{"title":"Paper","description":"","products":[{"product_id":"the-art-connoisseurs","title":"The Art Connoisseurs","description":"\u003cp\u003eLouis - Leopold Boilly 1761 - 1845, was a French painter and draughtsman of portraits and genre subjects. His career spanned one of the most important eras of the French Revolution and Empire including the Napoleonic Empire and the Bourbon Restoration. He was a realistic painter of the lower and middle classes of France during the upheaval of the Revolution, he was born in Northern France and travelled to Paris at the height of the Revolutionary murder of the Aristocracy and the Royal Family. Boilly was on the list of subjects that were out of favour with the committee responsible for the reign of terror and but for his inspiration to paint the ' Triumph of Marat ' he would probably succumbed to the reign of terror as so many others. However he became a very popular artist of his time with his talent for producing subjects familiar to the public taste, he also was one of the first artists in Paris to manufacture prints of his paintings and this produced a high level of income for him. Boilly's prints were generally humorous as the depiction here of the Art Connoisseurs the subject displays a motley bunch of collectors \/ dealers examining a picture with an air of criticism and a show of communal exaggeration of the middle classes. This picture is a copy of the original and another earlier copy is held in the Metropolitan Museum of New York. The actual date of this print is unknown but it would probably date from the late 19th Century, the original dates from 1823-1827, it has at the production stage been hand coloured with watercolour. The picture has been part of my own collection for a few years and the labels on the reverse side were removed from the earlier frame and placed on the new back of the work maintaining continuity of interest with new owners. The previous price indicated on the reverse will date from a considerably earlier period and bears no relation to the current market numbers of valuation and rarity.\u003c\/p\u003e","brand":"Louis - Leopold Boilly (1761 - 1845, French)","offers":[{"title":"Default Title","offer_id":56946104336729,"sku":null,"price":950.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_b087da3b-e59e-40d0-ab15-b748f0bcfe56.png?v=1768593750"},{"product_id":"quicksilver-royal-mail-and-the-blenheim","title":"Quicksilver Royal Mail and The Blenheim","description":"\u003cp\u003e\u003cspan\u003eJames Pollard 1792-1867, was an English painter and watercolourist. Pollard was born in North London he was the son of a painter and publisher. He exhibited at the Royal Academy, Suffolk Street Galleries and the British Institution, he established himself as a painter of coaching , fox hunting, shooting, fishing and horse racing scenes, some of which he worked with Frederick Herring senior. His fame for his coaching scenes grew from his observation of coaches passing through his residential area, he lived in North London in Islington, where the coaches would stop for refreshments and carry on to pass through to Birmingham and areas to the North, this was a regular occurrence on the Highgate Road. In 1821 Pollard was commissioned by the Kings Print seller to paint a Coaching Inn signboard showing a mail coach with horses and passengers. This was displayed in a shop window which led to a great deal of commissions for many of the same and it launched his career to further the sale of affordable prints of Coaching scenes and all the other subjects, and then, as now were very popular in the 19th Century with the middle and lower classes. These prints, 2 in the lot here, are hand coloured with watercolour the prints are early to mid 19th Century, they are framed in later oak frames. The 2 prints are Quicksilver Royal Mail and The Blenheim leaving the Star Hotel Oxford. The condition of the prints are commensurate with their age and could be reframed but we have left them as they are having been on our home wall for the last 45 years.\u003c\/span\u003e\u003c\/p\u003e","brand":"James Pollard","offers":[{"title":"Default Title","offer_id":57001689088345,"sku":null,"price":950.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_e1b756ee-8482-43af-b279-eb64ce45a4c1.png?v=1768568820"},{"product_id":"art-school-study-of-a-seated-nude","title":"Art School study of a seated nude","description":"\u003cp\u003eRoland Suddaby 1912 -1972, was an English watercolourist and oil painter. Suddaby predominately painted in watercolour and mostly landscapes form his home in Suffolk. However he won a scholarship at the Sheffield College of art and studied studied there until 1926, he then travelled to London in 1931 and exhibited at the Wertheim and The Redfern Galleries. At the start of WW11 he moved out of London to the provinces like some other artists who had experienced their studios and works lost or damaged through the bombing. This watercolour is a monochrome brown wash and is quite rare for Suddaby who was a landscape artist, consequently we concluded that this picture was painted when he was at art school, Sheffield, and it almost certainly dates before 1926. He was already making a name for himself within the artists community and therefore signed the work, which in itself is unusual for a student as their works are generally much criticised during their early days and avoidance of such confrontation is regularly seen to be avoided and artists are known to hide or disguise their name, but not here. Whether he was known personally to the sitter is unknown but he was confident enough to sign it. Well done Roland !\u003c\/p\u003e","brand":"Roland Suddaby","offers":[{"title":"Default Title","offer_id":57002220650841,"sku":null,"price":750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_4e43f83b-d959-462c-8405-fa1300cac8aa.png?v=1768477829"},{"product_id":"man-of-war-the-fleet-in-action","title":"Man of War. The Fleet in action","description":"\u003cp\u003e\u003cspan\u003eWilliam Calcott Knell 1830-1880, was a British painter of maritime subjects. His father was William Adolphus Knell 1801-1875 who was also a maritime painter and he influenced his son on subject , manner and identity of his works, both painters displayed a general motif of small detailed works. Both father and son exhibited at the Royal Academy, the Society of British Artists and the British Institution. William Calcott Knell as his father painted maritime pictures at different times of the day to show the prevailing weather around the English coastline. This picture relates to the Battle of Trafalgar and shows a man of war in action, I believe it may have been influenced by his father's tales of the Battle, the times of which he lived through and as William Adolphus Knell died in 1875 therefore this picture may have been painted as a remembrance picture for personal grounds and the means of motivation for the work. The picture is in original condition and has been deliberately left as such I believe as a tribute to the son's love of his father.\u003c\/span\u003e\u003c\/p\u003e","brand":"William Calcott Knell","offers":[{"title":"Default Title","offer_id":57002456809817,"sku":null,"price":600.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_a2203e0f-a892-4d09-9449-eb5f4051c8d7.png?v=1768485286"},{"product_id":"garden","title":"Garden","description":"\u003cp\u003e\u003cspan\u003eDavid Gentleman 1930- R.D.I. , is an English artist born in London, attended Royal College of Art. His works frequently compose of London urban landscapes and this picture seems to represent his familiar output, often drawing in ink and watercolor. This may well be his own rear garden but unfortunately we have not researched his history, however in light of his standing and age I believe this is best left for the present. His works are very popular with the ever growing London urbanization and he has become very collectable in his own lifetime, a position few artists manage to achieve.\u003c\/span\u003e\u003c\/p\u003e","brand":"David Gentleman","offers":[{"title":"Default Title","offer_id":57002895671641,"sku":null,"price":1950.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_eeb0fbaf-0976-4819-aee2-5b9cec6586a4.png?v=1768482232"},{"product_id":"a-renaissance-angel","title":"A Renaissance Angel","description":"\u003cp\u003e\u003cspan\u003eEvelyn de Morgan 1855 - 1919, was an English painter. She was associated with the Pre-Raphaelite movement. She was born Mary Evelyn Pickering in London into a wealthy family her father was a QC and her mother was the daughter of 1st Earl of Leicester, her private education consisted of Greek, Latin, French, German, Italian. classical Literature and mythology, along with scientific and history studies, hence the development of the pre Raphaelite art in her works. Evelyn de Morgan studied art at the Royal Academy and the Slade School of art, eventually leaving to concentrate on her own work. She was well known to the fellow artists George Frederick Watts, William Holman Hunt and Dante Gabriel Rossetti, along with a number of following painters, her works were described as being Spiritualist in theme and somewhat mystical in their content. There is a huge amount of biographical detail surrounding her life and career and to further this very brief monogram of her biography would certainly be an injustice to one of the most popular painters of the 19th Century. This picture is signed with the monogram of Mary Evelyn Pickering before her marriage to William de Morgan in 1887. I have included another brief biography of Evelyn de Morgan for your interest. Evelyn De Morgan (born Mary Evelyn Pickering; 30 August 1855 – 2 May 1919) was a prominent English painter of the late Victorian and Edwardian eras, widely recognised for her contributions to the later phase of the Pre-Raphaelite movement, Symbolism, and Aestheticism. Early Life and Radical Education Born into an affluent, upper-middle-class family in London, Pickering was the daughter of Percival Pickering QC and Anna Maria Wilhelmina Spencer Stanhope. Despite her family’s initial discouragement of a professional art career, she received an unusually thorough classical education at home, studying Latin, Greek, and mythology—subjects that would later provide the foundational iconography for her work. In 1873, she became one of the first generation of women to enroll at the revolutionary Slade School of Fine Art. Under the tutelage of Sir Edward Poynter, she was permitted to study from the nude life model, a practice typically denied to women at the time. During this period, she adopted the unisex name \"Evelyn\" to ensure her work was judged on merit rather than gender. Her style was significantly shaped by her uncle, the artist John Roddam Spencer-Stanhope, and her frequent travels to Italy, where she developed a lifelong fascination with Renaissance masters, particularly Sandro Botticelli. Her work is primarily figural, utilizing mythological and allegorical themes to explore spiritual and moral concepts. She first exhibited at the Dudley Gallery in 1876 and was one of only two women invited to showcase work at the prestigious, avant-garde Grosvenor Gallery in 1877. De Morgan was a staunch feminist and pacifist. She signed the Declaration in Favour of Women's Suffrage in 1889 and boycotted the Royal Academy. Her later works, such as S.O.S. (1914), reflected her horror of war and were often sold to benefit the Red Cross. In 1887, she married the celebrated ceramicist William De Morgan. The couple shared a deep interest in Spiritualism, which became a dominant motive in her later art, often portraying the human soul as being imprisoned within the physical body. After William’s pottery business faced financial trouble, Evelyn’s professional success helped support their household, later allowing William to pursue a career as a successful novelist. She died in 1919 and is buried at Brookwood Cemetery. Today, much of her legacy is preserved by the De Morgan Foundation, which maintains a significant collection of her oil paintings and preparatory drawings.\u003c\/span\u003e\u003c\/p\u003e","brand":"Mary Evelyn Pickering","offers":[{"title":"Default Title","offer_id":57002901733721,"sku":null,"price":7500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_cb7c8406-b9d2-4be8-ae12-4c46e2650157.png?v=1768480209"},{"product_id":"potts-point-sydney-australia","title":"Potts Point Sydney Australia","description":"\u003cp\u003e\u003cspan\u003eSydney Ure Smith O.B.E. 1887-1949, was an English born Australian Arts publisher and part time painter, but did not exhibit his own works. He studied pencil and ink drawing at the Ashton School of Art where he also learnt etching. This picture is inscribed on the reverse and bears a Sydney, Australia, frame maker's label, it also reads that it is a gift to Margaret ( Preston ). This is a conclusion of study into the biographies of Sydney Smith and Margaret Preston who had a long established affection for art and each other. They communicated throughout the period when Preston moved from Macquaire Street, Sydney, to the outback where she extended her range of still life art. Smith and Preston lived on the same road in Sydney, Preston lived in a colonial type house and Smith lived virtually opposite in a small block of flats overlooking Potts Point. It is our suggestion that this picture was drawn and painted by Smith as a gift to Margaret Preston upon her return to Sydney, and probably painted from her garden. This picture was presented upon her return, this particular conclusion has been disputed by those that are supposed to know better and yet fail to understand the deep affection between Preston and Smith, where Smith promoted Margaret Preston when there was no- one else to do so, he had complete faith in her ability to succeed which she managed, it is a true story of the love of art.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sydney Ure Smith","offers":[{"title":"Default Title","offer_id":57002916249945,"sku":null,"price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA_99_Mockups.png?v=1768477042"},{"product_id":"north-african-market","title":"North African Market","description":"\u003cp\u003e\u003cspan\u003eHercules Brabazon Brabazon 1821-1906, was an English watercolour painter. He was born Hercules Brabazon Sharpe his father was Hercules Sharpe and his father in-law was Sir Anthony Brabazon and upon his death he declared the young painter had to adopt the name Brabazon to be able to inherit his estate, hence the name Brabazon Brabazon. The young artist was destined to become a lawyer as his father was, but he insisted on travelling to Rome to study art and music at the Academia di Santa Cecilia and the Academia di San Luca, upon his inheriting the estate in Ireland he became independent financially and he travelled widely and extensively, throughout the Mediterranean. There is a 1912 biography of the artist which promotes the most accurate version of his life. This picture was painted around the later part of the 19th Century when Brabazon was travelling and painting in the North African states, Tunisia , Algeria, Morocco , Brabazon died in 1906, the location of the picture remains a mystery and the general consensus of opinion is the location is in one of the North African states. If we manage to identify the area we will amend the biography.