William Mark Fisher Paintings

Frame size 59x70 cm.

Leigh Ann Van Fossan's "Nocturne" is an original, handmade oil painting that depicts sailboats floating in the darkness as their lights and the moon casts glimmering reflections on t...

This painting by artist Ray Simonini titled "Buttercup" is a 24x24 oil painting on canvas featuring a portrait of a brown and white rabbit soaking in the rays of a warm spring sun. ...

Joseph Theroux's delicate landscape painting showcases a single swan gliding through the water of a small pond. Fallen trees can be seen along the water's edge. The area is surrounde...

Leigh Ann Van Fossan's "Sweet Dreams" is an original, handmade oil painting that depicts sailboats floating in the darkness as the glow of the blue sky casts reflections on the inky ...

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...

San Ildefonso Market in Guatemala by artist William Kalwick depicts a typical market in one of the local towns that are held throughout Guatemala. This market takes place in Anti...

This was the flower artist Katherine Rowe had in her wedding bouquet and so they have always had a special place in my heart. Despite being 'white' there is hardly any actual pure white in the painting but multiple blues and yellows and greens. Katharine Rowe is an English painter she graduated in Fine Art and History of Art at the University of Edinburgh in 1999 and spent a year studying at Université de la Sorbonne, Paris. Having spent a decade working in advertising Katharine felt the increasing need to be out of the office and with her paintbrush. The past 9 years have been dedicated to just that. Katharine is strongly motivated by colour and she often spends up to an hour mixing and preparing paints before turning to the canvas. Katharine is always inspired by her surroundings from the varied landscapes of...

Oil on board. Framed. Great quality!

Burano, Italy Color is part of newly released small works from V....Vaughan's collection of recent travels in Italy and France. V....Vaughan painted each of these on location "en plein air" It has an Impressionistic Style as seen in many of Virginia Vaughan...

In today's challenging world, we all crave a tranquil moment. Some respond to the call of the sea, watching the waves lap upon a soft sandy beach in nature's own repetition. The sa...

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...