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Antique 1853 oil painting on wooden panel of a seated politician reading unaware his hat has caught fire signed J Mollett after William Hogarth - 20.5cm x 14cm

1898 L P Munford (Mumford?) oil painting on canvas of a beach shoreline scene at Newquay - frame 43.5cm x 61.5cm ~ has a surface scratch

A mid century abstract oil painting on textured paper, unsigned, 37.5 x 22.5cm, framedGood condition, fading to mount/boarder

Gerard (Gerry) Glynn, (Irish, contemporary)A rich streetscape bustling with people and cars, partially illuminated by the lights of a classical building beyond, oil on canvas, signed, in gilt slip and ebonised frame, 65 cm x 82 cm overall[Glynn was born and raised in Dublin and developed an interest in drawing, painting and sculpture from an early age. He studied art at the National College of Art and Design for a short period but was otherwise self-taught and enjoys painting street scenes, still lifes, landscapes and seascapes. He later worked in the field of animation and exhibited as a finalist in the Uniquely Dublin exhibition held in the Little Museum of Dublin in 2013.]

David Wood (Cumbrian, mid to late 20th Century)"Lakeland Giants", a vast, atmospheric landscape portraying the rugged nature of the Langdale fells, oil, signed, label bearing title and Up Front Gallery receipt dated 2009 verso, in double card mount and silvered frame under glass, 61 cm x 80 cm overall[Wood was born in Suffolk and moved to Cumbria in 1975 following his military service in India, the south coast and the Shetlands. After retiring in 1986 his wife gave him a box of paints to keep him busy in his newly found free time, and so he began to discover "the joy and frustration of painting in various forms". He aims to share the beauty that he sees in nature and the world around him with others through his paintings.]

Patrick Ley-Greaves (contemporary)An impressionistic study of beached sailing boats sitting idle in a bay as the tide retreats, the sun peeking through the dark clouds above, oil on board, signed, in white limed wooden frame, 31 cm x 36 cm overall[Ley-Greaves was first attracted to watercolour painting when he moved to the Isles of Scilly in 1984, having no previous experience but a strong desire to paint nonetheless. By the late 1980s, he had developed a strong portfolio and began working on commissions and holding small exhibits of his work across the islands. He opened his first gallery and adjoining studio on St Martins in 1996 and began to teach residential watercolour painting courses. He is now settled in Worcester, and continues to paint and teach from his home studio.]

An oil painting titled "knackered" and three horse prints

A small collection of various small decorative prints, an oil painting, a silhouette etc.

Abraham Weinbaum (Ukrainian, 1890-1945), an elderly Jewish gentleman in a street, oil on board, signed, 50 x 35cm.Condition Report: Good overall condition, painted directly on to a Masonite board, there is some surface dirt, the painting was possibly never varnished, there are areas where the board shows through but this is as the artist intended.The frame is in good overall condition with a few minor scuffs.

A vintage horse racing oil on canvas painting. The painting signed illegibly lower left. Depicting a horse & rider coming over a hurdle. Framed.Measures approx.

An early 20th century German oil on canvas painting of a still life of flowers in a vase. Depicting various coloured poppies in a blue vase. Signed illegibly lower right. Framed in giltwood frame.Measures approx. 42cm x 32cm to include frame.

Jan Bradley (British, 20th century) - an oil on canvas painting depicting a Thames barge ship at sea. Signed lower right hand corner. Framed.Measures approx. 59cm x 49cm incl. frame.

Martin Obrecht (b. 1901) - Street Scene in Montmartre, Paris - a vintage 20th century oil on canvas painting depicting a Parisian street scene. The painting Impressionist in style. Signed lower right hand corner. Titled & with paper label featuring author's biography to verso.Measures approx. 81.5cm x 42cm incl. frame.

Angel Botello y Barros (Spanish/Puerto Rican, 1913-1986). Oil on board painting titled "La Nina con Muneca (Girl with Her Doll)," ca. 1976. The young girl raises on hand to her face and looks off to the left; her right hand grasps her doll by the neck. The doll sticks its tongue out, seemingly in alarm at the tight grip of its owner. Signed along the lower right.We are grateful to Juan Botello for his assistance in cataloguing and confirming the authenticity of this work.Sight; height: 46 1/4 in x width: 22 1/4 in. Framed; height: 63 1/2 in x width: 40 in x depth: 3 in.Condition: The colors are bold and bright. There are no major visible losses or signs of restoration when examined under UV light. Housed within a wood frame, not under glass or plexiglass. Light wear to the frame, especially along the lower edge where there are a few chips to the wood. Not inspected out of frame.

Nino Caffe (Italian, 1908-1975). Oil on board painting titled "Vecchio Cantiere" depicting a seaside town landscape. Signed along the lower center. With a label with the title along the verso.Unframed; height: 6 in x width: 12 in. Framed; height: 10 1/4 in x width: 16 1/4 in x depth: 2 in.Condition: The colors may be slightly muted. There is a minute area of in-painting which is beginning to flake off along the upper right corner. No other visible restorations. Light wear to the frame.

