*ISABEL LAMBERT RAWSTHORNE (NÉE NICHOLAS) (1912-1992) Double portrait circa 1960s, oil on canvas, 60cm x 50cmProvenance: The picture was inherited by descent from mother to daughter. The mother was friends with both Constant Lambert and Alan Rawsthorne (two of Isabel's husbands), as part of the same music circle. She remained friends with Isabel right up her twilight years when she lived in a cottage in Essex. Indeed the daughter vividly recalls visits, and the kind donation of old canvases to her brother as a young artist.Note: Isabel has been subjected to relative obscurity, probably due to her name changes from three marriages, and from being dismissed by society as merely the striking studio model, lover or muse of artistic icons such as Alberto Giacometti, Pablo Picasso, and Francis Bacon. Despite highly acclaimed exhibitions in the 50s and 60s, she has only recently received serious renewed recognition, which is now gaining pace and several paintings have entered public collections as a result.From a humble background she studied at the Liverpool College of Art, later winning a scholarship to the Royal Academy in London. After working with Jacob Epstein she moved to Paris to study at the Academie de la Grande Chamiere and associated with Giacometti, Tristan Tzara and the Surrealist Circle. Throughout her life she was within leading artistic circles, be they composers, dancers, artists or writers. It is notable that she became a respected scenery and costume designer for ballet and opera productions at the Royal Opera House.From 1949 she and Bacon showcased their figurative brand of modern art at the Hanover Gallery and exhibited in the ICA and British Council. Indeed the critic David Sylvester ranked her alongside Bacon, Lucien Freud, John Craxton and Peter Lanyon.It was during the 1960s and 1970s, with the deaths of Giacometti and her third husband, that the ethereal double portraits emerged and where the distinctive dead and sculpted likenesses evolved. This painting is almost certainly one of a portrait series of her late husband Alan Rawsthorne and his sister Barbara. The spectral faces dissolve into a void-like background, capturing the fragility of the human body. The doubling effect suggests the mirrored ballet studios in which she drew dancers at their craft. The grainy texture, created with sand highlighted with hints of pink, yellow and white, emphasises the shafts of light and the window behind.
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ALFRED STEVENS (1823-1906) An interior with a woman by a cradle signed to the left of the cradle, oil on canvas, 102cm x 76cmProvenance: Private Collection, London.Note: Stevens studied at the Académie Royale des Beaux-Arts in Brussels before travelling to Paris in 1843, where he studied at the École des Beaux-Arts and developed a friendship with fellow Belgian artist Florent Willems (1823-1905). Both artists were heavily influenced by the interior scenes of 17th century Dutch masters, such as Gerard ter Borch (1617-1681) and Gabriel Metsu (1629-1667), with Stevens and Willems both, like their predecessors, depicting elegant women in luxurious interiors, works which are redolent with a contemplative air.The subject of the maternal figure is one which appears throughout Stevens' work, as, for example, in the painting entitled 'Une Mère' (c.1870), held at the Worcester Art Museum [1913.1], which depicts a mother and her young child sleeping peacefully in a richly decorated bed. The painting 'La Jeune Mère', held at the Dumbarton Oaks Research Library and Collection, Washington D.C. [HC.P.1926.06.(O)], is likely a preparatory study for 'Une Mère', and exhibits the same loose, sketchy brushwork that characterises the present work.Indeed, Stevens treated the subject of mother and child in a number of compositions, including also in his 'Tous les bonheurs' (1861), at the Musées Royaux des Beaux-Arts in Belgium [no.3645], which also utilises the imagery of the mother by a crib, and his 'Mother and Child' (c.1875-80) held at the Clark Art Institute in Williamsburg [1955.862].The auburn-haired figure of the present work is typical of Stevens' models, with many of his subjects bearing a strong resemblance to her. These include Sarah Bernhardt, whom Stevens depicted on multiple occasions, both in portraits but also in interior scenes, as in 'Love's Messenger' (c.1885), currently held in a Private Collection. Indeed, models with strikingly similar features can be found throughout Stevens' work, including notably, in his 'In the Studio' of 1888 [Metropolitan Museum, New York, no.1986.339.2], and in his much earlier painting 'L'atelier' of 1869 [Musées Royaux des Beaux-Arts, Belgium, no.3423], with the model's face here depicted in sharp profile, similar to the present work.In this canvas, Stevens skilfully contrasts loose brushstrokes, which effectively impart a sense of movement to the work, with a close consideration of the surfaces and textures, as in the shiny satin bow on the crib, the glimmering silverware on the table behind, and even the light which reflects off the sitter's fingernails, all of which demonstrate an attention to detail for which Stevens was renowned, and which led one critic to label him the 'Ter Borch of France'.
ATTRIBUTED TO BERNARD DUNSTAN (1920-2017) 'Sunny Day at Rochefort' titled verso, oil, 19cm x 24cmProvenance: Acquired in 2011 from Vitruvius Gallery Ltd of Sunnybank, Lancashire and to be sold with their letter of provenance stating that the painting was acquired by them from Burstow & Hewett Auctioneers, Battle, on the 15th December 2010.
