2 x 56 1/2 inches (85 x 143 cm) Original gilt frame Provenance With the artist's son, Millie Dow Stott Esq., until 1912. Artist's Studio Sale, Christies, November 1913. Private Collection Exhibitions London, Royal Academy, 1895, no. 679. Paris, Societe de la Nationale des Beaux-Arts, 1896, no. 1179. Berlin, VII Internationale Kunstausstellung 1897. no. 3533. Manchester, City of Manchester Art Gallery, 1912, no. 339. In the 1890s William Stott exhibited regularly at the Royal Academy, mainly highly decorative works with subjects derived from classical mythology and literature. This painting was Stott's 1895 entry to the Royal Academy and was subsequently exhibited at the Paris Salon of 1896 and then on to the Berlin, VII Internationale Kunstausstellung 1897. Shakespeare was a favourite source for Victorian painters, and the tragic romance of Ophelia, from Hamlet, was an especially popular subject, featuring regularly in the Royal Academy exhibitions. The most popular and iconic image of Ophelia's death was, and is to this day, John Everett Millais's 1851 painting showing the confused and tragic Ophelia floating downstream on her back in a state of mad ecstasy, arms raised in a gesture of inevitable submission. However, although Stott chose not to pastiche this image, it seems highly likely that he was prompted to take up this subject, which had almost become a 'rite of passage' among Victorian painters, by the fact that in 1894 Millais's Ophelia was presented to the National Gallery of British Art by Sir Henry Tate. It appears that Stott was much influenced by John William Waterhouse...

*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...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. A luminous celebration of nature’s abundance, Summer Flowers ...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Greenaway Beach" by Lenny Cornforth is a captivating original...

To see our other Modern British Art, 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 artist you want. John Barnicoat MA ARCA (1924 - 2013) Untitled abstract composition (1968) Tempera on board 27 x 26 cm Initialled and dated lower right. John Barnicoat was a painter of oils and works on paper using tempera, conté, acrylic, pen, and ink. He was brought up in Cornwall and educated at King’s College, Taunton. He joined the Royal Naval Volunteer Reserves and took part in D-Day, aged 29. He went on to read history at Lincoln College...

'Feminine Forms: Harmony in Curves', oil on board, German School (circa 1980s). Two nude figures portrayed in the abstract posture differently. Both are curvaceous and Rubenesque. Re...

D Ollard Ribbons of Memory Gouache and photographic collage 20 x 26 cm Signed to reverse Provenance: The family of A. E. Halliwell Little is known about D Ollard other than the fac...

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 takes the audience on a journey into the imagination. In October 2023 Isabel won the Evelyn Williams Drawing Award at the Trinity Buoy Wharf Drawing Prize. Known as the UK’s most prestigious annual open exhibition for drawing; part of the prize is a solo show at Hastings Contemporary, scheduled for 2024. Whilst Isabel always has a tale to tell for each of her images, you may or may not choose to go on the journey with her or you may indeed have a different story, one of your own that jumps off the page at you, that that you decide to follow. Artwork Details: Horse of Hope, 122x152cm, Collaged woodblock print, acrylic ink on Somerset satin paper, 2023 Artwork Provenance: from the Artist Studio photo credits, Isabel working, black and white shots, James Brown In Isabel's own words: Horse of Hope The world had become a sad grey place, mud, empty plains with bleak, loveless sky as far as the eye could see. It seemed that all was lost of the old world. Until one day a whisper began on the breeze, so quiet that you could hardly hear it. But it grew stronger and stronger until the trembled with the sound. 'The horse of hope is coming, the horse of hope is coming!' The horse of hope had arrived, its dainty hooves tapping along the way. Where there had been nothing but emptiness the horse trod and from its feet sprung new life and hope. The world became a lush carpet under its footsteps. Up sprang greenery, pushing its tendrils to the sky. Blue irises reached out their twisted delicate petals welcoming the new life in. Strong, dark foliage grew and grew, and with this creatures began to return from their hiding places. Out from rocks and stones they came, for there was hope once again and the world buzzed with new life. *Please note we are happy to ship this work rolled in an art tube. Whilst the work is on heavy duty art paper and mixed media, the artist is happy that the painting will be fine rolled in a tube. This is a more cost effective and environmentally sound method of shipping. Shipping via this method is free. About Isabel Rock and her work: Taking inspiration from Japanese woodblock prints and Indian miniature painting Rock has developed a unique collage technique that combines bold structures with large-scale woodblock prints and intricate detailing. The subject is a grand mixture of humour, drama, hidden morals, fanciful characters, modern culture, mythical beings and fantastical situations. Rock creates a world that pulls you in and demands your attention. Quality of line is paramount, the drawings are created using a dipping pen and acrylic ink. An essential tool is a squirrel...