\u003c\/span\u003e\u003c\/p\u003e","brand":"Hercules Brabazon Brabazon","offers":[{"title":"Default Title","offer_id":57174642983257,"sku":null,"price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_95426091-6d6e-430b-9ef0-3f4c700ae6de.png?v=1771334461"},{"product_id":"seated-nude","title":"Seated Nude","description":"\u003cp\u003e\u003cspan\u003eMortimer Luddington Menpes, 1855-1938, was an Australian born English painter, printmaker, illustrator and author. Menpes left Australia in his early twenties with his family and came to London where he studied at the Royal Academy and other art institutions. In the 1880's he travelled to France where he met and befriended James McNeil Whistler and fell under his influence of Japanese art and motifs, following his travels to Japan he returned to London where he had his first one man exhibition. It was a great commercial success and it inspired him to travel further afield where he visited , India, Burma, China, Italy, Spain, and many other countries, and during the Boer War he travelled to South Africa as a war artist. Menpes was an efficient anecdotalist and attended and hosted many fashionable parties in London, where he mixed with all the high society personages of the time and he was also Godfather to Oscar Wilde's son Vyvyan. This picture of a seated nude is monogrammed MM and this is identical in all the Artist Signature and Monogram books that we have where we searched to identify the artist. However having concluded that this is most likely his own identification mark we are bound to offer this drawing as his own work but with the reserved position of attribution. During the period when Menpes was most prolific he would have been aware of the post impressionist painters in France, it is therefore assumed that this drawing is possibly influenced by his trips to Japan and also Amadeo Modigliani which to those familiar with his work should be able to see the similarity. The frame is modern and sufficient but as personal taste in frames is a difficult subject to breach we have left this frame in place and we have adjusted the price of the picture, as is, accordingly.\u003c\/span\u003e\u003c\/p\u003e","brand":"Attributed to: Mortimer Menpes (1855 - 1938, Australian)","offers":[{"title":"Default Title","offer_id":57174678929753,"sku":null,"price":3750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_2f3a1c88-4b59-4eba-a693-7159b78d68b1.png?v=1771426907"},{"product_id":"the-song-bird","title":"The Song Bird","description":"\u003cp\u003e\u003cspan\u003eAugustus Jules Bouvier (1827–1881) was a French-born English painter active in London. He exhibited at the British Institution and the Royal Academy. He is best known for oil paintings of women of the English aristocracy, but also was an accomplished water colourist. Augustus Bouvier was the son of Paris-born artist Jules Bouvier (1800–1867), who moved to London with his family in 1818. His brother, Gustavus Arthur Bouvier, also became a British figure painter. Bouvier was a student at the Royal Academy. He later went on to complete his studies in France and Italy. In 1852 he exhibited for the first time at the Royal Academy, he continued to exhibit there over the years, often with genre scenes and a series of idealised feminine portraits such as Jessica in 1854, Emily in 1857, and Hermosita in 1859. Bouvier was one of the first artists known to have exhibited at the British Institution, where he debuted with the oil painting The Fish Market in Boulogne. From 1865 onward he was a member of the New Watercolour Society. While he specialized in figure paintings and portraits of elegantly dressed women in the English aristocracy, Bouvier also exhibited genre paintings (some of European scenes), and occasional domesticated mythological scenes like his The Three Graces of 1875. He also produced miniatures and sensitive watercolours. Influenced by the early aesthetic movement, his style relates to both Victorian academic painting and the Pre-Raphaelites. This picture is signed and dated 1866 and has been conserved to a high degree, the date and signature are at the Lower left, additional images have been supplied. I have included an alternative biography for your interest. Augustus Jules Bouvier (1827–1881) was a French-born English painter best known for his portraits of upper-class women, genre scenes, and watercolor paintings. Early life and education Family: Born in France, Bouvier was the son of Jules Bouvier, an artist from Paris who moved to London with his family in 1818. His brother, Gustavus Arthur Bouvier, was also a British figure painter. Training: Bouvier was a student at the Royal Academy Schools starting in 1841. He later continued his artistic studies in France and Italy. Career and style Bouvier painted figure paintings, particularly portraits of women, as well as genre and mythological scenes. Known for a delicate and idealized style, fine lines, and muted colors, he was an accomplished watercolorist and was elected to the New Watercolour Society in 1865. His style shows influences from the early Aesthetic Movement and connections to Victorian academic painting and the Pre-Raphaelites. Bouvier also illustrated books. Exhibitions and notable works Bouvier exhibited at major London institutions, including the Royal Academy and the British Institution. \u003c\/span\u003e\u003c\/p\u003e","brand":"Augustus Jules Bouvier","offers":[{"title":"Default Title","offer_id":57174728737113,"sku":null,"price":1875.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_f063d4a9-46fe-4475-bc57-729776712ce2.png?v=1771432265"},{"product_id":"the-pinschof-sisters","title":"The Pinschof sisters","description":"\u003cp\u003e\u003cspan\u003eFrancis Thomas Dean Carrington 1843-1918 was a British born illustrator who was active in Australia from the 1860's to his death in 1918. Tom Carrington, TC as he was known was a prolific and influential illustrator who mainly worked in Melbourne Australia from when he had emigrated from England in the early part of his career and the days when photography was still in it's infancy in newspaper articles. TC characterized the heads of the political establishment along with one of the most famous events in Australian history with the coverage of the capture of the infamous bushranger Ned Kelly. Amongst TC's activities he would cover for the Magazines and newspapers of Melbourne of the Governor's Garden Party along with the Opera openings and performances. There he would get to meet the rich and famous of the Melbourne Australians. The Pinschof sisters, Carmen and Elizabeth, were the daughters of Carl Pinschof and Louise Wiedermann-Pinschof. Carl Pinschof was an Austrian born economist, merchant, banker and financier, also a patron of the arts, his wife Louise was an opera singer who promoted and supported Nellie Melba in her early years also as an opera singer. The Pinschofs were well known throughout Victoria for their support of the arts and music. This portrait of two of the three sisters was drawn in pastel by Tom Carrington in 1910, signed and dated, it is very reminiscent of the painting that Tom Roberts painted around 1900, and which has been very well promoted throughout Australia, a photo of which is enclosed. The pastel is somewhat uncommon and surprising for Tom Carrington in that as an illustrator his familiarity of drawing would be in ink. Consequently this is a rare and very unusual subject and could well be a 'one of' for Carrington.\u003c\/span\u003e\u003c\/p\u003e","brand":"Tom Carrington","offers":[{"title":"Default Title","offer_id":57208409620825,"sku":null,"price":3750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_7e4da59d-4c7f-46ff-b905-bfdea0f5710f.png?v=1771339013"},{"product_id":"portrait-of-john-seymour-lucas","title":"Portrait of John Seymour Lucas","description":"\u003cp\u003e\u003cspan\u003eAlphonse Legros 1837-1911, was a French painter and sculptor, who lived in London from 1863 until his death in 1911. He was a teacher of etching and drawing and became Slade Professor of Art at University College London and prior to that taught at the South Kensington School, he taught by way of demonstration rather than instruction and taught his pupils to draw from memory which is what this picture displays. The picture was drawn in 1907 and yet Lucas was approaching 60 years old at the time, Legros knew Lucas from his early days in England and presented him here as when he first knew him , in his early 20's. Legros was a superb draughtsman and instructed his pupils how to draw from memory which is a vitally important skill if you want to become a painter. This is a museum quality drawing and is is rare for Legros as his drawings are sometimes unfinished or reduced to a sketch, this is a completed study and probably drawn within an hour, this was the aim of Legros in teaching to show his pupils that it was possible to achieve such quality in so short a time. In my view one of the best draughtsman in pencil and charcoal of all time.\u003c\/span\u003e\u003c\/p\u003e","brand":"Alphonse Legros","offers":[{"title":"Default Title","offer_id":57208623825241,"sku":null,"price":5905.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_494e1548-acf0-46a1-82bb-1a58eafa6ea4.png?v=1771409356"},{"product_id":"pigs-delight","title":"Pigs Delight","description":"\u003cp\u003e\u003cspan\u003eAnrid Banniza Johnston was a Swedish born English sculptor, illustrator and animalier. She was born to a Swedish mother and English father, she studied at the Slade School of Art, as a sculptor she worked in stone, wood and marble, mostly sculpting animals. She also painted posters for several zoos including London and Bristol which were extensively printed as lithographs. She worked in television in the 1930's with a Sunday afternoon programme teaching drawing and painting I suspect for children with a passion for animals. This picture is a cartoon of animals in the style of Animal Farm representing a pigs homestead where they seem to be enjoying their day. The picture is signed and dated , still in it's original frame and mount. This is a rare and unusual work for her and I do not know of another watercolor to come onto the market in the last 15 years.\u003c\/span\u003e\u003c\/p\u003e","brand":"Anrid Banniza Johnston","offers":[{"title":"Default Title","offer_id":57208641749337,"sku":null,"price":3750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_28b61e3b-ee5a-4e11-81b0-1793f1729ca3.png?v=1771429900"},{"product_id":"portrait-of-tiziano-vecellio-titian","title":"Portrait of Tiziano Vecellio 'Titian'","description":"\u003cp\u003e\u003cspan\u003eJoseph Arnold Freeman 1729-1799, was an English painter and draftsman. Freeman's middle name has been acquired through knowledge from an elderly now deceased art scholar, this is unrecorded. However, Freeman was an accomplished copyist and this drawing which dates around the third quarter of the 18th Century was commonly used as an introduction to those potential clients that were to engage Freeman for a commission but not knowing of his talents. This drawing was probably produced within the hour and expresses his ability as a draftsman. Freeman has painted a large number of portraits in oil around the various collages of Cambridge, the dining room at Emanuel College contains no less than 11 of his portrait paintings all copies of earlier works from the King's collections, such as Windsor and Hampton Court. University Colleges displayed portraits of the wealthy patrons of their individual Colleges, however these rare and antique pictures were already within various collections and consequently the copyist Freeman was engaged to carry out the task of reproducing the originals. This would have entailed travelling great distances at the time when travel was fraught with danger. Freeman's work is exemplary as a copyist and Titian's portrait here holding a rectangular pallet is typical of a calling card, the portrait being well known of among scholars in the 18th Century, another of these drawings is sitting in a National Gallery collection a photo of which is enclosed along with the photo of the original self portrait painting, which is holding an oval pallet, and one other drawing of an Infrared image which was sent to the Chairman of the Historical Paper Society who confirmed the date by way of the lines in the paper and the chains. The conclusion is that Freeman displayed his talent to the proposed patron and deliberately changed the shape of the pallet so as noy to be accused of using a prepared drawing, and if drawn in the presence of the patron there is no better way to display his ability. This work is unsigned but is known to be by Freeman through scholarly study and a lifetime of experience in art.\u003c\/span\u003e\u003c\/p\u003e","brand":"Joseph (Arnold) Freeman","offers":[{"title":"Default Title","offer_id":57208708497753,"sku":null,"price":2750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_24b56572-10a9-4119-b99b-4fb411bdebf3.png?v=1771338150"},{"product_id":"cranberries-in-a-basin","title":"Cranberries in a Basin","description":"\u003cp\u003e\u003cspan\u003eSue Read (b. 1941) is an English watercolourist known for her contemplative, small-scale still-life paintings. A member of the Royal Institute of Painters in Water Colours (RI), her delicate work features everyday objects like porcelain, eggs, and glass. Early life and education Born: Susan Melia was born in 1941 in Slough, Buckinghamshire. Education: She attended Aylesbury Grammar School before studying art at: High Wycombe School of Art (1959–1963) The Royal West of England Academy (1963–1964) Family: In 1965, she married Robert J. Read and later adopted his surname for her professional work. The couple had three sons. Artistic career and style Professional since 1980: Read has been a professional painter since 1980, primarily focusing on still-life works. Still-life subjects: Her preferred subjects include: Porcelain bowls and lustreware jugs Eggs, shells, and small fruits Glass and flowers Watercolour technique: She works in transparent watercolours, building up layers of color and tone. Her paintings are typically small and created in natural light. Capturing light: Her technique is focused on representing the light-reflecting qualities of translucent and lustrous objects. Artistic aim: Read has stated that her work is intended to convey \"calm and quiet\". Exhibitions and memberships Royal Institute of Painters in Water Colours: Read was elected as a member in 1985 and is a regular exhibitor. Notable exhibitions: Her work has been shown at a number of prestigious venues, including: Royal Academy Summer Exhibition Royal Watercolour Society New English Art Club Mall Galleries, London Awards: She has received the Llewellyn Alexander Gallery Award and the Evening Standard Award. Publications: She has contributed to art magazines and has had her work published in instructional books on watercolour painting. Current location Studio in Suffolk: Read currently maintains her studio in Halesworth, Suffolk\u003c\/span\u003e\u003c\/p\u003e","brand":"Sue Melia Read","offers":[{"title":"Default Title","offer_id":57208737628505,"sku":null,"price":450.