Edward Davies

Bradgate Park, Leicestershire - 19th Century Oil Painting - Royal Academy 1880

1880

‘Sheep in a Lane’ by John Linnell (1792-1882). The painting is signed by the artist and dated 1863. It is listed in the definitive catalogue of Linnell’s known works compiled by the artist’s biographer Alfred Story in 1892. John Linnell exhibited at the Royal Academy from the age of 15 and despite success as a portraitist, it was as a painter of poetical landscapes that gained him greatest acclaim. Unfortunately, his enormous popularity also earned him considerable jealousy, not least from John Constable who was always keen to spread malicious and unfounded gossip about his rival. In addition, Linnell’s entirely reasonable sense of self-worth and unwillingness to fawn over wealthy patrons (and to ensure they paid promptly for the paintings they had commissioned) was seen as impudence by the gentry and delayed his election as a Royal Academician. By the time the Academy was shamed into finally recognising him, Linnell, by then Britain’s most popular painter, turned down the belated invitation to apply for membership with typical poise. As a landscape artist Linnell was considered second only to JMW Turner. Upon his death in 1882, The Times obituary lamented that 'a glory seems to have faded from the domain of British Art. England mourns John Linnell, the most powerful of landscape painters since Turner died'. Between 1807 and 1881 John Linnell exhibited 177 paintings at the Royal Academy, and 92 at the British Institution. During his long career John Linnell was a patron and financial supporter of both William Blake and...

‘A Quiet Nook’ by Arthur James Stark (1831-1902). The painting – which depicts a moorcock wading in the shallows of a stream in an English woodland ...

‘In the Lledr Valley’ by Robert Gallon (1845-1925). The painting - which depicts a mother and child outside a Welsh cottage on a summer’s day - is signed by the artist and hangs in a...

'The Parting Day’ by Henry H Parker (1858-1930). The painting – which depicts figures and cattle on a country lane at sunset – is signed by the artist and hangs in a good quality gil...

‘Morning in North Wales’ by Edwin Henry Boddington (1836-1905). This large fine 19th century oil painting is signed by the artist and dated 1867, in which year it was exhibited at th...

‘Near Moel Siabod, North Wales’ by Sidney Richard Percy (1822-1886). The painting – which depicts a figure herding cattle before an extensive landscape in Snowdonia – is signed by th...

Claude Cardon British, (1864-1937) By the Riverside Oil on canvas, signed Image size: 13.25 inches x 20.25 inches Size including frame: 17.75 inches x 24.75 inches A tranquil sprin...

William Sidney Cooper British, (1854-1927) Cattle Watering near Canterbury Cathedral Oil on canvas, signed & dated 1923 Image size: 15.5 inches x ...

Colin Graeme Roe British, (1855-1910) Standing Proud Oil on canvas, signed Image size: 15.75 inches x 21.5 inches Size including frame: 26.5 inches x 32.25 inches A superb sporting painting of a setter with game in a rugged landscape by Colin Graeme Roe. The dog is posed in its distinctive pointing stance towards a fallen game bird. Two more birds are shown flying across a cloudy sky above a mountainous landscape. Colin Graeme Roe was born in Dunoon, Argyll in Scotland on 25 December 1855 to the artist Robert Henry Roe...

William Luker Snr British, (1828-1905) Sheep in a Sussex Lane with Pevensey Bay in the distance Oil on canvas, signed & dated 1875 Image size: 17.25 inches x 25.25 inches Size including frame: 23.25 inches x 31.25 inches A tranquil landscape scene of a shepherd and his flock resting in a lane near Pevensey Bay, Sussex by William Luker. The ruins of Pevensey Castle can be seen in the distance with the sea beyond. William Luker Snr was born in 1828 at Faringdon, Berkshire to William and Jane Luker (née Charlwood). His father was a plumber and glazier by trade and the family lived at London Street in Faringdon. Little is known about his early education and it is believed for the most part he was self -taught. However, given the quality of his work and the fact that his family were able to keep a servant, he may well have received some artistic tuition. By the early 1850’s, he had begun earning a living as an artist by advertising in local directories, earning commissions from local landowners. He made his debut at the Royal Society of British Artists in 1851 and was a prolific exhibitor there for over 40 years. He began exhibiting at the Royal Academy in 1852 and also exhibited at the British Institution. He married the artist Ada Augusta Margetts (1839-1930) on 27 October 1864. Their eldest son William Luker Jnr (1867-1951) also became a well-known artist. The couple soon moved to London where they lived at 22 Gloucester Terrace, Campden Hill from where they both exhibited. From 1867, they lived at 15 Sheffield Terrace in Kensington until 1874 when they moved for the final time to 22 Notting Hill Square, later renamed Campden Hill Square in 1893. He died at Campden Hill-square on 28 February, 1905. Luker specialised in landscapes featuring animals such as sheep and cattle, horses and deer. He travelled around visiting areas such as Sussex, Buckinghamshire, Kent, Wales and the Highlands. However, he also made trips to Egypt and Libya producing a series of Oriental scenes in the early 1860’s. His works show a great attention to detail and his use of a lighter palette gives his subjects a luminous quality that instantly attracts the viewer. Examples of his paintings are held by the Atkinson Art Gallery, National Library of Wales, Newstead Abbey...

William Henry Davis British, (1783-1865) The Brewery Yard Oil on canvas, signed & dated 1839 Image size: 27 inches x 35 inches Size including fram...

William Watson Jnr British, (1847-1921) Up Glen Goil, West Highlands Oil on canvas, signed & dated 1892, further inscribed verso Image size: 23.5 inches x 35.5 inches Size including frame: 36.25 inches x 48.25 inches This highly atmospheric and well executed painting by William Watson Jnr depicts Highland Cattle watering at Glen Goil. Glen Goil is a valley area of Argyll and Bute in the West Highlands. It is situated at the junction of Hell’s Glen and Gleann Mor and has the river Goil flowing through. Located around 2 miles from Lochgoilhead, it is well known as an area of outstanding natural beauty. Watson made several trips to the Highlands and produced a number of paintings of the locality, many of which included highland cattle such as this fine example. Another painting by him of Glen Goil is held by the Walker Art Gallery, Liverpool. William Watson was born in Islington in 1847, the son of the London miniature painter William John Watson (1810-1871) and his wife Caroline (née Butcher). His brothers Charles Watson (1837-1900) and Robert Watson (1855-1921) were also artists. His father seems to have travelled around and after spending time in Brighton, the family moved to Bransford Road in Worcester during the early part of the 1860’s. As well as being taught by his father, Watson received his early training in the studio of Sir Francis Grant PRA (1803-1878). He later became a pupil of Sir Edwin Henry Landseer RA (1802-1873) and Rosa Bonheur (1822–1899). Both Landseer and Bonheur had a great influence on his work and he began specialising in scenes of cattle and sheep. By 1866 he had become a full time artist and began exhibiting at the Royal Society of British Artists. Perhaps to take advantage of the inspiring scenery, Watson moved to Birkenhead, Cheshire where in 1871 he met and married Eleanor Davies who was from Caernarvonshire. Four of their children Sidney Watson (1881-1931), Caroline Ellen Watson (1871-1947), William Robert Charles Watson (1873-1928) and Walter James Watson...