Sears Gallagher Art

A very attractive and meticulously executed view of a rocky landscape within the woods dating to 1823. This would suit a library or study with its muted tones and skifull draughtsmanship. William Nicholson (1781-1844) Near Croxdale Hall Signed with initials and inscribed with title and date 1823 Pen, ink and grey wash 11 x 8 inches, image only 17 x 13 inches without frame The portrait-painter and etcher William Nicholson was born in Ovingham-on-Tyne, Northumberland, on Christmas Day 1781. His family transferred to Newcastle when his father was appointed Headmaster of the city's Grammar School. At an early age, though, Nicholson appears to have moved to Hull where he made his artistic debut, painting miniatures of officers garrisoned there. He was almost entirely self-taught, learning his craft through the close study of artworks in private and public galleries. He subsequently returned to Newcastle where he received many commissions to paint portraits of the old families of Northumberland. In 1808, he began to exhibit at the Royal Academy, continuing to do so until 1822. By 1814, Nicholson, whose mother was a Scot, had moved to Edinburgh where he set up as a miniaturist and painter in oils. Soon, however, he began to specialize in watercolour portraits. Early subjects included the actor Daniel Terry and the poet and novelist James Hogg. In 1818 he began to publish a series of Portraits of Eminent Scotsmen, etched from his own portraits and those of other painters. Besides Scott and Hogg, the subjects included the writers Robert Burns, John Wilson ('Christopher North'), and Lord Jeffrey, the painters Sir Henry Raeburn, the divines Alexander Carlyle and Alexander Cameron, the engineer James Watt, the architect John Playfair, and the song-collector and composer George Thomson...

Discover this watercolor "Sunset Sailors" by Carl L. Lindqvist (1856-1941). Step into the enchanting world of the Swedish artist Carl L. Lindqvist with his captivating watercolor pa...

A very attractive rural scene of a fisherman and his dog on a riverbank, in very good colour and an appealing composition. Claude Hayes (1852-1922) A fisherman and his dog by a riverbank Signed Watercolour with touches of pencil 6½ x 10 inches, image only 13 x 16 inches with the frame Claude Hayes was a Dublin born painter who to avoid his father's wish to make a businessman of him ran away to sea and served on the Golden Fleece, one of the transports used in the Abyssinian expedition of 1867-68, and also spent a year in the United States. Returning to London, he studied art at Heatherley's and the Royal Academy Schools, and then in Antwerp, under Charles Verlat. He worked in Hampshire with James Aumonier and also in Surrey with William Charles Estall, whose sister he married. Hayes exhibited widely in London and provincial centres, and was elected a member of the Royal Institute of Painters in Water Colours in 1886, the Royal Institute of Oil Painters in 1883, and the Royal Scottish Society of Painters in Watercolour, 1902. He also showed at the RA, RBSA, Brook Street Art Gallery, Dudley Gallery, FAS, GI, Grosvenor Gallery, Walker Art Gallery, Liverpool, MAFA, RBA, RHA, Ridley Art Club, RSW and Walker's Gallery, London. In 1912, Claude Hayes represented England at the Venice Biennale. His work is in various public collections in England and Ireland including the Ulster Museum, Museums Sheffield, Torre Abbey Museum and the Leeds City Art Gallery. His father was the artist Edwin Hayes.

This late 19th century framed 14" x 27" watercolor painting by artist Andrew Douglas depicts an ominous landscape in a dark and neutral palette of browns, gray, and yellow. In the fo...

Elizabeth Chalmers. Watercolour painting of cottages and gardens in the Cotswold village of Sherbourne. Size: H:29.00 cm x W:44.50 cm. Artist Bio: Elizabeth Chalmers was born in N...

Signed lower right, 'Beverly Fields' (American, 20th century) and painted circa 1985. This listed California artist has exhibited widely and with success and is the recipient of numerous medals and juried awards. Beverly Fields first studied with Zoltan Szabo and later with Charles Reid...

