Victorian Art

William Mellor British, (1851-1931) Rydal Lake, Westmorland Oil on canvas, signed & further inscribed verso Image size: 23.5 inches x 35.5 inches Size including frame: 34.25 inches x 46.25 inches William Mellor was a landscape painter who was born in Barnsley, Yorkshire in 1851, the son of Joseph Mellor, an artist and Mary Mellor. Initially, he was employed as a loom turner in the weaving industry before becoming a professional artist. He would have received tuition from his father who clearly influenced his style and subject matter. In 1876, he married Mary Elizabeth Watson...

Pieter Cornelis Dommersen Dutch, (1833-1918) Launching the Boat Oil on canvas, signed & dated 1861 Image size: 23 inches x 41 inches Size including frame: 29.75 inches x 47.75 inches A beautifully painted marine scene of a boat being launched from a Dutch shore by Pieter Cornelis Dommersen. In the foreground, fishermen can be seen heaving a boat into the water as others look on. Beyond the beach, a number of ships are shown moored next to a windmill whilst further ships are depicted sailing around the harbour. Pieter Cornelis Dommersen was born Pieter Cornelis Dommershuizen or Dommerhershuisen on 6 December, 1833 in Utrecht, Holland. Little is known about his father and he appears to have been brought up solely by his mother Cornelia into an artistic family. His younger brother was the artist Cornelis Christian...

Figurative French etching from the Larousse dictionary of various gymnastic vaulting events. Each event features multiple stages of the movement, similar to the style of Eadweard Muybridge. Currently hung in a solid black from with a wide white matting. Dimensions Without Frame: H 3.5 in. x W 4.25 in. Artist Biography: Louis Bombled (1862-1927) is a French painter , draftsman and engraver. He was the son of the Dutch painter Karel Frederik Bombled. Living in Chantilly, he became a pupil of Évariste-Vital Luminais. He worked for the newspapers L'Illustration, Le Monde illustré, Le Petit Journal...

'The Feather Boa,' a large oil painting of Miss Crofton by Herbert Sidney British, 1901 Frame: height 193cm, width 115cm, depth 6cm Canvas: height 143, width 77cm, depth 3cm By the British artist Herbert Sidney, (1858-1923), this remarkable full length portrait also titled 'The Feather Boa,' depicts Miss Alice...

Subscription and first Edition lithographs Full plate: 77 Presented in an acid free mount Original hand coloured subscription edition and modern hand-coloured lithograph for the fir...

Alfred East The Wood Cutter Oil on board Signed lower right and titled on back Image size: 10 1/4 x 15 inches (26 x 37.5 cm) Carved gilt frame This romantic landscape by East, certainly shows the influence that the Barbizon school had on his work. The Barbizon school were drawn together by their passion and desire to elevate landscape painting as a response to the Academic elevation of historical and mythological themes. Here, East truly revels in the beauty of the English landscape but also captures the mood of the time in which there was a growing concern at the rapidity of social change and its impact upon the countryside. East regularly painted the Cotswolds from the early 1890s until the end of his life - it is probable that this scenes depicts that part of the country. He focused principally on the area around Upper Swell, which he referred to as 'Over Swell', hoping to avoid the village becoming a focus for visitors seeking out the views that he portrayed. East adopted a well established three-stage-technique that made great use of the under-painting, a second layer concerned with the correction of values, and a final stage for the addition of details; all painted with lean oil paint. As can be seen in the work, during this process East practically repainted the entire canvas after the first layer and then proceeded to pick out isolated sections that required further reworking and detail. Provenance Pelter Sands Gallery Bristol, 1975 Exhibition of Twentieth Century British Painting. This work was part of Andrew Vicari...

The frame isNicholas Matthew Condy (British, 1816–1851) Sailing Vessel off a Lighthouse, mid-19th century Oil on artist’s panel In this vivid coastal scene, a schooner heaves throu...

Slade School Late 19th Century Portrait of a Mary Hardy (nee Sulman) Oil on panel Image size: 8 x 7 inches Contemporary frame Provenance Lady Town (Grandda...

