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A friend and pupil of Francis Towne, he was educated and spent most of his life in Exeter, where he practised as a surgeon. In 1791 he made his only extended journey outside the West Country, touring Scotland, the Lakes, Lancashire, Derbyshire and the Midlands. From 1793 to 1805 he exhibited oils at the RA, and intermittently until 1822.
He was obviously a man of means, as he inherited an estate in 1825, and was appointed Deputy Lieutenant of the county in 1835. His drawing style is very close to that of his master, with neat outlines and light clear colour washes. As here, his work is often monogrammed and inscribed on the reverse.
ALDRIDGE. Frederick
James. 1850-1923
Aldridge painted in a similar manner to T.B.Hardy. He lived in Worthing and painted marine subjects near the Channel coasts. He was a regular visitor to Cowes Week, and held exhibitions at Brighton in 1909, & Dorchester in 1910. He exhibited in London from 1880 to 1901.
ALLEN. Joseph William. 1803-52
Allen was educated at St Paul's and worked as an usher at the Taunton Academy before taking up painting. He had a spell painting scenery with Clarkson Stanfield at the Olympic Theatre and elsewhere. He exhibited oils at the RA from 1826, and also at the N.W.S. He became secretary of the Society of British Artists, and was the first drawing master at the City of London School.
His watercolours are very much in the style of David Cox.
A marine painter of whom little is known, but who has a very distinctive style in the manner of William Anderson. He exhibited at the RA between 1787 & 1808, but was at sea from 1796 to 1804 when he visited the east Indies and the China Coast. Most of his works are on a small scale, and signed with his surname only, often on a buoy or piece of floating wood.
One of the original members of the O.W.S. Barret exhibited little before its first exhibition in 1805, and by all accounts, his professional life seems to have been a constant struggle. He originally painted subjects in the Thames valley and Home Counties, but gave up topographical landscapes in favour of Claudian romantic compositions for which he is best known.
Iolo Williams suggests that Becker was a pupil of Richard Cooper, and may have been a minor professional artist. His style is close to that of Thomas Sutherland with whom his work is often confused. He is recorded as having worked in Rome in about 1780, then in the Lake District and the Thames valley in about 1790. This work has been identified as the above, which is a village between Ripon and Masham
BOND. William. J.J.C.
1833-1926
A landscape and marine painter who was apprenticed to an art dealer in Liverpool (not Boydells !!). He was born in Liverpool, and lived for a time in Caernarvon before returning to Liverpool, where he became a member of the Liverpool Academy in 1859.
A keen sailor, his early career was influenced by the Pre-Raphaelites, but his predominant and better known style is closer to that of J.M.W.Turner, an artist whom he greatly admired.
Both his watercolours and oils are highly sort after, especially the latter, which are often very rich in colour with dramatic sky effects as in this example.
BROWN. Samuel John Milton. PRCA 1873-1963
One of the best loved Liverpool 20th century marine artists, whose works are avidly collected. Born in Liverpool on 13th April 1873, he was educated at Liverpool College, and studied art at the Liverpool of Art under John Finnie. A series of his marines were published by The Liverpool Daily Post under the title "Magic of the Mersey", and one series depicted naval vessels of the second world war.
He painted innumerable marine watercolours of Liverpool and elsewhere until he moved to Caerwys, Flintshire in 1937. He was elected President of the Royal Cambrian Academy. and held this position from 1958 until his death in 1963.
Exhibited extensively in Liverpool (95), and at the RCA (15).
A Liverpool artist who is recorded to have lived in Birkenhead. She obviously enjoyed topographical scenes in great detail, and this one shows Church Street long before it was pedestrianised and filled with market stalls. She exhibited twice at The Dudley Gallery.
CLAYTON. Joseph Hughes. Exh 1891-1929
One of the artists who frequented the Anglesey & North Wales painting communities. He lived in Cemaes Bay in 1907, and moved to Wallasey, Cheshire, in 1928.
