‘Green Bay, Porthcurno’ by Samuel Phillips Jackson RWS (1830-1904). The painting is signed by the artist and dated 1862. Samuel Phillips Jackson’s early oil paintings are rare and spectacular, and none more so than the current work. ‘Green Bay, Porthcurno’ is the artist’s masterpiece and shares elements in common with William Holman Hunt’s ‘Strayed Sheep, Our English Coasts’. Aside from their obvious subjective similarity, the two paintings share a meticulous attention detail and exemplary draftsmanship, though where Holman Hunt’s Pre-Raphaelite palette is lurid, Jackson’s colouring is vivid and authentically true to nature. Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age having been professionally cleaned, conserved, and re-varnished. With their granite cliffs, pale sands and turquoise waters the beaches of Green Bay, Pedn Vounder, and Porthcurno below the headland of Logan Rock are considered some of the most beautiful in Europe.  The area was used as the beach location of the fictional Nampara Cove in the BBC drama series 'Poldark'. Samuel Phillips Jackson’s work is characterized by assiduous actuality, exemplary draftsmanship, and restrained colouring. His determination to stay true to nature and faithfully and painstakingly reproduce what he saw without the need for lurid colours and extraneous figures makes him one of the most gifted pure landscape painters of Victorian Britain. Between 1851 and 1893 Samuel Phillips Jackson exhibited 841 works at the Royal Society of Painters in Watercolour, 16 at the Royal Academy, and 9 at the British Institution. Today, examples of the artist’s work can be found in Tate Britain and the Victoria and Albert Museum in London, and the Fitzwilliam Museum of Cambridge University. Dimensions: (framed) 73cm x 103cm (28¾” x 40½”). Dimensions: (canvas only) 57cm x 88cm (22½” x 34¾”). Medium: Oil on canvas. Provenance: Private collection. Presentation: Bespoke gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.

‘The Grand Canal from St. Mark’s, Venice’ by Edward Pritchett RWS (1807-1876). The painting hangs in a superb gilded and sgraffito carved exhibition frame bearing insignias of the Lion of St. Mark. Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age having been professionally cleaned, conserved, and re-varnished. Edward Pritchett was one of the most gifted and successful 19^th century British painters Venetian scenes. Unlike a great many of his contemporaries, Pritchett spent time working in Venice whilst on a sketching tour of Europe in 1828. Every other biography of Pritchett you will have ever read will claim that “little is known of his life” other than he “spent more than three decades living and working in Venice”. Neither statement is true.

• For an accurate in-depth look at the life and work of Edward Pritchett visit the News & Articles page.

Between 1828 and 1864 Edward Pritchett exhibited a total of twenty-three paintings at the Royal Academy, the British Institution, and the Society of British Artists. Today his work can be found in numerous important collections including the Victoria and Albert Museum in London and the Yale Centre for British Art in New Haven, Connecticut. Dimensions: (framed) 90cm x 125.5cm (35½” x 49½”). Dimensions: (canvas only) 72cm x 107cm (28¼” x 42¼”). Medium: Oil on canvas. Provenance: Circa 1960: exhibited at the Cleveland Museum of Art, USA. Circa 1950; Frost & Reed, London. Private collection. Presentation: Carved and gilded exhibition frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.

‘Morecambe Bay’ by Alfred de Breanski ARCA (1852-1928). The painting - which depicts cattle grazing on Heysham salt marshes in Morecambe Bay with a view of the Old Man of Coniston and the fells of the Lake District in the background – is signed by the artist and dated 1877, in which year it was exhibited at the Royal Academy in London. Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age having been professionally cleaned, conserved, and re-varnished. Alfred de Bréanski was one of the most popular and successful landscape painters of late Victorian Britain. Between 1869 and 1919 he exhibited at all the major national venues including the Royal Academy, the Royal Society of British Artists, the British Institution, Grosvenor Gallery, Royal Cambrian Academy, Royal Hibernian Academy and the Walker Gallery in Liverpool. Dimensions: (framed) 92cm x 143cm (36¼” x 56¼”). Dimensions: (canvas only) 77cm x 128cm (30¼” x 50¼”). Medium: Oil on canvas. Provenance: 1887; exhibited at the Royal Academy in London (no.213). Private collection. Presentation: Bespoke gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.

‘A Scion of a Noble’ by Andrew MacCallum (1821-1902). The painting is signed by the artist and dated 1889, in which year it was exhibited at the Grosvenor Gallery in London. At first glance the title of the painting appears to refer to the aristocratic young gentleman in hunting pinks on horseback in conversation with his gamekeeper. However, because the artist is one of England’s greatest ever tree painters it also alludes to the oak tree towering above him, no less the offspring of a noble line. We are left wondering if the young lord is in his own way as crooked and shady as the tree. Academy Fine Paintings is fully conversant with the latest American Government import duties and the legal exemptions which, under the supreme law of the U.S. Constitution, enables us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age having been professionally cleaned, conserved, and re-varnished. Andrew MacCallum entered the Government School of Art (the future Royal College of Art) in 1852 where he was taught by Richard Redgrave RA (1804-1888) and John Rogers Herbert (1810-1890). Of all the fine painters to emerge during the 1850s, either through what became known as “the South Kensington System” or the Royal Academy Schools, there was no finer draftsman than Andrew MacCallum. His meticulously detailed pure landscapes are glorious celebrations of the English countryside. Between 1849 and 1889 Andrew MacCallum exhibited 53 times at the Royal Academy as well as at the British Institution, the Royal Society of British Artists, the Grosvenor Gallery and the Dudley Gallery in London, and internally at the Paris Salon, the Metropolitan Museum of Art in New York, and the Centennial Exhibition in Philadelphia. Today his paintings can be found in Tate Britain and the Victoria and Albert Museum in London.

• More about the painting and the life and career of Andrew MacCallum is available at the News & Articles page of the Academy Fine Paintings website.

Dimensions: (framed) 107cm x 79cm (42” x 31”) Dimensions: (canvas only) 90cm x 62cm (35½ x 24½”) Medium: Oil on canvas. Provenance: 1889: exhibited at the Grosvenor Gallery in London. Private UK collection. Presentation: Bespoke gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.

‘Crepuscular Rays’ by Henry Dawson RBA (1811-1878). The painting – which depicts shipping off the English coast at sunset – is signed by the artist and dated 1863. Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age having been professionally cleaned, conserved, and re-varnished. Between 1838 and 1875 Henry Dawson exhibited at the Royal Academy, the British Institution, the Liverpool Academy, the Portland Gallery, and the Royal Society of British Artists to which he was elected a full member in 1875. His hugely skillful paintings earned him the patronage of several of the most important art collectors of Victorian Britain including James Orrock, John Miller, and John Burton. Following the death of J.M.W. Turner in 1851, Burton told Henry Dawson that his “powers are not equalled by any living or working man."

• More about the life and career of Henry Dawson can be found at the News & Articles page of the Academy Fine Paintings website.

