Darnley Fine Art

Edward Bainbridge Copnall Portrait of a Lady in Blue 1903-1973 Oil on canvas, signed lower left and dated '30' Image Size: 24 x 20 inches (61 x 50.7 cm) Contemporary style frame Thi...

Josette Hébert-Coëffin French (1907-1973) Sérénité Marble, signed lower left side Size: 13 1/2 x 8 1/2 x 4 1/3 inches (34 x 21.5 x 11 cm) This beautiful statue depicts the face of a...

Mary Newcomb Ram and Small Lamb 1922-2008 Oil on panel, signed & dated twice lower left, signed and titled verso Image size: 14 1/4 x 15 3/4 inches (36 x 40 cm) Original frame This ...

Ken Howard Sarah - Harmony in Red and Grey 1932-2022 Oil on canvas, signed lower right Image size: 40 x 48 inches Original frame Provenance Brian Sinfield Gallery, 1990 Private Est...

Adrian Paul Allinson Girl at the Window 1890-1959 Oil on board, signed lower right Image size: 35 x 28 inches (88.8 x 71 cm) Contemporary style gilt frame Provenance: Art Exhibition...

Follower of Ambrose McEvoy Circa 1910 Portrait of a Lady Oil on canvas Image size: 20 x 16 inches (51 x 40.5 cm) Original ebonised Frame A stunning portrait of a lady with flami...

Carl Haag 1820 - 1915 One of the Howling Dawashes in Cairo Watercolour on paper, signed lower right & dated 1880 Image Size: 10 5/8 x 7 3/4 inches (27 x 19.5 cm) Original Frame 'One...

Luis Muntane Muns Portrait of a Woman 1899-1987 Oil on canvas, signed lower right Image size: 31 ¼ x 37 ½ inches (79.5 x 95.5 cm) Original frame The lady averts her eyes from the ga...

Herbert Ashwin Budd The Fortune Teller 1881-1950 Oil on canvas, signed 'H.A Budd' lower right Image size: 18 ½ x 14 ¾ inches (47 x 37.5cm) Original frame Rendered in an almost autumnal colour palette with Darnley Fine Art, Budd’s oil painting depicts a Romani Gypsy engaging in the practice of fortune-telling whilst an enraptured crowd watches on. Clasped in the fortune-teller’s hand is a crystal ball, whilst behind him is a wall on which a deck of cards is pinned. Crystallomancy and cartomancy are two ways in which fortunes have historically been told, and are two practices particularly associated with Roma communities.In communities where Romani people have historically been confined to the periphery, fortune-telling - or dukkering, as it is called in the Romani language - provided an opportunity to earn money whilst practicing their own culture. Budd was known for his paintings depicting scenes of life from London, so it is likely that the setting of this painting is an anonymous London street. It is easy to see a continuity between the performer depicted in this work from the early 20th century, and the variety of magicians and acrobats enticing crowds in today’s world. Herbert Ashwin Budd Herbert Ashwin Budd was born in Staffordshire in 1881. In his twenties, he was an apprentice lithographer at Allbut & Stanley, and was eventually elected a member of the Amalgamated Society of Lithographic Artists in 1901. Between 1903 and 1907, Budd studied at the Hanley School of Art before winning a scholarship to study at South Kensington’s Royal College of Art. Budd was an Associate of the Royal College of Arts and a member of the Royal Institute of Oil Painters. His works were exhibited at the Royal Academy, the New English Art Club, and the Ipswich Art Club - he was also given an Honourable Mention at the 1927 Paris Salon. In the 1930s, he worked for London Transport and designed their travel posters, whilst also teaching at St Martin’s School of Art until 1949.Herbert Ashwin Budd passed away in 1950, leaving behind a wonderful artistic legacy with his striking oil paintings of London...

Cyril Walduck Edwards RI RBA Scene Near London Bridge 1902-1982 Oil on canvas, signed lower left, titled on verso Image size: 23 1/2 x 30 3/4 inches (60 x 78 cm) Original frame Exh...

