Paintings of Shere

Before the age of the photograph, the only way of illustrating or describing a village, other than the writen word was through the medium
of paintings. Shere, it has been said, "is one of the prettiest villages in Surrey, often claimed by many as the most beautiful" and not
without reason. It is truly part of England's "garden"
. Quote by T. A. Wilkie (Surrey County Journal)

The following paintings show the village through the ages, painted in various mediums. Copyright remains with the artist, all rights reserved.

Shere Paintings / drawings arranged in Chronological date order...

...starting with oldest first - If you see any paintings that do not appear on this page, please drop me a line. Tristan Greatrex

 

Quick Links to Years:

1800 - 1899

1900 - 1949

1950 - 1999

2000 - Now

UNKNOWN

late 1700s

One of the earliest works - You can see St James' spire peaking out from above the trees.

Painter: DEVIS Anthony (1729-1816) Surrey.
‘G.Breys Chalk Pits’. Shere church spire in the trees.
Ink and watercolour.
Signed. Inscribed verso. Prov: John Trower and by descent.
size: 5x8 inches.

£675 (November 2016 - PURCHASE)

 

Anthony Devis lived in Albury from 1780 and painted his home as shown above - this and other examples of his works in Albury

1811

Titled Shere Church

From "THE HISTORY OF SURREY" by Manning & Bray

Size: 42cm x 24cm

1823

A very early drawing of St James' Church, Shere looking NW
Unknown artist

 

Painting by John Hassell - VIEW website

Sheer (Shere). Drawn and engraved by John Hassell Published by John Hassell, c1817 in "Picturesque Rides and Walks, with Excursions by Water, Thirty Miles Round the British Metropolis. Aquatint with original hand colouring. Mounted - SOURCE

 

Shere Court House - Now Bodryn (left had side) and Forge Cottage on the right - image © Shere Museum

 

Gomshall - 1823

Painter: John Hassell (1767-1825)

Medium: Water colour

Location: Photo above - The Black Horse Pub

JOHN HASSELL on Wikipedia

Hassell’s work was popular with gentlemen who collected drawings and watercolours to extra-illustrate their copies of Owen Manning and William Brays ‘History and Antiquities of the County of Surrey’, 3 vols (1804-1814). Robert Barclay’s collection of Surrey illustrations includes over 500 original watercolours by John Hassell and his son, Edward.

Edward Hassell continued with similar drawings in a different technique until 1832. He was more interested in the interior of churches and in more modern buildings than his father. He died in 1852.

For further information relating to John and Edward Hassell, together with an analysis of their artistic style, the materials they used and a list of the work they produced, see ‘A Catalogue of Pictures of Surrey and Elsewhere by John Hassell (1767-1825) and his son Edward (1811 1852)’ by J C Batley and G P Moss, Surrey Archaeological Collections, vol 75 (1984)

His ‘Views of Gentleman’s Seats Adjacent to London’ (1804-1805), ‘Picturesque Rides and Walks within Thirty Miles of the British Metropolis’ (1817-1818) and ‘Excursions of Pleasure’ (1823) show Hassell’s deep interest in Surrey which was to take him to most parts of the county and result in at least 750 watercolour views of churches, houses and other buildings of architectural or historical interest which he found. They provide a superb glimpse of the county’s architecture over two centuries ago before the face of Surrey was transformed by the coming of the railway.

MORE INFO

Old Courthouse in Gomshall - Was this later called ' old Cottage' and then later 'Old Ivy House' - Opposite today's Petrol Station

 

1850

Shere Church - 1850 (approx.) - 19th Century Pencil Drawing of a Shere Church, Surrey

Illustrator: Unknown

Medium: Pencil - Size: 19 x 22cm (7.5" x 8.7")
Sheet: 22 x 27cm (8.7" x 10.6")

1854

The Eccentric Billy Hicks, SHERE - 1854

Painter: F. Randoll

William Hicks, a country gentleman, lost his reason through unfulfilled love. He lived as a tramp with his animals, who took his own life by hanging at the age of 74, in 1854.

Medium: Watercolour - 32cm x 51.8cm

Can be viewed at Guildford House Gallery - donated to Guildford Museum, 1962. Transferred to Guildford House, 1985

1856

AT SHERE SURREY- 1856

Painter: FREDERICK WILLIAM HULME (1816-1884)

Oil on canvas, 59.5 x 49.5cm 

1858

The Emigrant's Lasy Sight of Home - 1858

Painter: Richard Redgrave ( (1804-88)

Location: Abinger

Medium: Oil on canvas 26 3/4 × 38 3/4 (67.9 × 98.4) 

Many families left Britain during the 1840s and 1850s, forced to seek their fortune elsewhere by hardship and economic depression. Redgrave was one of several artists who recorded the plight of such emigrants. This picture was exhibited at the Royal Academy in 1859 accompanied by lines from Oliver Goldsmith's poem 'The Traveller'. This begins: 'Have we not seen, round Britain's peopled shore, Her useful sons exchanged for useless ore?'. The village that the family prepare to leave is that of Abinger in Surrey, where Redgrave owned a cottage.

Tate Gallery label, January 1996

View Richard's Landscape near Shere, 1877 BELOW

1860

A Cottage Window at Shere - 1860

Illustrator: Sir Francis Seymour Haden (16 September 1818 - 1 June 1910), was an English surgeon, best known as an etcher.

Medium: etching
Dimensions: unframed: 4 13/16 x 6 11/16" (12.22 x 16.98 cm)

 

 

A Cottage Porch - 1860

Illustrator: Sir Francis Seymour Haden (16 September 1818 - 1 June 1910), was an English surgeon, best known as an etcher.

Image © The Trustees of the British Museum

Department: Prints & Drawings

Description
Interior scene at the house of Sir Henry Cole, Shere; a table with shelves, seen in the foreground at left, behind, a window open and a church seen from distance; to right, a seated woman, seen on profile, reading; cancellation proof, plate cancelled with several diagonal strokes in both directions.
1860 - VIEW MORE details

 

 

Watercolour - circa 1860

Illustrator: Sir Francis Seymour Haden (16 September 1818 - 1 June 1910), was an English surgeon, best known as an etcher.

Image © The Trustees of the British Museum

Description
Shere; cluster of buildings, surrounded by trees, including church steeple (?) in distance at centre. c.1860
Watercolour, over black chalk - VIEW MORE details

1861

Museum number

1874,0711.11

Description

Recto

Series B, Plate 1: View with two figures sitting in a field in the foreground, one of them with a staff, looking towards the sunlight beaming from behind hills in the right background, a church spire in the midst of a forest in the left background. 1861

© The Trustees of the British Museum

 

Shere Church, Surrey - 1861 - View from Middle Street (approx from the position of the, yet to be built, 'Old Fire Station'. - You can see Sayers to the right of St. James' Church and the footbridge with the Tillingbourne flowing.

Illustrator: Unpublished Amateur Etchings | Print made by Sir Henry Cole

Image © The Trustees of the British Museum

Department: Prints & Drawings

Description
Series A, Plate 4: View of a church spire in the left background, behind trees and houses encircled with a wall, a field in the foreground
with three ducks by a bridge in the right, a woody hill in the right background. 1861
Etching with aquatint, printed on chine collé - VIEW MORE details

 

 

Shere Church, Surrey - 1861

Illustrator: Unpublished Amateur Etchings | Print made by Sir Henry Cole

Image © The Trustees of the British Museum

Department: Prints & Drawings

Description
Series A, Plate 3: View with trellis in the left foreground which surrounds a garden of the artist's house at extreme left, an iron gate half
open in the right middle distance, further houses and trees in the background. 1861 - VIEW MORE details

 

This by an unknown artist, dated Monday 12th August 1861

Also by the same artist, dated on the same day, Monday 12th August 1861 - This looking froim Shere Lane towards the Square and Middle Street - The White Horse Pub is on the left and Vaughnes on the right.

images © Shere Museum

1863 - Benjamin Williams Leader

By Mead or Stream - 1863

Painter: B.W. Leader

Description
The painting "By Mead and Stream" of 1893 (Towneley Hall Art Gallery and Museum, Burley) also depicts the Tillingbourne at Gomshall Marshes, looking towards the village of Abinger Hammer. Sotheby's

1865 - Richard M. Ryner's Art Scrapbook

click on the sketch above to view detailed image

Location: Lower Street, Shere

Artist: RICHARD MANSER RAYNER (1843-1908)

Very exciting news - I have been contacted by Andrew King who's Great Grandfather was renowned painter, Richard Mayner.

