Arthur Batt Paintings

Farm yard Friends English artist, mid 19th century circle of John Frederick Herring Snr (1795-1865) bears signature verso oil on canvas, unframed canvas: 7 x 8 inches provenance: pri...

The Young Puppy British School, 19th century indistinctly signed with a monogram oil on canvas, framed framed: 18.5 x 21 inches canvas: 14 x 16 inches provenance: private collection,...

Gerard ter Borch (II) (1617-1681), copy after, around 1700 'Boy Fleas a Dog' Oil on canvas Professionally restored (cleaned and relined) In modern frame in 17th century style Dimensions excl. frame: 33 x 27,5 cm. Dimensions incl. frame: approx. 50 x 45,5 cm. Depcited is a boy busy fleaing a dog. The boy sits on a chair with the dog on his lap. On a table on the right there is a book and a pen. On a wooden bench lies the boy's hat. What is unique about this painting by Ter Borch, is the relationship that is depicted between human and animal. Mostly animals like dogs where depicted as an attribute in paintings in the 17th century, and sometimes used to symbolize certain character traits. This boy is lovingly caring for his dog, which he is giving his full attention. Another interesting detail is that Ter Borch's brother Moses, was probably the model for this painting. Ter borch often used family members as models for his paintings. Moses was also a very talented painter and draughtsman. Several copies of this work by Ter Borch are known. One of these copies is in the collection of the Dutch Rijksmuseum (Image included in the image gallery (last image)). The original painting is in the collection of the Alte Pinakothek museum in Munich, Germany. Gerard ter Borch, also known as Gerard Terburg, was a Dutch genre painter who lived in the Dutch Golden Age. He influenced fellow Dutch painters Gabriel Metsu...

Collie Dog with Kittens English artist, 19th century oil on canvas, framed framed: 22 x 30 inches canvas: 16.5 x 23.5 inches Provenance: private collection, England Condition: The ...

Canvas Size: 28 x 36" (71 x 91cm) Outside Frame Size 36 x 44" (91 x 111cm) It is signed on the middle right on the wooden window. This is a stunning painting of a racehorse signed and dated J F Herring Sen 1842. The horse is named above the water trough as Attilla. As Herring was a renowned painter of racehorses it is likely that this was done for a wealthy patron who owned several. Although he painted many of the winners of the St. Ledger Cup Attilla was not one of these. Free carriage worldwide John Frederick HERRING Snr 1795 – 1865 A sporting painter, born in Surrey of American/Dutch extraction. At first he was a sign and coach painter. He then worked as a stable boy and coachman in Yorkshire until with the help of patrons he was able to study with Abraham Cooper RA, the only art education he appears to have had. He specialised in racing subjects and his few hunting scenes are rare. Herring painted the start of the 1844 Derby, which became known as ‘the dirtiest Derby in history’. He sometimes collaborated with his three sons, J.F.Jnr, Benjamin Jnr and Charles. He also collaborated with James Pollard on a number of racing scenes inc. ‘The Doncaster Gold Cup’, 1838, ‘The Emperor of Russia’s Cup at Ascot’ 1845 and ‘The Dead Heat for the Doncaster Great St. Ledger’ 1849 Herring painted 33 successive winners of the St. Ledger and not surprisingly lived a large part of his life in the Doncaster area before settling in Newmarket in 1830 and then in London in 1835. He suffered serious financial difficulties after his move to London which, thanks to a great friend and patron William Taylor Copeland (1797 – 1868) head of the Spode Porcelain factory at Stoke on Trent, was resolved. He painted many pictures of the Copeland family, some of which were adapted and used as designs on the Spode china...

Incredible signed early American dog portrait painting. Oil on board. Signed. Housed in a period gold giltwood frame.

Modernist dog portrait. Finely painted. Measuring 24 by 30 inches.

Portrait of a Spaniel English School, 19th century based on a comparable work by Sir Edwin Landseer oil on board with cardboard backing, framed in antique deep gilt frame framed: 21 ...

Alfred Arthur BRUNEL DE NEUVILLE French 1852 - 1942 Signed by the artist bottom right Picture Size: 18 x 22" (46 x 56cm) Frame Size: 25 x 29" (64 x 74cm) Born in 1852 in Paris and ...