Maurice Lambert Head of Dame Edith Sitwell 1901-1964 Patinated bronze on marble base Dimensions: 7 x 16 inches (18 x 41 cm) Provenance Private collection Originally commissioned by Edith's brother Osbert Sitwell circa 1926/27. Our version is of the same period and must have been commissioned at the same time. A version of this piece made in 1984 in aluminium is held in the permanent collection of the National Portrait Gallery (NPG 5801). Maurice Lambert Maurice Lambert, born in Paris, was son of the Russian-born Australian painter George Washington Lambert...

Oil on canvas, inscribed on reverse Image size: 18 1/2 x 18 1/2 inches (47 x 47 cm) This abstract still life has been painted intuitively by the artist in a limited palette of soft ...

Leighton Hall Woollatt Life Drawing Class 1905-1974 Oil on canvas, dated '1930' on verso Image size: 26 x 18 inches (66 x 45.7 cm) Handmade contemporary frame In this painting the s...

Oil on canvas on board, signed lower left Image size: 14 1/2 x 17 1/2 inches (36.5 x 44.5 cm) Hand made frame In this atmospheric scene a drunk is walking home, he must be causing some noise as another person is leaning out of his window to the right looking at him. The artist has captured old London beautifully with the old bins, advertising on the walls and the cats bemused by the drunken figure. It sometimes takes an outsider such as Sancha to appreciate the beauty of the scene. Francisco Sancha Lengo Self portrait in London Francisco Sancha y Lengo was born in Malaga in 1874. He attended the School of Fine Arts there and studied under Joaquín Martínez de la Vega, the eccentric, influential teacher that baptised a young Picasso with champagne. Such an education served him well, and by 1897 Sancha was studying at the Royal Academy in Madrid under José Moreno Carbonero...

English School Bernard, Self Portrait 1950s Pencil and sepia chalk on paper Image size: 9 1/2 x 13 1/2 inches (24 x 34.3 cm) Handmade contemporary frame This imaginative self-portra...

English School Lower Chedworth 20th Century Oil on board, signed lower right Image size: 19 1/2 x 23 1/2 inches (49.5 x 59.5 cm) Original frame In this painting, the winding countr...

Leighton Hall Woollatt Sculpture Gallery with Madonna and Child 1905 - 1974 Oil on canvas, signed, titled 'Painting of a Antique Cast' from the Royal Academy Schools and dated '28 Ju...

Norman Wilkinson Tower of London Oil on canvas, signed lower left, dated June 1960 on verso Image Size: 23 1/2 x 17 1/2 inches (59.6 x 44.5 cm) Original gilt frame Provenance Tryon ...

These pen and ink studies show two gentleman fencers in various fighting positions. These have been hand drawn on early laid paper and are accompanied by a general explanation of the...

Evelyn de Morgan Study of a Standing Female Nude 1855 - 1917 Black chalk and pastel on grey paper Image size: 12 ½ x 19 inches (48.2 x 31.7 cm) Pre-Raphaelite style frame Provenance J.S. Mass & Co., Ltd., London, J.X. Reynolds & Co., Ltd. Once she had graduated from the Slade School of Art, Evelyn continued to draw every day for the rest of her life. Her drawings are enlightening not only for their skill and subject matter, but also for their ability to teach us her working process. From loose compositional sketches, Evelyn swiftly progressed to detailed life studies for the figures in her paintings. Choosing to draw mainly on a grey wove paper in pencil and pastel, Evelyn produced hundreds of figure studies. Her rigorously-examined double studies of clothed and nude figures are particularly fascinating and underline the artist’s obsession with the human form and her desire for accuracy. A deep understanding of anatomy is obvious in this drawing and looking at the work you feel as though you can reach out and feel the muscle and bone under the skin, that you could feel the pulse of life through the soft skin. Evelyn de Morgan Born into a landowning family, from an early age Evelyn De Morgan, née Pickering, demonstrated a precocious artistic talent and a passionate desire to pursue a career as an artist, writing in her diary on her seventeenth birthday ‘Art is eternal, life is short… I have not a moment to lose’ (Evelyn De Morgan’s Diary, 30 August 1872, De Morgan Foundation Archive). Her maternal uncle, the artist John Roddam Spencer-Stanhope encouraged her talents and accompanied her on her first formative journeys to Italy where she discovered the Renaissance masters, particularly Botticelli. Overcoming initial parental opposition, Evelyn enrolled at the newly formed Slade School in 1873, one of the first women to do so. The Slade revolutionised women’s artistic education by allowing female students to study the nude from life alongside their male counterparts. Whilst at the Slade she began to submit work under her middle name Evelyn, rather than her Christian name Mary, as its gender ambiguity offered a chance for her work to be judged on its own merit. One of her tutors, Edward Poynter...

