The 19th century was a period of huge growth in Britain, which had a profound effect on art. The Enlightenment and the Industrial Revolution in both Britain and France saw artists develop a curiosity in social change and newly industrialised towns and cities.

  • Pondering

    by Edgar Hunt

    This painting is a charming farmyard scene from the well-known oeuvre of animal painter Edgar Hunt. It is a perfect image of idyllic country life, and would have been very appealing to wealthy city-dwellers of the early Twentieth Century, who yearned for the peaceful country life that existed before industrialisation. Dimensions: (unframed) 27.9 x 38.1 cm/11.0 x 15.0 ins Signature: Signed 'E. Hunt' and dated 1924 (lower right) Medium: Oil on canvas
  • The son of the artist John Atkinson Grimshaw (1836-1893), Louis Grimshaw was born in Leeds and brought up at the family home, Knostrop Hall, a subject depicted here. Louis studied as a pupil of his father, collaborating with him on a number of works. Dimensions: (unframed) 27.9 x 47.0 cm/11.0 x 18.5 ins Signature: Signed & dated 1898 Medium: Oil on canvas  
  • Gathering Wild Flowers

    by Alice Squire

    DIMENSIONS: (unframed) 21.0 x 6.3 ins/ 8.3 x 2.5 cm SIGNATURE: Signed lower left MEDIUM: Oil on canvas   Gathering Wild Flowers depicts a young girl gathering flowers within a lush scene of greenery. This work is an example of Alice Squire’s romantic scenes which simultanesouly evoke both a sense of tranquillity and nostalgia for a simpler past time.
  • Anxious News

    by Walter Langley

    Politically left wing for his era, Langley was noted for his social realist portrayals of working class figures, particularly fishermen and their families. He was a supporter of Charles Bradlaugh, a radical socialist politician. His own working-class background enabled him to identify with the villagers and the hardships they endured, many of his paintings reflect this sympathy with the working-class fisher-folk amongst whom he lived. DIMENSIONS: (unframed) 48.3 x 31.8 cm/19.0 x 12.5 ins SIGNATURE: Signed and dated '83 (lower left) MEDIUM: Sepia toned watercolour
  • Near Reigate, 1809

    by Walter Williams

    DIMENSIONS: (unframed) 24.0 x 42.0 in./61.0 x 106.7 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas   William’s work is characterised by his reoccurring subject matter of the romantic landscape. The work Near Reigate is such an example of this romantic landscape as the golden glow of the light baths the composition with two figures strolling into the unknown golden landscape.
  • Thomas Lucop 1834-1911 was a Hull painter and Master Mariner, friend and pupil of the Henry Redmore. He was a careful delineator of shipping and it’s activity helping to create the unique atmosphere in his work appreciated by ‘Sea going folk’ and admirers of marine paintings alike. DIMENSIONS: (unframed) 39.4 x 59.7 cm/15.5 x 23.5 ins SIGNATURE: Signed and dated '87 lower left MEDIUM: Oil on canvas
  • Olof Hermelin was one of the major Swedish landscape painters in the 19th century. The great love of his life was the landscape of central Sweden. After his education at the Art Academy of Stockholm, Hermelin traveled frequently to Paris between 1870-1875, the heart of European plein-air-painting. In France, he became familiar with the paintings of Jean-Baptiste Camille Corot and Charles-Francois Daubigny, the most famous landscape painters of the French "Barbizon School".  In Germany, Hermelin's works were firstly shown at the international exhibitions in Berlin and Munich Glass Palace from 1888 to 1900. The National Museum of Stockholm, the Art Museum in Gothenburg, the University of Uppsala and the Nordic Museum in Lund in Sweden bought works of Hermelin. In addition, among others, the University in Philadelphia has a work of the painter. DIMENSIONS: (unframed) 61.0 x 81.3 cm/24.0 x 32.0 ins SIGNATURE: Signed lower right and dated 1876 MEDIUM: Oil on canvas
  • Returning Home