His style is distinctive and colourful, and is extensively collected in the North West. By all accounts, he was quite a character.
COLLIER. Thomas. R.I. 1840-1891
Collier was one of the best and most important of the inheritors of the traditions of Cox & de Wint. He studied at the Manchester School of Art, and from 1864 to 1869 he lived at Betws-y-Coed, which remains a source of inspiration to him throughout his career.
Turned down by the OWS, he joined the NWS in 1870. He visited many parts of the country on sketching tours, especially Wales & East Anglia. James Orrock called him "a master in our English School", and "The finest of sky painters, especially of rain & cumulus clouds. Wimperis, Claude Hayes and R.Thorne Waite also paid him the flattery of imitation.
Collier's subjects usually depict moor and down land.
Collection of watercolours, circe 1840
A Collection of 28 Watercolour & sepia wash drawings by various artists. Taken from an Album, c1840 or earlier, bookplate of Robert Green, presented to his (?) daughter, Gertrude, April 29th 1920. All are in fine unfaded condition, having been kept in the album for many years.
The collection included works by or attributed to : A.V. Copley Fielding - Carmichael - Samuel Prout - Alfred Vickers - George Fennel Robson - Sir Augustus Wall Callcott - George Balmer - John Sell Cotman - E.W.Cooke - Clarkson Stanfield - Thomas Creswick
COOPER. William Heaton. R.I. 1903-1995
Born in 1903 at Coniston, the son of the landscape painter, Alfred Heaton Cooper. William was initially taught by his father, and then studied at the Royal Academy School, London. He exhibited at the R.A., the R.B.A., the R.I., and other London & Provincial venues. In 1953 he was elected a member of the Royal Institute of watercolour painters, and was President of the Lake Artists Society for 11 years.
He established a studio at Grasmere in 1938, which continues to this day, and which exhibited both his work and that of his wife Ophelia Gordon Bell. He has written and illustrated a number of books on the Lake District, and is represented in many collections worldwide.
So much has been said of David Cox, that it is easier simply to say this is a very fine watercolour by Cox, the master. Between 1829 and 1838 Cox exhibited 43 continental views at the Old watercolour Society. His final journey to the continent was in 1832 when he visited the North Coast of France, and concentrated on Calais, Boulogne & Dieppe
Cox's style can be divided into at least three main periods. Firstly, until c1820 when his works are influenced by Varley & Barber, although at the beginning they are close to those of Cotman, Prout & Girtin. He fully mastered the use of colour in his second period which ran from 1820 to c1840. Finally, he achieved a freedom and breadth in his painting which was a direct forerunner of Impressionism.
CRESWICK. Thomas. RA. 1811-1869
De Wint. Peter O.W.S.
1784-1849
De Wint first took drawing lessons from B.Rogers, and then in 1802 was apprenticed to J.R.Smith. He was introduced to Lincolnshire by W.Hilton which county was to become his favourite sketching ground. In 1806 he made the acquaintance of Dr Monro through whom he came under the influence of Girtin and John Varley. In 1809 he became a student at the RA.
De Wint first exhibited at the RA in 1807, and at the OWS in 1810, and joined the latter society in 1825 after its reorganisation. Except for a brief visit to Normandy, his travels were confined to England & Wales, and each summer he would stay at the home of one of his patrons. He took many pupils, of whom Mrs Tatlock is the best known, and indeed her watercolours are often taken for de Wint's work.
His landscapes are often of river & harvesting scenes, and there is much brown, green and orange in his work though this may be due to fading to which his work is susceptible. His drawings are rarely, if ever signed.
DOWNMAN. John. ARA. 1750-1824
Downman is probably one of the most important watercolour portraitists of the late 18th century. Most are small ovals, and his sitters are often pretty and elegant ladies. His work is usually executed in light watercolour over black chalk or charcoal, with pastel additions.
