"Warmiing Up" Jockey Galloping a Horse with a Plaited Mane

Oil on Canvas , signed"WV"

Painting: 16" x 24"
Frame: 20.75" x 28.5"

British School, Circa 1870

Charming Genre Scene showing a traveler beseiged by begging children. The Victorians loved this type of painting that "tells a story", Note how the little girl staring straight out pulls you into the picture

Ptg: 27" x 33"
Frame: 32.5" x 38.5"

Old Master Style Still Life

Oil on Panel, signed

Provanance: Noortman Master Paintings, Maastrick

Painting: 9.75" x 7.25"
Frame: 16" x 13.75"

Italian School, Circa 1870.

Before photography, ship captains, owners or pasangers would commission local artists to paint their ship in foriegn ports, Here we see a ship in the Bay of Naples with Mount Vesuvius in the background

Ptg. : 10.5" x 16"
Frame: 13" x 18"

Portrait of a Woman in Lace Cap

Oil on panel.

Provenance: J. Davey & Sons, Manchester, England

Painting size: 8.5” x 7”
Frame size: 11.5” x 10”

English School, 1834

Oil laid down to panel

"The Cardinal" was an Irish horse (owned by a Mr. Miles) who won The Chester Cup in 1834

Painting: 10" x 14.25"
Frame:16" x 20"

Chickens and Rooster

Oil-on-Panel, signed lower right

Painting: 12.5" x 9.25"
Frame: 18.5" x 15.25"

Federico Jiménez Fernandez was born in Madrid in 1841 and trained at the School of Painting, Sculpture and Engraving of San Fernando where he studied with José Gonzalez Bande. He traveled to Paris to continue his studies, as did so many other artists of the time. Jiménez was known for his paintings of birds and animals, both wild and domesticated.

Jiménez began exhibiting at the age of 17 and won his first of many medals the following year. His reputation was well established at an early age and his painting “La Maison Morte” was purchased by the National Museum in 1862. He also exhibited in Germany and in Paris at numerous venues. His popularity and the taking on of commissions to decorate palaces allowed him to support his family in a comfortable fashion.

One of Jiménez’ paintings, a parody of “The Judgement of Paris” is held by the Prado Museum. In this work, Paris and the three beautiful goddesses are replaced by a rooster with an apple at his feet and three hens.

Sources:
Benezit, E. Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs

The London to Oxford Coaches at Mile Marker 24

Oil-on-canvas, signed lower right

Painting: 17” x 32”
Frame: 23 ½” x 38 1/4”

Pollard was an engraver and sporting artist noted for his coaching, fox hunting and equine scenes. As the son of Robert Pollard, a painter, engraver and publisher, James was encouraged to become a painter of horses. He was also tutored by his father’s friend, the engraver Thomas Bewick. Growing up in Islington, Pollard lived on a main coaching route which undoubtedly influenced his choice of coaching scenes as his primary subject matter. In 1821 he exhibited a large work at the Royal Academy “North Country Mails at the Peacock, Islington” and by 1825 he was successful enough to leave his father, marry and set up his own studio. He prospered with numerous commissions. With the demise of the mail coaches in the 1840‘s, Pollard expanded his subject matter to include racing, hunting, shooting and angling scenes. Pollard is also known to have collaborated with John Frederick Herring Senior on several racing pictures in which he painted the backgrounds and crowd scenes and Herring painted the horses.

Pollard exhibited at the Royal Academy between 1821-1839, the British Institution in 1824 and 1844, and at the Suffolk Street Galleries. Many of his works were reproduced in prints which were engraved by himself, his father and others.

Pollard’s work is noted for its historical accuracy, attention to detail and in evoking the spirit of the coaching age.

