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WILLIAM SAMUEL HORTON (AMERICAN 1865-1936): A PASTEL DRAWING ON PAPER DEPICTING A COUNTRYSIDE SCENE61cm x 47cmWilliam 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 WINTRY MOUNTAIN LANDSCAPE WITH HOUSES62cm x 48cmWilliam 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 FRENCH 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 CHARCOAL SKETCH OF TREES63cm x 48cmWilliam 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 CHATEAU IN THE FRENCH COUNTRYSIDE77cm 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): A GROUP OF SIX OIL PAINTING SKETCHES ON BOARDLargest 46cm x 37cmWilliam 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 GARDEN STATUE NEAR A POND55cm x 45cmFramed and glazedWilliam 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 PARISIAN VILLAGE AT NIGHT55cm x 44cmWilliam 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 'PETUNIAS'58cm x 54cmLabelled to verso.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 PASTEL DRAWING ON PAPER DEPICTING A WINDING STREAM IN THE COUNTRYSIDE40cm x 28cmFramed and glazed 80cm x 66cmWilliam 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 FOUR ETCHINGS ON PAPER30cm x 23cmFramed and glazed 43cm x 36cmWilliam 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 ROOFTOPS IN THE SUNSHINE56cm x 44cmWilliam 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 PAIR OF PASTEL DRAWINGS ON PAPER DEPICTING TREES WITH CHURCH RUINS IN THE BACKGROUND61cm x 47cmWilliam 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 COWS IN A FIELD NEAR A STREAM, WITH CHURCH RUINS IN THE BACKGROUND60cm 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 GROUP OF SIX OIL PAINTING SKETCHES ON BOARD55cm x 43cmSome in poor condition.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.

A mixed lot of jewellery: to include an amber and moonstone necklace stamped 925, a Monet purple glass necklace and matching earrings, a marcasite bow brooch, a gold plated locket and a gold plated necklace, (6)

A large collection of costume jewellery, to include a faux pearl penguin brooch, a faux pearl penguin pin, a rope link chain bracelet, a paste drop heart pendant, all gilt metal and signed Monet, a pair of gilt metal faux pearl cluster clip earrings, a pair of red stud earrings, signed Trifari, a Tilly ring, by Vivienne Westwood, stamped 925, a wide daisy bangle, and a collection of costume brooches, necklaces, pendants, pins, bangles, bracelets, etc. (qty)Condition ReportMinor marks and scratches to surfaces.As found.

A good selection of circa WW2 era Royal Air Force sweetheart brooches. To include: mostly gilt metal and enamel examples, with many being the traditional RAF wings pattern. One example is manufactured in white metal, and set with rhinestones, and another scarce gilt and painted piece is made by the BWRS (British War Relief Society) and marked ‘Official Bundles for Britain by Monet’. 10 brooches total. Condition: good to most examples. Very minor enamel loss to a couple of brooches, and the rhinestone piece has a couple of tiny stones missing. Each brooch retains its pin and clasp or button hole fitting to the reverse.

A large quantity of vintage reproduction prints of paintings, to include: a print mounted on masonite after Picasso's Guernica, 124 x 57 cm; After I. Clark - 'Muskat Harbour', 'Shinaafs from the Sea' and 'A View of Mutra from the East' (approx. 20 copies of each); Tretchikoff - 'Green Lady' mounted on masonite; Herbert Beecroft - Portrait of Christ on board; Sir Gerald Kelly - Burmese Dancers; Marcel Dyf; C. Kluge; Jacques Bleny; Claude Monet; Pablo Picasso; Russell Flint (3 folders and other loose sheets)

A Monet polished metal sectional choker, in original box

Monet necklace, Caravelle watch and bangle

Collection of vinatge costume jewellery including Christian Dior gold-tone necklace, boxed, a Christian Dior faux pearl brooch, a Trifari brooch, Monet brooch, and other costume jewellery, etc, in a leather jewellery box

Monet print of a windmill

Large Collection of Vintage Quality Costume Jewellery, including Trifari, Monet, Napier, D'orlan, Sphinx, Scottish Celtic, Corocraft, etc. comprises necklaces, chains, earrings, brooches, watches, etc.

Large Collection of Ladies & Gentlemen's Wristwatches, leather and bracelet straps, various makes to include Citron, Red Herring, Limit, Hooch, Accurist, Henley, Golddigga, Monet, Solo, B & B, Geneva, Lipsy, Picador, Infinite, Mantarayj, M & S, John Rocha, Oasis, Rowley, Chic, Identity, Seconda, Insens, Imperial, Little Mistress, Lorus, Philip Mercier, etc. and fashion watches. 50+ in total.

