Ada Stone

19th century English landscape with Oak and Yew trees on a pathway by a stream

Circa 1890

Wonderful Autumn/Fall landscape by one of Englands finest landscape painters. Born as Benjamin Williams, the artist added the surname Leader (his Father’s middle name) to distingui...

Henry King Taylor was a marine and coastal scene painter who lived in London. He exhibited at the Royal Academy from 1859 to 1864 with titles includi...

Victorian English Landscape, Haymaking near Hazlemere, Surrey A Victorian English harvesting landscape by John Seymour Adams captures the essence of a bygone era, offering more than...

William Thornley was a painter of coastal scenes whose work is very similar to Hubert and Charles Thornley, who may have been members of the same family. He painted scenes of genre, architecture and landscapes as well. A number of the landscapes were of Belgium, Holland, Italy and Norway. However, it is for his seascapes that he is best remembered. Thornley’s works are beautifully detailed and show a masterful understanding of the moods of both weather and sea. They are often small in size and put together with fine detail and great artistic merit. Thornley’s fishing scenes are spirited and similar in style to those of “Jock” Wilson, and are often painted in pairs. Thornley’s works have always been popular when they appear on the art market. He was believed to have first exhibited marines at the Royal Academy in 1859 from an address in Paddington, London and also at the British Institution from 1861 until it closed in 1867. He continued to exhibit at the Royal Academy until 1898. Thornley also exhibited at the Paris Salon and the Salon of French Artists, receiving an honourable mention in 1881 and a third place medal in 1888. William Thornley also went by the names Georges William and William...

Ada Stone, English Victorian landscape with Oak and Yes trees on a pathway. Ada Stone had a London address but was an East Midlands painter focusing her works on tranquil English river landscapes. She flourished between 1879-1904 and exhibited three works at the Suffolk Street, Society of British Artists. Ref: p.455 Dictionary of Victorian Painters (2nd Edition) by Christopher Wood. English Victorian oil on...

LESLIE E.B. SMYTHE 19th century English rural landscapes, with goats by a river and people. Smythe was an English painter who was active paintings in both Scotland and England. He ...

The Highland Glen by F. E. Jamieson (British 1895-1950) signed with pseudonym oil painting on canvas, framed framed: 25.5 x 35 inches canvas : 20 x 30 inches provenance: private coll...

Ludwig Hermann German, (1812-1881) Winter on the Quay Oil on canvas, signed Image size: 15.75 inches x 22 inches Size including frame: 23 inches x 29.25 inches This highly detailed...

Ludwig Hermann German, (1812-1881) A Busy Quayside Oil on canvas, signed Image size: 15.75 inches x 22 inches Size including frame: 23 inches x 29.25 inches This atmospheric contin...

Ludwig Hermann German, (1812-1881) A Bustling Harbour Town Oil on canvas, signed & dated 1863 Image size: 26 inches x 36.5 inches Size including frame: 35.25 inches x 45.75 inches A wonderful continental townscape scene of a bustling harbour by Ludwig Hermann. The Medieval architecture is reminiscent of North Germany and the Baltic sea area with its busy trading ports. Figures can be seen chatting to traders as ships sail around the harbour. Ludwig Hermann or Herman was born Elias Ludwig Julius Herrmann at Greifswald, Germany in 1812 to Wilhelm and Sophie Herrmann. Although little is recorded about his early life and education, he is known to have left his home in 1831 at the age of 19, to pursue an artistic career in Berlin. There he entered the Prussian Academy of Arts where he studied under Johann Gottfried Schadow (1764-1850). Hermann started exhibiting at the Berlin Academy exhibitions in 1836. A year later in 1837, he travelled to Paris to study under Eugène Isabey (1803-1886) and Eugène Lepoittevin (1806-1870). By 1841 he had returned to Berlin where he married Caroline Wilhelmine ‘Auguste’ Dupont on 16 October, 1841. From his base in Berlin he travelled around Europe painting views of France...

David Bates British, (1840-1921) Early Morning on the Glaslyn Oil on canvas, signed & dated 1895, further inscribed verso Image size: 23.25 inches x 35.25 inches Size including fra...

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...