Benjamin Williams Leader Art

Oil on Canvas 40 by 50 in. w/ frame 48 by 58 in. Esther exhibited at the Boston Museum of Fine Arts School; in Paris and Philip Hale. She was a member of the Rock Port Art Association, Copley Society and The New York Women...

Henry Thomas ALKEN 1785 – 1851 A very typical example of Alken's work in a beautifully presented original antique frame. Alken's work is highly collectable and this is worthy of any...

Flock by The Tree clumps - new original work by Seren Bell. Mixed media on Fabriano paper, 21 inches x 21.5 inches. Sold unframed. Can be framed for loca...

Thomas Blinks British, (1853-1910) Midday Rest Oil on canvas, signed & dated (18)87 Image size: 11.5 inches x 17.5 inches Size including frame: 20.25 inches x 26.25 inches Thomas Blinks was born in Maidstone, Kent on 29 October 1853 to Richard Blinks and Eleanor Poile. His father was a master butcher in Ticehurst and the family lived above the shop, which is still operates as a butchers today. Thomas initially worked for his father but his talent for art soon took him in another direction. He married Louisa Anne Winterbottom on 11 April 1874, at Rye, Sussex and together they had 3 children. They lived in Hawkhurst, Kent before moving to Hackney, London in 1878. Whilst largely self- taught, Blinks would have learnt basic anatomy from working with his father, but he also spent time at Tattersalls canine and horse auctions...

William Mellor British, (1851-1931) A River Glen Oil on canvas, signed Image size: 19 inches x 29 inches Size including frame: 27.5 inches x 37.5 inches A lovely landscape painting of a river glen by William Mellor. In the foreground, the river flows over large boulders whilst sheep graze on the banks and beyond the trees in the distance. 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...

Artist: Inoel (French, Active: Late 19th Century) Title: “Vue de Venise (View of Venice)” *Signed by Inoel lower right Circa: 1875 Medium: Original Oil ...

Alice Williams paints, laughs, gardens, and lives with an ease and awakened wonder which infuse the very fibers of her canvas and inspire every stroke of her brush. Taking in an Alic...

William Watson Jnr British, (1847-1921) On the Mountains, Loch Awe Oil on canvas, signed & dated 1892, further inscribed verso Image size: 12.5 inches x 18.5 inches Size including frame: 18.5 inches x 24.5 inches A wonderful painting of Highland sheep resting near Loch Awe by William Watson Jnr. Loch Awe is located in Argyll and Bute in the Scottish Highlands and this scene is taken from the mountain side overlooking the loch. William Watson was born in Islington in 1847, the son of the London miniature painter William John Watson (1810-1871) and his wife Caroline (née Butcher). His brothers Charles Watson (1837-1900) and Robert Watson (1855-1921) were also artists. His father seems to have travelled around and after spending time in Brighton, the family moved to Bransford Road in Worcester during the early part of the 1860’s. As well as being taught by his father, Watson received his early training in the studio of Sir Francis Grant PRA (1803-1878). He later became a pupil of Sir Edwin Henry Landseer RA (1802-1873) and Rosa Bonheur (1822–1899). Both Landseer and Bonheur had a great influence on his work and he began specialising in scenes of cattle and sheep. By 1866 he had become a full time artist and began exhibiting at the Royal Society of British Artists. Perhaps to take advantage of the inspiring scenery, Watson moved to Birkenhead, Cheshire where in 1871 he met and married Eleanor Davies who was from Caernarvonshire. Four of their children Sidney Watson (1881-1931), Caroline Ellen...

"Loch Lomond" by F. E. Jamieson (British 1895-1950) signed lower corner inscribed verso oil painting on canvas, framed canvas: 16 x 24 inches frame: 20 x 28.5 inches Fine quality antique oil painting by the much admired and celebrated British artist F. E. Jamieson (1895-1950). The painting is signed by Jamieson to the lower corner with his pseudonym. The painting captures the beautiful and reknown Loch Lomond. F. E. Jamieson (1895-1950) We are extremely fortunate to have been handling the works of the enigmatic British artist, F. E. Jamieson since the year we began art dealing, 1989. Over this time, coupled with our love of the Scottish landscape, we have bought and sold many hundreds of his paintings, in all their various guises and subjects and are considered by many to be a leading authority on the artist and his work. We are also in the early stages of publishing the Catalogue Raisonne for this artist, of which this painting will be featured. Mr. Jamieson was largely a painter of Scottish landscapes and loch scenes. Born in 1895, Jamieson lived on the south coast of England and was contracted to a large department store to supply them with his paintings. He was an ambitious man and keen to sell more works than through just one shop. In order to do this, he started to sign his works with pseudonyms other than his own name, in order that he could sell his work to a wider audience. It worked and it is considered that Jamieson at least 15 different pseudonym names on his paintings. In addition to selling through furniture shops, Jamieson would travel door to door offering his paintings to housewives and private buyers. In our years of researching the artist, we heard one story related to us by an old customer who remembers that Jamieson started selling door...

Abstract midcentury painting by Claffy Williams, circa 1980s.

A very atmospheric scene of a horse and cart crossing the river Wey (a tributary of the river Thames) under a beautiful twilight sky. There is wonderful detail and light with the ar...

This large wash drawing is a slightly enlarged version of a composition executed by Hubert Robert in 1761, at the end of his stay in Rome. This composition is a marvellous synthesis of the painter's art: the clatter of the waterfall, in a grandiose setting inspired by antiquity, is opposed to the intimacy of a genre scene, made up of a few peasant women performing some agricultural work. 1. The stay in Italy, an important founding stage in Hubert Robert's carrier Hubert Robert came from a privileged family of Lorraine origin, linked to the Choiseul-Stainville family, where his father was an intendant. The protection of this powerful aristocratic family enabled him to study classical art at the Collège de Navarre (between 1745 and 1751). After a first apprenticeship in the workshop of the sculptor Slodtz (1705 - 1764), he was invited by Etienne-François de Choiseul-Beaupré-Stainville (the future Duke of Choiseul, then Count of Stainville) to join him in Rome when the latter had just been appointed ambassador. Hubert Robert arrived in Rome on 4 November 1754, aged twenty-one, and remained there until 24 July 1765. Thanks to his patron, he obtained a place as a pensioneer at the Académie de France without having won the prestigious Prix de Rome. On his arrival in Rome, he frequented the studio of the painter Giovanni Paolo Panini (1691 - 1765), the inventor of the ruins painting, and also benefited from the proximity of Giovanni Battista Piranesi’s studio (1720 - 1778). During his eleven-year stay in Rome, Hubert Robert studied the great Italian masters and drew many of the great archaeological sites, multiplying the sketches which he would use throughout his career, becoming one of the masters of the "ruin landscape". Back in Paris in 1765, he was very successful. He was accepted and admitted to the Royal Academy of Painting and Sculpture on the same day, July 26th 1766, which was very unusual. He was appointed draughtsman of the king's gardens in 1784, then guard of the Royal Museum from 1784 to 1792. Arrested in 1793 and detained in the prisons of Sainte Pélagie and Saint-Lazare, he was released in 1794 after the fall of Robespierre and undertook a second trip to Italy. In 1800, Hubert Robert was appointed curator of the new Central Museum and died at his home in Paris in 1808. 2. Description of the artwork This composition, formerly called "La Cascade du Belvédère Pamphile" , is undoubtedly inspired by the water theatres of the Frascati villas. Hubert Robert presents a hemicycle of columns with rustic bossages at the foot of which is a cascade of water falls into a basin. The hemicycle is flanked by two high walls, pierced by window wells topped with antique masks...