George Storey RA

The Drummer Boy

1897

'The New Arrival' A Mother with her Children A first class example of Pothast's work. The faces are beautifully done with fantastic light cascading into the room. The mother is shar...

This painting by Henri Brispot stands out amongst many pieces that he ever painted. It was sold in New York for $20 000 and is a wonderful example of his satirical nature shown throu...

Canvas Size: 28 x 36" (71 x 91cm) Outside Frame Size 36 x 44" (91 x 111cm) It is signed on the middle right on the wooden window. This is a stunning painting of a racehorse signed and dated J F Herring Sen 1842. The horse is named above the water trough as Attilla. As Herring was a renowned painter of racehorses it is likely that this was done for a wealthy patron who owned several. Although he painted many of the winners of the St. Ledger Cup Attilla was not one of these. Free carriage worldwide John Frederick HERRING Snr 1795 – 1865 A sporting painter, born in Surrey of American/Dutch extraction. At first he was a sign and coach painter. He then worked as a stable boy and coachman in Yorkshire until with the help of patrons he was able to study with Abraham Cooper RA, the only art education he appears to have had. He specialised in racing subjects and his few hunting scenes are rare. Herring painted the start of the 1844 Derby, which became known as ‘the dirtiest Derby in history’. He sometimes collaborated with his three sons, J.F.Jnr, Benjamin Jnr and Charles. He also collaborated with James Pollard on a number of racing scenes inc. ‘The Doncaster Gold Cup’, 1838, ‘The Emperor of Russia’s Cup at Ascot’ 1845 and ‘The Dead Heat for the Doncaster Great St. Ledger’ 1849 Herring painted 33 successive winners of the St. Ledger and not surprisingly lived a large part of his life in the Doncaster area before settling in Newmarket in 1830 and then in London in 1835. He suffered serious financial difficulties after his move to London which, thanks to a great friend and patron William Taylor Copeland (1797 – 1868) head of the Spode Porcelain factory at Stoke on Trent, was resolved. He painted many pictures of the Copeland family, some of which were adapted and used as designs on the Spode china...

Paul JONES Oil on canvas These paintings are signed Paul Jones on the bottom left. Canvas size: 20 x 25cm (8 x 10") Outside frame size: 36 x 41cm (14 x 16") Flourished 1855 – 1888 ...

George Henry Laporte This piece is signed and dated G. H. Laporte 1857 bottom right On the reverse there is a damaged exhibition label. Canvas S...

Signed. Oil on Panel. Signature lower right. It is framed in the original antique gold leaf frame. HENRIETTE RONNER-KNIP Amsterdam 1821 - 1909 Brussels Henriette Ronner-Knip is ...

Signed and dated 92 lower left. Oil on canvas. Frank Bramley British, 1857-1915 Frank Bramley is considered one of the most important artists of the Newlyn School, the group of artists who settled in Newlyn, Cornwall during the 1880s and 1890s, drawn by the light, lifestyle and the example of Alexander Stanhope Forbes, and were at the forefront of 'British Impressionism'. He was particularly ‘in the news’ when his painting of a woman reading in a garden made the astonishing price of $590,000 at Sotheby's New York in late May 1996. As the seminal catalogue of the famous Newlyn School exhibition states, Bramley's reputation has rested for some time on Hopeless Dawn, his major RA exhibition of 1888, and which in recent years has been hung almost constantly at the Tate Gallery. Bramley was born in Lincolnshire and trained at Lincoln Art School, later at Verlat's Academy in Antwerp, from where he went to Venice in 1882-83, where our painting was executed. He first showed at the Royal Academy in London in 1884 (both paintings were Venetian scenes), and it was in the winter of 1884/5 that Bramley settled in Newlyn. He was a quiet and reserved figure, prone to bouts of melancholy. He worked on his own in a tiny studio in an old thatched cottage - the cottage consisted of two rooms, one at ground level (which was the studio) and one which was below ground which was inhabited by a woman who'd lost her arms and who managed to look after a set of tiny children as well as a small potato and turnip shop. Bramley moved to a purpose-built glass studio in 1889. He is known as the master of the so-called 'square-brush technique' which characterizes much of the best Newlyn School work and he used this until 1893, later than most of his colleagues. Bramley was friendly with the great artist Sargent and with him was elected an associate of the Royal Academy in 1894, being elected a full member in 1911. In 1891 he had married, and 4 years later they moved to the Midlands where his work became less socially orientated and more purely decorative. His last years were spent in a London flat...

Daniel Pasmore the Younger was a London genre and portrait artist who exhibited mostly at the Society of British Artists in Suffolk Street, London. He i...

An original oil on canvas painting measuring 17 x 8 inches by F.S. Muschamp, signed lower right. In the nineteenth century, the Neo-Classical movement bloomed, bringing forth a new style and interpretation of the past. F. Sydney Muschamp...

Attributed to Randolph Caldecott, a well-known English painter, and illustrator of English Pub interior scenes. The scene is great fun, as we can see di...

The Victorian Interior English School, 19th century oil on board, framed behind glass hence photo reflection glare framed: 7 x 8.5 inches board: 4 x 5 inches inscribed verso provenan...

Painting of The Merry Wives of Windsor attributed to John Calcott Horsley English, 19th Century Frame: Height 97.5cm, width 74cm, depth 7cm Panel: Height 78cm, width 54cm, depth 0.5c...