Unknown

Le Pont de Sully, Paris, French School, Oil Painting

William Henry James Boot 1848 - 1918 Kirkstall Abbey Oil on canvas, monogrammed lower right and dated 1876 Image size: 24 x 36 inches (61 x 91.5 cm) Exhibited Royal Academy, 1878 no. 692 Much like his contemporary, John Atkinson Grimshaw, Boot appears to have been influenced by the Pether family who were renowned painters of nocturnes. He was a book illustrator as well as a renowned oil and watercolour artist, producing engravings for the London Illustrated News and Art Journal. He wrote 'Trees and How to Paint Them' in 1883. Boot was born in Manchester. He exhibited at the Royal Academy from 1874 to 1884, showing mainly English and Continental landscapes. He is known to have travelled extensively in Germany, France and North Africa. Boot was a member of the Royal Society of British Artists and of the Arts Club, who listed him as a "painter and writer on Gothic architecture". Boot also painted domestic genre and interior scenes but tended to concentrate on landscapes. Boot lived and married in London. He is buried with his wife in Hampstead. The subject of this painting, Kirkstall Abbey in Yorkshire, was a place Boot often visited. Three figures to the right gaze admiringly at the view, with the moonlight reflected on the path they stand on. THIS PAINTING IS IN THE 'MOONLIGHT IN PAINTINGS AND WATERCOLOURS' EXHIBITION CURRENTLY SHOWING AT DARNLEY FINE ART...

Oil on canvas Image size: 24 x 17 3/4 inches (61 x 45 cm) Contemporary frame This is a scene displaying the North Transept of St Paul's Cathedral. St Paul's Cathedral, located at t...

Sir Herbert James Gunn, RA, PRP 1893 - 1964 Paris Oil on canvas, signed lower right Image size: 36 x 28 inches (91.5 x 71 cm) Hand made frame An early work by Gunn probably from his first studying days in Paris around 1919. James Gunn was born in Glasgow and briefly studied art at Glasgow and Edinburgh before moving to the Académie Julian in Paris in 1911. After serving with the 10th Scottish...

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...

Oil on canvas, signed bottom left Image size: 24 1/2 x 26 1/4 inches (62 x 92 cm) Gilt frame This is a striking example of Alfred East's work; the depth of the vista and the simple ...

Oil on board Image size: 12 1/2 x 15 1/2 inches (31.75 x 40 cm) Contemporary style handmade frame Exhibitions 1952 Royal Academy of Arts Exhibition, Gallery no. VII, no.429. This forest scene invites the viewer into a multi-sensory event where the cool, damp shadows of the foliage can almost be felt and the rich bouquet of the forest floor recalled. Here, Sherlock has chosen a somewhat unusual angle and composition, dissecting each truck and tree form so that only a part can be seen. Furthermore, as we look into the depths of this space it becomes clear that we are stood gazing down into a valley that is in the distance, behind this wooded area. Indeed, instead of giving us an uninterrupted view of this vista, as perhaps would be expected, this view is deliberately blocked and our focus is directed instead towards the organic forms in the foreground. The Artist  Marjorie Sherlock was born at Fir Tree Cottage, George Lane, Wanstead, Essex, on 3 February 1891, the elder child of the civil engineer, Henry Sherlock, and his wife, Alice (née Platts), who was born in Benares, India. By 1901, the family was living at ‘The Limes’, 121 Mill Road, Cambridge, and Marjorie received an education locally. In 1918, she entered into marriage with her cousin, Major Wilfrid Barrett, though this proved unsuccessful and they later divorced (he remarrying in 1941). She then continued to live at the family home until the Second World War. During the First World War, Marjorie Sherlock studied at Westminster Technical Institute under the Camden Town School painters, Walter Sickert and Harold Gilman. She exhibited at the Royal Academy of Arts from 1917, when she showed a powerful view of the interior of Liverpool Street Station (Government Art Collection) (to which the current etching [202] relates). In time, she would exhibit at the International Society, the New English Art Club, the Royal Society of British Artists, the Society of 207 Graphic Art and the Women’s International Art Club (becoming a member of the last two). She also showed work internationally. Developing as a printmaker as well as a painter, Sherlock studied etching under Malcolm Osborne at the Royal College of Art in 1925. She published her etchings in four series, the titles of which indicate her love of travel: ‘English Etchings, ‘Egyptian Etchings’ (both 1925), ‘German Etchings’ (1929) and ‘Indian Etchings’ (1932). During this period, she also visited the united States. More admiring of Continental painters than British ones, she furthered her studies, in 1938, by working in Paris under André L’Hôte and André Dunoyer de Segonzac. During the Second World War, Sherlock moved to East Devon and settled at Oxenways, a Victorian hunting lodge...

Medium: Oil on Canvas Sight Size 53.00" x 136.00", Framed 66.00" x 149.00" Signature: Signed Lower Left Interwoven Stocking Company Advertisement Reproduced on gift boxes, Advertisement appeared in Saturday Evening Post, December 8, 1928, pg.2 The long lost NC Wyeth...

Medium: Oil and Pencil on Canvas Date: 1975 Signature: Signed Lower Right Dimensions: 18.00" x 26.00"

Date: 1935 Medium: Oil on Canvas Dimensions: 23.00" x 33.50" Signature: Signed Lower Right Illustration for magazine story, 1935. Original magazine story illustration...

Original painting of 1637 owned by the Uffizzi Museum in Florence, Italy. This is a fully restored copy.

Signature: Signed Lower Right

Signature: Signed Lower Right