Haynes Fine Art of Broadway

Transcription

Dealers to Private Collectors • Trade and Interior Designers
Haynes Fine Art of Broadway
View our new innovative website
HAYNES FINE ART OF BROADWAY
Est. 1971
About Us
Gallery
News
Services
Events
Find Us
Contact Us
A selection from our gallery . . .
Haynes Fine Art..
Haynes Fine Art
www.haynesfineart.com
Home
International Dealers of Fine Arts
from around the World
Featured Work
.. are the largest international dealers of quality
16th to 21st Century paintings outside of London.
This website displays a selection of our paintings
and brings you all the latest news from Haynes
Fine Art.
All of the paintings on this site have been recently
updated with images from our new catalogue.
If you wish to view other paintings from our
collection, or if you have any other enquiries,
contact us on-line.
Each year, Haynes Fine Arts exhibits Fine Art all
over the world. As close to home as London and as
far as New York. Please view of our forthcoming
schedule.
Alternatively, visit our gallery in the picturesque
village of Broadway in the heart of the Cotswolds,
England.
Further Information
At the Close of Day by Joseph Farquharson
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Subscribe to our mailing list or order a copy of our
printed brochure, we will inform you of new
acquisitions and upcoming events.
Further Information
Joseph Farquharson is best known for his paintings
of winter landscapes, usually snowy scenes
featuring sheep and with poetic sounding titles.
Many of the snow...
Further Information
Over 700 world class paintings available to view at anytime
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Haynes Fine Art and Picton House
The history of Picton House’s present owners, Haynes Fine Art, is naturally less antiquated than the house itself. Established in
1971, Haynes Fine Art, a family run business, quickly became the largest dealers outside London. With up to twenty four million
pounds worth of stock we are able to offer the serious collector and trade buyer a vast selection of works by important artists.
The gallery has built up a strong reputation for selecting major pieces by British artists, such as: John Atkinson Grimshaw; Arthur
John Elsley; Joseph Farquharson; Heywood Hardy; David Shepherd; Sidney Richard Percy; and Alfred de Breanski Snr, to name but
a few. More over, Continental names such as: Frederick Marius Kruseman; Frederico Andreotti; Alexej Harlamoff and Francois
Brunery are extremely well represented.
The Haynes Family has always strived to offer not only a wide selection of world class images but also to show a wide range of
price to suit most pockets. With prices starting from £1,800 and up to £500,000 there is a wonderful range of subjects to choose
from with all categories covered in depth, and beautifully displayed throughout the twelve stunning showrooms Picton House
offers. Also displayed is an extensive range of quality period hand carved marbles, fine furniture with tables, chairs, davenports and
desks etc, shown in potential room settings.
With the assurance of our long standing reputation within the International Fine Art Market and our close links with the two leading
trade associations, the BADA and LAPADA, you can buy with complete confidence.
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Our Specialists
Tony Haynes
Mark Shaw
Mark Lambert
For 35 years we have actively searched for paintings worldwide for trade and private clients alike. Our vast knowledge of British and
European Art has amounted from our experience within our specialist fields.
Tony Haynes Senior has world renowned knowledge of European Old Masters amassed over the full 35 years. He has not only
accumulated a fabulous catalogue of paintings for the Haynes Family Collection, but for both private and trade clients too.
His namesake and eldest son, Tony, has specialised in 19th and 20th Century British and European Art with the perfect grounding within
the family business. Tony opened the family’s first gallery back in 1988 and the rest as they say is history.
This successful string to the Haynes Family bow has now gained International recognition and the Gallery now has trade and private clients
calling upon Tony’s 20 plus years experience in retail, trade and auction acquisitions.
Mark Shaw joined the team in 1993, a perfect compliment and accepted member of the Haynes Family. With his unique attributes he has
proven the only member of the Haynes team to date to be worthy of a Partnership offer. His valuable contributions and vast network of
contacts both in the UK and overseas has helped to shape one of the worlds most respected Fine Art Gallery brands.
Mark Lambert joined Haynes Fine Art in 1999. Having the sound foundation of achieving a BA (Hons) in Fine Art he wanted to make a
career in this field and naturally set his targets high by approaching one of Britain’s largest Fine Art Dealers.
Mark has worked closely alongside Tony Haynes in the gallery for three years. With his depth of Art History knowledge and a rare and
valuable eye for fine art, he now enjoys the entrusted position of gallery manager. Mark now has an enviable client base that turn to him
year after year for advice on both purchase and restoration/framing requirements. He remains an essential core member of the Haynes
Fine Art Team.
The Three Haynes Fine Art Partners have between them over 70 years experience and with that have gained acclaim from the two leading
British Trade Associations – the BADA and LAPADA.
Conservation and Restoration
Consultancy is an important aspect of our work;
prospective clients often need to know exactly what is
possible and the best way to achieve it. On many
occasions extensive testing and preparatory work must
be undertaken. Our expert team is able to draw upon the
expertise of several specialist authorities, including
Catherine Hassall of University College London, Dr. Phil
Shaw of Middlesex University and the Courtauld Institute
of Great Britain.
The studio which will handle your restoration
requirements is equipped with the largest vacuum
operated hot table in private hands in Europe; thus
ensuring that lining and indeed all aspects of the
conservation process are undertaken ‘in house’ and
never sub-contracted. Maintaining total control of all
phases of the restoration process, from receiving the
painting at our Broadway Gallery, to completion and
eventual return to its owner.
A team of internationally trained staff ensure that only
the highest possible standards are achieved in order to
meet the demands of a discerning client base. These
include galleries and collectors in Great Britain, the USA,
Australia, Germany, Holland, Greece and the Middle
East. In addition, Haynes Fine Art has been at
the forefront of painting conservation and
restoration for more than twenty-five years of
the collections within many of England’s
famous country houses.
Some three thousand square feet of studio
are dedicated to the preservation,
conservation and restoration of many of the
world’s greatest works of art dating from the
16th century to the present day. These have
included works by Lucas Cranach, Cuyp,
Holbien, Van Dyke, Reynolds, Gainsborough,
Joseph Wright of Derby, Etty, Pissarro, Seurat,
Van Gogh, Picasso, Ernst and Francis Bacon
- each and every painting being treated with
the care, devotion and respect they so clearly
deserve.
For further details please contact Mr. Mark
Lambert [email protected]
or Mr. Tony Haynes tonyhaynes@
haynesfineart.com and we will happily advise
on your requirements.
Fine Antique Furniture
Haynes Fine Art of Broadway is pleased to announce a joint venture with
Chevertons Antiques and believes it creates substantial scope for both
companies. This partnership shall benefit from Chevertons 50 years of
experience and will have the added kudos of their similar grounding as a
company to that of Haynes Fine Art, being a well established family
business which has evolved from a trade-only business into its current
format – again adding to an environment for dealers, decorators and private
collectors from all over the world to come and buy.
Tony Haynes says “Angus has been a long standing friend and when it came
down to furnishing our Broadway showrooms with fine antiques it was a
logical move to invite a trusted partner who has similar pedigree and
respect from the international trade. We have steadily sold antiques through
our showrooms over the past few years but not in any notable numbers.
With Chevertons similar depth and quality of stock to ours we now have not
only beautiful room settings within Picton House but also the complete
service to furnish our clients homes”
“Twelve extensive showroom of English and Continental antique
furniture, catering to the trade, decorators and collectors”
We believe it also provides an important validation of the Haynes Fine Art
strategy of being a first mover in discovering the unlimited benefits of
working closely with respected dealers from other disciplines of equal
standing within the world of Fine Art and Antiques. Admittedly there are
few premises which can cater for such a large stock of both paintings and
antiques and now the showrooms are in the first stages of being stocked
with furniture the staff and visitors to Picton House all comment how the
paintings and antiques complement one and other. To date we have
achieved outstanding sales within the antiques world and this partnership
we believe will benefit from Chevertons unrivalled expertise and will provide
us with an opportunity to see even better results in the months and years
ahead. There has been substantial trade interest in who our chosen trade
partner would be in the past few months and our choice of Chevertons was
based upon their high reputation within the two leading trade organizations
LAPADA and the prestigious BADA, and more importantly the long trusted
relationship between our two families. We look forward to working with
Chevertons on this significant venture and value the opportunity to work
with them on this project.
“No matter how contemporary an interior, it’s nothing without
an antique”
The constantly changing and varied stock ranges from the best 18th and
19th Century English and French furniture all the way through to more
affordable 20th Century decorative pieces, making the stock available to all
tastes and budgets.
Whether you are seeking Queen Anne, Georgian, Regency, Victorian,
Edwardian, Louis XV, Louis XVI, Regency, or Empire furniture, there will
surely be something for your needs at our Broadway Galleries.