Cameron Booth (American, 1892-1980). Oil on canvas abstract painting titled "Bouquet" depicting flowers in greens, blues, and bold black, 1953. Signed and dated along the lower left.Unframed; height: 30 in x width: 25 in. Framed; height: 31 in x width: 26 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There is craquelure throughout as well as areas of flaking to the top layer of paint. No evidence of inpainting when inspected under UV light. Light wear to the frame.

Arthur Okamura (American, 1932-2009). Large oil on canvas painting titled "French Grunt, Blue Head Wrasse, & Psychedelic Wrasse" depicting vibrant fish in a technicolor body of water. Titled along the verso.Provenance: Braunstein/Quay Gallery, San Francisco; Distinguished Corporate Collection.Unframed; height: 23 1/4 in x width: 65 3/4 in. Framed; height: 25 in x width: 67 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright and the surface is stable. There are no major losses or repairs. Light wear to the frame.

Jack Barkla (American, 20th/21st c). Oil on canvas painting titled "Male Figure Backside 2" depicting a nude male figure, 2008. Signed and dated along the lower left corner.Unframed; height: 24 in x width: 12 in. Framed; height: 25 1/4 in x width: 13 1/4 in x depth: 1 1/4 in.Condition: The colors are bold and deep. There are no tears, losses, or restorations. Slight crazing to the pigment above the figure's raised shoulder. Light wear to the frame.

Gaspare Diomede Carlo Della Bruna (Italian, 1839-1915) after Titian (Italian, ca. 1488-1576). Oil on canvas painting after Titian's "La Bella" (ca. 1536-1538). Signed D. Della Bruna along the verso and with a wax seal.Unframed; height: 39 1/2 in x width: 29 1/2 in. Framed; height: 45 in x width: 35 1/4 in x depth: 2 in.Condition: The colors are somewhat faded. There is craquelure throughout and some areas where the painting is unstable and has flaked, particularly along the woman's hair, neck, and right shoulder. Signs of inpainting throughout the background that fluoresce under UV light. There are three regions of spiral craquelure along the upper third of the painting that correspond with soiling along the verso. There are stretcher bar marks along the perimeter of the painting and signs of wear along the extreme edges, where the painting is in contact with the frame. Housed within a wooden frame. Some wear to the frame. Dust gathered throughout the recessed areas, particularly along the verso.

Darrel Austin (American, 1907-1994). Oil on canvas painting titled "The First Catch" depicting a big cat resting on a riverbank holding a fish, 1948. Signed and dated along the lower right. Perls Galleries label affixed to the verso of the frame.Unframed; height: 10 1/4 in x width: 12 1/2 in. Framed: 17 1/2 in x width: 19 1/2 in x depth: 2 3/4 in.Condition: The colors are bold and deep. There are no major visible losses. Craquelure throughout, especially prominent along the areas where the impasto texture is thickest including the center of the leopard's chest and the region of grass to the right of the leopard's head. Housed within a wooden frame, not under glass or plexiglass. Some wear to the frame. Not inspected out of frame.

Xavier Gonzalez (American, 1898-1993). Large oil on canvas painting titled "The Red Couch" depicting a reclining nude woman. She is bathed in a white aura and stands out brightly against the darkened interior of the room. Initialed along the lower right; titled along the verso.Provenance: Estate of the Artist; Private Minnesota Collection.Unframed; height: 39 3/4 in x width: 59 1/2 in. Framed; height: 41 1/2 in x width: 60 3/4 in.Condition: The colors are slightly faded. The surface is stable. There are no major visible tears or losses. There are some areas that fluoresce under UV light, particularly along the length of the woman's side, possibly from the pigment used. Some soiling along the verso. Housed within a wooden frame, not under glass or plexiglass. Light wear to the frame. Not inspected out of frame.

Arthur H. Twells (Irish, 1921-1996). Oil on canvas painting depicting a coastal landscape. Signed very faintly along the lower left corner.Sight; height: 19 3/4 in x width: 25 1/2 in. Framed; height: 25 in x width: 31 in x depth: 1 1/2 in.Condition: There are no visible tears, losses, or restorations. Network of minute accretions most visible in the sky. Light wear to the frame. Edges and verso not inspected.

Jack Barkla (American, 20th/21st c). Oil on canvas painting titled "Foreign Body" depicting the genitalia of a woman resting atop a pyramid-shaped plinth, 1976. Signed, dated, and titled along the verso.Barkla is a lifelong resident of Minnesota having grown up in Edina and attended the University of Minnesota. He has performed and designed for numerous theater companies including the Guthrie. He also designed flower shows for Dayton's (later Marshall Fields and then Macy's) department store. Other clients of his have included Prince, Princess Grace of Monaco, and Jennifer Lopez.Unframed; height: 14 in x width: 11 in. Framed; height: 18 in x width: 15 3/4 in x depth: 2 in.Condition: The colors are bold and bright. The surface is stable. There are no major visible tears, losses, or restorations. Light wear to the frame. Not inspected out of frame.

