{"title":"Oil Painting","description":"","products":[{"product_id":"ka-310","title":"Still Life","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn the manner of Jan Davidsz De Heem. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eThis painting is in the Dutch Golden Age manner and is catalogued as such. We believe the picture dates around the late 18th Century to the early 19th Century which is a later period however the identity of the painter is currently being investigated by a number of our trusted researchers. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eI include a report which relates to a former owner of the painting; \"\u003c\/span\u003e\u003cspan\u003eThe arms are the bookplate of Caroline Janetta, Countess of Essex, more specifically this is an impalement of the arms of Capel to the dexter ( for her husband Arthur Algernon Capel, 6th Earl of Essex, whom she married on the 14th July 1825 ) with the arms of the Beauclerk Dukes of St. Albans to the sinister ( her paternal arms ). The arms are surmounted with an Earls' coronet. She was the third daughter of William Beauclerk, 8th Duke of St. Albans by his wife Jeanetta Nelthorpe. Caroline was born 28th June 1804 and died at Cassiobury Park on 22nd August 1862. See complete Peerage Vol 5 pp..148-149. \" She therefore purchased the picture between 1825 and 1862. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe bookplate is in the Franks collection at the British Library, number 5085, and I append the image of the complete version. To see the remains of the bookplate look to the image on the reverse side of the panel. There is at the lower left of the shelf remnants of a signature which is currently inadmissible as evidence of the painter, we hope to update this brief biography when we have fulfilled the research task. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe painting has been held in storage for several years and is now being offered for sale at a figure that could well change post identification of the painter. The picture is unsigned but has an indecipherable script which has yet to be examined. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eJan Davidsz. de Heem or in-full Jan Davidszoon de Heem, also called Johannes de Heem or Johannes van Antwerpen or Jan Davidsz de Hem (c. 17 April 1606 in Utrecht – before 26 April 1684 in Antwerp), was a still life painter who was active in Utrecht and Antwerp. He is a major representative of that genre in both Dutch and Flemish Baroque painting. De Heem was born in Utrecht as Johannes van Antwerpen. He studied first under his father David de Heem the Elder (1570–1631), then under Balthasar van der Ast. His \"middle name\", Davidsz, is a patronym referring to his father's name. He lived in Leiden from about 1625 to 1629, where he studied in 1629 under David Bailly (1584- c. 1657). His professional name, \"de Heem\", means literally \"the home\". He moved to the Southern Netherlands and joined the Guild of Saint Luke of Antwerp in 1635 or 1636 and became a burgher of that city in 1637. However he was often absent, as attested by the duties he had to pay for this. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHis remarkable talent gained him a considerable reputation. He could hardly satisfy the demand. De Heem was considered one of the greatest painters of his time. He was well paid and a portrait of Prince William III surrounded by a cartouche of flowers and fruit was sold for 2000 guilders, one of the highest prices ever paid for a painting during the Dutch Golden Age. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHis sons worked together with him in his workshop on the commissions for new paintings. He retouched their work and put his signature on the paintings. He remained in Antwerp until 1667, when he moved back to Utrecht, where records trace his presence from 1668 to 1671. He left Utrecht in 1671 when French troops were approaching the city. It is not known when he finally returned to Antwerp, but his death there is recorded in the guild books. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eVan Heem married twice, first with Alette van Weede with whom he had three surviving children on her death in 1643, one of which, Cornelis, would become a still life painter. He married a second time in 1644 with Anna Catherina Ruckers with whom he had six more children, one of whom was Jan who would also become a still life painter. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDe Heem was one of the greatest painters of still lifes in the Netherlands, combining a brilliance and harmony of colour along with an accurate rendering of objects: flowers, in all their variety; European and tropical fruits; lobsters and oysters; butterflies and moths; stone and metal; snails and sea shells. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA number of de Heems, of whom Jan Davidsz. was the most distinguished, painted works in similar styles, that are often hard to distinguish. These include a brother, two sons, of whom Cornelis became particularly successful, and at least one grandson by each son. This family of painters started with the unknown father of David de Heem the Elder (1570–1631) and an unknown brother. This anonymous brother had a son, Jan or Johannes de Heem (c. 1603 - probably after 1659), a painter of still lifes, flowers and fruits. David de Heem the Elder had two sons, also painters: Jan Davidsz. de Heem (1606- before 26 April 1684) and David Davidsz. de Heem (1610 - after 1669). Jan Davidsz. de Heem had three sons, all painters; from a first marriage: David Janszoon de Heem (29 November 1628 - ?), Cornelis de Heem (1631–1695) and from a second marriage Jan de Heem (1650 - ?) Cornelis de Heem had one son who was a painter: David Corneliszoon de Heem (1663–1718) I have included another brief biography, for your interest, of De Heem. Jan Davidsz de Heem (1606–1683\/4) was a celebrated Dutch still-life painter of the Golden Age. He was born in Utrecht and, after a period in Leiden, moved to Antwerp around 1635, where his style transformed. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eKey career highlights: Initially influenced by simpler, Dutch still-life traditions, De Heem's work took on a more opulent, flamboyant style in Antwerp. He became known for his intricate \"pronkstilleven\" (sumptuous still lifes) featuring a cornucopia of lavish objects, including glass, insects, exotic fruits, and precious metals. His paintings often included moral or religious symbolism, such as vanitas elements that reminded viewers of the transience of life. De Heem ran a productive workshop, with his sons Cornelis and Jan Jansz also becoming skilled still-life painters. He was widely influential and highly regarded in his time, and today his works are held in major museum collections around the world. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis painting is the closest impression to DE Heem I have owned and has been within my own collection since purchasing it, I hope a new owner will enjoy the picture as I have these last years.\u003c\/span\u003e\u003c\/p\u003e","brand":"Jan Davidsz de Heem","offers":[{"title":"Default Title","offer_id":56670178017625,"sku":null,"price":38000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA_310_Dutch_School_Floral_Still_Life_DSCF4028A_Med_Compressed_master.jpg?v=1763631039"},{"product_id":"ka-222","title":"The Bridge","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eCarel Victor Morlais Weight R.A. , CH , CBE , 1908 - 1997, was an English painter and art teacher. Carel Weight studied at Goldsmiths College and the Hammersmith School of Art , thereafter he taught art at the Beckenham School and the Royal Academy of Art. He exhibited at the Cooling Galleries, the Royal Academy and many other institutions, he was a prolific painter of suburban scenes having been born in Paddington London and living in Hammersmith, as a very accomplished artist his works are well dispersed among the major galleries throughout the United Kingdom and in private collections . He was an official war artist during WW11 and consequently he travelled extensively, he was a good friend of other popular artists some of whom remained great friends throughout his life such as Ruskin Spear. This painting is we believe the Queens Park Bridge Chester, originally built in 1852, images of bridges Carel Weight painted are also included here. Carel Weight had a particular habit of painting bridges, railings and fences, within his compositions with a view as to the regular visitor overseeing the depiction, the artist is constantly putting himself in the place of someone watching over the scene, this picture is painted as if the viewer is walking along the pathway at a short distance from the person in front. Carel Weight produced many of his works with this theme of travelling in the same direction, looking over a fence, or looking out of a window, all of these themes are very typical of a suburban artist. This picture is unsigned. I have included a short biography of the painter. Carel Victor Morlais Weight (10 September 1908 – 13 August 1997) was an influential English painter and academic whose highly individual work captured the extraordinary, and often sinister, dramas lurking beneath ordinary suburban British life. Melding elements of realism with unexpected, distorted perspectives, Weight focused his career on expressing raw psychological states like fear, loneliness, and love within familiar urban landscapes. He is also widely celebrated as a transformative Professor of Painting at the Royal College of Art, where he nurtured some of the most notable figures of the Pop Art movement. Born in Paddington, London, Weight grew up experiencing stark social contrasts. Because both of his parents worked, he spent weekdays in a working-class Fulham home with his godmother, Rose Matkin, and returned to his parents' more affluent, middle-class household on weekends. This childhood duality made him hyper-aware of social divisions and the fragility of everyday life. Early memories of sudden shocks—such as a bus mounting a pavement or buildings burning—later became the emotional catalyst for his narrative-driven artwork. Weight initially studied singing before pivoting to the visual arts. He attended the Hammersmith School of Art from 1928 to 1930, where he established a lifelong friendship with fellow artist Ruskin Spear. He then advanced to Goldsmiths' College (1931–1933). While there, he focused heavily on imaginative composition, establishing a foundation for his distinct style. During the Second World War, Weight was called up to the Royal Engineers in 1942. He initially taught within the Army Education Corps before receiving a major career breakthrough in 1945. At the recommendation of Kenneth Clark, the influential chairman of the War Artists' Advisory Committee, Weight was appointed an Official War Artist. He travelled through Italy, Austria, and Greece to document post-war recovery and British army education efforts. Weight later fondly referred to this period of international travel as a \"scholarship from the Army. In 1947, Weight joined the faculty at the Royal College of Art (RCA) in London. He quickly rose through the academic ranks, eventually serving as the Professor of Painting from 1957 until his retirement in 1973. Though Weight himself maintained a relatively traditional, old-fashioned personal demeanour, he was an incredibly supportive and affectionate mentor to a radical new generation of artists. Under his leadership, future trend-setters such as David Hockney, Peter Blake, and John Bratby flourished. Notably, Weight jokingly boasted that he was the very first person at the RCA to witness David Hockney dye his hair blonde. Weight famously considered himself a \"maverick\" who disliked the commercial politics, dealers, and critics of the mainstream art world. His paintings are highly recognisable for their unique narrative tension. He set most of his imaginative scenes in the unassuming suburbs of West and South London, often commuting by bus between his home in Clapham and his studio in Putney to find inspiration. Weight famously declared that the \"acid test\" of any great painting was whether an \"ordinary chap\" could get something out of it. He intentionally rooted complex psychological emotions into real, digestible settings. His figures, which he claimed \"grew under the brush,\" often look like ghosts or hurried passersby. This generated an atmospheric blend of humour, dread, and menacing suspense that commentators have compared to English gothic ghost stories. Later in his career, he developed a deep interest in religious imagery, creating massive public works such as the Christ and the People mural for Manchester Cathedral in 1963. Throughout his life, Weight was highly celebrated across major British art institutions. He was elected a full Royal Academician (RA) in 1965 and was granted a massive career retrospective at the Royal Academy of Arts in 1982. He was appointed a Commander of the Order of the British Empire (CBE) in 1962 and later elevated to a Companion of Honour (CH) in 1995.In 1990, after living together for 60 years, Weight married his lifelong partner and fellow painter, Helen Roeder. He remained remarkably prolific into his old age, often executing up to 50 paintings a year. Weight passed away following a stroke on 13 August 1997 in London at the age of 88. Today, his masterpieces are preserved in premier global institutions, including the Tate Gallery, the Victoria and Albert Museum, and the Imperial War Museum. His art also captured the attention of private cultural icons, including David Bowie, who avidly collected his work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Carel Weight","offers":[{"title":"Default Title","offer_id":56670178083161,"sku":null,"price":2500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA_222_Carel_Weight_Riverside_DSC4869_Low_Res_master.jpg?v=1763632118"},{"product_id":"portrait-of-a-seated-lady","title":"Portrait of a Seated Lady","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eJean Esme Oregon Cooke R.A. 1927 - 2008, was an English painter, sculptor, potter and teacher who was born in London. Cooke studied at the Central School of Arts and Crafts, Goldsmiths College and the Camberwell School of Art. Cooke was married to the artist John Bratby, the relationship was somewhat tempestuous and Bratby jealous of Cooke's success and her ability stifled her growth and further development, which eventually resulted in their divorce. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBratby was considered the founder of the Kitchen Sink School of realism painting a term adopted by the art critic David Sylvester who described the work of a group of painters as including everything within the composition, including the kitchen sink. Cooke here has depicted the image of the sitter in the manner accustomed to the 1950's School, the style of the times which was also influenced by John Osbourne and his writing 'Look Back in Anger' 1956, a harsh and realistic view of the working class Britons living in rented accommodation and the uncomfortable surroundings of post war years in Britain, still in the grip of rationing. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWithin this picture the sitter looks irritated with the index finger of the right hand which appears to indicate to the painter a frustration of how long this is taking, another sign of the deleterious behaviour of the younger generation of the times. This painting, which is oil on board, does have initials at the lower half of the picture which include 'JC'. The painting lacks a definitive signature and therefore is catalogued as 'attributed' but we believe after consideration that the work is that of Jean Cooke and the discovery of the initials we believe confirms the attribution.