English School (Late 18th/Early 19th Century) View of a Bridge over the River Thamesunsignedoil on panel10cm x 7cm;and a companion painting both in giltwood framesIn good original clean condition with a small area of marking located at the top edge of the board. There are some visible abrasian marks to the paint surface also close to the board. On the sunset composition, there is visible paint loss to the top edge of the board and general marking to the paint surface. Please refer to the additional images provided to help with the CR
▲ William Scott RA (1913-1989) 'Orange Still Life', 1956 (William Scott Archive No.1893);verso, pencil sketch of Mary Scott, the artist’s wife, late 1930ssigned 'W. Scott' l.r., gouache50.5 x 68cmProvenance: Private collection, USA;Offer Waterman & Co., London;the property of a private collector.The drawing of Mary Scott is similar to the oil painting ‘Seated Nude’, 1939, Tate, London.We are grateful to the William Scott Archive for their kind assistance with the cataloguing of the present work.In the 1950s, William Scott's use of vibrant colours, like orange and ochre, played a crucial role in his still-life compositions, marking a key period in his artistic development. As a member of the post-war British painting group, including artists such as Patrick Heron, Terry Frost and Peter Lanyon, Scott was influenced by the boldness of abstract expressionism. In 1953, his exposure to the New York School, where he met leading figures like Rothko, de Kooning and Pollock, made a significant impact on his approach to abstraction. Despite this, Scott remained deeply attached to the still-life genre, finding ways to modernise it while infusing it with abstraction. His works from the late 1950s often featured everyday objects like jugs, bowls and pans, painted against bold backgrounds in colours like orange. These hues, especially the warm tones of orange, went beyond mere decoration - they emphasised the physical presence of the objects and imbued the scenes with energy.Scott's choice of orange can be seen as a deliberate effort to elevate these everyday items, drawing attention to their form and giving them a unique vibrancy. This use of colour was particularly striking in works, as seen here in lot 278, where the colour envelops the composition, making items seem dynamic and essential. For Scott, orange was not only a visual tool but also a way to convey a sense of warmth and vitality. It helped balance the austerity of his minimalist approach with the sensuality he sought to evoke. By combining the figurative and abstract elements of his work, Scott's use of orange served as a bridge between his engagement with American abstraction and his European roots in more tactile, representational art.Condition ReportFramed: 67 x 84.5cmThe work is executed on paper. Rippling to the sheet visible when viewed from the side under raking light. Pinholes to top corners. A tiny tear to the extreme upper right corner. Lower edge torn slightly unevenly. Presents well overall when viewed on the wall.
▲ Peter Lloyd-Jones (b.1956) 'Interior with Chair and Red Cushion' signed with initials l.l., with a further portrait study verso, oil on canvas109 x 76cmProvenance: With Jonleigh Gallery, Guildford;Mr and Mrs David McCleave.Condition ReportFramed: 119 x 86cmA little very light surface dirt. There is a faint horizontal line crossing the centre of the work which appears to be the surface of the canvas. Further very faint lines cross the top and bottom thirds of the painting, however in our opinion the work presents well overall when viewed on the wall. Not examined under UV light, for a full report please contact the department.
Bruno Breil (German, 1888-1953) A child seated on a chair readingsigned 'Breil' l.l., also faintly signed and inscribed in German on stretcher verso, oil on canvas56 x 50cmCondition ReportFramed: 78 x 71.5cmat Unlined. The canvas tension is a little loose to the touch. There is a noticeable 2cm x 4cm L-shaped tear in the lower right quarter. A little very fine cracking is starting to emerge in places but can only be seen on very close inspection. A tiny abrasion in the extreme upper left corner. UV light shows some patching to the girls arm and to the lower quarter of the painting. In natural light there is not obvious retouching. Please see condition images.
▲ ‡Alan Davie RA (1920-2014)‡ 'Double Jive', 1962 signed and dated 'Alan Davie/Jun 62' verso and also inscribed and dated 'Double Jive/Jun 62/Opus: 0.483', oil on canvas 152.5 x 183cm, unframed Provenance: With Gimpel Fils Ltd., London; the property of a private collector. Literature: Alan Bowness, 'Alan Davie', published by Lund Humphries, London, 1967, no. 419, illustrated. ‡ IMPORTANT NOTE: This lot has been imported from outside of the UK and placed under Temporary Admission. An amount in lieu of Import VAT will be charged at 5% on the hammer price. VAT at 20% will be added to the buyer's premium and will not be shown separately on our invoice. Please see the VAT Symbols and Explanation section of the Conditions of Sale for further information. Condition ReportSurface dust and dirt. The painting has a matt finish with some areas of gloss. There is dark blue/ green shape, centre right, where it appears the thick impasto has been impacted resulting in a small exposed loss. Not examined under UV light, for a full report please contact the department.
▲ James McIntosh Patrick RSA (1907-1998) 'View from Craigie Knowes'signed 'McIntosh Patrick' l.l., oil on canvas46 x 56cmThis lot is sold with a signed letter from the artist discussing the painting.Condition ReportPROVENANCE: with a letter from the artist. Framed: 52x 62cmLight surface dirt. Craquelure in places. A few tiny scattered dark speckles in the sky. Stretcher marks starting to emerge along the top edge. Seen under uv light, no retouching visible.
