T C Dugdale was born in Blackburn in 1880 and studied at Blackburn School of Art before studying in London and Paris. He had an extensive career and specialised in portraits and one of his most famous sitters was Princess Margaret. He also designed textiles and book covers. During the wars he served abroad and at home and continued to paint. In 1949 he became the president of the Blackburn Artist's Society.

The sitter for this painting is Mr Kersey who was born in 1866. He lived in Suffolk and worked at Iken Hall Farm as a farm worker and later gardener. He also had his own small holding with animals, a veg patch and made his own beer, butter and cheese. He married his wife Sarah in 1892 and they had 14 children. He died in 1947.

James Henry Crossland was born in Wakefield in 1852 and became known for his landscape paintings of Lake District scenes. He exhibited 10 paintings at the RA and was a founding member of Lake Artists' Society. He died in Ambleside in 1939.

The subject of this work is the wooded landscape of Alum Scar in Blackburn. The area is named after a mining industry that dates back to the early 1600s which received a royal visit from King James I who stayed at Hoghton Tower and visited the Alum Mines.

Alum was an important crystal used by tawers and dyers to fix to dye to cotton and other fabrics. It was supplied locally to Bolton, Wigan and Coppull. Alum workers were still recorded as living in the area in 1717. The ruins are now a scheduled site.

Alfred Munnings was the son of a miller and grandson of a farmer, as a boy he drew ponies and when he was 14 a family friend urged his dad to apprentice him to a lithographic firm, Page Brothers. For 6 years he worked a 10 hour day and attended Norwich School of Art by night. He later studied in Paris.

Just before his 21st birthday, Munnings lost the sight in his right eye after being blinded by a thorn hedge while out walking. The loss of depth perception plagued him for the rest of his life but he continued to paint and is recognised as one of the great masters of sporting art.

He first exhibited at the Royal Academy in 1898 and later went on to become the president of the RA from 1944-49 where he was an outspoken critic of modern art.

This painting by James Webb depicts Ischia, a volcanic Italian island in the Tyrrhenian Sea at the northern end of the Gulf of Naples, 19 miles from Naples. Inhabited since the Bronze Age, it developed into a popular travel destination for European nobility by the 19th century. Writers and painters, like Webb, were attracted to the island from all over the world and an artist colony existed in early 20th century.

In the centre is Aragonese Castle, first built in 474 BC, which has an exciting history from being captured by the Romans to being fortified to protect it from pirates. The castle once housed 2000 families and 13 churches and was connected to the island by a causeway. It is now privately owned and a popular tourist destination.

Elchanon Leonardus Verveer was born in 1826 and and lived all of his life in the Hague. He was a Dutch painter and graphic artist, from a Jewish family and is classed as one of the successful romantic painters of the era.

He had 2 brothers (Salomon ‘Samuel’ & Mozes Leonardus ‘Maurits’ Verveer) who were also successful artists and all 3 brothers displayed their work nationally and internationally. They became the first professional and successful Jewish artists in the country, but still remain relatively unknown.

Elchanon's main genre of painting was beach scenes, Dutch fishing families and depictions of the harsh life of fishermen, primarily in Scheveningen as seen in this piece of work.

This painting is set in the Roman city of Ephesus, on the coast of modern day Turkey. It depicts a young woman being forced by soldiers to give up Christianity for paganism. In a busy stadium, crowds are waiting for her decision. Will she give up Christianity by offering incense to the statue of Diana, the goddess of hunting or will she refuse and be dragged away to be killed?

The painting was inspired by a poem by JB Greenwood. In the Victorian period when this picture was painted people believed Christianity was being threatened again due to the development of new scientific ideas and rising secularism.

Originally loaned for the opening of Blackburn's new art gallery in 1884 it was later donated as a memorial to local WW1 soldiers.

Frederick Goodall was a British artist born in 1822. His first success came when he was only 16 when he was commissioned by the famous civil engineer Brunel to create paintings of the Thames Tunnel. From this series a number were displayed at the Royal Academy, which he became a member of in 1863.