Herbert ‘William’ Weekes British, (1841-1914) Admiring the Catch Oil on canvas, signed Image size: 30 inches x 21.5 inches Size including frame: 36.5 inches x 28 inches A wonderful...

Charming 19th Century oil painting on boards cut to the shape of the painting depicting two parrots in a garden with fruit and flowers on a classical stand.

Artist: Philip Lutley Sclater (English, 1829-1913) Titles: "Crossoptilon Harmani (Tibetan eared Pheasant)", "Hypotaenidia Sulcirostris (Barred Rail)", "Craspedophora Duivenbodei (Dui...

G Gray (Early 19th Century) Still Life of Fruit Oil on panel Signed Painting Size 17.5" x 20" (44.4 x 50.8cm) Framed Size 23 x 26 in

Item is in excellent condition and has only been displayed in a gallery setting. Item includes frame; framed dimensions are approximately 31 x 38 inches. Cornelis le Mair is truly a renaissance man, encompassing all disciplines of the arts. He enjoys painting, drawing, writing, architecture, sculpture, and interior design. Le Mair was born in Eindhoven, The Netherlands in 1944. He began drawing and painting at the young age of five and while in kindergarten, he was often made to show his paintings in other classes even though he was shy about doing so. “When I could not play outside because of bad weather, I would sit in my bedroom and would draw.” His early art studies were widely influenced by the Rembrandt exhibit in the Rijksmuseum (1956) that he attended with his father. There le Mair was inspired by the Old Masters and “the desire to unravel all the mysteries hidden under the cracked varnish” began. Already having painted a lifesize copy of “The Nightwatch” on the wall of his bedroom, le Mair was continually driven by the Rembrandt exhibit. He began to experiment with resins, pigments and oils in order to hone and perfect the technique of the old masters. He studied drawings and paintings and early on developed the feeling of color and composition. After completing high school, he worked for a short period as a designer of woven fabrics. Although his heart desired to paint, he enjoyed having a pencil and brush in hand and a case full of art books and says, “This treasure of inspiring information took me further on track to the traditional trade.” At this same time, le Mair’s artistic endeavors led him to learn the art of music. First learning to play the guitar from friends, he began performing at youth centers. This love of music expanded into him learning to play the mandolin, turning lye, banjo, and bagpipes. Just after his eighteenth birthday, le Mair was accepted into military service where his lack of conforming led him to a maximum solitary confinement sentence. After a month in training, the army physician and le Mair agreed that he was born to be an artist and released le Mair from military services. Once he returned home, with the encouragement from his parents, le Mair began his art schooling at the Art Academy (Kustacademie) in ‘s-Hertogenbosch, The Netherlands. There he found that the school was geared for modernism and after painting a portrait of a fellow classmate, his teachers advised le Mair to look for a school where the traditional ideas were still taught. Longing to study the classical arts, he applied and was accepted to the Academy of Fine Arts (Koninklijke Kunstacademie) in Antwerp, Belgium in 1965. After studying under Professor Victor Dolphijn, le Mair graduated cum laude in portrait and figure paintings in 1968. He was then promoted to study as a student of the Higher Institute, a structure at a higher university level where he studied under Rik Slabbinck...

Watercolour on paper, signed bottom left Image size: 13 3/4 x 9 1/2 inches (35 x 24 cm) Mounted and framed The Generalife was a summer palace and country estate of the Nasrid rulers...

Daniel Sherrin (1868-1940): Born in Brentwood, Essex in 1868, Daniel Sherrin was the son of John Sherrin and, later, the father of R. D. Sherrin, both wel...

Arthur Walker Redgate British, (1860-1906) A Wayside Chat Oil on canvas, signed Image size: 13.5 inches x 20.5 inches Size including frame: 19.5...

"Jane Lady Lurgan" Oil Painting by Henry Weigall Junior (1829-1925) was the son of sculptor, cameo engraver and medalist Henry Weigall (1800-1883). Weigall Junior exhibited at the Ro...

