Private collection, United Kingdom
Buy with confidence: our assurance to you
Professional Associations
We have built up a strong reputation for the quality of the paintings, drawings and sculpture that we curate, exhibit and sell. Our professional associations with bodies such as The British Antique Dealers’ Association (BADA) and the Association of Art & Antique Dealers (LAPADA) are as a result of our reputation for integrity, our wide knowledge of fine arts and the high quality of our stock. Our business standards and expertise are reviewed regularly to adhere vigorously to enforced Codes. Our memberships and commitment to its Code of Conducts gives our buyers confidence when purchasing a work from us.
Authenticity
Condition reports and certificates of authenticity vary in their nature by artwork, for more information on your pieces of interest, please enquire with the gallery.
Artwork images
We take pride in the attention we give to our images of the artworks for purchase and invest in these to ensure outputs are aligned as closely as possible to the item in reality. We do not apply filters or modify images, we provide high-quality images to reflect the high quality of our artworks.
Your purchase process
Payment processing – You can be assured that payments are securely processed through Stripe’s trusted payment gateway.
The Trinity House promise to you
Shipping and packaging
Shipping and packaging requirements are assessed per piece to ensure the most suitable protection for the artwork. Trinity House will therefore call following purchase to agree the recommendations and costs.
Our After Sales services
We offer the following services which we will be happy to discuss with you following your purchase, alternatively, you can enquire for more information.
Insurance
We offer insurance appraisals to protect your prised artwork and help you find the right cover and policy for you.
Framing
We are able to advise on framing and have access to every type and style to suit any artistic period or room setting.
Conservation
The nature of the materials involved in a painting mean that on occasion some pieces are susceptible to movement and the effects of natural ageing. We are able to provide advice on practical measures to conserve the original condition of a piece and have relationships with restorers and framers to offer you a range of services to meet your needs.
The artist was born in May, 1918 at Tregefni, Anglesey, his family having had long historic and landowning connections on the island. Upon leaving school, Williams became land agent at Pwllhel and this was to be the beginning of his passion and understanding for the landscape of North Wales.
He was commissioned into the Territorial Army in 1937 in the 6th Battalion Royal Welsh Fusiliers and was about to be sent overseas in 1941 when he was diagnosed as epileptic and declared medically unfit. At this stage, it was his doctor that thought he should consider taking up art. A friend suggested he tried the Slade School of Fine Art, which at the time was based during the war, at the Ashmolean Museum in Oxford. After being told that he could attend for one term only, owing to so few students, Williams eventually stayed for three years. There he was awarded the Slade Portrait Prize and the Slade Leaving Scholarship.
His main aim on leaving the Slade was to find a job as an art-master at some comfortable and undemanding public school, but he had been slow to achieve even that until, unable to pay his rent, he was thrown out of his lodgings in St John’s Wood. This crisis not only had the effect of his getting a job at Highgate School but also made him realise that art was his vocation.
For the next thirty years, the post at Highgate provided Williams with the perfect base to develop his highly characteristic work, “free from the pressures of fashion and the contagious influences of art schools”. He was eventually appointed senior art master. Over the years he was much loved by his pupils, and he produced some outstanding students, among them a fellow Royal Academician, Anthony Green.
His first exhibition was at Colnaghi’s in 1948 and he was fortunate that despite his medical problems, he had extraordinary physical energy. He was able to fulfil his teaching duties while painting nearly a hundred works a year.