INDEX
Artist
Catalogue
Artist
Number
Catalogue
Number
H. Allingham
W. Barker
F. M. Bennett
H J. Boddington
A. de Bréanski Snr.
F. del Campo
J. W. Carmichael
H. Clayton
G. Cole
B. E. Fichel
P. E. Frère V. T. Garland
A. A. Glendening Jnr.
A. A. Glendening Snr.
L. H. Grimshaw
J. A. Grimshaw
A. Hacker
H. Hardy
E. Hunt
W. Hunt
L. B. Hurt
G. J. Jacquet
49, 52
38
24, 25
17
10, 11, 12
2
4
43
20
22
47
37
54
18, 19
1
8, 9
44
34
30
32
13
41
40
45
28, 29
26
16
23
50
14, 15
46
42
5
39
27
51, 53
33
6
31
7
35, 36
21
48
3
G. de Jonghe
S. Kendrick
H.A. Kern
H.A. Laissement
B.W. Leader
J.A. Lomax
E. Martineau
W. Mellor
S. Novo
A.E. Piot
H. Redmore
V. Reggianini
P. Saltini
C.A. Smith
A. Thorburn
W. Thornbery
W.H.H. Trood
J. Webb
W. Weekes
G.A. Williams
R.W. Wright
F. Zanin
PICTON HOUSE GALLERIES
Britain’s Largest Provincial Dealer in Quality 16th-21st Century Paintings
42 High Street, Broadway, Worcestershire, WR12 7DT l Opening Times Monday to Saturday 9am-5.30pm
Sunday and evening appointments are welcomed by prior arrangement.
Tel: +44 (0) 1386 852 649 l Fax: + 44 (0) 1386 858 187
[email protected] l www.haynesfineart.com
Fairs & Mobiles
Tony Haynes: 07831 893 465 l Mark Shaw: 07710 108 891 l Mark Lambert: 07796 956 661
Partners: Mr. A. C. Haynes, Mr. A. G. Haynes, Mrs. V. J. Haynes
Mrs. J. Haynes Mr. V. D. Haynes, Miss A. Haynes, Mr. M. A. Shaw, Mr. M. J. C. Lambert
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LOUIS H. GRIMSHAW
British 1870-1943
The Royal Mile, Edinburgh
Oil on canvas, signed and dated 1895
Canvas size: 18 x 27 inches
Framed size: 27 x 36 inches
Ref. 11185
Price Code G
Louis H. Grimshaw was the son of John Atkinson Grimshaw, who was heavily influenced by the works of his father. It is popularly believed that he
collaborated with his father on many pictures with John painting the sky and backgrounds and Louis painting the figures.
Louis developed his own distinctive style and approach to subject matter. He became a consummate painter of twilight and night time scenes. Louis
spent a lot of his time in the north painting many views of Leeds, Liverpool, Sunderland, Newcastle and Edinburgh.
Louis also painted nocturnal harbour and dockside pictures. He spent a large period of his later life in London where he painted some of London’s most
atmospheric townscapes. Indeed in 1902 he was given the enviable task of painting a series of views of London, as it was decorated for the Coronation
of King Edward VII.
In 1905 Louis gave up painting for good and became a cartographer for the Manchester Guardian. His work is consequently rare. Louis was
commissioned by a dealer called Jackson to paint a number of London views.
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FREDERICO DEL CAMPO
Peruvian 1837-1923
The Doge’s Palace and Santa Maria della
Salute from the Grand Canal, Venice
Canvas size: 19 x 28½ inches
Framed size: 29 x 38½ inches
Ref. 11005
Price Code G
Frederico del Campo was one of the finest painters of Venetian views in the latter half of the 19th Century, who was born in Lima, Peru. Early in his career
he painted many South American scenes, one of which was titled ‘Rio de san Barnaba’.
Del Campo travelled extensively throughout Europe studying in Paris, Italy and Spain at the Madrid School of Lorenzo Valles, where he studied under the
Venetian artist Grobherzogl with whom he specialised in painting Venetian scenes
He exhibited at the Paris Salon from 1880 and also in Madrid where he exhibited a painting titled ‘Vue de Venise’. One of Del Campo’s paintings ‘Marina
Grande von Capri’ was featured in the Olgemalde series of books on Venetian artists.
Whether it be his extensive views of the Grand Canal or an intimate view of a side canal in Venice, a street scene in Naples or a beach scene in Capri, del
Campo would bring a high degree of technical mastery to the scene. Over and above his competitors, del Campo was a particularly fine figure painter.
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3.
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FRANCESCO ZANIN
Italian 19th Century
The Grand Canal, Venice
Framed size: 22½ x 31 inches
Ref. 10774
Price Code G
Francesco Zanin was a painter of Venetian scenes and a faithful follower in the tradition of the great Giovanni Antonio Canal called Canaletto.
Zanin was painting dramatic and picturesque views of Venice, marked by strong contrasts of light and shade and free handling. Meanwhile, partly under
the influence of Canaletto, Zanin began to produce views which were more topographically accurate, set in a higher key, and with smoother, more
precise handling, characteristics that mark most of his later work. This phase of his work culminated in this splendid work titled The Grand Canal, Venice.
At the same time he began painting the ceremonial and festival subjects which ultimately formed an important part of his work.
His patrons were chiefly European collectors, for whom he was believed to have produced a series of views in uniform size. It is popularly believed that
he also made a remarkable series of drawings in pen, and pen and wash, as both preparation for paintings and independent works of art. This led to
changes in his style of painting, increasing an already well-established tendency to become stylized and mechanical in handling. Experts in Venetian art
observe the probable use of the camera obscura as an aid to composition.
His depictions of the splendour of the grand Venetian palazzos are always drawn with breathtaking precision and faultless perspective drawing and he
manages to achieve something of the light atmosphere and mystique for which the master is so highly prized.
Zanin’s work appears frequently on the international market and is always keenly contested in both Europe and America.
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JOHN WILSON CARMICHAEL
British 1800-1868
Shipping off Tynemouth
Oil on canvas, monogrammed and dated 1848
Framed size: 22½ x 29½ inches
Ref. 10921
Price Code F
John Wilson Carmichael was a painter of marine and landscape subjects in both oil and watercolours, who was born in Newcastle and later moved to
London until he retired and moved to Scarborough.
He exhibited at the Royal Academy between 1835 and 1859. He also exhibited at the British Institution and Suffolk Street but he mainly exhibited at the
Northern Academy of Arts in Blackett Street, Newcastle which was next door to his studio. The centenary exhibition of Carmichael’s work at the Laing Art
Gallery, Newcastle in 1968 was the most comprehensive devoted to him. The catalogue contains a detailed account of his career.
Carmichael travelled in Holland, Italy and also in the Baltic. He recorded the Crimean War for the Illustrated London News, he coloured the figures and
buildings in many of John Dobson’s architectural drawings.
Works by Carmichael can be found at the Greenwich, Newcastle, Gateshead and Sunderland Art Galleries.
His studio sale was held at Christie’s in November 1870.
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5.
HENRY REDMORE
British 1820-1887
Choppy Waters
A pair, oil on canvas, signed and dated 1886
Canvas size: 14 x 21½ inches each
Framed size: 19 x 26 inches each
Ref. 10820
Price Code F (for the pair)
Henry Redmore is recognised as one of Britain’s finest marine painters. His earliest works
show the influence of the Scottish marine painter, William Anderson who resided in Hull for
some time. John Ward, another great marine painter from Hull, may well have worked with
Redmore.
Many of Redmore’s works depict shipping in the Humber estuary, off the Yorkshire coast and
in the harbours of Whitby and Scarborough. He also visited the South West Coast of
England, and pictures are recorded by him of Torbay and ports on the Devon and Cornish
coast. It is probable that he travelled to Holland and Germany, with Hull playing an important
role in trade between Britain and the continent during the 19th Century.
The serenity, stillness, sense of colour and above all the high standard of draughtsmanship
account for the popularity of his paintings. The attention Redmore paid to detail shows that
he was a careful delineator of shipping and it’s activity and helps to create the unique
atmosphere in his work appreciated by ‘Sea going folk’ and admirers of marine paintings
alike.
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5.
HENRY REDMORE
British 1820-1887
Choppy Waters
A pair, oil on canvas, signed and dated 1886
Canvas size: 14 x 21½ inches each
Framed size: 19 x 26 inches each
Ref. 10820
Price Code F (for the pair)
Henry Redmore is recognised as one of Britain’s finest marine painters. His earliest
works show the influence of the Scottish marine painter, William Anderson who resided
in Hull for some time. John Ward, another great marine painter from Hull, may well
have worked with Redmore.
Many of Redmore’s works depict shipping in the Humber estuary, off the Yorkshire coast
and in the harbours of Whitby and Scarborough. He also visited the South West Coast
of England, and pictures are recorded by him of Torbay and ports on the Devon and
Cornish coast. It is probable that he travelled to Holland and Germany, with Hull playing
an important role in trade between Britain and the continent during the 19th Century.
The serenity, stillness, sense of colour and above all the high standard of
draughtsmanship account for the popularity of his paintings. The attention Redmore paid
to detail shows that he was a careful delineator of shipping and it’s activity and helps to
create the unique atmosphere in his work appreciated by ‘Sea going folk’ and admirers
of marine paintings alike.
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6.
6
WILLIAM THORNBERY
British fl. 1858-1898
Old Hulk and Cruiser
Off the Sussex Coast
A pair, oil on panel, signed, inscribed verso
Panel size: 12 x 8 inches each
Framed size: 15 x 16¾ inches each
Ref. 11057
Price Code C
It is generally thought that William Thornbery is the same artist as William
Thornley. He was a painter of coastal scenes whose work is very similar
to Hubert and Charles Thornley who may have been members of the
same family and popularly believed to be the same artist. An artist for a
number of reasons often used pseudonyms; unfortunately
Thornley/Thornbery left us very few clues as to his reasons.
