Darnley Fine Art Figurative Paintings

Louis-Charles Verwee A Summer's Day 1832-1882 Oil on panel, signed lower left Image size: 14 1/4 x 9 3/4 inches Original frame The subject matter of this painting is imbued with a s...

Man Smoking on a Barrel Circle of David Teniers the Younger 1610-1690 Oil on oak panel Image size: 9 1/2 x12 1/2 inches (23.5 x 32 cm) Handmade contemporary frame Here in this tave...

Jane Shore doing Penance Richard Redgrave 1804-1888 Oil on canvas, signed with monogram (centre right) Image size: 14 x 27 inches (35.5 x 68.5 cm) Original gilt tabernacle frame Ex...

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...

Studio of Sir Peter Lely Diana Oil on canvas Image Size: 38 x 50 inches (96.5 x 127 cm)  Ornate auricular frame Provenance The collection of Mr Campbell Private Estate Mary II (16...

Circle of Gerrit Dou 1613-1675 A Young Woman Drawing Water From A Well Oil on oak panel Image size: 12 1/2 x 9 3/4 inches (32 x 25 cm) Dutch ripple frame Wax seal verso for Baron Mor...

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...

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...

Oil on panel, signed bottom left Image size: 6 x 11 inches (15.25 x 28 cm) This painting depicts a 16th century palace guard standing outside of an open door, wearing a set of armou...

Oil on original canvas Image size: 78 1/4 x 44 inches (199 x 112 cm) Contemporary style frame Provenance Sir Rowland Cotton, 1608 Family Descent Private Collection Sir Rowland Cot...

Oil on canvas Image size: 12 x 10 inches (30.5 x 25.5 cm) Period hand carved gilt frame This 17th century Dutch genre painting depicts a young woman holding a jug with a landscape l...

Oil on panel Image size: 12 1/2 x 9 1/4 inches (31.75 x 23.5 cm) Original frame This is a captivating portrait of a young Bedouin. The painting has a sensitive and cohesive colour p...

Oil on canvas Image size: 26 x 37 inches (66 x 94 cm) Period hand carved gilt frame The pictorial arrangement of the Holy Family, with various saints in a landscape, was very popular in sixteenth-century Venice, following the prototype of Giovanni Bellini. Possibly intended for private devotion, this picture is a representative example of the compositional type known as the sacra conversazione...

Mayer 20th Century Figurine Oil on board, signed lower right Image size: 16 x 13 inches Contemporary frame

Oil on board, signed and dated '50 bottom right, entitled on reverse Image size: 13 1/2 x 9 1/2 inches (34.5 x 23 cm) Original frame Exhibitions 1989, Belgrave Gallery, 22 Mason's Yard, Duke Street, St. James', London SW1 'Clifford Hall (1904-1973) 15th June - 14th July, no.12. Clifford Hall Clifford Hall was born in Wandsworth in 1904, and spent his youth in nearby Richmond upon Thames...

Watercolour and ink on paper, signed and dated '1939' bottom left and entitled on the reverse Image size: 18 x 9 inches (45.75 x 23 cm) Original frame This is a wonderfully moving w...

Oil on canvas, signed and dated '1879' bottom right Image size: 38 x 59 1/2 inches (96.5 x 151 cm) Ornate Orientalist style gilt frame Carl Werner Carl Friedrich Heinrich Werner wa...

Oil on canvas, signed lower right Image size: 28 x 36 1/2 inches (71 x 93 cm) Orientalist Gilt frame George Edward Robertson George Edward Robertson (born 1864) painted portraits, ...

Mixed media, signed bottom left Image size: 9 x 9 1/2 inches (23 x 24.25 cm) Mounted and framed

Oil on canvas, signed lower left Circa 1930 Image size: 41 x 34 inches (104 x 86 cm) Framed

Gouache on card, signed lower right Image size: 16 1/2 x 11 1/2 inches (42 x 29.25 cm) Contemporary style frame Joan Fairfax Whiteside Joan Fairfax Whiteside was a prodigious arti...

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!...

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...

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...

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...

Gouache, signed and dated (19)14 lower right Image size: 5 ¾ x 6 ½ inches (14.5 x 16.5 centimetres) Original oak frame The Daily Mail has long been noted for its foreign reporting a...

Oil on canvas Image size: 29 x 24 inches Contemporary frame James Arden Grant RP was born in Liverpool in 1887 and studied at the School of Art there, where he also later taught. He...

Oil on board Image size: 30 ¼ x 23 ½ inches Gilt frame Plummer specialised in the medium of egg tempera, a technique little used since the frescos of the Renaissance, he often work...

Oil on oak panel Image size: 20 1/2 x 23 1/2 inches (52 x 60 cm) Hand made frame Herri Met de Bles, also known as Henri Blès, Herri de Dinant and Herry de ...

