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Oil painting on canvas depicting "BATTLE". 18th century. In a gilded frame. 41x68 cm approx. Dipinto olio su tela raffigurante "BATTAGLIA". XVIII secolo. In cornice dorata. 41x68 cm ca.

GIULIO CESARE VINZIO (Livorno 1881-Milano 1940). Oil painting on board depicting "CASOLARE CON GEESE". Titled "SUNSET" on the back. Signed lower right. Countersigned on the back. With cartouche of the Balzani gallery, Milan, stamp of the collection of the heirs of the painter GC Vinzio and stamp of confirmation of authenticity of the artist's son on the back. Exhibited at the commemorative exhibition held at the Galleria Dedalo, Milan, in February 1941. In a gilded wooden frame. 50x70 cm approx. GIULIO CESARE VINZIO (Livorno 1881-Milano 1940). Dipinto olio su tavoletta raffigurante "CASOLARE CON OCHE". Intitolato "TRAMONTO" sul retro. Firmato in basso a destra. Controfirmato sul retro. Con cartiglio della galleria Balzani, Milano, timbro della raccolta eredi del pitt. G. C. Vinzio e timbro di conferma di autenticità del figlio dell'artista sul retro. Esposto alla mostra commemorativa tenutasi alla Galleria Dedalo, Milano, nel febbraio 1941. In cornice in legno dorato. 50x70 cm ca.

Oil painting on paper applied on canvas applied on cardboard depicting "SAINT GEROLAMO". Late 17th-early 18th century. Framed. Defects. 70.5x53 cm approx. Dipinto olio su carta applicata su tela applicata su cartone raffigurante "SAN GEROLAMO". Fine XVII-inizi XVIII secolo. In cornice. Difetti.70,5x53 cm ca.

Oil painting on canvas depicting "BATTLE". 18th century. In a gilded frame. 41x68 cm approx. Dipinto olio su tela raffigurante "BATTAGLIA". XVIII secolo. In cornice dorata. 41x68 cm ca.

EDUARDO DALBONO (Napoli 1841-1915). Oil painting on panel titled "AMORE DAL BALCONY". Signed top right. With cartouche and stamp on the back. In carved and gilded frame.  48.5x27 cm approx. EDUARDO DALBONO (Napoli 1841-1915). Dipinto olio su tavola intitolato "AMORE DAL BALCONE". Firmato in alto a destra. Con cartiglio e timbro sul retro. In cornice intagliata e dorata.  48,5x27 cm ca.

TITO PELLICCIOTTI (Barisciano 1871-1950). Oil painting on panel depicting "ANIMALS IN THE STABLE". Signed lower left. Framed. 40.5x50 cm approx. TITO PELLICCIOTTI (Barisciano 1871-1950). Dipinto olio su tavola raffigurante "ANIMALI NELLA STALLA". Firmato in basso a sinistra. In cornice. 40,5x50 cm ca.

RENATO VERNIZZI (Parma 1904-Milano 1972). Oil painting on canvas titled "I BAMBINI DELLA COLONIA" lower right. Signed and dated '57 lower left. Framed. Minor defects. 30x40 cm approx. RENATO VERNIZZI (Parma 1904-Milano 1972). Dipinto olio su tela intitolato "I BAMBINI DELLA COLONIA" in basso a destra. Firmato e datato '57 in basso a sinistra. In cornice. Lievi difetti.  30x40 cm ca.

VITTORIO GUSSONI (Milano 1893-Sanremo 1968). Oil painting on panel depicting "PERSIMMONS WITH TEAPOT AND MILK JUG". Signed lower left. In lacquered frame. 39.5x40 cm approx. VITTORIO GUSSONI (Milano 1893-Sanremo 1968). Dipinto olio su tavoletta raffigurante "CACHI CON TEIERA E LATTIERA". Firmato in basso a sinistra. In cornice laccata. 39,5x40 cm ca.

Oil painting on canvas depicting "DOMINICAN FRIARS ADORING THE VIRGIN WITH CHILD". 17th century. Old restorations. Already relined and re-stretched. 300x168 cm approx. Dipinto olio su tela raffigurante "FRATI DOMENICANI IN ADORAZIONE DELLA VERGINE CON IL BAMBINO". XVII secolo. Vecchi restauri. Già rintelato e rintelaiato.  300x168 cm ca.