His works are beautifully detailed and show a masterful understanding of
the moods of both weather and sea. They are often small in size and put
together with fine detail and great artistic merit. His fishing scenes are
spirited and similar in style to those of “Jock” Wilson, and are often
painted in pairs. These works have always been popular when they
appear on the art market.
He was believed to have first exhibited marines at the Royal Academy in
1859 from an address in Paddington, London and also at the British
Institution from 1861 until it closed in 1867. He continued to exhibit at
the Royal Academy until 1898.
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7.
JAMES WEBB
British 1825-1895
Beached Fishing Boats at Dusk
James Webb was a painter of marine and landscape subjects. He exhibited at the Royal
Academy between 1853 and 1888 as well as at the British Institution, Suffolk Street, the New
Watercolour Society, Grosvenor Gallery and various other venues.
Oil on canvas, signed and dated ’60
Webb painted coastal scenes in England, Wales, Holland and France and views on the Rhine
in a robust, naturalistic style, using a range of pale colours, perhaps influenced by Turner.
Framed size: 22¼ x 34¼ inches
Ref. 11108
His works can be found in the Tate Gallery, Victoria and Albert Museum and most of the
provincial art galleries. Sales of his remaining works and his own collection were held at
Christie’s on 03 March, 13 June and 13 July 1868.
Price Code C
Many other members of the Webb family were also painters.
8.
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JOHN ATKINSON GRIMSHAW
British 1836-1893
Moonlight on the Lake, Roundhay Park, Leeds
Oil on canvas, signed
Ref. 11209
Price Code G
John Atkinson Grimshaw was a Leeds painter of landscapes, town views and dockyards, especially at sunset or by moonlight. His most frequent subjects
were towns and dockyards in London, Liverpool, Leeds, Glasgow, Scarborough and Whitby.
The subject matter of Grimshaw’s paintings was innovative. Night scenes, lit by moonlight, reflected on wet cobbled streets where horse-drawn traffic
moved, wraithlike through the mists; dockyard scenes with the spiky outlines of the ships’ masts rearing up against a darkening sky, hansom cabs and
people scurrying through rain swept streets lit by a golden flow from the shop windows; rural lanes flanked by sad, leafless trees – it was from such
unlikely subjects as these that Grimshaw extracted his unique form of poetry.
The son of an ex-policeman, Grimshaw began painting whilst he was working as a clerk for the Great Northern Railway and encountered great opposition
from his parents. He painted mostly for private patrons and by 1870 he was successful enough to rent Knostrop Old Hall where many of his paintings
now hang.
Grimshaw’s landscapes are permeated with photographic vision, with their mists, the stencilling of branches or masts against a moonlit sky, the
reflections of light on water and dark, smudgy figures that seem like shapes that have moved on a time-exposed photograph. He managed to sustain a
deeply poetic imagination until the end of his life. His scenes of urban and rural lanes, and the nocturnal views of Greenock and Liverpool, are a powerfully
evocative Victorian extension of the “moonlight Pether” tradition.
The artist exhibited at the Royal Academy between 1874 and 1886 and also at the Grosvenor Gallery.
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JOHN ATKINSON GRIMSHAW
British 1836-1893
The Haunt of the Heron
Canvas size: 32½ x 48 inches
Framed size: 37¼ x 53 inches
Ref. 11210
Price Code G
John Atkinson Grimshaw was a Leeds painter of landscapes, town views and dockyards, especially at sunset or by moonlight. His most frequent subjects
were towns and dockyards in London, Liverpool, Leeds, Glasgow, Scarborough and Whitby.
The subject matter of Grimshaw’s paintings was innovative. Night scenes, lit by moonlight, reflected on wet cobbled streets where horse-drawn traffic
moved, wraithlike through the mists; dockyard scenes with the spiky outlines of the ships’ masts rearing up against a darkening sky, hansom cabs and
people scurrying through rain swept streets lit by a golden flow from the shop windows; rural lanes flanked by sad, leafless trees – it was from such
unlikely subjects as these that Grimshaw extracted his unique form of poetry.
The son of an ex-policeman, Grimshaw began painting whilst he was working as a clerk for the Great Northern Railway and encountered great opposition
from his parents. He painted mostly for private patrons and by 1870 he was successful enough to rent Knostrop Old Hall where many of his paintings
now hang.
Grimshaw’s landscapes are permeated with photographic vision, with their mists, the stencilling of branches or masts against a moonlit sky, the
reflections of light on water and dark, smudgy figures that seem like shapes that have moved on a time-exposed photograph. He managed to sustain a
deeply poetic imagination until the end of his life. His scenes of urban and rural lanes, and the nocturnal views of Greenock and Liverpool, are a powerfully
evocative Victorian extension of the “moonlight Pether” tradition.
The artist exhibited at the Royal Academy between 1874 and 1886 and also at the Grosvenor Gallery.
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10. ALFRED DE BRÉANSKI SNR.
British 1852-1928
Rival Herds
Oil on canvas, signed, inscribed verso
Ref. 10913
Price Code G
Alfred de Bréanski was a distinguished landscape painter who became famous for his resplendent views of the Welsh and Scottish Highlands; he also
painted many views of the Thames. Often bathed in a flood of golden light, these landscapes usually feature water and cattle or sheep on grassy banks;
sometimes a solitary figure is seen in the distance.
Bréanski belonged to the real stamp of those landscape painters who nimbly seized moments of the day. He had a great passion for the Highlands and
perhaps more than any other, caught the atmospheric influences of the undulating landscape.
Born in London, Alfred was the eldest son of Leopold Bréanski; his younger brother and sister, Gustave and Julie, were also painters. He made his debut
at the Royal Academy in 1872 and he continued to exhibit there until 1918. He also exhibited at the Royal Institute of Oil Painters and the Royal Cambrian
Academy. His many patrons included Sir James Lemon and the Bishop of Peterborough, who purchased the first picture that he exhibited at the Royal
Academy ‘Evening: Softly falls the even light’.
In 1873, Bréanski married Annie Roberts, a talented Welsh artist whom he met during his frequent painting trips to Wales. They had seven children, two
of which, Alfred Fontville and Arthur, were both to become painters. For much of his life Bréanski lived in Greenwich, Lewisham and Cookham and in
1880 he became a Freeman of the City of London.
The work of Bréanski is represented in several public collections including the Southampton Art Gallery and the Laing Art Gallery, Newcastle-upon-Tyne.
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11.
ALFRED DE BRÉANSKI SNR.
British 1852-1928
Across the Border
Ref. 11132
Price Code E
Alfred de Bréanski was a distinguished landscape painter who became famous for his resplendent
views of the Welsh and Scottish Highlands; he also painted many views of the Thames. Often
bathed in a flood of golden light, these landscapes usually feature water and cattle or sheep on
grassy banks; sometimes a solitary figure is seen in the distance.
Bréanski belonged to the real stamp of those landscape painters who nimbly seized moments of
the day. He had a great passion for the Highlands and perhaps more than any other, caught the
atmospheric influences of the undulating landscape.
Born in London, Alfred was the eldest son of Leopold Bréanski; his younger brother and sister,
Gustave and Julie, were also painters. He made his debut at the Royal Academy in 1872 and he
continued to exhibit there until 1918. He also exhibited at the Royal Institute of Oil Painters and
continued
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12. ALFRED DE BRÉANSKI SNR.
continuation
British 1852-1928
the Royal Cambrian Academy. His many patrons included Sir James Lemon and the Bishop of
Peterborough, who purchased the first picture that he exhibited at the Royal Academy
‘Evening: Softly falls the even light’.
Fishing in the Highlands
Framed size: 20½ x 28¾ inches
Ref. 11131
Price Code E
In 1873, Bréanski married Annie Roberts, a talented Welsh artist whom he met during his
frequent painting trips to Wales. They had seven children, two of which, Alfred Fontville and
Arthur, were both to become painters. For much of his life Bréanski lived in Greenwich,
Lewisham and Cookham and in 1880 he became a Freeman of the City of London.
The work of Bréanski is represented in several public collections including the Southampton
Art Gallery and the Laing Art Gallery, Newcastle-upon-Tyne.
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13. LOUIS BOSWORTH HURT
British 1856 – 1929
Cattle Grazing at the Lochs Edge
Ref. 10896
Price Code F
Louis Bosworth Hurt was a landscape painter from Derbyshire who exhibited at the Royal Academy between 1881 and 1901. He also exhibited at Suffolk
Street. Hurt’s subjects were mainly highland scenes with cattle.
Amongst the many titles that he exhibited at the Royal Academy were ‘In a Northern Glen’, ‘The Silence of the Woods’ and ‘By Peaceful Loch and MistWreathed Hill’.
Hurt sought for and achieved purity of form in the more broken and undulating highland landscape. His is an important and distinguished interpretation,
which he occasionally exaggerates, perhaps, but by means of which he succeeds in rendering a few timeless moments of nature.
Works by Hurt can be found in many museums and art galleries including the Reading Museum.
