The English Country House |

Paintings

63 items
A late 19th century gallery easel, oak with polished steel fittings and mechanism, capable of displaying a painting up to 62 inches in height. English circa 1890. w.26.75 in x d.25.5 in x h.78 in.

Gallery Easel

show details 		An mid Victorian adjustable artist's easel in mahogany by Charles Roberson & Co, 1840-1907. When Charles Roberson split with Miller in 1839, he kept their premises at 51 Long Acre. Roberson's enjoyed a wide ranging reputation throughout the Victorian era and exhibited at the Great Exhibition of 1851. By the end of the 19th century they employed their own agents in Paris and in 1889 they had opened a further branch in Piccadilly.

Mahogany Easel

show details 		A watercolour and pencil portait of George Lewis Esq. by Richard Deighton 1795-1880, finely framed and sold through The Walker Galleries, 118 New Bond Street, London W1, at the turn of the 19th century. George Lewis was born on the 27th November 1797 at Ramsden Bellhouse, Essex, was Secretary to the Master of the Horse to Queen Adelaide and H.M. Queen Victoria. He died on the 7th November 1854.

George Lewis Esq.

show details 		The Green, Sutton Courtney, Abingdon in Oxfordshire, with the Swan in the foreground and All Saints Church behind. In the churchyard of this local church are buried George Orwell (author of 1984) and Herbert Asquith (Prime Minister 1908-1916). Watercolour on paper, circa 1900, and within a late Victorian gilt gesso frame. Frederick Edward Joseph Goff was known mainly as a London topographical painter. He specialised in painting small scale views of late Victorian London in watercolour. Using a magnifying glass, he was able to skilfully paint complicated architectural subjects in the minutest detail. His works were exhibited at the Royal Academy, the New Watercolour Society, the Royal Institute of Painters in Watercolour and the Glasgow Institute of Art. Frederick Edward Joseph Goff was known mainly as a London topographical painter. He specialised in painting small scale views of late Victorian London in watercolour. Using a magnifying glass, he was able to skilfully paint complicated architectural subjects in the minutest detail. His works were exhibited at the Royal Academy, the New Watercolour Society, the Royal Institute of Painters in Watercolour and the Glasgow Institute of Art.

Sutton Courtney by F. Goff

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A pastel portrait of an elegant young lady in Empire period dress, within the original gilt gesso frame. English circa 1800.

An Elegant Young Lady

show details 		An early 19th century watercolour of twins in original grain painted frame. English/American circa 1820.

Twins

show details 		An English 17th Century carved and gilded Lely frame With cavetto sight, leaf and flower panels to the plain cushion-moulded hollow, plain hollow, and demi-flower back edge.

Lely Frame

show details 		A 19th century French gilded composition frame, fluted hollow with acanthus corners, leaf and flower top taenia and ribbon twist back edge.

French Empire Frame

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A pair of coach panels painted with the armorials of the owner. English, first half of the 19th century. Priced for the pair but can be sold separately.

Armorial Coach Panels

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'Children should be........"

show details 		A mid 19th century oil painting on a prepared artist board of a young girl in an interior with red curtain. Within the original gilt wood frame and with an exhibition (?) label to the original wooden backing panel.

Portrait of a Young Girl

show details 		A French late 19th Century gilded composition Barbizon frame. (Repair to the tip of the lower right corner). The Barbizon school (circa 1830–1870) of painters is named after the village of Barbizon near Fontainebleau Forest, France, where the artists gathered.These painters were part of a movement towards realism in art which arose in the context of the dominant Romantic Movement of the time.

A Barbizon Frame

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A French gilded composition frame, circa 1870. (Damages)

Gilded Compostion Frame

show details 		The head study of Anna Mulloch by Alfred Grenfell Haig, signed and dated 1907. Painted oil on canvas and within a period gilded gesso frame. See

Head of Anna Mulloch

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The Quarterings of Sir Fleetwood Dormer of Arle Court

show details 		A Cape Dutch House, perhaps a part of Vergelegen farm, painted oil on canvas and within the original gilt gesso frame. Vergelegen farmwas originally owned by Governor Willem Adriaan van der Stel. The property was divided into four after his recall in 1708.

