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Brenda Johnstone - Framed 20th Century Oil, Ewell Court in Spring

20th Century

An original oil painting by Pauline Plummer (b.1933), depicting a verdant landscape of mature trees. Signed to the lower left. Dated '03. Well presented in a painted wooden frame wit...

A delightful impressionist oil depicting summer sun shining down Orleans Road in the highly desirable suburban district Twickenham. The painting has been presented in a decorative wo...

An Impressionist landscape study by the artist Pauline Plummer (b.1933). Signed lower right. Dated 2002. Presented in a painted wooden frame. On board.

Full of energy and colour, this delightful study shows a villa garden bursting with summer flowers. Currently in the wrong spot, a sundial sits in the shade beside a landscaped path ...

Vintage American modernist landscape oil painting. Oil on canvas. Signed. Framed. Measuring: 27 by 30 inches overall, and 20 by 24 painting alone.. In excellent original condition. ...

A really luscious and colourful woodland landscape oil painting by Modern British female artist Phyllis Bray, 1930s. Phyllis Bray (30 August 1911 – 1991)...

LOUISE P. DUSSAULT (1948-2009) - Vintage framed Impressionist style acrylic painting on panel - featuring a lush landscape including an abundance of flowers in decorative pots set ag...

Oil on board, unsigned Image size: 12 1/2 x 15 1/2 inches (31.75 x 40 cm) Contemporary style handmade frame Exhibitions 1952 Royal Academy of Arts Exhibition, Gallery no. VII, no.429. This forest scene invites the viewer into a multi-sensory event where the cool, damp shadows of the foliage can almost be felt and the rich bouquet of the forest floor recalled. Here, Sherlock has chosen a somewhat unusual angle and composition, dissecting each truck and tree form so that only a part can be seen. Furthermore, as we look into the depths of this space it becomes clear that we are stood gazing down into a valley that is in the distance, behind this wooded area. Indeed, instead of giving us an uninterrupted view of this vista, as perhaps would be expected, this view is deliberately blocked and our focus is directed instead towards the organic forms in the foreground. The Artist  Marjorie Sherlock was born at Fir Tree Cottage, George Lane, Wanstead, Essex, on 3 February 1891, the elder child of the civil engineer, Henry Sherlock, and his wife, Alice (née Platts), who was born in Benares, India. By 1901, the family was living at ‘The Limes’, 121 Mill Road, Cambridge, and Marjorie received an education locally. In 1918, she entered into marriage with her cousin, Major Wilfrid Barrett, though this proved unsuccessful and they later divorced (he remarrying in 1941). She then continued to live at the family home until the Second World War. During the First World War, Marjorie Sherlock studied at Westminster Technical Institute under the Camden Town School painters, Walter Sickert and Harold Gilman. She exhibited at the Royal Academy of Arts from 1917, when she showed a powerful view of the interior of Liverpool Street Station (Government Art Collection) (to which the current etching [202] relates). In time, she would exhibit at the International Society, the New English Art Club, the Royal Society of British Artists, the Society of 207 Graphic Art and the Women’s International Art Club (becoming a member of the last two). She also showed work internationally. Developing as a printmaker as well as a painter, Sherlock studied etching under Malcolm Osborne at the Royal College of Art in 1925. She published her etchings in four series, the titles of which indicate her love of travel: ‘English Etchings, ‘Egyptian Etchings’ (both 1925), ‘German Etchings’ (1929) and ‘Indian Etchings’ (1932). During this period, she also visited the united States. More admiring of Continental painters than British ones, she furthered her studies, in 1938, by working in Paris under André L’Hôte and André Dunoyer de Segonzac. During the Second World War, Sherlock moved to East Devon and settled at Oxenways, a Victorian hunting lodge...