David Forrester Wilson

Summer Haze, Early 20th Century Original Oil

Oil on canvas, signed lower right Image size: 33 1/2 x 56 1/2 inches (85 x 143 cm) Original gilt frame Provenance With the artist's son, Millie Dow Stott Esq., until 1912. Artist's Studio Sale, Christies, November 1913. Private Collection Exhibitions London, Royal Academy, 1895, no. 679. Paris, Societe de la Nationale des Beaux-Arts, 1896, no. 1179. Berlin, VII Internationale Kunstausstellung 1897. no. 3533. Manchester, City of Manchester Art Gallery, 1912, no. 339. In the 1890s William Stott exhibited regularly at the Royal Academy, mainly highly decorative works with subjects derived from classical mythology and literature. This painting was Stott's 1895 entry to the Royal Academy and was subsequently exhibited at the Paris Salon of 1896 and then on to the Berlin, VII Internationale Kunstausstellung 1897. Shakespeare was a favourite source for Victorian painters, and the tragic romance of Ophelia, from Hamlet, was an especially popular subject, featuring regularly in the Royal Academy exhibitions. The most popular and iconic image of Ophelia's death was, and is to this day, John Everett Millais's 1851 painting showing the confused and tragic Ophelia floating downstream on her back in a state of mad ecstasy, arms raised in a gesture of inevitable submission. However, although Stott chose not to pastiche this image, it seems highly likely that he was prompted to take up this subject, which had almost become a 'rite of passage' among Victorian painters, by the fact that in 1894 Millais's Ophelia was presented to the National Gallery of British Art by Sir Henry Tate. It appears that Stott was much influenced by John William Waterhouse...

Anna Zinkeisen 1901-1976 A Boxing Tournment Oil on canvas, signed lower right Image size: 29 x 36.5 inches (73 x 93 cm) Original hand made frame A Boxing Tournament is a vivid and impactful snapshot of a professional boxing match from the late 1920s/1930s. It depicts the Len Harvey vs. ‘Kid’ Nitram fight held at the Royal Albert Hall on 19th January 1928, which Zinkeisen went to watch. The umpire of this match was the well-known Sam Russell. Here, Russell is seen wearing a dinner jacket as well as a shirt - an indication that this was a match in a professional tournament. Both Len Harvey and 'Kid' Nitram were esteemed boxers. Harvey boxed at every weight division available at the time, from flyweight to heavyweight and became the light-heavyweight and heavyweight champion of the British Empire. During the Second World War Harvey joined the Royal Air Force as an officer. Anna enjoyed noticeable publicity from the painting at the time. She appeared in photographs, alongside her sketches for the painting, in numerous newspapers including The Daily Mail (31st January 1928) and The Sketch (8th February 1928). This painting is featured in Highly Desirable: The Zinkeisen Sisters & Their Legacy by Philip Kellaway, page 178 (Leiston Press, 2008). The Artist Anna Zinkeisen was born at Kilcreggan, Dumbartonshire on 29 August 1901, the daughter of Victor Zinkeisen, a timber merchant, and his wife Clare. In 1901 the family moved to Middlesex. Anna and her sister Doris attended Harrow School of Art before they both won scholarships to the Royal Academy Schools, where Anna studied sculpture from 1916-1921, winning several medals. She received a commission for some plaques from the Wedgwood company and although her designs were awarded a silver medal at the Exposition des Art Decoratifs in Paris in 1925, she decided to specialise in portrait painting and mural work. In 1935, Anna and her sister Doris Zinkeisen were commissioned by John Brown & Co. (Shipbuilders of Clydebank) to paint the murals in the Verandah Grill of the famous ocean liner the RMS Queen Mary. Their work can still be seen on the ship, now permanently moored in Long Beach, California. They also painted murals for the Queen Elizabeth. In 1941, during World War II, the Zinkeisen sisters were both employed as war artists for the North West Europe Commission of the Joint War Organisation of the British Red Cross Society and the Order of St John...

