Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 25 works by Claude Thomas in our catalogue
In short
To the gallery's eye, Claude Thomas's most famous painting is Count Palatine Gustav Samuel (1750), whose original hangs in the Bavarian State Painting Collections, Munich. Needlework panel (1760) and Evening complete the trio every eye recognises. Of the 25 works by Claude Thomas in our catalog, the gallery presents the 25 most famous below, each original with its year, its museum and what makes it unique.
The gaze of Count Palatine Gustav Samuel meets the viewer through this 18th-century portrait. Painted by Claude Thomas, the work captures the likeness of Gustav Samuel Leopold, Duke of Zweibrücken. He exists here in a moment of formal stillness, his presence fixed by the brush of the artist. The portrait presents the subject not merely as a figure of history, but as a man of specific station and character.
In the delicate interplay of light and color found within the Needlework panel, we encounter a moment of profound stillness captured by the skilled hand of Claude Thomas Stanfield Moore. This exquisite piece centers on the striking presence of an Indian Pheasant, its plumage a brilliant, fiery red that commands the viewer's immediate attention. Perched with a quiet, regal dignity upon a weathered branch, the bird serves as a focal…
Castle landscape
12
Evening landscape
13
Mont st. michel, normandy
14
The ivy green
15
View of Greenwich in Showing the Training Ship HMS 'Warspite' (1877)National Maritime Museum
16
Sea port
17
Westminster from the Thames
18
Man-o'-War firing a salute at sunset
19
View Of Westminster From The Thames
20
The Evening of Trafalgar
21
Steam-powered sailing ship and other craft by moonlight by Claude Thomas Stanfield Moore
22
The Pool of the Thames, over London's Silent Highway
23
The Thames at Greenwich
24
Torchlight Tattoo of Robin Hood Rifles, Nottingham Market Place, (1896)
25
Ships at the port of Portsmouth
The four subjects that come back most often in these originals, each with its finest example.
The 3 museums that hold the most of the paintings on this page.
| Museum | City | Works by Claude Thomas | Paintings from this list |
|---|---|---|---|
 Bavarian State Painting Collections |
Munich | 1 | Count Palatine Gustav Samuel |
 Leeds Museums - Galleries |
Leeds | 1 | Needlework panel |
 National Maritime Museum |
London | 1 | View of Greenwich in Showing the Training Ship HMS 'Warspite' (1877) |
Count Palatine Gustav Samuel (1750), Bavarian State Painting Collections, Munich. Needlework panel (1760) and Evening come next.
Count Palatine Gustav Samuel, Needlework panel, Evening, Calais sands, Morning, Pomona docks, Untitled (537), The old keep, Chepstow and Rural Landscape with Figures and a Church. The ranking above gives each one's year and museum.
Our catalog holds 25 works by Claude Thomas.
Mostly in Bavarian State Painting Collections (Munich), Leeds Museums - Galleries (Leeds) and National Maritime Museum (London). The museum table above lists them all.
Sunset (5), Landscape (3) and Boats (3), across the 25 works on this page.
Born in Nottingham, England, in 1853, Claude Thomas Stanfield Moore’s artistic journey began modestly as a lithographic draftsman, a practical skill that initially provided a livelihood. However, by the late 1870s, he had begun to forge his own path, driven by a fascination with the landscapes and waterways of Britain – particularly the dramatic shifts occurring in the nation's industrial heartland. Moore’s career blossomed during a period of rapid transformation; he became one of the most prominent members of the Moore family of artists—a lineage deeply connected to Nottingham’s artistic heritage—and is now recognized for his evocative depictions of disappearing Britain, skillfully blending elements of Turnerian romanticism with a distinctly British sensibility.
Moore's early influences were undoubtedly shaped by his father, Thomas Cooper Moore, a respected architect and founding member of the Nottingham Society of Artists. This familial connection instilled in Claude a deep appreciation for observation and detail, qualities he would later hone into his own unique style. His brother, Reuben Arthur Moore (often spelled Rubens), also contributed to this artistic legacy, sharing a passion for capturing scenes of old Nottingham and its surrounding countryside. The brothers’ work often focused on the characterful buildings and rural life that were slowly being replaced by industrial development, creating a poignant record of a changing nation.
While initially known for his landscapes, Moore's artistic focus gradually shifted towards maritime scenes and, most notably, the River Thames. He developed a remarkable ability to capture the atmospheric drama of rivers and coastlines, employing a masterful use of light and shadow—a technique heavily influenced by J.M.W. Turner. His paintings are characterized by intimate details of vessels navigating the waterways, often bathed in dramatic lighting effects that heighten the sense of movement and atmosphere. Moore wasn’t simply depicting scenes; he was conveying an emotional response to them – a feeling of both beauty and melancholy as these traditional landscapes faded into the modern era.
From approximately 1880 onwards, Moore exhibited his work regularly at prestigious venues such as the Nottingham Castle Art Museum, the Nottingham Society of Artists, and various towns throughout the region. He established a studio in Nottingham but later relocated to London around 1882, where he found greater opportunities for exposure and developed an even more refined style. During this period, he became particularly renowned for his views of the Thames – meticulously rendered depictions of its wharves, ships, and the imposing Houses of Parliament reflected in its waters. These works offer a valuable glimpse into Victorian London and the vital role the river played in the city’s economy and identity.
Moore's artistic output is inextricably linked to his desire to document the vanishing character of Britain. His paintings frequently feature scenes of rural life, old buildings, and industrial landscapes—subjects that were increasingly threatened by modernization and urban expansion. A prime example of this thematic focus is “Fair-Day in the Morledge,” a vibrant depiction of a bustling Easter fair in Derby (now in the collection of the Derby Museum and Art Gallery). This painting, originally attributed to T.C. Moore but now recognized as a work by Claude T.S., exemplifies his ability to capture the energy and social life of a bygone era.
Moore’s artistic style evolved over time, moving from monochrome watercolors and line drawings to richer oil paintings. He embraced the techniques of his predecessors, particularly Dawson, incorporating complex surface textures and luminous skies reminiscent of Turner's work. His dedication to detail and atmospheric rendering cemented his reputation as a skilled artist who not only captured visual beauty but also conveyed a sense of nostalgia for a disappearing world.
Sadly, Claude Thomas Stanfield Moore’s promising career was cut short by his untimely death in 1901 at the age of 47. Despite his brief life, he left behind a significant body of work—over 80 paintings—that continues to be admired for its technical skill, evocative atmosphere, and poignant portrayal of Britain's changing landscape. Moore’s legacy extends beyond his individual works; he remains an important figure in the history of Nottingham art and a key representative of the broader movement documenting the transformations occurring throughout Victorian Britain. His paintings serve as a powerful reminder of the beauty that can be found in both the familiar and the fading, and the importance of preserving our cultural heritage.
