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Burnett, an Impressionist view of Paris with figures strolling, oil, signed lower left, 17 x 22cm, gilt framed

Impressionist view of a Victorian beach scene with a gathering of figures viewing sailboats, oil, 16 x 46cm, framed and glazed

1920's Impressionist oil on board of a house with battlements

JOAQUIN SOROLLA Y BASTIDA (1863-1923) | HANDWRITTEN SIGNATURE (SPAIN / SPANISH) | 1907 | profession: Painter | country: Spain | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Handwritten signature on a paper card | Lot information | Handwritten signature of the famous Spanish painter Joaquin Sorolla y Bastida, dated Madrid, July 1907. The elegant signature is accompanied by the characteristic underline, which was typical of Sorolla.Sorolla is considered one of the most important Impressionist and Luminist painters of the late 19th and early 20th centuries. His works are distinguished by masterful captures of light, color harmony, and exceptional brush technique. He is best known for his scenes of life on Spanish beaches, portraits, and monumental historical paintings, including the "Vision of Spain" series created for the Hispanic Society of America in New York.

19th century plein air impressionist oil on panel, continental landscape with a view of a castle, inscribed verso. Unframed. 18.7cm x 26.9cm

Circa Mid XX Century School, Impressionist figure study mixed media in pastel, pencil and watercolour, 75 x 58.5cm.

Lizzie Coles Keith, 2025 Watercolour and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I'm a visual person, all about shapes and symmetry, expressing this through my love of interior design, fashion and typography. I notice how things fit together and line up, I get easily distracted by how a curve leans into a surface or how the weight of chunky lettering helps a delicate photograph on a vintage poster. I'm impressed by figurative art that has personality as well as graphic, bold, abstract artwork. I try hard to combine at least a few of these elements in my art. My background is a little more eclectic than I'd planned. All I ever wanted to do was draw people, but I didn't really understand what a career doing that looked like. I was removed from Fine Art when it was obvious that I am colourblind, so I switched to Animation, because I'd seen an old film of Disney artists drawing Cinderella sat in a circle around a dancing actress. I hated the Animation degree, their obsession with concept over drawing quality didn't inspire or encourage me. I then worked in advertising as a business director supporting big brands such as John Lewis, Barclays, Vittel, Ryvita and L'Oréal. Whilst I loved the glamour of clicking across Soho with my Gwyneth Paltrow cropped hair and skyhigh heels, I dropped it all when I got impossibly pregnant (I'd been told after too many operations that it wouldn't be an option) So, the next chapter began when my husband, (together since we were 16) our new 1 year old and a massive bump, soon to become kid number 2 all emigrated to Paris. I adore Paris and thoroughly enjoyed hanging out with our kids and made friends for life. When the kids went to school, I was lucky enough to draw at the Académie de la Grande Chaumière, indulging in 8 hours a week of life drawing for 5 years. This was an absolute joy and such a privilege to be in surroundings established over a 100 years ago, once inhabited by the best French Impressionist painters. My French isn't as good as it could be, I could chat to a 10-year-old about peanut flavoured crisps but it became apparent that my knowledge of chemistry or history in French was a bit lax. With a heavy heart, we returned to the UK to support the kids through their education - don't ever mention Brexit to me. It's taken me a while to find my feet, hugely sidetracked with breast cancer and a year of chemo and radiotherapy (now fully in remission, thankfully), I've been a full-time artist for 3 years now and intend to stick at this for a while, hopefully. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

* ALEXANDER MILLAR (SCOTTISH b. 1960), HAPPY DAYS oil on canvas, signedframedimage size 76cm x 60cm, overall size 95cm x 80cm Note: Ayrshire born Alexander Millar, one of the UK’s most loved and collectable artists, is a self-taught, contemporary impressionist artist, whose work depicts the small wonder of the everyday. He is one of the few living artists in the UK who have had museum exhibitions in Newcastle (The Great North: Hancock), Glasgow (Scotland Street Museum) and New York (The Fire Dept. Museum of New York). His work has also been displayed in public venues, such as shopping centres and metro carriages, as well as being used as scenic backdrops for theatrical productions. His atmospheric landscapes capture memories of life in the 50's and 60's and his impressionist brush strokes and tones create a romantic view of that era, often playing with the effect of light as it is reflected on a wet tiled roof, transporting the viewer back to the cityscapes of their own childhood. From an early age he has viewed his surroundings and the people he grew up with as if they were a carefully choreographed street ballet: old men on bikes coming home from a hard day’s graft, the gossiping women standing on the street corner or the working man staggering home after a payday night on the town.

* ROSS MUIR (SCOTTISH b. 1981), OH JESSICA artist's proof giclee print on paper, signed, titled and inscribed A/Pframed and under glassimage size 97cm x 80cm, overall size 112cm x 95cmNote 1: Certificate of authenticity is included in this lot Note 2: Glasgow artist Ross Muir hit the headlines in 2018 when his original painting of the Dutch impressionist Vincent van Gogh, entitled “Square Gogh”, went viral within a matter of days. Muir’s wide-spread success on social media saw many galleries interested in his work. In October 2019, Muir had his first ever solo exhibition in Glasgow’s City Centre. The exhibition was a huge success and was sold-out before even opening the doors. A second solo show in Glasgow was scheduled for 2020 but the pandemic put everything on hold. Throughout the first national lockdown, Muir turned his creativity to the streets, with posters of his signature Vincent Van Gogh portrait – featuring the words ‘Jist Gogh Hame’ – appearing all over the city of Glasgow. As a message that was both witty and incredibly relevant, Muir’s artwork resonated with its onlookers and soon garnered international attention through social media. In 2020, Muir’s work was recognised by the official Van Gogh Museum in the Netherlands, with the institution proudly posting Muir’s artwork on their Instagram account to announce the temporary closing of the gallery. In 2021 Maddox Gallery (London) "signed" Muir and he joined a roster of artists which includes The Conner Brothers, Bradley Theodore and Joseph Klibansky, alongside established names like RETNA, the photographer David Yarrow, and world-renowned figures such as Banksy, KAWS, Jean-Michel Basquiat and Keith Haring. The influential Maddox Gallery staged Ross Muir's first London show in May 2022.

