Victorian Art

William Eddowes Turner British, (1836-1904) Mike & Champ Oil on canvas, signed Image size: 23 inches x 28 inches Size including frame: 28 inches x 33 inches A fine sporting painting horse portrait of a bay pony called Mike and a terrier named Champ by William Eddowes Turner. The prize winning horse can be seen standing in a stable next to a Jack Russell terrier dog. Other horses can be seen further along through the stable door. Although the name of Mike’s owner is not known, his initials (HBL) can be seen on the blanket on the stable floor. The owner most likely commissioned Turner to paint this portrait to celebrate horse’s career. Another portrait was also commissioned by the owner around the same period of a white hunter called ‘The Peeler’ with another terrier. William Eddowes Turner was born in Sneinton, Nottinghamshire in 1836 to George Johnson Turner, a lacemaker and Betsy Turner (nee Clark). His father died...

The Clan of Robertson (Tartan) Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a sheet of descr...

Horses Standing in Landscape French School, 20th century oil on canvas, framed framed: 25 x 34 inches canvas: 19.5 x 30 inches provenance: private collection, France condition: very ...

View of the Grand Canal in Venice by one of England's best-known landscape and Venetian painters. This example is a very well-painted piece and is a great composition. It is framed in an English Classic running pattern frame. Tracing the story of William Meadows, the son of James Meadows, is sometimes a little difficult. In earlier census returns he gave his place of birth as Epping, but in later census returns he said that he was born in Mountnessing in about 1825. Between 1841 and 1901 William is recorded as William James, William George, and in 1881 simply as George, and these apparent changes of name were explained by a chaotic personal life which contrasts with his tranquil paintings of the English countryside and Venice. An entry in The Fine Arts Journal in 1847, concerning the Theatre Royal, Dumfries, reveals that "The scene-painter is Mr. W.J.Meadows, the son of Mr. Meadows, of the Surrey”. Initially, William had begun his career by following in the family footsteps at one of the theatres where his grandfather had performed. However, his training as a scene painter most probably came closer to home under his father's tuition, possibly at The Lyceum Theatre in London in 1844. (See the previous page on James Meadows for further details). In 1850, William married Lydia Maria Jarvis (born in Norwich c.1826) at St Pancras Old Church, close to St Pancras Station in London. By the time that the census was taken the following year, William and Lydia were living at 16, High Street in Poole, Dorset. So far it has been not been possible to identify a census entry for 1861 for the couple. However, when William exhibited "A scene in Surrey' at the Royal Hibernian Academy of Arts in Dublin in 1865, he gave his address as 187, Hampstead Road, London, not far from the St Pancras area once again. The reason for William's obscurity in the 1861 census may lie partially in his financial difficulties, as well as his frequent changes of address. In 1864, The Law Journal's list of impending bankruptcy proceedings included an entry for "Meadows, William George (known as William James Meadows), artist, of Old Kent Road, previously of Beal Road, Old Ford, previously of Wanstead Flats, Wanstead". A family source has revealed that William tried changing career not long afterward, when he became the landlord of The Black Bull Inn in Fyfield in Essex on the 9th November 1866, and that he "gave an opening dinner there" on 29th November 1866. However, if William was trying to achieve financial stability by changing careers, the 1871 census would suggest that it was an unsuccessful interlude. In 1871 William was recorded under the name of William George but is identifiable as the same person by his age, place of birth, and the personal details of his wife. He no longer gave his profession as an artist, but as an "Eating Housekeeper", back in the East End of London and living at 200, High Street in Shoreditch. Two servants were living with the couple, but more unusually there was also another resident, whose occupation was listed as "bailiff in possession". The presence of a live-in bailiff, therefore, seems to suggest that William's financial difficulties were far from over. In addition to his financial woes, William’s marriage to Lydia also appears to have been a stormy affair. In 1867 in London she petitioned for a divorce from William, although she must have been initially reconciled to him as the couple was living together (with their bailiff!) in 1871. However in 1874, Lydia once again petitioned for a divorce and this time the separation was definitive, and Lydia moved to a separate address in Holborn where she was living at the time of the 1881 census as a "retired publican". William, meanwhile, married for a second time in Southwark in 1875, under the name of William George Meadows. His second wife, Helen Grace Higgs, was born in Tipperary in Ireland in about 1841. By the time of the 1881 census, the couple was lodging over a pub at 87, High Holborn in London, where William is recorded simply as "George Meadows, Landscape painter". In the 1891 census, the couple was lodging at The Green Dragon...