Goodall had particular interest in painting Egyptian scenes. He visited the country twice and painted the pyramids, Cairo streets and scenes of Egyptian life. Goodall in his attempts to authentically portray Egypt would bring animals, such as sheep and goats, and other set dressings back to England to use in his works.

Although very successful and rich within his own lifetime he lost all of his fortune and was bankrupt by his death in 1904.

La Thangue was born in Croydon and attended Dulwich Collage and the Royal Academy Schools. There he won a gold medal and a scholarship to study in Paris for 3 years. He spent many years painting scenes of rural life in England and on France’s Mediterranean coast. Later, in Italy’s Liguria region, he painted scenes of local people working untouched by modern life.

This picture, ‘A Ligurian Flower Seller’, was exhibited in 1908 along with a companion piece ‘In a Ligurian Garden’ which was sold in a Yorkshire auction in 2022. The location was the same in both paintings and featured the same girl of whom he wrote “the girl was so exceptionally nice and posed well”. His wife left his paintings to many British galleries including this one here.

Paul Jean Clays was an artist from Belgian who was known for his marine paintings that often depicted the Dutch or Flemish coast.

He was taught in Paris by Horace Vernet and Théodore Gudin and made his debut at the Paris Salon exhibition in 1851. His style broke away from the popular traditional style of marine paintings, which often depicted exaggerated romantic scenes featuring dramatic storms, famous naval battles and historic marine tragedies.

Instead Clays preferred a more truthful and accurate approach to his works and chose to paint detailed boats against the backdrop of calm serene seas bathed in soft subtle light and clouds.

Both artist and the portrait sitter for this painting are a mystery to us!

Our collection features 2 paintings, both depicting Russian men, painted by this same artist, the elusive T. Pucz. We believe they were painted in the late 1800s however no information can be found in our records or on the internet about him.

The portrait sitter appears to be a worker and is wearing an apron. The other Pucz painting is titled 'Russian Moujik' which translates to peasants in English. In this period around 80% of the Russian population belonged to the country's peasant class ('The Moujik', E. A. Cazalet, The Economic Journal, Vol. 11, No. 44 (Dec 1901), Oxford University Press) and many lived in rural areas working in agriculture.

Little is known about the artist of this painting, Alexander Ivanovich Snegirev. Research online suggests they were born in Russia and attended the Academy of Arts from 1908 to 1911.

In this period Impressionist art experienced a surge in popularity in Russia, inspired by European Impressionism. Portrait paintings were expressive and spontaneous in manner, as if the moment had been captured by chance, showing the character and personality of the sitter. The women depicted in this painting catches the eye with her big smile and the movement in her form.

The movement gave way in the 1910s to a rise in Russian Avant Garde modern art when the nation turned its attention to revolution in 1917 and art supporting political change.

Connard came from Southport and studied textile design at the Royal College of Art before studying painting in France after receiving a scholarship.

On his return to London, Connard earned an income as illustrator for Bodley Head, and from teaching at Lambeth School of Art. He regularly exhibited his work and developed his own style as a landscape painter and as a portraitist. He went on to be a founder-member of the National Portrait Society in 1911.

In 1914 he joined the army but was invalided home after the Battle of the Somme in 1916. He then served as an Official War Artist in the Royal Navy. His art was exhibited at the Royal Academy in the 1920s and this led to further successes throughout his career. He died in 1932 in Richmond.

Henry Clarence Whaite was born in Manchester in 1828, his father was involved in art and owned a picture framing business and a gallery. He developed his own interest in art and received his training firstly at the Manchester School of Art and subsequently at the Royal Academy schools.

After visiting Switzerland in his youth he developed a love for landscape painting, in particular Welsh landscapes, for which he gained a fairly good reputation. His religious beliefs were a strong influence in his art and he featured Christian scenes in a number of his works.

He was one of the first members of the Manchester Academy of Fine Arts, and a leading figure in the Royal Cambrian Academy of Art where he was elected its first president in 1886.

William Edward Stott was a Lancashire artist born in Rochdale. His father was a mill owner and businessman who was elected twice as Mayor of Rochdale. William's father and family disapproved of his art and wanted him to enter into the family business. Whilst working in an office William attended the Manchester School of Art on the side before receiving funds from an unknown benefactor enabling him to further his studies in Paris in the 1880s.

