Items Similar to View from Richmond Bridge, 19th Century Oil Dawn Landscape
Want more images or videos?
Request additional images or videos from the seller
1 of 5
James Francis DanbyView from Richmond Bridge, 19th Century Oil Dawn Landscape
About the Item
James Francis Danby
1816 – 1875
View from Richmond Bridge
Oil on canvas, signed lower left
Image size: 11 x 14 inches (28 x 35.5 cm)
Framed
Danby was the second son of the celebrated landscape painter Francis Danby (1793-1861). Unlike his younger brother Thomas, James followed his father's style closely. He specialised in views of the Thames and often painted at specific times of day or night so that he could display his virtuosity in rendering effects of light.
He was a constant exhibitor in the Royal Academy from 1842 until his death, and also at the British Institution and at the Society of British Artists, of which he was a member. He practised his profession mainly in London but seems to have visited Ireland, as several of his exhibited works were of Irish landscapes.
This scene depicts dawn with the crescent moon still visible and Corporation Island in the distance, now fully wooded and home to a colony of herons.
- Creator:James Francis Danby (1816 - 1875, British)
- Dimensions:Height: 11 in (27.94 cm)Width: 14 in (35.56 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:1stDibs: LU5248083152
About the Seller
5.0
Gold Seller
These expertly vetted sellers are highly rated and consistently exceed customer expectations.
Established in 2007
1stDibs seller since 2014
64 sales on 1stDibs
Typical response time: 4 hours
- ShippingRetrieving quote...Ships From: London, United Kingdom
- Return PolicyA return for this item may be initiated within 14 days of delivery.
More From This SellerView All
- Around the Camp Fire, 19th Century Oil Landscape Painting, Dated 1840Located in London, GBOil on canvas, signed bottom right and dated '1840' Image size: 22 x 30 inches (56 x 76.25 cm) Albert Bierstadt Recognized as the foremost painter of the American frontier during the nineteenth-century, Albert Bierstadt was born in Solingen, Germany, in 1830. At the age of two, he and his family emigrated to the United States, settling in New Bedford, Massachusetts. Nothing is known of his early art training; however, he might possibly have been influenced by local landscape painters. By the time he was twenty, he was supporting himself by teaching "monochromatic" painting and his work was beginning to attract the attention of New Bedford collectors. In 1853, Bierstadt traveled to Düsseldorf in order to broaden his art education. It was there that he was associated with such American artists as Worthington Whittredge and Carl Wimar, all of whom frequently gathered in the studio of the German-American history painter, Emanuel Leutze...Category
1840s Landscape Paintings
MaterialsCanvas, Oil
- Port of Fowey, Cornwall, Oil Painting on Canvas, English SchoolLocated in London, GBOil on canvas on board, signed on reverse Image size: 19 3/4 x 15 1/4 inches (50 x 39 cm) Original frame This charming scene depicts the harbour of Fowey, a small town in South Cornwall. The port town...Category
20th Century English School Landscape Paintings
MaterialsCanvas, Oil
- The Standing Stone Wall, 20th Century English Signed, Oil LandscapeLocated in London, GBOil on canvas, signed and dated '1948' bottom right Image size: 10 3/4 x 16 1/2 inches (27.25 x 42 cm) Contemporary style hand made frame The Artist Hugh Griffiths was a painter who was born in Karachi. Was educated at Canford School and the Dragon School, Oxford. Showed at RA, RBA and NEAC. Griffiths lived at Winchelsea and later St Leonards...Category
Mid-20th Century Modern Landscape Paintings
MaterialsCanvas, Oil
- Beech Tree at Hopetoun House, Vivid Landscape Oil Painting, Signed & dated 1932Located in London, GBOil on canvas, signed lower right Dated '1932' and inscribed on reverse Image size: 28 x 22 inches (71 x 56 cm) This vivid painting depicts a beech tree at Hopetoun House on the outskirts of Edinburgh. Hopetoun House is a remarkable stately home that has been home to the Hope family since the late 1600s - it is filled with stunning collections and sits in majestic grounds. However, the colour pallet, low view point and stylised forms in this painting have transformed this picturesque pastoral scene into something psychedelic, other-worldly and uncanny. Harry Fabian Ware Harry Fabian Ware was a British post-impressionist artist who created bold artworks. Harry married fellow artist Armyne May Davidson on 1st August 1928 in Aboyne, Aberdeenshire. They both exhibited at the New Gallery, Edinburgh on 9th November 1935 alongside fellow artists James Cowie...Category