Y Derek Balmer PPRWA, Hon. RA (British, b. 1934)Andalucia, 1992/94Oil on canvasUnsignedInscribed with name, title and date to back of canvasFramed Derek Balmer was born in London in 1934. His professional art education began in Bristol when he was admitted, aged 15 in 1950, to the West of England College of Art, then situated within the Royal West of England Academy, an institution of which he was later to become President. He was then apprenticed to a photo-litho firm in Bristol, working as a photographer. Art studies at the College continued via evening classes and at 21. He had a painting accepted for exhibition at the Royal West of England Academy where he has exhibited every year since. Group and solo shows followed at the Finbarrus Gallery in Bath (1958/9). Balmer established himself as an independent photographer and friendships drew him into the active theatre scene in Bristol in the 60’s that centred round the Bristol Old Vic under Sir Tyrone Guthrie. Balmer was appointed official photographer to the company in 1961, a position he held for the next 28 years. Despite the demands of his professional photographic career, Balmer continued to paint, travelling widely in Southern Europe to look at painting, architecture and sculpture. His work, initially influenced by Graham Sutherland, soon developed a strongly colouristic, expressive quality, his largely landscape-inspired subjects of the 1960s and 1970s being treated in an increasingly semi-abstract manner. His influences drew on a wide range of sources – Pierre Bonnard, Peter Lanyon, John Hoyland and American abstract expressionists like Gorky and de Kooning among others. By the time he had his first solo show at the Arnolfini Gallery in 1968, he had however arrived at an intensely personal style of his own. During the 1970s, Balmer sought to make a success of his photographic business and support his young family, largely withdrawing from exhibiting his work other than at the Royal West of England Academy where he had become an Associate member in 1955. By the 1980s, his work had gained in expressive richness and confidence and Balmer started putting his work into a wider variety of exhibitions. By the early 1990s, having given up his photographic business, he became involved in the Royal West of England Academy affairs, in 1993 being elected to the Academy Council, then becoming Academicians’ Chairman and President in 2001. A major retrospective of his work, entitled 'President's Eye', was held at the Academy in 2007.Measures approx. 95cm x 110cm including frame

Cortes (Spain, b. 1963)Untitled Sailing boatsOil on canvasSigned bottom rightUnmounted & unframedCortés is a Spanish artist born in Valencia in 1963. He began law studies in his hometown, which he abandoned to devote himself exclusively to the Fine Arts. Cortés is a self-taught artist who initially came to painting with a desire to capture with his hands the innumerable natural beauties of coastal Spain and more specifically the landscapes of Valencia, the lagoon, and its beaches. A tireless traveler, over the years he has been collecting and saving images of all the cities he has visited such as Paris, Italy, Amsterdam, Casablanca, and Istanbul to later incorporate them in a very personal and free way into his paintings in oil, generically titled “Broken Landscapes” by the pictorial technique used, mainly with a palette knife. These have an impressionist style, with a range of very neutral and elegant colours that create an atmosphere in his intimate paintings. More recently, Cortés has brought his technique into a bolder, brighter, and more contemporary genre of sailing – full of energy and dynamism. He has participated in collective and private exhibitions, obtaining great admiration for the way he handles oil paint, a favourite material that very few landscape painters manage to master with the simplicity which he shows. We are thrilled to present Cortés’s vibrant sailing scenes at The Original Art Shop.Measures approx. 89.5cm x 89.5cm (35" x 35")

Y Cortes (Spain, b. 1963)Untitled Sailing boatsOil on canvasSigned bottom rightUnmounted & unframedCortés is a Spanish artist born in Valencia in 1963. He began law studies in his hometown, which he abandoned to devote himself exclusively to the Fine Arts. Cortés is a self-taught artist who initially came to painting with a desire to capture with his hands the innumerable natural beauties of coastal Spain and more specifically the landscapes of Valencia, the lagoon, and its beaches. A tireless traveler, over the years he has been collecting and saving images of all the cities he has visited such as Paris, Italy, Amsterdam, Casablanca, and Istanbul to later incorporate them in a very personal and free way into his paintings in oil, generically titled “Broken Landscapes” by the pictorial technique used, mainly with a palette knife. These have an impressionist style, with a range of very neutral and elegant colours that create an atmosphere in his intimate paintings. More recently, Cortés has brought his technique into a bolder, brighter, and more contemporary genre of sailing – full of energy and dynamism. He has participated in collective and private exhibitions, obtaining great admiration for the way he handles oil paint, a favourite material that very few landscape painters manage to master with the simplicity which he shows. We are thrilled to present Cortés’s vibrant sailing scenes at The Original Art Shop.Measures approx. 89.5cm x 89.5cm (35" x 35")

Y Cortes (Spain, b. 1963)Untitled Sailing boatOil on canvasSigned bottom rightUnmounted & unframedCortés is a Spanish artist born in Valencia in 1963. He began law studies in his hometown, which he abandoned to devote himself exclusively to the Fine Arts. Cortés is a self-taught artist who initially came to painting with a desire to capture with his hands the innumerable natural beauties of coastal Spain and more specifically the landscapes of Valencia, the lagoon, and its beaches. A tireless traveler, over the years he has been collecting and saving images of all the cities he has visited such as Paris, Italy, Amsterdam, Casablanca, and Istanbul to later incorporate them in a very personal and free way into his paintings in oil, generically titled “Broken Landscapes” by the pictorial technique used, mainly with a palette knife. These have an impressionist style, with a range of very neutral and elegant colours that create an atmosphere in his intimate paintings. More recently, Cortés has brought his technique into a bolder, brighter, and more contemporary genre of sailing – full of energy and dynamism. He has participated in collective and private exhibitions, obtaining great admiration for the way he handles oil paint, a favourite material that very few landscape painters manage to master with the simplicity which he shows. Measures approx. 89.5cm x 89.5cm (35" x 35")

