English School Art

Oil on canvas, unsigned Image size: 15 1/2 x 11 1/4 inches (39.5 x 28.75 cm) Original gilt frame This is a touching head and shoulders portrait of a young peasant girl. Wearing a he...

On offer is a painting titled "Jack Russells in a Barn". The painting depicts several Jack Russell terriers within a rustic barn, a setting often associated with hunting dogs. The pa...

José WEISS Neuilly-sur-Seine, 1859 - Houghton (England), 1919 Oil on wooden panel Signed lower left “José Weiss” 40 x 61.5 cm (54 x 75 cm with the frame) Joseph Vincent Nicholas Fr...

This painting is unsigned but evidence shows that it is from a European school. It shows a mother with a child on her lap as well as a forest background. Likely wealthier patrons due...

Wonderful mid 19th Century painting of a stable's interior with two horses, stable hand, two spaniels, a rooster and ducks from a follower of John Frederick Herring, Sr. (British, 17...

London: Thomas Holloway, 1794. Engraving on cream laid paper, 9 3/4 x 8 inches (246 x 201 mm), full margins. In good condition with some light discoloration throughout the sheet. As...

Farm Horse Drunking Charcoal and pastel on artist's board, c. 1920 Signed lower right in pencil (see photo) Titled in ink lower center, as are all the illustration for At the Farm (s...

A Method of Riding as Practised by the Rustics of Japan. One plate from A new and complete collection of voyages and travels containing all that have been remarkable from the earlies...

Sedans used by the Japanese Ladies of Quality; One plate from Drake's Voyages London: circa 1860. Engraving with hand coloring in watercolor on cream laid paper; 7 1/2 x 10 3/4 inch...

18th century image of a priest presiding over a traditional Japanese nuptual ceremony. One plate from A new and complete collection of voyages and travels containing all that have b...

A wonderful view of St Peter's, Rome encompassing the elegant landscaped gardens with rolling campagna in the background. Attributed to Thomas Hartley Cromek...

Plate XXXVIII Claremont, Homerton's white, Ford's black and the Genoa nectarines. Aquatint, engraving with some stipple, printed in colors with hand finishing 1804-1812 Engraved signature on the bottom left (see photo) From: Pomona Britannica or A Collection of the Most Esteemed Fruits (90 Plates) Published: White, Cochrane & Co., E. Lloyd and W. Lindsell, London: [1804-] 1812 Format: Folio size, 1st edition Printer: Thomas Bensley (active c. 1760-1935) Considered to be a msaterpice of natural history illustration Condition: Excellent Image/Plate size: 18 3/4 x 15 7/8 inches Sheet size: 21 1/4 x 17 inches Refereence: Dunthorne 050 Publication legend lower center: “Painted & Published as the Act Directs by the Author G. Brookshaw” followed by date, varying from 1804 to 1812. Title page credits: “Printed for the author by T. Bensley, Bolt Court, Fleet Street. Published by White, Cochrane and Co. Fleet Street; E. Lloyd, Harley Street; and W. Linsell, Corner of Wigmore Street.” George Brookshaw (1751-1823) (after) from Pomona Britannica; Or, a collection of the most esteemed fruits at present cultivated in this country… selected principally from the Royal Gardens at Hampton Court T. Bensley, London (printer) White, Cochrane & Co., E. Lloyd and W. Lindsell, London: [1804-] 1812 Folio edition Stipple engravings, printed in color, finished by hand 17.5 x 14 inches, plate mark, average approximate 22 x 17 inches, overall, average approximate Pomona Britannica, or a Collection of the Most Esteemed Fruits at present cultivated in the country…selected principally from the royal gardens at Hampton Court…accurately drawn and coloured from nature, with full descriptions was published in London from 1804—1812. Comprising 90 aquatint engravings, including 256 depictions of British fruit, after paintings by George Brookshaw. Published in London and engraved by R. Brookshaw and H. Merke. George Brookshaw (1751—1823) was born in Birmingham, England where he was apprenticed to Samuel Troughton (d. 1783), a Birmingham painter and japanner. According to a recent blog post related to St. Philips Cathedral, Birmingham, England, entitled In Search of Sobieski Brookshaw, by Gill Partridge, he may have received some art training from his father, also named George Brookshaw, who is listed as an engraver in a document dated 1751. George Brookshaw’s brother, Richard Brookshaw (1736—c.1804) was a portrait painter and engraver well versed in mezzotint and copperplate engraving techniques, and may have instructed his brother. In 1777, Brookshaw moved from Birmingham to London and began a celebrated career building fine cabinets detailed with hand-painted botanical and pomological motifs. Shortly afterward, in 1778, he married Sobieski Grice (1749—1811), daughter of William Grice, a prosperous gunsmith.The Prince of Wales was the most distinguished of Brookshaw’s well-heeled patrons, and today examples of Brookshaw’s cabinetry may be seen at the Victoria & Albert Museum, London. According to church records noted in Gill Partridge’s post, both George Brookshaw and Sobieski Grice were baptized at the Birmingham Cathedral. In his cabinet-making shop, Brookshaw also offered lessons in flower painting to ‘Ladies of Taste and Fashion’. During the mid 1790s, it appears his furniture-making business went bankrupt, and he led his life under an assumed name, G. Brown. In 1991, Lucy Wood wrote two articles in which she drew the connection between G. Brown and George Brookshaw. During his years of anonymity, Brookshaw worked as an illustrator of botanical books and gave flower-painting lessons, which may have been his primary source of income. Apparently, the marriage dowry he enjoyed while married to Sobieski Grice was lost after their marriage dissolved. Brookshaw returned to public view as the earliest parts of Pomona Britannica were issued. In Flower and Print Books of the 18th and Early 19th Centuries, Gordon Dunthorne extolls the virtues of George Brookshaw’s large folio edition. “One of the eminent English artists of the early nineteenth century is George Brookshaw, who issued in 1812, Pomona Britannica. Ninety aquatint plates, printed in colour and on a scale comparable to Thornton’s Temple of Flora...

