Francis Hayman Art

This artwork makes part of my new period in my artistic expression. This painting dedicated to "Women" series is a special one since it is all about my strong deep personal transfor...

17th century German portrait of the wine merchant Caspar Roemerskirchen at the age of 26 in 1628, Gottfried von Wedig also known as Gotthardt Wedig (attr.) This highly decorative portrait depicts the 26 year old Caspar Roemerskirchen, wearing an intricate jacket made of a luxurious black fabric, which is stiffened and shaped to perfectly fit his silhouette. It is adorned with an opulent collar, which at the time was a true status symbol, worn to emphasise the refined class and social status of the sitter. In his hands he is holding luxurious soft leather gloves. The vivid green drapery and table cloth add further vivacity to the portrait. His ice blue eyes appear to be shimmering with a life-like quality. After extensive archival research, we were able to discover that our sitter was a wine merchant; what joyous stories he must have to tell! Gottfried de Wedig...

This artwork " You are my rock" was created by French artist Natalya Mougenot as part of her series dedicated to women, where she explores womanhood and, in particular, the bond and ...

This contemporary figurative portrait of a young Frida Kahlo, titled Frida's Resilient Bloom, was meticulously crafted by French artist Natalya Mougenot using Sennelier oil pastels o...

This gorgeous Scottish 1930's soft focus and sensual pastel oil painting is by noted artist John Bulloch Souter. It was painted in 1931 and the sitter is the artist's beautiful wife...

Portrait of a Pomeranian Dog English artist, late 19th century oil on canvas, framed Framed: 14.5 x 12.5 inches Canvas: 10 x 8 inches Provenance: Private collection, Surrey, England ...

Portrait of an English Gentleman English School, circa 1830's period oil on canvas, unframed Canvas: 30 x 24.5 inches Provenance: Private collection, UK Condition: relined canvas, ov...

The Barrister (the sitter is James Guy Baker, the artists brother). by Gladys Marguerite Baker (British, 1889-1959) signed oil painting on canvas, framed framed: 146cm x 101cm canva...

This contemporary painting, titled "Bond of Souls", is a striking work by French artist Natalya Mougenot, forming part of her ongoing series dedicated to exploring the theme of women...

A delicately painted portrait of a pretty young maid imbued with a beautiful light. James P Barraclough 1891 - 1942 The Kitchen maid Signed and dated 1923 Oil on canvas 30 x 25 inc...

The Legal Gentleman portrait of a lawyer/ barrister by Victor Hume Moody (British 1896-1990) *see notes below signed and dated 1974 oil on canvas, unframed canvas: 36 x 28 inches pro...

This early 19th-century half-length portrait attributed to British artist George Clint ARA (1770-1854) depicts a young lady wearing a beautiful brown dress, bonnet decorated with small flowers, gold earrings and coral necklace. Clint was a distinguished painter and mezzotint engraver predominantly known for portraiture and dramatic scenes. Set before an evocative classically-inspired backdrop, she looks out from across the centuries with a composed demeanour. Adorned in the latest fashions, oversized ‘gigot’ sleeves, a delicately-poised bonnet, and a coral necklace for good luck. It’s a charming portrayal by a masterful hand. Born at Drury Lane, in the heart of London’s West End, George Clint was destined to lead an exuberant life amid the spectacle of theatreland. His father, Michael Clint, was a hairdresser during a time of “hair pomatum, whalebone, wire, lace gauze, and feathers” - so young George would have encountered a variety of ‘characters’ during his childhood. But despite these elevated surroundings, he soon discovered the darker side of London when thrust into the world of employment. Apprenticed initially as a fishmonger, he trained under a ferocious master who was known to beat him. The hours were unsocial, the conditions rank, and the work was brutal. He soon quit but subsequently found himself toiling for a corrupt attorney who demanded he undertake unscrupulous acts on his behalf. Seeking a less volatile role, he turned next to house painting, at which he excelled. Commissioned, among other projects, to paint the stones of the arches in the nave of Westminster Abbey. Aside from an incident whereby he almost fell from the second story of a building, all was going well. Following his marriage in 1792 to Sarah Coxhead, a farmer’s daughter, he began work in earnest as a painter of miniatures, determined to forge a career. Robert William Buss’ memoir celebrates Clint’s success as a miniaturist, stating that “great manual excellence was united with that chaste, delicate feeling for female beauty which characterised all Mr. Clint's portraits of ladies.” Until this point, it appears he was predominantly self-taught, presumably constrained by a lack of finances. But from hereon in, his industrious nature coupled with several fortunate encounters, led to him developing an enviable talent for both painting and engraving. During the early 19th-century, the acquaintances one kept could make or break your fortunes and perhaps acutely aware of this, Clint’s ‘society’ was an ever-evolving circle of influential personalities. He was “initiated into the mysteries of engraving” by Edward Bell (act.1794-1819) and produced numerous works after the foremost artists, such as George Stubbs, John Hoppner, and Thomas Lawrence. Following a commission from Lawrence, he struck up a long-term friendship. Admired for his skill as a mezzotint engraver, he sought next to hone his technique in oils and, as with many aspiring portraitists, his first work in this respect was a depiction of his beloved wife. The pair were both delighted with it, yet over time Clint began to doubt himself and sought the validation of a superior hand - that of Sir William Beechey (1753-1839). However, paralysed with insecurity, he couldn’t face the potential criticism, so his wife took it instead - “with a child under one arm and the portrait in the other”. The result was immeasurably more positive than he’d envisaged and he became closely associated with Beechey until his death in 1839. Numerous commissions followed from the landed gentry including Lord Egremont, Lord Spencer, and Lord Essex. But also from the theatrical community who would fill his studio at 83 Gower Street, Bloomsbury. His connections within the world of acting led to notable works such as ‘Malvolio and Sir Toby’ (from William Shakespeare's 'Twelfth Night', Act II, Scene iii)’ and ‘Harriet Smithson as Miss Dorillon, in Wives as They Were, and Maids as They Are’. While his efforts in mezzotint included several contributions to JMW Turner’s Liber Studiorum. As a measure of his success, Clint was elected an Associate of the Royal Academy in 1821 - a position he later relinquished for personal reasons. Today, he’s represented in numerous public collections including at The British Museum, Harvard Art Museums, The Met, V&A, Yale Center for British Art, and the National Portrait Gallery. “The respect in which he was held, not only by his brother artists, but by an immense number of eminent men in various professions, and others of the highest rank, was the result of a rare combination of talent, candour, suavity of manner, and integrity of purpose”. [Obituary, 1854]. Housed in a period gilt frame, which is probably original. Learn more about George Clint ARA in our directory. Labels & Inscriptions: Supplier’s stencil from Rowney & Forster. The National Portrait Gallery holds a database of supplier’s stencils over the decades. The one here is also presented on two other works by George Clint. ‘Falstaff’s Assignation with Mrs Ford...