John Wesley Carroll (American, 1891-1959). Oil on canvas painting depicting a nude woman with a loosely fitted shirt draped over her shoulders. Signed along the lower right.Unframed; height: 14 1/2 in x width: 8 1/2 in. Framed; height: 22 in x width: 16 in x depth: 2 1/2 in.Condition: The colors are slightly faded. The surface appears stable. There are no major visible tears, losses, or signs of restoration. There are two small chips along the top of the woman's head. Some wear along the extreme edges, especially the lower edge. Housed within a wooden frame, not under glass or plexiglass. Some wear to the frame. Not inspected out of frame.

Dietz Edzard (German, 1893-1963). Oil on canvas painting depicting a still life of blooming pink roses resting on sheet music. Signed along the lower right.Sight; height: 9 1/2 in x width: 13 1/2 in. Framed; height: 14 1/2 in x width: 18 1/2 in x depth: 1 3/4 in.Condition: The colors are bold and bright. There is a large white region along the upper half of the work with some areas that fluoresce under UV light. Some wear along the extreme edges. Housed within a wooden frame, not under glass or plexiglass. Some wear to the frame, especially to the gilt finish. Not inspected out of frame.

Axel David Ericson (Swedish/American, 1870-1946). Oil on board landscape painting depicting lush trees in a verdant hilly rural setting. Signed along the lower right. The verso with a black and white study of a courtroom scene.Sight; height: 9 3/4 in x width: 13 3/4 in. Framed; height: 13 in x width: 16 1/2 in x depth: 1 in.Condition: The colors are bold and bright. There are no major visible losses or signs of restoration to the painting along the verso or the recto. A few minute pinholes or fleabite chips along the recto, one along the upper right a a few along the upper left. Housed within a wooden frame, light wear to the frame including a pen inscription along the paper backing. Not inspected out of frame.

Ernest Trova (American, 1927-2009). Large oil on canvas painting from the "Falling Man" series depicting a series of six figures silhouetted on a red stripe cutting diagonally through a black field.Height: 63 in x width: 63 in x depth: 2 in.Condition: The colors are bold and deep. There is a dent in the painting along the upper left quadrant. There is a series of scuffs running along the entirety of the right and top edges. Some wear along the exposed edges of the canvas. The work is not framed.

Jack Barkla (American, 20th/21st c). Oil on canvas painting titled "Olo the Great - Prisoner." Signed and titled along the verso.Barkla is a lifelong resident of Minnesota having grown up in Edina and attended the University of Minnesota. He has performed and designed for numerous theater companies including the Guthrie. He also designed flower shows for Dayton's (later Marshall Fields and then Macy's) department store. Other clients of his have included Prince, Princess Grace of Monaco, and Jennifer Lopez.Unframed; height: 24 in x width: 12 in. Framed; height: 30 in x width: 18 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are no apparent losses, tears, or restorations. Light wear to the frame.

Gustavo Ojeda (Cuban/American, 1958-1989). Oil on linen painting depicting an abstract scene in dark blues and blacks white splashes of white, 1987-88. With a label from David Beitzel Gallery Inc., New York, along the verso.Height: 26 in x width: 22 in x depth: 1 in.Condition: The colors are bold and deep. There are some scuffs to the surface and small losses along the lower left corner. Craquelure throughout including large diagonal cracks along the upper half and the lower right quadrant. Some spiral cracks. Stretcher bar marks along all four edges. Some small spots of accretions, most noticeable in the white rectangular section in the upper right quadrant. The edges are lined with black electrical tape. The work is not framed.

Frieda Savitz (American, 1931-1985). Oil on canvas painting titled " A Time to Remember" depicting an abstract scene in autumnal colors, 1976-78. Signed, titled, and dated along the verso.Unframed; height: 12 1/4 in x width: 22 in. Framed; height: 12 3/4 in x width: 22 1/2 in x depth: 1 3/4 in.Condition: The colors are bold and deep. No losses or restorations. There is a slight undulation to the canvas. Light wear to the frame.

William Trost Richards (American, 1833-1905). Oil on canvas painting titled "Spring Tide" depicting a serene seascape, 1875. Signed and dated along the lower right. With a title plaque affixed to the verso.Lot Essay:William Trost Richards was an American landscape artist known for his association with both the Hudson River School and the American Pre-Raphaelite movement. Born in Philadelphia, he attended Central High School before studying under German artist Paul Weber while working as a designer and illustrator. His artistic career began with a public exhibition in 1858, organized by Albert Bierstadt. Over the years, he gained recognition, becoming an honorary member of the National Academy of Design in 1862 and a full Academician in 1871. He also joined the Association for the Advancement of Truth in Art, reflecting his commitment to precise and realistic depictions of nature.Richards traveled to Europe in 1866, and upon returning, he spent summers painting along the East Coast. During the 1870s, he produced highly detailed watercolor landscapes of the White Mountains, some of which are now housed in the Metropolitan Museum of Art. He exhibited extensively at institutions such as the National Academy of Design and the Brooklyn Art Association. In 1881, he settled in Jamestown, Rhode Island, where he lived and worked until his death in 1905. His artistic style emphasized meticulous realism, distinguishing him from other Hudson River School painters who often took a more romanticized approach. In his later years, he focused almost exclusively on marine watercolors.Richards’ works are featured in many prestigious museums, including the National Gallery, the Smithsonian American Art Museum, and the Philadelphia Museum of Art. His daughter, Anna Richards Brewster, also became a painter.Unframed; height: 19 1/2 in x width: 39 in. Framed; height: 26 in x width: 44 3/4 in x depth: 1 1/2 in.Condition: When inspected under UV light there does not appear to be any major areas of restoration. Craquelure throughout. The work has been relined. There is a small sticker affixed to the verso noting a cleaning and re-varnishing in the 1950s. Light wear to the frame.

