Nicholas Holloway Fine Art Paintings

Two delightful watercolours, with wonderful details by the highly collectable Charles Robertson. They depict two different aspects of Victorian life, the first captures two boys fis...

A very attractive view of a rural lane in Pirbright by this highly collectable artist who was a contemporary and friend of John Constable. Dr William Crotch (1775-1847) Mr Pear's House at Pirbright from the Turnpike Signed with initials on reverse and inscribed as title and additionally " Thunder about/ 1 pm" watercolour and pencil 4 x 6½ inches without frame 11 x 13 inches with frame William Crotch (5 July 1775 – 29 December 1847) was an English composer and organist. According to the British musicologist Nicholas Temperley, Crotch was "a child prodigy without parallel in the history of music", and was certainly the most distinguished English musician in his day. Crotch was a professional musician, becoming the first Principal of the Royal Academy of Music...

A super example of one of Nicholas Hely Hutchinson's whimsical compositions, very much bringing to mind the work of Raoul Dufy. A very collect...

A really striking image of birds in flight at the edge of the sea, capturing the spectrum of wonderful blues in the sea and sky. Adrian Parnell (b.1952) Seize the day Signed with in...

Adrian Parnell (b.1952) Buttercups, Signed with initials, Inscribed with title and date verso Oil on board, 18 x 24 inches A delicate and subtly captured study of buttercups. Adri...

A really striking image of birds in flight at the edge of the sea, capturing the spectrum of wonderful blues in the sea and sky. Adrian Parnell (b.1952) Seabirds Signed with initial...

A really striking image of birds in flight over crashing waves Adrian Parnell (b.1952) Birdscape Signed with initials Inscribed with title and date verso Oil on board 24 x 20 inches...

A very attractive rural scene of a fisherman and his dog on a riverbank, in very good colour and an appealing composition. Claude Hayes (1852-1922) A fisherman and his dog by a riverbank Signed Watercolour with touches of pencil 6½ x 10 inches, image only 13 x 16 inches with the frame Claude Hayes was a Dublin born painter who to avoid his father's wish to make a businessman of him ran away to sea and served on the Golden Fleece, one of the transports used in the Abyssinian expedition of 1867-68, and also spent a year in the United States. Returning to London, he studied art at Heatherley's and the Royal Academy Schools, and then in Antwerp, under Charles Verlat. He worked in Hampshire with James Aumonier and also in Surrey with William Charles Estall, whose sister he married. Hayes exhibited widely in London and provincial centres, and was elected a member of the Royal Institute of Painters in Water Colours in 1886, the Royal Institute of Oil Painters in 1883, and the Royal Scottish Society of Painters in Watercolour, 1902. He also showed at the RA, RBSA, Brook Street Art Gallery, Dudley Gallery, FAS, GI, Grosvenor Gallery, Walker Art Gallery, Liverpool, MAFA, RBA, RHA, Ridley Art Club, RSW and Walker's Gallery, London. In 1912, Claude Hayes represented England at the Venice Biennale. His work is in various public collections in England and Ireland including the Ulster Museum, Museums Sheffield, Torre Abbey Museum and the Leeds City Art Gallery. His father was the artist Edwin Hayes.

A very attractive and meticulously executed view of a rocky landscape within the woods dating to 1823. This would suit a library or study with its muted tones and skifull draughtsmanship. William Nicholson (1781-1844) Near Croxdale Hall Signed with initials and inscribed with title and date 1823 Pen, ink and grey wash 11 x 8 inches, image only 17 x 13 inches without frame The portrait-painter and etcher William Nicholson was born in Ovingham-on-Tyne, Northumberland, on Christmas Day 1781. His family transferred to Newcastle when his father was appointed Headmaster of the city's Grammar School. At an early age, though, Nicholson appears to have moved to Hull where he made his artistic debut, painting miniatures of officers garrisoned there. He was almost entirely self-taught, learning his craft through the close study of artworks in private and public galleries. He subsequently returned to Newcastle where he received many commissions to paint portraits of the old families of Northumberland. In 1808, he began to exhibit at the Royal Academy, continuing to do so until 1822. By 1814, Nicholson, whose mother was a Scot, had moved to Edinburgh where he set up as a miniaturist and painter in oils. Soon, however, he began to specialize in watercolour portraits. Early subjects included the actor Daniel Terry and the poet and novelist James Hogg. In 1818 he began to publish a series of Portraits of Eminent Scotsmen, etched from his own portraits and those of other painters. Besides Scott and Hogg, the subjects included the writers Robert Burns, John Wilson ('Christopher North'), and Lord Jeffrey, the painters Sir Henry Raeburn, the divines Alexander Carlyle and Alexander Cameron, the engineer James Watt, the architect John Playfair, and the song-collector and composer George Thomson...