\u003c\/span\u003e\u003c\/p\u003e","brand":"Attributed to: Jean Cooke","offers":[{"title":"Default Title","offer_id":56679148454233,"sku":null,"price":0.01,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA_392_Mockups.png?v=1768496993"},{"product_id":"portrait-of-john-manners-later-7th-duke-of-rutland","title":"Portrait of John Manners later 7th Duke of Rutland","description":"\u003cp\u003e\u003cspan\u003eMargaret Sarah Carpenter 1793-1872, was an English portrait painter. She was one of the foremost portrait painters in the 19th Century, she exhibited at the Royal Academy, British Institution and the Suffolk Steet Gallery. She also painted over 100 Eton School leavers portraits of which this is one, they were mostly painted on Davey panels, this picture bears the stamp of Davey which would have been from 83 Newman Street London. There is another portrait of John Manners which was painted later and the image of him carrying a shotgun, the conclusion to the research regarding this painting is that Carpenter's painting was too realistic and probably not to the clients liking and consequently another painting was commissioned, hence the shotgun image, which we believe to be out of keeping with a school portrait. The picture was discovered in Sussex and the research conclusion is that it was once the property of Bernard Cecil Manners the son of the portrait enclosed and was disposed of after his demise which was in Sussex in 1945. The picture then lay undiscovered for some 60 years.\u003c\/span\u003e\u003c\/p\u003e","brand":"Margaret Sarah Carpenter","offers":[{"title":"Default Title","offer_id":56946293670233,"sku":null,"price":3900.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_e264567b-8c95-4c2b-8ec6-3e40c061d27a.png?v=1768592852"},{"product_id":"portrait-of-pierre-seriziat","title":"Portrait of Pierre Seriziat","description":"\u003cp\u003e\u003cspan\u003eCopy of a Portrait of Pierre Seriziat by Jacques Louis David which was painted in 1795 , David 1748-1825, this picture is a direct copy by an artist by the name of F. Hamilton. There is no known literature of the current painter of this picture, however the subject is well known and this image has been widely copied, it is certainly oil on canvas with a possibility of canvas printed influence underneath. The artist, Hamilton, has clearly painted the general structure of the canvas with an accomplished dexterity and professionalism. The sitter Pierre Seriziat was the brother in law of Jacques Louis David, and he sat for this picture around the same time as his wife sat for her portrait. The painter David was the most successful painter of the late 18th and early 19th Century, his biography is well covered on the internet and it would be an injustice to this great artist to attempt to promote his history of artwork here, however he was a favorite of the French King until the uprising in the Revolution when David was subjected to the familiar treatment for being in association with the French Court, he survived the times sufficiently well to exile himself to the Netherlands where he remained until his death. I believe the frame to be modern, 20th Century, of Spanish and Baroque influence which is unusual for a French picture, but clearly this is a frame of importance for such a work and actually displays the picture in a fashionable manner as Seriziat the sitter who presents himself as a wealthy and somewhat cavalier individual.\u003c\/span\u003e\u003c\/p\u003e","brand":"After Jacques Louis David","offers":[{"title":"Default Title","offer_id":56947184828761,"sku":null,"price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_0bf24c03-4c7b-49b7-a1b5-760f47d9184a.png?v=1769963780"},{"product_id":"portrait-of-a-lady","title":"Portrait of a lady","description":"\u003cp\u003e\u003cspan\u003eAuguste Serrure 1825 - 1903, was a Flemish born painter. The description of his birthplace is generally described as Belgium, however the Flemish nationality became Belgian in 1830 after the Revolution. Serrure painted genre interior subjects in a familiar 18th and 19th Century manner, he apprenticed under the Dutch painter Braekeleer and soon became known for his interior Dutch everyday life scenes generally among the wealthier classes. His depictions display a calm collected emotion of the scene, he exhibited in 1861 in Antwerp he also exhibited in Brussels and London, his works presented themselves as a charming event of quietude. He was a very private individual whose biography is somewhat obscure, however he died in Brussels where a large contingent of painters chose to live and was known well enough in those circles of artists. This painting is oil on mahogany panel, which in itself is a wealthy painter's board and consequently this picture would have been sold to a very well to do client, the subject shows a comfortably attired lady examining a broach or miniature, it is a prime example of the leisured classes pastime. The painting is signed and dates between 1890 and 1903.\u003c\/span\u003e\u003c\/p\u003e","brand":"Auguste Serrure","offers":[{"title":"Default Title","offer_id":56947249316185,"sku":null,"price":1500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_1d015f0f-01cc-4474-bff3-0f1adf8ce366.png?v=1768588431"},{"product_id":"the-bathers-les-bagneuses","title":"The Bathers (Les Bagneuses)","description":"\u003cp\u003e\u003cspan\u003eAdolphe Joseph Thomas Monticelli 1824-1886, was a French painter and influencer of Vincent van Gogh. Monticelli was well known to Theo and Vincent Van Gogh, Theo acted as agent for Monticelli in order to sell his works, Vincent knew his paintings very well and was impressed by their thick impasto and unauthenticity with regards to the Salon authorities who thought him mad, consequently when Monticelli died Vincent wrote to Theo claiming that he would carry on where Monticelli left off. The similarity in their works is readily apparent and a style in which Vincent carried on to his own demise. Monticelli was a brilliant artist and has been very much underrated, however during his lifetime he was in great demand especially here in the UK, the Scottish art dealer and collector Alex Reid was a big buyer of his paintings so much so he was known as Monticelli Reid. Monticelli trained in Paris at the Ecole des Beaux Arts and under Paul Delaroche, he is known to have painted with the Barbizon School of painters in the forest of Fontainebleau, where this image may have been inspired and designed, he was influenced in the Romantic style of Watteau. His works are still widely sought and collected despite the general lack of recognition throughout the World's art aficionados who regularly deny his brilliance, I think he is great.\u003c\/span\u003e\u003c\/p\u003e","brand":"Adolphe Monticelli","offers":[{"title":"Default Title","offer_id":56947286147417,"sku":null,"price":2150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_ab5036ca-1bb8-4c59-9d0d-2d630ee8a725.png?v=1768574599"},{"product_id":"landscape-with-poppies","title":"Landscape with Poppies","description":"\u003cdiv class=\"_ea633ddf\"\u003e\n\u003cdiv id=\":R1hmil:\" data-tn=\"expanding-area\" data-state=\"expanded\" class=\"_85f5162c\"\u003e\n\u003cdiv data-tn=\"expanding-area-children-wrapper\" class=\"\"\u003e\n\u003cdiv class=\"dc-whitespacePreLine dc-sassyFontBody\" data-tn=\"pdp-item-description-content\"\u003eLe Pho 1907 -2001, was a Vietnamese born painter who lived and worked in Paris and was considered to be of the School of Paris. From 1925-1930 he studied art at the Ecole des Beaux Arts in Hanoi, he then travelled to France, Paris , and studied under a companion of Matisse, having finished his studies in Paris he returned to Hanoi to continue teaching until 1937 only to return to Paris continuing his career as a painter. He was much travelled throughout France, Europe and New York. His period and style of his painting in America confirmed his most recognisable style which depicted lush landscapes with elongated Vietnamese women, bright still life subjects, and family settings and portraits. This painting is in the manner of Le Pho and was probably painted by a English artist who was clearly accomplished and was a follower of the now very famous Vietnamese artist. Le Pho continued to paint in a semi realist and surrealist manner throughout his long career, he also continued to refer to Paris , France as his home and yet his fame and fortune was confirmed by his long association with the American Public who consistently and enthusiastically supported him with his luscious landscapes such as this picture. This painting is unsigned but the name of Osman P. Webb was attributed to this work originally, however our researcher could find no confirmation that he was the painter, and consequently we have designated this picture as unsigned.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Lê Phổ","offers":[{"title":"Default Title","offer_id":56947306529113,"sku":null,"price":2650.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_d17a572d-1083-4e41-8315-5a3d5223695e.png?v=1768573791"},{"product_id":"explosion-implosion-piranhas-in-the-amazon-river-wildlife-art-animal","title":"Explosion, Implosion (Piranhas in the Amazon River) (WildLife Art Animal)","description":"\u003cp\u003eThe painting is comprised of two horizontal canvases bolted together.\u003cbr\u003eThis work is part of earlier works done by the artist in the 1990's when he was represented by James Graham \u0026amp; Sons gallery on Madison Avenue in New York. It was started in 2003 to be exhibited at McKenzie Fine Art in 2003 but was never finished until now in 2020. It is part of the artist private collection and the last work in this series. Von Morisse’s paintings are held in prominent private and corporate collections in the US: Kemper Funds Art Collection, Zurich Kemper Investments, Chicago, IL; Nycomed, New York, NY; Ron Bailey (former Whitney Museum Trustee), James Cameron (director Avatar), Renny Harlin, (director), to name a few.\u003c\/p\u003e\n\u003cp\u003eANDRE VON MORISSE\u003cbr\u003e(Norwegian, b. 1966 in Oslo, Norway, lives and works in the US)\u003c\/p\u003e\n\u003cp\u003eVon Morisse is a conceptual painter, interested in exploring aspects of human psychology and how we interact with the world. With his work End of a New Dawn, reviewed by Jonathan Goodman in Art in America (Oct. 2005, p.180), he was the Winner of the Best New Contemporary Artists Award 2005 at the Kunstnerenes Hus Museum in Oslo, Norway. End of a New Dawn explores relationship between painting and photography “reversing\" the traditional roles of the two mediums by using paintings as the starting point for an elaborate and intricate photographic process.\u003c\/p\u003e\n\u003cp\u003eAndre von Morisse was born in Oslo, Norway in 1966 and came to America in 1978. In 1990, he graduated cum laude from the Art Center College of Design in Pasadena, CA and moved to New York in 1991. His works were featured in many group shows in galleries and museums in the US: Kunstnerenes Hus Oslo, Norway; The Gibbes Museum of Art, Charleston, SC; Mobile Museum of Art, Mobile, AL; Leigh Yawkey Woodson Art Museum, Wausau, WI; Museum of Southwest Texas, Midland, TX ; Art Museum of South Texas, Corpus Christi, TX.\u003c\/p\u003e\n\u003cp\u003eHe had solo exhibitions with Silas Von Morisse Gallery (2016 \u0026amp; 2018), McKenzie Fine Art (2005 \u0026amp; 2003), and James Graham and Sons (2000, 1997) in New York, NY. His work was reviewed in: Artsy (2018), Artcritical (2018), Two Coats of Paint (2018), Artnet news (2017), The Vienna Psychoanalyst (2016), Photograph (2016), New York Times T Magazine (2014), ELLE Girl Japan (2014), Blouin Art Info (2014), Luxe Immo (2013), Art News (2007), The Morning News (2007), Art in America (2005), New York Magazine (2003), Artnet (2000), and Review (1997). His art has often been featured by Norway’s main dailies Aftenposten and VG, Kunst Art magazine (2013), as well as Norwegian-American newspaper \u0026amp; the Norway Times. Von Morisse’s paintings are held in prominent private and corporate collections in the US: Kemper Funds Art Collection, Zurich Kemper Investments, Chicago, IL; Nycomed, New York, NY; Ron Bailey (former Whitney Museum Trustee), James Cameron (director), Renny Harlin, (director), to name a few.\u003c\/p\u003e","brand":"Andre Von Morisse","offers":[{"title":"Default Title","offer_id":56947360923993,"sku":null,"price":31750.0,"currency_code":"GBP","in_stock":true}]},{"product_id":"george-byng-later-7th-viscount-torrington","title":"George Byng Later 7th Viscount Torrington","description":"\u003cp\u003eRobert Frain active 1829-1877, was a Scottish painter. There is very little biographical information regarding Frain, however he was active in the first quarter to the third quarter of the 19th Century, and his works, as few as they are, are in demand in print. Frain painted some of the wealthiest and influential people of his time. This portrait shows the young George Byng, 1812-1884, holding a book in one hand and a Barristers wig in the other, he was studying the law and this portrait was painted I suspect just before or as he inherited the title of Viscount. The canvas shows a Thomas Brown Holborn stamp and register mark GBWLK329, which we have so far been unable to research effectively. However Brown of Holborn was a well known supplier of artist materials to the most famous painters of the 19th Century, a list of which is available on the NPG website. Frain signed and dated the picture and Byng would have been about 17 when this picture was painted, his father the 6th Viscount was friends with Sir Thomas Lawrence, another famous artist and President of the Royal Academy, consequently the boy George would have been familiar with the process of portrait painting. The Regency painters book and Charles Greville Diary contains more information of the Torrington and Lawrence family biography. The size quoted is the picture canvas painting only the frame is an additional 6 inches high and 6 inches wide. The Torrington line of Viscounts is currently held by the 11th Viscount, Timothy Torrington.\u003c\/p\u003e","brand":"Robert Frain","offers":[{"title":"Default Title","offer_id":56947370754393,"sku":null,"price":12500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_5a12e7de-1ddc-457a-a05b-3866d25eba73.png?v=1768573160"},{"product_id":"portrait-of-william-merritt-chase","title":"Portrait of William Merritt Chase","description":"\u003cp\u003e\u003cspan\u003eAttributed to Walter Shirlaw 1838-1909, was a Scottish born American painter who lived in America from the age of two years old. Shirlaw studied in Munich where he befriended American painters Frank Duveneck and William Merritt Chase. Shirlaw exhibited in Philadelphia, Paris, Munich and retrospectively in Pittsburg. Shirlaw was regarded as one of the most important painters of his day in America. His works are held in some of the grandest museums and private collections throughout America. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis work we are given to understand was painted by Shirlaw almost certainly from his memorable days with Chase as I believe it was painted around the turn of the 20th Century as his health probably determined the decision to paint this portrait with the knowledge of his impending demise. This painting shows Merritt Chase in his distinguished pose well known by Shirlaw for many years. This is a rare portrait from one popular artist of another. Both painters were responsible for the establishment of the Society of American Painters and they worked together teaching the next generation of popular students who were to become well known artists in their own right.