The Two Puppies by Gabriel Metsu, Continental artist late 20th century signed oil on panel, framed framed: 11 x 13.5 inches panel : 7 x 9.5 inches Provenance: private collection, UK ...

William M. Hart (1823 - 1894) Interior of a Stable Oil on canvas 17 x 12 inches Provenance William Macbeth Gallery, New York Mrs. Mabel Brady Garvan Collection Christie's New York, Sporting Art, November 28, 1995, Lot 116 Ann Carter Stonesifer, Maryland Estate of above Brunk Auctions, Asheville, North Carolina, January 27 2018, Lot 777 Exhibited New York, The Metropolitan Museum of Art, Life in America, April 24 - October 29, 1939, no. 123, illustrated. New York, Macbeth Gallery, 1892: Sixtieth Anniversary Exhibition, April 1952, p. 5, no. 18. Literature Turner Reuter Jr, Animal and Sporting Artists in America, Middleburg, Virginia, 2008, p. 306. Gary Stiles, William Hart: Catalogue Raisonné and Artistic Biography, no. 1126, illustrated. It should be noted that the Francis Patrick Garvan and Mrs. Mabel Brady Garvan collection, of which this painting was a part of, was one of the foremost American Art collections and now makes up a large part of the Smithsonian American Art Museum and the Yale University Art Gallery collections. Born in 1823 in Paisley, Scotland, William Hart emigrated with his parents to the United States at the age of nine and settled in Albany, New York. It was here that Hart first began his artistic training when he was placed under the tutelage of Messrs, Eaton & Gilbert, the prestigious coach-makers from Troy, New York. During this time, Hart learned how to decorate coach panels, covering them with either landscapes or figurative compositions. At the age of seventeen, he was eagerly contemplating an artist’s profession. Consequently, he left the mechanical trade of coach-making and began expanding his artistic pursuits to more refined endeavors. Hart followed coach-making with decorating window shades and later developed an interest in portraiture. Around 1840, he established his first formal studio in his father’s woodshed in Troy. There, he created many likenesses of individuals, affording him a nominal income. Once, he remarked that he felt prouder over his first fee of five dollars for painting a head then for the larger sums he would command later in his career. Nevertheless, his wages from portraits during this early period proved insufficient. Thus, he expanded into landscape painting, allowing him to barter his works or sell them for modest prices. In 1842, Hart moved to Michigan in an attempt to further his success; portraiture remained his primary means of support. Unfortunately, his experiences in the West were disappointing. Hart spent three years living a rough existence until he finally returned to Albany in 1845. Upon his return, he fully devoted himself to the art of landscape painting. Despite his failing health, he worked diligently to perfect his skill until 1849 when he traveled abroad to his native land of Scotland. This trip was made possible through the generosity of his patron and advisor, Dr. Ormsby of Albany. For three years, he studied in the open-air, creating brilliant sketches of the Scottish Highlands and the surrounding British Isles. Returning to Albany once more in 1852, Hart enjoyed improved health and was reinvigorated with purpose. The following year, he moved to New York and opened a studio, promoting himself as a specialist in landscape painting. Hart became a regular contributor to the National Academy of Design. His works received a great deal of attention from artists and connoisseurs alike, all of whom praised him for his fresh, self-taught style. In 1855, he was designated as an associate of the National Academy of Design; three years later he was elected to Academician. In 1865, he was unanimously chosen to be the first president of the Brooklyn Academy of Design. It was during his tenure there that he delivered his famous lecture The Field and Easel, which emphasized the distinguishing principles of landscape art in America. Hart argued that landscape painters should express the “look of the place” being depicted.Critics during the 1870s noted his sensitive balance between capturing a strict “real” interpretation of nature and that of a more “ideal” sentimental tone. For instance, in 1869, Putnam Magazine noted that Hart brought back “exquisite studies” of the surrounding Tappan...

Three Terrier Dogs in Barn Interior Attributed to George Armfield (British 1808-1893) oil on canvas, framed within antique oval inset gilt swept frame framed: 27 x 31 inches canvas: ...