We found 75342 price guide item(s) matching your search

Mary Farmer seascape oil painting 47x38cm

A vintage metal trunk and picnic basket/case along with a small still life oil painting.

Jimmy Wright bear ltd edition prints, a silk print, An Eastern print and a oil painting

Still life painting of flowers, oil on canvas, signed, 40 x 81cm / AN59

DAVENPORT BATES; oil on board, 'Eskdale', unsigned, 35 x 60cm, framed.Condition Report: There are three scratch marks, two of which are to the right of the painting, the third to the centre, minor chips to the frame.

A LARGE CONTINENTAL SCENIC/URBAN OIL PAINTING, 68CM X 58CM

AN OIL PAINTING TITLED 'VILLAGE IN THE HILLS', 56CM X 46CM

A VINTAGE OIL PAINTING OF A CASTLE AND RIVER SCENE IN A GILT FRAME, INDISTINCTLY SIGNED, 39CM X 59CM

A fine quality, WW2 era portrait of an anonymous British RAF Officer, by Frank Ernest Beresford (1881-1967) Signed and dated 1942 to the bottom right. A Derbyshire born artist, Frank Beresford initially studied at the Derby School of Art, St John’s Wood Art School, and then the Royal Academy School. Frank served as a war artist for both the British and U.S. Air Forces, and the Dutch Government, but is likely best known for his painting, ‘The Princes Vigil’, which depicted the Lying in State of King George V. The original oil painting was purchased by Queen Mary as gift for her so, King Edward VIII, and it now resides in the Royal Collection. The portrait depicts a young RAF officer, but with no dedication revealing who the sitter was. There are several notes verso, some are illegible, but one notes that it was painted at the ‘Hall Studio London NW8’ which likely relate to the Hall flats at Grove End Road. Approximately 40.7cm x 30.2cm. Condition: generally good to the main facial areas. There is a scuff to the painted surface that reaches the tip of the sitter’s left shoulder, and slightly across the left pocket area, but some restorative work could improve this. The portrait is unframed.

GILT FRAMED OIL PAINTING OF A YOUNG GIRL EATING ORANGES

F/G CAT PICTURE WITH KITTENS, AN OIL PAINTING BY T MORRIS '71 OF A VILLAGE SCENE & A F/G SCULLERY SCENE

GILT FRAMED OIL PAINTING OF A BUST LENGTH PORTRAIT OF YOUNG WOMAN

GILT FRAMED OIL PAINTING OF CHILDREN IN A WOODLAND SCENE A/F & A GILT F/G WATERCOLOUR OF A THATCHED HUT SCENE WITH A WOMAN

OIL PAINTING ON CANVAS LAID DOWN OF A GENTLEMAN READING AT A DESK, INDISTINCT SIGNATURE AND INSCRIPTION ON THE MOUNT 26'' X 21''

GILT FRAMED OIL PAINTING OF A COTTAGE & A PAINTING OF STILL LIFE FLOWERS

MODERN BRITISH SCHOOL OIL PAINTING: STILL LIFE OF FLOWERS IN A VASE, 25 X 18''

19THC OIL PAINTING ON CANVAS OF MOORLAND VALLEY PATH WITH GORSE FLOWERING, SIGNED W D FINCH 15'' X 20''

Oil painting set with oils, stands and accessories. Not available for in-house P&P

A circular three dimensional oil painting housed in a convex frame. Shipping category D.- NO RESERVE

A gilt frame still life oil on canvas painting (A/F) a copperplate etching of Munich,

A large oil on canvas painting by local artist Norman A. Olley, titled Gabriel Painting. Frame dimensions 88x115cm. Postage category D

A gilt framed oil painting of Edward VIII The Prince of Wales in the uniform of a colonel of the Welsh Guards, signed lower right E.Porter Bryan. 75cm x 58cm.

A late 19th century gilt framed oil painting still life study of fruit. Indistinctly signed. 43x33cm