\u003c\/span\u003e\u003c\/p\u003e","brand":"Walter Shirlaw","offers":[{"title":"Default Title","offer_id":57001588359513,"sku":null,"price":4950.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_59a51acf-b32f-4cb2-9501-351fb8a17541.png?v=1768570985"},{"product_id":"sir-godfrey-kneller","title":"William Lord Russell","description":"\u003cp\u003e\u003cspan\u003eSir Godfrey Kneller 1646-1723, was a German born English portrait painter. He was a pupil of Bol and Rembrandt, he was born in Leiden, travelled to Rome, Venice, Hamburg and later to London where he became painter in ordinary to Charles II. He painted a large number of portraits maintaining a studio with many apprentice painters and pupils who assisted him with the demand for his services as a portrait painter. This painting of Lord Russell 1639-1683, was discovered in Surrey adjacent to the County of the seat of Lord Russell, the picture which had clearly remained in the immediate area from it's earliest production was in it's original state and had been re-lined probably in the late 18th or early 19th Century, it required a full conservation by our restorers and was again relined after having removed the previous loose and somewhat detached earlier re-lining. It is in what we believe the 17th Century original frame. The history of William Lord Russell is fairly extensive and it would be an injustice to his memory to attempt a biography, if I may suggest the foremost account is in the Encyclopaedia Britannica 11th Edition 1911, there are later editions. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe picture itself is 28 x 23.5 inches, however the frame is 38 x 33.25 inches\u003c\/p\u003e","brand":"William Lord Russell","offers":[{"title":"Default Title","offer_id":57001605431641,"sku":null,"price":8750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_872a25bf-6a2f-42ac-8652-9944282fd46b.png?v=1768570058"},{"product_id":"moonlight-dreaming","title":"Moonlight Dreaming","description":"\u003cp\u003e\u003cspan\u003eAlexandre - Gabriel Decamps 1803 - 1860 was a French painter known for his middle Eastern and North African art subjects. Decamps was one of the first painters to travel to the East, known as an Orientalist painter he painted scenes from the scriptures including subjects such as Joseph, Moses and Samson among others. A great believer in the afterlife as this picture represents, a lady who has suffered the loss of a loved one only to realise that he lives upstairs in Heaven, Infrared images enclosed show two cherubs and the image of a man. Decamps was a lover of animals and he regularly painted humorous and unusual scenes of monkeys teaching in a classroom and others including a group of monkeys examining paintings, a result thought to relate to some of his earlier works being rejected by the Salon in Paris. He was the first famous Orientalist painter who was widely respected for painting scenes of everyday life subjects from French, Algerian and Turkish daily themes, furthermore he was regarded as one of the leading artists in Paris alongside Delacroix and Ingres. He enjoyed hunting, shooting and riding as can be seen in his biography of work, he died following a horse riding accident in the Forest of Fontainebleau in 1860, there is an abundance of biographical history available throughout the internet and it would be an injustice to the man to attempt to deliberate further on such a great artist and consequently I would advise any potential new owner of this work to investigate Decamps further. The work is signed in the sky, photo enclosed, this was obtained by Infrared photography, however an improved depiction could be obtained with multi-spectral imaging but the cost of this is still prohibitive at this time.\u003c\/span\u003e\u003c\/p\u003e","brand":"Alexandre Gabriel Decamps","offers":[{"title":"Default Title","offer_id":57001703342425,"sku":null,"price":2250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_cbcdfa3b-0b15-49e2-84e2-9ce3a35f318f.png?v=1768500579"},{"product_id":"portrait-of-ethel-gabain","title":"Portrait of Ethel Gabain","description":"\u003cp\u003e\u003cspan\u003eSolomon Joseph Solomon R.A. R.B.A. N.E.A.C. was an English born Jewish painter and a member of the Royal Academy and a Founding member of the New English Art Club. He studied at the Heatherley Art School, the Royal Academy Schools, the Munich Academy and the Ecole des Beaux Arts. Solomon painted portraits, Biblical subjects and mythological subjects after being influenced by Frederick Lord Leighton and Lawrence Alma -Tadema. There is a large amount of biography on Solomon and it would be an injustice here to impress his importance as a painter, there are far better reviews to be discovered. However this portrait may be a result of of the two artists knowing each other from the New English Art Club, as well as both being portrait painters. I have included before and after conservation procedures to show the improvement of the work and the skills of Solomon and the expression of a lively and youthful looking Ethel Gabain, with a skilful display of the gradation of light. This picture is signed on the reverse.\u003c\/span\u003e\u003c\/p\u003e","brand":"Solomon Joseph Solomon","offers":[{"title":"Default Title","offer_id":57001721758041,"sku":null,"price":2550.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_734578ec-9244-49e3-9d2d-e014b9486d9c.png?v=1768499557"},{"product_id":"erasmus-of-rotterdam","title":"Erasmus of Rotterdam","description":"\u003cp\u003e\u003cspan\u003eThomas Churchyard 1798-1865, was an English painter and Lawyer. Churchyard was predominantly a landscape painter in oil and watercolour, however he was educated at the same school as John Constable and lived in Suffolk in Woodbridge close to Constable's home. Consequently Churchyard grew up wanting to be a painter but was realistic enough to train as a Lawyer and to supplement his artistic ambitions with his income from his legal practice. Churchyard was a very competent and ambitious scholar and resided with the schoolmaster being the most promising pupil, he was a gifted student in the classics, French, the poets, and religious speculation among other subjects. Due to his study of religious speculation he became knowledgeable of Erasmus and therefore painted this picture in honour of the greatest mind of the late 15th and early 16th Centuries. Churchyard was frustrated in his ambition to become a professionally active artist and travelled to London to achieve his goal but failed and returned to Woodbridge to continue in his legal profession. This portrait is very well executed study of the Holbein original and I think worthy of the title he desired, professionally accomplished artist.\u003c\/span\u003e\u003c\/p\u003e","brand":"Thomas Churchyard","offers":[{"title":"Default Title","offer_id":57001826615641,"sku":null,"price":10000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_b57a2fee-d3e3-4ab1-8e42-1d830c4cf643.png?v=1768498577"},{"product_id":"extensive-landscape","title":"Extensive landscape","description":"\u003cp\u003e\u003cspan\u003eThomas Creswick R.A. 1811 - 1869, was an English landscape painter and illustrator. Creswick was one of the leading members of the Birmingham School of landscape painters and exhibited as early as 1827 at the Society of British Artists in London, he was just 16 years old. Within the same year he sent pictures to the Royal Academy, he settled in London in 1836 and had a successful and encouraging career as a landscape artist. He was elected as an Associate of the Royal Academy in 1842 and became a full member in 1850, it is worth bearing in mind that John Constable did not enter the Royal Academy until he was 52 years old, Creswick was 39. Creswick set an example of diligent study of nature, painting outdoors and on the spot, where some of his contemporaries continued to take small sketches and build them up over a period of time, in some cases years. Creswick's work inspired little excitement but with consistent regularity he retained the interest and enthusiasm of the viewing public, he is said to have formed his own favourite subjects of cheerful British landscapes calm and pleasurable aspects in daylight, all applied with a great technical accomplishment. This painting is such a masterful application of a distant view of an extensive landscape beyond the immediate scene of a travelling family ensconced for the night with a camp fire and tent. We believe this scene could well be the approach to Sheffield a view that would have been very familiar to Creswick, a pleasing, calm and entertaining subject, and the finished picture to be enjoyed in the privacy of ones own home. The frame is a magnificent example of the period and is in very good untouched condition, however the delicacy of the frame being original to the painting is such that it will require a professional packer and shipper to transport it to a new owner. The work is signed and dated 1840, photo enclosed.\u003c\/span\u003e\u003c\/p\u003e","brand":"1840","offers":[{"title":"Default Title","offer_id":57001903685977,"sku":null,"price":2500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA_427_add_Mockups.png?v=1768477312"},{"product_id":"idyllic-landscapev","title":"Idyllic Landscape","description":"\u003cp\u003e\u003cspan\u003eIn the manner of Jean-Francoise Milet, 1814-1875, was a French artist, and one of the founders of the Barbizon School of painters. Milet influenced a great many painters throughout the 19th and 20th Centuries, and this picture expresses the realism of his influence. This picture is probably from an American School and the product of an unknown artist, however the painter captures an image of Geronimo within the shape of the tree and displays the idealism portrayed by MIlet who's later career became predominantly simple landscapes and this artist imitates him with an interesting diversification in the portrayal.\u003c\/span\u003e\u003c\/p\u003e","brand":"Jean-Francoise Milet (1814 - 1875, French)","offers":[{"title":"Default Title","offer_id":57001939992921,"sku":null,"price":925.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_e17dba7e-91e7-41f2-ba13-8e6da40d9df2.png?v=1768497818"},{"product_id":"still-life-with-lemons","title":"Still Life with lemons","description":"\u003cp\u003e\u003cspan\u003eDavid Marcus Robinson 1918-1999, was an Irish painter and sculptor who worked in an elementary and archaic manner. He was known as Markey Robinson, born in Northern Ireland, he initially trained at the Belfast School of Art, however he was somewhat elusive and used to disappear for lengths of time and it is thought he was at sea. A complete biography is readily available on the internet. However by the early 1940's he had established himself as a talented artist. This painting is oil on canvas textured board and depicts a common theme of Markey, still life incorporating lemons which he regularly painted in various forms and combinations usually with a fixture such as a vase or something similar. This picture looks to be a very early work as it is a conventional still life painting which maybe unfamiliar to general art enthusiasts that only see his later works as his banner of recognition, but as all artists start with a teacher who invariably teaches in the 'Salon type' manner it is a regular and pleasurable occurrence to see the other side of a painter's early efforts. David Marcus Robinson did changed his signature once he was established, his very early works were initialled DMR which then moved to some pictures being signed MR, he then moved to signing all his works 'Markey' which is a surrogate of Marcus. Pictures by Markey Robinson are widely collected by private individuals and institutions his popularity has gained momentum in the last 15 years with the recognition of his artistry in the increasing market prices. The picture is in the original frame and has been left as such for the authenticity of display.\u003c\/span\u003e\u003c\/p\u003e","brand":"Markey Robinson","offers":[{"title":"Default Title","offer_id":57002146496857,"sku":null,"price":5500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_d0abf747-0f9d-4aad-aa68-a10a79dfdc53.png?v=1768487058"},{"product_id":"fete-gallant","title":"Fete Gallant","description":"\u003cp\u003e\u003cspan\u003eAdolphe Joseph Thomas Monticelli 1824-1886, was a French painter and influencer of Vincent van Gogh. Monticelli was well known to Theo and Vincent Van Gogh, Theo acted as agent for Monticelli in order to sell his works, Vincent knew his paintings very well and was impressed by their thick impasto and unauthenticity with regards to the Salon authorities who thought him mad, consequently when Monticelli died Vincent wrote to Theo claiming that he would carry on where Monticelli left off. The similarity in their works is readily apparent and a style in which Vincent carried on to his own demise. Monticelli was a brilliant artist and has been very much underrated, however during his lifetime he was in great demand especially here in the UK, the Scottish art dealer and collector Alex Reid was a big buyer of his paintings so much so he was known as Monticelli Reid. Monticelli trained in Paris at the Ecole des Beaux Arts and under Paul Delaroche, he is known to have painted with the Barbizon School of painters in the forest of Fontainebleau, where this image may have been inspired and designed, he was influenced in the Romantic style of Watteau. His works are still widely sought and collected despite the general lack of recognition throughout the World's art aficionados who regularly deny his brilliance, I think he was a great artist. This picture is unsigned, however there is an indecipherable script at the lowest point of the picture, which maybe the signature but we have erred on the side of caution.\u003c\/span\u003e\u003c\/p\u003e","brand":"Adolphe Monticelli","offers":[{"title":"Default Title","offer_id":57002415620441,"sku":null,"price":3250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_e9f34440-f0a4-4acd-b4ae-f6ab8038818b.png?v=1768485923"},{"product_id":"urban-cityscape","title":"Urban Cityscape","description":"\u003cp\u003eThis urban landscape is certainly a British city possibly Bristol, the artist is believed to be John William Ashton, known as Will Ashton. The painting dates from around 1900, before WW1, there is a pillar box for post to the rear of the picture which displays certainly a British town or city and in our opinion almost certainly Bristol, England. This is a very small but well executed paining in oil by an accomplished artist, the painting itself measures 4.5 x 6.5 inches and has been mounted in a new and suitable frame by our professional framer who's decision to mount the picture as shown was clearly an admiral choice. I have enclosed a biography of Will Ashton. This painting is unsigned.\u003c\/p\u003e\n\u003cp\u003eSir John William Ashton, OBE, ROI (20 September 1881 – 1 September 1963) was a prolific Australian Impressionist artist and director of the Art Gallery of New South Wales from 1937 to 1943.\u003c\/p\u003e\n\u003cp\u003eEarly life\u003cbr\u003eAshton was born in Clifton, York, England, the only son of artist James Ashton, and his wife Mary Elizabeth Ashton. His father immigrated to Australia, arriving at Adelaide, South Australia in January 1884 and founding a school of painting in \"unpretentious but commodious\" premises on The Parade, Norwood in 1885. His wife and son arrived at a later date, but generally given as in 1884.