This charming British Victorian landscape oil painting is by noted artist Henry Robinson Hall. Painted circa 1900 the setting is in Perthshire. In the foreground several highland cattle are stood at a moorland pool with towering mountains to their left. The sun is catching the mountainside and highlighting the vivid colours of the flora and fauna. This is a lovely atmospheric painting and a topic dear to the artist's heart.
This stunning British 18th century Old Master portrait oil painting, with exceptional provenance, is by noted artist George Romney. It was painted in 1788, commissioned by James Evelyn of Felbridge as it is of his younger daughter Anne, aged 20 years old. James was a Doctor of Law and Anne's mother was his second wife, Jane. Felbridge house, Anne's home, was in the village of Godstone in Surrey. This superb oil painting is a seated portrait of Anne, wearing a white dress with a green sash, her forearms exposed and her hands in her lap. Anne is blessed with the most wonderful long auburn curly hair and is visually stunning. Her body is partly turned away from the artist/viewer and she is slightly gazing down at us with confident, clear eyes. Anne is pictured in a landscape with a dramatic sky behind her. Romney's brushwork on her dress, hair and the background is superb. The delicate detailing of her facial features is also stunning. Sometimes Old Master portraits can be a little staid, but this one of Anne with her wild auburn hair and bold look is just magnificent. This is a fantastic example of George Romney's work and of an 18th century British Old Master with exceptional detailed provenance.
Name plate states: Anne, younger daughter of James Evelyn of Fellbridge Esq. 1788, aged 20. Romney.
Provenance With Charles Cecil Cope Jenkinson, 3rd Earl of Liverpool (1784-1851)
With The Hon. Henry Berkeley Portman (1860-1923),
Later 3rd Viscount Portman; with Emma, Viscountess Portman (1862-1929)
By 1926; with her daughter Lady Moyra Dawson-Damer (1897-1962)
Thence by family descent.
Painted in 1788. There are various labels verso.
Mentioned in Lord Hawkesbury's Catalogues of Portraits at Compton Place and at Buxted Park, in Sussex, 1903, p.18, no. 3, at Buxted Park, as in the 'Dining Room, South Wall'.
Further Bibliography:Gower (R. S.) Romney, London, 1904, p. 175 Kidson (Alex) George Romney, A Complete Catalogue of his Paintings, New Haven and London: Yale University Press, 2015, I, p. 205, no. 422 (illus).Ward (Humphrey) and Roberts (William) Romney: A Biographical and Critical Essay, London: T Agnew & Sons, 1904, p. 51
Laban Demanding the Return of the Teraphim from Rachel
This very busy oil on panel is a Dutch Old Master painting dating to around 1620 by artist and poet Willem van Nieulandt. It is an incredibly detailed and colourful scene composed of numerous characters and animals set amongst ruins. It basically illustrates a topic from Genesis 31 in the bible where Rachel has stolen her father Laban's teraphim or household gods. This is a topic of much debate in religious literature. It is a stunningly beautiful Old Master painting displaying considerable artistry.
This stunning British Victorian Pre-raphaelite Royal Academy exhibited oil painting is by note female Suffragette artist Emily Mary Osborn. Painted in 1877 it was exhibited at the RA the same year. The composition is of a beautiful young woman, lounging in a hammock, daydreaming. The fashionably eclectic interior with the verdure tapestries, Persian carpets and exotic lilies, is typical of paintings of the Aesthetic Movement as is the languid subject of idle reverie. With this picture Osborn showed herself to be a versatile artist able to deviate from her usual subjects of portraiture, childhood or social adversity. Her brushwork and attention to detail have perfectly captured the many varied textures with the colour gold running through them all. This is a stunning painting with excellent provenance by a well respected Victorian female artist and would grace any wall.
Signed with red monogram lower left.
Provenance Anon. sale, Sotheby's, Belgravia, 18 April 1978, lot 88.
Exhibited London, Royal Academy, 1877, no. 461 (as Dreaming Awake).
Birmingham Society of Artists, 1878, no. 431 (As A Golden Daydream).
Literature Art Journal, September 1877, p. 269.
This superb British twenties portrait oil painting by noted Newlyn school artist Harold Harvey. Painted in 1922 the sitter is Clara Matthews. Penlee Gallery in Penzance had a very similar head and shoulders of Clara in 2001. Ours is a full length portrait and Clara is set in a landscape and holding a rose. In several of Harvey's portraits his female sitters are holding a single flower. By 1908-1910, Harvey began to develop his own unique pictorial language characterised by a brighter palette and more simplified forms. The present work dates from 1922 and depicts the model Clara standing by a wall which gives way to a gently rolling hillscape beyond. The work is a thoughtful figurative meditation in tones of grey and brown, the red highlight of the rosebud creating the focal point of the composition. A very atmospheric portrait and an excellent example of his work with good provenance.
Signed and dated lower right.
Provenance. Sotheby's
Christie's
Harold Harvey catalogue online
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