English School Animal Drawings and Watercolors
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Style: English School
Thomas Sidney Cooper RA, Cow & Sheep In A Landscape
Located in Cheltenham, GB
This charming mid-19th-century watercolour by British artist Thomas Sidney Cooper RA (1803-1902) depicts two sheep and a cow in a landscape. Cooper was a distinguished British painte...
Category
1850s English School Animal Drawings and Watercolors
Materials
Paper, Watercolor
Farm Horse Drinking
Located in Fairlawn, OH
Farm Horse Drunking
Charcoal and pastel on artist's board, c. 1920
Signed lower right in pencil (see photo)
Titled in ink lower center, as are all the illustration for At the Farm (s...
Category
1920s English School Animal Drawings and Watercolors
Materials
Chalk
British illustration by EH Shephard, illustrator for Winnie the Pooh
Located in Petworth, West Sussex
Ernest Howard Shephard (British, 1879 – 1976)
The land of the lost toys – ‘Oh that’s you is it’
Inscribed with title (lower edge), and further inscribed ...
Category
20th Century English School Animal Drawings and Watercolors
Materials
Paper, Ink, Pen
1930's English Dog Painting Wire Fox Terrier Puppies Waiting to be Fed Signed
Located in Cirencester, Gloucestershire
'Waiting for Supper'
Wire Fox terrier puppies
English School, indistinctly signed with monogram
dated 1936
watercolour painting on artist paper, framed
Glass covering
framed: 13.5 x ...
Category
Early 20th Century English School Animal Drawings and Watercolors
Materials
Watercolor
Crouching Leopard drawing by British 20th Century artist Elsie Marian Henderson
Located in Petworth, West Sussex
Elsie Marian Henderson (British, 1880-1967)
Crouching Leopard
Charcoal and pastel on paper
8 x 12.1/8 in. (20.3 x 30.8 cm.)
Provenance: The estate of the artist
Sally Hunter Fine Art, London
Elsie Marian Henderson was born in Eastbourne in Sussex and with the encouragement of her mother, a keen amateur painter, she attended the South Kensington Schools before studying at the Slade School of Fine Art between 1903 and 1905. She continued her art education in Paris and in 1916, after returning to London she enrolled at the Chelsea Polytechnic, where she was taught lithography by the artist Francis Ernest Jackson...
Category
20th Century English School Animal Drawings and Watercolors
Materials
Paper, Charcoal, Pastel
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Black Bird Tours Around the World (Chalk Drawing over Collaged Sheet Music)
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silhouettes made with chalk on vintage collaged music pages
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Louise Laplante bridges the past and present with mixed media drawings made with figurative charcoal silhouettes juxtaposed on collaged sheets of vintage paper. Finding beauty in forgotten or discarded sheets of ephemera, Laplante uses it as a guide for playful compositions of stenciled birds in mid-flight, drifting feathers, or taxidermized deer heads in rich pastel. A final burst of wistful linework glides over the pastel forms, accentuating her subject’s movement while adding another layer of texture. In this particular work, the artist using a palette of black, grey and shades of blue and teal to compose a balanced graphic of fluffy clouds extending above a single black bird. In certain segments the stenciled images are delicately brushed over with a thin wisp of chalk which adds a delicate textured effect to the drawing. The drawing is framed with a light wood frame and has non-glare plexi glass galzing.
About the artist:
Interested in blending the old world with the new, mixed media artist Louise Laplante combines her original images with ephemera of the past, enticing a conversation about it’s “relevancy to the present.” Her compositions begin with vintage book pages, personal handwritten letters, sheet music, or instruction from old guides on etiquette or science. While the text itself is weighted with reference to a particular subject, the visual of the typed or handwritten words and printed illustrations establish a unique pattern. These layered backgrounds are superimposed with opaque charcoal drawings that are inspired by the themes read between the lines. Most recently, the artist has opted for larger scale work, combining multiple sheets of vintage paper to expand her unique motifs. Laplante exhibits across the Northeast and has shown with Carrie Haddad for more than ten years.
Artist Statement:
My work connects the texts, and ideas, in the vintage book, music or correspondence pages, with images those words evoke to comment on how the past still resonates, whether we are aware of it or not.
It is informed by my love for old paper, letters, books and images, both as reminders of the past and as bits of pattern, tone, line and shape. The text on them acts as both content and visual device. With each work, I select, arrange and collage these pieces creating both a support and pattern building on it with motifs that are suggested by words on the papers. Although I often start with an agenda I always allow each work to build its own image.
