Darnley Fine Art

Portrait of Lady Mansfield of Ringwood Oil on Canvas Image size: 25 x 30 inches (63 x 76 cm) Original carved & gilded frame POA Provenance Descended through the Family Estate The y...

Horace Mann Livens 1862 - 1936 Littlehampton Watercolour, gouache, and black chalk on paper, signed and dated '10' lower left Image size: 11 ¼ x 15 inches (28.5 x 38 cm) Acid free mo...

Front Elevation of The Great Temple of Aboo Simbel First edition lithograph Full plate: 169 Presented in a acid free mount £2,600 Scroll down for more information. Roberts reached A...

Portico of The Temple of Dendera Subscription or First Edition in stock Full plate: 161 Presented in an acid free mount £2,000 Scroll down for more information.

General View of the Island of Philae, Nubia Subscription and first edition lithographs in stock Full plate: 151 Presented in a acid free mount £2080 Scroll down for more information....

THE POOL OF BETHESDA- JERUSALEM Subscription and first edition lithographs in stock Full plate: 12 Presented in a acid free mount £1,200 Published by F.G. Moon & Son, London 1842-49. Subscription edition were coloured during production and First edition are modern hand-coloured lithograph, that was printed a few years after the subscription edition David Roberts. We have both Subscription and First Edition lithographs in stock. The subscription edition was printed on a fine paper, hand coloured and then stuck on card. The first edition was printed on a more coarse paper and not coloured by hand. These ones we colour to match the subscription colouring. Each lithograph is sold in mint condition and in an acid free mount. Please do not hesitate to contact us for more information, or if you are looking for another David Roberts lithograph...

David Roberts R.A. 1796 - 1864 CALVARY - HOLY SEPULCHRE First Edition lithograph Full plate: 26 Presented in a acid free mount Modern hand-coloured lithograph for the first editi...

David Roberts R.A. 1796 - 1864 VIEW FROM UNDER THE PORTICO OF THE TEMPLE OF EDFOU, UPPER EGYPT First edition lithograph available Full plate: 157 Presented in an acid free mount We have in stock a full set of the David Roberts lithographs...

Brockenhurst Gardens Ernest Arthur Rowe Watercolour, signed lower left and dated 1900 bottom left Image Size: 12 x 18 3/4 inches (46 x 30.5 cm) Original Victorian frame Provenance Dowdeswell and Dowdeswell The collection of C. Buttersworth Sale, Bonhams, London, 10th June 1998, lot 63 Exhibited Royal Institute of Painters in Watercolour, as 'Relics of the Civil Wars, Compton Wynyates', no.1 This watercolour is one of Rowe's few pictures of Brockenhurst park garden in the New Forest, Hampshire. Here Rowe exemplifies the garden's splendour through his deliberate low positioning within the composition. As well as the scenes mirrored...

Tetouanoui Man Albert Charles Dequene Pastel on paper, signed and dated 1933 lower left, titled upper right Image size: 23 x 18 inches (58.4 x 45.7 cm) Hand made ebonised and gilded ...

Youthful Thoughts Armand Point Oil on canvas, signed and dated 1889 lower left Image size: 18 1/4 x 25 3/4 inches (46.4 x 65.4 cm) Framed Provenance Private collection, France The p...

Sketch of a Man in Profile 17th Century French School Ink on paper Image Size: 10 1/2 x 7 inches (26.5 x 17.5 cm) Framed Provenance The estate of Joseph McCrindle Christies Old Masters and British Pictures and Old Master Drawings Sale 12th December 2008 This highly worked picture shows us a man depicted in profile is seen interacting with a scene that extends beyond the boundaries of the paper's composition, the pen strokes intricately portraying the man's face, rendering a detailed, textured complexion. He points his left hand out to something in the distance, with a look of almost alarm. The artist Giovanni Benedetto Castiglione (1609-64) did a series of oriental head studies. The exotic headgear that he wears and this type of oriental head studies, had its principal source was of course Rembrandt, who etched many similar heads during the 1630s. In the seventeenth-century Western European imagination, the turbaned figure represented the epitome of alterity: the Ottoman Turk. Ottoman costume...

