Darnley Fine Art Paintings

Attributed to George Barret Sr The Gorge Oil on canvas, unsigned Image size: 13 1/2 x 16 1/2 inches (34.5 x 42 cm) Gilt frame In this landscape, a river runs over rocks at the botto...

Peter Newcombe Winter Teazels b.1943 Oil on panel, signed lower right and dated 2015 Image size: 7 2/3 x 10 2/3 inches (19.5 x 27 cm) Original frame The meticulous detail of this oi...

Henri Ottmann Les Bords de Seine (The Banks of the Seine) 1877-1927 Oil on canvas, signed lower left Image size: 20 3/4 x 25 1/4 inches (53 x 64 cm) Hand-carved giltwood frame Prove...

Henri Ottmann Nu Étendu dans L’Herbe (Nude Lying on the Grass) 1877-1927 Oil on canvas on cardboard, signed lower right Image size: 8 1/2 x 21 inches (21.8 x 53.5 cm) Hand-carved gil...

Henri Ottmann Promenade au Bord de L'Oise (Promenade on the Banks of the Oise) 1877-1927 Oil on canvas, signed lower right Image size: 23 3/4 x 29 inches (60.5 x 73.5 cm) Hand-carved...

Robert Deborne Champ de Blé au Vivarais (Wheat Field in Vivarais) 1870-1944 Oil on canvas, signed lower right Image size: 27 x 41 inches (68.5 x 104 cm) Hand made giltwood frame Deb...

Robert Deborne Ferme à Vivarais (Farm in Vivarais) 1870-1944 Oil on board, signed lower right Image size: 20 1/3 x 26 3/4 inches (51.8 x 68 cm) Contemporary-style hand-made frame Th...

Robert Deborne La Tour St Martin, par rapport au Ciel (St Martin's Tower against the Sky) 1870-1944 Oil on board, signed lower right Image size: 26 1/2 x 21 inches (67.4 x 53 cm) Han...

Robert Deborne Vue du Viviers (View of Viviers) 1870-1944 Oil on board, signed lower right Image size: 27 x 41 1/4 inches (68.8 x 104.7 cm) Contemporary-style frame Provenance Artis...

Robert Deborne Le Cerisier (The Cherry Tree) 1870-1944 Oil on canvas, signed lower right Image size: 26 3/4 x 41 inches (68 x 104 cm) Handmade giltwood frame This beautiful painting...

Henri Ottmann La Passerelle (The Footbridge) 1877-1927 Oil on canvas, signed lower right Image size: 15 x 18 1/4 inches (38.2 x 46.2 cm) Provenance Bernard Toublanc-Michel Collectio...

Jeremy Andrews Self-Portrait with Gorget Born 1974 Oil on board Image size: 13 3/4 x 9 3/4 inches (35 x 25 cm) Hand-carved frame Painted in 2015 Jeremy Andrews works in oils and us...

Rhoda Pepys Figures in an Archway 1914-2005 Oil on canvas, signed on frame lower right Image size: 22 x 10 inches (56 x 25.8 cm) Original frame This artwork immediately stands out f...

Herbert Ashwin Budd The Fortune Teller 1881-1950 Oil on canvas, signed 'H.A Budd' lower right Image size: 18 ½ x 14 ¾ inches (47 x 37.5cm) Original frame Rendered in an almost autumnal colour palette with Darnley Fine Art, Budd’s oil painting depicts a Romani Gypsy engaging in the practice of fortune-telling whilst an enraptured crowd watches on. Clasped in the fortune-teller’s hand is a crystal ball, whilst behind him is a wall on which a deck of cards is pinned. Crystallomancy and cartomancy are two ways in which fortunes have historically been told, and are two practices particularly associated with Roma communities.In communities where Romani people have historically been confined to the periphery, fortune-telling - or dukkering, as it is called in the Romani language - provided an opportunity to earn money whilst practicing their own culture. Budd was known for his paintings depicting scenes of life from London, so it is likely that the setting of this painting is an anonymous London street. It is easy to see a continuity between the performer depicted in this work from the early 20th century, and the variety of magicians and acrobats enticing crowds in today’s world. Herbert Ashwin Budd Herbert Ashwin Budd was born in Staffordshire in 1881. In his twenties, he was an apprentice lithographer at Allbut Stanley, and was eventually elected a member of the Amalgamated Society of Lithographic Artists in 1901. Between 1903 and 1907, Budd studied at the Hanley School of Art before winning a scholarship to study at South Kensington’s Royal College of Art. Budd was an Associate of the Royal College of Arts and a member of the Royal Institute of Oil Painters. His works were exhibited at the Royal Academy, the New English Art Club, and the Ipswich Art Club - he was also given an Honourable Mention at the 1927 Paris Salon. In the 1930s, he worked for London Transport and designed their travel posters, whilst also teaching at St Martin’s School of Art until 1949.Herbert Ashwin Budd passed away in 1950, leaving behind a wonderful artistic legacy with his striking oil paintings of London...

