photo credit: Museums Sheffield
This painting was the subject of an earlier discussion, where no firm conclusion was reached.
Grant Waters, Group Leader of the Art Detective groups East of England: Artists and Subjects and South East England: Artists and Subjects, believes the painting to be French and connected to an artist belonging to, or influenced by, the Barbizon School. But who?
A prima vista from the online photo, I would suggest this is potentially the English landscape artist Henry Mark Anthony. He was heavily influenced in style by Constable and yet also has a record of working and painting around Paris. The group of figures at the foreground somehwat suggest the influence of the latter mentioned English colleague whilst the overall tone is clearly Barbizon.
The handling is comparable to many of his works which have gone through the art market and can be found online. Another particular note which leads me to this suggestion is the breadth and handling of the sky, the way the clouds stream accross - and the defined use of orange in the background sunset, a colour which seems a hallmark in many of his compositions.
For further comparisons, see his works on Art UK in Wolverhampton, Maidstone and Sunderland.
The Maas Gallery has a wonderful sunset by him which is suspected to be taken from the surroundings of Paris.
Another point of comparison to work from, a signed work by Henry Mark Anthony at Sotheby's in 2006: http://www.sothebys.com/en/auctions/ecatalogue/2006/19th-century-british-and-continental-paintings-w06703/lot.47.html
The work certainly feels French and recalls Daubigny, but without a signature it will be difficult to pin down a specific artist.
Basically any number of French landscape painters influenced directly or indirectly by Corot could have done this picture.
I agree, Charles-Francois Daubigny immediately came to my mind. The 2016 Nat. Galleries of Scotland (Edinburgh) Exhbn "Inspiring Impressionism, Daubigny etc" displayed a very large landscape titled "October 1850-78", No.111, Cat. p.116. This depicts smoking fires from heaps of tipped municipal rubbish, with night-soil carts in action amongst scattered waste including animal bones. However, C-FD signs off many of the airborne plumes of smoke, with elongated squiggles. Under magnification, such a squiggle is visible in our picture.
Our picture has other characteristics of C-FD, although it is rather small for C-FD; many of his paintings were not signed.
Is there any further provenance? Anything on the reverse?
I thought of Boudin, but he was primarily a sea painter as opposed to Daubigny, who was closely associated with river scenery, and this picture is more Daubigny-like. The son and pupil of C. F. Daubigny, Karl, was also a landscape painter whose work was sometimes confused with that of his father.
This painting was a gift from J.G. Graves (1866-1945), a Sheffield businessman and philanthropist and also an art collector.
In the earlier discussion, why was Daniel Sherrin considered in the first place? Because Sheffield also has work by him? Was there any indication or documentation from Mr. Graves, the donor of this picture, regarding the identity of the painter?
Herewith additional info to my earlier comment - the large Daubigny painting "October 1850-78" (87.5 x 160.5) (stamped "Vente Daubigny") is in the collection of the Rijksmuseum, Amsterdam - visible via Internet. Note the unusual treatment of the air borne ends of the plumes of smoke, as similarly visible in our picture.
John George Graves donated his collection of nearly 700 pictures to the art gallery that bears his name in Sheffield, which I assume is where this painting resides. Obviously whatever papers or documents of his are available to the gallery could prove useful. Presumably he bought this in London, and it might help to know from what dealer.
In the earlier discussion, I see that Clive Hamilton suggested Daubigny as well as his pupil Hippolyte-Camille Delpy, who was also partial to river scenes, and whose work was exhibited in London in 1908, in the Grafton Galleries (which also showed work by Daubigny in 1905). Delpy's work was closer to the Impressionists than Daubigny's, and this picture seems closer to Corot (and thus to Daubigny) to me.
I must agree with the opinions that this is Barbizon School
I lean heavily towards Corot. The whole atmosphere that he
creates----that sense of stlllness and calm, the whole lay-out
and use of colour in a very small scale.
There is a little splash of red in the boat on the figures.I would
have expected to see his signature in red bottom right!
Apart from that we really need to see the backs of these paintings.
I had just had a look and was going to say it was quite Corot and then I see the previous comment from Raymond. I agree. The colours are in the darker spectrum then say Eugene Boudin...?