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.

  • This painting depicts a scenic view of Llyn-y-Gwynant a lake in Snowdonia, North Wales. Mellor skilfully depicts this corner of the Nant Gwynant valley with the sunlight shining onto the luminous and reflective lake from behind the edge of the land, inviting the viewer into the tranquil setting. DIMENSIONS: (unframed) 28.0 x 36.0 ins/ 71.1 x 91.4 cm SIGNATURE: Signed 'William Mellor' (lower right) MEDIUM: Oil on canvas
  • Southwold Harbour

    by Edwin Hayes

    Hayes painted a large number of marine seascapes and landscapes , as well as ships and boats of all types. Locations for his plein-air-painting included the shores and harbours of the English coast, as well as the coasts of France, Spain and Italy. His vast knowledge of and 'eye for' the sea allowed him to capture all aspects of marine activity and scenery, and he is considered one of the outstanding exponents of marine visual art in Ireland. DIMENSIONS: (unframed) 7.0 x 11.5 ins/ 17.8 x 29.2 cm SIGNATURE: Signed ‘Edwin Hayes’ (lower right) MEDIUM: Oil on board
  • The Old Barn, 1896

    by Sir George Clausen

    Barn and stable interiors appear in Clausen’s sketchbooks as early as 1884, but it was not until 1897 that the first in a long series of such subjects was exhibited at the Royal Academy. This painting, The Old Barn, contrasts a farmer leaning on a stick in the middle distance with a man working in the background. DIMENSIONS: (unframed) 42.3 x 34.0 ins/ 107.5 x 86.4 cm SIGNATURE: Signed 'G Clausen' and dated (lower right); signed and dated 'G. CLAUSEN.1897' (lower left) MEDIUM: Oil on canvas
  • With darkness falling, this painting depicts the moonlit Knostrop Cut in Leeds that was a flood defence. This highly atmospheric harbour scene is characteristic of Grimshaw during his artistic peak, with his moonlit urban scenes being so evocative of Victorian life of the late nineteenth century. DIMENSIONS: (unframed) 120.3 x 30.5 cm/ 8.0 x 12.0 ins SIGNATURE: Signed ‘J Atkinson Grimshaw’ and dated (lower right); Signed, dated and titled (verso) MEDIUM:Oil on canvas
  • DIMENSIONS: (unframed) 50.0 x 50.0 cm (Oval)19.7 x 19.7 ins SIGNATURE: Signed 'Eva Koos' (lower left) MEDIUM: Oil on canvas
  • Bridge of Sighs

    by Gaston la Touche

    The Bridge of Sighs is one of the most known bridges in the world, however it can it only be seen be seen from two places: Canonica Bridge and Ponte della Paglia. It connects the New Prison to the Doge’s Palace and the view from the bridge was the very last view that convicts would have seen before their imprisonment, being allowed one final glimpse of Venice’s beauty. DIMENSIONS: 10.5 x 15.3 inches (26.7 x 38.7 cm) SIGNATURE: Signed ‘Gaston La Touche' and annotated 'Venezia’ (lower left) MEDIUM: Oil on panel
  • The Parade

    by Fausto Giusto

    Giusto's work has been something of a mystery, with a wealth of incredible art in his name but with a very slim biography to accompany it - in recent years, connections have been made between signed works of Giusto and its distinct likeness to the style of Eugene Galien-Laloue. Galien-Laloue's work underwent extensive research by Noe Willer, who published a book documenting many of his pseudonyms and works. In cataloguing a work offered at auction, Sotheby's noted "F. Giusto" as being an identified pseudonym for Eugene Galien-Laloue. DIMENSIONS: (unframed) 26.8 x 42.5 ins/ 68.0 x 108.0 cm SIGNED: Signed ‘F. Giusto’ (lower right) MEDIUM: Oil on canvas
  • Street Scene, Amsterdam

    by Johannes Franciscus Spohler

    This beautiful painting portrays the vibrant city of Amsterdam, respledent in the sunlight. Spohler has depicted the bricks of the building and paving on the ground to minute detail while ordinary citizens are seen going about their day. DIMENSIONS: 17.5 x 14.0 ins/ 44.5 x 35.6 cm SIGNED: Signed ‘J. F. Spohler’ (lower left) MEDIUM: Oil on canvas
  • Returning Home

