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Framed Pictures, Canvas Prints
Posters & Jigsaws since 2004

Cornwall Gallery

Available as Framed Prints, Photos, Wall Art and Gift Items

Choose from 93 pictures in our Cornwall collection for your Wall Art or Photo Gift. Popular choices include Framed Prints, Canvas Prints, Posters and Jigsaw Puzzles. All professionally made for quick delivery.


Green Waters, Henry Scott Tuke (1858-1929) Featured Print

Green Waters, Henry Scott Tuke (1858-1929)

Oil on canvas, Newlyn School, late 19th / early 20th century. A man sculling in a small boat. Henry Scott Tuke was born into a Quaker family in Lawrence Street, York. In 1859 the family moved to Falmouth, where his father Daniel Tuke , a physician, established a practice. Tuke was encouraged to draw and paint from an early age and some of his earliest drawings, aged four or five years old, were published in 1895. In 1875, he enrolled in the Slade School of Art. Initially his father paid for his tuition but in 1877 Tuke won a scholarship, which allowed him to continue his training at the Slade and in Italy in 1880. From 1881 to 1883 he was in Paris where he met the artist Jules Bastien-Lepage, who encouraged him to paint en plein air (in the open air) a method of working that came to dominate his practice. While studying in France, Tuke decided to move to Newlyn, Cornwall where many of his Slade and Parisian friends had already formed the Newlyn School of painters. He received several lucrative commissions there, after exhibiting his work at the Royal Academy of Art in London. In 1885, he returned to Falmouth where many of his major works were produced. He became an established artist and was elected to full membership of the Royal Academy in 1914. Tuke suffered a heart attack in 1928 and died in March 1929. In his will he left generous amounts of money to some of the men who, as boys, had been his models. Today he is remembered mainly for his oil paintings of young men, but in addition to his achievements as a figurative painter, he was an established maritime artist and produced as many portraits of sailing ships as he did human figures. He was a prolific artist, over 1,300 works are listed and more are still being discovered

© RIC

The Pilgrimage to Canterbury, Thomas Stothard (1755-1834) Featured Print

The Pilgrimage to Canterbury, Thomas Stothard (1755-1834)

Oil on panel, English School, late 18th / early 19th century. Thomas Stothard was born in London and was apprenticed to a draughtsman of silk pattern designs in Spitalfields. When his master died, he attended the Royal Academy in 1778, was elected a Royal Academician in 1794 and, having been taken under the wing of Sir Joshua Reynolds, devoted much of his skill to engravings and illustrations. Stothard worked prodigiously, his family portraits funding much of his art schooling. He admired Rubens and although his paintings are often small in size, they reflect Rubens colours and composition. This painting shows just one small part of The Pilgrimage to Canterbury. The finished painting (Tate N01163) includes around thirty characters and is almost a metre in length. The engraver and publisher Robert Cromek commissioned this painting from Stothard. He then put it on display and charged visitors a shilling to see it. He also collected subscriptions for the forthcoming print of the painting. William Blake, then a close friend of Stothard, claimed that Cromek had commissioned a painting of the Canterbury Pilgrims from him first, but that Cromek had not liked his design and so took the commission to Stothard. Blake then accused Cromek and, through him, Stothard of copying his long, frieze-like composition. Blake was furious when Stothard's resulting work spring boarded his career and brought about numerous important commissions. It is unlikely that Blake's accusations were well-founded, but the dispute effectively ended Blake and Stothard's friendship

© RIC

Madonna and Child, Rogier van der Weyden (1399-1464) Featured Print

Madonna and Child, Rogier van der Weyden (1399-1464)

Oil on panel, Dutch School, 15th century. Dutch artist Rogier van der Weyden was one of the most profound and influential painters of the 15th century. He was internationally famed for the naturalism of his detail and his expressive pathos. He created a range of types, for portraits and for religious subjects, which were repeated throughout the Netherlands, the Iberian peninsula, and even Italy, until the mid 16th century. He was apprenticed to Robert Campin in Tournai from March 1427 to August 1432 but he soon equalled his master and was later to influence Campin's own work. In 1435 he was made painter to the city of Brussels. In 1450 he may have travelled to Rome. He worked for Philip the Good, Duke of Burgundy, and for foreign princes, as well as for the city and church. Rogier van der Weyden was highly successful and internationally famous in his lifetime. By the latter half of the 15th century, he had eclipsed Jan van Eyck in popularity. However, his fame lasted only until the 17th century, and largely due to changing taste, he was almost totally forgotten by the mid 18th century. His reputation was slowly rebuilt during the following 200 years and today he is known, with Campin and van Eyck, as the third (by birth date) of the three great Early Flemish artists, and widely as the most influential Northern painter of the 15th century. The Madonna and Child was a traditional subject for Renaissance artists, commissioned both by the Church and by private individuals. The use of oil paint on wooden panel, rather than egg tempera which was the dominant medium in Italy during this period, is a particularly Northern European development which gradually spread south to Italy through the 15th century

© RIC