Benton Fine Art Paintings

Walter Williams British, (1834-1906) Harvest Field at Sunset, Clayton near Brighton Sussex Oil on canvas, signed Image size: 15.5 inches x 23.5 inches Size including frame: 21.5 inc...

Albert Clark British, (1843-1928) Dark Seal Brown Horse in a Stable Oil on canvas, signed & dated 1885 Image size: 17 inches x 23.5 inches Size including frame: 23.25 inches x 29.75...

George Turner British, (1843-1910) Harvesting near Barrow-on-Trent Oil on canvas, signed & dated (18)86, further inscribed verso Image size: 19.25 inches x 29.25 inches Size includ...

Claude Cardon British, (1864-1937) Farm Friends Oil on canvas, signed Image size: 13.5 inches x 20.5 inches Size including frame: 19.25 inches x 26.25 inches A tranquil scene of ca...

George Turner British, (1843-1910) Near Tonge, Leicestershire Oil on canvas, signed Image size: 15.25 inches x 23.25 inches Size including frame: 22.75 inches x 30.75 inches A cha...

Antonio Ermolao Paoletti Italian, (1834-1912) Feeding the Rabbit Oil on canvas, signed Image size: 13.25 inches x 11 inches Size including frame: 20.75 inches x 18.5 inches A wonde...

Henry Thomas Dawson British, (1841-1918) Ships off a Jetty at Sunset Oil on canvas, signed with monogram & dated 1875 Image size: 15.5 inches x 23.5 inches Size including frame: 24....

Heywood Hardy British, (1842-1933) A Visit to the Blacksmith’s Oil on canvas, signed & dated 1902 Image size: 26.75 inches x 22 inches Size including frame: 34.5 inches x 29.75 inches Provenance: Willow Gallery, Duke Street, London A wonderful painting of a lady and gentleman in 18th century costume visiting a blacksmith's by Heywood Hardy. To the left, a woman is shown sitting side saddle upon a bay horse, facing towards a blacksmith's forge. To her right, a man wearing a red coat and black hat watches on as a farrier shoes a grey horse. Meanwhile, a foxhound stands in the middle of the group, with its attention caught by the woman and her horse. Heywood Hardy was born into an artistic family in Chichester, Sussex on the 25 November, 1842 to the portrait and genre painter James Hardy Snr (1801-1879) and his wife Elizabeth. His cousins Frederick Daniel Hardy...

James Albert Clark British, (1863-1955) Bay Horse in a Stable Oil on canvas, signed & dated 1906 Image size: 17.5 inches x 23.5 inches Size including frame: 23.75 inches x 29.75 inc...

Ernest Crofts British, (1847-1911) On Guard Oil on panel, signed & dated (18)79 Image size: 9.25 inches x 6.75 inches Size including frame: 19.5 inches x 17 inches A wonderful historical painting of a roundhead soldier standing outside a fortress by Ernest Crofts. The soldier is depicted wearing a back and breast plate over a red and yellow sleeved jacket tied with a sash around his waist. On his head, he wears a felt hat with red and white feathers and holds a sword in his hand. He is shown standing at the moated entrance of a fortified stone building with a portcullis. Beyond the raised portcullis, a group of soldiers can be seen in the shadows. The soldier’s uniform is typical of Cromwell’s famous ‘Ironside’ cavalry and indicates he is an officer, who, in Cromwell’s time would have earned his place based on merit rather than social status. The English Civil...

**PLEASE NOTE: EACH PAINTING INCLUDING THE FRAME MEASURES 23.75 INCHES X 27.75 INCHES ** Albert Clark & Son British, (1843-1928) Bay Horse in a Stable & Companion Oil on canvas, pai...

Alfred Pollentine British, (1844-1910) Santa Maria della Salute, Venice Oil on canvas, signed & dated (18)91 Image size: 15 inches x 23 inches Size including frame: 21.75 inches x 2...

Alfred Pollentine British, (1844-1910) The Ducal Palace, Venice Oil on canvas, signed & dated (18)91 Image size: 15 inches x 23 inches Size including frame: 21.75 inches x 29.75 in...

Ernest Crofts British, (1847-1911) The Morn of Waterloo Oil on canvas, signed & dated 1888 Image size: 24.25 inches x 17.75 inches Size including frame: 30.75 inches x 24.25 inches ...

