Charles Towne

18th Century Oil Painting of Horse and his master - Hunter and Huntsman

1790

A Still Life of Turtles, An Eel, Pike, Lobsters and other Fish on the Shore, A Ship in the Stormy Seas Beyond Signed and dated lower left 1640 Inscribed with inventory number lower right: no. 44 Oil on canvas Framed 29.5 x 37.9 inches Provenance Anonymous sale, London, Sotheby's, 15 April 1999, lot 87, (as 'Circle of Giuseppe...

Daniel CLOWES (1774-1829) after George Stubbs Mares and Foals in a Landscape oil on canvas 29 x 33 inches, inc.frame Daniel Clowes lived and worked in Chester all his life and ...

Jacob THOMPSON (1806 – 1879) Deer by the Banks of a Lake 1842 oil on canvas 18.9 x 27.6 inches; 22.5 x 31 inches Inc. frame Jacob Thompson (1806–1879) was an English landscape-pa...

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...

This lovely Dutch Old Master oil painting is attributed to noted Dutch artist Nicholaes Berchem. Painted circa 1665 it is a charming pastoral scene of a shepherd and his animals including sheep, goats, donkey and cows and of course his trusty dog. They are all resting beneath trees while he looks on attentively. The light in the sky and the light and shadows on the animals is beautiful. A really superb example of Dutch Old Master art with great detail. Provenance. Surrey estate. Christies stamp verso. Condition. Oil on canvas, 38 inches by 32 inches and in good condition. Frame. Housed in a complementary gilt frame, 46 inches by 30 inches and in good condition. Nicolaes Pieterszoon Berchem (1620-1683) was a highly esteemed and prolific Dutch Golden Age painter of pastoral landscapes, populated with mythological or biblical figures, but also of a number of allegories and genre pieces. He was a member of the second generation of "Dutch Italianate landscape" painters. These were artists who travelled to Italy, or aspired to, in order to soak up the romanticism of the country, bringing home sketchbooks full of drawings of classical ruins and pastoral imagery. His paintings, of which he produced an immense number, (Hofstede de Groot claimed around 850, although many are misattributed), were in great demand, as were his 80 etchings and 500 drawings. His landscapes, painted in the Italian style of idealized rural scenes, with hills, mountains, cliffs and trees in a golden dawn are sought after. Berchem also painted inspired and attractive human and animal figures (staffage) in works of other artists, like Allaert van Everdingen, Jan Hackaert, Gerrit Dou, Meindert Hobbema and Willem Schellinks. Born in Haarlem, he received instruction from his father Pieter Claesz, and from the painters Jan van Goyen, Pieter de Grebber, Jan Baptist Weenix, Jan Wils and Claes Cornelisz. Moeyaert. According to Houbraken, Carel de Moor told him that Berchem got his name from two words "Berg hem" for "Save him!", an expression used by his fellows in Van Goyen's workshop whenever his father chased him there with the intent to beat him. No trip or Grand Tour by Berchem was documented by Houbraken though he mentioned another story about the "Berg hem!" nickname which came from Berchem's conscription as a sailor; the man in charge of impressment knew him and sent him ashore with the words "Save him!". Today his name is assumed to come from his father's hometown of Berchem, Antwerp. According to the RKD he traveled to Italy with Jan Baptist Weenix, whom he called his cousin, in 1642–5. Works by him are signed both as "CBerghem" and "Berchem". In 1645 he became a member of the Dutch reformed church and married the year after. According to Houbraken he married the daughter of the painter Jan Wils, who kept him on a short allowance, but to finance his collection of prints he would borrow money from his pupils and colleagues and pay them back from the proceeds of paintings that he didn't tell her about. Around 1650 he travelled to Westphalia with Jacob van Ruisdael, where a dated piece showing Burg Bentheim is recorded. Maybe Berchem went to Italy after this trip and before he moved to Amsterdam - he is not clearly documented in the Netherlands between 1650 and 1656. Around 1660 he worked for the engraver Jan de Visscher designing an atlas. In 1661-1670 he is registered in Amsterdam and in 1670 he moved back to Haarlem, but was living back in Amsterdam by 1677, where he died in 1683. He was a popular teacher and his pupils were Abraham Begeyn, Johannes van der Bent, his son Nicolaes, Isaack Croonenbergh, Simon Dubois, Karel Dujardin, Johannes Glauber, Pieter de Hooch, Jacob van Huchtenburg, Justus van Huysum...

Still Life with Dead Birds 18th Century Italian School oil painting on canvas, framed framed: 16 x 20 inches canvas: 13 x 17 inches provenance: privat...

Pausing for a Rest English School, circa 1800 the painting is very close to the works of Thomas Barker of Bath (English 1769-1847) oil on canvas, framed framed: 29 x 39 inches canvas...

The Resting Place Dutch School, mid 17th century oil painting on board, unframed canvas: 7 x 9 inches provenance: private collection condition: very good and sound condition