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_ea964a72-8462-4fbe-83f3-c694d20716e8.png?v=1771431368"},{"product_id":"dahlias","title":"Dahlias","description":"\u003cp\u003e\u003cspan\u003eSir Jacob Epstein K.B.E. 1880-1959, was an American born English sculptor, who pioneered modern sculpture. He had a very long and productive career and was considered the greatest sculptor in the World at one point, he sculpted portraits of the rich and famous throughout his career and huge forms in bronze and stone. He also was a talented painter and this watercolor which is of dahlias is a fine example of his skill.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sir Jacob Epstein","offers":[{"title":"Default Title","offer_id":57208764072281,"sku":null,"price":6500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_9e5ded86-ba04-4daa-92d9-3e52a465e358.png?v=1771340515"},{"product_id":"19th-century-french-school","title":"19th century French School","description":"\u003cp\u003e\u003cspan\u003eFrench School picture circa 1790-1810, the landscape depicts a group of fishermen and appear to be preparing for the journey out to sea, there are fishing boats with nets suggesting it is painted from the habitable mainland, and might represent a fishing party from a man of war which is nestled in the bay out of sight . The picture is inscribed to the lower area in French which is somewhat indistinguishable, but a very interesting subject and still mysterious, hence the brief description for which I apologise. However I have included a image of the picture before the conservator applied his skills, the picture is in very good condition and framed ready for display.\u003c\/span\u003e\u003c\/p\u003e","brand":"Fernando De Noronha, Brazil","offers":[{"title":"Default Title","offer_id":57208788975961,"sku":null,"price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_c0cb9771-1364-4a22-9054-9733eaef2a57.png?v=1771332737"},{"product_id":"venice-1857","title":"Venice 1857","description":"\u003cp\u003e\u003cspan\u003eJames Herve d'Egville c1810 - 1880, d'Egville was an British born watercolourist the exact date of his birth is currently under research by our authoritative colleagues and further information will be submitted if discovered. He certainly spent a great deal of time in Italy and Venice especially, as his works date from at least 1847 to 1873. This picture is of one of the most famous ports in the World, Saint Marks Square in the near distance and the Doges Palace and the Bridge of Sighs in the foreground. This a highly detailed and and historically accurate depiction of a time when a great many British artists travelled to Italy and painted their favourite sights. There is very little in the way of biographical detail of James Herve d'Egville and our researchers are working to supply more detail of his life , if more information regarding his travel experiences are forthcoming we shall endeavour to submit the findings here. This picture is signed and dated.\u003c\/span\u003e\u003c\/p\u003e","brand":"James Herve d'Egville","offers":[{"title":"Default Title","offer_id":57208943182169,"sku":null,"price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_9ee6b033-1a7a-4bbc-a4f2-12460a5a6324.png?v=1771339763"},{"product_id":"portrait-of-an-unknown-sitter-thought-to-be-american","title":"Portrait of an unknown sitter thought to be American","description":"\u003cp\u003e\u003cspan\u003eAlphonse Legros 1837-1911, was a French painter and sculptor, who lived in London from 1863 until his death in 1911. He was a teacher of etching and drawing and became Slade Professor of Art at University College London and prior to that taught at the South Kensington School, he taught by way of demonstration rather than instruction and taught his pupils to draw from memory which is what this picture displays. The picture was drawn in 1907 which we know from the Infrared imaging of the watermark, Legros would almost certainly have known this sitter from his early days in England and presented him here as when he first knew him , in his early 20's, and this drawing would have been used to demonstrate his ability to draw from memory. Legros believed in instructing his pupils how to draw from memory which is a vitally important skill if you want to become a painter. This is a museum quality drawing and is is rare for Legros as his drawings are sometimes unfinished or reduced to a sketch, this is a completed study and probably drawn within an hour, this was the aim of Legros in teaching to show his pupils that it was possible to achieve such quality in so short a time. In my view one of the best draughtsman in pencil and charcoal of all time. As we are unsure of the sitter we do think this is an American artist who lived in the UK, and knew Legros . John Singer Sargent drew a similar picture in charcoal of Keith MacLeod although somewhat inferior to this and there maybe a possibility that this sitter is he. Enclosed are photos of Legros the master and of his signature which at some point was adapted by an unknown miscreant. The signature of John Singer Sargent has been adapted from the Alphonse Legros one that was the original signature, any doubts can easily be rectified if you place a Legros signature and superimpose a Sargent over it you will see where the signature has been deliberately adjusted, we studied around 700-800 Legros signatures and the same for Sargent's signature, after a full examination it was certainly noticeable that Sargent signed his works with a 'G' that looks like a 'Q' and the Legros signature is written with a large loop on the 'G'. The only difference therefore displays the difference in the signatures and it is very obvious how the signature has been changed. The reason for the deliberate forging of Sargent's signature is because picture of this quality in Sargent's hand would probably be worth around £60K -£80K,and the Legros drawing is of a considerable difference. This picture is signed albeit falsely. I have included a further biography of Alphonse Legros for your information. Alphonse Legros (1837–1911) was a French painter, etcher, and sculptor, best known for his sombre realism and his influential role in the revival of etching in the 19th century. Born in Dijon to a working-class family, Legros moved to Paris as a young man, where he trained briefly at the École des Beaux-Arts and became associated with the circle of Gustave Courbet and the Realist movement. Legros’s art rejected academic idealisation in favour of plain, often austere depictions of rural life, religious subjects, and human suffering. His paintings and prints are marked by dark tonalities, strong modelling, and a grave, introspective mood, reflecting both his sympathy for ordinary people and his moral seriousness. Alongside painting, he became an exceptional etcher and medallist, admired for his technical mastery and expressive line. In 1863 Legros settled permanently in England, where his reputation flourished. He was appointed Slade Professor of Fine Art at University College London in 1876, a post he held for nearly two decades. As a teacher, he had a profound impact on British art, encouraging close observation, disciplined technique, and respect for craftsmanship. His students included artists who would shape late Victorian and Edwardian art. By the end of his life, Legros was recognised as a key figure linking French Realism with British artistic practice. His work is represented in major museum collections, and he remains respected for both his art and his lasting influence as a teacher and printmaker.\u003c\/span\u003e\u003c\/p\u003e","brand":"Alphonse Legros","offers":[{"title":"Default Title","offer_id":57272317739353,"sku":null,"price":4250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_212a619a-a25e-4265-9364-478a4fe1bc07.png?v=1771352699"},{"product_id":"portrait-of-ben-nicholson","title":"Portrait of Ben Nicholson","description":"\u003cp\u003e\u003cspan\u003eChristopher ' Kit ' Wood 1901-1930, was an English painter who briefly attended Liverpool University to study architecture but pursued an artistic career. He trained at the Academy Julienne in Paris where he met some of the most famous artist of the day, Picasso, Cocteau, Diaghilev and others. He was a member of the London Group and the Seven and Five Society where he met and became friends of Ben and Winifred Nicholson, he stayed with them in 1928 in their North country cottage where it is thought this portrait was drawn. The writer Sebastien Faulks wrote a book called 'The Fatal Englishman' which describes the possibility of the place, date and time of this picture, when Wood and Nicholson went out for a day of painting.\u003c\/span\u003e\u003c\/p\u003e","brand":"Attributed to: Christopher Wood (1901 - 1930, British)","offers":[{"title":"Default Title","offer_id":57272395202905,"sku":null,"price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_388b11c8-17ec-4106-aa3d-cf14d1de8d49.png?v=1771428854"},{"product_id":"fernando-de-noronha-brazil","title":"Fernando De Noronha, Brazil","description":"\u003cdiv class=\"_ea633ddf\"\u003e\n\u003cdiv id=\"_R_cbcp_\" class=\"_85f5162c\"\u003e\n\u003cdiv class=\"\"\u003e\u003cspan class=\"_dda3618c\"\u003eFrench School picture circa 1790-1810, apparently according to the script below it is now assumed to be dated around 1806, the landscape depicts a group of fishermen and appear to be preparing for the journey out to sea, there are fishing boats with nets suggesting it is painted from the habitable mainland, and might represent a fishing party from a man of war which is nestled in the bay out of sight . The picture is inscribed to the lower area in French which is somewhat indistinguishable, but a very interesting subject and still mysterious, hence the brief description for which I apologise. However I have included a image of the picture before the conservator applied his skills, the picture is in very good condition and framed ready for display. This work is a historical record of maritime travel in the early 19th Century. Below is a complete document relating to this work. For which AI is responsible, I merely pointed it in the direction to follow. A beautifully executed early 19th-century marine landscape depicting an intimate group of sailors on an expansive sandy shore. In the right foreground, a heavy, dark-hulled wooden fishing vessel sits high on the beach, partially shaded by an improvised canvas awning or sail rig. A cluster of figures—likely French naval sailors or explorers—are seen in active conversation and preparation next to the hull. Further down the spit, a solitary lookout or guard watches the horizon. The backdrop is dominated by a striking, angular volcanic mountain formation rising sharply from the sea, rendered in delicate layers of blue wash. The geographic profile strongly indicates the volcanic archipelago of Fernando de Noronha off the northeastern coast of Brazil, a strategic stopping point for French naval, scientific, or trade expeditions cross-navigating the Atlantic during the late Enlightenment and Napoleonic eras. To the left, a thick copse of windswept coastal trees grounds the composition, balancing the sweeping minimalism of the clear sky and vast foreground. This work exemplifies the late 18th-century and early 19th-century tradition of French topographical and expeditionary art. Before the advent of photography, naval expeditions frequently staffed professional artists or highly trained cartographic officers to document newly explored coastlines, military outposts, and local topographies. The artist utilizes a disciplined, transparent watercolour technique characteristic of the period. The meticulous attention to the boat's rigging, the structure of the distant landscape, and the distinct posture of the figures hints at a hand deeply familiar with maritime life. The indistinguishable French inscription along the bottom edge points directly to its continental origin and provides a tantalizing clue for further historical attribution. The French script translates as To his friend... It was an incredibly common practice for 19th-century French painters to dedicate and gift sketches, watercolours, or smaller finished works to close friends, fellow artists, or patrons. The middle section contains the friend's name, which appears to start with an A or R possibly Arban, Ruben, or Alban. De indicates From Artist's Name or Of a specific location. The handwriting trailing off after \"De\" looks like a stylized signature or place name ending in .pany or .gany. Because the text confirms this was a personal gift à son ami, it strongly supports the idea that this watercolour was painted live or handled directly by the artist as an intimate, non-commercial piece. à son ami Alban... De Kergariou Breakdown of Findings The Dedication: à son ami (To his friend) remains clear, standard practice for works gifted outside commercial sale. The Recipient's Name: Alban is now distinct. The initial letter is a capital A written in a swift, fluid style, followed by a clear l-b-a-n. The Artist: De Kergariou is the most significant discovery from this view. The capital letter K is written in a highly characteristic Breton style (with a sharp vertical anchor and a detached loop structure), followed by the telltale letters e-r-g-a-r-i-o-u. Who was De Kergariou. The Kergariou family is an ancient and prominent noble lineage hailing from Brittany in northwestern France — specifically the Lannion