Victorian Paintings

Portrait of a Nun French School, 19th century oil on canvas, simple wooden slip frame framed: 27.5 x 20 inches canvas: 27 x 19.75 inches provenance: private collection, Champagne reg...

Two good matched paintings for the price of one! Charming pair of original oil paintings on canvas, the pair is from the 19th century, Victorian era in the Scottish style by Scott...

A very characterful image of a farrier or blacksmith enjoying a drink in an interior. Alfred H Green (working 1844-1878) A farrier in an interior enjoying a drink Signed Oil on boar...

Well painted 19th-century portrait of Sir Charles Dickens. The original painting is in the National Gallery in London and I'm sure this piece would have been painted by a fan of the author who was also a very good artist as this piece is a very good copy of the original painting. There was a great fashion to paint copies of famous paintings during the 19th century and most of the world's most famous paintings have been copied many times. Often the artist who does the copy is very talented but usually anonymous With this piece, it's the only way to own an antique copy...

French School, early 20th century oil on canvas, unframed canvas: 14 x 10.5 inches provenance: private collection, France condition: slightly scruffy with some scuffs and paint loss ...

A very tranquil scene of fishing boats moored in harbour with a sunlit sea beyond. Painted with a most attractive palette of blues and greens and with a pleasing composition that le...

Edwin Henry Boddington Canvas Size: 20 x 32" (51 x 81cm) Outside Frame Size: 29 x 41" (74 x 104cm) A very good and typical example of his work which has been relined for preservation only. He lived 1836 - 1905 Landscape and River Scene Painter. Son of Henry John Boddington, he painted mainly scenes of the Thames. He developed a very personal and recognisable style. His river scenes are usually painted in a pale evening light, using a range of very dark greens and browns. Address: Lonsdale Villa, Barnes, London 6 Upper Ranalagh Place, Pimlico, London Exhibited 1853 – 1869 Exhibited at:- British Institution, London Portland Gallery, London Royal Academy Royal Society of British Artists The following works were exhibited at the Royal Academy: On the River Lodden 1854 On the Welsh Hills...

The Highland Cattle by J. Henry, Scottish late 19th century oil on canvas, framed in highly ornate antique gilt frame with patterned mouldings and ornate design. framed: 42 x 49.5 i...

19th century oil painting of a market scene by H. C. Bryant English, 1877 Canvas: Height 51cm, width 76.5cm Frame: Height 68cm, width 93.5cm, depth 5cm Painted by the English artis...

Investing in a late 20th-century Victorian-style portrait of two terrier dogs in a landscape is an opportunity to bring a touch of nostalgic charm and timeless elegance into your liv...

Fisherman in Highland Landscape by James Mudd (English, 1821 - 1906) signed oil on canvas, framed framed: 28.5 x 41 inches painting: 24 x 36 inches provenance: private collection, En...

Henry Frederick Lucas Lucas British, (1848 1943) Boatswain (Bo’sun) Oil on canvas, signed & dated 1900, further inscribed verso Image size: 19.5 inches x 25.5 inches Size including...

**PLEASE NOTE: EACH PAINTING INCLUDING THE FRAME MEASURES 17.5 INCHES X 23.5 INCHES** Henry H Parker British, (1858-1930) The River Wey near Ripley, Surrey & At Culham on Thames O...

A very atmospheric scene of a horse and cart crossing the river Wey (a tributary of the river Thames) under a beautiful twilight sky. There is wonderful detail and light with the ar...

"The Days Bag" by ROBERT CLEMINSON (British, 1864-1903) signed oil on canvas, framed framed: 24 x 32 inches canvas: 16 x 24 inches provenance: private co...

Portrait of a Lady French School, 19th century oil on canvas, framed framed: 34 x 29 inches canvas: 30 x 25 inches provenance: private collection, France condition: very good and sou...

Thomas Luny (1759-1837) A fishing vessels at rest in harbour Signed and dated 'Luny 1831' lower left Oil on canvas Canvas Size - 12 x 16 in Framed Size - 17 x 21 in Thomas Luny was ...