Y Cortes (Spain, b. 1963)Untitled Sailing boatsOil on canvasSigned bottom rightUnmounted & unframedCortés is a Spanish artist born in Valencia in 1963. He began law studies in his hometown, which he abandoned to devote himself exclusively to the Fine Arts. Cortés is a self-taught artist who initially came to painting with a desire to capture with his hands the innumerable natural beauties of coastal Spain and more specifically the landscapes of Valencia, the lagoon, and its beaches. A tireless traveler, over the years he has been collecting and saving images of all the cities he has visited such as Paris, Italy, Amsterdam, Casablanca, and Istanbul to later incorporate them in a very personal and free way into his paintings in oil, generically titled “Broken Landscapes” by the pictorial technique used, mainly with a palette knife. These have an impressionist style, with a range of very neutral and elegant colours that create an atmosphere in his intimate paintings. More recently, Cortés has brought his technique into a bolder, brighter, and more contemporary genre of sailing – full of energy and dynamism. He has participated in collective and private exhibitions, obtaining great admiration for the way he handles oil paint, a favourite material that very few landscape painters manage to master with the simplicity which he shows. We are thrilled to present Cortés’s vibrant sailing scenes at The Original Art Shop.Measures approx. 89.5cm x 89.5cm (35" x 35")

Y Cortes (Spain, b. 1963)Untitled Sailing boatOil on canvasSigned bottom rightUnmounted & unframedCortés is a Spanish artist born in Valencia in 1963. He began law studies in his hometown, which he abandoned to devote himself exclusively to the Fine Arts. Cortés is a self-taught artist who initially came to painting with a desire to capture with his hands the innumerable natural beauties of coastal Spain and more specifically the landscapes of Valencia, the lagoon, and its beaches. A tireless traveler, over the years he has been collecting and saving images of all the cities he has visited such as Paris, Italy, Amsterdam, Casablanca, and Istanbul to later incorporate them in a very personal and free way into his paintings in oil, generically titled “Broken Landscapes” by the pictorial technique used, mainly with a palette knife. These have an impressionist style, with a range of very neutral and elegant colours that create an atmosphere in his intimate paintings. More recently, Cortés has brought his technique into a bolder, brighter, and more contemporary genre of sailing – full of energy and dynamism. He has participated in collective and private exhibitions, obtaining great admiration for the way he handles oil paint, a favourite material that very few landscape painters manage to master with the simplicity which he shows. We are thrilled to present Cortés’s vibrant sailing scenes at The Original Art Shop.Measures approx. 89.5cm x 89.5cm (35" x 35")

Victorian 19th century oil on canvas ship painting. Depicting two sailing ships, on water with sky to ground. AF. Signed bottom right W. V. V.approx. 73 x 82cm

HG DavisStill Life - BouquetOil on board87cm x 82cm An early 20th Century still life oil painting depicting a bouquet of flowers in a stone vase. The bouquet having examples of many different flowers. Framed in decorative gilt frame with bow design to top. Artist signed bottom corner ' H. G. Davis '.87cm x 82cm

M Howard ( British 20th century ) Still life oil on canvas painting study of fruit in a bowl. Signed to the lower corner, framed. Together with another still life of lowers in vase signed MEH to lower corner

Robert L. P. Lavoine (1916-1999), a signed oil painting on canvas, Rouen port. H.31 W.40cm

A signed oil painting on canvas, still life flowers, by S. Collins in a gilt gesso frame. H.50 W.40cm

A 19th century oil painting on board. Signed and dated W. Bray 1885, in an oak and gesso gilt frame. H.66 W.50cm

An oak framed wall mirror and a collection of various watercolours and an oil painting

RICHARD JOHN CROFT (BRITISH 1935) PLUMS AND PEPPERS, a still life study of purple plums and yellow peppers, signed lower right, oil on canvas, approximate size 75cm x 90cm, frame size 93cm x 107cm, Condition Report: there are some spots of dirt to the painting in places, the frame is stained with dirty marks in places (artist resale rights apply)

GEORGE WILLIAM HORLOR (1823-1895) A HIGHLAND SCENE WITH ANIMALS, a dog covered in his masters blanket lies beside a calf and sheep, signed bottom left, oil on canvas, approximate size 39cm x 60cm, frame size 71cm x 91cm, Condition Report: the painting is behind glass and appears to be in good condition, probably cleaned at some point as it has a new back board, the back of the painting is not visible, some losses to the frame