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...

Sketch of Finkel Stephen Andrews Born 1956 Ink on paper, signed bottom right Image size: 9 1/2 x 12 1/2 inches ( 23.5 x 31.5 cm ) Original Frame Andrews, a friend of American direct...

Sketch of Marlon Brando Stephen Andrews Born 1956 Ink on Paper, signed bottom left Image size: 9 1/2 x 12 1/2 inches (23.5 x 31.5 cm) Original frame Andrews, a friend of American ac...

Philip Byrne 20th Century Tettenhall Church Yard Ink on paper, signed and titled bottom left Image size: 11 1/2 x 8 1/4 inches (29.5 x 21 cm) Hand made frame Philip Byrne, an artist...

Philip Byrne 20th Century The Quarry Ink on paper, signed and dated bottom left Image size: 11 1/2 x 8 1/4 inches (29.5 x 21 cm) Hand made frame Philip Byr...

Philip Byrne 20th Century Excavators at the Local Sand Quarry Ink on paper, signed, titled and dated bottom left Image size: 11 1/2 x 8 1/4 inches (29.5 x 21 cm) Hand made frame Phi...

Philip Byrne 20th Century The Abattoir Ink on paper, signed bottom left Image size: 11 1/2 x 8 1/4 inches (29.5 x 21 cm) Hand made frame Philip Byrne, an artist who studied at the W...

A R Phillips 20th Century Cathedral View Gouache on board, signed and dated 1946 bottom right Image Size: 12 1/2 x 13 inches (30 x 32.5 cm) Handmade framed This painting, originally...

Benjamin Robert Haydon 1786 - 1846 Sketch of Three Figures Pen and ink on paper, Image size: 9 3/4 x 7 3/4 inches (25 x 20 cm) Acid Free mount, original frame Provenance Private Col...

Under the Pier Philip Byrne Ink on paper, signed, titled and dated bottom right Image size: 11 x 14 1/2 inches (28 x 12 cm) Hand made frame Philip Byrne, an artist who studied at th...

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...

Sailor Smoking a Pipe Arthur David McCormick Oil on canvas Image size: 19 x 25 1/2 inches (48 x 65 cm) Contemporary frame Arthur David McCormick (1860–1943) was a notable British illustrator and painter, renowned for his landscapes, historical scenes, naval subjects, and genre scenes. Born in Coleraine, County Londonderry, he pursued his education at the Royal College of Art in London from 1883 to 1886. McCormick’s career was marked by his contributions to various illustrated magazines, including the English Illustrated Magazine and the Illustrated London News. He participated in significant expeditions, such as Sir Martin Conway’s journey to the Karakoram Himalayas in 1892 and Clinton T. Dent’s expedition to the Caucasus Mountains in 1895. His illustrations from these travels were featured in Conway’s book “Climbing and Exploration in the Karakoram-Himalayas” (1894) and his own publication “An Artist in the Himalayas” (1895). Throughout his career, McCormick illustrated nearly thirty books, focusing on travel and adventure themes. Some of his notable works include illustrations for Edgar Allan Poe’s “Tales of Mystery and Imagination” (1905) and Henry Newbolt’s “Drake’s Drum and Other Songs of the Sea” (1914). He was also a regular exhibitor at the Royal Academy from 1889 to 1938. Navy Cut Sailor Work...

Lord Strathnairm's Arab Charger Gourlay Steell Oil on canvas, signed lower right Image size: 39 x 44 1/8 inches (99.1 x 112.1 cm) Handmade frame POA Provenance Commissioned by Field...

Oil on canvas, signed bottom right Image size: 20 1/2 x 24 1/2 inches (53 x 62 cm) Original gilt frame Provenance Artist’s Estate Robert Deborne Robert Deborne was born in 1870 in...

After Sir Peter Lely 1618 - 1680 Anne Hyde, Duchess of York; King James II Pencil, ink and white chalk on paper, Image size: 10 x 8 inches (25.5 x 20.5 cm) Original frame This work,...