HENRI LEBASQUE (FRENCH 1865-1937) LA COIFFURE Oil on canvas Signed (lower left) 65 x 49cm (25½ x 19¼ in.)Painted circa 1905-1906.Provenance: Galerie du Drap d'Or, Cannes Private Collection, London (acquired from the above in 1971) Thence by descent to the late ownerExhibited: Probably, Paris, Beaux-Arts, Exposition de la Societe nationale des Beaux-Arts, 1909, no. 710 Literature: Denise Bazetoux, Henri Lebasque, Catalogue raisonné, vol. I, Paris, 2008, no. 655, illustrated p. 189The authenticity of this work has been confirmed by Madame Christine Lenoir and Madame de la Ville Fromoit. La Coiffure shows the artist's wife, Ella, and their eldest daughter, Marthe. It is one of the many depictions of domestic and family life painted by the artist throughout his career. These intimate portrayals capture a moment in time, a glimpse into the lives of those they illustrate. For Lebasque, it was one of his favourite subject matter and he frequently painted Ella, Marthe, his younger daughter Nono (christened Helene) and his son Pierre. Lisa Banner discusses the artist's choice of subject matter: "Lebasque's vision of life led him to concentrate upon intimate domestic scenes and close, interior compositions. He was hailed as the painter of "Joy and Light" by art critics and curators of the Louvre in his later life. But Lebasque's primary concerns were with simple expression of sensuous surface... He achieved an intimate manner of painting those scenes and people most dear to him, which was replete with his personal delight in form and color, heightened by his contact with fellow painters Matisse and Bonnard, but characteristically his own" (L. Banner, Lebasque, 1865-1937, San Francisco, 1985, p. 20).Lebasque arrived in Paris in 1886, studying under academician Léon Bonnat, receiving a traditional art education. He assisted Ferdinand Humbert with decorative murals at the Panthéon and his early work is characterised by its rather sombre palette. However, he quickly became fascinated with the Impressionist movement and sought to acquaint himself with artists such as Pierre Bonnard, Pierre-Auguste Renoir, Edouard Vuillard and Camille Pissarro. He developed lasting friendships with these painters and his work was undoubtedly influenced by their work, both in subject matter and style. In 1900, Lebasque settled at Lagny,-sur-Marne in the eastern suburbs of Paris. In 1903, alongside Matisse, Bonnard and Vuillard, amongst others, he was one of the founding members of the inaugural Salon d'Automne. The present work, which dates from a couple of years later, and shortly before the artist's first one-man show at the prestigious Galerie Georges Petit in Paris in 1907, reveals the influence of not only those artists, but also Signac and Seurat.Lebasque's handling of the paint is soft and sensuous. The short brush strokes echo his former interest in Pointillism whilst the interplay between the colours and the use of contrast with light and shadow show him moving towards a more gestural, intuitive style. Condition Report: The canvas is not relined. Ultraviolet light reveals light scattered retouching to the edge of the table and to the mother's hand. The paint is very slightly thin in the mirror area, otherwise, the work appears to be in very good original condition.Condition Report Disclaimer

λ SIR ALFRED MUNNINGS (BRITISH 1878-1959) WILLOWS NEAR LANGHAM POOL Oil on canvas laid to board Signed (lower right); inscribed (verso) 51 x 61cm (20 x 24 in.)Provenance: Private Collection, Ralph W. McGibbon Sale, Sotheby's, New York, 24 October 1989, lot 366 Sale, Sotheby's London, 21 June 1995, lot 46, titled as 'Willows near Layham [sic] Pool, Essex' Sale, Christie's, London, 15 December 2011, lot 43 Sale, Christie's, Victorian & British Impressionist Art, 12 December 2013, lot 19 Condition Report: Light surface dirt throughout. A horizontal crack approx. 8cm to the lower left quadrant. Possible light discolouration caused by yellowing varnish throughout. A couple of small losses to each of the lower corners. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer

British impressionist school (20th century) Seascapewatercolour, 53cm x 74cm.

* Morisot-Pontillon (Edma, 1839-1921). Figure by a River, oil on canvas, signed lower right, 52 x 65 cm (20.5 x 25.5 ins), period gilt carved wooden frame, frame size 58 x 74 cmQTY: (1)NOTE:Edma Morisot was the older sister of the impressionist painter Berthe Morisot, close friend of Edouard Manet, and the only woman to exhibit at the first Impressionist exhibition in 1874, alongside Degas, Renoir, and Monet. Both Edma and Berthe were taught by Camille Corot whose influence can clearly be seen in Edma's Barbizon-style landscapes, as here. When Manet first met the Morisot sisters in 1868, he wrote (perhaps ironically) 'What a shame they are not men'.