Sources:
Mitchell, Sally. The Dictionary of Equestrian Artists
Wingfield, Mary Anne. A Dictionary of Sporting Artists, 1650-1990
Wood, Christopher. Dictionary of British Art. Vol. IV, Victorian Painters

Blossoms and Bugs
Still Life with Flowers on a Marble Ledge

Oil-on-canvas, signed on reverse

Painting: 20 ¼” x 17 ¾”
Frame: 26 ¾” x 23” SAFA/11078

Floral Still life with Tulips, Iris and Roses in a Glass Jar with Butterflies, Insects and a Shell

Oil on panel (slight warp)

Painting Size: 19.75” x 14.75”
Frame Size: 27 ” x 23”

Farm by a Pond

Oil on canvas, signed lower right

Painting: 24" x 30"
Frame: 30" x 42"

Maidment was a painter in oil of rural scenes and landscapes. He also used the pseudonyms of "R. Fenson" and “A. Wynn”. Dated examples of his work have been seen spanning from 1898 until 1914. The high quality of the painting and decorative subject matter have fueled an ever growing demand for Maidment’s work.

Source:
Wood, Jeremy. "Hidden Talents, A Dictionary of Neglected Artists working 1880-1950"

The Art Critics

Oil-on-canvas, signed lower right, located “Meran” and dated “1906"

Painting Size: 39.5” x 31.75”
Frame Size: 48.25 ” x 40”

A painter of historical, genre and allegorical scenes, Leeke studied at the Munich Academy under Johann Herterich and with the Hungarian genre and landscape painter Alexander von Wagner. Around 1889, Leeke was commissioned by Siegried Wagner, son of Richard Wagner to paint a series of scenes from his father’s operas to commemorate Wagner and his work. The series was completed in 1898.

This scene of two young country women gazing at an absent artist’s canvas is set in the south Tyrol above Merano, Italy, near the Austria/Italy border. We know this because of a similar view of the same cottage titled “Schwarzplatterhof oberhalb Merans” (Schwarzplatterhof above Merano). The area is now a famous resort and vacation area.

Sources:
Benezit, E. "Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs"
Thieme-Becker, ed. "Allgemeines Lexikon der bildenden Künstler vonder Antike bis zu Gegenwart"

Landscape with Farmhouse and Sheep

Oil on canvas, signed lower left.

Painting Size: 11” x 14”
Frame Size: 16.5 ” x 19.5”

Koekkoek was a student of his father the artist Johannes Hermanus Koekkoek and of Schelfhout Van Os at the Academy of Amsterdam. He married the daughter of the painter J.A. Daiwaille. In 1845 the Dutch king commissioned numerous paintings from Koekkoek. He travelled around Belgium and frequently visited the environs of the Rhine and the Moselle. In 1841 he founded an academy of drawing in Clèves where artists such as Frederick Kruseman, Lodewijk Kliejn and Johann Bernard Klombeck came under his tutelage and gave rise to the school of landscape painting referred to as 'Cleves Romanticism'. He took part in Paris exhibitions and won medals in 1840 and 1845. He was a member of the Academies of Petersburg and of Rotterdam. His paintings reveal his careful study of Dutch 17th century painters and the romantic tradition of the Dutch masters.

Perhaps the artist of this painting studied at the Clèves academy as evidenced by his adherence to Koekkooek’s admonition to observe qualities of light and following Koekkoek’s example of painting rural environments with tiny figures.

Sources:
Benezit, E. "Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs"
Thieme-Becker, ed. "Allgemeines Lexikon der bildenden Künstler vonder Antike bis zu Gegenwart"
Sheen, ed. "Lexicon Nederlandse Beeldende Kunstenaars 1750-1950"

Morning Light

Oil-on-canvas, signed lower left

Painting Size: 19.75” x 25.5”
Frame Size: 24 ” x 30”

Brasseur was a painter and designer who specialized in religious art as well as genre scenes, portraits and nudes.He was a student at the Saint-Luc School in Schaerbeek where he spent his last year as a scene painter. He adopted a Neo-Gothic style, typical of that school. Brasseur also produced copperplate engravings and stained glass windows. Among others, he worked with the Beyaert firm of Bruges and with the stained glass artist J. Osterrath.

Sources:
Benezit, E. "Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs"
"Le Dictionnaire des Peintres Belges du XIV Sicle du XIV Siècle à Nos Jours"
Piron, Paul , "De Belgische Beeldende Kunstenaars uit de 19de en 20ste eeuw"

Beauty and the Beast

Oil on canvas, signed with monogram and titled on the reverse

Exhibited: The Royal Academy, 1899

Miss Suitcliff was a Hampstead painter of genre and portraits who exhibited at the royal academy from 1881-1899 and elsewhere.

