Fine Art

Follower of John Frederick Herring – Horses and Pigs in a Stable, late 19th/early 20th century oil on canvas, 48.5cm x 59cm, within a stained wood frame.

Francois Feyen-Perrin – Muses on a Riverbank, 19th century oil on canvas laid onto board, 75cm x 62cm, within a swept gilt composition frame.

Circle of Robert Gemmell Hutchison – Portrait of Two Girls, late 19th century oil on canvas, 27cm x 34.5cm, within a stained wood frame.

George Armfield – Two Sporting Dogs in a Highland Landscape, 19th century oil on board, signed, 12.5cm x 21.5cm, within a gilt composition frame.

Attributed to Alfons Siber – Woodland Winter Landscape with Huntsman and Dog, late 19th/early 20th century oil on canvas, signed, 46.5cm x 70cm, within a gilt frame.

Henry Crowther – ‘Ladbrooke Chunkette’ (Portrait of a Fox Terrier), oil on canvas, signed, titled and dated 1920, together with a collection of related ephemera.

British Primitive and Naïve School – Portrait of a Young girl identified as Eliza Florence Fortescue, wearing a Red Dress and holding a Ribbon attached to a Straw Hat, within a Landscape Setting, 19th century oil on canvas, label verso, 67.5cm x 51cm, within a stained wood frame.

Evert Pieters – Two Young Girls in a Garden Setting with Sunflowers and Cottage, late 19th/early 20th century oil on canvas, signed, 58.5cm x 48cm, within a gilt composition frame.

John Henry Sylvester – Self Portrait with Palette, 19th century oil on canvas, signed with monogram verso, 75cm x 65.5cm, within a stained wood frame.

John Henry Sylvester – Half Length Portrait of a Lady wearing a Wide-brimmed Hat, possibly the artist’s daughter, 19th century oil on canvas, signed with monogram and dated ’87, 59.5cm x 49.5cm, within a gilt composition frame of wide section with foliate strapwork and corner crestings.

Attributed to Germano Prosdocimi, after the Grimani Breviary – Saint Barbara, 19th century watercolour with gouache, 22.5cm x 17cm, within a Dutch style ebonized wood and tortoiseshell ripple frame. Note: The Grimani Breviary, one of the most exquisite, illuminated manuscripts of the Renaissance, was created in Flanders in the 1510s by several artists. It is named after its first known owner, the Venetian cardinal Domenico Grimani, who acquired it around 1520. Today, it is housed in the collections of the Biblioteca Marciana in Venice. Germano Prosdocimi is known to have copied pages from the Grimani Breviary several times during the 1850s and 1860s.

Indian Company School, Delhi and Benares – Trades, Musicians and Costume, forty-eight gouaches on mica, each approximately 11cm x 8cm, thirty-six loose within paper envelopes, one with 1834 watermarked date, the remainder within a leather-bound album.

Albert Namatjira - Australian Landscape with Trees and Mountains, early/mid-20th century watercolour, signed, 30cm x 46.5cm, within a gilt composition frame. Note: Albert Namatjira (1902-1959) was a pioneering Aboriginal Australian artist known for his distinctive watercolour landscapes that captured the beauty of the Australian outback. Born Elea Namatjira and raised in the Hermannsburg Lutheran Mission in the Northern Territory, he was educated in both Aboriginal traditions and Western customs. Namatjira discovered his talent for painting in his mid-30s after meeting the artist Rex Battarbee, who was touring Central Australia. Battarbee taught him the techniques of watercolor painting, and Namatjira quickly developed a unique style that combined Western techniques with his deep spiritual connection to the land. His works vividly portrayed the rugged and vibrant landscapes of Central Australia, especially the MacDonnell Ranges, using soft hues and detailed brushwork. His art gained widespread acclaim, and by the 1940s, Namatjira had become one of Australia's most celebrated artists. He was the first Aboriginal Australian to achieve commercial success in the Western art world, holding numerous exhibitions across Australia. His fame also brought attention to the cultural and political issues faced by Aboriginal people at the time. Despite his success, Namatjira's life was marked by the complexities of navigating two cultures. Although he was granted limited citizenship rights in 1957, he still faced significant legal and social discrimination, pressed home in 1958 by his imprisonment for supplying alcohol to an Aboriginal person. Namatjira's legacy endures as a trailblazer in Australian art. His work not only opened doors for future Aboriginal artists but also helped to change perceptions of Aboriginal culture in Australia. Provenance: Sir John Galvin (1908-1994), thence by family descent.