A large quantity of costume jewellery to include a Swarovski heart-shaped pendant and a pair of earrings, a cubic zirconium tennis bracelet with heart-shaped catch, various earrings, brooches, bracelets, pendants, a pair of Monet earrings, an Aynsley porcelain brooch, carved wooden shoe, brooches in the form of a lizard, a dolphin, elephants, an enamelled pin in the shape of a clover with a ladybird, etc.

A quantity of mainly vintage costume jewellery, to include a large Monet gold-coloured floral brooch, diameter 6.5cm, boxed, a Monet gold-coloured chain necklace, a Trifari abstract brooch, a Sarah Coventry brooch, Napier necklaces and brooches, a Stratton Lipview mirror, Stratton cufflinks, boxed, further cufflinks, a spider brooch, beaded necklaces, Lotus faux pearls, boxed, a J J Jonette castle brooch, an 18K gold plated bangle, a Victorian pinchbeck bangle with blue enamel and faux seed pearls, a Troika 'Decision Maker' in pouch, rings, badges, bracelets, watches, thimbles, etc.

A quantity of mid to late 20th Century costume necklaces and bracelets to include a Monet gold tone and simulated pearl necklace, a Jasper Conran silver tone and pearlised bead necklace, a vintage carnelian necklace having a double knot between each bead, an amethyst bracelet, Pandora bracelets with a branded box and a large quantity of vintage simulated pearl necklaces A/F. Location: TABLEIf there is no condition report, please request.

A late 20th Century mahogany effect jewellery box and contents to include a Marvella simulated pearl necklace and others, cultured pearl necklaces, a Monet gold tone chain and cream bead necklace and another Monet necklace with white crystal encrusted heart shaped pendant, a Napier simulated pearl bracelet with gold tone clasp and another Napier bracelet, a Tateossian white pearlised square bead necklace and mixed brooches. Location:If there is no condition report, please request

A quantity of vintage costume jewellery to include a malachite bead necklace, a silver and malachite bracelet, a Monet silver tone and mother of pearl tablet bracelet, a silver rope twist necklace, a rolled gold fine chain necklace, a silver pendant, tourist pin badges and a Sharmaine, Paris gold tone chain necklace. Location:If there is no condition report, please request.

Costume Jewellery - Swarovski jewellery, Monet & Co, Anticancer Murrina glass necklace, boxed; another, etc qty

A Framed Claude Monet Print, "The Poppy Field Near Argenteuil", 50x39cms

A tray of designer style costume jewellery to include Monet, Chantage, Coast, Ikita, Lovisa, Miro etc.

Eugene Louis Boudin (France, 1824 - 1898)"Trouville, Scene de Plage"Oil on Board. Signed lower right. Inscribed 'Trouville 74' lower left. This painting has never before been offered for auction.Provenance:Estate of Francis Luis Mora (American, 1874 - 1940); by descentLiterature:R. Schmit, Eugene Boudin, Paris, 1973, vol. I, p. 335, no. 939 (illustrated).We want to personally thank Ms Emma Jackson at the Hirsch Library at the Museum of Fine Arts, Houston for her assistance confirming this listing.Board Size: 6.5 x 14 1/8 in. (16.7 x 35.5 cm)Overall Framed Size: 11.5 x 19 in.Trouville, situated at the mouth of the river Touques in Normandy, was a small village that became a fashionable and elegant summer retreat for both Parisians and English visitors alike during the 1820s. From the 1860s through the 1890s, Boudin traveled to Trouville every year, painting the beach scenes for which he is best known.Boudin often dedicated half of his canvases to an expansive, cloud-filled sky. As Gustave Courbet, exclaimed, ''My God, you are a seraph, Boudin! You are the only one of us who really knows the sky''Boudin often worked on location, believing that "Everything that is painted on the spot has always a strength, a power, a vividness of touch that one doesn't find again in one's studio" (quoted in Yann Le Pichon, The Real World of the Impressionists, New York, 1983, p. 79). This approach to painting was, at the time, revolutionary. Claude Monet responded to Boudin's methodology and was soon joining the artist on the beaches of Trouville. After meeting Boudin in Le Havre in the late 1850s, Monet wrote "My eyes were really opened and I finally understood Nature. I learned at the same time to love it" (Quoted in Maria Costantino, The Impressionists, Secaucus, 1993, p. 39). Boudin's lessons in spontaneity inspired Monet and many artists of the younger generation to continue painting, not only sketching, en plein air and to pursue their interest in painting "impressions" of nature, using looser brush strokes and luminous tonalities. Boudin has long been considered among the most influential figures to the Impressionists.

Miscellany of books to include Monet, Firearms, Shipwreck, Van Gogh on Location, Trenchard, For Valour etc. (24)

Three large framed and glazed colour prints after Claude Monet - all in silvered and ebonised frames, the largest 110 x 80cm overall; together with a smaller Monet print. (4)

A large colour print after Claude Monet, 'The Parc Monceau' - 25½ x 35¼in (64.75 x 89.5cm), gilt framed (85 x 110cm).