John Knox Ferguson,  Scottish fl.1884-1894- Portrait of a young black man wearing an earring; oil on canvas, signed and dated 'J. Knox-Ferguson 1884' (upper right), 50.8 x 39.6 cm. Provenance:  Private Collection, UK. Note:  In the present work, we see a portrait of a young black man with a delicate earring in their left ear, at three quarters pose to the viewer. The rich red garment, worn like a wrap, is adorned with panels of grey bearing white and gold oval shaped shield-like motifs. The inclusion of the motifs and the garment indicate an intention to affiliate the subject with a specific region of Africa or tribe.  Knox Ferguson was born in Edinburgh, but made his career painting in England, in St Ives and mostly in and around Worcestershire, specifically Kidderminster. As such, it is likely that the subject was painted with a model, and is intended to be an imagining of a wealthy African dressed in fine traditional garments in the late 19th century, rather than the subject being a portrait of a specific person of note. Ferguson was active between 1884 and 1894. The Victoria & Albert Museum hold two works, a pencil sketch and print, by Ferguson, both suggestions for the Church of St Mary and All Saints in Kidderminster. However, Ferguson’s masterpiece is considered to be his 1885 painting 'The Last Interview', which sold at Christie’s New York in 2003 for $15,535. Further works have appeared in auctions and for sale online, including several paintings of rural scenes, still lifes and portraits of women. In Kidderminster, Ferguson produced a number of pencil sketches of the town, as well as paintings, for the carpet manufacturer Peter Adam, who seems to be the closest thing to a patron that can be identified. Therefore, it is possible that the painting was made for Peter Adam, or another patron in Kidderminster. Research into African textiles contained in online collections of major museums struggled to find any useful similarities to the sitter's dress. In the first instance, the deep red of the garment suggests it to be made of silk, which would be appropriate given the gold highlighting. Furthermore, Ferguson has captured well the iridescence of the gold, suggesting silk rather than gold cotton or other such material. Silk garments appear rarely in the African collections of major museums, and those that do appear were manufactured outside Africa, for example in India. The traditional textiles of Western Africa, where gold was available and used in traditional arts, are predominantly cotton covered entirely in geometric, repeating patterns. Examples include Kente cloth, from Ghana, and Yoruba cloth, from Nigeria. These traditional garments do not fit with the garment in the painting which looks as if it would have been a solid red central panel and the grey with the shield-motif being in bands at either end.An examination of thousands of items in the collections of the Brooklyn Museum, Metropolitan Museum of Art, Victoria & Albert Museum, Smithsonian, George Washington Museum, British Museum, and National Museum of Liverpool yielded no similar shield motifs to those in the painting. In fact, the grey panels with the motifs are somewhat messy in appearance and not of rigid geometric form that would be expected of a traditional African design. A leading expert in the field of African textiles suggested that the design was almost impressionist, making the garment difficult to evaluate. He further pointed out that in the 19th century many fabrics were designed and manufactured in England for the African market. The form of the motif may have been inspired by the artist’s or manufacturer’s ideas of African art and could be said to be close in form to Zulu shields, which would have been familiar to an English audience around this time. Given the lack of similarity to a specific artistic tradition, the idea that the textile was created in England, or imagined by the painter, supports the hypothesis that the subject is an imagining of traditional dress rather than a specific portrait of a named individual. We may even speculate that the fabric was produced by the carpet maker Peter Adam, Ferguson’s patron in Kidderminster. In light of the research above, the portrait may well have been produced for an English museum or gallery in the manner of global ethnographic portraits that were popular in the 19th century. 

Wynford Dewhurst, RBA,  British 1864-1941- A hilly river landscape in summer, a figure walking with their dog; oil on canvas, signed and dated 'Wynford Dewhurst 1908.' (lower right), 81.5 x 101 cm. Provenance:  Private Collection. Note:  Dewhurst was influential both as an art theorist and as an artist in his own right. Despite studying at the École des Beaux-Arts in Paris under the academic, Neoclassical painter Jean-Léon Gérôme (1824-1904), Dewhurst was most heavily influenced in his approach by the work of the Impressionists, principally Claude Monet (1840-1926), two whom he dedicated his pioneering work 'Impressionist Painting: its genesis and development' of 1904. Dewhurst exhibited widely in Britain and internationally, with solo exhibitions at the Walker Galleries and Fine Art Society, and exhibitions in Paris, Rome, Venice, and Buenos Aires. 

Thomas Buford Meteyard,  American 1865-1928- Portrait de lui-meme travaillant; oil on canvas, inscribed 'Meteyard' in pencil verso, bears stamp for 'Paul Foinet' verso, 41 x 32.7 cm. Provenance:  with The Redfern Gallery, London;  where purchased by Mrs Lees-Milne on 7 December 1954;  thence by descent to the present owners. Note:  Meteyard was a member of a group of artists who are often called the 'Scituate Artist Colony', active from the 1890s to the 1910s. He travelled to Europe in the 1880s, visiting London and Paris, where he studied at the École des Beaux-Arts under Léon Bonnat (1833-1922) and Puvis de Chavannes (1824-1898). Meteyard was clearly heavily influenced by the works of Impressionist painters which he encountered on his travels. Indeed, the present work, like much of his oeuvre, displays a strong debt to Claude Monet (1840-1926), which may well have been informed by his visit to Giverny with his fellow American artists in the summer of 1890. 

German Impressionist School, early-mid 20th century - The Red Tower, indistinctly signed in sgraffito, oil on board, 38 x 24.5cm, further works on paper and pictures, including a portrait, mixed media and sizes (5) Generally good condition

Travel. Nansen (Fridtjof) & Archer (William, translator), Eskimo Life, first English edition, London: Longmans, Green, and Co., 1893, half-title, 16 full-page plates as called, in-text illustrations, 24pp publisher's catalogue bound at rear, original publisher's green cloth, pictorial gilt, slight wear, uncut, 8vo; Kallmorgen (Friedrich), In's Land der Mitternachtssonne: Tagebuch eines Malers, Karlsruhe: Kunstdruckerei Künstlerbund, n.d. [1899], lithograph printed facsimile of the Impressionist artist's sketchbook, contemporary publisher's red cloth gilt, oblong folio (31 x 42.5cm); Naylor (R.A.), Letters on Sweden and Norway, first edition thus, [Warrington]: Printed for Private Circulation Only, [by Bowker Brothers], [June 1887], photographically-illustrated with three portraits by Parkinson of Warrington, original pictorial cloth, all edges gilt, 8vo; Goodman (E.J.) & Lange (Paul, illustrator), New Ground in Norway, first edition, 1896, original publisher's cloth, pictorial gilt, 8vo; etc., (5)

Dutch Impressionist School, early-mid 20th century - Cattle by a Windmill, oil on canvas, 30 x 45cm; Vignaut - South of France, signed, attributed and titled to label verso, oil on canvas, 25 x 34cm; etc (4) Mixed, good condition.