George Turner British, (1843-1910) A Highland Drove Oil on board, signed, further signed & inscribed verso Image size: 12 inches x 17.25 inches Size including frame: 18 inches x 23...

Florence Mabel Hollams British, (1876-1963) Craigwell Jewel Oil on panel, signed & dated (19)‘46, also inscribed ‘Craigwell Jewel’ Image size: 13 inches x 17.25 inches Size includin...

Claude Cardon British, (1864-1937) Feeding Time in the Orchard Oil on canvas, signed & dated 1918 Image size: 19.25 inches x 29.25 inches Size including frame: 27.5 inches x 37.5 in...

Colin Graeme Roe British, (1855-1910) The Escape Oil on canvas, signed Image size: 11.5 inches x 15.5 inches Size including frame: 17.75 inches x 21.75 inches A wonderful sporting ...

Hubert Thornley British, (exh. 1858 -1898) Ships at Moonlight, Rochester Oil on canvas, indistinctly signed Image size: 13.5 inches x 11.5 inches Size including frame: 19.5 inches x ...

Charles Jones British, (1836-1892) Highland Cattle & Sheep by a Loch Oil on panel, signed with monogram & dated (18)75, further inscribed & dated verso Image size: 9.25 inches x 13.5...

Colin Graeme Roe British, (1855-1910) On the Scent Oil on canvas, signed & dated (18)98 Image size: 15.5 inches x 23.25 inches Size including frame: 23 inches x 30.75 inches A wond...

Haynes King British, (1831-1904) Family Life Oil on canvas, signed & dated 1869 Image size: 27.25 inches x 35 inches Size including frame: 41 inches x 48.75 inches Provenance: Edwar...

George Goodwin Kilburne British, (1839-1924) The Favourite Oil on panel, signed Image size: 11.5 inches x 15.75 inches Size including frame: 17.75 inches x 22 inches Provenance: Hor...

John Charles Maggs British, (1819-1896) Caught in a Snowstorm Oil on canvas, signed Image size: 10 inches x 16.75 inches Size including frame: 14.5 inches x 21.25 inches An atmosph...

James Hardy Jnr British, (1832-1889) Playing Cribbage Oil on panel, signed & dated (18)58 Image size: 11.5 inches x 14.5 inches Size including frame: 20.25 inches x 23.25 inches Provenance: Mr J Taylor Esq; F C Mander, purchased March 1907. A delightful genre painting of a family playing a game of cards by James Hardy Jnr. A group of people are depicted sitting at a table in front of a fireplace in a rustic interior, playing cribbage. As four of the players study their cards, a woman gets up to help another player with their hand. Meanwhile, a tan and white dog watches on with interest. The reverse of this painting includes a handwritten inscription which reads: ‘This painting was purchased by the late Mr Taylor for £40 and bought by me at Public Auction at Addison Hall for £45. March 1907. F. C. Mander’. Further research has discovered that a public auction of the collection of a Mr J Taylor Esq was held by his Executors on Tuesday 5 March 1907 at Addison Hall, Addison Road, Kensington. Details of the sale including a mention of a work on offer by J Hardy, appeared in the Kensington News and West London Times on Friday 1 March 1907. Messrs F C Mander & Co were listed as the auctioneers involved in the sale. Their address at the time was 296, Uxbridge Road, Shepherd’s Bush. James Hardy Jnr was a genre and sporting painter born in Brighton, Sussex in 1832 into a family of artists. He was the son of the portrait and genre painter James Hardy (1801-1879) and his wife Elizabeth (née Vinson). His brothers David Hardy (1838-1870) and Heywood Hardy (1842-1933) and his sister Ada Hardy all became artists. His cousins Frederick Daniel Hardy...

Arthur Walker Redgate British, (1860-1906) Lunchtime Oil on canvas, signed Image size: 19.5 inches x 29.5 inches Size including frame: 27.25 inches x 37.25 inches A charming harves...

**PLEASE NOTE: EACH PAINTING INCLUDING THE FRAME MEASURES 12 INCHES X 15 INCHES** Adolphus Knell British, (b.1849, fl.1870-1890) Shipping at Sunrise & Shipping at Sunset Oil on boar...