The exciting news is that Andrew has a large number of Richard's pencil and watercolour sketches and (mainly) unfinished watercolour and oil paintings. Among them are quite a few sketches of various aspects of village life in and around Shere during the artist's time in the village from the mid 1860s to around 1880. We will be featuring these over the coming months and would like to this opportunity to thank Andrew and his family for sharing Richard's works of art with us all through our Shere Village website.

25th October 2016

1866

Location: Upper Street, Shere

Artist: Sir Henry Cole

The Victoria and Albert Museum (V&A ) have an ink drawing of the original Shere footbridge with the inscription at the bottom right of the drawing which reads:
"Bridge across High Street, Shere, and Mr Bray's garden, Shere, 1866 - HC" - this original was created by Sir Henry Cole (Resident of Shere, Inventor of the Christmas Card and FOUNDER OF the V&A Museum).

Sir Henry Cole was also a keen photographer and one of the earliest photo's of Shere Village can be viewed HERE, taken in 1850.


READ MORE ABOUT SIR HENRY COLE, including photos of his home (Seaforth Cottage in Gomshall Lane), the history of the Christmas Card and more on the V&A Museum.

 

Ink drawing sketch by Henry Cole of his home, Elm Cottage (renamed 'Seaforths' in Gomshall Lane and NOT Elm Cottge in Upper Street).


photo ©Victoria and Albert Museum, all rights reserved

1866

 

Shere School, Surrey - 1866

Illustrator: Unpublished Amateur Etchings | Print made by Sir Henry Cole

Image © The Trustees of the British Museum

Department: Prints & Drawings

Description
Series B, Plate 28: View of the Shere Girls School with a gothic hall in the left middle distance behind a closed gate and fence in the foreground, a spire in the midst of woods behind the hall on the right; after Summerly? 1866
Etching with aquatint, printed on chine collé - VIEW MORE details

1866 - Benjamin Williams Leader

Evening Return to the Homestead - 1866

Painter: Benjamin Williams Leader
signed and dated 'B.W.Leader.1866' (lower left), signed, inscribed and dated on the reverse

oil on canvas - 76 x 132cm (29 15/16 x 51 15/16in).

Description
I would love to find this location, can anyone help. If so lease e-mail me

UPDATE - 26th February 2017

Returning Home - 1897
Painter: B.W. Leader

This is without doubt the same property as the one Benjamin William Leader painted 31 years prior

1866 painting - Evening Return to the Homestead 1897 painting: Returning Home

(click on the above photos to view larger image)

 

abt 1870 James Matthews

THE VILLAGE OF SHERE

Painter: James Matthews

Location: Middle Street - 10.5" x 14" (26.67cm x 35.56cm)

Watercolour and Gouache - watercolour

1870 - Richard M. Rayner
Art Scrapbook

Village of Shere - 1870

Artist: RICHARD MANSER RAYNER (1843-1908)

The two ancient Elms stand proud in the square - The Old Fire station is yet to be built, replacing the wooden barn next to the pound.

From Richard's Art Scrapbook.
See the 1865 section higher up on this webpage, for the story of Richard's scrapbook.

1870 - Art Scrapbook

St. James' Church - 1870

Artist: RICHARD MANSER RAYNER (1843-1908)

From Richard's Art Scrapbook.
See the 1865 section higher up on this webpage, for the story of Richard's scrapbook.

1870 - Art Scrapbook

Sayers & St. James' Church - 1870

Artist: RICHARD MANSER RAYNER (1843-1908)

From Richard's Art Scrapbook.
See the 1865 section higher up on this webpage, for the story of Richard's scrapbook.

1870 - Art Scrapbook

Sayers & St. James' Church - 1870

Artist: RICHARD MANSER RAYNER (1843-1908)

From Richard's Art Scrapbook.
See the 1865 section higher up on this webpage, for the story of Richard's scrapbook.

1870

Netley Mill, Shere

Painter: RICHARD MANSER RAYNER (1843-1908) - Lived at Pantry's The Square, Shere

The painting above is also c.1870, and shows tree felling by Netley Mill. This finished painting (which is still in the family) uses bodycolour rather
than pure watercolour. Pencil sketches made at the same time show the local wheelwright collecting the timber.

In 1872 Richard married Mary Ann Harding (and would write back to her nearly every day while he was away on painting trips). Having obviously
enjoyed his stay in the Gomshall/Shere area in the 1860s, he moved back to the area in the mid/late 1870s -
and painted more pictures of Netley Mill.



Some trees survived the felling as we see in the photo above of Netley Mill circa 1875. The family has another painting showing a similar scene
to the sketch & photo but with two of Richard's children playing in the foreground.

The mill still exists today, but has been converted into a house. CONTINUED at this really informative website

 

Janet Simspon A.R.E; Janet studied art at Lambeth and R.C.A. she exhibited between 1904 and 1938 at
most major societies and galleries in England and was a Bronze and Silver winner at the Royal College of Art.

This fine etching has retained its excellent colouring, bright and unfaded, in black ink with very fine detail, ink lines and plate tone, the image measuring approximately 20 cms. x 20 cms. (8 x 8 ins. )within a strong platemark and impression, on a laid paper sheet size 24 cms. x 25 cms. (9¼ x 10 ins. ) with makers watermark.

1870

Funeral at St. James' - 1870

UPDATE: Located a better picture, thanks to: © Shere Museum

Unknown artist - are you able to help?

1871 - The Illustrated London News

View at Shere, in Surrey - 1871

taken from The Illustrated London News.

Overall size 36cm x 24cm

1874 - Benjamin Williams Leader

On a Surrey Heath - 1874

Painter: Benjamin Williams Leader
signed lower left and dated 1874

oil on canvas 38.5cm by 59cm

1875

A Cottage at Shere - 1875

Painter: Helen Allingham

Location: Oak Cottage (Kinghams), Gomshall Lane (Opposite Shere School)

Helen Allingham stayed in Shere in the summer of 1878, John White lived at Shere 1877-82, Frank Walton lived at Dorking and painted in the Shere and Gomshall area from the 1860s until the early 1900s, while Joseph Langdale Pickering, RBA, ROI, lived at Abinger Hammer 1875-77. Other artists known to have worked around Shere include Richard Redgrave, George Vicat Cole, RA, Benjamin Williams Leader, RA, Frank Holl, John Robertson Reid, Robert Hills OWS, Richard Rayner, William Blandford Fletcher, George Charles Haite, Lewis Pinhorn Wood, John Nesbitt, William Frederick Hulk, Edward Aubrey Hunt, Robert Paton Reid, John Douglas, Charles Robertson, and Charles Rowbotham.

WEBSITE

1876

HER FIRSTBORN - 1876

Painter: Frank Holl (1845–1888)

View from the Vestry door at St. James', looking towards 'The Square'.
Note: Pre-Lychgate and white painted cottages in the background

Size: 43" x 61"

1877 Unknown artist

IN VILLAGE OF SHERE

Painter: If you know who may have painted this, please let me know. Thank you.

Location: Lower Street looking towards The Square

 

Unknown artist
Located at © Shere Museum

1877

Landscape near Shere, 1877

Artist: Richard Redgrave (1804-88)

1878

White Horse Inn - 1878

Painter: Helen Mary Elizabeth Allingham (1848 - 1926)

Medium: Watercolour heightened with bodycolour and gum arabic
19 x 25cm (7 1/2 x 9 13/16in).

Location: The Square, Shere

The White Horse (the sign can be seen by the door) was run by Richard Askew and his wife Catherine.

In 1884 an article appeared in Leisure Hour which began with the author asking a Shere villager “Do many artists come here?” “Many!” was his response “Why in summer-time you can’t get between their umbrellas”. This summed up the village’s reputation amongst the Victorian artistic fraternity.

William and Helen Allingham spent the summer of 1878. Approximately a dozen watercolours resulted from Mrs Allingham’s holiday, and they were exhibited at the Royal Watercolour Society between 1878 and 1880.

SOLD - © Visit SOURCE

 

 

Shere - 1878

Medium: Watercolour - DOES ANYONE HAVE A COLOUR VERSION?

