19th Century Figurative Paintings

This interior portrait of a woman dressed in an elegant lace shawl is a 30" x 25" oil on canvas painting in the style of Jacob Eichholtz. The artist is unknown but the painting is believed to have been painted in the 1840's. It is not signed but framed and in good condition. Provenance: Private Collection, Old Queens Gallery...

Frederick James Boston (1855 - 1932) The Letter Oil on canvas 20 x 16 inches Signed lower left The first instructor of art at the Brooklyn Institute of Arts and Sciences, Frederick ...

Artist/ School: French School, 19th century, indistinctly signed lower right corner. Title: Sunrise on the Beach Medium: signed oil painting on canvas, framed. framed size: 18 x...

Allegory of Asia: a cassocked woman, with a blue cloth edged with gold, is lying on a triclinium, in her right hand she holds a crown of flowers; her gaze is turned upwards, her head encircled by a diadem of flowers. Next to her bed there is a censer and a gilded vase carved with cherubs, filled with flowers; scattered at her feet are roses, pearl and coral necklaces...

A late Victorian period painting by British artist, David W. Haddon, active (1884-1914). The canvas measures 20 x 14 inches and is signed low...

Thoughts of a long, happy life greeted the young couple who gazed up from their bed on this canopy panel. Adorned with chrysanthemums and peaches, both symbols of longevity, the lyri...

This is a wonderful outstanding quality scene of an English cottage garden scene. The quality of the piece is amazing with a real understanding of how to make a very desirable painting. Charles James Lewis, was baptized at St Giles, Camberwell, London on 6 October 1830, son of Charles Thomas Lewis, a clerk at the bank of England, and his wife Sarah Hyde née Bennett (1805-1872), who married at Tottenham, London on 11 June 1825. In 1851, a 20-year-old student in painting, living at 17 Nelson Square, Camberwell with his 52-year-old married father Charles and a 64-year-old 'unmarried' Sarah Lewis. Charles married at Camberwell in 1854, Mary Ann Matilda Hammond Shetton, and in 1871, a 50-year-old landscape artist, living at 2 Cheyne Walk...

Enoch Wood Perry, Jr. (1831 - 1915) A Quiet Afternoon, 1876 Oil on canvas 15 1/4 x 21 inches Signed and dated lower right Born in 1831 in Boston, Enoch Wood Perry, Jr, is internatio...

A Fine Pair of Allegorical Paintings of Poetry and Music by Charles Chaplin Title: Allegory of Poetry and Music Artist: Charles Chaplin (French, 1825-1891) Date: 19th Century Medium...

Anonymous, Cuzco School A Portrait of Archangel Raphael With Fish oil on canvas 1800s canvas dimensions 22.24 x 15.74 inches (56.5 x 40 cm) frame ...

Attributed to Randolph Caldecott, a well-known English painter, and illustrator of English Pub interior scenes. The scene is great fun, as we can see di...

Signed bottom-right.

Charles Zacharie LANDELLE (Laval, 1821 – Chennevières/Marne, 1908) Portrait of a child with blue eyes Oil on canvas Monogrammed and dated lower l...

Artist/ School: Singleton Jowett (1878–1927), signed Title: Pausing for Conversation Medium: oil on canvas, framed Framed: 24 x 20 inches Canvas: 2...

Berlin Porcelain Allegorical Plaque of Admiration KPM, Late 19th CENTURY The three-quarter-length portrait depicting a brunette woman with blue eyes in light ecclesiastical robes supporting palms crossed over chest and looking up over right shoulder - in a landscape immersed in powder blue sea holly...

Imperial Forums and Coliseum on the background is an artwork realized in 1899. Mixed colored oil painting on canvas. Titled and date on the lower margin. Unreadable monogram. Good...

Beautifully painted sunset on the river with a single figure in a punt and cattle crossing by the American artist, George Riecke. Most likely a New Orlea...