Alfred Wheeler British, (1852-1932) Sunstar Oil on board, signed & dated 1911 Image size: 9.25 inches x 9.75 inches Size including frame: 14.75 inches x 15.25 inches A beautifully detailed horse head...

Alfred Wheeler British, (1852-1932) Cicero Oil on board, signed & dated 1905 Image size: 9.25 inches x 9.75 inches Size including frame: 14.75 inches x 15.25 inches A wonderful horse head portrait...

Arthur Walker Redgate British, (1860-1906) The Harvesters Oil on canvas, signed Image size: 19.25 inches x 29.25 inches Size including frame: 27 inches x 37 inches A pleasing lands...

Thomas Percy Earl British, (1874-1947) Bunty Oil on canvas, signed & dated 1915 & inscribed ‘Bunty’ Image size: 21.25 inches x 26.25 inches Size including frame: 27.75 inches x 32.7...

Abraham Cooper RA British, (1787-1868) The charge of the 1st Cavalry Brigade Oil on panel Image size: 11.25 inches x 15.5 inches Size including frame: 16.5 inches x 20.75 inches Pro...

Valentine Thomas Garland British, (1845-1914) After the Show Oil on canvas, signed Image size: 28.5 inches x 18.5 inches Size including frame: 40.75 inches x 30.75 inches A wonderf...

Sydney Kendrick British, (1874-1955) Going for a Walk Oil on canvas, signed Image size: 25.75 inches x 19.5 inches Size including frame: 32.75 inches x 26.5 inches Provenance: Jack & Boyle, 23 Market Street, Brighton, Sussex A lovely genre painting of a woman with a dog outside a country house by Sydney Kendrick. A young woman can be seen dressed for a wintry day in a green velvet cloak over a brown dress and holds a fur muffler in her hands. She is shown walking down the snow covered stone steps of a country house followed by a black and tan rough collie. Sydney Percy Kendrick was born on 17 September, 1874. Little is known about his early life, however he is believed to have studied art in Paris. By the early 1900’s he was living in London where he set up a studio at 3D Warwick Avenue, Maida Vale known as Fulthorpe Studios. He began exhibiting at the Royal Academy in 1903 and later at the New Society of Artists in Suffolk Street. Kendrick became known for his genre paintings featuring women and also painted portraits of well-known people including the Duke of Devonshire, Marquess of Lansdowne, Dame Sybil Thorndike, Cecil John Rhodes...

Henry Barraud British, (1811-1874) Horses & grooms at Mount Mascal Oil on canvas, signed Image size: 15.25 inches x 29.25 inches Size including frame: 21.25 inches x 35.25 inches ...

Alfred de Breanski Snr British, (1852-1928) Sunset over a Scottish Highland Loch Oil on canvas, signed Image size: 19.5 inches x 29.5 inches Size including frame: 26.5 inches x 36....

Circle of Dominic Serres British, (1722-1793) Attack of the Fire Ships Oil on canvas, indistinctly signed and dated 176(1)? Image size: 23.5 inches x 39.25 inches Size including fra...

Joseph Heard British, (1799-1859) West Indiaman off Eddystone Lighthouse Oil on canvas, signed Image size: 28.25 inches x 40.25 inches Size including frame: 34 inches x 46 inches Pr...

Charles Euphrasie Kuwasseg French, (1838 - 1904) A View of St Denis, Paris Oil on canvas, signed & dated 1882, transcribed in pencil verso Image size: 25 inches x 20.5 inches Size ...

Frank Moss Bennett British, (1874-1952) Studying the Map Oil on canvas, signed & dated (19)27 Image size: 12.75 inches x 10.75 inches Size including frame: 17.25 inches x 15.25 inch...

William Sidney Cooper British, (1854-1927) Springtime at Herne, Kent Oil on canvas, signed & dated 1925, inscribed in pencil verso Image size: 15.5 inches x 23.5 inches Size includi...

Pierre Louis Joseph De Coninck French, (1828-1910) Italian Beauty Oil on canvas, signed Image size: 31 inches x 23 inches Size including frame: 38 inches x 30 inches A lovely three...

William Oliver British, (1823-1901) A Bouquet of Roses Oil on canvas, signed Image size: 36 inches x 24 inches Size including frame: 47.25 inches x 35.25 inches A wonderful three q...