Cameron Booth (American, 1892-1980). Oil on canvas painting titled "Bay & Grey" depicting two horses in a fenced in barnyard, 1973. Initialed and dated along the lower left; further signed, titled, and dated along the verso.Unframed; height: 18 in x width: 24 in. Framed; height: 20 1/2 in x width: 26 3/4 in x depth: 1 1/2 in.Condition: The colors are bold and bright and the surface is stable. No signs of restoration under UV light. Light wear to the edges of the canvas along the verso. Some wear to the frame.

Jack Barkla (American, 20th/21st c). Oil on canvas painting titled "Waiting Room (A Green Room)," 1975. Signed and dated along the lower right; titled along the verso.Barkla is a lifelong resident of Minnesota having grown up in Edina and attended the University of Minnesota. He has performed and designed for numerous theater companies including the Guthrie. He also designed flower shows for Dayton's (later Marshall Fields and then Macy's) department store. Other clients of his have included Prince, Princess Grace of Monaco, and Jennifer Lopez.Unframed; height: 18 in x width: 24 in. Framed; height: 24 in x width: 29 1/4 in x depth: 2 1/2 in.Condition: The colors are bold and bright. There are no apparent tears, losses, or restorations. There are two areas with areas that fluoresce under UV light (the upper center and lower center). Light wear to the frame.

Wictor (Victor) Korecki (Polish, 1890-1980). Oil on canvas painting depicting a snowy landscape. Signed along the lower left.Sight; height: 23 1/2 in x width: 35 1/2 in. Framed; height: 30 in x width: 41 3/4 in x depth: 1 1/4 in.Condition: The surface is stable and there are no tears or repairs. Area of craquelure in the center of the sky. There is a minute spot of moisture exposure along the lower center where the treeline gets low. Edges and verso not inspected. Light wear to the frame.

Oil on canvas-laid board French school painting depicting a young girl in a white dress holding a flying bird tied to a string.Sight; height: 13 3/4 in x width: 11 3/4 in. Framed; height: 16 1/4 in x width: 14 1/4 in x depth: 1 in.Condition: The colors are faded and the painting is toned. There are no major losses. There is craquelure throughout. Some small chips and scuffs; one along the upper center, the center of the right edge, below the girl's left ear, and along the upper left quadrant. Signs of inpainting along the upper right quadrant. Housed within a wooden frame, not under glass or plexiglass. Some wear to the frame. Not inspected out of frame.

Michael Lyne (British, 1912-1989). Oil on canvas painting titled "The Whipper In" depicting a huntsman clothed in red astride his horse in the woods. Signed along the lower right. With a label from Frost & Reed Ltd., London affixed to the stretcher along the verso. The label noting that the painting was a jacket design for "In Nimrod's Footsteps" by Daphne Moore.Provenance: Frost & Reed Ltd., London; Christie's, "Sporting Art," Sale 9794, June 1, 2001, Lot 12; Private Collection.Unframed; height: 24 in x width: 30 in. Framed; height: 31 in x width: 37 in x depth: 2 1/4 in.Condition: The colors are bold and bright and the surface is stable. There are no tears, losses, or restorations. Light wear to the frame.

Axel David Ericson (Swedish/American, 1870-1946). Oil on board painting titled "Haystacks" depicting three large haystacks in a landscape, 1925. Signed and dated along the lower right.Exhibition: Tweed Gallery, Duluth, September - October 1963.Axel David Ericson, born in Sweden in 1870, became one of Duluth, Minnesota's most significant painters after immigrating there at a young age. Despite being self-taught, he gained recognition early in his career, winning a prize at the Minnesota State Fair in 1885 and studying at the Art Students League in New York City. Ericson's travels to Paris and study with James McNeill Whistler enriched his artistic style, which evolved from rustic farm scenes to sensitive figure painting and vibrant depictions of foreign landscapes. His work, characterized by its bucolic charm and French Impressionist influence, is represented in notable collections across Minnesota and beyond, solidifying his importance to the state's artistic heritage.Sight; height: 10 in x width: 13 1/4 in. Framed; height: 14 1/2 in x width: 17 3/4 in x depth: 2 in.Condition: The colors are bold and bright and the surface is stable. There are no major breaks, losses, or signs of restoration. Light wear along the extreme edges. Housed within a wooden frame; light wear to the frame. Not inspected out of frame. There is a hand-written note and metal plaque affixed the verso.

Konstantin Vysotsky (Russian, 1864-1938). Oil on board painting titled "Tillage" depicting two horses pulling a till in a field. Initialed along the lower right.Sight; height: 9 1/2 in x width: 13 in. Framed; height: 14 3/4 x width: 18 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright and the surface is stable. There are no chips, losses, or restorations when viewed under UV light. Light craquelure throughout. Light wear visible along the extreme edges. There are two minute pinholes along the upper corners. Light wear to the frame. Not inspected out of frame.