Signed, lower right: Fantin Provenance: Gustave Tempelaere (1840–1904), Paris; possibly by descent to his son: Julien Tempelaere (1876–1961) and with F. & J. Tempelaere, Paris, prob...

'His First Suit,' a large Victorian oil painting, signed 'Fred Morgan' English, c.1899 Frame: Height 109cm, width 133cm, depth 8cm Canvas: Height 92cm, width 116cm, depth 2.5cm Executed in oil-on-canvas, and mounted in a carved giltwood frame, this beautiful English painting, titled 'His first suit,' is by the late Victorian artist Frederick Morgan, an artist working in a similar style to that of the more well known Arthur John Elsley...

The Musical Performance by Antonio Ermolao Paoletti An italian genre painting showcasing two boys playing a trumpet and a guitar for their sist...

(American School, C. 1825) An Exceptional Quality Portrait of "Two Sisters", early 19th Century. Oil on canvas in gilt-wood frame. This powerful portrait painting depicts two sist...

An oval coastal scene with two figures sat on the shore with seagulls soaring overhead. Presented in a pink mount and an ornate gilt-effect wooden frame with swept corners. Signed to...

Well painted and interesting composition. Classic mid 19th century English Folk art Cottage Landscape. The piece is framed in its original frame and is a very nice piece of Engli...

Gorgeous tonalist oil painting woman walking in field by pond with home in background by Willis Seaver Adams (American, 1844-1921), circa 1880. Trees and an amazing sky in the background add depth and interest to this beautiful piece. Signed "W. S. Adams" lower right corner. Condition: Previous restoration includes relining of canvas. Frame is vintage gilt molded and wood frame and shows previous repair of molding losses. Image size: 20"H x 24"W. Willis Seaver Adams was known for his landscapes of the Connecticut River Valley. A relative recluse for much of his artistic life, his loneliness can be seen in much of his works. Oil miniatures were the focus for almost all of his later works. He is credited with over 425 oils, watercolors, and drawings. Willis Seaver was born in 1844 on a farm in Suffield, near the Connecticut River. He intermittently attended the Suffield Academy, and always wanted to be a painter. A wealthy doctor became his patron, and financed his studies in 1868 at the Royal Academy in Antwerp. When the doctor passed away, Adams returned home and struggled to make a living painting. After working for a photographer for three years, he opened his own studio. Adams helped organize Clevelands first watercolor exhibit in 1876. Soon thereafter, he completed a portrait of Rutherford B. Hayes, then governor of Ohio, prior to his becoming President of the United States. This portrait enhanced Adams notoriety. In 1878, Adams traveled to Italy where he opened a studio in Venice, and became friendly with neighbor James Whistler. Prior to returning to Springfield, Adams lived in Florence, Italy for three years. He returned to became an instructor for the Springfield Art Association, and began to exhibit his works at the galleries of James D. Gill. His first one-man exhibit was held there in 1894. Other successful exhibitions took place in Chicago, New York, and Boston. Although his works garnered respectable prices and reflected his success, Adams felt he was due more recognition. In 1906, he moved to Greenfield, Massachusetts and converted a barn into a studio. There, he fell into relative obscurity, accompanied mainly by his dog, Collie. In 1921, Adams passed away. Examples of Willis Adams works can be seen at the Kent Memorial Library, the Wadsworth Atheneum, and the Suffield Academy. Several Suffield residents are thought to own Adams paintings.

Everyday fishermen life is captured in this wonderful Italian impressionist late 19th century oil painting on thin board titled fishermen ashore. We love the neutral and natural colo...

Charles Bouchez (1811-1882) French A Soldier Blowing the Trumpet oil on canvas signed and dated ch. Bouchez 1842 canvas dimensions 6.29 x 4.13 inches (16 x 10.5 cm) frame 10.23 x 7...