A Cape Dutch House

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An early 19th century watercolour of a gentleman in his library. Period details of decoration show a framed print after Morland hanging on the wall and a plaster library bust of Lord Byron on the book shelves. In a period gilt gesso frame. Signed and dated, Waite 1825.

The Gentleman's Library

show details 		A mid 19th century oil painting on canvas of a young girl with her pet terrier.

Girl in Blue

show details 		Early 20th century watercolour portraits by K. Mayer, signed and dated 1912 and in period oak frames.

An Aristocratic Couple

show details 		A pair of Victorian still-life: pears with black grapes, peaches with white. Painted oil on canvas and in period gilt gesso frames. Signed by the artist and dated 1897.

Still Life with Pears

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Oil on canvas in original gilt gesso frames. Attr. George Armfield

"Dish of the Day" & "The Spoilt Lunch"

show details 		Four portraits of the family of Joseph Stannard, painted oil on canvas laid down onto board, English circa 1790. Contained within handmade replica gilt gesso frames.

The Stannard Family  

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 Hare & Pheasant

show details 		Oil on canvas signed MYE, circa 1770. Original carved and parcel gilt fruitwood frame.

“Still life with Peaches and Grapes”

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Painted by Lady William Russell and inscribed on the reverse of the canvas

A Carlsbad Interior

show details 		A portrait of Dr. Charles Frizell at a desk in his study. Painted oil on canvas, circa 1820, and in the original gilt wedge frame.

Dr Charles Frizell

show details 		Watercolour by Alvin Burt, inscribed

A Seated Gentleman

show details 		Watercolour by Albin Burt. Inscribed

Mr Frederick Brown

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Watercolour by Albin Burt, inscribed

A Man of Letters

show details 		William Jones of Bath. Fl.1764-1777 A late 18th century still-life of various fruit and a finch, painted oil on panel and within a Victorian gilt gesso frame.

Still Life with Finch

show details 		Son of William Ward, (1766-1826) the engraver and nephew of James Ward. Martin Theodore Ward (1799-1874) studied under Landseer, although his work was much influenced by his uncle. He exhibited at The Royal Academy between 1820 and 1825. Spending some of his time in Shropshire, he returned to Yorkshire around 1850 and lived there as a recluse until his death in 1874. His portrait of a pointer was printed and published in 1831. This portrait is painted oil on canvas and in a period gilt frame. Signed and inscribed M.T. Ward and dated 1825.

A Favourite Spaniel

show details 		Oil on canvas in carved gilt-wood frame. Signed and dated George Ommanney 1910.

Portrait  of a Gentleman

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A pair of Grand Tour oil paintings depicting the two related structures in the South of France; The Pont du Gard and The Arena of Nīme. French, late 18th century, within period English gilt gesso frames. It has long been thought that the Pont du Gard was built by Augustus' son-in-law and aide, Marcus Vipsanius Agrippa, around the year 19 BC. Newer excavations, however, suggest the construction may have taken place in the middle of the first century A.D. Designed to carry the water across the small Gardon river valley, it was part of a nearly 50 km aqueduct that brought water from the Fontaines d'Eure springs near Uzčs to the Castellum in the Roman city of Nemausus (Nīmes). The Arena of Nīmes is a Roman amphitheater found in the French city of Nīmes. Built around 70A.D., it was remodeled in 1863 to serve as a bullring.The Arena of Nīmes was constructed in the time of Emperor Augustus. As the Empire fell, the amphitheater was fortified by the Visigoths and surrounded by a wall. During the turbulent years that followed the collapse of Visigoth power in Hispania and Septimania, not to mention the Muslim invasion and subsequent reconquest by the French kings in the early eighteenth century, the viscounts of Nīmes constructed a fortified palace within the amphitheater. Later a small neighborhood developed within its confines, complete with one hundred denizens and two chapels. Seven hundred people lived within the amphitheater during the apex of its service as an enclosed community.

Pont du Gard & Arena of Nīme

show details 		A charming, early 19th century oil painting of a young girl with her favourite doll. She is seen to be wearing a necklace of coral, traditionally thought to protect the wearer from illness. The painting is contained within a

Child and Doll

show details 		A finely painted watercolour of a young girl in a landscape holding a basket of small birds. Inscribed in pencil to the reverse

A Basket of Birds

show details 		The Armorials of Mr. George Gwynn, painted oil on tin and in a period gilt gesso frame. English 1884.