OIL PAINTING ON BOARD UNSIGNED -A GLIMPSE O'ERIN

PIERRE EUGÉNE MONTÉZIN (FRENCH, 1874–1946)Pêcheur à Veneux-les sablonsOil on canvas, 33 x 41cmSigned Provenance: Tajan Auction Rooms, Paris, 5 June 2009, lot 129; With Besch Cannes Auction Rooms, Cannes; Private collection Born in Paris in 1847, Pierre Eugène Montézin was educated at the Ecole d’Application de Beaux Arts. Montézin later apprenticed at the workshop of a decorator specialising in murals. At 19, Montézin submitted works for the first time to the Salon des Artistes Francais but it was not until 1903, ten years later, that he would make his Salon debut. 1903 was the same year that he met and began to study under the Impressionist painter Ernest Quost (1844-1931). Throughout his career, Montézin showcased his works in prestigious exhibitions and influential galleries, including those at Galerie George Petit (1922), Galerie Charpentier (1933), Galerie du Journal (1936), and Galerie Durand-Ruel (1938). The success of Montézin’s work brought him several accolades: after receiving the Rosa Bonheur Prize in 1920 he was named a Chevalier of the Legion d’Honneur, and subsequently promoted to Officer of the Legion d’Honneur. In 1932 he received the Medal of Honor at the Salon des Artistes Francais, no landscape artist had won since Henri Harpignies (1819-1916) in 1897, and he was unanimously elected president of the Salon jury in the same year. In 1941 he was elected member of the Institut de France at the Academie des Beaux Arts succeeding Edouard Vuillard (1868-1940).  In 1925, seeking inspiration and serenity, Montézin purchased a property in Veneux-les Sablons near Moret sur Loing. The present work depicts a fisherman at the riverbanks, relaxing in the shade of the trees with Veneux-les Sablons emerging in the distance. The same landscape inspired Auguste Renoir (17841-1919), Claude Monet (1840-1826), and Camille Pissarro (1830-1903), who all painted similar scenes.Montézin once remarked to the French critic, Louis Vauxcelles: ‘The subjects of the landscape painter are less in front of the artist’s eyes, than in his heart’. Jean Pierre Klein-Montézin has confirmed the authenticity of this work: Certificate no. 250 In the event of transfer of this painting, this certificate must accompany it and cannot be replaced by a duplicate. I, the undersigned, Jean Pierre Klein-Montézin, grandson of the painter Eugène Montézin, certify that this oil on canvas ‘Le pêcheur à Vevreux les Sablon’, 33x41, signed bottom left is an authentic artwork of my grandfather. Made in Paris on 10.05.93 Signed. Jean Pierre Klein-Montézin N.B. Featured in the catalogue raisonné currently being prepared by J. Pierre Montézin 

19th/early 20th century Cusco school Oil on canvas Possibly South American Cusco school painting of Saint Michael, unframed, 40.5cm x 28cm Condition Report Surface scratches and scuffs. Fold along left side. General wear and tear

20th century school Oil on canvas Large abstract painting depicting three female figures, indistinctly signed lower left, 110cm x 170cm

Philip Alexius de László, PRBA,  Hungarian/British 1869-1937- The Artist's Children Blowing Bubbles; oil on canvas, signed and dated 'P.A. de László / 1914' (lower left), 38 x 48.5 cm. Provenance:  Private Collection. Literature:  The de László Archive Trust, 'The Catalogue Raisonné of Works by Philip de László (1869-1937) [online]', no. 13519. Note:  The present work depicts two of the artist's sons, Paul Leonardo (1906-1982) and Patrick David de László (1909-1980), playfully blowing bubbles over a bowl on a table on which toys are scattered. The particularly loose and free handling of the paint suggests that the present work is a study for a finished painting, although a completed version of the work is not known. The subject and composition do exhibit some similarities with De László's depiction of his youngest son, John Adolphus (1912-1990), in a later painting of 1918 which shows John peering into a goldfish bowl placed on the table before him (Christie's 10 Dec 2020, lot 69). The sketch-like execution of the present work does, in fact, impart a sense of spontaneity and familiarity which befits the subject, both in the identity of the sitters, and in the nature of their play. 

Attributed to William Collins, RA,  British 1788-1847- Children catching fish on the beach; oil on panel, 7.7 x 10.3 cm. Provenance:  Private Collection, UK. Note:  The subject of figures - often children - on the beach, inspecting their catch, was one which featured frequently in Collins' paintings, an approach which gestures towards the influence of George Morland (1763-1804), under whom Collins informally studied. The present work appears to be related to a larger-scale painting by Collins which was sold by Waddington's, Canada, on 10-15 October 2020 (lot 5), with the central composition of the three children inspecting their net almost identical in both works.  Collins' son, the author Wilkie Collins (1824-1889), often featured as one of the children in his father's paintings. 