A charming scene of men and women in various dress, perhaps a theater company costume fitting. English School, 19th century (circle of Cruikshank), circa 1860. Watercolor and pencil...

London: Thomas McLean, 1825. Aquatint with engraving and handcoloring in watercolor on wove paper, 8 7/8 x 10 3/4 inches (225 x 272 mm), wide margins. Light handling wear and four s...

London: Allen & West, 1797. Engraving with hand coloring in watercolor on cream wove paper, 8 1/8 x 10 5/8 inches (213 x 270 mm), wide margins. Scattered toning, mat tone, and dog-e...

A period Joseph Nash ca. 1839-49 hand-colored lithograph Porch and Corridor, Ockwells, Berks. from "The Mansions of England in the Olden Time". Printed by Charles Joseph Hullmandel ...

Drypoint etching in brownish black ink on J. Whatman watermarked cream laid paper. 7x12 1/4 inches (177 x 312 mm), full margins. Signed and numbered 36/75 in pencil, lower margin. In...

A rare early 19th century view of the Great Fire of London over Ludgate, enhanced with hand coloring. London: Robert Wilkinson, 1811. Copperplat...

A luminous 1850 still life study of a tin lantern. Black chalk with white heightening on brownish-gray, fibrous, handmade buff wove paper, 10 1/2 x 6 3/4 inches (262 x 172 mm), the ...

London: c 1750. Steel engraving on cream wove paper, 5 3/8 x 6 3/8 inches (sheet) (142 x 162 mm), margins trimmed inside the platemark. Scattered handling wear, creasing and edge nic...

A striking equestrian portrait by British sporting artist Ninetta Butterworth, depicting the legendary racehorse Red Rum, one of the most celebrated horses in British racing history. Butterworth was known for her refined portraits of horses associated with racing, hunting and polo, combining precise observation with an elegant and highly distinctive sense of composition. Her understanding of the equestrian world allowed her to capture not simply the appearance of a horse, but its individual character and athletic presence. Here, Red Rum dominates the composition in an impressive head-and-neck portrait, his alert ears, intelligent expression and richly modelled chestnut coat giving him remarkable presence. Surrounding the central portrait are smaller equestrian vignettes, creating an unusual and highly decorative composition that celebrates the sporting world. The identification of the horse as Red Rum (1965–1995) gives the painting particular significance. A national sporting icon, Red Rum achieved an unrivalled record at the Grand National, winning the race three times—in 1973, 1974 and 1977—as well as finishing second in 1975 and 1976. Both an accomplished equestrian portrait and a tribute to one of Britain's greatest racehorses, this is a particularly appealing work for collectors of British sporting art, horse racing memorabilia...

This piece by Sam Marriott pulls you straight into a fleeting, almost secret moment in the countryside—like you’ve just stumbled upon it yourself. At first glance, you’re peering th...