The Armorials of...

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Still life of The Batchelor's Supper painted oil on canvas in the manner of George Smith of Chichester (1714-1776) within a period grained frame.

The Batchelor's Supper

show details 		A small period portrait thought to be of Daniel O'Connell, painted three-quarter length and seated before a column and curtain with a distant landscape beyond. Painted oil on wooden panel and within the original frame, re-gilded. English/Irish circa 1810. Daniel O'Connell was born on the 6 August 1775 and died on the 15 May 1847. He became known as The Liberator, or The Emancipator and was an Irish political leader in the first half of the nineteenth century. He campaigned for Catholic Emancipation and the Repeal of the Union between Ireland and Great Britain.

Daniel O'Connell

show details 		An English School oil painting of various fish presented on a blue and white platter. Oil on canvas laid down onto board. Circa 1830.

A Dishful of Fish

show details 		Perhaps a young college boy, his portriat painted three quarter length and standing before a rural landscape. English circa 1850. Unsigned, within a period bird's eye maple frame.

The Young Student

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An early 19th century English portrait watercolour by Albin Burt of a man seated in a chair after the design by Loudon. This chair derives from a design by John C. Loudon published in his Encyclopaedia of Cottage, Farm and Villa Architecture and Furniture, 1833. Signed and dated Albin Burt, Bishop Sutton 1840.

Seated Gentleman

show details 		A painting of three terriers rabbitting in a highland setting. Oil on canvas, signed P. Jones, and dated 1872, within a period gilt gesso frame, bearing a label to the reverse for Agnew's Manchester. Originally a pair with

Terriers with a Rabbit

show details 		A pair of Regency pen and watercolour Designs for proposed interior schemes by Crace and Sons, in the Brighton Pavilion chinoiserie taste, the first depicting a bedroom scheme with pagoda tester bed, the other possibly for a ladies dressing room with dressing mirror on stand and sofa, both 14cm x 36cm, later mounted within glazed gilt rectangular frames.

Designs by Crace

show details 		A pair of larder scene still-lifes in the style of Benjamin Blake. English circa 1830. Oil on canvas, within original gilt gesso frames.

Fish & Game

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The Game Larder, painted oil on canvas and within the original gilt gesso frame. English circa 1830.

The Game Larder

show details 		A scene from the poem

Hudibras

show details 		A whistler type frame thinly gilt over a white reeded gesso. Engish circa 1900.

Whistler Frame

show details 		Portrait of a Chestnut Hunter standing in a landscape. Oil on canvas in original gilt gesso frame. Signed and dated E. Brown 1848.

A Chestnut Hunter in a Landscape

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A pair of small, fine botanical still-lifes executed in watercolour. English circa 1860, in period maple veneered frames.

A Pair of Botanical Still-lifes

show details 		A Victorian botanical still life executed in watercolours. English circa 1860, in a bird's eye maple frame.

Botanical Watercolour with Passionflower

show details 		A fine English watercolour of various garden flowers, circa 1860, in a period dark oak frame.

Botanical Watercolour

show details 		A fine English watercolour of various garden flowers, circa 1860, in a period bird's eye maple frame.

Botanical Watercolour

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A mid Victorian picture of a Chestnut hunter and terrier outside a country house. Painted oil on canvas and in the original gilt gesso frame.

A Chestnut Hunter & Terrier

show details 		A fine and rare decorative panel from a Victorian tobacconist showing Sir Walter Ralegh enjoying the fruits of his ventures into colonization which have long associated his name with Virginia. The Victorian artist has depicted Sir Walter in a 19th century interpretation of an Elizabethan room setting, surrounded by the trappings of an intrepid explorer. The serving boy has just averted his mission to extingiush his smoldering master! Oil painted on a tin panel.

Sir Walter Ralegh

show details 		A fine English watercolour of various garden flowers, signed J. C. Stinton, circa 1860 in a period bird's eye maple frame.

Floral Still-Life

show details 		A pair of horse portraits painted oil on canvas by C. Gatehouse. Signed and dated 1910 in well figured period walnut frames.

