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Radnorshire Fine Arts Ltd
Tel01982 570768Please quote Antiques Atlas.
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Non UK callers :
+44 1982 570768
Watercolour by Thomas Shotter Boys (1803-1874)
Thomas Shotter Boys (1803-1874)
A River Bank
Watercolour with scratching out
Framed and glazed
Provenance: Previously with the Albany Gallery, Duke Street, St. James’s, London.
Thomas Shotter Boys was born in Pentonville, London, on 2 January 1803, the son of a sales-man. He was apprenticed to the engraver, George Cooke, between 1817 and 1823, and his training in printmaking had an influence on the development of his lucid style of watercolour. Though exhibiting at the Society of British Artists from 1824 (until 1858), he moved to Paris, where he met Richard Parkes Bonington, as well as the Fielding brothers and William Callow.
As Bonington’s friend and protégé, Boys entered an influential artistic circle that included the painter, Eugène Delacroix, and the young writer, Prosper Merimée. While Bonington encour-aged him to concentrate on watercolours, so he, in turn, may have given lessons in etching to Bonington and the landscape painter, Paul Huet. He exhibited four designs, as engraved by Cooke, at the Paris Salon of 1827-28.
When revolution broke out in Paris in 1830, Boys retreated to London, but returned to the French capital a year later. He soon showed himself – on both sides of the English Channel – to be Bonington’s closest follower. He exhibited at the Salon again from 1833, and at the New Society of Painters in Water Colours from 1832 (becoming an associate in 1840, and full mem-ber in 1841). He also passed on aspects of the Bonington style directly to his pupils, notably Callow, with whom he shared his studio at 19 rue du Bouloy..
Boys was in Paris at a time when British printmakers were in demand. In addition to his abili-ties as an etcher, he took lessons in lithography, either at Godefroy Engelmann’s Imprimerie Lithographique, or from one of the English artists working for the publisher, J F d’Ostervald. Ever aware of the potential relationship between painting and printmaking, he considered lithography, in particular, as ‘painting on stone’. He put his newly learned skills to good use, from 1833, in his contributions to the Picardie and Langeudoc volumes of Baron Isidore Taylor’s Voyages pittoresques et romantiques dans l’ancienne France.
Returning to London in 1837 with a large number of watercolours, Boys set about making chromolithographs of them, which Charles Hullmandel published together, two years later, as Picturesque Architecture in Paris, Ghent, Antwerp, Rouen, etc. A technically innovative achievement, the project brought him a degree of international fame. Original Views of London as It Is (1842) proved equally popular.
However, by 1850, Boys was past his peak. He attempted to revive his work as a painter by tak-ing sketching tours, but had to find work as a drawing master and reproductive printmaker. One significant late patron was John Ruskin, for whom Boys prepared the etching plates for Modern Painters and the lithographs for The Stones of Venice.
Affected by illness and poverty, Boys died at his home – 30 Acacia Road, St John’s Wood – on 10 October 1874, leaving a widow behind him.
His work is represented in numerous public collections, including the British Museum and the V&A and the Yale Center For British Art (New Haven).
PAYMENT OPTIONS
PayPal /Card transactions can be processed through PayPal on our company website. We also accept payment by cheque and bank transfer. Deferred payments can be accepted over an agreed period of time whilst paintings remain with us.
CONDITION AND PRESENTATION
In our description, if a picture is shown to be framed then the frame will be included with the sale of the picture. Unless stated otherwise all unframed watercolours, drawings and prints have been mounted onto acid-free conservation board using either Japanese hinging paper or reversible wheat starch past. Unframed and mounted pictures are then wrapped in clear polyester film to protect both the picture and the mount. All conservation work has been carried out by accredited conservators.
SellerRadnorshire Fine Arts Ltd
View all stock from
Radnorshire Fine Arts Ltd
Private dealer
By appointment only
Powys
Mid Wales
Tel : 01982 570768
Non UK callers : +44 1982 570768
A River Bank
Watercolour with scratching out
Framed and glazed
Provenance: Previously with the Albany Gallery, Duke Street, St. James’s, London.
Thomas Shotter Boys was born in Pentonville, London, on 2 January 1803, the son of a sales-man. He was apprenticed to the engraver, George Cooke, between 1817 and 1823, and his training in printmaking had an influence on the development of his lucid style of watercolour. Though exhibiting at the Society of British Artists from 1824 (until 1858), he moved to Paris, where he met Richard Parkes Bonington, as well as the Fielding brothers and William Callow.
As Bonington’s friend and protégé, Boys entered an influential artistic circle that included the painter, Eugène Delacroix, and the young writer, Prosper Merimée. While Bonington encour-aged him to concentrate on watercolours, so he, in turn, may have given lessons in etching to Bonington and the landscape painter, Paul Huet. He exhibited four designs, as engraved by Cooke, at the Paris Salon of 1827-28.
When revolution broke out in Paris in 1830, Boys retreated to London, but returned to the French capital a year later. He soon showed himself – on both sides of the English Channel – to be Bonington’s closest follower. He exhibited at the Salon again from 1833, and at the New Society of Painters in Water Colours from 1832 (becoming an associate in 1840, and full mem-ber in 1841). He also passed on aspects of the Bonington style directly to his pupils, notably Callow, with whom he shared his studio at 19 rue du Bouloy..
