Jamb Ltd. Wall Decorations

This bucolic representation of the English countryside, animated by a hunting scene in the foreground, is characteristic of the tradition for sporting pictures that developed in Brit...

This powerful hunting scene is closely associated to the work of Antwerp-born seventeenth century painter and draughtsman Frans Snyders, widely considered the “progenitor of Flemish Baroque still-life and animal painting.” Having grown up surrounded by artists, Snyders was initially apprenticed to Pieter Brueghel the Younger (1564-1637/38), scion of a well-established family of painters. Like many of his contemporaries in Northern Europe, to complete his education he then travelled to Italy, staying mainly in Rome and Milan (1608-09). Once back in Flanders, his profile as a skilled young painter – who had refined his craft by studying the masters of Italian art – came to the attention of Sir Peter Paul Rubens (1577-1640), in whose Antwerp studio Snyders entered as an assistant in about 1610, and with whom he would go on to collaborate on a number of important commissions for years to come. In 1611, Snyders further strengthened his ties with the local community of painters by marrying Margaretha de Vos, sister to Cornelis and Paul de Vos, two artists with whom he would also regularly collaborate. Thanks to the lessons learned in Italy and in Rubens’ studio, Snyders soon achieved the ability to create rhythmic and dynamic compositions, infused with vibrant colours and powerful naturalistic effects. Centred on the theme of the still life, his market scenes and representations of richly stocked pantries and larders embodied the buoyant and confident spirit of seventeenth-century Antwerp, a trading port with a wealthy merchant class and aristocracy (Still Life with Dead Game, Fruits, and Vegetables in a Market, 1614, The Art Institute of Chicago; Still-Life with Fowl and Game, 1614, Wallraf-Richartz Museum, Cologne). Flowers from all seasons and dead game are portrayed alongside baskets overflowing with fruit, precious gilt vessels and Chinese Wanli porcelain...

This carefully observed view of Leeds Castle, enlivened by an array of figures and animals moving across its verdant grounds and medieval moat, is an important testimony of the build...

The son of a heraldic painter, Edmund Bristow was born in Berkshire in 1787 ( (1 Apr 1787 – 12 Feb 1876), and lived all his life locally in Eton, after having attended school in near...

A charming, small-scale painting of a brown and white calf.

Most likely French, c.1790/1800, painted on slate with carved giltwood frame.

A Late 18th, Early 19th Century Framed Drawing of Rue de Campo Vaccino, Rome; by Jacques Francois Amand Red chalk on paper. Signed lower left, J Aman, and inscribed with title. Jacq...

A 19th Century Chinese School Painting, in the manner of Giuseppe Castiglione (also by the name of Lang Shi’ning) Following the larger painting known by the title, “Kazaks presenting horses in tribute”, by Giuseppe Castiglione (Lang Shi’ning). This subtly executed copy of this original 18th Century artwork (1757, last photographs included), is a beautiful rendition of the Kazak people leading their horses in tribute to the seated Chinese Emperor (the original ink and paper on hanging scroll, is currently housed Ink at Réunion des Musées Nationaux). Painted onto canvas, with two decorative top hanging fixings. Giuseppe Castiglione was born in Milan on July 19th of 1688, and studied painting extensively in Genoa and Lisbon, and joined the Jesuits in the early 18th Century before being sent to Macao, China by the European Catholic Church. After travelling to Beijing where his artistic ability impressed the Emperor, Castiglione served as imperial artist to the Emperor, as well as his three successors Kang Xi...

A Small Late 18th Century Chinese Export Reverse Painted Mirror Depicting two coloured birds perched on a rocky outcrop, with four large peony blooms, the mirror plate with a sligh...

Two 19th Century French School Watercolours, of the Triumphal Arch at Glanum Depicting two sets of contemporary visitors (Roman, and likely 19th Century) to the Triumphal Arch of Glanum, one half of the famously preserved Roman monuments ‘Les Antiques...

An Early 18th Century Oil on Panel Capriccio of Architectural Ruins In later frame with small brass hanging loop, showing an arcadian landscape setting, with shepherds and their dog...

An 18th Century Painting of ‘Scamp’, the Duke of Devonshire’s Racehorse; signed John Wootton A charming equestrian painting, depicting the third Duke of Devonshire’s beloved racehor...

Oil on canvas. English, late 18th-early 19th century.

On linen ground, with central undulating stalk with perched birds and blossoming berry laden branches, embroidered in rich and colourful ‘worsted’ wool yarns. Of portrait, rectangula...