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Impressionist School (20th century, British) 'Remembrance Sunday',  still life observation, acrylic, graphite and pastel on paper

* ERNA HOPPE-KINROSS (GERMAN/BRITISH 1875 - 1964), HARVEST oil on canvas laid on board, signed, titled label versoframed and under glassimage size 22cm x 26cm, overall size 26cm x 29cm Note: Erna Hoppe Kinross was born 17 September 1878, daughter of Louise Adele (nee Vogler) and Karl Theodore Hoppe and grew up in Hamburg. She specialised in figurative works and townscapes, exhibiting her work throughout the decade 1910-20, being recorded in Paris from 1906-1914. There she met Charles Kinross and they were married in 1906. By then she was an established artist who had exhibited at the Salon, Societe Nationale des Beaux Arts. At their holiday home in Giverny they met and became friends with the Impressionist painter Claude Monet. Some of the pictures that Erna painted before marrying were later amended and “Kinross” added – so the date of the paintings might be correct despite having “Erna Hoppe-Kinross” as the signature. The Kinross’s moved to England in 1915 where Charles’s business was based. One of her paintings was published in English Colour Magazine 1919 Vol II No. 4, but the subject (“Orchard Girl”) was clearly based on a French scene. An exhibition was held in Hastings sometime in the late 50’s or early 60’s at which a number of her remaining paintings were sold. She died on 31 March 1964.

* ERNA HOPPE-KINROSS (GERMAN/BRITISH 1875 - 1964), HORNSEY oil on board, signed, titled and dated 1910 versoframedimage size 31cm x 21cm, overall size 42cm x 33cm Note: Erna Hoppe Kinross was born 17 September 1878, daughter of Louise Adele (nee Vogler) and Karl Theodore Hoppe and grew up in Hamburg. She specialised in figurative works and townscapes, exhibiting her work throughout the decade 1910-20, being recorded in Paris from 1906-1914. There she met Charles Kinross and they were married in 1906. By then she was an established artist who had exhibited at the Salon, Societe Nationale des Beaux Arts. At their holiday home in Giverny they met and became friends with the Impressionist painter Claude Monet. Some of the pictures that Erna painted before marrying were later amended and “Kinross” added – so the date of the paintings might be correct despite having “Erna Hoppe-Kinross” as the signature. The Kinross’s moved to England in 1915 where Charles’s business was based. One of her paintings was published in English Colour Magazine 1919 Vol II No. 4, but the subject (“Orchard Girl”) was clearly based on a French scene. An exhibition was held in Hastings sometime in the late 50’s or early 60’s at which a number of her remaining paintings were sold. She died on 31 March 1964.

* ERNA HOPPE-KINROSS (GERMAN/BRITISH 1875 - 1964), NANCY oil on board, signed, titled verso framed and under glassimage size 27cm x 22cm, overall size 32cm x 25cm Note: Erna Hoppe Kinross was born 17 September 1878, daughter of Louise Adele (nee Vogler) and Karl Theodore Hoppe and grew up in Hamburg. She specialised in figurative works and townscapes, exhibiting her work throughout the decade 1910-20, being recorded in Paris from 1906-1914. There she met Charles Kinross and they were married in 1906. By then she was an established artist who had exhibited at the Salon, Societe Nationale des Beaux Arts. At their holiday home in Giverny they met and became friends with the Impressionist painter Claude Monet. Some of the pictures that Erna painted before marrying were later amended and “Kinross” added – so the date of the paintings might be correct despite having “Erna Hoppe-Kinross” as the signature. The Kinross’s moved to England in 1915 where Charles’s business was based. One of her paintings was published in English Colour Magazine 1919 Vol II No. 4, but the subject (“Orchard Girl”) was clearly based on a French scene. An exhibition was held in Hastings sometime in the late 50’s or early 60’s at which a number of her remaining paintings were sold. She died on 31 March 1964.

A gilt framed impressionist style oil on canvas of haystacks bearing the signature C. Pissarro. '85. Frame size 77cm x 68cm. Prov. Gifted by a prominent London family in 1984 to two sisters who had served them for decades, on their retirement. The painting is now coming to sale following the death of the second sister.

