Marlborough Antiques and Interiors Paintings

Jeanfilip - A Large Acrylic Work on Canvas with Collage 100 x 80 cm - Le Vol De Papillons (the Dance of the Butterflies). Butterflies symbolizing transformation Gianluigi Filippini...

Donald Hamilton Fraser a wonderful mixed media original of The Temple Of Apollo, Corinth. This painting in very much in his wonderful style where he layered thick bright paint with a...

Kathleen Ball - An Abstract Mixed Media - Image Size 17 x 23 cm .Having first discovered art at the age of nine, many years were spent developing her interest in illustration, portra...

William Knox (1862-1925). A fine Watercolour Drawing of the Grand Canal, Venice. Signed to bottom right William Knox dated '23'. The Picture is currently without glass, but this can ...

Henry Sanders - A Wonderful Impressionist City Scene - believed to be London but possibly continental. Painting only Width 90 cm and Height 60 cm Painter Henry Sanders was born Helmuth Saloman, in Dresden, Germany in 1918. After Hitler rose to power he left Germany in 1933 and travelled to Holland and then England, where he studied at Hornsey College of Art from 1935-39, returning to study under Russell Reave and John Moody...

A Fabulous Set of Six Framed and Glazed Intricate Gouache's of Italian Landmarks/Places of Interest taken from 19thc. Each frame has three intricate gouache's, beautifully detailed a...

A Fabulous set of Hand Coloured Etching by Joaquim Terruella Matilla (1891-1957) of Bullfighting Nephew and follower of Segundo Matilla, Joaquín Terruella was also a disciple of Sa...

Fabulous Signed 20th century oil painting on paper by Ding Bin, 1992, 106 x 106 cm. Ding Bin was born in Beijing in 1960, graduated from the Department of Chinese Painting, CAFA. ...

Wonderful watercolor of working dogs by Raoul Millais. Signed with Monogram HRM Raoul Millais (1901-1999) : Born in Horsham, Sussex in 1901, Raoul Millais was the grandson of the artist Sir John Everett Millais. His early introduction to art and culture was supplemented by his enrolment at the Byam Shaw School of Art and later the Royal Academy Schools in 1921. During his studies, Millais became interested in the depiction of animals, a field in which he excelled. In 1924 he accompanied his father, the artist John Guille Millais, to Africa where Millais spent time in Sudan completing a series of studies which would later become illustrations in the book ‘Far Away Up the Nile’ (1924). The following year, Millais travelled to Angola where he continued to sketch studies of exotic animals. Upon his return to England in 1925, he settled in Wiltshire where he established himself as an equestrian portraitist. His career as an equine painter proved to be very successful, and in 1936 the artist participated in a one-man exhibition of almost 50 paintings in London. During the Second World War Millais served in the Scots Guards and continued, where possible, to paint and draw. In 1943 the artist was given leave to complete a commission to paint the Royal horses Big Game and Sun Chariot for King George VI. In the years that followed, Millais completed a great number of portraits of winning racehorses, including commissions from Sir Winston Churchill. In 1958 the artist purchased...

Alfred Wheeler (1852-1932) Oil on Panel of the Brilliant Racehorse Pretty Polly. Signed and Dated 1906 with Jockey Danny Maher up and Trained by R Gilpin and Owner Major Eustace Loder. Alfred Wheeler was born near Bath in Somerset to John Alfred Wheeler (1821-1877), who retired early from the Army to pursue a successful painting career. Alfred is thought to have studied under his father and to have worked closely with him. He married Catherine Muspratt in 1874 and moved next door to his father at Raglan Villas, Bath. Alfred then followed his father when he moved to Hanwell. Alfred and Catherine had six children of whom Walter Herbert and John Frederick became artists. The Wheeler family specialised in sporting subjects such as horseracing and foxhunting. They also painted animal portraits. There is often confusion between Alfred Wheeler and his father because their style is so similar and they both signed J. A. Wheeler or A. Wheeler senior. They even painted some of the same racehorses and both received commissions from Baron Rothschild and the Prince of Wales. Alfred's work is thought to be less prolific. However, Alfred did contribute to many of his father's paintings toward the end of his life. Generally, Alfred's pictures tend to have more of a photographic quality about them than those of his father. Pretty Polly (March 1901 – 17 August 1931) was an Irish-bred, British-trained Thoroughbred racehorse and broodmare. One of the greatest fillies ever to race in Britain, she won fifteen consecutive races and was only the fifth horse to win the British Fillies Triple Crown since its inception in 1814. Pretty Polly also became one of the greatest broodmares of the century. Pretty Polly was bred and owned by Major Eustace Loder and trained by Peter Gilpin, she won nine races from nine starts as a two-year-old in 1903. The following year, Pretty Polly won the 1,000 Guineas as 1-4 favourite, winning easily by three lengths in record time. Other wins as a three-year-old were The Oaks, the Coronation Stakes at Royal Ascot, the Nassau Stakes at Goodwood, the St. Leger Stakes (completing the Fillies' Triple Crown) and the Park Hill Stakes with jockey William Lane. Pretty Polly stayed in training as a four and five-year-old, winning six more races, including the Coronation Cup...

Attributed to William Shayer Snr. (1787 – 1879) A Stable interior with a horse and donkey by a briar, baskets and panniers on the floor beside them. Oil on Canvas. This painting was part of Dauntsey Estate, Wiltshire has never been at auction. 51 x 61 cms image only. William Shayer was an English landscape painter and figure painter who became prominent during the Victorian era. William Shayer was a self-taught artist, who began by painting decorations on rush-bottom chairs. He moved on to painting carriages in the town of Guildford, after which he started doing heraldic painting...