and Finistère regions — historically famous for producing high-ranking naval officers, privateers, and explorers during the 18th and 19th centuries. Given the subject matter of this painting (naval sailors\/expeditions) and the estimated timeframe (Late Enlightenment\/early 19th century), this work was almost certainly painted by a member of this naval dynasty. Notable candidates from the family line during this period include: Count Théobald-René de Kergariou-Locmaria (1739–1795), a famous French Navy officer who served extensively in the Atlantic and the American Revolutionary War; and Pierre-Joseph de Kergariou\/Joseph-François de Kergariou, high-ranking naval figures active during the transition from the Royal Navy to the Napoleonic and Restoration eras. Naval officers of this tier were rigorously trained in topographical drawing and watercoloring to accurately chart coastlines, enemy ports, and foreign landmarks before photography existed. French ships frequently crossed paths with the Brazilian coastline and strategic archipelagos like Fernando de Noronha when sailing down toward Cape Horn or heading into the South Atlantic. An aristocratic officer-artist like Kergariou would easily have kept an intimate, beautifully rendered watercolour journal of their travels, eventually gifting this specific sheet to his friend Alban upon returning to France. The signature belongs to a prominent member of the Breton naval dynasty, most likely Jonathas-Marie-Théobald de Kergariou (1773–1850) or his relative Pierre-Joseph de Kergariou. The Kergariou family from Brittany was exceptionally famous for producing elite naval commanders and explorers. In accordance with Royal French Navy training practices of the Enlightenment and early 19th century, officers were thoroughly schooled in cartography, topographical drafting, and transparent watercoloring to visually map newly encountered shorelines and strategic global islands. This exceptional topographical watercolour is a rare visual record of late Enlightenment or Napoleonic-era French maritime exploration in the South Atlantic. Executed with the disciplined, luminous washes characteristic of trained naval draftsmen, the work captures a French detachment preparing a coastal landing craft against the unmistakable volcanic silhouette of Fernando de Noronha. The personal dedication directly ties the sheet to the noble Kergariou naval lineage of Brittany, elevating its historical and narrative importance. The artist Jonathas-Marie-Théobald de Kergariou served as a Capitaine de frégate (Commander) in the French Navy. The vessel he commanded during his deployment to the South Atlantic was the French frigate La Valeureuse. Timeline of the Voyage According to French Ministry of the Navy records (Série Campagnes), the specific dates for this voyage are as follows. Departure: August 22, 1806, from the French naval port of Brest. The Mission: a strategic patrol cruise through the South Atlantic, making landfall at the Brazilian port of Salvador de Bahia before moving northward past the Guianas and into the Caribbean. The Stopover at Fernando de Noronha: ships navigating from Brest southward to Salvador de Bahia regularly dropped anchor at Fernando de Noronha during this exact route window to take on fresh water, wood, and provisions — placing the execution of this watercolour precisely in late 1806. The Fate of the Ship: La Valeureuse never made it back to France. After sustaining severe damage during her South Atlantic cruise, she sought refuge in the Delaware River estuary on the eastern seaboard of the United States on August 29, 1806, where she was inspected, condemned as unseaworthy, and dismantled on-site. As Kergariou's ship was condemned in late 1806, this watercolour can be accurately dated to circa August–October 1806. It represents one of the final visual records captured by the crew of La Valeureuse before the vessel was lost to the fleet. This specific historical anchor transforms the artwork from an \"attributed lifestyle scene\" into a precisely dated piece of early 19th-century naval history. This picture is signed.\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cbutton class=\"_1862016c _3af1f966 _45b2f2b\" type=\"button\"\u003eSee Less\u003c\/button\u003e\u003c\/p\u003e","brand":"19th century French School","offers":[{"title":"Default Title","offer_id":57380823957849,"sku":null,"price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_ff703447-309d-4236-b67a-d4de1c07dedc.png?v=1787607035"},{"product_id":"eltham-london","title":"Mountainous Landscape","description":"\u003cp\u003e\u003cspan\u003eRaymond James Coxon 1896-1997, was an English landscape and portrait painter, he was a war artist during the second World war after which his works became more abstract. He studied at Leeds School of Art and the Royal Academy of Art, he taught at the Richmond School of Art. At the Leeds School he became friends with Henry Moore and travelled with him in France and later in life to America. Moore was best man at his wedding where Coxon married a fellow student who he had met at Leeds, Edna Ginesi another artist. This picture we think may have been painted on one of his trips to France after the war on one of his many travels with his wife. Signed.\u003c\/span\u003e\u003c\/p\u003e","brand":"Raymond Coxon","offers":[{"title":"Default Title","offer_id":57380847157593,"sku":null,"price":1650.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_303385b3-a0d2-4608-ae18-fbb8dd2f4188.png?v=1775569585"},{"product_id":"urbino-italy","title":"Urbino, Italy","description":"\u003cp\u003e\u003cspan\u003eJohn Arthur Malcolm Aldridge R.A. 1905-1983, was an English watercolor and oil painter, designer and art teacher. He visited Northern Italy during the summer holidays for many years, this landscape had been drawn and painted several times over an unknown number of years. Clearly a favourite landscape within easy distance of his accommodation around the area of Urbino. In England he lived in Great Bardfield where several artists lived as a small gathering of fairly distinguished painters all of whom are represented in the Fry Gallery Essex. He was a plein-air painter who would finish his works in the studio as this picture would almost certainly have been.\u003c\/span\u003e\u003c\/p\u003e","brand":"John Arthur Malcolm Aldridge","offers":[{"title":"Default Title","offer_id":57380936089945,"sku":null,"price":1500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_06a96a7c-b91a-4388-83fa-487a8bddd0b5.png?v=1775570929"},{"product_id":"the-two-sisters","title":"The Two Sisters","description":"\u003cp\u003e\u003cspan\u003eAristide Maillol 1861-1944, was a French sculptor, painter, tapestry producer and printmaker. He took up sculpture as his eyesight was suffering under the design and weaving manufacture of tapestry, he also produced a large number of woodcuts. His preference in sculptor was the Greek style of antiquity which was illustrated as with this lithograph which is monogrammed in red crayon, probably produced in the first quarter of the 20th century. This signed with a monogram in red crayon on early lithographic paper this is not a late lithographic copy.\u003c\/span\u003e\u003c\/p\u003e","brand":"After: Aristide Maillol (1861-1944, French)","offers":[{"title":"Default Title","offer_id":57381147279705,"sku":null,"price":725.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_d73bf4a3-191a-4fd1-af78-d9dccae79e5e.png?v=1787605286"},{"product_id":"manchester","title":"Manchester","description":"\u003cp\u003e\u003cspan\u003eFrancis Dodd R.A. 1874-1949, was an English landscape and portrait painter, draughtsman and etcher. He attended the Glasgow School of Art and travelled throughout Europe, France, Italy and Spain, after which he returned to England and settled in Manchester later moving to Blackheath in South East London where he spent the rest of his life. He was a official War artist and became a full member of the Royal Academy in 1935.\u003c\/span\u003e\u003c\/p\u003e","brand":"Francis Dodd","offers":[{"title":"Default Title","offer_id":57430533996889,"sku":null,"price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_cf43d84b-0936-4e1d-bc2a-d4fca27c6470.png?v=1775571744"},{"product_id":"ww11-pilots","title":"WW11 Pilots","description":"\u003cp\u003e\u003cspan\u003eDenis William Dring R.A. 1904-1990, was an English artist who served in the second World War as an official War Artist recording portraits of serving soldiers. There are 3 portraits in this one lot. Dring trained at the Slade School of Art and taught at the Southampton School of art, and in the 1920's he was commissioned by Edwin Lutyens to paint murals. He travelled extensively throughout the UK painting for the War Artists Committee, painting portraits for the Admiralty. These 3 portraits were drawn between 1944 and 1945 and are Royal Air Force pilots almost certainly Mediterranean serving officers. The 3 portraits are offered here as one lot and it will be noticed they are unsigned as this was standard procedure for artists working under contract for the War Artists Commission. The artists were not allowed to display any identification of the sitter or the location, however it may be noticed that one of the sitters is a Wing Commander, one of the 3 portraits has been exhibited at the Royal Academy Exhibition in 1957 . I have included a further scholarly biography of the artist for your information. Dennis William Dring (born 26 January 1904, Streatham, London – 29 September 1990, Compton, Hampshire) was a British portrait painter and draughtsman whose work exemplifies the continuity of British academic realism through the mid-20th century. Known professionally as William Dring, he became one of the most respected official war artists of the Second World War and later a leading portraitist of post-war Britain. Early Life and Education Dring was born in Streatham, South London, into a family that would produce several artists, including his younger brother, James Dring. He began his formal artistic education at the Slade School of Fine Art from 1922 to 1925, studying under Henry Tonks, the influential teacher and former surgeon whose rigorous training emphasized draughtsmanship, anatomy, and observational acuity. At the Slade, Dring won multiple scholarships and prizes, distinguishing himself for technical precision and sensitivity of observation. Early Career and Teaching Following his graduation, Dring established himself as a skilled draughtsman and portrait painter. In the late 1920s and 1930s he executed a range of commissions, including murals for architectural projects, and began to exhibit his work publicly. He took up a post as a teacher of drawing and painting at the Southampton School of Art, where he taught until 1942, passing on the Slade’s disciplined methods to a new generation of students. World War II and Official War Artist Dring’s artistic direction was profoundly shaped by the outbreak of the Second World War. Initially undertaking individual portrait commissions for the War Artists’ Advisory Committee (WAAC), his early wartime drawings impressed the Committee, leading to his appointment on a full-time contract in 1942. His first contract focused on the Admiralty, and during this period he traveled extensively throughout Britain recording naval personnel and operations. His primary medium was pastel, which allowed him to work quickly while capturing nuanced expressions and character in often difficult conditions. In 1943 he secured a second full contract that broadened his remit beyond naval subjects, and by 1944–45 he was working under full commission to the Air Ministry, producing portraits of airmen and other service personnel. His war work is notable for its immediacy, psychological insight, and technical prowess. A large body of these works—especially pastel portraits—is held today by major national repositories, including some 60–plus pastels and several oil paintings at the Imperial War Museum, and further works at the National Maritime Museum. Post-War Career and Mature Work Following the war, Dring’s career as a portraitist flourished. He produced portraits of notable public figures—including academics, civic leaders, and members of the British Royal Family—and documented civic ceremonies such as the presentation of the Freedom of the City of London to Princess Elizabeth in 1947. His commissions extended to institutional portraits, including a series for Lincoln’s Inn featuring eminent legal and political figures such as Margaret Thatcher and Lord Hailsham. Dring was a frequent exhibitor at the Royal Watercolour Society and the Royal Academy of Arts. He was elected Associate Member of the RA in 1944 and elevated to full Academician in 1955, reflecting his stature within the British art establishment. His work also encompasses landscapes and domestic subjects, showing a range that extends beyond formal portraiture into more personal and lyrical modes of representation. Artistic Style and Legacy Dring’s artistic style is rooted in the British academic tradition: technically rigorous, figuratively grounded, and committed to a naturalistic representation of the human subject. His draughtsmanship—refined under Henry Tonks—remains a hallmark of his work, and his mastery of pastel and watercolour allowed both psychological depth and formal clarity. While Dring worked during an era increasingly dominated by modernism and abstraction, his sustained dedication to figurative realism positioned him as a principal chronicler of British identity in the mid-20th century. His war portraits, in particular, offer invaluable insight into the lived experience of military service and the social fabric of wartime Britain. Personal Life Dring married Grace Elizabeth Rothwell, a painter whom he met at the Slade; their long partnership underscores the interconnected world of British art education and practice in the interwar period. They lived at Compton near Winchester. Their daughter, Melissa Dring, also became an artist and developed a career in forensic facial reconstruction.\u003c\/span\u003e\u003c\/p\u003e","brand":"William Dring","offers":[{"title":"Default Title","offer_id":57430612443481,"sku":null,"price":1820.