Painter: Helen Mary Elizabeth Allingham (1848 - 1926)

Helen Allingham stayed in Shere in the summer of 1878

Location: The Square

 

Children Playing with Kittens beside a cottage - 1878

Medium: Watercolour - 9.25 x 6.25in.

Painter: Helen Mary Elizabeth Allingham (1848 - 1926)

Helen Allingham stayed in Shere in the summer of 1878

Location: Upper Street

 

Netley Farm

Medium: Watercolour

Painter: Helen Mary Elizabeth Allingham (1848 - 1926)

 

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By the Silent Pool - inscribed verso

Medium: Watercolour - 5x 7 inches

Painter: Helen Mary Elizabeth Allingham (1848 - 1926)

Helen Allingham stayed in Shere in the summer of 1878 when this painting was most probably created.

Provenance - Exhibited in Christopher Wood Gallery, London May 1980, Helen Allingham Exhibition, No. 13. 

 

Up for sale (May 2017): £4,495.00 - Sold price: unknown

 

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UNKNOWN IMAGE

There is a watercolour drawing held at the V&A Museum - would be interesting to view:

Drawing by Helen Allingham, depicting a landscape at Shere in Surrey, watercolour, Surrey, late 19th-early 20th century - DETAILS

1878

The above sketch of the Fireplace at The White Horse was taken from

HIGHWAYS AND BYWAYS In SURREY

1878

Fredrick Morgan - Most of his painting was done in the village of Shere - READ MORE

Not of the Fold - PAINTING BELOW - was painted, when Morgan was 33 years old, during his first successful period. The setting is the village of Shere a short distance from where the Morgan family had previously stayed. The footbridge is over the Tillingbourne River, which flows through the valley, and the distinctive tower and spire of St. James Church, Shere can be seen in the distance.

Not of the Fold - 1878

Medium: Watercolour

Painter: Frederick Morgan, ROI (British, 1847-1927)

signed 'Fred Morgan.' (lower right)
oil on canvas - 111 x 176cm (43 11/16 x 69 5/16in)

Fred Morgan, ROI (1847-1927) was the eldest son of John Morgan, RBA (1823-1885). He married a talented fellow artist named Alice Havers, SWA (1850-1890) on 13th April 1872. Initially they both exhibited small canvases of urban London, domestic, and mainly interior scenes. After the opening of the Royal Academy Summer exhibition, in early May, many London-based artists left the metropolis in search of settings for their future works.

John Morgan had moved from London to Guildford in 1871. The success of his rural genre landscapes featuring children and adults inspired his son and daughter-in-law to change direction. They too left their London home and rented Edmond's Farm in the Surrey village of Gomshall, in the summers of 1875, 1876 and 1877. Unlike today, this part of Surrey was a poor, rurally depressed area which attracted numerous artists to paint around the area. Around this time titles like The Surrey Hills feature regularly in exhibition catalogues.

Francis Stephen Cary who ran Sass's Art School in Bloomsbury, retired to the neighbouring village of Abinger in 1874, where he died on 6 January 1880. Helen Allingham stayed in Shere in the summer of 1878, John White lived at Shere 1877-82, Frank Walton (1840–1928) lived at Dorking and painted in the Shere and Gomshall area from the 1860s until the early 1900s, while Joseph Langdale Pickering, RBA, ROI, lived at Abinger Hammer 1875-77

Fred Morgan married fellow artist Alice Havers (1850-90) on 13 April 1872 at St. George's Parish Church, Bloomsbury. The newly-weds took up residence at 5 Clyde Street, West Brompton, London and Alice became pregnant within a few weeks. On 13 February 1873 their son Valentine was born, a day earlier than his name suggests. He too would exhibit at the Royal Academy using his mother's maiden name, Val Havers.

Both parents exhibited at the Royal Academy Summer Exhibition in May 1873 and each sold one work; in the same year they also jointly exhibited A Ha'p'orth O'Pops P'ease (painted in the village sweet shop in Shere, Surrey) at the Society of British Artists Winter exhibition. By the time their second child, Lilian Emmeline, was born on 5 January 1875 they had decided to leave London and rent a large farm house, Edmund's Farm in Gomshall, the village adjoining Shere. One reason for painting in this area was that Fred's mother Henrietta and his father, the artist John Morgan, RBA (1823-85) lived in nearby Guildford. Henrietta's failing health was of much concern to Fred. Gomshall also had easy railway access to London.

Following the opening of the Royal Academy Summer exhibiton in May, many London-based artists headed for the country to work on the following year's exhibits. There were so many artists staying and painting in and around Shere that Fred and Alice were fortunate to secure accommodation. Titles like 'The Surrey Hills' abound at exhibitions. Unlike today this part of Surrey was a poor, rurally depressed area; the rural surroundings inspired a radical change in style Fred and Alice, their subjects moving from urban and interior scenes, to harvesting and agrarian hardship. - READ MORE HERE

1874 Haymaking, Shere, Surrey by
George Vicat Cole (school)  (1833 - 1892)
Oil on canvas - 19.5 x 11.3 in  / 49.5 x 28.8 cm

Other artists known to have worked around Shere include Richard Redgrave, George Vicat Cole, RA, Benjamin Williams Leader, RA, Frank Holl, John Robertson Reid, Robert Hills OWS, Richard Rayner, William Blandford Fletcher, George Charles Haite, Lewis Pinhorn Wood, John Nesbitt, William Frederick Hulk, Edward Aubrey Hunt, Robert Paton Reid, John Douglas, Charles Robertson, and Charles Rowbotham.

Morgan and Havers set about painting large canvases depicting agrarian toil and the plight of the rural peasantry. Foremost among these paintings were Morgan's The Emigrant's Departure R.A. 1875, and After the Reaper's Work Is Done RA 1878, whilst Havers's contributions included The End of Her Journey RA 1877, and The moon is up, but yet it is not night. RA 1878. All their canvases were painted around Gomshall, Abinger, Shere and Godalming. These new subjects were a great success at the Royal Academy and many of them were bought, prior to the exhibition, by the leading art dealer William Agnew.

Morgan spoke fluent French which he had learnt as child whilst living in Paris for two years 1854-5 when his father was studying there. The Morgan family left Surrey and spent the Autumn of 1878 and 1879 painting in the countryside around Varengeville-sur-Mer in Normandy. In 1879 Havers exhibited French titles including their location, but Fred gave less specific titles. These French works show a more romanticised view of agricultural labour.

Not of the Fold was painted, when Morgan was 33 years old, during his first successful period. The setting is the village of Shere a short distance from where the Morgan family had previously stayed. The footbridge is over the Tillingbourne River, which flows through the valley, and the distinctive tower and spire of St. James Church, Shere can be seen in the distance. Morgan most likely returned to Surrey in late autumn 1880 to paint this work, but Havers appears to have remained in their London home due to their marital difficulties, plus she was pregnant with their third and last child Reginald Frederick, born 3rd January 1881.

Morgan may have stayed at the White Horse Inn which is the other side of Shere church from the scene in the painting. It was a popular 'watering hole' for artists, and an album of signatures and sketches by visiting artists was sold at Sotheby's, London 26th July 1977 lot 6.

This is a well constructed, multi-figure, classic composition which Morgan would have learned while working in the studio of his father. Morgan greatly admired the work of Frederick Walker, ARA (1840-75), and the peasant woman and child pay homage to the figures in Walker's first RA exhibit The Lost Path 1863 (no. 712). ["... in his earlier life he fell under the influence of Fred Walker, and essayed combination of peasant life with landscape." 'Pictures of Children' by Fred Dolman The Lady's Magazine Vol. 2, September 1901 p. 217.]

The elderly squire, with his walking stick, also appears in Alice Havers's Caught R.A. 1875 (no. 509). This work, also painted in Surrey, shows a boy being brought before the squire after being apprehended scrumping apples.
The mixed-breed dog is well painted and anatomically correct, unlike Morgan's own attempts at canine portraiture, which would suggest he asked his friend Allen Culpepper Sealy (1850-1927) to paint it. Sealy painted the dogs in Morgan's Love Me, Love My Dog RA 1879, and Rival Families IPO 1885.

Morgan and Havers regularly included their children in their works. Their son Valentine (born 13th Feb. 1873) aged 8, and their daughter Lillian (born 5th Jan. 1875) aged 6, appear to be the children crossing the footbridge. Morgan's other Royal Academy exhibit in 1881 Nature's Mirror (no. 355); two girls by a stream looking at their reflection, was also 'hung on the line.' Strangely Agnew did not buy either of Morgan's 1881 RA paintings but he did purchase Havers's exhibit The First Arrivals (no. 379). Not of the Fold has been unrecorded since its exhibition in 1881.