Artist Resume:
Education
MA in Fine Art, State University of New York at Albany, New York
BFA, College of New Rochelle, New Rochelle, New York
Studied, Art Institute of Boston, Boston, Massachusetts
Exhibitions
2019 Mediums of Exchange, Lehman College Art Gallery, Lehman College, CUNY, Bronx, New York
2018 Figures We Fancy, Carrie Haddad Gallery, Hudson, New York
Shelter, A.P.E. Gallery, Northampton, Massachusetts
Material Flow: Rhythm in Collage and Sculpture, Pratt Gallery, Goddard College, Plainfield, Vermont
2017 Abstractions in Black and White, Gallery 175 Pawtucket, Rhode Island
Blanche Ames National, Borderlands, North Easton, Massachusetts
Five Points Biennial, Five Points Gallery, Torrington, Connecticut
A Declaration of Sentiments: Reflections on the Centennial of Women’s Right to Vote in NYS, Athens
Cultural Center, Athens, New York
2016 Winter Exhibit, Carrie Haddad Gallery, Hudson, New York
2015 Boston Biennial 4, Atlantic Gallery, Boston, Massachusetts
Drawing, Carrie Haddad Gallery, Hudson, New York
Taking Root: Caniskek and the Meeting of Two Worlds, Athens Cultural Center, Athens, New York
North Northeast, Brattleboro Museum and Art Center, Brattleboro, Vermont
NBMMA 45th Exhibition, New Britain Museum of American Art, New Britain, Connecticut
2014 New Directions ’14, Barrett Art Center, Poughkeepsie, New York
Connecticut Women Artists – 85th National, Slater Memorial Museum, Norwich, Connecticut
New England Collective V, Galatea Fine Art, Boston, Massachusetts
Boston Biennial 3, Atlantic Works Gallery, Boston, Massachusetts
2013 Storytellers and Conjurers, Carrie Haddad Gallery, Hudson, New York
2012 Works on Paper, Carrie Haddad Gallery, Hudson, New York
Drawing, b.j. spoke gallery, Huntington, New York
Strange Glue, Thompson Gallery, Weston, Massachusetts
Silhouette, A.P.E., Northampton, Massachusetts
The Cadence of Familiarity, Krauss Gallery, Providence, Rhode Island
2011 20th Anniversary Exhibition, Carrie Haddad Gallery, Hudson, New York
Paperworks, Paper City Studios, Holyoke, Massachusetts
Small Works, Towne Gallery, Wheelock College, Boston, Massachusetts
2010 Text/Context, McCoy Gallery, Merrimack College, North Andover, Massachusetts
A Community of Artists, Danforth Museum of Art, Framingham, Massachusetts
Here and Gone: Presence, Absence, Memory and Time, Amy H. Carberry Fine Art Gallery,
Springfield Technical Community College, Springfield, Massachusetts
2009 Dreamscape, Carrie Haddad Gallery, Hudson, New York
2008 Small ’08, Wunderarts Gallery, Amherst, Massachusetts
Interaction: Louise Laplante and Liz Chalfin, Wunderarts Gallery, Amherst Massachusetts
Artists and Books, Art Complex Museum, Duxbury, Massachusetts
One Night, Pivot Gallery, Florence, Massachusetts
2007 20 Artists X 2 Feet, Wunderarts Gallery, Amherst, Massachusetts
Biennial 2007, New Hampshire Art Institute, Manchester, New Hampshire
Salon, Clark Gallery, Lincoln, Massachusetts
2006 Small: 20 Artists X 2 Feet, Wunderarts Gallery, Amherst, Massachusetts
Salon, Clark Gallery, Lincoln, Massachusetts
2004 On Paper, Carrie Haddad Gallery, Hudson, New York
Encaustics, Carrie Haddad Gallery, Hudson, New York
New Acquisitions, University Gallery, University of Massachusetts, Amherst, Massachusetts
2003 Hart Gallery...
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Edwin Lord Weeks.
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Located in Harkstead, GB
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Man on Horseback Abducting a Woman
Located in Paris, Île-de-France
Jean-Robert ANGO (Active 1759 – 1773)
Man on Horseback Abducting a Woman
Red chalk and white chalk
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Located in Cotignac, FR
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Antique English Dog Painting Jack Russell Terrier interior room setting
Located in Cirencester, Gloucestershire
'Temptation!'
English School, early 20th century
watercolour painting, framed with glass covered
framed: 10 x 12 inches
board: 8 x 10 inches
Provenance: private collection, UK
Condit...
Category
Early 20th Century English School Animal Drawings and Watercolors
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Joseph Knight, Moorland Landscape With Cattle
Located in Cheltenham, GB
This late 19th-century gouache by British artist Joseph Knight (1837-1909) depicts a gentle moorland landscape with cattle. Knight was primarily known for his naturalistic depictions of North Wales.
Raised amid the hurried industrious streets of Chorlton-Upon-Medlock in Manchester, Knight was obliged to pursue a career at one of its many cotton mills. His father, also Joseph Knight, was a mill engineer and would’ve expected his son to follow suit. It appears he was sent to work at the age of four - unthinkable today, but not uncommon in the 1840s.
In around 1841, Knight was involved in an accident, which resulted in the loss of his right arm. This probably coincided with him being sent, together with his siblings, to stay with relatives, Thomas and Jane Knight, also of Chorlton. Evidently, following this, he undertook a change of direction, taking the first steps on a path to artistry.
During the mid to late 19th century, landscape paintings grew in popularity partly due to the desires of a new middle-class buyer but also as a tonic for increasing urbanisation. And perhaps there’s no better example of an artist who understood the restorative qualities of nature than Joseph Knight.
