Samuel John Egbert Jones Art

Exhibited: London, Royal Academy, 1800, no. 93 What was happening in British history painting in around 1800? In recent discussions of the emergence of a British School of history painting following the foundation of the Royal Academy in 1768, this is a question which is rarely posed and one which is not easily answered. Examination of surviving Royal Academy exhibition catalogues reveals a profusion of artists’ names and titles, few of which remain immediately recognizable, whilst endeavours to explain the impact of exhibition culture on painting - such as the 2001 Courtauld show Art on the Line - have tended to focus on the first and second generation of Royal Academician, rather than young or aspiring artists in the early nineteenth century. This makes the discovery and identification of the work under discussion of exceptional importance in making sense of currents in English painting around 1800. Executed by Edward Dayes...

Provenance: Charles H. and Virginia Baldwin, Claremont, Colorado Springs, Colorado ca. 1907-1934; thence by descent until sold in 1949 to: Charles Blevins Davis, Claremont (renamed Trianon), Colorado Springs 1949 -until gifted in 1952 to: The Poor Sisters of Saint Francis, Trianon, Colorado Springs, 1952 until acquired, 1960, by: John W. Metzger, Trianon, renamed as the Trianon School of Fine Arts, Colorado Springs, 1960-1967; when transferred to: The Metzger Family Foundation, Trianon Art Museum, Denver, 1967 - 2004; thence by descent in the Metzger Family until 2015 Exhibited: Trianon Art Museum, Denver (until 2004) The present work is a spectacular jewel-like canvas by Amigoni, rich in delicate pastel colors, most likely a modello for an altarpiece either lost or never painted. In it the Madonna stands firmly upon a cloud in the heavens, her Child resting on a delicate veil further supported by a cloud, as he gently wraps his arm around his mother’s neck. From above angels prepare to lower flowers and a wreath, while other angels and seraphim surrounding the two joyfully cavort. Dr. Annalisa Scarpa, author of the forthcoming monograph on Jacopo Amigoni...

Bruce Adams was a painter, art educator, and writer. Born in Buffalo, N.Y., in 1952, he received a B.S. in 1976 and an M.A. in 1983 from Buffalo State College. Adams’s work is includ...

Giovanni Maria DELLE PIANE, known as IL MULINARETTO (Genoa, 1660 – Monticelli d'Ongina, 1745) Portrait of a man Oil on oval canvas H. 108 cm; L. 83 cm Provenance: Nino Ferrari Colle...

Original oil painting on canvas. Hand signed on front by the artist. Canvas is stretched. Artwork is in excellent condition. Certificate of authenticity included. All reasonable...

" Arroyo 14" is 72” x 60”. A rich sienna and ochre figure centered on a textured field of light yellows and beige. Frank Arnold’s paintings exhibit the highest quality materials for ...

Joost Cornelisz Droochsloot or Droogsloot was a Dutch Golden age painter of village scenes, landscapes, genere pictures, moral allegories and biblical stories. He was born in Haarlem, and he was a pupil of Esaias van de Velde...

Provenance: Cernuda Art, Coral Gables Private Collection, Los Angeles

'Agay, le château et le Sémaphore'. Oil on canvas. +/- 1922 Signed lower right Measurements : 60 x 73 cm. This painting will be recorded in the second volume of the Catalogue Raisonn...

"236 Found" is 72” x 60”. The sienna, umber and yellow figures on a neutral field are criss-crossed with chaotic, incised strokes through the impasto surface. Arnold’s paintings exhi...

Hercules and Omphale Oil on panel, 52 x 41 cm According to legend, Hercules had to make atonement and became a slave to the Lydian queen Omphale. When she found out who her slave was, she married him. Falling for his mistress and made effeminate by the luxury of court life, the former hero allowed himself to become the laughing stock of the court. He dressed in women's clothes, spun wool and did other women's work, whereas Omphale wore his lion's skin and carried a wooden club. When the time of punishment was over, the hero realised his delusion and left Omphale. So far, the painting could not be clearly assigned to an artist. Nevertheless, it impresses with its fluid and convincing painting, whose colourfulness and conception are reminiscent of the Prague School around Bartholomäus Spranger. This work follows an engraving and an etching made by Michel Dorigny in 1643 after a design by Simon Vouet. It shows the same scene but the print differs in minor details from the present painting (see e.g. the head of the lion) and the treatment of the faces seems to be painted more detailed and refined. So far there is no painting...

Provenance: Dukes of Marlborough Collection, Blenheim Palace until its sale at Christie's London on 26 July 1886 (lot 172) English private collection until its sale at Christie's London on 11 December 1992 (lot 363) Erna Weidinger Collection (1923 - 2021) - Austria Literature : Georg Scharf - A list of the pictures in Blenheim Palace - Catalogue raisonné Part 2 - London 1862 (page 166 - number 199 "after Palma Giovane") Charles Davies...