Edward Charles Barnes Art

This late 19th-century oil painting by British painter George William Mote (1832-1909) depicts a shepherd and his flock before an extensive view across the Surrey countryside near Gu...

CITY TOUR Size: 64.5 x 56 cm (including frame) Oil on Canvas A lively and energetic city street scene composition, executed in oil onto canvas and dated 1998 by Swedish artist Uno V...

Landscape painted by Luis Moscardo, from his series with oil paintings "Land of Storms", in which he paints the waves of the wild sea, the shapes and textures that are generated in i...

Early 20th Century English Autumn river landscape with cows drinking from a stream. Abraham Hulk Junior was born in the Netherlands in 1851 to ren...

A very well-painted Dutch 19th century marine scene. The small boat is full of men who are rowing hard to get to the larger vessels, possibly to either take goods on or off the large...

In this contemporary beach landscape in oil on canvas mounted on panel, figures in the distance can be seen along the shore of a beach, gazing out at the deep, dark navy blue ocean, ...

In this contemporary landscape in oil on canvas mounted on panel, two figures stand by the shore of a beach, gazing out at the deep blue ocean, while fluffy, pale salmon pink cumulus...

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...

Outstanding English 19th century still life of fruit, a German Stein with silver top in an interior. Charles Thomas Bale was born in Soho, London in 1849, the son of Thomas Bale, a basket maker. His older brother Thomas Charles Bale (1831-1899) was an artist and picture restorer. He lived with his family in St James, Westminster and although little is known about his education, he would have undoubtedly received encouragement and drawing tuition from his brother. Bale started exhibiting in 1866 at the Institute of British Artists, Suffolk Street. He also exhibited at the Royal Academy in 1872, the same year he married Caroline Leathem. Together, they spent their married life in St Pancras. He specialized in still life paintings predominantly of fruit, but he frequently incorporated baskets, a homage to his family’s profession, as well as pottery, glass, and game. Bale’s work was influenced by the English still-life artists George Lance and William Duffield...

Victorian 19th-century portrait of a seated English Flower Seller. This is a very pretty classic English Victorian Genre painting. The style ...

19th century English Antique Victorian Summertime Harvest landscape, with figures. John Mundell was a British painter of landscapes as well as river scenes and coastal views. It is suggested that Mundell was a pseudonym of John James Wilson. Mundell’s work was vigorous, bright, and attractive and compares favorably with the work of many of the better artists of his time. This is a very fine example of the artist's work. It is a rare composition for the artist as he mostly painted marines. This piece is framed in its original antique gold leaf frame

Oil on canvas, signed lower right Image size: 33 1/2 x 56 1/2 inches (85 x 143 cm) Original gilt frame Provenance With the artist's son, Millie Dow Stott Esq., until 1912. Artist's Studio Sale, Christies, November 1913. Private Collection Exhibitions London, Royal Academy, 1895, no. 679. Paris, Societe de la Nationale des Beaux-Arts, 1896, no. 1179. Berlin, VII Internationale Kunstausstellung 1897. no. 3533. Manchester, City of Manchester Art Gallery, 1912, no. 339. In the 1890s William Stott exhibited regularly at the Royal Academy, mainly highly decorative works with subjects derived from classical mythology and literature. This painting was Stott's 1895 entry to the Royal Academy and was subsequently exhibited at the Paris Salon of 1896 and then on to the Berlin, VII Internationale Kunstausstellung 1897. Shakespeare was a favourite source for Victorian painters, and the tragic romance of Ophelia, from Hamlet, was an especially popular subject, featuring regularly in the Royal Academy exhibitions. The most popular and iconic image of Ophelia's death was, and is to this day, John Everett Millais's 1851 painting showing the confused and tragic Ophelia floating downstream on her back in a state of mad ecstasy, arms raised in a gesture of inevitable submission. However, although Stott chose not to pastiche this image, it seems highly likely that he was prompted to take up this subject, which had almost become a 'rite of passage' among Victorian painters, by the fact that in 1894 Millais's Ophelia was presented to the National Gallery of British Art by Sir Henry Tate. It appears that Stott was much influenced by John William Waterhouse...