Hilton Lark Pratt

A dark-breasted fighting cock & A pale-breasted fighting cock facing

Henry S. Cottrell (fl. 1840-1860) "Floss", a favourite spaniel, property of Ms Potter Signed 'H.S. Cottrell' lower right Inscribed lower centre Oil on canvas C...

Thomas Mogford (1809-1868) Three horses in a woodland landscape signed and dated 'Thos Mogford. 1838' (lower right) Oil on canvas Canvas size - 25 x 30 ...

Arthur James Stark (1831-1902) Husky in a snowy landscape Signed 'a j Stark, 1879' lower right Oil on canvas Canvas size - 20 x 26 in Framed size - 26 x 32 in Arthur James Stark (18...

Richard Barrett Davis (1782-1854) Mr Ward on Quicksilver Oil on canvas Canvas Size - 25 x 30 in Provenance with Ackermann & Son, London; where purchased by the present owner. Born...

Henry Bernard Chalon (London 1770-1849) A Löwchen and a Toller Signed 'H. B. Chalon, 1796' lower right Oil on canvas Canvas Size 10 x 13 in Framed Size 14 x 17in Henry Bernard Chalo...

Samuel Alken Jnr (1784-1825) The Hunt Breaking cover Signed 'S. Alken.' lower right Oil on canvas Canvas size - 24 x 36 in Framed size - 31 x 42 1/2 in Samuel Alken junior was the eldest son of Sporting artist Samuel Alken (1756-1815), he was born on April 10th. The family mostly became sporting artists, his younger brothers Henry Thomas (Ben Tally Ho), George and Sefferien. Little is known about his life, in his father's will he was the only son mentioned, but this was to leave him 1s., which presumably was a derogatory legacy perhaps because, as Shaw Sparrow suggests, he traded on his father's name, signing in the same manner. However, as he often signed quite clearly S. Alken Jnr one feels it unlikely, but it does imply S. Alken Snr also painted sporting pictures. There has always been great confusion over the Samuel Alkens and for a long time they were looked upon as one person. number of prints were published after Samuel Junior's work including a set of sixteen published in the early 1820's depicting various sports, including hunting, racing, shooting and fishing. In the works recorded by him, his style would seem closer to that of Barenger. A lot of small wooded shooting scenes...

Within the context of British sporting art, one has to put a Herring on this scale as a jewel in the crown. Coming from a collection formed in the 1930s, this is its first change of ...

‘News from the Front’ by Frederick Goodall R.A. H.R.I. (1822-1904). The painting – which depicts a diverse cross-section of Victorian figures gathered outside a post office as they...

Charles Augustus Henry LUTYENS (1829 – 1915, British) On the Scent c.1880 Unframed 50 x 84 inches Framed 64 x 98 inches Oil on Canvas Signed Provenance: Possibly commissioned by George William Coventry, 9th Earl of Coventry (1838-1930); thence by family descent; Croome Court House Sale, Worcestershire 1948 Lord Coventry was a keen huntsman having founded the North Cotswold Hunt in 1867 and in 1882 The Croome. Besides founding two Hunts, he also held the unique distinction of owning racehorses that won two Grand Nationals in consecutive years. Daphne Moore, the hunting correspondent writing about the Croome Hounds c.1950, emphasised the influence of Rambler as a perfect type of hound. ‘Who could have dreamed that in 1949 well-bred hounds in almost every kennel in England would have at least a trace of Rambler’s blood in their veins?’ … to the hound man The Croome and the name Coventry immediately recalls Rambler. Anyone who has seen his portrait by Lutyens, will remember him as being the perfect type of hound for any country…’ Charles Lutyens the artist spent his early adult life in the Army, joining the 20th foot and siled with them in 1850 to serve in Canada. In 1857 he left the army to take up life as a professional artist. He based himself at Onslow Square...

‘News from the Front’ by Frederick Goodall R.A. H.R.I. (1822-1904). The painting – which depicts a diverse cross-section of Victorian figures gathered outside a post office as they...

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...

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 ...