‘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.  

‘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.  

‘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.  

‘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.  

‘Mermaid Beach’ by Henry Dawson RBA (1811-1878). The painting – which depicts a girl waiting for fishermen to unload their catch at Folkstone, with the White Cliffs of Dover in the background – is signed by the artist with monogram and presented in a fine English water-gilded landscape frame. The title of the painting refers to both the shape of the beach – which resembles the tail of mermaid - and to the young fish seller with the creel basket waiting by the newly landed boats hoping to have first pick of their catch. Throughout the 18th and 19th century, when local girls left school, they would be given a woven willow basket by their mothers and begin their working lives selling fish. As well as buying from market, girls would also wait on Mermaid beach for the fishing boats to return at dawn. Today, it is considered to be one of the most picturesque sands on the South Coast of England. Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. 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. • More about the life and career of Henry Dawson can be found at the News & Articles page of the Academy Fine Paintings website. 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 earned him the patronage of several of the most important art collectors of Victorian Britain, among them John Miller, James Orrock, and John Burton, all of whom owned important works by J.M.W. Turner. Following the death of the latter in 1851, Burton told Henry Dawson that his “powers are (now) 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. Dimensions: (framed) 87cm x 114cm (34¼” x 44¾”) Dimensions: (canvas only) 67cm x 93cm (26¼” x 36½”) Medium: Oil on canvas. Provenance: Private UK collection. Literature: ‘The Life of Henry Dawson, Landscape Painter’ (1891) by Alfred Dawson. Presentation: Gilded English landscape frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.

‘Thistledown’ by Benjamin Haughton (1865-1924). Signed by the artist and dated 1897, the painting is newly professionally conserved and presented in a fine gilded lime wood frame behind non-reflective UV resistant ArtGlassTM. Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. 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. After his graduation from Cambridge University in 1889, Benjamin Haughton moved to London where he enrolled at Sir Hubert von Herkomer's Art School at Bushey. Throughout his subsequent career he was renowned for his deep understanding of nature and exceptional draftsmanship. Between 1893 and 1922 Benjamin Haughton exhibited at the Royal Academy and the New Gallery in London, and at the Salon of the Académie des Beaux-Arts in Paris. Today, his work can be found in Tate Britain, Manchester City Art Gallery, Birmingham Museum, Bristol Museum and numerous other museums and galleries nationwide. Dimensions: (framed) 49.5cm x 61.5cm (19½” x 24¼”). Dimensions: (canvas only) 34.5cm x 46.5cm (13½” x 18¼”). Medium: Watercolour on paper, backed with acid-free mount. Provenance: Private collection. Presentation: Gilded lime wood frame. Condition: Very good. Newly professionally conserved and reframed behind UV resistant ArtGlassTM. Ready to hang.

‘Desert Scene near Cairo’ by Frederick Goodall R.A. H.R.I. (1822-1904). The painting – which depicts a mother and child with goats grazing by a tributary of the River Nile in Egypt - is signed by the artist with monogram and presented in fine handmade giltwood Orientalist frame. Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. 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. Frederick Goodall's first professional commission came at the age of 16, from the great Victorian engineer Isambard Kingdom Brunel. Whilst still in his mid-20s he was already one of the most critically acclaimed and financially successful painters in Britain. Between 1838 and 1902 Frederick Goodall exhibited at all the principal London venues, most prominently at the Royal Academy on 165 occasions. In 1852 he was elected an Associate of the Royal Academy and a full Royal Academician. Dimensions: (framed) 59cm x 112cm (23¼” x 44”) Dimensions: (canvas only) 39cm x 92cm (15¼” x 36”) Medium: Oil on canvas. Provenance: Private UK collection. Presentation: Bespoke gold metal leaf Orientalist frame. Condition: Very good. Newly professionally cleaned and revarnished. Ready to hang.

