William Ernest Smyth Art

Original Pastel Drawing of Cattle in English Countryside by 20th Century British Artist, Wendy Reeves. Art measures 22 x 14 inches Frame measures 30 x 24 inches Wendy Reeves gar...

Signed lower left "John Faulkner, RHA" (Anglo-Irish, 1835-1894), titled, 'Return from the Meadows' and painted circa 1880. A substantial nineteenth century watercolor and gouache s...

Early 20th century crayon and watercolour on paper views by American artist Edgar Alwin Payne, both signed A.E.Payne bottom right, one dated '18. Und...

Bronx Post Office Mural Study WPA Horse Social Realism Mid 20th Century Modern Jo Cain (1904 - 2003) Couriers of History Bronx Post Office Mural Study Horse in the Sun (with two ad...

Sea. Paper, pastel 21x29.5 cm Victor Karnauh (1950, Dnepropetrovsk Oblast, Ukrainian SSR – 2012, Dnepropetrovsk Oblast, Ukraine) – a painter, a monumen...

This lovely Victorian animal landscape watercolour painting is by Dutch artist Johannes Martinus Vrolyk or Vrolijk. Painted in 1875, the painting is of two working horses, one white ...

Charcoal drawing by Houston, Texas artist Al Bates depicting the famous La Grange Chicken Ranch in the 1930s with visitors standing by automobiles. Signed and editioned 56 of 500 by ...

Original Pastel of Mallards flying over Wetlands in the English Countryside by 20th Century British Artist, Wendy Reeves. Art measures 20 x 14 inches F...

This late 19th-century gouache by British artist Joseph Knight (1837-1909) depicts a gentle moorland landscape with cattle. Knight was primarily known for his naturalistic depictions of North Wales. Raised amid the hurried industrious streets of Chorlton-Upon-Medlock in Manchester, Knight was obliged to pursue a career at one of its many cotton mills. His father, also Joseph Knight, was a mill engineer and would’ve expected his son to follow suit. It appears he was sent to work at the age of four - unthinkable today, but not uncommon in the 1840s. In around 1841, Knight was involved in an accident, which resulted in the loss of his right arm. This probably coincided with him being sent, together with his siblings, to stay with relatives, Thomas and Jane Knight, also of Chorlton. Evidently, following this, he undertook a change of direction, taking the first steps on a path to artistry. During the mid to late 19th century, landscape paintings grew in popularity partly due to the desires of a new middle-class buyer but also as a tonic for increasing urbanisation. And perhaps there’s no better example of an artist who understood the restorative qualities of nature than Joseph Knight. In his early teens, he gained employment at a photography studio, primarily assisting with portraiture. With a keen eye for composition, his skills flourished and were met with much approval from staff and customers alike. It was here that he first met with Mr. Henry Crowley who was so taken by the boy’s aptitude that he encouraged him to seek a career as a painter. Crowley funded his education, enrolling him at the Manchester Academy of Fine Arts, where the emphasis was on honing one’s draughtsmanship in a strict environment via diligent study and life drawing. With his technique now evolved, commissions were forthcoming - both as a painter and photographer. In the 1861 census, now married, he records his occupation as ‘Photographic artist and painter in oil’. It’s plausible that he was involved in adding tints to photographic portraits during this period while also working as a painter. As recognition of his development, in 1868, he was elected as a full member of the Manchester Academy of Fine Arts, and a year later debuted at London’s Royal Academy with ‘Evening, Near Quimper, Brittany’ and ‘Breton Peasants’. It was around this time that he came to the attention of several of his younger contemporaries who viewed his naturalistic approach as altogether fresher and entirely modern. In a quiet rebellion against their formulaic training, they undertook to paint directly from nature, ‘en plein air’, without the rigour of academic constraints. The group, which included Joshua Anderson Hague...

Early 20th century orientalist watercolour of cattle grazing signed Aiveill bottom right. In art history, Orientalism is the imitation or depiction of aspects in the Eastern world. ...

Cornelius Pearson b.1805 – d.1891 & Thomas Francis Wainewright, b.1794 – d.1883 English Crymlyn Bog And Neath River Estuary Swansea Bay, 1872 Watercolor. Signed & Dated 1872. Image size 7.9 inches x 15.9 inches ( 20cm x 40.5cm ). Frame size 15.2 inches x 23 inches ( 38.5cm x 58.5cm ). Available for sale; this original painting is by Cornelius Pearson with a significant contribution by Thomas Francis Wainewright, and is dated 1872. The watercolor is presented and supplied in a sympathetic pinned corner frame dating from the 1950s or 1960s (which is shown in these photographs), mounted and behind glass. This antique painting is in very good condition whilst the frame is in a good condition, commensurate with age. It is ready to hang and display. The watercolor is signed by both artists and dated 1872 lower left. The mount is titled and attributed by hand. Cornelius Pearson was an accomplished landscape artist. He was born in Boston, Lincolnshire but moved at an early age to London where he became apprenticed to a copper-plate engraver. He soon abandoned engraving however to devote himself to being a watercolor painter. Although he lived in London throughout his career, he travelled for his work to paint in Kent, Ireland, Wales, the Lake District, Scotland, on the Thames and Devon. He was a regular exhibitor at the Suffolk Street Galleries, and also exhibited at the Royal Academy, the New Watercolor Society and elsewhere. He was one of the oldest members of the Langham...

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) Sunflowers in Field Watercolor on paper Signed lower left 12.5. ...