'Portrait of British Naval Officer' is attributed to the British painter and engraver Daniel Orme (1766-c.1832) based on the scratched inscription verso, as well as its similarity to Orme’s known engraving oeuvre. The oil on tin portrait bears the scratched inscription “D. Orme” verso, which in the absence of contravening evidence as to the artist is significant in attributing the work to Orme. Katherine Coombs, Curator of Paintings at the Word & Image Department of the Victoria and Albert Museum, London and the writer of the Dictionary of National Biography article on Orme, states that Orme is “so obscure an artist that if his name is indeed scratched on the [tin] that seems good evidence for it being so.” Additionally, Orme’s stipple engravings of prominent naval figures in oval, including John Hunter in 1792, Horatio Nelson in 1798, among others at the National Portrait Gallery, London are consistent with the style and composition of the portrait. Roger Quarm, Curator of Paintings at the National Maritime Museum, Greenwich notes that Orme’s “engraved portraits of naval officers tend to be oval”. Orme is known to have issued a series of engravings by subscription that included portraits of popular naval Admirals and Officers in 1797. Two oils in the collection of the National Maritime Museum, also demonstrate Orme’s execution of naval subject matter. The sitter has been identified as a lieutenant in the British Navy wearing the “full-dress uniform for the period 1787-1812,” according to Roger Quarm. Alfred Umhey has confirmed this identification of the sitter as a “lieutenant in the uniform pattern 1787-1795, which is however worn post that date.” The medal worn around the sitter’s neck has been identified as the Sultan’s Medal for Egypt issued in 1801, by both Quarm and Umhey. The Sultan’s Medal for Egypt or the Turkish Medal for Egypt was issued in 1801 to members of the British Army and Navy by Sultan Selim...

Artist: Philip Lutley Sclater (English, 1829-1913) Titles: "Loria Mariae (MacGregor's Bowerbird)", "Cnemophilus Macgregorii (Crested Satinbird)", "Aegotheles Savesi (New Caledonian O...

Pencil, watercolour and bodycolour heightened with white. Image size: 9 1/2 x 13 1/4 inches (24 x 34 cm) Hand made gilt frame Provenance The Fine Art Society 1981 (Label Verso) Priv...

Louis Auguste Moreau French, (1855-1919) David Bronze, signed Height: 7.5 inches Width: 3.25 inches Depth: 3 inches Louis Auguste Moreau was born in Dijon, France in 1855 into a fam...

This evocative 19th-century marine scene by English painter Nicholas Matthew Condy captures the dynamic tension and atmospheric drama that typify his maritime works. Known for his ke...

Jane Vivian British, (fl. 1869-1890) Looking towards the Doge’s palace from the Dogana Oil on canvas, signed Image size: 17.25 inches x 31.25 inches Size including frame: 22.75 inch...

Subscription and first edition lithographs in stock Full plate: 196 Presented in a acid free mount

Robert John Hammond British, (1853-1911) Fishing by the Lock Gate Oil on canvas, signed & dated 1893 Image size: 19.5 inches x 14.5 inches Size including frame: 25.75 inches x 20.75 inches A picturesque painting by Robert John Hammond of three figures next to a river lock. One of the figures can be seen fishing on the bank as the others take shade under the trees. Robert John Hammond was a landscape painter born in Blackfriars, London in 1853. By the time he was 18 he had moved to Sutton Coldfield where he initially became an apprentice watchmaker before becoming a full time artist. In 1871, he married Lucy Banner, the sister of the artist Alfred Banner...

Edward LADELL Picture Size: 20 x 16" (50 x 40cm) Outside Frame Size: 26 x 22" (65 x 55cm) An exquisite example of Ladell's painting. Signed with his traditional stylistic monogram,...

Red chalk on paper Image size: 7 1/2 x 9 1/4 inches (19 x 23.5 cm) Contemporary frame An enigmatic portrait of a young woman after Sir Peter Lely's drawing, currently shown in the B...

