'Children of the New Forest' by Edgar Barclay (1842-1913). Depicting two girls gathering kindling in winter woodland, this very large painting is signed by the artist and was exhibited at the Royal Academy in 1901. All our paintings are sold in the finest condition they can be for their age having been professionally cleaned, conserved and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Edgar Barclay studied at the Dresden Academy of Art under Julius Schnorr (1794-1872) before moving to live and work in Italy as one of the ‘Etruscan School’ of expat British artists. Increasingly influenced by the work of the French Realist painter Jean-François Millet, Barclay found his greatest success with beautifully drawn English landscapes of field workers and woodland scenes of young women. Between 1868 and 1913, Edgar Barclay exhibited 42 paintings at the Royal Academy, 64 at the Grosvenor Gallery, and 13 at the New Gallery in Regent Street. Dimensions: (framed) 116cm x 179cm (46” x 70½”) Dimensions: (canvas only) 94cm x 156cm (37” x 61½”) Medium: Oil on canvas. Provenance: 1901; Royal Academy Exhibition. Private UK collection. Presentation: Newly commissioned bespoke gold metal leaf frame. All of the new frames we commission are especially made for us to order by one of the UK’s top period frame makers. Condition: Excellent. Newly professionally cleaned, restored, and re-varnished. Ready to hang.

‘Fire and Moonlight’ by Abraham Pether FSA (1752–1812). The painting – which depicts an extensive moonlit view across the City of London with a cottage on fire in the foreground – was exhibited at the Society of Artists Exhibition in London in 1790 and is sold with detailed provenance going back over 230 years. Such is the painting’s quality that for over 150 years it was thought to be by Joseph Wright of Derby (1734–1797) and was exhibited numerous times as such alongside many of Joseph Wright’s paintings then in the important private collection of Lord Belper of Kingston Hall. This contemporary view of London in the late 18th century is seen from One Tree Hill in what was once the Great North Wood three miles south-east of the capital; prominent amongst the dozens of famous landmarks of Georgian London is St Paul’s Cathedral.

• A detailed look of the life and work of Abraham Pether and his son Henry is now available at the News & Articles page of the Academy Fine Paintings website.