JACK LAWRENCE MILLER (1916-1987) - an Impressionist oil on canvas - signed and dated 1983 - 188cm x 78cm

Peter Arnold (20th century), impressionist style landscape scene with trees and houses, impasto oil, signed lower right, 26.5 x 37.5cm, framed

Impressionist school, Continental scene, oil on board, signed upper left, 11.5 x 19cm, framed and glazed together with a folio containing an extensive collection of artworks, including: sketchbook full of pen and watercolour paintings, Emmanuel Mukwiro (Zimbabwean, 20th century), Water Collectors, signed lower righ and dated 04, titled lower centre and number lower left 27/150 and a large quantity of other pictures (1 box)

Impressionist school, view of a Victorian beach with family gathering by a beach hut and parasol, oil on canvas, 14.5 x 34.5cm, gilt framed and glazed

Jerzy Faczynski Polish Impressionist & Modern ( 1917 - 1995) Two Abstract Impressionist Figural Oil on boards The  First of a figure dressed in a vibrant red coat with a Violin. Signed and dated 51 top left. 32cm x 25cm frame inclusive The second a depiction of St Christopher with a child on his Shoulder. Signed top left and dated 1951 to verso 29cm x 20.5cm frame inclusive Jerzy Faczynski was a Polish soldier, artist, architect who came to Britain in 1941 as a refugee. He studied Polish School of Architecture at Liverpool University and later on taught at the Polish School of Architecture in London from 1946-52 teaching drawing. In his life time he designed more that fifty churches.

WATERCOLOUR IMPRESSIONIST MEDITERRANEAN SCENE SIGNED BY ARTIST 56.5CMS (H) X 38 CMS (W) PIC ONLY APPROX A/F

Jane H. Bartlett (20th. C), impressionist oil on board, Continental street scene with villas, signed and dated '91, 24 x 19cm. Condition - good

Robert Delaunay, Paysage BretonÖl auf Leinwand, doubliert. 49 x 59,5 cm. Gerahmt. Unbezeichnet. - Mit schwacher konkaver Wölbung in der linken Bildmitte, sonst in gutem Zustand.Mit einer Foto-Expertise von Jean Louis Delaunay vom 9. September 2004, No 37 AQF-330-41ProvenienzVom Künstler erworben ca. 1935-1937, Félix Aublet, Paris; Privatbesitz Paris; Calmels Cohen, Paris, 27. November 2004, Lot 131; Privatbesitz; Sotheby's, New York, Impressionist Painting, 13. September 2005, Lot 53; Sotheby's, London, Impressionist and Modern Art Day Sale, 23. Juni 2010; Christie's, New York, Impressionist and Modern Art Day Sale, 9. Mai 2013, Lot 223; Privatbesitz HessenLiteraturVgl. Gustav Vriesen/Max Imdahl, Robert Delaunay - Licht und Farbe, Köln 1967Aus großbürgerlich, aristokratischer Familie stammend, wuchs Robert Delaunay erst in Paris, aber seit früher Jugend bei Verwandten auf dem Land, in La Ronchère, auf. Dort hatte er "reichlich Zeit und Gelegenheit, im Freien herumzustreifen [...]; diesse direkte Verbindung mit der Natur, dem Landleben und auch den Landleuten stand im glücklichen Einklang mit seinen Neigungen." (Vriesen/Imdahl, op. cit. S. 14). Ab 1902 absolviert Delaunay eine Lehre im Dekorationsatelier Ronsin in Belleville. Erste impressionistische Landschaften entstehen in der Bretagne 1903 bis 1905."Es ist gut denkbar, daß die Impressionisten-Ausstellung bei Bernheim-Jeune 1903 oder eine der Monet-Ausstellungen der Galerie Durand-Ruel um die Jahrhundertwende dem jungen Delaunay Eindrücke vermittelt haben, die ihm vor Augen blieben." (Vriesen/Imdahl, op. cit. S. 16). Ab 1904 finden seine Gemälde selbst Aufnahme in Ausstellungen im Salon d’Automne und im Salon des Indépendants.Der Kontakt zu den Künstlern von Pont-Aven ist auch in unserem Landschaftsgemälde mit Bretonin in der typischen Haube vor ihren Tieren deutlich. In noch dem Neo-Impressionismus verhaftteten Farbtupfen verdichtet sich die Malweise zu einem kompakten Bildraum. Die hinter dem Horizont erscheinenden Wolken bringen in aller Ruhe Bewegung in die Szenerie.Die vorliegende Landschaft ist eines der wenigen erhaltenen Gemälde aus der frühen Werkphase Robert Delaunays, dessen orphistische, bildzersplitternden Motive ihn später zu einem der größten Vertreter der französischen Moderne machen sollten.