\u003c\/p\u003e\n\u003cp\u003eAshton attended Prince Alfred College, where his father was art teacher, from 1889 to 1897. Neither academically nor athletically inclined. On leaving school, he received further training from his father; Hans Heysen was a fellow student.\u003c\/p\u003e\n\u003cp\u003eHe left for London in 1900, where he studied at the Olsson-Talmage studios, then in 1902 at the Académie Julian in Paris for a year. Ashton had several paintings accepted by the Royal Academy of Arts, London, and the Salon de la Société des Artistes Français, around which time he adopted the name \"Will Ashton\" to avoid confusion with his father or Julian Ashton (no relation). In 1905 he returned to Adelaide, where his \"Boulevard Montparnasse, Paris\" was hailed as a masterpiece, and purchased by the Art Gallery of South Australia. After holding exhibitions in Sydney, Melbourne, Perth and Adelaide, in 1908, he won the Wynne Prize for landscapes.\u003c\/p\u003e\n\u003cp\u003eIn the years 1912–1914 he painted in Britain, Europe, and Egypt. He returned to Australia for a year, but was back in London with his family 1915–1917. He made other trips in company with Lionel Lindsay or Charles Bryant and the Impressionist oil paintings he made on each of these trips sold well on his return to Australia. In particular, Ashton loved painting in France. His friend, Hans Heysen, wrote that the Seine had first ‘captured his heart’ during his student days, and the ‘fascination of its swiftly running waters, its bridges, its barges and those remarkable rows of buildings broken by the trees that adorn both sides have never ceased to hold him and to draw him again and again to Paris’. He was retained as advisor to the National Gallery of South Australia and private collectors, and as examiner for the Royal Drawing Society. He won the Godfrey Rivers Bequest prize in 1933 and 1938. Ashton also won the Wynne Prize for a second and third time in 1930 and 1939.In 1937 Ashton was appointed director of the Art Gallery of New South Wales, and organised the NSW sesquicentenary exhibition of Australian art, which opened in February 1938. The gallery had been criticised for inadequate lighting, which he was able to address, but was constrained by the exigencies of wartime economy from much-needed extensions, and resigned in November 1943,[10] but hung on as acting director for another six months. Applications for a replacement had been received from Rah Fizelle, Frank Medworth and Louis McCubbin. None was chosen; John Henry Young, director of the Macquarie Galleries was instead taken on in a temporary capacity until the appointment of Hal Missingham.\u003c\/p\u003e\n\u003cp\u003eAshton was appointed first director of David Jones Art Gallery in June 1944, which he ran until 1947.\u003c\/p\u003e\n\u003cp\u003eAshton was also:\u003c\/p\u003e\n\u003cp\u003ea member of the Royal Drawing Society\u003cbr\u003ea member of the Commonwealth Art Advisory Board from 1918 and chairman 1953–1962.\u003cbr\u003ea member of the Royal Institute of Oil Painters\u003cbr\u003eelected vice-president of the Australian Painter-Etchers' Society 1931\u003cbr\u003emember of the Society of Artists in Sydney\u003cbr\u003eAshton died of cancer at his home in Mosman, New South Wales.Recognition\u003cbr\u003eHe was awarded the (Sydney) Society of Artists' medal in 1944.\u003c\/p\u003e\n\u003cp\u003eAshton was appointed an Officer of the Order of the British Empire on 1 January 1941 and was made a Knight Bachelor on 11 June 1960 for his service as chairman of the Commonwealth Art Advisory Board.\u003c\/p\u003e\n\u003cp\u003eA portrait of Ashton by William Dargie was purchased by the Commonwealth government for the National Portrait Gallery.\u003c\/p\u003e\n\u003cp\u003eHis paintings are held by the National Gallery of Australia, the Art Gallery of South Australia, the National Gallery of Victoria, and the Queensland Art Gallery.\u003c\/p\u003e\n\u003cp\u003eFamily\u003cbr\u003eOn 31 January 1906 Ashton married May Millman (1880–1958), one of his students, at Christ Church, North Adelaide. They had three sons:\u003c\/p\u003e\n\u003cp\u003eAdrian Olsson Ashton CBE (9 November 1906 – 1982) was a leading architect in Sydney.\u003cbr\u003eColin Millman Ashton (5 August 1911 – 24 April 2003), died in Waverton, New South Wales.\u003cbr\u003eBasil York Ashton, (23 May 1919 – 03 April 1987) born in Chatswood, New South Wales lived in Clontarf, New South Wales.\u003cbr\u003eHe married again, to the widow Winfreda Isabel \"Freda\" Hoggard, née Luxmoore, (1904 – 9 May 1989), on 6 February 1961. She was murdered on Military Road, Mosman by serial killer John Wayne Glover.\u003c\/p\u003e\n\u003cp\u003eAshton's only sibling was a sister, Edith Ashton (born 1887), who married Ernest Anthoney (died 1961) on 22 December 1909.\u003c\/p\u003e","brand":"Manner of Harold Gilman","offers":[{"title":"Default Title","offer_id":57002585424217,"sku":null,"price":1850.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_40c54901-8871-4673-b255-54a994919fac.png?v=1768479511"},{"product_id":"portrait-of-augustus-john","title":"Portrait of Augustus John","description":"\u003cp\u003e\u003cspan\u003eAugustus Edwin John O.M. R.A. 1878-1961, was a Welsh born painter, draughtsman and etcher. He was the most important artist of his generation, his sister Gwen John was also an accomplished painter in her own right. Augustus John has a wealth of information throughout the internet and it would be a dis-service to attempt to cover his biography here. This painting, oil on canvas, is a mystery by way of it is painted from a photograph by the famous photographer Yousef Karsh in 1954. Karsh was prolific in photographing the most famous people of the 20th Century, John Kennedy, Winston Churchill, The Queen, etc. However the photograph would have been on a black and white glass plate, and it is virtually impossible to paint skin tone from a black and white picture, Consequently this portrait was certainly painted with Augustus John present but the self portrait attribution has been dismissed and therefore we have searched for an alternative painter, but to no avail. I must admit to thinking this is John's own hand but the dismissal was due to the color of the eyes, which should have been blue, but there are plenty of self portraits where John, in a certain light, did not paint himself with blue eyes. Also Karsh would send black and white prints to his sitters and this may have been the inspiration for John or a colleague to paint the portrait. Hence the attribution, circle of. This painting is unsigned.\u003c\/span\u003e\u003c\/p\u003e","brand":"Circle Of Augustus Edwin John (1878-1961, British)","offers":[{"title":"Default Title","offer_id":57002625958233,"sku":null,"price":4500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_9081588c-b7e4-4270-afa2-a85e0ca6b2b3.png?v=1768483990"},{"product_id":"paysage-herault-france","title":"Paysage Herault, France","description":"\u003cp\u003e\u003cspan\u003eFerdinand Alexander Wust 1837-1876, was a Dutch born American painter. Wust learnt to paint from his father Christoffel Wust 1801 -1853, he emigrated to America in the 1850's but returned to Europe to exhibit and paint and is thought he remained in America until 1876 when thereafter he returned to France and Belgium to remain until his death. There is certainly a long standing mis apprehension regarding the travel biography of Wust. He certainly exhibited in America and Europe, including England, however it is not necessarily the practice for artists to travel to the exhibitions that their works are shown. This painting is in the French manner which in the mid 19th Century French artists accomplishments was becoming the norm, loose brushwork and brightly coloured, impressionist style as with the likes of Corot, Fontanasi, Rousseau, etc. The Barbizon School began to dominate the market from this point in the Century on and we are wondering if this painting is a fist attempt at Wust to feel his way into the European market. It certainly is outside his familiar American pictures which were typical of the mid 19th Century classical school of painting, much derided by the anti Salon French painters of the time. This particular painting has been previously exhibited in various locations, but it appears not to have been exhibited in America, which we deduce that it was either produced after he left America or it was painted during a trip to France before returning to Europe for the rest of his life. It seems strange for Wust to have left America when he was painting to some achievement and return not to the land of his birth but to France and Belgium where he eventually died. I am sure this quest for his entire biography will eventually be solved , he is a much appreciated artist in America but little is known of him in the European art World. The painting has been conserved at some point in the past but is offered here in a very fair and good enough condition, not requiring further work, however the frame is a later contemporary addition but acceptable and has been left as is for the new owner. This picture is signed and dated.\u003c\/span\u003e\u003c\/p\u003e","brand":"F. Alexander Wust","offers":[{"title":"Default Title","offer_id":57002662494553,"sku":null,"price":3500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_1370e791-e946-47ef-ab52-db1de042c493.png?v=1768483149"},{"product_id":"elizabeth-gordon-duchess-of-gordon","title":"Elizabeth Gordon Duchess of Gordon","description":"\u003cp\u003e\u003cspan\u003eWilliam Fisk 1796 -1872, was an English born portrait and history painter. Although born in 1796 he didn't start his artistic career until after 1826, after the birth of his son William Henry Fisk. He exhibited at the Royal Academy and the British Institution regularly, with his history paintings he took great care to detail costume characteristics which is shown here within the composition, a contemporary headdress familiar of the times but somewhat missing in the present depictions of the era. There are a great many paintings of the period in the 19th Century, the Regency style much adored in the upper realms of 20th and 21st Century inhabitants, but few showing the accoutrements of the upper classes in portraits. This therefore is a rare painting and worthy of the extensive restoration that was carried out by our best London conservator, the painting has been re-lined but still retains it's original stretcher. It is currently unframed and we shall endeavour to find a suitable period frame to suit, however this is sold as seen and as currently unframed , therefore should a potential buyer wish to frame the picture themselves then this has been priced accordingly. The painting is signed and dated, but currently unframed. I have included an alternative biography of the painter. William Henry Fisk (1827–1884) was a prominent Victorian painter, anatomical draughtsman, and art educator. Highly regarded during his lifetime for his versatility, he successfully navigated multiple disciplines, producing celebrated historical compositions, intimate genre scenes, and highly detailed scientific illustrations. Fisk was born in Homerton, Middlesex, he was the eldest child of Sophia and William Fisk (1796–1872). His father was himself a well-known historical painter who transitioned to art later in life after working a mercantile job. Growing up in an artistic household on Howland Street, Fitzroy Square, the younger Fisk initially trained directly under his father. He went on to formalize his education by studying at the Royal Academy Schools. Fisk’s exceptional precision as a draughtsman opened paths beyond standard fine art. By 1843, at a remarkably young age, he was appointed anatomical draughtsman to the Royal College of Surgeons. There, he executed striking, naturalistic illustrations—including a famed 1844 series on the musculature of a flayed penguin. In 1846, he became the drawing master at the University College School on Gower Street. He spent decades in this role, building a stellar reputation as a clear, logical lecturer who drew large audiences in both London and provincial art sectors. He also regularly wrote art columns for the public press. Fisk first exhibited his paintings publicly in 1846 and debuted at the Royal Academy in 1850. In 1849, Fisk became the first in a line of artists invited to Balmoral Castle to create watercolor landscapes for Queen Victoria. The Queen selected four of his landscape views for her personal souvenir albums. Though he painted gentle genre works like The Secret (1858), Fisk achieved major acclaim for his intense historical scenes. He was deeply fascinated by the French Revolution, exhibiting The Old Noblesse in the Conciergerie at the Royal Academy in 1863. His highly theatrical 1863 work, Robespierre Receives Letters from the Friends of His Victims, Threatening Him with Assassination, reimagined the revolutionary leader in an intimate, domestic setting and is preserved today in the Musée de la Révolution française. In the 1860s, Fisk was commissioned to design life-sized portraits of legendary artists Lorenzo Ghiberti and Albrecht Dürer for the South Court of the South Kensington Museum (now the Victoria and Albert Museum). While his design of Ghiberti was turned into a mosaic, both of his full-sized oil trial paintings remain part of the museum's permanent collection. Fisk continued exhibiting works across London and occasionally in Paris until the late 1870s. He passed away on 13 November 1884 at his home in Hampstead, London, during his 58th year. Today, his multi-faceted contributions to British art survive through pieces housed at the Victoria and Albert Museum, the Wolverhampton Art Gallery, and the Royal College of Surgeons and private collections.