Darnley Fine Art

Watercolour on paper, signed and dated '1973' bottom left Image size: 12 1/2 x 9 1/2 inches (32 x 24 cm) Contemporary frame This is a wonderful watercolour of a winter landscape, with a country lane, frost-covered fields and an old farm building. As the artist has worked in his home county for much of his life, this is likely to be a view in rural Northamptonshire. Peter Newcombe...

Oil on canvas, signed and dated '1975' bottom right Image size: 10 1/4 x 12 inches (26 x 30cm) Contemporary style frame This still life is a meticulous study by the artist of a selection of plants and flowers that could be found in any English hedgerow or roadside verge. Here Newcombe has depicted wild grasses, flowering nettles and dandelions in various states in their life cycle; pre-bud, full flower and having lost all of the fluffy seeds. The detail in this work is fine and reminiscent of the accuracy that was executed in 17th century Dutch artworks...

Peter Gardner Flourished: 1949-1979 Fulham Broadway Pastel on Paper Signed with monogram and dated 1975, lower right Image size: 6 1/2 x 10 1/2 inches Acid free mount Peter Gardn...

Arthur Wardle 1864 - 1949 At the Window Oil on board, signed lower left Image size: 13 1/2 x 7 3/4 inches (34.25 x 19.5 cm) Hand made gilt frame Arthur Wardle Wardle, who was self-...

Johann Mali 1828 - 1865 Baden-Württemberg Castle Oil on board, signed lower right Image size: 10 x 15 1/4 inches (51 x 39 cm) Hand made giltwood frame This is a landscape of Baden-W...

Pencil, watercolour and bodycolour heightened with white. Image size: 9 1/2 x 13 1/4 inches (24 x 34 cm) Hand made gilt frame Provenance The Fine Art Society 1981 (Label Verso) Priv...

Graphite on paper, signed and dated Image size: 18 x 12 1/2 inches (46 x 32 cm) Mounted and framed The sitter for this portrait, Alfred Hardiman, was an English sculptor. Hardiman and Lyon were friends and met when they both attended the British School at Rome in the early 1920s. Hardiman won a London County Council Scholarship to the Royal College of Art in 1912, and three years later joined the Royal Academy School. After a period as an engineer's draughtsman in the Royal Flying Corps during the First World War, Hardiman resumed his studies and in 1920 was awarded the British Prix de Rome scholarship, spending two years at the British School at Rome. There he developed his style, a blend of naturalism and classicism influenced by Roman and Etruscan art and early fifth century Greek sculpture. Hardiman's best-known (but also most controversial) work is the Earl Haig Memorial on Whitehall in London. More universally admired are the heraldic lions flanking the main entrance to the City Hall, Norwich, a work which fully epitomises his style. He was appointed consultant sculptor to the building, having worked with one of the architects, Stephen Rowland Pierce, on the Haig Memorial. Hardiman also carved three large stone figures for the outside of the council chamber, and worked with other sculptors on the project including James Woodford and Eric Aumonier. Hardiman was elected Associate of the Royal Academy in 1936 and a full Academician in 1944. He became a fellow of the Royal Society of British Sculptors in 1938 and the following year received their silver medal for his statue of Haig. In 1946 he won a gold medal for his bronze fountain figure for the New Council House, College Green, Bristol, which however was never erected. In 1918 he married Violet, daughter of Herbert Clifton White, of London, and had two daughters. He died at Stoke Poges on 17th April 1949. Robert Lyon...

Hand Carved Fruit Wood Length: 16 inches (40.5 inches) A striking, richly hand carved frame in high relief. It shows a rich decor of natural organic forms alongside a collection of ...

Hand-carved wooden trunk and plinth Height: 38 1/2 inches (98 cm) Width: 10 1/2 inches (27 cm) Lawson Rudge Lawson Rudge was born in 1936. He is...

