This stunning 17th century Dutch Old Master Golden Age floral oil painting is by noted Dutch artist Simon Pietersz Verelst. The full attribution to Verest was confirmed by Dr Fred Meijer and it is both signed and dated lower right. This superb still life was painted by Verelst in 1670 and is an excellent example of his artistry as a 'God of Flowers'. The colours are vibrant and the brushwork and details are superb. The flowers are a mix of poppies and roses with some lovely blue morning glory. The foliage is as charming and as detailed as the flowers and a beautiful white butterfly hangs off a stem to the right. This is a fantastic Dutch Golden Age 17th century oil painting by Verelst and is an excellent example of his work.
Signature and date 'S.Verelst/ 1670' lower right.
Provenance. Dr Fred Meijer confirmed the attribution to Verelst upon inspection of photographs prior to acquisition.
Acquired by the present owners' grandmother in the 1940s.
This superb Scottish Edwardian Impressionist interior oil painting is by noted Scottish female artist Annie Rose Laing. Painted circa 1910, the composition is the interior of a room with a lady stood between a table and writing desk, reading a letter. The whole scene has multiple shades of blue - on the window drapes, tablecloth, writing desk and the lady's dress. By contrast, splashes of red are on the tulips on the table, floor rugs and side of the writing desk. In the foreground one can just see the edge of a frame of a picture on an easel and another small painting above the writing desk. On the near right is the edge of a thick green velvet curtain at the door. One has the sense of peeping into a private, intimate world. This is an excellent example of a Scottish female artist at her prime.
Signed lower left.
Provenance Surrey estate.
Possible: Royal Scottish Academy No: 339 Reflections 1923
Royal Academy No: 569 Reflections 1927
This beautiful British Victorian landscape oil painting is by noted artist William Gosling. Painted circa 1870 it is a river landscape, possibly the Thames. Gosling exhibited several paintings of the Thames around this date, with non-specific titles. The view point is from the middle of the river so Gosling may well have been painting sat in a boat. On the left hand side of the river, a man is in a punt and two figures and a dog are beside him on the bank. Behind them is a barn or dwelling and horse and cart with more figures. Trees and rushes line the left bank and are beautifully reflected in the water along with the summer sky. For me, the reflections steal the show in this painting with their depth of colour and detail. This is a lovely 19th century river landscape and an excellent example of Gosling's work.
Signed lower left.
This superb British realist portrait oil painting is by noted artist Gerald Leslie Brockhurst. It was painted in 1952 when Brockhurst was in his sixties and living in America since 1939. The sitter is Hope G. Simpson. The painting is a half length portrait of a striking blonde woman in a blue buttoned up garment. It is a strong portrait with bold colours and confident brushwork and an excellent example of his work.
Signed and dated 1952 lower right.
Provenance: Hiram Hoelzer New York label verso.
Portraits Inc. East Street new York. Label verso.
This superb French 19th century oil painting, La Source, location previously unknown according to the Jean Jacques Henner Museum catalogue of pictures, is a fantastic art historical re-discovery. It is by noted artist Jean Jacques Henner, a French painter, noted for his use of sfumato and chiaroscuro in nudes, religious subjects, and portraits. La Source, or Spring, is a magnificent, very large French Romantic oil painting depicting a subject for which Henner became famous. The painting was begun in 1880 and completed in 1881 and it was exhibited at the Paris Salon that year. The sitter is Dorothy Tenant (1855-1926) or Dolly, an English art pupil of Henner’s and also his model. (See her biography below). According to the artist’s diary of January 1880, working titles included Seated Woman Combing her Hair, Woman Seated at the Spring Combing her Hair, Seated Figure at the Spring. These were all pared down to La Source or The Spring. The painting was put away for a while whilst Henner worked on several sketches, before completing it for the Salon in 1881.
La Source is a painting of a beautiful young woman, Dolly, unclothed, combing her long auburn hair, sat on the edge of a pool or spring in a landscape. Her serene face and body are almost glowing against the darker landscape, all enhanced by the sfumato and chiaroscuro technique. Indeed, Dolly Tennant commented on the painting that her skin glowed against the darkness like a pearl. Beyond her is a patch of startling blue sky, reflected in the pool at her feet. The rough brush work in the flora and fauna around her, a precursor to French Impressionism, contrasts with the smoothness of her skin. A really stunning painting with excellent provenance that has been thoroughly researched. This painting is in the Henner Musee National catalogue of paintings by Isabelle de Lannoy, noted as location unknown and exhibited at the Salon in 1881. Also noted in the museum catalogue are two preparatory studies for La Source identifying the sitter as Dolly Tennant. One of the images is also shown on the front cover.
Signed lower right.
Provenance Exhibited Paris Salon 1881 no. 1125 entitled La Source.
1881 Goupil
1881 New York, Herman Schauss Gallery
New York, Mrs Morgan
1886 05/03 New York Am Art Ass.
Mary J Morgan Sale lot no. 229
1886 Montreal, Mr Donald Smith
Formerly in the collection of Mary Jane Morgan
Aitken Dott - The Scottish Gallery ref R9101.
Sotheby sale 30th Dec 1985.
Thomas Agnews and Sons.
Catalogue of Paintings for National Museum of Jean Jacques Henner, France, by Isabelle de Lannay, p174. La Source, Salon 1881, location unknown. Plus study of Dolly Tennant for La Source and another study for La Source.
The New York Market for French Art in the Gilded Age, 1867-1893 by Dr Leanne Zalewski, published by Bloomsbury Visual Arts, 2022, page 39, La Source image 3.3.
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