Fellow from Wales and Silvery Sand, Greyhounds After Heywood Hardy Oil Painting

A large antique original oil painting re-imagining “The Dance of Apollo with the Muses” by Baldassare Peruzzi. “Baldassare Tommaso Peruzzi (7 March 1481 – 6 January 1536) was an Ital...

Large vintage black and white Springer Spaniel wooded landscape oil painting on canvas, after John Wootton. Framed in ebonized black frame with gold accents. John Wootton (c.1686– 13 November 1764)[1] was an English painter of sporting subjects, battle scenes and landscapes, and illustrator. Life Born in Snitterfield, Warwickshire (near Stratford-upon-Avon), he is best remembered as a pioneer in the painting of sporting subjects – together with Peter Tillemans and James Seymour[2] – and was considered the finest practitioner of the genre in his day.[1] As such, his paintings were very fashionable and were sought after by those among the highest strata of the British society. These included figures such as George II of Great Britain, Frederick, Prince of Wales, and the Duke of Marlborough. It is likely that he received artistic training from Jan Wyck before 1700.[1] Wootton may have begun life as a page to the family of the Dukes of Beaufort. His earliest surviving dated work is the equine portrait Bonny Black (1711).[1] He remained active until his death in 1764, based in the capital of English horse racing at Newmarket, and producing large numbers of portraits of horses and also conversation pieces with a hunting or riding setting. He acquired a classicising landscape style based on that of Gaspard Dughet, which he used in some pure landscape paintings, as well as views of country houses and equine subjects.[1] This introduced an alternative to the various Dutch and Flemish artists who had previously set the prevailing landscape style in Britain, and through intermediary artists such as George Lambert, the first British painter to base a career on landscape subjects, was to greatly influence other British artists such as Gainsborough.[3] He is now somewhat eclipsed in the field of animal paintings by the later George Stubbs (1724–1806), who is considered technically superior. John Wootton died in London on 13 November 1764. Examples of his animal painting can be found in the Tate Gallery, London, the Virginia Museum of Fine Arts, Richmond, the Yale Center for British Art, in the Elizabethan Great Hall at Longleat and in The Portland Collection...

#39707 Very large and impressive hand painted reproduction oil portrait painting on canvas after “Patricienne de Venise” (Patrician of Venic...

Late 20th century hand painted reproduction oil on canvas portrait painting after “Best of Friends” by Harry Humphrey Moore, showing a young ...

"Oil on canvas ""The Lamentation"" painted after the original (circa 1629) by Sir Anthony van Dyck. This rendition of the burial of Jesus Christ shows ...

Late 19th century oil on canvas painting titled "Monks with Spirits," showing a pair of monks with a candle, peering at another monk, sleeping against a barrel, next to a drink pitcher and goblet of wine. Attributed to Adolf Metzner, after the work of Eduard von Grutzner. Adolf Metzner was an Indianapolis pharmacist and artist who served in the Civil War and moved to Hamilton, Ohio where he painted copies of Grutzner's whimsical depictions of monks in everyday life. "Eduard Theodor Ritter von Grützner (1846 - 1925) Born into a land-owning family in Upper Silesia on May 26, 1846, he showed an early interest in painting and drawing and became well known for his figure and genre paintings, especially those of monks. In 1864, with the help of an architect Hirschberg, he left home for art education at the private school of Herman Dyck in Munich. In his first semester, he transferred to the Classical Art class of Johann Georg Hiltensperger and Alexander Ströhuber, where the students learned about the aesthetic ideals of antiquity. In 1865, Grützner joined the painting class of Hermann Anschütz at the Munich Academy. Meanwhile, he also sought advice and inspiration with Carl Theodor von Piloty until he was taken into his class in 1867. Piloty's class was packed with aspiring artists from around the world, from Hungary, Greece, Germany, Russia, and Poland. After three years under Piloty, Grützner left the academy. In 1870 he moved into his own studio in the garden house of Schwanthalerstraße 18 in Munich. He quickly began to produce one painting after another. He made his career in Munich and was very successful. It was reported by artist and writer Friedrich Pecht in the journal Die Kunst für Alle (Art for All) in 1886: "the painters Eduard Grützner and Ludwig Willroider were granted the title of "professor" by Luitpold, Prince Regent of Bavaria. In 1880 he was awarded the Order of Merit of St. Michael (Knight...

(1935 - ) Oil on canvas; 24" x 36". Fellows grew up in California where he worked as a cowboy and was an apprentice for four years to a saddle maker. He roped calves and steers on the rodeo circuit. Without formal art training he spent 10 years as a commercial artist and as an art director, later moving to Big Fork, MT to devote himself full time to painting. His studio contains a serious collection of early western guns, Plains Indian artifacts...

Oil painting on canvas of fruit with bird nest, butterflies, insects, vegetables and Foliate entangled background. presented in a gilt and parcel black painted wooden frame. After ...

Equestrian Print, Heywood Hardy. A fine photogravure after the original painting by Heywood Hardy titled 'Too Late'. The 'romantic' print depicts a young couple leaving the church w...

American ebonized and gilt framed oil painting of Greyhound paddle boat.  

These extraordinary ‘paintings’ were created using coloured grains of sand rather than paints. Each is after an original painting by Philip James de Loutherbourg. The first scene shows the Battle of Hastings with a central mounted figure, presumably William the Conqueror, with a red plume in his helmet, raising his sword against a fighter on foot. A printed version of this image, shown above, was made by William Bromley. (See the British Museum registration number 1858,1009.115 for a fine impression.) The second scene, composed with a similar central mounted knight with a raised axe (sword in the original) represents Richard the Lionheart in combat against Saladin at the Battle of Acre. In this case the print was made by Anker Smith...

Dark and brooding oil painting applied with a heavy impasto relief technique titled "Outburst." Framed in aluminum and walnut. Signed and titled in verso. Most likely an early abstract work by Gerald...