In 2000 Dawson's 1857 painting of a sunset over ‘The New Houses of Parliament, Westminster’ sold at Phillips in London for £185,000. Today, works by Dawson feature in the collections of the Walker Gallery in Liverpool and the Victoria and Albert Museum in London. Dimensions: (framed) 68cm x 93cm (26¾ x 36½”) Dimensions: (canvas only) 52cm x 77cm (20½” x 30¼”) Medium: Oil on canvas. Provenance: Christie's, London, 7^th March 2002. Private Italian collection. Literature: ‘The Life of Henry Dawson, Landscape Painter’ (1891) by Alfred Dawson. Presentation: Fine quality gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘Piazza San Marco from the Palazzo’ by Edward Pritchett RWS (1807-1876). The painting – which depicts St. Mark’s Square and the Campanile seen from the Porto della Carta entrance to the Doge’s Palace in Venice – is presented in a newly commissioned Chippendale design gold metal leaf frame. Edward Pritchett was one of the most gifted and successful British vedute painters of the 19^th century. Unlike a great many of his contemporaries, Pritchett spent time working in Venice whilst on a sketching tour of Europe in 1828. Every other biography of Pritchett you will have ever read will claim that “little is known of his life” other than he “spent more than three decades living and working in Venice”. Neither statement is true. For very much more about the life and work of Edward Pritchett visit the News & Articles page of the Academy Fine Paintings website. Between 1828 and 1864 Edward Pritchett exhibited a total of twenty-three paintings at the Royal Academy, the British Institution and with the Society of British Artists at the Suffolk Street Gallery. Today his work can be found in numerous important collections including the Victoria and Albert Museum in London and the Yale Centre for British Art in New Haven, Connecticut. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Dimensions: (framed) 61cm x 51cm (24” x 20”). Dimensions: (canvas only) 46cm x 36cm (18¼” x 14¼”). Medium: Oil on canvas. Provenance: Private UK collection. Presentation: Newly commissioned Chippendale design gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘The Thames at Pangbourne’ by Keeley Halswelle ARSA, ROI (1831-1891). The painting is signed by the artist and dated 1877 (and 1882 when it was retouched by the artist). It is presented in a bespoke gold metal leaf frame. Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age having been professionally cleaned, conserved, and re-varnished. John Keeley Halswelle studied at the Royal Scottish Academy in Edinburgh, and in 1862 made his debut at the Royal Academy in London where he continued to exhibit for next thirty years. Although the artist’s early work primarily consists of English or Scottish scenes, his first trip to Italy in 1869 resulted in a series of spectacular landscapes and subject pictures set in Rome, Naples, and Venice. Keeley Halswelle was elected an Associate of the Royal Scottish Academy in 1866, and the following year he became a founder member of the Royal Institute of Oil Painters. Between 1862 and Keeley Halswelle exhibited at the Royal Academy, the Royal Society of British Artists, the Grosvenor Gallery, the Royal Watercolour Society, and the New Gallery in London. Today, works by Keeley Halswelle can be found in the collections of the Victoria & Albert Museum, Tate Britain, and the Guildhall Art Gallery in London, the Walker Gallery in Liverpool, Russell-Cotes Museum, and Leeds Art Gallery among many others. Dimensions: (framed) 50cm x 75cm (19¾” x 29½”) Dimensions: (canvas only) 36cm x 62cm (14¼” x 24½”) Medium: Oil on canvas. Provenance: Private UK collection. Presentation: Fine quality gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.

‘The English Channel, off Pompey’ by Ebenezer Colls (1812-1887). The painting is signed by the artist and presented in fine quality gilded frame. Historically, “Pompey” was the sailor’s nickname for Portsmouth, the traditional headquarters of the British Royal Navy. The painting depicts various shipping including four English Men O’ War entering Portsmouth harbour. Today, the port is home to Admiral Nelson’s flagship HMS Victory. Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age having been professionally cleaned, conserved, and re-varnished. Ebenezer Colls was a painter of maritime scenes who specialized in views of the South Coast, the River Thames, and the Channel Islands of Guernsey and Jersey. Colls intimate knowledge of all manner of sailing vessels came from his early career as a midshipman with the East India Company. Colls exhibited at the British Institution between the years 1850 and 1856. Today, seascapes by Ebenezer Colls can be found in the National Maritime Museum in Greenwich. Dimensions: (framed) 70cm x 95cm (27½” x 37½”). Dimensions: (canvas only) 53cm x 78cm (21” x 30¾”). Medium: Oil on canvas. Provenance: 1973; Christie’s London (cat.no. 36). Private collection. Presentation: Bespoke gold metal leaf English swept frame. Condition: Very good. Professionally cleaned and re-varnished. Ready to hang.

'Shipping in the Channel' is signed C. Stanfield and dated 1846. This large 19th century maritime oil painting is in fact by William Calcott Knell (1830-1880). Knell was trained by his father, the well known Victorian marine painter, William Adolphus Knell (1801-1875). In addition to the influence of the latter, William Calcott Knell was a great admirer of Clarkson Stanfield, the period's foremost painter of sea pieces. Between 1848 and 1865, the artist exhibited at the Royal Academy, the Society of British Artists, and the British Institution in London. Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age having been professionally cleaned, conserved, and re-varnished. Dimensions: (framed) 92cm x 142cm (36” x 56”). Dimensions: (canvas only) 77cm x 128cm (30¼” x 50¼”). Medium: Oil on canvas. Provenance: Private collection. Presentation: Bespoke gold metal leaf English swept frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.

‘Old Trent Bridge, Nottingham’ by Andrew MacCallum (1821-1902). The painting is signed by the artist and was exhibited at the Society of British Artists in 1849, the first painting by Andrew MacCallum to be shown at a major London exhibition. Academy Fine Paintings is fully conversant with the latest American Government import duties and the legal exemptions which, under the supreme law of the U.S. Constitution, enables us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age having been professionally cleaned, conserved, and re-varnished. Andrew MacCallum entered the Government School of Art (the future Royal College of Art) in 1852 where he was taught by Richard Redgrave RA (1804-1888) and John Rogers Herbert (1810-1890). Of all the fine painters to emerge during the 1850s, either through what became known as “the South Kensington System” or, like John Everett Millais and William Holman Hunt, the Royal Academy Schools there was no finer draftsman than Andrew MacCallum. His meticulously detailed pure landscape paintings are gloriously vibrant, yet never gaudy, celebrations of the English countryside and – as in the case of the current work – can be considered in the first rank of 19th century British topographical painting. Between 1849 and 1889 Andrew MacCallum exhibited 53 times at the Royal Academy as well as at the British Institution, the Royal Society of British Artists, the Grosvenor Gallery and the Dudley Gallery in London, and internationally at the Paris Salon, the Metropolitan Museum of Art in New York, and the Centennial Exhibition in Philadelphia. Today his paintings can be found in Tate Britain and the Victoria and Albert Museum in London. Dimensions: (framed) 87cm x 110cm (34¼” x 43¼”) Dimensions: (canvas only) 71cm x 94cm (28” x 37”) Medium: Oil on canvas. Provenance: 1849: exhibited at the Society of British Artists (cat.no.178). Private UK collection. Presentation: Fine quality gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.

‘The River Thames at Leigh by Moonlight’ by Henry Pether (1800-1880). The painting is signed by the artist and dated 1851 and is presented in a bespoke gold metal leaf frame.

• Visit the News & Articles page of the Academy Fine Paintings website for much more about the life and career of Henry Pether and the Pether Family.