Albert Namatjira - Australian Landscape with Ghost Gum Tree and Mountains, early/mid-20th century watercolour, signed, 35cm x 53cm, within a gilt composition frame. Provenance: purchased by vendor’s father direct from the artist. Note: Albert Namatjira (1902-1959) was a pioneering Aboriginal Australian artist known for his distinctive watercolour landscapes that captured the beauty of the Australian outback. Born Elea Namatjira and raised in the Hermannsburg Lutheran Mission in the Northern Territory, he was educated in both Aboriginal traditions and Western customs. Namatjira discovered his talent for painting in his mid-30s after meeting the artist Rex Battarbee, who was touring Central Australia. Battarbee taught him the techniques of watercolor painting, and Namatjira quickly developed a unique style that combined Western techniques with his deep spiritual connection to the land. His works vividly portrayed the rugged and vibrant landscapes of Central Australia, especially the MacDonnell Ranges, using soft hues and detailed brushwork. His art gained widespread acclaim, and by the 1940s, Namatjira had become one of Australia's most celebrated artists. He was the first Aboriginal Australian to achieve commercial success in the Western art world, holding numerous exhibitions across Australia. His fame also brought attention to the cultural and political issues faced by Aboriginal people at the time. Despite his success, Namatjira's life was marked by the complexities of navigating two cultures. Although he was granted limited citizenship rights in 1957, he still faced significant legal and social discrimination, pressed home in 1958 by his imprisonment for supplying alcohol to an Aboriginal person. Namatjira's legacy endures as a trailblazer in Australian art. His work not only opened doors for future Aboriginal artists but also helped to change perceptions of Aboriginal culture in Australia. Provenance: Sir John Galvin (1908-1994), thence by family descent.

Albert Namatjira - Valley Landscape with Gum Trees, early/mid-20th century gouache on panel, signed recto, gallery label verso, 15cm x 30.5cm, within a gilt frame. Note: Albert Namatjira (1902-1959) was a pioneering Aboriginal Australian artist known for his distinctive watercolour landscapes that captured the beauty of the Australian outback. Born Elea Namatjira and raised in the Hermannsburg Lutheran Mission in the Northern Territory, he was educated in both Aboriginal traditions and Western customs. Namatjira discovered his talent for painting in his mid-30s after meeting the artist Rex Battarbee, who was touring Central Australia. Battarbee taught him the techniques of watercolor painting, and Namatjira quickly developed a unique style that combined Western techniques with his deep spiritual connection to the land. His works vividly portrayed the rugged and vibrant landscapes of Central Australia, especially the MacDonnell Ranges, using soft hues and detailed brushwork. His art gained widespread acclaim, and by the 1940s, Namatjira had become one of Australia's most celebrated artists. He was the first Aboriginal Australian to achieve commercial success in the Western art world, holding numerous exhibitions across Australia. His fame also brought attention to the cultural and political issues faced by Aboriginal people at the time. Despite his success, Namatjira's life was marked by the complexities of navigating two cultures. Although he was granted limited citizenship rights in 1957, he still faced significant legal and social discrimination, pressed home in 1958 by his imprisonment for supplying alcohol to an Aboriginal person. Namatjira's legacy endures as a trailblazer in Australian art. His work not only opened doors for future Aboriginal artists but also helped to change perceptions of Aboriginal culture in Australia. Provenance: Artlovers' Gallery [Artarmon Galleries], Sydney, New South Wales, stock no. 20243; Sir John Galvin, thence by family descent. Exhibited: possibly Recent Paintings by Albert Namatjira and Leonard Long, A.R.A.S., Artlovers Gallery, Sydney, August 1958.

Leonard Hugh Long – Australian Landscape with Ghost Gum Trees and Mountains, mid-20th century oil on canvas laid onto board, 48.5cm x 58cm, within a painted wood frame. Provenance: Sir John Galvin (1908-1994), thence by family descent. Note: Sir John Galvin was an important patron of Leonard Long's, sponsoring the artist's first overseas painting expedition. Albert Namatjira and Leonard Long were close friends and often painted and exhibited together - this painting may have been included in their 1958 joint exhibition. Exhibited: possibly Recent Paintings by Albert Namatjira and Leonard Long, A.R.A.S., Artlovers Gallery, Sydney, August 1958.

Victor-Jean Nicolle – Street Scene, probably Italy, 19th century watercolour, signed, 17cm x 12cm, within a gilt frame.

John Cleverley the Younger – ‘Lisbon’ and ‘The Fish Market Lisbon’ (Portugal), a pair of watercolours with ink on laid paper, both signed recto, dated 1775 and titled Abbott & Holder labels verso, each 27.5cm x 47cm, both within gilt frames.

Cornelius Pearson – A Fisherman at a Pool in a Wooded Landscape, watercolour, signed and dated 1854 recto, labels verso, 23cm x 33.5cm, within a composition frame.