▲ Terence Cuneo (1907-1996) The German surrender at Lüneburg Heath, 4 May 1945signed and dated 'CUNEO/FEBRUARY 1969' l.l., oil on canvas 101.5 x 126.5cm;together with a collection of correspondence relating to the picture between Mr Haworth, of James Haworth & Brother Ltd., and others, including the 1st Viscount Montgomery of Alamein;later correspondence between Mr John Haworth and David McCleave (qty.)Provenance: Mr Haworth;the David and Pam McCleave Collection of Modern British Art.This painting depicts a monumental moment in history, captured at the time with photographs. No official war artist was commissioned at the time, and Field Marshal Montgomery was said to be disappointed that there was nothing more substantial than a few photographs to portray this important meeting. He had mentioned this to Garfield Weston (director of Fortnum & Mason) who then discussed it with James Haworth in 1968. It was Haworth who suggested Terence Cuneo as just the artist to recreate the scene, as can be seen in the accompanying correspondence sold with this lot. Cuneo preferred to work from life drawings, but agreed to proceed with the commission and it is said that 'Monty' was delighted with the painting. Originally, Garfield Weston intended for the painting to be displayed in the restaurant of Fortnum & Mason, but the acquisition did not proceed as planned. Consequently, the painting stayed with the Haworth family until 2006, when it was acquired by David McCleave.Condition ReportFramed: 120 x 145cmSlight rubbing to the edges. On close inspection there is a little very fine cracking starting to emerge in the upper left. There appears to be a small spot of overpaint above the door in the upper left corner, please refer to illustration. This can also be seen under uv light. No other obvious retouching was seen under uv. Presents well overall.
TATE; a mid to late 20th century oil on canvas, portrait of a gentleman, signed lower right, 50 x 39.5cm, in elaborate gilt frame, a coastal watercolour by Mary Gundry, signed lower right, 23 x 35cm, framed and glazed, an Indian watercolour and gilt heightened gouache painting of an elephant on silk, 34 x 50cm, framed and glazed, and a further oil of St Paul's Cathedral (4).
Oil painting depicting a Parisian cafe scene. The composition portrays a couple seated at a table, engaged in conversation, with a background of additional patrons and a standing figure. The work is executed in an impressionist style, emphasizing movement and atmosphere. The artist's signature appears in the lower right corner. The painting is housed in a decorative frame with a linen liner. Frame size: 12.5"W x 14.75"H x 1.75"D. Sight size: 7.75"W x 9.75"H.Issued: 1910Dimensions: See DescriptionCondition: Age related wear.
Vibrant oil on canvas painting by Charles Vavrina, titled Mediterranean Villas. The composition captures a picturesque coastal scene with white stucco villas accented by red-tiled roofs, nestled against a lush hillside overlooking deep blue waters. The artist's expressive brushwork and rich color palette bring a lively impressionistic quality to the Mediterranean setting, evoking the warmth and charm of the region. The foreground features a detailed floral arrangement, adding a dynamic contrast to the serene seascape. Charles Vavrina is a contemporary artist known for his vivid and expressive oil paintings, often depicting Mediterranean landscapes, coastal scenes, and European-inspired architecture. His work is characterized by a bold use of color, dynamic brushwork, and an impressionistic approach that brings movement and warmth to his compositions. Drawing inspiration from the charm of old-world settings, Vavrina's paintings capture idyllic seaside towns and lush natural environments, inviting viewers into a world of tranquility and nostalgia. Signed lower left, with the title and artist's name inscribed on the verso.Artist: Charles Vavrina (American, 1928-2009) Issued: c. 1990Dimensions: 49"L x 35"HCountry of Origin: USACondition: Age related wear.
Outstanding oil on board painting by Richard Mravik titled Glorious Sunset etting Star, depicting a dramatic celestial scene with rich hues and dynamic brushwork. Mravik's technique emphasizes luminous color transitions and atmospheric depth, capturing the ethereal glow of a setting star against a vast sky. His signature style blends realism with an impressionistic touch, creating a sense of movement and energy within the composition. Signed by the artist, this piece reflects Mravik's ability to evoke emotion through light and texture. Housed in a splendid koa wood frame. Dimensions including frame: 60"L x 48"HArtist: Richard Mravik (Slovakian/Canadian b. 1973)Dimensions: See DescriptionCountry of Origin: Slovakia/CanadaCondition: Age related wear.
This evocative oil painting on canvas by German artist H. Stadler captures a tranquil landscape featuring a reflective body of water framed by lush trees, leading to distant snow-capped mountains. Stadler's adept use of color and expressive brushwork brings depth and movement to the natural scene, with warm earthy hues blending seamlessly into cool sky tones. The composition is balanced, drawing the viewer's eye through the landscape toward the horizon. The painting is presented in an ornate gilt frame, adding to its classical charm. The title and artist's name are inscribed on the lower right and on the stretcher as Landscape H. Stadler. Artist: H. Stadler (German, b. 1914-?)Issued: c. 1950Dimensions: 33"L x 43.75"HCountry of Origin: GermanyCondition: Age related wear.
