John Fitz Marshall

"Making Friends" Oil painting by John Fitz Marshall

1900

Oil Painting by Henry Garland "The Donkey Ride, Littlehampton" 1834 - 1913 Winchester Landscape painter who exhibited at the Royal Academy from 1854 to 1890 in several provincial mus...

Oil Painting by E. S. England "Cockerel and Hens" 1870 - 1900 Painter of atmospheric landscape animal scenes, including prize pig and cows. His scene 'The C...

Oil Painting by George Wright "Exercising the Path" 1860 - 1942 Leading painter of coaching and hunting scenes, he exhibited at the Royal Academy. Many works of his were illustrated ...

Oil Painting by Henry Charles Woollett "Winter" 1826 - 1890 Henry was born in Brighton then lived in Cheltenham and Liverpool. He painted rustic landscape with animals found in the ...

This superb Victorian animal portrait oil painting is by noted listed artist Carl Suhrlandt. Painted in 1884 it is a lovely portrait of a cat and dog in a living room at supper time....

James Pawley (1850-1879) Lord Hardinge's Arabian stallion 'Meanee', in a desert landscape signed and dated 'Pawley. pinxit/ 1849' (lower right) Oil on canvas Canvas size 17 x 21 in F...

Claude Lorraine Ferneley (1822-1891) Duncan's horses - 'Macbeth' signed with initials, inscribed and dated 'CLF sketched September 5th 1849’ (lower left and lower centre) Oil on panel Painting size - 13 x 17 1/2 in Framed size - 20 x 24 1/2 in Provenance Christie's London, Sporting Art & Dogs, 14th July 2001, Lot 183, sold for £5,288; The Collection of Charlie Watts. Charlie Watts, the legendary drummer of The Rolling Stones, was renowned not only for his musical prowess but also for his profound affection for animals, particularly Collies. He and his wife, Shirley, resided at Halsdon Manor in Devon, where they managed a stud farm for Arabian horses. Their estate was also home to numerous dogs, reflecting their deep commitment to animal welfare. Claude Lorraine Ferneley (1822–1891) was a British equestrian and sporting artist, and the son of the acclaimed Leicestershire painter John Ferneley Sr., one of the leading figures in 19th-century English horse painting. Continuing the family tradition, Claude developed a refined skill in depicting horses, hunts, and rural scenes, often drawing from the vibrant sporting life of the English countryside. Although he lived somewhat in the shadow of his more famous father, Claude Lorraine Ferneley maintained a solid reputation among country patrons for his ability to portray horses with anatomical accuracy and spirited realism. His paintings often captured the energy of the hunt and the elegance of equestrian portraiture, appealing to a clientele that prized their animals as both companions and status symbols. His work is noted for its clarity, control, and fidelity to the traditions of British sporting art, and today, Claude Ferneley is recognized as an accomplished artist in his own right, contributing to the enduring legacy of the Ferneley name in English equestrian painting.

English School Farmyard Scene with Horses and Goat Oil on panel, unsigned The Circle of John Frederick Herring Sr. Circa 1880 Presented in a later gilt and painted frame This finely rendered 19th-century English farmyard scene captures the quiet dignity of rural life, with a group of three horses—white, chestnut, and black—gathered beneath a tree in the warm light of late afternoon. A small goat stands to one side near a rustic stable, adding a note of charming domesticity to the composition. The surrounding landscape, with its distant hills and careful play of shadow and cloud, speaks to the artist’s sensitivity to atmosphere and detail. Though unsigned, the painting is executed in a manner closely aligned with the work of John Frederick Herring Senior, one of Britain’s most celebrated animal painters of the Victorian era. The careful modelling of the horses, their distinctive postures and anatomy, and the tranquil farm setting are all hallmarks of Herring’s influence. Painted in oils on a wooden panel, the surface retains a fine, even gloss and a warm palette typical of the period. The composition is both balanced and lyrical: the interplay of form and gesture among the animals invites the viewer into a moment of repose between work and activity, emblematic of Victorian ideals of harmony between man, beast, and the land. A delightful example of 19th-century English rural painting...