A really striking and stylish large still life by this Modernist master. René Genis (1922-2004) Pot Bland et poivrons Signed and further signed to reverse and inscribed with the tit...

A beautiful 19th century copy by Giuseppe Rocchi of Baldassarre Franceschini's Sleeping Cupid, presented in a very attractive gilt frame with hand carved mouldings. A very peaceful i...

A very stylish image of a reclining nude in an elegant interior. Beautiful palette. William Crosbie (1915-1999) Reclining nude Signed and dated "XCI" (91) Oil on board 8½ x 20 inche...

An incredibly striking and sensuous image of the flame like figure of Phoenix, painted on a large scale. A painting with enormous impact and style. William Crosbie (1915-1999) Phoe...

An incredibly striking image of a black and yellow butterfly. Painted with great energy and style. This looks stunning against a white wall. Henri-André Martin (1918-2004) A Swallowtail butterfly Signed Oil on canvas 23½ x 23½ inches excluding frame 26½ x 26½ inches including frame Provenance: The artist's studio sale Born in Lyon in 1918, Henri-André Martin spent his youth in Saint-Étienne. Following his father into the medical profession, he spent his first years studying medicine in Lyon, but also enrolled in the École de Beaux Arts during this time. Upon returning from captivity in 1942, Martin soon became director of the otolaryngology clinic at Édouard-Herriot hospital. Painting, however, remained his true calling in life - it was, to him, an invaluable form of self-expression. Reserved and extremely modest, and frequently regarded as somewhat aloof, art was a means of articulating his anxieties and apprehensions, as well as giving a voice to his inner child. Martin had a brush in hand at all times, wherever he went, and painted countless gouaches of varying sizes. His beach paintings in particular have been compared to those of Boudin. Until the 1970s, Martin had a tendency to paint ‘on the ground’, yet in all of his paintings, there is a distinct sense of distance and removal from the subject-matter. In the years that followed, we see a development in this simplification and abstraction of the subject-matter, as seen, for example, in his images of almond trees standing alone against the stark winter sky of Provence. The palette begins to darken, his work acquires a feeling of gravity, as his paintings of Hamburg Port evidently reflect. His collection entitled ‘Trunks’, six lithographic plates, draws on visual and written material in the book, L’Olivier. His interest in the symbolism of the olive tree subsequently grew, and he turned to literature, painting and historical traditions to develop and nuance his understanding of its allegorical value. This fascination with the olive tree, and more broadly, with the nature of symbolism, came to profoundly inform his later work. What he learnt to represent was not merely the physical reality of his subjects, but their implicit interconnection with abstract ideas. As René Déroudille writes, the lithographic plates are ‘especially devoted to and embrace renewal’, revealing an artist who is in ‘full mutation’. In the 1980s, Martin’s work took a more explicit turn towards abstraction. It was during this time that he produced a series of large nudes, which he entered into the major exhibition at L’Atrium in Lyon, in 1992. In the years that followed, Martin focused on animating the shapes and forms born of his imagination, eventually accomplishing this and changing his focus once again, turning to more attractive, even decorative subjects, like Japanese...

An incredibly striking image of a Red Admiral butterfly set against a background of petals. Painted with great energy and with a most appealing texture to the paint surface. Looks re...

A wonderful image of an English country cottage set in a meadow with cattle grazing. Franklin White (1892-1975) A cottage in the countryside Signed with initials and dated (19)32 Oi...

A very striking image of an aerial view of Les Alpilles. Les Alpilles are a small mountain range in Provence, South of France. Painted with great energy and with a most appealing tex...

