Items Similar to A bay hunter in a landscape
Want more images or videos?
Request additional images or videos from the seller
1 of 11
Charles TowneA bay hunter in a landscape
About the Item
Charles Towne (1763-1840)
A bay hunter in a landscape
signed and dated 'Charles Towne Pinxit 1816' lower left
Oil on canvas
Painting Size - 20 x 26
Framed Size - 25 x 31 in
Provenance
The Collection of the late Countess Esterhazy
Charles Towne is the leading Liverpool landscape, animal and sporting painter of the first half of the nineteenth century. In his early work, his drawing is charmingly naive and provincial, and shows an awareness of the contemporary work of Thomas Stringer and, ultimately, George Stubbs, both of whom were from the same geographical area.
By the late 1790's he had developed more sophisticated draughtsmanly skills which are his subsequent hallmark throughout a long career. He was born in Wigan in 1763, but passed most of his working life in Liverpool; his frequent employment in rural Lancashire and Cheshire arose from a wide patronage among the local gentry. He visited London in the late 1790's, where he was noted in Farrington's "Diaries", and it seems likely that it was here that his techniques developed their more sophisticated aspects. His first painting was exhibited at the Royal Academy in 1799. In the next decade he appears to have been itinerant (his name is missing from the Liverpool Directories for these years), but by the end of the decade, he was sufficiently well-known in that City to be a founder, and the Vice-President of Liverpool Academy. He died in Liverpool on 6th January 1840, the possessor of a considerable local and national reputation
- Creator:Charles Towne (1753 - 1840)
- Dimensions:Height: 25 in (63.5 cm)Width: 31 in (78.74 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Stoke, GB
- Reference Number:1stDibs: LU446313783252
Charles Towne
Charles Towne was an English painter of landscapes, horses and other animals with a particular skill for horse racing and hunting scenes. Born in Wigan, his talent for art was apparent from a young age, and he received some training from John Rathbone in Leeds. By the 1790s, Towne was an established animal painter with style reminiscent of Stubbs. He lived in London from 1799–1804, during which he exhibited at the Royal Academy. Towne's work was well regarded by his contemporaries, including Joseph Farington.

About the Seller
5.0
Recognized Seller
These prestigious sellers are industry leaders and represent the highest echelon for item quality and design.
Platinum Seller
Premium sellers with a 4.7+ rating and 24-hour response times
Established in 2009
1stDibs seller since 2016
171 sales on 1stDibs
Typical response time: 1 hour
Associations
LAPADA - The Association of Arts & Antiques DealersInternational Confederation of Art and Antique Dealers' AssociationsThe British Antique Dealers' Association
- ShippingRetrieving quote...Shipping from: Andover, United Kingdom
- Return Policy
Authenticity Guarantee
In the unlikely event there’s an issue with an item’s authenticity, contact us within 1 year for a full refund. DetailsMoney-Back Guarantee
If your item is not as described, is damaged in transit, or does not arrive, contact us within 7 days for a full refund. Details24-Hour Cancellation
You have a 24-hour grace period in which to reconsider your purchase, with no questions asked.Vetted Professional Sellers
Our world-class sellers must adhere to strict standards for service and quality, maintaining the integrity of our listings.Price-Match Guarantee
If you find that a seller listed the same item for a lower price elsewhere, we’ll match it.Trusted Global Delivery
Our best-in-class carrier network provides specialized shipping options worldwide, including custom delivery.More From This Seller
View AllItalian landscape with Monte Socrate (after Jan Both)
Located in Stoke, Hampshire
Richard Bankes Harraden (1778-1862)
Italian landscape with Monte Socrate (after Jan Both)
Signed and dated 1823 on the reverse
Oil on canvas
Canvas size ...
Category
18th Century Old Masters Landscape Paintings
Materials
Oil
'Prime Minister' with jockey John Shepherd up, and owner Sir Mark Sykes
By Henry Bernard Chalon
Located in Stoke, Hampshire
Henry Bernard Chalon (London 1770-1849)
'Prime Minister' with jockey John Shepherd up, and owner Sir Mark Sykes
Signed and dated 'H.B. Chalon pinxit 181...
Category
Early 19th Century Old Masters Animal Paintings
Materials
Oil
A view at Tivoli
Located in Stoke, Hampshire
John Rathbone (1750-1807)
View at Tivoli
Signed lower right
Oil on Canvas
Canvas size - 18 x 24 in
Framed size - 24 x 30 in
John Rathbone was born in Cheshire in 1750 and worked as ...
