Posts filed under Type: Genre

John Arthur Lomax (1857-1923)

John Lomax.jpg

John Arthur Lomax (1857-1923)

The Debate

Oil on Panel, 29 x 44cm / 42 x 57cm


Born in Manchester in 1857, Lomax studied at the Munich Academy in Stuttgart before returning to Manchester and finally to London. His paintings are mainly historical genre subjects with particular interest in the Civil War period, often with dramatic and sentimental quality. He is much noted for his ability to render in great detail individual expression and differences in quality of textures. This is a small and exquisite painting that keeps the viewer entranced with its clever composition, drama and detail. A fine example that great paintings come in all sizes. Lomax exhibited at The Royal Society of British Artists, Birmingham, Walker Art Gallery, Liverpool, Manchester City Art Gallery, The Royal Academy and the Royal Institute of Oil Painters. 

James Ward (1769-1859)

James Ward (1769-1859)

Fighting Dogs

Oil on Canvas, 29 x 34cm / 42 x 47cm

Born in London, and younger brother of William Ward the engraver, James Ward was influenced by many people, but his career is conventionally divided into two periods: until 1803, his single greatest influence was his brother in law George Morland; from that time, it was Rubens. From 1810 or so, Ward started to paint horses within landscapes; slightly later, he turned to very large-scale landscapes, of which Gordale Scar (Tate, London), completed in 1814 or 1815 and depicting Gordale Scar (Yorkshire) as an example of thesublime, is considered his masterpiece and a masterpiece of English Romantic painting.

James Ward was one of the outstanding artists of the day, his singular style and great skill set him above most of his contemporaries, markedly influencing the growth of British art. Regarded as one of the great animal painters of his time, James produced history paintings, portraits, landscapes and genre. He started off as an engraver, trained by William, who later engraved much of his work. The partnership of William and James Ward produced the best that English art had to offer, their great technical skill and artistry having led to images that reflect the grace and charm of the era. He was admitted for membership into the Royal Academy in 1811.

One of Ward's best-known paintings,The deer stealer, was commissioned in 1823 for the sum of 500 guineas by Ward's patron Theophilus Levett. When the work was finished, Levett pronounced himself delighted with the results, and consequently raised the remuneration to 600 guineas. Subsequently Ward was said to have been offered 1,000 guineas for the painting by 'a nobleman,' which he declined. The painting now hangs at Tate in London.

After Claude Lorrain (circa. 1604 - 1682)


After Claude Lorrain (circa. 1604 - 1682) 


Oil on Canvas, 132 x 100cm / 149 x 115cm

Claude Lorrain, born Gellee, in Vosges in Lorraine - then the Duchy of Lorraine, an independent state until 1766, one of five children, orphaned at twelve, went to live at Freiburg then moved to Rome and then to Naples, where he apprenticed for two years, from 1619 to 1621, under Goffredo (Gottfried) Wals. In 1625, returning to Rome he  became apprenticed to Augustin Tassi. He toured widely through Italy, France and Germany and at Nancy he painted architectural subjects on the ceiling of the Carmelite church. In 1627 Lorrain returned to Rome. Two landscapes made for Cardinal Bentivoglio earned him the patronage of Pope Urban VIII. From about 1637 he rapidly achieved fame as a painter of landscapes and seascapes. He apparently befriended his fellow Frenchman Nicolas Poussin; together they would travel the Roman Campagna, sketching landscapes. 

In order to avoid repetition of subjects, and also to expose the many spurious copies of his works, he made tinted outline drawings (in six paper books prepared for this purpose) of all those pictures sent to different countries; and on the back of each drawing he wrote the name of the purchaser. These volumes he named the Liber Veritatis (Book of Truth). This valuable work, engraved and published, has always been highly esteemed by students of the art of landscape. 

Landscape as a subject was considered unclassical and secular. Pure landscape, like pure still life painting or genre, was considered lacking in moral seriousness - in comparison to the prized mythic or religious scenes of this time. 

In this matter of the importance of landscape, Lorrain was prescient. Living in a pre-Romantic era, he did not depict those uninhabited panoramas that were to be esteemed in later centuries, such as with Salvatore Rosa. He painted a pastoral world of fields and valleys not distant from castles and towns. If the ocean horizon is represented, it is from the setting of a busy port. Perhaps to feed the public need for paintings with noble themes, his pictures include demigods, heroes and saints, even though his abundant drawings and sketchbooks prove that he was more interested in scenography.