Charles Franklin White The Hop Pickers 1892-1975 Oil on canvas, signed and dated '1924' verso Image size: 10 x 13 inches (25.6 x 32.7 cm) Provenance: From the collection of Gertrude...

Felice Ficherelli Cupid 1603-1660 Oil on canvas, unsigned Image size: 32 x 28 1/4 inches (81.3 x 71.8 cm) Original gilt frame Depicting a relaxed Cupido, the gentle beauty of this p...

Oil on board, unsigned Image size: 12 1/2 x 15 1/2 inches (31.75 x 40 cm) Contemporary style handmade frame Exhibitions 1952 Royal Academy of Arts Exhibition, Gallery no. VII, no.429. This forest scene invites the viewer into a multi-sensory event where the cool, damp shadows of the foliage can almost be felt and the rich bouquet of the forest floor recalled. Here, Sherlock has chosen a somewhat unusual angle and composition, dissecting each truck and tree form so that only a part can be seen. Furthermore, as we look into the depths of this space it becomes clear that we are stood gazing down into a valley that is in the distance, behind this wooded area. Indeed, instead of giving us an uninterrupted view of this vista, as perhaps would be expected, this view is deliberately blocked and our focus is directed instead towards the organic forms in the foreground. The Artist  Marjorie Sherlock was born at Fir Tree Cottage, George Lane, Wanstead, Essex, on 3 February 1891, the elder child of the civil engineer, Henry Sherlock, and his wife, Alice (née Platts), who was born in Benares, India. By 1901, the family was living at ‘The Limes’, 121 Mill Road, Cambridge, and Marjorie received an education locally. In 1918, she entered into marriage with her cousin, Major Wilfrid Barrett, though this proved unsuccessful and they later divorced (he remarrying in 1941). She then continued to live at the family home until the Second World War. During the First World War, Marjorie Sherlock studied at Westminster Technical Institute under the Camden Town School painters, Walter Sickert and Harold Gilman. She exhibited at the Royal Academy of Arts from 1917, when she showed a powerful view of the interior of Liverpool Street Station (Government Art Collection) (to which the current etching [202] relates). In time, she would exhibit at the International Society, the New English Art Club, the Royal Society of British Artists, the Society of 207 Graphic Art and the Women’s International Art Club (becoming a member of the last two). She also showed work internationally. Developing as a printmaker as well as a painter, Sherlock studied etching under Malcolm Osborne at the Royal College of Art in 1925. She published her etchings in four series, the titles of which indicate her love of travel: ‘English Etchings, ‘Egyptian Etchings’ (both 1925), ‘German Etchings’ (1929) and ‘Indian Etchings’ (1932). During this period, she also visited the united States. More admiring of Continental painters than British ones, she furthered her studies, in 1938, by working in Paris under André L’Hôte and André Dunoyer de Segonzac. During the Second World War, Sherlock moved to East Devon and settled at Oxenways, a Victorian hunting lodge...

Circle of Thomas Derrick British 1885 - 1954 Oil on panel, unsigned Image size: 21 1/2 x 14 inches (55 x 36 cm) Hand made frame

Patrick Nasmyth A View of Edinburgh and self portrait 1787-1831 Oil on panel, unsigned Image size: 6 x 9 1/4 inches Original gilt frame This painting appears as a charming countrysi...

European School Portrait of a Boy with a Hat 18th Century Oil on panel, unsigned Image size: 4 1/8 x 5 3/4 inches (10.5 x 14.8 cm) This charming portrait miniature depicts a boy, sp...

Hulda D Robbins The Protestor 1910-2011 Oil on canvas, signed upper right, dated '1934' verso Image size: 36 1/4 x 26 inches (92 x 66 cm) Original frame Provenance: Artist's estate ...

First Edition lithograph Full plate: 20 Presented in a acid free mount Modern hand-coloured lithograph for the first edition of David Roberts' The Holy Land. Published by F.G. Moon ...

Follower of Ambrose McEvoy (unsigned) Circa 1910 Portrait of a Lady Oil on canvas Image size: 20 x 16 inches (51 x 40.5 cm) Original ebonised Frame A stunning portrait of a lady ...