Original Oil Painting of Welsh Hamlet with Snowdon in the distance by 19th Century Artist, Robert Gallon (British, 1845–1925) Art measures 18 x 12 inches Frame measures 24 x 18 inc...

A wonderful oil on panel by French impressionist painter Jean-Francois Raffaelli depicting two old men seated in an interior. One is reading his paper as the other naps and there are several kittens on the floor. Painted in the artist's distinctive style. The work is accompanied by a certificate from Brame & Lorenceau and is included in the catalogue raisonne of the painter. Signature: Signed lower left Dimensions: Framed: 9.5"x8" Unframed: 5.5"x4" Provenance: Private collection - United States Original artists label verso Jean-François Raffaëlli's father was a failed Italian businessman and Raffaëlli himself was, among other things, a church chorister, actor and theatre singer. He then studied under Gérôme at the École des Beaux-Arts in Paris. He travelled to Italy, Spain and Algeria and on his return to France settled in Asnières. In 1876, on a trip to Brittany, he first saw the potential of realist subject matter, if treated seriously. He became involved in meetings of artists at the Café Guerbois, where the Impressionist painters used to gather. As a result, Degas, contrary to the advice of the group, introduced Raffaëlli to the Impressionist exhibitions - according to one uncertain source as early as the very first exhibition, at the home of Nadar, and certainly to those of 1880 and 1881. In 1904, Raffaëlli founded the Society for Original Colour Engraving. He first exhibited at the Salon de Paris in 1870 and continued to exhibit there until he joined the Salon des Artistes Français in 1881, where he earned a commendation in 1885, was made Chevalier of the Légion d'Honneur in 1889 and in the same year was awarded a gold medal at the Exposition Universelle. In 1906 he was made Officier of the Légion d'Honneur. He was also a member of the Société Nationale des Beaux-Arts. In 1884, a private exhibition of his work cemented his reputation. He contributed to several newspapers such as The Black Cat (Le Chat Noir) in 1885 and The French Mail (Le Courrier Français) in 1886 and 1887. He published a collection entitled Parisian Characters, which captured his favourite themes of the street, the neighbourhood and local people going about their lives. In 1880 he participated, with Forain, on the illustration of Joris Karl Huysmans' Parisian Sketches (Croquis Parisiens). He also illustrated Huysman's Works. As well as working as an illustrator, he also made etchings and coloured dry-points. His early attempts at painting were genre scenes, but once he was settled in Asnières he started to paint picturesque views of Parisian suburbs. From 1879 onwards, his subject matter drew on the lives of local people. These popular themes, which he treated with humanity and a social conscience, brought him to the attention of the social realist writers of the time such as Émile Zola. In addition to his realist style, Raffaëlli's dark palette, which ran contrary to the Impressionist aesthethic, helped to explain the opposition of those painters to his participation in their exhibitions. More concerned with drawing than colour, he used black and white for most of his paintings. Towards the end of his life, he lightened his palette, but without adopting any other principles of the Impressionist technique. After painting several portraits, including Edmond de Goncourt and Georges Clémenceau, he returned to genre painting, particularly scenes of bourgeois life. Later in his career, he painted mainly Breton-inspired sailors and views of Venice. His views of the Paris slums and the fortifications, sites which have almost completely disappeared, went some way towards establishing a genre in themselves and perpetuated the memory of the area: The Slums, Rag-and-Bone Man, Vagabond, Sandpit, In St-Denis, Area of Fortifications. His realistic and witty portrayal of typical Parisian townscapes accounts for his enduring appeal. Born in Paris, he was of Tuscan descent through his paternal grandparents. He showed an interest in music and theatre before becoming a painter in 1870. One of his landscape paintings was accepted for exhibition at the Salon in that same year. In October 1871 he began three months of study under Jean-Léon Gérôme at the École des Beaux-Arts in Paris; he had no other formal training. Raffaëlli produced primarily costume pictures until 1876, when he began to depict the people of his time—particularly peasants, workers, and ragpickers seen in the suburbs of Paris—in a realistic style. His new work was championed by influential critics such as J.-K. Huysmans, as well as by Edgar Degas. The ragpicker became for Raffaëlli a symbol of the alienation of the individual in modern society. Art historian Barbara S. Fields has written of Raffaëlli's interest in the positivist philosophy of Hippolyte-Adolphe Taine, which led him to articulate a theory of realism that he christened caractérisme. He hoped to set himself apart from those unthinking, so-called realist artists whose art provided the viewer with only a literal depiction of nature. His careful observation of man in his milieu paralleled the anti-aesthetic, anti-romantic approach of the literary Naturalists, such as Zola and Huysmans. Degas invited Raffaëlli to participate in the Impressionist exhibitions of 1880 and 1881, an action that bitterly divided the group; not only was Raffaëlli not an Impressionist, but he threatened to dominate the 1880 exhibition with his outsized display of 37 works. Monet, resentful of Degas's insistence on expanding the Impressionist exhibitions by including several realists, chose not to exhibit, complaining, "The little chapel has become a commonplace school which opens its doors to the first dauber to come along."An example of Raffaëlli's work from this period is Les buveurs d'absinthe (1881, in the California Palace of Legion of Honor Art Museum in San Francisco). Originally titled Les déclassés, the painting was widely praised at the 1881 exhibit. After winning the Légion d'honneur in 1889, Raffaëlli shifted his attention from the suburbs of Paris to city itself, and the street scenes that resulted were well received by the public and the critics. He made a number of sculptures, but these are known today only through photographs.[2] His work was also part of the painting event in the art competition at the 1912 Summer Olympics. In the later years of his life, he concentrated on color printmaking. Raffaëlli died in Paris on February 11, 1924 Museum and Gallery Holdings: Béziers: Peasants Going to Town Bordeaux: Bohemians at a Café Boston: Notre-Dame; Return from the Market Brussels: Chevet of Notre-Dame; pastel Bucharest (Muz. National de Arta al României): Market at Antibes; Pied-à-terre Copenhagen: Fishermen on the Beach Douai: Return from the Market; Blacksmiths Liège: Absinthe Drinker...