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14. WILLIAM MELLOR
British 1851-1931
On the Wharfe, Bolton Woods, Yorkshire
Ref. 11198
Price Code B
William Mellor was a Yorkshire landscape painter, who was born in Barnsley. He did not
exhibit in London, but his works frequently appear on the market. He worked in Ilkley,
Scarborough and Harrogate.
Mellor travelled widely and was inspired by the landscape of North Wales and the North East,
particularly Yorkshire. His landscapes are easily recognised and are generally scenes in
summer or early autumn. Travelling in winter was not a pleasant undertaking even in the 19th
Century.
With England offering up some of the most poetic and beautiful landscapes in the world, we
have a lot to thank the 19th Century landscape artists for. Mellor’s concept was aided by rich
pickings, from the calm waters and undulating landscape of the English countryside to the
rugged and strong scenery of North Wales. With strength of composition and patient
observation Mellor painted enchanting records of Britain’s timeless landscape.
The most distinctive feature of Mellor’s paintings is the meticulously delicate rendering of
trees and foliage heightened by the rich English sunlight that bathe the scene. Mellor was
one of a few who knew so well how to reproduce the peaceful side of nature in its bountiful
beauty.
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15. WILLIAM MELLOR
15
British 1851-1931
On the Wharfe, near Beamsley,
Yorkshire
In Bolton Woods, Yorkshire
A pair, oil on panel, signed,
inscribed verso
Panel size: 7½ x 12 inches each
Framed size: 12½ x 16½ inches each
Ref. 11088
Price Code C
William Mellor was a Yorkshire
landscape painter, who was born in
Barnsley. He did not exhibit in
London, but his works frequently
appear on the market. He worked in
Ilkley, Scarborough and Harrogate.
Mellor travelled widely and was
inspired by the landscape of North
Wales and the North East,
particularly Yorkshire. His landscapes
are easily recognised and are
generally scenes in summer or early
autumn. Travelling in winter was not
a pleasant undertaking even in the
19th Century.
With England offering up some of
the most poetic and beautiful
landscapes in the world, we have a
lot to thank the 19th Century
landscape artists for. Mellor’s
concept was aided by rich pickings,
from the calm waters and undulating
landscape of the English countryside
to the rugged and strong scenery of
North Wales. With strength of
composition and patient observation
Mellor painted enchanting records of
Britain’s timeless landscape.
The most distinctive feature of
Mellor’s paintings is the meticulously
delicate rendering of trees and
foliage heightened by the rich
English sunlight that bathe the
scene. Mellor was one of a few
who knew so well how to reproduce
the peaceful side of nature in its
bountiful beauty.
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16. BENJAMIN WILLIAMS LEADER R.A.
British 1831-1923
On the Coast of Sussex
Ref. 10931
Price Code F
Born as Benjamin Williams, the artist added the surname Leader (his Father’s middle name) to distinguish himself from the Williams family of painters of
which he was not a member.
Upon abandoning a profession in engineering for art, he became a pupil at the Royal Academy in 1853. The following year he showed his first picture
there and continued to exhibit prolifically up until 1923.
Leader achieved notable success with his painting ‘February Fill Dyke’, exhibited in 1881. It remains one of the most famous Victorian paintings and is a
tribute to Leader’s artistic talents. The Royal Academy elected him an Associate in 1883, and an Academician in 1898. He also exhibited abroad winning
the gold medal and the Legion of Honour in Paris in 1889.
Examples of Leader’s work can be seen in Birmingham, Bristol, Manchester and Sheffield Art Galleries, the Victoria and Albert Museum and the Tate Gallery.
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17.
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HENRY JOHN BODDINGTON
British 1811-1865
The Village Ford
Canvas size: 26¼ x 41 inches
Ref. 10669
Price Code F
Henry John Williams was the second son of Edward Williams. He showed an early aptitude for painting, but did not have any formal training, other than
the instruction he received from his father.
In 1832 he married Clarissa Eliza, the daughter of William Boddington, a solicitor’s clerk. His adoption of her maiden name, in order to give his paintings
more individual identification, appears to have been an immediate turning point in his career.
The Fine Arts Quarterly Review noted that he “painted pictures not only large, but sometimes grand. His landscapes of mountain, lake and river have
scenic breadth and power…”
The influence of Edward Williams can clearly be seen in the earlier work of Boddington. However, he soon developed a more realistic interpretation of the
woodland tradition. One of his most individual marks was the exceptionally fresh green and leafy effect of his trees, which were very varied in treatment and
owing much to the many detailed sketches from which he is known to have worked. By 1840 he had established his name with woodland and village scenes.
In 1842, at the age of thirty-one, he became a member of the Society of British Artists, having exhibited at their gallery since 1837. A great number of
artists exhibited work with the Society, which had been founded in 1823, but actual membership was very limited. Boddington was the only one of the
Williams family to achieve this – a distinction that carried a definite status and responsibility. (Any member who wanted to resign had to give three
months notice and pay a fine of £100.)
The Illustrated London News for 6 March 1847 devoted the cover to a woodcut, after a painting by Boddington, shown at the British Institution in the
spring of that year.
An established member, Boddington became a most enthusiastic exhibitor with the Society of British Artists, often exhibiting ten or more works at once.
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18. ALFRED AUGUSTUS GLENDENING SNR.
British fl.1861-1903
Peaceful Waters along the Thames
Oil on canvas, initialled and dated 93
Canvas size: 20½ x 32½ inches
Ref. 9672
Alfred Augustus Glendening was a London landscape painter, who it is believed, was born in
Greenwich around 1840. As a young man he started work as a railway clerk before devoting
his life to his painting.
He soon became one of the most popular landscape artists of his period, working in many
parts of the British Isles. Glendening particularly enjoyed painting views of the Thames,
Surrey and Sussex in the Southern Counties, and in the Scottish Highlands where he enjoyed
painting dramatic landscapes with lochs and cattle.
He exhibited at the Royal Academy, British Institution and Suffolk Street between 1865 and
1903.
Price Code D
His son and pupil was Alfred Glendening Jnr. whose work is very similar to that of his father.
He painted in a broad and realistic fashion in a style similar to that of Alfred de Bréanski.
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19. ALFRED AUGUSTUS GLENDENING SNR.
Serene Waters
Framed size: 31¾ x 49½ inches
Ref. 10857
Alfred Augustus Glendening was a London landscape painter, who it is believed, was born in
Greenwich around 1840. As a young man he started work as a railway clerk before devoting
his life to his painting.
He soon became one of the most popular landscape artists of his period, working in many
parts of the British Isles. Glendening particularly enjoyed painting views of the Thames,
Surrey and Sussex in the Southern Counties, and in the Scottish Highlands where he enjoyed
painting dramatic landscapes with lochs and cattle.
He exhibited at the Royal Academy, British Institution and Suffolk Street between 1865 and
1903.
Price Code F
His son and pupil was Alfred Glendening Jnr. whose work is very similar to that of his father.
He painted in a broad and realistic fashion in a style similar to that of Alfred de Bréanski.
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20. GEORGE COLE R.A.
George Cole was a painter of portraits, landscapes and animals.
British 1810-1883
Cole was self-taught and began his career by painting several large canvas
advertisements for the proprietor of a travelling circus (i.e. Tiger Hunts etc,
exhibited at Weyhill Fair). This success led him to study animal painting more
seriously, travelling to Holland to study the Dutch Masters.
Pastures New
Ref. 11190
He devoted himself for some years to animal painting in Portsmouth, exhibiting for
the first time in London at the British Institution in 1840. His ‘Don Quixote’ and
‘Sancho Panza with Rosinante in Don Pedro’s Hut’ attracted much attention there in
1845.
Price Code D
From 1849 to 1882 Cole exhibited at the Royal Academy, turning to landscapes,
mainly in Hampshire Surrey, Cornwall, Wales and Sussex.
His son George Vicat Cole was also a landscape painter and their work is
sometimes confused.
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21. GEORGE AUGUSTUS WILLIAMS
British 1814-1901
Sunset over a Winter Landscape
Oil on canvas, monogrammed
Ref. 10795
Price Code C
George Augustus Williams was a landscape painter, being a member of the well-known
Williams family of painters. He was the third son of Edward Williams, born on 04 May 1814 in
the St. Marylebone district of London. He was a prolific and versatile artist, painting Thames
views, moonlight scenes, coastal subjects and landscapes in Kent, Wales and elsewhere.
By 1841 he and his wife Caroline had a family of four sons and a daughter. Later they moved
to Barnes, (almost within sight of the Thames, which Williams so often used as the subject of
his paintings) where the artist lived for over fifty years.
George almost certainly inherited a talent from his background, but his work also contains
distinguishing characteristics, which give it a very definite identity. He handled colour with
great freedom, producing a variety of surfaces and delicate fluidity of tone, a golden harmony
that owes something to J.M. Turner. Whether winter or summer scenes, these canvases are
overlaid with a subtle transparency of yellow glazing, creating either warmth or cold,
according to the value of the tones employed.
Williams exhibited mainly at Suffolk Street (140 works) as well as at the Royal Academy
between 1841 and 1885, British Institution and elsewhere.