‘The Oaks of Cranbourne Chase, Windsor Great Park’ by Andrew MacCallum (1821-1902). The exceptional detail and draftsmanship in the painting is nothing less than extraordinary. ‘The Oaks of Cranbourne Chase, Windsor Great Park’ is signed by the artist and dated 1863, in which year it was exhibited at the Royal Academy in London. Academy Fine Paintings is fully conversant with the latest American Government import duties and the legal exemptions which, under the supreme law of the U.S. Constitution, enables us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. 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. Andrew MacCallum entered the South Kensington School of Art & Design in 1852 where he was taught by Richard Redgrave RA and John Rogers Herbert RA. Of all the great topographical painters to emerge during the period, either through the South Kensington System or the Royal Academy Schools, there was no finer draftsman than Andrew MacCallum. His specialty was woodland and his carefully observed and faithfully rendered depiction of individual tree species is second to none. Whether it is the beeches of Burnham or the oaks of the forests of Arden and Sherwood, MacCallum’s meticulous pictures represent some of the period’s finest examples of pure landscape painting. Between 1849 and 1889 Andrew MacCallum exhibited 53 times at the Royal Academy as well as at the British Institution, the Royal Society of British Artists, the Grosvenor Gallery and the Dudley Gallery in London, and internally at the Paris Salon, the Metropolitan Museum of Art in New York, and the Centennial Exhibition in Philadelphia. Today his paintings can be found in Tate Britain and the Victoria and Albert Museum in London.

• More about the painting and the artist’s life and career of Andrew MacCallum is available at the News & Articles page.

Dimensions: (framed) 92cm x 123cm (36¼” x 48½”) Dimensions: (canvas only) 77cm x 108cm (30¼” x 42½”) Medium: Oil on canvas. Provenance: 1863: exhibited at the Royal Academy (catalogue number 422). Private UK collection. Presentation: Bespoke gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.

‘Green Bay, Porthcurno’ by Samuel Phillips Jackson RWS (1830-1904). The painting is signed by the artist and dated 1862. Samuel Phillips Jackson’s early oil paintings are rare and spectacular, and none more so than the current work. ‘Green Bay, Porthcurno’ is the artist’s masterpiece and shares elements in common with William Holman Hunt’s ‘Strayed Sheep, Our English Coasts’. Aside from their obvious subjective similarity, the two paintings share a meticulous attention detail and exemplary draftsmanship, though where Holman Hunt’s Pre-Raphaelite palette is lurid, Jackson’s colouring is vivid and authentically true to nature. Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. 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. With their granite cliffs, pale sands and turquoise waters the beaches of Green Bay, Pedn Vounder, and Porthcurno below the headland of Logan Rock are considered some of the most beautiful in Europe.  The area was used as the beach location of the fictional Nampara Cove in the BBC drama series 'Poldark'. Samuel Phillips Jackson’s work is characterized by assiduous actuality, exemplary draftsmanship, and restrained colouring. His determination to stay true to nature and faithfully and painstakingly reproduce what he saw without the need for lurid colours and extraneous figures makes him one of the most gifted pure landscape painters of Victorian Britain. Between 1851 and 1893 Samuel Phillips Jackson exhibited 841 works at the Royal Society of Painters in Watercolour, 16 at the Royal Academy, and 9 at the British Institution. Today, examples of the artist’s work can be found in Tate Britain and the Victoria and Albert Museum in London, and the Fitzwilliam Museum of Cambridge University. Dimensions: (framed) 73cm x 103cm (28¾” x 40½”). Dimensions: (canvas only) 57cm x 88cm (22½” x 34¾”). 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 Grand Canal from St. Mark’s, Venice’ by Edward Pritchett RWS (1807-1876). The painting hangs in a superb gilded and sgraffito carved exhibition frame bearing insignias of the Lion of St. Mark. Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. 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. Edward Pritchett was one of the most gifted and successful 19^th century British painters Venetian scenes. 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 an accurate in-depth look at the life and work of Edward Pritchett visit the News & Articles page.