William Eddowes Turner British, (1836-1904) Mike & Champ Oil on canvas, signed Image size: 23 inches x 28 inches Size including frame: 28 inches x 33 inches A fine sporting painting horse portrait of a bay pony called Mike and a terrier named Champ by William Eddowes Turner. The prize winning horse can be seen standing in a stable next to a Jack Russell terrier dog. Other horses can be seen further along through the stable door. Although the name of Mike’s owner is not known, his initials (HBL) can be seen on the blanket on the stable floor. The owner most likely commissioned Turner to paint this portrait to celebrate horse’s career. Another portrait was also commissioned by the owner around the same period of a white hunter called ‘The Peeler’ with another terrier. William Eddowes Turner was born in Sneinton, Nottinghamshire in 1836 to George Johnson Turner, a lacemaker and Betsy Turner (nee Clark). His father died...

John Seymour Lucas RA British, (1849-1923) The Surrender of Don Pedro De Valdez to Sir Francis Drake Oil on canvas, signed & dated 1889 Image size: 19.5 inches x 30.5 inches Size including frame: 27 inches x 38 inches This fantastic historical scene by John Seymour Lucas depicts the surrender of Don Pedro De Valdez to Sir Francis Drake, aboard the Revenge during the Spanish Armada off Portland on 1 August, 1588. Don Pedro de Valdez was the commander of the Squadron of Andalusia and was on board the Nuestra Señora del Rosario when it was taken in action by Drake in the Revenge. A full sized version of this painting is held by the National Trust and can be found at Buckland Abbey, Devon. John Seymour Lucas was born in London on 21 December, 1849 to Henry and Elizabeth Lucas (née Seymour). He was the nephew of the portrait painter John Lucas and two of his children, Sydney Seymour...

The Young Puppy British School, 19th century indistinctly signed with a monogram oil on canvas, framed framed: 18.5 x 21 inches canvas: 14 x 16 inches provenance: private collection,...

Wright BARKER 1864 - 1941 Canvas Size: 27 x 40" (69 x 102cm) Outside Frame Size: 33 x 46" (84 x 117cm) Oil on Canvas Free Shipping Exhibited : 1885 - 1935 He was a figure and anim...

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...

Arthur Walker Redgate British, (1860-1906) On the Tow Path by the Trent Oil on canvas, signed Image size: 19.25 inches x 29.25 inches Size including frame: 25 inches x 35 inches Pro...

The Meet at Rearsby Grange British School, indistinctly signed titled and inscribed verso oil on board, framed framed: 28 x 58 inches board: 24 x 54 inches provenance: private colle...

Pausing for Conversation by William Yates (British, second half 19th century) signed oil on canvas, unframed canvas: 18 x 32 inches provenance: private collection, England condition:...

William Bromley British, (1816-1890) Gone Fishing Oil on canvas, signed Image size: 13.5 inches x 17.5 inches Size including frame: 18.75 inches x 22.75 inches A picturesque genr...

The Gleaner by Charles Sillem LIDDERDALE (British, 1831-1895) signed & dated 1890 oil painting on canvas, framed in what we believe to be the original frame framed: 51.5 x 37.5 inch...

Horses Standing in Landscape French School, 20th century oil on canvas, framed framed: 25 x 34 inches canvas: 19.5 x 30 inches provenance: private collection, France condition: very ...

Alfred Pollentine British, (1844-1910) The Grand Canal looking towards St Marks Square & the Doge’s Palace, Venice Oil on canvas, signed Image size: 19.25 inches x 29.25 inches Size including frame: 25.25 inches x 35.25 inches A wonderful view of the Grand Canal featuring the Doge’s Palace and St Mark’s Square, Venice by Alfred Pollentine. The scene shows the entrance to the Grand Canal with the Santa Maria Della Salute with its distinctive rotunda and the Dogana to the left. Ahead can be seen the bell tower of St Mark’s with the Doges palace to its right. Alfred William Pollentine was born in St Pancras, London on 26 August 1844, the son of William Pollentine, a carver gilder and picture dealer and Caroline Smith. After the death of his father in 1856, his mother married the artist Adam Barland...

