In the early 18th and 19th century it was fashionable for wealthy British families to send their sons, and very occassionally daughters, on a grand tour of Europe. The Tour could last up to two years and was to introdue them to art, history and the culture of Italy in particular. For some, it was a decadant trip, for others, an escape from some scandal. The journey itself was fraught with dangers, depending on the route they took - rough seas, highwaymen and crossing the Alps. Once in Venice, every Grand Tourist wanted to leave with a Caneltto painting as a souvenir. Many artists also undertook a tour and painted their way across Europe and Italy. They captured Vesuvius erupting, Lady Emma Hamilton performing in Naples and all the wonderful bridges of Venice, still a very popular holiday destination. We have a lovely selection of paintings of Venice below for you to enjoy.
Germain Fabius Brest (1832-1900) - Gondolas in a Venetian Canal
This fabulous vibrant French Victorian Venetian landscape oil painting is by noted artist Germain Fabius Brest. It was painted circa 1865 when Brest was painting classical Venetian scenes where great architecture is populated with vibrant figures. In this painting we have gondolas, bridges, people going about life, wonderful architecture and perspective, the play of light and shadows and all with great colouring beneath a vivid blue sky. This painting is a fantastic example of Brest's work and stands out amongst Victorian Venetian landscapes generally.
An original watercolour dated 1881 of Venice from the lagoon with boats and the Doges Palace in the distance. It was painted by Robert Weir Allan who was a well travelled Scottish artist and is well known for his watercolour and oil paintings of landscapes and seascapes. This is a lovely example of a late 19th century Scottish Impressionistic watercolour and a good example of his work.
Signed right Robert W Allan and dated 1881.
Provenance. Scottish private collection. John Gibson Glasgow Gallery.
A fine watercolour by Scottish Glasgow Boy artist Thomas Millie Dow RSW NEAC which is signed and dates to circa 1900. It depicts a Venice scene in the muted Scottish tradition of Waterson, Herald and Whistler. A fine painting in a gilt gallery frame.
Be kind, for everyone you meet is fighting a battle you know nothing about. Celebrating World Mental Health Day. Something that often lifts the spirits is to get out in nature and go for a walk, be by water or amongst trees and let nature work its magic to soothe our souls. If you can't do that today, just looking at this painting is deeply relaxing.
William Young (1845-1916) - Loch Eck, Scotland.
This breath taking Scottish Victorian landscape oil painting is by much exhibited landscape artist William Young RSW. Entitled Loch Eck and painted circa 1908, this particular location was a favourite of Young's and he has perfectly captured its majesty. He exhibited several paintings under the title Loch Eck and this may well have been one of them. In the foreground is a sandy shore with boulders and fir trees to the right. Loch Eck then stretches out before us with mountains bordering it on the right and beyond and lower land and trees to the left. The masterpiece of the painting is the wonderful reflections of the mountains in the tranquil waters of the loch and the varied shades of green - just breath taking. This is a painting one would never get tired of admiring and is an excellent example of Young's work.
Loch Eck is a freshwater loch located on the Cowal peninsula, north of Dunoon, Argyll and Bute, Scotland. It is seven miles (11 kilometres) long. Along with Loch Lomond, it is the only naturally occurring habitat of the Powan fish.
Interior paintings, also known as Chamber Art, depicts the interior decoration of a room or building. It shows the era, design and function of the room as well as the interest and social status of the owner. Interiors came into being in Renaissance art and developed further at the beginning of the 17th century, primarily in Dutch art. They show the everyday lives of people and their objects, often depicting a living room, kitchen and sometimes a bedroom. In portraits, the interior is a backdrop for the main subject but in interiors the room is often empty of people and the furnishings, textures, light, windows and hearths are the key elements. Sometimes the interior painting does include a figure, especially if an artist's studio, but they are at a distance in the room, small in perspective and the emphasis is still on the interior itself. Interiors show the secret, private world of an individual and have a peaceful charm about them.
