Sawrey Gilpin Paintings

Beautiful oil on canvas, study of a horse in stable.Housed in a gilt frame signed and dated 1886 lower right The size being 60 x 44 cm. whilst overall 75 x 60 cm Provenance: The contents of a Cheshire Country House. Presented in very good condition. HENRY FREDERICK LUCAS LUCAS...

Francis Sartorius British, (1734-1804) Bay Hunter & Groom Oil on canvas, signed Image size: 24.25 inches x 29.25 inches Size including frame: 32 inches x 37 inches A wonderful spor...

This lovely British Old Master oil painting is by noted Exeter born artist Thomas Mogford of Exeter. Painted in 1834 it is a portrait of a white hunter horse i...

Thomas Spencer was a leading sporting and equestrian artist of the period of John Wootton and James Seymour; his art shows a considerable to debt to tha...

James Seymour (1702–1752) Feeding Time in the Stables Oil on canvas 32 x 38 inches inc. frame Provenance: Private Collection, Lambourn James Seymour (1702–1752) was an English painter, widely recognized for his equestrian art. Seymour was born in London. His father was an amateur artist and art dealer, whose other business dealings (as a banker, goldsmith, and diamond merchant) afforded young Seymour the leisure time to study art on his own, either his father's or the art at the Virtuosi Club of St. Luke - a gentleman's club his father belonged to, specializing in art. In a short time the boy was a self-taught artist, familiar with many of the prominent artists of the period. Seymour's love of art was matched only by his love of horses. He began spending time at racetracks early on, and before long found himself absorbed in the sport - drawing, painting, owning, breeding, and racing horses. His art proved popular among the prominent sporting families of the day, eventually garnering Seymour patrons in Sir William Jolliffe and Charles Seymour, 6th Duke of Somerset...

17th century Flemish Old Master - Orpheus charming the animals with his music The present painting is full of delightful details, such as the unicorn galloping in the distance, the ...

This superb Old Master later 17th/early 18th century oil painting is attributed to Baroque painter and German born animal artist Philipp Peter Roos. He was active in and near Rome fr...

Pieter Boel, Flemish Old Master, painted this stunning 17th century still life oil painting. Painted circa 1660 it is a large and impressive still life with dead game surrounded by f...

This stunning Old Master 17th century oil portrait painting is attributed to Francesco Fieravino, an artist famous in his day for still lifes and carpets. This painting which dates t...

This gorgeous oil on canvas Victorian Old Master painting is by British artist Henry Jutsum. Painted circa 1850 the painting depicts a drover on horse back bringing up the rear behin...

This stunning British Old Master oil painting is attributed to circle of noted bird painter Marmaduke Cradock. Painted circa 1690 it is an excellent example and the sort of collection of birds he loved to paint - a peacock, wild turkeys, a jay in the foreground and doves, all set in a beautiful landscape. A variant of this painting is now in The Tate collection. Unlike many artists, he preferred to paint live birds with all their passions, joys and quarrels. The artist has perfectly capture the dynamics between this group, especially the dove and jay, as they all begin to settle down in the twilight. The colouring and brushwork are superb making this a fantastic British Old Master bird oil painting in a stunning carved gilt frame. Provenance. London estate. Condition. Oil on canvas, 42 inches by 39 inches and in good condition. Frame. Housed in a magnificent complementary period carved and gilded frame, 50 inches by 47 inches and in good condition. Marmaduke Cradock (1660-1716) was an English painter of birds and animals. Some older sources give his first name as Luke. Cradock was an English painter, noted for his depictions of birds, dead game, and other animals. He was born in Somerton, Somerset and moved to London, where he served an apprenticeship to a house-painter. He was, however, self-taught as an artist, becoming skilled in the depiction of birds and animals. Horace Walpole wrote that "I have seen some pieces by his hand which he painted with a freedom and a fire that entitled them to more distinction". According to Walpole, Cradock deliberately shunned aristocratic patronage. He worked in general by the day, and for dealers who retailed his works; possessing that conscious dignity of talent which made him hate to be employed by men whose birth and fortune confined his fancy, and restrained his freedom. According to the RKD his work as a still life and bird painter was influenced by Melchior d'Hondecoeter, Peter Frans Casteels, and Jakob Bogdani. Sketches in the collection of the British Museum indicate that he based at least some of the birds in his paintings on drawings from life. He tended to paint domestic birds and common wild species, rather than the exotic varieties favoured by some other artists. He sometimes introduced elements of drama such as attacks by predatory animals into his bird paintings, a feature shared with the works of Francis Barlow...

This superb Italian 17th century Old Master animal oil painting is attributed to Baroque artist Giovanni Agostino Cassana. Painted circa 1650 the composition is of two rabbits, a gui...