JAMES LAWRENCE ISHERWOOD (1917-1989) 'SON & STEAM, PADDINGTON No1 PLATFORM', figures and a steam locomotive inside Paddington train station, signed and titled verso, oil on board, approximate size 63cm x 78cm, Condition Report: the painting has been reframed and the back of the painting is no longer visible, a photograph verso shows Isherwood's signature and title, 3cm scuff to the lower left side of the painting (artist resale rights apply) Provenance: the vendor purchased the painting from Isherwood in 1967, Sotheby's sold a similar painting in 2005 for £2160

JEREMY KING (BRITISH 1933-2020) 'THE FINISH, HENLEY', a depiction of Henley Royal Regatta on the River Thames in Oxfordshire, signed and dated (19)82 bottom right, oil on canvas laid on board, approximate size 60cm x 80cm, Condition Report: the painting is in good condition, frame marked and scratched in places

BRIDGET HUNTER (SCOTTISH CONTEMPORARY) 'RUM, MUCK AND BLUES', a Scottish Isle of Rum landscape with trees, signed bottom right, titled to label verso, oil on board, approximate size 49cm x 59cm, Condition Report: the painting is behind glass and is in good condition, the frame is marked in places (artist resale rights apply)

A SPITFIRE OIL PAINTING ON CANVAS BY W. JAMES, FRAME SIZE 22" x 17.5"

Edward Hersey (b.1948, British), oil on canvas, An attractive and brightly coloured countryside landscape depicting a quaint farm building beside a river with ducks and chickens, signed to the lower left, framed, measuring 31cm x 40cm, & 47cm x 57cm overallCondition report - This painting appears to be in good order with no major issues to note. It sits securely within its frame which is also in generally good order.

W. Reeves (20th Century), oil on canvas, A sunlit countryside landscape with cottage in the background, signed to the lower right, framed, measuring 50cm x 102cm, & 62cm x 114cm overall, together with an idyllic landscape painting by Tom Bell (2)

Jane Bilsbury (Contemporary, British), oil on canvas, 'Liverpool Docks', signed and dated 2018, unframed, measuring 50cm x 58cm, and a painting of the Lake District titled 'An Hour from Barrow' by Barbara Green (20th Century) (2)

Artist: Gosta Adrian-Nilsson (GAN) (Swedish, 1884-1965). Title: "Acrobaites III, Paris". Medium: Gouache, watercolor, and pen drawing on paper. Date: Composed 1923. Dimensions: Overall size: 11 3/16 x 9 3/16 in. (284 x 233 mm).Pricing:   Starting Price: $12,000  Reserve Price: N.A.  Auction Sale Price Estimate: $18,000/20,000Lot Note(s): Signed "GAN" and dated in ink, lower left recto; the Roman numeral 'III" in red pencil, upper right recto; signed, titled, and dated in pencil, verso; collector and gallery ink stamps, verso. Painted on cream wove paper. Very good to fine condition; jagged left edge where removed from a sketchbook; one very minor paint loss center left; very slight soiling verso; tack holes upper right and left corners; else fine. A Letter of Authenticity (LOA) accompanies the work. If you have a bona fide interest in bidding on this lot kindly send an email to: provenance@stanfordauctioneers.com for provenance information and additional image(s). Comment(s): Our example is undoubtedly a (the?) study for Adrian-Nilsson’s famous painting “Acrobats in Paris,” 1924, oil on canvas laid to panel, 36 1/4" x 25 9/16," sold for $395,750 (S. KRONA 3,800,000) hammer price at Bukowskis, Stockholm, 05/15/2019, lot #481. Image copyright © The Estate of Gosta Adrian-Nilsson. [30229-2-12000-NA]

Artist: Martin Deane Coppinger (American, 1934-2018). Title: "Top of the World [Arizona]". Medium: Oil on board. Date: Composed 2006. Dimensions: Image size: 36 x 24 in. (914 x 610 mm).Pricing:   Starting Price: $400  Reserve Price: N.A.  Auction Sale Price Estimate: $600/800Lot Note(s): Signed with the monogram and titled, lower right. Excellent condition. Framed. Provenance: A Letter of Authenticity (LOA) accompanies the work. Comment(s): The auction record for a Coppinger painting is $1,845.00 (including premium) realized at Slotin Auctioneers, Gainesville, GA, November 10, 2013, lot # 881. Other paintings of his sold the same day (see askArt, etc.). Coppinger, a listed artist (Davenport's, others) is an Arizona painter who has been called the "Van Gogh of the Desert." Image copyright © Martin Deane Coppinger. [10704-15-400-NA]

