Francis E Jamieson

city scape, oil on canvas, art, painting, landscape, wall art wall decoration

Charming English oil on canvas depicting three Spaniels and a flying duck overhead. Signed P. Hargrove. Original gilt frame.

You are viewing an evocative oil painting of a mountain scene from the Scottish Highlands The painting is by Francis E Jamieson Francis E Jamieson (1895-1950) was a Scottish artist w...

Nicola Simbari, Italian painter of semi-abstract impressionist works known for using colors and favoring brilliant tones, especially with a palette knife. Considered by many to be It...

19th-Century Framed Oil on Canvas Depicting Village We present you this oil on canvas depicting a landscape with a small house, people and animals. It is signed by Germain Postelle....

Mountain landscape, oil on canvas. Very good condition. dimensions: height 39 cm, width 48 cm without frame 25 cm x 34 cm

This very well executed antique oil painting is unsigned, with unknown origins, and is presumed to date to approximately 1920 and done in the period impressionistic style. The painti...

Our Stock # 24760 This is an antique riverside painting. A Scottish, oil on canvas landscape in gilt frame, dating to the late 19th century, circa 1900. Appealing colour and subjec...

Georg Grauvogl – Hut near Garmisch – Alpspitze Dimension: cm 70 x 80 without frame – cm 74 x 84 with frame in antique fir wood Tecnique: oil on canvas Era: 1940 circa Author: Georg ...

A 17th century Spanish oil painting on canvas depicting a queen witting on a throne with a crown on her head wearing an elaborate costume in brown Gray Red and Beige. She is wearing ...

This historical portrait of a Lady, was chosen for exhibition at the "Palace of History" in the Scottish Exhibition in Glasgow in 1911. She is fashionably dressed in evening clothes...

A mid 17th century large scale oil on canvas depicting a Leopardess, a Lioness and a Wolf toying with a Dead Hare in an Arcadian landscape; in the style of the Dutch Golden Age ‘Animaliers’ and the circle of Frans Snijders. Large canvases of hunting scenes, often featuring exotic animals such as leopards and lions, were initially popularised by the celebrated painter and diplomat Sir Peter Paul Rubens (1577-1640), and rapidly became a fixture of seventeenth-century patrician residences across Europe. They were heirs to the Renaissance tradition of tapestries representing hunts, which had long been a form of princely decoration, but had typically required much greater expenditures of time and money. A monumental Wolf and Fox Hunt painted by Rubens in about 1616 – now in New York’s Metropolitan Museum – is considered one of the master’s earliest forays into this genre (fig. 1), alongside a set of four large hunting scenes originally executed for Elector Maximilian of Bavaria (c. 1616), featuring a Hippopotamus and Crocodile Hunt (Alte Pinakothek, Munich); a Wild Boar Hunt (Musée des Beaux-Arts, Marseilles); a Tiger Hunt (Musée des Beaux-Arts, Rennes); and a Lion Hunt destroyed by fire in Bordeaux in 1870. This type of composition – with its energetic treatment of the subject, its references to exotic and powerful beasts and its vibrant atmosphere – immediately appealed to patrons and was enthusiastically embraced by artists both within and outside Rubens’ immediate circle. Among the former were fellow Flemish painters Frans Snyders (1579-1657) and his brother-in-law Paul de Vos (c. 1591-1678), each of whom collaborated with Rubens on important commissions, while also pursuing the genre of hunting scenes as part of their respective studio practices. Indeed, both are now predominantly remembered for their dynamic representations of hunts, which – differently to Rubens’ – chiefly focus on the animals, without the presence of human figures. This characteristic is shared by the present composition, which highlights the interaction between the beasts themselves, their feral nature and proximity enhancing the scene’s dramatic undercurrent. The wolf on the left, baring its teeth to defend its prey, is carefully observed, including its blood-shot eyes, salivating mouth, and thick fur, which all find parallels in compositions by Rubens and his circle (fig. 2). Similarly, the lioness emerging from behind a tree trunk in the background is a citation from a famous composition by Rubens and Jan Brueghel the Elder...