Fine Art

Circle of Richard Waitt – Half Length Portrait of a Gentleman wearing a Blue Velvet Jacket and a Periwig, 18th century oil on canvas, 76cm x 63cm.

Circle of Franz Xaver Winterhalter – Portrait of Anna Thillon [Sophie Ann Hunt], 19th century oil on canvas, 65cm x 54.5cm, within a gilt composition frame. Note: Anna Thillon, born Sophie Anne Hunt on February 12, 1819, in London, was a noted 19th-century opera singer. She adopted the stage name ‘Thillon’ after marrying French tenor Jean-Baptiste Thillon. Thillon's operatic debut occurred in Paris in the early 1840s. She gained prominence in 1843 with her performance in Auber's ‘L'Ambassadrice’ at the Théâtre de la Renaissance. Known for her emotional expression and strong stage presence, she performed in major European cities, including London and Vienna, and later toured the United States. Her repertoire included roles in operas such as ‘Les Huguenots’ by Meyerbeer and ‘Le Domino Noir’ by Auber. Thillon retired from performing later in life to Torquay, where she died in 1903, leaving behind a significant legacy in opera. Exhibited: ‘Winterhalter’, Galeries Jacques Selgmann, Paris, 1928, cat. no. 891. Provenance: According to the Selgmann exhibition catalogue note, it was commissioned by composer Daniel-François-Esprit Auber (1782-1871); bequeathed by him to composer and theatre director Camille du Locle (1832-1903); and bequeathed by the latter to Opéra Comique, Paris, c. 1871, where it was rescued from a fire in 1887. By family repute it was gifted circa 1937 by the First World War flying ace Jean-Paul Jacques Favre de Thierrens to aircraft designer Norman Arthur Thompson; thence by family descent. Literature: The International Studio, vol. 91., (International Studio, New York 1928) p.44.

Circle of Luke Fildes – Half Length Portrait of a Young Lady, 19th century oil on canvas, bears signature, 60cm x 49.5cm, within a Watts style gilt composition frame of wide section.

R.E. Ferry – Three Quarter Length Portrait of a Chelsea Pensioner, oil on canvas, signed and dated 1888, 75cm x 49.5cm, within a gilt frame of wide section.

K. Anfilova, after Leonardo da Vinci – Mona Lisa (La Gioconda), oil on panel, signed and dated 1995 verso, 77.5cm x 53cm.

Follower of Quentin Massys – Two Monks at Prayer, late 17th/early 18th century oil on panel, stencils verso, 32cm x 43.5cm, within a carved gilt Florentine frame with putti centre crestings.

Circle of Nicolas Lancret – Fête Champêtre Scene with Figures playing Cards, 18th century oil on canvas, 72.5cm x 61.5cm, within a gilt frame.

Follower of Carlo Dolci – Portrait of a Saint wearing Armour and holding a Palm Frond, 19th century oil on panel, 15cm x 11cm, within a painted wood frame, together with a 19th century oil on board, Man in Clerical Dress at Supper.

British School – Sailing Vessels in Choppy Waters near a Harbour Pier, 19th century oil on canvas, indistinctly signed, 63cm x 83cm, within a gilt composition frame with floral strapwork and centre and corner crestings.

Richard Ball Spencer [Richard Barnett Spencer] – The Brigantine Era off the Coast of Dover, 19th century oil on canvas, 49.5cm x 74cm, within a swept gilt composition frame with applied plaque.

Frans Kerckhoff – Still Life with Dead Game Birds, 17th century oil on panel, signed with initials, 56cm x 45.5cm, within an ebonized Dutch ripple frame.

Jan Kobell III – Cattle and Figure near a Fence within a Landscape, early 19th century oil on panel, Christie’s stencil verso, 64cm x 75.5cm, within a gilt composition frame.

Hendrik de Meijer II – ‘Flemish Farmstead with Figures and Cattle’, 18th century watercolour over pencil, Frost & Reed labels verso, 41.5cm x 57cm, within a gilt frame.

Joseph Thors – ‘A View near Reading’, 19th century oil on canvas, signed and dated 1871, 59cm x 89.5cm, within a gilt composition frame with applied titled plaque.

Joseph Langsdale Pickering – ‘Pure Mountain Stream’, 19th century oil on canvas, signed and dated ’88 recto, titled and inscribed verso, 51cm x 41cm, within a gilt composition frame.

John Cawse – ‘January and May’ (The Merchant’s Tale), oil on canvas, signed, titled and dated 1826 verso, 64cm x 39cm, within a gilt composition frame of wide section with floral strapwork and centre and corner crestings.

British School – Full Length Portrait identified as Matilda Wiltshire seated on a Chaise Longue in an Interior Setting, 19th century oil on canvas, 75cm x 62cm, within a swept gilt composition frame.

Annie Louisa Swynnerton nee Robinson - Girl on a Swing, 19th century oil on canvas, signed, 107cm x 81.5cm, within a gilt composition frame of wide section. Note: Annie Louisa Swynnerton nee Robinson was born in Manchester in 1844, where she developed an early interest in art. She studied at the Manchester School of Art before furthering her education at the Academie Julian in Paris. Her work was significantly influenced by the Pre-Raphaelite Brotherhood and Italian Renaissance artists. Swynnerton became a pioneering figure in the art world, particularly as a woman in a male-dominated field. She was the first female associate of the Royal Academy of Arts, elected in 1922. Her portraits, often of strong and thoughtful women, garnered considerable acclaim. She also painted landscapes and genre scenes, displaying a deep appreciation for light and form. Throughout her career, Swynnerton exhibited at all the principal venues including the Royal Academy, the Paris Salon, and the Grosvenor Gallery. She was friends with many prominent artists and intellectuals of her time, including the sculptor Joseph Swynnerton, whom she married in 1883, as well as the Pankhurst family. Swynnerton was an active supporter of the Women's suffrage movement and a signatory to the 1889 National Union of Women's Suffrage Societies' Declaration. Swynnerton's legacy is that of a trailblazer who broke barriers for women artists and left behind a body of work that has largely been underappreciated since her death in 1933.

Wright Barker – Portrait of a Bay Horse in an Extensive Landscape, late 19th/early 20th century oil on canvas, signed, 45cm x 60cm, within a gilt frame.