Jacob Huysmans Flemish 1633 - 1696 Portrait of a Lady Oil on canvas Image size: 49 x 40 ¼ inches Gilt frame Huysmans was born in Antwerp and came to England during the reign of Charles II where he became one of the fashionable painters of the court.. The diarist Samual Pepys noted the artist as capable of a more exact likeness than Lely. Certainly the diarist records that by August 1664 in the circle of Queen Catherine...

Oil on panel Image size: 20 x 16 inches (51 x 40.5 cm) Handmade gilt frame Provenance Family estate This preliminary oil sketch for one of O'Neil's most famous works, "Eastward Ho!...

This grand scene depicts the interior of Knole House, a country house and former archbishops palace. Situated within the 1,000 acre Knole Park the house ranks in the top five of England's largest houses occupying a total of four acres. The majority of the canvas is given to a well furnished drawing room resplendent with various paintings, tapestries and furniture. To this day Knole House has one of the finest collections of 17th century English upholstered furniture in the world. Much of it was made for the royal palaces of the ruling Stuart dynasty and is of the highest quality. It is likely that the chair and footstools seen her originally came to Knole house as part of the vast collection put together by Charles, 6th Earl of Dorset. This work has incredible intricate detail in all aspects of the space including the depiction of flowers in vases, a bird in a cage and adorned trinkets. On the armchair sits an English guittar, popular in Victorian Britain. The instrument is recognisable for its pear-shaped body, flat base and rather short neck. A dog stands before an opened door leading further into the house. In the distance we are given just a glimpse of a lady and gentleman conversing at the window. From here a lovely flow of daylight floods into the rest of the scene making the whole work bright and airy. In the foreground on the windowsill is a music book with pages open and an untouched peach. This perhaps signifies the sudden rush of the young woman away from her resting place to meet the unexpected suitor outside. The Artist John Watkins Chapman...

Watercolour, initialled lower right Image size: 15 x 13 inches (38 x 33 cm) Acid free mount and hand made modern frame. Little-known painter and etcher who studied at Goldsmith's c...

Gouache on paper Image size: 3 1/4 x 4 1/4 inches (8 1/4 x 11 1/2 cm) Original frame

Pencil and coloured chalk on paper, signed bottom right Image size: 9 3/4 x 7 3/4 inches (3.75 x 3 cm) Mounted and framed Provenance Studio sale, Christies 18th May 1863 The Artis...

Oil on board Image size: 6 x 8 1/2 inches (15 x 21.5 cm) Contemporary hand made float frame We have a considerable collection of Benham's landscape works. Please get in contact if ...

Gouache and ink on board, inscribed on reverse Image size: 12 1/2 x 14 1/2 inches (31.75 x 37 cm)

Oil on board Image size: 16 3/4 x 10 1/4 inches (42.5 x 26 cm) This work depicts the three stages of life: infancy, adulthood and old age.

Pieter Symonsz Potter Dutch 1600 - 1652 Soldier in an Interior Oil on oak panel, red seal to reverse Image size: 15 x 10 3/4 inches Dutch Ebonised frame Bathed in a well lit roo...

Oil on board, signed and dated 1968 verso Image size: 23 x 36 inches (58.5 x 92 cm) Original gilt frame Evan Charlton was born in London. He studied at ...

Pencil on Paper Image size: 10 x 8 ¾ inches White Gold Frame The Artist Gordon Scott was trained at the Royal College of Art (1934-38) under Gilbert Spencer, Alan Sorrell and Charl...

Circle of Thomas Derrick British 1885 - 1954 Oil on panel Image size: 21 1/2 x 14 inches (55 x 36 cm) Hand made frame

Oil on canvas on board Image size: 15 3/4 x 21 3/4 inches (40 x 55 cm) Contemporary style frame This sensitive portrait captures the use of contemporary dress of this lady beautifu...