A Pair of Horses

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A mid 19th century painting of a horse following the hunt. Painted oil on panel and in a period gilt gesso frame. Unsigned, attributed to H.S. Cottrell.

Horse With No Rider

show details 		Anna Mullock with her syce, signed and dated 1907. At the age of 30 Alfred Grenfell Haigh (1870-1963) started to paint professionally and settled in Newmarket. Famous horses that he painted included

Anna Mullock

show details 		Painted oil on canvas by the Newmarket artist Clarence Hailey and in the original carved and gilded frame. Orme was bred by Hugh Lupus Grosvenor, the first Duke of Westminster, at Eaton Stud, near the historic city of Chester. He was a member of the first crop of Ormonde, the Duke's unbeaten Triple Crown champion and son of the Duke's beloved Derby champion, Bend Or. Orme was the fifth foal of Angelica, an unraced full sister to St. Simon by Galopin, who had been bred by Prince Bathyany. Sold at auction as a yearling, she was purchased for 50 guineas by Taylor Sharpe, for whom she bred two fillies -- Dingle (1883, by Glendale) and Mezzotint (1884 by Coeruleus -- both of whom later were good producers. Angelica was resold in 1886, age seven, to Grosvenor, carrying the foal Blue Green, by Coeruleus, who later won the Criterion Stakes and the Queen Alexandra Stakes. Bred to Bend Or the next season, she produced the brown colt, Order, and the next year she dropped a strong, handsome bay colt, Orme, at Moulton Paddocks, Newmarket, where Ormonde, who had been leased to Lord Gerard, was standing. With such a pedigree, much was expected of Orme, and he was carefully brought along by trainer John Porter. Porter first ran him in a trial on Kingsclere Downs in July of Orme's two year old year, where Porter determined he was about a length behind his contemporary, the filly La Fleche, who the following week won the Chesterfield Stakes at Newmarket. Orme made his debut at the end of July, in the important Richmond Stakes at Goodwood, which he won. Orme proceded to win four of his next five starts, including the Middle Park Plate and the Dewhurst Plate. His only loss was by half a length to the older filly Signorina in the Lancashire Plate at Manchester. Total earnings at the end of his first season were £8,174. Orme was considered a certainty for the 1892 classics, but the colt fell ill just days before the Two Thousand Guineas, when Porter noticed the colt had saliva dripping from his mouth. Initially diagnosed as an abcessed tooth, which was extracted, Orme continued to worsen, eventually unable to swallow, and a second veterinarian was consulted, who concluded the horse had been poisoned, probably with mercury. Dedicated nursing and a strong constitution enabled him to recover, and three months after his symptoms first appeared, he ran in and won the Eclipse Stakes at Sandown, where he beat the Bend Or colt Orvieto by a neck. This was followed by a win in Goodwood's Sussex Stakes, where he beat his stablemate, Watercress (later sold to American J.B. Haggin and shipped to California to become a sire at his Rancho del Paso). In his last chance for a classic win, the St. Leger, his jockey sent him to the front at the start, and he ran out of gas about two furlongs from home; the race was won by La Fleche, with Orme unplaced. He went on to win four successive races at Newmarket: the Great Foal Stakes (1-1/4 miles), the Champion Stakes (1-1/4 miles), the Limekiln Stakes (1 mile), and the Subscription Stakes (6 furlongs). He ran second in his final race that season, the Free Handicap Sweepstakes at Newmarket over 1-1/4 miles.

Orme

show details 		English School portrait of a young Elizabeth Jordon/Kemp (inscribed to the reverse). Painted three quarter length before a mountainous landscape. Oil on canvas circa 1800 and in the original carved giltwood frame.

Elizabeth

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Watercolour showing the interior of an Edwardian country house drawing room in a period carved and gilt-wood frame. English circa 1900.

Drawing Room Interior

show details 		An early 19th century painting of a young man in his drawing room, on the Pembroke table is a book of Songs for 1807. Painted oil on mahogany panel and within a period gilt gesso frame.

A Gentleman at his Pembroke Table

show details 		A charming portrait of a young man seated with his top hat on the table beside him. Painted oil on mill board and within the original gilt gesso frame, an attractive and informative trade label to the reverse. English School circa 1850.

A Young Man's Portrait

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