Above Text © All rights reserved

1879 - Benjamin Williams Leader

An English Hayfield - 1879

Painter: Benjamin Williams Leader

Benjamin Williams Leader's artist notes from 1879 tell us that the figures were posed by his wife, their young son Benjy (Benjamin Eastlake Leader) who was two years old at the time and their baby daughter Ethel. The scene depicts a hayfield at Whittington, the village in Worcestershire where Leader resided between 1862 and 1889 before moving to Burrows Cross House, Shere.

Sadly Benjamin Eastlake Leader was killed in France during the First Word War in 1916 - further details can be found on the HISTORY page of this website.

1880

Shere Church - 1880
Painter: RICHARD MANSER RAYNER (1843-1908)

Richard married Mary Harding. Mary was the daughter of an Architect and Master Plumber, who lived in an old house called 'Pantrys'. Pantrys appears framed by the porch door in a painting Richard made from inside the church in 1880, a couple of years before his young family moved to Orpington, in what was then rural Kent (now Greater London). The painting also shows the font where his children were christened. Richard and Mary had five children, Louie, Sam, Herbert, then Arthur Trower in 1878 and Ada Mary in 1881 (the last two becoming artists themselves), and the children sometimes appeared in his paintings. He died on 17 October 1908 at Orpington.

READ MORE (Copyright © 2012 DudleyMall.)

 

Exterior view of St James' - late 1800's
Painter: RICHARD MANSER RAYNER (1843-1908)

below: closer look at the painting:

This oil painting was up for sale on the 30th November 2014 by auction in Stockholm, Sweden and went under the hammer for £89.00.

1880

The discovery of the lost location.

The painting named 'The Village Christening' by painter John White has had its painting location identified by myself, Tristan Greatrex.

The BBC have a website dedicated to ARTS & CULTURE and along with the PCF (Public Catalogue Foundation) were trying to find
the location of a painting

READ FULL STORY

 

A VILLAGE CHRISTENING - 1880

Painter: John White (1851–1933)

LOCATION IDENTIFICATION OF PAINTING
I identified this painting is of 'St. James' Church, Shere, Surrey.

REASONS
Distinctive steps up to door and has the same configuration of windows.
Same artist (John White) also painted 'A Village Wedding, Shere Church, Surrey' a year later in 1881 - see below - Tristan
(Oil on canvas, 170.9 x 117.2 cm - Collection: Royal Albert Memorial Museum)

John White lived at Shere 1877-82

1881

A VILLAGE WEDDING - 1881

Painter: John White (1851–1933)

Location: Outside the Lychgate (Before the Lychgate was buit) and the wall has now been moved some 15 feet to the left - Entrance to SAYERS
- Photo copyright

John White (1851 – 1933)

Born on the 18th September 1851 in Edinburgh, John White was a painter of landscapes, seascapes, portraits and rustic genre subjects in oil and watercolour. His family emigrated to Australia in 1856 and he was educated in Melbourne. He returned to study at the Royal Scottish Academy schools from 1871 and won the Keith prize for design in 1875. Through the 1870s White’s landscape, portrait and genre subject paintings were exhibited at the Royal Academy and other London exhibition venues. He retired in 1931 and lived in Beer, Devon.

He died on the 21st December 1933.

His subjects are quite varied including landscapes, marine, genre and portraits, both in oil and watercolour.

1881

HARVEST TIME - SHERE - SURREY - 1881

Painter: John White (1851–1933)

Signed and dated 1924 verso, oil on canvas,
33.5 x 24cm (13 3/16 x 9 7/16in).

1882

SHERE - The Square

Painter:

1883

SHERE MURDER SCENE, SHERE, SURREY, ENGLAND - 9th September 1883

Painter: Mary Willis (b. 1837)

Medium: Pencil and Water colour

Location: From the Tillingbourne bridge, looking towards St. James Church

Watercolour showing the scene of the famous Victorian murder which took place years before!! As our artist has inscribed...
"Scene of the famous Shere Murder. Blood in the foreground - here was discovered the mangled remains -".
The official record says this was the cruel murder of 6 year old Jane Sax by James Longhurst, a 22 year old farm labourer on 13 August 1866

taken from the sketchbook of Mary J. Willis. Although these are very well done, she was one of the many amateur artists throughout England who always took a sketchbook with them on their travels. And Mary Willis traveled a great deal!! Through England and Wales, then to the Continent with journeys to France, Switzerland and Italy. The sketchbook dates range from 1867 in Putney to 1887 in Lewes, with European tours in 1875 and 1882. She was born circa 1837 in St. Clement Danes, a parish in Holborn, London, to the Stilwell family. Her first marriage
was to William Twining and later she married a Mr. Willis. I've been unable to find out much about her other than her brother was the famous John Pakenham Stilwell JP, who was on the Board of Management of the London Homeopathic Hospital in 1882 and became the chairman
in 1893. She was living with her brother in 1901 so something must have happened to Mr. Willis! Their address was Tottenham Court, St. Pancras with the house possibly located at 33 Gordon Square. Her watercolours are all very colorful vignettes.

UPDATE:
1866, 2 July: The Times: Attempted murder of a little girl Jane Sax in a field between Shere and Gomshall: Jane Sax had been sent on an errand across the fields when a man caught her and dragged her over a fence with dry faggots on top of it into an adjoining field, then into high standing wheat. She was stabbed in the throat partially severing her windpipe and cut her tongue.

She screamed and attracted attention and crawled away as Mr. Edser arrived and saw a man making off. Edser lifted the girl and took her to Doctor Hilliard and on his way met PC Lambert. The officer undertook a widespread search and found the man hiding in a field.

James Longhurst was searched and the officer found four clasp knives, three with two blades, and one with three blades. The suspect was then taken to the girl and the doctor and asked if he was the man that attacked her and Sax agree it was. The prisoner was taken to the lock up in Guildford in the same carriage as the little girl was taken by the doctor to the hospital.

1867, 16 April: James Longhurst was executed at Horesmonger Lane, gaol for the murder of Harriett Sax aged 6.

MORE

1884

Middle Street - 'Afternoon'

Title: Afternoon - Middle Street watercolour painting

Painted by James Douglas (b. 28th April 1858 in Dundee)
Date: Summer 1884 - Medium: Watercolour, - Size: 7 inches x 5"
and was exhibited at the Royal Scottish Academy in 1885.

This painting shows Middle Street, looking towards Vine Cottage.

Watercolour Painting:
Middle Street in summer 1884
Digital Photograph:
Today, 133 years later in 2017

(click on the above photos to view larger image)

The 1884 painting shows 'Bodryn' (left) and on the right side of the painting, shows the original buildings. The photo shows in comparison, 'Bodryn' but on the right hand side, the now rebuilt building that became 'Forrest Stores' then 'Alldays 'and now the 'co-op'.

Thank you to James Barnes in Scotland for sharing his painting with us. James tells me,
"The painting was exhibited in a special exhibition of watercolours at the Royal Scottish Academy (not the RA) in 1885 together with other works entitled:
(a) Summer - Shere village, Surrey;
(b) Shere Church (also in my possession),
(c) A Surrey Farm and
(d) Springtime in Surrey.
I purchased 'Afternoon' at a sale held by Bonhams in Chelsea in 1994"

James Barnes goes on to explain that James Douglas "was only visiting the area when he produced the drawings of 1884-85. He did return to live in the area in 1901-02 when he lived at Well Cottage, Blackheath, Chilworth. He produced more watercolours of Surrey during this period and exhibited his work in London with the Surrey Art Circle".

James Barnes has been researching the life and work of James Douglas for over 30 years.  He wrote the catalogue produced for the James Douglas Exhibition held in the Perth Museum & Art Gallery in 2002 - MORE DETAILS and published the book:


"James Douglas R.S.W. (1858-1911): A Scottish Watercolourist"
in May 2002

---------------------------

NOTE: Not to be confused with Painter: James Douglas (1810–1933)

James Douglas (b. 24th July 1810 Kilmarnock, Ayrshire)
James Douglas died at 16 Amberley Grove, Croydon, Surrey on 17th March 1888 aged 77.