Annie Rose Laing (1869-1946) - Interior with Lady Reading
This superb Scottish Edwardian Impressionist interior oil painting is by noted Scottish female artist Annie Rose Laing. Painted circa 1910, the composition is the interior of a room with a lady stood between a table and writing desk, reading a letter. The whole scene has multiple shades of blue - on the window drapes, tablecloth, writing desk and the lady's dress. By contrast, splashes of red are on the tulips on the table, floor rugs and side of the writing desk. In the foreground one can just see the edge of a frame of a picture on an easel and another small painting above the writing desk. On the near right is the edge of a thick green velvet curtain at the door. One has the sense of peeping into a private, intimate world. This is an excellent example of a Scottish female artist at her prime.
Signed lower left.
This superb RSA exhibited Scottish Edwardian interior oil painting is by Glasgow Boy artist Alexander Ignatius Roche. It was painted circa 1914 when Roche was living at 8 Royal Terrace, on Calton Hill, a very prestigious property in Edinburgh, now the Halcyon Hotel. The painting is a view of Roche's studio, quite possibly one of the rooms at the above address. The painting was exhibited at the Royal Scottish Academy the following year, no. 333 entitled The Studio. The painting shows Roche beneath the vast window in his studio against a red wall that meets pale floorboards. Various items and furniture are scattered about. The balance of the white window and pale floorboards with the red wall intersecting is perfect. A really lovely example of this great Glasgow Boy artist's work and a very personal piece showing his inner sanctum.
Signed lower right.
Provenance Exhibited at the Royal Scottish Academy 1915 no. 333, entitled The Studio.
Patrick William Adam (1852-1929) - The Drawing Room
This superb exhibited Scottish interior oil painting with excellent provenance is by noted artist Patrick William Adam. Painted in 1915 it was exhibited that year at the Royal Scottish Academy and entitled the Drawing Room, 27 Drumsheugh Gardens which is in the Haymarket area of Edinburgh. It was lent for exhibition by its owner, J R Findlay who was Sir John Richie Findlay (1866-1930) 1st Baronet and Chairman of the National Galleries of Scotland and for a long time Chairman of the Edinburgh College of Art. He was also an original member of the Royal Fine Art Commission for Scotland. The painting is of a magnificent drawing room with a table with white flowers, possibly narcissi on in the middle. To the left is a glass cabinet with ornaments and to the right are several paintings on the wall in beautiful gilt frames, caught in the light. although the walls are quite dark, the section of wall below the dado rail is light yellow as are the coving and ceiling, really lightening the painting. There are numerous other ornaments and vases in the room and we can just see the edge of a much larger painting to the left. The detail and brushwork are superb as is the depiction of glancing.This is an excellent example of Adam's work with very good exhibition and ownership provenance and a really
beautiful Scottish interior oil painting.
Signed lower right and dated 1915.
Provenance Exhibited at the Royal Scottish Academy in 1915 no. 281 entitled The Drawing Room, 27 Drumsheugh Gardens (Haymarket Edinburgh) Lent by J R Findlay esq.
We are celebrating National Grandparents Day UK with this lovely painting of a grand mother and her grand daughter conversing and sharing time doing craftwork. Teaching the younger generation skills such as handicrafts, cooking, gardening etc is a lovely way for the different generations to spend time together and bond and are times that one can look back on with happy memories. The biography of Devas is interesting as well and worth a read.
Anthony Devas (1911-1958)
Portrait of Grandma and Grand Daughter in an Interior
This lovely British interior portrait oil painting is by noted British Slade School artist Anthony Devas. Painted circa 1940 the painting is of a seated grandmother and grand daughter in a lovely living room. The grandmother has stopped her knitting to listen to her animated grand daughter. Behind them is a beautiful bouquet of flowers, a fireplace and a dresser with china. There is superb detail and brushwork. A lovely double portrait of grandma hood.
Inscribed on canvas margin.
Provenance. Prosper Devas, the artist's son.
Medium. Oil on Canvas. Size 16 x 20 inches and in good condition.
Frame. Housed a complementary stunning Bourlet frame, 27 inches by 33 inches framed and in good condition.