1930s Surrealist Landscape Paintings
MaterialsCanvas, Oil
- The White Cross Inn, Richmond, New English Art Club Oil PaintingBy William Henry InnesLocated in London, GBOil on canvas, signed Image size: 20 x 24 inches Framed New English Art Club label to the back and his address for Herne Hill, LondonCategory
20th Century English School Landscape Paintings
MaterialsCanvas, Oil
- Island of Gibraltar, Oil 19th Century LandscapeLocated in London, GBOil on canvas Image size: 8 3/4 x 12 1/2 inches (22 1/4 x 31 3/4 cm) Gilt frame This is a painting from the 19th Century depicts Gibraltar Island in Ohio, America, located within la...Category
19th Century Victorian Landscape Paintings
MaterialsCanvas, Oil
You May Also Like
- "Ebbing Reef" Corals, Large Scale Contemporary Seascape Oil Painting (deep blue)By Karen MarstonLocated in New York, NY60"x144" large scale painting, oil on canvas, created on two joined canvases. The deep blue palette gives a sense of underwater space in this grand depiction of coral reefs. Artist, Karen Marston presents this endangered species in a grand scale to show its beauty and importance to our environment. Karen Marston is a painter living and working in Brooklyn, NY. Her work has been seen in a number of solo exhibitions in New York City. In addition to her 2018 show Harbingers, at the Owen James Gallery in Soho, other recent solos include: 2017’s To Embrace the Whole Sky with the Mind, at Station Independent Projects on the Lower East Side, Demeter’s Wrath in 2016 at the Owen James Gallery and Storm Watch...Category
2010s Contemporary Landscape Paintings
MaterialsOil, Canvas
- Russian Drone Painting No. 3 (Damascus, 2015)By Lawrence GipeLocated in Santa Monica, CAWilliam Turner Gallery is proud to present a small solo exhibition of paintings by artist Lawrence Gipe called “Recent Pictures,” which draws fr...Category
2010s Contemporary Landscape Paintings
MaterialsOil, Canvas
- Russian Drone Painting No. 4 (Abandoned Hospital, Moscow)By Lawrence GipeLocated in Santa Monica, CAWilliam Turner Gallery is proud to present a small solo exhibition of paintings by artist Lawrence Gipe called “Recent Pictures,” which draws fr...Category
2010s Contemporary Landscape Paintings
MaterialsCanvas, Oil
- Russian Drone Painting No. 5 (Hong Kong, 2019 Pro-Democracy Protestors)By Lawrence GipeLocated in Santa Monica, CAWilliam Turner Gallery is proud to present a small solo exhibition of paintings by artist Lawrence Gipe called “Recent Pictures,” which draws fr...Category
2010s Contemporary Landscape Paintings
MaterialsCanvas, Oil
- DivideBy Doug FreedLocated in Tulsa, OKDivide by artist Doug Freed is a deep blue contemporary abstract landscape oil on canvas painting that measures 72 x 96 and is priced at $18,000. Doug Freed attempts to capture the mystical light found in natural atmospheric effects: the haze in the distance on humid summer days, the overcast gloom of winter skies, and the softness of landscape bathed in fog, and the quieting mood of approaching darkness. In his luminescent multi-paneled oil paintings Freed tries to find the gray area between traditional landscape painting and its abstraction into color fields. Artist Statement For nearly twenty years, I made non-objective grid structured paintings. I started to see references to landscape in these works. I've literalized those references by painting oil landscape vistas of horizons, clouds and bodies of water. These paintings consist of two or more vertical panels. Usually one panel is landscape imagery. The adjacent panels are often atmospheric voids with vestiges of recognizable landscapes. I try to capture the mystical light found in natural atmospheric effects: the haze in the distance on humid summer days, the overcast gloom of winter skies, and the softness of landscape bathed in fog, and the quieting mood of approaching darkness. My intent is to create paintings imbued with a meditative, spiritual presence suggesting issues about time and ecology. I do this by softly modulating color, tone and value. The color varies from quiet, monochromatic works to fully orchestrated chromatic ones. By blending from one hue to another I create color which makes its self gradually felt, weeping forth. In this manner, I