Alfred Augustus Glendening Snr British, (1840-1921) The Thames at Shepperton Oil on canvas, signed Image size: 16 inches x 26 inches Size including frame: 22.5 inches x 32.5 inches ...

Ernest Walbourn British, (1872-1927) By the Pond Oil on canvas, signed Image size: 24 inches x 36 inches Size including frame: 31.5 inches x 43.5 inches A pleasing genre painting by...

Edward Henry Holder British, (1847-1922) The Port of Cannes Oil on canvas, signed & dated (18)95 Image size: 14 inches x 39.75 inches Size including frame: 21.5 inches x 47.25 inche...

George Stainton British, (1838-1900) Twilight off Gravesend Oil on canvas, signed & dated 1877, old label verso Image size: 23.25 inches x 35.25 inches Size including frame: 29.25 ...

John Frederick Herring Jnr British, (c1820-1907) Farmyard Friends Oil on canvas, signed Image size: 23.25 inches x 35.25 inches Size including frame: 29.75 inches x 41.75 inches Provenance: Frost & Reed; Stacy Marks, Eastbourne A fantastic rural farmyard scene featuring horses, pigs, goats, chickens, ducks and cattle by John Frederick Herring Jnr. In the foreground, pigs, goats and chickens are shown foraging for food whilst horses watch on. To the right, a bay horse drinks from a pond next to some ducks as cattle graze outside a barn. In the distance two figures can be seen walking along a country path towards a church. John Frederick Herring was born in Doncaster c1820 to the artist John Frederick Herring (1795-1865) and his wife Anna Catharina (nee Harris) and was baptised on 2 May, 1821. There is some confusion about the date of his birth due to an earlier birth record existing for 21 June, 1815. To complicate matters further, all of the census records indicate he was born in 1816. Some sources suggest this was an earlier child who died and that Herring was the child born in 1820. Herring’s brothers Charles Herring (1828-1856) and Benjamin Herring (1830-1871) also became artists. He and his brothers were exposed to art at an early age and were all tutored by their father whose subject matter influenced their work. The family moved to Newmarket during the early 1830’s and Herring would visit the racecourse to study the horses. The brothers would often collaborate with their father on paintings, however, Herring Jnr soon developed his own style and began painting farmyard and rustic scenes featuring horses and other farm animals. His emerging success caused some discord with his father, who from around 1836 began adding ‘SR’ or ‘Senr’ to his signature to avoid confusion between the two artists. Herring did not join his father when he later moved to London but at some point moved to Cambridgeshire where he met and married Emma Jane Dawson on 29 August, 1836. Together, they lived at Great Wilbraham with their 5 children. By 1861, he had moved to nearby Fulbourn and continuing his successful career made his debut at the Royal Academy in 1863. He began exhibiting at the British Institution from 1864 and also exhibited at the Royal Society of British Artists at Suffolk Street. After the death of his first wife, Herring married the artist Catherine Augusta Rolfe on 5 December 1865 at St Pauls Church, Hammersmith in London. Catherine (or Kate) was the sister of the artists Alexander Frederick Rolfe (1814-1875) and Henry Leonides Rolfe (1823-1881) and the daughter of William E Rolfe, a friend of his father. They lived at Wilbraham Road in Fulbourn, later moving to The Poplars in Fulbourn where Herring spent the rest of his life. He died at Fulbourn on 6 March 1907. Examples of his work are held by a number of museums and public collections including the Bradford Museum, Hawarth Art Gallery, Government Art Collection, Grundy Art Gallery, the Tate, National Gallery of Art, Washington DC and the Watford Museum & Witt Library. Presentation: The painting is housed in a new, English made gilt frame which is in excellent condition. Condition: As with all of our original antique oil paintings, this work is offered in ready to hang gallery condition, having been professionally cleaned, restored and revarnished. © Benton Fine Art