Circle of Juan de Valdés Leal,  Spanish 1622-1690- Saint Apollonia; oil on canvas, 157 x 105 cm. Provenance:  The Collection of Anton Casamor, Bonhams, London, 11 April 2018, lot 185.  Private Collection, UK. Note:  The present work depicts Saint Apollonia (d.249), an Alexandrian saint who, according to Christian tradition, was martyred during the persecution of Decius (c.201-251). Apollonia's torture was believed to have included the pulling and shattering of her teeth, which has led to her association with teeth, as she has been adopted as the patron saint of dentistry. Apollonia was typically depicted by 17th-century artists as holding a tooth in pincers, as in Francisco de Zurbarán's (1598-1664) 1636 painting of the Saint, now in the Louvre [M.I. 724], and in the present work.  The present painting is heavily reminiscent of the dramatic religious scenes of the Baroque painter De Valdés Leal, who studied under Antonio del Castillo (1616-1668) in Córdoba. This is particularly evident in the artist's depiction of the flowing drapery of Saint Apollonia's clothing, and in theatrical lighting of the scene from above. 

Attributed to Paula Kohlschütter,  German 1851-1932- Study of a female nude seated half-length in a garden; oil on canvas, inscribed 'Paula Kohlschütter Dreden [sic] / 1851' to the upper stretcher bar and bearing further inscription 'The young Gertrude Stein' to the left stretcher bar, 75.7 x 57.4 cm. Provenance:  Private Collection, UK. Note:  Kohlschütter studied under Julius Rolshoven (1858-1930) and Gustave Courtois (1852-1923) in Paris, having previously trained at Franz Kops' (1846-1896) school of painting in Blasewitz. The present work exhibits the impact of these influential figures on Kohlschütter's style, particularly in the artist's placement of the sitter in a garden, with her use of loose brushstrokes to evoke the leaves contrasting with her smooth and carefully blended treatment of the nude's skin. 

Circle of Carlo Ferranti,  Italian 1840-1908- Fisherfolk unloading a beached vessel in a Mediterranean bay, with women being carried ashore; oil on canvas, 50 x 62.2 cm. Provenance:  Property from a European Private Collection. Note:  The present work recalls that of Ferranti, particularly in its depiction of figures in colourful regional dress in an apparently Neapolitan setting. The vibrancy and theatricality of the present scene is evident in much of Ferranti's output, as in his painting of a 'Merry Dance at the Harvest' which sold at Bonhams Skinner, Boston, on 10 July 2010 (lot 438). 

Maurice William Greiffenhagen, RA,  British 1862-1931- Portrait of Mrs Bury Barry holding a rose; oil on canvas, oval, signed and inscribed 'MAURICE GREIFFENHAGEN / 2 LONDON RD N.W. / [PORTR]AIT OF MRS BURY BARRY' on the upper stretcher bar, oval, 91.5 x 71 cm. Provenance:  with the Art Exhibitions Bureau, London.  Anon. sale, Christie's, London, 23 March 2016, lot 39. Note:  Greiffenhagen worked as a painter, illustrator and graphic designer and taught at the Glasgow School of Art from 1906 to 1926. His output was widely varied, ranging from stylised graphic work, to more formal, restrained portraits, and to his somewhat fantastical mythical and allegorical scenes. One of his most celebrated works amongst contemporaries was his sensual and atmospheric 1891 painting 'An Idyll', which inspired the 1911 novel 'The White Peacock' by D.H. Lawrence (1885-1930).  The present work combines Greiffenhagen's skill as a portraitist and his tendencies towards theatricality and romance, in part effectively conveyed by the dramatic lighting, which highlights the sitter's skin revealed by the low neckline of her dress, and the rose which she holds to her chest and which matches the red of her blushing cheeks. 

Follower of Jacques Blanchard,  French 1600-1638- The Penitent Magdalene; oil on canvas, 51.4 x 39.5 cm. Provenance:  Private Collection, UK. Note:  Blanchard treated the subject of the Penitent Magdalene on multiple occasions, with one painting held at the Fondation Bemberg in Toulouse, and another at the Museo Fabre in Montpellier. The present work bears a particularly strong resemblance, both compositionally and stylistically, to Blanchard's painting at the Fondation Bemberg, in which the sitter, although reversed, is similarly set against a rocky backdrop, draped in red robes, leaning her elbow on an open book and resting her hand upon a skull. Like in Blanchard's work, the artist of the present work has contrasted Mary Magdalene's luminous skin and colourful robes with the dark and imposing landscape in which she sits. 

Robert Malcolm,  British fl.c.1874-1879- A Brisk Breeze, after Willem van de Velde the Younger; oil on canvas, signed and dated 'Robt Malcolm / 1875' (lower right), 43 x 53.8 cm. Provenance:  Private Collection, UK. Note:  This marine scene is after Willem van de Velde the Younger's (1633-1707) original painting, which is held in the Dulwich Picture Gallery [DPG103]. The composition focuses on the cargo ships in the foreground which are contending with the choppy seas and heavy wind, whilst larger warships are just visible in the distance. 