German School 17th Century Portrait of Philip Melanchthon Oil on panel, unsigned Image size: 9 x 12 inches (22.6 x 30.3 cm) This charming portrait depicts Philip Melanchthon, the ac...

Gouache on paper, unsigned Image size: 12 x 15 ¼ inches (30.5 x 39 cm) Art Deco frame This rare original artwork was used as the book cover for Hugh E. Page's 'Rambles in the Wye Valley' (1951). The Wye Valley is an area of outstanding natural beauty straddling the border between England and Wales. The internationally important protected landscape covers parts of the counties of Gloucestershire, Herefordshire and Monmouthshire and is particularly recognised for its limestone gorge scenery and dense native woodlands.

Margaret Green The Washing Line 1925-2003 Oil on board, monogrammed verso Image size: 12 1/2 x 15 1/3 inches (31.9 x 38.7 cm) Contemporary-style handmade frame This humble scene dep...

Doris Clare Zinkeisen The Rehearsal 1898-1991 Oil on canvas, signed lower right, titled and dated 'March 1960' verso Image size: 24 2/3 x 29 2/3 inches (62.5 x 75.3 cm) Provenance T...

British School 19th Century Leaving the Palace, Turkey Oil on panel, unsigned Image size: 13 ½ x 10 ½ inches Giltwood framed This is a rare painting of early life in Turkey, the wor...

French School 19th Century A Harbour Oil on board Unsigned Image size: 8 x 10 inches Contemporary frame The current bridge was constructed back in 1876 and named the Pont Sully, or...

Gerard Ter Borch Interior with a Lady in Grey Washing her Hand 1617 - 1681 Oil on Canvas Image Size: 20 1/2 x 26 1/2 inches (52 x 67.5 cm) Contemporary Dutch ripple frame In this genre painting by Ter Borch, the central woman is composed facing the viewer in a grey satin dress...

Lionel Bulmer River Arun, Littlehampton 1919-1992 Oil on board, signed and dated '52' lower left, initialled verso Image Size: 24 1/2 x 16 3/4 inches (62.2 x 42.6 cm) Hand-made conte...

Joseph Wright of Derby Portrait of a Lady with a Shepherd's Crook 1734-1797 Oil on canvas, unsigned Image size: 30 x 25 inches (76 x 63.5 cm) Original carved gilt frame Provenance T...

Man Smoking on a Barrel Circle of David Teniers the Younger 1610-1690 Oil on oak panel, unsigned Image size: 9 1/2 x12 1/2 inches (23.5 x 32 cm) Handmade contemporary frame Here in...

Remigius Van Leemput Portrait of Nicholas Poyntz 1607-1675 Oil on oak panel, unsigned Image size: 13 x 10 1/4 inches (33 x 26 cm) Contemporary style frame Provenance The Dalva Brot...

British School Oil on Canvas, unsigned Image Size: 31 inches x 25 3/4 inches (79 x 65.5 cm) Original gilt frame Gathered along a riverside are two fishermen turned in conversation, ...

Portrait of Lady Mansfield of Ringwood Oil on Canvas, unsigned Image size: 25 x 30 inches (63 x 76 cm) Original carved & gilded frame Provenance Descended through the Family Estate Born in Poland in 1760 to the 2nd Earl of Mansfield and his wife, Elizabeth Mary Murray would later come under the care of her uncle, William Murray (1st Earl of Mansfield) at Kenwood House in Hampstead. David Murray (2nd Earl of Mansfield) was set to inherit the title and full wealth of his uncle, including Kenwood House. Lady Mansfield’s second cousin would soon join her at Kenwood, where they would be raised together and featured in multiple portraits of the time. Her younger sister, Henrietta, is seen in a separate portrait done by Thomas Hudson as well. At the age of 25 she married George Finch-Hatton, an English aristocrat and politician who sat in the House of Commons from 1772-1784. Gazing out at the viewer, Lady Mansfield wears a decorated dress, with an abundance of pearls and lace, and a transparent gold lined veil surrounding her right shoulder. The excess of luxurious fabric matches another Hudson portrait of another Lady Mansfield, with the lace detailing and complementary bodice. The depiction of this Lady Mansfield epitomizes the style of portraiture in the 18th century, such as the styles Hudson’s pupils Joshua Reynolds, Joseph Wright, and Peter Toms. From Hudson’s travels to the Low Countries and Italy, he no doubt brought back artistic inspiration from the international pieces he encountered. Thomas Hudson Hudson was a celebrated 18th century portrait painter. Born in Devon in 1701 he studied under the artist Jonathan Richardson and married his daughter, against Richardson’s wishes. He had many artistic friends including William Hogarth and Francis Hayman and travelled with them in Europe in 1748. He also visited Italy with the sculptor Louis-François Roubiliac in 1752. Hudson’s style of portraiture proved so successful that for a decade from 1745 to 1755 he was London’s most popular portrait painter and made a fortune painting the cream of London society and members of the Royal Family. He was also a talented teacher, perhaps too good, as subsequently a number of his former assistants overtook him in popularity including the artist Joshua Reynolds. Hudson retired in the late 1750’s and died in Twickenham in 1779. His most notable works include portraits of King George II and George Friedrich Handel and his “Portrait of a Nobleman in Van Dyck dress.” Many of Hudson’s works may be seen in art galleries. These include the National Portrait Gallery, the National Maritime Museum, the Tate Gallery, the Foundling Museum and the Bristol City Museum and Art Gallery. His works are also in Museums across the world...