George Stainton British, (1838-1900) Fishing Vessels off a Harbour Early Morning Oil on canvas, signed Image size: 23.25 inches x 35.25 inches Size including frame: 31 inches x 43 inches A wonderful coastal marine painting of boats off a busy harbour at dawn by George Stainton. A large ship is depicted having weighed anchor and with sails unfurled as a supply boat arrives port side. In the foreground, a group of fishermen can be seen in a rowing boat waiting for their next catch. In the distance, lies a busy harbour, possibly Chatham Dockyard. George Stainton was a marine and landscape artist who was born in Aston, Birmingham in October 1838 to John Stainton and Ann Horton. By the age of 12, he was working as a paper mache painter and then later as a Japanner before becoming a full-time artist. He specialised in painting seascapes and river scenes in the style of Abraham Hulk and was influenced by the Dutch school. He exhibited at the Royal Society of Birmingham Artists from 1865 and also at the Walker Art Gallery, Liverpool. He married Clara Adelaide Mason (née shears), a widow on 8 November, 1866 and together they lived in Addesley Street, Aston. The couple had 8 children and one of their sons Ernest Stainton became a lithographic artist. During the mid to late 1870’s he lived at Walnut Terrace in Kyrwicks Lane in the Sparkbrook area of Birmingham. However, by 1881, Stainton had moved to nearby Moseley Road where many Birmingham artists of the industrial period lived and also took up photography. Sometime during the late 1880’s early 1890’s, he made his final move to Pembroke Villa, 14 St Pauls Road, Moseley Road. He died at his home on 25 April, 1900. Whilst Stainton lived in Birmingham all his life, he travelled around the country painting coastal views of the Bristol Channel, Portsmouth and the Medway, as well as river scenes of the Thames, Tyne and Mersey. He also visited Scotland and Northern France. His works are beautifully detailed and show a masterful understanding of the moods of the weather and movement of the water. His paintings have always been popular when they appear on the art market. Presentation: The painting is housed in a new, English made gilt frame which is in excellent condition. Condition: As with all of our original antique oil paintings, this work is offered in ready to hang gallery condition, having been professionally cleaned, restored and revarnished. © Benton Fine Art

Henry Dawson British, (1811-1878) Colwich Hills from the Bridge at Great Haywood Oil on canvas, signed & dated 1860 Image size: 19.5 inches x 29.5 inches Size including frame: 27 inches x 37 inches A wonderful painting of Colwich Hills from the bridge at Great Harwood, Staffordshire by Henry Dawson. A man can be seen riding a horse over the bridge as another figure looks across the water towards the hills. Meanwhile, a barge sails along the canal past two fishermen. The bridge depicted in this painting lies over the canal junction of Great Haywood, a short distance away from Colwich. This junction was built to join the Grand Union Canal to the Staffordshire and Worcestershire Canals. Both the bridge and junction are still in use today and the view of the hills remains relatively unchanged. Henry Dawson was a landscape artist born in Hull on 3 April, 1811 to William Dawson and Hannah Shardlow. The family moved to Nottingham when he was still an infant. He is known to have spent time at the national school in Nottingham, however, due to family circumstances had to leave school to start work at an early age in the lace industry. He was largely self-taught and painted during his spare time. Around 1835, he left lace making to work full time as an artist. He studied under James Baker Pyne (1800-1870) in 1838 and in the same year made his debut at the Royal Academy, exhibiting a number of works there until 1871.He also exhibited at the British Institute from 1841 and also at the Liverpool Academy, where he was elected an associate in 1846 and a Member in 1847. He married Elizabeth Whittle in Nottingham in 1840 and they lived in Mansfield Road, Nottingham where the first of their children were born. Two of his children, Henry Thomas Dawson (1841-1918) and Alfred Dawson (1843-1931) also became artists as did his grandson Montague Dawson (1895-1973). Although he achieved some success in Nottingham, for financial reasons he decided to move his family to Liverpool, where they stayed from 1845 until 1849. He moved again for similar reasons to Croydon in Surrey living at Middle Heath Lane and from1854 he lived in Thorpe Green, Chertsey at Prospect Cottage. Being closer to the capital helped enhance his reputation and inspired by Turner he began to produce seascapes, riverscapes and coastal scenes often featuring architectural focal points. Dawson continued to travel around the country to paint the landscapes and coasts of England, frequently including castles such as this fine example. Around 1863, he moved to The Cedars in Chiswick where he spent his final years until his death on 13 December, 1878. His work is represented in many public art collections including the Birmingham Museum, Bury Art Museum, Ferens Art Gallery, Leicester Museum, Nottingham City Museum, Victoria & Albert Museum, Wednesbury Museum, Sheffield Museum, Wolverhampton Art Gallery and the York Art Gallery. Presentation: The painting is housed in a new English made gilt frame which is in excellent condition. Condition: As with all of our original antique oil paintings, this work is offered in ready to hang gallery condition, having just been professionally cleaned, restored and revarnished. © Benton Fine Art