Impressionist School Street scene with tram, fountain and triumphal archoil on canvasindistinctly signed59 x 72cm Oil on original canvas in somewhat neglected condition, canvas is a little saggy with a 8cm scratch running above the fountain, further scuff marks, a dented hole above the signature and a small patched hole in the centre of the tram, paint also very dirty, could do with a good clean, housed in probably the original oak frame which is now rather tatty, no labels or inscriptions verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

This captivating oil painting by Palm Beach artist Annette Krauss Rose features a striking composition of tigers juxtaposed with circus clowns and performers in a dynamic setting. The piece skillfully blends bold, naturalistic details with an impressionistic use of color and form, highlighting the distinctive contrast between the fierce presence of the tigers and the whimsical nature of the circus environment. Krauss Rose's artistic approach conveys a sense of storytelling and motion, drawing the viewer into the heart of the scene. Annette Krauss Rose, who studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMont, is known for her vivid and expressive works that often explore themes of wildlife, humanity, and performance art. Her mastery of oil as a medium is evident in the vibrant palette and textured brushstrokes that bring this piece to life. This artwork serves as both a testament to the artist's talent and a unique addition to any art collection. The painting is presented in a wood frame that complements its vibrant tones. Artwork dimensions with frame: 34"L x 26"HArtist: Annette Krauss Rose (American 20th Century)Dimensions: See DescriptionCountry of Origin: USACondition: Age related wear.

This captivating oil painting by Annette Krauss Rose showcases a striking composition of vibrant yellow orchids set against a muted blue-gray background. The piece highlights the artist's mastery in botanical art, with a realistic depiction of the orchid's delicate petals and lush green leaves. The interplay of light and shadow brings depth and texture, enhancing the naturalistic appeal of the artwork. The muted background emphasizes the vivid yellows, drawing the viewer's focus to the elegant flowers. Annette Krauss Rose, who studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMont, is recognized for her exceptional talent in capturing the beauty of nature through her artwork, particularly her floral compositions. This piece exemplifies her meticulous attention to detail and her ability to evoke tranquility and elegance through her choice of color and form. The painting is executed on a board and remains unframed, showcasing slight wear along the edges, consistent with its age. It would make an excellent addition to any collection of floral or nature-themed art. Artist: Annette Krauss Rose (American 20th Century)Dimensions: 34"L x 34"HCountry of Origin: USACondition: Age related wear.

A striking mixed-media artwork by Palm Beach artist Annette Krauss Rose, who studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMont, featuring an expressive depiction of a rooster. This piece masterfully blends bold black strokes with vibrant accents of yellow and blue, bringing the subject to life with dynamic energy. Signed by the artist in the lower left corner, this artwork reflects Krauss Rose's unique style and her ability to capture the essence of her subjects with dramatic flair. Housed in its original yellow-painted wooden frame with a matted display, this piece is both an artistic and decorative treasure. Signature on lower left. Artwork dimensions with frame: 19.25"L x 34"H x 0.75"W. Artist: Annette Krauss Rose (American 20th Century)Dimensions: See DescriptionCountry of Origin: USACondition: Age related wear.

This is an original painting by Annette Krauss Rose, a prominent Palm Beach artist known for her mastery in portraiture and her studies under Tonalist and Impressionist Frank Vincent DuMond in New York City. The piece depicts a striking portrait of a figure adorned in a hat, rendered in a captivating combination of warm tones and soft brushstrokes. The painting is mounted in its original textured frame and measures 28.5”L x 33.5”H. It reflects the artist’s characteristic depth and emotive style, making it a valuable addition to any fine art collection. Frame and canvas exhibit minor wear consistent with age. Artist: Annette Krauss Rose American 20th CenturyDimensions: See DescriptionCountry of Origin: USACondition: Age related wear.

This captivating oil painting by Palm Beach artist Annette Krauss Rose, who studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMont, features a striking composition of tigers juxtaposed with circus clowns and performers in a dynamic setting. The piece skillfully blends bold, naturalistic details with an impressionistic use of color and form, highlighting the distinctive contrast between the fierce presence of the tigers and the whimsical nature of the circus environment. Krauss Rose's artistic approach conveys a sense of storytelling and motion, drawing the viewer into the heart of the scene. Annette Krauss Rose is known for her vivid and expressive works that often explore themes of the circus, clowns, and performance art. Her mastery of oil as a medium is evident in the vibrant palette and textured brushstrokes that bring this piece to life. This artwork serves as both a testament to the artist's talent and a unique addition to any art collection. The painting is presented in a wood frame that complements its vibrant tones. Artwork dimensions with frame: 29"L x 36"H. Artist: Annette Krauss Rose (American 20th Century)Dimensions: See DescriptionCountry of Origin: USACondition: Age related wear.

**Framed Watercolour Painting by Ken Chapman – "Reflections"** A framed original watercolour painting titled "Reflections," attributed to Ken Chapman, as identified by the signature on the artwork and the handwritten label on the reverse. The painting depicts a serene landscape featuring a red-brick building with white-mullioned windows and a white door, partially obscured by lush greenery. A reflective body of water in the foreground mirrors the building and surrounding foliage. Overhanging tree branches add depth to the composition. The work is mounted within a cream matte board and housed in a wooden frame with a warm-toned finish and metallic inner lining. The painting style is Impressionist-inspired, with delicate brushstrokes emphasising light, shadow, and natural beauty. The handwritten label on the back reads: **"Ken Chapman"**, **"Reflections"**, **"Original Watercolour"**, and **"The Mill at Middle Wallop"**, suggesting the scene is based on a specific UK location. The painting's likely creation date ranges from the late 20th century to early 21st century, with dimensions approximately medium-sized (exact measurements unverified). Complete with hanging hardware, this artwork is ready for display.

