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Major Richard ‘Dick’ Heseltine M.C. (1914-2012) - Oil, Scalding a Pig 83

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A dynamic 20th century oil by artist Simon Judge, portraying labourers immersed in the intense atmosphere of an industrial smelting plant. Executed with loose, impressionistic brushs...

This bold, expressionist impasto portrait depicts a circus bear tamer rendered in gestural brushstrokes against a dominant, rich emerald green background. A small, tethered bear appe...

An expressive winter scene by Ukrainian artist Vadim P. Sokolov (b. 1942) depicting a couple fetching water from the village well. Signed in the artwork to the lower left, with an ad...

A playful celebration of farming and rural life comprised of bold geometric shapes in vibrant colours. A label on the reverse indicates it was designed as a mural for the Itzehoe dis...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 15 x 20.5 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist ...

"Feeding the Pigs" by Sunderland Rollinson (British Impressionist artist, 1872-1958) oil on canvas, unframed canvas: 20 x 24 inches provenance: private collection, UK condition: very...

The Artists Country Home Rodgau Germany Original Oil on Linen 1944 Oil painting of the German Countryside circa 1944 by an anonymous artist. (German, 19th-20th C). Well painted of a...

A classical anatomical figure in an artist's studio, surrounded by brushes and a palette, with muted tones creating a contemplative and intimate atmosphere. Contemporary figurative painting by Mark Beard [Bruce Sargeant (1898-1938)] Artist’s Studio n.d. Signed in red, u.r. Oil on canvas 36 x 18 inches $4,000 + $300 framing The pure and brilliant world of Bruce Sargeant’s art seems terribly removed from our own, unhampered by the prevalent inconsistencies of today’s world. Peopled with comely thoroughbreds, his paintings project a world vision unchanged from the models cherished by idealist writers like E. M. Forster and Rupert Brooke in that golden decade that led up to the Great War. Neither buff nor narcissistic, his fair-haired young athletes pose, somewhat uncomfortably, before the painter’s gaze, not wanting the attention yet feeling their duty to submit. Though tantalized by the New World dabbings of Robert Henri and John Sloan, Sargeant found his true inspiration in the art and ethos of fifth-century Athens, where the achievement of the kaloi kagathoi, young men who were “beautiful to look at and worthy of admiration,” were the perfect models for artistic rendering and public adulation. At base, Sargeant’s models, like the sculptures of Lysippus and Praxiteles, are idealized heroes whose achievements on the playing field earn them their renown. However, unlike his precursors, the painter requires no civic responsibility from his ephebes, only physical stamina, gymnastic prowess, and good looks. His work bespeaks a class that existed briefly, but was prolonged and attenuated in the languorous novels of writers such as Denton Welch...