    by Antoine Bouvard

    Antoine Bouvard was a French landscape artist who notably often painted under the pseudonym Marc Aldine. Bouvard remains best known for his exquisite renderings of Venetian canal scenes. He trained as an architect and studied art and architecture under Constant-Dufeus, at the Ecole des Beaux-Arts in Paris. He became the Director of Architectural Services for the Seine, and was responsible for the construction of the Bourse du Travail and the Boulevard Morland in Paris. DIMENSIONS: (unframed) 45.7 x 54.6 cm/18.0 x 21.5 ins SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • Golden Light

    by Antoine Bouvard

    Antoine Bouvard was a French landscape artist who notably often painted under the pseudonym Marc Aldine. Bouvard remains best known for his exquisite renderings of Venetian canal scenes. He trained as an architect and studied art and architecture under Constant-Dufeus, at the Ecole des Beaux-Arts in Paris. He became the Director of Architectural Services for the Seine, and was responsible for the construction of the Bourse du Travail and the Boulevard Morland in Paris. DIMENSIONS: (unframed) 38.1 x 45.7 cm/15.0 x 18.0 ins SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • Portrait of a Lady

    by Gustave Jean Jacquet

    Gustave Jean Jacquet was a 19th century painter of portraits, genre and watercolours. Gustave Jean Jacquet studied under Bouguereau, forsaking many other masters and the beginning of his career was very much in the manner of his teacher. Jacquet debuted at the Salon in 1865 . However, the following year, Jacquet moved towards the type of genre scenes that would consecrate his reputation and so he began giving the Salons canvases of small dimensions in which he evoked, with conscientious concern of the tiniest detail, the elegant life of the 16th, 17th and 18th Centuries. Jacquet's artistic career was very successful and he produced many fine paintings which won him his acclaim. DIMENSIONS: (unframed) 12.0 x 9.5 in./ 30.5 x 24.1 cm SIGNATURE:Signed middle left MEDIUM: Oil on panel    
  • La Porte St Martin

    by Edouard Leon Cortes

    Though Cortès painted this area time and time again, each depiction remains unique and portrays the changes brought by time and the seasons. In response to a question asking him why he painted Paris so much, Cortès replied, “Because I adore Paris, and because wherever one turns there is something to put on canvas.” This admiration is seen in his vibrant depictions of the capital, like here, full of life and light. DIMENSIONS: (unframed) 19.5 x 25.0 in./ 49.5 x 63.5 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • Captain Cornish, 1854

    by Thomas Walker Bretland

    Thomas Walker Bretland was a British 19th Century painter who was born in Nottingham in 1820. His father owned and ran a carriage and coach business, which he joined in 1816 as an apprentice where he excelled. Bretland started sketching at an early age with his sole ambition to train and be an artist. DIMENSIONS: (unframed) 9.8 x 11.8 ins/ 24.8 x 30.0 cm SIGNATURE:Signed, dated 1854 and inscribed ‘Captain Cornish, 1854, Ridden by J. H. Peart Senr’ MEDIUM: Oil on canvas
  • Paris in Winter

    by Eugène Galien Laloue

    Galien- Laloue was painting in an electrifying city, a city that was the artistic and cultural centre of the world, a city in which ladies of high fashion paraded about streets that were for the first time being freshly populated by omnibuses and cabs. The entertainment and nightlife of Paris was unequalled by any other city in the world and Galien-Laloue captured that moment. DIMENSIONS: (unframed) 7.3 x 12.3 ins/ 18.5 x 31.2 cm SIGNATURE: Signed lower left MEDIUM: Gouache
  • Les Grands Boulevards sous la Neige

    by Eugène Galien Laloue

    Galien- Laloue was painting in an electrifying city, a city that was the artistic and cultural centre of the world, a city in which ladies of high fashion paraded about streets that were for the first time being freshly populated by omnibuses and cabs. The entertainment and nightlife of Paris was unequalled by any other city in the world and Galien-Laloue captured that moment. DIMENSIONS: (unframed) 7.0 x 12.0 ins/ 17.8 x 30.5 cm SIGNATURE: Signed lower left MEDIUM: Gouache
  • Paris, Porte St Dennis

