Arthur Wellington Fowles

Cutter SPHINX Wins the first Royal Albert Cup at Southsea, 1866

Dated 1866

Landscape painting with figures, a large central deciduous tree, and cattle in the background. Unsigned. Oil on canvas, relined. Image size: 74 x 101 cm. Empire frame, gold-patinate...

Paolo Monaldi (Rome, Italy, 1710-1779) Title: Peasants playing cards Medium: Oil on canvas Dimensions: Without frame 31 x 40.5 cm - with frame 43.5 x 52 cm Carved and gilded wooden f...

This painting, titled What Remains, presents a haunting yet vivid interpretation of a barren, abstracted landscape. The composition is divided into two primary zones: a stark white f...

Period impressionist painting, 'Driving Cattle' is by Scottish 19th century artist William Mouncey (1852-1901). His particular style is e...

Fine painting by renowned and award-winning Scottish artist Duncan Cameron of his favorite subject, the haystacks in autumn with the scenic Scottish cou...

Fine 19th century landscape oil on canvas by Alfred de Breanski Sr., this sunset, color and light, are exceptional in this work. Alfred De Brea...

'Ferry of the Loaf' comes from the legendary tale of Thane of Fife, MacDuff, escaping the fury of MacBeth crossing the River Tay in the 11th century. The painting comes with a handw...

Fine 19the century landscape by member of the renowned Williams family of artists, George Augustus (1814-1901). George Augustus was the son of Edward Williams (1781-1855), whose wife...

Impressionist/Post impressionist style painting 'Kirkton Bridge, Balquhidder' by Scottish contemporary artist JD Henderson, is a Monet-like image of a Scottish bridge in Balquhidder, the Clan homeland of McLaren in central Scotland. Dated 1995 (verso) and signed by the artist in the lower right corner, the painting is on canvas with oil paint in a new gold frame. JD Henderson is described as a 20th century Scottish Colourist and a landscape artist, using impressionism and post impressionism styles. 'Kirkton Bridge' demonstrates the Colourist trend, but also broader brushstrokes and thick applications of paint from post impressionism that gives the subject matter priority over fleeting naturalistic color and light. The actual bridge and water...

Antoine-Claude PONTHUS-CINIER (Lyon, 1812 - Lyon, 1885) The Trailer Ferry at Neuville-sur-Ain Oil on canvas H. 54 cm; W. 81 cm Sale stamp lower left. Provenance: 1885, Studio Sale, No. 18 Ponthus-Cinier belongs to what could be defined as the third (and, so to speak, last) generation of neoclassical or historical landscape artists, born in the 1810s and 1820s, such as Félix Lanoüe, Achille Bénouville, Paul Flandrin, Eugène Ferdinand Buttura, and Alfred de Curzon. More specifically, he is considered the leading and most popular representative of the Lyon School of landscape artists around the mid-19th century. A generous, honest, and pleasant companion, Ponthus-Cinier came from a family of merchants on his mother's side and magistrates on his father's. Destined for commerce by his parents, he preferred the artistic path, and after enrolling at the École des Beaux-Arts in Lyon in 1829 and training in Paris with Paul Delaroche, he exhibited his first works at the Lyon Salon of 1839, before participating in the Paris Salon in 1841. That same year, he received the second Prix de Rome for historical landscapes (won by Buttura in 1837, and Bénouville in 1845), beaten by the Versailles artist Lanoüe. To perfect his skills, Ponthus-Cinier then decided to travel to Italy, alone and at his own expense, for a single stay between 1842 and 1844; He discovered the Ligurian coast, Tuscany, Naples, and, of course, Rome and its surroundings, and executed a considerable number of studies (painted sketches or pen and ink sketches) that he used to compose views of Italy throughout his career. Ponthus-Cinier's main qualities probably lie in "the art of illuminating a canvas," as A. Jouve wrote in the 19th century, and in his sense of perspective, sometimes truly extraordinary; however, he seems, most of the time, a little less brilliant in his figures and in the transcription of details. This unsigned canvas...