Hunt Slonem (American, b. 1951). Oil on canvas painting titled "Peace Plan 7" depicting a neo-expressionist depiction of birds and butterflies in black and white on a highly textured canvas, 2013. Signed, titled, and dated along the verso. Additionally inscribed "Hunt Slonem Studio AT0356" along the verso.Provenance: Harmon-Meek Gallery, Naples, Florida; Private Minnesota Collection.Hunt Slonem is a multi-talented artist best known for his Neo-Expressionist paintings of butterflies, bunnies, and his tropical birds, often based on a personal aviary in which he has been keeping from 30 to over 100 live birds of various species. His designs often feature repetitive motifs based on this extensive collection.Slonem's artistic journey began in New York City in the late 1970s, following an unexpected opportunity to use artist Janet Fish’s studio and a grant from the Elizabeth Greenshields Foundation. His first solo show in 1977 at Harold Reed Gallery marked the start of a distinguished career, including high-profile exhibitions and connections with cultural icons like Andy Warhol and Truman Capote.His work is characterized by his love for the "exotica," particularly birds and butterflies, influenced by his early experiences in Hawaii and Nicaragua. His paintings are notable for their rich textures, bold colors, and repetitive motifs, reflecting both a fascination with the natural world and a commitment to the artistic process. His famous "Rabbit" series, inspired by the Chinese zodiac in the year he was born, and a large mural at Bryant Park Grill, exemplify his unique style.In addition to painting, Slonem has explored sculpture, interior design, and has collaborated with international and fashion brands, integrating his art into diverse media. His work continues to be celebrated for its playful and evocative qualities, bridging the gap between the natural and the fantastical.Unframed; height: 36 in x width: 48 in. Framed; height: 37 in x width: 49 in x depth: 2 in.Condition: Due to the richly textured impasto nature of the artwork, it is difficult to discern whether the painting has sustained any damage or not. However, there are no visible losses or signs of restoration when viewed under UV light. The colors are bold and deep and the surface appears stable. Housed within a wooden frame; light wear to the frame including a small scuff and chip to the lower left edge. Not inspected out of frame.

Robert Meadows (American, 1933-2009). Oil on canvas painting titled "Barrel Stove," 1964-65. Signed along the lower right. Fourth Minnesota Artists' Biennial label affixed along the verso.Provenance: Distinguished Corporate Collection, Minnesota.Sight; height: 84 in x width: 51 in. Framed; height: 85 1/2 in x width: 52 3/8 in x depth: 2 1/4 in.Condition: The colors are bold and deep. There are two small holes along the lower third of the work. There are two small losses to the lower right quadrant of the work. Some light scuffs throughout. Wear along the extreme edges of the canvas. Housed within a wooden frame, not under glass or plexiglass. Light wear to the frame. Not inspected out of frame.

Jacques Courtois (French, 1621-1675). Oil on canvas titled "Battle Between Christians and Turks," depicting a seething cavalry battle. Fallen soldiers lay with their horses in the foreground while the battle rages behind. A city stands in the background, partially obscured by a plume of smoke rising from the back of the battle. The artist's name is inscribed on a curved brass nameplate.Provenance: From the Distinguished Collection of Rodney Sanford and Julie Wallace, MinnesotaSight; height: 44 3/4 in x width: 62 in. Framed; height: 55 3/4 in x width: 71 3/4 in x depth: 2 in.Condition: The painting has been relined. There is a patch that measures 3 inches x 1 1/2 inches along the lower center. There is another smaller repair to the upper left corner most visible under UV. There is craquelure to the surface throughout, and a some flaking, most visibly along the plume of smoke in the upper left quadrant. When inspected under UV, there are numerous areas of inpainting and fill. Wear to the frame.

Keith Ingermann (American, 1929-2012). Oil on board painting depicting cut sunflowers on a table, 1966. Signed and dated along the upper right.Unframed; height: 11 in x width: 23 in. Framed; height: 16 in x width: 28 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are no major visible losses. There are areas along the left and right edges of the table and the lower right corner that fluoresce under UV light, possibly signs of inpainting or restoration. There are small chips throughout the white background; however, given the uniform and consistent texture, they are possibly original to the artistic process. Housed within a wooden frame, not under glass or plexiglass. Wear to the frame. Not inspected out of frame.