Source:

Christopher Wood, The Dictionary of Victorian Painters

Painting Size: 16" x 20" Frame Size: 24" x 28"

Henri Dominique Roszezewski (French, 19th/20th century)

Oil on panel, signed.

A painter of landscapes and still lifes, Roszezewski studied under Maillard. He made his debut at the Salon de Paris in 1868 and was particularly noted for his still life paintings.

Roszezewski is listed in Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs by Bénézit. Painting size: 8.5” x 6.25”
Frame size: 16” x 14”

Caught Napping

Oil on canvas, signed and dated: “1867”

Painting size: 15.5” x 26.5”
Frame size: 22.5” x 33”

A student of Scots artist, Scott Lauder, John Burr studied at the Trustee’s Academy in Edinburgh. He moved to London in 1861 with his brother and fellow painter, Alexander Burr. Upon his arrival Burr began exhibiting at the Royal Academy. He continued to exhibit there until 1882. In addition, he exhibited at Suffolk Street and the Old Watercolour Society. Burr is known for his genre paintings involving small children and domestic scenes.

Source:

Wood, Christopher. Dictionary of British Art: Victorian Painters. (1995).

Harris, Paul and Julian Halsby. The Dictionary of Scottish Painters. (1990).

The London to Bath Coach Pulling up to the Spaniards Tavern, Bath, England in 1884

Oil on Canvas, signed, and dated l.r.

Painting: 14: x 26"
Frame: 20.5" x 32.5" (outer frame later)

A newly discovered gem from one of England's best coaching painters.

John Charles Maggs (1819–1896) was a painter best known for his coaching scenes. He was born in Bath, England in 1819, his father being a furniture japanner there. John painted a series of famous coaching inns, and also a series of 80 metropolitan inns, in which he exploited the picturesque and historical aspect of his subject, to which his talent was best suited.

Other subjects he painted include Newmarket Races, Robbing the Mails, The News of Waterloo, The Market Place at Bath. The period he illustrated spans about two centuries; from the days before Hogarth, to the end of the reign of William IV.

His work enjoyed great popularity at a time when there was much interest in such vivid reconstruction of the 'romantic past'.

John Maggs' father, James, is recorded as an artist at Bath 1837–1841 and his uncle as a portrait painter 1846–1848. His daughter also assisted at his studio, known as the Bath Art Studio. Maggs lived in Bath his whole life, and died there on 3 November 1896, aged 77.

THE SPANIARDS TAVERN The Spaniards Inn is a historic pub on Spaniards Road between Hampstead and Highgate in London, England. It lies on the edge of Hampstead Heath near Kenwood House. The pub is believed to have been built in 1585 on the Finchley boundary, with the tavern forming the entrance to the Bishop of London's estate—an original boundary stone from 1755 can still be seen in the front garden. Opposite it there is a toll house built in around 1710. would lead to more and faster traffic.

Dick Turpin is thought to have been a regular at the Inn, as his father had been its landlord.What is certain is that highwaymen frequented this area and likely used the Inn to watch the road; at that time the Inn was around two hours from London by coach[citation needed] and the area had its fair share of wealthy travellers. Records from the Old Bailey show that on 16 October 1751 Samuel Bacon was indicted for robbery on the King's Highway and was caught 200 yards from the Spaniards

In 1780 rioters involved in the Gordon Riots, opposed to the relaxation of laws in England that restricted Catholicism, marched on Hampstead intent on attacking Kenwood House, the home of William Murray, 1st Earl of Mansfield. The landlord of the Spaniards at the time is reported to have given them free drinks, keeping the rioters occupied, until the local militia arrived, thus saving the house.

The pub has been mentioned in Dickens's The Pickwick Papers and Bram Stoker's Dracula, and has been frequented by the artist Joshua Reynolds and the poets Byron and Keats. According to the pub, Keats wrote his Ode to a Nightingale in the gardens, and Stoker borrowed one of their resident ghost stories to furnish the plot of Dracula.