Oil on canvas on board, signed lower left Image size: 10 1/2 x 14 inches In the course of a long and varied career, Sep Scott exhibited in the Royal Academy and was a member of the Royal Watercolour Society. Scott produced some famous works for the railway poster campaigns in his early years. He became a book illustrator and one of the highest paid and respected of all British poster artists. Towards the end of his life, during a period when his style had gone somewhat out of vogue, he began working for Leonard Matthews and his trio of comics, Knockout, Sun and Thriller Comics Library. At first, Scott was used for picture strips, drawing all the adventures of the pirate hunter, Captain Flame, and proving to be a natural born strip artist. Then, when Matthews took over Thriller Comics Library, Scott began to paint the covers. He drew scores of full colour cover paintings, which would, as Leonard Matthews commented, “grace the walls of any stately home”, and were, in all probability, largely responsible for the success of the Library and the fact that these comics are so valued today amongst collectors. Scott also drew a number of short Robin Hood strips for the Library and some fine full-length adventure picture stories including Jane Eyre, Pride of the Ring, Secret Operator and the splendidly atmospheric, The Dark Shadows of London. For a short period, he also painted the occasional cover - and back page - for Comet and Sun and also contributed some paintings for the first Buck Jones Annual and the covers for both issues of the Billy the Kid Book...

Oil on canvas Image size: 29 x 24 inches (73.5 x 62 cm) Framed

Oil on canvas Image size: 15 3/4 x 19 1/2 inches (40 x 49.5 cm) Framed

Mixed media on board Image size: 22 1/2 x 14 1/2 inches (57 x 37 cm) Original frame A very fine three-dimensional original by the well listed British born artist, Peter Manzaroli (b...

Charcoal and grey wash on paper Image size: 14 3/4 x 13 3/4 inches (37.5 x 36 cm) Hand made gilt frame Provenance Private collection, Washington DC. C.G. Sloan & Co., Sept. 1980. T...

Oil on canvas Image size: 30 x 35 inches (76.25 x 89 cm) Carved gilt frame A half-length portrait of a man turned slightly to the left, gazing at the spectator, standing, wearing st...

Oil on canvas, signed and dated '1948' bottom right Image size: 10 3/4 x 16 1/2 inches (27.25 x 42 cm) Contemporary style hand made frame The Artist Hugh Griffiths was a painter who was born in Karachi. Was educated at Canford School and the Dragon School, Oxford. Showed at RA, RBA and NEAC. Griffiths lived at Winchelsea and later St Leonards...

Watercolour on paper, signed and entitled bottom right Image size: 12 x 10 inches (30.5 x 25.5 cm)

Watercolour on paper, signed bottom right Image size: 8 x 10 1/4 inches (20.25 x 26 cm) Mounted and framed Charles Rebel Stanton served with the First Surrey Rifles in Northern France and Belgium during the First World War. Although Stanton was not an official war artist, his stirring watercolours document the devastation of towns and villages that he visited while on active military service The Artist Charles Rebel Stanton was born in Kentish Town, London, on 3 February 1887, the third of seven children of the book seller’s assistant, Charles Stanton, and his wife, Amelia (née Tate). At the time of the 1891 Census, the family was living at 22 Corinne Road, Islington. Nothing is known of Stanton’s education but, at the time of the 1901 Census, when he was 14 years old, he was working as a Science Assistant for the School Board of London, probably at a local school. By then, he and his family had moved to 121 South Street, Greenwich, and his father was working as a carpenter. In The Art of the RMS Queen Mary (1994), Douglas M Hinkey describes Stanton as ‘a painter trained as an architect’. While nothing is known of his architectural training, he is described as an ‘artist’ in the 1911 Census, which also records that he was still living with his family, which had moved to 53 Grosvenor Park SE, St Mary Newington. In the previous year, he had won second prize in the class for ‘pictorial art’ in a competition organised by the magazine, The Studio. Charles Stanton began his career as a commercial artist, designing posters and postcards and illustrating books, and signing his work ‘Charles R Stanton’. Commissions included a poster for the Fine Art Society that was general enough in its design to have been used to advertise any number of exhibitions (though the example that has come to light promoted ‘Water Colours of Flower Time...

Watercolour on paper, signed and dated '1870' lower left Image size: 5 x 6 1/2 inches (13 x 16.5 cm)

Oil on board, mounted on panel, signed lower right Image size: 19 x 23 (48 x 58 cm) Contemporary style handmade frame £10,000 Provenance Artists Estate The Artist Robert Deborne...

