• Watercolour, 11x17cm. James Barnes 1870 - 1920 James Barnes exhibited a staggering 131 works at the Walker Art Gallery in Liverpool, during his lifetime. A painter of great skill, his work has a wonderful ethereal feeling, as well as the genuine touch of the Liverpool school at this period. He appears to have spent his entire working life in Liverpool, and his commitment to the Walker Art Gallery is obvious. He exhibited at the principal galleries, both in the provinces and London, including the Royal academy. The theme of this painting appears to have been a particular favourite of the artist.
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    Oil on Canvas, 57x43cm. James Campbell Noble R.S.A. 1846 - 1913 James Campbell Noble was born in Edinburgh, studying first at the board of manufacture in Edinburge and later at the school of the Royal Scottish Academy under J.P.Charles and McTaggart where he won the Keith prize. He exhibited in London at the Royal Academy in 1880 and was elected as a full member of the Royal Scottish Academy in 1892.
  • Oil on Board, 40x32cm. James Docharty A.R.S.A. 1829-1878 Docharty was born in the calico-printing district of the Vale of Leven, at Bonhill, near Bumbarton, where his father was employed in one of the numerous works for which that locality divides its fame with football playing. He served his apprenticeship as a pattern designer, which profession he persued in Glasgow until about 1861, when he took seriously to the profession of a landscape-painter, for which he always had a strong predilection. His first studies of any consequence were made at the village of Ardenadarn, a watering place on the Holy Loch on the Clyde, after which the establishment of the Glasgow Institute of the Fine Arts afforded him an opportunity of putting his works before the public. The quality of his landscapes, in which the character of Scottish landscape was simply and truthfully delineated, rapidly brought him into notice, and led to his election as an Associate of the Scottish Academy in 1877. He was a regular exhibitor at the local exhibitions, the Scottish Academy, and during the last few years of his life, at the Royal Academy, where his works were favourably noticed. In the spring on 1866, on account of his heath begining to fail, he left for a trip to Egypt, in the course of which he made some sketches of Nile scenery which he never wrought out; and afterwards spent some months at the Isle of Wight, in spite of the pulmonary complaint from which he had been suffering terminated fatally in Glasgow in 1878.
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    Oil on Board, 38x47cm. James Horton R.B.A. b.1948 James Horton studied first at the Sir John Cass School of Art and then at the Royal College of Art. He was quickly given his first one-man show at the Hay Galleries, Hay on Wye and quickly followed with others in Belfast, Dublin, Cambridge and Stockholm. Horton has exhibited at many principal London galleries including the Royal Academy, Royal Society of British Artists, Royal Portrait Society, New English Art Club etc. Additional information on request.
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    Oil on Canvas, 100x87cm. James Horton R.B.A. b.1948 James Horton studied first at the Sir John Cass School of Art and then at the Royal College of Art. He was quickly given his first one-man show at the Hay Galleries, Hay on Wye and quickly followed with others in Belfast, Dublin, Cambridge and Stockholm. Horton has exhibited at many principal London galleries including the Royal Academy, Royal Society of British Artists, Royal Portrait Society, New English Art Club etc. Additional information on request.
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    Oil on Board, 90x80cm. James Kessell 1915-1978 Provenance : Ex-private collection, R.O.I. exhibit 1953. Born in Coventry, James Kessell specialised in oils. He was the son of James Everett Kessell and studied at the Coventry School of Art from 1928-1934. He exhibited at numerous principal galleries including the Royal Academy, Royal Institute of Oil Painters, Royal Society of British Artists, Royal Society of Marine Artists etc. His work is held in a number of public collections.
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    Oil on Canvas, 40x32cm. Jacobus Matthys Damschroeder 1825 - 1905 Born in Germany, Jan Damschroeder spent most of his life working in Amsterdam, where we believe this work to be set. He specialised in genre paintings, often with the inclusion of children. A painting entitled 'The Village School' was sold at a London auction house c.1900 for what was then the considerable sum of 30 guineas. Damschroeder worked in both oils and watercolours, often painting on a more modest scale than this example. It would seem that this is a major large work and was painted as an exhibition piece.
