John Callow Art

Johann Ludwig Robert von Steiger (Swiss, * 8th of January, 1856, Rio de Janeiro, Brazil; † 1st of June, 1941, Buenos Aires, Argentina) Portrait of Karl Alfred Arthur von Steiger Lie...

'Agay, le château et le Sémaphore'. Oil on canvas. +/- 1922 Signed lower right Measurements : 60 x 73 cm. This painting will be recorded in the second volume of the Catalogue Raisonn...

Late 19th/early 20th century oil on canvas painting in the manner of Abraham Hulk the Younger (1851-1922), this painting was acquired by Saltire Gallerie with a larger painting signed by Hulk the Younger, (just SOLD). Presented in a period decorative gilt frame, the painting is of a cottage in a woodland with cattle by a pond, a little black dog and man and a woman standing by. In the distance is a glimpse of a river and grasses, framed by trees and an overcast sky. Hulk is renowned for his treatment of the changing season from summer to autumn, and the golden leaves and fading greens in this painting suggest this changing time of year. Hulk is the son of a well known Dutch maritime...

Large Italian Landscape circa 1890 painted by a heavily influenced follower of Claude Lorraine (1600-1682). Superb depth and detail. Indistinc...

George Wright British, (1860-1942) On the Scent Oil on canvas, signed Image size: 9.5 inches x 15.5 inches Size including frame: 13 inches x 19 inches George Wright was a sporting and landscape artist who was born in Leeds in 1860. He was the son of George E Wright a cashier and his wife Elizabeth. His brother Gilbert Scott Wright...

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...

Artist: Inoel (French, Active: Late 19th Century) Title: “Vue de Venise (View of Venice)” *Signed by Inoel lower right Circa: 1875 Medium: Original Oil ...

John Duvall British, (1815-1892) Directing the Shoot Oil on canvas, signed Image size: 17.75 inches x 13.75 inches Size including frame: 25.5 inches x 21....

ABOUT THE SUBJECT: In this 18th Century portrait Katherine Read has portrayed Daniel Giles as a child sitting on a rug playing with his drum and his hat beside him. The detail of the ornaments such as the patterned carpet, the folds of the curtain and the child's velvet clothing...

Alfred Seifert Czech, (1850-1901) Portrait of a Young Woman with a Pearl Necklace & Rose Oil on panel, signed Image size: 15.5 inches x 12 inches Size including frame: 23 inches x...

Oil painting, boats fishing on a misty morning by Robert Chalmers 1874. Signed and dated by the artist. Canvas size: 69cm x 106cm, Framed size 87cm x 123cm Robert Chalmers, littl...

Artist: G. Rhumont Title: The Harvest Medium: Oil on Masonite Dimensions: 6.5 x 12" unframed, 18 x 12" Framed G. Rhumont was a turn of the century German landscape artist of romantic style with realistic scenes as seen here in “The Harvest”. This bucolic scene of harvesting hay depicts two farmers working in tandem loading the horse-drawn hay wagon in a field just outside their homestead. This early autumn painting...