    by Eugène Galien Laloue

    Galien- Laloue was painting in an electrifying city, a city that was the artistic and cultural centre of the world, a city in which ladies of high fashion paraded about streets that were for the first time being freshly populated by omnibuses and cabs. The entertainment and nightlife of Paris was unequalled by any other city in the world and Galien-Laloue captured that moment. DIMENSIONS: (unframed) 7.8 12.5 ins/ 19.8 x 31.8 cm SIGNATURE: Signed lower left MEDIUM: Gouache
  • Sorti du Theatre du Gymnase

    by Eugène Galien Laloue

    Galien- Laloue was painting in an electrifying city, a city that was the artistic and cultural centre of the world, a city in which ladies of high fashion paraded about streets that were for the first time being freshly populated by omnibuses and cabs. The entertainment and nightlife of Paris was unequalled by any other city in the world and Galien-Laloue captured that moment. DIMENSIONS: (unframed) 5.3 x 8.3 ins/ 13.5 x 21.1 cm SIGNATURE: Signed lower left MEDIUM: Gouache  
  • The Fisherman

    by Walter Langley

    Politically left wing for his era, Langley was noted for his social realist portrayals of working class figures, particularly fishermen and their families. He was a supporter of Charles Bradlaugh, a radical socialist politician. His own working-class background enabled him to identify with the villagers and the hardships they endured, many of his paintings reflect this sympathy with the working-class fisher-folk amongst whom he lived. DIMENSIONS: (unframed) 38.1 x 48.3 cm/15.0 x 19.0 ins SIGNATURE: Signed and dated '91 MEDIUM: Watercolour
  • Broadway

    by Charles Thomas Cox

    This work would have been painted circa 1890 & illustrates the left hand side of the road when travelling up the high street.  These cottages have been preserved & can still be visited . DIMENSIONS: (unframed) 15.50 ins x 19.50 ins SIGNATURE: Signed lower left MEDIUM: Oil on canvas
  • Bringing in the Hay

    by Henry John Kinnaird

    Kinnaird often painted harvest scenes (as with this lovely example) in and around Surrey and Sussex. DIMENSIONS: (unframed) 40.64 cms x 60.96 cms /16.00 ins x 24.00 ins SIGNATURE: Signed MEDIUM: Oil on canvas
  • This painting shows the photo-finish result of the St Leger race in 1848, held at Doncaster Racecourse. The composition of this work has a drama and intensity that is as true today of horse racing as it was in the mid-1800’s and is achieved by the strong, horizontal composition that sees the horses entering the picture plane from right to left in a ‘snap shot’ of action, with the frozen crowd emphasising this effect. The winning horse, Surplice is described as ‘the colt of his generation’, being a thoroughbred racehorse who won both St Leger in 1848 and The Derby Stakes. Painted towards the end of his life in 1848 this work represents his confidence as a painter and as an illustrator of sporting news stories. DIMENSIONS: (unframed) 16.0 x 20.0 in./ 40.6 x 50.8 cm SIGNATURE: Signed titled and dated (lower right) MEDIUM: Oil on canvas
  • ‘The Burning of the Spa, Scarborough’ by the Belgian artist Alphonse Neumans (1853 to 1893) depicts the razing to the ground of the Scarborough Spa when it was consumed by fire on September 8 1876. Scarborough Spa was officially opened in 1858 after the discovery of the health-giving waters on the coast, and drew vast numbers of visitors to the town. There is a note on the back of the painting that indicates that it was actually painted at the scene and so constitutes an important eye-witness account of the event that must have shaken the Victorian town to its core. DIMENSIONS: (unframed) 29.0 x 60.0 cm/11.4 x 23.6 ins SIGNATURE: Signed and dated 1876 lower left, inscribed by the artist to an old paper label verso MEDIUM: Oil on canvas
  • Place de la Republique

