Pictures

152 items
The demise of The Ramillies as portrayed by Robert Dodd. Engraved and published by Francis Jukes No.10 Howland Street, 1795. Plate 1. A Storm Coming On. Plate 2. The Storm Increas'd Plate 3. The Ramillies Water Logg'd. with her Admiral & Crew quitting the Wreck. Plate 4. The Ramillies Destroyed. Late 18th century aquatints in early 20th century parcel gilt gesso frames. Francis Jukes (1745 to 1812) was a prolific engraver and publisher best known for his marine and topographical prints, the majority being in aquatint. Robert Dodd (1748 to 1815) lived and worked in Wapping, London. He was a prolific aquatint engraver, publishing much of his own work although, as we see here, his work was also engraved by others. He exhibited at the Society of Artists in London in 1780 and the Royal Academy between 1782 and 1809. His reputation was established for producing fine and detailed portrayals of famous ships, and naval actions of both the American Revolutionary War and the French Wars of 1793 to 1815.

The Ramillies

show details 		Portrait of an officer of the 1st King's Dragoon Guards whilst stationed in India, shown in the artist's studio seated at a drum table frequently seen in portraits by Smart when he was working at Poona. Painted in India circa 1850 and within a period gilt gesso frame. T. Smart is first recorded as exhibiting in London in 1836 and he continued to show historical subjects and full lenght portraits until 1843. There is then a gap until 1854 when he again exhibited in London. It is thought likely that he spent the intervening years working in India. Very little of his work is found to be signed and until the 1990's his work was usually given to George Beechy. However, his distinct style coupled with the discovery of his authorship in a few instances allows for the re-attribution of much of his work. An engraving of Sir Charles Napier, now in the National Portrait Gallery, and obviously by this hand, gives the artist as

A Dragoon Guards Officer

show details 		A full length portrait of an officer of the 59th Regiment of Foot (2nd Nottingham Regiment of Foot) standing on a shoreline before Gibraltar. Mid 19th century British, painted oil on canvas and within a period gilt gesso frame.

Officer of the 59th

show details 		A pair of stipple engravings printed in colour and with hand colouring depicting scenes from Mestastasio Vol 7, the left hand image with the cut title band pasted to the reverse

Orpheus Binding Aglaial to Laurel

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A pair of pin pricked and watercolour pictures of stage performers, one a minstrel the other in exotic Turkish costume, within period gold lacquered silver leafed ripple molded frames. Continental circa 1800.

Pin Pricked Performers

show details 		A pair of pin pricked and watercolour pictures of stage performers, continental circa 1800, within period gold lacquered silver leafed ripple molded frames.

Pin Pricked Actors

show details 		A pair of pin pricked and watercolour pictures of beggars with children. Continental circa 1800 and within period silver leafed frames.

Pin Pricked Beggars

show details 		A single pin pricked and watercolour picture of a beggar within a period silver leafed frame. Continental circa 1800.

Pin Pricked Beggars

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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 		A pair of late 18th century stipple engravings with original colouring, painted and engraved by Joseph Barney and published in 1794 by E.Walker & Co. Within period oak frames.

The Dairy...........

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

show details 		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

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

Twins

show details 		The ship City of Delhi in The China Seas, painted by a Chinese artist and within a carved, lacquered and parcel gilt Chinese Chippendale frame. Chinese circa 1860. Built in 1857 for George Smith & Sons' City Line. They commenced ship owning in 1840 and traded to India with sailing vessels. By 1852 voyages were being made to Valparaiso and the West Indies, Australia and New Zealand and later between India, New York and the UK. The City of Delhi was wrecked off Dungeness 1867.

City of Delhi

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 		An English late 19th Century Neo-classical carved and gilded moulding frame with reeded sight, plain hollow, plain reverse wedge frieze, and reverse wedge back edge with a dog tooth parquetry inlay. To the reverse is the trade label for Paul Vacani Originally from Italy, Paul Vacani and his father Andrew traded as framemakers, art and furniture dealers. The family's best known client was Sir Edward Burne-Jones. Without the optional slip the opening is increased to 33.75 in x 20.25 in

Vacani Frame

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A Charles X gilded composition frame with lamb's tongue sight edge, flowerhead centres, palmette and corners. French circa 1830.

