Old Masters
Guy Peppiatt Fine Art: JMW Turner RA (1775-1851), Tent Lodge, Coniston Water, Lake District, watercolour heightened with touches of bodycolour on buff paper, 50.2 x 65.4 cm
The Limner Company: Nicholas Hilliard (1547-1619), King James I of England and VI of Scotland (1566-1625), watercolour and bodycolour on vellum, oval, 1¾ in. (45 mm.) high
Charles Beddington: Carlo Grubas (Venice 1802-1870), Venice: The Volta di Canal at Night with the Festivities in Honour of Emperor Ferdinand I of Austria, 7th October, 1838, oil on canvas, 19 ⅞ x 27 ¼ in. (50.5 x 69.2 cm.)
Colnaghi: Felice Palma (1583-1625), Christ about to receive the baptism in the Jordan River, c. 1618-1621, Carrara marble, h. 90.5 cm, base: 21.2 x 22.5 cm
Trinity Fine Art: Tiziano Vecellio, called Titian (Pieve di Cadore 1488/90 – Venice 1576) and Girolamo Dente (recorded from 1525 – before 1572), Madonna and Child with St. Mary Magdalene, oil on canvas, 104.7 x 93 cm
Rountree Tryon: Francisco Michans Gargori (Spanish, 1777-after 1837), The Spanish Court Aviary Keeper, oil on canvas, 69¾ x 50½ in. (177.2 x 128.3 cm)
Nonesuch Gallery: Franz-Ludwig Catel (Berlin, 1778 - 1856, Rome), The Mausoleum of the Necropolis of San Vito, with Figures from Goethe's DER WANDERER (c.1830-40), oil on canvas, 81 x 108.5 cm
Colnaghi: Jacopo Robusti (1518-1594), called Il Tintoretto, Portrait of Giovanni Grimani (1506–93), Patriarch of Aquileia, oil on panel, 57.5 x 40.7 cm
Trinity Fine Art: Giambattista Tiepolo (Venice 1696 – Madrid 1770), Head of an Oriental Gentleman with a Moustache and Turban, oil on canvas, 43.5 x 35.5 cm
Karen Taylor Fine Art: Thomas Jones (1742 -1803), Near Naples with a mule on a track oil on Italian writing paper, 27.7 x 43 cm.; 10 7/8 x 16 7/8 inches
Nonesuch Gallery: Attrib: Giovanni Da Udine (Udine, 1487 - 1564, Rome), A Study For Part Of The Decorations In The Papal Loggie At The Vatican, pen & ink on laid paper, 40.6 x 20.7 cm (16 x 8 3/20 in)
Charles Beddington: Giovanni Grubas (Venice 1829 – 1919 Pola) The Piazza San Marco by Night with Victor Emmanuel II, King of Italy, and Franz Joseph I, Emperor of Austria and King of Hungary, greeting the Crowd from the Imperial Apartments in the Procuratie Nuove during the Emperor’s Visit to Venice on 5th April, 1875, oil on unlined canvas, 33 ⅞ x 43 ¾ in. (86 x 111.3 cm.)