Framed Abstract Painting by S. SullyA framed abstract painting signed "S. Sully" in red in the lower-left corner. The artwork, in bold hues of red, green, black, and white, depicts an abstract, seated human figure with accentuated, emotive brushstrokes. The medium appears to be acrylic or oil on paper, surrounded by a white mat board within a natural wooden frame, finished with glass protection. The frame is approximately 73cm x 58cm, with the artwork slightly smaller due to matting. The reverse side features a label from Oxford Framing Services, located at 38 Cowley Road, Oxford, OX4 1HZ, along with the handwritten title, "THINKING MAN I". Likely created in the mid-to-late 20th century, the dynamic style reflects impressionist and expressionist tendencies.

Impressionist school, view of a busy day at Watney street market London, oil on canvas, indistinctly signed lower right and inscribed with location lower right, 62 x 79.5cm, framed

Impressionist school, coastal scene with fishing boats at anchor and rolling hills beyond, oil on board, 27.5 x 38cm, framed and glazed

2 Large Framed Impressionist paintings monogrammed AJ depicting Countryside scene and coastal scene

This collectible 7.5-inch character jug, part of the Royal Doulton Famous Artists series, honors the iconic Dutch Post-Impressionist painter Vincent van Gogh (1853–1890). Designed by renowned artist David B. Biggs and issued in 2000, the piece showcases Van Gogh’s likeness with meticulous attention to detail. Notable features include his red hair and beard, alongside a handle adorned with sunflowers—a tribute to one of his most celebrated motifs. Royal Doulton, established in 1815, is synonymous with fine ceramics and figurines, with its character jugs being highly sought after by collectors worldwide. The backstamp on this piece authenticates its origin, listing the model number (D7151), designer, and year of manufacture. This jug reflects the craftsmanship and artistic excellence for which Royal Doulton is celebrated. Artist: David B. BiggsIssued: 2000Dimensions: 7.5"HCountry of Origin: EnglandCondition: Age related wear.

This is a Royal Doulton "Famous Artists" series character jug featuring the iconic French Impressionist painter, Claude Monet. Designed by David B. Biggs in 2000, the jug beautifully captures Monet's likeness, complete with his signature beard and a hat. The handle is adorned with motifs inspired by his famous garden scenes, including a bridge and colorful floral accents, which reflect Monet's love for nature and his Giverny gardens. Produced as part of Royal Doulton's tribute to famous artists, this piece combines the artistry of ceramic craftsmanship with a celebration of Impressionism. The base features the official Royal Doulton backstamp and artist's signature, ensuring authenticity. Artist: David B. BiggsIssued: 2000Dimensions: 7"HCountry of Origin: EnglandCondition: Age related wear.

Ethelbert White (British, 1891-1972), Across the Avon Valley, signed l.r., titled verso, oil on canvas, 53 by 64cm, gilt frame. Note: Ethelbert White was elected to the London Group in 1915 and became a member of the New English Art Club in 1921. His works shows the influence of the French post-impressionist painters. Note: Artist Resale Rights apply

John Falconar Slater (British, 1857-1937), Impressionist with chickens and trees in blossom, 60cm x 45cm, signed 'J F Slater' to lower right, framed, 76cm x 61cm

John Falconar Slater (British, 1857-1937), Impressionist garden scene with flowers, 54cm x 38cm, signed 'J F Slater' to lower right, framed, 70cm x 53.5cm.

Manner of Edgar Degas (1834-1917), an early 20th century Impressionist style oil on canvas, portrait of a seated ballerina, in a gilt frame. H.73.5 W.64.5cm

An early 20th century Impressionist style oil on canvas, cattle grazing on a rural landscape, signed and dated '29 to the lower right in a gilt frame. H.53.5 W.70cm

A gilt framed oil on panel, impressionist landscape. Unsigned. 24cm x 19cm.

Impressionist oil on canvas board, Village settlement, indistinctly signed lower right, unframed, 27 x 34cm. Condition - fair

A decorative Impressionist oil on board, Beach scene with boys, 30 x 44cm. Condition - good

Attributed to Antal Neogrady (Hungarian, 1861-1942)A rustic, pastoral study of a barefoot young girl conversing with an older woman as she returns from gathering hay, with a gaggle of geese on the background, oil on canvas, signed, in moulded gilt frame, 97 cm x 103 cm overall[Neogrady was a Hungarian artist educated in fine art in Budapest and Munich and was prolific in painting tranquil landscapes and countryside scenes. His work takes heavy inspiration from the impressionist style of the period, and he passed his skills down to his son Laszlo who went on to become very successful in his craft.]

Impressionist city park scene, early 20th century coloured pastels, unsigned, 28cm x 38cm, framedImage in very good condition, mount slightly discoloured, no labels or inscriptions verso

Octavian Cosman, (b1940), Romanian, impressionist Romanian village scene, oil on canvas, 44cm x 54cm, framed

Continental city scene, impressionist oil on board, unsigned, 50cm x 69cm, framedGood condition

Paul Stephens, Poldark Country Seaside Cornwall, impressionist oil on board, 41cm x 50cm, framedVery good condition

Frank Budgen (1882 - 1971), impressionist scene of Syon House on the Thames, mid-20th century oil on board, indistinctly signed, 36cm x 45cm, framedGood condition

Michael Forster (bn. India, 1907-2002) Impressionist landscape with tree signed, dated 1979, Polymer medium / Acrylic on paper or board, 44cm x 53cm.

British impressionist school (20th century) Seascapewatercolour, 53cm x 74cm.