Between 1773 and 1811 Abraham Pether exhibited at 61 paintings at the Royal Academy, 39 at the Free Society, 24 at the Society of Artists, and at the British Institution in London. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Dimensions: (framed) 72.5cm x 87.5cm (28½” x 34½”) Dimensions: (canvas only) 56cm x 71cm (22” x 28”) Medium: Oil on canvas. Provenance: 1860s; collection of Edward Strutt, 1st Baron Belper (1801–1880), Kingston Hall, Nottinghamshire. 1989; sold by Sotheby's, London. Thence in private UK collection. Exhibited: 1790; the Society of Artists of Great Britain, London. 1870; Midland Counties Exhibition. 1883; Joseph Wright of Derby Exhibition. 1934; Bicentenary Exhibition of the Works of Wright of Derby. 1947; Joseph Wright Exhibition, Derby Art Gallery. Literature: 1907; ‘The Society of Artists of Great Britain 1760–1791, The Free Society of Artists 1761–1783’, by Algernon Graves. Presentation: Bespoke gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘On the Ribble, Summertime’ by Henry Dawson R.B.A. (1811-1878). The painting – which depicts cattle in the shade of a large tree on the river Ribble in Lancashire – is signed by the artist and dated 1867. Although a student of James Baker Pyne (1800-1870), the majority of Henry Dawson’s art instruction came from studying the landscapes of J.M.W. Turner (1775-1851). Dawson’s fine draftsmanship and colouring earned him a considerable reputation among many influential British artists before he ever exhibited at the major London galleries. Between 1838 and 1875 Henry Dawson exhibited at the Royal Academy, the British Institution, and the Royal Society of British Artists, to which he was elected a full member in 1875. During this period, his fame earnt him the patronage of two of the most important art collectors of Victorian Britain; James Orrock and John Burton, owners of numerous paintings by J.M.W. Turner. Following the death of the latter in 1851, John Burton told Henry Dawson that his “powers are not equalled by any living or working man." In 2000 Dawson's 1857 painting of a sunset over ‘The New Houses of Parliament, Westminster’ sold at Phillips in London for £185,000. Today, works by Dawson feature in the collections of the Walker Gallery in Liverpool and the Victoria and Albert Museum in London. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Dimensions: (framed) 92cm x 115cm (36¼” x 45¼”) Dimensions: (canvas only) 75cm x 98cm (29½” x 38½”) Medium: Oil on canvas. Provenance: Private UK collection. Literature: ‘The Life of Henry Dawson, Landscape Painter’ (1891) by Alfred Dawson. Presentation: Fine quality gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘The Pass of Aberglaslyn, Beddgelert, North Wales’ by Edward Henry Holder (1847-1922). The painting is signed by the artist and dated 1888 in which year it was exhibited at the Royal Society of British Artists in London. Presented in a fine quality, bespoke gold metal leaf frame. Edward Henry Holder was a successful 19^th century painter whose landscapes of the Home Counties, Lake District, Devon, Derbyshire, Wales, and North Yorkshire show a fondness for river scenes invariably executed with an eye for detail, good colour, and sound perspective. Between 1864 and 1917 Edward Henry Holder exhibited 33 paintings at the Royal Society of British Artists and numerous others at the Royal Academy and the British Institution. Late in his career Holder made an extended trip to Southern Africa to visit the site of his son’s death a few years earlier in the Boar War. Whilst there he produced some striking paintings of Table Mountain and Victoria Falls and, in a pleasing footnote to the artist’s long career, one of these was subsequently accepted by the Royal Academy. In the summer of 1917 – no less than 44 years after Holder’s last picture had hung there – ‘Victoria Falls on the Zambesi, Rhodesia' was shown at London’s most famous exhibition venue. Dimensions: (framed) 69cm x 95cm (27¼” x 37½”) Dimensions: (canvas only) 51cm x 76cm (20” x 30”) Medium: Oil on canvas. Provenance: 1889; exhibited at the Royal Society of British Artists (cat no.244). Thence in private UK collection. Presentation: Newly commissioned bespoke gold metal leaf frame. All of the new frames we commission are especially made for us to order by one of the UK’s top period frame makers. Condition: Very good. Newly professionally cleaned, restored, and re-varnished. Ready to hang.  

‘A Day in the Country’ by William Frederick Witherington R.A. (1785-1865). The painting – which depicts a group of Victorian figures on a summer’s day before an extensive landscape of Wharfedale and the ruins of Bolton Priory – is signed by the artist and dated 1859, in which year it was exhibited at the Royal Academy. Bolton Priory was originally founded in the 12th century as an Augustinian monastery known as Bolton Abbey. When King Henry VIII ordered the Dissolution of the Monasteries in 1539 the priory was abandoned and fell into ruin, but by the early 19th century interest in the Picturesque saw its Gothic ruins become one of the most popular destinations for Victorian day-trippers. William Frederick Witherington entered the Royal Academy Schools in 1805. After making his debut at the Royal Academy in 1811, Withington exhibited there every year until 1863. Over the course of his long career, he found great success as a painter of well-executed pastoral landscapes and subject pictures in the manner of George Morland and David Wilkie. He was elected an R.A. in 1840. Between 1808 and 1863, Witherington exhibited 138 paintings at the Royal Academy and 62 at the British Institution. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Dimensions: (framed) 84cm x 110cm (33” x 43¼”) Dimensions: (canvas only) 66cm x 93cm (26” x 36¼”) Medium: Oil on canvas. Provenance: 1859; exhibited at the Royal Academy (cat. no. 377. Private UK collection. Presentation: Fine quality gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.