Modern Masters
Daniel Katz Gallery: Paul Nash, Cumulus Head (1944), oil on canvas, 60.5 x 40.5cm, signed ‘Paul Nash’ lower right
Emanuel von Baeyer: Albert Ernest Harnisch, 1843 Philadelphia – 1918 Rome, The Turtle Race (La corsa delle tartarughe) c. 1878, oil on canvas. 60 x 93 cm
Daniel Katz Gallery: Paul Nash, Stone Tree (1934), oil on board, 58.5 x 40.6cm, signed ‘Paul Nash’ lower right
Ben Elwes Fine Art: Gösta Adrian-Nilsson (GAN) (1884–1965), Abstract II, 1919, oil on panel, 46 x 37 cm
Haynes Fine Art: Paul Signac (1863-1935), Honfleur, 11 Fevrier 30, mixed media on paper laid on card, inscribed lower right, paper size: 10.75 x 17.5 inches
Ben Elwes fine Art: María Blanchard (1881-1932), Cubist Composition, 1917-18, oil on canvas, 46 x 27 cm (18 1/10 x 10 2/5 in)
Haynes Fine Art: Gustave Loiseau (1865-1935), Bords de l'Oise, 1906, signed 'G Loiseau' (lower right), oil on canvas, 20 1/8 x 24 1/8 in (50.8 x 60.9 cm)
British Artists
Guy Peppiatt Fine Art: William Callow R.W.S (1812-1908), View of the Ca' Foscari on the Grand Canal, Venice, 1854
The Limner Company: English School (circa 1800-1820), Eight eye miniatures with blue and hazel eyes, watercolour on ivory (licence SJYTTZSU) set into a tortoiseshell box. Each eye 20 mm (0.75 in) diameter
James Mackinnon: Sir Edwin Landseer, R.A. (1803-1873), Loch Laggan, Inverness, passing storm, oil on board, 27.9 x 45.7 cm 11 x 18 inches
Fine Art Commissions: Howard Morgan (1949-2020), Leadbelly IV, 1995, oil on canvas, 57 7/8 x 40 1/8 in (147 x 102 cm)
Darnley Fine Art: Eric Brown (1894-1955), Old Sarum, oil on canvas, dated ’34 , 19 ¾ x 25 ½ inches (50 x 65 cm)
David Messum Fine Art: Percy Morton Teasdale (1870-1961), His First Ship, oil on canvas, 126 x 100 cm
Karen Taylor Fine Art: Constance Gordon-Cumming (1837-1924), Entrance to the Yosemite Valley, watercolour over pencil, 49 x 58 cm.; 19 ¼ x 22 ¾ inches
Darnley Fine Art: Eric Brown (1894-1955), Salisbury Cathedral in Landscape, oil on board, 10 ½ x 14 (26.5 x 35.5 cm)
Fine Art Commissions: Gareth Reid (b. 1974), Working drawing of HM King Charles III, 2019, charcoal on canvas, 53 1/2 x 41 3/4 in (136 x 106 cm)
James Mackinnon: Richard Parkes Bonington (1800-1828), Inner harbour, Boulogne, watercolour, 15.5 x 24.8 cm (6 1/8 x 9 3/4 inches)
Alexander Clayton-Payne: John Absolon, R.I. (1815-1895), A Student's Lodgings, c.1837-1840, watercolour and bodycolour on paper, 48.2 x 38.1 cm
Rountree Tryon: Sir Alfred James Munnings, P.R.A., R.W.S. (1878-1959), Davy Jones with the Hon. Anthony Mildmay up, oil on canvas, 36 x 44 in. (91.5 x 111.5 cm)
Alexander Clayton-Payne: Daniel Gardner (c.1750-1805), A Portrait of Mrs Charlotte Mary Peters (1765-1816) of Betchworth Castle, c.1785, gouache and pastel on paper, 61 x 48 cm
David Messum Fine Art: Wilfrid Gabriel de Glehn RA NEAC (1870-1951), The Harbour, St. Tropez, 1925, oil on canvas, 55 x 71 cm
Works of Art
Justin Raccanello: Four large and important Etruscan type vases, Biagio Giustiniani manufactory, Naples, Italy. c. 1820. Each circa 58 cm high
Paul Mitchell Ltd: From centre out: Spanish mid-C17th Baroque frame, 43.8 x 35.9 x 10.8cm (301028); Spanish first-half C17th Baroque frame with carved gadrooned sight, 70.8 x 53 x 10.8cm (300647); Rare Spanish late C17th century Herrera style architectural frame, 160 x 114.3 x 18.4cm (841057)
trias Art Experts at Emanuel von Baeyer: A pair of mounted seated Dutch figures of a peasant maid sowing and a peasant filling his pipe. Porcelain figures, modelled by Johann Friedrich Eberlein (1695-1749) and Johann Joachim Kaendler (1706–1775), 1746
Paul Mitchell Ltd: From centre out: Lombardian C16th architectural cassetta frame, 36.8 x 24.8 x 7.9cm (300284); Roman late 17th-early 18th century ’Salvator Rosa’ frame in ebonised pearwood, 65.4 x 41.3 x 10.2cm (871142); Tuscan first-half C17th cassetta frame, 95.9 x 74.9 x 12.7cm (851110)
Justin Raccanello: Four large and important Etruscan type vases, Biagio Giustiniani manufactory, Naples, Italy. c. 1820. Each circa 58 cm high
Museum Highlights Recommended by Nigel Ip
VICTORIAN TREASURES FROM CECIL FRENCH AND SCOTT THOMAS BUCKLE at Leighton House (until 21 September). Separated by 70 years, Leighton House presents a unique opportunity to compare the historic Victorian paintings collection in the Cecil French bequest and the Victorian drawings collection of present-day collector Scott Thomas Buckle. Artists represented include Edward Burne-Jones, Albert Moore, John William Waterhouse, and Lawrence Alma-Tadema.