    by Eugène Galien Laloue

    Galien- Laloue was painting in an electrifying city, a city that was the artistic and cultural centre of the world, a city in which ladies of high fashion paraded about streets that were for the first time being freshly populated by omnibuses and cabs. The entertainment and nightlife of Paris was unequalled by any other city in the world and Galien-Laloue captured that moment. DIMENSIONS: (unframed) 7.0 x 12.0 in./17.8 x 30.5 cm SIGNATURE: Signed lower left MEDIUM: Gouache on paper
  • On the Promenade, Le Treport,1882

    by Gustave Le Senechal de Kerdreoret

    This painting depicts Le Tréport, a commune in the Seine-Maritime department in Normandy, France. DIMENSIONS: (unframed) 16.0 x 24.0 in./40.6 x 61.0 cm SIGNATURE: Inscribed and dated (lower left) MEDIUM: Oil on canvas
  • The New Baby

    by Giovanni Battista Torriglia

    Torriglia’s work is renowned for the superb depiction of interior scenes featuring Italian peasant families. He studied in Florence, where he developed his particular skill of capturing the vibrancy of everyday Italian life. The intricate detail and vivid personalities evident in his figures makes Torriglia stand out from other 19th Century genre painters.   The cosy effect of his interiors contrasts with the glimpses of outer life which we are afforded and his animals and children particularly are portrayed with affectionate knowledge. The figures have a superb feeling of realism and their natural and believable poses underline Torriglia’s firm placing in art history. DIMENSIONS: (unframed) 43.0 x 28.5 in./ 109.2 x 72.4 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • British Men-o-War Coastal Scene

    by John Thomas Serres

    Both son and pupil of the prolific maritime painter Dominic Serres (1722–1793), John T. Serres benefited from his father’s artistic connections and exhibited regularly at the Royal Academy between 1780 and 1825. His reputation for draughtsmanship was rewarded with the appointment of Master of Drawing at the Royal Naval College in Chelsea. Further recognition followed as he replaced his father as Marine Painter to the King, while in 1800 he became Marine Draughtsman to the Admiralty. John Thomas Serres was soon travelling by sea throughout the expanding empire, particularly in the Mediterranean, recording coastlines and documenting enemy positions. DIMENSIONS: (unframed) 10.0 x 14.0 inches/ 25.5 x 35.5 cm SIGNATURE: Signed lower right MEDIUM: Watercolour
  • 335-John-Wilson-Carmichael-Dutch-Shipping-on-the-Scheldt

    Dutch Shipping on the Scheldt, 1834.

    by James Wilson Carmichael

    DIMENSIONS: (unframed) 63.5 x 98.5 cms / 25 x 38.8 inches SIGNATURE: Signed lower left and dated 1834. MEDIUM: Oil on canvas
  • 5620-marco-grubacs-venice

    Venice

    by Marco Grubacs

    Marco Grubacs is known for his evocative portrayals of Venice. Grubacs’ consummate draughtsmanship, a skill that he developed very early in life, lends an air of architectural accuracy to his paintings. He was able to represent the city in all its moods, from romantic moonlight to bright sunshine. DIMENSIONS: (unframed) 10.5 x 5.5 ins SIGNATURE: Both signed lower left MEDIUM: Oil on board
  • 5637-gustave-Jacquet-the-french-coquette

    The French Coquette

    by Gustave Jean Jacquet

    Here Jacquet has used fine brush stokes to capture the muse's delicate features and translucent skin. He has added a splash of colour with her yellow dress, blue neck tie and flowers in her hair. He has skilfully captured this elegant ladies beauty. DIMENSIONS: (unframed) 15.6 x 12.4 in./39.5 x 31.4 cm SIGNATURE:Signed and artist stamp on stretcher verso MEDIUM: Oil on canvas
  • 5619-Constantini-the-green-hat

