Woodbury

Francis Jamieson was a painter in oil and watercolor of highland landscapes and coastal scenes. (The work of this highly prolific artist is curious since the oils and watercolors have two quite distinctive styles and subject matter. The oil paintings are most frequently seen and these are highland landscapes or loch scenes - sometimes they appear to be signed with pseudonyms such as 'W. Richards' and 'Phil Hips' - the location is usually inscribed on the reverse. The watercolors are often coastal scenes with boats and figures on a shore, painted in a more traditional Victorian style, and possibly pre-date the oils. F. E. Jamiesons's beach scenes were published as postcards around 1920 by G. Ajelli & Co. of London on a textured card to give the appearance of oils. Jamieson is known to have traveled widely in the South of England between the wars selling his work but does not appear to have exhibited.) This quote in parentheses is taken from Jeremy Wood's excellent book 'Hidden Talents - A Dictionary of Neglected Artists Working 1880-1950'. - Work by Francis Jamieson can be seen at the usual sites. Please note that on all these sites you will find F. E. Jamieson variously listed as Francis E. Jamieson, F.E.Jamieson, Frank E. Jamieson, Frederick E. Jamieson etc. You may also find some listings under his various pseudonyms of Arnould Pienne, Charles Maurice, Graham Williams...

View of the Santa Maria Della Salute in Venice by one of England's best-known landscape and Venetian painters. This example is a very well-painted piece and is a great composition. It is framed in an English Swept frame. Tracing the story of William Meadows, the son of James Meadows, is sometimes a little difficult. In earlier census returns he gave his place of birth as Epping, but in later census returns he said that he was born in Mountnessing in about 1825. Between 1841 and 1901 William is recorded as William James, William George, and in 1881 simply as George, and these apparent changes of name were explained by a chaotic personal life which contrasts with his tranquil paintings of the English countryside and Venice. An entry in The Fine Arts Journal in 1847, concerning the Theatre Royal, Dumfries, reveals that "The scene-painter is Mr. W.J.Meadows, the son of Mr. Meadows, of the Surrey”. Initially, William had begun his career by following in the family footsteps at one of the theatres where his grandfather had performed. However, his training as a scene painter most probably came closer to home under his father's tuition, possibly at The Lyceum Theatre in London in 1844. (See the previous page on James Meadows for further details). In 1850, William married Lydia Maria Jarvis (born in Norwich c.1826) at St Pancras Old Church, close to St Pancras Station in London. By the time that the census was taken the following year, William and Lydia were living at 16, High Street in Poole, Dorset. So far it has been not been possible to identify a census entry for 1861 for the couple. However, when William exhibited "A scene in Surrey' at the Royal Hibernian Academy of Arts in Dublin in 1865, he gave his address as 187, Hampstead Road, London, not far from the St Pancras area once again. The reason for William's obscurity in the 1861 census may lie partially in his financial difficulties, as well as his frequent changes of address. In 1864, The Law Journal's list of impending bankruptcy proceedings included an entry for "Meadows, William George (known as William James Meadows), artist, of Old Kent Road, previously of Beal Road, Old Ford, previously of Wanstead Flats, Wanstead". A family source has revealed that William tried changing career not long afterward, when he became the landlord of The Black Bull Inn in Fyfield in Essex on the 9th November 1866, and that he "gave an opening dinner there" on 29th November 1866. However, if William was trying to achieve financial stability by changing careers, the 1871 census would suggest that it was an unsuccessful interlude. In 1871 William was recorded under the name of William George but is identifiable as the same person by his age, place of birth, and the personal details of his wife. He no longer gave his profession as an artist, but as an "Eating Housekeeper", back in the East End of London and living at 200, High Street in Shoreditch. Two servants were living with the couple, but more unusually there was also another resident, whose occupation was listed as "bailiff in possession". The presence of a live-in bailiff, therefore, seems to suggest that William's financial difficulties were far from over. In addition to his financial woes, William’s marriage to Lydia also appears to have been a stormy affair. In 1867 in London she petitioned for a divorce from William, although she must have been initially reconciled to him as the couple was living together (with their bailiff!) in 1871. However in 1874, Lydia once again petitioned for a divorce and this time the separation was definitive, and Lydia moved to a separate address in Holborn where she was living at the time of the 1881 census as a "retired publican". William, meanwhile, married for a second time in Southwark in 1875, under the name of William George Meadows. His second wife, Helen Grace Higgs, was born in Tipperary in Ireland in about 1841. By the time of the 1881 census, the couple was lodging over a pub at 87, High Holborn in London, where William is recorded simply as "George Meadows, Landscape painter". In the 1891 census, the couple was lodging at The Green Dragon...

