• Sold
    Oil on Canvas, 19x26cm. Edwin Harris 1855 - 1906 Whenever interest is shown in the work of Edwin Harris it always seems to be centred around the years he spent in Newlyn in the company of Stanhope Forbes and the other Newlyn artists. This has meant that his work before he went to Newlyn has tended to be ignored, even though he was already exhibiting at the RBSA in 1877. A landscape, genre and figure artist, Harris was born in Ladywood, Birmingham, where he was educated locally and met W. A. Breakspeare who was to become his lifelong friend. After receiving his initial training at the Birmingham School of Art he went to Verlat's Academy in Antwerp, where he met Breakspeare again, who was already a student there. After returning to Birmingham in 1880 Harris made several exploratory trips to Newlyn, and finally settled there in 1883. He spent twelve happy years in Newlyn, which were marred only by the death of his wife. During that time her painted mostly scenes of pretty girls against a background of a cottage interior, or anecdotal subjects which sometime featured old men, as in 'Resting' above. Unlike Stanhope Forbes, Harris did not seem to have any empathy with the local fishing folk. Fred hall painted an excellent portrait of Harris which shows him as a heavily moustached, faintly lugubrious-looking man with a pipe drooping from his mouth. The portrait is now in the possession of the Tate Gallery. This Painting is illustrated in 'A Companion to Victorian and Edwardian Artists' by Adrian Vincent.
  • Sold
    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.
  • Sold
    Oil on Canvas, 16x20cm. Dorothea Sharp R.B.A., R.O.I., V.P.S.W.A. 1873 - 1955 Dorothea Sharp was considered as one of the greatest artists of her time. Born in Dartford, Kent she studied painting both in England and France. Her first paintings were of an academic nature. Her style changed dramatically having seen the work of the impressionist painters and with the encouragement of George Clausen and Sir David Murray she developed a highly distinctive style. She exhibited with considerable success at the Royal Academy and other leading London galleries. In the 1920's she with her good friend and fellow artist Marcella Smith, moved to St. Ives - both of whom became active members of the St. Ives Society of Artists.
  • Sold
    Oil on Canvas, 14x17cm. Fulton R.S.W.A. 1848 - 1930 Fulton was born in Parkhead near Glasgow, and studied at the Glasgow School of Art. He was elected R.S.W. in 1890 and had a long and successful career exhibiting at the London galleries and abroad. He excelled at this type of subject, capturing the landscape of rural Scotland in a sensitive and original manner. He lived and worked for most of his life in Glasgow, exhibiting at both The Royal Scottish Academy and the Glasgow Institute.
  • Sold
    George Bunn b.1895 An outstanding marine painting by George Bunn, a relatively early impressionist artist of whom little is known. He had an address in London at the time he exhibited individual works at the Glasgow Institute, the Royal Scottish Academy and the Royal Hibernian Academy. The confident and assured style employed by the artist may suggest that he had studied on the continent. Further research will no doubt reveal more.
  • Sold
    Oil on Canvas, 11x8cm. Austin Winterbottom exh. 1887 - 1908 An excellent work by the Sheffield landscape painter Austin Winterbottom. Rarely on the market, this little-known artist was a highly imaginative and skilled painter. He worked almost exclusively in the north of England but exhibited on a number of occasions at the Royal Academy, the Royal Society of British Artists and the Manchester City Art Gallery.
  • Sold
    Watercolour, 7x10cm. Wendela Boreel b.1895 Probably Sickert's favourite pupil, she was one of 'Sickert's Girls'. She studied at the Slade under Henry Tonks and was later to be installed in Sickert's studio in Mornington Crescent and became Sickert's most admired pupil. She exhibited with considerable success in London at the Royal Academy, the New England Art Club etc., and had her first one-man show at the Walker Gallery in Bond Street. She worked in various mediums and was a fine etcher.