Graham Dean 1978 Balaclava Coloured pencil and gouache Image size: 16 x 12 inches Self-portrait of the artist.

Graham Dean 1984 Porter Acrylic on canvas Image size: 40 x 29 inches The model in this painting is the same as the one in the painting Camouflage. The artist researched a lot about ...

Graham Dean 1977 Signpost Acrylic on canvas Image size: 78 x 50 inches The painting depicts a time before electronic travel boards, when train times were chalked on blackboards. The...

Oil on canvas Image size: 24 x 29 inches (61 x 73.5 cm) Contemporary style gilt frame Provenance From the estate of the artist, Clara Klinghoffer This portrait is by an artist who propelled rapidly into the limelight after her first solo exhibition in 1920, at the age of 19, with the Daily Graphic naming her as the 'Girl Who Draws Like Raphael'. Yet today Clara Klinghoffer's name is little know. Klinghoffer's early success resulted in numerous portrait commissions, including this one of the English composer Stanley Bate. The bold use of colour and naive execution of this portrait clearly reveals the modernist influence of fellow Jewish artists such as Bernard Meninsky, Jacob Kramer and Mark Gertler...

French School 19th Century A Harbour Oil on board Image size: 8 x 10 inches Contemporary frame The current bridge was constructed back in 1876 and named the Pont Sully, or Pont de ...

HORACE MANN LIVENS 1862 - 1936 RICHMOND BRIDGE II Watercolour, signed lower right Image size: 12 x 10 inches Framed Livens was born in Croydon in 1862...

David Roberts R.A. 1796 - 1864 THEBES - COLOSSAL STATUES OF AMUNOPH III First Edition lithograph Full plate: 137 Presented in a acid free mount Published by F.G. Moon & Son, Londo...

Gordon Noel Scott A.R.C.A 1914 - 2016 Waiting for the Train Pencil and wash on Paper Image size: 10 3/4 x 14 3/4 inches Modern contemporary style fr...

Sir William Blake Richmond KCB, RA, PPRBSA 1842 - 1921 The Shepherd Egg tempera on wooden panel, signed with initials bottom left Image size: 8 ¼ x 5 ½ inches Period gilt oak frame A newly discovered work by the artist. Sir William Blake Richmond KCB, RA, PPRBSA was an English portrait painter, sculptor and a designer of stained glass and mosaic. He is best known for his portrait work and decorative mosaics in St Paul's Cathedral in London. He was the son of the portraitist George Richmond RA and studied at the Royal Academy Schools in the early 1860s. Influenced by his father and by Sir John Everett Millais, he is best known for his mosaic decorations below the dome and in the apse of St Paul's Cathedral in London. His father, George Richmond, was one of 'the Ancients' who were a group of artists who formed around the visionary artist and poet William Blake. Samuel Palmer was an other of the ancients and a close friend of the family. Our painting could have been inspired by George Richmond’s engraving 'The Shepherd', 1827, but in our panel the shepherd is turned round facing away, and is playing a flute instead of resting on a staff. But the sheep and other elements are there. It is also suggestive of Welby Sherman's engraving after Samuel Palmer of the same name and date, but here the shepherd is sitting but like ours turned away. William Blake's is an altogether happier image given the figure is playing to his sheep. Our painting is playing with some of the same ideas and feels like the same sort of period, and the ‘fresco’ like chalk ground is interesting, as is the pen and ink finishing on the tempera. All three are strongly influenced by Blake's illustrations to Thornton's 'Virgil'. The shepherd and his flock are clearly based on Thenot and his sheep in the Frontispiece to Thornton. Blake Richmond wrote:"If there be the least value in my pictures, it is due to such lovely early impressions derived from the sweet poetic work of many of my father's contemporaries, Calvert, Blake and others, whose shadows are substance still to me" [Sir William Blake Richmond, letter to his father, 50 years after the death of William Blake, from Stirling op. cit p. 28]. Richmond was given private art lessons by John Ruskin before attending the Royal Academy for three years. After that he spent a number of years in Italy, where an encounter with a shepherd called Beppino, 'a splendid speciman of a Sabine Shepherd', could also have gave him the inspiration for the painting we show here. Richmond recalls how he met Beppino on the hillside, and was invited to share the shade of the shepherd's capanna, a wooden hut. 'What a place! In an instant of time I was back into the age of kings, and I knew Romulus had lived and am sure that he lived in a hut exactly like this one'. That night Richmond dined at Beppino's hut 'on roast kid, hard bread dipped in Roman wine, goat's cream and white ricotta'. The shepherd had such an impression on Richmond that he sought him out on a return visit to Italy some years later, but was saddened to hear that Beppino 'had joined his fore-fathers in the shades'. He was moved to write the following, which perfectly expresses the mood of this painting and his tribute to a fleeting companion: 'Little events of this kind unite past times with present, create and emphasis continuity of human instincts, which seem to defy time and make travel so intensely interesting and invigorating to a citizen of this world. One need not go to the palace, far otherwise, or to cities and towns to discover the kernal of enduring civilisations. One finds it, if one wills to do so, in the backbone of the world, an ancient peasantry who have watched and still watch the progress of the stars'. Richmond was influential in the early stages of the Arts and Crafts Movement in his selection of bold colours and materials for the mosaics in St. Paul's Cathedral and in his collaboration with James Powell and Sons...