Very pretty English 19th century River landscape with sailboats, a Paddle Steamer, and a crew rowing. Possibly a view on the Thames in London, this piece ...

Lofty antique Italian bisected seashell arrangement ambitiously composed in a floral motif. Presented under a convex lens in a distressed ceramic round frame.

Henry Barraud British, (1811-1874) Horses & grooms at Mount Mascal Oil on canvas, signed Image size: 15.25 inches x 29.25 inches Size including frame: 21.25 inches x 35.25 inches ...

Investing in a late 20th-century Victorian-style portrait of two terrier dogs in a landscape is an opportunity to bring a touch of nostalgic charm and timeless elegance into your liv...

Large seascape painting of Mill Bay, Cornwall by David James (British, 1853-1904) British, 1887 Frame: height 80cm, width 143cm, depth 6cm Canv...

This lovely British Edwardian portrait oil painting is by noted artist William Henry Margetson. He was known for his aesthetic full-length portraits of women, often in hats, in an in...

This impressive British Edwardian portrait oil painting is by noted artist Frank Thomas Copnall. It was painted circa 1910 and hung in the Williamson Art Gallery and Museum in Birken...

Charles Euphrasie Kuwasseg French, (1838-1904) A Normandy Port Oil on canvas, signed & dated 1875 Image size: 21.5 inches x 38.75 inches Size including frame: 30.25 inches x 47.5 inches A wonderful seascape painting of a port in Normandy by Charles Euphrasie Kuwasseg. The scene shows large ships anchored...

Alfred Seifert Czech, (1850-1901) Portrait of a Young Woman with a Pearl Necklace & Rose Oil on panel, signed Image size: 15.5 inches x 12 inches Size including frame: 23 inches x...

Returning to the Fold English artist, 'M. Goodman' signed & dated 1911 oil on canvas, framed framed: 22.5 x 32.5 inches canvas: 20 x 30 inches Provenance: private collection, England...

The Country Cottage English School, first half 19th century circle of John Constable oil on board, framed framed: 10.5 x 12 inches board: 6 x 8 inches provenance: private collection ...

Fred Morgan, ‘The Hero of the Hour’, large Victorian oil painting English, Late 19th Century Canvas: Height 86cm, width 120cm Frame: Height 122cm, width 154.5cm, depth 11cm This su...

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...

Holy Baptism, Oil painting on canvas by an unknown artist About the artwork: Bible Scene, Early 18th Century, Florentine School TECHNIQUE: oil pai...

This lovely British 19th century landscape oil painting is by noted artist Frederick Waters Watts. Painted circa 1840, the composition is a drover with cattle watering in an extensiv...

Artist/ School: E. S. England (British, active c. 1890-1910), signed lower corner. Title: The Huntsman and his horse. Medium: signed oil painting on canvas, unframed. canvas: ...

Artist: (after) John Constable (English, 1776-1837) Title: "Salisbury Cathedral from the Meadows" (Plate 13) and "Stoke by Nayland, Suffolk" (Plate 40) Portfolio: English Landscape S...

Near Midhurst (Surrey, England) by David Mead (1906-1986) signed, dated verso to label 1976. titled verso oil on canvas, framed canvas: 23 x 36 inches framed: 29 x 41 inches the pai...