Between 1828 and 1864 Edward Pritchett exhibited a total of twenty-three paintings at the Royal Academy, the British Institution, and the Society of British Artists. 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. Dimensions: (framed) 90cm x 125.5cm (35½” x 49½”). Dimensions: (canvas only) 72cm x 107cm (28¼” x 42¼”). Medium: Oil on canvas. Provenance: Circa 1960: exhibited at the Cleveland Museum of Art, USA. Circa 1950; Frost & Reed, London. Private collection. Presentation: Carved and gilded exhibition frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.

‘Morecambe Bay’ by Alfred de Breanski ARCA (1852-1928). The painting - which depicts cattle grazing on Heysham salt marshes in Morecambe Bay with a view of the Old Man of Coniston and the fells of the Lake District in the background – is signed by the artist and dated 1877, in which year it was exhibited at the Royal Academy in London. Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. 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. Alfred de Bréanski was one of the most popular and successful landscape painters of late Victorian Britain. Between 1869 and 1919 he exhibited at all the major national venues including the Royal Academy, the Royal Society of British Artists, the British Institution, Grosvenor Gallery, Royal Cambrian Academy, Royal Hibernian Academy and the Walker Gallery in Liverpool. Dimensions: (framed) 92cm x 143cm (36¼” x 56¼”). Dimensions: (canvas only) 77cm x 128cm (30¼” x 50¼”). Medium: Oil on canvas. Provenance: 1887; exhibited at the Royal Academy in London (no.213). Private collection. Presentation: Bespoke gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.

‘A Scion of a Noble’ by Andrew MacCallum (1821-1902). The painting is signed by the artist and dated 1889, in which year it was exhibited at the Grosvenor Gallery in London. At first glance the title of the painting appears to refer to the aristocratic young gentleman in hunting pinks on horseback in conversation with his gamekeeper. However, because the artist is one of England’s greatest ever tree painters it also alludes to the oak tree towering above him, no less the offspring of a noble line. We are left wondering if the young lord is in his own way as crooked and shady as the tree. Academy Fine Paintings is fully conversant with the latest American Government import duties and the legal exemptions which, under the supreme law of the U.S. Constitution, enables us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. 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. Andrew MacCallum entered the Government School of Art (the future Royal College of Art) in 1852 where he was taught by Richard Redgrave RA (1804-1888) and John Rogers Herbert (1810-1890). Of all the fine painters to emerge during the 1850s, either through what became known as “the South Kensington System” or the Royal Academy Schools, there was no finer draftsman than Andrew MacCallum. His meticulously detailed pure landscapes are glorious celebrations of the English countryside. Between 1849 and 1889 Andrew MacCallum exhibited 53 times at the Royal Academy as well as at the British Institution, the Royal Society of British Artists, the Grosvenor Gallery and the Dudley Gallery in London, and internally at the Paris Salon, the Metropolitan Museum of Art in New York, and the Centennial Exhibition in Philadelphia. Today his paintings can be found in Tate Britain and the Victoria and Albert Museum in London.

• More about the painting and the life and career of Andrew MacCallum is available at the News & Articles page of the Academy Fine Paintings website.

Dimensions: (framed) 107cm x 79cm (42” x 31”) Dimensions: (canvas only) 90cm x 62cm (35½ x 24½”) Medium: Oil on canvas. Provenance: 1889: exhibited at the Grosvenor Gallery in London. Private UK collection. Presentation: Bespoke gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.

‘Crepuscular Rays’ by Henry Dawson RBA (1811-1878). The painting – which depicts shipping off the English coast at sunset – is signed by the artist and dated 1863. Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. 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. Between 1838 and 1875 Henry Dawson exhibited at the Royal Academy, the British Institution, the Liverpool Academy, the Portland Gallery, and the Royal Society of British Artists to which he was elected a full member in 1875. His hugely skillful paintings earned him the patronage of several of the most important art collectors of Victorian Britain including James Orrock, John Miller, and John Burton. Following the death of J.M.W. Turner in 1851, Burton told Henry Dawson that his “powers are not equalled by any living or working man."