Circle of Pieter de Molijn,  Dutch 1595-1661- A hilly landscape with travellers and rustic figures outside an inn; oil on panel, indistinctly inscribed verso, 46.5 x 63.8 cm. Provenance:  Private Collection, UK. Note:  Pieter de Molijn is thought to have been a student of Esaias van de Velde (1587-1630), and in turn went on to teach Gerard ter Borch the Elder (1583-1662), his son Gerard ter Borch the Younger (1617-1681), and Allaert van Everdingen (1621-1675).  Despite enjoying a significant amount of success in his lifetime, after his death De Molijn was largely overshadowed by his contemporary and fellow Haarlem School artist Jan van Goyen (1596-1656), and has only recently been re-evaluated as one of the principal proponents of the 'tonal phase' of Dutch landscape painting. This approach, characterised by the use of a neutral, restricted colour palette to evoke the gentle undulation of the windswept landscape, usually beneath a cloudy sky, is evident in the present work, which clearly shows De Molijn's influence. 

After Sir Peter Paul Rubens,  Flemish 1577-1640- Leda and the Swan; oil on panel, the panel indistinctly stamped [...] BUDAPEST and bearing various pencil inscriptions verso, 20 x 30.5 cm. Provenance:  Private Collection, UK. Note:  Rubens completed two slightly differing versions of 'Leda and the Swan', one in 1601 and the other in 1602, both of which were in turn heavily influenced by Michelangelo's (1475-1664) treatment of the subject in a now lost painting. The present copy is after Rubens' later version which is held in the Gemäldegalerie Alte Meister in Dresden [Gal.-Nr. 71], which depicts Leda wearing an elaborate headdress, and reclining on red cloth. 

Attributed to Nicholas Condy,  British 1793-1857- Figures unloading their catch by the water, with view of the Royal William Victualling office, Stonehouse, Plymouth, beyond; oil on panel, 25.4 x 20.1 cm. (unframed). Provenance:  Private Collection, UK. Note:  Condy typically treated maritime themes, depicting ships at sea in calm or stormy waters, or, often, figures in the process of unloading, buying, selling, or preparing fish. Condy worked as a painter in Plymouth, and was clearly fascinated by the fishing community which surrounded him there. The present work very much recalls Condy's approach, and bears a particularly strong similarity to a painting of the same subject which was offered at Neumeister, Munich, on 29 September 2022 (lot 714). 

John Frederick Herring, Snr.,  British 1795-1865- A Mare and a Foal in a Landscape; oil on panel, signed 'J.F. Herring. Senr.' (lower left) and dated '1853' (lower right), 24.5 x 30.4 cm. Provenance:  Anon. sale, Christie's, London, 22 November 2006, lot 109 (for £13,200);  where purchased by the current owner.  Private Collection, UK. Note:  In 1814, at the age of 18, Herring moved to Doncaster, where he worked both as a night coach driver and as a painter of signs for inns and coach insignia, earning himself the moniker of the ‘artist coachman’ for the portraits of horses he produced for inn parlours. Herring soon received commissions from a range of wealthy customers, with patrons such as William Taylor Copeland (1797-1868), the Duchess of Kent (1788-1861) – to whom he served as animal painter – and Queen Victoria (1819-1901). In 1853, Herring moved to Meopham Park in Kent, and it is from this point that the artist moved away from horse portraits, instead spending his final years painting a wider variety of hunting and racing scenes, and landscapes. The present work is part of a series of paintings by Herring called The Mothers, all engraved in 1854-1855. Among other animals, the series included 'Hack Mare and Foal', 'Cart Mare and Foal', 'Thoroughbred Mare and Foal', 'Draught Mare and Foal' and 'Hunting Mare and Foal'. 

Henry Charles Woollett,  British fl.1851-1894- The Chester Horse Fair; oil on canvas, signed and indistinctly dated 'H.C. Woollett/ 1880[?]' (lower right), further signed, inscribed and dated 'CHESTER HORSE FAIR BY H.C.WOOLLETT 1880' on the upper horizontal stretcher bar, 97.2 x 153 cm. Provenance:  Anon. sale, Sotheby's, London, 7 May 2008, lot 55 (sold after sale).  Private Collection, UK. Note:  A comparable painting 'Chester Horse Fair, Foregate Street' is in The Grosvenor Museum, Chester [no.1966.22]. 