The English Country Churchyard by James Rudd (English 1821-1906) signed & dated 1889 oil on canvas, framed framed: 28.5 x 41 inches painting: 24 x 36 inches provenance: private colle...

This stunning 19th century still life floral oil on panel painting is by noted still life female Norwich School artist Emily Stannard. Emily Stannard and her niece Eloise Harriet Stannard are nowadays considered to be among the most accomplished British women still life painters of the 19th century. Stannard is associated with the Norwich School of painters. She also travelled to Holland to study Dutch art and was given permission to copy Jan van Huysum's work which was then highly praised. She had a long and distinguished career as an artist and many of her works are house in Norfolk Museums. Painted circa 1840, this lovely composition is a naturalistic floral arrangement in an urn on a marble ledge. The flowers are a mix of whites, pinks and blues with some geraniums, roses, daisies and mallow. There is a beautifully detailed dragonfly and butterfly as well as a little snail on the marble ledge. One side of the background is darker than the other which shows of the flowers against it to great effect. The colours are vibrant and brush work detailed. This painting is a fantastic example of Stannard's work and clearly shows how well she deserved her superb reputation as being one of the most accomplished female 19th century still life painters. Provenance: Oscar and Peter Johnson Gallery, London Condition. Oil on panel, 20 inches by 15 inches and in good condition. Frame. Housed in a beautiful gilt swept cradled frame, 27 inches by 22 inches and in good condition. Emily Stannard (née Emily Coppin; 8 February 1802 – 6 January 1885), who from 1826 called herself (even during her long widowhood) Mrs Joseph Stannard, was a British still life painter. She was associated with the Norwich School of painters, Britain's first provincial art movement. Along with her niece Eloise Harriet Stannard, she is considered to be the most accomplished British female still life artist of the 19th century. Stannard was born in Norwich of artistic parents. In 1820, she travelled with her father Daniel Coppin to the Netherlands to study the paintings of Jan van Huysum and other Dutch masters, an episode which influenced her artistic style. She married the Norwich artist Joseph Stannard in 1826, but was widowed four years later. She painted until she was in her eighties, mainly depicting paintings of flowers in vases...

The Terrier and the Rabbit by ROBERT CLEMINSON (1864-1903) signed oil on canvas, framed framed: 24 x 32 inches canvas: 16 x 24 inches provenance: private collection, England conditi...

This lovely British Victorian portrait oil painting is by British portrait artist Edward Spilsbury Swinson. It was painted in 1891 and is dated and signed lower right. It is a half l...

English School, late 20th century oil on canvas, framed framed: 23 x 30 inches canvas: 16 x 24 inches provenance: private collection, England the painting is in overall very good and...

Punting on the River English School, early 1900's period oil on board, framed in antique gilt frame framed: 18.5 x 24.5 inches board: 16 x 22.5 inches provenance: private collection,...

This lovely British Victorian oil painting is attributed noted landscape and animal artist George Cole ans ascribed verso. Painted in 1840 it is a superb portrait of two horses, one ...

Studying the Maps Italian School, late 19th century signed lower corner watercolour on board, framed framed: 24.5 x 17.5 inches painting: 20.5 x 14 inches provenance: private collect...

