Frame dimensions are 45cm high by 53cm wide. Painting dimensions are 20cm high by 29cm wide. Ready to hang. 

About the artist (biography courtesy of Polly Pyke):

Watercolourist Anthony Vandyke Copley Fielding was one of the most prolific and esteemed landscape artists of his time. His incredible output of atmospheric and gorgeously rendered scenes of the British countryside remain as examples of the growing popularity of watercolours in the 19th century. Fielding was first given drawing lessons by his father, Nathan Theodore Fielding (1746-1814). It seems clear that the father had great artistic aspirations for his son. That the name of the great painter Anthony van Dyke (1599-1641) is included in Fielding’s own name makes this more than crystal clear. Indeed, Fielding’s four brothers would also pursue careers in art, although none were as successful as him. Whilst with his father he began to provide teaching lessons. However, his attention was soon pulled south, towards London, where he himself might be more enlightened. 

Upon settling in the capital, Fielding began to receive lessons from the eminent watercolourist John Varley (1778-1842). He would also attend meetings at the house of Doctor Munro (1759–1833), an artcollector and patron who was influential in the encouragement of watercolourlandscape art. Indeed, with Varley and Munro as company,Fielding had nestled himself into the heart of the watercolour ‘revolution.’For too long, watercolours had been castigated as a lesser medium than oilpainting. Now, a group of artists were working to redefine and elevate itsreputation. Landscape paintings were the primary genre in which they worked.The views they produced were sweeping and atmospheric, full of heart and spiritand artistic skill. Artists such as J.M.W. Turner (1775-1851) and Thomas Girtin(1775-1802) had set into motion an unstoppable machine of innovative artistic production. Fielding jumped aboard. The success of his efforts is clear when one looks at his progression through the Old Water-Colour Society, the first institution of its kind established by this group of innovators. In 1810 he was already an associate member, and by 1813 became a full member. He would eventually become president of the society in 1831, a position he would hold until his death. In total, he exhibited 1,748 works upon their walls. He exhibited a further 100 at the British Institution. These works were abundant in spirit and atmosphere. Fielding was highly praised for his ability to capture the effects of light and the ebbing and flowing of the forces of nature. His works seemed 'real to the vision,’ art critics would praise, ‘faithful representations’ of the bountiful scenes of the British countryside. Fielding could summon the cataclysmic reckoning of fierce storm clouds over turbulent tides. He could capture the haze of a summer sun as it blanches across a great vista. Detail to the foreground adds depth, adds character. His works seem to collect up the pure, undiluted spirit of nature and place it upon the paper. Fielding captured scenes from all across Britain. He never travelled abroad and the scant productions of Italian scenes he produced were made from copies. The Sussex Downs and seascapes from the southern coast were particular favourites for Fielding, as were scenes of the River Wye and Chepstow Castle. 

Although Fielding worked predominantly in watercolour, he did exhibit a number of oil paintings at the Royal Academy. These were met with much praise, but it was his contribution to the innovative world of watercolour landscapes which cemented his reputation. At the same time as producing such a great output of works, Fielding continued to teach and instruct others. Amongst his pupils was the renowned art critic John Ruskin (1819-1900). Fielding was popular teacher who, through his lessons, continued to expand the rising popularity of watercolour painting. 

An artist so prolific and well-liked, Fielding was sorely mourned upon his death in 1855. ‘No artist knew better than Mr Fielding how to paint a mile’s breadth or distant scenery,’ the Art Journal would acclaim in its obituary. ‘The truth and delicacy of his paintings ever made his works welcome.’ Indeed, this ‘truth and delicacy’ has also made them keyworks in the study of the progression of watercolour landscapes. Fielding is an example of a great watercolourist, progressive, passionate. Today, his works are held in a number of Britain's largest institutions, including the Victoria and Albert Museum. 

Please note all items are antique or vintage and will therefore show evidence of wear and tear and imperfections - each piece is full of character, patina and history. 

Please note that the photos do form part of the description so do please study them carefully. Additional images and information can be provided. Likewise if you have any questions please ask.

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