Robert Walker Macbeth, RA,  Scottish 1848-1910- Far from the Madding Crowd; oil on canvas, signed and dated 'R. M. / 1883' (lower right), 98.1 x 55.2 cm. Provenance:  Private Collection, UK. Exhibited:  London, Grosvenor Gallery, 1884, no. 214. Note:  Robert Walker Macbeth may have received his early training in the Glasgow studio of his father, the Scottish portrait painter Norman Macbeth, before relocating to London in 1870, where he continued his studies. He would spend much of his career in London, exhibiting at the Royal Academy, Grosvenor and New Galleries, and at the Old Watercolour Society. The picture presented here was exhibited at the Grosvenor Gallery in 1884, with critics commenting on how the lady’s “suggestive air of retrospection”, along with her costume and accessories drew attention and interest to the picture. Macbeth was known for his romantic pastoral style of painting, which James Caw, historian of Scottish art, likened to the literary works of Thomas Hardy. It is possible that this present picture draws inspiration from Hardy’s narratives, as its title matches that of the author’s 1874 novel Far from the Madding Crowd. Macbeth’s picture shows a young blonde woman, waiting at the side of a road, gazing wistfully into the distance, warming her hands in a muff. She appears to be pregnant. It is possible that this is a depiction of the character of Fanny Robin, servant to protagonist Bathsheba Everdene, who finds herself entangled in a love affair with Bathsheba’s husband, Sergeant Frank Troy. In the novel, Fanny becomes pregnant with Troy’s child and meets her untimely demise whilst giving birth in a poor house. It is a lock of blonde hair in Troy’s watch that alerts Bathsheba to the true nature of Troy’s relationship with Fanny. This picture could potentially capture Fanny prior to giving birth in secrecy, with the discarded flowers on the nearby bench symbolising her abandonment by Troy and foreshadowing her impending demise. A photograph held in the collection of the Royal Academy shows Macbeth in his studio in London, with this picture in the foreground, on an easel [05/4691]. 

Attributed to Adalbert Waagen,  German 1833-1898- Alpine landscape, with a wanderer on a path; oil on canvas, 93.5 x 125 cm. Provenance:  Property from a European Private Collection. Note:  Waagen was known for his dramatic Alpine landscapes, much like the present painting. In the present work, the artist has emphasised the vast scale of the mountains by contrasting the enormity of the landscape with the diminutive figure of the hiker in the foreground, with the earthy tones set against the clear blue of the sky and the bright white of the peaks in the distance. The theme of a wanderer, almost consumed by the landscape around them, is one which recurs throughout Waagen's oeuvre, and is evident in a number of his works, including one which sold at Dorotheum, Austria on 17 December 2021 (lot 88), and another which sold at Hampel, Munich, on 8 December 2007 (lot 1584), both of which were smaller than the present piece. A painting by Waagen on a slightly larger scale, similarly depicting tiny figures who are dwarfed by the hills which surround them, sold at Hampel, Munich on 28 June 2019 (lot 1479) for £29,617. 

Attributed to Jan Ekels the Elder,  Dutch 1724-1781- View of the Kloveniersdoelen, Amsterdam; oil on panel, bears old partial label for 'HISTORISCHE TENTOONSTELLING / VAN DE STAD AMSTERDAM 1925 / ... STEDELIJK MUSEUM', 31.4 x 41.8 cm. Provenance:  Private Collection, UK. Note:  The present minutely observed, highly finished work is characteristic of Ekels' oeuvre, which consists of vedute of Dutch towns which are striking in their detail. Indeed, in the present painting the artist has even painted the mortar of the brickwork of the buildings, and the minute forms of figures at the windows within. The present work depicts the building of the Kloveniersdoelen in Amsterdam, a complex of buildings which served as the headquarters for the Civic Guard, and for which Rembrandt (1606-1669) painted his 'Night Watch' in 1642. Ekels produced a number of paintings of the Kloveniersdoelen from the other side, one of which can be found in the collection of the Amsterdam Museum [SA 8422], and another which sold at Christie's, Amsterdam, on 7 May 2012, for €20,000. 

Thomas Sidney Cooper, RA,  British 1803-1902- Eight sheep in a moorland landscape, probably Canterbury meadow; oil on canvas, signed and dated 'T. Sidney Cooper R.A / 1867' (lower centre), 45.3 x 60.5 cm. Provenance:  With The Meyer Gallery, Ingatestone;  where purchased by the current owner in 1989.  Private Collection, UK. Note:  Sidney Cooper was a prolific artist, and arguably the pre-eminent British cattle painter of the 19th century. After initially working in the shop of a coach painter and as a scenery painter, Sidney Cooper travelled to Brussels in 1827, where he encountered the work of Eugène Verboeckhoven (1798-1881), an experience which had an immense influence on Sidney Cooper's own subsequent approach. The present scene, depicting a flock of sheep peacefully grazing on an open landscape, is absolutely typical of Sidney Cooper's compositions, recalling another painting which sold at Bonhams, London, on 21 September 2022 (lot 22) for £6,500, and a smaller work which sold at Bonhams, London, on 22 November 2022 (lot 42) for £2,000. 

