This charming early 19th-century oil painting by English artist Edward Williams (1782-1855) depicts a river scene with punt and windmill.
Under the bough of a gnarled tree, two figures within a ramshackle punt attempt to set off, prodding poles into the riverbank. It’s probably morning with a peppering of tinted clouds amid gentle gradients of blue. A windmill, battered by time, stands motionless.
‘Old’ Williams was a British painter of landscapes and the father of a remarkably artistic family. His story is one of rugged Victorian scenery, windswept oak trees, idyllic rivers buried into majestic valleys, and rustic timber-framed cottages.
Following a rather turbulent childhood, Williams found his escape in the rippling streams and abundant woodlands of the British countryside. At the time, landscape painting was considered a second-rate pursuit, but he was escaping into a gentler land, where he could feel a sense of belonging - and love, even. As a result, his works sing with the joy of nature’s solitude, its tranquillity and mystery.
In terms of his style, he drew upon the great Dutch masters of the 17th century, such as Jacob van Ruisdael (c.1629-1682) and Meindert Hobbema (1638-1709). Their impressive oeuvre provided the basis for countless English landscape painters during this period. He probably had access to various etchings and engravings after the Dutch pioneers, which he perhaps copied as a young man to further his development.
Armed with these models and formulas, he approached the British scenery with an eye for accomplished composition and deftness of touch. Producing a heady array of picturesque delights. He’s also known for his evocative nocturnes, particularly along the River Thames - the press often dubbing him ‘Moonlight Williams’ as a result.
Six of his boys developed into successful artists and this monumental circle of painters worked predominantly from their father’s home in Barnes, Surrey. A carriage house out the back became a thriving studio, a hive of artistic endeavour. Can you imagine the rivalry between each of the brothers?
The dappled marshes, quiet farmland and wooded thickets became an ever-changing muse for the Williams family. And together, they produced an astonishing body of works. Collectively, they were known as the ‘Barnes School’.
In 1855, overcome by the death of his wife, Edward Williams died of a broken heart. He left behind a legacy, which had a lasting effect on landscape painting in Britain. But, perhaps most of all, he should be remembered for his story - one of overcoming adversity and changing the fortunes of a new generation. We have a lot to thank him for.
Edward Williams exhibited at the Royal Academy, the British Institution, and the Society of British Artists. His works are held in various public collections including at the V&A and Tate Gallery.
Monogrammed on the punt and held within a handsome scroll and foliate frame, which could be original.
Learn more about Edward Williams in our directory.
Medium: Oil on canvas
Overall size: 30” x 26” / 76cm x 66cm
Year of creation: c. 1830
Labels & Inscriptions: J.A. Cooling & Sons label / Inscription with attribution on the reverse.
Provenance: With J.A. Cooling & Sons, New Bond Street, London / Private collection, UK.
Condition: Cleaned. Canvas relined. Areas of fine and settled craquelure, as you would expect. The paint layer is stable. Frame with various marks and showing its age.
Artist’s auction maximum: £14,899 for ‘Cattle Watering by a Windmill with Fishermen’, Oil on panel, Sotheby’s, London, 1990.
Our reference: BRV1946