Artist/ School: Edward Robert Smythe (British 1810-1899), signed and dated (1858?) lower centre. *artists bio below, please scroll down. Title: Walking through the Woods Medium: oil on canvas, framed Size: framed: 27.5 x 22 inches canvas: 22 x 17 inches Provenance: private collection, England Condition: The painting is in overall very good and sound condition. Edward Robert Smyth[e], was born at Berners Street, Ipswich in 1810 and baptised St Nicholas Church, Ipswich on 10 February 1815, son of James Smyth (1780-1863) and his wife Sarah Harriet née Skitter (1783-1845), who married at Norwich on 14 June 1811; James was an accountant with bankers Bacon, Cobbold, Durningham & Cobbold in Tavern Street, Ipswich who added a final 'e' to his surname. Edward attended the school of Robert Burcham Clamp at Ipswich and had a liking for a military career but his love of art took his fancy. Elected a member of the Ipswich Society of Professional and Amateur Artists on 1 March 1832 and attended his first meeting on 18 November the same year and was probably working under Henry Davy and where he met many local artist members. In his younger days he had a studio in the Old Shire Hall, Ipswich where he painted with artists such as Samuel Read, Wat Hagreen, Frederick Brett Russel and Robert Burrows. About 1840, he moved to Norwich to study the Norwich School of Painters where he became acquainted with Robert Ladbrooke’s son, Frederick Ladbrooke and is said to have worked with John Sell Cotman (1782-1842), but returned to Ipswich some five years later, taking a house in Bramford Road. He married at Ipswich on 15 March 1848, Ellen Burman (1827-1879) of Ipswich and where his first child Edward Robert, jun. was born the following year. Edward was of Berners Street, Ipswich when declared insolvent at Ipswich on 13 September 1850 and in 1851, giving his age as 32, was living at Elmswell, Suffolk with his 24 year old wife Ellen and son but later that year moved to 3 Angel Hill, Bury St Edmund’s, where he kept company with his friend Fred Ladbrooke. By 1861, still at Angel Hill, they had further children born at Bury St Edmund’s, Francis (Frank) Rowland 1852, Ellen Kate 1854 and Mary Emily 1856, their daughter Louisa Jane, died at Angel Hill, Bury St Edmund’s on 7 April 1861, aged 3 years and 7 months. Smythe exhibited at the Suffolk Fine Arts Association at the New Lecture Hall of the Mechanics' Institution, Ipswich in August 1850, several oil paintings including 'Chapel Viaduct, Colne Valley', 'A Group of Animals', 'A Sketch Ploughing', 'Ponies and a Dog' and 'A Landscape', and a watercolour 'The Ruling Passion strong in Death' and was also a member and exhibitor at the Ipswich Fine Art Club 1886-1898 and in 1889 at the Woodbridge Art Exhibition at the Assembly Room, Bull Hotel, Woodbridge had several oil paintings on display including 'Horses at Marsh', 'Donkeys' and 'Early Morn'. He also exhibited five works at the Royal Academy including 'View in the Colne Valley at Chappel, Essex' and exhibited five works at the British Institution including 'Pony and Boy' and 'The Village Blacksmith'. In 1865, Edward was living at 98 Risbygate Street, Bury St Edmund’s, and his wife died at 69 Risbygate Street, Bury St Edmund’s in 1879, aged 52. By 1891 he had moved in with his married daughter Ellen Kate, who had married at St Matthew’s church Ipswich on 10 May 1886, George Robert Chilvers, a tobacco manufacturer, at Burlington Lodge, 30 Burlington Road, Ipswich where he died on Wednesday, 5 July 1899, aged 88, and was buried in Ipswich cemetery three days later. Five of his painting were on show at the Centenary exhibition of the Ipswich Art Club in 1974, a pastel 'Crossing the...

