Oils on canvas, 14"x20", signed and dated 1910 by Owen Bowen.
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Oils on canvas, 12"x18", signed and dated 1915. This pictures shows Owen Bowen at his best as a plein air, Impressionist Staithes Group painter.
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Oils on canvas laid on panel by Owen Bowen, 10¾"x16½", signed. One of several lnscape paintings showing that Bowen's early work place amongst the best English landscape painters.
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Owen Bowen: oils on panel, 10¾"x16½", signed and dated 1925. This makes an impressive pair with Cattle Watering, both of then framed in fine quality traditional swept gilt frames.
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Oils on canvas, 11½"x17", signed. A cleverly painted Impressionist picture, I think it is painted just after sunrise on a late summer's morning, a soft rosy light pervading the landscape.
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Oils on canvas, 24½"x29½", signed and dated (19)02. This is a stunning picture, still in its original swept frame. I get a shock of pleasure each time I see it.The cut edge of the ripe wheat, it's height diminished by perspective, encourages us to look into the field towards the stand of trees, a white-shirted reaper half obscured by the corn contrasting strongly with their darkness. Rooks hovering over the sun-streaked field in the left foreground are balanced by the scarlet of poppies to the right. The main body of reapers and their horses are seen in front of a meadow, beyond which the landscape extends to distant hills. A big summer sky is partially obscured by wind-torn clouds whose shadows move across the fields.
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Oils on canvas, 19½"x23", signed and dated (19)28. We have never seen a flower painting by Owen Bowen as good as this one. In the deep, rich colours and with a dark background used as a foil to irridescent pottery and the colours of his chosen flowers, it has the basic ingredients for one of his best still lives. The flowers in this example combine a lightness with a depth of colour in their centres which makes them seem to float.The flowers emerge as if by magic from the canvas, and seem so very real, despite being painted in the loose Impressionist manner at which Owen Bowen excels. The composition breaks all rules to excellent effect: the flowers sit uncompromisingly to the right of the picture, but the almost mystical irridescent vase behind them makes us look beyond them and to the left. This has the effect of making us circle the whole painting over and over again. It is a very special picture. Our framer, Dave Prior, realised this and has framed it in a very special way which enables the picture to assert its own qualities without distraction.
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Oils on canvas, 20"x24", signed. The strong and simple composition of this woodland scene by Owen Bowen is brought to life by the subtle juxtaposition of rich colours and varied tones. SOLD
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Oils on canvas, 11"x16½". This is, to me, another iconic picture by Owen Bowen which we sold and which have continually referred to when journeying across the moors in the autumn. Simple, clever, but stunning and so real in its simplicity. It's good to have it back again - I daren't comment further... except to say that I'm trying to persuade Tom to let me keep it this time!!!
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Watercolours, 11"x15". Provenance with the Bowen family.
In this beautifully simple watercolour Owen Bowen has used wet paper to merge his colours in a soft manner which mimics the softness of Autumn colours on moorland. SOLD
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Oils on canvas, 23½"x19", signed. Owen Bowen's compostion relies on a clever interplay of diagonals in this painting. Explore them, and then enjoy the the cheering and informal arrangement of Spring flowers. SOLD
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Oils on panel, 16"x11½", signed. This is one of Owen Bowen's rare richly coloured flower paintings. He tended to use irridescent vases in these exuberant paintings which are very hard to source.
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OWEN BOWEN ROI, PRCamA 1873 – 1967

Owen Bowen was of Welsh descent on his father’s (an accountant) side, as his name suggests, but he was born in Leeds. Having started painting at the age of four,he attended Leeds Grammar School and Leeds School of Art. It was at the latter that he met Gilbert Foster.

This meeting was pivotal in Bowen’s life: Foster subsidised his art lessons, introduced him to patrons and encouraged him to paint on the North Yorkshire coast. A precocious artist, Bowen first exhibited publically at the age of fifteen when he won two medals at the inaugural exhibition of the Yorkshire Union of Artists in Bradford Public Art Museum.

He eventually rented a studio in Leeds and spent his summers on the Yorkshire coast, buying a cottage in Robin Hoods Bay after some years. He was elected a member of the Staithes Art Club in 1904.

His earlier work tends to be his best, brimming with light, often focused strongly on the middle distance of the picture, and painted in rich, strong colours. His later work often has every colour mixed with varying degrees of white, fading his
earlier brilliance into a toneless mediocrity which cannot be described as ‘Staithes Group’. Most of his work is in oils, but his scarcer watercolours can be as good as the best of his oil paintings.

When he was thirty-eight Bowen contracted a virus while he was painting in
Holland. He was bedridden for a while and unwell for several years, but recovered sufficiently to live until the age of ninety-seven! During this viral period, however, he confined himself to painting flowers. Sadly, most of these paintings suffer from the same problems as his later landscape works, but from time to time he produced a gem. These appear to fall into two categories: more delicate flowers painted in clear, clean colours and hardier or more exotic blooms where the colours are deep and rich, often contrasted with a dark background.

In addition to exhibiting with the Yorkshire Union of Artists for the first two years of its existence, Bowen exhibited no fewer than a hundred and ninety five paintings at the Royal Cambrian Academy of which he was not only a Member but also President, making him one of the most prestigious members of the Group. He was also a Member of the Royal Institute of Oil Painters where one hundred and three of his pictures were shown. In 1904 he became a Member of the Staithes Art Club. He also exhibited at the Royal Academy, the Royal Hibernian Academy, the Royal Institute of Painters in Water Colours, the Royal Institute of Oil Painters, the Royal Scottish Academy and the Staithes Art Club. His work can be found in public collections in Bradford, Carlisle, Huddersfield, Leeds, Salford and Whitby.

Bibliography:
Staithes Group Centenary Exhibition, Rosamund Jordan 2003
The Staithes Group, Peter Phillips, Phillips and Sons, Marlow1993
The Yorkshire Union of Artists 1888 – 1922, Dennis Child, Leeds Philosophical and
Literary Society Ltd, Leeds 2001
The Dictionary of British Artists 1880 – 1940, J. Johnson & A. Greutzner, Antique
Collectors’ Club, Woodbridge 1976

© Rosamund Jordan 2006