André Masson, Féminaire de la rue Saint-Denis VIÖl auf Leinwand. 46,5 x 27,5 cm. Gerahmt. Oben rechts vertikal rot signiert und datiert 'André Masson 57'. Rückseitig auf der Leinwand bezeichnet 'VI'. - In sehr guter Erhaltung.Die Authentizität des Werks wurde bestätigt durch das Comité André Masson, Paris.ProvenienzGalerie Louise Leiris, Paris (Etikett auf dem Keilrahmen); Perls Galleries, New York (Etikett auf dem Keilrahmen); Marlborough Fine Art, London, 1958 (Etikett auf dem Keilrahmen); Royal Marks Gallery, New York, 1960 und 1963 (Etikett auf dem Keilrahmen); Sotheby's New York, Impressionist and Modern Art Including Russian Art, 30. Mai 2014, Lot 89; Privatbesitz Nordrhein-Westfalen

Ernst Eitner (Hamburg 1867 - Hamburg 1955). Nach einem Gewitter. Öl/Lw. 80 x 120 cm. R. u. sign. E. Eitner, auf dem Keilrahmen betitelt. Etw. verschmutzt. - Deutscher Maler und Graphiker. Ein Stipendium der Stadt Hamburg ermöglichte E. ab 1886 das Studium an der Karlsruher Akademie bei G. Schönleber sowie an den Akademien Düsseldorf und Antwerpen. 1892 gewann er eine Goldmedaille auf einer Ausstellung in Dresden und bereits 1894 stellte er in Paris aus. Er war 1897 Gründungsmitglied des Hamburgischen Künstlerclubs. Er bereiste 1890 erstmals Italien, später auch Paris, London und Antwerpen. 1917 wurde er zum Professor ernannt. Mit seinem farbenfrohen und freundlichen Impressionismus ist Eitner einer der Hauptmeister der künstlerischen Erneuerung in Hamburg. Mus.: Hamburg (Kunsthalle, Altonaer Mus., Hamburg-Mus., MK&G), Schleswig (SHLM), Lübeck (St.-Annen-Mus.), Flensburg, London (The British Museum). Lit.: Thieme-Becker, Vollmer, Der Neue Rump, Kat. Haspa: E. E. - Ein Hamburger Impressionist, 2005, E. E. Ein Hamburger Maler des Lichts, 2012, Schulte-Wülwer: E. E. 2017 u.a.

Ernst Eitner (Hamburg 1867 - Hamburg 1955). Vorfrühling. Öl/Karton. 27 x 40 cm. L. u. sign. E. Eitner. Winzige Farbabspl. - Deutscher Maler und Graphiker. Ein Stipendium der Stadt Hamburg ermöglichte E. ab 1886 das Studium an der Karlsruher Akademie bei G. Schönleber sowie an den Akademien Düsseldorf und Antwerpen. 1892 gewann er eine Goldmedaille auf einer Ausstellung in Dresden und bereits 1894 stellte er in Paris aus. Er war 1897 Gründungsmitglied des Hamburgischen Künstlerclubs. Er bereiste 1890 erstmals Italien, später auch Paris, London und Antwerpen. 1917 wurde er zum Professor ernannt. Mit seinem farbenfrohen und freundlichen Impressionismus ist Eitner einer der Hauptmeister der künstlerischen Erneuerung in Hamburg. Mus.: Hamburg (Kunsthalle, Altonaer Mus., Hamburg-Mus., MK&G), Schleswig (SHLM), Lübeck (St.-Annen-Mus.), Flensburg, London (The British Museum). Lit.: Thieme-Becker, Vollmer, Der Neue Rump, Kat. Haspa: E. E. - Ein Hamburger Impressionist, 2005, E. E. Ein Hamburger Maler des Lichts, 2012, Schulte-Wülwer: E. E. 2017 u.a.

Ernst Eitner (Hamburg 1867 - Hamburg 1955). Winter in Hummelsbüttel. Um 1910. Öl/Lw. 60,5 x 70,5 cm. L. u. sign. E. Eitner, verso erneut sign., auf dem Keilrahmen Künstleretikett. Retuschen. - Provenienz: Galerie Herold 1998; zuletzt Privatsammlung Kiel - Deutscher Maler und Graphiker. Ein Stipendium der Stadt Hamburg ermöglichte E. ab 1886 das Studium an der Karlsruher Akademie bei G. Schönleber sowie an den Akademien Düsseldorf und Antwerpen. 1892 gewann er eine Goldmedaille auf einer Ausstellung in Dresden und bereits 1894 stellte er in Paris aus. Er war 1897 Gründungsmitglied des Hamburgischen Künstlerclubs. Er bereiste 1890 erstmals Italien, später auch Paris, London und Antwerpen. 1917 wurde er zum Professor ernannt. Mit seinem farbenfrohen und freundlichen Impressionismus ist Eitner einer der Hauptmeister der künstlerischen Erneuerung in Hamburg. Mus.: Hamburg (Kunsthalle, Altonaer Mus., Hamburg-Mus., MK&G), Schleswig (SHLM), Lübeck (St.-Annen-Mus.), Flensburg, London (The British Museum). Lit.: Thieme-Becker, Vollmer, Der Neue Rump, Kat. Haspa: E. E. - Ein Hamburger Impressionist, 2005, E. E. Ein Hamburger Maler des Lichts, 2012, Schulte-Wülwer: E. E. 2017 u.a.