Art Books - Daumer, Whisler, Royal Scottish Academy, Turner, Monet, Klee, Bumpus Elizabeth Blackadder, Alfred Whitman 'The Print Collectors Handbook', Frederick Webmare 'Etchings', Glorge Knox 'Tieplo Drawing' etc approximately forty-seven.

A group of mainly branded cotsume jewellery, including a multi coloured paste set Sphinx brooch, a Monet pendant still with original tag attached, two pairs of gilt metal Trifari clip on earrings, a Balenciaga bi coloured feather brooch and other items

A group of costume jewellery including an antique tortoiseshell and copal resin hair piece, a Monet rock crystal necklaces with spring clip clasp, a silver marquise cut rose quartz pendant, a 1920's lady black and white resin brooch, three late 19th century micro mosaic brooches, with silver jewellery and beaded necklaces Condition Report: silver gross weight 130 grams

A large collection of vintage costume jewellery to include items by Monet, statement necklaces, animal brooches etc Condition Report:No condition report available.

Konvolut: von 33 Ausstellungsplakaten (12) u. Kunstdrucken (21), 2.H. 20. Jh. Versch. Formate. Enthält Kunstdrucke von: Erwin Blumenfeld, Charlotte Culot, Salvador Dali, Vincent van Gogh (2 versch.), Thomas Hamann, Brent Heighton, Fritz (!) Hundertwasser, Wassily Kandinsky, Wahed Khakdan, Paul Klee, Werner Lichtner-Aix (2 versch.), August Macke, Werner Menrad, Joan Miró, Claude Monet, Edvard Munch, Horst Sauerbruch, Dorothea Schrade, Nicolas de Stael, André Vigud. - Tls. Randläs. - Plakate: ╔Corita.╗ Muirhead Galleries, Costa Meesa, CA. - ╔Alois Janak.╗ Art 19'89. Galerie Schnake, Basel 1989 (5, davon 3x dassgl.). - ╔Sidney Janis.╗ New York January 66. - ╔Jean Tinguely.╗ Nachtschattengewächse. Kunsthaus Wien 1991. - ╔Paul Klee╗ Konstruktion - Intuition. Städt. Kunsthalle Mannheim 1990-91. - "... bis zum letzen Atemzuge...". ╔Propaganda in der NS-Zeit.╗ Museum der Stadt Northeim 1995. - ╔Stadt Rosenheim╗ Fort mit solschen Köchen!...Unpolitische Wählervereinigung. Mehrf. gefaltet. - Falze beschädigt. - ╔Faschingskrapfen.╗ 5 Stück gefüllt 1,-. Wir bitten um Vorbestellung. - Mehrf. gefatltet.

PAUL LUCIEN MAZE (FRENCH 1887-1979) WINDOW SILL STILL LIFE Signed lower right, pastel on buff paper 54cm x 73cm (21.25in x 28.75in) From the Estate of Dorothy Bohm Paul Maze has been referred to as ‘the last Post-Impressionist’. Maze’s father was a wealthy tea merchant, and the Normandy-based family acquired many Impressionist artworks, and were friends with Monet, Renoir and Pissarro. Maze was encouraged to use pastels by Edouard Vuillard, who said they were best-suited to Maze’s artistic vision. Dorothy Bohm was a British photographer based in London, known for her portraiture, street photography, early adoption of colour, and photography of London and Paris. She is considered one of the doyennes of British photography.Dorothy Bohm was born in 1924 in Koenigsberg, East Prussia and moved to England in 1939. By the age of 21, she was running her own very successful portrait studio in central Manchester, known as Studio Alexander. In the mid-1950s, she lived for a while both in Paris and New York before settling definitively in northwest London. Her first solo exhibition, People at Peace, took place at the Institute of Contemporary Arts in London in 1969, and 1970 saw the publication of her first book, A World Observed. Numerous more books and exhibitions would follow. In 1971 she was closely involved in the founding of The Photographers’ Gallery, and served as its Associate Director for the next fifteen years. By the 1990s Dorothy was firmly established as one of the doyennes of British photography, with work in numerous public and private collections, including Tate, the Victoria & Albert Museum, Guildhall Art Gallery and the Musée Carnavalet, Paris. 

