Nicholas Holloway Fine Art Animal Paintings

A really charming and skillfully executed study of a chimpanzee by this very talented artist. A most attractive picture which captures the personality and essence of the chimp. Raf...

A beautifully painted character study of a terrier dating from the Victorian era. Edward Aistrop specialised in such intimate portraits of dogs and clearly held them in great affecti...

A really charming study of a ewe standing proudly in the foreground of an English rural landscape with a country church off in the distance. Painted in a naive yet very appealing sty...

A superb example of a Barbizon inspired landscape painted by the "Catford Corot" from the late 19th Century. This very striking image shows the artist at the absolute peak of his abi...

A superb example of a Barbizon inspired landscape painted by the "Catford Corot" from the late 19th Century. This very striking image shows the artist at the absolute peak of his abi...

A wonderful example of a Barbizon inspired landscape painted by the "Catford Corot" from the late 19th Century. This picturesque view has the typical Barbizon elements with a shepherdess and her flock at the edge of a forest. Beautifully presented in a good quality hardwood frame - a very atmospheric piece in ready to hang condition. George Boyle (1842-1930) A shepherdess and her flock at the edge of a forest Signed Oil on canvas 15 x 18 inches without the frame 22 x 25 inches with the frame George Boyle is perhaps the best known English painter inspired by the Barbizon School. In fact he is known as the "Catford Corot" as his paintings have such a close resemblance to the school's main exponent, Jean Baptiste Camille Corot. The "Catford" element of this nickname corresponds to the area near Greenwich...

A really charming and beautifully executed study of a horse by this very talented artist. A most attractive picture of this noble creature in ready to hang condition Rafael Mckenzi...

An idyllic scene of chickens feeding in a famryard with old outbuildings and a patch of blue sky beyond. William f Burchell (exhibiting 1909-1937) A farmyard scene Signed Oil on can...

An idyllic scene on an impressive scale of sheep grazing in Constable country. Algernon Mayow Talmage (1871-1939) ​Sheep grazing in a summer landscape Signed and dated 1927 Oil on c...

A beautiful snapshot of the English countryside with cattle grazing under a dramatic sky. Presented in a most attractive hand made frame. Dominic Parczuk (born 1982) Pasturelands Si...

An incredibly captivating image of a leopard basking on a rock by a river. Not only is this a very striking study of a magnificent feline but there is also a narrative here with a py...

An idyllic view of cattle and sheep grazing in a pasture before an oak tree with a blue sky with bollowing clouds beyond. William S Rose (1810-1873) Cattle and sheep grazing in rou...

A really striking image of birds in flight at the edge of the sea, capturing the spectrum of wonderful blues in the sea and sky. Adrian Parnell (b.1952) Seabirds Signed with initial...

A really striking image of birds in flight over crashing waves Adrian Parnell (b.1952) Birdscape Signed with initials Inscribed with title and date verso Oil on board 24 x 20 inches...

An incredibly striking image of a black and yellow butterfly. Painted with great energy and style. This looks stunning against a white wall. Henri-André Martin (1918-2004) A Swallowtail butterfly Signed Oil on canvas 23½ x 23½ inches excluding frame 26½ x 26½ inches including frame Provenance: The artist's studio sale Born in Lyon in 1918, Henri-André Martin spent his youth in Saint-Étienne. Following his father into the medical profession, he spent his first years studying medicine in Lyon, but also enrolled in the École de Beaux Arts during this time. Upon returning from captivity in 1942, Martin soon became director of the otolaryngology clinic at Édouard-Herriot hospital. Painting, however, remained his true calling in life - it was, to him, an invaluable form of self-expression. Reserved and extremely modest, and frequently regarded as somewhat aloof, art was a means of articulating his anxieties and apprehensions, as well as giving a voice to his inner child. Martin had a brush in hand at all times, wherever he went, and painted countless gouaches of varying sizes. His beach paintings in particular have been compared to those of Boudin. Until the 1970s, Martin had a tendency to paint ‘on the ground’, yet in all of his paintings, there is a distinct sense of distance and removal from the subject-matter. In the years that followed, we see a development in this simplification and abstraction of the subject-matter, as seen, for example, in his images of almond trees standing alone against the stark winter sky of Provence. The palette begins to darken, his work acquires a feeling of gravity, as his paintings of Hamburg Port evidently reflect. His collection entitled ‘Trunks’, six lithographic plates, draws on visual and written material in the book, L’Olivier. His interest in the symbolism of the olive tree subsequently grew, and he turned to literature, painting and historical traditions to develop and nuance his understanding of its allegorical value. This fascination with the olive tree, and more broadly, with the nature of symbolism, came to profoundly inform his later work. What he learnt to represent was not merely the physical reality of his subjects, but their implicit interconnection with abstract ideas. As René Déroudille writes, the lithographic plates are ‘especially devoted to and embrace renewal’, revealing an artist who is in ‘full mutation’. In the 1980s, Martin’s work took a more explicit turn towards abstraction. It was during this time that he produced a series of large nudes, which he entered into the major exhibition at L’Atrium in Lyon, in 1992. In the years that followed, Martin focused on animating the shapes and forms born of his imagination, eventually accomplishing this and changing his focus once again, turning to more attractive, even decorative subjects, like Japanese...

An incredibly striking image of a Red Admiral butterfly set against a background of petals. Painted with great energy and with a most appealing texture to the paint surface. Looks re...

A wonderful image of an English country cottage set in a meadow with cattle grazing. Franklin White (1892-1975) A cottage in the countryside Signed with initials and dated (19)32 Oi...

A really appealing view of the English countryside in the springtime with rolling hills, cattle grazing in lush pasture and a windmill off in the distance. George Graham (1881-1949)...

A lovely, impressionistic oil of ducks in the sunshine in a Norfolk broads landscape. Frederick George Cotman (1850-1920) Acle Bridge, circa 1915 Inscribed verso Oil on board 10 x 16 inches Provenance: Cotman family collection Frederick George Cotman was born in Ipswich on 14 August 1850. His uncle, John Sell Cotman, was one of the cornerstones of the Norwich school and a very influential watercolourist. Frederick's first tuition came from William Griffiths, headmaster of Ipswich School of Art. In 1868 he enlisted at the Royal Academy Schools and his proficiency as a draughtsman and painter in oils and watercolours was rewarded with four silver and a gold medal for The Death of Eucles now at the Ipswich Town Hall. His teachers in London were Frederick Leighton (1830-1896) and Henry Tanworth Wells (1828-1903). Cotman became established as a London society portrait painter, for which he could command a fee of 300 guineas and also produced homely genre scenes. Elected a member of both the Royal Institute of Painters in...

A super example of Harry Fidler's impressionist studies with characteristic use of heavy impasto. The flamboyant sculpting of the paint surface cannot be fully conveyed in a 2D image...