Robert Alexander Hillingford British, (1828-1904) The Duke’s Musicians – A Reminiscence of Hardwick Hall, Derbyshire Oil on canvas, signed Image size: 40 inches x 59 inches Size including frame: 47.5 inches x 66.5 inches Exhibited at the Royal Academy in 1883, no. 844 Exhibited at the Yorkshire Institute A large-scale Royal Academy painting...

19th century English/British cottage landscape with mother and child feeding the chickens. Walter E. Ellis, was born and christened Erasmus Walter Ellis, although he must have preferred Walter to Erasmus, as he signed his paintings Walter E. Ellis, as on this painting, or W. E. Ellis. Erasmus Walter Ellis was born in Birmingham in 1848, the son of William Ellis...

This rare mythological scene depicting the Greek author Homer on the island of Scyros. You will notice the Trojan War being fought in the background. Our painting, dating from 1864, is unsigned, but has a solid attribution to academic artist Henri-Léopold Lévy...

Signed and dated oil on panel figure in landscape by sought after impressionist painter Henri Le Sidaner. The work depicts a farmer walking beneath blossom trees in an orchard in spr...

A very pretty late 19th-century English marine scene of fishing boats beached after being out to sea and bringing in their catch for the day. This was a subject that was very popul...

Portrait of Bishop Gaspard Mermillod is an original artwork realized by an artist belonging to the Roman School of 19th Century. Mixed colored oil on canvas. The bishop depicted in the painting examined here, as suggested by the coat of arms represented at the top left, is the Swiss Gaspard Mermillod, born in Carouge on 22 September 1824. Mermillod is known to have been one of the most active representatives of social Catholicism and one of the eminent personalities who formed in Rome that "select committee" set up in 1882 by Pope Leo XIII...