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

Oil on canvas, unsigned Image size: 22 x 20 inches (22.75 x 51 cm) Pierced gilt carved frame Provenance Commissioned by James Lenox Dutton (1713-1777) Sherborne House, Dorset Family descent This half-length portrait shows the sitter with her head and eyes looking over her shoulder, to the right. She is dressed in a delicate blue dress and blue shawl with her hair tied up away from her face. The composition of the painting is simple but effective; the woman stands out and is the undeniable focus of the viewer's attention. George Romney's artistic style is characterised by its focus on the beauty and elegance of human forms. Here, one can appreciate his ability to capture the delicacy of facial features and the soft textures of clothing. In addition, Romney has used a soft and diffuse brushstroke technique that creates a light and soft effect in the work. The dark and diffused background highlights the young woman's figure even more, creating an effect of depth and realism. The sitter of this painting is likely Anne Dutton, the daughter of James Lenox Dutton and Jane Bond. Anne Dutton (1743-1821) was the 13 x great great granddaughter of King Edward III, and married politician Samuel Blackwell. Anne sat for portraits by Francis Cotes which bear a striking resemblance to this portrait, and her father was a known patron of Romney. George Romney Romney was a fashionable portrait painter of late 18th-century English society. In his portraits Romney avoided delving into the character or sensibilities of the sitter. His great success with his society patrons depended largely on just this ability for dispassionate flattery. Line rather than colour dominates; the flowing rhythms and easy poses of Roman classical sculpture underlie the smooth patterns of his compositions. From 1755 to 1757 Romney was the pupil of Christopher Steele, an itinerant portrait and genre painter. Romney’s career began when he toured the northern English counties painting portraits for a few guineas each. In 1762 he went to London. His history painting The Death of General Wolfe won him an award from the Society of Arts; nonetheless he turned almost immediately to portrait painting. In 1764 he paid his first visit to Paris, where he was befriended by Joseph Vernet. Romney especially admired the work of Nicolas Le Sueur, whose use of the antique strongly appealed to him. In 1773 he went to Italy for two years, where he studied Raphael’s Stanze frescoes in Rome, Titian’s paintings...

Louis Joseph Lebrun Belgian 1844-1900 Portrait of a Young Woman Oil on panel, signed and dated '1884' upper left, labelled verso Image size:15 3/4 x 12 ½ inches (40 x 31.5 cm) Ornate...

Thomas Luny 1759-1837 The Battle of Raz de Sein Oil on canvas, signed and dated 'Luny 1834' lower left Image size: 15 1/4 x 20 1/8 inches (38.7 x 51.2 cm) Provenance The Parker Gall...

Alfred Wolmark Sketch of the Flatiron Building 1877-1961 Oil on canvas board, unsigned Image size: 15 1/3 x 11 2/3 inches (39 x 29.5 cm) Hand-carved contemporary-style frame Exhibit...