This lovely British Victorian oil painting is by Edward Charles Williams of the Williams Family of artists and related to George Morland. The painting is a figurative landscape entitled the Woodman's family and entails five figures and a dog gathered around a tree that the Woodman is tackling with his axe. The painting is signed and indistinctly dated (only visible with ultra violent light) lower left, the date being 1869. For me, the highlight of the painting is the artistry and attention to detail with which Williams has portrayed the light on the trees above and the exquisite colouring of the leaves. There are even two birds finely depicted in the tree foliage. Signed and indistinctly dated 1869 lower left (only visible under ultraviolet light). Provenance. Berkshire estate. Condition. Oil on canvas, image size is 40 inches by 36 inches and in good condition. Housed in a complementary frame. Framed size is 48 inches by 44 inches and in good condition. Edward Charles Williams (London 10 July 1807 – 25 July 1881) was an English landscape painter during the Victorian Era, and a member of the Williams family of painters. He was the eldest son of the painter Edward Williams (1781–1855) and Ann Hildebrandt (c.1780–1851), and a member of the Williams family of painters, who were related to such famous artists as James Ward RA and George Morland. His father was a well-known landscape artist, who taught him how to paint; otherwise he received no formal instruction. He adopted much of his father's style and technique, and like the other painters of his family, he devoted himself to landscapes, producing rich and tranquil views of Barnes, Cumberland, Kent, Surrey and the Thames. His paintings are now highly sought after. Williams married his first wife Mary Ann Challenger on 11 December 1839 in Westminster. Mary Ann died in 1857 in London, and his only child Alice Williams was born shortly afterwards to Sarah Susannah Horley, who had been Mary Ann's nurse – Edward and Sarah did not marry for another 10 years until 3 October 3, 1868, when they wed at the St. Pancras Old Church in Camden, London. He largely stopped painting after the 1859 death of his second wife, adding value to the small number of paintings that he did produce from 1859 on − Springer in the Bracken, The Lap Dog, The Ploughman's walk home, The Ducks at Tilbury and Primrose at St Mary's (Primrose was the Verger's Cat). Some suggest that he suffered a breakdown after his wife's death, given his choice of subjects in these later years. The location of three of these post-1859 works are unknown, and they are assumed lost during two world wars. He signed some of his work as E Williams, which leads to confusion with his father, who painted in a similar style, and at times he signed as C Williams to purposely avoid such confusion. Because many of the paintings of both father and son are unsigned, it can be difficult to correctly attribute their work. Edward Charles also collaborated on several paintings with William Shayer, where Williams would paint the landscape, and Shayer would add in figures and animals; his Near Wantage, Berkshire is a good example. He died 25 July 1881 at Shepherds Bush in London and is buried with Sarah Horley and their daughter Alice in Hammersmith Old Cemetery, close to other family graves. Edward Charles Williams was born into an artist family that is sometimes referred to as the Barnes School. His father and five surviving brothers were all noted landscape painters during the Victorian era. Three of the sons of Edward Williams changed their last names to protect the identity of their art. Edward Williams (father) Henry John Boddington, George Augustus Williams, Arthur Gilbert, Sidney Richard Percy, Alfred Walter Williams.

A stunning, showpiece example of William Henry Mander's painted in Rhys, North Wales. The size is unusual and perfect for a mantlepiece as a statement piece. Picture Size: 22 x 36" ...

Painted by Sara Wells Page this is a large stunning half-length Pre-Raphaelite portrait oil painting of a semi clad young woman. It was painted circa 1900 by Page who worked and exhi...

Richard Hollingdale, British Victorian genre artist painted this lovely family in a cottage interior. Painted in 1855, the colourful composition is six figures of all ages around a t...

"After the Rain, Glencoe" Pearl Patterson (British, dated 2003) signed lower corner inscribed verso oil on board, framed framed: 16.5 x 20.5 inches board: 14 x 18 inches provenance: ...

The Highland Loch signed by F. E. Jamieson (British 1895-1950) oil painting on canvas, framed framed: 19.5 x 27.5 inches canvas : 16 x 24 inches provenance: private collection, UK co...

George Henry Laporte British, (1802-1873) Best of Friends Oil on canvas, signed & indistinctly dated Image size: 27.25 inches x 35.25 inches Size...

HENRY H. PARKER A wonderful statement piece ideal for any prominent position that you have. The colours and the quality are superb and the piece is titled and signed on the reverse ...