\u003c\/span\u003e\u003c\/p\u003e","brand":"William Fisk","offers":[{"title":"Default Title","offer_id":57002907566425,"sku":null,"price":3500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_cc839d9a-e284-4d08-8f66-73c125d80a0b.png?v=1768481107"},{"product_id":"unidentified-abstract-portrait","title":"Unidentified abstract portrait","description":"\u003cp\u003e\u003cspan\u003eCircle of Juan Gris (1887-1927), Jose Victoriano Gonzalez-Perez, was a Spanish born cubist painter who predominantly lived and worked in France during the most formative years of the cubist movement. Initially he worked as a satirical cartoonist however he was influenced by the artists such as Picasso, Braque, Metzinger , Leger and Matisse he therefore developed his own individual style of cubism. Gris understood the importance of mathematics in cubism and his works were exhibited in France, Spain and Germany , the geometric manner of this portrait where the identity of the painter is still unknown at this stage is typical of the style of Gris. This painting bears a partial unidentified signature to the lower center of the work and our researchers are unable to decipher the artist's name. However if any further information comes to light we shall display it here. Also Juan Gris has a large folio of information about his painting history on the internet and it would be an injustice to his ability for me to attempt to further a biography here. However I have included a scholarly biography which maybe of interest. Juan Gris (born José Victoriano González-Pérez, 1887–1927) was a Spanish painter and a pivotal figure in the development of Cubism. Often referred to as the \"Third Musketeer\" of the movement alongside Pablo Picasso and Georges Braque, Gris is noted for a highly intellectual and systematic approach that brought a unique sense of order and vibrant color to the Cubist aesthetic. Early Life and Artistic Education Born in Madrid, Gris initially studied mechanical drawing, mathematics, and physics at the Escuela de Artes y Manufacturas (1902–1904). This early technical training is frequently cited by scholars as the foundation for the geometric precision and architectural structure of his later work. In 1906, he moved to Paris, where he settled in the famous Bateau-Lavoir studio complex and became a close associate of Picasso and the writer Gertrude Stein. Stylistic Evolution and Contributions Gris began painting seriously around 1910 and quickly transitioned through several significant phases: Analytical Cubism (c. 1911–1912): His early works, such as the Portrait of Pablo Picasso (1912), adopted the fragmented, multi-perspective approach of his peers but were distinguished by a \"metallic sheen\" and more rigid, diagonal geometric frameworks. Synthetic Cubism (1913–1920): Gris became a \"steadfast interpreter\" of the synthetic phase, masterfully integrating papier collé (collage). Unlike the monochromatic palettes of Picasso and Braque, Gris utilized rich, harmonious color schemes influenced by his friendship with Henri Matisse. Crystal Cubism and \"Return to Order\" (1916–1920): During the war years, his style evolved into \"Crystal Cubism,\" characterized by tight, overlapping planes and a heightened sense of architectural clarity. This period influenced the Purist movement and the broader European \"return to order\". Late Period (1921–1927): In his final years, his work became increasingly lyrical and free, though he remained committed to the Cubist framework until his death. Theoretical Legacy Gris was the most theoretical of the major Cubists. He famously described his process as \"deductive,\" stating, \"I start with an abstraction in order to arrive at a true fact\". In 1924, he delivered a definitive lecture, Des possibilités de la peinture, at the Sorbonne, formalizing his aesthetic philosophy. Death and Recognition Despite chronic health struggles, Gris remained prolific until his premature death from renal failure at age 40 in 1927. Today, he is celebrated for bridging the gap between abstract analysis and sensory pleasure, with his works held in premier institutions such as the Museum of Modern Art, the Tate Modern, and the Museo Reina Sofía.\u003c\/span\u003e\u003c\/p\u003e","brand":"Circle Of: Juan Gris (1887 - 1927, Spanish)","offers":[{"title":"Default Title","offer_id":57174443032921,"sku":null,"price":5500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_e888e509-5284-4268-b0a0-6dba67fad2aa.png?v=1771427832"},{"product_id":"still-life-with-bird-1984","title":"Still life with bird 1984","description":"\u003cp\u003e\u003cspan\u003eAfter Mary Fedden OBE R.A. PPRWA 1915-2012, was an English artist and teacher of art. She studied at the Slade School of Art in London and she painted portraits, murals and developed her own style of painting still life. She taught at the Royal College of Art, and her pictures can be found in a large number of collections throughout the UK. The original of this picture was originally painted by Fedden in 1984 and the whereabouts of the original painting is currently unknown, this picture is very slightly smaller than the original, it is initialed 'F' and is a recognised copy by a competent painter who clearly admired the work of Mary Fedden whose works are bright and lively as depicted here. The painting is currently housed in a temporary black frame which is included in the price, however I think it exposes the brightness of the colours, the frame could be changed by the new owner if required.\u003c\/span\u003e\u003c\/p\u003e","brand":"After: Mary Fedden (1915, British)","offers":[{"title":"Default Title","offer_id":57174530163033,"sku":null,"price":900.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_d15818df-7fed-4170-90b5-c340f2c00e85.png?v=1771336586"},{"product_id":"lombardian-landscape","title":"Lombardian Landscape","description":"\u003cp\u003e\u003cspan\u003eAchille Formis Befani 1832-1906, was an Italian painter. He was a talented singer who switched career in his early 30's to become a painter. He trained in Milan and travelled repeatedly to the Near East, by the 1870's he included landscapes around Lake Maggiore and Lombardy. He exhibited work in Italy, Berlin and Munich during his career until his death in Milan in 1906.\u003c\/span\u003e\u003c\/p\u003e","brand":"Achille Formis Befani","offers":[{"title":"Default Title","offer_id":57174691512665,"sku":null,"price":1050.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_64e2d776-f646-47fc-813f-a3a9deedc0ef.png?v=1771331039"},{"product_id":"the-lamb-of-god","title":"The Lamb of God","description":"\u003cp\u003e\u003cspan\u003eBartolome Esteban Murillo 1617- 1682, was a Spanish Baroque painter best known for his Religious works. This painting of Christ giving water to a lamb is in the manner of Murillo and certainly appears to be a copy of a master painting as yet unfound by our researcher. The picture depicts the Christ Child collecting water to give to the Lamb of God to sustain life. This is typical description of a passage in the Bible, John 1:29. John the Baptist see Christ and claims 'behold the Lamb of God', which is seen as a foundation of the message of the Christian faith. The symbol of the Lamb has been recognised since the middle ages and is viewed as the redeemer and judge, also representing the everlasting innocence of Christ. The images enclosed include the before and after restoration and the precious stones that were missing have been replaced using, lolite faceted oval, faceted oval citrine, green amethyst faceted oval, white topaz faceted oval, garnet faceted oval, smoky quartz faceted oval , African amethyst rose cut cabochon, Lapis Lazuli cabochon, Ametrine faceted oval, lemon quartz faceted round. The reverse side of the copper panel used for the oval painting, probably early 18th Century, retains a script which appears to be Latin remains undescribed. The Silver embellishment at the top has been left in place as found . This painting is unsigned.\u003c\/span\u003e\u003c\/p\u003e","brand":"(After) Bartolomé Esteban Murillo","offers":[{"title":"Default Title","offer_id":57207585374553,"sku":null,"price":2500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_6cc083d5-f6e1-42c2-b3f6-80243b6c55ce.png?v=1771333549"},{"product_id":"crystal-palace-1871","title":"Crystal Palace 1871","description":"\u003cp\u003e\u003cspan\u003eAfter, Camille Pissarro 1830-1903, was a French Impressionist artist. He left France to escape the Prussian invasion and the Civil uprising thereafter. Pissarro and his family moved to England and to the South of London suburbs of Norwood, he painted suburban landscapes throughout the area which included Sydenham and Crystal Palace. In 1851 Joseph Paxton designed and built the iron and glass building known as the Crystal Palace which was originally built in Hyde Park, London, for the World Exhibition of 1851, and it was later moved South to Sydenham. The surrounding area has been known ever since as Crystal Palace, the surrounding land has been developed into large houses which originally accommodated the wealthy businessmen from London and is now a shadow of it's former self, and is incorporated within the London Borough. This picture is a hand painted oil on canvas, and has been conserved it is a direct copy of the original which we understand is held in the Chicago Art Institute.\u003c\/span\u003e\u003c\/p\u003e","brand":"After Camille Pissarro (French)","offers":[{"title":"Default Title","offer_id":57207646814553,"sku":null,"price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1100127842_master.jpg?v=1776853648"},{"product_id":"french-farm","title":"French Farm","description":"\u003cp\u003e\u003cspan\u003eRonald Ossary Dunlop R.A. 1894-1973, was an Irish painter in landscape, portrait seascape and still life studies, he was also a writer. Dunlop was born in Dublin and lived most of his artistic life in England, travelling back to Ireland regularly to paint, he studied at the Manchester School of Art and the Wimbledon College of Art, he also studied in Paris. Dunlop was serial exhibitor with the Royal Academy, the Leicester Galleries, the Redfern Gallery, the New English Art Club and many others. He joined the London Group of artists and became a member of the Royal Academy in 1950, his works are held in a number of important Institutions including the Tate Gallery and the National Portrait Gallery, both in London. This work is a typical example of Dunlop's style of loose brushwork and heavy impasto, the subjects which painted were as he generally described them as being least important factor in the scale of his art and the method being the most significant aspect of his output. This subject is a few of French farm buildings which may have been an area Dunlop knew well but which has proven to be particularly difficult to identify, however he lived in Barnham, West Sussex, England and at one point within close proximity to the Stopham Bridge, another subject and painting also on sale which with a little artists License one could see the comparison, especially where the land encroaches on the River Avon and is well displayed in the painting.\u003c\/span\u003e\u003c\/p\u003e","brand":"Ronald Ossary Dunlop","offers":[{"title":"Default Title","offer_id":57207674175833,"sku":null,"price":6800.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_be1f6014-2a9f-494c-b530-acb771d1ad6d.png?v=1771337373"},{"product_id":"working-horse","title":"Working Horse","description":"\u003cp\u003e\u003cspan\u003eLucy Kemp Welch 1869-1958 was an English artist and teacher who specialised in the painting of horses. From the 1890''s until the 1920's she was the most famous painter of horses in the UK, producing art of war and working horses during the first World War. She studied art at Hubert Von Herkomer's School which she later took over the running of the school as the best female artist, the school changed names to the Bushey ( Hertfordshire ) School where she continued to teach the painting of animals. This horse portrait is a working horse and either one that pulled farm machinery or gun carriages during WW1, it is known as a working horse whichever line of activity in which it was engaged . This picture was catalogued as unsigned but was catalogued as a definite work of Lucy Kemp Welch by the former head of pictures at Bonhams London. During the career of Lucy Kemp Welch she exhibited over 60 times at the Royal Academy, her works are in several major collections, the Tate Gallery, the Bushey Museum and the Imperial War Museum London. After the war she continued to draw and paint equestrian subjects, during the summer months she would attend Sangers Circus where the horses were displayed in a variety of events as entertainment for the public. This painting is unsigned as stated above. I have included a further scholarly biography for your interest. Lucy Kemp-Welch was one of the most accomplished British animal painters of the late nineteenth and early twentieth centuries, renowned in particular for her authoritative depictions of horses and working animals. Born in Bournemouth in 1869, she was the daughter of the marine painter Thomas Kemp-Welch (1839–1912), from whom she inherited both technical instruction and a disciplined approach to draughtsmanship. Her early exposure to professional artistic practice proved formative, and from the outset she demonstrated an unusual aptitude for equine anatomy and movement. Kemp-Welch received her formal training at the Royal Academy Schools in London, where she studied from 1895. At the Royal Academy she was taught by, among others, John Singer Sargent and Sir George Clausen, and she quickly distinguished herself through her mastery of drawing and compositional structure. In 1898 she won the Turner Gold Medal, the Academy’s most prestigious student award, for a painting of horses at work—an early indication of the subject matter that would define her career. This achievement placed her among the most highly regarded artists of her generation and was particularly notable given the institutional barriers faced by women artists at the time. Throughout her career, Kemp-Welch remained committed to realism grounded in close observation. Her paintings are characterised by a robust handling of paint, a restrained but earthy palette, and an acute sensitivity to weight, musculature, and movement. She frequently depicted horses in agricultural or military contexts—plough teams, artillery horses, and draught animals—subjects that aligned her work with the broader British realist tradition and distinguished it from the more sentimental animal painting popular with Victorian audiences. Her approach owes much to French realist precedents, particularly the work of Rosa Bonheur, yet Kemp-Welch’s vision is marked by a distinctly British sense of stoicism and restraint. During the First World War, Kemp-Welch was commissioned by the Imperial War Museum to record the role of horses in the conflict. Her war paintings, including scenes of artillery horses and transport animals, are notable for their lack of overt heroics; instead, they emphasise endurance, labour, and the often-overlooked suffering of animals in wartime. These works form an important contribution to British war art, expanding its scope beyond the human experience of conflict and reinforcing her reputation as the pre-eminent painter of horses in her era. Kemp-Welch exhibited regularly at the Royal Academy from 1899 onwards and also showed work at the Paris Salon and other international venues. Despite her professional success, her reputation declined in the mid-twentieth century as tastes shifted away from realism and traditional subject matter. In recent decades, however, her work has been reassessed within the context of women’s artistic practice and British realism, and she is now recognised as a significant figure who combined technical excellence with a serious, unsentimental vision. Lucy Kemp-Welch died in 1958. Her paintings are held in numerous public collections, including the Tate, the Imperial War Museum, and regional museums throughout the United Kingdom. Today, she is regarded as one of the foremost animal painters of her generation and an artist whose work offers a compelling insight into the social, agricultural, and military history of Britain at the turn of the twentieth century.\u003c\/span\u003e\u003c\/p\u003e","brand":"Lucy Kemp Welch","offers":[{"title":"Default Title","offer_id":57207740268889,"sku":null,"price":2500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_14401a9c-9856-4a28-a1ee-001a95177a1f.png?v=1771411337"},{"product_id":"les-levandries-the-washerwomen","title":"Les Levandries (The washerwomen)","description":"\u003cp\u003e\u003cspan\u003eLeonard Saurfelt !840-circa 1890, was a French landscape and genre subject painter. This subject sems to be a preferred demonstration of the hard work women endured during the 19th Century he is known to have painted this theme several times, and other concerns regarding market gatherings and similar topics associated with French life. This painting is oil on canvas and displays the accomplished effort of his theme of joint toil among friends the light and shade of the forest shows his mastery of gradation of sunlight. The woodworker in the dilapidated building behind is a touch of generality of the scene and what looks to be a regular visit to known meeting point and a daily exertion of effort.\u003c\/span\u003e\u003c\/p\u003e","brand":"Léonard Saurfelt","offers":[{"title":"Default Title","offer_id":57430902571353,"sku":null,"price":1650.