A selection of gold earrings and a gold bangle, most marked for 9ct gold, 10.4g gross; and a selection of costume jewellery and accessories, including: a mint green enamelled powder compact, decorated with flowers, 53mm diameter; a Monet faux pearl necklace; bead necklaces; brooches; earrings; and other items. (Qty)

SIX BOXES OF ART AND TEXTILES BOOKS comprising approximately one hundred books to include themes quilting, embroidery, patchwork, world textiles, antiques, David Hockney, Pieter Bruegel, Monet, Charles Rennie Mackintosh, Japanese arts (6 boxes) (s.d)

A LARGE BOX OF ASSORTED COSTUME JEWELLERY AND ITEMS, to include a silver blade fruit knife with carved mother of pearl handle, hallmarked 'Thomas Marples' Sheffield, boxed 'Monet' curb link chain, a white metal opal simulant pendant and matching earrings, unmarked, an AF white metal coral and carved tooth bead necklace, a polished carnelian bead bracelet, a Three pence coin bracelet, a curb link chain with heart padlock clasp set with an AF enamel bird bracelet, gold plated double photo locket, together with imitation pearl necklaces, chains, beaded necklaces, earrings, brooches, bangles, bracelets,

Royal Doulton, Large Character Jug Claude Monet D7150

Selection of ladies gold tone costume brooches to include Monet, Art, Hollywood, brooks etc

A silver stone set bangle, 19g, other silver jewellery a Monet faux pearl necklace and a bead bird design necklace

Royal Doulton Character Jugs to include The collector D6796, Lobster Man D6617, Famous Artists Claude Monet D7150, Guy Fawkes D6861, Rip Van Winkle D6438. Boxed (5)

Art Reference Books A quantity of books mostly relating to French 19th/20th Century painting and sculpture. To include works on Impressionism, Renoir, Monet, Gauguin, Vlaminck, Chagall, Cezanne etc… (a quantity) ,

This charming set includes five beautifully crafted miniature trinket boxes. Two intricately designed gift boxes, one with a red ribbon and the other with a silver bow, are adorned with rhinestones, adding a festive touch. The green gift box is marked with "MONET," offering a signature element to the collection. Next is a sparkling white piano trinket box, with rhinestones on its lid, adding a touch of elegance. Also included is a miniature champagne or sparkling wine bottle, featuring faux pearls and green grape decorations, designed with a bubbly effect. Lastly, a red egg-shaped trinket box, beautifully detailed with gold floral designs, opens to reveal a hidden clock inside, offering both decorative and functional charm. This set showcases exquisite craftsmanship and is perfect for collectors of miniature trinket boxes and holiday-themed pieces. Largest item: 4.25"H. Issued: c. 1990Dimensions: See DescriptionCondition: Age related wear.

A selection of rings to include; a 9ct yellow gold 2.78ct Topaz and diamond ring, a silver gilt purple paste stone ring and a gold tone Monet ring, the 9ct gold ring contains a cushion cut topaz that measures approx. 2.78ct and has three melee round brilliant cut diamonds on each shoulder, hallmarked "375" for 9ct gold, ring size N, total gross weight of the ring is approx. 2.7 grams, silver gilt purple paste stone ring marked "925" for sterling silver, ring size L 1/2, Monet ring size L

13 art books including Rembrandt, Constable, Lowry, Monet & Henry Moore

A Framed Claude Monet Print, Woman with Parasol, Subject 42x52cm

A small quantity of costume jewellery including two amber bead effect necklaces, further coloured glass bead necklaces, pair of earrings, two pairs of Monet earrings, a cased Sheaffer fountain pen, with 14ct yellow gold nib, and a Belgian medal.

A BOX OF ASSORTED COSTUME JEWELLERY AND ITEMS, to include a gold tone 'Monet' floral brooch, chains, brooches, earrings, rings, imitation pearl necklaces, hair slides, a pink jewellery box, charm bracelets, a boxed perfume atomiser, boxed book mark, decorative enamel egg pendants, two Masonic aprons, a Masonic sash and medal with ribbon, sunglasses, Stratton lipstick combo compact, cigarette case, an EPNS cigarette box, a gold plated Maruman Halley electronic gas lighter etc

Colour prints including Monet (two), Maztimovie (two), (eight).

Claude Monet, Pecheurs A La Ligne, etching, plate 17cm x 23cm, framedPaper discolouration

* KEN HOWARD OBE RA RBA NEAC (BRITISH 1932 - 2022) FROM POKHARA, NEPAL watercolour on paper, signed, titled and dated '79mounted, framed and under glassimage size 19cm x 28cm, overall size 38cm x 46cm Note: Ken Howard paintings are about three things. It is about revelation, communication and celebration. By revelation he means giving people a way of seeing, revealing the world around them in a way they have never seen before, opening their eyes. By communication he means revealing the world with a personal language, speaking directly in an instantly recognisable style. He wants it to celebrate life whether it be human dignity expressed by Velasquez or Cezanne, or the wonders of nature expressed by Corot or Monet. For Ken his main inspiration was light and it is through light that he wanted to celebrate his world.