‘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 Samuel Palmer and without him neither artist’s reputation would be so elevated as it is today. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Dimensions: (framed) 68cm x 89cm (26¾” x 35”) Dimensions: (canvas only) 49½cm x 71½cm (19½” x 28¼”) Medium: Oil on canvas. Provenance: 1892; ‘The Life & Work of John Linnell’ by A.T. Story. Private UK collection. Presentation: Fine quality gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘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 landscape – is signed by the artist and was exhibited at the Royal Academy in London in 1857. It was hung with the following line from ‘A Pastoral Ode’ by the poet, William Shenstone; “Where coots in rushy dingles hide and moorcocks shun the day”. Academy Fine Paintings only offers artwork for sale in the finest condition it can be for its age, having been professionally cleaned, conserved, and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Arthur James Stark was the son James Stark (1894-1859), a leading member of the Norwich School of English landscape painters. In addition to the early teachings of his father, by the age of eight A.J. Stark was studying figure drawing with the animal painter Edmund Bristow (1787-1876) and in 1849, entered the Royal Academy Schools. Between 1848 and 1887 Stark exhibited 36 pictures at the Royal Academy, 33 at the British Institution, 51 at the Society of British Artists, and another sixty at other major venues. Dimensions: (framed) 63cm x 81cm (24¾” x 32”) Dimensions: (canvas only) 46cm x 65cm (18” x 25½”) Medium: Oil on canvas. Provenance: 1857; exhibited at the Royal Academy in London (cat no. 214). Thence in private UK collection. Presentation: Fine quality gold leaf frame. Condition: Very good. Newly professionally cleaned, restored, and re-varnished. Ready to hang.  

‘Llyn Idwal, North Wales’ by Sidney Richard Percy (1822-1886). The painting – which depicts cattle watering at the edge of the famous lake in Snowdonia – is signed by the artist and dated 1885. ‘Llyn Idwal, North Wales’ was the final painting of Sidney Richard Percy’s to have been exhibited at the Royal Academy. It is presented in a fine quality, bespoke gold metal leaf frame. All our paintings are offered in excellent condition, having just been professionally cleaned, restored and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Sidney Richard Percy was the fifth – and most gifted – son of the English landscape painter Edward Williams (1781-1855), one of the most famous families in British art history. Just as his elder brothers Henry John Boddington (1811-1865) and Arthur Gilbert (1819-1895) had done, Sidney Williams changed his name in order to distinguish himself from the other members of the Williams family. Between 1842 and 1886 Percy exhibited at all the leading Victorian art venues showing 76 paintings at the Royal Academy, 48 at the British Institution, and 73 with the Royal Society of British Artists at the Suffolk Street Gallery. Dimensions: (framed) 80cm x 110cm (31½” x 43¼”) Dimensions: (canvas only) 61cm x 91cm (24” x 36”) Medium: Oil on canvas. Provenance: Private UK collection. Presentation: Newly commissioned bespoke gold metal leaf frame. All of the new frames we commission are especially made for us to order by one of the UK’s top period frame makers. Condition: Excellent. Newly professionally cleaned and re-varnished. Ready to hang.

‘Near Moel Siabod, North Wales’ by Sidney Richard Percy (1822-1886). The painting – which depicts a figure herding cattle before an extensive mountain landscape in Snowdonia – is signed by the artist and presented in a fine quality, bespoke gold metal leaf frame. All our paintings are offered in excellent condition, having just been professionally cleaned, restored and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Sidney Richard Percy was the fifth – and most gifted – son of the English landscape painter Edward Williams (1781-1855), one of the most famous families in British art history. Just as his elder brothers Henry John Boddington (1811-1865) and Arthur Gilbert (1819-1895) had done, Sidney Williams changed his name in order to distinguish himself from the other members of the Williams family. Between 1842 and 1886 Percy exhibited at all the leading Victorian art venues showing 76 paintings at the Royal Academy, 48 at the British Institution, and 73 with the Royal Society of British Artists at the Suffolk Street Gallery. Dimensions: (framed) 80cm x 110cm (31½” x 43¼”) Dimensions: (canvas only) 61cm x 91cm (24” x 36”) Medium: Oil on canvas. Provenance: Private UK collection. Presentation: Newly commissioned bespoke gold metal leaf frame. All of the new frames we commission are especially made for us to order by one of the UK’s top period frame makers. Condition: Excellent. Newly professionally cleaned and re-varnished. Ready to hang.    