An original oil painting by Donald James Zolan titled Contemplating. Donald Zolan was a renowned American artist celebrated for his nostalgic and heartwarming depictions of childhood, seasonal themes, and classic portraiture. His works are widely collected and appreciated for their emotive realism and warm, inviting compositions. This intimate portrait captures a bearded Rabbi deeply engrossed in reading, rendered with Zolan's signature expressive brushstrokes and rich color palette. The piece is housed in an elaborate ornate gilt frame with intricate scroll work and a brass nameplate inscribed with the painting's title and artist's name. The back of the painting bears a embossed seal stamped copyright notice, indicating restricted reproduction rights.Artist: Donald James Zolan (American, 1937-2009)Issued: 20th centuryDimensions: 12.25"L x 10"W x 2"HCondition: Age related wear.
21st century Abstract school, figure on a bike before stencilled buildings, oil pn panel, indistinctly signed in pencil lower right and dated '09, 60 x 60cm, framed, Terence Howe, asbract, oil on board, artist inscribed verso and dated April 2023, 60.5 x 60.5cm, framed and another painting (3)
Rita Smith (British, 21 Artists Group, 20th / 21st century) Woodland autumn colours oil on board, signed lower right, unframed 12 1/8 x 12in (31 x 30.75cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 293-301 for further lots from this collection.
Rita Smith (British, 21 Artists Group, 20th / 21st century) Study of two ballerinas oil on board, signed lower left, unframed 24 x 30in (61 x 76.25cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 293-301 for further lots from this collection.
Rita Smith (British, 21 Artists Group, 20th / 21st century) Coastal sunset in blues and greens oil on canvas, unframed 13¾ x 18in (35 x 45.75cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 293-301 for further lots from this collection.
Rita Smith (British, 21 Artists Group, 20th / 21st century) Vishnu oil on board, signed lower right, unframed 24 x 24in (61 x 61cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 293-301 for further lots from this collection.
Rita Smith (British, 21 Artists Group, 20th / 21st century) Indian dancer oil on canvas, unsigned, unframed 24 x 30in (61 x 76.2cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 293-301 for further lots from this collection.
Rita Smith (British, 21 Artists Group, 20th / 21st century) Alpine mountain village landscape oil on canvas, signed and inscribed indistinctly verso, unframed 24 x 30in (61 x 76.2cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 293-301 for further lots from this collection.
Rita Smith (British, 21 Artists Group, 20th / 21st century) Still life of a vase of flowers and oranges on a table oil on board, unsigned, unframed 24 x 24in (61 x 61cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 293-301 for further lots from this collection.
Rita Smith (British, 21 Artists Group, 20th / 21st century) Alpine landscape oil on canvas, unframed 13¾ x 18in (35 x 45.75cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 293-301 for further lots from this collection.
Rita Smith (British, 21 Artists Group, 20th / 21st century) Alpine mountain valley landscape oil on canvas, unsigned, unframed 16 x 13in (40.7 x 33cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 293-301 for further lots from this collection.
J. Ruffi...? a pair of Continental oil on boards, a pair of XIX Century prints, 'The Lady of the Lake', 'The Censas of Commerce', early XX Century boots, Beautiful Britain, portfolio of photographs of famous scenes, cities and painting, famous paintings of the World, XIX Century Bible, photo etc:- One Box.
A tropical landscape print after the original oil painting by Albert Bierstadt. This lush scene captures a serene Caribbean coastal view framed by towering palm trees, verdant foliage, and vibrant tropical flowers, evoking a sense of tranquility and natural grandeur. The work is characterized by rich detailing and luminous atmospheric effects, reminiscent of Bierstadt's mastery of light and landscape composition. Signed Bierstadt in the plate, this piece is housed in a heavy bamboo-style frame that complements its tropical theme. While not an original work by Bierstadt, this piece reflects the influence of the renowned Hudson River School artist, known for his grand and romanticized depictions of nature. The print appears to have been varnished. Artist: After Albert Bierstadt (German-American, 1830-1902)Issued: c. 1950Dimensions: 30.50"L x 37"HCountry of Origin: USACondition: Age related wear.
This captivating mid-century modern oil painting depicts a ballet dancer adjusting her pointe shoes, a moment of quiet preparation before performance. The piece is rendered with dynamic brushstrokes, evoking movement and elegance. The muted green background contrasts sharply with the vivid red of the ballet shoes, drawing the viewer's eye to the dancer's poised concentration. The artwork is signed in the lower right corner with an intricate red monogram-style signature. The signature appears to be East Asian in origin, suggesting influence or origin from a contemporary Asian artist, though specific attribution is undetermined. The painting is framed in a simple wood frame that complements its minimalist aesthetic. This piece would make an excellent addition to any collection of dance, mid-century modern, or Asian-influenced artwork. Artwork dimensions with frame: 32.50"L x 27.75"H x 3"W.Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.