David Roberts R.A. 1796 - 1864 Interior of the Great Temple of Aboo Simbel Subscription edition and First edition lithographs available Full plate: 139 Acid free mount With David ...

Gouache on paper Image size: 12 x 15 ¼ inches (30.5 x 39 cm) Art Deco frame This rare original artwork was used as the book cover for Hugh E. Page's 'Rambles in the Wye Valley' (1951). The Wye Valley is an area of outstanding natural beauty straddling the border between England and Wales. The internationally important protected landscape covers parts of the counties of Gloucestershire, Herefordshire and Monmouthshire and is particularly recognised for its limestone gorge scenery and dense native woodlands.

Gerald Leslie Brockhurst 1890 – 1978 Portrait of Marguerite Folin Oil on panel, signed lower right Image size: 18 x 14 inches (45.7 x 34.3 cm) Original frame The sitter for this po...

This head and shoulders portrait is an outstanding example of the breadth, force and beauty of this artist's pictorial manner and abilities. This captivating portrait features a musi...

Company School 18th Century Ramnagar Fort, India Pen & ink on paper Inscribed and dated 1793 Acid free mount This incredible detailed work would probably have been drawn by an En...

Oil on canvas Image size: 24 x 17 3/4 inches (61 x 45 cm) Contemporary frame This is a scene displaying the North Transept of St Paul's Cathedral. St Paul's Cathedral, located at the highest point of the City of London, is one of the most famous and recognisable sights in the city. The religious monument is particularly known for its architecture that boasts Neoclassical English Baroque-style elements designed by Sir Christopher Wren after the Great Fire of London in 1666. The Artist  Vivian Bewick...

John S. Smith 1921 - 2010 Fishguard to Rosslare Oil and gouache on board, signed lower left Image size: 35 × 22 inches (89 × 56 cm) Contemporary art deco style frame This wonderfull...

Watercolour and ink on paper, signed bottom right Image size: 7 x 10 1/2 inches (17.75 x 26.5 cm) Gilt frame An original artwork by an early 20th Century French illustrator, this is...

Oil on board, signed bottom right Image size: 13 1/2 x 17 inches (34.25 x 43 cm) Contemporary frame The Artist Painter Carl Friedrich Felkel was born in 1896, in Stockerau, near Vienna, Austria-Hungary (now Austria) and was probably of Jewish descent. He initially studied under Walter Thor...

Oil on canvas Image size: 14 1/4 x 18 inches (36 x 45.7 cm) Period gilt frame In this painting the bright moon, partially obscured by mounting dark clouds, dramatically lights the l...