William Watson Jnr British, (1847-1921) Morning, Head of Glen Coe Oil on canvas, signed & dated 1897, further inscribed verso Image size: 12.5 inches x 18.5 inches Size including frame: 19.75 inches x 25.75 inches A superb Scottish landscape painting of Highland Sheep at the head of Glen Coe by William Watson. The sheep and their lambs are depicted grazing in the morning light with the dramatic mountains beyond. Glen Coe is a valley located in the Highlands to the North of the county of Argyll and close to the province of Lochaber. The area, which became infamous for the Massacre of Glencoe is one of Scotland’s most scenic Highland glens. William Watson was born in Islington in 1847, the son of the London miniature painter William John Watson (1810-1871) and his wife Caroline (née Butcher). His brothers Charles Watson (1837-1900) and Robert Watson (1855-1921) were also artists. His father seems to have travelled around and after spending time in Brighton, the family moved to Bransford Road in Worcester during the early part of the 1860’s. As well as being taught by his father, Watson received his early training in the studio of Sir Francis Grant PRA (1803-1878). He later became a pupil of Sir Edwin Henry Landseer RA (1802-1873) and Rosa Bonheur (1822–1899). Both Landseer and Bonheur had a great influence on his work and he began specialising in scenes of cattle and sheep. By 1866 he had become a full time artist and began exhibiting at the Royal Society of British Artists. Perhaps to take advantage of the inspiring scenery, Watson moved to Birkenhead, Cheshire where in 1871 he met and married Eleanor Davies who was from Caernarvonshire. Four of their children Sidney Watson (1881-1931), Caroline Ellen Watson (1871-1947), William Robert Charles Watson (1873-1928) and Walter James Watson...

Sidney Richard Percy British, (1821-1886) Grizedale, Westmorland Oil on canvas, signed & dated 1883 Image size: 12 inches x 19 inches Size including frame: 21.25 inches x 28.25 inches A wonderful atmospheric painting of Grizedale Pike in the Lake District by Sidney Richard Percy. Cattle are shown moving along the path in the foreground as sheep roam the hillsides. In the mid distance a figure can be seen walking across a stone bridge whilst another has paused to rest behind them. Sidney Richard Percy was born Sidney Richard Williams, on the 22 March, 1822 the fifth son of the artist Edward Williams Snr (1781–1855) and Ann Hildebrandt. His brothers Edward Charles (1807–1881), Henry John Boddington (1811–1865), George Augustus (1814–1901), Arthur Gilbert (1819–1895) and Alfred Walter Williams...

Tranquil Landscape by Rex Vicat Cole (British 1870-1940) * see notes below signed & dated 1899 oil on canvas, framed framed: 16 x 20 inches canvas: 10 x 14 inches provenance: private...

This original watercolor on paper features traffic on the River Humber in the City of Hull. Hull or Kingston upon Hull, is a port city in East Yorkshire, England. The painting is hig...

Cattle on the Loch's Shore by Henry Hadfield Cubley (British 1858-1934) *see below signed oil on canvas framed in elaborate gilt swept frame dated 1899 verso framed: 26 x 36 inches c...

This lovely Scottish Edwardian interior portrait oil painting is by noted Scottish artist Arthur Percy Dixon. Painted in 1906 it is a seated portrait of a lady in the corner of a roo...