A fine large half-length portrait of a lady which was drawn in the late 19th century by British artist Horace Henry Cauty. A stunning and detailed work it is dated May 1892. It is a...

The Terrier and the Rabbit by ROBERT CLEMINSON (1864-1903) signed oil on canvas, framed framed: 24 x 32 inches canvas: 16 x 24 inches provenance: private collection, England conditi...

**PLEASE NOTE: EACH PAINTING INCLUDING THE FRAME MEASURES 19 INCHES X 23 INCHES** John Bates Noel British, (1870-1927) On the Avon & In the Berwin Valley Oil on canvas, pair, both signed, also signed & inscribed verso Image size: 12 inches x 16 inches (each) Size including frame: 19 inches x 23 inches (each) John Bates Noel was born John Noel Bates in Worcester in 1870. He was the son of the landscape artist David Bates (1840-1921) but later on changed his professional name to avoid confusion. The family lived in Worcestershire as well as in Birmingham and it was highly likely that he was encouraged and taught by his father as their subject matter and style bear similarities, although John’s compositions tend to be more fluid and looser. By the turn of the century Noel was living in Malvern where he also taught art. He specialised in painting the rugged landscapes in and around the West Midlands, Worcestershire and North Wales. He exhibited at the Royal Academy from 1893-1909 and at the Royal Birmingham Society of Artists between 1892-1919. He also exhibited works at some of the major galleries of the time including the Manchester City Art Gallery and the Walker Art Gallery, Liverpool. The building in the painting 'On the Avon' is believed to be that of St Margaret's Church at Wolston in Warwickshire. The structures at the front of the church appear to be thatched hay ricks, which are similar to ones seen in an old postcard of the church seen from the river Avon...

This lovely British Victorian portrait is by noted artist Richard Buckner. Painted circa 1840 it is a half length seated portrait and the sitter is Charlotte Julianna Jane Howard, 3r...

William Anslow Thornley flourished between 1858 and 1898, almost all of his output were marine scenes, he was especially fond of depicting shipping at dawn or dusk. This is a very im...

Admiring the View Figure standing and admiring the majestic Scottish loch scene before him. Joseph Knight (1837-1909) British signed lower corner oil painting on canvas, framed canv...

This lovely picture of a dog sat amongst roses is an oil-on-canvas painting that is over one hundred years old, by the English Artist Stanley Berkeley...

Pausing for Conversation by William Yates (British, second half 19th century) signed oil on canvas, unframed canvas: 18 x 32 inches provenance: private collection, England condition:...

Colour lithograph, 1890. 210mm by 285mm (sheet). From W Peck's 'A Handbook and Atlas of Astronomy', 1890. Sir William Peck FRSE FRAS (1862 – 1925) was a Scottish astronomer and scien...

The English Country Churchyard by James Rudd (English 1821-1906) signed & dated 1889 oil on canvas, framed framed: 28.5 x 41 inches painting: 24 x 36 inches provenance: private colle...

Studying the Maps Italian School, late 19th century signed lower corner watercolour on board, framed framed: 24.5 x 17.5 inches painting: 20.5 x 14 inches provenance: private collect...

Sailing on the High Seas by Bernard Page (20th century British artist) signed oil on canvas, framed framed: 18 x 21.5 inches canvas: 14 x 18 inches provenance: private collection, UK...

Tranquil Landscape by Rex Vicat Cole (British 1870-1940) * see notes below signed & dated 1899 oil on canvas, framed framed: 16 x 20 inches canvas: 10 x 14 inches provenance: private...

Newlyn School, circle of Frank Bramley is the attribution for this lovely Victorian portrait oil painting. Painted circa 1890 on panel, it is a head and shoulders portrait of a young girl in a straw hat...

George Henry Laporte British, (1802-1873) Best of Friends Oil on canvas, signed & indistinctly dated Image size: 27.25 inches x 35.25 inches Size...

Edward Niemann A lovely countryside painting by the highly regarded Edward Niemann. These pretty scenes are not regularly seen on the art market. Often ...

Frederick Albert Clark British, (1869-1954) Billy Boy Oil on canvas, signed & dated 1907 Image size: 16.5 inches x 20.5 inches Size including frame: 25.25 inches x 29.25 inches A f...