After returning to England he moved to rural West Sussex and here his work frequently depicted idylic peaceful scenes of working and social rural life. He often featured children, who were a popular feature in Victorian art, and atmospheric lighting with scenes often set during the twilight hours.

Born in Australia in 1864, Hornel moved to Kirkudbright in Scotland and remained there until he died in 1933.

Hornel’s painting style regulary featured landscapes, flowers and children. His interest in strong colour meant he thickly applied paint with a palette knife for a rich, lively texture and dense strokes.

The End of the Butterfly Chase is of playful children in the Dumfries and Galloway countryside who have come to the sandy beach and crystal blue sea of Brighouse Bay.

A few years ago, a visitor looked at this and recognized the girls who were her aunts, May and Adah. She recalled how they had modelled for Hornel and that they complained about having to stand in an uncomfortable position holding the buttery whilst he sketched.

Landscape painter Edmund John Niemann was born in Islington, to a German father. He started his career as a Lloyd's bank clerk but later decided banking wasn't for him, instead committing to his art. Niemann was a prolific and successful landscape artist and exhibited his work across the country. He settled down with his family and his son also went on to be an artist, creating work in a similar style.

Despite his success the later years of Niemann’s life were impacted by his financial debts and poor health, resulting in multiple bankruptcies and arrests. One debt led him to spending 2 months in Reading Gaol and at one point he owed £1638 which is £180,000+ in today's money. He died aged 63 at his home on Brixton Hill, London.

Julius Olsson had no formal art training but learnt to paint in London and on various journeys abroad. He moved to St Ives in 1896 where he developed a reputation as a painter of landscape and stormy seascapes. The landscapes of Cornwall, particularly the rugged coastline, was his principal source of inspiration.

Hughes-Stanton was a painter who specialised in oil and watercolour. He was born on 21st November 1870 in Chelsea, London and was the son of William Hughes, a still-life painter under whom he studied. His son Blair Hughes-Stanton is an engraver and illustrator, and his brother Talbot Hughes also painted.

He was awarded gold medals at the Paris Salon in 1907 and 1908 for his work. He visited France regularly from 1906 to 1914 and served there as on Official War Artist, exhibiting work from this period at the Fine Art Society in 1919. This piece of work painted in 1921 is of village/small town in the south of France.

Knighted in 1923 Hughes-Stanton was a widely recognised artist in his times, he died in Kensington, London in August 1937.

Stanley Cursiter was born in Kirkwall, Orkney and spent time at his grandparents’ farm where he enjoyed sketching the countryside. He worked at a printer’s in Edinburgh, attended art classes and won a scholarship to the R.C.A. in London. He left after a few months, returning to Edinburgh to make his own way as an artist. He experimented in Futurism before serving in the Scottish Rifles in WWI.

In the 1920s an art dealer asked him to paint 20 portraits of ‘pretty girls in pretty frocks’ and this is one of them, Roberta Farquharson. In 1925 he became Keeper at the Scottish National Gallery and 5 years later, it’s Director. As Scottish Limner he painted pictures of the Queen. He retired to Orkney in his 60s where he continued to paint.

Few Victorian artists could paint the impressive power of the sea as realistically as Henry Moore could.

Born in landlocked York, Henry came from a family of successful artists. He studied the movement of the ocean and formation of waves beside the shore but also at sea on boats.

Whilst sailing across the Mediterranean from Egypt to France in 1873 he sketched a brewing storm. His power of observation transports us to the middle of a choppy sea. He expertly paints the crest of waves with their spray and froth in deep blue greys and the looming dark rain clouds. Between them is a ship, bobbing in the choppy waters like a toy, with no choice but to ride the waves.

On return to dry land, Moore painted this impressive piece from his sketches.

David Murray was born in Glasgow in 1849 and worked in a factory whilst taking evening classes at the Government Art School of Glasgow. After 11 years of administrative work he devoted himself to an artistic career and became well-known for painting lively landscapes and seascapes. He went on to exhibit in London galleries.