Thomas Herbst (Hamburg 1848 - Hamburg 1915). Auch ein Amateur-Photograph. 1893. Gouache/Papier/Karton. 43 x 76,5 cm. L. u. sign. Herbst sowie betitelt. Min. beschn. Auf der Rückseite des Rahmens graviertes Messingschild 'Ehrenpreis des Hamburger Künstlervereins. Internationale Ausstellung von Amateur-Photographen, Hamburg 1893' - Literatur: WVZ: Meyer-Tönnesmann 21 - Provenienz: Galerie Commeter; Prof. Max Nonne (1861-1959), Neurologe am UKE tauschte das Blatt mit dem Arzt Prof. Eduard Arning (1855-1936), der auch begeisterter Fotograf war; seitdem durch Erbgang in dessen Familie - Bedeutender deutscher Impressionist. H. erhielt seinen ersten Zeichenunterricht von G. Gensler. Er studierte zunächst bei J. Becker am Städelschen Kunstinstitut in Frankfurt, ab 1866 bei K. Steffeck an der Akademie Berlin. Zwei Jahre später wechselte er nach Weimar zu Ch. Verlat, wo er zusammen mit seinem Freund M. Liebermann studierte. Mit diesem unterhielt er 1876/77 auch ein gemeinsames Atelier in Paris. Nach einem Studienaufenthalt in München ließ H. sich 1884 endgültig in Hamburg nieder, wo er zunächst eine Stelle als Zeichenlehrer annahm. H. gehörte 1897 zu den Mitbegründern des Hamburgischen Künstlerclubs, den er 1903 wegen Aufnahme der Schüler von A. Siebelist wieder verließ. H. nahm in Paris Anregungen der Schule von Barbizon und in München des Kreises um W. Leibl auf. Er entwickelte sich zum führenden norddeutschen Impressionisten, dessen Bedeutung wegen seiner geringen Ausstellungstätigkeit erst posthum erkannt und gewürdigt wurde. Mus.: Hamburg (Kunsthalle, Altonaer Mus.), Berlin (Nat.-Gal.), München (Neue Pinakothek), Dresden (Galerie Neue Meister), Bremen, Karlsruhe, Kiel, Oldenburg, Husum. Lit.: C. Meyer-Tönnesmann: Th. H. Werkverzeichnis der Gemälde, Ölstudien und Aquarelle, 2015, Der Neue Rump, Thieme-Becker, Vollmer u.a.

Ludolfs Liberts, an outstanding Latvian painter and stage designer, masterfully conveys the atmosphere of Paris in his work The Seine Embankment in Paris. The canvas is executed in the impressionist style, where every stroke of the brush reflects the vivid sensation of light and air so characteristic of this movement. In the foreground are bridges crossing the calm waters of the Seine, their smooth arches creating an elegant rhythm, smoothly directing the viewer`s gaze into the depths of the composition. On the river, ships are visible, slowly floating past, their dark silhouettes contrasting with the soft, blurred outlines of the city panorama. In the distance, among the chaotic scattering of roofs, the dome of the Pantheon rises majestically, and in the left part of the composition, the characteristic towers of Notre Dame Cathedral can be discerned. These architectural dominants create a recognizable image of the capital of France, filling the canvas with poetic melancholy. The painting demonstrates the artist’s exceptional sense of color and composition, attention to detail and ability to convey the emotional state of the moment. Signed by the artist in the lower left corner, this work is a striking example of Lieberts’ creative legacy and is evidence of his deep penetration into the atmosphere of the city, which inspired many masters. Cardboard, oil. Dimensions: 49.5 × 59.5 cm Provenance: Private American collection Width: 75cm, Height: 70cm, Depth: 8cm, Weight: 2kg, Condition: Good, Material: Oil on cardboard, ID: ID-ANTQ-11588