  • Sold
    Oil on Canvas, 57x50cm. 1902 - 1990 Alice Khon was a student of Madeleine Planty. She later studied at the L'Ecole des Beaux Arts de Lyon. At about this period she befriended Rene Dumas, Pierre Pelloux, Antoine Chartres and Henri Vielly. These artists exhibited together as 'Les Nouveaux'. In 1936 Khon met Pierre Bonnard and Foujita. She became friends with the artist Salvado who was Picasso's model for the painting 'L'Arlequin' Khon also modelled for Picasso. In 1941 she exhibited at 'Galerie Roger' in Lyon. In 1941 Khon became a member of the French Resistance during World War II changing her name to Marie Claude and became the secretary for the Regional State Major of Combat.
  • Sold
    Oil on Board, 10x7cm. Charles Wellington Furse A.R.A., N.E.A.C., I.S. 1868 - 1904 An exceptional talent, Furse tragically died in his thirties. Responsible for the iconic Edwardian painting 'Diana of the Uplands' which resulted in his being elected an associate of the Royal Academy when it was exhibited at the Academy in 1904. He studied at the Slade under Legros, in Paris at the Academie Julien and then at the Westminster School of Art under Fred Brown. During 1899 - 1901 he worked on the decorative spandrels in Liverpool Town Hall. He visited Italy on two occasions, in 1893 and 1903. Sir Alfred Munnings admired him, saying 'He was a fine painter - he finished just as I began to paint'.
  • Sold
    Oil on Canvas, 20x11cm. William James Muller 1812 - 1845 Born in Bristol, the son of a Prussian refugee. As a young man Muller was apprenticed to J.B. Pyne but the indentures were cancelled after two years. He painted in and around Bristol, visited Wales and travelled up the Rhine to Switzerland, Venice, Florence and Rome. He made many drawings and sketches on his travels, which he later worked up into finished paintings. He was especially enthralled by Venice of which he painted many of his best pictures. In 1839 he visited Greece, Egypt, Malta and Naples and later northern France and Turkey. He is now best known for his Venetian and Middle Eastern scenes.
  • Oil on Canvas, 14x18cm. Dudley Hardy R.I., R.B.A., R.M.S., P.S. 1867 - 1922 An exceptional talent Dudley Hardy was the eldest son of the marine painter Thomas Bush Hardy. He studied first under his father and then at the age of fifteen was sent to the Dusseldorf Academy and studied under Crola and Lowenstein. He rebelled against the teaching methods of the Academy and left remaining in Dusseldorf painting landscapes and genre. However he did decide to return to the Academy for a further three years before returning to England. He then spent a spell at the Antwerp Academy under Verlat and for two years in Paris with Collin and Rossi. He evidently had a vivid imagination as he acted as 'war artist in the Sudan' for a periodical while living in London! He exhibited at the Royal Academy from 1885, and he quickly established his reputation with the showing in 1888 of his first large canvas Sans Asile. He painted many Eastern scenes and later a number of Breton genre subjects, he was also well known for his theatre posters that include the famous 'Yellow Girl'.
  • Sold
    Oil on Canvas, 22x16cm. Maccrossan 1863 - 1934 Ex private collection. Provenance: Royal Academy Exhibit 1898 'White Gigs' no. 513 (This was Mary Maccrossans first Royal Academy Exhibit, purchased by the Liverpool Corporation in 1928). One of the most gifted of the early St. Ives painters, Mary Maccrossan won the acclaim of not only her critics but also her fellow artists. She was born in Liverpool and studied at the Liverpool School of Art then at Delacluse's in Paris and finally in St. Ives with Julius Olsson. This exceptional work with its silver grey palette illustrates her at her best. She exhibited at numerous leading London and Provincial galleries. Further details available on request.
  • Sold
    Oil on Canvas, 28x22cm. Mason b.1947 Barry Mason specialises in painting historical naval subjects and deep sea sailing ships. He studied at the Exeter College of Art for three years. Exhibited at the R.S.M.A. from 1973.
  • Sold
    Milner R.B.C., R.W.A. d.1939 An artist with a long association with the early St. Ives School he specialised in landscapes. Born in Yorkshire he studied at the Wakefield and Doncaster Schools of Art and later at the Slade in London. He first exhibited at the Royal Academy in 1892 and from that date was a regular exhibitor at the leading galleries in London, the provinces and abroad. His work is held in several public collections.