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_4099b43c-aa4d-443b-aa08-8fbd80267016.png?v=1776090261"},{"product_id":"estuary-landscape-possibly-morbihan","title":"Estuary landscape, possibly Morbihan","description":"\u003cp\u003e\u003cspan\u003eMarcel Dyf 1899-1985, was a French, still life, portrait and landscape painter in the post impressionist manner. This picture is a monochrome watercolor and wash and is a typical scene he painted. He was a prolific painter of estuary scenes, with boats and landscape beyond, a good number of these were painted around Morbihan. This picture may have been a study for a larger work, although it is very well finished and presented as a completed work in it's own right. It remains in it's original frame with an inscription on the reverse side from his wife Claudine - which states that it is a gift to a friend. It is therefore most probably that it was a personal possession of the artist and then gifted, probably at a later date than when it was painted. I have enclosed another biography of the artist which you may find of interest. Marcel Dyf, whose real name was Marcel Dreyfus, was born in Paris on October 7, 1899. While he showed a talent for art at an early age, he began his adult life as an engineer, but by the age of 23 he became a professional artist. A self-taught artist, his influence and inspiration came from the Impressionist and Post-Impressionist artists; among his favorite was Pierre A. Renoir. Dyf set up a studio in Arles in 1922 and began his career as a landscape artist – painting views of the surrounding countryside. His work began to attract attention from collectors and dealers and it was not long before he began exhibiting at the Salon des Artists Français, Salon d'Autumn and Salon des Tulleries. By 1935 Dyf had returned to Paris and during World War II he joined the Resistance and was based in Correze. By 1950 he had set up a studio in Cannes and a few years later met a young girl by the name of Claudine. Claudine was 19 at the time, some 36 years younger than Marcel, and in 1965 after posing for him for many years the two married. The spend many years together, traveling the world in search of subject matter and each summer they would spend time in their home in Brittany. By this time Dyf had become known for his impressionistic landscapes, still lives and portraits and his paintings had been exhibited throughout the world, with shows in England, America, Canada, Germany and Algeria. Today he is considered one of the last of the true post Impressionist artists. This picture is signed. Dyf died on September 16, 1985. Here is another biography which includes his relationship with the London Gallery Frost \u0026amp; Reed. Marcel Dyf (1899–1985), born Marcel Dreyfus in Paris, was a celebrated French painter known for his luminous, Post-Impressionist style, primarily using oils on canvas. He is particularly famous for his vibrant French landscapes, floral still life, and portraits of his wife, Claudine. Biography Initially trained as an engineer, Dyf abandoned this career path in his early twenties to pursue painting as a self-taught artist, inspired by Impressionists like Renoir. He established a studio in Arles in 1922 and quickly gained recognition, receiving commissions for frescoes and stained-glass designs. During World War II, his artistic career was interrupted when he joined the French Resistance. After the war, he resumed painting with renewed vigour, dividing his time between Paris and the south of France. In 1954, he met his muse and future wife, Claudine, who was 36 years his junior and featured frequently in his work. They married in 1956 and travelled extensively throughout France in search of inspiring subject matter, settling in a 16th-century hunting lodge near Versailles. Dyf is considered one of the last true Impressionist artists, celebrated for his rich palette and fluid, spontaneous brushwork that conveyed a powerful sense of light and atmosphere. Relationship with Frost \u0026amp; Reed of London Frost \u0026amp; Reed, a prominent London art gallery, played a significant role in bringing Marcel Dyf's work to an international audience, particularly in the UK and the United States. Sole Representation: Frost \u0026amp; Reed became the primary gallery representing Dyf in London. Exhibitions: The gallery held numerous exhibitions of his work, starting in 1956 and continuing after his death, including shows in 1955, 1987, and 1990. Publications and Sales: They actively bought and sold his paintings, often attaching their gallery labels to the reverse of the canvases, which is now a key part of the provenance for many of his works. They also published limited edition prints of his paintings. Market Influence: The gallery's promotion and sales contributed significantly to establishing the strong and enduring market for Dyf's paintings among collectors worldwide.\u003c\/span\u003e\u003c\/p\u003e","brand":"Marcel Dyf","offers":[{"title":"Default Title","offer_id":57430709600601,"sku":null,"price":2750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_3dceea88-eeed-4c2b-a243-bc92586ef328.png?v=1776088806"},{"product_id":"thames-towpath-richmond-embankment","title":"Thames towpath Richmond Embankment","description":"\u003cp\u003e\u003cspan\u003eFrancis Dodd R.A. 1874-1949, was a landscape and portrait painter and printmaker. He trained at the Glasgow School of Art, he travelled around Europe including France , Italy and Spain, and was appointed a war artist in WW1. He had a considerable reputation for his drawing and watercolour skills of which this picture of the Thames towpath is one.\u003c\/span\u003e\u003c\/p\u003e","brand":"Francis Dodd","offers":[{"title":"Default Title","offer_id":57430803611993,"sku":null,"price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_703791dd-7fcd-41a6-830c-9fc016a3941e.png?v=1776091023"},{"product_id":"unknown-location","title":"Unknown Location","description":"\u003cp\u003e\u003cspan\u003eHercules Brabazon Brabazon 1821-1906, was an English watercolour painter. He was born Hercules Brabazon Sharpe his father was Hercules Sharpe and his father in-law was Sir Anthony Brabazon and upon his death he declared the young painter had to adopt the name Brabazon to be able to inherit his estate, hence the name Brabazon Brabazon. The young artist was destined to become a lawyer as his father was, but he insisted on travelling to Rome to study art and music at the Academia di Santa Cecilia and the Academia di San Luca, upon his inheriting the estate in Ireland he became independent financially and he travelled widely and extensively, throughout the Mediterranean. There is a 1912 biography of the artist which promotes the most accurate version of his life. This picture was painted around the later part of the 19th Century, the building looks very much like the Port of London Authority Building in Trinity Square London, however this is definitely not the building depicted here, the PLA building was not completed until 1922 and Brabazon died in 1906, therefore the location of the picture remains a mystery and the general consensus of opinion is the location is in one of the North African states. If we manage to identify the building we will amend the biography. This picture is signed lower right with initials HBB. Another interesting point regarding this work is that it can be viewed on TV on the programme HENI Talks under the title of Hercules Brabazon Brabazon.\u003c\/span\u003e\u003c\/p\u003e","brand":"Hercules Brabazon Brabazon","offers":[{"title":"Default Title","offer_id":57430875668825,"sku":null,"price":3750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_efbbd7ff-d3dc-4558-9307-8c50cbcae86f.png?v=1776092698"},{"product_id":"paris-1936","title":"Paris 1936","description":"\u003cp\u003e\u003cspan\u003eFrederick Gore C.B.E. R.A. 1913-2009, was an English painter born into a family where his father was a successful and famous painter, Spencer Gore 1878-1914. Frederick Gore was studying to be a Philosopher whilst at Oxford but found a real passion for painting and drawing at the Ruskin School of Art. He then moved to London and attended the Slade School of Art and the Westminster School of Art. He travelled to Greece and Paris where he exhibited before the second World War . During the War he was a camouflage officer and helped prepare troops for the D-Day invasion. In his later years he visited the United States and was exhilarated by the light and ambience, he continued to visit and made a significant contribution to realistic figurative painting where many American artists were turning to abstraction. Gore went on to display color and composition showing the different painterly possibilities.\u003c\/span\u003e\u003c\/p\u003e","brand":"Frederick John Pym Gore","offers":[{"title":"Default Title","offer_id":57431358734681,"sku":null,"price":1500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA139-Frederic_Gore_1_139_master.jpg?v=1776098467"},{"product_id":"conversation-at-the-gate","title":"Conversation at the Gate","description":"\u003cp\u003e\u003cspan\u003eGeorge Morland 1763-1804, was an English painter who was influenced by the painter Francis Wheatley , landscapes. After 1790 he had developed his own style of painting adopting rustic scenes such as the work displayed. He lived a fairly rackety lifestyle due to his heavy drinking, he was very popular with his easy going manner which left him to be preyed upon by unscrupulous dealers and consequently had very little to show for his efforts. There is a number of biographies of him and a brief one which is quite captivating of his life on Wikipedia. An original work and typical subject for his time and in very good condition.\u003c\/span\u003e\u003c\/p\u003e","brand":"George Morland","offers":[{"title":"Default Title","offer_id":57444846633305,"sku":null,"price":2750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA146-G_MORLAND_1__master.jpg?v=1776100194"},{"product_id":"summer-shade-1935","title":"Summer Shade, 1935","description":"\u003cp\u003e\u003cspan\u003eMuriel Elise Cooke, ( Crooke ) 1901 - 1975, was an English artist who painted in watercolour and oil, she was also an engraver Cooke studied in Paris, France and in her twenties exhibited at the Royall Academy, the Royal Scottish Academy, the Royal Society of Art, the Royal Hibernian Association, the Royal West of England Academy and also in Paris at the Salon des Artistes. She was an animalier and landscape painter as seen in this depiction of a farmyard at the height of summer, her application of light and shade shows a competence of the gradation of light which to some artists is a mystery and remains undeveloped in some cases throughout their career, but not in the case of Muriel Cooke. There is a mastery light and shade which makes the whole picture a pleasure and reinstates Cooke's ability above that of some of her contemporaries. A somewhat underrated artist during her career but this picture displays a command of her talent.\u003c\/span\u003e\u003c\/p\u003e","brand":"Muriel Cooke","offers":[{"title":"Default Title","offer_id":57444855873881,"sku":null,"price":700.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA_147_Muriel_Cooke_Farm_yard_DSC5052_master.jpg?v=1776101444"},{"product_id":"st-michaels-church-workington","title":"St. Michaels Church, Workington","description":"\u003cp\u003e\u003cspan\u003eSaint Michaels Church, Workington, Cumbria, England. This picture is the design for a window which was dedicated to a long serving and much loved choirmaster by the name of George Suart who upon his death in 1896 the congregation generously donated funds for the design and production of this window. Saint Michaels Church, which the earliest part of dates from 1150 AD, is almost certainly built on the earlier site of a 7th Century Monastery. There is a competent history of the church and it's earlier buildings on the same site including interesting confirmations of evidence of a nearby Viking settlement and the Monks from Lindisfarne present on the site from the 11th Century, all available on Wikipedia and local research informants. A large section of the church was destroyed by fire in 1887 and this window was designed and installed thereafter. However another fire in 1994 resulted in the window being lost in the further incident, the design had been lost and now resurrected which will enable the parishioners to reconstruct the window as it was first designed. A happy ending for the church warden and congregation. A good number of people have been engaged in following up the biography of this watercolor, including the great great granddaughter of the choirmaster, and professional researchers engaged by us, Unfortunately the drawing which is very accomplished still has not had the artist identified as yet, however should we discover as such the buyer will most certainly be informed. This picture is in the manner of R.A.Bell it is unsigned and consequently the artist is unknown.\u003c\/span\u003e\u003c\/p\u003e","brand":"Circle Of: Robert Anning Bell","offers":[{"title":"Default Title","offer_id":57538899280217,"sku":null,"price":2975.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA_316_Stained_Glass_Window_design_Low_Res_1740826508324_master.jpg?v=1776852536"},{"product_id":"kneeling-nude","title":"Kneeling Nude","description":"\u003cp\u003e\u003cspan\u003eMortimer Luddington Menpes, 1855-1938, was an Australian born English painter, printmaker, illustrator and author. Menpes left Australia in his early twenties with his family and came to London where he studied at the Royal Academy and other art institutions. In the 1880's he travelled to France where he met and befriended James McNeil Whistler and fell under his influence of Japanese art and motifs, following his travels to Japan he returned to London where he had his first one man exhibition. It was a great commercial success and it inspired him to travel further afield where he visited , India, Burma, China, Italy, Spain, and many other countries, and during the Boer War he travelled to South Africa as a war artist. Menpes was an efficient anecdotalist and attended and hosted many fashionable parties in London, where he mixed with all the high society personages of the time and he was also Godfather to Oscar Wilde's son Vyvyan. This picture of a seated nude is monogrammed MM and this is identical in all the Artist Signature and Monogram books that we have where we searched to identify the artist. However having concluded that this is most likely his own identification mark we are bound to offer this drawing as his own work but with the reserved position of attribution. During the period when Menpes was most prolific he would have been aware of the post impressionist painters in France, it is therefore assumed that this drawing is possibly influenced by his trips to Japan and also Amadeo Modigliani which to those familiar with his work should be able to see the similarity. The frame is modern and sufficient but as personal taste in frames is a difficult subject to breach we have left this frame in place and we have adjusted the price of the picture, as is, accordingly.