Charles X 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

show details 		Mr Grinling Gibbons, mezzotint, on laid paper, 1690, after Sir Godfrey Kneller Bt. (1646-1723) by John Smith (1654-1743) Within an early 20th century Hogarth type frame. Small tear to the right, paper repair to the far right of the title band. John Smith was a pioneer of the mezzotint process. Born in Northampton, he moved to London to become a printer's apprentice. He turned his attention to mezzotint engraving and became the pupil of Jan Van der Vaart. In the first nine years of his career Smith worked principally for five publishers: Richard Palmer, Edward Cooper, Alexander Browne, Pierce Tempest and Isaac Beckett. He began publishing for himself in 1687, and from 1692 he worked only for himself. When Beckett died in 1688 Smith inherited his position as chief engraver to Godfrey Kneller. Grinling Gibbons, an immigrant from Rotterdam he became Britain's greatest decorative woodcarver. He is best known for his realistic and fluid limewood carvings of swags and festoons of fruit, flowers and game for architectural interiors. He was also a skilled stone sculptor.

Mr Grinling Gibbons

show details 		Portrait of a cavalry officer on his mount with sword drawn. English circa 1850. Oil on canvas and within the original gilt gesso frame.

Cavalry Officer      

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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 mid 19th century portrait of an officer of the 25th Foot, known at this time as The King's Own Borderers. Painted oil on canvas in a feigned oval, and within the original gilt gesso frame.

One of the Kings Own

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A naive picture of the ship Northfleet flying the house flag for Devitt and Moore. Painted oil on canvas and within a period painted frame. English circa 1860. The Northfleet was a Blackwall Frigate of 951 tons gross. She was built at Northfleet in 1853 for London shipowner Duncan Dunbar and spent much of her career trading between England and Australia and between England, India and China. On 13 January 1873 she left Gravesend for Hobart with 379 persons on board including the pilot, 34 crew, three cabin passengers and the assisted emigrants comprising 248 men, 42 women and 52 children. Bad weather forced the ship to drop anchor at several points before leaving the Channel and on the night of 22 January she was at anchor off Dungeness. At around 10.30 p.m. she was run down by a steamer that backed off and disappeared into the darkness. The heavily-laden Northfleet sank within half an hour and in the ensuing panic a total of 293 people were drowned.

Northfleet

show details 		Sloops and Covettes frequently served as dispatchers among ships of a battle fleet, corvettes also escorted merchantmen and showed a nation's flag in distant parts of the world. This vessel was probably engaged in protecting British merchantmen going to and from Hong Kong. Chinese early 19th century. Painted oil on linen and in a carved, lacquered and gilded Chinese frame.

A Sloop or Corvette

show details 		Portrait of an officer of the Grenadier Guards painted and exhibited by Maurice Codner (1888-1958). Oil on canvas and within the original painted gesso frame. A portrait of Kathleen Ferrier painted by Codner in 1946 is held at the National Portrait Gallery.

Grenadier Guard

show details 		A reverse painted mezzotint engraved by Richard Pursel after the portrait painted by Sir Joshua Reynolds, 'The Most Noble John Manners, Marquis of Granby, Commander in Chief of the British Forces in Germany, Lieutenant General of the Ordnance and Colonel of the Royal Regiment of the Horse Guards.' In a carved and parcel- gilt 'Hogarth' frame. In February 1759, Granby was promoted to the rank of lieutenant-general over British forces in Germany. Minden was Granby's first pitched battle. At the head of the Blues he was one of the cavalry leaders halted at the critical moment by Lord George Sackville, and when in consequence that officer was sent home in disgrace, Granby succeeded to the command of the British contingent in Ferdinand's army, having 32,000 men under his orders at the beginning of 1760. He also replaced Sackville as Lieutenant-General of the Ordnance. On 31 July 1760 Granby brilliantly stormed Warburg at the head of the British cavalry, capturing 1500 men and ten pieces of artillery. Since his twenties, he had been almost entirely bald, but disdained to wear a wig; during the charge, he lost his hat, giving rise to the expression

Marquis of Granby

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A pair of stipple engravings with hand colouring

Narcissa & Flirtilla

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Dog & Bird's Nest

show details 		An exceptional Regency period paper sculpture, a boquet of flowers formed entirely from paper, painted, cut and curled to form the flowers and foliage and then arranged into a boquet. All pinned to a satin support and contained within an oval gilt gesso framed box. English circa 1780.

A Bouquet of Paper Flowers

show details 		Three aquatints with hand colouring, London published by Thomas McLean, 26 Haymarket, 1827, within Victorian stained beech frames.

"The Cut............."