    The Green Hat

    by Virgilio Costantini

    Costantini began his artistic career in 1904 undertaking studies at the Academy of Fine Arts of Palermo under the guidance of the sculptor Mario Rutelli. There are numerous exhibitions in which he participated: in 1905 in Turin, in 1906 at the Universal Exposition in Florence and again in Florence in 1907 where he exhibited 'Fiore di Campo' and 'On the beach', shortly before moving to France. In 1908 he made his debut at the Paris Independent Living Show with two works and became a member of the French National Fine Arts Society. He returned to Italy in 1910 and participated in the IX Venice Biennale with 'Breton' and 'La cucitrice'. DIMENSIONS: (unframed) 127.0 x 78.7 cm/50.0 x 31.0 ins SIGNATURE:Signed 'V. Costantini' (lower left) MEDIUM: Oil on canvas  
  • Summer Storm Brewing

    by Sidney Richard Percy

    DIMENSIONS: (unframed) 15 x 24  in./38.1 x 61 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas Whether in spring, summer, autumn or winter, Percy’s sense of nature at times is unrivalled. He put his hand to landscapes, which are honest, free from exaggeration and soberly observed which more than amply satisfy the viewer.
  • Pair of European Landscapes

    by François Louis Thomas Francia

    DIMENSIONS: (unframed) 3.3 x 5.0 in./ 8.4 x 12.7 cm SIGNATURE: N/A MEDIUM: Watercolour  
  • Mischievous

    by Charles Sims

    DIMENSIONS: (unframed) 29.00 x 36.00 in./73.7 x 91.4 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas This beautiful painting sees Charles Sims demonstrating his incredible talent, depicting two young children frolicking on the beach. He was a highly regarded artist having won the Royal Academy Schools Silver Medal in 1893 and the Landseer Scholarship in 1895.
  • DIMENSIONS: (unframed) 24.0 x 36.0 inches (61.0 x 91.4 cms) SIGNATURE: Signed and dated lower centre MEDIUM: Oil on canvas
  • William Woodhouse Gone Away William Woodhouse Gone Away

    Gone Away

    by William Woodhouse

    DIMENSIONS: (unframed)18.00 x 24.00 in./45.7 x 61.0 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • Montague Dawson tea clipper
    DIMENSIONS: (unframed)19.0 x 20.0 in./48.3 x 50.8 cm SIGNATURE: Signed and dated lower right MEDIUM: Gouache on paper
  • The Meet

    by William Barraud

    DIMENSIONS: (unframed) 44.0 x 54.0 in./ 111.8 x 139.7 cm MEDIUM: Oil on canvas
  • DIMENSIONS: (unframed) 24.0 x 20.0 in./61.0 x 50.8 cm SIGNATURE: Signed lower left MEDIUM: Oil on canvas
  • Antoine Bouvard was a French landscape artist who notably often painted under the pseudonym Marc Aldine. Bouvard remains best known for his renderings of Venetian canal scenes, painted in warm tones and a hazy light that often accompanies the setting of the sun. He was notably influenced by the French painter Félix Ziem, who was also popular for his poetic depictions of maritime scenes and port cities. DIMENSIONS: (unframed) 52.07 cms x 64.77 cms /20.50 ins x 25.50 ins SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • Monmartre at Dusk

    by Luigi Loir

    DIMENSIONS: (unframed) 16.0 x 13.0 ins/ 40.6 x 33.0 cms SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • Laurenskertk, Rotterdam

    by Adrianus Eversen

    DIMENSIONS: (unframed) 9.0 x 7.0 ins/ 22.9 x 17.8 cms SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • 4603 Henry Stannard - Broadway Village Green - Framed WEB 4603 Henry Stannard - Broadway Village Green - Unframed

    Broadway Village Green

    by Henry John Sylvester Stannard

    DIMENSIONS: (unframed) 10.2 x 14.6 in/ 26.0 x 37.0 cm SIGNATURE: Signed lower left MEDIUM: Watercolour
  • 4602 - Henry Stannard - Lower Slaughter Post Office, Gloucestershire - Framed 4602 - Henry Stannard - Lower Slaughter Post Office, Gloucestershire - Unframed