The artist came to London from Wales in his youth, and studied at the RA and under Benjamin West. He first exhibited at the RA in 1769, and was elected ARA in 1795.
D'OYLEY. Sir Charles.
1781-1845
Born in Calcutta and educated in England, D'Oyley returned to India in 1798, and lived in Calcutta until 1808. He became a friend of George Chinnery from whom he received drawing lessons. Indeed, his work is often confused with Chinnery, as his style and colouring is similar. He published numerous works on India.
In the eighteenth & nineteenth centuries, there was a veritable army of amateur artists, some good, some bad, and some very good indeed. Gentlemen and Ladies of leisure who painted for pleasure, and to record a place or event that they had witnessed. Because they painted for themselves, a number did not sign their work......they knew who had painted it, so why bother ! These were either stuck into albums together with all manner of ephemera, engravings, poems, letters etc, or just kept in portfolios. When these come onto the market today, they usually have the advantage of being completely fresh in their colouring, having been kept out of the light for generations. I always try to acquire an album or two. They give excellent value, and one quite often finds a few little gems, hidden away.
EVANS. Samuel Thomas George. RWS. 1829-1904
The son and successor to William Evans of Eton, he exhibited from 1854, and produced work reminiscent of Thomas Miles Richardson. He was elected ARWS in 1858, and RWS in 1897. He published a book entitled "Learning to draw" in 1899. Examples are to be found in the BM, NG, and in Ireland.
FARINGTON. Joseph. RA.
1747-1821
A landscape painter who came to London in 1763 and worked under Richard Wilson. He was a member of the Society of Artists from 1768 to 1773, and entered the RA schools in 1769. In 1773 he and his brother George went to Houghton to draw the pictures, which were subsequently engraved by Earlom and published by Boydell.
From the late 1770's to 1781 he lived and worked in the lake District, but returned to London where he remained for the rest of his life. He was elected ARA and RA in 1783 & 1785.
He illustrated Boydell's "History of the River Thames" 1794, and Published "Views of the Lakes" 1789, and "Views of the Cities and Towns of England & Wales" 1790. He also maintained a diary from 1793 which is an important record of the arts of the period
FIELDING. Anthony Vandyke Copley. P.O.W.S.
1787-1855
One of the doyens of British Watercolour painting. He was the third son of the artist N.T.Fielding who gave him his first lessons. In 1807 he visited Liverpool and in 1808 he toured Wales and visited London, where he settled the following year. He became a pupil of John Varley and was one of the Monro Circle.
He toured extensively, and was a prolific painter of both landscapes and marines. He was elected a full member of the O.W.S. in 1812, and became its President from 1831 until his death in 1855
FRANCIA. Francois Louis Thomas. 1772-1839
Francis's watercolours of shipping executed in Calais in the latter period of his career are considered to be amongst his finest works. His watercolours are very close to those by Bonnington, to whom he gave lessons, and it is difficult to tell which of the two influences the other more.
Francia was born in France, but decided to seek his fortune as an artist in London, moving there in 1790, where he met and worked with Girtin. In 1817, however, he came to the conclusion that, if he returned to Calais, he would have a monopoly on the depiction of the Northern coastal scenes in Rouen, le Havre and Dieppe.
GLOVER. John. O.W.S. 1767-1849
This view is taken from Gowbarrow Park, the headland on the right is Silverpoint. Glover had a house in Ullswater, and it is possible that this is a view of or from there. It is rumoured that he was offered an oil painting by Claude, and being a devoted follower of Claude, he had to choose between the painting and the house....he sold the house.
The son of a farmer, Glover was largely self taught, although he had seven lessons form William Payne, and also from F.Warwick Smith. In 1786 he was appointed writing master at the school in Appleby, and in 1794 set up as a drawing teacher in Lichfield.
