Vintage Dog Painting Oil Canvas Animal Canine Painting Artwork For Sale
George Armfield (1808 - 1893)
Antique 19th C Vintage Dog Painting Canine Artwork
"Three Spaniels Chasing Ducks in the Marsh" circa 1864
Spectacular 19th Century “Chasing in the Marsh” oil on canvas by one of the most recognized and gifted Dog/Canine Artists of the 19th Century.
George Armfield (UK, 1808 - 1893) oil on canvas, hunting dogs in marsh.
Unsigned. Label verso inscribed " attr Armfield", George Armfield (1808-1893).
Dimensions
Oil on canvas, 20" x 24". Framed 24" x 28".
Artist or Maker: Armfield
Condition Report
Relined. Minor loss at center.
George Armfield is one of the most prolific animal painters of the 19th century. He is one of the finest animal painters on record.
This particular stunningly detailed outdoor “Dogs Chasing in the Marsh” is one of his finest works we have ever encountered and we've seen about 100 Armfield paintings over the past 25 years. This is one of the best George Armfield's we have ever seen surface on the market. Even nicer then the extraordinary piece we sold about 15 years ago. A magnificent museum quality work of Art from one of the very best animal/dog artists.
NOTE: His more superior works like these outdoor "Chase" scenes command significantly more than his smaller, dark indoor and less impressive outdoor scenes (most which were incorrectly attributed to George but are actually that of his far less skilled Son (or brother) Edward..
A similar painting sold at auction in 2008 for $22,500.
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**SPECIAL NOTE: We recently acquired another very similar work of George Armfield, Signed TWICE. Take a look (Below) at the breath-taking side-by-side view of this gorgeous painting next to the 2nd George Armfield we just acquired.
As a matter of fact, the 2nd painting (A) is so similar to this one (B) that I highly suspect it was done at the same time. And like A , B (this one) has the identical detailed stunning landscape and striking marsh greenery that Only Armfield could accomplish at that level of mastery. Artwork B (This one) is just a little larger at 20x24 vs 18x24” for work A.
THIS painting here is Painting B
NOTE: Ask us about a special package deal to acquiring BOTH of these extraordinary Armfield masterpieces to showcase in your home side by side. A most stunning presentation. * See image above of these two amazing pieces of art side by side.
Two beautiful works of art alone, but stunning together ..
Like gorgeous twin sisters, beautiful standing alone, but together a striking complimentary breathtaking presentation.
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* See enlargeable images above and below.
We have collected and studied George Armfield and have discovered that he had a son or brother that tried to copy his work, but with far less skill. The son’s work was typically inside, in dark settings of dull color and lacked the detail, exceptional remarkable gift to create beautiful canine figures with stunning natural landscapes like his unequaled grassy march, skies and streams. This is what differentiates the lesser skilled Edward Armfield from the original George. And if you’ve ever searched for “George Armfield” sales, you’ll see many (or most) of the works sold do NOT appear to be the Original superior skilled George but that of Edward ..
Note: George Armfield's work should not be confused with the less accomplished Edward Armfield. Confusing is that his son (or brother), Edward Armfield, painted in a very similar style, often emulating his subjects and the two are often confused by the less experienced dealer and collector. As mentioned above, it’s his more complicated outdoor “Chasing Through the Marsh” scenes that could not be copied without a blatant and obvious distinction. The often attributed to George Armfield dark indoor scenes are almost certainly that of Edward.. And even Edward's outdoor scenes lack the extraordinarily luminous skies and background, bright intricate greenery, and energy of the “Chase”, that was George’s incomparable trademark.
We’ve been searching for 15 years and found what we believe to be one of the finest George Armfield’s paintings in existence !
Condition: Very good. Relined. Minor loss at center. * See enlargeable images above and below.
BIO:
George Armfield Smith (for by this name he was known until the year 1840) was born in Wales. (Actually Bristol: according to Armfield family information) His father was a painter, who for some time had a studio at 54, Pall Mall, London, (His father was the portrait painter William Armfield Hobday (1771-1831)) and from his father, George Armfield obtained any artistic tuition he may have received. George Armfield is probably the most prolific dog painter of the nineteenth century. He painted dogs almost exclusively and produced innumerable charming scenes of terriers surrounding rabbit holes, spaniels putting up mallard, ratting terriers, and groups of sporting dogs.
He first exhibited in the year 1839, at the British Institution, when he showed two pictures, the "Study of a Dog's Head" and "Terrier chasing a Rabbit." These works must have attracted notice, for in the Sporting Magazine of the following year, 1840, we find the first of a long series of his pictures which were engraved for that publication. In 1840 he exhibited for the first time at the Royal Academy, showing two pictures, "Fox and Wild Rabbits" and "Terrier and Rabbit," and, as the lists show, he continued to exhibit with regularity at both the Academy and the British Institution for the ensuing twenty years. He also sent pictures frequently to the Suffolk Street exhibitions.
The British Institution catalogue gives his address in 1839 as 15, Lamb's Conduit Passage; but if he resided there at this time, he could not have remained long, as he spent practically all his life at Camberwell, Clapham, and Brixton. His best period extended from 1840 to about 1869, and during these years his output was large. About 1870 his sight began to fail, and in 1872 he submitted to an operation on one of his eyes at Guy's Hospital, when Dr. Bader removed the lens. The operation was only partially successful, and his powers rapidly declined, he became the victim of fits of acute depression, in one of which he attempted to take his own life. He recovered from the self-inflicted wound, and continued to paint, but was able to work only with the aid of a powerful glass and on small canvases.
Note: Cvtreasures stamp Not on original