\u003c\/span\u003e\u003c\/p\u003e","brand":"Attributed to: Mortimer Menpes","offers":[{"title":"Default Title","offer_id":57539615687001,"sku":null,"price":3750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1740938150582_master.jpg?v=1776859488"},{"product_id":"seated-nude-2","title":"Seated Nude","description":"\u003cp\u003e\u003cspan\u003eMortimer Luddington Menpes, 1855-1938, was an Australian born English painter, printmaker, illustrator and author. Menpes left Australia in his early twenties with his family and came to London where he studied at the Royal Academy and other art institutions. In the 1880's he travelled to France where he met and befriended James McNeil Whistler and fell under his influence of Japanese art and motifs, following his travels to Japan he returned to London where he had his first one man exhibition. It was a great commercial success and it inspired him to travel further afield where he visited , India, Burma, China, Italy, Spain, and many other countries, and during the Boer War he travelled to South Africa as a war artist. Menpes was an efficient anecdotalist and attended and hosted many fashionable parties in London, where he mixed with all the high society personages of the time and he was also Godfather to Oscar Wilde's son Vyvyan. This picture of a seated nude is monogrammed MM and this is identical in all the Artist Signature and Monogram books that we have where we searched to identify the artist. However having concluded that this is most likely his own identification mark we are bound to offer this drawing as his own work but with the reserved position of attribution. During the period when Menpes was most prolific he would have been aware of the post impressionist painters in France, it is therefore assumed that this drawing is possibly influenced by his trips to Japan and also Amadeo Modigliani which to those familiar with his work should be able to see the similarity. The frame is modern and sufficient but as personal taste in frames is a difficult subject to breach we have left this frame in place and we have adjusted the price of the picture, as is, accordingly.\u003c\/span\u003e\u003c\/p\u003e","brand":"Attributed to: Mortimer Menpes","offers":[{"title":"Default Title","offer_id":57541104566617,"sku":null,"price":3750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1740929421672_master.jpg?v=1776860807"},{"product_id":"view-of-a-dutch-harbour-possibly","title":"View of a Dutch Harbour, possibly imaginary","description":"\u003cp\u003e\u003cspan\u003eThe picture is in ink and watercolour and displays the view of a Harbour with a distant town in the background which at this point is still unknown despite many hours research of our staff searching. This picture has been the property of a well known and important London gallery, we acquired the picture on the assumption of discovering the painter, which we now believe to be Richard Dadd 1817-1886, due to the picture being subject to having been painted with obsessive detail, and the date, which due to the images highlighted within the additional depictions there is a date of 1838, it is worth noting that Dadd would have only been around the age of or 21-22 when this picture was painted and although Dadd was admitted to the Royal Academy Art Schools at the age of 20 he was considered to be among the leading Victorian artists of the day. In 1842 he was chosen to travel through Europe on his way to the middle East including, Greece, Turkey , Syria , Jerusalem , Jorden and Egypt. Dadd had a vivid imagination and he could well have imagined this picture without actually visiting the scene, it is after all a strange position to hold of the view , consequently this maybe the reason for our failure to discover the scene. The painter, according to the level of the eye would have to have been sitting in a crows nest on a ship, which is highly unlikely due stillness required for the detail, or the whole composition is imaginary, which we now think highly probable. Dad was of unsound mind and admitted to a psychiatric Hospital where he remained for the rest of his life, however he was encouraged to continue to paint and this is where he produced some of his best pictures, there are exhibits of his works in the Tate Gallery , the British Museum, Yale and the Louvre among many others. I have included a further extensive biography of Dadd which you may find of interest. Richard Dadd (1817–1886) was a singular figure in Victorian art whose career was tragically and definitively bisected by mental illness. Originally a rising star of the London art scene, Dadd is today recognized for his technical precision and a visionary style that flourished during more than four decades of institutional confinement. Born in Chatham, Kent, Dadd was a precociously talented student at the Royal Academy Schools, where he became a founding member of \"The Clique,\" a group of artists who challenged academic conventions. He gained early acclaim for his delicate \"fairy paintings,\" a popular Victorian genre he imbued with unusual psychological depth. In 1842, Dadd accompanied Sir Thomas Phillips on a ten-month \"Grand Tour\" of Europe and the Middle East to document the journey. The grueling trip, particularly the exposure to the sun and intense environments of Egypt and Syria, is often cited as the catalyst for his mental collapse. During this time, he began to experience religious delusions, believing himself to be under the influence of the Egyptian god Osiris. Upon his return to England in 1843, Dadd’s condition deteriorated into what modern scholars identify as a form of schizophrenia. In August of that year, acting on a perceived divine command, he murdered his father in Cobham Park, Kent. After fleeing to France and attempting further violence, he was apprehended and subsequently committed to the \"criminal lunatic\" department of Bethlem Royal Hospital (Bedlam) in 1844. He was later transferred to the newly opened Broadmoor Hospital in 1864, where he remained until his death in 1886. Despite his incarceration, Dadd was encouraged by enlightened physicians to continue painting. His asylum works are characterized by: His technique involved an \"obsessive\" and \"painstaking\" application of paint, often utilizing a stippling method derived from miniature painting. Barred from the natural world, Dadd relied on his extraordinary visual memory of his Middle Eastern travels to create complex landscapes and genre scenes. His most celebrated masterpieces, The Fairy Feller’s Master-Stroke (Tate Britain) and Contradiction: Oberon and Titania, were both produced during his confinement. He produced a notable series titled Sketches to Illustrate the Passions, which explored human emotions through a cryptic, often disturbing lens. Long forgotten after his death, Dadd’s work was rediscovered in the 1960s and 70s, leading to a major retrospective at the Tate in 1974. Today, he is studied not merely as a clinical curiosity, but as a sophisticated artist who successfully translated an inner \"terra incognita\" into some of the most compelling imagery of the 19th century.\u003c\/span\u003e\u003c\/p\u003e","brand":"Vaughan Fine Art","offers":[{"title":"Default Title","offer_id":57541267718489,"sku":null,"price":4850.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_531abce1-8ae4-4854-824d-91cb2edeabd6.png?v=1787600949"},{"product_id":"u-r-mind-blowing","title":"U.R. Mind blowing","description":"\u003cp\u003e\u003cspan\u003eLeila Olga Sabine Edwige Pissarro born 27th July 1963, is a French contemporary artist who lives in London, she is the great granddaughter of the impressionist painter Camille Pissarro. As a child Leila learnt the fundamentals of impressionist and post impressionist painting, attributions passed down generations of a family of talented and lauded great artists. Her work is regularly exhibited throughout the World and primarily at the Stern Pissarro Gallery in London. This picture is acrylic with diamond dust on paper, which resonates with the contemporary art scene in London familiar in the late 1990's, this work was produced in 2006 and is still depicted as contemporary today as when it was first produced, this work is as timeless in subject as in it's production which will reverberate with various collectors of contemporary art. The name Pissarro is synonymous with the greatest artistic talent of the 19th and 20th Centuries and this picture is an addition and a compliment to the tradition of certainly one of the most talented families of artists in the history of art and which as you see is still ongoing this very day.\u003c\/span\u003e\u003c\/p\u003e","brand":"Lélia Pissarro, Figurative","offers":[{"title":"Default Title","offer_id":57598124753241,"sku":null,"price":350.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/2_529db1de-fad6-4489-a23f-4c3d34b1b373.png?v=1776864496"},{"product_id":"a-view-on-the-highgate-road-and-the-birmingham-tally-ho-coach","title":"A View on the Highgate Road \u0026 The Birmingham Tally Ho Coach","description":"\u003cp\u003e\u003cspan\u003eJames Pollard 1892-1867, was an English painter, watercolourist and engraver whose artistic talents were the depiction of coaching, hunting, fishing and horse racing scenes. He is famously remembered for his pictures of coaching scenes on the Highgate and North Islington Roads and the documentation of such which represented a past history of travel in a bygone age where the public saw the demise of the coach and the onset of railway travel. James was trained by his father who was a painter, engraver and print publisher, initially he worked in the family business as a draughtsman and engraver. James lived within the Highgate Road, Islington, North London, area and knew the coaching routes moved within the immediate area travelling to Birmingham and the North of England, the coaches would stop for refreshments which would create to a young man an addictive interesting atmosphere of a busy staging post. In 1821 the Kings print seller commissioned James Pollard to paint an Inn Signboard which included a coach and horses and passengers, the signboard was placed in a Bond Street window and a large number of commissions followed which established Pollards reputation. James Pollard also worked with Frederick Herring Senior on various horse racing pictures. This lot is 2 pictures a compliment of coaching scenes showing the activity of travel in the early 19th Century, they are hand coloured prints known as aquatints, they are 'A View of the Highgate Road' and 'The Birmingham Tally Ho'. They are held in old and tired original Hogarth frames and have been left in place for authenticity, and have been on my own home wall for the last 45 years.\u003c\/span\u003e\u003c\/p\u003e","brand":"After: James Polllard","offers":[{"title":"Default Title","offer_id":57598431232345,"sku":null,"price":950.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/2_3123e53b-d3d4-42da-9c7d-5714ff5f41f3.png?v=1776882213"},{"product_id":"elwaerd-iv","title":"Elwaerd IV","description":"\u003cp\u003e\u003cspan\u003eKate Wyatt 1956, is a living artist based in The United Kingdom. She is predominantly a wildlife artist who has sold something in the region of 100,000 prints. This painting in watercolor and mixed media is a large example of her work and there are few examples of this size which come onto the open market. Within the composition she has used plant material to add to the activity surrounding what appears to be a startled hare going about his daily search for food. The detail in the production in this picture and the expression of the hare is outstanding.\u003c\/span\u003e\u003c\/p\u003e","brand":"Kate Wyatt","offers":[{"title":"Default Title","offer_id":57598996709721,"sku":null,"price":1850.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_92075c59-215f-4b71-af9a-15643c07d79b.png?v=1787584669"},{"product_id":"lord-david-cecil","title":"Lord David Cecil","description":"\u003cp\u003e\u003cspan\u003eAlbert Daniel Rutherston 1881-1953, was an English artist who painted, portraits, landscapes, illustrated books and designed stage sets. Two of his brothers were Sir William Rothenstein and Charles Rutherston, an artist and a collector of art. He knew a great many academics and notable people and Lord David Cecil was one, this portrait of Cecil was carried out in 1945, he was a prominent author, historian and scholar, he attended Oxford where he probably met Rutherston and as a result this portrait was produced. The picture is mounted in a imitation tortoiseshell frame.\u003c\/span\u003e\u003c\/p\u003e","brand":"Albert Rutherston","offers":[{"title":"Default Title","offer_id":57599063392601,"sku":null,"price":475.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_508c0666-66e9-48ec-8387-c02e73726f9e.png?v=1787249535"},{"product_id":"eltham-london-1","title":"Eltham, London","description":"\u003cp\u003e\u003cspan\u003eFrancis Dodd R.A. 1874-1949, was an English landscape and portrait painter, draftsman and etcher. He attended the Glasgow School of Art and travelled through Europe, France, Italy and Spain, after which he returned to England, he settled in Manchester and later moved to Blackheath in South East London where he spent the rest of his life. This picture was painted within reach of his home before the second World War. Dodd was an official War artist and he became a full member of the Royal Academy in 1935.\u003c\/span\u003e\u003c\/p\u003e","brand":"Francis Dodd","offers":[{"title":"Default Title","offer_id":57795140714841,"sku":null,"price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_3054374f-5dbe-4df0-9294-a94b58b307cd.png?v=1776087888"},{"product_id":"sunset-1","title":"Sunset","description":"\u003cp\u003e\u003cspan\u003eBenjamin Williams Leader 1831-1923, was an English landscape painter, he exhibited at the Royal Academy from the age of 23 and continued every year until 1922. He was a very popular painter and his works in constant demand by wealthy buyers, this picture is undated but it may well be one of his earlier paintings but certainly 19th Century.\u003c\/span\u003e\u003c\/p\u003e","brand":"Benjamin Williams Leader","offers":[{"title":"Default Title","offer_id":57796467491161,"sku":null,"price":850.