Category
18th Century Old Masters Landscape Paintings
Materials
Oil
$6,872 Sale Price
50% Off
Portrait of Cornelis and Michiel Pompe van Meerdervoort with Their Tutor
By Aelbert Cuyp
Located in Stoke, Hampshire
Attributed to Aelbert Cuyp (1620-1691)
An Equestrian Portrait of Cornelis (1639–1680) and Michiel Pompe van Meerdervoort (1638–1653) with Their Tutor and Coachman
Signed 'A. Cuyp. fe...
Category
17th Century Old Masters Landscape Paintings
Materials
Oil
A pair - Greyhounds coursing
Located in Stoke, Hampshire
John Nost Sartorius (London 1759-1828)
Greyhounds Coursing
Signed and dated 'J. N. Sartorius 1820.' lower centre
A Pair, Oil on canvas
Each Canvas Size - 14 1/8 x 17 1/8 in
Each Fram...
Category
18th Century Old Masters Animal Paintings
Materials
Oil
A Huntsman with Dogs and Pony
Located in Stoke, Hampshire
John Nost Sartorius (London 1759-1828)
A Huntsman with Dogs and Pony
Signed 'JN Sartorius pin.' lower right
Oil on canvas
Canvas Size 26 3/4 x 37 in
Framed Size - 31 x 41 in
John No...
Category
18th Century Old Masters Animal Paintings
Materials
Oil
You May Also Like
View of St. John’s Cathedral, Antigua
Located in New York, NY
Provenance:
Robert Hollberton, Antigua, ca. 1841
Private Collection, New York
The present painting depicts Old St. John’s Cathedral on the island of Antigua. The church was erected in the 1720s on the designs of the architect Robert Cullen. It measured 130 feet by 50 feet with north and south porches 23 x 20 ½ feet. The tower, 50 feet high with its cupola, was added in 1789. The church was elevated to the status of a cathedral, but disaster struck in the form of an earthquake that destroyed the building on 8 February 1843. A memorandum of that date relates the event:
“On Wednesday, 8th February, 1843, this island was visited by a most terrific and destructive earthquake. At twenty minutes before eleven o’clock in the forenoon, while the bell was ringing for prayers, and the venerable Robert Holberton was in the vestry-room, awaiting the arrival of persons to have their marriage solemnized, before the commencement of the morning service, the whole edifice, from one end to the other, was suddenly and violently agitated. Every one within the church, after the first shock, was compelled to escape for his life. The tower was rent from the top to the bottom; the north dial of the clock precipitated to the ground with a dreadful crash; the east parapet wall of the tower thrown upon the roof of the church; almost the whole of the north-west wall by the north gallery fell out in a mass; the north-east wall was protruded beyond the perpendicular; the altar-piece, the public monument erected to the memory of lord Lavington, and the private monuments, hearing the names of Kelsick, Warner, Otley, and Atkinson, fell down piecemeal inside; a large portion of the top of the east wall fell, and the whole of the south-east wall was precipitated into the churchyard, carrying along with it two of the cast-iron windows, while the other six remained projecting from the walls in which they had been originally inserted; a large pile of heavy cut stones and masses of brick fell down at the south and at the north doors; seven of the large frontpipes of the organ were thrown out by the violence of the shock, and many of the metal and wooden pipes within displaced; the massive basin of the font was tossed from the pedestal on which it rested, and pitched upon the pavement beneath uninjured. Thus, within the space of three minutes, this church was reduced to a pile of crumbling ruins; the walls that were left standing being rent in every part, the main roof only remaining sound, being supported by the hard wood pillars.”
The entrance from the southern side into the cathedral, which was erected in 1789, included two imposing statues, one of Saint John the Divine and the other of Saint John the Baptist in flowing robes. It is said that these statues were confiscated by the British Navy from the French ship HMS Temple in Martinique waters in 1756 during the Seven Years’ War and moved to the church. The statues are still in situ and can be seen today, much as they appeared in Bisbee’s painting, but with the new cathedral in the background (Fig. 1).
Little is known of the career of Ezra Bisbee. He was born in Sag Harbor, New York in 1808 and appears to have had a career as a political cartoonist and a printmaker. His handsome Portrait of President Andrew Jackson is dated 1833, and several political lithographs...
