Lithograph, signed (in the plate) (middle right), 96cm x 75cm (100cm x 82cm framed), £3,000

Schindler traveled throughout Europe during his early life and, by 1895, had visited Belgium, the Netherlands, France, and Italy. His work draws on classicism but also German Romanticism, often depicting vital young muscular men surrounded out in the countryside. In 1897, Schindler designed the poster for Dresden’s International Art Exhibition and, in 1900, was appointed a professor at the Dresden Art Academy. There he taught life modeling and draftsmanship, a position which he held for the remainder of his life.

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Charcoal and white chalk highlight on paper, label of J.M Maas Gallery, London (verso), 36cm x 28cm (54cm x 43cm framed), £2,000

Etty, a student of Thomas Lawrence, R.A., was the first significant British painter of nudes. Most of his models, would have been guardsmen, posing to supplement their modest income. His work in contained in many public collections, including the Royal Academy, the Victoria and Albert Museum, and the Ashmolean, Oxford.

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Oil on canvas, 64cm x 39cm, (74cm x 50cm framed), £8,500

This wonderfully tender depiction of a model was clearly painted by someone with exceptional talent. As is often with such pictures, it is such a shame that the artist’s name is not recorded on the canvas. Paintings, even ones which seem fully realised such as this, were often studies for much larger works. Although German, the style of the painting suggests an artist with Italian training, as the picture appears to be rooted in Italianate classicism.

Please note there is a further painting on the reverse.

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Charcoal on paper, signed (verso), and signed and dated ‘20th July 1878’, by R.A invigilator, E.B. Stephen A.R.A. (bottom left), 73cm x 46cm, (88cm x 60cm framed), £2,250

Elsley was an English painter of the late Victorian and Edwardian periods, famous for his idyllic genre scenes of playful children and their pets. He achieved great popularity during his life and much of his work appeared in calendars, magazines and books.

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Oil on canvas, 46cm x 37cm, (57cm x 49cm framed), £9,500

Until the 1930s, this painting was considered to be by Théodore Géricault. Indeed, since its creation c.1810, it has been sold twice as such. However, following the reappraisal, its attribution has been brought into question, instead it is suggested that it may be the hand of Amable Louis Claude Pagnest (French 1790-1819). Like Géricault, Pagnest died at a very young age; he was also a master of painting dynamic males nudes, very much in the Romantic tradition. It may be impossible to know, whether this was painted by Géricault or Pagnest, as over time various male torsos sometimes were successively attributed to one or the other.

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Charcoal on paper, 60cm x 42cm, (74cm x 60cm framed), £1,750

Drawings and paintings of the nude, called "académies", were central to academic art training in France from the 16th century onwards. Only after acquiring enough skill were artists permitted to draw a posed live model.

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Charcoal on paper, signed by the artist (upper right), and RA visitor L. Alma Tadema, RA., and dated (lower left), 76cm x 57cm, (88cm x 64cm framed), £2,500

Olivier studied at the Royal Academy Schools from 1881. He exhibited extensively, including the Royal Academy starting in 1883, and the Paris Salon. He exhibited at the Fine Art Society in the 1880s and at the Grafton Galleries in 1908. An official war artist in the Great War, his work is included in the collection of the Imperial War Museum. It is also contained in many regional art galleries.

This drawing is signed by the artist, and also the RA visitor, the artist Sir Lawrence Alma Tadema, OM, RA.

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Charcoal on paper, signed by RA visitor Edwin Long, RA., and dated (lower right), 76cm x 57cm, (88cm x 64cm framed), £2,500

Olivier studied at the Royal Academy Schools from 1881. He exhibited extensively, including the Royal Academy starting in 1883, and the Paris Salon. He exhibited at the Fine Art Society in the 1880s and at the Grafton Galleries in 1908. An official war artist in the Great War, his work is included in the collection of the Imperial War Museum. It is also contained in many regional art galleries.

This drawing is signed by the RA visitor, the British artist Edwin Long, RA

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Oil on paper laid on board, signed and dated (lower right), 93cm x 99cm (99cm x 106cm framed), £2,500

Maréchal was the son of the artist Charles-Laurent Maréchal, and trained by his father from a young age. He exhibited several times at the Salon (the official art exhibition of the prestigious Académie des Beaux-Arts in Paris), including in 1868. In 1872, the City of Metz bought the immense charcoal work Prayer In The Wilderness. This work, particularly the head, is clearly influenced by the work of William Blake.

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Lithograph, signed (lower right), 52cm x 72cm (image size), (71cm x 92cm framed), £1,500

Brangwyn was an artistic jack-of-all-trades. As well as paintings and drawings, he produced designs for stained glass, furniture, ceramics, table glassware, buildings and interiors, was a lithographer and woodcutter and was a book illustrator. His work is held in many public galleries.

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Oil on canvas, signed, dated and dedicated (upper right), 46cm x 38cm (59cm x 51cm framed), £3,000

Forichon was a pupil of the Ecole des Beaux-Arts de Paris and was taught by Jean-Léon Gérôme, before going on to be the director of the School of Fine Arts in Nîmes.

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Pencil on paper, dated (lower right), 55cm x 44cm (76cm x 64cm framed). £3,000

Drawings and paintings of the nude, called "académies", were central to academic art training in France from the 16th century onwards. Only after acquiring enough skill were artists permitted to draw a posed live model.

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Black and red chalk on paper, signed 'M.W.', dated and inscribed 'Ken Life Academy' (lower right), 52cm x 35cm (65cm x 47cm framed). £4,500

Mulready was a British artist, whose exceptional life studies, are contained in the Royal Collection, the Royal Academy, and the V & A. From c.1856 to his death, Mulready attended a life drawing club ‘Kensington Life Academy’, with other artists, such as Frederick Lord Leighton and Holman Hunt. For further information about academic studies click HERE

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Charcoal on paper, signed (upper right), 63cm x 42cm (78cm x 63cm framed). £1,500

Born in Shanghai to British parents, Fearon trained in New York and at Herkomer's art school in Herefordshire. Despite his undoubted talent in the classical tradition, he would go on to be a high successful cartoonist, in various national newspapers.

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Charcoal on paper, signed (lower right), 62cm x 41cm (79cm x 57cm framed). £1,500

Born in Shanghai to British parents, Fearon trained in New York and at Herkomer's art school in Herefordshire. Despite his undoubted talent in the classical tradition, he would go on to be a high successful cartoonist, in various national newspapers.

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Charcoal on paper, 62cm x 41cm (79cm x 57cm framed). £1,500

Born in Shanghai to British parents, Fearon trained in New York and at Herkomer's art school in Herefordshire. Despite his undoubted talent in the classical tradition, he would go on to be a high successful cartoonist, in various national newspapers.

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Oil on canvas, indistinctly signed (Nannicini?) and dated (lower left), 63cm x 34cm, (72cm x 41cm framed), SOLD

Undoubtedly painted in a studio or life class, this wonderfully rendered study not only beautifully captures the model’s physique, but also gives some sense of the portrait of the model. Drawings and paintings of the nude were central to academic art training in Europe from the 16th century onwards; a practice that many artists would continue throughout their careers.

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