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    Oil, 40x30cm. Anthony Park R.O.I., R.B.A. 1880 - 1962 Park moved to St. Ives at the age of 18 and became probably the best known of the early St. Ives painters. He studied under Julian Olsson who encouraged him to study in Paris. From 1905 he attended the Atelier Colarossi where he was a contemporary of Modigliani. Strongly influenced by the French Impressionists, Park's work is always brightly coloured and spontaneous. He had worked in the cotton mills of his native Lancashire throughout much of his childhood. Although he had no official training during his first years painting in St. Ives, Park was fortunate enough to meet Julius Olsson, one of the earliest arrivals among the many painters who had settled in St. Ives towards the end of the nineteenth century. Olsson was the founder of the new School of Landscape and Marine Painting which he had set up in his own studio overlooking Porthmeor Beach. He offered Park free tuition on account of his willingness to learn and natural ability and within six years of arriving in St. Ives, Park had begun exhibiting at the Royal Academy and it was at this time, with Olsson's guidance, that he decided to continue his training in the ateliers of Paris. Returning to St. Ives in 1923, Park found the old fishing port provided him with countless subjects among the many boats coming and going in the busy harbour and the overlapping forms of the fisherman's cottages rising steeply on the hill overlooking the port. Park exhibited at the Royal Academy from 1905 to 1949 and he was elected as a member of the Royal Society of Oil Painters in 1923. He was a founder member of the St. Ives Society of Artists in 1927. With regular entries to the Paris Salon he was awarded the Gold Medal in 1934. Park was among a small group of professional artists who carried on the tradition of St. Ives painting in the quiet years between the wars. He exhibited costal and fishing scenes at the Royal Academy, the Paris Salon and St. Ives Society of Artists. His work is held in the public collections of Manchester City Art, Salford Art Gallery and the Tate.
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    Oil on Canvas, 37x40cm. Costa 1867-1931 An important portrait from the Newlyn School by the highly desirable portrait painter John da Costa. The painting is signed and importantly dated 1890 when Newlyn painting and painters were at the height of their influence in British art. In 1890 a writer mentioned Stanhope Forbes' old studio and then went on 'Now it is occupied by the youngest member of the Newlyn colony, Mr. John da Costa, fresh from the Paris schooles, and barely twenty three, has yet had a picture on the line at the Grovesnor and another at the Academy'. John da Costa was born in Teignmouth and was recognised as an artist of great potential early in his career by Frederick, Lord Leighton. He received awards at the Paris Salon in 1906 and 1907, and he was a member of the Royal Institute of Oil Painters and the Royal Society of Portrait Painters. In 1974 a memorial exhibition was dedicated to John da Costa of paintings from the collection of Mrs. Elizabeth M. Richards at Leighton House, London.
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    Watercolour, 72x63cm. Massey Wright 1777-1866 Provenance: Another version by the artist is in the collection of the Victoria and Albert Museum. Born in London, John Massey Wright began to exhibit at the Royal Academy in 1808. He married Ann Meadows in 1809 and they continued to live in central London. In 1820 he joined the Old Watercolour Society, and he continued to be a member until his death in 1866. Massey Wright produced several bodies of work as a figure painter, watercolourist and later as an illustrator, illustrating work by writers such as Walter Scott, Robert Burns, Mary Shelley and Byron.
  • Oil on Canvas, 98x77cm. Noble Barlow R.B.A. 1861 - 1917 John Noble Barlow was born in Manchester in 1861. He studied art at the Academie Julian in Paris under Jules Joseph Lefebre, Paul Delance and Constant. After leaving Paris he continued his studies in Belgium, Holland and New York. He became a U.S. citizen in 1887 where he lived in Providence, Rhode Island, becoming a member of the Providence Art Club. During this period he exhibited at the National Academy of Design and the Art Institute of Chicago. Some five years later he returned to England and St. Ives. He soon gained a reputation and was elected a member of the Society of British Artists and was a successful medal winner at the Paris Salon in 1899 and in 1900 at the Paris Exposition. For many years he maintained a studio at Lamorna Valley. John Barlow was en exceptional landscape painter as this example clearly indicates. His work is held in a number of public collections both in the U.S.A. and at home. The Rhode Island School of Design museum currently displays three of his works. Many of the artist's pupils at the John Barlow School of Art became successful painters including Garstin Cox, William Cox, Herbert George, Anna Hills and Edgar Nye.