John Constable described Claude Lorrain as "the most perfect landscape painter the world ever saw", and declared that in Claude's landscape "all is lovely - all amiable - all is amenity and repose; the calm sunshine of the heart". (From Wikipedia)

William Banks Fortescue (1850-1924)

William Banks Fortescue (1850-1924)

Sold to  private Collector UK 

Oil on Canvas 

Like several of his fellow Newlyners, William Banks Fortescue hailed from Birmingham. Although he is very much recognised as a Newlyn School painter, he spent the majority of his painting career living and working in the rival art colony some seven miles away at St Ives. 





William Mulready (1786-1863)

William Mulready (1786-1863)

Crossing the Ford

Oil on Canvas 28 x 23cm / 17 x 13cm

This beautiful oil sketch was done by Mulready in preparation for work his well known painting 'The Ford', painted at the height of his artistic career and hanging in the Tate, London, and which was exhibited to critical acclaim at the Royal Academy in 1842. A writer in the Art Union observed: ‘(The Ford) sustains the high reputation of its author; it is a work of surpassing beauty, grace and excellence – one of the most valuable paintings ever produced in England’ (Art Union, 1842, p.121).

'The painting is a closely-observed rural scene. A young girl is carried across a stream by two youths; their traveling companions wait in the shadows on foot and horseback and prepare to cross behind them. The background landscape is hilly and rocky, opening up to a distant blue horizon. As with Mulready’s other narrative works of the period, this rural idyll is imbued with symbolic meaning. The lyrical intensity of the scene and the close psychological connection between the three central figures echoes the theme of courtship Mulready explored in 1839 inThe Sonnet and First Love (both Victoria and Albert Museum, London). The theme of crossing water illustrating a rite of passage to adulthood was a familiar one, used by J.M.W. Turner (1775–1851) and other nineteenth-century artists and writers. Pointon (p.166) notes the painting’s implicit eroticism, acceptable to the Victorian spectator by virtue of its rural, Arcadian setting. A critic writing in 1852 remarked that the painting was: ‘composed into a charming bit of rusticity, treated with much purity of taste and feeling. The subject is one that might very easily have been vulgarised, though it was perfectly safe on that score in the hands of Mr. Mulready.’ (Art Journal, May 1852, p.158.) ' The Tate Gallery. 

Mulready gained a reputation for his innovative use of colour combining ‘the greatest quantity of light consistent with the greatest quantity of colour’ (quoted in Heleniak, p.136).  Mulready’s approach to colour was undoubtedly influenced by seeing works by the Venetian painters Titian (c.1485–1576) and Tintoretto (1518–94) at the British Institution ‘Old Masters’ exhibition of 1815. 

‘The works completed by him between 1839 and 1848 are the most perfect in story, colour and execution of any of his productions. The chiaroscuro is excellent, the colour rich and jewel-like, the execution refined and perfect of its kind.’ (Richard and Samuel Redgrave, A Century of Painters of the English School, London 1866, p.298.) 

Crossing the Ford was bought by Mulready’s patron Robert Vernon in 1842 for 600 guineas, in three installments, and was given by him to the nation in 1847. There is a related pen and ink drawing in the Henry E. Huntington Art Gallery, San Marino, Italy; a chalk cartoon for the work (now in a private collection) was exhibited at the Royal Academy, London in 1847. On the back of the panel is a sketch for another work on a similar theme by Mulready, The First Voyage 1833 (Bury Art Gallery), which shows a child in a tub being pushed and towed across a stream. 

George Morland (1763-1804)

George Morland (1763-1804)


Oil on Panel, 36 x 28cm / 60 x 52cm 


A touching subject matter and an excellent example of the work of one of Britain's most famous 18th Century painters. George Morland lived a very full and prolific life. He exhibited at the Royal Academy at the very young age of 10, and escaping from his father and taskmaster who apparently kept him virtual prisoner, making him draw and then selling his works and keeping the money, he went to Margate where he continued and developed his taste for a rollicking lifestyle of excess. 

Morland is infamous both for his excesses and for his skill as a draughtsman and his works are extremely sought after and well represented in National museums and private collections. 


Henrietta Rae (1859-1928)

Henrietta Rae (1859-1928) 

Lady Winifred Renshaw and her eldest child Thomas Renshaw 

Oil on Canvas, Signed and Dated 1903

Provenance: Estate of Captain Thomas A Renshaw and Mrs Anne Renshaw

Exhibited: Royal Academy 1903, No 193, Illustrated: Royal Academy Pictures, 1903, p. 37.

Lady Winifred Edith Renshaw was born Lady Winifred Edith Clements in 1875, th eldest daughter of Robert Bermingham Clements, 4th Earl of Leitrim and Lady Winifred Coke. 

