Wright Barker Art

Antique Victorian English 19th Century, King Charles Cavalier spaniel and Westie terrier in an interior. This exquisite English 19th-century painting by...

This is an original, unique oil painting by the artist William Watson Jnr., a Liverpool (Birkenhead) painter of animals and landscapes. He was the t...

This atmospheric moonlit landscape from 1888 represents a mature and characteristic work by Amalia von Schwerin, a Swedish aristocrat and professional painter whose artistic career was closely connected to the Düsseldorf and Munich schools of nineteenth century landscape painting. Executed late in her career, the painting demonstrates her assured handling of nocturnal light, pastoral motif, and animal staffage, elements that recur throughout her oeuvre. The composition depicts a tranquil rural scene illuminated by moonlight. A calm body of water reflects the pale glow of the moon, which hangs high in a softly clouded night sky. On the left, a modest cottage is partially concealed by trees, its warmly lit window suggesting human presence and domestic shelter within the surrounding darkness. To the right, a solitary cow stands quietly in the shallow water, its reflection subtly merging with the rippling surface. In the distance, faintly lit buildings and tree silhouettes dissolve into the night, reinforcing the depth and stillness of the scene. Von Schwerin’s treatment of light is central to the painting’s expressive power. The cool silvery tones of the moonlight contrast gently with the warmer hues emanating from the cottage window, creating a balance between natural and human illumination. The reflections in the water are rendered with sensitivity and restraint, enhancing the sense of calm and quietude that permeates the scene. The landscape is not dramatic but contemplative, inviting prolonged viewing rather than immediate narrative engagement. Amalia von Schwerin received her early artistic education at various art schools in Düsseldorf, where her husband owned property, before continuing her studies under Friedrich Voltz in Munich. These environments exposed her to the dominant landscape traditions of the period, particularly the emphasis on tonal unity, careful observation of natural light, and the integration of animal figures within expansive settings. Her work reflects these influences while maintaining a personal sensitivity to mood and atmosphere. Although based for long periods in Germany, von Schwerin remained closely connected to the Swedish art world. She participated extensively in group exhibitions in Sweden during the 1860s and 1870s, including exhibitions at the Royal Swedish Academy of Fine Arts, as well as shows organised by regional art associations across the country. She was also represented at the Paris World Exhibition in 1878. Her home in Düsseldorf became a social and artistic gathering place for younger Scandinavian artists, a role that reflects both her social position and her significance within the artistic community. Von Schwerin’s artistic production consists almost exclusively of landscape paintings with...

Richard Barrett Davis (1782-1854) Mr Ward on Quicksilver Oil on canvas Canvas Size - 25 x 30 in Provenance with Ackermann & Son, London; where purchased by the present owner. Born...

George Cole British, (1810-1883) Rick Making, Lunchtime Oil on canvas, signed & dated 1883 Image size: 23.5 inches x 35.5 inches Size including frame: 30.5 inches x 42.5 inches Prove...

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 casting a darker shade. The trees are varied greens but also have 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...

WALTER JAMES, 3rd BARON NORTHBOURNE (1869-1932) Cheviot Ewes and Lambs on the Moor in Early June Signed and dated l.l. WALTER JAMES 1920; signed, inscribed with title and the artis...

Alfred Schönian (1856-1936) Germany Rooster With Hens and Ducks by a Pond oil on panel signed A.Schönian München panel dimensions 6.29 x 9.44 inc...

George William Mote (1832–1909) Landscape with Cattle on a Country Path, 1887 A luminous and richly detailed late-19th-century landscape by George William Mote, dated 1887, showcasi...

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...

An idyllic view of cattle and sheep grazing in a pasture before an oak tree with a blue sky with bollowing clouds beyond. William S Rose (1810-1873) Cattle and sheep grazing in rou...

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