Arthur Easton ROI

Arthur Easton ROI (b. 1939) - 1985 Oil, Countryside Town

1985

A wonderful study of an old stone farmhouse and outbuildings by the British artist Keith Johnson. Signed to the lower left.

A delightful landscape study by the artist Pauline Plummer (b.1933) depicting a view of a rural farm. On board.

A charming rural scene depicting a figure in the foreground of a British rural landscape, with cottage and dead tree beyond. This scene is high...

This charming pastoral landscape depicts a serene countryside scene featuring rolling green fields dotted with grazing sheep, and a modest white farmhouse nestled among bare winter t...

This lovely mid 20th century English oil on board by Tom White depicts a view over the rooftops of period houses in Spring. A quintessentially English view in the modern/impressioni...

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you want. Ralph Gillies Cole (1915-1994) Farmhouse by Lane Oil on canvas 48 x 72 cm Signed lower left 'Ralph Gillies Cole' and dated 1964. A handsome oil painting of the English countryside by well-listed painter Ralph Gillies Cole. We have another painting by the same artist listed. Artist known for his views of the English countryside. Additionally the Fleet Air Arm Museum has a series of paintings by Cole...

William Henry Innes (1905-1999) Innes first exhibited his work during the Second World War while he was in the Royal Air Force. He showed extensively at the Royal Academy, New Engla...

Oil on board, signed and dated '1974' lower right Image size: 31 x 48 inches (79 x 122 cm) June 1987 Exhibition label on verso Original frame Provenance The Artist's Estate Exhibited "Raymond Booth, A Memorial Exhibition", The Fine Art Society, London, 12th August - 9th September 2016, no.62 "Raymond Booth, In the Wild", The Fine Art Society, London, 02 May -29 May 2017, No. 11 Booth was above all a great recorder of the natural world who could translate his observations of the Yorkshire countryside, its fauna and flora, into compositions of a beauty and intensity rivalling the greatest of his Victorian predecessors. This intense, yet intimate, landscape depicts a section of woods around Booth's home in Alwoodley, Leeds, where he spent much of his time. Here Booth has worked slowly to develop the densely worked, close-up, landscape in which the woodland and meadows have acquired a poetic quality through his sensitivity to season, weather and time of day. Raymond Charles Booth Intensely private, and possessing an obsessive work ethic and passion for the natural world, Raymond Booth earned a reputation as one of the greatest botanical painters and illustrators, despite rarely leaving his Yorkshire home. Eschewing the more fashionable modernist principles of the early mid-twentieth century, he instead produced beautiful, intense compositions in oil of British flora and fauna, that rival the very finest Victorian followers of the genre. Raymond Booth was born in Wetherby, West Yorkshire, on 8 August 1929, to John Booth, a member of the local police force, and his wife Margaret Edna. When Raymond was still a young child, the family moved from their first home in the crowded streets of central Leeds, to Fearnville Place, in the leafy suburb of Roundhay. His father was a keen rambler and impressed upon Booth from an early age a respect and understanding for the British countryside. Just a short walk from his childhood home was Roundhay Park, the second largest urban park in Europe, comprised of over 700 acres of parkland, lakes and woodland. It is likely that growing up so close to such an environment had a profound influence on him, helping to develop what would become a lifelong obsession with natural world. Booth’s early passion for nature was surely heightened by the number of summer holidays he spent on an estate near Winterslow, Wiltshire, where an uncle worked as a gamekeeper. In 1946, at the age of 17, Booth won a scholarship to study at Leeds College of Art. However, his studies were put on hold during two years of National Service, which he spent largely with the RAF in Egypt, guarding the Suez Canal. He returned to Leeds College in 1949, graduating in 1953. While at Leeds College, he had frustrated his teachers and fellow students by insisting on working in a more traditional, precise style, and rejecting the more Modernist principles that were being promoted. As a result, his teachers convinced him that he was unlikely to earn a living as an artist, and encouraged him instead to study for a teaching diploma. Shortly after graduation however, he was diagnosed as suffering from tuberculosis, a consequence of his time in Egypt, and was admitted to a sanatorium, where he would stay for the next six months. Years later, Booth would joke ‘I am one of the few people who can say, “Thank God for TB”’ (The Times obituary, 9 September 2015), as his months of recuperation gave him countless hours to develop his skills as a botanical artist. This enforced focus on his work gave him the confidence to submit a number of his drawings to a botanical art exhibition in London organised by the Royal Horticultural Society. These works attracted the attention of a number of prominent horticulturalists, including Dr Harold Fletcher, the director of the RHS’s gardens at Wisley, Sir George Taylor...