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A set of 18th century prints with hand colouring depicting the story of the Prodigal Son, within the original ebonized frames. Continental circa 1750.

The Prodigal Son

show details 		A pair of 18th century reverse painted mezzotints laid down onto glass; Queen Anne and her husband Prince George of Denmark, The Duke of Cumberland. The pair published by John Smith after the works by Sir Godfrey Kneller, Bt. Early 18th century and within the original carved and gilded oval frames. John Smith was a pioneer of the mezzotint process. Born in Northampton, he moved to London to become a printer's apprentice. He turned his attention to mezzotint engraving and became the pupil of Jan Van der Vaart. In the first nine years of his career Smith worked principally for five publishers: Richard Palmer, Edward Cooper, Alexander Browne, Pierce Tempest and Isaac Beckett. He began publishing for himself in 1687, and from 1692 he worked only for himself. When Beckett died in 1688 Smith inherited his position as chief engraver to Godfrey Kneller.

Queen Anne & Duke of Cumberland

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

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

Gilded Compostion Frame

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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

show details 		A reverse painted mezzotint:

Nelson's Funeral Carriage

show details 		Painted oil on canvas, signed and dated Antwerp 1892, in a period burr wood frame. The William Ashburner was a three-masted schooner, the largest wooden sailing vessel built at Barrow-in-Furness, and the only schooner built by the Ashburner shipyard that traded across the Atlantic or south of the Equator. In her first nineteen years, mainly under the command of Capt. Robert Charnley and Capt. Evans, she voyaged frequently to Uruguay for beef and bonemeal, to the West Indies for sugar, to New York and in the Mediterranean. She later went into the coasting trade and had a long working life that lasted until 1950. The William Ashburner was considered to be a fast ship, it being claimed that she once covered 240 miles in 24 hours with a full cargo of coal. Henry Loos: worked and lived in Antwerp, Belgium.The younger son of John F. and brother of John, he produced a number of portraits of sailing vessels in a very smooth style and paid attention to all of the ship's technical details. Quite often the vessel is depicted in sunny weather with the Belgian or Channel Coast in the background.

The William Ashburner

show details 		London Published July 22nd 1890 by L.H. Lefevre 1a King Street St. James's. Blind bookseller's stamp top right hand margin. Signed by the artist Alma Tadema and further signed by the engraver, Leopold Lowenstein.

Alma Tadema Etching

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An early 19th century watercolour of an officer of the British Navy, signed and dated 1835. Albin Robert Burt (1784-1842) started his career as an engraver under Robert Thew and Benjamin Smith. He later turned to portraiture, exhibiting at the royal Academy in 1830. In a period gilt gesso frame.

Naval Officer

show details 		Watercolour of a british Officer, signed and dated Albin Burt 1835. Albin Robert Burt (1784-1842) started his career as an engraver under Robert Thew and Benjamin Smith. He later turned to portraiture, exhibiting at the royal Academy in 1830.

British Officer.

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The Quarterings of Sir Fleetwood Dormer of Arle Court

show details 		A late 19th century Osbourne ivorex Plaque after the work by Arthur William Devis of 1807,

The Death of Nelson

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A naive oil painting, painted on canvas, now relined, cleaned and conserved, and framed in the original folk carved teak frame. It is safe to assume that this picture was painted by one of the vessel's officers or crew sometime during the latter part of the 19th Century.

The Margaret Falconer

show details 		This artist worked at the Weytz studio where this technique was their specialisation. He later came to England and would appear to have settled in Dover and carried on this work under his own name.

Happen'd at Ostend

show details 		Oil painting on canvas by the Italian artist, Luigi P.Renault, inscribed “St.Devenick Of Aberdeen, James Jeffrey Commander Entering Leghorn 1865”. Contained within a period walnut frame.

The St Devenick

show details 		Blairgowrie passing Dover on her maiden voyage to Lyttleton, New Zealand arriving 22nd. August 1875. Owned by Thomson and Gray, and commanded by captain Darke, she was built by Thomsons of Glasgow and registered at 1550 tons. Signed and dated Tudgay 1875.

Blairgowrie

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A mid 19th century watercolour of the schooner

Schooner Cassandra

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The Great Western

show details 		The racing cutter Arrow being challenged, probably in the solent. Attributed to H. L. Iddes. Oil on canvas, circa 1890, in a period gilded oak and gesso frame.