COLONEL BARTON Early 19th Century Damascus Watercolour & bodycolour, signed & inscribed & dated 1847 lower right Image size: 9 ½ x 13 inches (24 x 33 cm)

Oil on board, unsigned Image size: 5 1/2 x 4 1/2 inches (14 x 11.5 cm) Original 19th century oval mount and frame Provenance; With Richard Naworth, Blackburn William Edward Frost (September 1810 – 4 June 1877) was an English painter of the Victorian era. Virtually alone among English artists in the middle Victorian period, he devoted his practice to the portrayal of the female nude. Specialising in portraiture from about 1830, Frost painted more than 300 portraits during a 15-year period, and showed some as his first exhibits from 1836. William Edward Frost was born in Wandsworth, then in Surrey, in September 1810. He showed artistic talent from an early age, and was encouraged in this by his father: first by his arranging drawing lessons with a Miss Evatt, a neighbouring amateur, and then, in 1825, by his introducing him to William Etty, who became his mentor. On Etty’s recommendation, he entered Henry Sass’s School for Drawing and Painting at 6 Charlotte Street, in 1826, and spent three years there, while also studying at the British Museum each winter. Frost was educated in the schools of the Royal Academy, beginning in 1829; he established a reputation as a portrait painter before branching into historical and mythological subjects, including the subgenre of fairy painting...

Oil on canvas, unsigned Image size: 12 x 16 1/2 inches (30.5 x 42 cm) In this scene we see the in the doorway the miller with his back turned to us in conversation. To the right two people sit on the wall...

Oil on canvas, unsigned Image size: 15 1/2 x 11 1/4 inches (39.5 x 28.75 cm) Original gilt frame This is a touching head and shoulders portrait of a young peasant girl. Wearing a he...

John Byam Liston Shaw 1872-1919 The Regatta Oil on canvas, signed lower right Image size: 24 x 19 ¾ inches (61 x 50 cm) Original frame Provenance Bought from the artist by W. H. Lev...

Clare 'Tony' Atwood Haymarket, London 1866-1962 Oil on board, signed and dated '33' lower left Image size: 9 x 10 1/3 inches (22.6 x 26.3 cm) Inscribed verso: "To Miss Miles from Cl...

Margaret Green London Park 1925-2003 Oil on board, monogrammed verso Image size: 18 1/2 x 7 3/4 inches (47 x 19.7 cm) This charming painting depicts a humble outbuilding, presumably...

Benjamin Marshall The Right Honourable Peniston Lamb, 1st Viscount Melbourne with Horse and Dog 1768-1835 Oil on canvas Image size: 33 x 39 1/4 inches Gilt frame Unsigned Provena...

Circle of Johann Heinrich Schmidt Possible Portrait of Young Napoleon 1749-1829 Pastel on parchment Image size: 23 1/2 x 19 inches Unsigned This portrait likely depicts a young Emp...

John Riley 1646 – 1691 Portrait of William Chiffinch (c.1602-88) Oil on canvas Image size: 30 x 25 inches Original frame Another version of this can be found in the Dulwich Pictur...

Symbolist School Man Smoking a Cigar Pencil on paper Image Size: 23 1/2 x 17 1/2 inches (59.8 x 44.4 cm) Contemporary-style hand carved frame This drawing depicts an older man lost ...

Arthur Royce Bradbury Ballerina 1892-1977 Oil on canvas, signed and dated '1942' lower left Image Size: 14 x 18 inches (35.8 x 45.5 cm) Hand-carved contemporary style frame This pai...

Jan van Goyen 1596-1656 Figures on the Beach at Scheveningen Oil on panel, monogrammed and dated '1642' lower left Image size: 13 x 21 ¾ inches (33 x 55.5 cm) Ebonised Dutch frame P...

Charles Stuart Forbes The Letter 1865-1926 Oil on canvas, signed and dated '1916' top right Image size: 29 1/2 x 68 3/4 inches (74.8 x 174.9 cm) Original frame This painting depicts...

Oil on board, signed bottom left Image size: 15 ¾ x 16 ¼ (40 x 41 cm) Contemporary-style frame Brown was born in 1894 in Salisbury. His father was William Lewis Brown (1864-1922), w...

Eric Brown Cathedral View Through Fields 1894-1955 Oil on canvas, signed lower left Image Size: 20 x 26 ¼ inches (50.5 x 66.5 cm) Hand carved gilt frame Brown was born in 1894 in Sa...

Oil on canvas, signed and dated ’34  Image size: 19 ¾ x 25 ½ inches (50 x 65 cm) Contemporary-style frame Brown’s paintings of Old Sarum demonstrate the site’s unique geography in t...

Oil on canvas, signed lower right
 Image size: 16 x 22 inches (41 x 56 cm) Contemporary-style frame Brown was born in 1894 in Salisbury. His father was William Lewis Brown (1864-192...

Oil on board, signed lower right Image size: 20 x 14 inches (51 x 35.5 cm) Contemporary-style frame Eric Pitt Brown was born in 1894 in Salisbury.  His father (William Lewis Brown 1...