Darnley Fine Art

C.M. European 1946 Record, Geneva Gouache on paper Image size: 38 x 24 inches £400

Leonard Cusden British Flourished: 1920 - 1950 Somerset Gouache, signed lower right Image size: 17 ¾ x 27 inches Contemporary oak gilt frame This is the original painting used for the cover of the first edition for the novel "Someret" by Maxwell Fraser, published by The Great Western Railway...

British School 19th Century Turkish Scene Oil on board Image size: 13 ½ x 10 ½ inches

Graham Dean 1980 Steam Room 4 Acrylic on canvas Image size: 14 x 10 inches In keeping with Dean's passion for experiencing the subjects of his work, this ...

Graham Dean 1975 Refugee from England ( Memories) Acrylic on canvas Image size: 47 x 41 inches Provenance Nicholas Treadwell Gallery This painting was reproduced internationally, ...

Szymon Buchbinder 1853 - 1908 Portrait of a Young Girl Oil on canvas Image size: 19 x 13 inches Original frameSimon Buchbinder (1853-1908) was a Polish painter. Most of his works we...

A.M. Coates 20th Century Girl in a Green Scarf Oil on canvas Image size: 14 x 10 inches

British School 19th Century Mischief Oil on canvas Image size: 30 x 25 inches Signed and inscribed indistinctly

Percy Thornton 20th Century Landscape Oil on board Image size: 15½ x 19 inches Framed

British School 20th Century Oil on canvas Image size: 12 x 8 inches Framed

Charles Paine 1895 - 1967 Evening Nursery Gouache Signed upper right with monogram Image size: 3 × 3 inches Acid free mount and black frame Perhaps best known for his iconic London ...

CARL FRIEDRICH HEINRICH WERNER 1808 - 1894 Purchasing a Hawk Graphite on Paper Carved giltwood frame Image Size: 12 x 18 ½ inches SKETCHES OF CARL WERNER EXHIBITION AT OUR GALLERY...

Thomas Hudson 1701 – 1779 Portrait of a Lady Oil on canvas Image size: 30 x 25 inches Original carved giltwood frame Hudson had many assistants, and employed the specialist drapery ...

Keith Holmes Contemporary Yellow Pairing Oil on board, initialled bottom right Image size: 15 ¼ x 9 ¾ inches Framed

English School 20th Century Lakes Gouache, initialled lower left Image size: 20 x 14 inches Framed

I.W. Early 20th Century Barmouth Watercolour, initialled and dated 1923 lower right Image size: 40 ½ x 25 inches Hand made frame Original artwork for a poster

Circle of Gerard van Honthorst 1592 - 1656 Portrait of a Gentleman Oil on wooden panel Image size: 29 x 23 inches Contemporary gilt frame Gerard van Honthorst was a Dutch Golden Age...

CARL FRIEDRICH HEINRICH WERNER 1808 - 1894 Dome of the Rock Graphite on Paper Image Size: 17 ¼ x 14 inches Hand made gilt frame Carl Friedrich Heinrich Werner was born in Weimar in...

J Fairfax Whiteside ARRC FMAA 1904 - 2001 SAFE HARBOUR Gouache, signed Image size: 29 x 19 inches Framed

A Turkish Garden Party Early 19th Century Oil on board Image size: 16 x 20 inches Contemporary frame

CARL FRIEDRICH HEINRICH WERNER 1808 - 1894 A Moment's Rest Graphite on Paper Gilt Frame Image Size: 10 x 17 ¼ inches SKETCHES OF CARL WERNER EXHIBITION AT OUR GALLERY 1st - 9TH D...

Lillian Stannard 1877 - 1944 The Lily Pond Watercolour, signed lower left Image size: 9 ½ x 13 ½ inches Contemporary gilt frame Lillian Stannard was a celebrated painter of En...

JOHN EDWARD GOODALL 1853 - 1920 THE CHOSEN PATH Pencil, watercolour and gouache, signed lower right Image size: 6 ¼ x 8 ¼ inches (16 x 21 cm) Hand made gilt frame John Edward Goodall was the son of Alfred Goodall and Mary Palmer. Alfred was a brother to Edward A. and Frederick Goodall, both accomplished artists. He was most prolific during the period between 1877 and 1911. In the 1891 census he is shown as being married to Grace, manager of the Sommerville Club, London but by 1901 he is to be found with a woman named Annie. John associated with a bohemian art circle and tended to have a corresponding lifestyle. The work produced by Goodall is well executed and often in watercolour. He trained at art school in London and travelled extensively. He was not the prolific artist like his uncles and a lot about his life is still...