Brown ink and watercolour, heightened with white, signed lower right Image size: 18 x 14 1/4 inches (45.75 x 36 cm) Gilt frame Modern moral subjects were a special kind of genre that was invented by William Hogarth which satirised the manners and morals of the period in which the artist lived. They were particular in their frankness and often biting social satire. Genre painting became hugely popular in the Victorian age and towards the end of the nineteenth century a new focus for genre painting emerged. The Artist Joseph H Barnes...

Graphite on paper, numerous pencil inscriptions Image size: 5 1/2 x 21 1/2 inches (14 x 55 cm) Period style hand made gilt frame Provenance The collection of Ernest Pearce (1930-20...

Coloured inks on paper Image size: 18 x 14 inches (45.75 x 35.5 cm) Modern handmade frame Shuffrey was an important pre-war artist who did advertisements and worked for The Motor a...

Watercolour, signed lower right Image size: 12 1/4 x 12 1/4 inches (31 x 31 cm) Hand made frame and mount James Bateman was an English painter and engraver specialising in agricultural topics, rural subjects and pastoral landscapes. Bateman was born in Kendal, the son of a blacksmith. During World War One he served with the Northumberland Fusiliers, the Machine Gun Corps...

Etching on paper, signed bottom left Image size: 9 x 4 3/4 inches (22.75 x 12 cm) Framed

Graphite on paper, signed bottom left Image size: 7 1/2 x 9 3/4 inches (19 x 25cm) Contemporary frame A characterful portrait of a woman in profile. The artist has captured much of ...

Oil on board Image size: 12 1/2 x 15 1/2 inches (31.75 x 40 cm) Contemporary style handmade frame Exhibitions 1952 Royal Academy of Arts Exhibition, Gallery no. VII, no.429. This forest scene invites the viewer into a multi-sensory event where the cool, damp shadows of the foliage can almost be felt and the rich bouquet of the forest floor recalled. Here, Sherlock has chosen a somewhat unusual angle and composition, dissecting each truck and tree form so that only a part can be seen. Furthermore, as we look into the depths of this space it becomes clear that we are stood gazing down into a valley that is in the distance, behind this wooded area. Indeed, instead of giving us an uninterrupted view of this vista, as perhaps would be expected, this view is deliberately blocked and our focus is directed instead towards the organic forms in the foreground. The Artist  Marjorie Sherlock was born at Fir Tree Cottage, George Lane, Wanstead, Essex, on 3 February 1891, the elder child of the civil engineer, Henry Sherlock, and his wife, Alice (née Platts), who was born in Benares, India. By 1901, the family was living at ‘The Limes’, 121 Mill Road, Cambridge, and Marjorie received an education locally. In 1918, she entered into marriage with her cousin, Major Wilfrid Barrett, though this proved unsuccessful and they later divorced (he remarrying in 1941). She then continued to live at the family home until the Second World War. During the First World War, Marjorie Sherlock studied at Westminster Technical Institute under the Camden Town School painters, Walter Sickert and Harold Gilman. She exhibited at the Royal Academy of Arts from 1917, when she showed a powerful view of the interior of Liverpool Street Station (Government Art Collection) (to which the current etching [202] relates). In time, she would exhibit at the International Society, the New English Art Club, the Royal Society of British Artists, the Society of 207 Graphic Art and the Women’s International Art Club (becoming a member of the last two). She also showed work internationally. Developing as a printmaker as well as a painter, Sherlock studied etching under Malcolm Osborne at the Royal College of Art in 1925. She published her etchings in four series, the titles of which indicate her love of travel: ‘English Etchings, ‘Egyptian Etchings’ (both 1925), ‘German Etchings’ (1929) and ‘Indian Etchings’ (1932). During this period, she also visited the united States. More admiring of Continental painters than British ones, she furthered her studies, in 1938, by working in Paris under André L’Hôte and André Dunoyer de Segonzac. During the Second World War, Sherlock moved to East Devon and settled at Oxenways, a Victorian hunting lodge...