He was named an associate of the Royal Scottish Academy in 1871, an associate of the Royal Academy in 1891 as well as elected academician in 1905. He exhibited in Paris in 1889 at the Universal Exposition and received a bronze medal.

Most of his early inspiration came from Scotland, but towards the middle of the 1880’s he was drawn by the landscapes of southern England. His works are highly esteemed for their quality.

Originally from the Lewis Textile Museum collected by Thomas Boys Lewis.

This piece was was initially published as a single sheet engraving in 1736 by William Hogarth the famous English painter and engraver, known for his social critiques and satirical works.

In this piece he commentates on and satirizes the medical profession. At the top of the work sits three notorious quack physicians from the period ―John Taylor, Sarah Mapp, and Joshua Ward. At the time of the engravings production in 1736 they were known for their reputation and each was frequently referred to in the newspapers and in popular songs.

Below them are twelve physicians, implying that the quacks and the physicians are one and the same.

William was the son of John Linnell, renowned landscape painter and a rival to Constable. Aged 25, he still lived at home and the Census listed his ‘occupation’ as ‘Portrait Artist’s Son’! By 1871 he was recorded as living in Reigate and was now an ‘Artist’ himself. He was widowed with 3 daughters aged 3, 2 and 1 and his sister acted as his housekeeper assisted by 4 servants. His middle child was born in Paris suggesting William spent time in France. He moved to Chelsea in his 70s.

'Hesperus' in Greek mythology means the Evening Star, Venus. If you look closely Venus features in the sky of this painting above the shepherd. This explains the quote on the frame: “When Hesperus calls it is time to fold the flocks of men".

Frederick Goodall is known for his paintings of Egyptian scenes is also known for his use of soft colouring, an almost symbolist calmness and sense of atmosphere, which are instantly recognisable in paintings like Rebecca at the Well.

Rebecca at the well is a rather fanciful version of the moment from the Book of Genesis when Abraham’s servant approaches Rebecca to find out if she is to be Isaac’s future wife.

"Let the maiden to whom I shall say “Pray, let down your jar that I may drink”, And who shall say “drink, and I will water your camels” – let her be the one whom thou hast appointed for thy servant Isaac”. (Genesis 24:14).

This is one of a number of Biblical scenes painted by Goodall.

Born in 1811 and named Henry John Williams he went on to become a respected painter in the Victorian era. He was part of an artistic family and he showed early talent for painting, he was trained by his father who was a landscape painter.

Known for his landscape and river scenes, he developed a personal and recognizable style. His scenes are usually painted in a pale evening light, using a range of dark greens and browns.

Boddington exhibited in London at the British Institution, the Portland Gallery, the Royal Academy and the Royal Society of British Artists and received praise from the likes of Ruskin.

Following his marriage to Clara Boddington in 1832, he took her surname to avoid confusion with the other artists in his family.

In this scene taken from Adam Bede by George Eliot, Hetty Sorrell runs away from the desperate cries of her young baby she has just abandoned in the woods.

At the time the novel was written, women with children outside of marriage had few options. Many handed their babies to Foundling Hospitals or in desperation abandoned them for fear of social disgrace and shame. To modern eyes, Hetty’s dilemma can seem avoidable and her actions selfish but in the last hundred year’s women have fought for and benefited from rights and options to make more informed choices. Ironically, the author, George Eliot, was in fact a woman named Mary Ann Evans. She printed under a man’s name to ensure her books were taken seriously in a male dominated society.

William Ranken was the son of a successful Edinburgh lawyer and was educated at Eton. Excelling at art he progressed to the Slade School of Art and set up a studio in Chelsea. Singer Sargent had a nearby studio and befriended him, taking him on trips to Europe and the USA where his talents were recognised by wealthy Americans. His success resulted in demand in the UK for portraits of royals and aristocracy. He bought a large C.18th mansion in Hampshire and made further trips to America to boost his income.

He worked in oils and watercolours with a variety of subjects including landscapes and interiors. He died unexpectedly from a stroke and his sister donated 200 of his paintings to UK galleries. This painting is possibly a self-portrait.