Norman Wilkinson CBE PRI 1878 – 1971 THE BANN AT COLERAINE Oil on canvas, signed lower right Image size: 30 x 44 ½ inches (76 x 113 cm) Provenance Commissioned by British Railways 1...

NORMAN AULT 1880 – 1950 ANIGHT MY SHALLOP Pencil & watercolour, signed & dated 1913 Image size: 10 ¼ x 7 ½ inches (26 x 19 cm) This watercolour was used as an an illustration in Mar...

ALBERT GOODWIN RWS British 1845 – 1932 DESERT OASIS Watercolour & bodycolour on tinted paper, signed & inscribed lower right Image size: 9 x 12 inches (18.5 x 26.5 cm) Albert Goodwi...

Norman Wilkinson CBE PRI 1878 – 1971 RHUDDLAN CASTLE Oil on canvas, signed lower right Image size: 30 x 45 inches (76 x 114 cm) Hand made frame Provenance Commissioned by London, Mi...

MARJORY WHITTINGTON 1883 - 1952 Sunset, New Forest Watercolour, Signed with monogram & dated 1912 lower right Image size: 9 ¾ x 7 inches Original mount & oak frame £900 Marjory Whittington was an oil and watercolour painter and etcher. Born in London she exhibited at the Royal Academy, Royal Scottish Academy, Royal Institute of Artists, the Fine Art Society, Grosvenor Gallery, Glasgow Institute of Fine Arts, Goupil Gallery, Walker Art Gallery, Society of Women Artists and the Paris Salon. Marjory Whittington was also a member of the Royal Society of British Artists. The watercolour ‘Sunset...

George Leech 1894-1966 Pembrokeshire Coast Oil on canvas , signed Image Size: 39 x 49 inches This is an original artwork for the British Railways Western Region poster. The arti...

Gilbert Jackson English Active: 1620 - 1650 Portrait of a Girl Oil on panel, signed upper left and Inscribed upper right Image size: 24 ½ x 20 inches Contemporary style hand made...

Christian Mizon Contemporary Dancer Stretching Red Clay Height: 5 inches (13 cm) Stamped by artist Christian Mizon is a graduate of Camberwell College of Arts, and is based in Lon...

Charles Paine 1895 - 1967 Ladders Gouache Signed lower left with monogram Image size: 4.5 × 4.5 inches Acid free mount and black frame Perhaps best known for his iconic London Under...

Follower of Jacob de Wit 1695-1754 Venus and Cupid Oil on panel Image size: 7 ¾ inches x 11 ¾ inches Gilt frame A charming example of trompe-l'œil, this painting is abrim with...

V Ward Bombed Landscape Watercolour Signed and dated 1918, bottom right Image size: 18 x 11 inches

V Ward Soldier at Rest Watercolour and pencil Signed and dated 1918, lower left Image size: 13 x 11 inches

V Ward American Soldier Watercolour Signed and dated 1918, lower left Image size: 12 x 10½ inches

V Ward Bombed Dwelling Watercolour and pencil Signed and dated 1918, lower left Image size: 13 x 11 inches

British School 19th Century The Mountain Climb Watercolour, initialled "HR" Image size: 18 x 12 inches Original gilt frame

Kenneth W. Hough British 20th Century Mother with Children Design Pencil and watercolour on paper Image size: 11 x 10.75 inches Handmade frame

HORACE MANN LIVENS 1862 - 1936 KINGSTON BRIDGE Watercolour, signed lower right Image size: 12 x 10 inches Framed Livens was born in Croydon in 1862, the son of a colonial broker. H...

Norman Wilkinson CBE PRI 1878 – 1971 HARROW SCHOOL Oil and gouache on paper, signed lower right Image size: 30 × 45 inches (76 × 114 cm) Original frame Provenance Commissioned by L...