In his early teens, he gained employment at a photography studio, primarily assisting with portraiture. With a keen eye for composition, his skills flourished and were met with much approval from staff and customers alike. It was here that he first met with Mr. Henry Crowley who was so taken by the boy’s aptitude that he encouraged him to seek a career as a painter. Crowley funded his education, enrolling him at the Manchester Academy of Fine Arts, where the emphasis was on honing one’s draughtsmanship in a strict environment via diligent study and life drawing.
With his technique now evolved, commissions were forthcoming - both as a painter and photographer. In the 1861 census, now married, he records his occupation as ‘Photographic artist and painter in oil’. It’s plausible that he was involved in adding tints to photographic portraits during this period while also working as a painter.
As recognition of his development, in 1868, he was elected as a full member of the Manchester Academy of Fine Arts, and a year later debuted at London’s Royal Academy with ‘Evening, Near Quimper, Brittany’ and ‘Breton Peasants’. It was around this time that he came to the attention of several of his younger contemporaries who viewed his naturalistic approach as altogether fresher and entirely modern. In a quiet rebellion against their formulaic training, they undertook to paint directly from nature, ‘en plein air’, without the rigour of academic constraints. The group, which included Joshua Anderson Hague...
Category
1890s English School Animal Drawings and Watercolors
Materials
Paper, Gouache
Thomas Sidney Cooper RA, Cow & Sheep In A Landscape
Located in Cheltenham, GB
This charming mid-19th-century watercolour by British artist Thomas Sidney Cooper RA (1803-1902) depicts two sheep and a cow in a landscape. Cooper was a distinguished British painte...
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1850s English School Animal Drawings and Watercolors
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Still life with dead goldfinch - The mystic blue transcends death -
Located in Berlin, DE
William Cruickshank (1848-1922). Still Life with a Dead Goldfinch and Nest. Watercolour and gouache on buff paper, 21 x 24.5 cm (visible size), 40 x 42 cm (frame), signed W Cruickshank on the left. Framed behind glass in a passpartout.
About the artwork
The painting has an atmosphere of melancholy beauty. The clutch of eggs, recalling the wonderfully mysterious blue of Romanticism, the matching blue flowers and the goldfinch with its black, yellow and red plumage show nature in all its beauty, and yet the goldfinch is dead. It lies on its back, its head bent backwards in an unnatural way, its claws lifeless and one wing outstretched in a last effort. This makes the scene a natura morta, a still life that spreads the melancholy silence of an eternal moment. Yet there is also an inherent movement in the picture, enhanced by the streaky application of paint.
A movement that here signifies the intertwining of life and death: death, which the goldfinch has met in mid-life, before it has been able to hatch its offspring, while at the same time the mysterious blue eggs that have not hatched point to a higher life after death. Finally, the goldfinch feeding on the thorny thistles traditionally represents Christ and his redemptive sacrificial death. The goldfinch is depicted in a similar way in Carel Fabritius' famous painting The Thistle Finch (1654), in the Mauritshuis in The Hague. The bird is alive, but chained and thus prevented from flying.
In this tradition, Cruickshanks' painting is a memento mori that is immediately appealing to today's viewer - a meditative image of life and death that also contains an affirmation of life in all the beauty of creation. In order to enhance the readability of this pictorial sense, the objects depicted are tilted into the plane so that the individual elements of the picture can be more easily related to one another, but without destroying the sense of space.
Cruickshank, who specialised in this type of painting, combined the emblematics of the Baroque with the imagery of Romanticism and a style borrowed from landscape painting. Cruickshank's mastery of materials is evident in his fusion of watercolour and gouache, in which the more intense colours of gouache concretise the motif from an indeterminate, moving colour space. The painted objects have the aesthetic quality of fine painting, although, as in the case of the nest, they are formed by a virtuoso structure of blotches.
Selected bibliography
Algernon Graves: The Royal Academy of Arts. A complete dictionary of contributors and their work from its foundation in 1769 to 1904, vol. 2: Carroll to Dyer, London 1905.
Leo R. Schidlof: The miniature in Europe. In the 16th, 17th, 18th, and 19th centuries, vol. 1: A - L, Graz 1964.
Jeremy Maas: Victorian painters, London 1996.
Daphne Foskett: A Dictionary of British miniature...
Category
1890s English School Animal Drawings and Watercolors
Materials
Watercolor, Gouache
English School animal drawings and watercolors for sale on 1stDibs.
Find a wide variety of authentic English School animal drawings and watercolors available for sale on 1stDibs. Works in this style were very popular during the 20th Century, but contemporary artists have continued to produce works inspired by this movement. If you’re looking to add animal drawings and watercolors created in this style to introduce contrast in an otherwise neutral space in your home, the works available on 1stDibs include elements of purple and other colors. Many Pop art paintings were created by popular artists on 1stDibs, including Edmund Blampied, and John Sergeant. Frequently made by artists working with Charcoal, and Paper and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large English School animal drawings and watercolors, so small editions measuring 7 inches across are also available. Prices for animal drawings and watercolors made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at $534 and tops out at $2,400, while the average work sells for $964.
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