This captivating antique oil on canvas painting features a dynamic and mythological scene of a male rider atop a rearing horse. Rendered with bold, expressive strokes and rich earthy tones, the artwork evokes themes of strength, motion, and heroism. The rider, draped in a red garment, adds a dramatic focal point, contrasting with the verdant backdrop of trees and an expansive landscape. The reverse side of the canvas reveals its age and authenticity, with visible wooden stretcher bars and handwritten markings. While the artist remains unidentified, the piece reflects mid-century artistic styles, possibly inspired by the works of 19th-century European Romanticism or early 20th-century Expressionist movements. This rare and evocative painting is a statement piece, ideal for collectors of vintage or mythological art or those seeking a dramatic addition to their home decor. Artwork can be unframed and rolled for shipment.Issued: 19th-Early 20th centuryDimensions: 49"L x 49"H x 1"WCountry of Origin: ContinentalCondition: Age related wear. The canvas is partially detached from the frame. Sporadic tears and paint loss especially on edges.
Impressionist oil on canvas painting by British artist John Bampfield, depicting a nostalgic European street scene in autumn. Executed with rich impasto brushwork, the composition captures a rainy evening with figures navigating a cobblestone street lined with historic buildings and a warmly lit storefront. A woman and child, dressed in period attire, are seen braving the wind as golden leaves swirl around them, while distant figures and a horse-drawn carriage recede into the misty background. Bampfield's signature use of vibrant color contrasts and atmospheric light effects enhances the painting's dynamic and romantic quality. Signed on lower left. Presented in an ornate gilt frame.Artist: John Bampfield (British b.1947)Issued: c. 1980Dimensions: 33.75"L x 23.25"HCountry of Origin: EnglandCondition: Age related wear.
This compelling oil on canvas painting, created by Palm Beach artist Annette Krauss Rose, features a captivating portrait of a young woman. Rendered in soft, muted tones with a blend of realism and artistic expression, the composition draws the viewer into the subject's pensive gaze. Krauss Rose's mastery of light and shadow is evident in the atmospheric background, lending depth and intrigue to the piece. The sitter's thoughtful expression and poised posture reflect the artist's skill in capturing human emotion. Annette Krauss Rose, a student of Tonalist and Impressionist Frank Vincent DuMont in New York City, is celebrated for her evocative portraiture and nuanced brushwork, which distinguish her works as timeless. This painting is housed in a textured white wood frame, enhancing its elegance and ensuring it will complement a variety of settings. Artwork dimensions with frame: 27"L x 32"H.Artist: Annette Krauss Rose (American 20th Century)Dimensions: See DescriptionCountry of Origin: USACondition: Age related wear.
A captivating oil painting by G. Navarro, dated 1967, showcasing an abstract figurative composition. The artwork features two stylized figures rendered in bold, expressive brushstrokes with a moody palette of deep blues, purples, and earthy tones. The dynamic use of light and shadow creates a sense of movement and emotion. Signed lower right G. Navarro 67. Presented in a dark wood frame. Dimensions: 43.25"L x 31.5"H framed.Dimensions: See DescriptionCondition: Age related wear.
This original 1964 oil painting by renowned Mexican artist Gilberto Aceves Navarro (1931-2019) portrays a young indigenous girl seated beside a woven fishing net, dressed in a flowing pink garment. The subject's introspective expression and delicate gesture of braiding her hair reflect Navarro's ability to capture both realism and emotion. Rendered in a muted, earthy color palette, the composition highlights the artist's distinctive approach to figurative art. Navarro, a key figure in Mexican modernism, is celebrated for his expressive brushwork and deep cultural themes. Signed "G. Navarro, '64" in the lower right corner, the painting is housed in a rustic wooden frame with a gold inner trim, complementing its naturalistic aesthetic. A rare and significant piece for collectors of Mexican modernist art and indigenous portraiture.Artist: Gilberto Aceves Navarro (Mexico, 1931-2019)Dimensions: 30"L x 41.75"HCountry of Origin: MexicoCondition: Age related wear.
This lovely oil painting on wood board by artist Chang depicts a tranquil architectural scene framed by an arched colonnade. The composition leads the viewer's eye through a sunlit courtyard, where a figure in traditional Asian attire walks hand in hand with a child, evoking a sense of nostalgia and cultural heritage. Lush vegetation drapes over the structure, adding depth and contrast to the weathered stone. The artist employs a warm, earthy palette with expressive brushwork, capturing the interplay of light and shadow across the textured surfaces. Signed in the lower right, the painting is presented in an ornate, carved frame that complements its classical aesthetic.Artist: ChangIssued: c. 1970Dimensions: 28.25"L x 25.50"HCondition: Age related wear.