PORTRAIT OF A MAN IN A HALF-OPENED DOUBLETbears signature J Isabey lower left oil on canvas40 x 32.5cm; 15 3/4 x 12 3/4in57 x 49.5cm; 22 1/2 x 19 1/2in (framed)Property of a Private Collector The present work is a copy of a painting by Lucas II Franchoys (Belgian 1616-1681) with the same title in the collection of the Musée du Louvre, Paris. offered for sale without reserve

EVENTIDEsigned with the initials lower right oil on panel18 x 28cm; 7 x 11in41 x 48.5cm; 16 x 19in (framed)Property from an English Private Collection William McKay studied painting in Edinburgh before travelling to Holland where he was inspired by the Hague School of painters who worked outdoors. On returning to Scotland he too advocated painting outdoors to capture the Scottish landscape and record the work of those living in rural Scotland. He published The Scottish School of Painting in 1906 and was awarded an honorary LLD by the University of Edinburgh in 1919.offered for sale without reserveThe canvas has not been relined, and no retouching is evident under ultra-violet light. Apart from a small puncture with an attendant small spot of paint loss in the head of the main figure, this work is in good original condition.

⊕ JANE PAINTINGsigned with initials lower leftoil on canvas board 25 x 30.5cm; 10 x 12in35 x 40cm; 13 3/4 x 15 3/4in (framed) Property of a Lady, ChiswickProvenanceNew Grafton Gallery, London (purchased by the present owner in 1989) ExhibitedBarnes, New Grafton Gallery, June 1989, no. 41to be offered for sale without reserve

ROSESsigned Geo C. Lambdin lower right oil on board68 x 48cm; 26¾ x 19in89 x 70cm; 35 x 27½in (framed)Property from an English Private CollectionBorn and raised in Pittsburgh, Pennsylvania, Lambdin studied at Pennsylvania Academy of Fine Arts. During the American Civil War he worked in the Sanitary Commission distributing medical supplies to troops in the field. Many of his earlier works depicted life in camp. In 1868 he was elected to the National Academy of Design and the Pennsylvania Academy of Fine Arts. In later years, living in Germantown Philadelphia, Lambdin began painting flowers, in particular roses, as in the present example.

Artist: Henri Fantin-Latour [imputée] (French, 1836 - 1904). Title: "Nature morte: fleurs veloutées". Medium: Oil on canvas. Date: Composed 1891. Dimensions: Frame size: 34 x 39 3/16 in. (864 x 995 mm). Image size: 23 3/8 x 29 in. (594 x 737 mm).Pricing:   Starting Price: $2,400  Reserve Price: N.A.  Auction Sale Price Estimate: $3,000/4,000Lot Note(s): Signed and dated, upper right. Painting condition: Very good overall; as found, unconserved, not relined; various areas of “spider thread” craquelure; uneven varnish application; several minor “reverse dimples” in the canvas; the canvas with minor sagging; gentle and minor stretcher bar telegraphing; blacklight examination reveals no defects; signature contemporary to the painting. Frame: Period gilt and gesso ornate frame, quite possibly the original – on the inside of the fillet, center right, is written in script “peinture fleurs;” scattered losses to the gesso; extremely well made. Stretcher: Original stretcher with centre-bar, nails preserved, stamped “F. DUPRÉ/ 141 Faubourg Saint-Honoré/ Au coin de la Rue de Berri, PARIS”. Comment(s): Fantin-Latour is best known for his classically restrained and painstakingly detailed floral compositions. Our example is perhaps as “impressionistic” a floral painting as one could find by his hand. His ebullience is apparent in his rapid brushstrokes and use of color. Perhaps he felt less constrained due to the sheer size of this canvas since it, while not huge, is unusually large for him and perhaps twice as much so as the average size of his floral works. A search of his auction records for the past ten years finds only two sales of floral oil paintings of similar size to our example (23 3/8” x 29”): “Roses tremieres,” 29 1/16” x 23 ¾”, sold for £842,500 ($1,303,770) at Christie’s London, King Street, February 4, 2014, lot #42; and “Panier de fleurs,” the larger of the two at 24 ½” x 31 5/8”, sold for $1,205,000 at Christie’s New York, Rockefeller Center, May 14/15, 2015, lot #34C. He was born Ignace Henri Jean Théodore Fantin-Latour. [18435-10-2400-NA]

Artist: Mexican School (Ex-Voto Artist) 20th Century. Title: "Vintage Ex-Voto/Retablo: Tengo mucho que agradecer al Niño de Atocha". Medium: Oil on tin. Date: Composed c1940. Dimensions: Overall size: 8 3/8 x 12 1/4 in. (213 x 311 mm).Pricing:   Starting Price: $400  Reserve Price: N.A.  Auction Sale Price Estimate: $600/700Lot Note(s): Good condition. Provenance: Private collection, Mexico City, from a noted and scholarly collector of ex-votos/retablos. Comment(s): An ex-voto is a votive offering to a saint or to a divinity; the term is usually restricted to Christian examples. It is given in fulfillment of a vow or gratitude or devotion. A retablo is a devotional painting, especially a small popular or folk art one using iconography derived from traditional Catholic church art. [30304-0-400-NA]

John Henry Wonnacott (British b.1940) "Estuary Window: Winter - Wet Painting" 1977-80, oil on canvas, show size 129 by 113cm, frame size 132 by 4 by 116cm, with copy receipt Marlborough Fine Art, Three catalogues and cards, provenance - from a private collection. NB-may be subject to Artist Resale Act.