Racing Yachts

show details 		A portrait of a British WW1 Army officer. Signed and dated C.G.Kennaway 1918. Within a period, simply carved, oak frame. C.G.Kennaway is recorded as exhibiting between 1891 and 1918. For further works see Southampton City Art Gallery for a portrait of James Patrick Muir.

WW1 Officer

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A mid Victorian portrait of an officer in the Rifle Brigade. Signed Henry Fleuss. Oil on canvas. Original gilt gesso frame. Henry Fleuss was born in Prussia and settled in England c.1830. He is recorded as being the drawing and painting master at Marlborough College between 1844 and 1856. He died in 1888 aged 70. As a point of interest, William Morris was a student at the college between 1847 and 1852.

Army Officer in the Rifle Brigade

show details 		Oil on canvas of a couple in a colonial setting, location unknown. It is very likely that this painting was originally commissioned to record the marriage of the couple. Period maple frame. Mid 19th century.

The Marriage Contract

show details 		Portrait of a cavalry officer, painted oil on board, original gilt gesso frame. Artist anonymous. English circa 1850.

Cavalry Officer      

show details 		Watercolour on paper. Signed in pencil and inscribed along the base line

Napolean Casimir Szzygielski

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The ship

Tea Clipper "North"

show details 		The Evelyn Wood in Chinese waters near Hong Kong, painted oil on canvas c.1865. Period Chinese carved and gilded frame. The Evelyn Wood, named in honour of the famous Indian Mutiny Victoria Cross hero, later Field Marshall Sir Henry Evelyn Wood, was built at Sunderland in 1863, for Ritson & Co., and sailed regularly between Liverpool and the Dutch East Indies.

The Evelyn Wood

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

show details 		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

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

Girl in Blue

show details 		Albert Edward, Prince of Wales (1841-1910) commissioned by Queen Victoria from Albert's favorite artist, Franz Xaver Winterhalter. The original was painted oil on canvas. This copy is in watercolour by Winterhalter's contemporary W.Warman. He has one work in the National Portrait Gallery,

Albert Edward, Prince of Wales

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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The Proverb Reversed

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 Hare & Pheasant

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

“Still life with Peaches and Grapes”

show details 		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

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Watercolour by Albin Burt. Inscribed

Mr Frederick Brown

show details 		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 		Stipple engraving printed in colour, c.1800. Engraved by Hogg after the original painting by Rev. M.Peters and published in 1785 by J.W. Smith.

"Sophia"

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Thomas King depicted in the role of Puff in the

Thomas King as Puff

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

show details 		Domestick Employement and Domestick Amusement, reverse painted mezzotints after the paintings by Philip Mercier.

Domestick............

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A fine, late 18th century Chinese reverse painted glass picture of an elegant lady with her parrot. Ch'ien-Lung period, in the original Chinese copy of an English giltwood frame.

Lady with Parrot

show details 		King Wiliam IV landing at Greenwich with Queen Adelaide August 5th 1830. Printed and sold by W. Belch. Original colour and with further tinsel decoration. King William IV was crowned on the 26th June of that year. Having joined the Royal Navy as a midshipman aged thirteen he became known as the

William IV at Greenwich

show details 		A portrait of Nelson's misteress, Emma Hamilton. Reverse painted on glass and contained within the original carved, lacquered and gilded frame. After the original painting

Emma

show details 		The Right Honourable William Pitt, drawn by H. Edridge, 1801 and engraved by Anthony Cardon. London Published Dec. 26 1804 by H. Edridge, No 64 Margaret Street, Cavendish Square, and by Colnaghi & Co, Cockspur Street, Charing Cross. William Pitt, second son of William Pitt, 1st Earl of Chatham, was born at Hayes Place in the village of Hayes, Kent. He was sickly as a boy and educated at home by a Reverend Edward Wilson. He was intelligent and quickly became proficient in Latin and Greek. In 1773, aged fourteen, he attended Pembroke Hall (now Pembroke College, Cambridge), where he studied political philosophy, classics, mathematics, trigonometry, chemistry, and history. He remains the youngest ever Cambridge undergraduate.Whilst at Cambridge he was tutored by George Pretyman who became a lifelong personal friend. Pretyman became Bishop of Lincoln and then Winchester and PItt would draw upon his advice throughout his political career. While at Cambridge, he befriended the young William Wilberforce, who was also to become a lifelong friend and political ally in Parliament. Stipple engraving, unframed and still around the original stretcher. w.12 in x h.15 5/8 in.