Biography. Anthony Devas (1911-1958) was a glamorous, accomplished and well-respected artist, specialising in charming and sensitive portraits and flower painting, especially in oils. He was born in Bromley, Kent, on 8.1.1911 and educated at Repton. He then studied at the Slade School from 1927 to 1930 under Professor Henry Tonks. There he was friendly with William Townsend and Geoffrey Tibble and others associated with the Euston Road School in the late 1930s. He also met there the writer and painter Nicolette Macnamara, whom he married in 1933. Devas held his first exhibition in 1936, and many others followed at regular intervals throughout his career, including at the Royal Academy. He had one-man shows at Coolings Galleries, Wildenstein, Agnew’s and the Leicester Galleries and the Royal Academy Summer Exhibitions. The Queen visited one such exhibition in 1942 and purchased one of his paintings.
He became a member of the Royal Academy and in 1953 was elected an Associate. He was a member of the New English Art Club and of the Royal Society of Portrait Painters. He was also a committed member of the Chelsea Arts Club and wrote regularly in the press on the arts scene. During the Second World War he worked as a Fire Guard and Air Raid Warden in Chelsea, where he lived for most of his life. He established a reputation as a fine portrait artist and in 1957 he painted a portrait of the Queen for the Honorary Artillery Company. He has painted many other well-known subjects, including prominent members of society, the Church and the military.
He is represented in many public collections today, including the Tate, which has his portrait of Dylan Thomas’ wife, Caitlin, who was his wife’s sister. He also has works in The Imperial War Museum, The National Portrait Gallery, the Arts Council and numerous provincial city galleries. For much of his life Anthony Devas was regarded as a glamorous society artist. In her book “Janey and me; growing up with my mother” by Virginia Ironside, she gives details of the “interesting, wild and dangerous life” led by the “roistering set” of artists and intellectuals, of which Devas and his wife were part in their area of London. Her mother had, she reported, a sexual liaison with Devas and a portrait that he subsequently painted of her became one of the many canvasses purchased by Rowntree and Co. in the 1950S and used as advertising for the Aero brand of chocolate. Anthony Devas died in London on 21.12.58. He died of a stroke following a long illness and is buried in Putney Vale Cemetery. He was just 47.
There was a memorial show of his work at Agnew’s in 1959, and further shows have since been held at Graves Art Gallery, Sheffield in 1991 and Tenby Museum and Picture Gallery in 1992. The editorial piece in the catalogue to the Agnew’s shows is written by his contemporary Christopher Sykes, who describes his handsome youthful looks and his “curious mixture of elegance and lack of convention.” He was passionate that paintings should be essentially representational and accessible to all. He loved life and had an irrepressible sense of humour.
Peter L Field, born 1920 was a painter in oils, printmaker and teacher. He was born in Winson in Gloucestershire. He studied at Cheltenham School of Art, 1937-9, with Seaton A White, then at Goldsmiths College London, 1946-49 under Clive Gardiner. After teaching in Paignton and Swindon he went to Birmingham, retiring in 1982 as head of the art and design faculty at City of Birmingham Polytechnic. He showed at The Royal Academy and in the provinces and Swindon Museum and Art gallery hold his works.
We have a wide selection of Field's work from a family collection, ranging from some lovely vibrant still Lifes of fruit such as Still Life of Pears on a purple background, right, to assemblage and abstracts.
Green and Wood Assemblage Abstract Landscape, right.
Created circa 1955 this fantastic assemblage work is made of wood on board and hung as a portrait. The lower three quarters are vertical panels of wood the same height and painted green, grey and bare wood. Above them is a band of green paint and a horizontal curved slither of black wood. The board above this is white with a bare wood panel of almost a half circle, suggestive of the sun. As a whole, the composition really works and the colours are very pleasing to the eye. This is a fantastic example of Field's assemblage work from this period.
Red on Orange and Green Abstract Landscape
Painted circa 1955, oil on canvas and hung as a landscape, the composition is red oblongs on a mostly red and orange background with green at the top of the work. It is really pleasing to the eye and the bold brushwork and heavy impasto throughout are superb. This is a fine example of Field's abstract oil painting from this period.
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Be kind, for everyone you meet is fighting a battle you know nothing about. Celebrating World Mental Health Day. Something that often lifts the spirits is to get out in nature and go for a walk, be by water or amongst trees and let nature work its magic to soothe our souls. If you can't do that today, just looking at this painting is deeply relaxing.