Oil on panel Image size: 16 x 13 1/4 inches (41 x 34 cm) Early gilt frame Saint Sebastian was a Roman centurion who converted to Christianity and, in punishment, the Roman Emperor D...

Oil on canvas, signed bottom left Image size: 30 x 25 inches (76.25 x 63.5 cm) Alice Headley Neave was the daughter of Dr Arthur Henry Headley Huc...

Arthur Moody Flourished 1920 - 1940 Leda and the Swan Oil on board Signed lower left and dated 1925 Image size: 15 × 8 inches (33.5 x 54 cm) Gilt frame

Anna Zinkeisen 1901-1976 A Boxing Tournment Oil on canvas, signed lower right Image size: 29 x 36.5 inches (73 x 93 cm) Original hand made frame A Boxing Tournament is a vivid and impactful snapshot of a professional boxing match from the late 1920s/1930s. It depicts the Len Harvey vs. ‘Kid’ Nitram fight held at the Royal Albert Hall on 19th January 1928, which Zinkeisen went to watch. The umpire of this match was the well-known Sam Russell. Here, Russell is seen wearing a dinner jacket as well as a shirt - an indication that this was a match in a professional tournament. Both Len Harvey and 'Kid' Nitram were esteemed boxers. Harvey boxed at every weight division available at the time, from flyweight to heavyweight and became the light-heavyweight and heavyweight champion of the British Empire. During the Second World War Harvey joined the Royal Air Force as an officer. Anna enjoyed noticeable publicity from the painting at the time. She appeared in photographs, alongside her sketches for the painting, in numerous newspapers including The Daily Mail (31st January 1928) and The Sketch (8th February 1928). This painting is featured in Highly Desirable: The Zinkeisen Sisters & Their Legacy by Philip Kellaway, page 178 (Leiston Press, 2008). The Artist Anna Zinkeisen was born at Kilcreggan, Dumbartonshire on 29 August 1901, the daughter of Victor Zinkeisen, a timber merchant, and his wife Clare. In 1901 the family moved to Middlesex. Anna and her sister Doris attended Harrow School of Art before they both won scholarships to the Royal Academy Schools, where Anna studied sculpture from 1916-1921, winning several medals. She received a commission for some plaques from the Wedgwood company and although her designs were awarded a silver medal at the Exposition des Art Decoratifs in Paris in 1925, she decided to specialise in portrait painting and mural work. In 1935, Anna and her sister Doris Zinkeisen were commissioned by John Brown & Co. (Shipbuilders of Clydebank) to paint the murals in the Verandah Grill of the famous ocean liner the RMS Queen Mary. Their work can still be seen on the ship, now permanently moored in Long Beach, California. They also painted murals for the Queen Elizabeth. In 1941, during World War II, the Zinkeisen sisters were both employed as war artists for the North West Europe Commission of the Joint War Organisation of the British Red Cross Society and the Order of St John...

Oil on canvas Image size: 12 3/4 x 9 1/2 inches (32.5 x 24.25 cm) Here, we see a sleeping putti lying underneath a set of trees, holding a ribbon. The text that can be seen on the scroll is from the Song of Solomon, chapter five, verse two; ' I sleep, but my heart waketh: it is the voice of my beloved that knocketh, saying, Open to me, my sister, my love, my dove, my undefiled: for my head is filled with dew, and my locks with the drops of the night'. This work was created after a well-known painting by the Spanish artist Alonso Cano...

Oil on canvas, signed lower right Image size: 33 1/2 x 56 1/2 inches (85 x 143 cm) Original gilt frame Provenance With the artist's son, Millie Dow Stott Esq., until 1912. Artist's Studio Sale, Christies, November 1913. Private Collection Exhibitions London, Royal Academy, 1895, no. 679. Paris, Societe de la Nationale des Beaux-Arts, 1896, no. 1179. Berlin, VII Internationale Kunstausstellung 1897. no. 3533. Manchester, City of Manchester Art Gallery, 1912, no. 339. In the 1890s William Stott exhibited regularly at the Royal Academy, mainly highly decorative works with subjects derived from classical mythology and literature. This painting was Stott's 1895 entry to the Royal Academy and was subsequently exhibited at the Paris Salon of 1896 and then on to the Berlin, VII Internationale Kunstausstellung 1897. Shakespeare was a favourite source for Victorian painters, and the tragic romance of Ophelia, from Hamlet, was an especially popular subject, featuring regularly in the Royal Academy exhibitions. The most popular and iconic image of Ophelia's death was, and is to this day, John Everett Millais's 1851 painting showing the confused and tragic Ophelia floating downstream on her back in a state of mad ecstasy, arms raised in a gesture of inevitable submission. However, although Stott chose not to pastiche this image, it seems highly likely that he was prompted to take up this subject, which had almost become a 'rite of passage' among Victorian painters, by the fact that in 1894 Millais's Ophelia was presented to the National Gallery of British Art by Sir Henry Tate. It appears that Stott was much influenced by John William Waterhouse...