Henry Pether was taught be his father, the eminent Georgian topographical painter Abraham Pether (1756-1812), and went on to became one of the most important English-born view painters of the 19th century. The attention to architectural accuracy and detail and the subtle colouring of Henry Pether’s atmospheric paintings of night were a major influence upon other artists such as John Atkinsone Grimshaw, half a century later. Between 1828 and 1865 Henry Pether exhibited at the Royal Academy, the British Institution, and the Royal Society of British Artists. Today, paintings by Henry Pether are held in the collections of Tate Britain, the City of London, the Royal Museums in Greenwich, and the Yale Center for British Art, New Haven, Connecticut. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Dimensions: (framed) 74cm x 105cm (29” x 41”). Dimensions: (canvas only) 61cm x 92cm (24” x 36”). Medium: Oil on canvas. Provenance: Circa 1920: private collection of the Tudor-Hart family. 1974: Sotheby’s, Belgravia. 1998: Christie’s, Glasgow. Thence in private UK collection. Presentation: Bespoke gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘The British Fleet with a Vice-Admiral of the Red off Dover’ by Dominic Serres R.A. (1722-1793). French-born Dominic Serres didn’t just paint the drama of a life on the ocean wave, he lived it. Set for an unlikely career in the priesthood, the young Serres gave the Benedictine monks at his seminary the slip and made his way to Spain where he joined the crew of a vessel bound for the Caribbean. In 1745 Serres was captaining a Spanish privateer out of Havana when it was captured by a British frigate and was subsequently brought to England as a prisoner of war. Upon his release he turned his artistic talent and thorough knowledge of seamanship and naval vessels into a second career as a highly successful painter of seascapes. Serres was to become one of the most important marine painters of the early English School and many of his naval pictures were commissioned by British naval commanders such as Augustus John Hervey (1724-1779, First Sea Lord of the Navy) and Admiral Augustus Keppel (1725-1786, Commander-in-Chief of the Channel Fleet). The current work may have been a commission from the latter. In 1768 Dominic Serres became one of the Founder Members of the Royal Academy, and in 1780 he was appointed Marine Painter to King George III. Between 1761 and 1793 Thomas Serres exhibited 108 paintings at the Royal Academy, 21 at the Free Society and 8 with the Incorporated Society of Artists. Today, seascapes by Dominic Serres are held in the collection of the National Maritime Museum and in the English Royal Collection. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Dimensions: (framed) 122cm x 166cm (48” x 65¼”). Dimensions: (canvas only) 101cm x 146cm (39¾” x 57½”). Medium: Oil on canvas. Provenance: 1996: Sotheby’s, London. Private UK collection. Artory Registry ID: ART-APTDG74R. Artwork ID: BXCYDC5N Presentation: Giltwood swept frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘The River Wye at Chepstow Castle’ by Frederick William Watts (1800-1870). Frederick Watts entered the Royal Academy Schools in 1817 where he was awarded two medals of excellence. During his long and successful career F.W. Watts was considered the most important follower of John Constable (1776-1837), but although the two artists undoubtedly shared a passion for depicting waterside vistas of the English countryside Watts’ brushwork is lighter and more delicate, and his palette is quite distinctive; important factors in determining the authenticity of his paintings which he invariably left unsigned. Between 1821 to 1862, Frederick Watts exhibited 76 times at Royal Academy, 108 at the British Institution, and 65 with the Royal Society of British Artist at the Suffolk Street Gallery. Today, paintings by F.W. Watts can be found in the Tate Britain and the Victoria and Albert Museum in London, the Ashmolean Museum in Oxford, the Lady Lever Art Gallery in Liverpool, and the Metropolitan Museum of Art in New York. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Dimensions: (framed) 59cm x 79cm (23” x 31”). Dimensions: (canvas only) 47cm x 67cm (18½” x 26½”). Medium: Oil on canvas. Provenance: Private UK collection. Presentation: Bespoke gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘On the Arun, Sussex’ by George Vicat Cole RA, RBA (1833-1893). The painting is signed with the artist’s monogram and dated 1869, in which year Vicat Cole was elected an Associate of the Royal Academy. The painting was one of the first to bear his monogram, which he adopted upon becoming an ARA. Vicat Cole was made a full Royal Academician in 1880. George Vicat Cole was one of the most eminent and successful English landscape painters in the second half of the 19th century, considered by many to be the heir to John Constable and John Linnell. Vicat Cole trained under his father, George Cole RBA (1810–1883), and their work shares much in common. As well as emulating and eventually surpassing his father’s technical skill, Vicat Cole’s colouring and attention to detail owes something to the Pre-Raphaelite landscapes of William Holman Hunt, John Inchbold, and William Dyce. It was the greatest Pre-Raphaelite of them all, John Everett Millais, who championed Vicat Cole’s early career and the former’s presence on the Royal Academy hanging committee resulted in Vicat Cole’s painting ‘Spring’ being hung ‘on the line’ (at eye level, the most favourable and prestigious position) in the RA Exhibition in 1865. By the 1880’s Vicat Cole’s only rival as England’s greatest living landscape painter was Benjamin Williams Leader RA, although arguably the latter’s greatest work was already behind him. Between 1852 and 1892 George Vicat Cole exhibited 76 paintings at the Royal Academy, 10 at the British Institution, and 48 with the Royal Society of British Artists in 1858. Today, the paintings of George Vicat Cole can be found in the Royal Academy, Tate Britain, and the Victorian and Albert Museum in London, Manchester Art Gallery, Glasgow Museum, the National Museum in Cardiff, the Walker Gallery in Liverpool, the Laing Gallery in Newcastle, and in the National Collection of the British Government, among many others. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Dimensions: (framed) 85cm x 120cm (33½” x 47¼”). Dimensions: (canvas only) 67cm x 103cm (26½” x 40¼”). Medium: Oil on canvas. Provenance: 1992; Sotheby’s London. 2010; Sotheby’s, London. Private UK collection. Presentation: Newly commission gold metal leaf frame. Literature: 1886; ‘The Life and Paintings of Vicat Cole’ by Robert Chignell. 1988; ‘The Cole Family of Painters’ by T.J. Barringer (published 1988). Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘Going to Market, Woking Common’ by George Cole RBA (1810-1883). The painting is signed by the artist and dated 1853 in which year it was exhibited at the Society of British Artists in London. George Cole was one of most successful landscape painters of the mid-19^th century whose first important patron was the British Prime Minister, Sir Robert Peel. Cole first exhibited in London in 1838 at the Suffolk Street Gallery of the Society of British Artists and made his debut at the Royal Academy in 1849. Two years later he was be elected a member of the Society of British Artists, and later its Vice-President in 1867. Cole’s son George Vicat Cole who was taught by his father went on to become a Royal Academician and one of the late 19th century’s finest landscape painters. In the latter’s biography, George Cole was remembered as “a man of great capabilities and force of character. His native genius raised him from an obscure position to an honourable place in the ranks of English artists.” Between 1838 and 1883 Cole exhibited 223 at the Royal Society of British Artists, 19 at the Royal Academy, and 35 at the British Institution in London. Today, paintings by George Cole can be found in the collections of Manchester City Galleries, Museums Sheffield, and the Royal Academy of Arts in London. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Dimensions: (framed) 80cm x 107cm (31½” x 42”) Dimensions: (canvas only) 61cm x 87cm (24” x 34”) Medium: Oil on canvas. Provenance: 1864; exhibited at the Royal Society of British Artists (cat.no.435). Private UK collection. Presentation: Newly commissioned bespoke gold metal leaf frame. All of the new frames we commission are especially made for us to order by one of the UK’s top period frame makers. Condition: Very good. Newly cleaned, restored, and re-varnished. Ready to hang.  