This charming British Victorian portrait oil painting is by artist Harry Leslie Baldry. It was painted in 1887 when Baldry was based in London. The composition is a three quarter len...

Portrait of a Man with Moustache believed to be a self portrait of the artist French School, circa 1870's oil on canvas, framed framed: 20.5 x 17 inches canvas: 18 x 15 inches proven...

This superb French Victorian portrait oil painting is by noted French society painter Jules-Elie Delaunay. Painted in 1883 it is a three-quarter length profile portrait of the Marquesa de Escombreras. Her full name was Trinidad Maria Piedad Fulgenico de Aguirre. She was born in 1824 in Cartagena, Spain, the seventh and last child of Jose de Aguirre, a retired naval officer. On October 22nd 1843 she married Frenchman Hilarion Roux (1819-1898) who was a banker from Marseille who settled in Cartegena in January 1843. After her marriage she was known as Trinidad Roux. Hilarion Roux had arrived in Cartagena first to trade silver. He quickly became one of the main lead industrialists in Catagena then in the Mediterranean area. The couple later lived in France again, in Marseille and later in Paris, where Trinidad died in 1905 aged 81. Interestingly there is no similar portrait of her husband. In this superb painting, the Marquesa, aged about 60 in reality, is wearing a black off the shoulder dress...

HENRY H. PARKER A wonderful statement piece ideal for any prominent position that you have. The colours and the quality are superb and the piece is titled and signed on the reverse ...

Colour lithograph, 1890. 285mm by 210mm (sheet). From W Peck's 'A Handbook and Atlas of Astronomy', 1890. Sir William Peck FRSE FRAS (1862 – 1925) was a Scottish astronomer and scien...

This lovely British Victorian oil painting is attributed noted landscape and animal artist George Cole ans ascribed verso. Painted in 1840 it is a superb portrait of two horses, one ...

Richard Hollingdale, British Victorian genre artist painted this lovely family in a cottage interior. Painted in 1855, the colourful composition is six figures of all ages around a t...

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 ...

This original watercolor on paper features traffic on the River Humber in the City of Hull. Hull or Kingston upon Hull, is a port city in East Yorkshire, England. The painting is hig...

Immerse yourself in the regal allure of Chinese history with this captivating pair of framed reverse glass paintings depicting a Chinese Emperor and Empress...

David Bates British, (1840-1921) Early Morning on the Glaslyn Oil on canvas, signed & dated 1895, further inscribed verso Image size: 23.25 inches x 35.25 inches Size including fra...

A fine Scottish Victorian interior scene by George Hay RSA. A very vibrant stunning Scottish historical interior painting which dates to about 1870. It depicts two women curtsying...

This lovely British Victorian oil painting is by Edward Charles Williams of the Williams Family of artists and related to George Morland. The painting is a figurative landscape entitled the Woodman's family and entails five figures and a dog gathered around a tree that the Woodman is tackling with his axe. The painting is signed and indistinctly dated (only visible with ultra violent light) lower left, the date being 1869. For me, the highlight of the painting is the artistry and attention to detail with which Williams has portrayed the light on the trees above and the exquisite colouring of the leaves. There are even two birds finely depicted in the tree foliage. Signed and indistinctly dated 1869 lower left (only visible under ultraviolet light). Provenance. Berkshire estate. Condition. Oil on canvas, image size is 40 inches by 36 inches and in good condition. Housed in a complementary frame. Framed size is 48 inches by 44 inches and in good condition. Edward Charles Williams (London 10 July 1807 – 25 July 1881) was an English landscape painter during the Victorian Era, and a member of the Williams family of painters. He was the eldest son of the painter Edward Williams (1781–1855) and Ann Hildebrandt (c.1780–1851), and a member of the Williams family of painters, who were related to such famous artists as James Ward RA and George Morland. His father was a well-known landscape artist, who taught him how to paint; otherwise he received no formal instruction. He adopted much of his father's style and technique, and like the other painters of his family, he devoted himself to landscapes, producing rich and tranquil views of Barnes, Cumberland, Kent, Surrey and the Thames. His paintings are now highly sought after. Williams married his first wife Mary Ann Challenger on 11 December 1839 in Westminster. Mary Ann died in 1857 in London, and his only child Alice Williams was born shortly afterwards to Sarah Susannah Horley, who had been Mary Ann's nurse – Edward and Sarah did not marry for another 10 years until 3 October 3, 1868, when they wed at the St. Pancras Old Church in Camden, London. He largely stopped painting after the 1859 death of his second wife, adding value to the small number of paintings that he did produce from 1859 on − Springer in the Bracken, The Lap Dog, The Ploughman's walk home, The Ducks at Tilbury and Primrose at St Mary's (Primrose was the Verger's Cat). Some suggest that he suffered a breakdown after his wife's death, given his choice of subjects in these later years. The location of three of these post-1859 works are unknown, and they are assumed lost during two world wars. He signed some of his work as E Williams, which leads to confusion with his father, who painted in a similar style, and at times he signed as C Williams to purposely avoid such confusion. Because many of the paintings of both father and son are unsigned, it can be difficult to correctly attribute their work. Edward Charles also collaborated on several paintings with William Shayer, where Williams would paint the landscape, and Shayer would add in figures and animals; his Near Wantage, Berkshire is a good example. He died 25 July 1881 at Shepherds Bush in London and is buried with Sarah Horley and their daughter Alice in Hammersmith Old Cemetery, close to other family graves. Edward Charles Williams was born into an artist family that is sometimes referred to as the Barnes School. His father and five surviving brothers were all noted landscape painters during the Victorian era. Three of the sons of Edward Williams changed their last names to protect the identity of their art. Edward Williams (father) Henry John Boddington, George Augustus Williams, Arthur Gilbert, Sidney Richard Percy, Alfred Walter Williams.