He began to exhibit at the RA in 1795, and was a founder member of the O.W.S. Following the success of its first exhibition in 1805, he moved to London, where he was a prime instigator of the changes to the OWS in 1813, and became its President in 1815. Unable to become an RA, he held a series of one man exhibitions from 1820, and was a founder member of the S.B.A. in 1824.
In 1831 he emigrated to Tasmania with his family, but sent watercolours of local subjects to the UK until his death. He invented an individual style of split brush technique which is very evident in his foliage as in this example which is also very "Claudian" after his favourite artist.
A highly regarded artist, whose works are often subject to fading, but not in this fine museum quality watercolour.
A friend and painting companion of John Constable, who stayed with him twice when in the Lake District, at Harden's home at Brathy Hall, Ambleside. Harden was an accomplished amateur artist of Irish family. He had connections in Edinburgh, and for a while, edited the Caledonian Mercury. He also lived Field Head, Hawshead, and at Miller Bridge in Ambleside.
An exhibition of his work was held in Edinburgh in 1939. Several of his works include Constable in the composition.
HAVELL. William. OWS. 1782-1857
A self taught landscape artist who befriended Varley and Cristall when on his first sketching tour of Wales in 1802-03. With them, he was a founder member of the O.W.S. in 1805. His touring was quite extensive, living and sketching in Ambleside for a year in 1807, visiting Hastings between 1812-13, in China as artist to Lord Amherst in 1816 and making stops at Madeira, Rio, the Cape and Java. He spent 8 years in India as a portrait painter, returning briefly to England in 1827, but then went to Italy to stay with Unwins until 1829.
A closely related version of this drawing has been engraved by Frederick Havell, and is in the collection of the London Record Office and History Library (Research by Heather Newman).
HERDMAN. William Gawin. 1805-82.One of Liverpool's most famous artists who left an unrivalled legacy of views of Liverpool in a bygone era to the City. He spent most of his life in Everton, where he purchased a grand house an fathered a large family, most of whom were artists in their turn, albeit with varying degrees of talent.
Herdman was elected a member of The Liverpool Academy in 1836, and became its secretary . The Academy held exhibitions of the works of local artists which were shown alongside works of nationally known artists such as Landseer, Madox Brown, Holman Hunt & Millais. Latterly, Herdman fell out with the Academy over one of Millais' works, and resigned in 1857, and in 1858 founded a rival society, The Liverpool Society of Fine Arts. This closed in 1862, and the Academy also in 1865.
Herdman was a successful artist, but his eyesight began to fail him in 1857, and his finances suffered. Never the less, he painted a number of large and important topographical watercolours, of which this one of Llangollen is one. He also published a series of lithographic views of the Continent & Fleetwood on Wyre, together with three important series of views of Liverpool.
The son of W.G.Herdman. His work is of considerable topographical importance to Liverpool, as it depicts the City and its architectural splendour of the mid 19th century unlike his father's works which tend to illustrate an earlier Liverpool. His style is usually very precise and architectural, and in 1864 he published a volume of coloured lithographs of Liverpool.
HUTTON. Thomas S. Exh 1887-1906
A landscape and seascape painter who began his artistic career in Glasgow in 1887, then moved to Wavertree, Liverpool in 1897, Seacombe in 1898, and Hoylake in 1898, returning to Glasgow in 1906. His works do not appear frequently, but command good prices locally. Exhibited at Liverpool, the RA and elsewhere a total of 15 works.
Following his education in Devon where he drew landscapes, Jutsum returned to London where he had been born. He exhibited at the RA & elsewhere from 1836, and in 1839 became a pupil of James Stark. In 1843 he was elected A.N.W.S., but resigned in 1847.
I find Jutsum's drawings to always be very crisp and pure, and generally attractively composed.
A fine artist, who is one of our a favourite watercolour artists. His work is usually of a very pleasing nature with lovely warm colouring. Very little is known about his life, other than that he lived at Primrose Hill in London, and exhibited once at Birmingham.