James moved to Westcott Hill House, Dorking Surrey in 1872 and was joined by his son, Edwin J Douglas a year later, also a celebrated painter. James was a celebrated animal painter and they both exhibited their art at the Royal Scottish Academy.

His son, Edwin James Douglas (1848-1914) married and bought the Old Manor House, Lawnbrook, Shere, Surrey where they lived before moving in 1892, due to health reasons to Findon, Sussex. Edwin died on 22nd October 1914.

1885

Location: Shere, Surrey

 

Location: Shere

Painter: ABRAHAM HULK Junior (1851-1922)

Medium: Oil - 24" x 19"

Sold as a pair (signed) - WEBSITE

 

1885

Abraham II HULK (1851-1922)

NEAR SHERE (SURREY) (1885)

Painting , Oil/canvas , 45.72 x 76.2 cm (18 x 30 in)

 

Abraham Hulk (1851-1922), oil painting on canvas, “Near Shere, Surrey”. 14 ins x 10 ins.

date unknown

A Lane, Shere, Surrey

Painter: John Frederick Herring Jnr  (1815 - 1907)

3.9 x 5.5 in  / 10 x 14 cm

1885

Cornfield in Shere, Surrey - between 1870 and 1885

Painter: Charles Henry Passey (British, active 1870-1885)

Medium: Oil on Canvas (91.5 x 71cm (36 x 27 15/16in)

WEBSITE

 

A Cornfield, Shere Surrey - between 1870 and 1885

Painter: Charles Henry Passey

Medium: Oil on Canvas (15.9 x 24 in  / 40.5 x 61 cm)

 

Shere Heath - unsure as to the date

Painter: S. Wagstaff

Medium: Oil (3.7 x 5.3 in  / 9.5 x 13.5 cm )

1885-1890

The following are by GEORGE  MARKS ( 1857 - 1933 )

George Marks was a watercolour painter who lived at Penge in Surrey. He was a most admired watercolourist who exhibited at the Royal Academy, Royal Watercolour Society, New Watercolour Society and elsewhere and has become a really well collected watercolour painter.

 

At the Edge of Shere Heath - 1890

Artist: George Marks

Watercolour, Pencil
21 3/4 x 14.5" (57cm x 37cm)

SOLD: £3,000 in action (August 2000) at Christie's

 

The Rabbit Warren, Shere, Surrey by George Marks

 

Rabbits at Shere Common (1885)
Painter: GEORGE MARKS (1857-1933)
Medium: Watercolour on board
15" x 10"

 

TITLED: Heather at Shere
- a view of Gorse at Shere
Painter: GEORGE MARKS (1857-1933)
Medium: Watercolour on board
14" x 10"

Exhibited at The New Gallery in London in 1889

 

TITLED: Near Shere
Painter: GEORGE MARKS (1857-1933)
Medium: Watercolour on board
18.4 x 26 cm  / 7.25 x 10.25 in

 

Shere Heath

Medium: Watercolour

1887-1903

An Old Village, (Shere)

Painter: GERTRUDE CUBLEY

GERTRUDE CUBLEY (exh. 1887-1903) British painter

Medium: Oil in canvas

39 x 59 cm

Location: The Square in Shere

1887

Allotment garden at Shiere, Surrey

Yes, the old spelling of 'Shere' was 'Shiere'

Painter: Barton, Rose (Irish painter, 1865-1929)

Citation:
Christie's Belfast, Fine Irish Paintings & Drawings, Wed 30 May 1990, no 234, p 17

 

Trying to track down the painting - If anyone finds it, please e-mail me.

late 1800s

Harvest Scene in Shere

Painter: Abraham Hulk Jnr (1851-1922)

Medium: Oil on canvas - 51 x 61 cm

A hazy summertime harvest scene in Shere, Surrey, approx 6 miles from where Hulk lived and worked

Abraham Hulk Jnr. was born in the Netherlands in 1851 to renowned Dutch marine painter Abraham Hulk Snr. (1813-1897). Although Hulk spent the majority of his life in England, he made frequent trips back to the Netherlands and was well regarded in both countries. While in England, he painted extensively in the region of Dorking, Surrey and Nottingham. He was best known for his Dutch and Southern England landscapes which he painted in both watercolors and oils. He flourished as an artist between 1876 and 1892, during which time he gained renown and participated in important exhibitions at the Royal Academy and the Royal Society of British Artists. During his lifetime, he showed twenty-four works at the Royal Academy, as well as exhibited fifteen times at the annual exhibition of the Royal Society of British Artists. He lived and worked in London, Dorkin and finally Charlwood Surrey. Heexhibited at the Walker Art Gallery, Liverpool, Royal Academy, and Royal Society of British Artists.

Hulk lived for many years in Nottingham where he died in 1922.

---

SEARCHING FOR THIS PAINTING

Autumn Near Shere

Painter: Abraham Hulk Jnr (1851-1922)

signed 'A. Hulk Junior' (lower left) and signed, inscribed and dated 'Autumn near Shere/Surrey/a. Hulk junior/1883' (on the reverse)
oil on canvas

Medium: Oil on canvas - 21 x 17in. (53.3 x 43.3cm.)

---

Near Shere, Surrey - 1886

Painter: Abraham Hulk Jnr (1851-1922)

Medium: Oil on canvas - 30 x 50 inches

1890

Shere - 1890

Painter: Percy Robertson

British artist, 1868-1934, born in Bellagio, Italy; landscape painter-etcher,
who was the son of the British watercolourist Charles Robertson

Medium: Sepia Etching

Location: Same as above - Bridge by the 'Now Swimming Pool'

 

"Shere" (Surrey) drawn and etched by Percy Robertson, published in The Magazine of Art, 1893

Six years later:

1899

 

"Shere" (Surrey) drawn and etched by Percy Robertson

FROM THE ART JOURNAL. PUBLISHED BY VIRTUE & CO. LONDON 1899 - VIEW LARGER IMAGE

Hand tinted colour version

1889 - Footbridge

This is one of the most painted and photographed part of Shere, but is away from the centre of Shere village (Just behind St. James Church, next to the open air swimming pool - connects Gomshall lane to the church).

Evening on the Tillingbourne - 1889

Medium: Watercolour

Painter: Lewis Pinhorn Wood (1848 - 7th November 1918)

Born in Middlesex in 1848, his father was Lewis John Wood (1813–1901), the 19th-century architectural artist and lithographer.
In 1875 he married Louisa Howard Watson in the church of St Saviour in Hampstead, Middlesex.

In early married life Pinhorn Wood lived and worked at Burnside in the village of Shere, Surrey, before moving to Highgate, London

 


View of Shere Surrey 1 -
You can see 'High House' and the bridge over the Tillingbourne is the one leading to the church from the Swimming pool field - MORE INFO

 

1893 - Footbridge

Found in a 'Sketches from Nature' scrapbook, an original Lewis Pinhorn Wood sketch.

Lewis Pinhorn Wood (fl.1870-1897), 'Sketches from Nature 1869-1908): An album containing watercolours and pencil drawings, including views of the Lledr; Albury Heath; Littlehampton Harbour; Chichester Harbour; Shere; Eastbourne from Willingdon; Silent Pool, Albury; Walberswick Harbour; Betchworth Park; Derwentwater; On the Orwell, Ipswich; Abinger; Peaslake; Pilgrims Way, Reigate; Cliffs near Beachy Head; Westham, Sussex; Jevington, Sussex; The Old Priory, Hampstead; Alfriston, Sussex; Streatley on Thames; Buckland, Surrey; Ben Ledi; Pevensey, Sussex; Reigate; Greatham, Hants; Offham, Sussex; Porlock Weir, Somerset; Keston Common; Near Keswick; Pentrefelin near Criccieth; Compton Beachamps; Herstmonceaux; Ecclesbourne Valley; Oxted Church; Bury, Sussex and others, some signed, most inscribed, various sizes; together with a framed watercolour and a sketch by Lewis John Wood.(Album)

 

SOLD FOR

£480

AUCTION DETAILS | AUCTION DETAILS

pre-1890s

High House Farm, Shere

Painter: GARDNER, William Biscombe (c.1847-1919, British)

Medium: W/C Works on paper (7x5in)

SOLD: Lot 287, May 14th 1996 - Leyburn, UK - SOURCE

1884

Bridge, Shere

Painter: James Douglas (1858 - 1911)

This bridge leading from St. James' Church to the Swimming Pool field

Thank you to James Barnes in Scotland for identifying the painting.
"I think that this a watercolour by James (not John)  Douglas (1858-1911) the Scottish
watercolour artist who had two spells in the area around Shere ,in 1884/85 from which this picture probably dates,and then later in 1901/02 when he and his family lived at Well Cottage, Blackheath near Chilworth. In his second spell he exhibited with the Surrey Art Circle at the Continental Gallery in London.