22
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22. BENJAMIN EUGENE FICHEL
French 1826-1895
A Fine Wine
Oil on panel, signed and dated 1859
Panel size: 7 x 5 inches
Framed size: 11¾ x 9¾ inches
Ref. 10035
Price Code B
Benjamin Eugene Fichel was born in Paris on 30
August 1826. He was a genre painter of the French
School. Fichel was a pupil of P. Delaroche and Drollings
at the École des Beaux-Arts. His favoured subjects
were genre, history, literary subjects and portraits.
Fichel’s paintings are characterised by a great attention
to detail and anatomical precision. Delaroche nurtured
Fichel’s keen observation and natural talent and soon
had him producing works of outstanding quality. The
smaller format suited his painstaking style and these
are often compared to the works of Meissonier. His
work did not go without recognition and in 1849 made
his debut at Salon de Société des Artistes.
He was awarded 3rd Class medals in 1857, 1861, 1869
and the Legion of Honour in 1870. Titles include ‘Holy
Family’ 1849, ‘Arrival at the Inn’ 1863, ‘Chess Player’
1868, ‘A Foreign Festival’ 1876, to name but a few.
The Museums of Germany, Holland and France all hold
examples of Fichel’s work.
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23. JOHN ARTHUR LOMAX
British 1857-1923
The First of the Season
John Arthur Lomax was a genre painter, born in Manchester. He studied in Stuttgart and at
the Munich Academy, but returned to Manchester and later relocated to London.
The artist’s subjects were mainly historical genre of the 17th and 18th Centuries, especially of
the Civil War period, often with a dramatic or sentimental theme.
Oil on panel, signed
Panel size: 12 x 18¼ inches
Ref. 11063
Price Code D
Titles at the Royal Academy include ‘Thoughts of Christmas’, ‘An Old Master’ and ‘Flaw in the
Title’.
Lomax exhibited thirty-three paintings at the Royal Society of British Artists and also
exhibited at the Royal Society of Artists, Birmingham, Walker Art Gallery, Liverpool,
Manchester City Art Gallery, Royal Academy and the Royal Institute of Oil Painters.
24
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24. FRANK MOSS BENNETT
British 1874-1953
Warming by the Fire
Ref. 10773
Price Code C
Frank Moss Bennett was a London painter
of portraits, genre and historical subjects in
both oils and watercolours as well as being
an illustrator.
Bennett was born in Liverpool and studied
at St. John’s Wood School of Art, The Slade
School of Art and at the Royal Academy
Schools of Art where he won a gold medal
and a travelling scholarship.
He exhibited at the Royal Academy
between 1898 and 1928; titles included ‘A
Book Plate’ in 1898, ‘The Greek Runner
falling dead as he goes to receive his
Crown at Olympia’ 1900 and ‘Gay Birds’ in
1903. Bennett also exhibited at the Royal
Institute of Painters in Watercolour and at
the Paris Salon.
Bennett was best known for his
Elizabethan subjects, many of which
became well known through calendars and
other forms of popular reproduction.
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25. FRANK MOSS BENNETT
British 1874-1953
A Difficult Move
Oil on board, signed and dated ’47
Board size: 10 x 14 inches
Ref. 11112
Frank Moss Bennett was a London painter of portraits, genre and historical subjects in both
oils and watercolours as well as being an illustrator.
Bennett was born in Liverpool and studied at St. John’s Wood School of Art, The Slade School
of Art and at the Royal Academy Schools of Art where he won a gold medal and a travelling
scholarship.
He exhibited at the Royal Academy between 1898 and 1928; titles included ‘A Book Plate’ in
1898, ‘The Greek Runner falling dead as he goes to receive his Crown at Olympia’ 1900 and
‘Gay Birds’ in 1903. Bennett also exhibited at the Royal Institute of Painters in Watercolour
and at the Paris Salon.
Price Code C
Bennett was best known for his Elizabethan subjects, many of which became well known
through calendars and other forms of popular reproduction.
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26. HENRI ADOLPHE LAISSEMENT
French 1854-1921
The Two Gossips
Panel size: 25½ x 21 inches
Ref. 11193
Price Code D
Henri Adolphe Laissement was a painter of figurative and genre subjects. He exhibited at the Paris Salon and became a member of the Society of French
Artists in 1884. He was also given an honourable mention for his works exhibited in 1882 and 1889. Laissement received medals in 1898, 1900 and 1905
for some of his best exhibits.
The domestic antics of the higher echelons of the Roman Catholic Church exercised a powerful fascination for a number of popular painters and their
patrons during the late 19th and early 20th Centuries. Their popularity has remained remarkably constant on a worldwide scale, much more so than a
number of other types of paintings.
Buyers of Laissement’s work are seduced by the high technique lavished upon them, unashamedly Laissement uses large expanses of Episcopal purple
and crimson in his canvases giving his works brilliance and complimenting beautifully his masterful compositions.
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27.
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PIETRO SALTINI
Italian 1839-1908
Darby and Joan
Ref. 11127
Price Code G
Pietro Saltini was born in Florence the capital of Tuscany in Northern Italy on 21 February 1839, the son of Giovanni Baptist Saltini and Maria Hammerings.
A devotee of the arts, three of his sons became imbued with a similar spirit. The young Pietro also benefitted from the influence of his mothers family
which included the important Chancellor Giovanni Hammerings, the famous violinist Ferdinando Giogetti and his uncle the landscape painter Luigi Run
who all cultivated Pietro’s early artistic inclinations.
In 1856 he began his studies with the leading fresco painter Raffaello Mars and honed his skills in drawing, figure and landscape painting.
In 1860 and despite his father’s protestations he managed to enrol himself at the Academy of Fine Arts under Enrico Pollastrini where he learnt the
principals and purity of the renaissance masters. At this time he collaborated with Pollastrini and Francesco Vinea in an important commission to produce
a large history piece ‘The Battle of Legnano’.
In 1863 he won the competition of the Royal Academy in Florence and also won the approval of King Victor Emmanuel II for his portrayal of ‘Simon di
Martini painting the ‘Laurel’ Madonna in Avignon’ destined for the private apartments of the Pitti Palace.
In 1864 Saltini journeyed to Rome where he was exposed to the full attributes of the European school and experienced the important annual ‘Prix de
Rome’ competitions which were at its zenith at this time. Here he submits the figurative piece ‘Dante in the studio of Giotto’ at the Dante Alighiere,
sixth Centennial celebration commissioned by the gallery director Ludovico Metzger.
By 1866 Saltini had reached a position of financial security and marries his fiancée Emilia Rossi of Dicomano with whom he goes on to have four sons.
In 1867 he is invited to Rome by the Pontifical delegate to paint the portrait of Pope Pius IX and so supports the ethical function of fine art in adherence
to Catholic spirituality. By 1868 Saltini is dedicated to ‘Realism’ and begins a series of compositions on the theme of motherhood and is now already
teaching at the academy of drawing. In 1869 he became founder of the Society of Fine Arts.
At this point Saltini’s pictorial compositions evolve towards subjects of a more social naturalism and he begins to emphasise simple family virtues and
relationships and the small daily heroisms and reflects abandonment of his previous subject matter. With this change Saltini appeals to a new group of
patrons who will dominate his oeuvre throughout the remainder of the 1870’s.
Saltini exhibited widely at home and abroad in Trieste and Vienna from 1873 and following his final contact with the American gallery director William
Ehrich in 1880 he finds a whole new market for his work and exhibits in Milwaukee and New Orleans.
His works can be found in Liegi, Trieste, Capodimonte, Rome and Florence.
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28
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28. HERMANN ARMIN KERN
Hungarian 1839-1912
More than Admiration
Panel size: 19¼ x 12½ inches
Ref. 10876
Price Code D
Hermann Kern was a painter of portraits and
genre subjects. He was born in 1839.
Kern made his debut in Vienna in 1880; he also
exhibited in Munich. Paintings by the artist can
be found in many European collections.
Golden old age was fertile subject matter for
Hermann Kern. He developed the genre to a
high pitch of detail and finish, with scenes of
old men in interiors, pottering about in a clutter
of jumble. He created that highly prized mood
of cosiness tinged with nostalgia.
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29. HERMANN ARMIN KERN
Hermann Kern was a painter of portraits and genre subjects. He was born in 1839.
Hungarian 1839-1912
Kern made his debut in Vienna in 1880; he also exhibited in Munich. Paintings by the artist
can be found in many European collections.
The Old Boys Recital
Canvas size: 18¾ x 27 inches
Framed size: 25 x 33¼ inches
Ref. 10998
Price Code E
Golden old age was fertile subject matter for Hermann Kern. He developed the genre to a
high pitch of detail and finish, with scenes of old men in interiors, pottering about in a clutter
of jumble. He created that highly prized mood of cosiness tinged with nostalgia.
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30. EDGAR HUNT
British 1876-1953
Three Guinea Pigs
Panel size: 9 x 12¼ inches
Framed size: 14¼ x 17½ inches
Ref. 11047
Price Code E
Probably the son of Charles Hunt, Edgar painted birds and fruit as well as his well-known
animal subjects.
