James Seymour Art

George Edwards: ""A History of Uncommon Birds"", 1749-1761. A prominent English naturalist and ornithologist, George Edwards (1694 -1773) is best known for his work, ""A Natural Hi...

This beautiful Italian 18th Century old masters oil painting on oval canvas with giltwood frame is attributed to Solimena and features a religious scene. In this splendid oval-shaped painting are depicted Saint Dominic...

Amaizing 19' century Roman landscape depicting a part of Villa Borghese with Trinità dei Monti. With a finely carved gilt wood coeval frame. Measurements with frame cm 65 x78 wit...

Provenance: Dr. James Henry Lancashire, Manchester-by-the-Sea, Massachusetts, by 1925; probably by descent to: Private Collection, Cumberland Foreside, Maine, until 2018 This unpublished panel is a characteristic work of the Master of the Apollo and Daphne Legend, an anonymous Florentine painter in the circle of Bartolommeo di Giovanni, Domenico Ghirlandaio, and Sandro Botticelli. The artistic personality of the Master of the Apollo and Daphne Legend was independently recognized by Everett Fahy and Federico Zeri at roughly the same moment in time. Fahy originally dubbed this artist the Master of the Ryerson Panels but later adopted Zeri’s name for the artist, which derives from his eponymous works from the Samuel H. Kress collection (Figs. 1-2). Fahy posited that the artist was most likely a pupil of Ghirlandaio active from roughly 1480 to 1510, and that he may be identifiable with one of Ghirlandaio’s documented pupils to whom no works have been securely attributed, such as Niccolò Cieco, Jacopo dell’Indaco, or Baldino Baldinetti. The present painting was first attributed to this master by Everett Fahy in 1989, who became aware of its existence only after publishing his definitive studies on the artist. The surviving body of work by the Master of the Apollo and Daphne Legend is largely composed of series of panels treating the same theme. In addition to the works illustrating the legend of Apollo and Daphne, there are also series on the themes of Susanna and the Elders and the story of Saint Joseph, among others. The subject of the present panel is drawn from Genesis 24, the story of Isaac. It is possible that our painting relates to another work by the artist depicting the Sacrifice of Isaac formerly in the collection of E. A. McGuire in Dublin, Ireland (Fig. 3), and that these two panels were originally part of a decorative scheme based on the story of Isaac. Although the Master’s paintings of this type have traditionally been considered painted fronts of wedding chests, known as cassoni, the scale of these paintings and the fact that they are often part of a series indicates that they are more likely spalliera panels—paintings set into furniture or the wainscoting of a room. The biblical episode depicted in this painting centers on the theme of marriage, which suggests that this work was likely commissioned for the domestic interior of a newly married couple. The Master has transcribed into paint even the minute details of this Old Testament story, in which Abraham sends a servant to travel by camel to the land of his father and seek out a wife for his son Isaac. The servant is here shown at the well...

19th century oil Devon coastal scene William Shayer Snr (Circle of) A very attractive oil on canvas of cockle gatherers on the Devon coast The painting depicts a busy scene with people gathering their cockles with horses/donkeys laden with baskets ready to take to market. The painting Bears signature, also inscribed and dated 1833 (lower right) The size overall is 95 x 130cm whilst the image is 64 x 104cm (25 x 40¾ in.) Housed in the original heavy gilt frame Provenance: The property of a lady and gentleman , removed from a Cheshire country house William Shayer (1787–1879) was an English landscape painter and figure painter who became prominent during the Victorian era. A self-taught artist, who began by painting decorations on rush-bottom chairs. He moved on to painting carriages in the town of Guildford, after which he started doing heraldic painting...

A fine antique oil painting, on canvas, of horses pulling a tandem at speed. signed and titled lower left, Vine Colchester 1834 This fine painting shows two horses pulling an open carriage /gig with gentleman in extensive landscape/park The size of the painting is approx 50 x 80 cms, whilst overall the size framed is 100cm x 71 cm This is a fine painting in very good condition housed in a gilt frame ready to hang Provenance: The E. W. Towler Collection, formerly of Glympton Park, Woodstock, Oxfordshire see details below The artist John Vine was born with a disability that did not appear to interfere with his ability to draw and paint, largely self-taught as an animal painter, as his reputation grew he exhibited at the Society of British Artists in Grosvenor Square. Based at Colchester he painted many different subjects including farms, houses, children and animals. Eric W. Towler was a remarkable man. He was born in 1900 and left school at the age of 12 to work in a Yorkshire pit and through a lifetime of hard work, self-improvement, luck and a refusal to limit his horizons achieved many of his aspirations. As a Yorkshireman through and through, he believed in ‘spending the brass in his pocket’ and over time he was successful enough to acquire enough ‘brass’ to enable his purchase of Glympton Park and furnish it as a traditional country house with all the trappings – in his case collections of...

study of a seated clumber spaniel, oil on canvas, signed and dated 1929 lower left. Housed in a new gilt frame. Paintings of these beautiful dogs are...

Fine huge 17th Century Italian/French Old Master Battle Scene of the Crusades, oil on canvas. Grand scale extensive landscape view of a battle from the 1670-80 period, with cavalry f...

A fine oil painting by the renowned artist John Sanderson Wells " Returning from a Country Ride" This painting captures beautifully the image o...

Matteo Bonechi (Florence, Italy, 1669 - Florence, Italy, 1756) Title: Presentation of Jesus Medium: Oil on canvas Dimensions: without frame 75 x 49 cm – with frame 89.5 x 65 cm Shaped, carved and gilded wooden box frame Expertise by Sandro Bellesi, Professor and art historian Fairs: The International Biennial of Antiques in Florence 2022 (BIAF, Biennale Internazionale dell’Antiquariato di Firenze) Publications: Bozzetti, modelletti, sketches: dalla collezione di Giorgio Baratti (From the Giorgio Baratti Collection) curated by Anna Orlando, Agnese Marengo and Annalisa Scarpa, Genova, 2022, pp. 20, 21. The present painting is a very interesting testimony of the creative process of Matteo Bonechi, one of the leading artists on the Tuscan art scene in the early 18th century. The canvas in question is in fact the last preparatory model made by Bonechi before he executed an altarpiece for the church of San Filippo Neri in Cortona in 1716. The scene presented here is that of the Presentation of Jesus, when, forty days after his birth, the child is ransomed through an offering in the temple and placed in the hands of Simeon, who prophesies his future: the coming of the Messiah...

This small landscape shows a hunting scene: two riders are chasing a stag with their dogs at the edge of a forest. Signed by Peter von Bemmel, it is typical of the production of this...

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...