The action of 13 January 1797 was a minor naval battle fought between a French ship of the line and two British frigates off the coast of Brittany during the French Revolutionary Wars. During the action the frigates outmaneuvered the much larger French vessel and drove it onto shore in heavy seas, resulting in the deaths of between 400 and 1,000 of the 1,300 persons aboard. One of the British frigates was also lost in the engagement with six sailors drowned after running onto a sandbank while failing to escape a lee shore. The French 74-gun ship Droits de l'Homme had been part of the Expédition d'Irlande, an unsuccessful attempt by a French expeditionary force to invade Ireland. During the operation, the French fleet was beset by poor coordination and violent weather, eventually being compelled to return to France without landing a single soldier. Two British frigates, the 44-gun HMS Indefatigable and the 36-gun HMS Amazon had been ordered to patrol the seas off Ushant in an attempt to intercept the returning French force and sighted the Droits de l'Homme on the afternoon of 13 January. The engagement lasted for more than 15 hours, in an increasing gale and the constant presence of the rocky Breton coast. The seas were so rough that the French ship was unable to open the lower gunports during the action and as a result could only fire the upper deck guns, significantly reducing the advantage that a ship of the line would normally have over the smaller frigates. The damage the more maneuverable British vessels inflicted on the French ship was so severe that as the winds increased, the French crew lost control and the Droits de l'Homme was swept onto a sandbar and destroyed. Thomas Buttersworth...

Expressionist Abstract collage portrait of the world-famous painter Pablo Picasso, in white, black, gray tones on antique paper, with a quote by Picasso. Claude Stewart is an active artist working in both North America and Europe. He paints abstract colorful scenes of seascapes and landscapes., and also collage scenes often using photography, original works of art, paintings, drawings, pen and ink, and lithographs. He often starts each piece with a layer of a clay-like substance which he scratches, writes into, and carves. His influences are many including Picasso, Matisse, Léger, Miro, and the American abstract expressionist such as Mark Rothko and Jasper Johns. Scouring the world for interesting pieces that he can incorporate in his paintings and his collage art, this piece has a very interesting diverse different style. The overall balance of the painting is bought together with the use of antique paper layered and improved with different images. Included on this piece are pieces of vintage paper from an old art book on Modern Masters..! He often works with images by Picasso, Matisse, Miro, Sam Francis, Chagall , Willem de Kooning, Jackson Pollock, Franz Kline, Lee Krasner, James Brooks, Albert...

Expressionist Abstract collage, with influence from Léger, Nantucket scenes, Chinese writting, original, white, black, gray tones on antique paper. Claude Stewart is an active artist working in both North America and Europe. He paints abstract colorful scenes of seascapes and landscapes., and also collage scenes often using photography, original works of art, paintings, drawings, pen and ink, and lithographs. His influences are many including Picasso, Matisse, Léger, Miro, and the American abstract expressionist such as Mark Rothko and Jasper Johns. This is a very interesting abstracted view of different artistic influences. From original 19th century pen and ink work to a lithograph by Ferdinand Léger. Scouring the world for interesting pieces that he can incorporate in his paintings and his collage work this piece has a very interesting diverse different style. The overall balance of the painting is bought together with the use of antique paper layered and improved with different images. He often works with images by Picasso, Matisse, Miro, Sam Francis, Chagall and other famous museum-quality artists In some of his more recent work, he uses famous photographs of internationally well-known painters and abstract the images to turn them into completely unique abstract work. With the use of antique paper and give these images a timeless feel and makes each piece completely unique and individual. Often working on a small scale when Claude works on a larger piece such as this the image becomes Mesmerizing. This piece is signed bottom left and also inscribed on the reverse. He has been influenced by the works of Mark Rothko, Willem de Kooning, Jackson Pollock, Franz Kline, Lee Krasner, James Brooks, Albert...

MICHAEL J. WHITEHAND, who was born in Bridlington, East Yorkshire in 1941, is a self-taught marine artist. He specializes in oil paintings of marine scenes and currently works out of...

An outstanding English marine painting by one of England's best known late 20th-century marine painters. Michael was a painter of all types of marine art, often painting historical s...

Late 20th-century oil on canvas depicting huntsman jumping over a hedge after a fox. Domingo was an active painter during the last half of the 20th century. He exhibited his work in ...

Wonderful Early 19th-century English landscape. The painting is from the first part of the 19th-century and has all the quality of the 18th-century traditional landscape painters. T...

A wonderful abstract scene depicting reflections in the water by the sea, shoreline, and landscape. Stuart is an English painter who spends his time between American and the UK. He paints in different mediums depending on the subject he's paintings. This is an exceptional example of his latest abstract work. Before any paint is applied Stuart lays a thin coat of a clay-like substance, this he then scratches and drawers into. After that layer dries he paints many coats of paint that are applied and then removed giving the piece a unique effect and style. The photos show the piece in conjunction with other pieces by him during an exhibition. The last two photos show the painting during the process of being painted. After that layer dries he paints many coats of paint that are applied and then removed giving the piece a unique effect and style. He has been influenced by the works of Mark Rothko, Willem de Kooning, Jackson Pollock, Franz Kline, Lee Krasner, James Brooks, Albert Kotin...

Adrion left his native town of Strasbourg in 1907 and moved to Paris to work as a draftsman to the fashion industry. He travelled to London, Munich and Frankfurt. When he visited Ger...

Thomas Dingle was an English Victorian painter of animal and landscape scenes. He painted towards the end of the 19th-century in a very traditional Victorian-style. This piece is an ...