Impressionist SchoolThe Fruit Selleroil on board, 49cm x 59cm

Edith Taylor - late 19th / early 20th Century framed oil on panel of boats at sea Venice, painted in the Impressionist style. work unsigned , label to verso of frame : "Fishing Boat No2, A misty morning Venice. by Edith Taylor, 6 New Compton St , Soho London" W53.5cm x H42cm

An impressionist gilt framed oil on panel of farm worker with heavy horses & cart, image size 603mm x 400mm

Attributed to George Hyde Pownall (British, 1866-1939). A pair of paintings depicting London street scenes, one depicting a view of the Embankment from Hungerford bridge, the other of Piccadilly Circus, both 13.5cm x 22cm, circa 1910, mounted in gilt frames. (2) Note: George Hyde Pownall was an English artist known for his landscapes, seascapes, and marine paintings. His work often depicted coastal scenes, particularly around the English countryside, showcasing a keen sense of light and atmosphere. Pownall was influenced by the impressionist style, using vibrant colours and brushwork to capture the beauty of nature. He exhibited his work widely and became recognised for his contribution to British landscape painting.

WILLIAM SAMUEL HORTON (AMERICAN 1865-1936): TWO OIL PAINTINGS ON CANVAS ALONG WITH ONE ON BOARDWilliam Samuel Horton is considered by critics to be one of the leading members of American Impressionism, best-known for his Monetesque sunsets and sunrises, Swiss Alpine landscapes, New York skylines and Norwegian fjord scenes. W.S. Horton grew up in a wealthy family and left home in 1883 to study at the Art Institute of Chicago and the Art Students League of New York. In 1892, Horton married the New York debutante Carlotta Lorrie Gray and in 1893 they moved to Holland, later settling in Paris where Horton joined the Académie Julian art school. It was Paris that perhaps had the greatest influence on the artist’s stylistic development, as whilst studying in the French capital he befriended and worked closely alongside some of the leading Impressionist artists including Whistler, Pissarro, Degas and Monet. In 1918 Horton moved to England, continuing to travel often to Europe, painting and sketching scenes in Switzerland, France and Italy. During his travels the artist developed his own Impressionist style, and like Monet focussed on the effects of light on colour, atmosphere, form, shadow and shapes. Like the founding Impressionist, Horton painted the same motif or scene at different times of the day, studying the effect of the light. Examples include his 1934 dramatic sunsets and sunrises over the coastal fjords, planes and mountains of Norway, his recognisable cityscapes of the New York skyline, most notably of the Ritz and Heckscher towers (1924-1930) and his snowy landscapes of the Swiss Alps. In 1935 the artist travelled to Asia (China, Singapore, India and Indonesia), continuing to paint and sketch, including on board ships. W.S. Horton and his wife were relatively wealthy during their lifetime, selling few of his artworks. When Horton died in 1936 he left over 1000 oils, pastels and drawings to their son William Gray, who organised a retrospective exhibition of his father’s work at the Galerie Charpentier, Paris in 1939, which included an appreciation text by the famous art critic Louis Vauxcelles. Horton’s works can be found in the permanent collections of the Musée d'Orsay, Paris, the Musée National d'Art Moderne, Paris and the National Museum, Stockholm.

WILLIAM SAMUEL HORTON (AMERICAN 1865-1936): A LARGE OIL PAINTING ON CANVAS DEPICTING A LADY WITH MOUNTAINS IN THE BACKGROUND142cm x 101cmWilliam Samuel Horton is considered by critics to be one of the leading members of American Impressionism, best-known for his Monetesque sunsets and sunrises, Swiss Alpine landscapes, New York skylines and Norwegian fjord scenes. W.S. Horton grew up in a wealthy family and left home in 1883 to study at the Art Institute of Chicago and the Art Students League of New York. In 1892, Horton married the New York debutante Carlotta Lorrie Gray and in 1893 they moved to Holland, later settling in Paris where Horton joined the Académie Julian art school. It was Paris that perhaps had the greatest influence on the artist’s stylistic development, as whilst studying in the French capital he befriended and worked closely alongside some of the leading Impressionist artists including Whistler, Pissarro, Degas and Monet. In 1918 Horton moved to England, continuing to travel often to Europe, painting and sketching scenes in Switzerland, France and Italy. During his travels the artist developed his own Impressionist style, and like Monet focussed on the effects of light on colour, atmosphere, form, shadow and shapes. Like the founding Impressionist, Horton painted the same motif or scene at different times of the day, studying the effect of the light. Examples include his 1934 dramatic sunsets and sunrises over the coastal fjords, planes and mountains of Norway, his recognisable cityscapes of the New York skyline, most notably of the Ritz and Heckscher towers (1924-1930) and his snowy landscapes of the Swiss Alps. In 1935 the artist travelled to Asia (China, Singapore, India and Indonesia), continuing to paint and sketch, including on board ships. W.S. Horton and his wife were relatively wealthy during their lifetime, selling few of his artworks. When Horton died in 1936 he left over 1000 oils, pastels and drawings to their son William Gray, who organised a retrospective exhibition of his father’s work at the Galerie Charpentier, Paris in 1939, which included an appreciation text by the famous art critic Louis Vauxcelles. Horton’s works can be found in the permanent collections of the Musée d'Orsay, Paris, the Musée National d'Art Moderne, Paris and the National Museum, Stockholm.