Circle of Rembrandt Harmensz. van Rijn,  Dutch 1606-1669- Bust of a laughing young man; oil on panel, bears two indistinctly stamped wax collector's seals verso, 16.6 x 15.8 cm. (unframed). Provenance:  Private Collection, UK. Note:  The present work is a version of the painting of a 'Laughing young man' in the collection of the Rijksmuseum, Amsterdam [SK-A-3934]. The figure in the work bears a strong resemblance to Rembrandt, with the original long thought to be a self-portrait by the artist himself, an attribution which has since changed to that of a pupil in Rembrandt's Leiden workshop. Rather than serving as a portrait, depicting an accurate likeness of the sitter, this work can instead by interpreted as a tronie, or character study, which allowed the artist to explore the representation of various emotions. 

Rotterdam School,  early 17th century- Hilly wooded landscape with elegant figures on a road; oil on canvas, inscribed 'peint par Artois' (lower centre), 91 x 130.5 cm. Provenance:  The Collection of Juli and Andrew Wieg.  Their sale, Sotheby's, London, 24 March 2021, lot 53.  Private Collection, UK. Note:  This painting was acquired for the Wieg collection with an attribution to the female painter Catharina van Knibbergen (active in The Hague 1630-75) - an attribution that was previously endorsed by Joop Nieuwstraten, former director of the RKD (1970-90). The figures appear to be the work of another hand.  Although little is known of Catharina van Knibbergen, she appears to have been a well-respected painter in The Hague. The first mention of her is in a poem of 1634 by Pieter Nootmans (Jeugdige Minne-Spiegel), in which she is referred to as ‘vermaarde kunstrijke schilderes’ ('renowned artful painter'), indicating that her career was already established at that time. Further confirmation of this comes from the fact that she was a member of the Confrerie Pictura, a prestigious painting and academic society in The Hague. Her work consists of mountainous landscapes, many of which were recorded in The Hague inventories after her death. She is believed possibly to be the daughter of the Utrecht painter François van Knibbergen (1596/7-1664).  It is likely that the present work originates not from The Hague but from nearby Rotterdam, revealing the influence of painters such as Herman Safteleven (1609-1685), Adriaen Hendriksz Verboom (1623-1673), and Cornelis Snellinck (1605-1669) who were active in that city. 

George Smith,  British 1829-1901- Study for 'A Game of Speculation'; oil on panel, signed and dated 'G. Smith / 1869' (lower right), titled 'A Game of Speculation' verso, 19.3 x 28.8 cm. Provenance:  with Mandell's Gallery, Norwich.  Private Collection, UK. Note:  The present work is a study for Smith's larger, finished composition 'A Game of Speculation', which appeared at Dreweatts on 18 October 2023, lot 190. This final painting was almost certainly that exhibited at London's Royal Academy in 1869 (no.54) under the same title. The scene depicts figures crowded around a table, playing the card game 'Speculation' which was particularly popular in the 18th and 19th centuries, and which features in the writing of Jane Austen and Charles Dickens, among others. The heavily-populated composition of the present scene imparts the work with a palpable sense of dynamism, evoking the excitement of the game. Smith worked in the studio of Charles West Cope (1811-1890), who clearly had a strong influence on his pupil's approach. Like Cope, Smith was especially prolific as a painter of genre scenes, exhibiting 79 paintings at the Royal Academy between 1848 and 1887. The composition and style of Smith's interior scenes also very much recall that of the Scottish painter David Wilkie (1785-1841). 

Attributed to Daniel Turner,  British fl.1782-c.1828- View of Putney Bridge from the river; oil on canvas, bears old piece of canvas inscribed 'Putney Bridge' attached to the upper stretcher bar, bears old label numbered '1288' to the central stretcher bar, 22.5 x 36 cm. Provenance:  Private Collection, UK. Note:  The present work is typical of Turner's oeuvre, which consists largely of views of London from the River Thames. This painting exhibits a number of compositional and stylistic features which are characteristic of Turner's work, with the depiction of the water and the treatment of the boat and the figures within, in particular, resembling a painting of the Royal Hospital from the Windmill at Battersea which sold at Fischer, Lucerne, on 21 November 2012. Similar elements also appear in Turner's view of Oxford from the River Cherwell in the Government Art Collection [no.13002]. 