create illusions of mysterious emanations of light, places where ones eyes and spirit are invited to linger. I try to imbue my work with a monumental presence, epic in both size and scope. I do this by orchestrating the separate elements of color, texture and structure into a harmonious whole. I seek a somewhat reductive image rich in value and contrast. The surface of the work is devoid of textural incidence. I don’t want anything to distract from the illusion of depth so I deny any marks which would hold the viewer on the surface of the painting. In my luminescent multi- paneled oil paintings I try to find the grey area between traditional landscape painting and its abstraction into color fields. The compositions are about ambiguities of form and void, foreground and background and surface and deep space. My roots lie in tonalism, color field painting and minimalism. However, my work contains an ever-present awareness of the dramatic use of light of the post-renaissance chiaroscurists. It combines a classical awareness of structure with a romantic use of color always in combination with a unique sense of ambiguity. My work continues in its evolution of style the search for an abstract means of probing the ambiguities of physical and spiritual experience of light, and its power to foster a more intense life of the spirit through profound emotional experience of form, color and composition. SELECTED PUBLIC COLLECTIONS K.U. Medical Center, Wichita, KS Museum of Art & Archeology University of Missouri, Columbia, Missouri Hoecht Marion Roussel (Commission), Kansas City, Missouri FBL Financial Group, Des Moines, IA Kemper Museum of Contemporary Art, Kansas City, Missouri Wichita Center for the Arts, Wichita, Kansas Daum Museum of Contemporary Art, Sedalia, Missouri The Newark Museum, Newark, New Jersey St. Louis Art Museum, St. Louis, Missouri Springfield Art Museum, Springfield, Missouri Mildred Lane Kemper Art Museum, Steinberg Collection, Washington University, St. Louis, Missouri Arkansas Art Center, Little Rock, Arkansas College of Architecture and Design, Kansas State University, Manhattan, Kansas Fort Hays, Kansas State University, Hays, Kansas Memorial Union Collection, University of Missouri, Columbia, Missouri Norman R. Eppink Art Gallery, Emporia State University,, Emporia, Kansas Hutchinson Community College, Hutchinson, Kansas Johnson County Community College, Overland Park, Kansas Lincoln College, Lincoln, Illinois State Fair Community College, Sedalia, Missouri Hallmark Cards Inc., Kansas City, Missouri Sprint Corporation, Kansas City, Missouri MacGraw Hill Publishing Co., New York City, New York Pioneer Hybrid, Des Moines, Iowa Pella Corporation, Pella, Iowa Fort Smith Public Library (Commission), Fort Smith, Arkansas Deloitte & Touche (Commission), St. Louis, Missouri Publishing Enterprises, Inc. (Commission), Sedalia, Missouri Parks & Recreation Department, Columbia, Missouri United Telephone Systems, Inc., Kansas City, Missouri American Family Doctors, National Headquarters, Kansas City, Missouri DST Corporation, Kansas City, Missouri Crown Center, Hallmark Art Collection, Kansas City, Missouri Hewlett Packard Corporation, St. Louis, Missouri Emerson Electric (Commission), St. Louis, Missouri Mark Twain Bank, Creve Coeur, Missouri Boone County Bank, Columbia, Missouri Landmark Bank, Madill, Oklahoma Septagon Industries (Commission), Sedalia, Missouri KEO Building Corporation (Commission), Sedalia, Missouri D & W Leasing, Sedalia, Missouri 1st National Bank, Rockford, Illinois Mark Twain Bank Shares, Ladue, Missouri Bank of Olathe, Olathe, Kansas Blue Cross/Blue Shield of Missouri, St. Louis, Missouri Cessna Aircraft...Category
2010s Abstract Abstract Paintings
MaterialsCanvas, Oil
- Moon and the FrittataBy Barnaby FitzgeraldLocated in Dallas, TXA professor of painting at Southern Methodist University since 1984, Barnaby Fitzgerald spent his childhood in Italy where he earned a printmaking degree in Urbino. He received a BFA...Category
Late 20th Century Contemporary Nude Paintings
MaterialsCanvas, Oil
Recently Viewed
View AllMore Ways To Browse
Brother Thomas
Crescent Moon Art
Thomas Irish
1816 Painting
Thames Bridge
Irish Art James
19th Century Moon Painting
Oil Painting Night Landscape Moon
Antique Irish Landscape
19th Century Irish Artist Paintings
Richmond Thames
Brother Bridge
Irish Oil Painting 19th
Heron Oil Painting
Night Heron
James Heron
James Francis Danby
American School 18th Century