His compositions, usually on small canvases, were mostly of farmyard scenes in which
domestic poultry and their broods predominated; although calves, pigs and rabbits were often
introduced. He worked in a meticulous manner not a feather or a hair was out of place. Hunt’s
style is immediately recognisable, hardly changing throughout his career.
He was of a retiring disposition and seldom exhibited his work, preferring to spend his life
with the animals he owned and lovingly painted. Hunt however was very much in demand by
his patrons. His patronage wanted uncomplicated images to which they could relate
immediately and without troublesome intellectual effort. Hunt also incorporated an element
of sentimentality to elicit the maximum emotional response.
Hunt’s works are now avidly collected, especially in the Midlands where he lived.
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31. WILLIAM HENRY HAMILTON TROOD
British 1848-1899
Pups Slumber
Born in 1848, Trood was an animal painter, specialising in painting dogs in particular, and a
sculptor. Schooled in England, his work is characterised by a highly finished, sympathetic
quality with great attention to detail, yet it is rarely sentimental.
Trood exhibited regularly in England but mainly at the Royal Academy from 1879 to 1898. He
also exhibited at Suffolk Street, the New Watercolour Society, Grosvenor Gallery and
elsewhere.
Ref. 11040
He died in London on 3 November 1899.
Price Code F
Works by Trood include; ‘A Coveted Bone’, ‘The Old Man’s Darling’ and ‘Home Sweet Home’.
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32. WALTER HUNT
British 1861-1941
Feeding the Calves
Ref. 11125
Price Code F
Walter Hunt was an animal painter. He was the son of Charles Hunt and probably the brother of Edgar Hunt. All three were animal painters and they all
lived in Warwickshire.
Walter Hunt painted farmyard scenes in a style similar to Edgar, especially barn interiors with donkeys and calves, but he went further afield for his
subjects and included sporting scenes in his oeuvre.
Walter was quite original in his painting of animals and figures and particularly excellent in his representation of ponies and calves. Not that he is
ineffective in his portrayal of form, texture and character of other species – for he is truly magnificent in all – but these seem to be his favourite subjects
and attract notice by their positions in his paintings and the evident care bestowed on their delineation. They may be considered as characteristic of
Walter. His pencilling is firm and free and his colouring remarkably good, of a full tone, and transparent.
He exhibited at the Royal Academy from 1881 onwards, titles including: ‘Best of Friends’, ‘Twins’, etc. ‘Dog in a Manger’, R.A. 1885, was bought by the
Chantrey Bequest.
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33. ARCHIBALD THORBURN
British 1860-1935
Grouse Resting
Watercolour, signed and dated 1902
Paper size: 17½ x 30 inches
Ref. 11133
Price Code F
Archibald Thorburn was born at Lasswade near Edinburgh on 31 May 1860. He was the fifth son of the miniaturist to Queen Victoria, Robert Thorburn.
From a very early age Archibald was intrigued by all forms of wildlife and by the time he was six or seven years old was already often to be found
drawing and sketching twigs, leaves, and flowers from the garden at Viewfield House. It quickly became apparent that he had been fortunate enough to
inherit his father’s artistic skills and by the age of twelve he was producing some beautiful little watercolour drawings and pen and ink studies that
already showed exceptional talent and great promise of things to come.
For many of his contemporaries, Thorburn was the greatest natural history painter Britain had produced; “a giant who represented the culmination of a
great 19th Century tradition and showed the way forward to greater naturalism”. For more than fifty years, from his first published work in 1883 to his
death in 1935, Thorburn was in constant demand both as a book illustrator and as the painter of larger, private commissions showing birds and mammals
in their natural landscapes.
Thorburn exhibited at the Royal Academy, Royal Society of British Artists, Fine Art Society and Dudley Gallery.
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34. HEYWOOD HARDY A.R.W.S., R.P.E.
British 1842-1933
Gone Away
Ref. 11215
Price Code G
Heywood Hardy was a painter and watercolourist of animals, sporting subjects and genre. He was born in Bristol where he later studied, also studying in
Paris and Antwerp. He moved to London in 1870 and later settled in Worthing. Hardy was also an engraver and illustrator who contributed to the
Illustrated London News and the Graphic.
Hardy’s most popular subjects are coaching scenes or people on horseback. One of Hardy’s trademarks is his ability to paint his animals with a notable
degree of sensitivity, demonstrating a great understanding of horses.
Among his many patrons were the Sitwells of Renishaw. He also painted a series of religious scenes of the life of Christ for Clymping Church, Sussex in
1909.
Hardy exhibited at the Royal Academy, British Institution, Suffolk Street, Old Watercolour Society and the New Gallery.
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35
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35. WILLIAM WEEKES
British 1856-1909
Taunting the Geese
Framed size: 33 x 24¾ inches
Ref. 10819
Price Code E
William Weekes is best known for his genre and
animal paintings. He was born into an artistic
family – his father was the sculptor Henry Weekes
R.A. and his elder brother the genre painter, Henry
Weekes Jnr.
William Weekes spent his working life in London
and he resided at 21 Oppingdon Road, Primrose
Hill.
Amongst his favourite subjects were humorous
portrayals of animals. Indeed Weekes delighted in
personifying them and placing them in situations
particular to humans, as seen in the paintings: ‘You
are sitting in my Nest’, ‘Prattlers and Cracklers’,
‘The Patient and the Quacks’ and ‘A Snap for the
Lot’.
However, Weekes’ work shows a sensitive
understanding of his subject matter and part of his
success in creating such a peaceful country
atmosphere lies in his affection for it.
Weekes exhibited 37 paintings at the Royal
Academy, and also at the Royal Society of British
Artists, Royal Society of Painters in Oils and in the
provinces.
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36. WILLIAM WEEKES
British 1856-1909
A Territorial Dispute
Panel size: 8 x 11½ inches
Ref. 11050
William Weekes is best known for his genre and animal paintings. He was born into an
artistic family – his father was the sculptor Henry Weekes R.A. and his elder brother the
genre painter, Henry Weekes Jnr.
William Weekes spent his working life in London and he resided at 21 Oppingdon Road,
Primrose Hill.
Amongst his favourite subjects were humorous portrayals of animals. Indeed Weekes
delighted in personifying them and placing them in situations particular to humans, as seen in
the paintings: ‘You are sitting in my Nest’, ‘Prattlers and Cracklers’, ‘The Patient and the
Quacks’ and ‘A Snap for the Lot’.
Price Code B
However, Weekes’ work shows a sensitive understanding of his subject matter and part of
his success in creating such a peaceful country atmosphere lies in his affection for it.
Weekes exhibited 37 paintings at the Royal Academy, and also at the Royal Society of British
Artists, Royal Society of Painters in Oils and in the provinces.
37
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37.
VALENTINE THOMAS
GARLAND
Last of the Litter
Oil on canvas, signed and
dated 1892
Framed size: 17¼ x 15 inches
Ref. 11205
Price Code C
Valentine Thomas Garland was
a painter of animals who lived
in Winchester and London. He
exhibited 24 works at the
Royal Academy from 1868, as
well as exhibiting at Suffolk
Street and the New
Watercolour Society.
Valentine Thomas was the son
of Henry Thomas Garland of
Winchester, working in both oil
and watercolour, although he
is best known for his oils.
Grave’s dictionary also lists a T.
Valentine and a T.W. Garland –
these are both probably
mistakes for Valentine Thomas.
Garland’s paintings of animals
hold an emotional appeal for a
wide audience and thus his
work was popular from the
outset. His paintings, in
particular his dog pictures, tell
a story with such feeling that
the viewer is captivated
immediately. Because of this
Garland quickly became one of
the most popular artists of the
period.
Titles at the Royal Academy
include: ‘Forty Winks’, ‘A
British Workman’ and ‘The
Sunshine of Life’.
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38. WRIGHT BARKER
British 1864-1941
The Orphan
Wright Barker was a painter of hunting subjects and genre. He exhibited from 1891 to
1938 at the Royal Academy and also at Suffolk Street. Titles at the RA include: ‘In
Forest’s Depths Unseen’ 1891 and ‘My Children and their Pets’ 1904.
Barker lived at Mansfield, Newark, London and Harrogate.
Ref. 11061
Wright Barker exhibited twenty-two paintings at The Royal Academy and also at The
British Society of Artists, Birmingham, Walker Art Gallery, Liverpool, Manchester City Art
Gallery, Nottingham Museum and Art Gallery, New Gallery, Royal British Society of
British Artists, Royal Scottish Academy.
Price Code G
A work by Barker titled ‘Full Cry’ sold at Christie’s on 16 October 1964.
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39. VITTORIO REGGIANINI
Italian born 1858
The Guitar Recital
Ref. 10958
Price Code G
Vittorio Reggianini was born in Modena, north Italy, in 1858. He studied at the Modena Academy of Fine Arts where he later became a professor. Like
many of his contemporaries, Reggianini migrated south, to Florence, where in 1900 he participated in the Alinari Corcorso with a painting entitled ‘Tristis
Matris Nati Presaga Finis’. Reggianini also exhibited with the Florentine Art Association in 1907/8 and again at the exhibition of 1910/11. He was
affiliated with the Florentine genre painters such as Federico Andreotti and Francesco Vinea painting similar subjects, using similar props, at times
sharing the same model and like them inscribed a number of his works, ‘Firenze’.
