‘Going to Market, Woking Common’ by George Cole RBA (1810-1883). The painting is signed by the artist and dated 1853 in which year it was exhibited at the Society of British Artists in London. George Cole was one of most successful landscape painters of the mid-19^th century whose first important patron was the British Prime Minister, Sir Robert Peel. Cole first exhibited in London in 1838 at the Suffolk Street Gallery of the Society of British Artists and made his debut at the Royal Academy in 1849. Two years later he was be elected a member of the Society of British Artists, and later its Vice-President in 1867. Cole’s son George Vicat Cole who was taught by his father went on to become a Royal Academician and one of the late 19th century’s finest landscape painters. In the latter’s biography, George Cole was remembered as “a man of great capabilities and force of character. His native genius raised him from an obscure position to an honourable place in the ranks of English artists.” Between 1838 and 1883 Cole exhibited 223 at the Royal Society of British Artists, 19 at the Royal Academy, and 35 at the British Institution in London. Today, paintings by George Cole can be found in the collections of Manchester City Galleries, Museums Sheffield, and the Royal Academy of Arts 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) 80cm x 107cm (31½” x 42”) Dimensions: (canvas only) 61cm x 87cm (24” x 34”) Medium: Oil on canvas. Provenance: 1864; exhibited at the Royal Society of British Artists (cat.no.435). 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 cleaned, restored, and re-varnished. Ready to hang.  

‘Fabbriche di Careggine’ by Edmund John Niemann (1813-1876). Fabbriche di Careggine is the name of a Italian ghost village that today lies beneath Vagli di Sotto, a man-made lake in Tuscany. Prior to its flooding in 1953 the village was home to a community of subsistence farmers who raised sheep and Garfagnana goats. The painting depicts one of these goatherds and a young woman riding out from the village at sunrise. It is not uncommon for paintings by one member of famous family of artists to be mistakenly attributed to a relative; a picture by “the Elder” is erroneously credited as being by “the Younger” and the work of one brother is confused with another, and so on. In 19^th century British art, the paintings of the Williams, Herring, and Pether families spring to mind. But surely no two English artists have had their work so routinely confused as those of Edmund John Niemann and his son Edward Henry Niemann. The paintings of the younger Niemann are perfectly competent and eternally popular but the work of the father, Edmund John Niemann is - in terms of painterly quality and artistic significance - vastly superior. Where the paintings of Edward Niemann are workmanlike, commercial, and numerous those of his infinitely more talented father are masterful, romantic, and rare. Throughout his highly successful career as one of England’s most eminent landscape painters of mid-19^th century, Edmund John Niemann was widely thought of as the heir of Turner, Wilson, and Peter de Wint. Between 1844 and 1872, Edmund John Niemann exhibited 29 paintings at the Royal Academy, 45 at British Institution, and 40 with the Royal Society of British Artists at the Suffolk Street Gallery. Today, works by Niemann Snr. can be found in the Victoria & Albert Museum, the British Museum & Gallery, the Museum of London, and the Walker Gallery in Liverpool. 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) 60cm x 74cm (23½” x 29”). Dimensions: (canvas only) 46cm x 61cm (18” x 24”). Medium: Oil on canvas. Provenance: Private collection. Presentation: Bespoke gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘The River Wye at Chepstow Castle’ by Frederick William Watts (1800-1870). Frederick Watts entered the Royal Academy Schools in 1817 where he was awarded two medals of excellence. During his long and successful career F.W. Watts was considered the most important follower of John Constable (1776-1837), but although the two artists undoubtedly shared a passion for depicting waterside vistas of the English countryside Watts’ brushwork is lighter and more delicate, and his palette is quite distinctive; important factors in determining the authenticity of his paintings which he invariably left unsigned. Between 1821 to 1862, Frederick Watts exhibited 76 times at Royal Academy, 108 at the British Institution, and 65 with the Royal Society of British Artist at the Suffolk Street Gallery. Today, paintings by F.W. Watts can be found in the Tate Britain and the Victoria and Albert Museum in London, the Ashmolean Museum in Oxford, the Lady Lever Art Gallery in Liverpool, and the Metropolitan Museum of Art in New York. 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) 59cm x 79cm (23” x 31”). Dimensions: (canvas only) 47cm x 67cm (18½” x 26½”). Medium: Oil on canvas. Provenance: Private UK collection. Presentation: Bespoke gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘The River Thames at Leigh by Moonlight’ by Henry Pether (1800-1880). The painting is signed by the artist and dated 1851 and is presented in a bespoke gold metal leaf frame.

• Visit the News & Articles page of the Academy Fine Paintings website for much more about the life and career of Henry Pether and the Pether Family.

