Hubert Thornley Art

Bernard Hemy - Bernard Benedict Hemy (1844 - 1910). Marine and Coastal painter in oil and watercolor. Born in Newcastle to Henry F. Hemy, brother...

Attributed John Nost Sartorius (1759–1828) Fox Hunter and Hounds Oil on canvas, circa 1810 Provenance: Ackermann & Johnson, London A fine and spirited example of early 19th-century ...

Attributed to John Nost Sartorius (1759–1828) Fox Hunter and Hounds Oil on canvas, circa 1810 Provenance: Ackermann & Johnson, London A fine and spirited example of early 19th-centu...

John Nost Sartorius (1759–1828) Fox Hunter and Hounds Oil on canvas, circa 1810 Provenance: Ackermann & Johnson, London A fine and spirited example of early 19th-century English spo...

Late 19th/early 20th century oil on canvas painting in the manner of Abraham Hulk the Younger (1851-1922), and George Vincent (1796-1832). These artists painted in the Dutch style, though both are British. Each has had experience with Dutch masters that influence their work. George Vincent’s work is perhaps even closer to this than Hulk’s. Vincent paints the trees and skies with the warm hues of light infused on the work. Here, the sky has blue but also a khaki or tan shade, roughed into the blue and white. It is an unusual color in skies, yet Vincent shows us the light through clouds castingva darker shade. The trees are varied greens but also yellowed leaves, as in autumn. Presented in a period decorative gilt frame, the painting is of a cottage in a woodland with cattle by a pond, a little black dog and man and a woman standing by. In the distance is a glimpse of a river and grasses, framed by trees and an overcast sky. Hulk is renowned for his treatment of the changing season from summer to autumn, and the golden leaves and fading greens in this painting suggest this changing time of year. Hulk is the son of a well known Dutch maritime...

Wylam Gowdy (British, Early 20th Century) Huntsman Out Shooting with Gundogs on Moorland Oil on canvas, circa 1905, inscribed on the reverse Signed lower right This evocative moorl...

Attributed toJohn Nost Sartorius (1759–1828) Fox Hunter and Hounds Oil on canvas, circa 1810 Provenance: Ackermann & Johnson, London Though the painting has impeccable provenance as ...

Charles Towne (1763-1840) A wooded landscape with a traveller on a path Signed "By CT" lower left Oil on canvas 23 1/8 x 19 1/2 in Provenance Private Collection, West Sussex Charle...

This very fine quality 19th century oil on canvas in dark brown wood frame with gold leaves details throughout is signed by Joseph Brunner (Vienna 1826-...

Attributed to John Nost Sartorius (1759–1828) Fox Hunter and Hounds Oil on canvas, circa 1810 Provenance: Ackermann & Johnson, London A fine and spirited example of early 19th-centu...

Adolf Schreyer's "Arabian Rider at Dusk" is a stunning oil painting on canvas that depicts an Arabian rider in a golden sunset. By Adolf Schreyer 8.5" x 15.5" Oil on Canvas Framed...

This idyllic late 19th-century oil painting by English artist Edward William Cooke RA (1811-1880) depicts a west-country cove with two cottages, donkeys, figures, and fishing boats. Cooke was a highly renowned painter of marine scenes and landscapes who exhibited extensively at London’s Royal Academy. From our elevated vantage point, the view extends between two quaint cottages and across the beach before sweeping around the sandy coastline. Crystalline waters lap the shore, where moored craft rest. It’s an accomplished rendering of a challenging composition. It’s enhanced by trees, which essentially ‘frame’ the right side, while a wooded track provides interest on the left. Cooke was a keen admirer of the Dutch old masters, and the spirit of the Golden Age underpins this splendid work. In diaries, he recorded how he travelled by donkey to access elevated spots in the southwest, so it’s conceivable that he did so here. In his catalogue raisonné, it lists a work from the same year titled ‘Bay with Donkeys’. Born in Pentonville, London, Cooke was raised in the company of accomplished artists as both his father, George Cooke (1781-1834), and his uncle, William Bernard Cooke (1778-1855), were engravers. As such, they were associated with a circle of Victorian painters who aided Cooke’s early development. These included the highly regarded marine painter Clarkson Frederick Stanfield RA RBA (1793-1867), who provided frequent advice and inspiration. Indeed, as a teenager, Cooke produced numerous drawings after Stanfield’s works. A precocious talent, by the age of nine, he was already displaying an advanced understanding of engraving, particularly for ships, coupled with a natural, seemingly in-built skill as a draughtsman. Many of his early drawings depict pastoral landscapes after the masters, such as Nicolaes Berchem (1620-1683), Paulus Potter (1625-1654), and Karel Dujardin (1626-1678). In an extraordinary turn of events, in 1820, his advanced abilities led to his first commission when he provided botanical illustrations for John Loudon's 'Encyclopaedia of Plants’. These were followed by drawings published in the 'Botanical Cabinet...