Saints Peter and PaulOil on canvas47 1/2 x 38 1/4 inches (120.7 x 97.1 cm)Frame 56 3/4 x 46 3/4 inches (144.3 x 118.8 cm)This painting is related to a work by the Spanish baroque artist Jusepe de Ribera now in the Musée des Beaux-Arts in Strasbourg, France.Qty: (1)Glue relined. Scattered areas of old restoration, including a repaired hole near the right margin on Saint Paul's shoulderGlue relined. Scattered areas of old restoration, including a repaired hole near the right margin on Saint Paul's shoulderAny condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

Estate / Collection: The Chimneys: The Estate of Allan Goldman16th CenturyChrist and the Woman Taken in Adultery (John 8: 3-11)Oil on panel50 x 66 1/4 inches (127 x 168.3 cm)UnframedThis painting is closely related to an original work by Lorenzo Lotto now in the collection of the Musée du Louvre, Paris.(1)The compound panel comprising seven planks of varying widths; backed with a massive crainling grid. Some small losses, especially at the joins between the planks. Areas of old restoration.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

ROBERT GEMMELL HUTCHISON RSA RBA ROI RSW (SCOTTISH 1855 - 1936), MORNING CHORES oil on canvas, signed and dated 1878framedimage size 24cm x 34cm, overall size 29cm x 39cm Comment: 1878 was a significant year for Gemmell Hutchison as the Royal Scottish Academy accepted the first three examples of his work and they continued to accept many submissions from him right up until the year of his death. Note: Robert Gemmell Hutchison was born at 35, North Richmond Street, Edinburgh on 1st July 1855. He was the first child of George Hutchison, a brass founder, and his wife Margaret Forman. Soon after his birth, the family moved to 37, Carrubbers Close, Canongate. It is not recorded which school Robert attended but he did not enjoy the experience! He was described as “scraping from class to class with as little work as possible, and, as soon as he could, leaving it gladly”. From the census of 1871, the family was still at 37, Carrubbers Close and had increased to seven; three sons and four daughters. With encouragement from his mother of whom he “always speaks with great reverence”, he was determined to become an artist and aged 17, enrolled at the Board of Manufacturers` School of Art in Edinburgh (also called the Trustees Academy). One of his instructors here was William McTaggart. He also attended the Royal Scottish Academy (RSA) Schools. At this time, he received valuable advice and help from the artist J. Campbell Noble RSA and thus encouraged, he sent some of his paintings to the RSA Annual Exhibitions. After several rejections, he was eventually successful in 1878 when he had three small landscapes exhibited: Youthful Labour, Quiet Pastures and A Country Well. One of these was bought by the Royal Association for the Promotion of the Fine Arts in Scotland and for which Hutchison received the sum of six guineas. He submitted the paintings from his studio at 1, India Buildings, Edinburgh. On 24th June 1879, Robert aged 23, married Janet Boe who was 21 and the daughter of a grocer in Biggar. The marriage took place at 4, Morningside Park, Edinburgh. On the marriage certificate he listed his occupation as “artist (figure painter)” and his address as 38, Jamaica Street, Edinburgh. The couple had nine children only five of whom survived infancy. These were four daughters; Jane (1880-1956), Marion Maud (1887-1963), Roberta Louise (1889-1966), Ann Carr Forman (1893-1978) and a son, George Jackson Hutchison who was born in 1895. After a period spent painting landscapes along the Fife coast, Robert began to specialise in scenes of Scottish rural life especially those involving children and in the year after his marriage, he had a painting The Empty Cradle exhibited at the Royal Academy (RA) in London. His studio was now at 53, George Street, Edinburgh. There followed five exhibits at the RA over the next decade. He continued to exhibit annually at the RSA and in 1886 was awarded a prize for his painting Boys Guddling Trout. From 1888 onwards he also exhibited at the Royal Glasgow Institute. At the 1891 Census he was an “artist, figure and portrait”, living at 4, Melville Place, Edinburgh with his wife and four daughters. His son George was born at the same address four years later. He began to paint and exhibit widely throughout Britain. A favourite location was Carnoustie in Angus where he had a house, “Coral Den”, in William Street. He also painted at Machrihanish, at Musselburgh and on the Farne Islands. Robert was elected to many prestigious institutions throughout the British Isles including the Royal Scottish Society of Painters in Watercolour, (RSW) in 1895, the Royal Society of British Artists (RBA), 1896, the Royal Institute of Oil Painters (ROI), and Associate of the Royal Scottish Academy (ARSA) in 1901. In 1903 he exhibited a work Bairnies Cuddle Doon at the Paris Salon. He was awarded a gold medal and the painting was purchased by the Scottish Modern Arts Association. He was awarded a second gold medal at the Paris Salon Exhibition of 1928 for his painting The White Seam. This was bought by Paisley Corporation and is now at the Paisley Museum and Art Gallery. Hutchison was elected to full membership of the RSA in 1911, replacing William McTaggart who had died the previous year. Several examples of Gemmell Hutchison's paintings have sold at auction in recent years for figures over and around £100,000. He retains his position as one of Scotland's best loved artists of the late 19th and early 20th century.

AFTER CORREGGIO (ITALIAN 1489 - 1534), MAGDALEN IN THE DESERT oil on canvasframed image size 30cm x 40cm, overall size 48cm x 58cm Note: Magdalen in the Desert, also known as The Reading Magdalen, The Dresden Magdalen, and The Magdalen Reading in a Cave, was an oil painting of uncertain date traditionally but disgustedly attributed to Antonio da Correggio. The painting was last in the collection of the Gemäldegalerie Alte Meister in Dresden, but went missing after the Second World War.