‘Fabbriche di Careggine’ by Edmund John Niemann (1813-1876). Fabbriche di Careggine is the name of a Italian ghost village that today lies beneath Vagli di Sotto, a man-made lake in Tuscany. Prior to its flooding in 1953 the village was home to a community of subsistence farmers who raised sheep and Garfagnana goats. The painting depicts one of these goatherds and a young woman riding out from the village at sunrise. It is not uncommon for paintings by one member of famous family of artists to be mistakenly attributed to a relative; a picture by “the Elder” is erroneously credited as being by “the Younger” and the work of one brother is confused with another, and so on. In 19^th century British art, the paintings of the Williams, Herring, and Pether families spring to mind. But surely no two English artists have had their work so routinely confused as those of Edmund John Niemann and his son Edward Henry Niemann. The paintings of the younger Niemann are perfectly competent and eternally popular but the work of the father, Edmund John Niemann is - in terms of painterly quality and artistic significance - vastly superior. Where the paintings of Edward Niemann are workmanlike, commercial, and numerous those of his infinitely more talented father are masterful, romantic, and rare. Throughout his highly successful career as one of England’s most eminent landscape painters of mid-19^th century, Edmund John Niemann was widely thought of as the heir of Turner, Wilson, and Peter de Wint. Between 1844 and 1872, Edmund John Niemann exhibited 29 paintings at the Royal Academy, 45 at British Institution, and 40 with the Royal Society of British Artists at the Suffolk Street Gallery. Today, works by Niemann Snr. can be found in the Victoria & Albert Museum, the British Museum & Gallery, the Museum of London, and the Walker Gallery in Liverpool. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Dimensions: (framed) 60cm x 74cm (23½” x 29”). Dimensions: (canvas only) 46cm x 61cm (18” x 24”). Medium: Oil on canvas. Provenance: Private collection. Presentation: Bespoke gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘Vale of the Conwy’ by Samuel Lines (1778-1863). The painting – which depicts a single female figure in Welsh dress walking with a goat in an extensive mountain landscape – is signed by the artist and inscribed verso. All our paintings are sold in the finest condition they can be for their age having been professionally cleaned, conserved and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Samuel Lines was one of the most influential landscape artists and teachers of the early English School. Lines studied drawing under Joseph Barber at his academy in Birmingham alongside his friend and contemporary David Cox. In 1809 Lines became one of the founder members of the Birmingham Academy of Arts at which he both exhibited and taught. Lines’ many pupils included Thomas Creswick, and Lines’ own five sons. Between 1817 and 1833 the artist also exhibited at the Royal Academy in London. Dimensions: (framed) 82cm x 109cm (32¼” x 43”) Dimensions: (canvas only) 65cm x 92cm (25½” x 36¼”) Medium: Oil on canvas. Provenance: Private UK collection. Presentation: Bespoke gold metal leaf frame. All of the new frames we commission are especially made for us to order by one of the UK’s top period frame makers.

‘A Day in the Country’ by William Frederick Witherington R.A. (1785-1865). The painting – which depicts a group of Victorian figures on a summer’s day before an extensive landscape of Wharfedale and the ruins of Bolton Priory – is signed by the artist and dated 1859, in which year it was exhibited at the Royal Academy. Bolton Priory was originally founded in the 12th century as an Augustinian monastery known as Bolton Abbey. When King Henry VIII ordered the Dissolution of the Monasteries in 1539 the priory was abandoned and fell into ruin, but by the early 19th century interest in the Picturesque saw its Gothic ruins become one of the most popular destinations for Victorian day-trippers. William Frederick Witherington entered the Royal Academy Schools in 1805. After making his debut at the Royal Academy in 1811, Withington exhibited there every year until 1863. Over the course of his long career, he found great success as a painter of well-executed pastoral landscapes and subject pictures in the manner of George Morland and David Wilkie. He was elected an R.A. in 1840. Between 1808 and 1863, Witherington exhibited 138 paintings at the Royal Academy and 62 at the British Institution. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Dimensions: (framed) 84cm x 110cm (33” x 43¼”) Dimensions: (canvas only) 66cm x 93cm (26” x 36¼”) Medium: Oil on canvas. Provenance: 1859; exhibited at the Royal Academy (cat. no. 377. Private UK collection. Presentation: Fine quality gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.

‘Marguerite’ by Henry Meynell Rheam RI (1859-1920). The painting is signed with monogram and dated. Watercolour and gouache on paper, newly remounted, glazed with non-reflective UV resistant Glass, and presented in a bespoke Pre-Raphaelite gilt metal leaf frame. Taken from the story of ‘Faust’ by Johann Wolfgang von Goethe, the image of the beautiful Marguerite at her spinning wheel was shown to Faust by the demon Mephistopheles. In exchange for her love, Faust agreed to sell his soul to the Devil. Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age having been professionally cleaned, conserved, and re-varnished. Henry Meynell Rheam entered Heatherley’s School in 1884 before moving to Paris two years later to study at the Académie Julian. Upon his return to England, he settled in Polperro close to the celebrated artistic community centred around the town of Newlyn. Like his friend and near neighbour Thomas Cooper Gotch (1854-1931) he became famous for his vibrant and intricately painted late Pre-Raphaelite paintings of women in Renaissance and Medieval costume. Rheam exhibited at the Royal Academy, the Royal Society of British Artists, the New Watercolour Society, the Walker Gallery in Liverpool, and with the Royal Institute of Painters in Water Colours to which he was elected member in 1895. Dimensions: (framed) 63cm x 57cm (24¾” x 22½”). Dimensions: (image only) 47cm x 34cm (18½” x 13¼”). Medium: Watercolour and gouache on paper. Provenance: Private UK collection. Presentation: Bespoke gold metal leaf English Pre-Raphaelite frame. Condition: Very good. Newly professionally remounted, glazed with non-reflective UV resistant Glass, framed, and ready to hang.

‘Passeggiata in Carrozza’ by Alfredo Tominz (1854-1936) The painting – which depicts an elegant couple in a gig with their Miniature Pinscher running ahead – is signed by the artist and presented in a fine quality gold leaf frame. Tominz frequently signed his paintings under the pseudonym “J. Harwey” as a way of getting around an exclusivity contract with one of his dealers. Alfredo Tominz was a fashionable and highly successful Italian painter of Belle Époque equestrian scenes, similar in style and execution to the work of his contemporaries Giuseppe De Nittis (1846-1884) and Jean Beraud (1849-1935). The painting is signed by the artist with his pseudonym “J. Harwey”, and presented in a fine quality gold leaf frame. Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age having been professionally cleaned, conserved, and re-varnished. After training with his father in Trieste he moved to Munich to become a student of Emil Adam (1843-1924), a celebrated painter of elegant equine portraits. Tominz’s reputation as a master of movement and anatomical accuracy and understanding of horse breeds won him many aristocratic European patrons including Alessandro Durini the 6th Count of Monza, Erwein von Schönborn-Buchheim, and Count Coronini in Austria. Latterly, he became known for his large-scale paintings of Ancient Rome. During his career Tominz exhibited in Vienna, Rome, Milan, and Turin, as well as in Prague where his painting of the Circus Maximus was awarded a gold medal at the 1891 World’s Fair, and in Vienna where he won a silver medal at the Exhibition of the Vienna Secession in 1902. Dimensions: (framed) 72cm x 51cm (28¼” x 20”). Dimensions: (canvas only) 59cm x 38cm (23¼” x 15”). Medium: Oil on canvas. Provenance: Private collection. Presentation: Bespoke gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.