After Robert Walker 1599 - 1658 Portrait of Oliver Cromwell (1599-1658), bust-length, in armour Oil on canvas Image size: 24 x 29 inches (61 x 73 cm) Original carved gilt frame This...

Studio of Adriaen Isenbrandt 1510 - 1551 The Virgin and Child Enthroned Oil on oak panel, wax seal verso Image size: 10 3/4 x 8 inches (27 x 20.5 cm) Contemporary style frame (image below) POA Provenance Collection of Mrs Marianne Hudson Mary, holding Jesus in her arms, is centrally positioned against a gold detailed architectural backdrop, reflecting the traditional iconography of the enthroned Virgin and Child. This composition suggests the theme of “Maestà” or “Majesty,” emphasising the figures religious significance. In the painting from the studio of Adriaen Isenbrandt, the artist masterfully infuses the scene with rich symbolism and hidden meanings that reflect the cultural and religious context of the period. The infant Christ, seated on the Virgin Mary’s lap, is draped in a delicate, translucent white garment that symbolises his purity. In his hand, he clutches a piece of coral, a multifaceted symbol representing immortality, youth, and health. Notably, coral was also a common teething tool during that era, adding another layer of contemporary relevance. A scarlet-headed blackbird, native to South America, perches gracefully on Christ’s outstretched finger. This bird is a potent symbol of creation and protection, enhancing the divine narrative of the scene. Mary, with a tender and loving gesture, caresses Christ’s back while gazing adoringly at her son, underscoring her role as the nurturing mother of God. Mary is centrally positioned within an architectural alcove, which subtly suggests a heavenly halo without explicitly depicting one. The alcove’s niches, traditionally used to emphasise the importance of sculptures, further highlight her significance. She is adorned in a voluminous red gown, with the undulating folds of the fabric accentuated by white highlights. The red colour of her dress symbolises maternal qualities, while the iridescent blue undercoat, visible in certain areas, signifies sanctity and purity due to its rarity and expense at the time. Moreover, Mary is depicted as the epitome of contemporary Medieval...