* JOSEF HERMAN OBE RA (POLISH/BRITISH 1911 - 2000), MOTHER & CHILD oil on board, titled versomounted, framed and under glassimage size 15cm x 9.5cm, overall size 33cm x 26cm Provenance: Valued and featured on BBC Antiques Roadshow 2013 Series 35 episode 14 venue Cawdor Castle where the valuation was "I can easily see that making £2000". After the program aired, the BBC received an email from the family of the mother and child depicted. The central text includes ".... drawing by Joseph Herman of a mother and child. My parents lived in South Wales in the late 40’s/early 50’s and knew Herman and his wife well. My father was an artist and worked closely with him. My mother recognised the drawing as it was of herself and first child, my elder brother, a bonny 65 year old now." A copy of the BBC email to the current vendor's family is available to the buyer as is a copy of the email received by the BBC from the son/brother of the mother/child depicted.Note: Polish-born painter who became a British citizen in 1948. He was born in Warsaw, the son of a Jewish cobbler, and studied at the Warsaw School of Art, 1930–31. In 1938 he moved to Brussels, then in 1940 to Glasgow, where he became a friend of another Polish refugee, Jankel *Adler. He moved to London in 1943, then from 1944 to 1953 lived in the Welsh mining village of Ystradgynlais. Ill health forced him to seek a drier climate and subsequently he lived in London and Suffolk. Herman is best known for his sombre pictures of Welsh miners, with whom he felt a strong affinity. He often showed their black figures silhouetted against the sun: ‘This image of the miners on the bridge against a glowing sky mystified me for years with its mixture of sadness and grandeur. ’ Michael Jacobs and Malcolm Warner write that ‘The harsh realities of life here provided a subject perfectly attuned to his expressionist style of painting. He feels that he has achieved a special empathy with the local inhabitants, and knew that he was accepted by them as soon as they referred to him by the affectionate nickname “Joe bach” (little Joe). Much of his time at Ystradgynlais was spent underground observing the life of the miners’ (The Phaidon Companion to Art and Artists in the British Isles, 1980). Herman made a considerable reputation with his mining scenes and was commissioned to paint a mural for the Festival of Britain in 1951 (Miners, Glynn Vivian Art Gallery and Museum, Swansea). In subsequent paintings he depicted the life of other working people he had seen on his extensive travels, which are documented in his book Related Twilights: Notes from an Artist's Diary (1975). He made an impressive collection of African sculpture and his figure style was to some extent based on it. More than one hundred works by Josef Herman are held in UK public collections.

PIERRE ADOLPHE VALETTE (FRENCH 1876 - 1942), URBAN LANDSCAPE oil on canvas, signedframed image size 51cm x 61cm, overall size 63cm x 73cm Note: Valette was a French Impressionist painter. His most acclaimed paintings are urban landscapes of Manchester, now in the collection of Manchester Art Gallery. Today, he is chiefly remembered as L.S. Lowry's tutor. Little is known of his family and early life, except that his parents were poor and that he studied at the local art school in St Etienne. His second wife Andree, believed that he started working at sixteen, so it was about 1862 that he went to Lyon to work as an engraver and painter whilst continuing his studies. He travelled a great deal and it was in Bordeaux where he was enrolled in evening classes that he won the crucial scholarship in 1903, which was to bring him to England. He enrolled in the painting course at the Birkbeck Institute in London. He left for Manchester after only a few months, arriving around Spring 1904. He worked for some time on private commissions and designing calendars and tickets. In the evenings Valette attended classes at the Municipal School of Art and by 1906 he was on the staff and was soon Art Master. Between 1906-20 Valette’s presence seems to have transformed the school of Art. One of his pupils was L.S. Lowry, who went on to achieve world-wide fame. Lowry paid tribute to Valette on a number of occasions.

JOHN BRETT (BRITISH, 1831-1902)Irish Sea incised inscription and indistinctly dated 'Irish Sea 9.1 Aug (?)' (lower right) oil on board 18 x 35.5cm Provenance Sale, Bonhams, London, 16th September 1971, lot 157, as a pair with 'Welsh Coast'; The Old Customs House, Lymington, Hampshire (purchased from the above sale); Private collection, UK (purchased from the above as a pair with 'Welsh Coast') Literature D. Brook-Hart, British 19th Century Marine Painting, Suffolk, 1974, p. 143, pl. 42.FootnoteBrett's characteristic incised inscription gives details of the subject, day and month, but for some reason omits the year. There is some evidence pointing to 1873 as the most likely date. That year Brett spent July in the Scilly Isles, and then, after a brief interlude to watch the yacht races at Cowes, he embarked on a leisurely progress from Penzance up the west coast of Cornwall, painting on the way, which ended at Bude early in November. It is very likely that he passed through St Ives, where he had spent a fruitful month the previous year, and he could well have been there on August 21. The prominent presence, in the left foreground, of a typical St Ives pilchard driver does suggest that the work may have been painted there.We are grateful to Mr Charles Brett for his assistance in cataloguing this lot.