ERNEST ARTHUR ROWE 1863 - 1922 St Peter's Rome Watercolour Signed lower left Image size: 9 ¾ x 7 inches Original gilt frame

V Ward Unknown Officer in Trench Cap Watercolour and pencil Signed and dated 1918, lower right Image size: 12 x 10 inches

Luigi Ferrazi Italian Fl: 1880 - 1888 After the Carnival Oil on canvas, signed, dated '1885' and inscribed 'Venezia' Image size: 24 ¾ x 33 ½ inches (63 x 85 cm) Contemporary gilt ...

BRITISH SCHOOL 20th Century BOMBED LONDON Watercolour, unsigned Image size: 9 ½ x 14 inches

Frank Jameson 1899 - 1968 Self Portrait Graphite on paper, signed lower right Image size: 15 x 9 inches Contemporary frame Frank Jameson was born in London and later moved to Birmingham where he attended evening classes in drawing and painting at Birmingham Art School. By day he worked as an insurance salesman. During the First World War he became an officer in the Worcester Regiment and was in charge of building bridges and block houses. He returned to the Midlands but then travelled widely by rail, eventually discovering St Ives where he was inspired by the stunning scenery. He stayed and rented the Loft Studio. He also became a member of the St Ives Society of Artists and exhibited frequently with his fellow artists, especially John Park...

Circle of Cornelis Dusart Dutch 1660 - 1704 Portrait of a Man Oil on panel Image size: 7¾ x 5¼ inches Giltwood frame Cornelis Dusart Cornelis ...

CHARLES TUNNICLIFFE 1901-1979 Cutting Wheat Watercolour with body colour Image size: 9 ½ x 7 inches (25 x 18 cm) Gilt frame

Alfred Daniels 1924 - 2015 Crews Training at Hammersmith Mixed Media, signed & dated lower left Image size: 56 x 76 cm Original frame

COMPANY SCHOOL 19th Century The Music Party Watercolour Image size: 4 ¾ x 7 ½ inches Acid free mount

BRITISH SCHOOL 19th Century STIRLING CASTLE Watercolour, signed lower right Image size: 12 x 10 inches (30 x 25.5 cm)

Alfred H. Taylor The Experiment Watercolour, signed and dated 1838 Image size: 9 ½ x 8 inches

Circle of Mary Beale 1633 - 1699 Portrait of a Gentleman Oil on canvas Image size: 30 x 25 inches Contemporary gilt frame Mary Beale was the daughter of a Suffolk clergyman.She married Charles Beale...

Charles Paine 1895 - 1967 Flying South Gouache, signed lower right with monogram Image size: 2 ¾ × 2 ¾ inches Acid free mount and black frame £350

V Ward Rifleman Watercolour and ink Signed and dated 1918, lower right Image size: 11 x 8 inches

V Ward Unknown Officer in Trench Cap Watercolour and pencil Signed and dated 1918, lower right Image size: 12 x 10 inches

After Sir Peter Lely, Late 17th Century (1618–1680) James, Duke of York, (later James II) and Anne Hyde, Duchess of York Chalk on paper Image size: 8...