Sold to Private Collector, UK 

William Joseph Shayer Senior (1788-1879)

William Shayer Senior (1788-1879)


70 x 89cm / 106 x 127cm Signed, Oil on Canvas

Best known for his figures, William Shayer Senior was a well known and popular painter of his time. His skill in the application of glaze sets his work apart from many of his contemporaries and he is well represented in Museums and Private Collections including The Tate Gallery, Victoria and Albert Museum, The Metropolitan Museum of Art, NYC and Glasgow Art Gallery. He is an important figure in Victorian landscape and genre painting.  

Shayer was a self-taught artist working and living in the south of England. He began his career working as a commercial painter on carriages and furniture before turning his hand to local scenes of woodlands, people working in the landscapes and typical farmyards and cottages. 

He collaborated very successfully with the artist Edward Charles Williams , Williams painting the landscapes and Shayer putting in the figures and animals. Having married twice and fathered ten children Shayer was assisted by his sons Edward Dasherwood Shayer (1821-1864), Henry Thring Shayer (1825-1894) and Charles Walker Shayer (1826-1914). His eldest son William Joseph Shayer Junior (1811-1892) painted in a similar style and his work is often confused with that of his father's. 



Bernard de Hoog (1866-1943)

Bernard de Hoog (1866-1943)


Oil on Canvas, Original Frame, 77.5 x 98cm / 114 x 134cm 

Acquired by a private collector, Asia. 

Bernard de Hoog, a Dutch artist, began his career following a commission to undertake a portrait of his merchant employer's wife. De Hoog had wanted to study art but had not been allowed to by his father and instead had entered into employment with this merchant, who was instrumental in encouraging De Hoog to then study. De Hoog was heavily influenced by the realism of the artists of The Hague School, in particular working under the famous Dutch master of animal painting Jan van Essen. 

In 1886 he came in to his own as an artist with his painting 'During the Sermon in the New Church' exhibited in Amsterdam that year. De Hoog was noted in his own lifetime as an artist of original talent, capturing with personal familiarity and skill the country lives and scenes of the Dutch peasants. His works were exhibited and sold internationally.  

This beautiful painting, in its original frame, showing a tender scene of a mother and her children, is very representative of De Hoog's skill and subject matter and is important in part due to its size being a fine example of De Hoog's larger and hard to find works.

This framed painting is for sale. Please contact us


Richard Buckner (1812-1883)

Richard Buckner (1812-1883)

Young Bacchus

Oil on Canvas

134 x 93cm / 160 x 120cm

SOLD to a Private Collector UK

A beautifully rich painting, with lovely gilt frame by the well known portrait and genre painter Richard Buckner. From beginning in his home studio Buckner, having left the army, he moved to Rome to study under Giovanni Battista Canevari (1789-1876). He became friends with John Gibson, Penry Williams and the young Lord Leighton who later painted Buckner's portrait in 'The Death of Brunelleschi' 1852. Buckner exhibited in Italy and France and at the Royal Academy, British Institute and the Society of British Artists from 1840-77. His work attracted patronage from Queen Victoria, The Prince of Wales and the Duke of Hamilton as well as numerous important clients. He was both well known and successful in his own lifetime. 

J F Herring Jnr. (1820-1907)

John Frederick Herring Junior (1820-1907) 

"The Ploughing Team" 

Oil on Canvas, 74 x 96cm / 98 x 120cm 

SOLD to a Private Collector UK

John F Herring Jnr. was well known for his farm and rural scenes, often with horses, following somewhat in the tradition of his father John Frederick Herring Snr (1795-1865) who was considered to be one of England's greatest Sporting and Equestrian artists, patronized by the English aristocracy. Herring Jnr was expose, through his father's connections, to both great art and wealthy patrons. Three of the four sons of Herring Snr became painters, often collaborating on single paintings. 


George Morland (1763-1804)

George Morland (1763-1804)

Shepherd & Shepherdess 

Oil on Canvas 33 x 27cm  / 48 x 40cm


An exquisite example of Morland's hand. The famous painter, known for his skill and his lifestyle, here gives us a beautiful intimate painting. It is in excellent condition and the frame is original. 

George Morland lived a very full and prolific life. He exhibited at the Royal Academy at the very young age of 10, and escaping from his father and taskmaster who apparently kept him virtual prisoner, making him draw and then selling his works and keeping the money, he went to Margate where he continued and developed his taste for a rollicking lifestyle of excess. 

Morland is infamous both for his excesses and for his skill as a draughtsman and his works are extremely sought after and well represented in museums. 

