Posts filed under Oil on Canvas

John Arthur Lomax (1857-1923)

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John Arthur Lomax (1857-1923)

The Debate

Oil on Panel, 29 x 44cm / 42 x 57cm

POA

Born in Manchester in 1857, Lomax studied at the Munich Academy in Stuttgart before returning to Manchester and finally to London. His paintings are mainly historical genre subjects with particular interest in the Civil War period, often with dramatic and sentimental quality. He is much noted for his ability to render in great detail individual expression and differences in quality of textures. This is a small and exquisite painting that keeps the viewer entranced with its clever composition, drama and detail. A fine example that great paintings come in all sizes. Lomax exhibited at The Royal Society of British Artists, Birmingham, Walker Art Gallery, Liverpool, Manchester City Art Gallery, The Royal Academy and the Royal Institute of Oil Painters. 

Michiel Jansz van Mierevelt (1567-1641)

Michiel Jansz van Mierevelt or Miereveldt, Miereveld (1566-1641)

Portrait of a Man, 

Signed and dated, Oil on Canvas, 60 x 52cm / 78 x 71cm

SOLD to a Private Collector UK 

An exquisite example of this well known portrait painter's work. It being signed and dated makes this of great interest as often his works went unsigned due to the prolific output of his studio and the high demand for his portraits. 

With typically detailed and skilled rendition of the lace ruff, the luminous skin tones and the direct gaze of the sitter, this portrait is truly an exceptional piece. 

Van Mierevelt (1566-1641) was a pupil of artist Anthonie Blocklandt of Utrecht. After a two-year apprenticeship, he returned to his native Delft. He received commissions for portraits from the stadholder court in The Hague: including Prince Maurice and members of the Orange family. This led to commissions from other wealthy families and diplomats. To meet the demand, Van Miereveld employed assistants, including his sons Pieter and Jan. His portraits became even more widely known when his son-in-law Willem Delff copied them as prints. 

Edward Williams Senior ( 1782-1855)

Edward Williams Senior ( 1782-1855)

Landscape with Cathedral

POA

Oil on Canvas, 75 x 62cm / 102 x 89cm Framed, Original Frame

Edward Williams Senior (1782-1855), father of the well known Williams family of painters and founder of the Barnes School, was popular and successful as a landscape painter during the Victorian era. The Williams family paintings are characterised by genre scenes typical of the English landscapes of their time. Interestingly the fact that the figures and objects in his landscapes take second place to the skilled rendering of light and shadows parallels the attitude to portrait painters over landscape painters during this time. 

The Williams family of painters were popular in their own times and are well represented in collections across the country.

After Claude Lorrain (circa. 1604 - 1682)

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After Claude Lorrain (circa. 1604 - 1682) 

'Capriccio'

Oil on Canvas, 132 x 100cm / 149 x 115cm

Claude Lorrain, born Gellee, in Vosges in Lorraine - then the Duchy of Lorraine, an independent state until 1766, one of five children, orphaned at twelve, went to live at Freiburg then moved to Rome and then to Naples, where he apprenticed for two years, from 1619 to 1621, under Goffredo (Gottfried) Wals. In 1625, returning to Rome he  became apprenticed to Augustin Tassi. He toured widely through Italy, France and Germany and at Nancy he painted architectural subjects on the ceiling of the Carmelite church. In 1627 Lorrain returned to Rome. Two landscapes made for Cardinal Bentivoglio earned him the patronage of Pope Urban VIII. From about 1637 he rapidly achieved fame as a painter of landscapes and seascapes. He apparently befriended his fellow Frenchman Nicolas Poussin; together they would travel the Roman Campagna, sketching landscapes. 

In order to avoid repetition of subjects, and also to expose the many spurious copies of his works, he made tinted outline drawings (in six paper books prepared for this purpose) of all those pictures sent to different countries; and on the back of each drawing he wrote the name of the purchaser. These volumes he named the Liber Veritatis (Book of Truth). This valuable work, engraved and published, has always been highly esteemed by students of the art of landscape. 

Landscape as a subject was considered unclassical and secular. Pure landscape, like pure still life painting or genre, was considered lacking in moral seriousness - in comparison to the prized mythic or religious scenes of this time. 

In this matter of the importance of landscape, Lorrain was prescient. Living in a pre-Romantic era, he did not depict those uninhabited panoramas that were to be esteemed in later centuries, such as with Salvatore Rosa. He painted a pastoral world of fields and valleys not distant from castles and towns. If the ocean horizon is represented, it is from the setting of a busy port. Perhaps to feed the public need for paintings with noble themes, his pictures include demigods, heroes and saints, even though his abundant drawings and sketchbooks prove that he was more interested in scenography.

