Filter
Categories
Artists
Period
Subject Pictures
£4,950
Artists: Edgar Barclay 1842-1913
£9,950
Artists: John Frederick Herring Jr. 1815-1907
£49,950
Artists: Ursula Wood SWA 1868-1925
£89,950
Artists: Petrus van Schendel 1806-1870
£14,950
Artists: Max Nonnenbruch 1857-1922
£14,950
Artists: Arthur Hill RBA 1820-1920
£69,000
Artists: Herbert James Draper 1864-1920
£15,950
Artists: Arthur Wardle RBC RI 1864-1949
£18,950
Artists: Frederick Goodall RA 1822-1904
£24,950
Artists: Joseph-Marie Vien 1762-1848
£249,000
Artists: Richard Morton Paye 1750-1820
Subject Pictures
£4,950
'Children of the New Forest' by Edgar Barclay (1842-1913). Depicting two girls gathering kindling in winter woodland, this very large painting is signed by the artist and was exhibited at the Royal Academy in 1901. 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. Edgar Barclay studied at the Dresden Academy of Art under Julius Schnorr (1794-1872) before moving to live and work in Italy as one of the ‘Etruscan School’ of expat British artists. Increasingly influenced by the work of the French Realist painter Jean-François Millet, Barclay found his greatest success with beautifully drawn English landscapes of field workers and woodland scenes of young women. Between 1868 and 1913, Edgar Barclay exhibited 42 paintings at the Royal Academy, 64 at the Grosvenor Gallery, and 13 at the New Gallery in Regent Street. Dimensions: (framed) 116cm x 179cm (46” x 70½”) Dimensions: (canvas only) 94cm x 156cm (37” x 61½”) Medium: Oil on canvas. Provenance: 1901; Royal Academy Exhibition. 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: Excellent. Newly professionally cleaned, restored, and re-varnished. Ready to hang.
Artists: Edgar Barclay 1842-1913
£9,950
‘The Baron’s Charger’ by John Frederick Herring Jr. (1815-1907). The painting – which depicts a 17th century Caroline nobleman with his battle horses and attendant hounds – is signed by the artist and indistinctly dated. It is presented in a fine early-19th century carved and gilded swept frame. John Frederick Herring Jr. was taught by his father, the eminent early 19th century artist J.F. Herring Sr. (1795-1865) who was official Animal Painter to Her Royal Highness the Duchess of Kent. Like Herring Sr., he became a highly successful painter of sporting and animal subjects which were particularly popular with the English aristocracy. The current work is a homage to his father’s famous subject picture of 1850, and possibly commissioned by a patron who had been unable to secure Herring Senior’s original. Between 1860 and 1875 J.F. Herring Jr. exhibited at the Royal Academy, the British Institution, and the Royal Society of British Artists. 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) 87cm x 101cm (34½” x 39¾”) Dimensions: (canvas only) 63.5cm x 77cm (25” x 30¼”) Medium: Oil on canvas. Provenance: Private UK collection. Presentation: Fine quality early 19th century gilt swept frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.
Artists: John Frederick Herring Jr. 1815-1907
£49,950
‘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.
Artists: Ursula Wood SWA 1868-1925
£89,950
'Vegetable Seller at the Night Market' by Petrus van Schendel (1806-70). The painting – which depicts a midnight scene of two young women at a vegetable stall by candlelight – is signed by the artist and dated 1866. It is presented in a superb quality ripple moulded fruitwood frame. Petrus van Schendel (1806-1870) studied at the Antwerp Academy under the influential Belgian artist Matheus Ignatius van Bree (1773-1839). From 1827 van Schendel exhibited in Amsterdam, Antwerp, The Hague, and in Brussels where he was awarded a gold medal in 1845. Further awards followed exhibitions in Paris and in London where he exhibited at the Royal Academy in 1855 and 1856. Van Schendel’s greatest success came at the prestigious Manchester Art Treasures Exhibition in 1857 when he was awarded a gold medal. Petrus van Schendel’s two most important patrons were King Leopold I of Belgium and Queen Victoria’s husband, Prince Albert. Today, paintings by Petrus van Schendel can be found in the Royal Collection of His Majesty King Charles III as well as the Rijksmuseum in Amsterdam, and the National Gallery in Brussels. 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) 87cm x 71cm (34¼” x 28”) Dimensions: (canvas only) 66cm x 50cm (26” x 19¾”) Medium: Oil on mahogany panel. Provenance: Private UK collection. Presentation: Fine quality ripple moulded fruitwood frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  
Artists: Petrus van Schendel 1806-1870
£14,950
‘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.  
Artists: Max Nonnenbruch 1857-1922
£14,950
‘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.  
Artists: Arthur Hill RBA 1820-1920
£69,000
‘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.  