Boys was in Paris at a time when British printmakers were in demand. In addition to his abili-ties as an etcher, he took lessons in lithography, either at Godefroy Engelmann’s Imprimerie Lithographique, or from one of the English artists working for the publisher, J F d’Ostervald. Ever aware of the potential relationship between painting and printmaking, he considered lithography, in particular, as ‘painting on stone’. He put his newly learned skills to good use, from 1833, in his contributions to the Picardie and Langeudoc volumes of Baron Isidore Taylor’s Voyages pittoresques et romantiques dans l’ancienne France.
Returning to London in 1837 with a large number of watercolours, Boys set about making chromolithographs of them, which Charles Hullmandel published together, two years later, as Picturesque Architecture in Paris, Ghent, Antwerp, Rouen, etc. A technically innovative achievement, the project brought him a degree of international fame. Original Views of London as It Is (1842) proved equally popular.
However, by 1850, Boys was past his peak. He attempted to revive his work as a painter by tak-ing sketching tours, but had to find work as a drawing master and reproductive printmaker. One significant late patron was John Ruskin, for whom Boys prepared the etching plates for Modern Painters and the lithographs for The Stones of Venice.
Affected by illness and poverty, Boys died at his home – 30 Acacia Road, St John’s Wood – on 10 October 1874, leaving a widow behind him.
His work is represented in numerous public collections, including the British Museum and the V&A and the Yale Center For British Art (New Haven).
PAYMENT OPTIONS
PayPal /Card transactions can be processed through PayPal on our company website. We also accept payment by cheque and bank transfer. Deferred payments can be accepted over an agreed period of time whilst paintings remain with us.
CONDITION AND PRESENTATION
In our description, if a picture is shown to be framed then the frame will be included with the sale of the picture. Unless stated otherwise all unframed watercolours, drawings and prints have been mounted onto acid-free conservation board using either Japanese hinging paper or reversible wheat starch past. Unframed and mounted pictures are then wrapped in clear polyester film to protect both the picture and the mount. All conservation work has been carried out by accredited conservators.
Price The price has been listed in British Pounds.
Conversion rates as of 19/JUN/2024. Euro & Dollar prices will vary and should only be used as a guide.
Always confirm final price with dealer. SOLD
DimensionsSheet: 2 11/16 in x 3 3/4 in. (6.9 cm x 9.5 cm.)
Frame: 9 1/2 in x 10 5/8 in. (24.1 cm x 27 cm.)
Period 19th Century Antiques
Material Paper
Origin English
Condition Very good original condition, unexamined out of frame.
Item code as176a735
Status Sold
£0 
$0.00 
€0.00 
$
€
Conversion rates as of 19/JUN/2024. Euro & Dollar prices will vary and should only be used as a guide.
Always confirm final price with dealer. SOLD
Shipping information
All our prices include FREE packing and delivery within the UK.
If you live outside the UK and you wish to purchase a painting, please contact us by phone or e-mail for further details concerning shipping costs.
If you live outside the UK and you wish to purchase a painting, please contact us by phone or e-mail for further details concerning shipping costs.
Terms and conditions
Returns and Complaints
Great care and trouble has been taken to ensure that all details written for every picture are correct and the photos are of sufficient quality so that each item can be viewed in detail. If the purchaser can find a fault (by way of a photograph) as proof of damage in transit that is not present in our promotional photo i.e. a tear in the canvas, broken glass, broken frame, damage to surface of picture, then a full or part refund will be offered back to the purchaser depending on the extent of the damage. This will only apply within 24 hours of signing for the parcel.
If the parcel has arrived and appears to be damaged in some way please return the parcel to us (unopened) and we will refund the purchase price on receipt of the picture.
If the purchaser can prove with written evidence from three independent experts that our description was false or misleading in any way then a full refund will be offered back to the purchaser.
Every effort has been made to give our clients complete confidence and satisfaction when buying from our company.
Great care and trouble has been taken to ensure that all details written for every picture are correct and the photos are of sufficient quality so that each item can be viewed in detail. If the purchaser can find a fault (by way of a photograph) as proof of damage in transit that is not present in our promotional photo i.e. a tear in the canvas, broken glass, broken frame, damage to surface of picture, then a full or part refund will be offered back to the purchaser depending on the extent of the damage. This will only apply within 24 hours of signing for the parcel.
If the parcel has arrived and appears to be damaged in some way please return the parcel to us (unopened) and we will refund the purchase price on receipt of the picture.
If the purchaser can prove with written evidence from three independent experts that our description was false or misleading in any way then a full refund will be offered back to the purchaser.
Every effort has been made to give our clients complete confidence and satisfaction when buying from our company.
View all stock from
Radnorshire Fine Arts Ltd
Private dealerBy appointment only
Powys
Mid Wales
Tel : 01982 570768
Non UK callers : +44 1982 570768
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Watercolour by W D Gurthrie
Portrait of Robert Spearman Swinburne - Waterloo
Charles Russell RHA 1852-1910 Watercolour Children
Still Life Watercolour by John Sherrin
Moses Griffith Harlech Castle Watercolour
Watercolour Babbacombe Beach Devon by Samuel Kelly
Glazed Ink and Watercolour by Desmond Walduck
Glazed Ink and Watercolour by Desmond Walduck
Glazed Ink and Watercolour by Desmond Walduck
Henry Charles Fox R B A British 1855 1929. Surrey
Attractive watercolour Sheep in a river landscape’
Bay of Naples by E Rieck