The artist is believed to be from a family of French artists working in Holland. He was known to be in England during the above dates, and was a friend of Ibbertson. The latter may well have influenced his style and subjects which are mainly of rustic figures and landscapes in the Bergham tradition. His work is pretty and idyllic, and in my opinion, is typical of the 18th century rustic style,
LONGLEY. STANISLAUS SOUTTEN. 1894-C1950
The artist was a painter of landscape & decorative figure work. He studied at the Regent Street Polytechnic, and his style is very distinctive. He was elected ARBA in 1924, RBA in 1925, and RI in 1932.
He exhibited at the Fine Art Society 76, Glasgow 4, Liverpool 4, RA 15, RBA 88 and RI 29.
MARKHAM. Colonel
William, circa 1850
This collection comes from a superb album of over 60 watercolours which was sold at Sotheby's, London in September 1999. Most were of marine subjects, and included views in the North-West. Markham was a member of the Royal Yacht Squadron, and owned a yacht named "The Antelope" which he raced at Cowes and then followed the Squadron to the North-West where they sailed around Anglesey. He obviously also sailed in the Mersey, where he executed these drawings. They were attributed to a period circa 1850 by Sotheby's, but the style of the ferry boats would indicate a period of circa 1830-40
MOORE. Henry. RA. RWS. 1831-95
Marine & Landscape painter. Moore studied under his father William, at the York School of Design, and at the Royal Academy Schools. He was elected ARA in 1885, and a full member in 1893.
He exhibited widely across the country, including Liverpool 28, RA 44 and RWS 60.
MULLER. William James. 1812-45
Muller was the second son of a German immigrant who became curator of the British Museum. He took to sketching from nature at an early age, and was apprenticed to J.B.Pyne. He was one of the founder members of the Bristol sketching club in 1833. He travelled to Holland with Fripp in 1834, and in 1838 he settled in London where he joined the Clipstone Street Academy (see collections of mounted watercolours) He used tinted paper to achieve an effect with a range of earthy colours.
A pupil of David Cox, he exhibited at the RA & elsewhere from 1836. He was elected A.N.W.S. in 1848, & a full member in 1850. He painted primarily in Kent, Wales, Scotland & Ireland.
I have always liked the artist's work, they are very free and flowing, and his use of colour is warm and subtle. They are, of course, heavily influenced by the great David Cox.
McGAHEY. John. Active circa 1850-70
Another Liverpool artist, about whom little is known. However, we do know that he produced a number of very fine lithographs after well known local artists such as William Herdman (See Antique Liverpool Prints - "Shaws Brow"). Indications are that he was a lithographic artist first, and as a result extended this craft to produce original drawing of earlier topograhical subjects.
NEALE. John Preston, 1780-1847
Neale is well known for his views of country houses, Chuches etc, many of which were engraved as illustrations to many publications, including Brayley's "Beauties of England and Wales", and his own publication "Views of the seats...." 1818-29, which is an important record of many country houses long since demolished.. His drawing are usually carefully outlined in pen, as in this example, which also includes his favourite colour, green.
Neale was Post Office clerk who turned professional artist, painting insects and topographical subjects. He was a lifelong friend of John Varley, and sketched with him, as well as J.C.Barrow and Dr Munro. He exhibited at the R.A. from 1804 to 1844 and elsewhere.
NEEDHAM. Joseph. Fl 1848-74
A landscape artist about whom little is known, but from examples seen, has a certain natural ability to paint pleasing watercolours, this one may be of a scene in Snowdonia. He is recorded as living in London in 1862, and was an unsuccessful candidate for the NWS.
Payne was brought up in Plymouth and began his career as an engineer in the naval Dockyard. He began to send drawings to London in 1776, and to the RA in 1786. In 1790 he moved to London as a professional artist where he became one of the most fashionable & successful drawing masters of the day.
He was an associate of the O.W.S. form 1809 to 1830, and exhibited at The British Institution and elsewhere from 1809 to 1830. He invented his own pigment "Payne's Grey" which became a basic element of both his works and others.