WILLIAM SAMUEL HORTON (AMERICAN 1865-1936): A PASTEL DRAWING ON PAPER DEPICTING A RUINED CHURCH60cm x 45cmWilliam Samuel Horton is considered by critics to be one of the leading members of American Impressionism, best-known for his Monetesque sunsets and sunrises, Swiss Alpine landscapes, New York skylines and Norwegian fjord scenes. W.S. Horton grew up in a wealthy family and left home in 1883 to study at the Art Institute of Chicago and the Art Students League of New York. In 1892, Horton married the New York debutante Carlotta Lorrie Gray and in 1893 they moved to Holland, later settling in Paris where Horton joined the Académie Julian art school. It was Paris that perhaps had the greatest influence on the artist’s stylistic development, as whilst studying in the French capital he befriended and worked closely alongside some of the leading Impressionist artists including Whistler, Pissarro, Degas and Monet. In 1918 Horton moved to England, continuing to travel often to Europe, painting and sketching scenes in Switzerland, France and Italy. During his travels the artist developed his own Impressionist style, and like Monet focussed on the effects of light on colour, atmosphere, form, shadow and shapes. Like the founding Impressionist, Horton painted the same motif or scene at different times of the day, studying the effect of the light. Examples include his 1934 dramatic sunsets and sunrises over the coastal fjords, planes and mountains of Norway, his recognisable cityscapes of the New York skyline, most notably of the Ritz and Heckscher towers (1924-1930) and his snowy landscapes of the Swiss Alps. In 1935 the artist travelled to Asia (China, Singapore, India and Indonesia), continuing to paint and sketch, including on board ships. W.S. Horton and his wife were relatively wealthy during their lifetime, selling few of his artworks. When Horton died in 1936 he left over 1000 oils, pastels and drawings to their son William Gray, who organised a retrospective exhibition of his father’s work at the Galerie Charpentier, Paris in 1939, which included an appreciation text by the famous art critic Louis Vauxcelles. Horton’s works can be found in the permanent collections of the Musée d'Orsay, Paris, the Musée National d'Art Moderne, Paris and the National Museum, Stockholm.

WILLIAM SAMUEL HORTON (AMERICAN 1865-1936): A PASTEL DRAWING ON PAPER DEPICTING A GARDEN42.5cm x 26.5cmFramed 69cm x 53cmNo glass.William Samuel Horton is considered by critics to be one of the leading members of American Impressionism, best-known for his Monetesque sunsets and sunrises, Swiss Alpine landscapes, New York skylines and Norwegian fjord scenes. W.S. Horton grew up in a wealthy family and left home in 1883 to study at the Art Institute of Chicago and the Art Students League of New York. In 1892, Horton married the New York debutante Carlotta Lorrie Gray and in 1893 they moved to Holland, later settling in Paris where Horton joined the Académie Julian art school. It was Paris that perhaps had the greatest influence on the artist’s stylistic development, as whilst studying in the French capital he befriended and worked closely alongside some of the leading Impressionist artists including Whistler, Pissarro, Degas and Monet. In 1918 Horton moved to England, continuing to travel often to Europe, painting and sketching scenes in Switzerland, France and Italy. During his travels the artist developed his own Impressionist style, and like Monet focussed on the effects of light on colour, atmosphere, form, shadow and shapes. Like the founding Impressionist, Horton painted the same motif or scene at different times of the day, studying the effect of the light. Examples include his 1934 dramatic sunsets and sunrises over the coastal fjords, planes and mountains of Norway, his recognisable cityscapes of the New York skyline, most notably of the Ritz and Heckscher towers (1924-1930) and his snowy landscapes of the Swiss Alps. In 1935 the artist travelled to Asia (China, Singapore, India and Indonesia), continuing to paint and sketch, including on board ships. W.S. Horton and his wife were relatively wealthy during their lifetime, selling few of his artworks. When Horton died in 1936 he left over 1000 oils, pastels and drawings to their son William Gray, who organised a retrospective exhibition of his father’s work at the Galerie Charpentier, Paris in 1939, which included an appreciation text by the famous art critic Louis Vauxcelles. Horton’s works can be found in the permanent collections of the Musée d'Orsay, Paris, the Musée National d'Art Moderne, Paris and the National Museum, Stockholm.

WILLIAM SAMUEL HORTON (AMERICAN 1865-1936): A LARGE PASTEL PAINTING ON PAPER DEPICTING A LAKE WITH MOUNTAINS56cm x 46cm86cm x 76cmWilliam Samuel Horton is considered by critics to be one of the leading members of American Impressionism, best-known for his Monetesque sunsets and sunrises, Swiss Alpine landscapes, New York skylines and Norwegian fjord scenes. W.S. Horton grew up in a wealthy family and left home in 1883 to study at the Art Institute of Chicago and the Art Students League of New York. In 1892, Horton married the New York debutante Carlotta Lorrie Gray and in 1893 they moved to Holland, later settling in Paris where Horton joined the Académie Julian art school. It was Paris that perhaps had the greatest influence on the artist’s stylistic development, as whilst studying in the French capital he befriended and worked closely alongside some of the leading Impressionist artists including Whistler, Pissarro, Degas and Monet. In 1918 Horton moved to England, continuing to travel often to Europe, painting and sketching scenes in Switzerland, France and Italy. During his travels the artist developed his own Impressionist style, and like Monet focussed on the effects of light on colour, atmosphere, form, shadow and shapes. Like the founding Impressionist, Horton painted the same motif or scene at different times of the day, studying the effect of the light. Examples include his 1934 dramatic sunsets and sunrises over the coastal fjords, planes and mountains of Norway, his recognisable cityscapes of the New York skyline, most notably of the Ritz and Heckscher towers (1924-1930) and his snowy landscapes of the Swiss Alps. In 1935 the artist travelled to Asia (China, Singapore, India and Indonesia), continuing to paint and sketch, including on board ships. W.S. Horton and his wife were relatively wealthy during their lifetime, selling few of his artworks. When Horton died in 1936 he left over 1000 oils, pastels and drawings to their son William Gray, who organised a retrospective exhibition of his father’s work at the Galerie Charpentier, Paris in 1939, which included an appreciation text by the famous art critic Louis Vauxcelles. Horton’s works can be found in the permanent collections of the Musée d'Orsay, Paris, the Musée National d'Art Moderne, Paris and the National Museum, Stockholm.