Ludolfs Liberts, an outstanding Latvian artist and stage designer, masterfully conveys the unique atmosphere of Paris in his work Embankment of the Seine in Paris. Painted in an impressionist manner, the painting is filled with light and air, conveying a vivid sense of lightness and ephemerality. In the foreground is a bridge over the Seine, along the banks of which brightly lit barges rest. Their warm, rich tones create a contrast with the cool tones of the water and sky, attracting the viewer`s attention. The composition of the work is skillfully balanced. The movement of the carriages on the bridge adds dynamics, while the majestic silhouette of Notre Dame Cathedral and the slender spires of churches in the background lend the landscape poetic calm and eternity. These architectural landmarks serve as a reminder of the rich cultural heritage of the French capital, highlighting the characteristic silhouette of the city. The painting demonstrates the artist’s brilliant mastery of color palette and compositional techniques, attention to detail and the ability to convey the emotional state of a fleeting moment. Signed by the artist in the lower right corner, this work is a fine example of Lieberts’ creative legacy. It testifies to his ability to deeply penetrate the atmosphere of the city that has inspired artists for centuries. Cardboard, oil. Dimensions: 49.5 × 59.5 cm Provenance: Private American collection Width: 75cm, Height: 70cm, Depth: 8cm, Weight: 2kg, Condition: Signs of wear commensurate with age, Material: Oil on cardboard, ID: ID-ANTQ-11589

Rudolf Schlichter, Speedy SchlichterÖl auf Leinwand. 115 x 100 cm. Gerahmt. Unten rechts grau in Sütterlinschrift signiert 'R. Schlichter'. - In gutem farbfrischen Zustand.Wir danken Sigrid Lange, Bonn, für wissenschaftliche Beratung und freundliche Hinweise.ProvenienzGalerie Wolfgang Ketterer, Auktion 27. Mai 1991, Lot 134; Christie's, London, Impressionist and Modern Art, Day Sale, 3. Februar 2010, Lot 483; Privatsammlung HamburgAusstellungenMailand 1998/1999 (Palazzo Reale), L'Anima e il volto. Ritratto e fisiognomica da Leonardo a Bacon (mit Keilrahmenaufkleber,"Ritratto di Speedy"), S. 509 mit Abb.LiteraturVgl. Ausst. Kat. Rudolf Schlichter, Tübingen/Wuppertal/München 1997/1998 (Kunsthalle/Von der Heydt-Museum/Lenbachhaus); Ausst. Kat. Rudolf Schlichter. Eros und Apokalypse, Koblenz/Halle (Saale) 2016 (Mittelrhein Museum/Kunstverein Talstrasse)Prominent und großansichtig ist das Porträt von Schlichters Ehefrau Speedy an den vorderen Bildrand gesetzt, den Blick suggestiv auf den Betrachter gerichtet.Frisur, Schmuck und Kleidung sind minutiös beschrieben und vermitteln eine Form von Übernatürlichkeit. Denn der Hintergrund ist in einer Art Weltenlandschaft bevölkert von surrealen Traumgebilden in Eisblau – ein Farbton, der sich in Speedys Augen spiegelt, als entsprängen sie den Gedanken der Dargestellten. Ist dieses halbfigurige Porträtformat schon in den 1930er Jahren üblich - wie etwa bei seinem Selbstbildnis, einem Porträt von Ernst Jünger und auch von Speedy -, ist die Kombination von Verismus und Surrealismus eine neues Konzept der Nachkriegszeit (vgl. Ausst. Kat. Tübingen/Wuppertal/München 1997/1998, op. cit., Kat. Nrn. 149, 150, 153).In unserem Porträt hält Speedy liebkosend in schützendem Gestus ihre langhaarige Katze Bouille-Bouille. Deren weiches Fell steht in Kontrast zu der harten, präzisen Schilderung von Speedys Zügen. Daraus zieht die Darstellung ihre erotisch aufgeladene Spannung – hier stählerne Härte, dort wuscheliges, taktil reizvolles Tierhaar. Doch die tierische Niedlichkeit mag täuschen, denn gerade Katzen sind bekannt für ihre unabhängige Unberechenbarkeit und sibyllinische Aura. So oszilliert dieses Bildnis zwischen vertrauter Nähe und kühler, eindringlicher Unnahbarkeit und sorgt für Irritation des Betrachters. Die Bildidee scheint Schlichter gefallen zu haben, hat er sie doch 1954 in einer allerdings schwächeren Komposition als Papierarbeit wiederholt (vgl. Ausst. Kat. Koblenz/Halle 2016, Kat. Nr. 81).Rudolf Schlichter, dessen erotische Obsessionen bekannt sind, zeigt sich auch in unserem Bildnis "Speedy Schlichter" als Meister der Neuen Sachlichkeit mit einem Faible für das Absurde.

Impressionist style portrait of a young lady. Signed lower right. Measures 40.5" x 26" including frame, 30" x 15" image only. Condition: Age related wear.

