1925 - 2017
Oil on canvas
Image size: 22 x 26 inches
Tom Pemberton was married to the artist Jean Bell. He attended Leeds Arts University and became principal lecturer at Canterbury College of Art.
1865 - 1924
Oil on board
Image size: 18 x 14 inches
Contemporary style frame
Benjamin Haughton studied at Cambridge and at Herkomer's Academy in Bushey, Hertfordshire. He exhibited in London at the Royal Academy from 1893. He was a member of the Royal Society of British Artists.
1920 - 2013
The Cricket Match
Watercolour and ink
Image size: 10 x 14 inches
Acid free mount
Cyril Mount was born in Liverpool in 1920. He joined the Royal Horse Artillery in 1935 and was posted to India in 1936. He undertook active service in the Middle East and North African Campaigns, including the invasion of Sicily in 1943. He was commissioned Lieutenant and returned to England in March 1944. He had further active service in France, Holland and Germany between the years of 1944 and 1946 and then left the army as Captain.
He was an unofficial War Artist and forty one drawings and gouaches from 1941-46 are in the permanent collection of Imperial War Museum.
After leaving the army he enrolled at the Liverpool School of Art 1946-50, where he gained the National Diploma in Design in 1950.This was followed by a Diploma in Fine Art in 1951. He then became an art teacher and lecturer, firstly in Liverpool, then Cambridge and latterly Sussex.
Mount spent much time in Europe and North Africa, painting and exhibiting. He revisited Egypt in 1991 in connection with commission to make painting for the 50th anniversary of the first battle of El Alamein (July 1942),which is installed and now on permanent exhibition in the Imperial War Museum .
Exhibitions: John Moores, Walker Art Gallery Liverpool, Liverpool Academy, Manchester Academy of Art, Royal Academy.
1874 - 1963
At the Gallery
Oil on canvas, initials
Image size:28 x 25 inches
Fred Appleyard was a British landscape artist. He had 41 works exhibited during his lifetime by the Royal Academy and painted the mural 'Spring driving out Winter' in the Academy Restaurant.
Appleyard was born in Middlesbrough, England on 9 September 1874, the son of Isaac Appleyard, an iron-merchant. Having received his formal education at Scarborough, he attended Scarborough School of Art under the genre and landscape painter Albert Strange.
It was at the Scarborough School of Art that he met Harry Watson, the two were to remain lifelong friends. He then proceeded to the National Art Training School at South Kensington, and from there to the Royal Academy Schools, which he entered on 27 July 1897 at the late age of twenty-two. He was recommended to the R.A. by John Sparkes.
He was awarded the Turner Gold Medal, the Creswick Prize for landscape, the Landseer Scholarship and others. He carried out mural decorations for the Royal Academy Refreshment Room in 1903, St Mark's, North Audley Street, two large paintings in Nottingham General Hospital and Church of SS Peter and Paul, Pickering, Yorkshire.
He worked in South Africa 1910–12. During the 1914–18 war he worked at the Woolwich Arsenal. Exhibited at the R.A. 1900–35 and the R.W.A. from 1918 until c. 1950.
1895 - 1967
An Evening at Home
Gouache, signed mid right
Image size: 2¾ x 2¾ inches
Acid free mount and black frame
Perhaps best known for his iconic London Underground poster designs, commissioned by Frank Pick, Paine's works were also much in demand for other advertising campaigns and book illustrations.
We have a number of Charles Paine originals in stock. Please contact us for more details.
Edward C Prust
1891 - 1978
The Mappin Terraces, London Zoo
Pen and ink, signed top right
Image size: 10 x 13 inches
Prust was a prolific artist around the time of the Second World War, specialising in scenes of London. He was a student at the Chelmsford School of Science and Art.
His subject here, the Mappin Terraces of London Zoo, were opened in 1913. It originally housed bears, penguins, sheep, goats and wild boar, some of which are depicted in this work. The enclosure is now used for the Australasian species.
Norman Wilkinson CBE PRI
1878 – 1971
Oil on canvas, signed lower right
Image size: 30 x 40 inches (76 x 102 cm)
Exhibited at the Royal Academy 1955
Norman Wilkinson was a British artist in oil, watercolour and dry point, usually of marine subjects. An illustrator and poster artist, he also made an important contribution in both World Wars in the field of camouflage, namely dazzle camouflage.
Educated at Berkhamsted School and St Paul's Cathedral choir school, he had little training in art but largely developed his style through his maritime career. In 1898 he started contributing to The Illustrated London News and The Illustrated Mail which was the start of a long association.