Oliver Messel 1904 - 1978 Portrait of a Young Man Oil on canvas, signed and dated 'Oliver Messel 1930' (on the stretcher) Image size: 30 x 25 inches (76.2 x 63.4 cm) Original frame Oliver Messel was born to Leonard and Maud Messel, née Sambourne, on the 13 January 1904 and was the youngest of three children. The family moved to Nymans, the Messel family home in Sussex, from nearby Balcombe in 1915. The house remained in the family until 1953 when it was bequeathed to the National Trust, following a fire in 1947 which destroyed a large portion of the house. The Messels originated from a line of German Jewish bankers on Leonard’s side, however, both family lines boast a number of artistic influences, including Maud’s father. Maud was brought up at 18 Stafford Terrace, Kensington (now known as the Linley Sambourne House Museum), amongst collections of antique porcelain and eighteenth-century furniture, and with a host of artistic visitors such as Henry Irving and Oscar Wilde. Oliver’s own upbringing appears to be influenced by his mother's, as the Messel family were also affiliated with artists and writers and were keen collectors of art, filling their home with textiles, paintings and collections of European and Asian fans from travels abroad. It was amongst such treasures that Oliver, Anne and Linley spent their childhood, in addition to the beauty of Nyman’s extensive gardens. Oliver was schooled at Eton but rather than going up to university was encouraged by family friends, gallery owner Archie Propert and painter and sculptor Glyn Philpot, to attend art school. In 1922 he enrolled at the Slade School of Fine Art in London, where he studied under Henry Tonks. Here, he met the artist Rex Whistler with whom he remained firm friends until Whistler’s death in WW2. Upon leaving the Slade in 1924 Oliver was apprenticed to the studio of portrait artist John Wells, where he learnt various Old Master painting techniques, and met artists such as Jacob Epstein, Augustus John and William Orpen. Whilst at the Slade Oliver developed his interest in Papier Mâché masks, a pastime popular amongst many art students at the time. Whilst apprenticed to artist John Wells several of Oliver’s masks were exhibited at the Claridge Gallery, London, alongside pieces by Whistler and other young artists. These were seen by Serge Diaghilev, director of the Ballet Russes, and Charles B. Cochran, a theatrical producer, both of whom made Oliver offers of work. His first job in the theatre was creating masks for the Ballets Russes’ Zéphyr et Flore, 1925, designed by the French artist Georges Braque, followed by numerous musical revues for Cochran, including Wake Up and Dream!, 1929, with music by Cole Porter. It was during these revues, working with Porter and Noel Coward, that Oliver also began to design headdresses and costumes. In 1932 he was rewarded with his first full commission to design both costume and sets for Helen!, directed by Max Reinhardt. The production design is still celebrated today for its innovative approach and ground-breaking ‘white on white’ aesthetic, which referenced ‘Greek temples, Rococo drapes, Baroque colonnades and Louis XIV carousels’. The success of Helen! led to further offers within the theatre including Reinhardt’s version of A Midsummer Night’s Dream at the Old Vic in 1937, starring Vivien Leigh as Titania and Robert Helpmann as Oberon, the Jean Cocteau play The Infernal Machine in 1940, and Christopher Fry’s translation of Jean Anouilh’s Ring Round the Moon, 1950. One of Oliver’s best-known productions during this period was the Russian ballet The Sleeping Beauty, performed by Sadler’s Wells Ballet in 1946 at the Royal Opera House, Covent Garden. Encompassing over 200 costumes and four set changes, Oliver’s romantic designs were celebrated for bringing colour back to post-war London, and variations on his designs are still used today. Additional designs for the ballet included Comus in 1940, for which he was released from war duties, and Homage to the Queen, choreographed by Frederick Ashton and performed in 1953 for the Queen’s coronation. His first opera was in 1940 for Mozart’s Die Zauberflöte at the Royal Opera House, followed by a series of productions at the newly founded Glyndebourne Opera House in Sussex, for which Oliver also designed the proscenium arch. He triumphed in 1956 designing a season of four different productions for their Mozart bicentennial, also providing illustrations for the programme covers. His popularity also spread beyond theatre to film, were he worked on over eight different feature films including Romeo and Juliet, 1936, directed by George Cukor. During a three-month research trip to Italy Oliver collected over 3,000 reference images including postcards of artwork by Piero della Francesca, Giovanni Bellini and Leonardo da Vinci, along with prints and photographs of textiles and architectural features. A production of Gabriel Pascal’s Caesar and Cleopatra, 1946, starring Vivien Leigh and Claude Rains, was celebrated for Oliver’s ability to recreate the opulence and luxury of ancient Egypt under the constraints of wartime rationing. Such was his skill that Vivien Leigh in a letter to Oliver declared that “I have of course told Pascal that nobody in the world must do the costumes except you.” He was later nominated for an Academy Award for his work on his final film Suddenly, Last Summer, 1959; an adaptation of Tennessee Williams’ American Southern Gothic mystery. Having started his artistic career as a portrait apprentice, capturing the faces of family and friends, Oliver continued to develop this practice until the end of his life.  His style is said to have been influenced by Glyn Philpot, the Messel’s family friend who encouraged Oliver from an early age in his pursuit of art and design. His most prolific period came in the 1950s during which he produced over 50 portraits, which were shown in exhibitions in New York, London and Barbados. The exhibitions included both well-known faces and anonymous sitters captured on Oliver’s travels, and a number of these works have entered private collections. He continued to paint after moving to the Caribbean in 1966, capturing society figures and the rich and famous including fashion designer Carolina Herrera and Bianca Jagger. His style remained unchanged throughout his career, using the same soft painterly strokes and subtle palette as in his theatre designs. By far his greatest contribution in addition to theatre and film was Oliver’s interior and architectural designs. Another, much celebrated commission included Rayne shoe shop in Old Bond Street, where he created jewel-like interiors using the same practice of scaled models as his set designs. Other notable interior designs include those for Norwich and Bath Assembly Rooms, Flaxley Abbey in Gloucestershire, Rosehill Theatre in Cumbria and the Reader’s Digest offices in Paris. However, upon moving to Barbados in 1966, Oliver embraced a new career envisioning architectural concepts for private houses, hotels and public buildings, utilising his experience with interior design to furnish them with bespoke items of furniture and textiles. His first project was Maddox, the deserted eighteenth-century plantation house bought by himself and his partner Vagn Riis-Hansen in 1964. The existing building and gardens were remodelled to Oliver’s designs embracing an inherent theatricality with views out to sea. These were framed by terraces and verandas which extended out from the living rooms creating what is often referred to as a Caribbean style of ‘indoor-outdoor’ living. For the woodwork he used a shade of green that is now known as ‘Messel green’ and often associated with the island of Barbados. Oliver was born into a wealthy family; he travelled extensively and was exposed to art and culture from a young age. A privileged youth, his name is often mentioned amongst the ‘Bright Young Things’, for whom costume parties at country houses and jaunts to Europe on a whim became a thing of fable. This informal group included people such as Cecil Beaton (a life-long friend whom Oliver first met at Eton), Lord Berners, Noel Coward, John Betjeman, Harold Acton, Nancy Mitford, Edith Sitwell, Stephen Tennant...