Henry Pether was taught be his father, the eminent Georgian topographical painter Abraham Pether (1756-1812), and went on to became one of the most important English-born view painters of the 19th century. The attention to architectural accuracy and detail and the subtle colouring of Henry Pether’s atmospheric paintings of night were a major influence upon other artists such as John Atkinsone Grimshaw, half a century later. Between 1828 and 1865 Henry Pether exhibited at the Royal Academy, the British Institution, and the Royal Society of British Artists. Today, paintings by Henry Pether are held in the collections of Tate Britain, the City of London, the Royal Museums in Greenwich, and the Yale Center for British Art, New Haven, Connecticut. 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) 74cm x 105cm (29” x 41”). Dimensions: (canvas only) 61cm x 92cm (24” x 36”). Medium: Oil on canvas. Provenance: Circa 1920: private collection of the Tudor-Hart family. 1974: Sotheby’s, Belgravia. 1998: Christie’s, Glasgow. Thence in private UK collection. Presentation: Bespoke gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘The British Fleet with a Vice-Admiral of the Red off Dover’ by Dominic Serres R.A. (1722-1793). French-born Dominic Serres didn’t just paint the drama of a life on the ocean wave, he lived it. Set for an unlikely career in the priesthood, the young Serres gave the Benedictine monks at his seminary the slip and made his way to Spain where he joined the crew of a vessel bound for the Caribbean. In 1745 Serres was captaining a Spanish privateer out of Havana when it was captured by a British frigate and was subsequently brought to England as a prisoner of war. Upon his release he turned his artistic talent and thorough knowledge of seamanship and naval vessels into a second career as a highly successful painter of seascapes. Serres was to become one of the most important marine painters of the early English School and many of his naval pictures were commissioned by British naval commanders such as Augustus John Hervey (1724-1779, First Sea Lord of the Navy) and Admiral Augustus Keppel (1725-1786, Commander-in-Chief of the Channel Fleet). The current work may have been a commission from the latter. In 1768 Dominic Serres became one of the Founder Members of the Royal Academy, and in 1780 he was appointed Marine Painter to King George III. Between 1761 and 1793 Thomas Serres exhibited 108 paintings at the Royal Academy, 21 at the Free Society and 8 with the Incorporated Society of Artists. Today, seascapes by Dominic Serres are held in the collection of the National Maritime Museum and in the English Royal Collection. 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) 122cm x 166cm (48” x 65¼”). Dimensions: (canvas only) 101cm x 146cm (39¾” x 57½”). Medium: Oil on canvas. Provenance: 1996: Sotheby’s, London. Private UK collection. Artory Registry ID: ART-APTDG74R. Artwork ID: BXCYDC5N Presentation: Giltwood swept frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘Tombs of the Sultans’ by Frank Dillon R.I. R.O.I. (1823-1909). The painting – which depicts the ancient Egyptian “City of the Dead” outside the old walls of Cairo – is signed by the artist and was exhibited at the Royal Academy in London in 1873. It is presented in a fine 24 carat gold leaf Orientalist frame. Frank Dillon studied at the Royal Academy Schools and as a private pupil of the eminent English vedute painter James Holland (1799-1870). In 1850 he made his debut at the Royal Academy, and subsequently became a regular exhibitor at all the major London and provincial venues. Frank Dillon was elected a full member of both the Royal Institute of Painters in Water Colour and the Royal Institute of Oil Painters.

• Discover more about 'Frank Dillon and the Orientalist Landscape' at the News & Articles page. 