This captivating oil painting by Palm Beach artist Annette Krauss Rose, who studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMont, features a striking composition of tigers juxtaposed with circus clowns and performers in a dynamic setting. The piece skillfully blends bold, naturalistic details with an impressionistic use of color and form, highlighting the distinctive contrast between the fierce presence of the tigers and the whimsical nature of the circus environment. Krauss Rose's artistic approach conveys a sense of storytelling and motion, drawing the viewer into the heart of the scene. Annette Krauss Rose is known for her vivid and expressive works that often explore themes of the circus, clowns, and performance art. Her mastery of oil as a medium is evident in the vibrant palette and textured brushstrokes that bring this piece to life. This artwork serves as both a testament to the artist's talent and a unique addition to any art collection. The painting is presented in a wood frame that complements its vibrant tones. Artwork dimensions with frame: 29"L x 36"H.Artist: Annette Krauss Rose (American 20th Century)Dimensions: See DescriptionCountry of Origin: USACondition: Age related wear.
This captivating oil painting features a majestic sailing ship navigating through tumultuous waves under a cloudy sky. The artist, signed as J. Ariasta, has expertly depicted the movement of the water and the intricacy of the ship's rigging, bringing a dynamic and immersive quality to the artwork. The painting is framed in a vintage wooden frame with a linen mat, complementing its maritime theme. Measuring 27.5"L x 31.5"H, this piece would make an excellent addition to a nautical or historical art collection.Dimensions: See DescriptionCondition: Age related wear.
This oil-on-canvas still life painting by Palm Beach artist Annette Krauss Rose features a vibrant composition of a metallic vase and cut fruit against a draped fabric background. Rose, a 20th-century artist, studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMond, whose influence is evident in her use of light and color. The painting measures 20.5”L x 22.5”H and is signed by the artist in the lower right corner. A fine example of Rose's mastery of still life, this work is ideal for collectors of Impressionist and Floridian art.Artist: Annette Krauss Rose American 20th CenturyDimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.
This serene and evocative oil on canvas painting titled Delicate Loving Trees is a captivating work by artist Michael J. Hill, certified by Centaur Sculpture Galleries. This piece features a tranquil woodland scene with delicate, leafless trees reflected in a calm, still body of water. Hill's attention to detail and masterful use of soft, muted tones create a soothing atmosphere that evokes a deep connection with nature. The artwork comes beautifully framed in a gold ornate frame, enhancing its timeless aesthetic. The painting is signed M. Hill UK in the bottom right corner, confirming its authenticity alongside an included Certificate of Authenticity issued by Centaur Sculpture Galleries. Artwork dimensions with frame: 17.25"L x 21.25"H x 2"W. Certificate of Authenticity included.Artist: Michael John Hill (British b. 1956)Issued: 20th centuryDimensions: See DescriptionCountry of Origin: EnglandCondition: Age related wear.
This framed oil painting by D. Epple captures a dramatic Western-themed scene depicting two Native American figures seated on a rocky outcrop, gazing over an expansive mountainous landscape. One figure, adorned with a traditional headdress, holds a peace pipe, symbolizing contemplation and wisdom. The painting showcases rich earth tones, expressive brushwork, and a compelling use of light and shadow. Signed D. Epple in the lower right, the artwork is matted with a red border and framed in a classic wooden frame with glass. A significant piece for collectors of Western art, Native American-inspired works, and fine oil paintings.Artist: D. EppleDimensions: 32"L x 28"HCondition: Age related wear.
This captivating oil painting by Palm Beach artist Annette Krauss Rose exemplifies her unique approach to surrealist art. The work portrays an enigmatic clown figure with fiery orange hair and a delicate bouquet of blue flowers nestled under a red nose, juxtaposed against a black umbrella and a warm yellow backdrop. The artist's masterful use of color and texture invites the viewer into a dreamlike world, blending whimsy and mystery. Annette Krauss Rose, who studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMont, celebrated for her innovative style, often explores themes of identity and emotional depth in her paintings. This particular piece demonstrates her ability to evoke both joy and introspection through her imaginative compositions and dynamic brushwork. Presented in a contemporary black-and-gold frame, the artwork is ready for display. A conversation starter for any collection, this piece offers a glimpse into the surreal artistry of Annette Krauss Rose. Artwork dimensions with frame: 31.50"L x 25.50"H.Artist: Annette Krauss Rose (American 20th Century)Dimensions: See DescriptionCountry of Origin: USACondition: Age related wear.
This enchanting oil on canvas painting by Palm Beach artist Annette Krauss Rose, who studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMont, features a woman in a vibrant yellow outfit and a whimsical top hat. The abstract yet emotive brushstrokes lend a sense of dynamism and creativity to the work, suggesting a modern impressionist or abstract expressionist style. The artist employs bold colors and fluid movement, drawing attention to the subject's facial features and unique attire, reminiscent of theatrical or festive themes. The background is rendered with soft, diffused tones, creating a contrast that emphasizes the subject's vivid palette. The piece is framed in a simple wooden frame with a weathered patina that complements the artwork's character. Artwork dimensions with frame: 41.50"L x 37.75"H x 1"W.Artist: Annette Krauss Rose (American 20th Century)Dimensions: See DescriptionCountry of Origin: USACondition: Age related wear.