Artist/ School: Singleton Jowett (1878–1927), signed Title: Pausing for Refreshments Medium: oil on canvas, framed Framed: 24 x 20 inches Canvas: 2...

Albert LYNCH (1851-1936) French "Rêverie" Oil on canvas Signed lower left Canvas: 43 1/4" high x 24 3/4" wide Frame: 49 5/8" high x 30 3/4" wide Albert LYNCH: Born in Lima in 1851, Albert Lynch studied art at L'Ecole des Beaux-Arts de Paris and in the studios of the figure painters Gabriel Ferrier and Henri Lehmann...

A painting of Sappho by Ettore Forti Italian, c.1900 Frame: Height 85cm, width 38cm, depth 2.5cm Canvas: Height 73cm, with 26.5cm, depth 2.5cm This excellent portrait painting depic...

19th century English impressionist scene of the Barbizon forest, near Paris France, with a river, cows, and trees. Boyle was a pioneering 19th-century British artist inspired by E...

Louis-Léopold BOILLY (La Bassée 1761 - Paris 1845) Portrait of a young woman in a crimson dress Oil on canvas H. 22 cm; L. 17 cm Louis-Léopold Boilly,...

Basile de Loose Portrait of a Child signed and dated „1861“ Basile De Loose (17 December 1809 – 24 October 1885) was a Belgian painter. He was born in Zele, East Flanders, United K...

A pleasantly rustic coastal oil showing a group of fisherman taking a break outside a cobbled house, overlooking an expensive coast with boats sailing on the calm water under bright ...

Joseph Rerolle (French, 1829 – 1901) A girl at a woodland stream, Leman Oil on paper laid down on board Signed ‘J. Rerolle’ (lower left) 13.7/8 x 16.3/4 in. (35.3 x 42.5 cm.)

William Oliver was a British artist (1823-1901) that flourished in the areas of genre and figurative painting during the years 1867 to 1882. He speciali...

"The Schoolroom" by Theo Duverger Theophile-Emmanuel Duverger 1821 - 1886 was a leading French genre painter, exhibitor at the Paris salon and in the Musee D'Orsay. Oil on Panel, sig...

Artist/ School: James Rolfe, British 19th century, signed Title: 'A Highland Breakfast', interior with young family and dogs, Medium: signed oil paintin...

Charles Augustus Henry Lutyens British, (1829-1915) Cherubs with Flower Garlands Oil on canvas, signed Image size: 19.5 inches x 29.25 inches Size including frame: 25.5 inches x 35.25 inches A beautiful painting of three cherubs or putti with flower garlands by Charles Augustus Henry Lutyens. The winged infants are shown holding rose blooms as they rest on a cloud. Charles Augustus Henry Lutyens was born in 1829 the son of Charles Lutyens, who was the Deputy Commissary General of the Forces and Frances Jane Fludger. With his family connection to the military it was no surprise that he joined the army in 1848 as Ensign, serving in the 20th Foot Regiment in Montreal, Canada. Whilst there, he met Mary Teresa Gallwey, daughter of Major Gallwey of Ireland and sister of Thomas Gallwey, the Governor of Montreal. They married on 28 November, 1852 and the couple went on to have 14 children in total. He returned to England having been promoted to Captain and lived in Hampshire where was appointed Instructor of Musketry to the regiment. He retired from the army in 1855, moving to London in the same year where he lived at 4 Allen Terrace, Kensington. He began pursuing an artistic career and most likely took art and sculpture lessons as well as studying animal anatomy. He made his debut at the British Institution from 1860 and by 1861 was living at 6 Palace Garden Terraces in Kensington. In 1862, he began exhibiting at the Royal Academy, where he continued to exhibit regularly until 1903. He initially painted portraits but then developed his subjects to include animals, usually horses and hunting scenes. Many of the people in his paintings were notable horse owners such as King Edward and the Duke of Westminster as well as military figures. He is known to have sculpted clay models of animals which he used during his creative process. He also produced a number of scenes with cherubs which he became well known for. By 1865, he had moved to 16 Onslow Square...

