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The Village Cricket Match, 18th/19th Century English School

The Young Cricketer, 19th Century English School 19th century portrait of a young cricketer, oil on panel. Good quality and condition rare early original cricket portrait of the yo...

Feeding The Plough Horses, 19th Century attributed to Edward Robert SMYTHE (1810-1899) Large 19th Century English farm scene of a farmer feeding his pl...

Huntsmen and Terriers & Ferrets Rabbiting, 19th Century attributed to George Armfield (1808-1893) Large 19th century English landscape with Huntsmen rabbiting accompanied by their...

The Medieval Boar Hunt, Rheinstein Castle, 19th Century German School Large 19th Century German Medieval Boar Hunting Party, oil on canvas. Excellent quality and condition panorama...

British School Mid 20th Century The Cricket Match Oil on board Image size: 18 x 24 inches (46 cm x 61 cm)

'Cricket Match' Tinted lithograph with hand-colouring after the picture by Rev Tatton Winter. 340mm by 430mm (sheet)

John Holland Snr British, (1830-1886) Braintree Fair, Essex Oil on canvas, signed Image size: 13.25 inches x 20.5 inches Size including frame: 19 inches x 26.25 inches Provenance: Frost & Reed A lively painting of an annual town fair near Braintree, Essex by John Holland Snr. The middle of the scene shows a crowd of figures dancing on the green next to the Kings Head Inn whilst others watch on. In the foreground, people can be seen conversing with sellers and other visitors. John Holland Senior was a painter of landscapes and coastal scenes who was born in Nottingham around 1830. He was the son of a painter and brother to Samuel Holland also a painter and sign writer. He was also uncle to his namesake John Holland (1857-1920) whom he taught to work in charcoal and Samuel S. Holland, both of whom were artists. By 1861, he had become a full time artist exhibiting at Suffolk Street from around this time until 1879, at the British Institution between 1865-1866 as well as exhibiting locally in Nottingham. He never married and lived for many years with his father, brother and his family at Vernon Street, Nottingham. Around 1867, he moved to Hebden Bridge in West Yorkshire where he exhibited locally. He would also often travel around the British countryside and coast to paint. He spent a few years in West Yorkshire but by 1871 had moved back to live with his family in Nottingham. However, he spent his final years living at Trebray Lodge, Tintagel, Cornwall where he died on 7 February 1886. A number of his works are held by the Buxton Museum, Calderdale Metropolitan Borough Council, Nottingham Art Gallery and the Williamson Art Gallery. Presentation: The painting is housed in a new, English made gilt frame which is in excellent condition. The reverse bears a label for Frost & Reed, a well-known fine Art Gallery, frame maker and fine art publisher founded in Bristol in 1808 by William Hill. The business was bought by John Frost in 1859 who ran it until his death in 1875. His nephew Walter Frost took over the business and in 1881 brought in William Reed...

Samuel Henry Alken (1810–1894) Horse Racing Scene, Possibly the Epsom Derby Oil on board, unsigned Attributed, English school circa 1840 Presented in a later gilt frame with beaded inner edge This dynamic mid-19th century racing scene, attributed to Samuel Henry Alken—also known as Henry Alken Junior—captures the high-stakes moment just before the thundering release of horses and riders at the starting line. A tightly packed field of brightly jacketed jockeys leans forward with urgent anticipation, the taut muscles of their mounts echoing the gathering tension. In the foreground, a race marshal gestures dramatically to signal the start, his stance underscoring the energy about to be unleashed. Though unsigned, the work bears the unmistakable hallmarks of Samuel Henry Alken’s hand: vigorous composition, attention to equine form, and a sharp eye for the choreography of sport. The figures are finely modelled, the palette lively but grounded, and the setting—with its wooded backdrop, animated crowd, and distant grandstands—suggests a major 19th-century race meeting, possibly the Epsom Derby, a subject Alken is known to have returned to in several formats. The composition’s panoramic sweep and low horizon lend a cinematic quality, while the density of detail—each silken cap and coat, each bridle and plume—evokes the pageantry and social theatre of Britain’s sporting calendar at the height of its Regency and early Victorian splendour. A rare and spirited scene from the golden age of English sporting painting...