John Constable described Claude Lorrain as "the most perfect landscape painter the world ever saw", and declared that in Claude's landscape "all is lovely - all amiable - all is amenity and repose; the calm sunshine of the heart". (From Wikipedia)

Benjamin Williams Leader (1831-1923)

Benjamin Williams Leader (1831-1923) 

On the River Llugwy

Oil on Canvas, 60 x 42cm / 88 x 68cm

Benjamin Williams Leader was born in Worcester, his father was a keen amateur artist - a friend of Constables, and studied art at Worcester School of Design and later at the Royal Academy. The surrounding countryside to where he lived served as his early inspiration, the picturesque villages and churches, the fields and rivers. His work proved very popular and he sold successfully. He was a regular exhibitor at the RA. 1859 proved to be his most successful year yet, exhibiting his 'A Quiet Pool in Glen Falloch',  following a trip to Scotland, Leader' s work was bought by Agnew's and was now going to private galleries rather than being exhibited publicly.

He painted the landscapes and scenes between the Severn Valley, Worcestershire, and Wales, in particular, exhibited to much acclaim at the RA 1865, was 'Autumn's Last Gleam' and later in 1881 'February Fill Dyke', following which he became an associate (ARA) and then a Royal Academician (RA) in 1898.

His works are represented in many museum and private collections. 

 

 

Arthur H Rigg (1868-1947)

Arthur H Rigg (1868-1947)

A Scottish Landscape

Oil on Canvas, 112 x 76cm / 146 x 110cm

Arthur H Rigg was a British painter well known for his beautiful landscapes. This work sits within a gilt period frame and would make a lovely statement piece for any room. 

  

Georg Wilhelm LaFontaine or G. Fountaine 1680-1745

Georg Wilhelm LaFontaine or G. Fountaine (1680-1745

George I (1660-1727)
Inscribed by the artist George King of Gt Britain, drawn from life , 62nd year of his age, 1727 by G Fountaine

223cm x 149cm / 296cm × 163 cm, Oil on Canvas

Provenance

Ex. Hyder Collection. 

SOLD to a private collector.

 

A rare and substantial life size portrait of George I, painted in the year of his death and most notably inscribed by the artist as being painted directly from life. The original commissioned portrait of George I was to Sir Godfrey Kneller (1646-1723), and thereafter copies of the official portrait were made by Studio of, attributed to Kneller or by named artists but 'after' Kneller. Hence this painting is of particular interest, firstly for this inscription, secondly because it carries a notice on the reverse that reads:  

"George I, painted from life by G. Fountaine 1727, presented by the monarch to John Sparrow, Bailiff of Ipswich in return for attentions received during his visit to Ipswich from Mr Sparrow, and the presentation of a huge sweet cake called Marchpane" (John Wodderspoon - Memories of the ancient town of Ipswich 1850, page 33)

The family tradition is that the picture was presented to the Sparrow family by the King himself with a venison pasty. (Mrs J C Marshman 5/8/1952)

Thirdly and finally this painting is notable as it was originally held in the Hyder Collection and the stunning frame with its Gold Crown atop, is similar to those of various paintings at Hampton Court Palace, where this portrait, is thought to have come from prior to being held in the Hyder Collection. 

Georg Wilhelm LaFontaine or Fountaine, was a Hanovarian Court painter.

This framed painting is for sale please contact us

 

 

 

 

 

 

 

 

 

 

 

 

Mary Beale (1633-1699)

Portrait of Margaret Wharton 

Mary Beale (1633-1699)

Oil on Canvas 126 x 103cm

Sold to Private Collector, UK 

Provenance 

Collection of Earl and Countess of Swinton Exhibited at Royal Academy exhibition of the Works of Old Masters, 1882 – contributed by John M. Teesdale

Stowe sale, September 1848 bought by James Dorington

 