An incredibly striking image of an almond tree in flower, the canopy of the tree dominating the whole picture space which gives an abstracted quality to the image, Painted with grea...

A really appealing view of the English countryside in the springtime with rolling hills, cattle grazing in lush pasture and a windmill off in the distance. George Graham (1881-1949)...

A most atrractive, verdant view of Isle's Bridge in Swaledale painted with wonderful impasto. The overall effect is reminiscent of the work of Charles Ginner...

​Helen Taylor (Contemporary) Now she knows she remembers Signed with monogram Oil on board 12 x 12 inches Helen Taylor’s practice follows an interest in belonging, connection, and ...

​Helen Taylor (Contemporary) Journey interrupted (by a New Oak) Oil on canvas 46 x 61 cm Helen Taylor’s practice follows an interest in belonging, connection, and journeys. She sp...

​Helen Taylor (Contemporary) The Blanket Oil on canvas 46 x 61 cm Helen Taylor’s practice follows an interest in belonging, connection, and journeys. She spent her formative years...

​Helen Taylor (Contemporary) The Migration Oil on canvas 100 x 76 cm Unframed Helen Taylor’s practice follows an interest in belonging, connection, and journeys. She spent her form...

A very dramatically painted view of a woodland scene in the autumn with such vibrant colour and brushwork, typical of this very collectible artist. Garstin Cox (1892-1933) Woodland ...

A lovely, impressionistic oil of ducks in the sunshine in a Norfolk broads landscape. Frederick George Cotman (1850-1920) Acle Bridge, circa 1915 Inscribed verso Oil on board 10 x 16 inches Provenance: Cotman family collection Frederick George Cotman was born in Ipswich on 14 August 1850. His uncle, John Sell Cotman, was one of the cornerstones of the Norwich school and a very influential watercolourist. Frederick's first tuition came from William Griffiths, headmaster of Ipswich School of Art. In 1868 he enlisted at the Royal Academy Schools and his proficiency as a draughtsman and painter in oils and watercolours was rewarded with four silver and a gold medal for The Death of Eucles now at the Ipswich Town Hall. His teachers in London were Frederick Leighton (1830-1896) and Henry Tanworth Wells (1828-1903). Cotman became established as a London society portrait painter, for which he could command a fee of 300 guineas and also produced homely genre scenes. Elected a member of both the Royal Institute of Painters in...

A super example of Harry Fidler's impressionist studies with characteristic use of heavy impasto. The flamboyant sculpting of the paint surface cannot be fully conveyed in a 2D image...

A fluidly painted impression of this well known sailors' haven at Pin Mill on the River Orwell, Suffolk. Hugh Boycott Brown (1909-1990) Thames Bar...

A really beautiful study, the delicate colours of the summer flowers standing out against the dark background. Miles Fletcher de Montmorency (1893-1963) Cornflowers and Scabius in a glass vase With dedication plaque to the reverse. 12 x 10 inches without frame 14 x 12 inches with frame Miles Fletcher de Montmorency was a painter, baronet, son of Hervey Lodge de Montmorency and husband of the artist Rachel de Montmorency. He studied at Dover School...

A wonderful example of the artist's work depicting an idyllic scene in the Norfolk countryside. Owen Waters (1916-2004) Norfolk pastures Signed, inscribed to the reverse Oil on boar...

A most attractive and striking image of daffodils placed against a darker background Howard J Morgan (1949-2020) Daffodils in a china jug Signed and S...

Adrian Parnell (b.1952) House of flowers Signed with initials, Inscribed with title and date verso Oil on board 20 x 16 inches A delicate and subtly captured study of summer flowers...

A charming image of cherubs cavorting with sheaths of wheat in a woodland setting. Follower of Jean-Honoré Fragonard Cherubs cavorting before a tree Oil on panel 10¾ x 14 inches exc...

A wonderful example of the artist's work depicting an idyllic scene in the Norfolk countryside. Owen Waters (1916-2004) Norfolk pastures Signed, inscribed...