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/KA140-_Benjamin_Williams_Leader_2__master.jpg?v=1776098839"},{"product_id":"collection-of-8-pencil-signed-etchings-of-various-locations","title":"Collection of 8 pencil signed etchings of various locations","description":"\u003cp\u003e\u003cspan\u003eWilliam Walcot 1874 - 1943, was one of the most celebrated architectural draughtsmen and printmakers working in England between the two World Wars. Known as \"the architects' etcher,\" his unique style combined exact perspective geometry with a vibrant, impressionistic touch that perfectly captured the grandeur of historic and contemporary cities. Walcot was born at Lustdorf, near Odessa (now Ukraine), to a mixed Scottish-Russian family. He grew up travelling throughout Western Europe and South Africa before returning to Russia at age 17. He studied architecture under Leon Benois at the Imperial Academy of Arts in Saint Petersburg and completed further training at the École des Beaux-Arts in Paris. Before establishing himself in the UK, Walcot spent several years practicing as an architect in Moscow. He became a notable practitioner of the Russian Art Nouveau style (Style Moderne), famously designing the historic Hotel Metropol (completed in 1905). In 1906, Walcot emigrated to England and settled in London. While he rarely returned to actual construction—designing only one London building at 61 St James's Street—he became the most sought-after architectural illustrator of his era. Master architects like Sir Edwin Lutyens, Herbert Baker, and Aston Webb routinely commissioned Walcot to create evocative presentation drawings of their designs. He was elected to the Royal Society of British Artists in 1913, the Royal Society of Painter-Etchers and Engravers in 1920, and was made a Fellow of the Royal Institute of British Architects (RIBA) in 1922. Walcot developed a highly innovative printmaking technique influenced heavily by his mentor and close friend, Frank Brangwyn. Defying traditional British etching customs, Walcot preferred oversized zinc plates over copper and occasionally applied nitric acid directly to the plate to produce dramatic, textured tones. His printmaking fell into two main categories:Classical Antiquity: He was famous for imagined, archeologically informed reconstructions of ancient Rome, Greece, Babylon, and Egypt. He captured the sweeping energy of global hubs, publishing a famous folio titled Architectural Watercolours and Etchings of William Walcot in 1919. London was Walcot’s greatest muse, and his works serve as a vital visual record of the city's changing face leading up to World War II. His London plates are defined by soaring monumental buildings contrasted against blurry, ghostly crowds and early motor cars. Famous examples include: The Strand and Trafalgar Square: Portraying the buzzing movement and architectural layers of the West End. Ludgate Hill (1921): A masterpiece of drypoint and aquatint depicting a bustling street scene with the massive dome of St Paul's Cathedral faintly materialising in the background. Westminster Bridge \u0026amp; Parliament: Highlighting the dramatic gothic silhouettes of the political heart of the empire. The Reconstruction of Piccadilly: Documenting the real-time urban transitions of the 1920s. The modern print market crash following the 1929 Wall Street financial collapse severely damaged Walcot's primary source of income. Though he maintained some business through private patrons, the outbreak of World War II completely devastated his remaining architectural practice. Suffering from poor health and deep depression, Walcot tragically died by suicide after falling from a nursing home window in Hurstpierpoint, Sussex, on 21 May 1943. Today, his works are heavily collected, and his legacy is honored by institutions globally, with his original painting palette preserved at RIBA in London. This group of eight pencil signed etchings contain a variety of views, including, Trafalgar Square, London, Piccadilly Circus, London, Fleet Street, London, etc. also include Florence and Rome. They are offered here as one lot , eight pictures, they have been professionally cleaned and framed sympathetically with non reflective glass to a 1920's styled frame, they all include the original plate marks and pencil signatures of the artist.\u003c\/span\u003e\u003c\/p\u003e","brand":"William Walcot R. E. Hon. R. I. B. A.","offers":[{"title":"Default Title","offer_id":58734663270745,"sku":null,"price":6500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_a206c05e-9145-4165-ad53-3aa2e06837e9.png?v=1787234243"},{"product_id":"seated-nude-3","title":"Seated Nude","description":"\u003cp\u003e\u003cspan\u003eFrank Owen Dobson C.B.E. R.A. , was an English artist, teacher and sculptor. Dobson was born in London and his father was a commercial artist, bird and flower designs for greeting card companies, this influenced Dobson in the earlier part of his career. Dobson began as a painter but increasingly turned to sculpture and built a reputation for outstanding sculpture in the realist style and firstly through direct carving and moving onto modelling which lead to bronze production but in small numbers. This portrait is from the earlier part of his career and represents his early realistic style and still under the influence of the Victorians, he later moved onto cubist mannerisms and included partial colors into his drawings. This picture is signed. I have included a short biography of Frank Dobson for your interest. Frank Dobson (1886–1963) was a pivotal figure in the development of British Modernism and one of the most significant sculptors of the interwar period. While his reputation was later eclipsed by younger contemporaries like Henry Moore and Barbara Hepworth, Dobson was instrumental in introducing avant-garde aesthetics to British sculpture. Born in London, Dobson began his artistic journey as an apprentice to the sculptor Sir William Reynolds-Stephens. He initially focused on painting, studying at the Leyton Technical Institute and later the City and Guilds of London Art School. His early exposure to the works of Post-Impressionists and the influence of Roger Fry’s Omega Workshops shifted his focus toward simplified, rhythmic forms. Following service in the First World War, Dobson transitioned fully to sculpture. He became a founding member of Group X in 1920, an experimental collective led by Wyndham Lewis. During this era, Dobson emerged as the primary British practitioner of \"Direct Carving,\" a method that rejected the traditional academic process of clay modelling for bronze casting in favour of working directly into stone or wood. Dobson’s work is characterised by a harmonious blend of classical tradition and modern abstraction. His key contributions include: Reducing the human figure to essential geometric volumes. Drawing inspiration from Assyrian and Egyptian sculpture, as well as the work of Constantin Brâncuși. Achieving a weight and presence in his figures, most notably in his celebrated Cornucopia (1925–27). In the 1930s, Dobson moved toward more naturalistic, terra-cotta works and portraiture. Despite the rise of pure abstraction, he remained a prestigious figure in the art world, serving as the Professor of Sculpture at the Royal College of Art from 1946 to 1953, a position that Henry Moore helped him to achieve. He was elected a Royal Academician in 1953, cementing his status as a bridge between the radical innovations of the 1920s and the established British art tradition.\u003c\/span\u003e\u003c\/p\u003e","brand":"Frank Dobson","offers":[{"title":"Default Title","offer_id":58868952269145,"sku":"KA 7","price":1150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_7eb0dc3c-ba50-4711-a7cb-c8efa7247132.png?v=1787582927"},{"product_id":"seated-nude-study","title":"Seated Nude Study","description":"\u003cp\u003e\u003cspan\u003eFrank Dobson (1886–1963) was a pioneer of British modernist sculpture. He led the transition from Victorian academicism to \"pure form\" and direct carving. There is another drawing of Frank Dobson's work of ours on this website which includes another variation of his biography. This picture is unusually large for Dobson and is signed and dated 1947. He was born in 1886 in London. He studied at City and Guilds of London Art School. He worked under the sculptor Sir William Reynolds-Stephens. Dobson, as his father, was originally a painter and shifted to sculpture after seeing works of Post-Impressionism. Dobson was a Member of the London Group and Group X. He further promoted direct carving (working straight into stone or wood). He focused on the female nude, simplified into rhythmic, monumental shapes. Within the Tate Gallery a prominent work by Dobson is called Cornucopia (1925–27) and is considered a masterpiece of British modernism. Dobson was the elder statesman who paved the way for Henry Moore and Barbara Hepworth. In the 1920s, Dobson was the top-tier British sculptor and draughtsman . Dobson helped found the Seven and Five Society, which Moore later joined. By the 1930s, Moore’s radical abstraction began to overshadow Dobson's more classical modernism. Despite becoming rivals for commissions, Moore acknowledged Dobson for \"breaking the ice\" for modern sculpture in Britain. Dobson both served as Official War Artist during WWII; Dobson focused on the Home Front and dockyards. Dobson taught as the Head of Sculpture at the Royal College of Art (1946–1953), this position he obtained with the help of Henry Moore. He was elected a Royal Academician in 1953. Dobson died in London in 1963. Though his fame dipped mid-century, he is now celebrated as the critical link between traditional craft and 20th-century abstraction. Without Dobson’s early success, Moore might have struggled to find an audience for modern sculpture.\u003c\/span\u003e\u003c\/p\u003e","brand":"Frank Dobson","offers":[{"title":"Default Title","offer_id":58869028946265,"sku":"KA 38","price":1450.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_44e0bdc2-fd97-45ae-ab40-6faec11345e4.png?v=1787305695"},{"product_id":"cupid-carving-his-bow","title":"Cupid Carving His Bow","description":"\u003cp\u003e\u003cspan\u003eCupid Carving His Bow (After Parmigianino) and we believe to be within the circle of Peter Paul Rubens (Flemish, 1577–1640), This rare, double-sided sheet features a line drawing executed in brown ink on laid paper, depicting a full-length, winged Cupid facing three-quarters to the right as he leans forward to carve his bow from the club of Hercules. Recto (Front View) Shows the complete composition rendered in a fluid, confident contour outline with minimal internal shading, emphasizing muscular anatomy reminiscent of the Flemish Baroque tradition. Verso (Reverse View): Reveals that the drawing is an artistic pricking canvas or transfer cartoon, heavily perforated along the primary ink lines for enabling a pouncing technique. This indicates the drawing was intended to transfer the design onto another surface, such as a panel, canvas, or printmaking plate, by dusting charcoal powder through the holes. The subject directly replicates the central figure from Parmigianino’s famous Mannerist masterpiece, Cupid Making His Bow (c. 1533–1535, Kunsthistorisches Museum, Vienna). However, while Parmigianino’s original composition captures Cupid looking back seductively over his left shoulder at the viewer, this specific variation features an adjusted head angle with Cupid looking downward at his work, a softer facial profile, and a more robust, athletic physique. Images from this drawing was formally inspected by the prominent art historian and Northern Baroque specialist Prof. Dr. Nils Büttner. While Dr. Büttner could not assign a definitive attribution to a specific hand, the muscular modeling of the wings, the heavy proportions of the putto, and we ourselves at the Vaughan Gallery are sanguine enough to attribute the energetic contours that strongly align with the workshop circle and expressive style of Peter Paul Rubens. Rubens famously studied and copied Parmigianino’s Cupid Making His Bow during his career, with his own painted copy now residing in the Alte Pinakothek in Munich. Brown ink on laid paper, extensively pricked for transfer (pouncing). Date: Mid-17th Century. Visible aging consistent with the period, minor edge fraying, and a small historic corner repair at the top left. This picture is unsigned and is a rare 17th century example of a confident and extremely competent draughtsman, as such the artist deeming to copy a famous work by Parmigianino, and the manner of the depiction is within the style and circle of Peter Paul Rubens ( 1577 -1640 ) .\u003c\/span\u003e\u003c\/p\u003e","brand":"Peter Paul Rubens","offers":[{"title":"Default Title","offer_id":58869037400409,"sku":"KA 211","price":9500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_3799a3d0-56e8-4ab1-928c-7622e5c995c0.png?v=1787304993"},{"product_id":"urban-village-landscape-with-trees-and-figures","title":"Urban Village Landscape with Trees and Figures","description":"\u003cp\u003e\u003cspan\u003eThis picture is sold as ' circle of ' Xul Solar. This captivating, whimsical work presents a densely clustered hillside town executed in the artist’s signature avant-garde, neo-primitive style. The upper two-thirds of the composition features a labyrinthine village of tightly overlapping, geometric houses. The structures are rendered in an earthly yet varied palette of muted browns, ochres, greens, and soft pinks, punctuated by tiny windows, pitched roofs, and chimney stacks. The buildings are outlined with delicate, expressive ink lines that lend the structures an organic, almost breathing quality. In the foreground, a expansive grassy meadow or public square slopes toward the viewer. Scattered across the field are stylized, simplified human figures wearing dark coats and brimmed hats, walking in small groups or pairs. The fluid, transparent watercolor washes and gestural pencil markings capture a sense of quiet community life, while a few minimalist birds soar in the sky above. This picture is signed and dated 1929. I have included a biography of the artist Xul Solar. Alejandro Xul Solar (born Oscar Agustín Alejandro Schulz Solari) was an Argentine painter, sculptor, writer, and inventor. He was one of the most enigmatic figures of the 20th-century Latin American avant-garde. His close friend, the legendary author Jorge Luis Borges, famously called him \"a man capable of spaces\" and \"one of the most singular events of our era\". Xul Solar did not just paint worlds; he spent his entire life inventing them. He combined a unique vocabulary of spiritualism, linguistics, and mathematical architecture into a highly idiosyncratic visual style. Born on December 14, 1887, in San Fernando, Buenos Aires Province. His father was a Baltic German immigrant from Latvia, and his mother was Italian. He initially studied music and spent two years studying architecture at the University of Buenos Aires. He dropped out to pursue broader intellectual