Artists: Herbert James Draper 1864-1920
£15,950
‘Vigilance, Loyalty, and Devotion’ by Arthur Wardle R.B.C. R.I. (1864-1949). The painting – which depicts a young Edwardian beauty with parasol surrounded by poppies and three faithful canine companions – is signed by the artist and hangs in a fine quality gold metal leaf Watts frame. Following the deaths of Sir Edwin Landseer RA (1802-1873) and Briton Rivière RA (1840-1920), the mantle of Britain’s greatest living animal painter passed to Arthur Wardle. Like Landseer and Rivière, Wardle was a frequent visitor to London Zoo where he would make extensive sketches of lions, leopards, and tigers. It was though as painter of dogs that he became most famous. Throughout art history, dogs have featured prominently as representing love and fidelity, and as a familiar symbol of devotional relationships. In portraits of young women, small dogs frequently represent the beauty and elegance whilst large dogs are included as icons of loyalty and protection. Between 1880 and his death in 1949, Arthur Wardle was a regular exhibitor at the Royal Academy showing 113 paintings there, as well as hundreds of others at the Royal Society of British Artists, the Fine Art Society, the Royal Institute, the Walker Gallery in Liverpool, the Manchester Art Gallery, the Royal Birmingham Society, and with his dealer at the Arthur Tooth Gallery in the Haymarket, 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) 78cm x 103cm (30¾” x 40½”) Dimensions: (canvas only) 57cm x 82cm (22½” x 32¼”) Medium: Oil on canvas. Provenance: Private UK collection. Presentation: Fine quality gold metal leaf Watts frame. Condition: Very good. Professionally cleaned and re-varnished. Ready to hang.
Artists: Arthur Wardle RBC RI 1864-1949
£18,950
‘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.
Artists: Frederick Goodall RA 1822-1904
£24,950
‘The Sacred Fire’ by Joseph-Marie Vien (1762-1848). The sacred fire of ancient Rome was an eternal flame located in the Temple of Vesta attended to by the young priestesses known as the Vestal Virgins. Romans believed that so long as it stayed alight the well-being and security of Rome was assured. An old dealer label (in French) verso, reads: “A young priestess in a yellow dress and blue sash, pearls, and a white veil in her blond hair, holding a wreath of flowers in her left hand, is about to place a piece of incense on a tray presented to her by her companion in the background, draped in a mantle of gauze and crowned with foliage. In front, burns the fire of the altar: in the background stands the statue of the goddess.” The young priestess isn’t in fact sprinkling incense but salted flour which along with libations of wine, milk, or olive oil was one of few offerings the Vestals made to the Sacred Fire. Joseph-Marie Vien was the son of the Joseph-Marie Vien the Elder (1716-1808), official court painter to King Louis XVI of France. Joseph-Marie Vien the Younger studied under his father (alongside Jacques-Louis David) and at the Académie des Beaux-Arts with François-André Vincent, another of the most important French neoclassical painter of pre-Revolutionary France. From the 1780’s (until 1836) Vien was a regular exhibitor at the Salon in Paris. 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) 88cm x 101cm (34½” x 39¾”) Dimensions: (canvas only) 63cm x 78cm (24¾” x 30¾”) Medium: Oil on canvas. Provenance: Private collection of Andrey Zhelamskiy,  Blaisdon Hall, Gloucestershire. Presentation: Fine 19th century carved giltwood frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  
Artists: Joseph-Marie Vien 1762-1848
£249,000
'St. James' Day' by Richard Morton Paye (1751-1820). This very 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 5th and was known as London’s ‘Oyster Day’.
  • More about the long history and new restoration of this important Georgian painting can be seen in the accompanying film.
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 5th 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 5th 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'.
Artists: Richard Morton Paye 1750-1820
Subject Pictures
'Children of the New Forest' by Edgar Barclay (1842-1913). Depicting two girls gathering kindling in winter woodland, this very large painting is signed by the artist and was exhibited at the Royal Academy in 1901. All our paintin Read More
Artists: Edgar Barclay 1842-1913
£4,950
‘The Baron’s Charger’ by John Frederick Herring Jr. (1815-1907). The painting – which depicts a 17th century Caroline nobleman with his battle horses and attendant hounds – is signed by the artist and indistinctly dated. It is pre Read More
Artists: John Frederick Herring Jr. 1815-1907
£9,950
‘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 Co Read More
Artists: Ursula Wood SWA 1868-1925
£49,950
'Vegetable Seller at the Night Market' by Petrus van Schendel (1806-70). The painting – which depicts a midnight scene of two young women at a vegetable stall by candlelight – is signed by the artist and dated 1866. It is pres Read More
Artists: Petrus van Schendel 1806-1870
£89,950
‘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 Read More
Artists: Max Nonnenbruch 1857-1922
£14,950
‘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 ba Read More
Artists: Arthur Hill RBA 1820-1920
£14,950
‘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 Academ Read More
Artists: Herbert James Draper 1864-1920
£69,000
‘Vigilance, Loyalty, and Devotion’ by Arthur Wardle R.B.C. R.I. (1864-1949). The painting – which depicts a young Edwardian beauty with parasol surrounded by poppies and three faithful canine companions – is signed by the artist and Read More
Artists: Arthur Wardle RBC RI 1864-1949
£15,950
‘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 Read More
Artists: Frederick Goodall RA 1822-1904
£18,950
‘The Sacred Fire’ by Joseph-Marie Vien (1762-1848). The sacred fire of ancient Rome was an eternal flame located in the Temple of Vesta attended to by the young priestesses known as the Vestal Virgins. Romans believed that so long as it Read More
Artists: Joseph-Marie Vien 1762-1848
£24,950
'St. James' Day' by Richard Morton Paye (1751-1820). This very 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 masterpie Read More
Artists: Richard Morton Paye 1750-1820
£249,000