'Letting Him Wander', by Jessica Taylor, Acrylic on canvas

A 15/100 scale beautiful watercolor of a steam locomotive listing the technical names for the component parts and inscribed 'Pensionnat St Gabriel - Chatell...

A late 18th century Chinese export watercolour, depicting a man and a woman in a garden, a watermelon set upon the window sill.  

A mid-20th century oil depicting an autumnal sunrise. Oil on canvas, set within a giltwood frame. Dimensions refer to size of frame. Signed: Michael Tain...

Jan van der Vaart (1647-1727) Portrait of Dorothy, Lady Brownlow (1664-1700) Oil on canvas; held in a period carved wood frame circa 1687 Considered a beauty of the age, Dorothy, Lady Brownlow was painted on a number of occasions by some of the most talented and respected artists of the day; Kneller, Riley, Closterman, Dahl and Wissing, all rendered her features in oil for posterity. The portrait presented here is by Jan van der Vaart who from 1685-1687 was employed by Willem Wissing as a drapery and landscape painter. After Wissing’s death in 1687 he practiced as an independent portraitist much in the style of his master with some influence also of Kneller. This work is in fact the head and shoulders taken from Wissing’s three-quarter length of Lady Brownlow which hangs at Belton House, Lincolnshire and produced as a mezzotint in 1687. Van der Vaart has made some intriguing alterations particularly as the sitter now looks directly at us, appearing rather more provocative and self assured of her beauty. The confident rendering of the dress and pearls and the thickly drawn copious hair are hallmarks of Van der Vaart’s work. It is likely he completed this portrait – shortly after Wissing’s version – as a smaller variant intended for another family member as was often the practice. Dorothy Mason married Sir William Brownlow 4th Bt. in July 1688; she was the daughter and heir of Sir Richard Mason a politician and courtier to Charles II who owned estates at Bishop’s Castle, Salop and Sutton Surrey. She came from, and married into extreme wealth; her dowry upon marriage was £10,000 and on her death her husband inherited the estates that were once her father’s. In June 1697 William Brownlow succeeded his brother to the baronetcy and to most of his landed estates including Belton House. In 1698 he abandoned his Peterborough seat to contest Bishop’s Castle on behalf of his wife and in the interest of his mother-in-law, Lady Anna Mason...

A late 19th century botanical study depicting a red lily. Watercolor on paper held within a reeded giltwood frame.

A late 19th century watercolor and pencil study of a golden clematis, Clematis Tangutica. Watercolor and pencil on paper set within a reeded giltwood frame.

A beautiful and intricate interplay of colors with wonderful movement. Provenance: Collection of the Bank of Oklahoma (as pictured).

11 foot by 9 foot frame stretched charcoal on canvas painting by Jessica Scott-Felder titled "Accent" 2009. Jessica utilizes drawings and installations with antique objects to transform spaces into psychological realms that are suggestive of maternal figures and ancestral and social narratives. Initially, the chairs represented matriarchal presence and have currently expanded to ancestry. Jessica’s work addresses issues in identity, heritage, culture, and society’s rapidly disintegrating connection to the past. Jessica's grandmother's living room has been a focal point of her work. She is visually exploring the suggestive qualities of furniture placement. Many of the images were derived from “Last Year at Marienbad...

"Who's the Fairest?" titled on verso, is an abstract painting on canvas, artist unknown. Unframed.

Large abstract acrylic on canvas by well-known Palm Springs base artist, Christopher Shoemaker. Dominated by two large human forms the painting has been done with a spatter painted s...

Detlef Hagenbäumer “City”. Acrylic on canvas. Measures: 100x150cm.

Abstract painting black and blue on white background acrylic on canvas by Rohmann Signed: "Rohmann".