ASTONISHING THINGS: THE DRAWINGS OF VICTOR HUGO at the Royal Academy of Arts (until 29 June). This landmark exhibition brings together the holdings of the Maisons de Victor Hugo and the Bibliothèque nationale de France in an inquisitive overview of the celebrated French writer’s draughtsmanship. Using Hugo’s interests in castles and nature as a focal point, visitors can experience his mind at work and his experimental relationship with pen and ink.
V&A EAST STOREHOUSE. London’s hottest new attraction has finally opened to the public. Housing the V&A’s collection of over 250,000 objects, visitors can experience the inner functions of a working museum via three floors of accessible displays and glimpses into areas like the conservation lab. Extremely large works can also be seen, such as Picasso’s stage curtain for Le Train Bleu, the 500-year-old wooden Torrijos ceiling, and even Frank Lloyd Wright’s Kaufmann Office.
RAPHAEL TO COZENS: DRAWINGS FROM THE RICHARD PAYNE KNIGHT BEQUEST at the British Museum (until 14 September). Since the museum’s acquisition of the Richard Payne Knight bequest in 1824, this is the first time a significant portion of its drawings has been on display en masse. It is a rare opportunity to see some gorgeous masterpieces, such as Andrea Mantegna’s Allegory of the Fall of Ignorant Humanity (Virtus Combusta), various landscapes by Claude Lorrain and Thomas Gainsborough, and Charles Gore’s vast panoramas of archaeological sites in Europe. An adjacent display examines the drawings of Jean-Antoine Watteau.
TWO HALVES OF A MANET PAINTING REUNITED at the National Gallery (until 15 December). To mark the National Gallery’s bicentenary, two halves of a café scene by Edouard Manet have been brought together after almost 150 years, when the artist intentionally cut the canvas in two. Reworking both fragments as individual paintings, At the Café joined the Oskar Reinhart Collection ‘Am Romerholz’ in Winterthur, Switzerland, while the National Gallery owns the right half titled Corner of a Café-Concert. The former recently featured in the Courtauld Gallery’s exhibition Goya to Impressionism, which presented 25 works from the Swiss collection.
THE EDWARDIANS: AGE OF ELEGANCE at the King’s Gallery, Buckingham Palace (until 23 November 2025). See how 19th-century British taste in art and collecting was radically shaped by King Edward VII and Queen Alexandra, and by King George V and Queen Mary in this vast survey of works in the Royal Collection. Dictated by their personal interests in contemporary art and photography, it features the works of Frederic, Lord Leighton, Rosa Bonheur, and Carl Fabergé.
THE CARRACCI CARTOONS: MYTHS IN THE MAKING at the National Gallery (until 6 July). Drawings enthusiasts should take advantage of this once-in-a-lifetime display of the National Gallery’s two giant cartoons made in preparation for the Palazzo Farnese ceiling in Rome. Widely considered to be the crowning achievements of the Bolognese brothers Annibale and Agostino Carracci, these extraordinary survivors of monumental drawing offer an intimate understanding of their creative and working practices.
EDWARD BURRA - ITHELL COLQUHOUN at Tate Britain (until 19 October). Two exhibitions for the price of one. Follow the itinerant Edward Burra as he navigates the queer culture and urban underground of New York’s Harlem, his experiences of war, and the aftermath of the British landscape. Meanwhile, Ithell Colquhoun's creative experiments inspired by spiritualism and the occult will cast fresh insights on this forgotten woman artist in British Surrealism.
THE BARBER IN LONDON: HIGHLIGHTS FROM A REMARKABLE COLLECTION at the Courtauld Gallery (until 22 February 2026). While the Barber Institute of Fine Arts undergoes major refurbishment until 2026, a selection of its paintings have gone on loan to the Courtauld Gallery. Highlights include Frans Hals’s Portrait of a Man Holding a Skull, Elisabeth Vigée-Lebrun’s Portrait of Countess Golovina, and Dante Gabriel Rossetti’s The Blue Bower. Important thematic links are also highlighted between works in the permanent collection and the Barber’s own.