Austrian School,  late 19th century- The Madonna with St. Dominic and St. Catherine of Siena, after Our Lady of the Rosary of Pompeii; oil on canvas, bears stamp for 'ALOIS EBESEDER / VIEN' verso, 153.5 x 96.5 cm. Provenance:  Property from a European Private Collection. Note:  The present composition is after the painting known as 'Our Lady of the Rosary' which is housed in the cathedral of the Shrine of the Virgin of the Rosary of Pompeii. The original was bought from a convent in Naples by Bartolo Longo (1841-1926) in 1875, to be placed in the church in a state of disrepair which Longo had started restoring in 1873. The scene depicts the Virgin Mary and the infant Christ presenting rosary beads to Saint Dominic, on the left of the composition, and Saint Catherine of Siena on the right. 

After Rembrandt Harmensz. van Rijn,  Dutch 1606-1669- Portrait of a bearded man in a cap; oil on canvas, feigned oval, 62 x 45.5 cm. Provenance:  Property from a European Private Collection. Note:  The present work appears to be a copy after Rembrandt's 1642 painting of a bearded man wearing a cloak and a hat, described as a rabbi, which was recorded as being in the private collection of the financier Jules Porgès (1839-1921). The original was illustrated on page 393 of Adolf Rosenberg and Wilhelm Reinhold Valentiner's 1908 catalogue raisonné of Rembrandt's work, and was again referenced in Abraham Bredius's 1935 catalogue raisonné of the artist (no.220). 

Circle of Pierre Mignard,  French 1612-1695- Portrait of a lady, three-quarter length, in a silver dress with a lace trim, holding a basket of flowers; oil on canvas, bears old label printed in Cyrillic attached to the stretcher bar (upper left), 100 x 80 cm. Provenance:  Property from a European Private Collection. Note:  The present work exhibits a striking similarity to the portraits of Mignard, both in composition and technique. Mignard, who studied under Simon Vouet (1590-1649), became one of the most prominent and successful portraitists to the 17th-century French aristocracy, serving as the head of the Académie royale de peinture et de sculpture and as Premier peintre du Roi after the death of his rival Charles le Brun (1619-1690). Mignard's sitters include the most significant and influential figures of the period, such as Louis XIV (1638-1715), René Descartes (1596-1650), and Molière (1622-1673).  The present painting strongly recalls Mignard's 'Portrait of a Lady' held in the collection of the National Museum in Warsaw [M.Ob.1253 MNW], which, much like the present work, depicts an elegant lady adorned with carefully studied flowers and glimmering pearl earrings, with heavily blended brushstrokes imparting the sitter's skin with a smooth and almost luminous quality. 

Heinrich Hermanns,  German 1862-1942- Flower market on a street by a canal in a Dutch town, probably Amsterdam; oil on canvas, signed 'HEINRICH HERMANNS' (lower right), 64 x 90.5 cm. Provenance:  Private Collection, UK. Note:  The present street scene is absolutely typical of Hermanns’ output, which consists almost entirely of bustling views along the canals of Dutch towns. He often depicted flower markets just like the present work, including in a painting which sold at Christie’s, Amsterdam, on 25 May 2016 (lot 312) for €3,200, and a much larger work by the artist which also sold at Christie’s, Amsterdam, on 18 November 2015 (lot 233) for €26,000. 

John Frederick Herring, Snr.,  British 1795-1865- A farmer's hack drinking from a trough, with two greyhounds; oil on board, signed and dated 'J F Herring Senr / 1854' (lower left, on the trough), bears old label embossed with the artist's stamp and inscribed 'Birmingham Fine Art. / No 2. / Farmers Hack & grey / houds "engraved" / J.F. Herring Snr' verso, 35.1 x 45.6 cm. Provenance:  Anon. sale, Christie's, London, 22 November 2006, lot 105 (for £16,800);  where purchased by the current owner.  Private Collection, UK. Note:  In 1814, at the age of 18, Herring moved to Doncaster, where he worked both as a night coach driver and as a painter of signs for inns and coach insignia, earning himself the moniker of the ‘artist coachman’ for the portraits of horses he produced for inn parlours. Herring soon received commissions from a range of wealthy customers, with patrons such as William Taylor Copeland (1797-1868), the Duchess of Kent (1788-1861) – to whom he served as animal painter – and Queen Victoria (1819-1901). In 1853, Herring moved to Meopham Park in Kent, and it is from this point that the artist moved away from horse portraits, instead spending his final years painting a wider variety of hunting and racing scenes, and landscapes.  A similar farmyard scene is held in the collection of the Danum Gallery, Library and Museum, Doncaster [DONMG : 446.62]. 

