All Arthur Devis Oil Paintings

1712-1787 English By 1728 he had left Preston, and the following year he was working in London for the Flemish topographical and sporting painter Peter Tillemans. There he specialized in landscape painting and copying various works in Tillemans studio after Marco Ricci, Giovanni Paolo Panini and Jan van Bloemen. Devis earliest known commission, Hoghton Towers from Duxon Hill, Lancashire (1735; priv. col., see 1983 exh. cat., no. 3), painted for Sir Henry Hoghton during a trip to Preston in 1734-5, shows Tillemans influence in its attention to detail and the use of thin, transparent paint. Thomas Lister with his Family (c. 1738; Chicago, IL, A. Inst.) demonstrates a similar interest in landscape, featuring the family group in Gisburn Park, Lancs. Devis had returned to London by 1742 and established himself as a painter of conversation pieces, with a studio in Great Queen Street. Roger Hesketh with his Family is typical of his work at this time; it shows how Devis transformed the intimacy of a Dutch 17th-century genre scene into an elegant interior with the group of sitters connected by formal, schematic gestures. Roger Hesketh stands apart, in a tastefully contrived pose, his legs crossed and right arm thrust inside his waistcoat. His son, Fleetwood, stands with his hand resting on a dog next to his wife, who is seated with an infant on her lap. The adjacent telescope, globe and marine paintings are intended to advertise Hesketh interest in astronomy and travel.
 

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Arthur Devis Mr Peter Ducane, Mary, nee Norris, his wife The Ducane Children oil on canvas


Mr Peter Ducane, Mary, nee Norris, his wife The Ducane Children
Mr Peter Ducane, Mary, nee Norris, his wife The Ducane Children
Painting ID::  76914
  1747(1747) Oil on canvas 63.5x43.2cms and 3. 63.5x46.2 cjr
  1747(1747) Oil on canvas 63.5x43.2cms and 3. 63.5x46.2 cjr

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Arthur Devis Triptych: Mr Peter Ducane, Mary, nee Norris, his wife and The Ducane Children oil on canvas


Triptych: Mr Peter Ducane, Mary, nee Norris, his wife and The Ducane Children
Triptych: Mr Peter Ducane, Mary, nee Norris, his wife and The Ducane Children
Painting ID::  78930
  1747(1747) Oil on canvas 1 & 2. 63.5x43.2cms, 3. 63.5x46.2 cjr
  1747(1747) Oil on canvas 1 & 2. 63.5x43.2cms, 3. 63.5x46.2 cjr

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Arthur Devis The Ducane Children Peter Ducane oil on canvas


The Ducane Children Peter Ducane
The Ducane Children Peter Ducane
Painting ID::  79172
  1747(1747) Medium Oil on canvas Dimensions 1 & 2. 63.5x43.2cms, 3. 63.5x46.2 cyf
  1747(1747) Medium Oil on canvas Dimensions 1 & 2. 63.5x43.2cms, 3. 63.5x46.2 cyf

Height    Width


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Arthur Devis Mr Peter Ducane oil on canvas


Mr Peter Ducane
Mr Peter Ducane
Painting ID::  81937
  Date 1747(1747) Medium Oil on canvas cyf
  Date 1747(1747) Medium Oil on canvas cyf

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Arthur Devis The brothers Boldero oil on canvas


The brothers Boldero
The brothers Boldero
Painting ID::  82732
  1752(1752) Medium Oil cyf
  1752(1752) Medium Oil cyf

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     Arthur Devis
     1712-1787 English By 1728 he had left Preston, and the following year he was working in London for the Flemish topographical and sporting painter Peter Tillemans. There he specialized in landscape painting and copying various works in Tillemans studio after Marco Ricci, Giovanni Paolo Panini and Jan van Bloemen. Devis earliest known commission, Hoghton Towers from Duxon Hill, Lancashire (1735; priv. col., see 1983 exh. cat., no. 3), painted for Sir Henry Hoghton during a trip to Preston in 1734-5, shows Tillemans influence in its attention to detail and the use of thin, transparent paint. Thomas Lister with his Family (c. 1738; Chicago, IL, A. Inst.) demonstrates a similar interest in landscape, featuring the family group in Gisburn Park, Lancs. Devis had returned to London by 1742 and established himself as a painter of conversation pieces, with a studio in Great Queen Street. Roger Hesketh with his Family is typical of his work at this time; it shows how Devis transformed the intimacy of a Dutch 17th-century genre scene into an elegant interior with the group of sitters connected by formal, schematic gestures. Roger Hesketh stands apart, in a tastefully contrived pose, his legs crossed and right arm thrust inside his waistcoat. His son, Fleetwood, stands with his hand resting on a dog next to his wife, who is seated with an infant on her lap. The adjacent telescope, globe and marine paintings are intended to advertise Hesketh interest in astronomy and travel.

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