Reggianini specialized in genre subjects including elegant scenes of bourgeois life, figure compositions particularly women’s heads and child studies as
well as more humble interiors with peasants. Reggianini combined fantasy with reality, sensuality with sensibility and above all, like many of the
Florentine historical genre painters furnished his costume pieces in luxury.
Like his Florentine contemporaries, Reggianini executed a variety of costume pieces of the bourgeoisie enjoying the arts. His pictures often include
many incidental details.
The work of Vittorio Reggianini is represented in the Mainz Museum, Germany.
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39
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40. GUSTAVE DE JONGHE
Belgian 1829-1893
The Shy Pet
Ref. 10796
Price Code F
Gustave Leonhard de Johnge was a Belgian genre painter. He was the son of Jan Baptist and a pupil in Brussels of Navez. He painted portraits, historical
genre as well as family scenes.
Gustave won gold medals in Amsterdam (1862) and Paris (1863).
Beautiful women in fine silks, set in grand interiors make up a recipe of unrivalled success; de Jonghe presented throughout his career an array of such
images. With each work his setting may have differed but his focus always remained true to the female type. The use of such a grand interior gave him
the opportunity to exercise his observational and painterly skills with great flair.
Works include: ‘Notre Dame de Bon Secours’ 1854, ‘Orphans and their Grandmother’ 1862, ‘Piety’ 1864, ‘Convalescent’ 1869, ‘Birthday Congratulations’,
‘Lady before Mirror’, ‘Declaration of Love’ 1884, ‘Giving Alms’ 1866.
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40
41
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41. GUSTAVE JEAN JACQUET
French 1846-1909
An Alluring Expression
Panel size: 7 x 4¾ inches
Ref. 11000
Price Code C
Gustave Jean Jacquet was born in Paris on 25 May 1846
and died in the same city in 1909. He was a genre and
portrait painter as well as being a watercolourist.
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 with an allegory titled ‘The Day Dream’.
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.
In 1868 he won a 3rd Class medal and around the same
time he devoted himself to portraits, amusing himself
sometimes by clothing his models in the sparkling
outfits of the 16th Century.
Jacquet was awarded a 1st Class medal in 1875 and
four years later in 1879 he was decorated with the
Legion of Honour.
The Exposition of 1878 held a certain success for him
with a new allegory on ‘The Day Dream’.
The artistic career of Gustave Jean Jacquet is a simple
one. A tireless worker, he produced a vast quantity of
pictures, which gave him the ability to execute each one
with a sometimes exaggerated meticulousness. He was
also one of the more graceful painters of nude females
of his time and his compositions were a testimony to his
delicate tastes. His genre pieces are original and fine in
colour, while his portraits have strength, charm and
expression as well as a daintiness of tone.
Works by the artist can be found at the museums of:
Blois, Brooklyn, Chateau-Thierry, Chicago (Art Institute),
La Rochelle, New York (Metropolitan), Rouen, Paris and
Sheffield Art Gallery.
3/11/08
42. ADOLPHE ÉTIENNE PIOT
French 1850-1910
The Bashful Model
Canvas size: 18 x 15¼ inches
Framed size: 223/8 x 253/8 inches
Ref. 11084
Price Code D
Adolphe Piot was a painter of portraits
and genre subjects.
A pupil of Leon Cogniet, Piot made his
Paris Salon debut in 1850 and became a
member of the Society of French artists
in 1883. In 1890 he obtained an
honourable mention.
As a commercial artist, Piot was highly
successful. He was able to capitalize on
the growing demand for portraits from
the upper echelons of Parisian society.
Every Debutante in Europe would sit for
artists like Piot, nowhere more so than
in the French capital during the ‘Belle
Époque’. The captivating mystery he was
able to give his patrons through
portraiture ensured the artist was always
in demand and although we do not know
the identity of the sitter in this example,
The Bashful Model is typical of Piot’s
work at this time.
Paintings by this artist can be found in
the Museum of Rouen and also in the
Brooklyn Museum, New York.
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43. HAROLD CLAYTON
British 1902-1979
Mixed Summer Flowers in a Glass Goblet
Ref. 11113
Price Code E
Harold Clayton was born in London in 1902. He came from an artistic family and was sent to art school in Hackney at an early age.
After graduating with distinction, he moved to Harrow Art School and completed the course, once again, with distinction. From here he was sent to
Hornsey College of Art where he studied graphic design and commercial art graduating, as ever, with distinction even though he was not particularly
enamoured with this art form.
Finally, Clayton went to St. Martin’s School of Art where he studied under the celebrated Art Master Norman Jones. This meeting had a profound effect
on the path Clayton’s career ultimately took, leading to his exhibition of many oil paintings and watercolours at the Royal Academy.
The level of realism achieved by Harold Clayton immediately strikes the viewer. Every flower reaches out with a triumphant display of summer’s palette.
Dainty and young blooms reach upward in a military fashion, as those who have fully flourished hang heavily with a feel of self-importance and ultimate
achievement.
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43
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44. ARTHUR HACKER
British 1858-1919
A Morning Walk
Panel size: 17 x 17 inches
Ref. 10928
Price Code G
Arthur Hacker was perhaps the most versatile of late Victorian artists and his regular and popular exhibits at the Royal Academy and New Gallery include
paintings of contemporary drama, mythological and Biblical narrative, landscapes and still lifes.
He also established a lucrative portrait painting practice in the early 20th Century, among his sitters being the artists Frank Short, Onslow Ford, William
Goscombe John and Ernest Newton.
As the son of a line engraver it is perhaps surprising that he did not undertake many commissions for book illustrations and devoted his artistic output to
oil paintings, often on a large scale.
He entered the Royal Academy Schools in 1876 and graduated in 1880 whereupon he travelled to Paris and trained in the atelier of Léon Bonnat. One of
his fellow pupils was Stanhope Forbes and, like Forbes, Hacker was much influenced by French art. His painting of French peasant life ‘Her Daughter’s
Legacy’ attracted much attention at the Royal Academy in 1881.
In 1886 Hacker helped to found the progressive New English Art Club, an association which appears rather contrary to the academic ideals expressed in
the picture he exhibited at the Academy a year later, ‘Pelagia and Philammon’ (Walker Art Gallery, Liverpool).
Other pictures in a similar High Victorian vein include, ‘The Temptation of Sir Percival’ of 1894 (Leeds City Art Gallery), ‘The Cloister of the World’ of 1897
(Cartwright Hall Art Gallery and Museum), ‘And There was a Great Cry in Egypt’ of 1897 (private collection). These paintings made Hacker famous and
popular in the 1890s but as the taste for grand subject pictures began to wane in the 20th Century, he concentrated upon portraiture and modern genre
subjects.
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44
45
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45. SYDNEY KENDRICK
British 1874-1955
Feathered Pets
Canvas size: 24¼ x 18¼ inches
Ref. 11043
Price Code C
Sydney Kendrick was born in London
in 1874 and studied art in Paris
before returning home to London to
make a living as a painter of
Edwardian ‘beauties’.
He also painted genre scenes and
landscapes but following the
success of his full-length portrait of
the famous Edwardian actress
Dame Sybil Thorndike he became
sought after as a painter of society
portraits.
Britain at this time was enjoying a
‘Golden Age’, as was much of
Europe between the wars, and
encapsulated by the French in their
expression ‘Belle Époque’ which
became a highly fashionable
movement in its own right.
Kendrick was a prolific artist and
contributed to many of the most
important exhibiting galleries and
societies in Britain, particularly the
Royal Academy in London between
1903 and 1915. He achieved an
individual and captivating style and
his pictures are always keenly
contested when they appear on the
art market.
He died in London in August 1955.
3/11/08
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46. STEFANO NOVO
Italian 1862-1902
Serenade, Venice
Framed size: 29 x 20¾ inches
Ref. 11006
Price Code E
Stefano Novo was a painter of genre scenes. He
was born in 1862 in Cavarzere and died in 1902.
It was in Venice that Novo came to specialise in
figure painting and Venetian genre. His favourite
motif was the daily life of the Venetian people fisherfolk, gondoliers, beautiful girls, handsome
suitors and children were his recurring themes. The
paintings have great charm and a romantic appeal
which has made Stefano Novo one of the most
sought after artists of this period.
Taught by P. Molenti and Eugene von Blaas, Novo
showed works from 1880 onwards in Turin, Florence,
Livorno, Venice and Bologna.
Titles include: ‘St. Mark’s Square in Venice’,
‘Merchant of all Seasons’ and ‘Awaiting the Gondola’.
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47.
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PIERRE EDOUARD FRÈRE
French 1819-1886
Playtime after School
Ref. 10994
Price Code G
Pierre Edouard Frère was a painter of genre subjects. He was born in Paris on 10 January 1819 and lived at Écouen. Frère was a pupil of Paul Dalaroche,
and entered the School of Fine Arts in 1836. He won several awards for his work and was awarded the Legion of Honour in 1855. He exhibited at the
Paris Salon between 1842 and 1886.
Frère exhibited in London so frequently at the London galleries and at the Royal Academy that we assume he must have paid long visits to this country.