William Heytman Oil on Canvas - Still Life. It was rare for Heytman to do a Still Life. 70 x 50 cm Image only It would not be too far fetched to say that painting is in William...

Miss Ethel Mortlock an oil on canvas called 'Town' of Marie Adelaide Brassey (aged 3) who became Marchioness of Willingdon (see below) and is buried in the Nave at Westminster Abbey, signed and dated 1878. Picture 60 x 45 cm Ethel Mortlock (1865-1928) an extraordinary woman and sought after portrait painter, she painted this aged 16!. Born in Cambridge and lived in London. She exhibited at The Royal Academy between years 1878-1893 no less than 29 paintings also at the Grosvenor Galleries. Many of Paintings in museums (See History below and her sitters). Marie Adelaide Brassey - Marie Adelaide Freeman-Thomas, Marchioness of Willingdon, GBE, CI DStJ (née Brassey; 24 March 1875 – 30 January 1960) was a daughter of Thomas Brassey, 1st Earl Brassey. On 20 July 1892, she married Freeman Thomas , 1st Marquess of Willingdon (12 September 1866 – 12 August 1941), the future Governor General of Canada and Viceroy of India. She became : Invested as an Imperial Order of the Crown of India (C.I.) in 1917, Decorated with the Kaisar-i-Hind Gold Medal , Invested as a Dame of Justice, Venerable Order of St John (D.J.St. J.),Decorated with the Order of Mercy. Invested as a Dame Commander of the Order of the British Empire (DBE) in December 1917. Invested as a Dame Grand Cross of the Order of the British Empire (GBE) in the 1924 Birthday Honours. Marie Canyon on the Cowichan River, Vancouver Island is named for her, commemorating a 1930 canoe trip from Cowichan Lake down that river to the city of Duncan, British Columbia. The Lady Willingdon Hospitol in Lahore, Pakistan is named after her .The Lady Willingdon Hospital in Manali, Himachal Pradesh, India, is named after her. About Ethel Mortlock : Her clientèle of sitters included members of the aristocracy and European nobility and included, by her account, the Shah of Persia (1900) and the ‘Chinese Ambassador’, Li Hung Chang (who was actually the Chinese Viceroy), à propos which sitting the Sketch published an illustrated interview with Ethel in August 1896. Ethel was thought pretty grand by the American papers who reported that Chang had to go to her studio for sittings in 1896 rather than she wait upon him. He brought her a roll of silk and a white jade palette as presents. Li Hung Chang was a pretty big cheese; his wife had two thousand servants waiting on her. The Chatham, NY, Courier reported that Ethel had painted every Ambassador who had come to London. These last clients, allegedly by failing to pay the £1000 charged for their portraits, landed Ethel in trouble. They were, of course, conveniently unavailable to the bankruptcy commissioners so this sob-story could not be checked. Strapped for cash she was caught out when the executors of a racehorse owner called Edward Overall Bleakley found, in his effects, IOUs for hundreds of pounds (Bleakley had bequeathed his own portrait by Ethel to Manchester Infirmary [Daily News, 1.8.98]). Ethel went to court, claiming that these were offset by painting commissions, but the court found against her and she was told to pay up. Now saddled with legal costs, she was caught again when Captain Noel Hoare, her man of business, died and it was found that he had mortgaged to Hoare’s Bank, without her knowledge (she said), three properties in Sloane Street that she had been building. She tried to buy back one of these but lost a £500 deposit when she could not complete, making a bad situation rather worse. Bleakley’s executors now broke her and her examination in bankruptcy in 1901 can be read in the PRO as above. Her troubles were attributed to extravagance and betting - the Bleakley IOUs were assumed to be in fact gambling debts and the creditors now included all sorts of tradesmen and the Hotel Cecil where Ethel was then living, presumably in some style. She did not help herself by claiming an income of £250 p.a. when individual commissions were on her own account at the £1000 mark as above, meaning that the Chinese and Persian portraits alone would have occupied her last eight years and she would have obtained these prestigious commissions at the age of 18 (she gave her age as 26). Faced by the raised eyebrows of her superiors in mental arithmetic Ethel then upped her declared usual income to a still rather modest £800. She claimed to keep no sort of cash book, accounts, or any memoranda. Proceedings closed with Ethel declared bankrupt and a number of people out of pocket; the settlement was at 7/6 in the pound. Ethel went back to her easel. Some financial aspects seem never to have been sorted out; funds in Chancery relating to her, Hoare and Bleakley were still being recorded in the London Gazette every few years at least up to 1938; maybe the born in Cambridge; she appears never to have married. The 1881 census had not heard of her - she may have been in the United States at that time. However, standard works about Victorian painters, such as the Antique Collectors’ Club Dictionary of British Artists (Johnson %26 Greutzner, 1976) and their Dictionary of Victorian Painters (C Wood, 2nd edition, 1978) tell us that she was a pupil of Sir William Orchardson (who came to London in 1863) and that by 1904 she had exhibited 29 works at the Royal Academy. I have listed these, usually prestigious, sitters, who included Don Carlos...

ALLAN GWYNNE-JONES (1892-1982) "H M The Queen when Princess Elizabeth" study for No. 47 depicting the Princess in Windsor Great Park, oil on board, ...

A Wonderful Thomas Blinks 'Full Cry' - Oil on board - Highly sought after artist from a family originally probably purchased from artist , never been to auction. Measures: In Frame W...