‘A Tutto Galoppo’ by Alfredo Tominz (1854-1936). The painting – which depicts an Italian gentleman setting a brisk pace in a horsedrawn gig – is signed by the artist and presented in a fine quality gold metalleaf frame. Tominz frequently signed his paintings under the pseudonym “J. Harwey” as a way of getting around an exclusivity contract with one of his dealers. Alfredo Tominz was a fashionable and highly successful Italian painter of Belle Époque equestrian scenes, similar in style and execution to the work of his contemporaries Giuseppe De Nittis (1846-1884) and Jean Beraud (1849-1935). Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age having been professionally cleaned, conserved, and re-varnished. After training with his father in Trieste Alfredo Tominz moved to Munich to become a student of Emil Adam (1843-1924), a celebrated painter of elegant equine portraits. Tominz’s reputation as a master of movement and anatomical accuracy and understanding of horse breeds won him many aristocratic European patrons including Alessandro Durini the 6th Count of Monza, Erwein von Schönborn-Buchheim, and Count Coronini in Austria. Latterly, he became known for his large-scale paintings of Ancient Rome. During his career Tominz exhibited in Vienna, Rome, Milan, and Turin, as well as in Prague where his painting of the Circus Maximus was awarded a gold medal at the 1891 World’s Fair, and in Vienna where he won a silver medal at the Exhibition of the Vienna Secession in 1902. Dimensions: (framed) 72cm x 51cm (28¼” x 20”). Dimensions: (canvas only) 59cm x 38cm (23¼” x 15”). Medium: Oil on canvas. Provenance: Private collection. Presentation: Bespoke gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.

‘The Arrest of Father Curtis’ by Robert Alexander Hillingford (1825-1904). The painting – which depicts occupying French soldiers serving the hero of the Catalan resistance Don Patricio Cortés with his arrest warrant – is signed by the artist and is presented in its original 19th century giltwood frame. Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age having been professionally cleaned, conserved, and re-varnished. During the Peninsular War - fought between the French forces of Napoleon Bonaparte and the British Army under General Arthur Wellesley (later the Duke of Wellington) allied with Portuguese and Spanish guerillas – numerous priests played an important role in undermining French occupation. Foremost among these was Father Patrick Curtis (1740-1832), an Irish priest and professor at the University of Salamanca, who acted as Wellington’s spymaster and invaluable ally. Following his arrest in 1811, Father Curtis, aka Don Patricio Cortés, was imprisoned by the French and only narrowly avoided execution. He returned to Ireland in 1813 where, upon the recommendation of his friend the Duke of Wellington, he was made Primate of All Ireland by the Pope. An extensive account of the life and work of the artist Robert Alexander Hillingford can be found at the News & Articles page of the Academy Fine Paintings website. Dimensions: (framed) 60cm x 74cm (23½” x 29”). Dimensions: (canvas only) 47cm x 61cm (18½” x 24”). Medium: Oil on canvas. Provenance: Circa 1920; Roaman’s Gallery. Circa 1950; Galerie George, 96-98 George Street, London. Thence in private UK collection. Presentation: Bespoke gold metal swept leaf frame. Condition: Very good. Professionally cleaned and re-varnished. Ready to hang.

‘The Golden Egg’ by Richard Morton Paye F.S.A. (1750-1820). The painting – which depicts the moment the young lovers in Thomas Dibdin’s Georgian pantomime discover the solid gold egg laid by the magical bird gifted to them by Mother Goose – dates to circa 1810 and hangs in a bespoke gold metal leaf frame. During the past two centuries the painting has been attributed to both Joseph Wright of Derby and Sir Joshua Reynolds but now, following its recent rediscovery, it can finally be identified as the work of Richard Morton Paye; the theme, draftsmanship, and tenebrous composition all being typical of the artist, one of the most gifted and innovative painters of the early English School. ‘Harlequin and Mother Goose; or The Golden Egg’ was first performed at the Covent Garden Theatre in London on Boxing Day, 1806 and became the first great pantomime success of the 19th century. When the story begins a poor local girl called Colinette is about to be married against her will to the wicked Squire Bugle, played by the famous clown Joey Grimaldi. When Mother Goose intervenes, the Squire accuses her of witchcraft and she is sentenced to the ducking stool. When Colinette’s lover Colin defends Mother Goose she gifts him a bird that lays a solid gold egg. The characters are then all transformed into those of the Italian Commedia dell’arte, with the lovers becoming Harlequin and Columbine. A contemporary (and rival) of Joshua Reynolds and Thomas Gainsborough, Richard Morton Paye was an innovative and skilful painter of subject pictures, often featuring children. Despite exhibiting 64 times at the Royal Academy, between 1773 and 1802, illness and other misfortunes cost Paye lasting fame. Even during his own lifetime his work – which he invariably left unsigned – was attributed to and sold as the work of other artists such as Diego Velázquez, Sir Joshua Reynolds, Thomas Gainsborough, John Hoppner, and Joseph Wright of Derby. It is one of these paintings that we now offer for sale. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Dimensions: (framed) 99cm x 122cm (39” x 48”). Dimensions: (canvas only) 87cm x 110cm (34” x 43”). Medium: Oil on canvas. Provenance: Historically attributed to Joseph Wright of Derby. 1993, Sotheby’s, London (as “Circle of Sir Joshua Reynolds”). 2021, Bonhams, London. Presentation: Bespoke gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘Amor et Pietas’ by Ursula Wood S.W.A. (1868-1956). The painting – which depicts a group of children laying to rest their pet dog – is signed and dated by the artist. Ursula Wood’s masterpiece, ‘Amor et Pietas’ (‘Love and Compassion’ in Latin) was exhibited at the Royal Academy and at the prestigious Victorian Era Exhibition at Earl’s Court in 1897. It hangs in a newly commissioned gold metal leaf Aesthetic Movement frame. More about the painting, and the life and career of Ursula Wood, can be found at the News & Articles  page. Ursula Wood trained at St. John's Wood Art School under William Frederick Yeames and Sir Lawrence Alma-Tadema, before entering the Royal Academy Schools. In 1889, during her time as a student at Burlington House, she won the Turner Medal, the first time the honour had ever been awarded to a woman. A superb painter of landscapes, interiors, and especially figures Ursula Wood began exhibiting at the Royal Academy in 1890 and would go on to do so for the next three decades. Between 1890 and 1922 Ursula Wood exhibited twenty-eight paintings at the Royal Academy and many others at the Society of Women Artists (of which she was a founder member), the Royal Scottish Academy, the Walker Gallery in Liverpool, Whitechapel Gallery, the Glasgow Institute of Fine Arts, and the Victorian Era Exhibition. Today, works by Ursula Wood can be found in the British Museum and the Imperial War Museum in London, and at Manchester Art Gallery. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Dimensions: (framed) 200cm x 167cm (79” x 66”). Dimensions: (canvas only) 174cm x 144cm (x 68½” x 56¾”). Medium: Oil on canvas, laid to board. Provenance: Royal Academy Exhibition, London (cat. no.668); Victorian Era Exhibition, Earl’s Court, London, 1897 (cat. no.197); private collection of East Down Manor, Devonshire. Presentation: Newly commissioned gold metal leaf Aesthetic Movement frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.