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...

An Abandoned Journey 20th Century British School Oil on canvas Image size: 24 x 24 inches (61 x 61 cm) Hand made frame The composition of this painting, featuring a red and white do...

Rotherhide Davie Oil on board Image size: 7 1/4 x 26 3/4 inches (18.5 x 68 cm) Hand made frame This oil painting offers a captivating glimpse into Rotherhithe, a historic area in So...

Albert Charles Dequene Fouta Djallon woman with crest headdress Pastel on paper, signed lower right & dated '32' Image size: 19 3/4 x 18 inches (50 x 46 cm) Hand made ebonised and gi...

Georges-Antoine Rochegrosse French 1859 - 1938 The Palace Courtyard Oil on canvas, signed lower left Image size: 26 ¾ x 19 ¾ inches (68 x 50 cm) Ornate orientalist gilt frame (Image ...

European School 16th Century Carved Frame Fruit wood Remnant's of pigment can be found on the carving.

James McIntosh Patrick 1907 - 1998 Braemar Castle Oil on board, signed and dated 1937 bottom right Image size: 31.5 x 47.5 inches (80 x 121 cm) Hand made frame £ Provenance Commissi...

Venetian Frame 17th Century Gilt carved wood Sight size: 30 x 26 cm (The middle being the largest size) Exterior size: 52 x 47 cm Due to the curves of...

Anton Ignaz Melling 1763-1831 Constantinople Etching, hand coloured Image size: 26 x13 inches (66 x 33cm) Acid free mount This etching of Constantinople offers a captivating panoram...

William Dring 1904-1990 Ink on paper, signed middle right Image size: 15 1/4 x 11 1/4 inches (38.9 x 28.5cm) The artwork portrays a man in profile, meticulously rendered in ink on paper. Dring pays close attention to the contours of the skin and hair. The intricate facial details prompt viewers to contemplate themes of identity and expression, while the minimalistic background underscores the figure’s separation from its surroundings. William Dring Dring was born with the forenames Dennis William, but was known colloquially as John. He was the brother of the artist James Dring. He married the painter Grace Elizabeth Rothwell...

William Dring 1904-1990 Ink on paper Image size: 15 1/4 x 11 1/4 inches (38.9 x 28.5cm) The artwork portrays a man in profile, meticulously rendered in ink on paper. Dring pays close attention to the contours of the skin and hair. The intricate facial details prompt viewers to contemplate themes of identity and expression, while the minimalistic background underscores the figure’s separation from its surroundings. William Dring Dring was born with the forenames Dennis William, but was known colloquially as John. He was the brother of the artist James Dring. He married the painter Grace Elizabeth...

Henri Lebasque French 1865 - 1937 Oil on canvas, signed bottom right Image size: 21 1/4 x  18 1/8 inches (54 x 45 cm) Gilt frame Painted circa 1907, Le Moulin de Douvres, Torcy invi...