William Oliver British, (1823-1901) Confidences Oil on canvas, signed Image size: 40.75 inches x 27.75 inches Size including frame: 47.75 inches x 34.75 inches A delightful genre painting of two women with flowers by William Oliver. The young women can be seen in a garden setting posed next to an arrangement of spring flowers on a wooden stool. One of the women is shown seated on a grassy bank wearing a white dress with flowers in her hair. The other, dressed in green stands beside her holding a posy of flowers. William Oliver was born William Oliver Williams at Worcester in 1823 to William and Jane Williams (née Oliver). Both his parents were from Wales but had relocated to Worcester where his father worked as a chemist before becoming a surgeon. Oliver showed a talent for art at an early age and when the family later moved to Birmingham he began working at the Government School of Design, where he later became the assistant master. In 1848, he moved to London where he enrolled at the Royal Academy and was admitted to the RA school on 16 December, 1848. Whilst there, he married Jane Hughes on 30 December, 1852. The couple lived in St Pancras and went on to have 10 children. Two of their sons, William Oliver Williams, known as Oliver Rhys (1854-1907) and Reginald Arthur Williams or Reginald Arthur (1862-1899), also became artists. Oliver began exhibiting in 1851 under his full name William Oliver Williams at the British Institution and in 1858 made his debut at the Royal Academy. He also exhibited around the country at the Royal Birmingham Society of Artists, Glasgow Institute, Manchester Art Gallery and the Walker Art Gallery, Liverpool. In the early 1850’s he won a commission from the Arundel Society to travel to Italy to draw Giotto’s fresco in Padua and other classical works. He later used his knowledge to incorporate Roman and Greek themes into his paintings, particularly fabrics and costumes. Sometime during the early 1860’s he was declared bankrupt and moved his family to Corwen in Wales and later to Aberystwyth near to be closer to where his parents had retired. Perhaps prompted by this, he began signing his works William Oliver from 1867 and resumed exhibiting at the Royal Academy and elsewhere. By 1872, his circumstances had improved and he returned to London, residing in the St John’s Wood area. He spent his final years living at 41 Queens gate Gardens, Kensington where he died on 16 April, 1901. Examples of his work are held by a number of public collections including the Aberystwyth University School of Art, Atkinson Art Gallery, Birmingham Museum, Bradford Museum, Kirklees Museum, Manchester Art Gallery, National Museum, Cardiff, Parc Howard Museum, Sewerby Hall Museum, Sheffield Museum, Stockport Heritage Services, Sunderland Museum, Thirlestane Castle and the Walker Art Gallery. Presentation: The work is housed in a new, English made gilt frame which is in excellent condition. Condition: As with all of our original antique oil paintings, this work is offered in ready to hang gallery condition, having been professionally cleaned, restored and revarnished. © Benton Fine Art

Henry John Kinnaird British, (1861-1929) View near Cooksbridge, Sussex Oil on canvas, signed & further inscribed verso Image size: 15.5 inches x 23.5 inches Size including frame: 23 inches x 31 inches A pleasing landscape scene of a harvest near Cooksbridge, Sussex by Henry John Kinnaird. Figures are shown harvesting a crop in the foreground; whilst in the field beyond others stack sheaves onto a hay cart. A cottage and other buildings can be seen nestled amongst trees to the right. Cooksbridge is a village situated in the parish of Hamsey in Sussex a short distance from Lewes. It sits on the edge of the South Downs National Park, England’s newest national park which was designated in 2010. Henry John Kinnaird was a landscape artist born on 7 June, 1861 at Old Church, St Pancras in London. He was the eldest son of Francis Henry Kinnaird (1836-1916), who was an artist and his wife Charlotte née Lee. His brother Francis Joseph ‘Wiggs’ Kinnaird (1875-1915) also became an artist. Both were probably tutored by their father as their style and subject matter are similar, but Henry is also known to have taught his brother art. He spent his time on painting trips around the country and visited areas such as Buxton in Derbyshire where he met his future wife. He made his debut at the Royal Society of British Artists in 1880 from his parents address at 98 Brecknock Road, Islington with a work entitled ‘In the Green Woods, near Buxton’. By the time of his marriage to Alice Mary Leyland on 6 Feb, 1883 at Buxton he had established himself as a full time artist. The couple spent their early married life at 38 Leighton Road, Camden and had 2 children together. In 1886, he began exhibiting at the Royal Academy where he continued to show his work over the years. He moved to Chingford, Essex around 1887 where he was inspired by the views in his locality. Kinnaird painted in both oils and watercolours in a broad, naturalistic style similar to John Horace Hooper. Many of his works are of harvest scenes such as this fine example. After the death of his wife Alice in 1890, he married Mary Helen Cooke on 6 September, 1892. The couple went on to have 2 children. By 1901, he had relocated with his family to Worthing in Sussex where he lived at Rusholme on Homefield Road. After staying there for a few more years he moved to Elm Croft, Burpham, Arundel before moving to Ringmer near Lewes in Sussex. He spent the final years of his life living at The Old Cottage in Ringmer, where he died on 26 April, 1929. An example of his work is held by Chelmsford Museum. Presentation: The work is housed in a new English made gilt frame which is in excellent condition. Condition: As with all of our original antique oil paintings, this work is offered in ready to hang gallery condition, having just been professionally cleaned, restored and revarnished. © Benton Fine Art