In Paris in 1899 he studied figure painting but was already set upon working on marines. With his love of the sea he travelled extensively including visits to Spain, Germany, Italy, Malta, Greece, Aden, Bahamas, United States, Canada, and Brazil. He was elected R.I. in 1906. During World War I he served at the Dardanelles, on submarine patrol in the Mediterranean, and on a minesweeper in the English Channel. One of his paintings was on the Titanic when it sank.
During World War I, while serving in the Royal Naval Volunteer Reserve, he was assigned to submarine patrols in the Dardanelles, Gallipoli and Gibraltar, and, beginning in 1917, to a minesweeping operation at HMNB Devonport. In April 1917, German submarines (called U-boats) achieved unprecedented success in torpedo attacks on British ships, sinking nearly eight per day. In his autobiography, Wilkinson remembers the moment when, in a flash of insight, he arrived at what he thought would be a way to respond to the submarine threat (Wilkinson 1969, p. 79). He decided that, since it was all but impossible to hide a ship on the ocean (if nothing else, the smoke from its smokestacks would give it away), a far more productive question would be: How can a ship be made to be more difficult to aim at from a distance through a periscope? In his own words, he decided that a ship should be painted "not for low visibility, but in such a way as to break up her form and thus confuse a submarine officer as to the course on which she was heading" (Wilkinson 1969, p. 79). After initial testing, Wilkinson's plan was adopted by the British Admiralty, and he was placed in charge of a naval camouflage unit, housed in basement studios at the Royal Academy of Arts. There, he and about two dozen associate artists and art students (camoufleurs, model makers, and construction plan preparators) devised dazzle camouflage schemes, applied them to miniature models, tested the models (using experienced sea observers), and prepared construction diagrams that were used by other artists at the docks (one of whom was Vorticist artist Edward Wadsworth) in painting the actual ships.
In early 1918 Wilkinson was assigned to Washington, D.C. for a month, where he served as a consultant to the U.S. Navy, in connection with its establishment of a comparable unit (headed by Harold Van Buskirk, Everett Warner, and Loyd A. Jones)(Hartcup 1980; Behrens 2002, 2009; Wilkinson 1969).
After World War I, there was some contention about who had originated dazzle painting. When Wilkinson applied for credit to the Royal Commission on Awards to Inventors, he was challenged by several others. At the end of a legal procedure, he was formally declared the inventor and awarded monetary compensation (Wilkinson 1969, pp. 94–95).
As a poster designer, Wilkinson reached his highest artistic level. His posters were well-planned and executed in broad tones of colour with a skilful use of black to strengthen the design. He made his first poster (of the Irish steamer crossing from Holyhead to Dublin) in 1905. It was the first to illustrate the product as just one element of a broader landscape and its revolutionary design was a major influence in the development of the pictorial poster. Wilkinson went on to organise the celebrated commissioning of poster designs from members of the Royal Academy for the London Midland and Scottish Railway company in the 1920s. Through the dissemination of his posters to railway stations, schools, and government offices throughout the world, he became one of the most familiar artists in the British Empire.
He was elected Hon. Marine Painter to the Royal Yacht Squadron in 1919, P.R.I. in 1937. He was knighted in 1948 and appointed a CBE in 1948. Wilkinson created a painting titled "The Approach to Plymouth Harbour" for the smoking room of the RMS Titanic, which sank with the ship.
Wilkinson is one of the finest marine painters of this century. Prolific and long-lived, Norman Wilkinson led an active and adventurous life until his death in 1971. A regular exhibitor at the Royal Academy, he was president of the Royal Institute of Painters in Watercolours and a member of the Royal Institute of Oil Painters. His work can be found in many public and private collections, some listed below. He painted a record of the major sea battles of the Second World War and presented the series of 54 paintings to the nation; they are kept at the National Maritime Museum.
He raised the status of the poster painter and the quality of the art poster, and persuaded seventeen other RA artists to contribure to the genre.
Museums & Galleries
Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Water Colours, Royal Institute of Oil Painters, Glasgow Institute of the Fine Arts, Walker Art Gallery, Liverpool, Abbey Gallery, Royal Society of Artists, Birmingham, Beaux Arts Gallery, Imperial War Museum, National Maritime Museum, National Railway Museum and the Ulster Museum.
Wilkinson, N. (1969), “A Brush with Life”. London: Seeley Service. Wilkinson, N. (1915) “The Dardanelles”, London
Leslie Ernest Parkinson
1903 - 2001
A Willow Tree
Oil on board, initialled and dated 1930 top left
Image size: 10 x 12 inches
Parkinson was born in Islington in 1903, the son of Arthur and Ann. He married Edith Richardson, the daughter of the England fast bowler Tom Richardson, in 1929. He pursued a career as a civil servant.
Parkinson mainly painted in oils. He exhibited at the Royal Academy and the Royal Institute of Oil Painters.