• More about the life and career of Henry Dawson can be found at the News & Articles page of the Academy Fine Paintings website.

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. Dimensions: (framed) 68cm x 93cm (26¾ x 36½”) Dimensions: (canvas only) 52cm x 77cm (20½” x 30¼”) Medium: Oil on canvas. Provenance: Christie's, London, 7^th March 2002. Private Italian 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.  

‘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.  

‘The Thames at Pangbourne’ by Keeley Halswelle ARSA, ROI (1831-1891). The painting is signed by the artist and dated 1877 (and 1882 when it was retouched by the artist). It is presented in a bespoke gold metal leaf frame. Academy Fine Paintings is fully conversant with the legal exemptions which, under the supreme law of the U.S. Constitution, enable us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. 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. John Keeley Halswelle studied at the Royal Scottish Academy in Edinburgh, and in 1862 made his debut at the Royal Academy in London where he continued to exhibit for next thirty years. Although the artist’s early work primarily consists of English or Scottish scenes, his first trip to Italy in 1869 resulted in a series of spectacular landscapes and subject pictures set in Rome, Naples, and Venice. Keeley Halswelle was elected an Associate of the Royal Scottish Academy in 1866, and the following year he became a founder member of the Royal Institute of Oil Painters. Between 1862 and Keeley Halswelle exhibited at the Royal Academy, the Royal Society of British Artists, the Grosvenor Gallery, the Royal Watercolour Society, and the New Gallery in London. Today, works by Keeley Halswelle can be found in the collections of the Victoria & Albert Museum, Tate Britain, and the Guildhall Art Gallery in London, the Walker Gallery in Liverpool, Russell-Cotes Museum, and Leeds Art Gallery among many others. Dimensions: (framed) 50cm x 75cm (19¾” x 29½”) Dimensions: (canvas only) 36cm x 62cm (14¼” x 24½”) Medium: Oil on canvas. Provenance: Private UK collection. Presentation: Fine quality gold metal leaf frame. Condition: Very good. Professionally cleaned, restored, and re-varnished. Ready to hang.

‘Old Trent Bridge, Nottingham’ by Andrew MacCallum (1821-1902). The painting is signed by the artist and was exhibited at the Society of British Artists in 1849, the first painting by Andrew MacCallum to be shown at a major London exhibition. Academy Fine Paintings is fully conversant with the latest American Government import duties and the legal exemptions which, under the supreme law of the U.S. Constitution, enables us to ship paintings to America free of reciprocal trade tariffs. Clients should also note that tracked and signed for international shipping is always complimentary. 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. Andrew MacCallum entered the Government School of Art (the future Royal College of Art) in 1852 where he was taught by Richard Redgrave RA (1804-1888) and John Rogers Herbert (1810-1890). Of all the fine painters to emerge during the 1850s, either through what became known as “the South Kensington System” or, like John Everett Millais and William Holman Hunt, the Royal Academy Schools there was no finer draftsman than Andrew MacCallum. His meticulously detailed pure landscape paintings are gloriously vibrant, yet never gaudy, celebrations of the English countryside and – as in the case of the current work – can be considered in the first rank of 19th century British topographical painting. Between 1849 and 1889 Andrew MacCallum exhibited 53 times at the Royal Academy as well as at the British Institution, the Royal Society of British Artists, the Grosvenor Gallery and the Dudley Gallery in London, and internationally at the Paris Salon, the Metropolitan Museum of Art in New York, and the Centennial Exhibition in Philadelphia. Today his paintings can be found in Tate Britain and the Victoria and Albert Museum in London. Dimensions: (framed) 87cm x 110cm (34¼” x 43¼”) Dimensions: (canvas only) 71cm x 94cm (28” x 37”) Medium: Oil on canvas. Provenance: 1849: exhibited at the Society of British Artists (cat.no.178). Private UK collection. Presentation: Fine quality gold metal leaf frame. Condition: Very good. 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.