Impressionist style framed poster depicting a vase filled with gorgeous Summer flowers, after an original painting by Italian artist L. Cursore. Signature in plate on lower right: L. Cursore. Housed in a brushed silver frame with an off-white mat. Sight size: 13"L x 19"H. Frame size: 20.25"L x 26"H x 1"W. Artwork can be unframed and rolled for shipment. Artist: L. Cursore (Italian 20th century)Issued: 20th centuryDimensions: See DescriptionCountry of Origin: ItalyCondition: Age related wear.

Pastel on paper of a young Russian man dancing the polka in a Neo-Impressionist style. The artist used a palette of pink, cream, white and black on a light yellow-blue background. Housed in a gilded frame. Frame size: 15.20"L x 17.55"H x 0.60'W. Artwork dimensions: 9.50"W x 10.75"H. Condition: Age related wear.

Mid XX Century School, Nudes and Horses, impressionist watercolour and graphite artwork, 49 x 70.5cm.

Nallouran?, Flowers, Lemon & Grass, impressionist oil on canvas, signed indistinctly, 39.5 x 50cm, another original work 'Chrysalis' (2)

A 20TH CENTURY CONTINENTAL IMPRESSIONIST STREET SCENE WITH FIGURES, unsigned, oil on canvas board, framed, 19 x 25 cm

JOHN BERRY. British school, impressionist study 'Red Sea Crossing', unsigned, label and inscription verso, oil on board, framed, 14 x 30 cm

AN IMPRESSIONIST THAMES RIVER SCENE, with figures and Thames barges, St. Pauls beyond, unsigned, dated 1907 lower left, oil on canvas, framed, 29 x 35 cm

A 20TH CENTURY IMPRESSIONIST STUDY OF FIGURES AT A WEDDING PARTY, landscape beyond, unsigned, oil on board, framed and glazed, 33 x 37 cm

(XX). French impressionist school, a study of a cafe society, unsigned, oil on board, framed, 79 x 88 cm

AN EARLY 20TH CENTURY IMPRESSIONIST LOGGING SCENE, with workmen and horses by camp fire, unsigned, oil on board, framed, 38 x 65 cm

BERLY MAILE (b.1900), Impressionist stormy coastal seascape, with cottages and lighthouse, inscribed and dated 1968 on label verso, oil on vinyl, framed and glazed, 11 x 36 cm

INDISTINCTLY SIGNED IMPRESSIONIST NORTHERN INDUSTRIAL SCHOOL STUDY OF A NEWSPAPER SELLER, signed and dated 1989 lower right, pastel on paper, framed and glazed, 59 x 38 cm

ANTON LOCK. An impressionist mountain landscape with cottage, horses and figure, signed lower left, oil on canvas, framed, 24 x 29 cm

Gustave Cariot, French 1872-1950 - Les champs de blé, 1948; oil on canvas, laid down on panel, signed and dated lower right 'G. Cariot' 1948', 14 x 26.5 cm Provenance: the Artist's Estate and thence by descent; Christie's, London, Impressionist/Modern & Picasso Ceramics, 6th February 2015, lot 124; private collection, purchased from the above  

Aubrey Williams, Guyanese/British 1926-1990 - Guiana, 1963; oil on paper, signed, dated and titled lower right 'Aubrey Williams 63 Guiana' and titled again on the reverse of the frame, 59 x 76.5 cm (ARR) Provenance: private collection and thence by descent Note: this piece is typical of Williams's style of the 1960s, combining abstract impressionist tendencies with the forms and symbols of the pre-Colombian art of the indigenous inhabitants of the Americas. Williams was strongly influenced by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959.  After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami. 

Jessica Dismorr,  British 1885-1939 -  Les Baux, c.1912; ink on paper, 27.2 x 39 cm  Provenance:  Woolley & Wallis, Salisbury, 20th Century & Contemporary Art, 10th December 2014, lot 276;  private collection, purchased from the above  Note:  Jessica Dismorr was an important figure in early British Modernism, exhibiting with the Vorticist group alongside William Roberts and Wyndham Lewis. These early works by the artist made in France demonstrate the influence of Fauvism and Post-Impressionist art on her work, at a time when the artist was involved with the innovative Rhythm group, which included J.D. Fergusson and Anne Estelle Rice. 

Aubrey Williams, Guyanese/British 1926-1990 - Kumaka, 1963; oil and mixed media on canvas, signed, dated and titled on the reverse 'Aubrey Williams 63 Kumaka', 71 x 81.3 cm (ARR) Provenance:private collection and thence by descent Note: Kumaka refers to a village in Williams's native Guyana. This piece is typical of Williams's style of the 1960s, combining abstract impressionist tendencies with the forms and symbols of the pre-Colombian art of the indigenous inhabitants of the Americas. Williams was strongly influenced by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami. 

