19th century British School

Island of Gibraltar, Oil 19th Century Landscape

John Brett 1831-1902 Autumn Gold, Betws-Y-Coed Oil on canvas, singed lower left Image size: 24 x 13 ½ inches Gilt frame John Brett ARA was an artist associated with the Pre-Raphaelite movement, mainly notable for his highly detailed landscapes. John Brett was an artist associated with the Pre- Raphaelite movement, mainly notable for his highly detailed landscapes Brett was born near Reigate on 8 December 1831, the son of an army vet. His sister Rosa Brett...

BRITISH SCHOOL 19th Century HMY VICTORIA AND ALBERT INSPECTING THE FLEET OFF PORTSMOUTH Oil on canvas, dated Image size: 22 ½ × 33 inches (57 ×84 cm) Contemporary gilt frame HMY Victoria and Albert was a twin-paddle steamer launched 25 April 1843. It functioned as a royal yacht of the sovereign, owned and operated by the Royal Navy. She was laid down in 1842 at Pembroke Dock and was designed by William Symonds. She measured 1,034 tons burthen, carried two guns, and was the first royal yacht to be steam powered, being fitted with a 430 horsepower engine. One of the notable features that distinguished the Royal Yacht from other paddle steamers of the time, was the extremely tall masts she carried. This was in order to fly the over-sized ensigns when Queen Victoria was onboard - the Royal Standard...

Oil on canvas Image size: 23 1/2 x 18 1/2 inches (60 x 47 cm) Original frame This moonlit view features many of the usual features of Sebastian Pether's work: a painterly river, mountain scenery and the incorporation of classical gothic ruins in an attractive though artificial style. The ruins in the foreground and city in the background have been painstakingly depicted in meticulous detail. On the bank in the foreground, and out on the river itself, we see three night fishermen silhouetted against the calm waters. The artist has cleverly balanced the light emanating from the moon, and the reflection of this light glistening on the river surface below, to create the mysterious atmosphere of the moonlit evening. Indeed, he has skilfully employed the strong use of chiaroscuro effects of light and shade in this painting so that the eye is drawn to the full moon as it illuminates the sky. It is undeniably a work of Romanticism, a style that was popular around the beginning of the nineteenth century. The Artist Sebastian Pether was an English landscape-painter. He was the eldest son of Abraham Pether...

British School 19th Century Turkish Scene Oil on board Image size: 13 ½ x 10 ½ inches

Alfred East The Wood Cutter Oil on board Signed lower right and titled on back Image size: 10 1/4 x 15 inches (26 x 37.5 cm) Carved gilt frame This romantic landscape by East, certainly shows the influence that the Barbizon school had on his work. The Barbizon school were drawn together by their passion and desire to elevate landscape painting as a response to the Academic elevation of historical and mythological themes. Here, East truly revels in the beauty of the English landscape but also captures the mood of the time in which there was a growing concern at the rapidity of social change and its impact upon the countryside. East regularly painted the Cotswolds from the early 1890s until the end of his life - it is probable that this scenes depicts that part of the country. He focused principally on the area around Upper Swell, which he referred to as 'Over Swell', hoping to avoid the village becoming a focus for visitors seeking out the views that he portrayed. East adopted a well established three-stage-technique that made great use of the under-painting, a second layer concerned with the correction of values, and a final stage for the addition of details; all painted with lean oil paint. As can be seen in the work, during this process East practically repainted the entire canvas after the first layer and then proceeded to pick out isolated sections that required further reworking and detail. Provenance Pelter Sands Gallery Bristol, 1975 Exhibition of Twentieth Century British Painting. This work was part of Andrew Vicari...

English School 19th Century Knole House Oil on canvas Image size: 22 ½ x 35 ½ inches Gilt frame This is not only a very beautiful work of art but also a v...

Provenance: Christie’s, London, 3 March 1922, lot 46 (with The Tower of Babel); James Nicoll Private Collection Sotheby’s, London, 29 March 1983, lot 157 Private Collection, New Yo...

Storm Clouds over the River Yare *see notes below English School, circa 1830's circle of John Constable (English 1776-187) oil painting on canvas, framed canvas: 18 x 25 inches condi...

Large Victorian painting of children resting outdoors by J.O. Banks English, late 19th Century Frame: Height 91cm, width 111cm, depth 10cm Can...

William Edward Webb British, (1862-1903) Penzance Harbour Oil on canvas, signed Image size: 29 inches x 45.5 inches Size including frame: 38 inches x 54.5 inches A pleasing coastal painting of Penzance Harbour at low tide by William Edward Webb. In the foreground, a fisherman sells his catch to a woman and her daughter, whilst figures in horses and carts wait for others to unload their boats. William Edward Webb was born in Cheltenham, Gloucestershire in 1862 to William Benjamin Webb and Ellen Butler. His father was a printer and an artist and it is highly likely he received tuition from him. Following the death of his mother, his father remarried and moved the family to Manchester sometime after 1871. By the 1880’s, Webb had started working as an artist and later set up a studio at 30 Exchange Buildings in Manchester. He began exhibiting at the Manchester City Art Gallery from 1890, where he showed more than 60 paintings during his lifetime. He also exhibited at the Royal Academy and Walker Art Gallery Liverpool from 1892. He married Clara Foster in 1899 and the couple lived at 1 Sylvan Grove, Chorlton Upon Medlock in South Manchester with their daughter Florrie. He became friends with the artist Walter Emsley (1860-1938) who also lived in Manchester. Although he spent the rest of his life in Manchester, Webb travelled throughout the UK painting coastal and marine scenes around the main ports and harbours. He spent a great deal of time in the Isle of Mann painting numerous scenes along the coast including views of Peel and Douglas Harbour, subjects he frequently returned to. Webb painted in a highly distinctive style; loose and informal but which manages to retain the sense of perspective. He struggled with ill health and depression throughout his life which sadly led to his suicide 9 November, 1903. In 1974, a retrospective exhibition was held at The Old Customs House and Old Solent House in Lymington, which brought a new found interest in his work. His paintings are now highly sought after and are represented in many collections and Museums including the Astley Hall...

Late 19th century Scottish Highland Lock landscape, with Cattle watering E.Mulready was almost certainly a pseudo name for William Langley a well known English painter of landscapes...

Holy Baptism, Oil painting on canvas by an unknown artist About the artwork: Bible Scene, Early 18th Century, Florentine School TECHNIQUE: oil pai...