Richard Conway-Jones

Richard Conway-Jones - Contemporary Oil, Stylised Birds

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This charming oil by Charles Edwin Baldock depicts a loyal farm dog resting atop an old oak barrel. Baldock's skilful rendering of the scene, from the dog's coat to the wooden barrel...

Godfrey Douglas Giles (1857-1941) British, Oil on canvas. A fine equine portrait of St Windeline & Woolwinder. Signed 'G. D. Giles' and dated (1904) lower right. Inscribed in pencil ...

A charming scene depicting a man leading two shire horses on a country track after a day's work. The horse wear plough harnesses and walk in unison before a vast country landscape. S...

A dynamic oil scene showing a finely dressed matador leading a fearsome black bull with his red cloak. The artist has signed to the lower right corner and the painting has been fixed...

This exquisite painting by Lindorm Liljefors, the talented Swedish painter, draughtsman, and sculptor, is a testament to his profound connection with nature and his artistic lineage. Born on September 18, 1909, in Ytterjärna, Södermanland, and passing away on February 20, 1985, in Skyttorp, Uppsala County, Lindorm was the son of the renowned artist Bruno Liljefors. Educated at the Royal Swedish Academy of Arts in Stockholm from 1928 to 1934, under the tutelage of Alfred Bergström and Wilhelm Smith, he honed his skills before embarking on study trips to France and Italy in 1934. Our painting "Goldfinches, Taormina" showcases a serene natural landscape, inspired by the picturesque scenery of Taormina, it captures the essence of Taormina's natural beauty, combining it with Liljefors' unique artistic perspective. The landscape is richly detailed with lush green grass, delicate flowers, and rugged stones. The focal point is two European goldfinches...

An incredibly striking image of a black and yellow butterfly. Painted with great energy and style. This looks stunning against a white wall. Henri-André Martin (1918-2004) A Swallowtail butterfly Signed Oil on canvas 23½ x 23½ inches excluding frame 26½ x 26½ inches including frame Provenance: The artist's studio sale Born in Lyon in 1918, Henri-André Martin spent his youth in Saint-Étienne. Following his father into the medical profession, he spent his first years studying medicine in Lyon, but also enrolled in the École de Beaux Arts during this time. Upon returning from captivity in 1942, Martin soon became director of the otolaryngology clinic at Édouard-Herriot hospital. Painting, however, remained his true calling in life - it was, to him, an invaluable form of self-expression. Reserved and extremely modest, and frequently regarded as somewhat aloof, art was a means of articulating his anxieties and apprehensions, as well as giving a voice to his inner child. Martin had a brush in hand at all times, wherever he went, and painted countless gouaches of varying sizes. His beach paintings in particular have been compared to those of Boudin. Until the 1970s, Martin had a tendency to paint ‘on the ground’, yet in all of his paintings, there is a distinct sense of distance and removal from the subject-matter. In the years that followed, we see a development in this simplification and abstraction of the subject-matter, as seen, for example, in his images of almond trees standing alone against the stark winter sky of Provence. The palette begins to darken, his work acquires a feeling of gravity, as his paintings of Hamburg Port evidently reflect. His collection entitled ‘Trunks’, six lithographic plates, draws on visual and written material in the book, L’Olivier. His interest in the symbolism of the olive tree subsequently grew, and he turned to literature, painting and historical traditions to develop and nuance his understanding of its allegorical value. This fascination with the olive tree, and more broadly, with the nature of symbolism, came to profoundly inform his later work. What he learnt to represent was not merely the physical reality of his subjects, but their implicit interconnection with abstract ideas. As René Déroudille writes, the lithographic plates are ‘especially devoted to and embrace renewal’, revealing an artist who is in ‘full mutation’. In the 1980s, Martin’s work took a more explicit turn towards abstraction. It was during this time that he produced a series of large nudes, which he entered into the major exhibition at L’Atrium in Lyon, in 1992. In the years that followed, Martin focused on animating the shapes and forms born of his imagination, eventually accomplishing this and changing his focus once again, turning to more attractive, even decorative subjects, like Japanese...

An incredibly striking image of a Red Admiral butterfly set against a background of petals. Painted with great energy and with a most appealing texture to the paint surface. Looks re...

Louis Icart (1880-1950) Canvas Size: 18 x 22" (46 x 55cm) Outside Frame Size: 26 x 30" (65 x 76cm) Signed and titled on the reverse. When Louis Icart returned to Paris after his s...