WILLIAM SAMUEL HORTON (AMERICAN 1865-1936): A PASTEL DRAWING ON BOARD DEPICTING A WINTRY TOWN SCENE77cm x 64cmWilliam Samuel Horton is considered by critics to be one of the leading members of American Impressionism, best-known for his Monetesque sunsets and sunrises, Swiss Alpine landscapes, New York skylines and Norwegian fjord scenes. W.S. Horton grew up in a wealthy family and left home in 1883 to study at the Art Institute of Chicago and the Art Students League of New York. In 1892, Horton married the New York debutante Carlotta Lorrie Gray and in 1893 they moved to Holland, later settling in Paris where Horton joined the Académie Julian art school. It was Paris that perhaps had the greatest influence on the artist’s stylistic development, as whilst studying in the French capital he befriended and worked closely alongside some of the leading Impressionist artists including Whistler, Pissarro, Degas and Monet. In 1918 Horton moved to England, continuing to travel often to Europe, painting and sketching scenes in Switzerland, France and Italy. During his travels the artist developed his own Impressionist style, and like Monet focussed on the effects of light on colour, atmosphere, form, shadow and shapes. Like the founding Impressionist, Horton painted the same motif or scene at different times of the day, studying the effect of the light. Examples include his 1934 dramatic sunsets and sunrises over the coastal fjords, planes and mountains of Norway, his recognisable cityscapes of the New York skyline, most notably of the Ritz and Heckscher towers (1924-1930) and his snowy landscapes of the Swiss Alps. In 1935 the artist travelled to Asia (China, Singapore, India and Indonesia), continuing to paint and sketch, including on board ships. W.S. Horton and his wife were relatively wealthy during their lifetime, selling few of his artworks. When Horton died in 1936 he left over 1000 oils, pastels and drawings to their son William Gray, who organised a retrospective exhibition of his father’s work at the Galerie Charpentier, Paris in 1939, which included an appreciation text by the famous art critic Louis Vauxcelles. Horton’s works can be found in the permanent collections of the Musée d'Orsay, Paris, the Musée National d'Art Moderne, Paris and the National Museum, Stockholm.

WILLIAM SAMUEL HORTON (AMERICAN 1865-1936): AN OIL PAINTING ON BOARD DEPICTING A SEATED LADY KNITTING46cm x 38cmWilliam Samuel Horton is considered by critics to be one of the leading members of American Impressionism, best-known for his Monetesque sunsets and sunrises, Swiss Alpine landscapes, New York skylines and Norwegian fjord scenes. W.S. Horton grew up in a wealthy family and left home in 1883 to study at the Art Institute of Chicago and the Art Students League of New York. In 1892, Horton married the New York debutante Carlotta Lorrie Gray and in 1893 they moved to Holland, later settling in Paris where Horton joined the Académie Julian art school. It was Paris that perhaps had the greatest influence on the artist’s stylistic development, as whilst studying in the French capital he befriended and worked closely alongside some of the leading Impressionist artists including Whistler, Pissarro, Degas and Monet. In 1918 Horton moved to England, continuing to travel often to Europe, painting and sketching scenes in Switzerland, France and Italy. During his travels the artist developed his own Impressionist style, and like Monet focussed on the effects of light on colour, atmosphere, form, shadow and shapes. Like the founding Impressionist, Horton painted the same motif or scene at different times of the day, studying the effect of the light. Examples include his 1934 dramatic sunsets and sunrises over the coastal fjords, planes and mountains of Norway, his recognisable cityscapes of the New York skyline, most notably of the Ritz and Heckscher towers (1924-1930) and his snowy landscapes of the Swiss Alps. In 1935 the artist travelled to Asia (China, Singapore, India and Indonesia), continuing to paint and sketch, including on board ships. W.S. Horton and his wife were relatively wealthy during their lifetime, selling few of his artworks. When Horton died in 1936 he left over 1000 oils, pastels and drawings to their son William Gray, who organised a retrospective exhibition of his father’s work at the Galerie Charpentier, Paris in 1939, which included an appreciation text by the famous art critic Louis Vauxcelles. Horton’s works can be found in the permanent collections of the Musée d'Orsay, Paris, the Musée National d'Art Moderne, Paris and the National Museum, Stockholm.

WILLIAM SAMUEL HORTON (AMERICAN 1865-1936): A GROUP OF SIX OIL PAINTING SKETCHES ON BOARDLargest 58cm x 44cmSome unfinished, or warped.William Samuel Horton is considered by critics to be one of the leading members of American Impressionism, best-known for his Monetesque sunsets and sunrises, Swiss Alpine landscapes, New York skylines and Norwegian fjord scenes. W.S. Horton grew up in a wealthy family and left home in 1883 to study at the Art Institute of Chicago and the Art Students League of New York. In 1892, Horton married the New York debutante Carlotta Lorrie Gray and in 1893 they moved to Holland, later settling in Paris where Horton joined the Académie Julian art school. It was Paris that perhaps had the greatest influence on the artist’s stylistic development, as whilst studying in the French capital he befriended and worked closely alongside some of the leading Impressionist artists including Whistler, Pissarro, Degas and Monet. In 1918 Horton moved to England, continuing to travel often to Europe, painting and sketching scenes in Switzerland, France and Italy. During his travels the artist developed his own Impressionist style, and like Monet focussed on the effects of light on colour, atmosphere, form, shadow and shapes. Like the founding Impressionist, Horton painted the same motif or scene at different times of the day, studying the effect of the light. Examples include his 1934 dramatic sunsets and sunrises over the coastal fjords, planes and mountains of Norway, his recognisable cityscapes of the New York skyline, most notably of the Ritz and Heckscher towers (1924-1930) and his snowy landscapes of the Swiss Alps. In 1935 the artist travelled to Asia (China, Singapore, India and Indonesia), continuing to paint and sketch, including on board ships. W.S. Horton and his wife were relatively wealthy during their lifetime, selling few of his artworks. When Horton died in 1936 he left over 1000 oils, pastels and drawings to their son William Gray, who organised a retrospective exhibition of his father’s work at the Galerie Charpentier, Paris in 1939, which included an appreciation text by the famous art critic Louis Vauxcelles. Horton’s works can be found in the permanent collections of the Musée d'Orsay, Paris, the Musée National d'Art Moderne, Paris and the National Museum, Stockholm.