‘Diana Nemorensis’ by Max Nonnenbruch (1857-1922). The painting – which depicts the Goddess Diana of the Woods beside Lake Nemi – is signed by the artist and presented in its original antique gold leaf neoclassical frame. The sacred temple of Diana Nemorensis stood just outside Rome in dense woodland surrounding Lake Nemi. Famous for its great beauty the lake lies in an ancient volcanic crater known as ‘Diana’s Mirror’. The emperor Caligula was a supporter of the Cult of Diana Nemorensis and had his two famous Nemi ships (two floating palaces) built on the lake. Max Nonnenbruch studied in the academies of Düsseldorf and Munich before enrolling at the Académie Julian in Paris. Nonnenbruch’s ethereal compositions contain many elements of the European Symbolist movement but as his career and technique developed his work became more closely allied to the elegant Greco-Roman school of the great English Olympian painters Lord Leighton and Sir Lawrence Alma Tadema; his figure painting in particular being every bit the equal of their contemporary John William Godward. The artist exhibited many times in Munich and Berlin as well as at the Galerie Heinemann in Nice. In 1892 he played an important role at the International Art Exhibition at the Munich Glaspalast. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Dimensions: (framed) 108cm x 78cm (42½” x 30½”) Dimensions: (canvas only) 90cm x 60cm (35½” x 23½”) Medium: Oil on canvas. Provenance: Private French collection. Presentation: Fine quality gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘Melancholic Sappho’ by Arthur Hill RBA (1841-1908). The painting – which depicts the celebrated poet of Ancient Greece appealing to the Goddess Aphrodite, with the Parthenon on the Hill of the Muses above the city of Athens in the background – is signed by the artist, dated 1877, and further inscribed to the stretcher verso. It is presented in its original gold leaf Pre-Raphaelite frame. Known as ‘The Tenth Muse’ Sappho of Lesbos was one of the greatest lyric poets of Greek antiquity famous for her love poetry and in particular ‘Ode to Aphrodite’ in which Sappho herself appeals to the Greek goddess to fly from Olympus in her chariot drawn by doves to advise her in affairs of the heart. It is this moment depicted in the current work. When the painting was exhibited at the Royal Academy it was hung with the following quote from Psalm 55; “Oh, that I had wings like a dove!”. Arthur Hill became a pupil at the Royal Academy Schools in 1863 and made his debut at the Summer Exhibition the following year. A contemporary of Frederick Leighton (1830-1896), Lawrence Alma Tadema (1836-1912), and Edward John Poynter (1836-1919), Hill was one of several important late Victorian artists known as ‘Olympians’ owing to their fondness for portraying scenes from classical antiquity. Between 1864 and 1893 Arthur Hill exhibited the Royal Academy, the Royal Society of British Artists, the British Institution, the Royal Birmingham Society, Glasgow Institute, Manchester City Art Gallery, and the Walker Gallery in Liverpool. Arthur Hill was elected to the Royal Society of British Artists in 1881. Seven years later, in May 1888, Hill was one of ‘The Fiendish Party” of members (that also included Alfred Stevens, George Percy Jacomb Hood, and James Jebusa Shannon) who demanded that James Whistler resign his presidency of the RBA. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Dimensions: (framed) 129cm x 88cm (50¾” x 34¾”) Dimensions: (canvas only) 105cm x 67cm (41¼” x 26¼”) Medium: Oil on canvas. Provenance: 1877: Royal Academy Exhibition, London (cat no. 154). Thence in private UK collection. Presentation: Fine quality gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘Awakening’ by Herbert James Draper (1863-1920). This monumental oil painting – which depicts two wood nymphs rising to meet the morning sun – is signed by the artist and dated 1918 in which year it was exhibited at the Royal Academy in London. In its review of the highlights of the 1918 Royal Academy Exhibition ‘The Connoisseur’ magazine praised the painting’s “grace and refinement” and in his 2003 book ‘Herbert Draper, a Life Study’, Simon Toll (Senior Director at Sotheby’s in London) further discusses the painting; the artist’s last great full-length painting of neoclassical nudes… “An enigmatic dryad is seated against the foot of an ancient tree. A naked bacchante sprawls on a leopard skin in a bestial pose consistent with the temperament of Bacchus’ worshippers. The painting depicts the morning after the night before, the post-coital slumber of the orgiastic reveller. Are the women abandoned like Ariadne, or are their latest lovers like those of the kelpie, submerged lifeless somewhere amongst the leave mounds? The bacchante emerges from the dried leaves, from which she has spent the night after the previous day’s drunken orgies.”  Herbert Draper entered the Royal Academy Schools in London in 1885, winning a silver medal for life drawing the following year. He first exhibited at the R.A. in 1887, and the following year won a travelling scholarship enabling him to complete his studies in Paris at the Académie Julian under Jules-Joseph Lefebvre and Gustave Boulanger. In 1889 Draper won the Royal Academy Gold Medal and another scholarship, and spent much of 1890 travelling in Europe, visiting Spain and Italy. On his return to England, Draper found huge success with his paintings of mythological subjects, and he would go on to rival Lord Leighton and John William Waterhouse as one of England’s greatest painters of Academic Romanticism. Draper’s painting ‘The Lament for Icarus’, won the gold medal at the Exposition Universelle in Paris in 1900 and was purchased for the Tate Gallery in London in 1898. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Dimensions: (framed) 131cm x 229cm (51½” x 90”) Dimensions: (canvas only) 107cm x 205cm (42” x 80¾”) Medium: Oil on canvas. Provenance: 1918; exhibited as ‘Reveil’ at the Royal Academy in London (catalogue no.304). Thence in the private UK collection. Literature: 1918; ‘The Connoisseur’ magazine, vol.LI, p.115. 2003; ‘Herbert Draper 1863-1920: A Life Study’ by Simon Toll, pp.48, 163-164, 197, colour plate 52. Presentation: Fine quality bespoke gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘News from the Front’ by Frederick Goodall R.A. H.R.I. (1822-1904). The painting – which depicts a diverse cross-section of Victorian figures gathered outside a post office as they receive news of the war in India – is signed by the artist and dated 1849-51. Goodall painted three versions of the present work; the larger, entitled ‘The Post Office’, was exhibited at the British Institution in 1850, whilst the smaller version is today in the Victoria and Albert Museum in London. In 1862, an edition of The Art Journal recalled the paintings great popularity and discussed the figures portrayed; “In front of the door is a group of ‘village politicians’, foremost among whom is the barber whose business it is to gain the earliest intelligence of news that he may retail it to his customers: he holds in his hand a copy of The Times and is reading some war tidings of importance, for the word “Victory” appears on the broad sheet. The brawny figure with the bare arms is the blacksmith, owner of the wicked-looking bull terrier by his side. Nearer to the spectator is the ‘boots’ of the village inn who probably acts also as occasional ostler. The youth in a velveteen jacket is from the mansion and is come for the squire’s letters, and a boy with a board filled with fine fish completes the group. On the other side of the picture are two figures to whom that stolid, round-faced post-boy has brought anything but good tidings; a woman and her boy now in all probability the widow and the fatherless, an open letter with a black seal lies before them; it tells them the ‘victory’ has made them desolate. At least it may be presumed this is the artist’s intention, for the drum at the boy’s side may be taken to signify that he is a soldier’s son. In advance of these is another woman reading a letter to an old Chelsea pensioner and his wife. There is no sad intelligence in her epistle, her child may continue its gambol with the kitten unchecked by its mother whose hour of tribulation has not yet come”. A precocious talent, Frederick Goodall's first professional commission (aged just 16) came from the famous engineer Isambard Kingdom Brunel, and whilst still in his mid-20s he was already one of the most critically acclaimed and financially successful painters in Britain. Between 1838 and 1902 Frederick Goodall exhibited at all the principal London venues, most prominently at the Royal Academy on 165 occasions. Goodall was elected an Associate of the Royal Academy in 1852, a full Royal Academician in 1863, and an Honorary member of the British Institution in 1867. Dimensions: (framed) 110cm x 138cm (43¼” x 54¼”) Dimensions: (canvas only) 89cm x 118cm (35” x 46½”) Medium: Oil on canvas. Provenance: 1860; ‘Artists, Sculptors & Architects’ exhibition in Paris. 1860s; with Vicars Brothers Ltd, London. Private collection of Sir Julian Goldsmid. 1896; Christie’s, where purchased by Nathan Mitchell, 18 Regents Park Road, London. 1901; exhibited in Sheffield. 1902; ‘French and English Painters of the 19th Century’ exhibition at the Guildhall in London. 1902 exhibited in Glasgow. 1972; sold at Bonhams, London. 1989; sold at Sotheby's, London. 1990: with Haynes Fine Art, Broadway. Thence in private UK collection. Presentation: Fine quality gold leaf frame. Condition: Very good. Newly professionally cleaned and revarnished. Ready to hang.