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_79847422-155a-43d5-997a-62ffbc7d2314.png?v=1776093527"},{"product_id":"a-woodland-landscape","title":"A Woodland Landscape","description":"\u003cp\u003e\u003cspan\u003eJohn Lawson 1868-1909, was a Scottish landscape painter who exhibited a number of paintings at the Royal Scottish Academy, recognising his place among the Scottish art scene. Lawson worked in sculpture, glass design and as a illustrator, clearly a multi talented artist who painted this Scottish woodland scene probably during the 1890's. Glasgow Life Museums hold examples of his works. His paintings show his recurring focus on Scottish rural life which display a delicate, atmospheric style very typical of the late Victorian landscape painters of the time. We have enclosed the images of before and after the restoration cleaning which shows the depth of vision Lawson had to create such works. There is a lack of definitive biographical information of Lawson but his works consisted chiefly of oil landscapes that included rural scenes with woodland and cottages. This painting is thought to be unsigned, however we intend to re-photograph this work with a much higher resolution camera as in our later pictures and hopefully find the undiscovered attribution. This picture is consequently catalogued as unsigned however further information will be added in the near future.\u003c\/span\u003e\u003c\/p\u003e","brand":"John Lawson","offers":[{"title":"Default Title","offer_id":57430980198745,"sku":null,"price":2250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA133-_John_Lawson_2__master.jpg?v=1776094414"},{"product_id":"the-theatre","title":"The Theatre","description":"\u003cp\u003e\u003cspan\u003eJohn Baptista Verbruggen was an English actor and painter born of Dutch descent. His date of birth is unknown but his death was recorded in 1708. His historical biography is confusing and somewhat mysterious, he was first recorded as acting in 1690 but the consensus of opinion is that an earlier date may well be found. However he is recorded as marrying a well known actress in 1694, Susan Mountfort, they both were in demand in the late 17th Century at the Drury Lane Theatre. He was later critically acclaimed as a talented and natural actor. This painting of monochrome grisaille looks to be a sketch of a scene from 'St. Paul preaching in Athens' , a roll that Verbruggen along with that of Alexander the Great was thought to have played. I have enclosed a photo of a similar scene painted by Raphael in 1514-1515, also a before and after conservation of this Verbruggen painting.\u003c\/span\u003e\u003c\/p\u003e","brand":"John Baptista Verbruggen","offers":[{"title":"Default Title","offer_id":57431175692633,"sku":null,"price":4750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA135-IMG_79081_master.jpg?v=1776095075"},{"product_id":"windsor-great-park","title":"Windsor Great Park","description":"\u003cp\u003e\u003cspan\u003eJames Stark 1794-1859, was an English landscape painter, exhibited at the Royal Academy, the British Institution, and the Norwich School of Artists. Stark studied under John Crome, who influenced his work, and was considered his best pupil, his preoccupation with wooded landscape and trees is displayed here with a shooting party within the composition. This picture may have been painted prior to him moving to live in Windsor and could possibly have influenced his decision to move there. After his health deteriorated he moved back to Norwich where he remained until his death in 1859.\u003c\/span\u003e\u003c\/p\u003e","brand":"James Stark","offers":[{"title":"Default Title","offer_id":57431290904921,"sku":null,"price":4750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA138-James_Stark_mastercopy.jpg?v=1776095763"},{"product_id":"the-spanish-beauty","title":"The Spanish Beauty","description":"\u003cp\u003e\u003cspan\u003eJohn Philip 1817 -1857, was a Scottish painter born into a poor impoverished background but was identified for his artistic abilities and sponsored by Lord Panmure the Earl of Dalhousie. John Philip was known for his vibrantly coloured Spanish pictures which depicted attractive ladies within the composition as is shown here. He was known as Spanish Philip, a nickname which preceded him wherever he travelled. His enthusiasm for Spain came about as he was recommended to a warmer climate for his health, after 1851 he effectively adopted Spain as his second home and consequently produced a fair number of paintings from his travels there. In his early career his sponsor Panmure paid for his studying at the Royal Academy of Arts where he followed closely the career of another Scot David Wilkie, painting the subjects of fellow Scots in their local habitat, crofters and local gatherings, etc. , so influenced by the success of his own travels and development of his abilities he encouraged other painters from the UK to do the same. Wilkie travelled himself extensively throughout Italy and the Mediterranean, earlier than Philip's suggestion but the results were similar with increasing interest in their following and hence sales. John Philip's works appear rarely on the market and the quality of the works is variable, however this small delicate and very tastefully painted picture is typical of his best efforts, it appears from the ladies display that the sitter may have been familiar with the artist, it is clearly a very personal and fine work.\u003c\/span\u003e\u003c\/p\u003e","brand":"John Philip","offers":[{"title":"Default Title","offer_id":57431416504665,"sku":null,"price":9500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA142-John_Phillip_1__master.jpg?v=1776100096"},{"product_id":"kaleidoscope","title":"Kaleidoscope","description":"\u003cp\u003e\u003cspan\u003eEdward Le Bas R.A. 1904--1966, was an English painter and art collector. Le Bas read Architecture at Cambridge and studied in Paris he then moved to London to study at the Royal College of Art. He was born into a wealthy family where his father was a steel magnate, therefore Edward could afford to travel widely to paint in Europe and North Africa. He exhibited at the Royal Academy, the New English Art Club and also with the London Group. His works are held at the Tate Gallery and various other institutions throughout the World. This painting is one of, if not , the largest of his works and undeniably the most mysterious. The painting is oil on canvas which in itself is not unusual for Le Bas but the subject is unfathomable, at the moment. It is inscribed ' Adelaide ' and ' In Questa Tomba Oscura ' which relates to a poet by the name of Giuseppe Carpani 1751-1825, he wrote a poem in 1807 which was published the following year, apparently he approached all the musicians at the time and it was Beethoven who was first to appreciate the verse, in addition Pavarotti many years later sang the verse. There is also the question of Adelaide which could either relate to Princess Victoria Louise Adelaide Matilda Charlotte of Prussia or the Duchess of Brunswick or Queen Adelaide wife of George IV. However the picture contains many indescribable elements, it is an allegory of constantly changing elements where Old Father Time dominates the main frame, the two women and the child appear to be standing back to back as to avoid confrontation although they are very similar in appearance, the child looks to see something on the horizon, maybe WW11. Carpani's poem describes a married man who had a lover and he died, he pleads to be left to lie in peace, perhaps this is relevant to the painting. Also there is another young boy with a broken string from a guitar, this represents discord, a snake in the grass veering onto the path, another mystery. Hans Holbein painted a picture of the Ambassadors, equally still enticing questions, in 1533 and this has been suggested as a reference point to the Le Bas picture and there maybe a connection between the messages that lie within the two paintings. The theme of the Le Bas picture seems to revolve around life and death and the struggles within. Holbein's painting has been with the National Gallery since 1890 and is still without answers. Edward Le Bas was a scholar and has left a mysterious puzzle behind which has turned out to be almost as difficult to understand as another Le Bas painting in my collection, a portrait, which mystified the art market for the last 6 years, I shall endeavour to exhibit the work here in the near future, fortunately that mystery has been solved.\u003c\/span\u003e\u003c\/p\u003e","brand":"Edward Le Bas","offers":[{"title":"Default Title","offer_id":57444868981081,"sku":null,"price":25000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA168-IMG_0171_1_master.jpg?v=1776103581"},{"product_id":"charles-grey-2nd-earl-grey","title":"Charles Grey 2nd Earl Grey","description":"\u003cp\u003e\u003cspan\u003ePhilip Westcott 1815-1878, was a British born artist. This portrait is of the former Prime Minister Charles Grey 2nd Earl of the House of Howick, he was Prime Minister from 1830 to 1834, he was a tall stately figure with a calm and aristocratic manner. This picture by Westcott was painted in 1842 when Grey was living in retirement from politics where he took no further part, he died in July 1845 and this is almost certainly the last portrait of him. The scrupulous , upright and reserved character displayed with a certain stiffness and statesmanlike pose is relevant to the pose here displayed by Grey and he who was admirably disposed to the highest class and self sacrificing politician that Grey was and a credit to Westcott for showing all this in a single portrait. Westcott painted a great many portraits of the wealthy aristocracy throughout the United Kingdom but none so generous as this. The picture has undergone a period of expert conservation and is shown here in it's conserved and extant condition, it is signed and dated discreetly within the folds of the carpet. The whole presentation being quintessentially English.\u003c\/span\u003e\u003c\/p\u003e","brand":"Philip Westcott","offers":[{"title":"Default Title","offer_id":57444892442969,"sku":null,"price":20000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/2_d75d2a29-aaf4-45a3-a92e-dd5205b2e21d.png?v=1776105177"},{"product_id":"portrait-of-molly-le-bas","title":"Portrait of Molly Le Bas","description":"\u003cp\u003e\u003cspan\u003eEdward Le Bas 1904-1966, was an English painter and art collector. He was born in London to a wealthy family his father was a steel magnate, Edward had 2 sisters, twins, Molly and Gwen, who were a year older than he. Molly Le Bas was an English sculptor and artist who exhibited her sculptures in stone, marble and bronze at the Royal Academy, the Paris Salon, the Walker Art Gallery and the Royal Glasgow Institute. This portrait of Molly Le Bas remained unrecognised for many years, however it is another deliberately obscure picture from Edward Le Bas in that the solemnity of the sitter which is seated directly in line with a mirror, displays the scene as mirror imaging. Unfortunately Gwen Le Bas died in 1944 and this portrait of Molly displays the depth of feeling towards the missing twin. The picture is presented in an original Bloomsbury frame which is consistent with the artist's connections and is original to the painting. Molly lived a very long life until 1996 and died when she was 93 years old. The picture is unsigned but is now easily recognised by those art historians who know and understand Edward LeBas and the family that surrounded him, also the painting was cleaned by a leading art conservator, Alan Bush, who stated that this picture and another painting by La Bas was most definitely by the same hand. And thereafter the recognition of the mirror image defined the artist and the sitter. I have included an alternative biography for your interest. Edward Le Bas RA (1904–1966) was an influential British painter, independent gentleman, and major art collector who became a central figure in mid-century British modernism. Best known for his vibrant figure compositions, intimate interior scenes, and richly coloured oil landscapes, his painterly style closely aligned with the French Post-Impressionist tradition. Backed by an immense family fortune, Le Bas divided his time between producing his own artwork and amassing one of the period's most significant private art collections. Born in London on 27 October 1904, Le Bas was the son of a wealthy iron and steel magnate. His sister, Molly Le Bas, also pursued a career in the arts as a notable sculptor. Educated alongside lifelong friend and future cultural icon Cecil Beaton. Briefly read architecture in 1924 before shifting entirely to fine arts. He spent formative months in Meudon under Hermann Paul, a direct disciple of Paul Cézanne. Le Bas enrolled from 1924 to study painting under the leadership of William Rothenstein, alongside peers like Henry Moore and John Piper. Because of his substantial private inheritance, Le Bas never relied on selling art to survive. This financial independence allowed him to maintain a grand home at 53 Bedford Square, London, which became a thriving creative hub. He lived a fascinating dual life as an active businessman and a fluid romantic who loved both men and women. Le Bas formed incredibly close, lifelong bonds with Bloomsbury Group artists Vanessa Bell and Duncan Grant. Grant was a frequent worker at Le Bas' house, and the trio regularly embarked on extensive painting tours through Dieppe, Venice, and Provence. His deeply saturated, boldly applied paintwork owed a huge debt to the intimate styles of Édouard Vuillard and his Bloomsbury companions. He even served as the physical model for the figure of Christ in Duncan Grant's famous mural, The Victory of Calvary, at Berwick Church. While he painted for passion, Le Bas achieved considerable institutional acclaim within the traditional and modern British art scenes: 1933 Began exhibiting regularly at the Royal Academy of Arts.1936: Held his first major solo exhibition at the prestigious Lefevre Gallery.1942: Joined the avant-garde London Group exhibiting society.1954: Elected a full Academician (RA) of the Royal Academy.1957: Appointed a Commander of the Order of the British Empire (CBE) for his services to the arts. Le Bas used his fortune to become a legendary patron of his contemporaries. He compiled a massive inventory focused on the Camden Town Group, French Post-Impressionism, and Bloomsbury art. In 1963, the Royal Academy honoured his discerning eye by hosting a dedicated exhibition titled A Painter's Collection, which critics widely praised for its warmth and immense quality. Le Bas passed away on 23 July 1966 at the age of 61 and was laid to rest in Highgate Cemetery. Today, his original paintings are preserved across global institutions, including the Tate Collection, the Arts Council, the National Museum of Wales, and private collections.\u003c\/span\u003e\u003c\/p\u003e","brand":"Edward Le Bas","offers":[{"title":"Default Title","offer_id":57444960436569,"sku":null,"price":3950.