    Lower Slaughter Post Office, Gloucestershire

    by Henry John Sylvester Stannard

    DIMENSIONS: (unframed) 10.2 x 14.6 in/26.0 x 37.0 cm SIGNATURE: Signed lower left MEDIUM: Watercolour
  • 4697 - James Abbott McNeill Whistler - Thames Warehouses 1859 - Framed WEB 4697 - James Abbott McNeill Whistler - Thames Warehouses 1859 - Unframed WEB

    Thames Warehouses, 1859

    by James Abbott McNeill Whistler

    DIMENSIONS: (unframed) 2.75 x 7.75 in/ 6.98 x 19.68 cm SIGNATURE: Signed and dated ‘Whistler.1859’ MEDIUM: Etching on wove paper In this wonderful etching, Whistler depicts a view of the river Thames showing the Hermitage Coal Wharf and other wharves in Wapping. On the left, the warehouses have signs which read “Fred Vink &Co / Rope & Sail Makers / Smith & Son / Hermitage Coal Wharf.”, hinting at the maritime industry. Down the shore on the right a warehouse sign reads “Hore’s Wharf.” This is a busy scene with several sailing ships and lighters. The Coal Wharf later became the Hermitage Steam Wharf, from where the London and Edinburgh Shipping Company ran regular services to Leith.
  • DIMENSIONS: (unframed) 15.75 x 19.75 in./40.0 x 50.17 cm SIGNATURE: Signed lower left MEDIUM: Oil on artist-board
  • Still Life fruit on a shelf

    by Giovanni Estienne

    DIMENSIONS: (unframed) 23.0 x 24.5 in./ 58.42 x 62. 23 cm SIGNATURE: Signed and dated on shelf MEDIUM: Oil on canvas
  • Evening Glow, Granville

    by Eugène Galien Laloue

    DIMENSIONS: (unframed) 13.50 x 16.00 ins (34.29 x 40.64 cms) SIGNATURE: Signed MEDIUM: Oil on canvas Galien-Laloue is known and widely collected as a School of Paris or Belle Epoque painter. Most people are familiar with his Parisian street scenes that are similar to those by Luigi Loir and Edouard Cortes. They are often works on paper done with watercolor and gouache, though he is known to have worked in a multitude of media including pen, pencil and ink, and oil. These street scenes have become highly collected and desired as they were even during his lifetime. Born in Paris in 1854, Galien-Laloue studied under Charles Laloue. Galien-Laloue made his debut at the Salon des Artistes Francais in 1877, and continued throughout his years to show his works there with great success. In recent years, his work has enjoyed an international resurgence in popularity. Yet Galien-Laloue had another side. As he was under contract to particular galleries and not allowed to show with others, he often painted under aliases. This allowed him to paint something other than the commercially salable street scenes and to have artistic freedom. An alias gave him the ability to sell his more serious works and to make sales outside his dealer's gallery. Thus, Galien-Laloue signed many oils with names such as Galiani and Lieven. Galien-Laloue was prolific and painted in many different styles throughout his career. He was a versatile painter and it should be noted that this was partially because he was such a superb and facile draftsman. Galien- Laloue was painting in an electrifying city, a city that was the artistic and cultural center of the world, a city in which ladies of high fashion paraded about streets that were for the first time being freshly populated by omnibuses and cabs. The entertainment and nightlife of Paris was unequalled by any other city in the world and Galien-Laloue captured that moment.
  • A Tory Victory

    by Antoine Drury

    DIMENSIONS: (unframed)18.5 x 32.75 in./46.99 x 83.19 cm SIGNATURE: Signed and dated 1874 MEDIUM: Oil on board
  • La lettre

