J.G. Jones

J.G. Jones - 20th Century Oil, Reflections

Unknown

A colorful, autumnal oil showing the back of a dilapidated pigsty outhouse with tumbled down wall and missing roof tiles, in the town of Painswick in Gloucestershire. Bright Autumn s...

A historical scene on a Dutch street. Presented in a substantial black and gilt-effect wooden frame. Signed to the lower-right edge. On canvas on stretche...

An interesting abstract study completed with dark tones and expressive brushwork. Artist's label to the reverse. Unsigned. On canvas on stretchers.

A truly striking, early 20th Century arabal scene in oil showing a group of tree cutters hard at work felling and dissecting an old tree. The scene is captured in muted tones with ma...

A picturesque depiction of a winter scene with tracks leading into the distance surrounded by a mix of trees and bushes. Well presented in a simple gilt effect architrave frame and s...

A large painting by S.M. Sands after Peter Paul Rubens's (1577-1640) 'The Peasants Returning from the Fields' (c.1640) in the collection of the Galleria Palatina, Florence. Presented...

Collection: Multiple Perspectives Artist Statement Having started my career by painting Rembrandt-like portraits of luminous white roses, I credit my discovery of fractals for transforming my artistic vision, and changing the direction and force of my work. Always working with a single image of a flower, or a component thereof, I have stripped away the mask of the exterior form and magnified the interior thousands of times to depths beyond what is visible to the naked eye. My subject is no longer simply a flower; it is a dynamical system existing in a chaotic universe filled with energy, turbulence, mystery and beauty. Additionally, I have discovered that the system repeats itself through multiple phenomena. This is where I have taken the literal definition of fractals, and put my creative voice to the principles. Though the non-representational work may suggest a natural likeness - a wing, a wave, a shell, or even a human form - my vision invites a fresh dialogue between aesthetics and science. Whether creating evocative representational images or boldly deceptive non-objective work, my focus is always on the choreography of the movement, the organization of the space, the subtlety in the tonal transitions, and the intricacy of the brushwork. Exclusively painting...

Abstract Landscape I do not subscribe to rules. Though I have a general vision at the onset of a new painting, I have had so many serendipitous discoveries during the painting proces...

Abstract Landscape I do not subscribe to rules. Though I have a general vision at the onset of a new painting, I have had so many serendipitous discoveries during the painting proces...

SHEPHERD’S PASS Series: “In [this] series I wanted to move into expressing more of a post-impressionist mode by deconstructing with lyricism, while not fracturing in hard edges; so a...

ROBERT WALKER MACBETH, RA (1848-1910) Fenland Reed Cutters Signed with initials and dated 1900 Oil on canvas 59 by 79 cm., 23 ¼ by 31 in. (frame size 82 by 102 cm., 32 ¼ by 40 in.) Provenance: Agnews; Fine Art Society, London. Macbeth was born in Glasgow, the son of the Scottish portrait painter Norman Macbeth, RSA. He first studied at the Royal Scottish Academy, before moving to London in 1870 to join the staff of The Graphic. On his arrival in London he first exhibiting at the Dudley Gallery. He soon became acquainted with Hubert von Herkomer, Fred Walker...

REX VICAT COLE (1870-1940) St Stephen Walbrook Signed and dated 1933 l.3. Oil on panel 33 by 24 cm., 13 by 9 ½ in. (frame size 43 by 34 cm., 17 by 1...