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA175-Edward_Le_Bas_Molly_Le_Bas_1945_master.jpg?v=1776105886"},{"product_id":"3rd-countess-of-dysart-grace-wilbraham","title":"3rd Countess of Dysart, Grace Wilbraham","description":"\u003cp\u003e\u003cspan\u003eSir Godfrey Kneller 1646-1723, was a German born British portrait painter. He was born in Leiden and studied under Bol and Rembrandt, before travelling to Rome, Venice, Hamburg and later England, where he was appointed 'Painter in Ordinary' to King Charles II. Kneller produced portraits on an almost industrial scale building a large workshop of pupil artists, he would sketch and paint the main features head and hands, as here, and leave the balance to his pupils, hair clothing and background. Whilst in England he produced something in the region of 900 portraits in a time frame of around 50 years or less. The sitter in this portrait is Grace Wilbraham who was promoted to Lady Dysart upon he marriage when her husband was entitled to the role of 3rd Earl of Dysart, he was Lionel Tollemache and well known to be particularly frugal with his expenses having incurred debt from his father's estate. Consequently Kneller's portraits were graded in cost relating the amount of exposure the sitter agreed to, the lower price of the sitting would relate to the minimal work engaged and therefore a full length portrait would generate the highest income and a head and shoulders without hands would have been the least expensive. Lionel Tollemache was true to his financial beliefs as shown here. This portrait originated from Helmingham Hall and was discovered within close proximity of the Hall in Suffolk. The painting has been conserved in the most professional, thorough and detailed manner, and I have enclosed the restoration pictures of the before and after for your information.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sir Godfrey Kneller","offers":[{"title":"Default Title","offer_id":57444972790105,"sku":null,"price":12750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/2_7066e43f-7036-41be-be7e-24cf7f84ff3d.png?v=1776281904"},{"product_id":"st-johns-church-wapping","title":"St. John's Church Wapping","description":"\u003cp\u003e\u003cspan\u003eRose Louise Henriques, Lady Henriques C.B.E. 1889-1972, was an English born artist , social and charity worker in the East End of London where she lived and worked for her entire life. She was posthumously recognised as a British hero of the Holocaust. She drew and painted scenes from the WWII bombing in London's East End, during WWI she worked as a nurse again in London. This painting shows the remains of the bombed building of St. John's church in Wapping which is opposite the park, the picture is representative of the area in the East End which suffered huge damage during the Blitz and the calm manner in which the local population carried on about their daily toil without fuss and distress, typical of the stiff upper lip known throughout the British Isles. The picture is signed and also inscribed on the reverse.\u003c\/span\u003e\u003c\/p\u003e","brand":"Rose Louise Henriques","offers":[{"title":"Default Title","offer_id":57444996055385,"sku":null,"price":3750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA183-Rose_Henriques_20x15_5_1__master.jpg?v=1776282871"},{"product_id":"brunswick-square-gardens-london","title":"Brunswick Square Gardens, London","description":"\u003cp\u003e\u003cspan\u003eEric Henri Kennington R.A. 1888-1960, was an English artist, sculptor and illustrator. He served as an official war artist in both World Wars, he was born in London and was a member of the Royal Academy and the New English Art Club, his time as a war artist was spent mainly drawing and painting portraits of servicemen, officers and the ranks also. He met and was influenced by T.E. Lawrence and was responsible for numerous illustrations in Lawrence's book Seven Pillars of Wisdom. He produced a large number of public sculptures during the 1930's, as a well known artist he was in demand for painting the most famous people of the time. This painting depicts a row of houses in Brunswick Square Gardens in central London, the houses were the homes of very famous artistic people and scholars, E.M. Forster, Virginia and Leonard Woolf , Forster lived at No. 27 until at least 1915 he also lived at no. 26 at a later date. The row of houses were demolished in 1926, and I suspect this was painted by Kennington for one of his friends as a reminder of their mutual love of the position, a small tree lined landscape in the middle of London, and suffering no damage during the War, but finding it being demolished thereafter. A blue plaque now marks the position of the house now, the house was registered in the name of Adrian Stephen until 1915, he was known to all the occupants. This picture is signed and images confirm this. I have included a further biography for your interest. Eric Henri Kennington (12 March 1888 – 13 April 1960) was a distinguished English painter, sculptor, draughtsman, and illustrator, whose work is especially celebrated for its vivid engagement with the experience of war and the character of the ordinary serviceman. Born in Chelsea, London, he was the son of the genre and portrait painter Thomas Benjamin Kennington, a founder-member of the New English Art Club, and was educated at St Paul’s School and the Lambeth School of Art. He first exhibited at the Royal Academy in 1908 and gained early recognition for portrayals of London costermongers and street life. Kennington’s artistic trajectory was profoundly shaped by the First World War. After enlisting in the 13th (Kensington) Battalion, London Regiment in 1914 and being wounded the following year, he painted The Kensingtons at Laventie (1915), an iconic depiction of his own platoon that marked his emergence as a war artist. In 1917 he was appointed an official war artist, spending extended periods on the Western Front producing portraits and scenes of military life that combined technical precision with psychological depth. In the inter-war years Kennington expanded his practice into sculpture and illustration. After travelling in the Middle East in connection with T. E. Lawrence, he illustrated Seven Pillars of Wisdom and produced notable public memorials, including the 24th Division War Memorial in Battersea Park (1924) and architectural reliefs for the Shakespeare Memorial Theatre at Stratford-upon-Avon. During the Second World War he again served as an official war artist, this time focusing on air and naval personnel with a prolific output of pastels and drawings. His later work included commemorative sculpture and portraiture; he was appointed an Associate of the Royal Academy in 1951 and elected a full Royal Academician in 1959. Kennington died in Reading in 1960 and is remembered for his powerful fusion of realist observation with formal discipline across both painting and sculpture.\u003c\/span\u003e\u003c\/p\u003e","brand":"Eric Henri Kennington","offers":[{"title":"Default Title","offer_id":57445007130969,"sku":null,"price":2500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA189-Eric_Kennington_189_3__master.jpg?v=1776283030"},{"product_id":"self-portrait-as-a-cavalier","title":"Self portrait as a Cavalier","description":"\u003cp\u003e\u003cspan\u003eWilliam Arthur Breakspeare RBA RBSA 1856-1914, was an English portrait and genre subjects painter. William's father was a still life painter who worked within the flower painting and Japanning trade in Birmingham. William Arthur Breakspear was associated with the Royal Birmingham Society of Artists and was a Founder member of the Birmingham Art Circle, he travelled to Cornwall where a number of Birmingham artists were establishing a colony of Birmingham painters. He painted a large number of historical dress and costume pictures of which this is one. We have concluded that this portrait of a cavalier is a self portrait as the sitter's eyes are almost certainly focused on the painter's easel and probably painting from a mirror image. The picture is unsigned however it is certainly his own work, hence the failure to sign it. Breakspeare studied in Paris and Antwerp and exhibited works at the London Royal Academy. A large number of his pictures have a 17th Century Dutch look and style of dress including this self portrait, he was clearly inspired and continuously influenced by the Cromwellian period of 17th Century England where the Midlands were a prominent feature of the Royalist campaign.\u003c\/span\u003e\u003c\/p\u003e","brand":"William Arthur Breakspeare","offers":[{"title":"Default Title","offer_id":57445008441689,"sku":null,"price":2380.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA206-Breakspeare_206_1__master.jpg?v=1776283297"},{"product_id":"interlaken-switzerland","title":"Interlaken Switzerland","description":"\u003cdiv class=\"_ea633ddf\"\u003e\n\u003cdiv id=\"_R_cdjl_\" data-tn=\"expanding-area\" data-state=\"expanded\" class=\"_85f5162c\"\u003e\n\u003cdiv data-tn=\"expanding-area-children-wrapper\" class=\"\"\u003e\u003cspan class=\"_dda3618c\" data-tn=\"pdp-item-description-content\"\u003eGeorge Hornemann, is an unknown painter of either Swiss, Austrian or German extraction. Our curators have so far been unable to trace this artist where we are wondering if the name appears to be a pseudonym, clearly an accomplished artist in architectural depictions, the painter has inscribed it PINXIT 1909 which displays that he definitely painted this work, whoever he was. Hornemann is a rare enough name in the history of art and yet as good an artist as he is he has remained anonymous, so far. The work is of Interlaken in Switzerland and it is in the Canton of Bern, considered the gateway to the Swiss Alps. Interlaken has a reputation as a tourist resort, it is within easy reach of the Eiger and the Jungfrau both famous Swiss mountain peaks. As a tourist destination it became popular from about 1800 AD and was known for the clean air and spa, with the advancement in transport the railways enhanced the development of up market hotels and guest houses with views of the Jungfrau as shown in this painting. This is a large picture in it's original frame, the frame which is very typical of Continental Framers with the corner braces which is also a regular feature of European works.\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"George Hornemann","offers":[{"title":"Default Title","offer_id":57445014864217,"sku":null,"price":15000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA227_Front_Comp_master.jpg?v=1776284924"},{"product_id":"young-lady-in-riding-attire","title":"Young Lady in Riding Attire","description":"\u003cp\u003e\u003cspan\u003eBertha Olga Vilhelmine Herlich Dorph, 1875-1960. Was a Danish painter who exhibited a number of pictures of children and family, in her later career she painted landscapes and still life subjects with portraits especially of children. She was a designer of furniture and silverware, ran an art school and was a co-founder of the Female Artists Society. Clearly an accomplished artist who displays a sensitivity of touch with this portrait of a young girl. This is a large picture in a very good quality heavy frame and was certainly painted for a wealthy client, the sitter is unknown at this stage but research may provide us with a name. This picture will be transported in a wooden crate.\u003c\/span\u003e\u003c\/p\u003e","brand":"Bertha Dorph","offers":[{"title":"Default Title","offer_id":57445024825689,"sku":null,"price":8750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_078909b6-1296-440c-bbbe-d8193cbaad3a.png?v=1776285959"},{"product_id":"reclining-nude-1","title":"Reclining Nude","description":"\u003cp\u003e\u003cspan\u003eAlfred Aaron Wolmark R.A. 1877-1961, was a portrait and decorative genre subject painter. Born in Warsaw and travelled to England in 1894 where he remained. He was a painter of impressionist style works and painted in the manner of the Fauves colors being influenced whilst visiting France he also painted with a thick impasto which resulted in his works being exhibited alongside that of Van Gogh, much to his enjoyment, he painted in rich colors including historical Biblical subjects. This portrait is painted with an impressionist influence and with heavy impasto. The frame is typical of the period of early 20th century, Bloomsbury manner, hand decorated, the frame is shown here before undergoing a small amount of conservation which was very successful.\u003c\/span\u003e\u003c\/p\u003e","brand":"Alfred Aaron Wolmark","offers":[{"title":"Default Title","offer_id":57445050810713,"sku":null,"price":9750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA250-_DSC3998_1_master.jpg?v=1776286173"},{"product_id":"the-chelsea-pensioner","title":"The Chelsea Pensioner","description":"\u003cp\u003e\u003cspan\u003eAnne Marjorie Robinson 1858 - 1924, was a British painter in oil and watercolour of portraits and miniatures. Annie as she was sometimes known was born in Belfast Northern Ireland and moved to London in 1907, there she studied miniature portrait painting under the best miniature painter of the time Alyn Williams. Annie exhibited at the Royal Academy, the National Gallery in Ireland, the Belfast Museum, the Walker Art Gallery in Liverpool and the Royal Hibernian Academy, and others. She was a well known and much admired painter in Northern Ireland and a number of her works are held in the Ulster Museum. This picture is of a old soldier who resided with the Chelsea Pensioners and he is known a such. He looks as if he is wearing the coat of an officer of the Royal Marines Light Infantry and the medals he is wearing and the ribbons are for the Indian Mutiny issued between 1857 - 1859, he is also wearing the General Indian Service Medal which was issued between 1852 -1859. As an officer he would have worn this darker, and more expensive coat but the general service infantry would have worn red simply because it was cheaper to produce in mass production methods during the 19th Century. Visibility did not seem to be considered an issue then as the troops would have marched directly towards the enemy firing and bayonetting away without the later consideration of camouflage and personal survival. The advantage of camouflage did not come into force until WW1. The buttons on the coat are most interesting as they are dated back to the Duke of Wellington's time, and reflect the imitation of Royal and upper class serviceman's fashion in general. The frame appears to be original to the painting and the labels show that it was exhibited almost certainly at the Royal Academy, and the other label with the London address shows the home of what was once the home of James McNeil Whistler. I am extremely thankful to Jonathon Russell, from the Annie Swynnerton website, for his help in catalouging this painting and the help he received from the National Army Museum Experience Team. I have included a further biography here:- Annie Marjorie Robinson (1858–1924) was a Belfast-born Irish artist known for her portraits and miniature paintings, as well as for her sculptures. Education and early career Early training: Robinson trained as an illuminator and attended the Belfast Government School of Design. Move to London: In 1907, she relocated to London to focus on portraiture, studying under Alyn Williams of the Royal Society of Miniature Painters. While there, she also studied modelling. Return to Belfast: She returned to Belfast in 1914 after the outbreak of World War I. Exhibitions and memberships Robinson was a frequent exhibitor throughout her career: Royal Academy: She exhibited nine works at the Royal Academy in London between 1914 and 1923. Royal Hibernian Academy: Her work was regularly shown at the Royal Hibernian Academy in Dublin. Other venues: She also exhibited at the Walker Art Gallery in Liverpool and with the Belfast Arts Society. Arts \u0026amp; Crafts Society: In 1917, she displayed two decorative panels at the 5th exhibition of the Arts \u0026amp; Crafts Society in Dublin. Robinson was an active member of the artistic community and held several prestigious memberships: Associate of the Royal Miniature Society (ARMS), elected in 1912. Associate of the Society of Women Artists (ASWA), elected in 1918. Member of the Belfast Ramblers' Sketching Club (1886–1890) and the Belfast Arts Society (1895–1924). Artworks and legacy Subject matter: A regular subject in Robinson's work was Saint Brigid of Kildare. Paintings exploring this theme, including It Was Brigit Wove the First Cloth in Ireland, are now part of a triptych in the Ulster Museum. Legacy at Ulster Museum: After her death on October 22, 1924, her brother John B. Robinson donated 22 miniature portraits, as well as sculptures, watercolours, and an oil-on-canvas self-portrait, to the Ulster Museum. Other posthumous tributes Memorial exhibition: In 1925, the Belfast Municipal Art Gallery held an exhibition of Robinson's oil paintings and watercolours. Charitable donation: In 1926, a donation was made in her name to the Samaritan Hospital in Belfast. One of the new hospital beds was named the \"Marjorie Robinson Bed\" in her honour.