This captivating oil on canvas painting by W. Matthews depicts a bustling Parisian street scene featuring the iconic Arc de Triomphe as the central subject. Rendered in a classic impressionist style, the artwork is characterized by its vibrant color palette and dynamic brushwork. The lively scene showcases horse-drawn carriages and pedestrians under glowing streetlights, beautifully capturing the romantic essence of Paris. The artist's signature, W. Matthews, is prominently located in the lower right corner. W. Matthews is recognized for his evocative cityscapes and use of texture to create movement and depth, making his works highly desirable among collectors of impressionist and urban-themed art. The painting is elegantly framed in a decorative, gilded wooden frame that enhances its timeless charm and ready-to-hang appeal. Artwork dimensions with frame: 25.50"L x 21.50"H x 1.25"W.Artist: W. Matthews (20th-21st century)Issued: c. 2000Dimensions: See DescriptionCondition: Age related wear.
This oil on canvas painting by Caroline Burnett, known for her evocative Parisian street scenes, beautifully depicts a romantic boulevard in the heart of Paris. Executed in her signature impasto technique, the painting features delicately textured brushstrokes that bring life to the cobblestone street, tree-lined sidewalks, and bustling figures in elegant attire. The soft yet vivid palette creates a dreamy ambiance, with the iconic Arc de Triomphe visible in the distance, anchoring the composition. Caroline Burnett's works are celebrated for their nostalgic charm and her ability to capture the essence of 20th-century Parisian life. This piece is a timeless example of her artistry and will be a treasured addition for collectors of European street scenes. The artwork is presented in a gilt wood frame with a linen mat border, enhancing its classical appeal. Artwork dimensions with frame: 16.25"L x 14.50"H x 2"W.Artist: Caroline Burnett (American-French 1877-1950)Issued: 20th centuryDimensions: See DescriptionCountry of Origin: USA/FranceCondition: Age related wear.
Monumental oil painting on canvas by artist and designer Kirk D. Denney, depicting a lush Mediterranean coastal villa overlooking a serene bay dotted with sailboats. The composition is imbued with rich, impressionistic brushwork, evoking warmth and tranquility through its vibrant palette of blues, greens, and earthy tones. The foreground is filled with detailed floral blooms and tall cypress trees leading to an inviting villa with weathered shutters and a terracotta roof. The background features a picturesque hillside village with red-roofed houses cascading down toward the water, rendered with a painterly, impressionistic technique. Signed verso and dated 2006. Denney is known for his large-scale, idyllic landscapes that capture the charm and serenity of Mediterranean and European-inspired scenes, making his works highly desirable for collectors and interior designers. Due to size, local pick up only or Third Party shipping. Artist: Kirk D. Denney (American, 20th/21st Century)Issued: 2006Dimensions: 56"L x 93"HCountry of Origin: USACondition: Age related wear.
This captivating oil on canvas by Antonio DeVity (or Arnone Divity) depicts a lively Parisian street scene, with the Sacre-Coeur basilica in the background. DeVity, renowned for his impressionistic renditions of rain-soaked Paris, employs a rich impasto technique, creating depth and movement through bold palette knife strokes. The wet cobblestone streets reflect the bustling energy of pedestrians and cyclists, while the historic architecture of Paris rises in the misty background. Vibrant reds and greens punctuate the muted tones, adding contrast to the diffused light. Signed in the lower right, the painting also bears a canvas stamp on the verso. DeVity, an internationally recognized artist, lived in Rome and Paris, teaching at the Accademia di Belle Arti. His works remain highly collectible for their atmospheric charm and impressionist aesthetic.Artist: Antonio (Arnone) DeVity (Italian 1901-1993))Issued: c. 1950Dimensions: 17.25"L x 29"HCountry of Origin: ItalyCondition: Age related wear.
AFTER GEORGE ROMNEY PORTRAITS OF GENERAL ALBERMARLE BERTIE, 9TH EARL OF LINDSAY; PEREGRINE BERTIE Oil on canvas, a pair Each inscribed with identifying inscription (verso) 36 x 27cm (14 x 10½ in.) (2) The original portrait of General Albermarle Bertie was sold by Christie's on 3 December 2014, lot 181. Condition Report: The canvases have not been lined, and are a little slack. Stretcher marks are visible. Craquelure throughout, but overall the paint surfaces appear stable. Some areas of over-painting are visible in a natural light. Some areas of paint wearing a little thin. Rubbing and abrasions to the framing edges. Some superficial surface scratching dirt throughout the canvases. Inspection under UV light reveals scattered retouching and in-filling throughout. Condition Report Disclaimer
AFTER BEN MARSHALL SIR JOHN SHELLEY'S CELEBRATED POINTER, SANCHO IN A WOODED LANDSCAPE Oil on canvas 32 x 46cm (12½ x 18 in.) Together with another painting of Southern Hound after Ramsay Richard Reinagle, and a print of the same work, 25 x 35cm and 14 x 19cm respectively (3) The original work painted by Ben Marshall in 1805, was sold at Sotheby's on 12 April 1995, lot 151.