Xiao Wen Xu is a Chinese-born Canadian artist based in Toronto, Canada, Her artistic practice is deeply influenced by her profound appreciation for the natural world. In her series, ...

Signed lower right, 'Kevin Elston' (American, 20th century) and painted circa 1985. A substantial watercolor still-life of orchids and a persimmon, arranged with other objects relat...

A lively and detailed mid-1940's vintage boardwalk scene of Santa Cruz, California by California artist Cassard (20th Century), 1944. This figurative...

Elizabeth Chalmers Lady Cottage in Nottgrove Watercolour on paper Size: H 21 x W 30cm Signed by the artist Please note that insitu images are purely an indication of how a piece may...

The Nailsmith Houses, Late 19th Century Rattenberg Austria Historical Landscape Exquisitely detailed 1888 watercolor of The Nailsmith Houses, a historical building in Rattenberg, A...

Johannes Friedrich Heinrich Hänsch (1875-1945), Red blooming war landscape with dead soldier, 1918. Watercolor and gouache on paper, 15 x 24.5 cm (image), 27 x 37 cm (sheet size / frame), monogrammed and dated "19JH18" at lower left. - Paper slightly darkened About the artwork Despite the relatively small format, the watercolor with an internal frame depicts a panoramic view of a flat landscape stretching to the horizon. As far as the eye can see, the poppies bloom in flaming red. The flowers are not rendered individually, however, creating an almost cohesive red surface. The bright red is interspersed with vegetal green. A complementary contrast that creates an intense color effect. In this color contrast, a white area breaks through from the middle ground, widening towards the foreground and surrounding a brown hole. Next to it, in blue, is the actual protagonist of the painting, the first thing that catches the eye: a dead soldier. Next to him is his helmet, revealing the empty interior. The brown, hollow shape corresponds to the hole in the ground. A shell funnel is surrounded by bright ash, which, like the inverted helmet, becomes a sign of death. The soldier's arms point to the funnel, while the empty helmet paraphrases the calotte of the skull and, like the funnel, thematizes the empty darkness of death. The soldier's body, however, is intact and not - as in Otto Dix's triptych "The War" - a dismembered corpse. Instead, Johannes Hänsch activates the landscape, especially the color, to illustrate a blooming landscape of death that extends from the shell funnel in the foreground to the rising column of smoke on the horizon. If the soldier's body is intact, the tangle of barbed wire emblematically placed over the empty helmet also appears tattered. On the right side of the picture, the barbed wire even seems to stretch its arms to the sky in horror. Against the background of this allegory, the content of the bright red also becomes clear: the landscape is drenched in blood, literally a sea of blood, and the single unknown soldier stands pars pro toto for all those who died on the battlefield. Dying in war is not dying in community, but in solitude. In order to emphasize the isolation in death, Johannes Hänsch has set the blue of the soldier in the axis given by his body in the middle ground of the picture into the red sea. A master of landscape painting, Hänsch succeeds in creating a natural-looking landscape allegory that illustrates the horror and death of war, without depicting the brutality of war itself. This singular 'war memorial' of the unknown soldier is the opposite of heroization and yet the dignity of the deceased soldier is preserved through the integrity of his body. About the artist As the son of the sculptor Adolf Haensch, the young Johannes received his first artistic training in his father's Berlin studio. However, he eventually decided to become a painter, and in 1897 he entered the Berlin Academy of Arts. He initially studied under Paul Vorgang and Eugen Bracht, and was particularly influenced by Bracht's increasingly colourful landscape painting. In 1901 he moved to the class of Friedrich Kallmorgen, with whom he spent several weeks on excursions into nature. In 1905 he became a master pupil of Albert Hertel, who taught him watercolour painting. From 1903 to 1933 he exhibited annually at the Great Berlin Art Exhibition, the exhibitions of the Berlin Artists' Association and the Munich Glaspalast. In 1905 he was awarded the Carl Blechen...