Henry John Boddington (1811-1865)

Henry John Boddington (1811-1865)

The Woodcutters

Oil on Canvas, 72 x 51.5cm / 87 x 66cm

Henry John Boddington was the second son of Edward Williams (1781-1855), and a member of the infamous family of British Painters. On marrying his wife Clarissa Doddington, he took her family name as his. After a few years of struggle and great poverty, Doddington became a very successful artist working in the Tames area and becoming sought after for his scenes of Surrey land and riverscapes. He first exhibited at the Royal Academy in 1837 and from then on until his death. He also exhibited at the Society of British Artists, Suffolk Street. He painted in Wales, Scotland and Yorkshire. 

Henry John Boddington is representative of the Victorian era of genre and landscape artists, well known, collected and well represented in many private and museum collections. 

George Morland (1763-1804)

George Morland (1763-1804)

The White Horse 1790

Signed, Oil on Canvas, 66 x 79cm


A very fine example of the work of one of Britain's most famous 18th Century painters. George Morland lived a very full and prolific life. He exhibited at the Royal Academy at the very young age of 10, and escaping from his father and taskmaster who apparently kept him virtual prisoner, making him draw and then selling his works and keeping the money, he went to Margate where he continued and developed his taste for a rollicking lifestyle of excess. 

Morland is infamous both for his excesses and for his skill as a draughtsman and his works are extremely sought after and well represented in National museums and private collections. 

This particular painting is exemplary of Morland's artistry in its' detail, composition, size and colour and included here a white horse, somewhat of a signatory of Morland's. 



Abel Hold (1815-1869)


Able Hold (1815-1869)


Oil on Canvas, 39.5 x 49cm / 70 x 80cm Original Frame

A beautiful example of Able Hold's work, this painting sits in its original ornate gilt frame. Exquisite detail in the textures and use of light, typical of Hold's technique. 

An artist well known for his birds and animals, Able Hold is well represented in Museum and private collections, a very good example of this era of British painting. 


Constant Artz (1870-1951)

Constant David Ludovic Artz  (1870-1951) 

A Family Group

Oil on Canvas, 17cm x 23cm / 32cm x 39cm

The son of David Adolph Constant Artz (1837-1890) Constant David Artz lived and worked in Holland. He studied at The Hague Academy, becoming a pupil of T. Offermans. His father Adolph Artz, who played a great role in nineteenth century genre painting, was the best known follower of Josef Israels, himself the most important member of the Hague School. 

Brother of Jacob and Matthijs, Willem Maris, was a great influence on Constant Artz, who, like his father, followed his love of nature and painted open-air cameos in a realistic style.  He was particularly drawn to depicting ducks, and there was a huge demand for this type of illustration in the nineteenth century.  ‘Ducks on a Riverbank’shows the birds basking in bright sunlight, the artist’s play of light discernable on their downy feathers.  This is an excellent example of a preferred milieu of the age: painting the riverbank with ducks either swimming or disporting at the water’s edge. 

The Hague school was a group of painters in the 1870s who came to embrace as their subject matter the native Dutch landscape and the everyday lives of its rural inhabitants, most notably the fisher folk of the coastal villages. Within a few years the Hague School artists’ works would prove incredibly popular throughout the world, perhaps because of the simpleness of their subjects in a time of modernity and turmoil. 


Frederick Yeates Hurlestone (1800-1869)

Frederick Yeates Hurlestone ( 1800-1869) 

Regency Sisters

Oil on Canvas, 124 x 99cm / 153 x 126cm Original Frame


Beginning his working life in the office's of his father's journal 'The Morning Chronicle' Hurlestone, very young, went to study under Sir William Beechey and later under Sir Thomas Lawrence. Two of England's greatest painters. He entered the Royal Academy Schools in 1820 and won a gold medal in 1823. He exhibited 37 works between 1821-1845 as well as works at the British Institute and at the Society of British Artists of which he was President from 1835-69. He painted portraits and historical subject matter and following visits to both Italy and Spain he painted Italian and Spanish genre scenes. His work is well collected and represented in museum and private collections.  

Charles Collins (1851-1921)


Alfred Jerome Charles Collins (1851-1921) 

Going To The Fair

176 x 88cm / 198 x 110cm oil on canvas

Charles Collins was born in Hampstead. He began painting landscapes with cattle and figures and became well known for these genre scenes both in oil and watercolour and also in etching and dry point. He worked as an illustrator for the publisher Ernest Nister. 

In 1876 he was living at Sherwood House, 12 Arundel Road, Dorking and in this year married Georgiana Waddingham at St Martin’s Church. They had nine children together who he often included in his work. Two of his of his sons later became painters.

Although spending time in Cornwall with his friend; Dorking artist; George Gardiner, he remained loyal to Dorking. For many years, retaining the post of Art Master at Dorking High School.

He died in September 1921, after being knocked down in Vincent Lane. Charles and Georgiana are both buried in Dorking Cemetery.

This painting is for sale please contact us