Alfred Hunt 1830-1896 Graphite and wash on paper, inscribed lower right Image Size: 9 ¾ x 10 ¾ inches (24.6 x 26.5 cm) Mounted This Sketch by Hunt is a rough study of the relief of ...

Stanley Anderson 1884-1966 Drypoint, signed out of the image bottom centre Image size: 9 x 11 inches (22.8 x 28 cm) Acid free mount Alfred Charles Stanley Anderson CBE RA was a Brit...

Oil on canvas Image size: 13 x 16 1/2 inches (33 x 42 cm) Contemporary style frame (Image below) Provenance Private European Collection Darnley Fine Art offers this boldly brushed ...

Oil on panel, signed lower right & dated 1976 Image size: 9 1/2 x 10 1/5 inches (24.13 x 25.9 cm) Ebonised Dutch style frame As part of his four-seasons collection, Newcombe masterfully captures the changing patterns of the year. In this panel titled Winter, Newcombe portrays the snow covered, barren landscape stretching across the composition, evoking the essence of the frosty months. The townscape, meticulously detailed and enveloped by heavy clouds on a crisp, fresh day, transports viewers to the depths of winter. Peter Newcombe...

Oil on panel, signed & dated lower left 1975 Image size: 9 1/2 x 10 1/5 inches (24.13 x 25.9 cm) Ebonised Dutch style frame In this painting by Newcombe, the transition into autumn unfolds as part of his four-seasons collection. Titled Autumn, this panel portrays the culmination of the agricultural year - the leaves falling and the branches gradually revealing their bare forms against the cool toned sky. Newcombe's meticulous detail captures the essence of this seasonal shift as the landscape is bathed in autumnal hues. While the foreground an old wooden plough stands prominently in the untamed corners of the field, its weathered surface telling tales of bygone seasons. Beyond, regimented farmlands stretch out, their neat rows created by the turning of a modern tractor. Overhead, crows fly, echoing the eerie forthcoming of the colder months and the passing of time. Peter Newcombe...

Oil on panel, signed & dated lower right 1975 Image size: 9 1/2 x 10 1/5 inches (24.13 x 25.9 cm) Ebonised Dutch style frame In this painting by Newcombe, the warmth of a summer sunset envelopes the rolling landscape. As part of his four-seasons collection this panel, Summer portrays the gentle heat of an orange sky, casting its glow upon the abundant fauna and ruined castle in the hilltop. The castle could be Corfe Castle. Peter Newcombe...

Oil on panel, signed & dated lower right 1975 Image size: 9 1/2 x 10 1/5 inches (24.13 x 25.9 cm) Ebonised Dutch style frame In this panel by Newcombe, the arrival of spring unfolds across the British landscape. As part of his four seasons collection, Spring captures both the seasonal lightness and the agricultural renewal of the land. The panel comes alive with fresh colours, breathing life into the pastoral landscape. Within this scene, the modern tractor and the traditional hay-cart exist side by side, symbolising the timeless interplay between progress and tradition across changing seasons. The plowed field stretches out its furrows promising abundance. On the left, a tall tree stands watch, its bare branches hinting at the upcoming spring bloom. Above, the sky breaks free from its cloudy cover, revealing a bright blue expanse, signalling sunnier days ahead. Peter Newcombe...

Gertrude Braud 19th Century Watercolour on paper, initialled and dated 'Sep 29/69'. Image size: 9 1/2 x 6 3/4 inches (24 x 17 cm)

Gertrude Braud 19th Century Watercolour on paper, entitled on original backing paper Image size: 11 x 16 1/2 inches (28 x 42 cm)

Théodore Gudin 1802 - 1880 At Sea Ink and wash over pencil on paper, signed, inscribed and dated 1868 bottom left Image size: 6 x 11 inches (15.5 x 27.75 cm) Inscribed bottom left: ...

Oil on canvas Image size: 30 x 25 inches (76 x 63.5 cm) Contemporary hand-carved frame This is a charming 18th century portrait of a young boy, sporting a golden child's two-piece w...

