Edward Henry Holder Paintings

'Agay, le château et le Sémaphore'. Oil on canvas. +/- 1922 Signed lower right Measurements : 60 x 73 cm. This painting will be recorded in the second volume of the Catalogue Raisonn...

Large Italian Landscape circa 1890 painted by a heavily influenced follower of Claude Lorraine (1600-1682). Superb depth and detail. Indistinc...

Horse and Sulky reminiscent of Currier and Ives by George Christopher Horner (1821-1881), British artist, imported by Saltire Gallerie. Signed and da...

ARTIST: Frederick Charles Herrick (1887-1970) English TITLE: "Stylised Horses In A Landscape" SIGNED: verso MEDIUM: oil on SIZE: 73cm x 57cm inc frame CONDITION: very good DETAIL...

The Great Fire of London in September 1666 was one of the greatest disasters in the city’s history. The City, with its wooden houses crowded together in narrow streets, was a natural fire risk, and predictions that London would burn down became a shocking reality. The fire began in a bakery in Pudding Lane, an area near the Thames teeming with warehouses and shops full of flammable materials, such as timber, oil, coal, pitch and turpentine. Inevitably the fire spread rapidly from this area into the City. Our painting depicts the impact of the fire on those who were caught in it and creates a very dramatic impression of what the fire was like. Closer inspection reveals a scene of chaos and panic with people running out of the gates. It shows Cripplegate in the north of the City, with St Giles without Cripplegate to its left, in flames (on the site of the present day Barbican). The painting probably represents the fire on the night of Tuesday 4 September, when four-fifths of the City was burning at once, including St Paul's Cathedral. Old St Paul’s can be seen to the right of the canvas, the medieval church with its thick stone walls, was considered a place of safety, but the building was covered in wooden scaffolding as it was in the midst of being restored by the then little known architect, Christopher Wren and caught fire. Our painting seems to depict a specific moment on the Tuesday night when the lead on St Paul’s caught fire and, as the diarist John Evelyn described: ‘the stones of Paul’s flew like grenades, the melting lead running down the streets in a stream and the very pavements glowing with the firey redness, so as no horse, nor man, was able to tread on them.’ Although the loss of life was minimal, some accounts record only sixteen perished, the magnitude of the property loss was shocking – some four hundred and thirty acres, about eighty per cent of the City proper was destroyed, including over thirteen thousand houses, eighty-nine churches, and fifty-two Guild Halls. Thousands were homeless and financially ruined. The Great Fire, and the subsequent fire of 1676, which destroyed over six hundred houses south of the Thames, changed the appearance of London forever. The one constructive outcome of the Great Fire was that the plague, which had devastated the population of London since 1665, diminished greatly, due to the mass death of the plague-carrying rats in the blaze. The fire was widely reported in eyewitness accounts, newspapers, letters and diaries. Samuel Pepys recorded climbing the steeple of Barking Church from which he viewed the destroyed City: ‘the saddest sight of desolation that I ever saw.’ There was an official enquiry into the causes of the fire, petitions to the King and Lord Mayor to rebuild, new legislation and building Acts. Naturally, the fire became a dramatic and extremely popular subject for painters and engravers. A group of works relatively closely related to the present picture have been traditionally ascribed to Jan Griffier...

"Meeting in the Lane" - Oil on Canvas by Walter Heath Williams. This is one of a pair, both West Country scenes, available separately and as a pair. Very typical of this 19th Centu...

David Leslie (British, fl. 1860) Harvesters in a field Signed ‘D. Leslie’ (lower right) Oil on canvas 14.1/2 x 29 in. (37 x 74 cm.)

Golden Light in the English Countryside early 20th century, signed Albert Stanley? oil on board, framed framed: 11 x 14 inches board : 8 x 10.5 inches provenance: private collection,...

Oil painting, boats fishing on a misty morning by Robert Chalmers 1874. Signed and dated by the artist. Canvas size: 69cm x 106cm, Framed size 87cm x 123cm Robert Chalmers, littl...

Lennard Lewis (1826-1913) British Montfort-sur-Meu, Brittany, France Oil on board: 12 x 18 in. Frame: 20 x 26 in. Signed &date1887. Inscribed on artists exhibition label verso. London-born Lennard Lewis was a London watercolourist and painter in oils, who made a specialty of English, French and Portuguese architectural views. He exhibited at the Royal Academy, the Grosvenor Gallery and the Royal Institute of Painters in Water Colours. He also showed with the Royal Birmingham Society of Artists and submitted work to exhibitions in Liverpool, Manchester, Sheffield and Leeds. Gallery notes: Montfort-sur-Meu is a commune in the department of Ille-et-Vilaine in Brittany in the northwest of France. It is noted as the birthplace of the Roman Catholic Saint Louis de Montfort.

Artist: G. Rhumont Title: The Harvest Medium: Oil on Masonite Dimensions: 6.5 x 12" unframed, 18 x 12" Framed G. Rhumont was a turn of the century German landscape artist of romantic style with realistic scenes as seen here in “The Harvest”. This bucolic scene of harvesting hay depicts two farmers working in tandem loading the horse-drawn hay wagon in a field just outside their homestead. This early autumn painting...

Description: A Landscape by the Nottingham Artist William F Burchell. Signed to the lower right, Title verso. The scene depicts two women stood outside of a cottage in the evening...