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James N Lee (active 1873-1911)
Portrait of a Girl with Breakfast Tray
This charming British Victorian portrait oil painting is by exhibited artist James N Lee. Painted circa 1875 it is a three-quarter length portrait of a young girl dressed in red with white lace neck and cuffs and a red hairband with bow holding back her long dark hair. She is semi profile but turning to look at the artist/viewer, rich drapes behind her. In her hands she is holding a breakfast tray, complete with an egg in a shiny silver egg cup. Who is she taking breakfast to? Is it Mother's Day? Is someone unwell? She is certainly not dressed as a maid. There is superb detail in the different textures - shiny egg cup, China cup, the draping tray cloth and lace of her dress - all quite beautiful and showing off the artist's skill. The brushwork is also superb and the colours vibrant. This is a lovely British Victorian domesticated scene, very pleasing to the eye and an excellent example of Lee's work.
This simply stunning British Impressionist landscape oil painting is by much respected artist Bertram Priestman. Painted in 1917, the composition is cattle watering in a river in the foreground at Wharfedale. The river's course is just visible through the trees at the base of a hill with the sun beginning to set beyond, drenching the sky and scene in the most beautiful light, reflected in the water. The brushwork and detail are absolutely superb. This is a fantastic painting and an excellent example of Priestman's work.
Autumnal Evening on the Banks of the River Trent, Wilford Nr Nottingham
This stunning, large British mid 19th century exhibited river Trent landscape oil painting by noted artist Henry Dawson was described as 'one of the Principle Pictures of 1858' in The Life of Henry Dawson by Alfred Dawson. It was painted in 1858 and is signed and dated with an inscription as the title on the reverse. It was exhibited at the British Institute the same year. The artist regularly visited Nottingham where he had family connections. He is recorded for instance as travelling to Nottingham in October 1858. The river Trent at Nottingham was a favourite subject of Dawson's and one which he returned to on many of his visits to Nottingham. His friend and fellow artist William Henry Knight wrote that Dawson had reached a level in painting that will place him 'immensely above any living landscape painter'. After mentioning the impiety of going beyond Turner he continued: 'One thing I will venture to affirm...is that Turner has never painted so luminous a sun as yours.'
Indeed, Autumnal Evening on the Banks of the Trent, Wilford near Nottingham depicts the river to the right and the bank to the left with cows watering in the evening sun with trees further down stream. The river has the most beautiful reflections of the descending sun. The colours in the sky and water are just stunning as is the brushwork and details. This large and impressive British Victorian exhibited river landscape oil painting has excellent provenance including exhibition history, previous owner and literature citation and is an excellent example of Dawson's work.
Signed and dated 1858, and with inscription as title on the reverse and further inscription 'H Dawson No.1'
Unframed.
Provenance British Institution, 1859 no.36. Nottingham University Art Gallery, Henry Dawson (1811-1878) Centenary Exhibition. no. 49.
Collection of Horace Woodward, Esq. Howes Gallery, Brighton. Edward C.Wigg, Esq. Loxwood Place, Loxwood. Sussex. Thence to the present vendor.
Literature: The Life of Henry Dawson, Landscape Painter 1811-1878, by Alfred Dawson, Seeley & Co. London 1891. p 72 where listed as ' one of the Principal Pictures of 1858'
This charming Scottish Edwardian Impressionist exhibited oil painting is by noted artist William Marshall Brown. It was painted in 1908 and exhibited the following year at the Scottish Royal Academy and entitled Whelk Gatherers. Whelks, a little pointed shellfish, were a popular street food in Victorian times so these may be for their tea or to sell. The composition is of two figures, a woman and boy, gathering whelks on a rocky coastline. They are both bent over in the foreground, the woman filling a basket and another woman is beyond them doing the same. It is a sunny day, the light illuminating their colourful clothing and the cresting waves and boats in the distance. The impressionistic brushwork of the coastal landscape is superb. This is a lovely Scottish Edwardian Impressionist oil painting with good exhibition provenance and an excellent example of Brown's work.
Signed and dated 1908 lower left.
Provenance Exhibited at the Royal Scottish Academy in 1909 no. 496 entitled Whelk Gatherers.
This stunning large British Victorian Scottish landscape oil painting is by noted Kent artist William Sidney Cooper. William trained with his great-uncle Thomas Sidney Cooper at his School of Art in Canterbury. Painted in 1899 when the artist was 45 years old, the composition is a herd of long horn sheep walking towards the artist/viewer on a path beside a Scottish loch. The shepherd is behind the sheep and beyond him rise mountains under a blustery sky, all beautifully reflected in the loch. The vantage point is quite low, so the sheep appear as if they are about to walk into your sitting room! The gold tones of the sheep are echoed in the surrounding landscape and beautiful gold frame the work is housed in. The details in the sheep's soft shaggy coats, contrasted with their amazing long and some curly horns is superb. In contrast, the landscape features are more impressionist blocks of colour, all with incredible dramatic effect. This is a simply stunning British Victorian animal landscape oil painting and a lovely example of Cooper's work.
Signed and dated W. Sidney Cooper 1899 lower left
Provenance Sale, Christie's Edinburgh, 26th October 2006, lot 48
Purchased at the above sale
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