Oil on board, signed lower right Image size: 14 1/4 x 16 inches (36 x 40 1/2 cm) Hand made frame Joan Fairfax Whiteside was a prodigious artist and illustrator. Born into an eminent...

Oil on canvas, signed lower right 11 4/5 x 12 9/10 inches (30 x 32 cm) Gilt frame Nora Summers was a British painter, printmaker and photographer who grew up in an engineering family. She studied at Bristol School of Art before progressing on to the Slade School in London where she developed under the teaching of Henry Tonks from 1907-1910. Her work was often characterised by its serene, still quality, here her landscape captures a forest scene as a poignant documentation of the moment- a fleeting memory, frozen in time. She was predominantly shown in the NEAC as well as the Walker Art Gallery. Summer’s contemporaries were captivated by her striking look and modernist style, many of whom used her as a muse for some of their works such as Augustus John, Henry Lampard, and Walter Russel. After meeting her husband Gerald Summers at Slade, the two honeymooned in Italy where they both worked closely on topographical paintings and etchings of Italian...

Gouache on board, signed lower right and titled bottom left Image size: 20 1/2 x 18 inches (52 x 46 cm) Art Deco frame Designed in 1907 for W.D & H.O Wills, advertising Capstan Navy Cut Tobacco & Cigarettes. The text that accompanied this painting on the original poster read 'Capstan Navy Cut, Tobacco and Cigarettes in three grades of Strength'. This original artwork features a young boy and sailor stood together on a pebbly English beach. The boy stands to attention with a toy gun...

G R Neale Oil on Canvas, Signed and dated ‘1933’ lower right Image Size: 13 1/2 x 9 1/2 inches ( 34.3 x 24.1 cm) Hand made ebonised and gilded frame Accentuated by the works golden tones, the painting is a duality of strength and stillness. Explored through the compositions stoic stone lion; angled to gaze just out of frame; in contrast with the draped ochre curtain of the piece’s background. Reeves and Sons...

Horace Mann Livens 1862 - 1936 Littlehampton Watercolour, gouache, and black chalk on paper, signed and dated '10' lower left Image size: 11 ¼ x 15 inches (28.5 x 38 cm) Acid free mo...

Brockenhurst Gardens Ernest Arthur Rowe Watercolour, signed lower left and dated 1900 bottom left Image Size: 12 x 18 3/4 inches (46 x 30.5 cm) Original Victorian frame Provenance Dowdeswell and Dowdeswell The collection of C. Buttersworth Sale, Bonhams, London, 10th June 1998, lot 63 Exhibited Royal Institute of Painters in Watercolour, as 'Relics of the Civil Wars, Compton Wynyates', no.1 This watercolour is one of Rowe's few pictures of Brockenhurst park garden in the New Forest, Hampshire. Here Rowe exemplifies the garden's splendour through his deliberate low positioning within the composition. As well as the scenes mirrored...

Tetouanoui Man Albert Charles Dequene Pastel on paper, signed and dated 1933 lower left, titled upper right Image size: 23 x 18 inches (58.4 x 45.7 cm) Hand made ebonised and gilded ...

Philip Byrne 20th Century Tettenhall Church Yard Ink on paper, signed and titled bottom left Image size: 11 1/2 x 8 1/4 inches (29.5 x 21 cm) Hand made frame Philip Byrne, an artist...