Considered to be Britain’s earliest professional female painter, Mary Beale, (1633–1699), was a prolific portrait artist and commercially very popular at the time. She was born in Barrow, Suffolk, the daughter of John Cradock, a Puritan rector, amateur painter, and a member of the Worshipful Company of Painter-Stainers. She was acquainted with local artists, such as Nathaniel Thach, Matthew Snelling, Robert Walker and Peter Lely. In 1652, at the age of eighteen, she married Charles Beale, a cloth merchant from London – also an amateur painter. Many details of her busy working life are recorded in the notebooks kept by her husband, who acted as her studio assistant. During the 1650s and 1660s, Mary Beale was a semi-professional painter, working from her home in Covent Garden and later in Fleet Street. In 1665 due to the Great Plague of London and their financial circumstances the family moved to a farmhouse in Hampshire where, for the next five years, a two storey timber-framed building was her family home and studio until she returned to London in 1670. Back in London she established a studio in Pall Mall, while her husband became her assistant and kept the accounts. Mary Beale became very successful, mixing with the likes of Thomas Flatman, the poet Samuel Woodford, the Archbishop of Canterbury John Tillotson, and Bishops Edward Stillingfleet and Gilbert Burnet. She became reacquainted with Peter Lely, now Court Artist to Charles II, who had a great influence on her later work, being mainly small portraits or copies of Lely’s work. Her work became unfashionable after his death in 1680. She died in 1699 in Pall Mall, and was buried at St. James’s, Piccadilly in London. Her second son, Bartholomew, painted portraits before taking up medicine. While a third son, named Charles after his father, was also a painter, specialising mainly
in miniatures. The sitter was the eldest daughter of Philip 4th Baron Wharton (1613–1696) and his second wife Jane Goodwin. Her father was a staunch Parliamentarian and close friend of Oliver Cromwell. He had a great taste for architecture and gardening and spent a handsome sum on his home at Woburn. He had a considerable collection of works by Van Dyck of whom he was an important patron. She married three times: her first husband was Major Dunch (1651–1679) by whom she had one son and two daughters. Following his death she married Sir Thomas Sulyarde, 2nd Baronet of Delaware and Chiddingstone, Kent (1648 –1692) and subsequently William, 12th Lord Ross of Halkhead (1656 –1738). 

 

William Wissing (1656-1687)

Wiliam Wissing (1656-1687)

The Honourable Francis and Henry Lennard 

Circa. 1675, inscribed lower right, Oil on Canvas 155 x 163 cm (unframed) 

Sold to a Private Collector UK 

A notable work by an eminent 17th Century artist, this large painting is amongst Wissing's most engaging and consulate works. It belongs to an exclusive group of Restoration double portraits, and shows the Lennard brothers, younger sons of Francis, 14th Lord Dacre (1619-1692). The painting has been previously attributed to Sir Peter Lely. 

The Dacre family were regular sitters for the leading artists of the day from 1660's onwards. A well known double portrait by Lely of the 14th Lord Dacre and his wife, the Countess of Sheppey, now in private hands, dates from around 1660. Francis Lennard, succeeded to the title of 14th Lord Dacre in 1630.He was educated at Merton College, Oxford, and a Member of Parliament fro Sussex in 1654. The family at that time had Herstmonceaux in Sussex in 1654 as their primary residence, while holding a portfolio of estates including Cheapening, Kent and Belhus, from whence this painting came, as well as significant houses in London. 

William Wissing, was initially a Dutch portrait painter who settled in England in 1670's where he became associated with Sir Peter Lely. His reputation was extensive in his own lifetime, with a number of his royal works being put into print. '(Wissing) became the painter in vogue, especially among the ladies. He is said to have always caught the beautiful likeness; and if any of the sex who sat to him had too much paleness in her countenance, which is frequently the effect of long sitting, he took her by the hand, and danced her about the room, to add life and spirt to her beauty'. James Granger, early 18th Century biographer.  

 

George F Papperitz (1846-1918)

George F Pappertiz (1846-1918)

Portrait of a Beautiful Lady 

70 x 58cm / 93 x 82cm

George F Papperitz was a well known German artist whose skill and technique is exemplified in this beautiful and sensitive work. 

Chatsworth House

Unsigned 18th Century of Chatsworth House

Oil on Canvas 26 x 33cm / 39 x 46cm

SOLD to Chatsworth House Collections. 

A lovely little painting, with fine detail and colour in a simple classic gilt frame. 

 

William Banks Fortescue (1850-1924)

William Banks Fortescue (1850-1924)

Sold to  private Collector UK 

Oil on Canvas 

Like several of his fellow Newlyners, William Banks Fortescue hailed from Birmingham. Although he is very much recognised as a Newlyn School painter, he spent the majority of his painting career living and working in the rival art colony some seven miles away at St Ives. 

 

 

 

 

Alberto Morrocco (1917-1998)

Alberto Morocco (1917-1998)

Merendero at Nerja 'Open-air Cafe' in Nerja 1977

Signed and dated, Oil on Canvas, 40 x 30cm

Alberto Morrocco was born in Aberdeen, the son of immigrant Italians. He is famous for his Scottish landscapes and his precocious talent as a draughtsman. Heavily influenced by Picasso and Braques, prodigiously productive, Morocco spent the majority of his career as Head of Painting at Duncan of Jordanstone College of Art, Dundee. Without doubt the greatest portraitist of his generation, well known for his portrait of The Queen Mother as Chancellor of The University of Dundee. Awarded the San Vita Romano Prize and the Guthrie and Carnegie Awards of the Royal Scottish Academy, he served on sth Scottish Arts Council and the Royal Fine Art Commission for Scotland, he was awarded an OBE in 1993 and elected an Honorary Fellow of the Society in 1995. 