\u003c\/span\u003e\u003c\/p\u003e","brand":"Anne Marjorie Robinson","offers":[{"title":"Default Title","offer_id":57445066244441,"sku":null,"price":12500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_9e0b6729-b495-4604-bb67-7d8cf276d2ba.png?v=1776681844"},{"product_id":"street-corner-hackney-east-london","title":"Street corner Hackney, East London","description":"\u003cp\u003e\u003cspan\u003eNoel Gibson 1928 -2006, was a Scottish born painter who lived in the East End of London. Gibson was a self taught artist who lived in London and spent a great deal of time painting the area around where he lived, particularly painting architectural history including damaged buildings and their surroundings leaving out people but concentrating on the classical structures. He loved the period of the East End homes, painting them just before they were redeveloped, the whole area was badly damaged during WW11 and consequently rows of late 18th and early 19th Century houses were lost or so badly damaged that they were reduced to rubble and were replaced by the new design blocks that are in view today. Gibson regularly experienced painting a street scene only to return at a later date to see it demolished and forever lost. His work is seen a an historical register of lost streets and houses and therefore his paintings are viewed as a reference of a time gone by which the local population have grown to love, admire and collect. Tower Hamlets Council possess a large number of his paintings and they have held exhibitions in his memory which were eagerly attended by the East End population all to great acclaim. He was a successful artist within his lifetime and his shows were a sell out, he claimed the buildings were his inspiration for his works which were mostly painted during the late 1960's and early 1970's, unfortunately a great many of the streets are now sadly missing, but the paintings remain as a reminder of a lost generation of local homes.\u003c\/span\u003e\u003c\/p\u003e","brand":"Noel Gibson","offers":[{"title":"Default Title","offer_id":57538512290137,"sku":null,"price":2100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/NoelGibson267_1.jpg?v=1776682072"},{"product_id":"still-life","title":"Still Life","description":"\u003cp\u003e\u003cspan\u003eAlexander Tickhonovich Pushnin 1921 - 1991, was a Russian painter and Professor of Art at the Repin Institute of Arts and was known for teaching impressionist painting. He lived and worked in Leningrad and was regarded as representative of the Leningrad School of painting with his typical style of work. His work consisted of landscapes , portraits and historical compositions and some genre subjects. This particular work is unusual in that he is not known for still life pictures. However this picture we believe to have been a deliberate attempt to display his skills and compare his efforts to that of Vincent Van Gogh, we are further given to understand that there was a calculated effort by the Russians in the 1950's to undermine the West and it is from this that our assumed position is that this may have been an attempt in impersonating painting by Van Gogh which may have been an innocent attempt to compare the painter's skills or perhaps unconvincingly we think that perhaps sales would follow. Clearly when we appointed the skills of a well known pigment analyst they arrived and there was an intense look of astonishment when they first saw the picture. It was quite obvious by their questioning that they thought they were in the presence of an undiscovered Van Gogh. Furthermore the painting when under analysis was completely comparable with the work of Van Gogh but one of the pigments taken disclosed that the work had been painted post 1930 and consequently with further evidence in that it had been subjected to conservation in 1991 in Moscow and we think almost certainly by persons unknown and possibly at the Repin Institute, is the conclusion of the painter being Pushnin. He had died in 1991 and it is widely known when an artist dies that the contents of their studio are either sold or redistributed and this painting which we think looks to have been painted on an earlier canvas and re-lined appears to have been stretchered and prepared for sale in 1991. It is a remarkable effort by the painter in comparison to the brushwork, subject and pigments of Van Gogh and it maybe that the artist had deliberately chosen certain elements within the composition in that he was not attempting financial reward but a genuine effort to test his skills against the master. Clearly an important work by a well known Russian painter, the fragmented make up of the work, old canvas , relining, pigments and heavy impasto imply an almost John Le Carre type of biography, Pushnin was certainly a dedicated teacher and impressionist painter, this is a masterful work whatever the intentions. This picture is unsigned. I have included a further scholarly biography for your interest. Alexander Tikhonovich Pushnin (March 28, 1921 – September 5, 1991) was a prominent Soviet Russian painter and educator associated with the Leningrad School of Painting. Early Life and Academic Background Origins: Born in Morshansk, Tambov Province, Pushnin showed early artistic promise. Education: In 1943, he enrolled in the painting department of the Leningrad Institute of Painting, Sculpture and Architecture (later known as the Repin Institute of Arts). Mentors: He studied under renowned Soviet artists including Mikhail Avilov, Yuri Neprintsev, and Aleksandr Gerasimov. Graduation: He graduated in 1950 from the studio of Rudolf Frentz. His diploma work, a historical piece titled \"Vladimir Lenin in Kazan University,\" depicted Lenin's early involvement in student demonstrations. Artistic Style and Major Works Genres: Pushnin was highly regarded for his mastery of portraiture and historical painting, though his oeuvre also included landscapes, genre compositions, and watercolors. Stylistic Elements: His work is characterized by a \"powerful pictorial language,\" dynamic use of perspective from unusual angles, and a robust, broad painting style. Key Works: \"Near the Market\" (1958). \"At the Pier\" (1959). \"Pioneer Oath\" (1960s). Academic Career and Legacy Teaching: Pushnin spent much of his career at the Repin Institute, becoming a Professor in 1986. Scholarship: He earned the degree of Doctor of Art-criticism (Candidate of Art History) in 1952. Exhibitions: A member of the Leningrad Union of Artists since 1950, he participated in major exhibitions beginning in 1948 and held a significant solo exhibition in Leningrad in 1982. Collections: His paintings are currently preserved in the State Russian Museum in Saint Petersburg, as well as in private and public collections across the UK, USA, France, China, and Japan.\u003c\/span\u003e\u003c\/p\u003e","brand":"Attributed to: Alexander Tickhonovich Pushnin","offers":[{"title":"Default Title","offer_id":57538584641881,"sku":null,"price":22500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_15d2b269-5a5e-48dc-ae43-75d33c449b60.png?v=1776684277"},{"product_id":"a-lady-and-a-hansom-cab","title":"A lady and a Hansom cab","description":"\u003cp\u003e\u003cspan\u003eFrench post impressionist school, this painting which is oil on canvas laid on board is in the French style of the post impressionist era. It depicts a lady and a hansom cab a very traditional 19th Century subject but according to the reverse side the picture it was dated as '68 which is slightly mysterious in that the canvas could determine the date to be either 1868 or 1968, it is in our opinion the later date. The painting is signed but again we were unable to identify the artist, this is a small picture which may well expose the painter who will be painting in his or her familiar manner. It is not necessarily a French artist as there are so many painters painting in the Post Impressionist manner and with an unfamiliar signature this is described as a general guide.\u003c\/span\u003e\u003c\/p\u003e","brand":"Vaughan Fine Art","offers":[{"title":"Default Title","offer_id":57538802188633,"sku":null,"price":650.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_1494b949-f156-4e86-815b-73892a32d932.png?v=1776685337"},{"product_id":"portrait-of-a-venetian-nobleman","title":"Portrait of a Venetian Nobleman","description":"\u003cp\u003e\u003cspan\u003eAttributed to, Alessandro Longhi 1733-1813, Longhi was a prominent Venetian portrait painter, printmaker, and biographer. The son of the famous genre painter Pietro Longhi, he is known for his detailed oil portraits of the Venetian aristocracy and his valuable book on contemporary Venetian painters. Longhi early life and training : Born: Alessandro Longhi was born on June 12, 1733, in Venice. He received his initial training from his father, Pietro Longhi. He later studied under Giuseppe Nogari, a respected portraitist in Venice during the 18th century, and was elected to the Venetian Academy in 1759. Longhi specialized in portraiture, primarily depicting the nobles and officials of the Republic of Venice. His paintings are a valuable record of the social and political structure of 18th-century Venice. Rococo aesthetic: Working in the Rococo style, he was adept at capturing the elegance and social status of his subjects. He paid meticulous attention to the elaborate robes, wigs, and emblems of office that signified his subjects' power. While his official state portraits could be stiff and formal, his portraits of less noble patrons demonstrated a greater sense of realism and psychological insight. Longhi was also an accomplished printmaker, particularly in etching. His etching technique showed an awareness of Rembrandt's work, and he used this skill to reproduce his and his father's paintings. In 1762, he published Compendio delle vite de' pittori veneziani istorici più rinomati del presente secolo, a biographical dictionary of contemporary Venetian painters that is still an important resource for art historians. Longhi illustrated the book with etched portraits of the artists. The portrait of Carlo Goldoni: One of his most celebrated paintings is his portrait of the Venetian playwright and librettist Carlo Goldoni. For his election to the Venetian Academy, he painted this allegory, which features a personified figure of Painting. His known portraits include Portrait of a Lady (Uffizi Gallery, Florence), Portrait of a Musician, and various portraits of Venetian nobles and officials. I have included further albeit identical biographies of Alessandro Longhi. Alessandro Longhi (born June 12, 1733, Venice—died 1813, Venice) was a painter, etcher, and biographer of Venetian artists, and was the most important Venetian portrait painter of his day. The son of the painter Pietro Longhi, he was given his first training by his father, who quite soon put him to study under the portrait painter Giuseppe Nogari. In 1759 he was elected a member of the Venetian academy, for which he painted one of his rare allegorical pictures, “Painting and Merit.” In 1762 Longhi issued his book Compendio delle Vite de’ Pittori Veneziani Istorici piu rinomati del presente secolo con sui ritratti dal naturale delineati ed indisi, one of the most important source books for the history of Venetian 18th-century painting. Both portraits and text were printed from plates he etched. Longhi’s facilely rendered portraits are largely generalized likenesses lacking any acuity of character observation. He mainly portrayed the leading Venetian luminaries and dignitaries of his day in a style that drew upon his father’s Rococo manner and 16th-century traditions of Venetian Renaissance portraiture. The personal details available for the painter Alessandro Longhi are limited, but his biography is intertwined with that of his family and the city of Venice. He was the son of a successful painter, which set his artistic path, and is known for creating sensitive and realistic portraits that captured the social atmosphere of 18th-century Venice. Alessandro was born in Venice in 1733 to the celebrated genre painter Pietro Longhi. He received his early training from his father before studying under another prominent portraitist, Giuseppe Nogari. A contrast to his father: While his father was known for painting scenes of everyday Venetian life, Alessandro focused almost exclusively on portraiture. His skill enabled him to capture the intimate psychology and character of his subjects, a quality especially evident in his portraits of less noble patrons. Election to the academy: In 1759, Alessandro was elected to the Accademia dei Pittori, the Venetian Academy of Painting. His election solidified his reputation as a master of the Rococo style. Beyond painting, Longhi was an accomplished printmaker, primarily producing etchings that reproduced his own works and those of his father. In 1762, he published the Compendio delle vite de' pittori veneziani, a collection of biographies of contemporary Venetian painters, which is an important historical resource. He became a prominent portraitist for Venice's upper class, including nobles and state officials. His official state portraits featured grand, full-length depictions of his subjects in their elaborate robes and emblems of office. Emphasis on realism: In contrast to the stylized nature of official portraits, Alessandro was praised for the \"reality\" he captured in works featuring common people. For example, his 1760 portrait of an innkeeper was celebrated for its realistic subject matter and \"nuova maniera\" (new manner). The art historian Olimpia Theodoli noted that Longhi's etching technique showed he had a firsthand knowledge of Rembrandt's work. Among his more famous works are a sensitive portrait of playwright Carlo Goldoni and the painting Portrait of a Wine Butler. He also produced religious and allegorical works, including paintings of the \"Apostles\" for the church of San Pantalon in Venice. This painting has been carefully conserved and the frame also, the frame looks to be original to the picture but we have no way of confirming this but we believe it to be so. 18th Century Italian portraits are very rare and this one is in very good condition considering it's age, it was acquired from it's previous owner from the deceased estate, he was also an accomplished collector of fine European Porcelain and evidently rare and fine portraits, we also purchased a rare Golden Age Dutch portrait of an Envoy which may well depict the Italian Portrait to be another Ambassador to Venice. This painting is still under examination and as yet is catalogued as unsigned.\u003c\/span\u003e\u003c\/p\u003e","brand":"Attributed to: Alessandro Longhi","offers":[{"title":"Default Title","offer_id":57539380445529,"sku":null,"price":30000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/IMG_1340_1_1_master.jpg?v=1776854432"}],"url":"https:\/\/vaughanfineart.im\/collections\/oil-painting.oembed?page=5","provider":"Vaughan Fine Art","version":"1.0","type":"link"}