Philip Byrne 20th Century The Quarry Ink on paper, signed and dated bottom left Image size: 11 1/2 x 8 1/4 inches (29.5 x 21 cm) Hand made frame Philip Byr...

Philip Byrne 20th Century Excavators at the Local Sand Quarry Ink on paper, signed, titled and dated bottom left Image size: 11 1/2 x 8 1/4 inches (29.5 x 21 cm) Hand made frame Phi...

Philip Byrne 20th Century The Abattoir Ink on paper, signed bottom left Image size: 11 1/2 x 8 1/4 inches (29.5 x 21 cm) Hand made frame Philip Byrne, an artist who studied at the W...

A R Phillips 20th Century Cathedral View Gouache on board, signed and dated 1946 bottom right Image Size: 12 1/2 x 13 inches (30 x 32.5 cm) Handmade framed This painting, originally...

Under the Pier Philip Byrne Ink on paper, signed, titled and dated bottom right Image size: 11 x 14 1/2 inches (28 x 12 cm) Hand made frame Philip Byrne, an artist who studied at th...

Preparing to Sail C. Rex James Oil on canvas on board Image size: 17 1/4 x 21 1/2 inches ( 54.5 x 43.5 cm) Original frame This painting by James captures a serene scene of several y...

Sailor Smoking a Pipe Arthur David McCormick Oil on canvas Image size: 19 x 25 1/2 inches (48 x 65 cm) Contemporary frame Arthur David McCormick (1860–1943) was a notable British illustrator and painter, renowned for his landscapes, historical scenes, naval subjects, and genre scenes. Born in Coleraine, County Londonderry, he pursued his education at the Royal College of Art in London from 1883 to 1886. McCormick’s career was marked by his contributions to various illustrated magazines, including the English Illustrated Magazine and the Illustrated London News. He participated in significant expeditions, such as Sir Martin Conway’s journey to the Karakoram Himalayas in 1892 and Clinton T. Dent’s expedition to the Caucasus Mountains in 1895. His illustrations from these travels were featured in Conway’s book “Climbing and Exploration in the Karakoram-Himalayas” (1894) and his own publication “An Artist in the Himalayas” (1895). Throughout his career, McCormick illustrated nearly thirty books, focusing on travel and adventure themes. Some of his notable works include illustrations for Edgar Allan Poe’s “Tales of Mystery and Imagination” (1905) and Henry Newbolt’s “Drake’s Drum and Other Songs of the Sea” (1914). He was also a regular exhibitor at the Royal Academy from 1889 to 1938. Navy Cut Sailor Work...

Lord Strathnairm's Arab Charger Gourlay Steell Oil on canvas, signed lower right Image size: 39 x 44 1/8 inches (99.1 x 112.1 cm) Handmade frame POA Provenance Commissioned by Field...

Oil on canvas, signed bottom right Image size: 20 1/2 x 24 1/2 inches (53 x 62 cm) Original gilt frame Provenance Artist’s Estate Robert Deborne Robert Deborne was born in 1870 in...