His works are sought after and well collected, well represented in museums and private collections and his work is known particularly for its other worldliness and skill of execution. 

Jan Peter Verdussen (1700-1763)

Jan Peter Verdussen (1700-1763)

Hunting

Oil on canvas, 21 x 27cm / 35 x 41cm 

Sold to a Private Collector 

A beautiful example of Flemish painting from the eighteenth century, with typical fine detail and rich colour. Verdussen was possibly a member of the famous family of printers from Antwerp but this is not certain. This painting showing such skill in the techinques of oil painting, is obviously by the hand of a well known and expert artist. 

 

William Mulready (1786-1863)

William Mulready (1786-1863)

Crossing the Ford

Oil on Canvas 28 x 23cm / 17 x 13cm

This beautiful oil sketch was done by Mulready in preparation for work his well known painting 'The Ford', painted at the height of his artistic career and hanging in the Tate, London, and which was exhibited to critical acclaim at the Royal Academy in 1842. A writer in the Art Union observed: ‘(The Ford) sustains the high reputation of its author; it is a work of surpassing beauty, grace and excellence – one of the most valuable paintings ever produced in England’ (Art Union, 1842, p.121).

'The painting is a closely-observed rural scene. A young girl is carried across a stream by two youths; their traveling companions wait in the shadows on foot and horseback and prepare to cross behind them. The background landscape is hilly and rocky, opening up to a distant blue horizon. As with Mulready’s other narrative works of the period, this rural idyll is imbued with symbolic meaning. The lyrical intensity of the scene and the close psychological connection between the three central figures echoes the theme of courtship Mulready explored in 1839 inThe Sonnet and First Love (both Victoria and Albert Museum, London). The theme of crossing water illustrating a rite of passage to adulthood was a familiar one, used by J.M.W. Turner (1775–1851) and other nineteenth-century artists and writers. Pointon (p.166) notes the painting’s implicit eroticism, acceptable to the Victorian spectator by virtue of its rural, Arcadian setting. A critic writing in 1852 remarked that the painting was: ‘composed into a charming bit of rusticity, treated with much purity of taste and feeling. The subject is one that might very easily have been vulgarised, though it was perfectly safe on that score in the hands of Mr. Mulready.’ (Art Journal, May 1852, p.158.) ' The Tate Gallery. 

Mulready gained a reputation for his innovative use of colour combining ‘the greatest quantity of light consistent with the greatest quantity of colour’ (quoted in Heleniak, p.136).  Mulready’s approach to colour was undoubtedly influenced by seeing works by the Venetian painters Titian (c.1485–1576) and Tintoretto (1518–94) at the British Institution ‘Old Masters’ exhibition of 1815. 

‘The works completed by him between 1839 and 1848 are the most perfect in story, colour and execution of any of his productions. The chiaroscuro is excellent, the colour rich and jewel-like, the execution refined and perfect of its kind.’ (Richard and Samuel Redgrave, A Century of Painters of the English School, London 1866, p.298.) 

Crossing the Ford was bought by Mulready’s patron Robert Vernon in 1842 for 600 guineas, in three installments, and was given by him to the nation in 1847. There is a related pen and ink drawing in the Henry E. Huntington Art Gallery, San Marino, Italy; a chalk cartoon for the work (now in a private collection) was exhibited at the Royal Academy, London in 1847. On the back of the panel is a sketch for another work on a similar theme by Mulready, The First Voyage 1833 (Bury Art Gallery), which shows a child in a tub being pushed and towed across a stream. 

After Bartholomeus Van der Helst (1613-1670)

After Bartholomeus Van der Helst (1613-1670)

A Double Portrait

Oil on Canvas, 187 x 135cm / 207 x 155cm

A large, beautifully detailed portrait of a Dutch Gentleman and his wife, with stunning, rich colour and composition. A real statement piece that would give a true sense of history, quality and style to any home. A painting that one can easily fall in love with. 

Bartholomeus Van der Helst was born in Haarlem and moved to Amsterdam around 1636. There is no documentation as to who he might have studied painting under, but at this time he would no doubt have been influenced by such contemporary artists as Frans Hals and Rembrandt. 