  • Sold
    Thomas Stothard R.A. Provenance: J. S. Maas & Co Ltd., New Bond S 1755 - 1834 Born in London, attended school at Acomb, yadcaster and Ilford, Essex. Apprenticed to a draughtsman of patterns for brocaded silks in Spitalfields, and during his spare time he attempted illustrations for the works of his favourite poets. In 1778 he became a student of the Royal Academy, of which he was elected associate in 1792 and full academician in 1794. Among his earliest book illustrations are plates engraved for Ossian and for Bell's Poets; and in 1780 he became a regular contributor to the Novelist's Magazine, for which he produced 148 designs, including his eleven illustrations to Peregrine Pickle and his graceful subjects from Clarissa and Sir Charles Grandison. From 1786, Thomas Fielding, a friend of Stothard`s and engraver, produced engravings using designs of Stothard, Angelika Kauffmann, and of his own. He designed plates for pocket-books, tickets for concerts, illustrations to almanacs, portraits of popular actors. Among his more important series are the two sets of illustrations to Robinson Crusoe, one for the New Magazine and one for Stockdale's edition, and the plates to The Pilgrim's Progress, to Harding's edition of Goldsmith's Vicar of Wakefield, to The Rape of the Lock , to the works of Solomon Gessner, to William Cowper's Poems, and to The Decameron; while his figure-subjects in the superb editions of Samuel Rogers's Italy and Poems prove that even in old age his imagination was still fertile, and his hand firm. He is at his best in subjects of a domestic or a gracefully ideal sort; the heroic and the tragic were beyond his powers.His oil pictures are usually small in size. Their colouring is often rich and glowing, being founded upon the practice of Rubens, of whom Stothard was a great admirer. The "Vintage," perhaps his most important oil painting, is in the National Gallery. He was a contributor to John Boydell's Shakespeare Gallery, but his best-known painting is the "Procession of the Canterbury Pilgrims," also in the National Gallery, the engraving from which, begun by Luigi and continued by Niccolo Schiavonetti and finished by James Heath, was immensely popular. The commission for this picture was given to Stothard by Robert Hartley Cromek, and was the cause of a quarrel with his friend William Blake. It was followed by a companion work, the "Flitch of Bacon," which was drawn in sepia for the engraver but was never carried out in colour. In addition to his easel pictures, Stothard decorated the grand staircase of Burghley House, near Stamford in Lincolnshire, with subjects of War, Intemperance, and the Descent of Orpheus in Hell (1799-1803); the mansion of Hafod, North Wales, with a series of scenes from Froissart and Monstrelet (1810); the cupola of the upper hall of the Advocates' Library, Edinburgh (later occupied by the Signet Library), with Apollo and the Muses, and figures of poets, orators, etc. (1822); and he prepared designs for a frieze and other decorations for Buckingham Palace, which were not executed, owing to the death of George IV. He also designed the magnificent shield presented to the Duke of Wellington by the merchants of London, and executed with his own hand a series of eight etchings from the various subjects which adorned it. In the British Museum is a collection, in four volumes, of engravings of Stothard's works, made by Robert Balmanno.
  • Sold
    Frederick Brown N.E.A.C. 1851 - 1941 One of the most influential artists and teachers of his period, Fred Brown was one of the founding members with George Clausen, Sargent and Wilson Steer of the New English Art Club which held its first exhibition in 1886. Born in Chelmsford, Essex he was the son of a painter and art teacher. He studied first at the Royal College of Art and later in Paris under Bouguereau and Tom Fleury. He exhibited at numerous principal London galleries including the Royal Academy where he showed his celebrated work 'Hard Times'. He was Slade Professor from 1892 - 1918 and had an enormous influence on many of the most successful British painters of the early 20th Century. His work is held in a number of public collections including the Victoria and Albert Museum. He died in Richmond, Surrey in 1941 and had acquired an extensive collection of modern British paintings.