Oil on canvas Image size: 28 3/4 x 24 inches (73 x 61 cm) Contemporary style gilt frame This portrait is an evocative example of Devis' Regency period portraiture, featuring a pleasant looking young girl holding a book in an outdoor setting. Working with a darker palette, a strongly accented diagonal recession, and dramatic contrasts of light and shadow, Devis heightens the girl's three-dimensional physical presence in the foreground of the composition. The Artist  Arthur William Devis (10 August 1762 – 11 February 1822) was an English painter of history paintings and portraits. He painted portraits and historical subjects, sixty-five of which he exhibited (1779–1821) at the Royal Academy. Among his more famous works are a depiction of the Death of Nelson and a posthumous portrait of Nelson. Devis was born in London, the nineteenth child of the artist Arthur Devis and his wife Elizabeth Faulkner. Devis was the younger brother of the painter Thomas Anthony Devis (1757–1810) and of the schoolmistress and grammarian Ellin Devis (1746–1820), teacher, among others, of author of Maria Edgeworth and Frances Burney (later novelist Madame d'Arblay). He followed his elder brother Thomas Anthony in becoming a pupil at the Royal Academy Schools in 1774 and like his brother exhibited at the Free Society of Artists, of which in 1768 their father had become president, and at the Royal Academy. Early on he came to the notice of Sir Joshua Reynolds. He was appointed draughtsman on the British East India Company's packet Antelope in a voyage in 1783, under Captain Henry Wilson. In her he was injured in an encounter with Papuans near the Schouten Islands and was then wrecked on the Pelew Islands before proceeding to Canton and thence to Bengal. During his voyages, the artist received arrow wounds, one of which inflicted permanent injury on his lower jaw. During his time in Bengal, he painted a portrait of Sir William Jones, at the time a judge in Fort William. The painting now hangs at the British Library. He was back in London by 1795 and is recorded on 21 July 1797 as living at 27 George Street, Hanover Square, where he was insured by the Sun Assurance Office. He is noted for his involvement in the creation of the posthumous cult of Horatio Nelson. As she returned from Trafalgar, Devis went out to meet HMS Victory and was present on board the ship during the autopsy of Nelson's body conducted by Dr Beatty, the ship's surgeon. With the help of sketches he took at that time, he painted a heroic Death of Nelson, which proved a sensation. Devis also painted Dr Beatty, and was commissioned by him to produce a half-length painting of Nelson as vice-admiral, which he lent to Emma Hamilton (who later lost it in an accident whilst travelling). Either the original or a copy of this portrait was exhibited at the Royal Academy two years after the Battle and many copies were made of it. Lord Howe owned one, and another ended up in the collection of the National Maritime Museum. It also appeared as an engraving in Beatty's published account of Nelson's death. Other work includes a portrait of King George III on horseback, and a range of portraits of admirals and generals, along with historical subjects, such as the Babington Plot and the signing of the Magna Carta...

19th century British oil, Ship in a rough sea. The style of the painting is very similar to the work of Bernard Benedict Hemy a well known Briti...

Artist/ School: William Langley, British 19th/ 20th century, signed Title: Sunset over the English Landscape Medium: oil on canvas (the board showing in the photos is purely a prot...

Rare pair of 19th Century watercolors on paper painted in tropical settings both signed MWW 87 and presented in wood frames under glass.

Gustav Doring (1864-1938) Gustav Döring studied at the Academy of Fine Art in Berlin where Gustaf Hellqvist , Paul Meyerheim and Hans Meyer were among h...

Arthur Wardle 1864 - 1949 At the Window Oil on board, signed lower left Image size: 13 1/2 x 7 3/4 inches (34.25 x 19.5 cm) Hand made gilt frame Arthur Wardle Wardle, who was self-...

First Edition lithograph Full plate: 120 Presented in a acid free mount

Late 19th century English landscape by Edwin Buttery. This exquisite late Victorian English landscape by Edwin Buttery is a masterful example of the period’s romanticized appreciatio...

'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...

'Finger Prints' Chromolithograph. 1905. Vanity Fair portrait of Sir Edward Richard Henry, 1st Baronet GCVO KCB CSI KPM (1850-1931) who was the Commissioner of Police of the Metropo...

'Start of the Day, Dorking, Surrey' signed by Joel B. Owen (British, signed and dated 1919) oil on canvas, framed framed: 25 x 35 inches canvas: 20 x 30 inches provenance: private co...

Samuel Alken Jnr (1784-1825) Snipe Shooting Pheasant Shooting Both signed 'S. Alken' A pair, Oil on canvas Painting Size - 12 x 16 1/2 in Framed Size - 17 x 21 1/2 in Samuel Alken J...

David Bates British, (1840-1921) The Shadoof Oil on canvas, signed, further inscribed verso Image size: 19.75 inches x 29.75 inches Size including fram...