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


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

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


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

Arthur Devis The Ducane Children Peter Ducane oil painting


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

Arthur Devis Mr Peter Ducane oil painting


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

Arthur Devis The brothers Boldero oil painting


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