Edward Williams

English Figurative Landscape Painting oil on canvas 19th century

1834

The artist of this painting is unknown but it can be ascribe to a Tuscan movement of the 20th century inspired by 19th century art like Verismo (as we can deduce by the clean and not...

The scene is set in a luxuriant and blossoming garden-on which we can see a pergola vine training and an ionic column-outlined with fast and wide brush strokes of faint and pastel colours. In some parts of the background is revealed the preparatory layer, because it’s unfinished, but we can presume the presence of a light blue sky with some clouds, deducing it from a confrontation with the left side, where the sky was started. In the foreground a boy dressed up with a style reminding medieval echoes looks like observing a flower or a small animal that he’s holding, as the position of the fingers-that seems caressing something-make suppose. It's signed on the right side: MG. (Michele Gordigiani). The physiognomy, the expression and the hairstyle recall Edoardo Gordigiani...

The artist of this painting is unknown but it can be ascribe to a Tuscan movement of the 20th century inspired by 19th century art like Verismo (as we can deduce by the clean and not...

The artist of this painting is unknown but it can be ascribe to a Tuscan movement of the 20th century inspired by 19th century art like Verismo (as we can deduce by the clean and not...

Mythological-themed painting (unframed 35.5 x 28 cm) depicting the episode of Diana and Actaeon from Ovid's Metamorphoses. The goddess is depicted sitting in discreet attire, the bow...

The painting (with a Salvador Rosa-style gilded frame 88 x 116 cm) depicts a group of four children who are playing outside on a swinging seesaw; we are probably dealing with a prank, as can be seen by the satisfied expression of the child on the right at the expense of the one in the foreground, who seems to be supported by the others, perhaps because of the fear felt. They are dressed in the same way, with black or brown ankle boots and a kind of double-breasted jumpsuit with a rich lace collar reminiscent of the jabots of dames, blue for the one in the foreground, brick-colored for the other three. Children also look alike in the hair, typical of the period, and features, suggesting a kinship relationship. We find the same subject, for example, in Johann Zoffany...

Artist: Bernhard Buter (1883-1959) German Title: Rhinish Landscape Medium: Oil on Canvas Dimensions: Framed 19” x 21” , Unframed 11 x 13” Bernhard Buter paints agrarian landscapes i...

Rene Genis (French 1922-2004) “Les Falaise Normande” / The Cliffs of Normand. A sea scape with high cliffs, the beach, and two fishermen. The cliffs are in browns, tans and olives a...

Rene Genis (French 1922-2004) Monument Valley. 1967. Beautiful oranges, browns, greens against a turquoise blue sky. Oil on canvas, laid on mat. Si...

The Great Fire of London in September 1666 was one of the greatest disasters in the city’s history. The City, with its wooden houses crowded together in narrow streets, was a natural fire risk, and predictions that London would burn down became a shocking reality. The fire began in a bakery in Pudding Lane, an area near the Thames teeming with warehouses and shops full of flammable materials, such as timber, oil, coal, pitch and turpentine. Inevitably the fire spread rapidly from this area into the City. Our painting depicts the impact of the fire on those who were caught in it and creates a very dramatic impression of what the fire was like. Closer inspection reveals a scene of chaos and panic with people running out of the gates. It shows Cripplegate in the north of the City, with St Giles without Cripplegate to its left, in flames (on the site of the present day Barbican). The painting probably represents the fire on the night of Tuesday 4 September, when four-fifths of the City was burning at once, including St Paul's Cathedral. Old St Paul’s can be seen to the right of the canvas, the medieval church with its thick stone walls, was considered a place of safety, but the building was covered in wooden scaffolding as it was in the midst of being restored by the then little known architect, Christopher Wren and caught fire. Our painting seems to depict a specific moment on the Tuesday night when the lead on St Paul’s caught fire and, as the diarist John Evelyn described: ‘the stones of Paul’s flew like grenades, the melting lead running down the streets in a stream and the very pavements glowing with the firey redness, so as no horse, nor man, was able to tread on them.’ Although the loss of life was minimal, some accounts record only sixteen perished, the magnitude of the property loss was shocking – some four hundred and thirty acres, about eighty per cent of the City proper was destroyed, including over thirteen thousand houses, eighty-nine churches, and fifty-two Guild Halls. Thousands were homeless and financially ruined. The Great Fire, and the subsequent fire of 1676, which destroyed over six hundred houses south of the Thames, changed the appearance of London forever. The one constructive outcome of the Great Fire was that the plague, which had devastated the population of London since 1665, diminished greatly, due to the mass death of the plague-carrying rats in the blaze. The fire was widely reported in eyewitness accounts, newspapers, letters and diaries. Samuel Pepys recorded climbing the steeple of Barking Church from which he viewed the destroyed City: ‘the saddest sight of desolation that I ever saw.’ There was an official enquiry into the causes of the fire, petitions to the King and Lord Mayor to rebuild, new legislation and building Acts. Naturally, the fire became a dramatic and extremely popular subject for painters and engravers. A group of works relatively closely related to the present picture have been traditionally ascribed to Jan Griffier...

Flat Ledge Quarry is one of the many granite quarries in Rockport MA, which actively produced granite for cobblestones until the early 20th century, when asphault became the preferre...

Peter Lyons’s technique approaches photographic realism, but the precision in his paintings is an attempt to communicate a state of awareness, rather than ...