His first dated picture, a group portrait of the regents of the Walloon Orphanage (currently the location of Maison Descartes in Amsterdam), dates from 1637. In 1639 he won his own schutterstuk commission, The company of Captain Roelof Bicker and Lieutenant Jan Michielsz Blaeuw. In Amsterdam he may well have trained with Nicolaes Eliaszoon Pickenoy.

Importantly as a contemporary of Rembrandts, van der Helst gained a reputation for his flattering portrayals in the style of van Dyck, being more appealing than Rembrandts somewhat darker and more introspective work to such an extent it wa known that a number of Rembrandt's pupil's adopted van der Helt's style. 

His large group portrait, Banquet of the Amsterdam Civic Guard in Celebration of the Peace of Münster, was painted in 1648, and exhibited to popular acclaim. It was this painting that sealed his fame for future generations, according to Arnold Houbraken, and it was admired by Godfried Kneller and praised by Sir Joshua Reynolds in 1781 as 'perhaps the first picture portraits in the world, comprehending more of the qualities which make a perfect portrait than any other I have ever seen'. A statement that shows van der Helst's importance as a portrait painter, this work being an exemplary show of the artist's skill and style. 

Today van der Helst's most famous portrait is his half-length portrayal of Gerard Andriesz Bicker, the son of Andries Bicker, the mayor of Amsterdam, whom he also painted in 1642. 

Jan Mijtens or Johannes Mytens (1614-1670)

Johannes Mytens (1614-1670)

A Family Portrait 1648 

Oil on Canvas, Signed and dated, 111 x 149.5cm

Sold to Private Collector, UK

Mytens was born in the Hague and according to Houbraken, was trained by Anthony van Opstal and later by Nicolas van der Horst. Mytens became a member of the Hague Guild of St Luke in 1642, and helped set up the Confrerie Pictura, a club of artists founded in 1656 in a reaction against the Guild of St Luke. He was the son of a saddle maker, learning to paint from his uncles Isaac Mijtens and Daniel Mitjens, both well known artists. After fifteen years as a member of the Hague Guild of Painters he became its Governor. 

Throughout his life, he was a fashionable portrait painter, receiving commissions from prominent citizens, members of the nobility, and high placed government officials. He painted for Dutch Royalty and specialized in portraiture, genre pieces and historical allegories. Mytens was especially skilled at rendering the clothing of his affluent sitters. His portraits can be divided into two major groups: life-size three quarter length portraits of individuals and small scale family groups. 

 

 

 

 

Anonymous.

Annonymous. 

Still Life with Game 

19th Century 96 x 115cm / 120 x 138cm 

SOLD

 

A beautiful example of  19th Century still life oil painting showing game birds and hunting dog in skilful detail and use of colour.  This is the perfect size painting and would make a great statement piece in any room. A very good price for such a large work. 

Alexis Simon Belle (1674-1734)

Alexis Simon Belle (1674-1734)

Mildmay Fane, Inscribed:  My fifth Son of / Vere E. of Westmoreland

Oil on Canvas, 126 x 100cm / 148 x 123cm, Baroque Style Original Frame, 

Provenance: By family descent at Apethorpe Hall, Wansford, until sold in the Apethorpe sale, Christie's 2nd June 1892, lot 92. 

An important portrait of one of England's well known families. The Hon. Mildmay Fane, 5th son of the Earl of Westmoreland resided in one of the most influential Fane residences: Mereworth Castle, Kent. Mildmay was elected Member of Parliament to Mereworth at a very young age. Both he and his brother the Hon. John Fane 4th son of the Earl of Westmoreland, were Jacobites and strong supporters of Bonnie Prince Charlie, often speaking on his behalf in Parliament. Mildmay Fane died at a very young age in 1715. His brother took over the Mereworth seat and went on to host the last Jacobite Council at Mereworth Castle. The meeting was the last stop for Bonnie Prince Charlie before he led his army to fight for his claim to the throne. 

A prolific and successful artist, Alexis Belle was primarily known for his portraits of French and Jacobite nobility. He studied under French painter Francois de Troy, court painter to James II. Following the death of James II, Belle became the principal painter to the Jacobite court and painted numerous portraits of James Edward Stuart and his sister The Princess Royal. Belle's most famous portrait of James Edward Stuart was painted in 1712 and shows him in military regalia just before he leaves Saint Germain for Lorraine.

During the 1720's Belle received numerous commissions from the French nobility. He painted King Louis XV and a portrait of the King with his one-time fiancee Mariana Victoria of Spain. 

This painting is for sale please contact us

Cornelis Jonson van Ceulen (1593-1661)