HENRY SCOTT TUKE (BRITISH, 1858-1929)Samwell sitting on a blue dug-out signed and dated 'H.S. Tuke 1924' (lower right) oil on canvas 39 x 29cm Provenance Geoffrey Sainsbury (The artist's nephew); Henry Shemilt; Acquired from the above in 1963 by Brian D. Price; Acquired from the above by the present owner Literature The Diary of Henry Scott Tuke 1923-1925, transcribed by B.D. Price; Catching the Light - The Art and Life of Henry Scott Tuke, Catherine Wallace, 2008, plate 131.FootnoteTuke painted the present work on 10th January 1924, and recorded the following entry in his diary:‘Out with Samwell and Ralph again and went further on – nearly got a small nurse shark with the paddle, it was struck several times but eventually got away.  Landed and did a good study of Samwell sitting in a bluish dugout, with flickering shadows from overhanging trees.  Worked hard at it all afternoon at home.’Unable to resist an adventure, Tuke was 67 when, in November 1923, he set sail for Jamaica on the Fyffe banana-ship, S.S. Coronado; part of an expedition funded by the author and explorer Lilian, Lady Richmond Brown and including Fredrick Albert Mitchell-Hedges, a fellow explorer whom Tuke met at a Lecture in Falmouth.  Mitchell-Hedges is perhaps best remembered for claiming to have discovered a crystal skull in Belize in 1924, but failing to mention the artefact until the mid-1940s, following the sale of a strikingly similar crystal skull at Sothebys in October 1943; modern testing of the skull has revealed the markings of modern machinery rather than Mayan tools.   This illustrious party docked in Port Royal on 10th December before travelling the 100 miles or so to the Black River.  Tuke spent the following two months painting numerous oils and watercolours of the local landscape and people.  Samuel, known as Samwell, was one of his favourite models, whom he described as an ‘…interesting type.  Looks like a fierce savage but as gentle as a dove.’  Samwell appeared in several works, most notably, Black River Boatmen, Jamaica, an oil begun on 9th January, the day before the present work, which went on to be exhibited at The Royal Academy in 1925, no.500, and sold at Christies 2nd-16thDecember 2021, lot 97, for £30,000 hammer.  Tuke skillfully captures a charmingly uncontrived moment as his subject stares, unselfconsciously, out to sea, the dappled light and heat are beautifully and deftly rendered, strongly evoking the unique atmosphere of the Caribbean.Condition Reportoriginal canvas; the paint surface is in excellent, clean condition; no sign of retouching under ultraviolet light, held in a plaster gilt frame in fair condition.

Attributed to Thomas Sidney Cooper (1803-1902) Cattle and sheep resting, oil on panel,18x13 ins, framed. Painting relates closely to a painting illustrated in Cooper's catalogue raisonne by Kenneth Westwood and could be another version of the same conposition. This version was sold at Sotheby's in 2000 and 2006.

Ramsay Richard Reinagle (1775-1862), St. Catherine after Raphael, oil on board, unsigned with inscription verso attributing the painting to Reinagle and note dated 1983 from Mrs Bengough, Great House, Canon Pyon, Herefordshire "purchased by the forebears of Lt Col. Bengough of Monkland Herefordshire where it hung in the drawing room for many years." In contemporary ebonised and gilt frame 72x56cms.Painting 72x56cmsGood condition

Circle of George Turner (British, 1843-1910),Bringing in the hay harvest,Oil on canvas,Indistinctly signed lower left,57.5cm x 88.5cm,Framed CONDITION REPORT:The paint surface shows no obvious damage, however examination under UV shows evidence of minor restoration.  The frame appears to be structurally sound, but shows evidence of later over-painting.

Michael Bennett (1934-2016), oil on board "Estuary Study". 16.5 x 22 cm framed. ARR (see illustration).The painting is in very good condition with no issues. The frame is also in generally very good order with only some very minor surface scratches to the gilding. The frame is likely to be original.

Michael Bennett (1934-2016), an oil painting on board "Marine Horizon I". 10 x 22 cm, signed and dated '76, framed and mounted. ARR.

Michael Bennett (1934-2016), an oil painting on handmade paper "Sun and Snow Black Combe Series No 14 Norman Nicholson".  25 x 28 cm, framed and mounted and with Castlegate House Gallery label to the rear. ARR.The painting is in extremely good order, with no condition issues. The original mount and frame are also in good condition too.

Michael Bennett (1934-2016), an oil painting on paper "Evening Low Sun I" titled to rear and dated 1978. 21.5 x 23 cm, framed and mounted. ARR.The painting is slightly discoloured but uniformly so.  The outer mount is in good condition as is the frame.

An oil painting on canvas beach scene, with mother and child and dog. 29 x 45 cm, framed together with a harbour scene oil on board. 34 x 44 cm, framed and mounted.

A 17th century portrait of a gentleman, oval oil on canvas, believed to be a General who served with the First Duke of Marlborough. 111 x 91 cm, relined. NOTE: This painting has always been oval.

An English primitive oil on board, depicting Steyne Brighton, marked to  rear Rutland Gallery London 1768, together with a photograph of a further label with the key to the painting.  30 x 43 cm.The painting is generally in good order with no significant condition issues. The board is flat with no undulations and there are no areas of paint loss.  The frame is in poor condition with numerous losses to the extremities. The rear of the painting appears to be in good order although panel is largely obscured by the attached key to the buildings.