John Cyril Harrison Art

Tunnicliffe is one of the greatest wildlife artists of the 20th Century. A Royal Academician, the RA recently had an exhibition of his work. The present picture was probably executed...

An early 20th Century Art Deco gouache portrait of a gentleman in hunting attire with his dog, by P Giubbini. The work is signed bottom right, titled top left 'Englischer Windhund' and presented in a plain period wood frame under glass. A wonderful character portrait of a man preparing to go out with his hound dog, an Englischer Windhund or whippet. He is nonchalantly doing up the buttons on his gloves, stick under his arm. Wearing breeches, hunting coat...

This piece is a charcoal sketch with a light lyrical addition of watercolor. The artist captures the delicate sensitivity of horses standing still and in motion. Artist bio: Cecil K...

Charles Frederick de Brocktorff (1775–1850) ‘Camelopard – a present from the Pacha of Egypt to the King – at Malta on its way to England’ Signed and dated C.F. de Brocktorff. / 1827. lower right, inscribed as titled in the painted margins lower centre. Pencil and watercolour heightened with gold paint and gum arabic on paper, 36.8 x 27.9 cm A gift so majestic, it made kings blush, and a gift so grand, it would startle Europe into a craze. Pasha Muhammad Ali of Egypt (1805-1848) did it in 1827: he sent to Europe three magical spotted, horned creatures, each with a neck reaching the skies and legs as long as a house is high. One giraffe to King Charles X of France, one to Francis I of Austria and the most fabled one to King George IV of England. A curious sight for Europeans, who had not seen such a beast since the Medici giraffe in 1487. Few animals created more of a stir in Europe than these royal...

A beautiful watercolor painting by Israeli artist Reuven Rubin. Featuring a camel trainer and his camel. Signed and framed. In very good condition.

An early 20th Century Art Deco gouache portrait of a gentleman in hunting attire with his dog, by P Giubbini. The work is signed bottom right, titled top left 'Preussischer Landjuncker' and presented in a plain period wood frame under glass. A wonderful character portrait of a man preparing to go out with his hound dog, a Preussischer Landjuncker or bulldog. He is nonchalantly standing with his hands in his pockets. Wearing breeches, hunting coat...

Marisa Aragón Ware's "Reciprocity" is an original, hand made paper sculpture that depicts a honey bee preparing to land and collect nectar from a wh...

Large Celestial Mythical Horse Painting by Alex K. Mason "Wardusa", Acrylic Gouache Ink on Canvas, Blue, White, Gold, Yellow This painting is part of a constellation series I did f...

"Rubens Study 1" (2017) by Thomas John Carlson Old master, figurative, watercolor on paper; Study of Peter Paul Rubens' "Tiger and Lion Hunt" Frame available - frame size 17" x 13" ...

Watercolour on paper Paper size: 4 x 5 inches Framed size: 19 x 19.75 inches PROVENANCE A gift from Joseph Mallord William Turner to Miss Amelia Hawksworth (later Mrs Hotham), niece of Walter Fawkes. The watercolour descended through the ownership of Amelia Hawksworth, daughter of Francis Fawkes ( Walter Fawkes's brother) who was the main compiler of the Ornithological Collection (Miss Hawksworth owned five other bird studies by Turner). Private collection, London LITERATURE: For similar works by J M W Turner see Anne Lyles, The Tate catalogue for the exhibition 'Turner and Natural History, The Farnley Project', 1988. The present watercolour was drawn circa 1815-1820 for Walter Fawkes of Farnley Hall, for his Ornithological Collection Volume IV. Between 1808 and 1824, Turner visited Farnley Hall in Yorkshire to stay with the Fawkes family. Turner felt at home at Farnley - the Fawkes daughters reminded him of his own. He helped illustrate a five volume ornithological scrap book for the Fawkes children, making watercolour studies of the birds for the children to stick in opposite the pages on which feathers from similar birds were attached. His bird portraits were most effective, most "life-like", when in fact the bird was dead ! His watercolours of a live robin and goldfinch have a more hesitant touch. At this time Turner enjoyed the patronage first of Edward Lascelles, the heir to Harewood, and after 1808, of the radical landlord Walter Fawkes of Farnley Hall, near Otley. He became a close friend of the Fawkes family with whom he stayed for most summers until 1824. The last owner of Old Farnley Hall was Francis Fawkes, a rich widower with no direct heirs. When Francis Fawkes died in 1786 he left the house to Walter Beaumont Hawksworth of Hawksworth Hall, on condition that Hawksworth adopt the Fawkes name by Royal Licence. Walter Fawkes brought in architect John Carr of York to make extensions to the house, but he died before the work was completed, and Farnley Hall was passed on to his son, also called Walter who also took the Fawkes name and was known as Walter Ramsden Fawkes. It was this Walter who was a great friend of J M W Turner. Anne Lyles has confirmed the attribution and writes: "Everything fits in relation to the style of the watercolour and most especially the provenance - in the Turner and Natural History exhibition catalogue of 1988 we know that Amelia Hawksworth (Mrs Hotham) owned three studies of birds' heads by J M W Turner (previously with the Maas Gallery, and numbers 36, 37 and 61 in that catalogue) as well as two studies of dead game by the artist (catalogue numbers 59 and 63, the latter untraced in 1988). Interestingly, catalogue numbers 36 and 37 (the Merganser and the Smew) seem also originally to have been intended for Volume IV of the Ornithological Collection - it is likely that the "Study of the Head of a Moorhen...

John Aldrich Ruthven American Painter Bison in a Snow Blizzard Watercolor and Gouache on Paper signed lower left

This is a celebration of Spring with pink flowers and blue birds painted on a thick round watercolor paper sheet measuring 16 inches (41cm) in diameter. the tondo shaped surface heig...