Constant Ludovic Artz Dutch, (1870-1951) Mother Duck & Ducklings Oil on panel, signed Image size: 9.5 inches x 15.25 inches Size including frame: 16.5 inches x 22.25 inches A delightful painting of a mother duck with her ducklings by constant Ludovic Artz. A white duck can be seen sitting on a river bank surrounded by her five ducklings. Two of the ducklings are shown taking rest by her side as the others forage close by. Constant David Ludovic Artz was born in Paris on 3 June, 1870, the son of David Adolph Constant Artz (1837-1890) and Josephine Jouanin. His father was a Dutch artist who had moved his family to Paris to set up a studio. The family returned to Holland in 1874 and settled in the Hague. Artz was taught art by his father and at the age of 12 enrolled at the Academy of Visual Arts in The Hague. He also received tuition from Hendrik Mesdag (1831-1915) and Willem Maris (1844-1910) who had an influence on his subject matter. He married Johanna Sophia Cecilia Ginjoolen at the Hague on 5 July, 1893. One of the witnesses was the artist Tony Offermans (1854-1911) whom he was apprenticed to at his studio. The couple went on to have two children together and to supplement his income, Artz also worked as an art teacher. One of his pupils was Leendert Scheltema (1876-1966). After divorcing from his first wife in 1915, he married Lucie Sophie van der Hoeven in 1917. At some point he moved to Soestdijk, living there until 1926 when he relocated to Katwijk at Sea in. He returned to Soestdijk in 1931 where he died on 23 February, 1951. Like his father, Artz was fascinated by nature and after painting a series of landscapes and seascapes began producing scenes featuring ducks and waterfowl usually on or by lakes and rivers. He was an expert at painting the play of light upon water and also preferred to work with smaller canvasses. His work can be found in private and public collections including the Rijksmuseum. Presentation: The work is housed in a new, English made gilt frame which is in excellent condition. Condition: As with all of our original antique oil paintings, this work is offered in ready to hang gallery condition, having been professionally cleaned, restored and revarnished. © Benton Fine...

Henry Brittan Willis British, (1810-1884) Midday Rest Oil on canvas, signed & dated (18)59 Image size: 18.5 inches x 31 inches Size including frame: 26.25 inches x 38.75 inches A b...