VON LENBACH, FRANZ SERAPH (1836-1904) "Prinzregent Luitpold von Bayern" Öl auf Leinwand, monogramiert: "F.L.", HxB: 85/72 cm. Leichte Altersspuren. Rahmen, HxB: 104/90 cm. Gemäß der Korrespondenz, Ende der 1970er Jahre, zwischen dem Besitzer des Gemäldes und Dr. Sonja Mehl, Autorin mehrerer Bücher über den Künstler, wird das Gemälde in das Werkverzeichnis des Künstlers aufgenommen. Provinienz: Privatbesitz Stuttgart.| VON LENBACH, FRANZ SERAPH (1836-1904) ‘Prince Regent Luitpold of Bavaria’ Oil on canvas, monogrammed: ‘F.L.’, HxW: 85/72 cm. Slight signs of age. Frame, hxw: 104/90 cm. According to correspondence in the late 1970s between the owner of the painting and Dr Sonja Mehl, author of several books on the artist, the painting is included in the artist's catalogue raisonné. Provenance: Private property, Stuttgart.

Norman Stansfield Cornish MBE (1919-2014) "Little Snow Scene" Signed, oil on board, 14cm by 20.5cmProvenance: The Stone Gallery, Newcastle-upon-Tyne The painting has a number of scratches across the surface. From the bottom of the window ledge lower left corner down into the centre of the street, a small area below this, through the figures to the centre of the painting, through the man's boots, to areas of the right hand side. Some very light surface dirt. See images.

Maud Lewis (1903-1970) Canadian The bride Signed, oil on beaverboard, 23cm by 30cmWe are grateful to Alan Deacon and Ian Muncaster for their assistance in authenticating this work. Maud Lewis (1903-1970) was a Canadian folk artist and remains one of Canada’s best-loved artistic figures. Living in poverty for most of her adult life, she painted joyous, nostalgic and vibrant pictures of rural life in her Nova Scotia home. Maud Lewis, nee Dowley, was born into a middleclass family in Yarmouth, Nova Scotia. Her father was a blacksmith and owned a harness shop, but despite relative affluence Maud’s childhood was not easy. She suffered from Juvenile rheumatoid arthritis, resulting in severely sloping shoulders, curvature of the spine and a recessed chin; Lewis spent much of her life in pain. Her mother, however, had an artistic nature, and taught Maud to paint Christmas cards which they would sell. After her parents died in the mid-1930s, Maud had no resources and went to live with her aunt in Digby, Nova Scotia. After seeing an advert for a live-in housekeeper 40-year-old bachelor Everett Lewis had placed, Maud turned up on his doorstep in nearby Marshalltown. Whilst apparently the pair did not hit it off immediately, a few days later Maud returned to his house and stated that she would not be his housekeeper but would be his wife. The pair married in 1938, and Maud moved into the tiny 4.2m x 3.8m house, with one-room and sleeping loft, where they would live for the rest of their lives, with no running water or electricity. Everett was a fish peddler, and Maud began accompanying him on his rounds, selling the Christmas cards she painted. Soon, Everett gave Maud her first set of oil paints, and they began selling her paintings too, all for very modest prices. Due to her ailments, Maud could not find employment, and indeed Everett even took over all domestic duties whilst Maud turned their little house into her studio and painted industriously – including every surface in their home. When Everett gained more stable employment, Maud put up a sign and sold her paintings from their home, which was on the side of the highway. Neighbours and tourists soon began flocking to purchase her colourful work but determined not to raise prices and put off buyers, the pair continued to live in poverty. Working on a small scale due to her limited mobility, Maud painted on cheap materials, such as a pulpboard used in the building trade known as beaverboard, and later ready-cut Masonite. After painting the board with a white ground, she would draw on an outline and then apply paint straight from the tube without mixing or blending. Maud focussed on a set range of subjects, mostly derived from memories of childhood and her surroundings in Nova Scotia before the onset of modernity; cats, deer and oxen, landscapes and depictions of harbour scenes, horse-drawn carts and sleighs. Nostalgic, yet optimistic, her works a happy simplicity with a touch of humour. Her most popular subjects were painted again and again, with minor variations, such as the present example Sandy Cove. This was one of only a select few subjects she painted across three decades. Sandy Cove is located on a long peninsular in the Bay of Fundy, not far from the Lewis’ home in Marshalltown. The other work up for sale, The Bride, is a more unusual subject for the artist, with far fewer variations known. Coming to the attention of a journalist, Maud became the subject of a radio documentary and subsequently a newspaper article in the mid-1960s. Her work captured the attention of the nation, and she achieved widespread recognition. However, with only limited ability to paint, she struggled to keep up with orders, and resolutely refused to charge more for her paintings, despite the likes of a staff member at the Whitehouse during Nixon’s presidency requesting more of Lewis's works to add to his collection. Today, her work is represented in museums and galleries around the world, with a large collection being found in the Art Gallery of Nova Scotia. Following her death from pneumonia in 1970s and Everett’s death in 1979, a permanent memorial was erected on the site of their home. Having captured the nations hearts, Maud’s life would become the subject of books, plays, and three films. Covered in a layer of surface dirt. Tiny loss to the left of the bottom edge within a lily pad and a slight indentation to the right of this to the lily pad centre of bottom edge. Slight scratch/indent approx 2cm within the green of the tree upper left corner. Minor scratch between the man's legs and a minor scratch within the rope he is pulling. Tiny white areas in places, for example to the right of the second tree trunk upper right corner, above the dog's nose to the blue, by design? See images.