Robert Wilkinson, 1816. Copperplate engraving on buff wove paper with hand coloring in watercolor, 10 7/8 x 13 /4 inches (275 x 336 mm), full margins. In good condition with some sc...

London: Robert Wilkinson, 1820 Copperplate engraving on buff wove paper, 13 x 9 3/4 inches (330 x 247 mm) full margins. In good condition with some minor toning and surface soiling ...

An Interior View of the Porch of the Parish Church St. Alphage; An interior view of the porch of the parish church of St Alphage, London Wall: formerly the chapel of the priory of El...

London: Robert Wilkinson, c1620 Engraving on thin Japon paper,16 1/8 x 11 3/4 iches (408 x 297 mm), narrow margins. In good condition with some age-related toning and edge wear, including two small horizontal tears which appear at the right and left center sheet edges. There is a vertical edge tear on the the lower sheet edge which is expertly repaired with a tab of paper tape mounted to the verso, and a soft horizontal fold, as issued. Plate created circa 1620, however printed later, likely early 19th century. Dr. John King preaching at St. Paul's Cross for James I, his Queen, Charles Prince of Wales...

Bird's eye view of the old buildings in West Cheap (Cheapside) as they appeared in 1585, from Londina Illustrata. London: Robert Wilkinson, 1814 Engraving on buff wove paper, 11 ...

London: William Herbert & Robert Wilkinson, 1809 Engraving on buff wove paper, 12 1/4 x 8 1/4 inches (310 x 208 mm), full margins. In good condition with some scattered surface soiling, and edge wear along the top sheet edge, well outside of the image area. From a series of three views of the Duke's Theater. An impression of this work may be viewed in the permanant collection of the Royal Collection...

Aquatint printed in brownish ink with extensive hand coloring in watercolor on buff paper, 10 1/4 x 12 1/2 inches (260 x 317 mm) (sheet), uneven narrow to full margins. Laid down to a contemporary wove paper support. Scattered condition issues on the sheet (excluding the mount) include surface soiling, creasing, a significant vertical repaired tear, and toning, despite these issues, the hand coloring remains good. Suitable for framing. From A Picturesque Tour Through the Cities of London and Westminster, Illustrated With the most interesting Views, accurately delineated And executed in Aquatinta By Thomas Malton, published by Thomas Malton, London 1796. The work was published serially, in twenty-five numbers. The plates in Volume I carry the dates 1792, 1793, 1794, 1795, 1796 or 1797; those in Volume II, the dates 1797, 1798, 1799, 1800 or 1801. In most copies the title page of Volume I carries the publisher's later address, of 103 Long Acre...

London: T. Bensley for R. Bowyer, 1810 Hand-colored aquatint on cream wove paper, 9 x 12 3/8 inches (227 x 318 mm), full margins. Scattered light toning and a spray of light spots o...

London: Tallis & Co., 1851 Lithograph on cream wove paper, 11 3/4 x 15 3/4 inches (297 x 398 mm), with vaulted margins at the top sheet edge. Significant toning, and some edge wear. ...

London: Tallis & Co., 1851. Lithograph on cream wove paper, 11 3/4 x 15 3/4 inches (297 x 398 mm), with vaulted margins at the top sheet edge. Significant toning, and some edge wear...

This charming landscape features the structure now known as the Worplesdon Place Hotel, near Guildford, Surrey. The house is of notable historical significance, and it is registered ...

workman bridge over the river avon in Evesham worcestershire. Workman Bridge was erected in 1856 to replace a medieval bridge. It was named after Henry Workman, long-time mayor of Evesham. oil on canvas by George Willis Pryce...

Francis Hewlett RWA (British, 1930 – 2012) A Welsh Idyll Signed and titles ‘Francis Hewless RWA, Welsh Idyll’ (on the stretcher) Oil on canvas 24 x 30 in. (61.3 x 76 cm.) Francis He...

Etching in black ink on cream laid Japon paper, 9 1/16 × 7 1/16 inches (229 x 178 mm), full margins. With an ink stamp from the collection of E.A. Scollin, M.D., Springfield, IL, an...

London: J. Taylor, 1820. Etching with aquatint and engraving with hand coloring in watercolor on cream wove paper with a gilded edge, 11 1/2 x 14 3/4 inches (290 x 374 mm), full margins. Small spots of adhesive residue from a former mount at each edge on the recto. Light ghost impression in the area of the sky. Scattered minor areas of light brown discoloration, with a 3 3/4 inch horizontal edge loss along the lower left sheet edge, outside of the platemark. Colors remain fresh. Plate No. 3 from Wonders: Images of the Ancient World. Likely printed 1828. A view of the Temple of Hercules Victor...