The composition of the  picture in the photograph  is very much in the style of James Douglas, and indeed,the large but not very legible signature in the bottom right of the picture looks like the type of signature used by him at that time" James Barnes

James Barnes has been researching the life and work of James Douglas for over 30 years.  He wrote the catalogue produced for the James Douglas Exhibition held in the Perth Museum & Art Gallery in 2002 - MORE DETAILS and published the book:


"James Douglas R.S.W. (1858-1911): A Scottish Watercolourist"
in May 2002

27th February 2017

1884 - Lewis Pinhorn Wood

 

Location: Gomshall, Surrey (1880) by Lewis Pinhorn Wood

A Winter Landscape (1884)
Location: Possiibly Shere? by Lewis Pinhorn Wood

Possible paintings by Lewis Pinhorn Wood of Shere or the area:

  • A girl carrying a bucket before a thatched cottage (1878)
  • View of a thatched windmill (1878)
  • Woodland Views of Surrey (1880)
  • Rustic Cottage (1884)
  • Man and dog on a village lane in winter (1884)
  • Country lane with figures (1884)
  • The Millpool (1887)
  • The Silent Pool, twilight (1888)
  • Winter (1890)
  • Cottage in lane (1892)
  • Man and dog walking along banks of river (1893)
  • River view with cottages in the background (1893)
  • The old church, Albury, Surrey (1894)
  • Surrey valley (1895)

If anyone has any photo's/pictures or paintings of the above, please contact me

UPDATE: Lot of Two Woodland Views of Surrey
One signed "L. Pinhorn Wood" l.l., on inscribed "Shere. Surrey." l.l. and signed and
dated "L Pinhorn Wood 1880" l.r.
Watercolor on paper/board, sight sizes to 17 1/2 x 13 1/4 in. (44.5 x 33.7 cm), framed.

John Robertson Reid 1851 - 1926

Painter of rustic genre and landscapes. Born 6 August 1851 in Edinburgh. Apprenticed to a firm of house painters, then studied at the R.S.A. under G. P. Chalmers and William McTaggart c. 1870–3.

First painted costume pictures but after settling at Shere, Surrey, in 1874 turned to painting landscapes in the manner of Bastien-Lepage. Exhibited at the R.A. 1877–1925 and at the R.S.A. Member of the R.I. and R.O.I. Worked latterly on the coasts of Devon and Cornwall, particularly at Polperro. Died in London 10 February 1926.

abt. 189os

"Shere bridge" abt. 1890

Medium: Watercolour

Painter: Lewis Pinhorn Wood (fl.1870-1897)

Location: View from Lower Street towards Middle Street

 

"Old Prison" abt. 1890

Medium: Watercolour

Painter: Lewis Pinhorn Wood (fl.1870-1897)

Location: Old Prison, Lower Street

 

"Shere School, Gomshall Lane" abt. 1890

Medium: Watercolour

Painter: Lewis Pinhorn Wood (fl.1870-1897)

Location: View from Gomshall Lane with the Shere School on the left and Oak Cottage on the right (Kinghams).

 

"Netley Mill" abt. 1890

Medium: Watercolour

Painter: Lewis Pinhorn Wood (fl.1870-1897)

Location: Netley Mill, Shere

late 1890s

St. James' Church Bridge, Shere

Painter: Unknow - Can anyone help?

This bridge leading from the Swimming Pool field to St. James' Church.

Many thanks to Lesley Williams (Clements) for sharing the above two images with us.

late 1890s

Evening on Shere Common with Cattle

Painter: Charles James ADAMS (1859-1931)

Medium: Watercolour, 19 x 38cm

Sold at auction for £200 (March 2016)

Unsure as to the exact year painted

1892

"Shere, Surrey" 1892

Medium: Watercolour

35 x 55 cm

Painter: Harold Lawes 1865-1940

Location: Knapps Cottage, Upper Street

abt. 1892

"Shere, Surrey" 1892

Painter: Harold Lawes 1865-1940

Farmworkers Haymaking beside a river, with Cottages and Shere Village Church in the distance.

Medium: Watercolour - 35 x 55 cm

"Harold Lawes" 19th/20th. cen. Landscape painter who lived at 31 Chalcot Crescent, Primrose Hill, London. Their was always a market for his paintings so he exhibited very little, he did exhibit in 1892 at the Royal Society of Artists (Birmingham), the painting is signed lower right.


Benjamin Williams Leader

Shere Church, Surrey

Painter: Benjamin Williams Leader

Medium: Oil on canvas - 24 x 20 inches (61 x 51cm)

© National Museums Liverpool, Walker Art Gallery

Benjamin was born with the name of Benjamin Leader Williams but as he became more well known as a landscape painter, he found that there was another painter with the name of Benjamin Williams so he changed his name to Benjamin Williams Leader.

One of England's most outstanding late Victorian
landscape and coastal painters.

In August 1876, Leader married fellow artist Mary Eastlake (born c. 1852) and they went on to have 6 children – the first, Benjamin Eastlake Leader (1877–1916), also an artist, was killed in action during the World War I.

In 1888 he moved to Burrows Cross, Shere, Surrey, then a beautiful county close to London, and as a result much favoured by painters. His home was described as a large mansion designed by Norman Shaw RA – Leader lived here until the end of his life. In that same year he was made a Chevalier of the Legion of Honour, an honour secured on the recommendation of French artist Meissonier. In 1914 he was made an Honorary Freeman of the City of Worcester in recognition of his services (as a director of Royal Worcester Porcerlain and a native of the city).

Obituary: The Worcester Herald, Saturday, March 24, 1923
"We regret to announce the death, which took place at Burrows Cross, Gomshall, Surrey, on Thursday of Mr. Benjamin Williams Leader, RA, who celebrated his 92nd birrthday on the12th of March. Mr. Leader was a painter of great repute, his landscapes, which had a peculiar beauty of their own, being great favorites with collectors. He had sent paintings to the Royal Academy for 70 years, and among his best works were charming Worcestershire scenes. The dead artist was the son of Mr. E. Leaader Willams, and his education was received at the Royal Grammar School Worcester, the Worcester School of Design, and the Royal Academy Schools. He was a Chevalier of the Legion of Honour. The Freedom of the City of Worcester was conferred on him in 1914."
SOURCE

WEBSITE

An example of the value of Benjamin Williams Leader art:

In 2003, "A Summer's Day" (1888) sold at auction for £168,000 at Sotheby's. - This could well be a local scene around Shere as it was painted the same year that Benjamin Williams moved to Burrows Cross.

Benjemin Williams Leader at his easel

source

1890 - Benjamin Williams Leader

A Surrey Sandpit - 1890

Painter: Benjamin W. Leader

Medium: Oil on Canvas - 41.2cm x 1.6cm

1890 painting - A Surrey Sandpit 1898 painting: The Sandpit, Burrow's Cross


This was the first of two paintings that Benjamin Leader painted of the Burrow's Cross Sandpit, Shere.
See the other similar painting further down this webpage, painted in 1898 which is titled 'The Sandpit, Burrow's Cross'

© All rights reserved - Photo credit: Perth & Kinross Council

1892 - Benjamin Williams Leader

Shere Church, Surrey - 1892

Painter: Benjamin Williams Leader

Medium: Oil on canvas 76.2cm x 162.6cm

Location: Bridge by the 'Now Swimming Pool'

Held at Manchester Art Galery

1892 - Benjamin Williams Leader

Evening on the Surrey Wolds - 1892

Painter: Benjamin Williams Leader

signed and dated 'B.W.LEADER 1892' (lower left) and further signed and inscribed 'Evening on the Surrey Wolds B.W.Leader' (on the reverse)

oil on canvas 30¼ x 48 in. (76.8 x 122 cm.)

Leader depicts Burrows Cross, a crossroads outside Gomshall in Surrey. The artist had moved to Gomshall in 1889 from his birth county of Worcestershire. The Scots pine trees are a dominant feature of Leader's Surrey landscapes; the remain characteristic of the landscape today.