‘Vale of the Conwy’ by Samuel Lines (1778-1863). The painting – which depicts a single female figure in Welsh dress walking with a goat in an extensive mountain landscape – is signed by the artist and inscribed verso. All our paintings are sold in the finest condition they can be for their age having been professionally cleaned, conserved and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Samuel Lines was one of the most influential landscape artists and teachers of the early English School. Lines studied drawing under Joseph Barber at his academy in Birmingham alongside his friend and contemporary David Cox. In 1809 Lines became one of the founder members of the Birmingham Academy of Arts at which he both exhibited and taught. Lines’ many pupils included Thomas Creswick, and Lines’ own five sons. Between 1817 and 1833 the artist also exhibited at the Royal Academy in London. Dimensions: (framed) 82cm x 109cm (32¼” x 43”) Dimensions: (canvas only) 65cm x 92cm (25½” x 36¼”) Medium: Oil on canvas. Provenance: Private UK collection. Presentation: Newly commissioned bespoke gold metal leaf frame. All of the new frames we commission are especially made for us to order by one of the UK’s top period frame makers.

'The Parting Day’ by Henry Hillier 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 giltwood frame. As with all of the original antique oil paintings we sell it is offered in the finest condition it can be for its age, having just been professionally cleaned and re-varnished. Clients should also note that fully insured, tracked and signed for international shipping is complimentary. Henry Deacon Hillyer Parker studied at St. Martins School of Art and later at the Royal Academy schools in London. Parker specialised in pastoral landscapes of the River Thames and the Home Counties of England. Like Frank Holl, Sir Hubert Herkomer, and Sir Luke Fildes, Parker also worked as an illustrator for the Illustrated London News. Unusually for such a popular and successful artist Henry Parker never exhibited his work in London but instead in the US and Canada, where his work continues to be popular to this day. Dimensions: (framed) 99cm x 137cm (39” x 54”) Dimensions: (canvas only) 80cm x 114cm (31½” x 45”) Medium: Oil on canvas. Provenance: Private UK collection. Presentation: Newly commissioned bespoke gold metal leaf frame. Condition: Very good. Professionally cleaned and re-varnished. Ready to hang.  

'Morning in North Wales' by Edwin Henry Boddington (1836-1905). The painting - which depicts an extensive view of sunrise over a Welsh lakeland landscape - is signed by the artist and dated 1867, in which year it was exhibited at the Royal Society of British Artists in London. The painting hangs in a fine quality gold metal leaf swept frame. As with all of the original antique oil paintings we sell it is offered in excellent condition, having just been professionally cleaned, restored and re-varnished. Clients should also note that tracked and signed for international shipping is complimentary. Edwin Henry Boddington first exhibited in London aged 17 in 1853. Like his father – the eminent landscape artist Henry John Boddington (1811-1865) – his favourite subjects were sunrise and sunset scenes of the River Thames and North Wales. Edwin Bonnington’s work of the 1850s and ‘60s displays all of the fine detail and skilful lighting effects of his father’s best work. In the first 15 years of his career Edwin Henry Boddington exhibited extensively at the Royal Academy, the British Institution, and especially with the Royal Society of British Artists but after 1869 the quality of his work fell dramatically. A fondness for high living led him into bankruptcy and he was imprisoned for debt and then divorced by his wife. From 1870 Boddington’s work became routine and clearly painted to keep the wolf from the door. Although good prices are still achieved for his pictures after this date, in my opinion the only paintings by E.H. Boddington worth collecting are those executed before 1869. These examples can be very special, and every bit as accomplished as the work of the artist’s father and his uncle, Sidney Richard Percy. The large example from 1867 being offered here is a wonderful testament to what Boddington could achieve before his private affairs got the better of him. The painting comes from the private collection of the Matthews family of Great Witchingham Hall, one of the finest stately homes in Norfolk. Dimensions: (framed) 92cm x 142cm (36” x 56”) Dimensions: (canvas only) 76cm x 127cm (30” x 50”) Medium: Oil on canvas. Provenance: 1867, exhibited at the Royal Society of British Artists; private collection of Great Witchingham Hall, Norfolk. Presentation: Newly commissioned bespoke gold metal leaf frame. All of the new frames we commission are especially made for us to order by one of the UK’s top period frame makers. Condition: Excellent. Newly professionally cleaned, restored, and re-varnished. Ready to hang.