Pitt The Younger

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A portrait of the Dragoon Guard Ellis Fletcher perhaps painted by a fellow dragoon. Signed and dated

Dragoon Guard

show details 		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 Nîme. 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 (Nîmes). The Arena of Nîmes is a Roman amphitheater found in the French city of Nîmes. Built around 70A.D., it was remodeled in 1863 to serve as a bullring.The Arena of Nîmes 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 Nîmes 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 Nîme

show details 		Pair of hand coloured and tinsel decorated 'theatrical prints' depicting Queen Victoria and Prince Albert on rearing horses with Windsor Castle in the background.

The Tinsel Queen

show details 		A pair of stipple engravings in original gilt gesso frames. English circa 1790.

Cobb Nuts and Peas

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A pair of English late 18th century stipple engravings printed in colour and within original gilt gesso frames. A label to the reverse is inscribed with text from Vide Ariosto and states that the original pictures are in the posession of Charles Boddam. Published by Thomas Macklin, 39 Fleet Street, Sept. 1781.

Vide Ariosto

show details 		A pair of fine stipple engravings, printed in colour, designed and engraved by Daniel Orme. Late Victorian mounts and gilt gesso frames.

A Song for a Sweetheart

show details 		A pair of late 18th century stipple engravings printed in colour and with hand colouring, published by R.M. Meadows after J.R. Smith and in the original gilt gesso frames.

Attention & Inattention

show details 		A fine set of four monochrome stipple engravings in original gilt gesso frames, engraved by Scott after Morland. Published circa 1800.

Boys...

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Portrait of an officer of the 45th foot regiment, painted oil on canvas and inscribed to the reverse

Officer of the 45th

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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A good late 18th century reverse painted mezzotint laid down onto glass, 'Jack's Return From a Cruise'; the most popular and favourite song of Charles Dibden. In the original carved, gilded and ebonized 'Hogarth' frame.

Jack's Return from a Cruise

show details 		Mezzotint with colour 'The Right Honorable Rear Admiral Lord Nelson K.B. Published by Laurie and Whittle, 20th October 1798, in celebration of Nelson's victory over the French at the Battle of the Nile. In a period carved, gilded and ebonized 'Hogarth' frame.

Rear Admiral Lord Nelson

show details 		A pair of 18th century engravings 'Out of Place and Unpenshion'd, In Place...ha ha ha!' Published by Robert Sayer and Jonathan Smith, November 1769. In period gilt and ebonized 'Hogarth' frames.

Out of Place....In Place....

show details 		A rare reverse painted mezzotint laid down onto glass 'The Farm House on Fire', printed for Robert Sayer, printseller near Sergeants Inn Fleet Street, London. 18th century, in the original 'Hogarth' frame.

The Farm House on Fire

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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 		An eighteenth century mezzotint portrait, after the painting by J.S.C. Schaak, of Major General James Wolfe set within a fine cut paper mount on a royal blue background. English circa 1760. In a copy 18th century frame. A commander in Chief at the age of thirty-three, Wolfe was, throughout his career, outstanding in his personal bravery and skill on the battlefield. His noble character, the daring exploit that won Canada from the French, and his death in the moment of victory, made him a national hero.

Major General James Wolfe

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An eighteenth century mezzotint portrait of His Royal Highness Edward Duke of York, set within a fine cut paper mount on a royal blue background. English circa 1760, in a copy 18th century frame. On April 1st 1760, Edward Augustus, the younger brother of George II, was created Duke of York and Albany. In the late summer of 1767, on his way to Genoa, Edward fell ill. He was taken to the Palace of Honore III , Prince of Monaco and, despite the care and attention given to him, he died there on the 17th September.

Edward Duke of York

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

show details 		A fine pair of stipple engravings by Francesco Bartolozzi after the work by Angelica Kauffman, printed in sanguine and within the original gilt gesso frames. English circa 1790. Francesco Bartolozzi (1727-1815) was an engraver, etcher and painter born in Florence, Italy. He was trained in the Florentine Academy and apprenticed to a Venetian engraver. In 1764, King George III's librarian brought him to England, where he was appointed Engraver to the King and later held the title of Royal Academician. A prolific engraver, he developed a stipple method invented in France, and his work was admired for its subtle modulations of light and shade and his sensitive and graceful portrayal of the human form. Engravings were the means of creating reproductions of fine art in the pre-photographic age, and Bartolozzi was considered one of the best. Prominent artists such as Sir Joshua Reynolds praised his work and his pupils nicknamed him

Francesco Bartolozzi / Angelica Kauffman

show details 		Six 18th century gouache coloured engravings depicting various elegant gardens. Excellent strong and original colouring. Within hand made and finished copies of 18th century frames.