Although he travelled extensively in the Iberian Peninsula, through Italy, the Middle East, and even Japan it was Frank Dillon’s striking pictures of the ancient monuments of Egypt that brought him his greatest success. Between 1854 and 1874 Dillon made four year-long sketching tours to North Africa where he became an early advocate for the preservation of the ancient monuments of Giza, Karnak, Thebes, and the island of Philae. Between 1850 and 1893 Frank Dillon exhibited 47 paintings at the Royal Academy, 34 at the British Institution, and hundreds of others at the New Watercolour Society, the New Gallery, the Grosvenor Gallery, the Dudley Gallery, and the Royal Society of British Artists. Today, oil paintings by Frank Dillon can be found in the Musée d'Orsay in Paris, the Victoria & Albert Museum, the Guildhall Art Gallery, the Royal Collection, the British Government Art Collection, the Paul Mellon Collection at the Yale Centre for British Art, Saint Louis Art Museum, and the Rhode Island School of Design Museum. 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) 108cm x 175cm (42½” x 69”). Dimensions: (canvas only) 85cm x 152cm (33½” x 60”). Medium: Oil on canvas. Provenance: 1873; Royal Academy Exhibition, London. Private collection. Presentation: Bespoke 24 carat gold leaf Orientalist frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘On the Arun, Sussex’ by George Vicat Cole RA, RBA (1833-1893). The painting is signed with the artist’s monogram and dated 1869, in which year Vicat Cole was elected an Associate of the Royal Academy. The painting was one of the first to bear his monogram, which he adopted upon becoming an ARA. Vicat Cole was made a full Royal Academician in 1880. George Vicat Cole was one of the most eminent and successful English landscape painters in the second half of the 19th century, considered by many to be the heir to John Constable and John Linnell. Vicat Cole trained under his father, George Cole RBA (1810–1883), and their work shares much in common. As well as emulating and eventually surpassing his father’s technical skill, Vicat Cole’s colouring and attention to detail owes something to the Pre-Raphaelite landscapes of William Holman Hunt, John Inchbold, and William Dyce. It was the greatest Pre-Raphaelite of them all, John Everett Millais, who championed Vicat Cole’s early career and the former’s presence on the Royal Academy hanging committee resulted in Vicat Cole’s painting ‘Spring’ being hung ‘on the line’ (at eye level, the most favourable and prestigious position) in the RA Exhibition in 1865. By the 1880’s Vicat Cole’s only rival as England’s greatest living landscape painter was Benjamin Williams Leader RA, although arguably the latter’s greatest work was already behind him. Between 1852 and 1892 George Vicat Cole exhibited 76 paintings at the Royal Academy, 10 at the British Institution, and 48 with the Royal Society of British Artists in 1858. Today, the paintings of George Vicat Cole can be found in the Royal Academy, Tate Britain, and the Victorian and Albert Museum in London, Manchester Art Gallery, Glasgow Museum, the National Museum in Cardiff, the Walker Gallery in Liverpool, the Laing Gallery in Newcastle, and in the National Collection of the British Government, among many others. 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) 85cm x 120cm (33½” x 47¼”). Dimensions: (canvas only) 67cm x 103cm (26½” x 40¼”). Medium: Oil on canvas. Provenance: 1992; Sotheby’s London. 2010; Sotheby’s, London. Private UK collection. Presentation: Newly commission gold metal leaf frame. Literature: 1886; ‘The Life and Paintings of Vicat Cole’ by Robert Chignell. 1988; ‘The Cole Family of Painters’ by T.J. Barringer (published 1988). Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘Piazza San Marco from the Palazzo’ by Edward Pritchett RWS (1807-1876). The painting – which depicts St. Mark’s Square and the Campanile seen from the Porto della Carta entrance to the Doge’s Palace in Venice – is presented in a newly commissioned Chippendale design gold metal leaf frame. Edward Pritchett was one of the most gifted and successful British vedute painters of the 19^th century. Unlike a great many of his contemporaries, Pritchett spent time working in Venice whilst on a sketching tour of Europe in 1828. Every other biography of Pritchett you will have ever read will claim that “little is known of his life” other than he “spent more than three decades living and working in Venice”. Neither statement is true. For very much more about the life and work of Edward Pritchett visit the News & Articles page of the Academy Fine Paintings website. Between 1828 and 1864 Edward Pritchett exhibited a total of twenty-three paintings at the Royal Academy, the British Institution and with the Society of British Artists at the Suffolk Street Gallery. Today his work can be found in numerous important collections including the Victoria and Albert Museum in London and the Yale Centre for British Art in New Haven, Connecticut. 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) 61cm x 51cm (24” x 20”). Dimensions: (canvas only) 46cm x 36cm (18¼” x 14¼”). Medium: Oil on canvas. Provenance: Private UK collection. Presentation: Newly commissioned Chippendale design gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.  

‘Venice by Moonlight’ by Henry Pether (1800-1880). The painting – which depicts an extensive nocturnal view of the Grand Canal with the Palazzo Pisani Gritti to the left and the Dorsoduro to the right, the Santa Maria della Salute at the Punta della Dogana, and the Ducal Palace and St Mark’s in the background – is signed by the artist and presented in its original 19^th century giltwood frame.

• Visit the News & Articles page for much more about the life and career of Henry Pether.

Henry Pether was taught by his father, the eminent Georgian topographical painter Abraham Pether (1756-1812), and went on to became one of the most important English-born view painters of the 19^th century. The attention to architectural accuracy and detail, and the subtle colouring of Henry Pether’s atmospheric paintings of night were a major influence upon other artists such as John Atkinsone Grimshaw, half a century later. Between 1828 and 1865 Henry Pether exhibited at the Royal Academy, the British Institution, and the Royal Society of British Artists. Today, paintings by Henry Pether are held in the collections of Tate Britain, the City of London, the Royal Museums in Greenwich, and the Yale Center for British Art, New Haven, Connecticut. 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) 85cm x 116cm (33½” x 45½”) Dimensions: (canvas only) 61cm x 91cm (24” x 36”) Medium: Oil on canvas. Provenance: Private UK collection. Presentation: Original 19^th century giltwood frame. Condition: Very good. Newly professionally cleaned 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.

‘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.