Zampighi's "Ammirando i Piccioni" Admiring the Little Ones Signed lower left Artist: Eugenio Zampighi (Italian, 1859-1944) Medium: oil on linen Dimensions: 29 1/2 in. x 41 1/2 in framed "National Association of Artists, Piazza Pitti, Florence, Italy" labels on stretcher and reverse of frame, Born in Modena, Italy, Eugenio Zampighi entered the local Academy of Design at 13. He eventually became one of the most decorated students, and in 1869, he was awarded a scholarship and spent the next three years in Rome. By 1884, having settled in Florence, he had begun to paint the genre works that eventually placed him with the leading artist’s of Italy.

Zampighi proceeded to devote his career to painting simple Italian domestic life, centring on the figures he saw around him and usually depicted in jovial company, similar to the Spanish court...

The owners of this work of art were likely the only two people in the world lucky enough to have access to its beauty. The experience of art itself can be an intimate one, and this bed canopy, hand-painted 100 years ago by an artist in Canton, was more intimate than most. It brings to life symbols of prosperity and good fortune for a married couple...

Léon François Comerre 1850-1916 French L'odalisque à l'éventail (The Odalisque with the Fan) Signed "Léon Comerre" (upper left) Oil on canvas Combinin...

A Norwegian Fjord Kaufmann Karl Neuplachowitz 1843 – 1905 Vienna Austrian Painter Signature: Signed bottom right with pseudonym J. Holmstedt Medium: Oi...

A large, spectacular, absolutely splendid painting by noted French painter Georges Clairin, which appeared for auction at Christie's in 2004 (see photo...

Exquisite Quality French Art Nouveau oil on canvas painting of an elegant lady and pup, titled "The Little Prince" / "Le Dauphin no. 51" (on exhibition labe...

"The River Cottage" British School, 19th century follower of John Constable oil painting on board, framed painting: 12.5 x 12.5 inches fram...

An antique German animal painting by Clara Von Wille which features Wild Turkeys and chickens in a whimsical setting. Original period frame.

Ernest Crofts British, (1847-1911) The Gunpowder Plot; the Conspirators Last Stand at Holbeche Oil on canvas, signed & dated 1892 Image size: 11.5 inches x 17.25 inches Size including frame: 19 inches x 24.75 inches A dramatic historical painting depicting the last stand of the gunpowder plot conspirators at Holbeche House, near Dudley, Staffordshire by Ernest Crofts. It is the smaller version of a larger exhibition piece that was shown at the Royal Academy in 1892. Holbeche or Holbeach House was built in 1600 and is located close to Kingswinford near Dudley. The site became famous for being the last refuge of the fugitives from the gunpowder plot of 1605. After Guy Fawkes was arrested on the evening of 4 November, the remaining conspirators, including Robert Catesby, Thomas Percy and Stephen Lyttelton the owner of Holbeche House, fled London and headed for Warwickshire. Upon reaching Warwick Castle and Hewell Grange they raided weapons and gunpowder and then left with the Sheriff of Warwick, Richard Walsh and a posse of men in pursuit soon after. After reaching Holbeche House around 10pm on 7 November, they attempted to dry their damp gunpowder near a fire, but it caught fire and exploded, injuring a number of people and almost destroying the roof of the house. At around midday on 8 November, Walsh caught up with them and proceeded to storm the gates. During the short but fierce fight, several of the plotters including Percy, Catesby, Jack Wright...

George Augustus Holmes British, (1828-1911) Letting out the Geese Oil on canvas, signed with monogram & dated (18)69 Image size: 20.75 inches x ...

Paul Maitland (British, 1863 – 1909) Nannies in Green Park, before Piccadilly, London Oil on panel 7.5/8 x 11.3/8 in. (19.4 x 29 cm.) . In a gilded woo...