Make & Model:Daimler, 15 Date of Reg:NV2947 Colour:Red cc:1805 Fuel Type:Petrol Transmission:manual Summary:This rare early Daimler 15 was initially registered in August 1933 but has now fallen off the DVLA system so will need to be reregistered. Our vendor has kindly provided us with the following text:"We bought the car on the basis of a pub conversation in 1995. The car had been stored by the owner halfway under an awning. It appeared more or less complete and certainly all important parts were there, though in uneven condition: the left hand side appeared to be in better condition than the right hand side. According to the buff log book (continuation document) the car was first registered on 30 August 1933. A little brass plate fixed to the wooden instrument panel states that it had been "supplied by J.W. Hall Flecknoe" It was first registered to Clement Brown upon whose death it was inherited by his friend and the father of CJ Whittaker from whom we bought it.We decided to do a complete body off restoration, right to the bare chassis. This proved to be in a more or less rust free condition. The '15' spare parts manual proved to be of great help. With the help of an excellent painter from Nuneaton we were able to get the chassis coated in a dark red rather than the more orthodox black.Turning to the engine, we faced a slight puzzle: clearly, it had been reconditioned at an earlier stage but then completely re-assembled but without washers, seals, oil etc. At a later stage, we did re-assemble the engine again and managed to get it running in a most impressively smooth way.The body, having been made of steel over a wooden frame did of course show some signs of corrosion, mainly on the wings, but this was not insuperable. The vinyl roof had suffered badly over the years but we managed to find an expert who was willing to supply, shape and fit a new fabric roof with an excellent result. He also fitted a new woollen roof lining.The painting of the body shell was done by an experienced professional friend from our Nuneaton College days. The upper part of the body was, as is customary kept black, whereas all the side panels as well as the wire wheels were painted in a really dark maroon red. The exterior trunk is of the period and fits well the folding luggage rack, but is in fact not linked to the car and stems reputedly from a Vauxhall of the period.As to the brakes, we were pleased that the car, being an early version of the 15, featured hydraulic brakes as well as a De Wandre servo unit. All wheel cylinders were refurbished and new brake linings fitted.The lighting system follows the system for the 15 at that time: no trafficators, a single rear light with a single brake light incorporated in the same Lucas unit. We did however replace the torpedo shaped sidelights with a larger more imposing upright Lucas design as fitted to larger Daimlers. It was possible to save and recondition most of the reddish brown seats (Repeated coating with Hydrophane) as well as the door cartons. All glass, including the narrow glass ventilation strips at the top of the doors was replaced. Also replaced were the beige floor carpets, door surround trim and the lower parts of the door, whereas Ne decided to retain the carpets at the base of the seats.The tyres are totally new (Blockley). There is also quite a large number of smallish and varied items such as door handles, and window winders and related accessories, as well as a Lucas claxon and windscreen wiper motor, the latter we were reluctant to fit as it appeared to be rather lethal with levers protruding a mere few inches in front of the driver's face." As well as a considerable quantity of spare and duplicate parts, there's also a paperwork file that includes the buff continuation logbook, photos of the vehicle as found and its restoration underway, the owner's handbook, servicing data guide, the vendor's more comprehensive write-up of the car's history from 1995, spares catalogue, 14-page 1932 sales brochure, technical information and some older invoices. There is no V5C due to the car needing to be reregistered.
Percy Lancaster R.I., R.B.A., A.R.E., R.Cam.A. (British 1878-1951) "A Ploughing Team" Signed, titled on gallery label verso, oil on canvas.38.5 x 49.5cm (framed 58cm x 69cm)The painting is in good, restored condition. Under UV light there is evidence of cleaning and a few small areas of overpainting. There are some areas of yellowed varnish and craquelure across the surface of the painting. Stretcher marks are visible towards the upper and lower edges of the painting, and there are some minor frame abrasions down its right-hand edge. The painting is ornately reframed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
William Darling McKay (British 1844-1924) Rural landscape With estate stamp, titled on label verso, oil on board.20.5 x 30cm (framed 29.5 x 39cm)The painting is in good, restored condition. Under UV light there is evidence of cleaning. The varnish has yellowed universally and the surface appears to be a little grubby. There are a few minor surface marks found across the board. The painting is ornately framed but not glazed. The frame has some minor knocks and losses commensurate with age.
Edmund Marriner Gill (British 1820-1894) "Fall on the Clyde" Signed and dated 1866, titled on artist's label verso, oil on panel.22 x 16.5cm (framed 34.5 x 29.5cm)The painting is in good, restored condition. There are some small areas and flecks of paint loss across the painting with subsequent inpainting. There are some minor scuffs found to the varnish layer of the painting. The painting is ornately reframed but not glazed. The frame has one or two minor scuffs and knocks commensurate with age.
Daniel Sherrin (British 1868-1940) River scene with punt Signed, oil on canvas.49.5 x 75cm (framed 59.5 x 85cm)The painting is in good, restored condition. Under UV light there is evidence of cleaning and overpainting. The varnish has yellowed universally and the surface appears to be dirty in some areas. There is craquelure across the surface of the painting and stretcher marks are visible along its two vertical edges. The painting is ornately reframed but not glazed. The frame has one or two minor scuffs and knocks commensurate with age.
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