E.M. Jackson Art

A FEAST OF THE GODS WITH VENUS AND BACCHUS Collections: With Appleby Brothers, London, June 1957; Hazlitt, Gooden & Fox, London, 1961; John and Eileen Harris, acquired from the above, to 2015. Literature: Jacob Simon and Ellis Hillman, English Baroque Sketches: The Painted Interior in the Age of Thornhill, 1974, cat. no.12 (as by Louis Laguerre); Elizabeth Einberg (ed.), Manners and Morals: Hogarth and British Painting, 1700-1760, exh. cat., London (Tate Gallery), 1987, cat. no.10 (as by Louis Laguerre); Tabitha Barber and Tim Bachelor, British Baroque: Power and Illusion, exh. cat., London (Tate Britain), 2020. Exhibited: Twickenham, Marble Hill House, English Baroque Sketches: The Painted Interior in the Age of Thornhill, 1974, no.12 (as by Louis Laguerre); London, Tate Gallery, Manners and Morals: Hogarth and British Painting, 1700-1760, 1987, no.10 (as by Louis Laguerre); London, Tate Britain, British Baroque: Power and Illusion, cat. no 92, 2020. CUPID AND PSYCHE BEFORE JUPITER Collections: With Appleby Brothers, London, June 1957; Hazlitt, Gooden & Fox, London, 1961; Anthony Hobson, acquired from the above, to 2015. These recently re-united paintings are the most ambitious surviving baroque ceiling sketches made in Britain in the early eighteenth century. From the Restoration until the rise of Palladianism in the 1720s decorative history painting formed the preeminent artistic discipline in Britain. It was a field dominated by Continental artists including the Italian Antonio Verrio and the Frenchmen Louis Laguerre and Louis Chéron...

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...

Jamel Akib Born in Leigh-on-sea, Essex in 1965 to English and Malaysian parents, Jamel moved to North Borneo at the age of five. At thirteen he returned to England to pursue his edu...

Signed, inscribed and dated, lower right: 'Geo Dawe RA St Petersburgh 1819', also signed with initials, lower centre: 'G D RA'; and signed and inscribed verso: 'Geo Dawe RA Pinxit 1819 St Petersburgh'; Also inscribed on the stretcher by Cornelius Varley with varnishing instructions. Collections: Private collection, UK, 2010 Literature: Galina Andreeva Geniuses of War, Weal and Beauty: George Dawe...

Collections: Robert Isaacson; James Draper, New York, 2014. Exhibited: Cambridge, The Fitzwilliam Museum, Beggarstaffs: William Nicholson and James Pr...

Andre Minaux (French 1923 - 1986) "Femme et Homards" / Woman with Lobsters. Oil on canvas. Features a young woman holding one lobster while two others sit on a counter before her. ...

"New Move 8" Oil on Canvas is a mix of blues and greens with chrome yellow accents. Frank Arnold is thought by many to be one of the foremost abstract figurative painters and sculpto...

Federico Andreotti, (Italian, 1847-1930) "Le modelle" Oil on canvas Signed F. Andreotti (lower left); signed and inscribed (str...

Gabriel Deschamps (1919 - , France) "Le Bouquet Blanc" / The White Bouquet. Oil on Canvas, framed, under glass. The frame is 48 5/8” x 34 3/4," the canvas is 39 1/2" high by 26" wi...

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

Oil Painting Portrait of John Campbell, 4th Duke of Argyll,, att to John Vanderbank (1694-1739) Housed in a swept frame which has been restored after photo. Canvas Size 50" x 40", Fr...

“Moving 5” is 60”x 48”. The vibrant yellow surface tones of this piece are broken in several places allowing random glimpses of Arnold’s dreamlike underpainting for a multi-dimension...