A small preparatory sketch for the present lot exists, however it is dated 1893; a common error for Leader who would annotate material retrospectively when preparing it for exhibition or sale.
source

1893 - Benjamin Williams Leader

Title: At Felstead Surrey - 1898

Painter: Benjamin W. Leader
signed and dated 1893 lower left, title and artist's name inscribed to verso.

oil on canvas, Canvas 15-3/4''h, 24''w

1893 - Abinger, Surrey

Abinger, Surrey - 1893

Painter: Benjamin Williams Leader

signed and dated 'B.W. LEADER. 1893.' (lower left)
oil on canvas
36 x 61 in. (91.3 x 154.9 cm.)

1893 - Benjamin Williams Leader

Title: An Old Country Churchyard 'With Ivy Clad'

Painter: Benjamin Williams Leader

Oil on Canvas 55cm x 86cm

Location: The Old Parish Church of Albury

1893

1893 - Shere Village

Painter: A.R. Quinton

Medium: Watercolour

1894

English Landscape, Figures in Cornfield, Near Shere Surrey, 1894

Oil painting on canvas

Charles Henry Passey
British (1841-1915)

1894 - Benjamin Williams Leader

Painter: Benjamin Williams Leader
signed and dated l.l.: B. W. LEADER - 1894

Dimensions: 76 by 122 cm. ; 30 by 48 in.

Leader conducted a deep-felt love affair with the Surrey landscape, which lasted for virtually his whole career from the late 1850s onwards. Over thirty years after he first painted in the area around Abinger, Leader took up residence at Burrows Cross, close to the village of Shere. In the surrounding area he found many vistas which gave him intense inspiration and the church of Shere is to be found in several of his paintings of the mid-1890s, including Shere Church of 1892 and The Village Church of 1894. It is likely that the present view of woodcutters resting during their labours was also painted close to Burrows Cross.

Provenance: W. H. Patterson, London;
Private collection

Exhibited: Royal Academy, 1894, no. 317

Literature: Frank Lewis, Benjamin Williams Leader R.A. 1831-1923, 1971, pg. 44 (cat no. 355 and 352 which appear to be the same subject), repr. fig. 60;
Ruth Wood, Benjamin Williams Leader RA 1831-1923; His Life and Paintings, 1998, pg. 130

source

1895

A Cornfield, Shere, Surrey - 1895

Painter: Charles Henry Passey

Medium: Oil on Canvas (71 x 91cm) - Location: Shere

WEBSITE

1895 - Benjamin Williams Leader

 

MISSING IMAGE

Can you help, please e-mail me

 

Title: Peaslake Village, Surrey

Benjamin Williams Leader, R.A. (1831-1923) peaslake village, surrey

Painter: Benjamin Williams Leader

signed and dated B W LEADER/1895 l.l., bears title on reverse

Oil on board 32.5 by 43.5cm.; 123/4 by 17in

abt 1895 - Benjamin Williams Leader

Harvest Time

Painter: Benjamin Williams Leader
signed 'B.W.LEADER.' (lower left) and with inscription 'Harvest Time/B.W.Leader.' (on the reverse)

oil on canvas - 24 x 40 in. (62.2 x 103 cm)

PROVENANCE Anon. sale, Christie's London, 21 July 1961, lot 95. Anon. sale, Christie's London, 4 November 1988, lot 17 (3,400).

Location: St. James' Church, Shere.
Leader lived in Burrows Cross House, Shere and is buried in St. James' churchyard.

A painting of the same view, without figures, and signed and dated 1895, was offered at Sotheby's London, 5 November 1974, lot 114. source

1896 - Benjamin Williams Leader

Painter: Benjamin Williams Leader - 1896

Description: A Mother and child with their dog, picknicking on the edge of the Heath

oil on board 51 x 76cm

1896 - Benjamin Williams Leader

 

MISSING IMAGE

Can you help, please e-mail me

 

Title: Near Burrows Cross

Painter: Benjamin Williams Leader

Description: Near Burrows Cross, Guildford; and Kempsey Church on the Severn signed 'B.W. Leader. 1896.' (lower left) oil on canvas 91/4 x 141/2 in. (23.5 x 36.8 cm.) Painted in 1896 a pair (2)

NOTES Near Burrows Cross, Guildford was painted in the environs of Leader's home, Burrows Cross House near Shere in Surrey, where he had taken up residence in 1889. The view is southward, depicting the Scot pines characteristic of the area. Ruth Wood


Ruth Wood's publication,
Benjamin Williams Leader, R.A., 1998

1897

SURREY APPLE BLOSSOM, SHERE - 1897

Painter: Florence Williams

Medium: Watercolour - 12cm x 22cm - Location: Apple Orchard in Shere

1897 - Benjamin Williams Leader

UPDATE - 26th February 2017

Returning Home - 1897
Painter: B.W. Leader

oil on canvas 53 by 81 cm., 21 by 32 in

This is without doubt the same property as the one Benjamin William Leader painted 31 years prior in 1866.

Check out the meaning of this: This is a version of the 1897 painting, The Day's Toil is Ended, which was purchased by Thomas Virtue & Co for engraving in 1898.

1866 painting: Evening Return to the Homestead 1897 painting: Returning Home

(click on the above photos to view larger image)

1897 - Benjamin Williams Leader

An Old Surrey Home - 1897
Painter: Benjamin William Leader

signed and dated 'B.W. LEADER.1897' (lower left) and indistinctly inscribed (on stretcher) oil on canvas 30 x 50 in. (76 x 127 cm.)

PROVENANCE with Arthur Tooth, 1897, from whom acquired from the artist for 200. LITERATURE Country Life, 24 February 1966, p. 418. NOTES This picture is a smaller version of

A Relic of the Past

illustrated in Ruth Wood's publication,
Benjamin Williams Leader, R.A., 1998, pl. 48,

and sold at Christie's London, 29 March 1996, lot 124 (21,000). Executed, like lot 150, in 1897, it depicts the Old Malt House (now Malt House Cottages) in Gomshall, Surrey, a short distance from Burrow's Cross House, where Leader had moved in 1889. The larger painting passed directly into private ownership, and was not exhibited, thereby escaping critical appraisal. It remains an impressive example by Leader who, with the sale of In the evening there shall be light at Christie's for 1,205 in 1897, achieved the record price for a work by any living artist.

Old Surrey Home painting A Relic of the Past painting

(click on the above photos to view larger image)

'Old Surrey Home' and 'A Relic of the Past' is taken from the same view point as shown above. Note, in the 'Old Surrey Home' painting the view extends further to the right.

NOTES Leader bought Burrows Cross House, Shere on a ridge just south of the village of Gomshall in Surrey, in 1889. It had been built by the architect Richard Norman Shaw RA, for the portrait painter, Frank Holl, as a country retreat and it had only just been completed when Holl died suddenly. The house was first depicted in The Silent Evening Hour, the artist's Royal Academy painting of 1890, no. 672, and it featured in many of his works until his death in 1923. Ruth Wood

1897 - Benjamin Williams Leader

Relic of the Past - 1897
Painter: Benjamin William Leader

oil on canvas 36 1/4 x 57 3/4 in. (92 x 146.6 cm.)

Location: Malthouse Cottages

The picture shows an old sixteenth-century house on the edge of the village of Gomshall in Surrey, a short distance away from Burrows Cross where Leader lived from 1889 until his death in 1923. The house, known as Malthouse Cottages, still stands, and its ornate timber framing is little changed today. source

NOTES Leader bought Burrows Cross House, on a ridge just south of the village of Gomshall, near Shere in Surrey, in 1889. It had been built by the architect Richard Norman Shaw RA, for the portrait painter, Frank Holl, as a country retreat and it had only just been completed when Holl died suddenly. The house was first depicted in The Silent Evening Hour, the artist's Royal Academy painting of 1890, no. 672, and it featured in many of his works until his death in 1923. Ruth Wood


Ruth Wood's publication,
Benjamin Williams Leader, R.A., 1998

1897 - Benjamin Williams Leader

Burrows Cross, Shere, Surrey - 1897
Painter: Benjamin William Leader

signed and dated 'B.W. LEADER. 1897.' (lower left)

oil on canvas 11 7/8 x 173/4 in. (30.2 x 45.1 cm.)