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 board, signed top left Image size: 15 3/4 x 11 1/2 inches (40 x 29 cm) Bespoke gilt cased frame Provenance By descent from the estate of the artist Emma Fordyce MacRae Emma Fordyce MacRae was an American representational painter. She was a member of the Philadelphia Ten, a group of women artists who worked and exhibited together. Her work — including still lifes and paintings of women — shows the influence of Asian flower paintings and of Seurat. MacRae grew up in New York City, where she attended Miss Chapin's School and the Brearley School. She enrolled at the Art Students League in 1911, studying first with Frank DuMond and Kenneth Hayes Miller, and beginning in 1915, with Luis Mora, Ernest Blumenschein, and John French Sloan. She also attended one of Robert Reid's summer courses. MacRae's painting, "Green Jade," was shown at the Anderson Galleries in 1928, at an exhibit of artist members of the American Woman's Association. Many exhibitions and gallery showings followed. In 1937, MacRae's painting "A Persian Girl," was listed as deserving of special mention by The New York Times critic Edward Alden Jewell. In the 1940s, MacRae was chairman of the awards jury of the National Association of Women Artists. Galleries rediscovered MacRae's art in the 1980s; the Richard York Gallery in New York exhibited thirty of her paintings in December 1983. In 1987, her painting of a Venetian cafe was part of "American Women Artists, 1830-1930," an exhibition displayed at the National Museum of Women in the Arts in Washington, D.C. and in four other museums. MacRae had studios in New York City and in Gloucester, Massachusetts. Where MacRae painted her New England landscapes form the Cape Ann Landscapes...

Oil on board Image size: 15 3/4 x 11 1/2 inches (40 x 29 cm) Framed Provenance By descent from the estate of the artist Emma Fordyce MacRae Emma Fordyce MacRae was an American representational painter. She was a member of the Philadelphia Ten, a group of women artists who worked and exhibited together. Her work — including still lifes and paintings of women — shows the influence of Asian flower paintings and of Seurat. MacRae grew up in New York City, where she attended Miss Chapin's School and the Brearley School. She enrolled at the Art Students League in 1911, studying first with Frank DuMond and Kenneth Hayes Miller, and beginning in 1915, with Luis Mora, Ernest Blumenschein, and John French Sloan. She also attended one of Robert Reid's summer courses. MacRae's painting, "Green Jade," was shown at the Anderson Galleries in 1928, at an exhibit of artist members of the American Woman's Association. Many exhibitions and gallery showings followed. In 1937, MacRae's painting "A Persian Girl," was listed as deserving of special mention by The New York Times critic Edward Alden Jewell. In the 1940s, MacRae was chairman of the awards jury of the National Association of Women Artists. Galleries rediscovered MacRae's art in the 1980s; the Richard York Gallery in New York exhibited thirty of her paintings in December 1983. In 1987, her painting of a Venetian cafe was part of "American Women Artists, 1830-1930," an exhibition displayed at the National Museum of Women in the Arts in Washington, D.C. and in four other museums. MacRae had studios in New York City and in Gloucester, Massachusetts. Where MacRae painted her New England landscapes form the Cape Ann Landscapes...

Oil on oak panel Image size: 24 1/2 x 41 1/4 inches (62.25 x 104.75 cm) 19th Century Handmade frame POA Jan Brueghel the Younger Jan Brueg...

Ink print on tracing paper, signed bottom right and entitled bottom left Image size: 6 x 8 inches (15.25 x 20.25 cm) Mounted Barnstaple is a river port town in North Devon. The ancient town lies to the north of Dartmoor and to the west of the beautiful Exmoor National Park. The church that Hendy has depicted here is the town centre Parish Church of St Peter's. Parts of the church date to the 13th-century with much restoration being done during the Victorian era by George Gilbert Scott...

Oil on board Image size: 11 1/2 x 8 3/4 inches (29 x 22.25 cm) Contemporary style hand made frame Alike many painters at the start of the 20th century, this artist has recorded a s...

Graphite on paper Image size: 10 1/4 x 8 1/2 (26 x 22 cm) Mounted Drawing was at the heart of all of his artistic practice. A friend once recalled an anecdote that out on a walk he ...