interests. In 1912, he boarded a freight ship to work his way to Europe, where he stayed for twelve years traveling through England, France, Germany, and Italy. In 1916, he officially adopted the pseudonym Xul Solar. \"Solar\" honored his mother’s surname, while \"Xul\" reversed the Latin word lux (light)—meaning \"Light of the Sun\". While traveling Europe during World War I, he was heavily influenced by German Expressionism, Paul Klee, and the Italian Futurists. He also grew deeply connected to esoteric thought, mysticism, and astrology. Xul Solar returned to Buenos Aires in 1924. He quickly integrated into the radical Martín Fierro group (also known as the Florida group), an intellectual movement looking to throw out conservative academicism. His paintings from the 1920s to the 1940s became iconic. Rather than working on massive canvases, Solar preferred painting detailed, jewel-like watercolors and tempera on small cardboards. His artwork from this period frequently depicts pre-Columbian step pyramids mixed with floating geometric cities, mechanical flying vessels, and celestial staircases (Vuel Villa, 1936). Flag-waving structures, numeric codes, astrological glyphs, and religious references spanning Kabbalah, Buddhism, and Egyptian mythology. Xul Solar rejected the label of just being a painter; he viewed himself as a multi-disciplinary cosmic thinker. He invented Neo-Criollo, a poetic fusion of Spanish and Portuguese designed to unite Latin America. He also built Pan-Lingua, a universal language based entirely on mathematics, astrology, and musical tones. He fundamentally modified traditional chess into a three-dimensional game played on a modified board. Moves did not just serve a strategic role; they also corresponded to vowels, consonants, and astrological elements, allowing players to compose poetry while playing. He re-engineered traditional acoustic pianos, altering the keys and adding rows of color-coded keys to bridge the gap between sound and visual palette. In his twilight years, Xul Solar moved away from bright, crowded utopias. His work shifted to a series of monochrome drawings and calligraphic landscapes called Grafías (scriptures). He moved to a peaceful house in the riverside town of Tigre, Argentina, where he spent his time calculating astrological charts and translating texts. In 1962, a year before his death, he enjoyed a major triumphant retrospective exhibition at the Musée National d'Art Moderne in Paris. He passed away on April 9, 1963, at the age of 75. Today, his home studio in Buenos Aires serves as the Fundación Pan Klub (Museo Xul Solar), which preserves his artwork, personal library, custom chessboards, and modified pianos. His work continues to be celebrated globally as a unique, fantastical bridge between European modernism and Latin American magical realism.\u003c\/span\u003e\u003c\/p\u003e","brand":"Xul Solar","offers":[{"title":"Default Title","offer_id":58869051031897,"sku":"KA 273","price":4750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_ba04d417-e79b-4f10-bc53-8bd9040490b8.png?v=1787251237"},{"product_id":"a-family-scene-in-pompeii-1","title":"A Family Scene in Pompeii","description":"\u003cp\u003e\u003cspan\u003eRosa Maud \/ MIranda Banks ( 1883 - 1943 ? ), was an English watercolourist and draughtswoman. Rosa Banks was a amateur artist, a British painter who was active during the late 19th and early 20th Centuries. She was actively painting during the Victorian and Edwardian eras, she painted recreationally and as a private hobby rather than exhibiting her work commercially or professionally, she was clearly an extremely competent artist and her work is certainly comparable to the professional artists of her day, and I expect the only hindrance to her commercial progress was because of her personal and financial status which was held in high regard. Her biography is not preserved in the mainstream art history references or dictionaries of painters. She was the daughter of John Banks ( ? - 1904 ) a highly successful and prominent banker in his day and the family resided over the Bank of England in Threadneedle Street London. Consequently home life for Rosa Banks was directly influenced by the career of her prominent and wealthy family, she was in effect a lady of leisure where study and the luxury of art creation was her vocation. her socioeconomic and educational circumstances allowed her to be raised by a formidable household of servants, she excelled academically and young women from upper middle class families were tutored in painting an essential accomplishment at the time, and they were encouraged to copy rather than invent compositions they were honed to copy the masters as in this painting which is a direct and extremely accomplished copy of Pierre Olivier Joseph Coomans ( 1816-1889 ). The original painting is in oil paint. The setting is a meticulously reconstructed Roman atrium featuring vibrant Pompeian walls adorned with mythical figures and a classical water feature. The room is decorated with vases, lamps and an animal skin rug all of which denote an air of luxury that might well be familiar with the painter and may well be the reason for this beautifully executed copy. Rosa Banks was well travelled and in her later years it shows according to the 1911 census, that she was living with her mother in Reigate Surrey, not far from where I discovered this painting, and I conclude that the picture has remained with the original family until now. It was customary for amateur painters to gift their works to friends and family, and this picture being of exceptional quality was the very reason it has been held onto for so many years and within the immediate location of the family dwelling. This watercolor has been professionally cleaned and framed by our well respected conservator and framer. The picture is unsigned by Rosa Banks but it is ascribed to the reverse side and all the accompanying paintings and literature is in her name, this was bought as a collection of her works, all are watercolors which will be conserved and listed on this website at some point in the future.\u003c\/span\u003e\u003c\/p\u003e","brand":"Rosa Maud Banks","offers":[{"title":"Default Title","offer_id":58869085471065,"sku":"KA 443","price":4250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_943f238a-b5ec-4fe6-ad90-fd6b615f1b15.png?v=1787239452"},{"product_id":"mother-and-child","title":"Mother and Child","description":"\u003cp\u003e\u003cspan\u003eOnofrio Palumbo 1606-1656, was an Italian artist born in Naples and he was a painter of the Baroque Period. He studied under Caracciolo and later Gentileschi. He painted a number of works for many churches and monasteries. This drawing was catalogued as 17th Century but I believe it to be later and by a deferential hand, certainly not Palumbo. I believe the picture is typical of the style of Palumbo and we are looking for an attribution of a 19th Century painter that travelled to Naples and probably had drawn the picture there. The picture is housed in a Florentine frame which again dates from the 19th Century, but is a constant requirement for Italian carved wood frames for the Baroque Period. The picture is signed by way of initials, 'OPF', Onofrio Palumbo 'Fecit'. I have included a brief scholarly biography of the painter Palumbo which highlights the abilities of the artist. Onofrio Palumbo (1606–c. 1656) was a significant Italian painter of the Neapolitan Baroque, primarily recognised as a master of the Caravaggistic tradition and a pivotal collaborator of Artemisia Gentileschi. Born in Naples, Palumbo began his apprenticeship under Battistello Caracciolo, one of the first and most influential Caravaggisti in the city. His early style was deeply rooted in this naturalist tradition, later evolving to incorporate the more refined, classicising influences of Massimo Stanzione. By the 1630s, Palumbo began a lengthy and prolific association with Artemisia Gentileschi during her Neapolitan period. Scholarly research identifies him as her principal collaborator in her later years, often completing her compositions or contributing significant portions to major works such as Susanna and the Elders (1652) and Abraham and the Three Angels. Palumbo’s oeuvre is characterised by a careful balance between different Neapolitan trends: Caravaggism: His works often feature dramatic lighting and realistic human forms. Stanzionesco Influence: He adopted a smoother, more elegant approach to figures, typical of Massimo Stanzione. Late Transition: In his advanced career, he embraced the stylistic shifts introduced by Andrea Vaccaro, moving toward a more emotionally expressive and softer palette. Saint Januarius Protecting Naples from Lightning (1647\/1651): Located in the church of Santissima Trinità dei Pellegrini, this large-scale altarpiece includes a cityscape by the specialist Didier Barra. Portrait of Masaniello: A contemporary portrait of the famous Neapolitan revolutionary, currently held at the Certosa di San Martino. Annunciation and Adoration of the Shepherds: Found in the church of Santa Maria della Salute in Naples. Venus and Adonis: A notable secular work housed in the Musée Granet in Aix-en-Provence. Palumbo most likely died in 1656 during the devastating plague that struck Naples, an event that claimed a significant portion of the city's artistic community.\u003c\/span\u003e\u003c\/p\u003e","brand":"Onofrio Palumbo","offers":[{"title":"Default Title","offer_id":58869089698137,"sku":"KA 460","price":1850.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_787eed08-2b20-4eb9-b2f2-5f3299610e12.png?v=1787238917"},{"product_id":"factory-workers-homebound-in-the-rain","title":"Factory Workers Homebound in the Rain","description":"\u003cp\u003e\u003cspan\u003eGeorge Errol Fleming 1941 - is a Northern Irish born artist and lecturer, who is known for his social pictures of the Belfast region including an ability to draw in the manner of William Coldstream, without direct imitation. His early career was spent in the Royal Navy and the Merchant Navy later he attended Ulster University where he eventually became a tutor. This picture is unsigned. Below is a brief biography of the artist which I have listed for your information. The picture is in very good original condition and we are cataloguing the picture as unsigned . George Errol Fleming (born 1941) is a Northern Irish painter and lecturer whose work is deeply rooted in the social and historical landscape of Belfast. He is particularly noted for his figurative style, often executing charcoal drawings in the manner of William Conor, capturing the spirit and daily life of the working class with similar warmth and grit. Before pursuing a formal career in the arts, Fleming spent several years at sea, serving in both the Royal Navy and the British Merchant Navy. These maritime experiences frequently surfaced in his later artwork, such as in his piece Sailors and Tin Fishes, which is held in the collection of the Royal Navy Submarine Museum. Fleming transitioned to academia in the late 1980s: University of Ulster: He studied here from 1987 to 1991, graduating with a degree in fine art. He completed a postgraduate diploma in applied arts in 1992. He became a respected lecturer, teaching at his alma mater and leading workshops at the Ulster Folk and Transport Museum and the Harmony Hill Arts Centre. Fleming's work is characterised by its focus on \"public concerns and social issues,\" often using art as a medium for dialogue. Much like Conor, Fleming’s charcoal works emphasize the humanity and movement of his subjects, particularly the ordinary people of Ulster. He was instrumental in campaigning for the recognition of James Magennis, the only Northern Irishman to be awarded the Victoria Cross during WWII, which led to the memorial sculpture in front of Belfast City Hall. His solo exhibition Echoes (1993–1994) toured Northern Ireland, exploring themes of memory and the \"Long Walk Home\". He also produced the All God’s Children series, which explored different world faiths through figurative oil paintings. Fleming was a long-time associate of Queen Street Studios in Belfast. His work has been featured in several significant group and solo shows: Arts Council Gallery, Belfast (1988). Beyond the Partitions (1994), organised by Queen Street Studios. His paintings are held by the Northern Ireland Civil Service and the Royal Navy Submarine Museum. There is a similar but alternative biography below which displays the difference in technique between William Conor and George Fleming. William Conor’s artistic technique, which profoundly influenced George Errol Fleming, was defined by a spontaneous, \"unmediated\" approach to capturing the working-class life of Belfast. Conor was famously known as \"The People's Painter,\" a title Fleming continued through his own focused studies of social issues. George Errol Fleming adopted several specific methods pioneered by Conor: Conor developed a highly personal technique using crayons and wax on textured surfaces to achieve a rugged, uneven finish. This gave his charcoal and chalk drawings a distinct \"impromptu\" feel, suggesting a scene caught in a fleeting moment. To capture authentic, unposed moments, Conor would hide loose sketchbook pages inside a newspaper. He would pretend to read while secretly sketching people in the street. Fleming mirrored this dedication to capturing \"public concerns\" and the raw reality of the streets. His work rarely depicted stillness. Instead, he focused on lively movement, smiling faces, and social interaction, such as mill girls strolling or children in cinema queues. Fleming’s charcoal drawings similarly emphasise this human vitality and social dialogue. Both artists used charcoal to create dramatic light and shade, giving their working-class subjects a sense of \"heroic status\" and gravitas. While Conor recorded the Belfast of the early-to-mid 20th century, Fleming used these same \"Conor-esque\" techniques—heavy charcoal lines and textured shading—to bridge the gap to the modern era. Fleming’s series, such as Echoes, used these techniques to explore memory and the \"Long Walk Home,\" keeping the spirit of Conor’s figurative tradition alive in a contemporary academic context.\u003c\/span\u003e\u003c\/p\u003e","brand":"George Errol Fleming","offers":[{"title":"Default Title","offer_id":58869094383961,"sku":"KA 462","price":2750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0969\/9957\/1801\/files\/1_9d238c73-d1ec-422a-9a29-af84121feec0.png?v=1787237764"}],"url":"https:\/\/vaughanfineart.im\/collections\/paper.oembed?page=5","provider":"Vaughan Fine Art","version":"1.0","type":"link"}