1810s Landscape Paintings

This picturesque early 19th-century British oil painting depicts a romantic landscape with sailboats, cattle, estuary, and coastal view. It’s a celebration of nature delivered in air...

William ANDERSON (1757- 1837) Oil on wooden panel ​25.5 x 34.5 cm (40x50cm with frame) Signed and dated lower left "W. Anderson / 1817" Collector's stamp on the back Scottish painte...

This charming early 19th-century oil painting depicts a ramshackle street in ‘old Everton’, Liverpool. It’s possibly by the Liverpool-based artist, John Pennington (1773-1841). Two ...

Oil painting by Henry Milbourne "Drive on Country Lane" Henry Milbourne flourished 1797-1826 Regency landscape painter in Dutch manner, exhibited at the Royal Academy. Henry Milbour...

Barenger was born in Kentish Town, London, the son of James Barenger Snr., a metal chaser and artist who exhibited paintings of insects at the Society of Artists and Royal Academy, and Sarah Woollett, the daughter of the engraver, William Woollett. His brother Samuel Barenger (christened Major Samuel Barenger) also became an engraver. Beginning as a landscape artist, Barenger went on to specialise in painting horses, dogs and other animals, and hunting scenes. In 1807, at the age of 28, he exhibited at the Royal Academy for the first time. At this stage, he was living with his father in Kentish Town, but later moved to Camden Town. He went on to exhibit 48 paintings at the Royal Academy and eight at the British Institution. He acquired numerous wealthy and aristocratic patrons, and his pictures were also engraved for sporting publications such as W. H. Scott's British Field Sports...

This view by Robert Salmon shows diverse maritime activity on the narrow waterway known as The Kyles of Bute, in the Firth of Clyde. On the central horiz...

Outstanding English late 18th / early 19th century marine scene by one of Britain's best known and sought after painters. William (or Wiliam) Anderson (1757 – 27 May 1837) was a Scottish artist specializing in maritime and patriotic themes. He was well-regarded for his detailed and accurate portraits of ships under sail, exhibiting his works annually in London between 1787 and 1811 and then occasionally until 1834. Anderson influenced other artists, notably John Ward and others of the Hull school. Anderson's early life is obscure, but he is known to have trained as a shipwright before moving to London to become a maritime painter when he was about 30. His training served him well as a painter, providing "a practical nautical knowledge" of his subjects. He earned a reputation for "accuracy and refinement of detail" and was admired for his bright, clear colours. He worked in both oils and watercolours. He based his style on that of well-known Dutch maritime...

English early 19th century Marine scene of fishing boats at sea , with a landscape and people in the foreground. Born in Chichester, C M Powell was a self-taught artist, a fact whic...

A mysterious and evocative antique painting depicting a lone figure walking in a landscape with ancient trees, mountains and a river. The atmosphere of this oil on canvas is dreamli...

Barenger was born in Kentish Town, London, the son of James Barenger Snr., a metal chaser and artist who exhibited paintings of insects at the Soc...

John Warwick Smith (1749-1831) Lanscape with two travellers, oil on panel 19.5 x 24.5 cm Label with the name and adress (!) of the painter on the reverse In a modern frame : 29 x 34 cm Smith was born at Irthington, near Carlisle, Cumberland, the son of a gardener to the Gilpin family, and educated at St. Bees.The fortunate social connection allowed him to study art under the animal painter Sawrey Gilpin. Becoming known as a skilful topographical draughtsman, he was employed on Samuel Middiman's Select Views in Great Britain, and obtained the patronage of George Greville, 2nd Earl of Warwick, which enabled him to travel to Italy between 1776 and 1781. While there he met other British artists such as Francis Towne, Thomas Hearne and William Pars...

Eruzione del 1810 is a wonderful gouache on paper, made around 1810 by the Italian painter Camillo de Vito. Title and signature in black tempera on the lower margin. This is a really beautiful gouache of the first half of the nineteenth century representing the spectacular phenomena of the eruption of Vesuvius in 1810 under a suggestive full moon obscured by an cloud of ash and lapilli, still today marvels for the brilliance of the lava colors and which seems to be really glowing . It makes that feeling palpable, which is also an Enlightenment aesthetic category, of the sublime, or of the ecstasy mixed with the fear of man in the face of natural phenomena of this magnitude. We feel like the fisherman portrayed in the foregroud and bewildered in front of this show. In Good condition, it preserves the brightness of the colors and shows a very loose hand, with some very small abrasion and widespread fungal blooms, margins with some abrasion, a light water stain at the center and a light wavy paper. Since Vesuvius awakens, starting in 1631, the volcano becomes an iconic image of the city of Naples. His eruptions attracted incredibly scholars and visitors from all over the world. First represented for devotional purposes with San Gennaro next to the crater, it later became a must for the Grand Tour, together with the ruins of Pompeii and Herculaneum, it is painted and celebrated by a large number of renowned foreign artists. Claude-Joseph Vernet, Hubert Robert, Jean-Honoré Fragonard establish new iconographic canons for the representation of Vesuvius and its surroundings which become simplified the reference models in the following century. It was the German Jacques Philipp Hackert (1737-1807) who rediscovered the technique of the gouache at the end of the 18th century and Pietro Fabris (doc. 1754 - 1779) who used it in the representations of Vesuvius in eruption, commissioned by Sir William Hamilton (1779) , as a supplement to five works at Campi Phlegraei...