English School, (circa 1600) Portrait of William Herbert, 3rd Earl of Pembroke Oil on panel, oval Image size: 29¼ x 23⅞ inches Painted wooden frame Provenance: 176, Collection of Francis Greville, 1st Earl of Warwick. The Trustees of the Lord Brooks’ Settlement, (removed from Warwick Castle). Sotheby’s, London, 22nd March 1968, lot 81. Painted onto wooden panel, this portrait shows a dark haired gentleman in profile sporting an open white shirt. On top of this garments is a richly detailed black cloak, decorated with gold thread and lined with a sumptuous crimson lining. With the red silk inside it’s all very expensive and would fall under sumptuary laws – so this is a nobleman of high degree. It’s melancholic air conforms to the contemporary popularity of this very human condition, evident in fashionable poetry and music of the period. In comparison to our own modern prejudices, melancholy was associated with creativity in this period. This portrait appeared in the earliest described list of pictures of Warwick castle dating to 1762. Compiled by collector and antiquary Sir William Musgrave ‘taken from the information of Lord & Lady Warwick’ (Add. MSS, 5726 fol. 3) is described; ‘8. Earl of Essex – an original by Zuccharo – seen in profile with black hair. Holding a black robe across his breast with his right hand.’ As tempting as it is to imagine that this is a portrait of Robert Devereux, the 2nd Earl Essex, we might take this with a pinch of salt. Its identification with this romantic and fatal Elizabethan might well have been an attempt to add romance to Warwick Castle’s walls. It doesn’t correspond all that well with Essex’s portraits around 1600 after his return from Cadiz. Notably, this picture was presumably hung not too far away from the castle’s two portraits of Queen Elizabeth I. The first, and undoubtedly the best, being the exquisite coronation portrait that was sold by Lord Brooke in the late 1970s and now hangs in the National Portrait Gallery. The second, described as being ‘a copy from the original at Ld Hydes’, has yet to resurface. The portrait eventually ended up being hung in the State Bedroom of Warwick Castle. Archival documents present one other interesting candidate. The Greville family’s earliest inventory of paintings, made in 1630 at their home Brooke House in Holborn, London, describes five portraits of identified figures. All five belonged to the courtier, politician and poet Sir Fulke Greville (1554-1628), 1st Baron Brooke, and were hung in the ‘Gallerie’ of Brooke House behind yellow curtains. One of them was described as being of ‘Lord of Pembrooke’, which is likely to have been William Herbert (1580-1630), 3rd Earl of Pembroke. William was the eldest son of Greville’s best friend’s sister Mary Sidney, and was brought up in the particularly literary and poetically orientated household which his mother had supported. Notably, the 3rd Earl was one of the figures that Shakespeare’s first folio was dedicated to in 1623. The melancholic air to the portrait corresponds to William’s own pretensions as a learned and poetic figure. The richness of the robe in the painting, sporting golden thread and a spotted black fabric, is indicative of wealth beyond that of a simple poet or actor. The portrait’s dating to around the year 1600 might have coincided with William’s father death and his own rise to the Pembroke Earldom. This period of his life too was imbued with personal sadness, as an illicit affair with a Mary Fitton had resulted in a pregnancy and eventual banishment by Elizabeth I to Wilton after a short spell in Fleet Prison. His illegitimate son died shortly after being born. Despite being a close follower of the Earl of Essex, William had side-stepped supporting Devereux in the fatal uprising against the Queen and eventually regained favour at the court of the next monarch James I. His linen shirt is edged with a delicate border of lace and his black cloak is lined on the inside with sumptuous scarlet and richly decorated on the outside with gold braid and a pattern of embroidered black spots. Despite the richness of his clothes, William Herbert has been presented in a dishevelled state of semi-undress, his shirt unlaced far down his chest with the ties lying limply over his hand, indicating that he is in a state of distracted detachment. It has been suggested that the fashion for melancholy was rooted in an increase in self-consciousness and introspective reflection during the late 16th and early 17th centuries. In contemporary literature melancholy was said to be caused by a plenitude of the melancholy humor, one of the four vital humors, which were thought to regulate the functions of the body. An abundance of the melancholia humor was associated with a heightened creativity and intellectual ability and hence melancholy was linked to the notion of genius, as reflected in the work of the Oxford scholar Robert Burton, who in his work ‘The Anatomy of Melancholy’, described the Malcontent as ‘of all others [the]… most witty, [who] causeth many times divine ravishment, and a kind of enthusiamus… which stirreth them up to be excellent Philosophers, Poets and Prophets.’ (R. Burton, The Anatomy of Melancholy, London, 1621 in R. Strong, ‘Elizabethan Malady: Melancholy in Elizabethan and Jacobean Portraits’, Apollo, LXXIX, 1964). Melancholy was viewed as a highly fashionable affliction under Elizabeth I, and her successor James I, and a dejected demeanour was adopted by wealthy young men, often presenting themselves as scholars or despondent lovers, as reflected in the portraiture and literature from this period. Although the sitter in this portrait is, as yet, unidentified, it seems probable that he was a nobleman with literary or artistic ambitions, following in the same vain as such famous figures as the aristocratic poet and dramatist, Edward de Vere...

Howard Jenkins Flourished 1920 - 1950 Art Gallery, Portico, Dark Evening Oil on board, signed verso and inscribed Image size: 12 x 10 inches Contemporary frame

Frederick Donald Blake RI, RMSI 1908–1997 Gorleston on Sea, Norfolk Gouache, signed lower right Image size: 6 x 16¼ inches (15 x 41 cm) Hand made gilt frame