Storm Clouds over the River Yare *see notes below English School, circa 1830's circle of John Constable (English 1776-187) oil painting on canvas, framed canvas: 18 x 25 inches condi...

THIS WORK IS SOLD UNFRAMED Retour des Enfants de l'École des Enviros de Ztouzow by Franciszek Tepa (1829-1889) Watercolour 23.9 x 16.1 cm (9 ⅜ x 6 ⅜ i...

Sidney Richard Percy British, (1821-1886) Grizedale, Westmorland Oil on canvas, signed & dated 1883 Image size: 12 inches x 19 inches Size including frame: 21.25 inches x 28.25 inches A wonderful atmospheric painting of Grizedale Pike in the Lake District by Sidney Richard Percy. Cattle are shown moving along the path in the foreground as sheep roam the hillsides. In the mid distance a figure can be seen walking across a stone bridge whilst another has paused to rest behind them. Sidney Richard Percy was born Sidney Richard Williams, on the 22 March, 1822 the fifth son of the artist Edward Williams Snr (1781–1855) and Ann Hildebrandt. His brothers Edward Charles (1807–1881), Henry John Boddington (1811–1865), George Augustus (1814–1901), Arthur Gilbert (1819–1895) and Alfred Walter Williams...

Antique Victorian, Impressionist 19th century English oil, Fishings boat at Sea. Adolphus Knell was a superb painter of marine subjects during the middle of the 19th century. His w...

The Highland Loch signed by F. E. Jamieson (British 1895-1950) oil painting on canvas, framed framed: 19.5 x 27.5 inches canvas : 16 x 24 inches provenance: private collection, UK co...

Wonderful and outstanding example by one of England's known and much-loved 18th and 19th-century painters. Morland was an English painter who became one of the most popular artists o...

Leading them Home signed by F. E. Jamieson (British 1895-1950) oil painting on canvas, framed framed: 24 x 27 inches canvas : 20 x 24 inches provenance: private collection, UK condit...

A bucolic sunrise scene from the Netherlands or German by Johann Jungblut. Oil on board signed in the lower left. Measures 23.25" x 17.25" including the frame. While this work is a w...

Painted by Sara Wells Page this is a large stunning half-length Pre-Raphaelite portrait oil painting of a semi clad young woman. It was painted circa 1900 by Page who worked and exhi...

