Fine Art

Colin Russell - Coastal Landscape with Sailing Vessels, probably Aldeburgh, Suffolk, 20th century oil on canvas, signed, 24cm x 60cm, within a painted and gilt wood frame.

Arthur Gordon - Iffley Mill (River Thames, Oxfordshire), oil on canvas, signed and dated 1899 recto, newspaper cuttings verso, 29cm x 39.5cm, within a painted and gilt wood frame.

Victoria Crowe - 'Sunlit Curtains', 20th century acrylic with watercolour, signed recto, titled label verso, 38cm x 47.5cm, within a gilt frame. Provenance: Thackeray Gallery, 19th June 1985.

Allan Boulter - 'Trees in Suffolk', 20th century oil on canvas, signed and dated '73 recto, titled verso, 78cm x 65.5cm, within a stained wood frame.

Circle of Richard Cosway - Oval Portrait of a Young Lady with Blue Eyes, holding a Dove, 19th century pencil, 10.5cm x 7.5cm, within a gilt composition frame.

Manner of John Lavery - Figures in a Tavern, late 19th/early 20th century oil on board, bears signature, 11.5cm x 22.5cm, within a gilt composition frame.

Attributed to Edward John Poynter - Half Length Portrait of a Lady in Roman Dress, identified as Mrs Whitelaw Reid, late 19th century oil on canvas, label verso, 35.5cm x 34.5cm. Note: Edward Poynter is documented meeting Elizabeth Whitelaw Reid (an American heiress and wife of the American Ambassador to Paris) on several occasions, including a function for Mark Twain at Dorchester House, 21st June 1907. This portrait, a fragment of a larger work, shares compositional and costume elements with 'Head study of a young girl in profile', Christie's 28th Jan 2015, lot no. 800, and 'Study' reproduced in 'The Magazine of Art', May-Oct 1897, opposite p.2.

Circle of Adam Buck - Two Children in an Interior with Toy Wooden Horse and Toy Lamb, 19th century pastel with coloured chalks on paper, 25.5cm x 21.5cm, within a painted composition frame.

Circle of Adam Buck - Full Length Portrait of a Young Girl wearing a White Dress with Blue Ribbons, holding a Basket of Summer Flowers, 19th century pastel with coloured chalks on paper, 25.5cm x 21.5cm, within a painted composition frame.

Emily Beatrice Bland - Still Life of Flowers in an Urn, early 20th century oil on board, signed recto, label verso, 28cm x 23cm, within an ebonized frame.

Circle or Follower of Francois Clouet - Half Length Portrait of a Child, 17th/18th century oil on oak panel, partial Christie's stencil verso, 26.5cm x 18.5cm, within an ebonized and gilt cassetta frame. Note: it's possible that this portrait may be contemporaneous with Clouet, but various historical conservation treatments have made it difficult to state with certainty.

Albert Henry Collings - Seated Female Nude, watercolour, signed and dated 1914, 21cm x 17.5cm, within a gilt composition frame.

Henri-Pierre Danloux - Louis Antoine de Bourbon, duc d'Angoulême (1775-1844) and Charles Ferdinand d'Artois, duc' d'Berrie (1778-1820), Sons of Charles X, King of France, a pair of oval oils on canvas laid onto panel, one signed and dated 1797, each 24cm x 18.5cm, both within gilt composition frames with applied titled plaques. Note: Danloux fled the French Revolution in the early 1790s settling in London. The arrival of Charles Philippe, Count of Artois (later King Charles X of France) and his sons in Edinburgh attracted the artist north to paint the portraits of his fellow countrymen who had established an 'emigré court' in the Palace of Holyroodhouse. Danloux's portrait of the duc d'Angoulême was engraved by Philipp Audinet in 1799 (see National Portrait Gallery, London, cat no. NPG D20429). Versions of both portraits by Danloux can be found in the collection of the Palace of Versailles, inventory nos. MV6923 & MV6924). Provenance: gifts from the sitters to Lord Adam Gordon (1726-1801) commander-in-chief of the forces of North Britain, thence by family descent. Lord Gordon had greeted Artois and his sons at the quayside on their arrival in Edinburgh, where half of the city had turned out to witness the spectacle. Danloux painted Lord Gordon's portrait in 1799, now in the collection of the National Galleries Scotland inventory no. PG192). References: Alan Wintermute (et al), '1789: French Art During the Revolution' (University of Washington Press, 1989) p.105; Stephen Wood, 'The Auld Alliance, Scotland and France, the Military Connection' (Mainstream, 1989) p.109.

David Birch - Coastal Landscape, probably Woolacombe, North Devon, 20th century oil on canvas-board, signed, 15cm x 22cm, within a gilt frame.

Myles Birket Foster - 'Changing Pasture', 19th century watercolour with gouache, signed with monogram recto, Thomas Agnew & Sons label verso, 12cm x 17cm, within a stained wood frame. Provenance: Thomas Agnew & Sons, stock no. 17874, cat no. 69.

Freda Marston - 'The Fountain Bergamo', 20th century watercolour, signed recto, titled label verso, 51.5cm x 73.5cm, within a gilt frame.

Beatrice Stella Pedder - 'Spring in Somerset', 20th century oil on canvas-board, signed and titled to artist's label verso, 41cm x 54cm, within a painted and gilt wood frame.

William Tatton Winter - 'Kidwelly Castle' (Wales), watercolour, signed and dated 1911 recto, titled gallery label verso, 42cm x 58.5cm, within a gilt frame.

William Tatton Winter - 'Green Pastures, Abinger Hammer, Surrey', late 19th/early 20th century watercolour, signed recto, titled label verso, 24cm x 34cm, within a gilt frame.