Sargy Mann (1937-2015) Studio with standard lamp Signed, upper right Inscribed with title to the reverse Oil on board 48 x 60 inches Provenance: Cadogan Contemporary Private Collection Exhibited: Sargy Mann and Graham Giles, Christchurch Mansion, Ipswich, 1991 A truly beautiful work but also highly significant within Sargy's oeuvre. The painting dates to the late 1980s when Sargy and his family were living at 58 Lyndhurst Grove, SE15. Sadly by this time, Sargy's eyesight had greatly deteriorated to ‘“a very little, blurry, peripheral vision” in his left eye, (he was registered blind)....(he) found it a struggle to paint from direct observation and began to rely on short term memory and tape recordings. Working on a large scale, he taped canvas to the living room wall of the family home on Lyndhurst Grove, “rather as Bonnard had pinned primed canvas to his studio wall”’. The space depicted had initially been a dark, depressing attic space but this was transformed by the addition of some French windows. The painting has an almost abstracted quality with the two light sources creating pools of cool, luminescent energy radiating throughout the picture space. Peter Mann describes the paintings from Lyndhurst Grove as, ‘in some sense a precursor to the very late work, The little sitting room paintings...

A wonderful summer sky in this well known Suffolk view. Geoffrey Chatten ( born 1942) Shingle Street, Suffolk Signed Oil on board 14 x 21 inches inc...

Alan Latter (born 1961) Cobalt Blue Signed and dated 2021 Oil on board 16 x 12 inches Unframed A charming still life capturing the artist's working materials. Born in Islington in 1961, Alan Latter's work is influenced by Bloomsbury Group artists Vanessa Bell and Duncan Grant and Fauvists Henri Matisse and Jean Puy...

A very dramatic marine scene with the translucency of the waves captured with incredible skill and vision. Attributed to Miles Edmund Cotman (1810-1858) Shipping in rough seas Oil on board 7 x 10 inches The eldest son of John Sell Cotman...

This charming scene perfectly captures the ideal of rural life at harvest time, with a cart laden and the hay gathered into stacks. Gerald Gardiner (...

This exceptional quality watercolour depicts a snapshot of innocence and childhood with this delightful portrait of a red-haired young girl. Presented in a fine quality, hand carved and pierced, period frame with inlaid detail. Circle of Myles Birket Foster (1825-1899) Portrait of a red-haired young girl Watercolour with touches of white 4 inches diamter (image only) 11 x 11 inches with frame This beautiful image is of exceptional quality, as apparent in the delicate detailing to her eyelashes and the sunlit highlights of her hair. This is the work of an artist at the very peak of their powers and the intimacy of the work suggests a connection between artist and sitter such as daughter and parent. The level of draughtsmanship brings to mind artists from this period such as Myles Birket Foster, Fred Morgan and Helen...

Alan Latter (born 1961) Fashionable Buttons, a Trompe l'oeil Signed and dated ‘2021’ verso Oil on board 10½ x 7½ inches 11 x 7¾ inches Born in Islington in 1961, Alan Latter's work is influenced by Bloomsbury Group artists Vanessa Bell and Duncan Grant and Fauvists Henri Matisse and Jean Puy...

Alan Latter (born 1961) Red Buttons, a Trompe l'oeil Signed and dated ‘2021’ verso Oil on board 11½ x 7¾ inches 12¼ x 8½ inches Born in Islington in 1961, Alan Latter's work is influenced by Bloomsbury Group artists Vanessa Bell and Duncan Grant and Fauvists Henri Matisse and Jean Puy. His paintings are inspired by his love of France which has come from his father, a Printer's Compositer and amateur painter who died in 1965 aged only 32. Given as a teenager his father's art equipment...

Frank Dobson (1888-1963) Study of a nude viewed from behind Signed Sanguine chalk on paper 10 x 13½ inches 21¼ x 24¼ inches with frame A wonderful exam...

Alan Latter (born 1961) Varnish bottle Signed and dated 2021 Oil on board 13¾ x 10½ inches 14½ x 11¼ inches including the frame A charming still life capturing the artist's working...

Sandy Murphy (born 1956) A still life of apples Signed Oil on board 13 x 14¼ inches A very striking image with attractive green tones and fabulous paint ...

Alan Latter (born 1961) Le 14 juillet Signed and inscribed with title and dated ‘2020’ verso, oil on canvas, 20 x 16 inches Born in Islington in 1961, Alan Latter's work is influenc...