Claude-Joseph Vernet

Claude-Joseph Vernet 18th century Old Master landscape, grand tour Italy

Attributed to Rowland Wheelwright, 20th Century 'Bather's on the shore' and 'Sunbathing by the Cliffs' Oil on canvas board 9 X 10. 1/4in. (22.8 X 2...

Neapolitan school, circa 1810 Vessels on the key side at Naples during the Napoleonic occupation Oil on canvas 11.1/4 x 16.7/8 in. (28.1/2 x 43.2 cm.) It is unclear whether this wor...

Emile Rene Menard (French, 1862-1930) L`enlevement de Dejanira (The rescue of Deianara) Oil on canvas Signed `E R Menard’ (lower left) and inscribed with t...

A striking and simply composed painting of The Palace at Fontainebleau by Walter Taylor. Walter Taylor (British, 1860-1943) The palace at Fontainebleau Oil on canvas Signed `Walter Taylor’ (lower right) 25 x 30 in. (63.5 x 76.3 cm.) Born in Leeds, this artist was trained as an architect but eventually found his calling in painting town scenes, landscapes, and interiors using both oil and watercolour. With a privileged upbringing thanks to his tobacco manufacturer father, he attended art school in Paris before studying under Fred Brown at the Royal College of Art. In 1899, he married Hylda Matheson, but their honeymoon ended in tragedy with her untimely death. He eventually settled in Bedford Square, Brighton, during the 1910s and 1920s, but maintained a studio at 18 Fitzroy Street in London from 1915 onwards. A prominent figure in the art world, he was a founder member and secretary of the Camden Town Group, a member of the New English Art Club, and one of the founding members of the London Group in 1913. He exhibited with the London Group until 1934, showcasing his work that often drew inspiration from his travels in Europe, which sometimes included the company of fellow artist Walter Sickert. Additionally, he painted extensively in London, Brighton, and Hove. This artist also had a keen eye for collecting works by other artists, amassing an important collection that included pieces by Matisse, Bonnard, Vuillard, Dufy, Gilman, Matthew Smith...

John Leigh-Pemberton (British, fl. 1933 – 1959) Timber horses, Tazmania Signed ‘John Leigh-Pemberton 1934’ (lower right) Oil on canvas 25 x 30 in. (63.5 x 76.2 cm.) Leigh-Pemberton is mainly known for his illustrations for the shell guides...

Jenny Franklin (South African / British, b.1949) Antipodean land: Reflection Executed in 1993 Signed, inscribed and dated on the reverse Oil on canvas 48 x 42 in. (107 x 122 cm.) Ex...

Provenance: The Marchesi Strozzi, Palazzo Strozzi, Florence Sale, Christie’s, London, May 20, 1993, lot 315, as by Carl Borromaus Andreas Ruthart...

Cristofano Roncalli (Pomarance 1552 - Rome 1626) Saint Catherine of Siena chooses the crown of thorns oil on wood, cm. 101,5x59.5 - with frame cm. 120x76 Shaped, carved and sculpted wooden cassetta frame, partly gilded and partly ebonized wood Expertise: Marco Ciampolini The marvellous scene that opens before our eyes is that of Christ's apparition to Saint Catherine of Siena; she must choose between a golden crown, the symbol of earthly royalty, and a crown of thorns, the symbol of virtuous Christian sacrifice. Catherine does not hesitate to choose the crown of thorns, her life in imitation of...

The Great Fire of London in September 1666 was one of the greatest disasters in the city’s history. The City, with its wooden houses crowded together in narrow streets, was a natural fire risk, and predictions that London would burn down became a shocking reality. The fire began in a bakery in Pudding Lane, an area near the Thames teeming with warehouses and shops full of flammable materials, such as timber, oil, coal, pitch and turpentine. Inevitably the fire spread rapidly from this area into the City. Our painting depicts the impact of the fire on those who were caught in it and creates a very dramatic impression of what the fire was like. Closer inspection reveals a scene of chaos and panic with people running out of the gates. It shows Cripplegate in the north of the City, with St Giles without Cripplegate to its left, in flames (on the site of the present day Barbican). The painting probably represents the fire on the night of Tuesday 4 September, when four-fifths of the City was burning at once, including St Paul's Cathedral. Old St Paul’s can be seen to the right of the canvas, the medieval church with its thick stone walls, was considered a place of safety, but the building was covered in wooden scaffolding as it was in the midst of being restored by the then little known architect, Christopher Wren and caught fire. Our painting seems to depict a specific moment on the Tuesday night when the lead on St Paul’s caught fire and, as the diarist John Evelyn described: ‘the stones of Paul’s flew like grenades, the melting lead running down the streets in a stream and the very pavements glowing with the firey redness, so as no horse, nor man, was able to tread on them.’ Although the loss of life was minimal, some accounts record only sixteen perished, the magnitude of the property loss was shocking – some four hundred and thirty acres, about eighty per cent of the City proper was destroyed, including over thirteen thousand houses, eighty-nine churches, and fifty-two Guild Halls. Thousands were homeless and financially ruined. The Great Fire, and the subsequent fire of 1676, which destroyed over six hundred houses south of the Thames, changed the appearance of London forever. The one constructive outcome of the Great Fire was that the plague, which had devastated the population of London since 1665, diminished greatly, due to the mass death of the plague-carrying rats in the blaze. The fire was widely reported in eyewitness accounts, newspapers, letters and diaries. Samuel Pepys recorded climbing the steeple of Barking Church from which he viewed the destroyed City: ‘the saddest sight of desolation that I ever saw.’ There was an official enquiry into the causes of the fire, petitions to the King and Lord Mayor to rebuild, new legislation and building Acts. Naturally, the fire became a dramatic and extremely popular subject for painters and engravers. A group of works relatively closely related to the present picture have been traditionally ascribed to Jan Griffier...

Northern painter active in Rome in the second half of the 17th century, View of Ponte Milvio Oil painting on canvas 73 x 97 cm in coeval Roman Salvator Rosa frame.

Felice Torelli (Verona 1667 - Bologna 1748) Rachel Hiding the Idols Oil on canvas, 41 x 116 cm without frame - 52,5 x 127 cm with frame Original shape...

Giustino Menescardi (Milan, c. 1720 - Venice, after 1779) Ascent of Calvary Oil on canvas, cm. 47 x 36 - with frame cm. 57x43 Shaped and gilded wooden cassetta frame Publications: Bozzetti, modelletti, sketches: dalla collezione di Giorgio Baratti...