Henry Dawson

Women in a Landscape - British Victorian art figurative landscape oil painting

Circa 1850

This gorgeous oil on canvas Victorian Old Master painting is by British artist Henry Jutsum. Painted circa 1850 the painting depicts a drover on horse back bringing up the rear behin...

This lovely painting is a British Old Master late 18th century or early 19th-century oil painting by Thomas Barker of Bath. It is stylistically very similar to his other works of the...

This lovely British Victorian landscape oil painting is by noted artist Sam Bough. It was painted in 1855 after Bough had moved to Hamilton Lanarkshire in Scotland to focus on painting landscapes alongside fellow artist Alexander Frazer. The location is the ancient forest of Cadzow in Lanarkshire which they both favoured. The landscape is of a rough path through ancient oaks heading towards more dense forest with white cattle grazing to the right. A superb balanced composition and an excellent example of Bough's skill in landscape painting. Signed lower left and dated 1855. Provenance. Christie's stencil verso 519GG. James Bourlet & Sons label verso. Condition. Oil on canvas, 28 inches by 18 inches unframed and in good condition. Frame. Housed in an ornate gilt Victorian frame, 35 inches by 25 inches framed and in good condition. Samuel Bough RSA (1822–1878) was an English-born landscape painter who spent much of his career working in Scotland. He was born the third of five children in Abbey Street, Carlisle in northern England, the son of James Bough (1794-1845), a shoemaker, and Lucy Walker, a cook. He was raised in relative poverty, but with a keen encouragement in the arts. He was self-taught but mixed with local artists such as Richard Harrington and George Sheffield, and was strongly influenced by the work of Turner. After an unsuccessful attempt to live as an artist in Carlisle he obtained a job and as a theatre scenery painter in Manchester in 1845, later also working in Glasgow in the same role. Encouraged by Daniel Macnee to take up landscape painting he moved to Hamilton from 1851-4 and worked there with Alexander Fraser. In 1854 he moved to Port Glasgow to work on his technique of painting ships and harbours. His paintings were noted for their sensitivity to atmosphere and light, were often of cloudy shorelines and busy harbours. He also began supplementing his income by illustrating books, before moving to Edinburgh in 1855. On coming to Edinburgh he lived in a terraced house at 5 Malta Terrace in the Stockbridge area of the city. Following Turner's example, he became a skil ful painter of seaports. He was buried in Dean Cemetery Edinburgh on 23 November 1878. The grave bears a bronze medallion of his head by William Brodie...

A fine and very detailed large Victorian British landscape painting. Painted in oil on canvas it is by listed and exhibited Victorian artist George Cole, dated 1859. A wonderful larg...

Country Landscape Scene With Figures Andrew Grant- Curtis (20th Century British working in the Victorian style) signed oil painting on canvas, framed framed: 19 x 23 inches canvas: 1...

Joseph Thors British, (1835-1920) Harvest Time Oil on canvas, signed Image size: 19.25 inches x 29.25 inches Size including frame: 26.25 inches x 36.25 inches This wonderfully deta...

George Turner British, (1843-1910) Near Tonge, Leicestershire Oil on canvas, signed Image size: 15.25 inches x 23.25 inches Size including frame: 22.75 inches x 30.75 inches A cha...

Henry Dawson British, (1811-1878) Colwich Hills from the Bridge at Great Haywood Oil on canvas, signed & dated 1860 Image size: 19.5 inches x 29.5 inches Size including frame: 27 inches x 37 inches A wonderful painting of Colwich Hills from the bridge at Great Harwood, Staffordshire by Henry Dawson. A man can be seen riding a horse over the bridge as another figure looks across the water towards the hills. Meanwhile, a barge sails along the canal past two fishermen. The bridge depicted in this painting lies over the canal junction of Great Haywood, a short distance away from Colwich. This junction was built to join the Grand Union Canal to the Staffordshire and Worcestershire Canals. Both the bridge and junction are still in use today and the view of the hills remains relatively unchanged. Henry Dawson was a landscape artist born in Hull on 3 April, 1811 to William Dawson and Hannah Shardlow. The family moved to Nottingham when he was still an infant. He is known to have spent time at the national school in Nottingham, however, due to family circumstances had to leave school to start work at an early age in the lace industry. He was largely self-taught and painted during his spare time. Around 1835, he left lace making to work full time as an artist. He studied under James Baker Pyne (1800-1870) in 1838 and in the same year made his debut at the Royal Academy, exhibiting a number of works there until 1871.He also exhibited at the British Institute from 1841 and also at the Liverpool Academy, where he was elected an associate in 1846 and a Member in 1847. He married Elizabeth Whittle in Nottingham in 1840 and they lived in Mansfield Road, Nottingham where the first of their children were born. Two of his children, Henry Thomas Dawson (1841-1918) and Alfred Dawson (1843-1931) also became artists as did his grandson Montague Dawson (1895-1973). Although he achieved some success in Nottingham, for financial reasons he decided to move his family to Liverpool, where they stayed from 1845 until 1849. He moved again for similar reasons to Croydon in Surrey living at Middle Heath Lane and from 1854 he lived in Thorpe Green, Chertsey at Prospect Cottage. Being closer to the capital helped enhance his reputation and inspired by Turner he began to produce seascapes, riverscapes and coastal scenes often featuring architectural focal points. Dawson continued to travel around the country to paint the landscapes and coasts of England, frequently including castles such as this fine example. Around 1863, he moved to The Cedars in Chiswick where he spent his final years until his death on 13 December, 1878. His work is represented in many public art collections including the Birmingham Museum, Bury Art Museum, Ferens Art Gallery, Leicester Museum, Nottingham City Museum, Victoria & Albert Museum, Wednesbury Museum, Sheffield Museum, Wolverhampton Art Gallery and the York Art Gallery. Presentation: The painting is housed in a new English made gilt frame which is in excellent condition. Condition: As with all of our original antique oil paintings, this work is offered in ready to hang gallery condition, having just been professionally cleaned, restored and revarnished. © Benton Fine Art