Edwin Buttery Landscape Paintings

Wilhelm Schütze (1840 Kaufbeuren - 1898 Munich). Forest path. Oil on painting board, 30 x 24 cm (visible size), 31 x 26 cm (frame), signed lower left "Wilhelm Schütze". About the a...

Master painter of this genre, George Armfield is renowned for his depictions of dogs in the chase. Here a pheasant sails safely above their heads, while the dogs enjoy the chase belo...

William Beattie-Brown, RSA, (1831-1909) painted landscapes with great mastery of the elements, known for his rendering of rapids in waters and detailed foliage far in the distance. H...

Scottish islands and seas, this naturalistic painting of Arran has impressionist brushstrokes in a realistic scene by Scottish artist George Melvin Rennie (1874-1953). Signed oil on...

Stags in Winter Twilight (American, early 20th century) Both dated l. r. "1912" 38 1/2 x 12 1/2 inches The stag is the king of the forest, the protector of all other creatures. For ...

Fine 19th century landscape oil on canvas by Alfred de Breanski Sr., this sunset, color and light, are exceptional in this work. Alfred De Brea...

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...

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...

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...

This rare and unusual landscape painting shows a broad view of a mining town and its setting in the Western United States, most likely California or Arizona. It is signed by listed ...

Jack Lorimer Gray, 1927-1981, was born in Halifax, Nova Scotia to Scottish parents. His talents as an artist were spotted by E. Wyly Grier while Gray was still a child. He attended t...

Exhibition-sized painting of Iona Island coast by celebrated Scottish artist Duncan Cameron (1837-1916), this is a large and expansive 19th century landscape oil painting on canvas. Renowned for his landscape paintings, this work captures the natural light on the sea, sand and rocks with splashes of rich color under a big sky. Iona off the west coast of Scotland, has attracted artists for for its dramatic scenery and northern light, including the Scottish Colourists who favored the fresh pure light. The cliffs and coastal rocks are reminiscent of works by Samuel Peploe and Duncan Fergusson of this fabled island. In 1876 Cameron won a Gold Medal for landscape painting, at the Crystal Palace exhibition. The year after this painting (circa 1870s) Cameron began exhibiting in the Royal Academy, Society of British Artists, and Royal Scottish Academy, showing his work consistently from 1880. Other venues for exhibiting his work include the Glasgow Institute, Walker Art Gallery in Liverpool, Manchester City Art Gallery, and the Royal Hibernian Academy. His work is sold today in Fine Art Galleries in the UK and in Saltire Gallerie, USA. His landscape paintings are widely acclaimed, and this landscape painting of considerable size and detail is a fine example. Born in Perthshire, Cameron studied in Dundee and in South Kensington, London. He later died in Edinburgh. The highest auction sale of his work reached nearly 20,000 GBP. He was widely acclaimed as a landscape artist, painting Scottish farmlands and haystacks, coastal scenes and lochs. In this work the colors of the sea change from blue to green with white crests of waves. The rocks have splashes of red, rust and orange, and the beach has red and green in the sand. Water laps at the edge of beach and rock. A sailboat is a focal point, with distant sailboats on the water, and a rowboat by the central sailboat. A hill rises behind the beach painted...