Georgian Gardens

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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 pair English 17th Century carved and silver leafed oval frames with cavetto sight, leaf and flower panels to the reverse cushion moulded hollow and ribbon twist back edge.

A Pair of English Frames

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

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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

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

The Game Larder

show details 		A late 18th century pen, black ink and grey wash copy of an 18th century print; a bizarrely successful trompe loel that allows the viewer to believe they are looking at a print as opposed to a watercolour. Drawn by William Woodland, 1830, and within a fine, gilt gesso frame.

Old Harry

show details 		A set of three mezzotints engraved by John Jones after the painting of 1788 by James Roberts. Jones was a London-based engraver and printseller who practiced in both mezzotint and stipple. During his industrious career he mainly engraved portraits and the majority of his work he published himself at his residence in Great Portland Street. He was an active exhibitor at the Society of Artists and from 1780-1791 served as Engraver Extraordinary to the Prince of Wales. Dimensions of plate: w.16 in x h.22 in/w.14 in x h.18 in w.23 in x h.27 in & w.31 in x h.27 in

Lord and Lady Spencer

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Mixed method engraving after the 1886 work by James Yates Carrington (1857-1892). Blind printsellers stamp to the top right margin. Within the original reeded mahogany frame.

Tea Time

show details 		A scene from the poem

Hudibras

show details 		A nineteenth century gouache of the merchant brig

Brig "Sisters"

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

Whistler Frame

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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

show details 		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

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

Botanical Watercolour

show details 		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

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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

show details 		A fine pair of 18th century mezzotints part printed in colour and with contemporary hand colouring;

Faulkner and Trollope

show details 		A mid 18th century view of the Tower from the Thames. Good impression with fine original colour.

"A View of the Tower taken upon the Thames"

show details 		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

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Reverse painted mezzotint engraved by C. Corbutt after Thomas Gainsborough.

"Robert Lord Clive..."

show details 		Reverse painted mezzotint,

Admiral Lord Nelson

show details 		A reverse painted mezzotint laid down onto glass. London Published Nov. 14th 1805 by W.B. Walker and in the original

"Sunday or The Happy Cottagers"

show details 		A reverse painted mezzotint, after the work by Richard Carlile (himself a speaker at the meeting) laid down onto glass and showing

Peterloo Massacre

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The Four Seasons arranged over two prints. Reverse painted mezzotints laid down onto glass in original period frames, published August 14th 1807 by W.B Walker.

The Four Seasons

show details 		Reverse painted mezzotint laid down on glass. London published Sept. 1st 1806 by P.Gally. Original 'Hogarth' frame.

"Coming In"

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 Ł8,174. 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

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H.M.S.Bulldog

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Bank of England

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Westminster Bridge

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 		Early 19th century tavern painting depicting the Whitby whaler 'Lively' off of the Whitby coast. Signed I. Boanson, painted oil on panel and within the original integral

The Lively

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 small and rare reverse painted mezzotint on glass depicting Nelson's funeral carriage leaving the Painted Hall at Greenwich. English circa 1806 and in the original 'Hogarth' frame.

Lord Nelsons' Funeral Car

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The Right Honourable Earl Howe, engraved by R. Dunkarton after the work by J. S. Copely. Publishd by Copley, George Street, Hanover Square in 1794. Mezzotint, trimmed to the image on three sides, framed and retailed by Frederick B. Daniell & Son. Richard Howe, (1726-99) British admiral, commander of the North American squadron early in the Revolutionary War, during which the British failed to exploit their naval strength. After France became a party to the conflict, Howe had one significant success in preventing the French squadron from capturing Newport, Rhode Island. He was sympathetic with the colonists and influenced his brother William Howe in pursuing a course of conciliation. Howe, who twice served as first lord of the Admiralty, is best known in British history as commander of the Channel fleet at the Glorious First of June in 1794 during the French Revolutionary Wars, a brilliant victory unsurpassed even by the later exploits of Horatio Nelson.

Earl Howe

show details 		A reverse painted mezzotint celebrating Britain's successful alliance with Prussia, Russia and Austria.

Britannia's Triumph

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

show details 		A set of six China Trade watercolours on pith paper, circa 1850, later mounted and in hand made and painted frames.

Chinese Flowers

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