This Diptych in Ink and Gold leaf on canvass created by Shizico in early autumn when Dahlias take centre stage in her garden. The pictorial language in this series pays homage to Jap...

George Wright (1860–1944) was a British painter renowned for his equestrian art, particularly hunting and coaching scenes. Born in Leeds, England, he was the eldest of seven children...

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...

'The Yellow Pitcher', oil on canvas, by Charles Kvapil (1939). A prolific painter of bouquets, the artist created dozens of tableaux with flowers as sub...

A true Classical Realist, Paul’s focus is on universal beauty. He upholds rigorous standards in pursuit of this, working from life, emulating the techniques and materials of the old ...

'Monywa II', watercolour on paper, (2003) by Burmese artist, Than Aung. Monywa is a region in Burma-Myanmar on the east bank of the River Chindwin. This...

Luis Muntane Muns Portrait of a Woman 1899-1987 Oil on canvas, signed lower right Image size: 31 ¼ x 37 ½ inches (79.5 x 95.5 cm) Original frame The lady averts her eyes from the ga...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Step into the captivating world of "The Portuguese Vase with F...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. In "Sunflowers and Stories by the Sea," Luis Fuentes captures ...

Contemporary artist Lenny Cornforth paints a pleasing seascape scene conveyed during the season of summer. Presenting an aerial perspective of a beach setting, this piece captures th...

A Full-Length Portrait of Nicholas I of Russia in a classical setting. Pietro Labruzzi (1739–1805). 1802.    Signed, located and dated lower left: ‘Pietro Labruzzi Roma Pinx Anno 1802.’ Oil on canvas.   Dimensions:  Unframed: 135.7 x 98.5 cm.; 53½ x 38¾ in. Framed: 151.6 x 115.6 cm.; 59¾ x 45½ in. Description:  Nicholas I (Russian: Nikolay Pavlovich) (1796-1855), Russian Emperor...

Farmhands working in a field on a hot summer's day. Building on iconic depictions of farmworkers by Millet, Huys sought to imbue his figures with a sensitivity and reverence that ...

'The French Rooster', gouache on art paper, by Raymond Debiève (circa 1960s). A Mid-Century modern depiction of the French coq, or rooster. The origin o...

'Barge on the River Seine', watercolour on paper, by Roland DuBuc (circa 1970s). The broad Parisian river Seine divides Paris into the left and right banks. This particular scene appears to be well down river beyond the city as the greenery along the banks points to. The Seine’s collection of lovely small towns happily graces its banks and proudly conveys French culture. Of course, the best way to experience all of these towns and villages is on a river cruise. The Seine is second only to the Loire River which is France's longest. It rises 18 miles (30 kilometres) northwest of Dijon and flows in a northwesterly direction through Paris before emptying into the English Channel at Le Havre. The artist Dubuc created many artworks with the Seine as backdrop. You can have this one right in your living room. In good overall condition, the piece is newly framed and glazed with anti-reflective glass. It is signed by the artist in the lower left hand. Upon request a video of the painting may be provided. About the Artist: Roland DuBuc (1924-1998), French artist, the sixth of 13 children and son of a construction worker. The very precariousness of the family's financial situation forced him to go to work at the age of 14. In extreme poverty, he moved to Rouen where he was lodged by the Salvation Army. During that time he struck up friendships with several artists who gave him advice and taught him techniques of drawing. He moved to other cities later where he met painters including, among others, Fred Pailhès...

Follower of El Greco The Adoration of the Shepherds / Oil on canvas The present work bares close similarity to a painting of the same name in the collection of the Museo del Prado, ...

'Composition with Circles II', gouache on art paper, by James Pichette. A dynamic, lively abstract composition by an artist known for such stunning, viv...

Larry Poons Spring Field 1989 Acrylic on canvas 39.37 x 95.25 cms (15 1/2 x 37 1/2 ins) LP10155

'The Fishermen', oil on canvas, by Anna Costa (circa 1970s). Cassis is a small, Provencal fishing village in southern France, located about 45 minutes east of Marseille and 45 minute...