Oil on canvas, signed bottom left Image size: 30 x 25 inches (76.25 x 63.5 cm) Alice Headley Neave was the daughter of Dr Arthur Henry Headley Huc...

Oil on canvas, signed lower left Image size: 50 x 34 inches (127 x 86.25 cm) Hand made contemporary style frame This colourful painting depicts a group of swimmers as they throw themselves from a pier, into a cooling nearby body of water. Gurr has forever captured this movement, freezing these bodies in the air, mid-jump, with a constant promise that they will soon splash through the surface of the water below. Although bold and clearly quite abstract in nature, the details of this artwork are charming - a small child sits on the pier, already wrapped in a towel after his own watery dip. Note too how the nearest diver holds their nose with one hand, in an attempt to stop the water going in as they submerge. Lena Gurr had a prolific career in which she painted landscape scenes and still lifes but her most noted works are ones such as these, showing everyday city scenes that were laced with social commentary. Indeed, Gurr's noted that her artwork always aimed to show "the joys and sorrows of everyday life." During the course of her career Gurr's compositions retained emotional content as they evolved from a naturalistic to a semi-abstract cubist style. Discussing this trend, she once told an interviewer that as her work tended toward increasing abstraction she believed it nonetheless "must have some kind of human depth to it." Lena Gurr  Lena Gurr, born in Brooklyn in 1897, studied at the Brooklyn Training School for Teachers, the Educational Alliance Art School, the Arts Students League with John Sloan, and with Maurice Sterne in Paris as well as in Mentone and Nice, France. Gurr was a member of the Artists League of America, the National Association of Women Artists, the New York Society of Women Artists, the Brooklyn Society of Artists, Audubon Artists and the American Artists Congress. She exhibited in numerous exhibitions held by these organizations as well as the Whitney Studio Club, National Academy of Design, Virginia Museum of Fine Arts, Brooklyn Museum, and the 1939 World's Fair. Her work is included in the collections of the Biro-Bidjan Museum, Russia and the Library of Congress, where she has been selected as a "Curator's Choice" in the Smithsonian Archives of American Art. In addition to her career as a painter, lithographer and serigrapher, she also taught art in the New York City public school system. She had three solo exhibitions at the ACA Gallery in 1935, 1939 and 1945, and a retrospective in 1963. Notable among Gurr's colleagues - many of them WPA artists - were Mary Cecil Allen...

Oil on canvas Image size: 26 x 37 inches (66 x 94 cm) Period hand carved gilt frame The pictorial arrangement of the Holy Family, with various saints in a landscape, was very popular in sixteenth-century Venice, following the prototype of Giovanni Bellini. Possibly intended for private devotion, this picture is a representative example of the compositional type known as the sacra conversazione...

Oil on canvas, signed and dated '1879' bottom right Image size: 38 x 59 1/2 inches (96.5 x 151 cm) Ornate Orientalist style gilt frame Carl Werner Carl Friedrich Heinrich Werner wa...

Artist Unknown Medium: Oil on Canvas Dimensions: 16" x 13" (canvas) 22" x 19" (frame) Framed

This licensed Blend Cota oil on canvas painting of Wonder Women - Champion of Themyscria - oil on Canvas is brought to life utilizing Blend's own famous col...

Subject: Jewish American Family Bar Mitzvah with Rabbi Medium: Oil Surface: Canvas Country: United States In this painting, Joseph Wolins uses vibrant and complimentary colors and...

Medium: Oil on Canvas Signature: Signed Lower Left Saturday Evening Post Cover, July 21, 1956 This Falter cover was owned by Sarah Johansen, daughter of John Falter. She is the you...

Medium: Oil on Canvas with an Element of Collage Signature: Signed Lower Left Original cover illustration for The Saturday Evening Post, February 27th, 1954. The Post described, “...

Medium: Oil on Canvas Signature: Signed Lower Right Original cover illustration for The Saturday Evening Post, July 18, 1953. The Post described, “Gently, gently now, for both side...