'St. James' Day' by Richard Morton Paye (1750-1820). This large and exceptionally fine 18th century oil on canvas depicts a diverse crowd of Londoners at an oyster stand on a summer’s evening. The artist’s masterpiece, the painting was exhibited at the Royal Academy in London in 1788. The street festival of St. James’ Day commenced at midnight on August 5^th and was known as London’s ‘Oyster Day’. Much more about the long history and new restoration of this important Georgian painting can be seen in the accompanying film. Our article on the life and work of the artist is available at the News & Articles page. Richard Morton Paye was one of the most gifted and innovative painters of the early English School. ‘St. James’ Day’ is a wonderful record of life in London during the reign of King George III and is sold with provenance of ownership dating back over 240 years. The Festival of St. James’ Day Greengrocers rise at dawn of sun – August the fifth – come haste away! To Billingsgate the thousands run, – ‘Tis Oyster Day! – ’tis Oyster Day! The above verse is taken from a poem popular during the reign of King George III which captures the excitement surrounding the arrival of the season’s first oysters at Billingsgate Market in London. August 5^th marked the start of the oyster season in England and the celebrations – which included much drinking of alcohol as well the eating of oysters – began every year London at the stroke of midnight. About the Artist A contemporary (and rival) of Joshua Reynolds and Thomas Gainsborough, Richard Morton Paye was an innovative and skilful painter of scenes of everyday London life, often featuring children. Between 1773 and 1802 he exhibited 64 times at the Royal Academy, yet today, known works of his are few and far between. In ‘St. James’ Day’ Paye uses the opportunity to take out his frustration with patrons and the self-appointed connoisseurs of the London art world by lampooning both. In the background, to the left, a well-to-do gentleman is being accosted by a drunkard who humiliates him by pulling off his wig. New research into the painting has revealed the man to be the most powerful art collector of the age, John Julius Angerstein (1735-1823) of whom Richard Morton Paye was clearly not a fan. Meantime, to the lower right, a vicious dog is pictured stealing a chicken and written on its collar is the word “critick”. It is worth noticing that Paye was also capable of turning his acerbic wit upon himself. Seen on the far left, looking directly out at us, is the artist himself, distracted by public attention and clearly unaware that he is being robbed by a pickpocket. Dimensions: (framed) 127cm x 142cm (50” x 56”) Dimensions: (canvas only) 102cm x 119cm (40” x 43”) Medium: Oil on canvas. Provenance: 1788; purchased by William Clay, Esq. of Upper Gower Street. (1748-1824). 1824; purchased by Johnson at Christie’s 5^th June, lot 95. Julius Ernst Guthe, Kepwick Hall, Thirsk, North Yorkshire (1857-1917). Julius Ernst Guthe, Jr., Kepwick Hall, Thirsk, North Yorkshire (1885-1975). Digby J. E. Guthe, Silton Hall, Neither Silton, North Yorkshire (1927-1982). Thence by descent in private UK collection. Presentation: Newly commissioned bespoke gold metal leaf frame. All of the new frames we commission are especially made for us to order by one of the UK’s top period frame makers. Condition: Very good. Newly professionally cleaned, conserved and re-varnished. Ready to hang. We do not sell dirty, damaged or unframed works of art. Conservation: Professionally restored by Simon Gillespie Studio, as seen on BBC Television's 'Fake or Fortune' and 'Britain's Lost Masterpieces'.

The painting is the only known self-portrait by the eminent 19^th century French artist Frédéric Soulacroix (1858-1933). It is signed and presented in a bespoke gold metal leaf frame. It is not uncommon to see paintings by Frédéric Soulacroix erroneously attributed – by Sotheby’s, Christie’s, and dealers worldwide – as being the work of his father, the sculptor Charles Soularoix. As if this wasn’t irritating enough, the photograph of the artist frequently reproduced online is, in fact, that of the French opera singer Gabriel Soulacroix (1851-1905). Fortunately, we can now see the face of the real Frédéric Soulacroix in this his only known self-portrait. The painting also represents the only portrait he ever painted; Soulacroix’s body of work otherwise consisting entirely of conversation pieces populated by fictional characters in 18^th century costume, making the current work of both historical and artistic significance.

• More about Frédéric Soulacroix and the Florentine Romantics can found at the News & Articles page of the Academy Fine Paintings website.

Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age having been professionally cleaned, conserved, and re-varnished. Dimensions: (framed) 85cm x 69cm (34” x 27”) Dimensions: (canvas only) 68cm x 52cm (27” x 20½”) Medium: Oil on canvas. Provenance: Private UK collection. Presentation: Bespoke gold metal leaf frame. Condition: Very good. Newly professionally cleaned, restored, and re-varnished. Ready to hang.

‘Miss Burnett’ by Ursula Wood S.W.A. (1868-1956). Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age having been professionally cleaned, conserved, and re-varnished. Ursula Wood trained at St. John's Wood Art School under William Frederick Yeames and Sir Lawrence Alma-Tadema, before entering the Royal Academy Schools. In 1889, during her time as a student at Burlington House, she won the Turner Medal, the first time the honour had ever been awarded to a woman. A superb painter of landscapes, interiors, and especially figures Ursula Wood began exhibiting at the Royal Academy in 1890 and would go on to do so for the next three decades. Between 1890 and 1922 Ursula Wood exhibited twenty-eight paintings at the Royal Academy and many others at the Society of Women Artists (of which she was a founder member), the Royal Scottish Academy, the Walker Gallery in Liverpool, Whitechapel Gallery, the Glasgow Institute of Fine Arts, and the Victorian Era Exhibition. Today, works by Ursula Wood can be found in the British Museum, the Imperial War Museum, and Manchester Art Gallery. More about the life and career of Ursula Wood can be found at the News & Articles  page. Dimensions: (framed) 81cm x 70cm (32” x 27½”). Dimensions: (canvas only) 61cm x 51cm (24” x 20”). Medium: Oil on canvas. Provenance: Private UK collection. Presentation: Newly commissioned gold metal leaf Aesthetic Movement frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.