Oil on oak panel Image size: 18 x 17 inches (45.5 x 43.5 cm) Period style frame This painting is a half-length portrait of a lady in the guise of a shepherdess. She is holding a ho...

Oil on layered paper Image size: 10 1/2 x 8 1/4 inches (26.5 x 21 cm) Contemporary swept frame This is an eighteenth century portrait of a...

Acrylic on canvas, signed and dated '1973' on verso Image size: 17 1/4 x 11 1/2 inches (44 x 29.5 cm) Contemporary style frame Exhibition label 'Royal Academy Exhibition 1973' on ve...

Oil on board Image size: 5 3/4 x 7 inches (14.5 x 17.75 cm) As can be seen in this painting, Surrealism served as a source of inspiration for Bergner, though he did not consider himself a surrealist but a lover of stories, and indeed narrative elements appear frequently in his work. He uses the “displacement” element, as the Surrealists did, and that is detaching the figures, objects or landscapes from the logical context and into a poetical-magical climate. Nissim Aloni noted in 1983 He paints as though to install stabilizers against the turbulence of the dream, and perhaps these stabilizers serve him in time as a touchstone'. The Artist Yosl Bergner was born in Vienna, Austria, in 1920 and grew up in Warsaw, Poland. With rampant anti-Semitism in Europe, the Freeland League for Jewish Territorial Colonization was formed in the United States in July 1935, to search for a potential Jewish homeland. Soon afterwards a pastoral firm in Australia offered the League about 16,500 square kilometres (6,400 sq mi) in the Kimberleys, stretching from the north of Western Australia into the Northern Territory. As history showed, the plans went nowhere. But for a time, the Australian idea was at least worth considering. Bergner's father, Melech Ravitch, became involved in a serious investigation of the Kimberley Plan. In this way the Bergner family moved to Australia. Yosl emigrated to Australia in 1937 and studied in the National Gallery School in Melbourne. During World War II he served for four and a half years in the Australian Army, and later continued his studies at the Art School. In Melbourne from 1937–48, Bergner befriended many of the local artists who now epitomize modern Australian art: Sidney Nolan, Albert Tucker...

Ink & Watercolour Image size: 4 x 5 1/2 inches (10 x 14 cm) Contemporary frame Provenance Private family collection This painting was created in the early 1900's when the Decadent Movement...

Ink and watercolour Image size: 3 3/4 x 5 3/4 inches (9.5 x 14.5 cm) Contemporary frame Provenance Private family collection This painting was created in the early 1900's when the Decadent Movement...

Oil on canvas Image size: 24 x 18 1/2 inches (61 x 47 cm) Gilded wood framed Provenance Estate of Judge Davis Norton and Florence Edelstein. William Bateman was a British Whig politician who sat in the House of Commons between 1721 and 1734. He was made Knight Companion of the Order of the Bath...

Gouache on board, signed lower left Image size: 18 x 15 inches  (46 x 38 cm) Contemporary frame This painting illustrates a passage from Ovid's 'Metamorphoses', specifically from th...

Circle of Ridolfo Ghirlandaio 1483 - 1561 Oil on panel Image size: 20 ½ x 16 ½ inches (52 x 42 cm) Handmade contemporary style gilt frame The lamentation of Christ was one of the most popular scenes depicted in European art from the 11th to the 18th century. Depicting the lamentation or pieta from the Italian word for ‘Pity’ of Christ with Jesus’s mother Mary cradling his body. Christ is depicted nude, wearing only a blueish loincloth around his waist, a horizontal scar marking his rib cage. His head and torso are held upright, and his eyes are closed, his right arm lays to his side as does his left. Standing behind him, is the Virgin Mary, outfitted in her traditional dress of a robe with a white veil. She stands behind Christ and bends slightly, looking looking away from Christ to something that has caught her attention, her right hand holding his shoulder. Her left-hand carefully holds his arm. This work is quite unusual with Mary . This stunning work jumps out with its dark background and strong flesh colours. Ridolfo Ghirlandaio was the son of the eminent painter Domenico Ghirlandaio. Following his father’s death in 1494, when he was just eleven years old, Ridolfo is thought to have continued his training with his uncle Davide, who had taken over the Ghirlandaio workshop. Vasari noted that Ridolfo also studied with Fra Bartolommeo...