Oliver Messel 1904 - 1978 Portrait of a Young Man Oil on canvas, signed and dated 'Oliver Messel 1930' (on the stretcher) Image size: 30 x 25 inches (76.2 x 63.4 cm) Original frame Oliver Messel was born to Leonard and Maud Messel, née Sambourne, on the 13 January 1904 and was the youngest of three children. The family moved to Nymans, the Messel family home in Sussex, from nearby Balcombe in 1915. The house remained in the family until 1953 when it was bequeathed to the National Trust, following a fire in 1947 which destroyed a large portion of the house. The Messels originated from a line of German Jewish bankers on Leonard’s side, however, both family lines boast a number of artistic influences, including Maud’s father. Maud was brought up at 18 Stafford Terrace, Kensington (now known as the Linley Sambourne House Museum), amongst collections of antique porcelain and eighteenth-century furniture, and with a host of artistic visitors such as Henry Irving and Oscar Wilde. Oliver’s own upbringing appears to be influenced by his mother's, as the Messel family were also affiliated with artists and writers and were keen collectors of art, filling their home with textiles, paintings and collections of European and Asian fans from travels abroad. It was amongst such treasures that Oliver, Anne and Linley spent their childhood, in addition to the beauty of Nyman’s extensive gardens. Oliver was schooled at Eton but rather than going up to university was encouraged by family friends, gallery owner Archie Propert and painter and sculptor Glyn Philpot, to attend art school. In 1922 he enrolled at the Slade School of Fine Art in London, where he studied under Henry Tonks. Here, he met the artist Rex Whistler with whom he remained firm friends until Whistler’s death in WW2. Upon leaving the Slade in 1924 Oliver was apprenticed to the studio of portrait artist John Wells, where he learnt various Old Master painting techniques, and met artists such as Jacob Epstein, Augustus John and William Orpen. Whilst at the Slade Oliver developed his interest in Papier Mâché masks, a pastime popular amongst many art students at the time. Whilst apprenticed to artist John Wells several of Oliver’s masks were exhibited at the Claridge Gallery, London, alongside pieces by Whistler and other young artists. These were seen by Serge Diaghilev, director of the Ballet Russes, and Charles B. Cochran, a theatrical producer, both of whom made Oliver offers of work. His first job in the theatre was creating masks for the Ballets Russes’ Zéphyr et Flore, 1925, designed by the French artist Georges Braque, followed by numerous musical revues for Cochran, including Wake Up and Dream!, 1929, with music by Cole Porter. It was during these revues, working with Porter and Noel Coward, that Oliver also began to design headdresses and costumes. In 1932 he was rewarded with his first full commission to design both costume and sets for Helen!, directed by Max Reinhardt. The production design is still celebrated today for its innovative approach and ground-breaking ‘white on white’ aesthetic, which referenced ‘Greek temples, Rococo drapes, Baroque colonnades and Louis XIV carousels’. The success of Helen! led to further offers within the theatre including Reinhardt’s version of A Midsummer Night’s Dream at the Old Vic in 1937, starring Vivien Leigh as Titania and Robert Helpmann as Oberon, the Jean Cocteau play The Infernal Machine in 1940, and Christopher Fry’s translation of Jean Anouilh’s Ring Round the Moon, 1950. One of Oliver’s best-known productions during this period was the Russian ballet The Sleeping Beauty, performed by Sadler’s Wells Ballet in 1946 at the Royal Opera House, Covent Garden. Encompassing over 200 costumes and four set changes, Oliver’s romantic designs were celebrated for bringing colour back to post-war London, and variations on his designs are still used today. Additional designs for the ballet included Comus in 1940, for which he was released from war duties, and Homage to the Queen, choreographed by Frederick Ashton and performed in 1953 for the Queen’s coronation. His first opera was in 1940 for Mozart’s Die Zauberflöte at the Royal Opera House, followed by a series of productions at the newly founded Glyndebourne Opera House in Sussex, for which Oliver also designed the proscenium arch. He triumphed in 1956 designing a season of four different productions for their Mozart bicentennial, also providing illustrations for the programme covers. His popularity also spread beyond theatre to film, were he worked on over eight different feature films including Romeo and Juliet, 1936, directed by George Cukor. During a three-month research trip to Italy Oliver collected over 3,000 reference images including postcards of artwork by Piero della Francesca, Giovanni Bellini and Leonardo da Vinci, along with prints and photographs of textiles and architectural features. A production of Gabriel Pascal’s Caesar and Cleopatra, 1946, starring Vivien Leigh and Claude Rains, was celebrated for Oliver’s ability to recreate the opulence and luxury of ancient Egypt under the constraints of wartime rationing. Such was his skill that Vivien Leigh in a letter to Oliver declared that “I have of course told Pascal that nobody in the world must do the costumes except you.” He was later nominated for an Academy Award for his work on his final film Suddenly, Last Summer, 1959; an adaptation of Tennessee Williams’ American Southern Gothic mystery. Having started his artistic career as a portrait apprentice, capturing the faces of family and friends, Oliver continued to develop this practice until the end of his life.  His style is said to have been influenced by Glyn Philpot, the Messel’s family friend who encouraged Oliver from an early age in his pursuit of art and design. His most prolific period came in the 1950s during which he produced over 50 portraits, which were shown in exhibitions in New York, London and Barbados. The exhibitions included both well-known faces and anonymous sitters captured on Oliver’s travels, and a number of these works have entered private collections. He continued to paint after moving to the Caribbean in 1966, capturing society figures and the rich and famous including fashion designer Carolina Herrera and Bianca Jagger. His style remained unchanged throughout his career, using the same soft painterly strokes and subtle palette as in his theatre designs. By far his greatest contribution in addition to theatre and film was Oliver’s interior and architectural designs. Another, much celebrated commission included Rayne shoe shop in Old Bond Street, where he created jewel-like interiors using the same practice of scaled models as his set designs. Other notable interior designs include those for Norwich and Bath Assembly Rooms, Flaxley Abbey in Gloucestershire, Rosehill Theatre in Cumbria and the Reader’s Digest offices in Paris. However, upon moving to Barbados in 1966, Oliver embraced a new career envisioning architectural concepts for private houses, hotels and public buildings, utilising his experience with interior design to furnish them with bespoke items of furniture and textiles. His first project was Maddox, the deserted eighteenth-century plantation house bought by himself and his partner Vagn Riis-Hansen in 1964. The existing building and gardens were remodelled to Oliver’s designs embracing an inherent theatricality with views out to sea. These were framed by terraces and verandas which extended out from the living rooms creating what is often referred to as a Caribbean style of ‘indoor-outdoor’ living. For the woodwork he used a shade of green that is now known as ‘Messel green’ and often associated with the island of Barbados. Oliver was born into a wealthy family; he travelled extensively and was exposed to art and culture from a young age. A privileged youth, his name is often mentioned amongst the ‘Bright Young Things’, for whom costume parties at country houses and jaunts to Europe on a whim became a thing of fable. This informal group included people such as Cecil Beaton (a life-long friend whom Oliver first met at Eton), Lord Berners, Noel Coward, John Betjeman, Harold Acton, Nancy Mitford, Edith Sitwell, Stephen Tennant...

