Michael Grimsdale Figurative Paintings

The Bank Manager by Stuart Scott Somerville (1908-1983) signed oil on canvas, framed Framed: 56 x 47 inches Canvas: 50 x 40 inches Provenance: private collection, UK Condition: very ...

"Extensive Early Industrial Landscape with Mill" by John Pennington (1773-1841, British) subsidiary buildings, bleaching fields and a country house beyond, three children with a bir...

This is a wonderful Guardi's Triptyc, composed by three oval oil painted panels attributed by some of most reputable scholars to the Venetian old master Francesco Guardi (1712-1793)....

Signed, titled and dated figures in landscape oil on canvas by Spanish post impressionist painter Emilio Grau Sala. The work depicts a large group of jockeys and horse owners talking...

Dutch Vessels Morning Light by C.W. Smith (British, early 20th century) signed oil on canvas, framed framed: 15.5 x 21.5 inches canvas: 12 x 18 inches inscribed verso Provenance: pr...

The Barrister (the sitter is James Guy Baker, the artists brother). by Gladys Marguerite Baker (British, 1889-1959) signed oil painting on canvas, framed framed: 146cm x 101cm canva...

Moonlit tonal seascape with sailboat, calm waters, and sepia elegance - Vintage Oil by British Artist, David James. Dramatic skies and beautiful reflections are a feature of this lan...

Softly rendered European street scene by an unknown artist (20th Century). A group of well-dressed women are standing at the side of the road, near some trees. To the right and in the background, a horse an carriage is passing by. The scene is executed with small, circular strokes, giving the piece a soft yet dynamic feel. Signed in the lower right corner. Presented in an ornate gilded frame...

Vibrant coastal village scene by Ramoz (Ramos) (20th Century). The setting sun casts an orange glow across a coastal village. Two people carry baskets on their heads as they unload a...

No sentimentality on the loose here. Not with the expressions on the mother and her three children all engaged in various forms of 18th-century drudgery on this late summer’s eve. An...

A large American Western, Native American oil on canvas landscape, by Frank Paul Sauerwein (1871-1910), "The Captive", 1901. This large oil on canvas depicts a Native American brave captively tied to a tree stump and being viewed by a rival tribe, who are evidently deciding his fate. Behind the collected tribe of elders, braves and children are a pair of conical tipi dwellings, to the background are grazing horses and another group of native people in a tree lined setting. The painting is indistinctly signed lower left, condition is good, the painting is housed in the original frame with a giltwood rabbet, the painting at sight is 40" x 26". Provenance; From a lifelong collection of 19th & early 20th Century Western Art, Portland, Oregon. Frank Sauerwein was a respected painter of western landscapes, Indian portraits, Indian genre scenes, and California missions. His promising career was cut short by his death of tuberculosis at age thirty-nine. The son of European-trained artist, Charles D. Sauerwein, Frank took his first art lessons from his father before studying at the Philadelphia School of Industrial Art, the Pennsylvania Academy of Fine Art, the Art Institute of Chicago and, finally, the Philadephia Museum School of Art. In 1891 he moved to Denver in hope of improving his health. In 1893, Sauerwein accompanied the artist Charles Craig on a trip to the Ute reservation in southwestern Colorado. This began Sauerwein's unyielding fascination with the Southwest and its Native inhabitants. After a trip to Europe, he returned to the American West, visiting Taos in 1899 and Santa Fe in 1900. That same year, Sauerwein visited the Navajo reservation, becoming good friends with trading post entrepreneur, Lorenzo Hubbell. He also spent time at Keam's Canyon on the Hopi reservation where he sketched local inhabitants. Sauerwein moved to Los Angeles in 1901, and then to Pasadena in 1902, but he maintained his contacts in the Southwest with Summer trips to the Grand Canyon, New Mexico Indian Pueblos, Taos, Santa Fe and Albuquerque. He especially loved the Grand Canyon which is the subject of a large number of his paintings. Rendered in a tight, academic style, Sauerwein's paintings clearly show the influence of German...

Third Class Carriage (Down South), c. 1942 - 45, oil on canvas, 24 x 29 inches, labels verso read: "Painting by Mervin Honig [with address included]" and inscribed verso: "Title: Thi...