Constant Ludovic Artz Dutch, (1870-1951) The Swimming Lesson Oil on canvas, signed Image size: 11.5 inches x 15 inches Size including frame: 16.5 inches x 20 inches An enchanting painting of ducks and ducklings next to a river by constant Ludovic Artz. A white duck can be seen about to enter the water with her ducklings. Two more ducks are depicted resting on the bank beside a male duck who is shown puffing his chest out. Constant David Ludovic Artz was born in Paris on 3 June, 1870, the son of David Adolph Constant Artz (1837-1890) and Josephine Jouanin. His father was a Dutch artist who had moved his family to Paris to set up a studio. The family returned to Holland in 1874 and settled in the Hague. Artz was taught art by his father and at the age of 12 enrolled at the Academy of Visual Arts in The Hague. He also received tuition from Hendrik Mesdag (1831-1915) and Willem Maris (1844-1910) who had an influence on his subject matter. He married Johanna Sophia Cecilia Ginjoolen at the Hague on 5 July, 1893. One of the witnesses was the artist Tony Offermans (1854-1911) whom he was apprenticed to at his studio. The couple went on to have two children together and to supplement his income, Artz also worked as an art teacher. One of his pupils was Leendert Scheltema (1876-1966). After divorcing from his first wife in 1915, he married Lucie Sophie van der Hoeven in 1917. At some point he moved to Soestdijk, living there until 1926 when he relocated to Katwijk at Sea in. He returned to Soestdijk in 1931 where he died on 23 February, 1951. Like his father, Artz was fascinated by nature and after painting a series of landscapes and seascapes began producing scenes featuring ducks and waterfowl usually on or by lakes and rivers. He was an expert at painting the play of light upon water and also preferred to work with smaller canvasses. His work can be found in private and public collections including the Rijksmuseum. Presentation: The painting is housed in a new, English made gilt frame which is in excellent condition. Condition: As with all of our original antique oil paintings, this work is offered in ready to hang gallery condition, having been professionally cleaned, restored and revarnished. © Benton Fine...

Edgar Hunt British, (1876-1953) Cockerel, Chickens & Chicks Oil on canvas, signed & dated 1933 Image size: 7.75 inches x 13.75 inches Size including frame: 14.5 inches x 20.5 inches...

Henry Cheadle British, (1852-1931) Cattle Resting Oil on canvas, signed & dated (18)84 Image size: 19.25 inches x 29.25 inches Size including frame: 26.75 inches x 36.75 inches A well-executed landscape painting of cattle at a river by Henry Cheadle. A small herd of cattle are shown resting in a meadow by the side of a river. On the other side of the bank in the distance can be seen sloping hills reminiscent of the river Avon. At the time of this painting, the artist was living at Steelhouse Lane in Birmingham. Henry Cheadle was a landscape painter born in Birmingham on 16 May 1852 to Henry Cheadle and his wife Matilda (née Wood). His father was a hairdresser and they lived at 2a Steelhouse Lane in Birmingham. Although little can be found about his early education, he is known to have attended the Birmingham School of Art, where he won a number of prizes. He went on to study at the South Kensington Art School (later the Royal College of Art), where he also won awards including silver and bronze medals. Cheadle began exhibiting at the Royal Birmingham Society of Artists in 1871, where he went on to become a member. He also exhibited at the Royal Society of British Artists from 1875, the Royal Cambrian Academy, Walker Art Gallery, Liverpool, Bristol Fine Art Academy as well as at Frost & Reed. He played an active part in the local art societies, becoming curator and later president of the Midlands Art Club. He also became a member of the Birmingham Art Circle where he exhibited up until his death. By the late 1880’s, he had moved with his parents to 40 Spring Road in Edgbaston. He spent his time travelling around painting the landscapes of Gloucestershire, Worcestershire, the Midlands and North Wales. He also visited Newlyn in Cornwall where he painted a number of coastal views. He remained unmarried and lived with his parents until their deaths at the beginning of the 20th century. He continued living in Birmingham and exhibiting until his death aged 78 on 10 January, 1931. He was buried at Key Hill Cemetery in Birmingham. Some of his paintings were gifted to the Birmingham Museum shortly after his death and hung in the Victorian Room. Two of his works can still be found at the Museum today. Presentation: The painting is housed in a new, English made gilt frame which is in excellent condition. Condition: As with all of our original antique oil paintings, this work is offered in ready to hang gallery condition, having just been professionally cleaned, restored and revarnished. © Benton Fine Art

Joseph Clark ROI British, (1834-1926) A Bowl of Cherries Oil on canvas, signed & dated 1897 Image size: 17.25 inches x 22.25 inches Size including frame: 26.25 inches x 31.25 inches...

Alexis De Leeuw Belgian, (1822-1900) A Winter’s Day Oil on panel, signed Image size: 10.25 inches x 14.25 inches Size including frame: 18 inches x 22 inches Provenance: Cooling Gall...

Charles Sillem Lidderdale British, (1831-1895) The Scholar Oil on canvas, signed with monogram & dated (18)94 Image size: 26.5 inches x 19.5 inches Size including frame: 33.5 inche...