Claude Venard,  French 1913-1999 -  Nature Morte; oil on canvas, signed lower left 'C.Venard', 33 x 40.5 cm (ARR) Provenance: Christie’s, London, Impressionist and Modern Art, 5th April 2006, lot 221; private collection, UK  Note:  Claude Venard was a highly celebrated artist having featured in exhibitions around the world since 1935. He held numerous successful one man shows around the word including at Galerie Romanet-Vercel and Bernheim-Jeune, Romanet Gallery in Paris, Vercel Gallery in New York and Lefevre Gallery and Arthur Tooth & Sons in London.  Examples of Venard's work are held in the Metropolitan Museum of Art in New York, the Musee d'Art Moderne in Paris and the Tokyo Museum.  

Harry Mitton Wilson,  British 1873-1923 - Winter Woodland with Woodcutters;  oil on canvas, 40 x 50 cm  Provenance:  Pyms Gallery, London, stock no.E782 (label attached to the reverse of the frame)  Exhibitions:  Pyms Gallery, London, Alan and Mary Hobart present the art of Harry Mitton Wilson (1877-1923), Edwardian impressionist', 1st December 1998, cat. no.45 

Harry Mitton Wilson, British 1873-1923 - Early Light, English Countryside, c.1904; oil on panel, inscribed with artist's name, date and title on the reverse, 16.5 x 23.5 cm Provenance: Pyms Gallery, London, stock no.E731 (label attached to the reverse of the frame) Exhibitions: Pyms Gallery, London, Alan and Mary Hobart present the art of Harry Mitton Wilson (1877-1923), Edwardian impressionist', 1st December 1998, cat. no.10 

Harry Mitton Wilson,  British 1873-1923 -  Gypsies and Caravans; oil on canvas, signed lower right 'H M Wilson', 52 x 61 cm Provenance:  Pyms Gallery, London (label attached to the reverse of the frame) Exhibitions:  Pyms Gallery, London, 'Alan and Mary Hobart present the art of Harry Mitton Wilson (1877-1923), Edwardian impressionist', 1st December 1998, cat. no.22 

Northern School - By and After Alison Douglas (Sheffield Artist) 'Celtic Clave' limited edition monochrome no. 4/6; By and after M.H.Jeffries 'Walkley Menagerie' monochrome drypoint etching, no.7/20; Unattributed impressionist study titled 'Muker, North Yorkshire' to verso, etc (4)

J.H Mugglestone (Impressionist School), Packington near Ashby-De-La-Zouch, oil on board, 50cm x 80cm; Theo Ellis 'Abbey Ruins'; * Webb 'Sewing'; a late Victorian watercolour study of a hamlet amongst the abbey ruins (4)

Mid 20th Century Impressionist School, oil on board, landscape with farm buildings, signed, 30 x 40cm, in a painted frame, together with another coastal scene with distant buildings, possibly St Michael's Mount, 32 x 37cm, in a swept painted frame

John Watson, pair of pastel impressionist studies, Camberwell school, signed and dated '73, 24 x 43cm each

Regis Liger, pen and watercolour, view of Westminster, London, 34cm x 26cm, together with two others by the same artist, ' Hever Castle ' and ' Penshurst Place ' 43cm x 53cm, and another impressionist pastel street scene indistinctly signed and dated '78, 53cm x 37cm

JOSEF BARTA (Czech / Bohemian 1864 - 1919) - Summer landscape | technique: oil on cardboard | 51 x 66 cm | signature: bottom right | framed | Lot description | This painting by Josef Barta, a student of the famous Czech landscape painter Julio Marak, is a beautiful example of Czech impressionist landscape painting. Here, Barta uses light, quick brushstrokes and a soft, light palette of colors to capture the atmosphere of a summer day in the Czech countryside. His sensitive rendering of the landscape reveals the influence of Marak's school, where emphasis was placed on detailed work with nature and its light. The composition of the picture with a wide horizon and diffused light evokes a feeling of infinite space and harmony. Barta, like his teacher, focused on the beauty of Czech nature, but added a modern impressionistic touch to his work, emphasizing the transience of the moment and capturing the light changes of the landscape. | condition report*In case of missing photos, please feel free to contact us.

