Samuel Phillips Jackson

He received early instruction in art from his father at Bristol, and studied figure drawing at the life school of the academy there.

[2] His earlier works, mainly in oils, showed a preference for Devon and Cornish coast scenes, and many of them won the praise of Ruskin.

The more important were A Roadstead after a Gale, Twilight (Royal Academy 1852), Towing a Disabled Vessel (Royal Academy 1852), Hazy Morning on the Coast of Devon (1853), (the two latter afterwards entered the Victoria and Albert Museum, South Kensington), A Summer Day on the Coast (1855), The Breakwater and Chapel Rock, Bude, and The Sands at Bude (1856), Dartmouth Harbour (1858), On the Hamoaze, Plymouth (1858, afterwards at South Kensington), Styhead Tarn, Cumberland (1858), and A Dead Calm far at sea (1858).

He was keenly interested in photography, and invented an instantaneous shutter for which he gained a medal from the Royal Photographic Society.

[4] According to William Benjamin Owen, Jackson's strength lay in firm and careful execution, and in restrained harmonies of tone and colour.