"Church of St. Aignan Chartres" Etching in Ink on Paper (Demonstration Plate) Delicate and detailed drypoint etching of the Church of St. Aignan in Chartres, France by John Taylor Arms (American, 1887-1953). The viewer stands in an alley near the church, looking out of the shadows at the sunlit towers. The architectural details of the church are well-captured, including the texture of the stone walls, the roof, and ornamental detail. Titled, signed, dated, and inscribed along the bottom edge: Sketch, Saint Aignon, Chartres John Taylor Arms 1950 The inscription includes details about production, as well as a dedication "To my friends Georgia and Jasper Mathews, with my sincerest good wishes" Presented in a wood frame with an off-white mat. Frame size: 12.5"H x 9.25"W Image size: 7"H x 4.5"W John Taylor Arms was born in Washington, DC in 1887. He studied law at Princeton University, transferring to the Massachusetts Institute of Technology, Boston, to study architecture, graduating in 1912. After serving as an officer in the United States Navy during World War I, he devoted himself full-time to etching. He published his first original etchings in 1919. His initial subject was the Brooklyn Bridge in New York City near which he worked. Arms developed a successful career as a graphic artist in the 1920s and 1930s, specializing in series of etchings of Gothic churches and cathedrals in France and Italy. In addition to medieval subjects, Arms made a series of prints of American cities. He used sewing needles and magnifying glasses to get a fine level of detail. A member of many printmaking societies, Arms served as president of the Society of American Graphic Artists. An educator, Arms wrote the Handbook of Print Making and Print Makers (1934) and did numerous demonstrations and lectures. Arms was elected into the National Academy of Design as an Associate member in 1930, and became a full member in 1933. His work was also part of the painting event in the art competition at the 1932 Summer Olympics...

Alfred Augustus Glendening Snr British, (1840-1921) Harvest Time Oil on canvas, signed with monogram & dated (18)81 Image size: 23.25 inches x 35.25 inches Size including frame: 32.5 inches x 44.5 inches A lovely landscape painting of figures harvesting in a field by Alfred Glendening Snr. On the crest of a hill, a man ties sheaves whilst others harvest the crop. In the valley below, more figures can be seen stacking shocks into a cart. Alfred Augustus Glendening was born in Hampton near Richmond upon Thames...

Charcoal on paper, signed by the artist (upper right), and RA visitor L. Alma Tadema, RA., and dated (lower left), 76cm x 57cm, (64cm x 88cm framed). Olivier studied at the Royal Academy Schools from 1881, where this extraordinary display of drafting took place. Olivier exhibited extensively, including the Royal Academy starting in 1883, and the Paris Salon. He exhibited at the Fine Art Society in the 1880s and at the Grafton Galleries in 1908. An official war artist in the Great War, his work is included in the collection of the Imperial War Museum. It is also contained in many regional art galleries. Drawings of the nude, called academic studies...

Cattle on the Loch's Shore by Henry Hadfield Cubley (British 1858-1934) *see below signed oil on canvas framed in elaborate gilt swept frame dated 1899 verso framed: 26 x 36 inches c...

Well painted and very interesting composition attributed to the English landscape painter john Frederick Tennant. His work is very similar to ...

This lovely Scottish Edwardian interior portrait oil painting is by noted Scottish artist Arthur Percy Dixon. Painted in 1906 it is a seated portrait of a lady in the corner of a roo...

Karel Frans Philippeau Dutch, (1825-1897) Home from the Vineyard Oil on panel, signed & dated 1867 with old label verso Image size: 11.25 inche...

This stunning British Victorian portrait oil painting is by noted female artist Annie Louisa Swynnerton. The sitter is Emma Woods, nee King (1806-1896). Emma was the wife of Samuel ...

Tending the Boat English School, 19th century circle of William Joseph Julius Caesar Bond (British 1833-1928) oil on canvas, framed framed: 17 x 15 inches canvas: 12 x 10 inches prov...

George Earl was a painter, primarily of sporting dogs and other animals. He was also the father of Maud Earl and Percy Earl, and the brother of Thomas Earl, all three of whom were al...

This charming British Victorian portrait oil painting is by noted portrait artist Gilbert Baldry. A half length portrait painted in 1892, the sitter is a young boy in a red coat with...

"After the Rain, Glencoe" Pearl Patterson (British, dated 2003) signed lower corner inscribed verso oil on board, framed framed: 16.5 x 20.5 inches board: 14 x 18 inches provenance: ...

Artist: John James Audubon (American, 1785-1851) Title: "Bonaparte’s Flycatching-Warbler (Great Magnolia)" (Plate 73, No. 15) Portfolio: The Birds of America, First Royal Octavo Edit...

Wonderful Autumn/Fall landscape by one of Englands finest landscape painters. Born as Benjamin Williams, the artist added the surname Leader (his Father’s middle name) to distingui...

This superb British Victorian portrait oil painting is by much noted and exhibited female artist Maud Porter. Painted circa 1890 it is a seated portrait of a young woman and her terr...