'Parc des Buttes-Chaumont' in Paris, gouache on art paper, by Lucien Génin (circa 1930s). A charming depiction of well turned out Parisians enjoying a day at the park. Boaters, strollers and swans all co-mingle around the peaceful lake. The reflection of the rocky bluff in the water is superbly treated by Génin. It's a cheerful and uplifting image of days-gone-by in 1930s Paris. The park takes its name from the 'bare hill' (chauve-mont) that once occupied the site. It became a place where gypsum was mined, and where the limestone was quarried to be used in buildings in Paris and the United States. Worse, though, it was a site that also became a dumping ground. Luckily, during the 19th-century renovation of Paris under Napoleon III, chauve-mont was chosen as a place for a large park, as part of the emperor's fascination with endowing Paris with green spaces. The artificial lake created at that time wraps around a hilly central island. The lake attracts waterfowl and other birds and is stocked with fish. The 19th-century planners cleaned up the site and added tons of soil to fill the pits left by a limestone mining operation. Then dynamite was used to "sculpt" the site into the craggy shapes seen today, including the 50-metre-high central hill with cliffs, an interior grotto, pinnacles, and arches. Up on top, overlooking the rest of the park - and depicted in this artwork - is a small, round belvedere, based on the Roman Temple of Vesta in Italy. From that spot you can see a lovely view of Montmartre and the white cupolas of the Sacre-Coeur. The painting is in very good condition. It has been newly framed and glazed with museum-quality glass (anti-reflective and UV protection) to preserve this significant artwork for decades to come. Dimensions with frame: H 62 cm / 24.4" W 76 cm / 29.9" Dimensions without frame: H 48.5 cm / 19.1" W 63 cm / 24.8" About the Artist: After the devastation of the First World War, Lucien Génin (1894 - 1953) left his provincial home in the autumn of 1919 to find his fortune among the lively Parisians in the heart of Montmartre. Génin befriended the painters Frank Will, Gen Paul, Émile Boyer, Marcel Leprin...

'Chinatown San Francisco at Twilight', ink and gouache, diptych on card stock, French School (circa 1950s). This artwork was discovered in Paris, France. The unnamed artist skilfully captured that magical moment at dusk when light is at its most beautiful. The scene is Chinatown, San Francisco in the 1950s. The Far East Café, depicted in this artwork was established in 1920. It is the oldest banquet-style Chinese restaurant in the city. Of course, Chinese cuisine in large cities in America has since moved on from the chop suey...

'Nude Woman at Home', oil on fine paper (1969), by Raymond Debiève. In a clear nod to Picasso's influence both stylistically and in terms of subject matter (Picasso painted many work...

'Mountain Landscape', oil on canvas, by Louise-Jeanne Cottard-Fossey (circa 1950s). A very idyllic, verdant scene depicted by this renown French fem...

'Echoes No.2 ' London, United Kingdom 2024 Limited edition of 10 Pinted on archival Hahnehmule Photo rag paper, with care and attention to detail. The process involves layerin...

BELA KADAR 1877-1956 Budapest 1877-1956 (Hungarian) Title: Village Horse and Rider, circa 1920s Technique: Hand Signed Gouache on Thin Wove Paper Paper size: 50 x 70 cm. / 19.7 x...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. A scene of quiet indulgence and summer’s finest offerings, Pe...

William John Huggins (1781-1845) A Ship in Two Positions Off Dover oil on canvas Unsigned 33 x 45 inches, inc. frame William John Huggins, of wh...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Unbound" by Abi Whitlock embodies a profound exploration of f...

'Body in blue' London, United Kingdom 2024 Limited edition of 10 Pinted on archival Hahnehmule Photo rag paper, with care and attention to detail. The process involves layerin...

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 takes the audience on a journey into the imagination. In October 2023 Isabel won the Evelyn Williams Drawing Award at the Trinity Buoy Wharf Drawing Prize. Known as the UK’s most prestigious annual open exhibition for drawing; part of the prize is a solo show at Hastings Contemporary, scheduled for 2024. Whilst Isabel always has a tale to tell for each of her images, you may or may not choose to go on the journey with her or you may indeed have a different story, one of your own that jumps off the page at you, that that you decide to follow. Artwork Details: Isabel Rock , 'Maud' 200 x 107cm, collaged woodblock print and acrylic ink on 410gsm Somerset Satin paper. *Please note we are happy to ship this work rolled in an art tube. Whilst the work is on heavy duty art paper and mixed media, the artist is happy that the painting will be fine rolled in a tube. This is a more cost effective and environmentally sound method of shipping. Shipping via this method is free In Rock's own words, Maud 'Maud was a legend in the city. A legend that walked the streets and lived and breathed in the minds of the townsfolk so strongly that no one was sure any more if she was real or not.  The tap...

Primary Colour Series-Blue Moon Field is one of Shizico Yi's latest large painting for her new projects, inspired by Japanese woodblock Print and the a nod to calligraphy tradition. ...