    by Adrianus Eversen

    This charming painting depicts a street in Holland, by the leading Dutch townscape painter of the time, Adrianus Eversen. Peasants mingle in the street, and are depicted very much as part of the landscape, rather than being the subject of it. The artist has also chosen a distinctly unusual and modern composition for this work. DIMENSIONS: (unframed) 8.75 x 11.25 ins/ 22.2 x 28.5 cm SIGNATURE: Signed 'A. Eversen' (lower left) MEDIUM: Oil on panel
  • Portrait of the Artist’s Wife, 1873

    by Ellen Stevens Bromley Phillips

    This beautiful portrait depicts a lady of American society resplendent in her finery. Using a very thin layer of paint, the artist has artfully captured the sheen of her green silk dress and the delicate lace at her throat and wrists. DIMENSIONS: (unframed) 40.0 x 34.5 ins/ 101.6 x 87.6 cm SIGNATURE: Signed ‘Phillips’ and dated (lower right) MEDIUM: Oil on canvas    
  • This beautiful portrait depicts Frances Thynne, daughter of Viscount Weymouth and wife of Sir Robert Worsley, 4th Baronet. The couple married in 1690 and resided at Apuldurcombe on the Isle of Wight. DIMENSIONS: (unframed) 49.0 x 40.0 in./ 124.5 x 101.6 cm SIGNATURE: Titled (lower left) and labelled from Scott and Fowles and Co, NY (verso) MEDIUM: Oil on canvas
  • Hermann Armin von Kern (14 March 1838 – 18 January 1912) was an academic painter, one of the most popular Austrian genre painters of his time and a court painter at the court of Franz Josef I in Vienna. Dimensions: (unframed)48.0 x 32.0 cm (18.9 x 12.6 ins) Signature: Signed (lower centre0 Medium: Oil on panel
  • As a marine artist, Cooke worked under the painter Clarkson Stanfield making drawings of nautical details and studied onboard the West Indiaman Thetis and HMS Agamemnon.  In 1833 Cooke began painting in oils. He took formal lessons from James Stark in 1834. He emulated nature and the works of Richard Parkes Bonington and began exhibiting at the Royal Academy and the British Institution from 1835. He was elected an Associate of the Royal Academy in 1851 and was made a Royal Academician in 1863. Dimensions: (unframed)9.50 x 13.5 ins / 24.13 x 34.29 cms (each) Signature: Each signed and dated 1848, both with artist’s seal verso Medium: Oil on board
  • This beautiful work transports the beholder to a fantastical winter landscape, showing figures interacting with the coldness each in their own way. Some are fishing, others are gathering wood, riding a sleigh or leading a wagon through the snow. The church in the background fits perfectly in the serene atmosphere. DIMENSIONS: (unframed) 27.8 x 39.8 in. / 70.6 x 101.1 cm SIGNATURE: Signed (lower left) MEDIUM: Oil on canvas
  • 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.
  • 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
  • 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    
  • 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  
  • 5654-antonietta-bradeis-A view of Posillipo, Naples

    A view of Posillipo, Naples

    by Antonietta Brandeis

    'Antonietta Brandeis lived in Venice for many years. She devoted herself mostly to landscapes of the city and its surrounding countryside. DIMENSIONS: (unframed) 6.9 x 9.4 in./17.5 x 24.0 cm SIGNATURE: Signed 'ABrandeis' (lower right); inscribed (verso) MEDIUM: Oil on board
  • 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.
  • 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
  • This painting seems to be classically rendered with small, overlayed brushstrokes of oil to create luminosity and depth in colour. However, the composition is far more Modern in style, with key attributes of the Japanese woodblock prints that were absolutely in vogue for Impressionist artists at the time. Prominent features of these styles are represented by the raised horizon lines, which contrast with the linearity of the manmade. In this instance, the boat masts and the mosque counteract the undulating lines of nature in the form of the sea and hills beyond. These are exactly the same techniques as were used by Monet in the previous year, 1888, with paintings such as Antibes, Afternoon Effect (Museum of Fine Arts, Boston – below). DIMENSIONS: (unframed) 23.5 x 43.5 ins / 59.7 x 110.5 cm SIGNATURE: Signed 'Paul H. Ellis' (lower left); dated (nameplate to frame) and titled and signed (verso) 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