Adolphus M. Madot Circa 1833 - 1861 Oil on canvas Image size: 36 x 24 inches (91.4 x 61 cm) Arched Pre-Raphaelite style frame The subject of the present picture is the dialogue between the court jester Touchstone and the shepherd Corin in the Forest of Arden ( As You Like It, Act III, scene 2). The work of William Shakespeare 'As You Like It' was a popular literary source in Pre-Raphaelite circles, inspiring such artists as John Everett Millais, Walter Howell Deverell and Arthur Hughes. The present picture is comparable in style to the work of Edward W. Rainford and Henry Stacy Marks...

English School 1910 The Battle of Flodden Oil on canvas, monogrammed and dated 1910 lower right Image size: 25 x 50 inches (63.5 x 127 cm) Original frame Provenance Dacre Castle The Battle of Flodden or Flodden Field, sometimes called the Battle of Branxton was part of a conflict between England and Scotland. The Scots were allied with France and at the time of the battle Henry VIII was in France fighting there and had left his kingdom under the regency of his queen Catherine of Aragon. The battle was fought in Branxton in Northumberland on 9 September 1513, between an invading Scots army under King James IV and an English army commanded by the seasoned warrior Thomas Howard, Earl of Surrey. Invoking the Auld Alliance with France, James IV of Scotland crossed...

James Stroudley 1906 -1985 Reclining Nude Oil on canvas, signed lower left Image size: 17 x 25 inches Original frame James Stroudley was born in London on 17 June 1906, the son of James Stroudley, showcard and ticket writer. He studied at Clapham School of Art (1923-27) and then at the Royal College of Art (1927-30), where his teachers included Alan Gwynne-Jones and William Rothenstein. As a recipient of the first Abbey Scholarship he was able to spend three years in Italy from 1930, where he absorbed the influences of Giotto and Piero della Francesca, and produced one of the last wholly satisfying decorative cycles by a Rome Scholar of the period. From 1934, he exhibited at the Royal Society of British Artists, and was elected to its membership in the following year. From the Second World War – in which he worked with the Camouflage Unit – Stroudley taught at St Martin’s School of Art and was a visiting lecturer at the Royal Academy Schools. Though he continued to live in London, his later work, exhibited at the Royal Academy from 1955, indicated regular painting trips to Kent and Sussex coasts. However, much of his later work was abstract. In 1971, his former student, Peter Coker...

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

Studio of David Teniers the Younger 1610 - 1690 Peasants Playing Bowls Outside an Inn Oil on oak cradled panel, signed Image size: 16 ½ x 22 ½ inches Gilt s...

Thomas Cooper Gotch 1854 – 1931 Study of Violinist for Holy Motherhood Oil on canvas, on board Image size: 28 ¾ x 21 inches 18th century frame Illustrated in "The Golden Dream, A bi...

John Rogers Herbert RA 1810- 1890 Oil on canvas, dated '1850' lower right on sword strap Image size: 33 ½ x 23 ½ inches Gilt Watts frame This striking painting, depicts David as a y...

English School 19th Century Sleeping Angel Oil on canvas Image size: 29 x 40 inches Contemporary gilt frame

Attributed to Mary Adshead 1904 - 1995 London Costmongers Oil on canvas Image size: 30 x 36 inches Framed Costermongers were London people that sold fruit and veg and other ‘perishables’ from barrows. Often wheeling and then stationing their barrow on the street, so their customers could easily come and buy from them. Costermongers were fiercely independent, rebellious in their dress and outlook, and had little time for ‘middle class moralising’ and attempts to suppress or restrict their way of life. (Much like modern teenagers) The men depicted stop work for a break with cups of tea and a few read the newspapers. Next to the man with the yellow apron can be seen some cakes on a plate. A work place , a factory can be seen in the distance on the right. It is possible that the painting depicts a cabmen's shelter, as some did serve outside and many still survive today in London. The style of the painting is very much that of a student of the Slade School in London and has similarities with other artists work such as James Batemen or Herbert Ashwin Budd. On the back of the painting it has in chalk the name 'Rhoades', which could refer to the artist Geoffrey Hamilton Rhoades...

David Forrester Wilson 1873 - 1950 "Summer Haze" Oil on canvas, signed lower left Image size: 18 x 24 inches Original gilt frame David Forrester Wilson's sensitive portrayal of ...

Charles McCall 1907 - 1989 The Dressing Table Oil on canvas, signed & dated 1951 Image size: 30 x 25 inches Gilt frame Charles McCall was born in Edinb...

Francis Plummer 1930 - 2019 The Triple Deity Egg Tempera on board, signed lower left Image size: 24 x 20 inches Gilt Framed Plummer specialised in th...

Francis Plummer 1930 - 2019 The Prelude Egg Tempera on board Image size: 39 ½ x 49 ¼ inches Original Frame This work comes from a rare collection of w...

Francis Plummer 1930 - 2019 Exiled Oil on board Image size: 20 ½ x 24 ½ inches Framed This rare collection of works from the artists estate, painted i...

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, ...