A landscape and topographical painter and an engraver. He was a member of the Langham Sketching Club, but an unsuccessful candidate for the NWS despite repeated applications ! He painted in many parts of the country, especially in Wales, Scotland, the Lake District, the Thames and Devon. In the 1870's he often collaborated with other artists on drawings, including Wainwright - who painted the sheep & cattle - and Tidey who did the figures.
PENNETHORNE. Sir James 1801-1871
Pennethorne was an architect and draughtsman reputedly the offspring of the Prince Regent and Mrs John Nash. In 1820 he entered Nash's studio, and in 1822 was working under Pugin. After a tour of the continent he returned to assist Nash and to take up a career as an official architect. His mark can be seen on many London developments of that period. In 1870 he was knighted. Because of the architectural importance of the St Georges Hall, it is highly likely that Pennethorne will have conferred with Elmes over the latter's plans for the Hall, and, with his ability as an artist, prepared this drawing.
The drawing seems to be the original for a lithograph published in 1854 by Isaacs with almost the same composition, merely excluding the military group. The watercolour is highly finished and detailed, and shows the completed Hall which was opened on September 18th, 1854. The original architect was Harvey John Elmes, who died in 1847, so that the work was completed by C.R.Cockerell. Behind the Hall stands St John's Church which was built in 1783, and taken down in 1898. This area behind the Hall is now a public gardens.
POLLITT. Albert.
Exh 1885-1926
"Sheep on a country Lane" £ 1,150
Watercolour, signed, 10 ¾ " x 17 ½ ".
Pollitt mainly worked in the Midlands & Wales. He painted in the tradition of Cox, and his works are very popular with collectors. His skies tend to be very delicate, and in this example, the whole is lost no colour at all.
He lived in Manchester, Warrington & North Wales, and exhibited 31 times in Manchester, and 7 in Liverpool.
Rowlandson holds a particular place in the history of English watercolour artists. His style is brilliant, unique and very earthy. He was enormously prolific with a gift of insight into human nature, and could dash off a little masterpiece full of character and wit.
He was educated at Dr Barrow's School, and entered the RA schools in 1772. During the next 20 years he travelled extensively at home and abroad, and from 1798, much of his work was for the print dealer & publisher Ackermann.
"Monkey Tricks" : This drawing is a fine unfaded example of his work from a renowned collection. It depicts all aspects of his work, the old crones, the beautiful and graceful young woman, in a humorous situation probably based on the fashion of the time for owning monkeys as pets. But above all, it demonstrates his mastery of technique & fluidity of line.
"St Giles' Courtship" : Here he depicts the bawdy & amorous delights of London in a wonderfully free composition. It has the added advantage of being from a celebrated collection, and has been published as a print.
Paul probably commenced his career as a drawing master in Nottingham with his brother, Thomas. In 1742 they came to London engaged on military maps and plans. He was appointed draughtsman to the survey of the Highlands, where he worked until 1751 when he rejoined his brother at Windsor, and it was here that he commenced his famous drawings of the Castle and Park. From 1768 to 1796 he was drawing master at the R.M.A. Woolwich, where he was popular master and taught many influential amateurs as well as a number of well known professional artists : Rooker, P.S.Munn, Clevely etc. He was also a founder member of the Royal Academy in 1769.
Sandby is best known for his landscapes, and has been referred to as "The Father of English Watercolour". He painted in both pure watercolour and bodycolour, or a combination of both. Amongst his works are many imaginary drawings in the romantic Italian manner, of which this is one.
STEPHANOFF. Francis Philip. 1788-1860
Painter of genre, historical & literary subjects. He was the son of Fileter N. Stephanoff, a Russian painter of portraits and stage scenery, who settled in London.
