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Set of Twelve Antique Chinese Painted Bird Studies on Pith Paper

19th Century

Antique set of twelve Chinese pith paintings depicting butterflies Chinese, 19th Century Panel: Height 19cm, width 28cm Frame: Height 35cm, width 34cm, depth 1.5cm This superb set o...

Set of four Orientalist landscape paintings by van Wijk Dutch, 1879 Canvas: Height 35cm, width 65cm Largest frame: Height 41cm, width 71cm, depth 4cm Smallest frame: Height 39.5cm,...

Antique Orientalist Oil on Board 'Desert Bedouin', by Spanish Artist Ortega Spanish, early 20th Century Frame: Height 51cm, width 59cm, depth 2cm Board: Height 44cm, width 53cm, depth 0.5cm Fluidly painted, this vibrant oil on board depicts a dusty Orientalist scene. Four Bedouin ride camels alongside a flurry of goats, carrying lambs and hens in saddlebags. Other figures clothed in Middle Eastern garments walk with them, and the busy scene fades into a dusty, evening landscape. The colour palette is vibrant and hued with dusky pinks and oranges, giving the impression that these Bedouin are returning back to camp. The cropped composition also gives a dynamic feel to the picture: a glance into early 20th Century desert life. The present painting was created by Spanish artist José Benito Ortega...

Pair of English antique horse paintings by Sturgess English, 1870 Canvas: Height 36cm, width 69cm Frame: Height 52cm, width 85cm, depth 6cm En...

Orientalist oil painting with Equestrian subject Continental, Early 20th century Canvas size: Height 21cm, width 32cm Framed size: Height 30cm, width 40cm, depth 3cm Drawing upon a ...

Painting of horses and farm animals by Herring the Younger British, 19th Century Frame: Height 83cm, width 97cm Canvas: Height 64cm, width 77cm This charming painting is by John Fre...

François Theodore Rochard (1798 – 1858) “The Pet Dog”, french, watercolourist, painter, draftsman, miniature painter. Born in Paris, exhibiting at the RA from 1820, brother of the po...

Gouache and ink on paper artwork of horses by Alexander Calder framed under glass in gold leaf frame. Signed and dated "Calder 76" in lower right corner....

Watercolour on paper Paper size: 4 x 5 inches Framed size: 19 x 19.75 inches PROVENANCE A gift from Joseph Mallord William Turner to Miss Amelia Hawksworth (later Mrs Hotham), niece of Walter Fawkes. The watercolour descended through the ownership of Amelia Hawksworth, daughter of Francis Fawkes ( Walter Fawkes's brother) who was the main compiler of the Ornithological Collection (Miss Hawksworth owned five other bird studies by Turner). Private collection, London LITERATURE: For similar works by J M W Turner see Anne Lyles, The Tate catalogue for the exhibition 'Turner and Natural History, The Farnley Project', 1988. The present watercolour was drawn circa 1815-1820 for Walter Fawkes of Farnley Hall, for his Ornithological Collection Volume IV. Between 1808 and 1824, Turner visited Farnley Hall in Yorkshire to stay with the Fawkes family. Turner felt at home at Farnley - the Fawkes daughters reminded him of his own. He helped illustrate a five volume ornithological scrap book for the Fawkes children, making watercolour studies of the birds for the children to stick in opposite the pages on which feathers from similar birds were attached. His bird portraits were most effective, most "life-like", when in fact the bird was dead ! His watercolours of a live robin and goldfinch have a more hesitant touch. At this time Turner enjoyed the patronage first of Edward Lascelles, the heir to Harewood, and after 1808, of the radical landlord Walter Fawkes of Farnley Hall, near Otley. He became a close friend of the Fawkes family with whom he stayed for most summers until 1824. The last owner of Old Farnley Hall was Francis Fawkes, a rich widower with no direct heirs. When Francis Fawkes died in 1786 he left the house to Walter Beaumont Hawksworth of Hawksworth Hall, on condition that Hawksworth adopt the Fawkes name by Royal Licence. Walter Fawkes brought in architect John Carr of York to make extensions to the house, but he died before the work was completed, and Farnley Hall was passed on to his son, also called Walter who also took the Fawkes name and was known as Walter Ramsden Fawkes. It was this Walter who was a great friend of J M W Turner. Anne Lyles has confirmed the attribution and writes: "Everything fits in relation to the style of the watercolour and most especially the provenance - in the Turner and Natural History exhibition catalogue of 1988 we know that Amelia Hawksworth (Mrs Hotham) owned three studies of birds' heads by J M W Turner (previously with the Maas Gallery, and numbers 36, 37 and 61 in that catalogue) as well as two studies of dead game by the artist (catalogue numbers 59 and 63, the latter untraced in 1988). Interestingly, catalogue numbers 36 and 37 (the Merganser and the Smew) seem also originally to have been intended for Volume IV of the Ornithological Collection - it is likely that the "Study of the Head of a Moorhen...

Signature: Signed Lower Right Medium: Gouache on Paperboard The present work was published as the main illustration for a short story by Beryl Markham published in The Saturday Even...

Original Illustration for published children's book "The man as he is"" - "Czlowiek jaki jest" by Grazyna Rigall, signet by artist, It is in a plain ...

Original Illustration for published children's book "Frog in Africa" - "Żaba w Afryce" Grazyna Rigall, signet by artist, It is in a plain Ikea frame. Grażyna Rigall is a painter, ...