Maud Lewis (1903-1970) Canadian Sandy Cove Signed, oil on beaverboard, 23cm by 30cmThe bay in the painting is St Mary's Bay, an arm of the Bay of Fundy. Directly across the bay is the town of Weymouth and mainland Nova Scotia.We are grateful to Alan Deacon and Ian Muncaster for their assistance in authenticating this work. Covered in a layer of surface dirt. A brown mark to the top centre of the sky approx 2cm long and 1cm wide. Small brown marks to the top of the right side and a few scattered to the upper left of the sky. Small scratch above the cottage lower right approximately 2cm and a tiny nick below the central white cottages. Paint thin in places by application.

Bernard DuFour, oil painting "Deux Femme".

An Impressionist Oil painting on canvas depicting a Young Lady holding parasol and basket of flowers by a river, signed Minton, 23 1/2" x 27 1/2".

A framed Oil on board of The River Usk, Abergavenny with the Sugarloaf in the backdrop by the artist David Edwards. The painting was commissioned for a good friend of David Edwards' for his wife. (David Edwards, Abergavenny D-Day veteran, a "true hero", he leaves a legacy of "peace and reconciliation"; see more https://www.bbc.co.uk/news/uk-wales-55035377).

A modern style Oil painting portrait.

A small Abstract landscaped, framed by Framed Images, Scotland and a small still life Oil painting.

An oil painting of a Courting couple, signed RL, dated 1907.

A modern surrealist style oil painting with gold effect frame.

An unframed oil on board painting of a lady.

Artist: Francesco Miralles y Galup (Spanish, 1848-1901). Title: "Vendedores de Flores". Medium: Oil on panel. Date: Composed c1890. Dimensions: Frame size: 24 7/8 x 29 5/8 in. (632 x 752 mm). Image size: 19 1/4 x 24 1/4 in. (489 x 616 mm).Pricing:   Starting Price: $8,000  Reserve Price: N.A.  Auction Sale Price Estimate: $12,000/15,000Lot Note(s): Signed lower left. Good condition; some repairs to panel cracks with associated inpainting. Comment(s): Our present example is a large, colorful, and impressive painting for Miralles y Galup. His art career began as a student of Ramon Marti y Alsina in Barcelona. After studying at the Beaux Arts in Madrid until 1866, he made Paris his permanent residence until 1897. He forged commercial relationships with Parisian dealers, including Enrique Gomez, who was responsible for exporting a large quantity of his works to the United States. Miralles y Galup participated in a large range of exhibitions, including the 1866 Nationale des Beaux-Arts, Barcelona, the Salon and the Salon des Artistes Francais in Paris from 1875-1896, and the Salon Pares, Barcelona of 1877. He won a silver medal at Dieppe in 1875, another at Angouleme in 1877, and a gold medal at Montpellier in 1885. Museum Collections Include the Musee de Brest, Brest, France and the Musee d'Art Moderne, Barcelona. [27859-10-8000-NA]

Artist: Albert Pinkham Ryder (American, 1847-1917). Title: "Merlin & Vivien". Medium: Oil on canvas. Date: Composed c1886-1892. Dimensions: Frame size: 27 1/4 x 23 3/8 in. (692 x 594 mm). Image size: 24 x 20 in. (610 x 508 mm).Pricing:   Starting Price: $24,000  Reserve Price: N.A.  Auction Sale Price Estimate: $30,000/40,000Lot Note(s): Signed and titled, verso. Good condition save for a small hole, upper right, about 1/4" diameter. Comment(s): A very large painting for Ryder and a masterful composition, where the two standing figures merge into the oak and become part of the tree itself. The inspiration for this work came from Tennyson: "A storm was coming, but the winds were still, And in the wild woods of Broceliande, Before an oak, so hollow, huge and old It looked a tower of ivied masonwork, At Merlin's feet the wily Vivien lay". From "Merlin and Vivien," the sixth poem in Alfred, Lord Tennyson's "Idylls of the King.". [27887-10-24000-NA]