This lovely British Victorian landscape oil painting is attributed to noted artist Sam Bough. It was painted circa 1855 after Bough had moved to Hamilton Lanarkshire in Scotland to focus on painting landscapes along side fellow artist Alexander Frazer. The composition is several cattle watering in a stream under the boughs of an ancient tree. There is superb impasto, for example on the clouds and this is a charming 19th century oil painting. Provenance. London estate. Condition. Oil on canvas, 29 inches by 16 inches unframed and in good condition. Frame. Housed in an ornate gilt Victorian frame, 36 inches by 23 inches framed and in good condition. Samuel Bough RSA (1822–1878) was an English-born landscape painter who spent much of his career working in Scotland. He was born the third of five children in Abbey Street, Carlisle in northern England, the son of James Bough (1794-1845), a shoemaker, and Lucy Walker, a cook. He was raised in relative poverty, but with a keen encouragement in the arts. He was self-taught but mixed with local artists such as Richard Harrington and George Sheffield, and was strongly influenced by the work of Turner. After an unsuccessful attempt to live as an artist in Carlisle he obtained a job and as a theatre scenery painter in Manchester in 1845, later also working in Glasgow in the same role. Encouraged by Daniel Macnee to take up landscape painting he moved to Hamilton from 1851-4 and worked there with Alexander Fraser. In 1854 he moved to Port Glasgow to work on his technique of painting ships and harbours. His paintings were noted for their sensitivity to atmosphere and light, were often of cloudy shorelines and busy harbours. He also began supplementing his income by illustrating books, before moving to Edinburgh in 1855. On coming to Edinburgh he lived in a terraced house at 5 Malta Terrace in the Stockbridge area of the city. Following Turner's example, he became a skilful painter of seaports. He was buried in Dean Cemetery Edinburgh on 23 November 1878. The grave bears a bronze medallion of his head by William Brodie...

The Country Cottage English School, first half 19th century circle of John Constable oil on board, framed framed: 10.5 x 12 inches board: 6 x 8 inches provenance: private collection ...

This lovely British Victorian coastal oil painting is by noted artist Thomas Eyre Macklin. It was painted in 1882 and the location is France. The composition is fisherman in the foreground around upturned boats on grass. A couple of ladies are sat on the grass over looking the sea, one with a sun umbrella. Beyond is the sea or harbour with buildings, including one with a French flag, on the land across the water and the cliffs of the headland. The detail and brushwork are superb as are the vibrant greens of the grass and red roofs. This is a lovely 19th century figurative coastal landscape and an excellent example of Macklin's work. Signed Thomas Eyre Macklin and dated (18)82 lower left. Provenance. Sussex collection. Condition. Oil on canvas. Image size 21 inches by 11 inches. In good condition. Housed in a gilt gallery frame which compliments the picture, 25 inches by 15 inches framed and In good condition. Thomas Eyre Macklin RBA (1863-1943) was a British painter in oils and watercolour, illustrator, sculptor and designer of monuments, who signed his works T. Eyre Macklin or T.E. Macklin. After a promising career at various art schools, including the Royal Academy, in the late 19th century Macklin produced Romantic black-and-white illustrations for books, numerous landscapes, figurative paintings and civic portraits, all of which came to the attention of local newspapers in his native Newcastle upon Tyne. In the 20th century he concentrated on Art Deco monuments and other sculpture, his best-known works being the South African War Memorial in Newcastle, the Bangor Memorial, County Down, and the Land Wars Memorial at Auckland, New Zealand. According to Macklin, his ancestors were from County Donegal. He was the son of John Eyre Macklin, a soldier, journalist and landscape painter; both were Newcastle-born. Macklin married writer Alice Martha Alys Philpott and they had one child, but she later petitioned for divorce on the grounds of infidelity. He had bouts of illness during later life and died in Devon in 1943. Encouraged by his father, Macklin showed a remarkable aptitude for drawing from childhood, and devoted himself to art from the age of ten, being one of W. Cosens Way's students at the Newcastle School of Art, where he was one of the most successful pupils ... On one occasion he carried off the four head prizes of the year. Macklin was selling his pictures by the age of thirtee. In 1884 he moved from Newcastle to London to sketch antiques at the British Museum, and trained at Calderon's Art School until c.1887. After that, he studied at John Dawson Watson...

Frederick Albert Clark British, (1869-1954) Billy Boy Oil on canvas, signed & dated 1907 Image size: 16.5 inches x 20.5 inches Size including frame: 25.25 inches x 29.25 inches A f...

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...

Cows & Bull In Landscape Dutch School, 19th century oil on canvas, framed framed: 13 x 11 inches painting: 10 x 8 inches provenance: private UK collection. The painting is in good a...

Very fine, large scale original Victorian oil painting on canvas, depicting a traditional shooting party, "The Return of the Guns". The painting is ...