Reginald Brill 1902 - 1974 Oil on board Image Size: 8 ½ x 10 ½ inches (21.6 x 26.7 cm) Original gilt frame This humorous painting captures the artists perspective of 'A long Day' wi...

An Abandoned Journey 20th Century British School Oil on canvas Image size: 24 x 24 inches (61 x 61 cm) Hand made frame The composition of this painting, featuring a red and white do...

Rotherhide Davie Oil on board Image size: 7 1/4 x 26 3/4 inches (18.5 x 68 cm) Hand made frame This oil painting offers a captivating glimpse into Rotherhithe, a historic area in So...

Albert Charles Dequene Fouta Djallon woman with crest headdress Pastel on paper, signed lower right & dated '32' Image size: 19 3/4 x 18 inches (50 x 46 cm) Hand made ebonised and gi...

James McIntosh Patrick 1907 - 1998 Braemar Castle Oil on board, signed and dated 1937 bottom right Image size: 31.5 x 47.5 inches (80 x 121 cm) Hand made frame £ Provenance Commissi...

William Dring 1904-1990 Ink on paper, signed middle right Image size: 15 1/4 x 11 1/4 inches (38.9 x 28.5cm) The artwork portrays a man in profile, meticulously rendered in ink on paper. Dring pays close attention to the contours of the skin and hair. The intricate facial details prompt viewers to contemplate themes of identity and expression, while the minimalistic background underscores the figure’s separation from its surroundings. William Dring Dring was born with the forenames Dennis William, but was known colloquially as John. He was the brother of the artist James Dring. He married the painter Grace Elizabeth Rothwell...

William Dring 1904-1990 Ink on paper Image size: 15 1/4 x 11 1/4 inches (38.9 x 28.5cm) The artwork portrays a man in profile, meticulously rendered in ink on paper. Dring pays close attention to the contours of the skin and hair. The intricate facial details prompt viewers to contemplate themes of identity and expression, while the minimalistic background underscores the figure’s separation from its surroundings. William Dring Dring was born with the forenames Dennis William, but was known colloquially as John. He was the brother of the artist James Dring. He married the painter Grace Elizabeth...