Lithograph in colors with engraving on buff wove paper. Each of the two images measures 10 3/4 x 6 5/8 inches (271 x 167 mm), with the sheet measuring 14 1/4 x 20 1/2 inches (360 x 5...

Artist: William Augustus Osbaldiston (English, Active: Late 18th Century) Titles: "Coursing" (Plate 3), "Hawking" (Plate 7), and "Hare Hunting" (Plate 8) Portfolio: The British Sport...

Artist: Tom Whitehead (English, 1886-1959) Title: "A Windy Day ... Blackstone Edge" *Signed by Whitehead in green watercolor on verso Circa: 1920 Medium: Original Watercolor on paper...

'Flamsteed' Copper-line engraving by Joseph Baker after T Gibson. 1790. John Flamsteed FRS (1646 - 1719) was an English astronomer and the first Astronomer Royal. He catalogued ov...

Title: Set of Four Miniature Watercolors of Corn Street and Churches in Bristol by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements ...

Title: Set of Four Miniature Watercolors of Bristol Cathedral and Harbour Views by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements ...

Title: Set of Four Miniature Watercolors of Bristol Churches and Civic Landmarks by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements...

Title: Set of Four Miniature Watercolors of Historic Bristol Churches and Almshouses by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurem...

Title: Set of Three Maritime Miniature Watercolors of Historic Bristol Ships by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements (each): Approx. : 2.75 inches (height) x 3.25 inches (width) Condition: Very good and highly presentable Provenance: From a large private collection of this artists work in Bristol, England. Description: This distinctive trio of miniature watercolors by British artist Jack Grunwell offers a compelling tribute to Bristol’s maritime past, featuring two iconic ships and a historic waterfront scene: Brunel’s SS Great Britain (1845) – Launched in 1843, the SS Great Britain was the world’s first iron-hulled, steam-powered passenger liner to cross the Atlantic. Designed by Isambard Kingdom Brunel, this revolutionary ship now resides as a museum in Bristol’s Floating Harbour. Grunwell captures her at sea with smoke billowing and sails unfurled, evoking her groundbreaking 19th-century voyages. The Matthew Returns to Bristol (1998) – This painting celebrates the modern reconstruction of The Matthew, a 15th-century caravel famously sailed by John Cabot in 1497. The replica returned to Bristol Harbour in 1998 after a transatlantic voyage, marking 500 years since Cabot’s historic journey to Newfoundland. The ship sails beneath Clifton Suspension Bridge...

Title: Set of Four Historic Miniature Watercolors of Blaise Hamlet and Bristol Landmarks by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Meas...

Michael Grimsdale (b. 1936) Michael Grimsdale is a British painter known for his refined portrayals of horses, sporting subjects, and commissioned portraits. Born in London in 1936,...

Line engraving, on India paper, marked 'Private Plate' to lower margin. Circa 1870. 510mm by 380mm (platemark) 575mm by 455mm (sheet) Lehmann's painting dates to 1869 when Reuters ...

Title: Trio of Watercolors of Frenchay Church Quaker Meeting House and Unitarian Chapel by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measu...

Title: Historic Miniature Watercolor of St Werburghs and Corn Street Bristol 1870 by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurement...

Title: Miniature Watercolor of Wells Cathedral Chain Gate and Vicars Close Somerset by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measureme...

Title: Historic Miniature Watercolor of Theatre Royal Bristol 1766 Street Scene by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements:...

Title: Historic Miniature Watercolor of Theatre Royal and Coopers Hall in Bristol by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurement...

Title: St Stephens City and All Saints Church All Hallows Historic Watercolor Set by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurement...

Title: Holy Trinity Kingswood and Regent and High Streets Kingswood Watercolor Set by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measuremen...

Title: St Nicholas Bristol Bridge 1763 and St Mary the Virgin Hunbury Watercolours by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measuremen...

Title: Historic Miniature Watercolor of Busting Street Scene and Inn in Bristol by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements:...

Title: Set of Four Miniature Watercolor of Bristol Theatre Royal and St John’s Gate by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measureme...

Title: Four Miniature Watercolor of Landmarks Christmas Steps and St John on the Wall by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measure...