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    Oil on Canvas, 11x17cm. Robertson Reid 1857 - 1926 Born in Edinburgh, he studied at the Royal Scottish Academy Schools before moving to Cornwall and later to London. He became interested in the Social Realism movement and was probably influenced by Bastien Lepage. In 1879 his painting 'Toil and Pleasure' was hung at the Royal Academy, illustrating his debt to Lepage. That painting was purchased for the nation by the Chantrey Bequest. George Clausen was a friend of the artist and they lived close to each other in Hampstead. Clausen was stimulated by Reid's work and had a considerable influence at this time. Reid chose subjects of field workers and humble people and his style has a particular dynamism, influenced no doubt by the early teachings of Chalmers and McTaggart. A good colourist, he painted a number of works of fishermen and women with rich vibrant colours as this example illustrated. The artist knew the Glasgow Boys and influenced their early work. He was an important and influential Scottish artist.
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    Oil on Canvas, 13x17cm. Stirling 1820 - 1871 Provenance: Exhibited at the Royal Academy 1853. John Stirling first exhibited three portraits at the Royal Academy in 1852. In the same year Holman Hunt's masterpiece 'The Hireling Shepherd' was hung in the Academy and it is more than likely that John Stirling would have seen the work of the Pre-Raphaelites for the first time on a visit to London from Aberdeen to see his own work hung. The work of the Pre-Raphaelites was first seen in 1849 and the brotherhood existed for a period of about five years from that date. It seems certain that John Stirling was impressed by the work of the Pre-Raphaelites and was influenced by them when he produced his painting 'The Lassie and the Lamb', which was exhibited at the Academy in 1853. The technique used by such artists as Holman Hunt and Millais was to paint in pure colour on a white, wet ground which produced a distinctive luminosity as was a technique Stirling also employed in 'The Lassie and the Lamb'. Similarly, the Pre-Raphaelite's great attention to detail and most particularly in the cases of Hunt and Millais, their wish to reflect nature accurately is reflected in John Stirling's painting. While the Pre-Raphaelite Brotherhood was not without its detractors, Charles Dickens for one, its great champion was the foremost Victorian critic and painter John Ruskin. He took notice of the work of John Stirling and in 'Academy Notes' of 1855 commented on Stirling's Academy painting: 'The Scottish Presbyterians' describing it as '...a very acceptable picture, showing careful study and good discrimination.' The title of the painting 'The Lassie and the Lamb' is taken from Wordsworth's poem 'The Pet Lamb', a pastoral. In later works, the artist took poetry for a direct inspiration for his subjects which were the Pre-Raphaelite Brotherhood's oeuvre. The Pre-Raphaelites had a considerable influence on a number of painters and there can be little doubt that John Stirling's painting 'The Lassie and the Lamb' falls safely into the Pre-Raphaelite category. John Stirling exhibited his first works at the Royal Academy in 1852 and continued to exhibit there until 1871, the year he died. His first paintings were exhibited from an Aberdeen address, although it seems he also lived in London, since the pictures were sent both from Aberdeen and London during his active years. A number of his later works are a result of his visits to Morocco in 1868 and 1869. His three exhibits at the Royal Academy in 1869 were 'Al Sok', a market in Morocco, 'Repas Honnetre' and Al-Ghirab, a water seller in Morocco.
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    Oil on Canvas, 56x40cm. Joseph Horlor 1809 - 1887 One of the best known West Country painters of his period and like many others working at this time he visited Wales on frequent occasions. He adopted a free and loose style and his sense of light for dramatic effect is highly succesful. He exhibited at the Royal Academy, Suffolk Street and other principal galleries.
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    Watercolour, 44x54cm. Joseph Twigg 1884 - 1912 Provenance : Dudley Gallery (original label verso). A superb example of the work of watercolourist Joseph Twigg. In original condition it is mounted in an excellent water gilded watts frame. The artist specialised in landscape and architectural subjects and exhibited in London at principal galleries that included the Royal Academy and the Royal Institute. His principal gallery, the Dudley Gallery, was a regular venue for his work. He lived at various times in Walton on Thames, Eastbourne and Northwood in Middlesex.
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    Oil on Board, 60x80cm. Joyce Critchley Haddon R.B.A., N.E.A.C. b.1915 Joyce Haddon studied at Cambridge and the Royal Academy schools where she won the Creswick medal for landscape and the Landseer prize for landscape, drawing and painting from the antique. Her work was exhibited at the Royal Academy with exhibitions in Paris, Sydney, Belfast, Birmingham and many more. She was elected a member of the Royal Society of British Artists and the New English Art Club, showing her work regularly at their annual exhibitions. Her daughter, the journalist Celia Haddon said of her mother, 'she saw the inward light in the commonplace'.