Category
19th Century Old Masters Landscape Paintings
Materials
Canvas, Oil
A Wolf
Located in New York, NY
Provenance:
The Marchesi Strozzi, Palazzo Strozzi, Florence
Sale, Christie’s, London, May 20, 1993, lot 315, as by Carl Borromaus Andreas Ruthart...
Category
17th Century Old Masters Animal Paintings
Materials
Canvas, Paper, Oil
Early oil depicting the Great Fire of London
Located in London, GB
The Great Fire of London in September 1666 was one of the greatest disasters in the city’s history. The City, with its wooden houses crowded together in narrow streets, was a natural fire risk, and predictions that London would burn down became a shocking reality. The fire began in a bakery in Pudding Lane, an area near the Thames teeming with warehouses and shops full of flammable materials, such as timber, oil, coal, pitch and turpentine. Inevitably the fire spread rapidly from this area into the City. Our painting depicts the impact of the fire on those who were caught in it and creates a very dramatic impression of what the fire was like. Closer inspection reveals a scene of chaos and panic with people running out of the gates. It shows Cripplegate in the north of the City, with St Giles without Cripplegate to its left, in flames (on the site of the present day Barbican). The painting probably represents the fire on the night of Tuesday 4 September, when four-fifths of the City was burning at once, including St Paul's Cathedral. Old St Paul’s can be seen to the right of the canvas, the medieval church with its thick stone walls, was considered a place of safety, but the building was covered in wooden scaffolding as it was in the midst of being restored by the then little known architect, Christopher Wren and caught fire. Our painting seems to depict a specific moment on the Tuesday night when the lead on St Paul’s caught fire and, as the diarist John Evelyn described: ‘the stones of Paul’s flew like grenades, the melting lead running down the streets in a stream and the very pavements glowing with the firey redness, so as no horse, nor man, was able to tread on them.’
Although the loss of life was minimal, some accounts record only sixteen perished, the magnitude of the property loss was shocking – some four hundred and thirty acres, about eighty per cent of the City proper was destroyed, including over thirteen thousand houses, eighty-nine churches, and fifty-two Guild Halls. Thousands were homeless and financially ruined. The Great Fire, and the subsequent fire of 1676, which destroyed over six hundred houses south of the Thames, changed the appearance of London forever. The one constructive outcome of the Great Fire was that the plague, which had devastated the population of London since 1665, diminished greatly, due to the mass death of the plague-carrying rats in the blaze.
The fire was widely reported in eyewitness accounts, newspapers, letters and diaries. Samuel Pepys recorded climbing the steeple of Barking Church from which he viewed the destroyed City: ‘the saddest sight of desolation that I ever saw.’ There was an official enquiry into the causes of the fire, petitions to the King and Lord Mayor to rebuild, new legislation and building Acts. Naturally, the fire became a dramatic and extremely popular subject for painters and engravers. A group of works relatively closely related to the present picture have been traditionally ascribed to Jan Griffier...
Category
17th Century Old Masters Landscape Paintings
Materials
Oil, Canvas
18th Century Galanti Scenes Van Limborch Rest Hunting Oil on Canvas Green Red
Located in Sanremo, IT
Pair of oval paintings measuring 66 x 89 cm without frame and 90 x 115 cm with coeval frame depicting two gallant moments during a rest from hunting by painter Hendrik Van Limborch (...
Category
1730s Old Masters Landscape Paintings
Materials
Canvas, Oil
View of Ponte Milvio in Rome
Located in Roma, RM
Northern painter active in Rome in the second half of the 17th century, View of Ponte Milvio
Oil painting on canvas 73 x 97 cm in coeval Roman Salvator Rosa frame.
Category
18th Century and Earlier Old Masters Landscape Paintings
Materials
Canvas, Oil
Landscape Near Felday, Surrey
By Abraham Hulk the Younger
Located in Hillsborough, NC
Dutch/English artist Abraham Hulk the Younger (1851-1922) is most known for landscapes of the British countryside. This work is one of a pair (the second work is also available by s...
Category
Late 19th Century Old Masters Landscape Paintings
Materials
Canvas, Oil
$2,240 Sale Price
20% Off
Recently Viewed
View AllMore Ways To Browse
Antique Hunters
Royal Provincial
19th Century Provincial Oil Painting
George Towne
Edward Langley
Edward Simmons
Eucalyptus Grove Painting
Florence Casey
Francoise Duprat
Frank Reaugh
George Towne
George Washington Nicholson
Giuseppe Zais
Gustave Wolff
Guy C Wiggins
Helen Weir
Henry Moret
Howard Behrens Oil Paintings