‘Jeune Fille en Blanc’ by Jacques-Émile Blanche (1861-1942). The painting – which depicts one of the artist’s favourite models Wanda Zielinska – is signed and dated 1896. It is listed and illustrated in the Catalogue Raisonné of the complete works of Jacques-Émile Blanche, a copy of which will be included in the sale. Wanda Zielinska sat for Blanche on several occasions between 1889 and 1897. Nicknamed Pouponne, she grew up to be a talented violinist.

• For a comprehensive account of the life and work of Jacques-Émile Blanche visit the News & Articles page.

Born into a wealthy French family of eminent psychiatrists, Jacques-Émile Blanche grew up surrounded by literary and artistic influences. His father was an important collector of Impressionist paintings and was friends with (and often physician to) many of the great art world figures of 19^th century Paris. Although he received some formal training from Henri Gervex (1852-1929), Jacques-Émile Blanche undoubtedly learned most from his early mentor Edouard Manet and his friends James Whistler, John Singer Sargeant, Giovanni Boldini, and James Tissot. During his long and successful career Blanche painted many street scenes of late Victorian London but became most famous as a portrait painter. Like his father, Blanche was a popular and gregarious character, and a close friend of just about every important figure in Belle Epoque Paris. He painted famous portraits of Marcel Proust, Virginia Woolf, Aubrey Beardsley, James Joyce, Colette, Edgar Degas, Claude Debussy, Henry James, Auguste Rodin, Thomas Hardy, John Singer Sargent, Walter Sickert, Vaslav Nijinsky, Tamara Karsavina, Jean Cocteau, Ida Rubinstein, Stéphane Mallarmé, Igor Stravinsky, Paul Valéry, Aldous Huxley, and D.H. Lawrence in addition to Royalty and just about every prominent society beauty of the Belle Epoque. Between 1881 and his death in 1945 Jacques-Émile Blanche exhibited in Paris at the Salon des Artistes, the Société Nationale des Beaux-Arts (of which he was founder member), and the Exposition Universelle of 1900, in London at the Royal Academy and the New English Arts Club, and at the Venice Biennale where he was awarded a gold medal. He also became a renowned master to numerous students during his time at the Académie Vitti, one of the first schools to accept female students, and subsequently at the Académie de La Palette. In the 1930 he was made a Commander of the Légion d’Honneur and five years later was elected to the Académie des Beaux-Arts, the most distinguished position any French artist could be offered by the state. Today, works by Blanche can be found in the collections of the Musée d'Orsay in Paris, the National Gallery and National Portrait Gallery in London, the Art Institute of Chicago, Oxford University’s Ashmolean Museum, Harvard University Art Museums, the Hermitage Museum in St. Petersburg, the New York Metropolitan Museum of Art, and Tate Britain in London among many others. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Dimensions: (framed) 76.5cm x 90cm (30” x 33½”) Dimensions: (canvas only) 60cm x 73.5cm (23½” x 29”) Medium: Oil on canvas. Provenance: Private collection, Belfort, France. Sale; Maître Patrick Gauthier, Belfort, 1990. Richard Green, London. Richard Nathanson, London. Jonathan Clark Fine Art, London. Sale; Sotheby’s, London, 2011 (est.£50,000-£70,000). Property of a nobleman. Literature: ‘Jacques-Émile Blanche’ by Jane Roberts, 2012, Montreuil, p.70, illustrated (as ‘Pouponne Zelinska vue de dos’) Presentation: Fine quality gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘La Couronne de Marguerite’ by Édouard-Louis-Lucien Cabane (1857-1942). The painting – which depicts a young Parisienne wearing a crown of daisies – is signed by the artist and dated 1915. It hangs in a fine quality gold metal leaf frame. Édouard Cabane studied in Paris with Adolphe William Bouguereau (1825-1905) and Tony Robert-Fleury (1838-1912) at the Académie Julian. He made his debut at the Salon in 1876 and ten years later won the first of three medals of distinction. ‘La Couronne de Marguerite’ (the Daisy Crown) is typical of Cabane's portraiture which frequently features the diaphanous young women of the new century. His style might be described as a harmonious blend of the Academicism of Bouguereau and the freer bravura technique of John Singer Sargent (1856-1925), with an added dash of melting sfumato for good measure. Cabane also exhibited at the Exposition Universelle in Paris in 1889 and regularly showed his paintings at the Société des Artistes Français, to which organisation he was elected a full member in 1901. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that fully insured international shipping is complimentary. Dimensions: (framed) 52cm x 60cm (20½” x 23½”) Dimensions: (canvas only) 39cm x 47cm (15½” x 18½”) Medium: Oil on canvas. Provenance: Private UK collection. Presentation: Fine quality gold metal leaf frame. Condition: Very good. Newly professionally cleaned, restored, and re-varnished. Ready to hang.  

‘Guinevere’ by Norman Prescott-Davies R.B.A, R.C.A. (1861-1915). The painting – which depicts an English medieval portrait of Queen Guinevere at Amesbury Priory contemplating her love for Sir Launcelot – is signed by the artist and dated 1891. Norman Prescott-Davies studied at the Royal College of Art, Lambeth School of Art, and at Heatherley's. He then worked in London as a portrait and figure painter, especially in miniature, a discipline that well-suited his eye for detail and painstaking precision. Prescott-Davies’ technical exactitude and occasional choice of Arthurian subjects has prompted comparisons to the Pre-Raphaelite painters of a generation earlier, but the artist is more accurately placed with the ‘Olympian School’ of late 19^th century painters of ancient Pompeian subjects such Lord Leighton and Sir Lawrence Alma Tadema. Norman Prescott-Davies was elected Associate of the Royal College of Art in 1891, and a full member of the Royal Society of British Artists in 1893 and of the Royal Cambrian Academy in 1912. Today, works by Prescott-Davies are in the collection of Manchester Art Gallery and the Williamson Gallery & Museum in Liverpool. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Dimensions: (framed) 51cm x 64cm (20” x 26¼”) Dimensions: (canvas only) 38cm x 51cm (15” x 20”) Medium: Oil on canvas. Provenance: Private UK collection. Presentation: Fine quality gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘Young Beauty holding a Red Rose’ by Étienne Adolphe Piot (1831-1910). The painting is signed by the artist and hangs in a fine quality gold metal leaf frame. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Étienne-Adolphe Piot moved to Paris whilst still in his teens to study with the influential French artist and teacher, Léon Cogniet (1794-1880). Cogniet’s studio at this time would have been a thrilling place, populated by burgeoning talents such as Léon Bonnat (1833-1922), Jules Joseph Lefebvre (1836-1911), and Pierre Auguste Cot (1837-1883), all of whom – with Piot – would become some of the greatest painters of the female form in the history of art. Piot’s particular genius lay in his masterfully drawn and beautifully lit depictions of the female face, most frequently set against a dark background. As illustrated in the current work, his rendering of the human hand was as good as any artist of the period. During his long career, in addition to the Paris Salon, Piot exhibited at the Goupil Gallery, the Exposition de Bordeaux, the National Academy of Design in New York, and the prestigious Exposition Universelle of 1889. In 1883 he was elected a member of the Société des Artistes Français. Dimensions: (framed) 64cm x 72cm (25¼” x 28¼”) Dimensions: (canvas only) 46cm x 56cm (18” x 22”) Medium: Oil on canvas. Provenance: Circa 1990; with Haynes Fine Art of Broadway. Thence in private UK collection. Presentation: Fine quality gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.