Henri Lebasque French 1865 - 1937 Oil on canvas, signed bottom right Image size: 21 1/4 x  18 1/8 inches (54 x 45 cm) Gilt frame Painted circa 1907, Le Moulin de Douvres, Torcy invi...

Stanley Anderson 1884-1966 Drypoint, signed out of the image bottom centre Image size: 9 x 11 inches (22.8 x 28 cm) Acid free mount Alfred Charles Stanley Anderson CBE RA was a Brit...

Oil on panel, signed lower right & dated 1976 Image size: 9 1/2 x 10 1/5 inches (24.13 x 25.9 cm) Ebonised Dutch style frame As part of his four-seasons collection, Newcombe masterfully captures the changing patterns of the year. In this panel titled Winter, Newcombe portrays the snow covered, barren landscape stretching across the composition, evoking the essence of the frosty months. The townscape, meticulously detailed and enveloped by heavy clouds on a crisp, fresh day, transports viewers to the depths of winter. Peter Newcombe...

Oil on panel, signed & dated lower left 1975 Image size: 9 1/2 x 10 1/5 inches (24.13 x 25.9 cm) Ebonised Dutch style frame In this painting by Newcombe, the transition into autumn unfolds as part of his four-seasons collection. Titled Autumn, this panel portrays the culmination of the agricultural year - the leaves falling and the branches gradually revealing their bare forms against the cool toned sky. Newcombe's meticulous detail captures the essence of this seasonal shift as the landscape is bathed in autumnal hues. While the foreground an old wooden plough stands prominently in the untamed corners of the field, its weathered surface telling tales of bygone seasons. Beyond, regimented farmlands stretch out, their neat rows created by the turning of a modern tractor. Overhead, crows fly, echoing the eerie forthcoming of the colder months and the passing of time. Peter Newcombe...

Oil on panel, signed & dated lower right 1975 Image size: 9 1/2 x 10 1/5 inches (24.13 x 25.9 cm) Ebonised Dutch style frame In this painting by Newcombe, the warmth of a summer sunset envelopes the rolling landscape. As part of his four-seasons collection this panel, Summer portrays the gentle heat of an orange sky, casting its glow upon the abundant fauna and ruined castle in the hilltop. The castle could be Corfe Castle. Peter Newcombe...

Oil on panel, signed & dated lower right 1975 Image size: 9 1/2 x 10 1/5 inches (24.13 x 25.9 cm) Ebonised Dutch style frame In this panel by Newcombe, the arrival of spring unfolds across the British landscape. As part of his four seasons collection, Spring captures both the seasonal lightness and the agricultural renewal of the land. The panel comes alive with fresh colours, breathing life into the pastoral landscape. Within this scene, the modern tractor and the traditional hay-cart exist side by side, symbolising the timeless interplay between progress and tradition across changing seasons. The plowed field stretches out its furrows promising abundance. On the left, a tall tree stands watch, its bare branches hinting at the upcoming spring bloom. Above, the sky breaks free from its cloudy cover, revealing a bright blue expanse, signalling sunnier days ahead. Peter Newcombe...