Frère’s obsession with the interior is inseparable from his idea of childhood. Although the life he depicts might have been hard and uncomfortable, it was
happy and innocent and the perfect atmosphere for the children to grow up healthy and pure.
The famous Victorian critic, Ruskin, said of Frère: “Who would believe it possible to unite the depth of Wordsworth, the grace of Reynolds and the
holiness of Angelico”, an accolade indeed!
His works can now be seen in private and public collections world-wide, including the Museums of Bernay, Chartres, Hanbury, Melbourne, and Paris.
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48
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48. ROBERT W. WRIGHT
Tuning the Violin
A pair, oil on panel, signed and
dated ’95
each
Ref. 11211
Price Code C (for the pair)
Robert Wright was a London painter
of genre subjects, which were
mainly domestic scenes and
interiors.
Wright’s solid modelling and firm
confident handling would satisfy all
private scholars. All his works
aimed for objective accuracy in the
record of British life. Thankfully
Wright’s realism had fostered a
sentimental instinct, a type of rustic
naturalism which enables the viewer
to smile at the tribulations of these
old characters and the abilities of
their grandchildren to work their
endearing charm.
Most of Wright’s paintings are small,
on panel and painted in the
traditional Wilkie/Webster style,
many of which seem to be painted
in pairs.
The artist exhibited at the Royal
Academy, Suffolk Street and various
other venues. Titles at the Royal
Academy include ‘Making
Patchwork’, ‘Baby’s Birthday’.
48. ROBERT W. WRIGHT
Winding Wool
A pair, oil on panel, signed and
dated ’95
each
Ref. 11211
Price Code C (for the pair)
Robert Wright was a London painter
of genre subjects, which were
mainly domestic scenes and
interiors.
Wright’s solid modelling and firm
confident handling would satisfy all
private scholars. All his works
aimed for objective accuracy in the
record of British life. Thankfully
Wright’s realism had fostered a
sentimental instinct, a type of rustic
naturalism which enables the viewer
to smile at the tribulations of these
old characters and the abilities of
their grandchildren to work their
endearing charm.
Most of Wright’s paintings are small,
on panel and painted in the
traditional Wilkie/Webster style,
many of which seem to be painted
in pairs.
The artist exhibited at the Royal
Academy, Suffolk Street and various
other venues. Titles at the Royal
Academy include ‘Making
Patchwork’, ‘Baby’s Birthday’.
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48
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49. HELEN ALLINGHAM R.W.S.
British 1848-1926
Beneath the Cherry Tree
Watercolour, signed
Paper size: 14½ x 10¼ inches
Ref. 10647
Price Code E
Helen Allingham, née Paterson, was born in Burton on Trent on 26 September 1848. She was a painter and illustrator. The daughter of a physician, she
was brought up in Altrincham, Cheshire, and after her father’s death in 1862 she moved to Birmingham. She studied at the Birmingham School of Design
and from 1867 at the Royal Academy Schools. London.
From 1869 she provided illustrations for Joseph Swain and subsequently for the Graphic and Cornhill magazines. She exhibited watercolours at the
Dudley Gallery.
In 1874 she married the Irish poet William Allingham, and her consequent financial independence allowed her to abandon black-and-white illustration.
Her new circle of friends included Tennyson, Ruskin and Thomas Carlyle, whose portrait she drew (version of 1879; Edinburgh, N. P. G.).
In 1875 she was elected an associate of the Old Watercolour Society and became a full member in 1890 after the prohibition on lady members was
withdrawn. She was a regular exhibitor there.
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50
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50. EDITH MARTINEAU
British 1842-1909
Her Little Treasure
Watercolour, signed and dated
1886
Paper size: 26 x 19 inches
Framed size: 34½ x 27¼ inches
Ref. 11001
Price Code A
Edith Martineau was the sister of
Gertrude Martineau, painter of
animals, flowers and genre scenes.
She trained in Liverpool, at Leigh’s
School, and at the Royal Academy
Schools.
Martineau painted mainly in
watercolours and specialised in
children’s portraits. She lived in
London. She exhibited at the Royal
Academy in the period from 1870 to
1890; titles included ‘A Doubtful
Passage’, ‘Oranges’ and ‘Touching the
Strings’. Martineau also exhibited at
the Royal Society of painters in
Watercolours, the New Watercolour
Society and at the Grosvenor Gallery.
Museums holding works by the artist
include the Victoria and Albert
Museum, London.
51. CARLTON ALFRED SMITH
British 1853-1946
Fireside Reflections
Watercolour, signed
Paper size: 20 x 14 inches
Ref. 10229
Price Code D
Carlton Alfred Smith was a genre
painter and watercolourist. He
frequently painted cottage interiors
that conveyed a romantic image of
domestic life at the end of the 19th
Century.
Smith created a quality of light
synonymous with strong sunshine.
The quality of Smith’s fine images
and his desirable selection of
subjects have made him extremely
popular with both collectors and
publishers worldwide.
Smith exhibited mostly at Suffolk
Street (one hundred and fifty-eight
works), but also at The New
Watercolour Society and the Royal
Academy from 1879, as well as in
the provinces.
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51
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52. HELEN ALLINGHAM
R.W.S.
52
British 1848-1926
Betty
Watercolour, signed
Paper size: 3¾ x 4 inches
Framed size: 12½ x 10¼ inches
Ref. 10899
Price Code C
Helen Allingham, née Paterson, was born in Burton on
Trent on 26 September 1848. She was a painter and
illustrator. The daughter of a physician, she was brought
up in Altrincham, Cheshire, and after her father’s death in
1862 she moved to Birmingham. She studied at the
Birmingham School of Design and from 1867 at the Royal
Academy Schools. London.
In 1874 she married the Irish poet William Allingham, and
her consequent financial independence allowed her to
abandon black-and-white illustration. Her new circle of
friends included Tennyson, Ruskin and Thomas Carlyle,
whose portrait she drew (version of 1879; Edinburgh,
N.P. G.).
3/11/08
53. CARLTON ALFRED SMITH
British 1853-1946
Home Lessons
Watercolour, signed and
dated 1903
Paper size: 10¾ x 7 inches
Ref. 9090
Price Code C
Carlton Alfred Smith was a genre painter
and watercolourist. He frequently
painted cottage interiors that conveyed a
romantic image of domestic life at the
end of the 19th Century.
Smith created a quality of light
synonymous with strong sunshine. The
quality of Smith’s fine images and his
desirable selection of subjects have
made him extremely popular with both
collectors and publishers worldwide.
Smith exhibited mostly at Suffolk Street
(one hundred and fifty-eight works), but
also at The New Watercolour Society and
the Royal Academy from 1879, as well
as in the provinces.
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54. ALFRED AUGUSTUS GLENDENING JNR.
British 1862-1907
Market Day
Watercolour, signed and dated 1898
Paper size: 23¼ x 35½ inches
Ref. 10792
Price Code D
Alfred Augustus Glendening Junior was a London landscape and genre painter, son of Alfred
Augustus Glendening Senior, also a painter. The artist was taught by his father and he worked
in oils and watercolours. The work of father and son often bear a striking resemblance.
Alfred Junior exhibited at the Royal Academy from 1881 to 1904 and also at Suffolk Street.
His picture ‘Haymaking’ was exhibited at the Royal Academy in 1898 and was bought by the
Chantry Bequest for the nation in 1898. Glendening Junior enjoyed a great deal of popularity
in his time, mainly because he knew what the public liked and composed his paintings
accordingly.
Later in his career, Glendening Junior also became a theatrical scenery painter, as so many of
the Victorian artists did to give them a regular income and some sort of security while
allowing them to carry on with their painting.
How to find us
Location
One of Britain’s most beautiful villages, Broadway for a number of
years has proven a haven for Fine Art and Antique collectors. The
village of Broadway is located on the Worcestershire/Gloucestershire
border, at the top of the Cotswold’s and in the heart of England. We
are approximately 45 miles from Birmingham Airport and 90 miles
from London’s Heathrow Airport and within only a few miles of the
local train stations of Evesham and Moreton-in-Marsh. With the
network of motorways on all four sides of our central location we can
be easily reached by the M5, M4, M40 and the M42.
View a map of the area and find directions ..
.. on Multimap
.. on Google maps
Airports
Birmingham Airport 77 km / 48 miles
London Heathrow Airport 145 km / 90 miles
Train Stations
Moreton-in-Marsh 12.75 km / 8 miles
Evesham 13.4 km/ 8.3 miles
Car Parking
We have recently completed a large car park to the rear of Picton
House which has ample parking space for visiting clients. Please note
this is a secure parking area that will require notification upon arrival so
we can open the automated gates. Once parked, you will only have a
few steps to take through the beautiful landscaped grounds of Picton
House. This will save a walk from the public car parks and ensures
there is no rush with viewing our huge and comprehensive stock of
fine paintings and enables us to place purchases safely in the boot of
your car upon departure.
Hotels
With a wealth of local quality hotels we can ensure a great weekend
away option with quality Country House Hotels in abundance, details
of which can be obtained by contacting Wanda or Vicky by calling
our galleries via our contact details, alternatively you can email
[email protected] or [email protected] and they
can detail deals we have negotiated on your behalf.

Haynes Fine Art of Broadway

Transcription

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