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Maude GoodmanMother and Daughter1889
1889
$12,500List Price
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Located in Woodbury, CT
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.
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Located in Woodbury, CT
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Oil on canvas, signed lower right
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By Samuel Henry Alken
Located in Woodbury, CT
Samuel Henry Alken (1810–1894)
Horse Racing Scene, Possibly the Epsom Derby
Oil on board, unsigned
Attributed, English school circa 1840
Presented in a later gilt frame with beaded inner edge
This dynamic mid-19th century racing scene, attributed to Samuel Henry Alken—also known as Henry Alken Junior—captures the high-stakes moment just before the thundering release of horses and riders at the starting line. A tightly packed field of brightly jacketed jockeys leans forward with urgent anticipation, the taut muscles of their mounts echoing the gathering tension. In the foreground, a race marshal gestures dramatically to signal the start, his stance underscoring the energy about to be unleashed.
Though unsigned, the work bears the unmistakable hallmarks of Samuel Henry Alken’s hand: vigorous composition, attention to equine form, and a sharp eye for the choreography of sport. The figures are finely modelled, the palette lively but grounded, and the setting—with its wooded backdrop, animated crowd, and distant grandstands—suggests a major 19th-century race meeting, possibly the Epsom Derby, a subject Alken is known to have returned to in several formats.
The composition’s panoramic sweep and low horizon lend a cinematic quality, while the density of detail—each silken cap and coat, each bridle and plume—evokes the pageantry and social theatre of Britain’s sporting calendar at the height of its Regency and early Victorian splendour.
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The former Curator of Oil Paintings at the National Maritime Museum, E H H Archibald, says of Joseph Heard in his Dictionary of Sea Painters in Europe and America that "…with Samuel Walters he must stand as the top-ranking Liverpool ship portraitist of the 19th century." He would have known the artist's work well as the National Maritime Museum has eleven paintings by Heard in its collection.
Joseph Heard was born on 7th March 1799 in Egremont near Whitehaven in Cumberland. His father, also Joseph, was a saddler and it is believed that the aspirant painter received some artistic training from John Clementson who was a local portrait painter. Joseph had a brother Isaac who painted portraits. It is possible that Joseph came across the work of H Collins...
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