Oil on board, signed top left Image size: 15 3/4 x 11 1/2 inches (40 x 29 cm) Bespoke gilt cased frame Provenance By descent from the estate of the artist Emma Fordyce MacRae Emma Fordyce MacRae was an American representational painter. She was a member of the Philadelphia Ten, a group of women artists who worked and exhibited together. Her work — including still lifes and paintings of women — shows the influence of Asian flower paintings and of Seurat. MacRae grew up in New York City, where she attended Miss Chapin's School and the Brearley School. She enrolled at the Art Students League in 1911, studying first with Frank DuMond and Kenneth Hayes Miller, and beginning in 1915, with Luis Mora, Ernest Blumenschein, and John French Sloan. She also attended one of Robert Reid's summer courses. MacRae's painting, "Green Jade," was shown at the Anderson Galleries in 1928, at an exhibit of artist members of the American Woman's Association. Many exhibitions and gallery showings followed. In 1937, MacRae's painting "A Persian Girl," was listed as deserving of special mention by The New York Times critic Edward Alden Jewell. In the 1940s, MacRae was chairman of the awards jury of the National Association of Women Artists. Galleries rediscovered MacRae's art in the 1980s; the Richard York Gallery in New York exhibited thirty of her paintings in December 1983. In 1987, her painting of a Venetian cafe was part of "American Women Artists, 1830-1930," an exhibition displayed at the National Museum of Women in the Arts in Washington, D.C. and in four other museums. MacRae had studios in New York City and in Gloucester, Massachusetts. Where MacRae painted her New England landscapes form the Cape Ann Landscapes...

Oil on board Image size: 15 3/4 x 11 1/2 inches (40 x 29 cm) Framed Provenance By descent from the estate of the artist Emma Fordyce MacRae Emma Fordyce MacRae was an American representational painter. She was a member of the Philadelphia Ten, a group of women artists who worked and exhibited together. Her work — including still lifes and paintings of women — shows the influence of Asian flower paintings and of Seurat. MacRae grew up in New York City, where she attended Miss Chapin's School and the Brearley School. She enrolled at the Art Students League in 1911, studying first with Frank DuMond and Kenneth Hayes Miller, and beginning in 1915, with Luis Mora, Ernest Blumenschein, and John French Sloan. She also attended one of Robert Reid's summer courses. MacRae's painting, "Green Jade," was shown at the Anderson Galleries in 1928, at an exhibit of artist members of the American Woman's Association. Many exhibitions and gallery showings followed. In 1937, MacRae's painting "A Persian Girl," was listed as deserving of special mention by The New York Times critic Edward Alden Jewell. In the 1940s, MacRae was chairman of the awards jury of the National Association of Women Artists. Galleries rediscovered MacRae's art in the 1980s; the Richard York Gallery in New York exhibited thirty of her paintings in December 1983. In 1987, her painting of a Venetian cafe was part of "American Women Artists, 1830-1930," an exhibition displayed at the National Museum of Women in the Arts in Washington, D.C. and in four other museums. MacRae had studios in New York City and in Gloucester, Massachusetts. Where MacRae painted her New England landscapes form the Cape Ann Landscapes...

Ink print on tracing paper, signed bottom right and entitled bottom left Image size: 6 x 8 inches (15.25 x 20.25 cm) Mounted Barnstaple is a river port town in North Devon. The ancient town lies to the north of Dartmoor and to the west of the beautiful Exmoor National Park. The church that Hendy has depicted here is the town centre Parish Church of St Peter's. Parts of the church date to the 13th-century with much restoration being done during the Victorian era by George Gilbert Scott...

Oil on board Image size: 11 1/2 x 8 3/4 inches (29 x 22.25 cm) Contemporary style hand made frame Alike many painters at the start of the 20th century, this artist has recorded a s...

Graphite on paper Image size: 10 1/4 x 8 1/2 (26 x 22 cm) Mounted Drawing was at the heart of all of his artistic practice. A friend once recalled an anecdote that out on a walk he ...

Pastel and graphite on paper Image size: 11 x 8 1/2 inches (28 x 21.5 cm) Mounted William Dring Dring was born with the forenames Dennis William, but was known colloquially as John. He was the brother of the artist James Dring. He married the painter Grace Elizabeth Rothwell...

Graphite on paper Image size: 5 1/4 x 8 inches (13 x 20.25 cm) Mounted Jane Ross Little is known about Jane Ross apart from that she attended Heatherley's Art School. Here she met...

Graphite on paper Image size: 7 x 5 inches (17.75 x 12.75 cm) Mounted Jane Ross Little is known about Jane Ross apart from that she attended Heatherley's Art School. Here she met ...

KENNETH W HOUGH SALAMANDER Watercolour Image size: 10 ¾ x 14 inches