Artist: Oskar Kokoschka (Austrian, 1886 - 1980). Title: "Boote, Brucke, und Wolken". Medium: Oil on canvas. Date: Composed 1961. Dimensions: Overall size: 10 11/16 x 16 in. (271 x 406 mm). Image size: 10 11/16 x 16 in. (271 x 406 mm).Pricing:   Starting Price: $15,000  Reserve Price: N.A.  Auction Sale Price Estimate: $20,000/25,000Lot Note(s): Signed with the initials, lower left. Fine condition; heavy impasto; unframed. Provenance: Estate of a private collector, Switzerland. Comment(s): A notable work that expresses many of the same stylistic markers as our painting is 'Ann Windfohr,' 1960, which sold for $146,910 (SF146,700) on 06/28/2019 at Galerie Koller, Zurich, Switzerland. Image copyright © Artists Rights Society (ARS), New York. [29988-15-15000-NA]

Artist: Mexican School (Ex-Voto Artist) 20th Century. Title: "Vintage Ex-Voto/Retablo: Lucrecia Perez". Medium: Oil on tin. Date: Composed c1940. Dimensions: Overall size: 8 x 12 1/2 in. (203 x 317 mm).Pricing:   Starting Price: $300  Reserve Price: N.A.  Auction Sale Price Estimate: $400/600Lot Note(s): Extensive explanatory annotations as part of the image. Good condition. Provenance: Private collection, Mexico City, from a noted and scholarly collector of ex-votos/retablos. Comment(s): An ex-voto is a votive offering to a saint or to a divinity; the term is usually restricted to Christian examples. It is given in fulfillment of a vow or gratitude or devotion. A retablo is a devotional painting, especially a small popular or folk art one using iconography derived from traditional Catholic church art. [30303-2-300-NA]

William Burns (Northern British 1923-2010): 'St Michaels Mount - Cornwall', oil on board signed, titled verso 30cm x 41cm (unframed) Provenance: Direct from the family of the artist. Notes: Born in Sheffield in 1923, William Burns RIBA FSAI FRSA studied at the Sheffield College of Art before the outbreak of the Second World War, during which he helped illustrate the official War Diaries for the North Africa Campaign, and was elected a member of the Armed Forces Art Society. On his return, he studied architecture at Sheffield University and later ran his own successful practice, being a member of the Royal Institute of British Architects. However, painting had always been his self-confessed 'first love', and in the 1970s he gave up architecture to become a full-time artist, having his first one-man exhibition in 1979.

William Burns (Northern British 1923-2010): 'The Hard - Overy Staithe North Norfolk', oil on board signed, titled verso 15cm x 20cm Provenance: Direct from the family of the artist. Notes: Born in Sheffield in 1923, William Burns RIBA FSAI FRSA studied at the Sheffield College of Art before the outbreak of the Second World War, during which he helped illustrate the official War Diaries for the North Africa Campaign, and was elected a member of the Armed Forces Art Society. On his return, he studied architecture at Sheffield University and later ran his own successful practice, being a member of the Royal Institute of British Architects. However, painting had always been his self-confessed 'first love', and in the 1970s he gave up architecture to become a full-time artist, having his first one-man exhibition in 1979.

William Burns (Northern British 1923-2010): 'End of the Hard - Pin Mill Suffolk', oil on board signed, titled verso 15cm x 20cm Provenance: Direct from the family of the artist. Notes: Born in Sheffield in 1923, William Burns RIBA FSAI FRSA studied at the Sheffield College of Art before the outbreak of the Second World War, during which he helped illustrate the official War Diaries for the North Africa Campaign, and was elected a member of the Armed Forces Art Society. On his return, he studied architecture at Sheffield University and later ran his own successful practice, being a member of the Royal Institute of British Architects. However, painting had always been his self-confessed 'first love', and in the 1970s he gave up architecture to become a full-time artist, having his first one-man exhibition in 1979.

William Burns (Northern British 1923-2010): 'The Beer Garden', oil on board signed, titled verso 18cm x 23cm (unframed) Provenance: Direct from the family of the artist. Notes: Born in Sheffield in 1923, William Burns RIBA FSAI FRSA studied at the Sheffield College of Art before the outbreak of the Second World War, during which he helped illustrate the official War Diaries for the North Africa Campaign, and was elected a member of the Armed Forces Art Society. On his return, he studied architecture at Sheffield University and later ran his own successful practice, being a member of the Royal Institute of British Architects. However, painting had always been his self-confessed 'first love', and in the 1970s he gave up architecture to become a full-time artist, having his first one-man exhibition in 1979.