Jérôme-Martin Langlois,  French 1779-1838- Portrait of a lady, quarter-length, with a white bonnet and a yellow bow; oil on canvas, signed and dated 'J.M. Langlois 1822' vertically (lower left), 63.5 x 53.3 cm. Provenance:  Private Collection, UK. Note:  Langlois was a Neoclassical painter who studied under Jacques-Louis David (1748-1825) and worked across a variety of genres, producing portraits, historical, and mythological scenes over the course of his career. Indeed, Langlois completed a painting of 'Diana and Endymion', a commission from Louis VIII for the Palace of Versailles, in 1822, the same year as the present portrait. A similar portrait by Langlois sold at Sotheby's, New York, on 1 February 2013 (lot 585) for $1,600. 

Gerald A. Cooper,  British 1898-1975- Still life with poppies, daisies, and convolvulus; oil on panel, signed 'Gerald Cooper' (lower right), 77 x 63.5 cm. ARR. Provenance:  Private Collection. Note:  The present work, as in much of Cooper's output, clearly draws on the works of 17th-century Dutch artists such as Ambrosius Bosschaert II (1609-1645). Such an approach is evident both in its composition, with the bright and bountiful flowers set against a dark background, and in its execution, with the detail of Cooper's fine brushwork imparting the painting with a striking verisimilitude. Cooper's choice of flowers, which can be found in an English country garden, evokes a sense of domesticity which contrasts with the works of his Dutch antecedents, which typically centred on the depiction of fantastical combinations of expensive and exotic blooms. 

Circle of Sir John Baptist Medina,  Flemish/Spanish/British 1659-1710- Portrait of a lady holding foliage and a staff, with a sheep; oil on canvas, 126.5 x 62 cm. Provenance:  Private Collection, UK. Note:  The present painting recalls the work of Medina, an artist of Flemish-Spanish descent who enjoyed considerable success as a portraitist in London and Edinburgh. He is also well-known for producing the first illustrations for John Milton's (1608-1674) 'Paradise Lost' in 1688.  The present sitter has been depicted in an idealised pastoral setting, with a sheep visible to the right of the composition nibbling at the foliage in her hand, whilst the closely-observed drapery of her rich clothing is sharply evoked by the artist. 

Agnes Lunn,  Danish 1850-1941- Detail of an ox, after Paulus Potter; oil on canvas, signed, inscribed, and dated 'Agnes Lunn / dapre Paulus Potter. 27 April 83. Louvre' (lower left), inscribed 'Copie After P Potter Brudstykke / Louvre / af / Agnes / Lunn' to the upper stretcher bar, 25.3 x 32.5 cm. Provenance:  Private Collection, UK. Note:  Lunn was a painter and sculptor who was a pupil of Otto Bache (1839-1927) and Frederik Christian Lund (1826-1901) in Copenhagen, before going on to study under Jules Bastien-Lepage (1848-1884), Jean-Léon Gérôme (1824-1904), and Léon Bonnat (1833-1922) in Paris.  The present work is a copy of a detail from Paulus Potter's (1625-1654) painting 'La Prairie', or 'Three Oxen in a Vast Prairie', produced in 1652 and held in the collection of the Louvre [INV 1732]. This choice of subject-matter is typical of Lunn, who was fascinated by the depiction of animals, especially horses and cattle. 

After Simon Vouet,  French 1590-1649- The Virgin and Child with a Rose; oil on canvas, 60.3 x 50 cm. Provenance:  Property from a European Private Collection. Note:  The present work is a copy after Vouet's painting of the Virgin and Child held at the Musée des Beaux-Arts de Marseilles [no. 397], with minor variations, notably the cross which the Christ-child holds in his hand, which is absent in the original. Numerous copies were made after Vouet's original composition, perhaps informed by Claude Mellan's engraving of 1638. 

Manner of Gerrit Dou,  19th century- The Schoolmaster; oil on canvas, 81.5 x 61 cm. Provenance:  Property from a European Private Collection. Note:  The present composition appears to have been inspired by Dou's (1613-1675) painting of 'The Schoolmaster', now held in the collection of the Fitzwilliam Museum, Cambridge [no.33]. 

Spanish School,  late 19th/early 20th century- Christ carrying the Cross; oil on canvas, 62.9 x 47.5 cm. Provenance:  Property from a European Private Collection. Note:  The present composition appears to be informed by Francisco de Zurbarán's (1598-1664) painting of 'Christ the Saviour Blessing', which is held by the Museo del Prado in Madrid [P006074], particularly in the iconography of Christ holding a cross and reaching his arm out in benediction, above a blue globe.