Burrows Cross, Shere, Surrey signed and dated 'B.W. LEADER. 1897.' (lower left) oil on canvas 11 7/8 x 173/4 in. (30.2 x 45.1 cm.)

PROVENANCE Sold by the artist either to A. Mason, June 1897 for £30 or to Arthur Tooth, August 1897 for £37. Anon. sale [Mrs S.E. Taylor]; Christie's, London, 25 April 1975, lot 65 (£997). with MacConnal Mason, London. with Frost & Reed, London. LITERATURE Artist's Records of Paintings Sold, 1897.

NOTES Leader bought Burrows Cross House, on a ridge just south of the village of Gomshall, near Shere in Surrey, in 1889. It had been built by the architect Richard Norman Shaw RA, for the portrait painter, Frank Holl, as a country retreat and it had only just been completed when Holl died suddenly. The house was first depicted in The Silent Evening Hour, the artist's Royal Academy painting of 1890, no. 672, and it featured in many of his works until his death in 1923. Ruth Wood


Ruth Wood's publication,
Benjamin Williams Leader, R.A., 1998

1897 - Benjamin Williams Leader

Title: View of Burrows Cross, at sunset - 1897
Painter: Benjamin William Leader
signed and dated lower left "B W Leader 1897"

oil on artist''s millboard - h:29 w:44 cm

1897 - Benjamin Williams Leader

Title: Path Across the Common

Painter: Benjamin Williams Leader, British, 1831-1923
signed, dated lower left on canvas B.W. Leader 1897

1898 - Benjamin Williams Leader

The Sandpit, Burrow's Cross - 1898

Painter: Benjamin W. Leader

© All rights reserved - Photo credit: Royal Academy of Arts

1890 painting - A Surrey Sandpit 1898 painting: The Sandpit, Burrow's Cross

(click on the above photos to view larger image)

1898 - Benjamin Williams Leader

Evening in a Surrey Pinewood - 1898

Painter: Benjamin W. Leader

18 years later, Benjamin William Leader paints the same view, clearly the same tree configuration.

1916 painting: Quiet Evening, Surrey Pines 1898 painting - Evening in a Surrey Pinewood

(click on the above photos to view larger image)

1898 - Benjamin Williams Leader

Surrey Sunset - 1898

Painter: Benjamin W. Leader

Dimensions: 31 by 46cm., 12¼ by 18in

1898 - Benjamin Williams Leader

Surrey Pines - 1898

Painter: Benjamin W. Leader

oil on canvas 50 x 75cm. Exhibited: possibly London, The Royal Academy, 1898, no.952 (as "Surrey sheep pastures")

Unknown artist / painting dates

The paintings below are estimated to have been painted pre-1900, hence in this section of 1800-1899.

If anyone can help me identify the date painted or the artist, please e-mail me

date unknown
(1871-1925)

Feeding The Chickens, Shere, Near Guildford

Painter: John White (1851–1933)

Date painted: UNKNOWN

Medium: Watercolor and gouache

13.4 x 9.6 in  / 34 x 24.5 cm

Date unknown - Painter unknown

The White Horse Inn, Shere, Near Guildford

Painter: Unknown (date unknown)

Date painted: UNKNOWN

Medium: Watercolor

date unknown

Shere Surrey

Painter: J. Humphreys

Date: UNKNOWN

Medium: watercolour

date unknown - Benjamin Williams Leader

The village church, Shere

Painter: Benjamin Williams Leader

Medium: Oil on canvas

WEBSITE

Location: St. James' Church

date unknown

TITLE: Feeding the Chickens, Shere

Painter: Charles Edward Wilson

Date painted: UNKNOWN

Painter: Initially thought this may have been by Helen Allingham but
research hasn't confirmed this - There is a signature that I can only just
make out on the bottom right hand corner - is the first letter a 'C'? then E. W?

I found another painting by C. E. Wilson and compared the signatures

The Cottage, I have identied is 'Tudor Cottage' in Upper Street - I can confirm that in the background, the distinctive 'Vine Cottage' at the Middle Street / Gomshall Lane junction in Shere.

Here is the painting (below) compared to an old 1905 postcard:

The Shere Manor House East Lodge, designed by Lutyens, hadn't
been built, so must pre-date 1894.
Vine Cottage in the background, helped identify the scene.

The Tudor Cottage porch is clearly defined.
East Lodge is now built.
The wooden fence and wall still remained (althought not today)

 

UPDATE: March 2016

I have received a scan of an 80's ATHENA card - In colour

Charles Edward Wilson (British 1854-1941)
Charles Edward Wilson was a genre painter who studied at the Sheffield School of Art. He exhibited at the Royal Academy, the Royal Institute of Painters in Watercolours and the Royal Society of British Artists between 1889 and 1929 although he only became a full-time painter in 1895.

Also came across this plate - Tudor Cottage:

Shere Cottage ROYAL GRAFTON Country Cottages Collection

Plate no 2

Country Cottages Collection

2. Shere Cottage - 7 ½” Plate - Fine Bone China

Royal Grafton Fine Bone China Company, founded by Alfred Bailey Jones in 1876, was a large, family-owned pottery prominent in Staffordshire, England. Royal Grafton produced fine chinaware for 70 years. The Grafton mark is found on vintage collectible teapots, cups, plates and figurines.

Jones, a trained pottery designer and seller, started the business with his two sons and originally named the pottery A.B. Jones and Sons Ltd. They began using the business name Grafton, borrowed from a nearby school, and added the word Royal when they received a royal warrant from Queen Mary.

A warrant is the English Crown's recognition of a company with top quality wares that have been on the market for more than five years. Royal Grafton churned out tea sets, figurines and other pieces of chinaware throughout the first half of the twentieth century.

After A.B. Jones died in 1940, the company remained in the family with his son, A.B. Jones Jr., in charge until 1956. He was succeeded by his son, Alfred Leslie Jones. However, in post-war England, the company was slow to modernize, and sales fell compared to competitive potteries.

The pottery was eventually sold to Crown House Glass Ltd. in 1966, and a few years later it was sold yet again to Crown Lynn Potteries Ltd. of New Zealand. READ FULL STORY

Date or location unknown

William Frederick Hulk

Painter: William Frederick Hulk (British, Exh. 1898-1901)

Victorian painters frequently chose to depict cattle as the focal point of their rural landscapes.
One of the most prominent exponents of this genre was William Hulk.
He seems to have devoted most of his working life to the study of cattle in the English landscape
He lived for much of his life in Shere (1882), a village near Guildford in Surrey.

William specialised in quiet rural scenes of cattle. The Dutch and Flemish had been the fore-runners of the tranquil pastoral picturesque with Paulus Potter and Verboekckhoven, and Hulk maintained this tradition. He is at his best on a small scale, but also painted man large imposing pieces, which have a Barbizon School feel to them. In 1882 he had moved to Shere, near Guildford in Surrey, to start his won family, and Surrey provided the main landscape for his work. He did produce some Dutch landscapes, and his work was certainly sold over there, so the family connection had been maintained.

Taking inspiration from the landscape around him and the many farms that were an integral part of rural Surrey at this period.
Hulk exhibited his first work at London in 1875. He went on to exhibit at a number of the British capital's leading galleries,
including The Royal Academy.

A Man and His Dog

William Frederick Hulk (1852-1906) - He settled in Shere, Surrey, where it is likely that this painting is set. 

Oil on board -

£850 (March 2014)

 

Unknown date

 

On The Tillingbourne, Shere, Surrey

Painter: William Forster Robson (1888 - 1906)

Location: Middle Street bridge

Unknown date

 

Painter: JOHN NOBLE BARLOW (1861-1917)

Title: Unknown

Date painted - Unknown (estimate time frame: 1880 - 1915)

Location: SHERE, SURREY

signed lower right, inscribed verso

oil on canvas, framed. 30.5cm by 39.5cm

Up for auction - estimate £300 - £500 - LOT 512, The Saleroom

Sale Date(s)
26 Sep 2017 10:00 BST
Venue Address
The Gallery Saleroom
Northumberland Street
Darlington
Co. Durham
United Kingdom

date unknown + location confirmation

John Terris R. S. W. (1865-1914)

Shere village, Surrey. Signed, inked label verso, 50cm x 75cm

(The Church is in the wrong position, so its slightly confusing - Is this really Shere? The footbridge looks like it is - any thoughts?) -
please e-mail me