    by Delphin Enjolras

    DIMENSIONS: (unframed) 27.56 x 20.08 in./ 70.0 x 51.0 cm SIGNATURE: Signed lower right MEDIUM: Pastel
  • Girl Sewing with a Pink Apron

    by Charles Spencelayh

    DIMENSIONS: (unframed) 30.00 x 19.75 in./ 76.20 x 50.16 cm SIGNATURE: Signed lower right MEDIUM: Oil on canvas
  • A Pinch of Snuff

    by Charles Spencelayh

    DIMENSIONS: (unframed) 16.50 x 13.50 in./41.91 x 34.29 cm SIGNATURE: Signed lower right MEDIUM: Watercolour
  • Late Autumn on the Esk

    by John Atkinson Grimshaw

    DIMENSIONS: (unframed) 31 .25 x 46.5 inches (79.38 x 118.11 cm) SIGNATURE: Signed lower right MEDIUM: Oil on canvas This is a lovely, early Atkinson Grimshaw from the period in his career when Romanticism was meeting pre-Raphaelitism. Although JMW Turner and John William Inchbold’s work of this period had some influence over Grimshaw’s painting, Grimshaw himself was regarded by his contemporaries as a ground breaking artist in his own right. This is reflected in Whistler’s famous comment: “I thought I had invented the Nocturne until I saw Grimmy’s moonlights” (The Times Literary Supplement (London, England), Friday, June 09, 1989; pg. 640; Issue 4497) The painting shows the degree to which Atkinson Grimshaw’s communication of light and shade was central to his aim of depicting the sublime. The sheer enormity of the landscape and the sky have the effect of dwarfing the figure: a deliberate technique by the artist to remind the viewer that humanity only exists by the grace and favour of nature. The figure walks away from the viewer into the distance, to suggest an unknown beyond reach of all of us. It may be that Grimshaw is better known, nowadays, for his paintings of moonlit docks and of artificial light emanating from shops and houses in smoggy British industrialised towns. However, without the body of work from which ‘Late Autumn on the Esk’ was created, Grimshaw would not have been able to hone his skills and achieve such a sophisticated understanding as to how to evoke half-light and atmosphere in his compositions. This daytime piece would have been very contemporary for the period and appealing to the cultured upper classes of the time. This is somewhat ironic: the majority of Atkinson Grimshaw’s patrons had come into great wealth as a result of the industrial revolution. Yet, they chose to invest that wealth on images such as this, which seek to prove that industry is meaningless in the face of the power of nature. The palette of autumnal oranges and blue sky complement each other and were appreciated by artists of the Romantic movement. They evoke harmony in the mind of the viewer and, when combined with Grimshaw’s attention to detail, composition creates a quiet but stirring piece of work.
  • DIMENSIONS: (unframed) 36.00 x 28.00 ins 91.44 x 71.12 cms SIGNATURE: Signed and dated 1874 MEDIUM: Oil on canvas Along with his brother Henry, Walter created many detailed and naturalistic street, river, and cityscapes of England. They studied life drawing with M. Barthe at Limerston Street in Chelsea where they met James Abbott McNeill Whistler (1834-1903) in 1863. Walter was captivated by Whistler’s artistic style and way of life. The Greaves brothers developed a friendship with Whistler and served as his assistants and pupils. Walter Greaves recalled, “We used to get ready his colours and canvasses, prepare the grey distemper ground which he so liked working upon, and painted the mackerel-back pattern on the frames.” [woocommerce_currency_converter currency_codes="GBP, USD, EUR"]
  • Figures in a Park

    by Luigi Loir

    DIMENSIONS: (unframed) 13 inches x 18 inches / 33.02 x 45.72 cm MEDIUM: Oil on canvas Reference: 1170 [woocommerce_currency_converter currency_codes="GBP, USD, EUR"]
  • Perplexed

    by Charles Spencelayh

    DIMENSIONS: (unframed) 27.00 x 42.00 ins 68.58 x 106.68 cms SIGNATURE: Signed MEDIUM: Oil on canvas