Bertram Walter Priestman (1868-1951) - Framed Oil Cows in Dappled Shade

Description

An accomplished, British School, oil by Bertram Walter Priestman (1868-1951), depicting cows resting in dappled shade. The artist's loose, impressionistic brushwork and skilful rendering of natural light effectively capture the interplay of sun and shadow on the pastoral scene. Well presented in a decorative wooden frame with gilt running patterns to the rebate window and outer profile. Signed by the artist to the lower left and dated '04. On canvas on stretchers.

Condition

The overall condition of the artwork is very good. There is historic craquelure to the surface of the painting. Light wear to the decorative wooden frame. Inspection under UV light reveals no signs of restoration.

Size

50 x 64cm (19.7" x 25.2")
Framed Size: 63 x 76cm (24.8" x 29.9")

Artist Biography

Painter born in Bradford, Yorkshire into a family of Quakers. He studied at the Slade School of Fine Art, 1888-1892 and worked in the studios of William Llewellyn, first exhibiting at the RA in 1889 and being elected a member in 1923. Priestman was also elected NEAC in 1897 and a member of the ISSPG in 1900. He received an Honourable Mention for his exhibit at the Paris Salon in 1900 and received the Gold Medal at the Munich International in 1901. He was a member of the Society of Twenty-Five Painters and his other exhibiting venues included the FAS, Baillie Gallery, Grosvenor Gallery, GI, Goupil Gallery, Oxford Art Society, Walker Art Gallery, Liverpool, MAFA, NEAC, RHA, ROI and with the Sole Bay Group. Priestman's work is represented in many public collections including the Blackburn Museum and Art Gallery, Bradford Art Gallery, Bury Art Gallery, Doncaster Art Gallery, Manchester City Art Gallery, Leeds City Art Gallery, Rochdale Art Gallery, Sheffield Art Gallery, Sunderland Museum and Art Gallery and the Laing Art Gallery, Newcastle upon Tyne. In 1981 Bradford and the Ferens Art Gallery in Hull staged a major retrospective of his work. Priestman painted predominantly landscapes and rural scenes, with an energetic feeling for atmosphere. His East Anglian scenes made him a mentor for Edward Seago and his son-in-law was Edward Holroyd Pearce, artist and high court judge.