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c. 1445 – May 17, 1510. Italian painter.

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Samuel Scott
Capture of the Spanish Galleon Nuestra Senora de Cavagonda by the British ship Centurion during the Anson Expedition

ID: 60742

Samuel Scott Capture of the Spanish Galleon Nuestra Senora de Cavagonda by the British ship Centurion during the Anson Expedition
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Samuel Scott Capture of the Spanish Galleon Nuestra Senora de Cavagonda by the British ship Centurion during the Anson Expedition


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Samuel Scott

1702-1772 British Samuel Scott Gallery (b London, c. 1702; d Bath, 12 Oct 1772). English painter. In 1725 a sea-piece ascribed to Scott appeared at auction in London. In 1727 he was appointed Accomptant in the Stamp Office, Lincoln's Inn Square, London, an office he held for 28 years at an annual salary.  Related Paintings of Samuel Scott :. | Capture of the Spanish Galleon Nuestra Senora de Cavagonda by the British ship Centurion during the Anson Expedition | Part of Old Westminster Bridge | Admiral Vernon capture of Porto Bello in 1739. | A wharf on the River Thames | covent garden pizza |
Related Artists:
Balthasar Anton Dunker
German, 1746-1807
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.
bernt notke
ca 1440-1509






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