He entered the RA schools in 1801, and exhibited from 1807 to 1845 at the RA, BI, Suffolk Street, the OWS & elsewhere. He worked in conjunction with Pugin and Wild, and was among the illustrators of Pynes Royal Residences of 1819.
Floral Subjects
Sumner was a Hoylake, Cheshire, amateur artist, who painted purely for her own pleasure. She was a prominent member of the Deeside Art Group, and exhibited many times in their local exhibitions. We purchased most of her studio collection, and from these, it would appear that she had painted all of the flowers in her own garden, and kept them for her pleasure.
TUCKER. Edward Jnr.
c1847-1910
The son of Edward Tucker 1825-1909, he lived and worked from Ambleside where he moved with his father in 1868.
He adopted the pseudonym "Edward Arden" to avoid the obvious confusion with his father. The Tucker family were all artists, and included A.R.Tucker, Hubert Coutts, Frederick Tucker, & A.Tucker.
The son of a Bank of England clerk, he was encouraged to paint by his family. Apprenticed to Benjamin Smith the engraver in 1797, but left after a year to study at Simpson's drawing school, and the RA schools.He began exhibiting at the OWS in 1809, becoming a member in 1810, but resigning in 1818.
He toured extensively, visiting the English Lakes in 1815, France in 1817, settling in Edinburgh in 1821. After returning to London in 1823, he went to Italy in 1824 where he remained until 1831, and it is likely that he was inspired to paint these two pictures whist there.
He was elected ARA in 1833, and RA in 1838. In 1846 he was appointed Surveyor of the Queen's pictures and in 1847 Keeper of the National Gallery. A very fine artist, much admired by his contemporaries, and works of this quality are quite scarce..
This view of the River Colwyn is taken from the west, looking towards Moel Hebog, in the distance. Varley visited Beddgelert on a tour of North Wales with George Arnold in 1798/9, and after that date made a number of idealised views of the bridge. A larger version was sold at Christies in November 1993 for £5,980. This what one collector described as an exquisite "sublime" work, and a little gem.
Varley is one of the most important figures in English Watercolour history, whose character and influence left a lasting mark on the watercolour school. He became a drawing master following a brief period as assistant to J.C.Barrow. Varley first exhibited at the RA in 1798, and was part of the Monro circle by 1800. He was a founder member of the O.W.S. in 1804, and taught many leading artists including Cox, Linnell and Turner of Oxford.
In his later years his work became less topographical and more compositional, and he was always experimenting with the medium of watercolour.
Varley is one of the most important figures in English Watercolour history, whose character and influence left a lasting mark on the watercolour school. He became a drawing master following a brief period as assistant to J.C.Barrow. Varley first exhibited at the RA in 1798, and was part of the Monro circle by 1800. He was a founder member of the O.W.S. in 1804, and taught many leading artists including Cox, Linnell and Turner of Oxford.
In his later years his work became less topographical and more compositional, and he was always experimenting with the medium of watercolour.
Little is known of this artist. We have had a number of works in a similar "naive" style, all of Liverpool subjects. He may be a relation of the good artist, Wlfred Robert Wakefield, who lived in Liverpool about 1900.
There is an "H.Wigstead" listed in Graves who lived in London, and exhibited 11 times at the Royal Academy between 1784 & 1798. This is the only record I can find, and it seems a little early for this work. Perhaps it is a daughter ?
WIMPERIS. Edmund Morison. R.I. 1835-1900
Wimperis was the son of a cashier in Chester, and began work as a wood engraver and studied under Birket Foster. Because his figure work was not good, he turned to landscape painting, and was a member of the SBA from 1870 to 1874. He was elected ANWS in 1873 and NWS in 1875.
His early work shows the painstaking influence of Birket Foster, but later, under the influence of Thomas Collier, with whom he painted in the South-East & Wales, his work became more expansive and less clogged with detail. His very best work, with its fine treatment of sky & shadow, was done directly out of doors, as in these examples.
Regrettably, little is known about the artist, and he is probably a gifted amateur.
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