JIRI HERMAN (Czech / Bohemian 1892 - 1969) - From Vysocina | 1923 | technique: oil on cardboard | 32 x 40 cm | signature: bottom right | framed under glass | Lot description | Jiri Herman (1892-1969) was one of the Czech landscape painters who were significantly influenced by Antonin Slavicek, who shaped Czech landscape painting at the turn of the 19th and 20th centuries. The work from 1923, which depicts a vast landscape with windswept trees under a dramatic sky, bears traces of Slavick's handwriting in the dynamic rendering of nature and in the painter's interest in atmospheric conditions. Here, Herman works with free brushstrokes and a distinct color range, thus continuing the impressionist technique of Antonin Slavicek. The composition of the work shows an emphasis on the immediate impression of the landscape, which Herman was able to transfer to the canvas with extraordinary liveliness and energy. | condition report*In case of missing photos, please feel free to contact us.

ZDENKA BRAUNEROVA (Czech / Bohemian 1858 - 1934) - Willows | technique: oil on canvas adjusted to cardboard | 20 x 25 cm | signature: bottom left | framed | Lot description | The oil painting, depicting a landscape with willows and a wooden fence, is a typical example of the work of Zdenka Braunerova (1858-1934), one of the important figures of the Czech painting scene at the turn of the 19th and 20th centuries. Braunerova became famous not only as a painter, but also as a graphic artist, writer and cultural organizer. Fascination with the landscape of the Czech countryside is prominent in her work, which is also reflected in this work. The painting Willows depicts a typical motif of willows in Czech villages, whose fragile yet expressive form works in harmony with the natural environment. The light that shines through the leaves and underlines the subtle shades of green testifies to the author's masterful mastery of plein air painting and her sensitive approach to nature. The work bears distinct signs of Impressionist influence, especially in the way it captures light and atmosphere, and reflects the artistic trends that Brauner became acquainted with during her stay in France. | condition report*In case of missing photos, please feel free to contact us.

VACLAV RADIMSKY (Czech / Bohemian 1867 - 1946) - Landscape with water lilies | technique: oil on cardboard | 69 x 98 cm | signature: bottom left | condtion: damaged frame | framed | Lot description | Vaclav Radimsky, an important Czech painter, known primarily for his work in France, is one of the key representatives of Impressionism in Central Europe. His work "Landscape with Water Lilies" shows strong inspiration from French landscape painting, especially the work of Claude Monet, whose influence is evident both in the motif and in the technique itself. Radimsky, like Monet, captures the atmosphere of natural scenery using subtle color tones and an emphasis on lighting conditions. Analogous to Monet's "Water Lilies", in this painting too, Radimsky excels in capturing the play of light on the water surface and in rendering the fluidity and translucence of the water. This painting, unlike the direct copying of motifs, reflects the painter's unique approach and his ability to combine Eastern European painting tradition with modern impressionist principles. | condition report*In case of missing photos, please feel free to contact us.

FRANTISEK LIBAL (Czech / Bohemian 1896 - 1974) - View from the Tyn Church (large format) | 1921 | technique: oil on canvas | 100 x 100 cm | signature: bottom left | framed | Lot description | In his work, Frantisek Libal, an important Czech painter and landscape artist, presents a view from the Tyn Church to the Old Town Square. This Impressionist painting bears clear traces of the influence of Claude Monet, especially his famous cityscapes. Here, Libal masterfully works with atmosphere and light, creating a whimsical, almost dreamlike view of Prague with the help of soft brushstrokes and blurred contours. Architectural elements are rendered with an emphasis on light and shadow, creating the characteristic Impressionist illusion of a fleeting moment. The work not only celebrates Prague's architecture, but with its poetic conception reminds Monet and his fascination with city panoramas. | condition report*In case of missing photos, please feel free to contact us.

WATERCOLOUR IMPRESSIONIST MEDITERRANEAN SCENE SIGNED BY ARTIST 56.5CMS (H) X 38 CMS (W) PIC ONLY APPROX

Robert Noble RSA (Scottish, 1857-1917), Impressionist oil on canvas, Riverscape with trees, 49 x 34cm, housed in ornate gilt frame. Condition - good

Impressionist, pair of oils on board, Riverscape with moored boats and lakeside scene, each indistinctly signed, Mat ..?, each 17 x 12cm, gilt framed. Condition - good

Dorothy Jerrold (fl. 1908-1940), Impressionist oil on canvas, Landscape with figure collecting wood, signed, 64 x 41cm. Condition - fair

Sue Fenlen, Forever - Impressionist landscape print with flowers in fields, titled on label verso, signed lower right, 58cm x 98cm, framed

Extensive Impressionist Victorian beach gathering, oil painting, 22.5 x 29.5cm, gilt framed

John Sampson, an Impressionist view of New York, gouache, signed and dated, 48 x 38cm, framed and glazed