Artist: Basil Hawkins ( - )
Artworks in Museum Collections: (87)
Click the artwork titles below to see actual examples of artwork or works of art relevant to works by Basil Hawkins.

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William Holman Hunt - Isabella and the Pot of Basil 1867-68 oil on canvas Delaware Art Museum
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Matthew Harris Jouett - Augustus Fielding Hawkins c. 1820 oil on wood National Gallery of Art American
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Anthony Walker The Chace. A Poem (London: G. Hawkins, 1757) [and] Hobbinol, or the Rural Games. A Burlesque Poem, in Blank Verse by William Somervile (London: G. Hawkins, 1757) Book with 8 etchingswith engraving ( 5 in first part, 3 in second) 1757
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Anthony Walker Frontispiece in the book The Chace. A Poem (London: G. Hawkins, 1757) [and] Hobbinol, or the Rural Games. A Burlesque Poem, in Blank Verse by William Somervile (London: G. Hawkins, 1757) etching with engraving 1757
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Anthony Walker Plate opposite page 70 in the second part of the book The Chace. A Poem (London: G. Hawkins, 1757) [and] Hobbinol, or the Rural Games. A Burlesque Poem, in Blank Verse by William Somervile (London: G. Hawkins, 1757) etching with engrav
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Anthony Walker Plate opposite page 48 in the second part of the book The Chace. A Poem (London: G. Hawkins, 1757) [and] Hobbinol, or the Rural Games. A Burlesque Poem, in Blank Verse by William Somervile (London: G. Hawkins, 1757) etching with engrav
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Anthony Walker Plate opposite page 21 in the second part of the book The Chace. A Poem (London: G. Hawkins, 1757) [and] Hobbinol, or the Rural Games. A Burlesque Poem, in Blank Verse by William Somervile (London: G. Hawkins, 1757) etching with engrav
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Anthony Walker Plate for Book I opposite page 36 in the book The Chace. A Poem (London: G. Hawkins, 1757) [and] Hobbinol, or the Rural Games. A Burlesque Poem, in Blank Verse by William Somervile (London: G. Hawkins, 1757) etching with engraving 1757
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Anthony Walker Plate for Book I opposite page 9 in the book The Chace. A Poem (London: G. Hawkins, 1757) [and] Hobbinol, or the Rural Games. A Burlesque Poem, in Blank Verse by William Somervile (London: G. Hawkins, 1757) etching with engraving 1757
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Anthony Walker Plate for Book 3 opposite page 94 in the book The Chace. A Poem (London: G. Hawkins, 1757) [and] Hobbinol, or the Rural Games. A Burlesque Poem, in Blank Verse by William Somervile (London: G. Hawkins, 1757) etching with engraving 1757
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Anthony Walker Plate for Book 4 opposite page 104 in the book The Chace. A Poem (London: G. Hawkins, 1757) [and] Hobbinol, or the Rural Games. A Burlesque Poem, in Blank Verse by William Somervile (London: G. Hawkins, 1757) etching with engraving 1757
The Metropolitan Museum of Art -
Don Quixote and Sancho Panza Entertained by Basil and Quiteria, 1863? Gustave Doré (French, 1832-1883)Oil
Museum of Fine Arts -
Gilbert Stuart, American, 1755-1828 Mrs. William Hunt (Jane Bethune) 1819 Oil on panel 68.58 x
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William Sidney Mount Captain Daniel S. Hawkins oil on wood panel 1850
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Basil Beattie - Tell Me 1992 oil on canvas Birmingham Museums and Art Gallery British
The Metropolitan Museum of Art -
Mrs. John Puget (Catherine Hawkins) Gainsborough Dupont (British, born about 1754, died 1797)Oil on copper;
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John Kay Hon. Basil Cochrane of Ochiltree (d. 1788); Commissioner James Edgar (d. 1799) etching 18th - 19th century
Museum of Fine Arts -
Marked by William Shaw II, free 1748 Marked by William Priest, free 1749, died between
Museum of Fine Arts -
John Singleton Copley, American, 1738-1815 Thomas Lane and His Sister Harriot about 1792 Oil on
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William L. Hawkins - Conquest of the Moon #1 1984 enamel paint on maso High Museum of Art American
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Ezekiel Cooper Hawkins - Ethan Stone mid 1840's hand-colored daguerr Cincinnati Art Museum American
Museum of Fine Arts -
John White Alexander, American, 1856-1915 Isabella and the Pot of Basil 1897 Oil on canvas
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George Stubbs Tygers at Play Etching with engraving 20th century
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George Stubbs The Anatomy of the Horse (London: for the author, 1766) Book with 24 etchings with engraving 1766
J. Paul Getty Museum -
Tools with Blueprint
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George Stubbs First of two plates for the First Anatomical Table of the Skeleton of a Horse explained, which is the third plate in the book, The Anatomy of the Horse (London: printed by J. Purser, for the author, 1766) Etching with engraving 1766
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George Stubbs Plate for the Second Anatomical Table of the Skeleton of a Horse explained, which is the seventh plate in the book, The Anatomy of the Horse (London: printed by J. Purser, for the author, 1766) Etching with engraving 1766
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George Stubbs Plate for the Third Anatomical Table of the Skeleton of a Horse explained, which is the tenth plate in the book, The Anatomy of the Horse (London: printed by J. Purser, for the author, 1766) Etching with engraving 1766
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George Stubbs Second of two plates for the First Anatomical Table of the Skeleton of a Horse explained, which is the fourth plate in the book, The Anatomy of the Horse (London: printed by J. Purser, for the author, 1766) Etching with engraving 1766
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George Stubbs Second of two plates for the First Anatomical Table of the Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, Glands, and Cartilages of a Horse explained, which is the second plate in the book, The Anatomy of the Horse (London: printe
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George Stubbs First of two plates for the Second Anatomical Table of the Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, Glands, and Cartilages of a Horse explained, which is the fifth plate in the book, The Anatomy of the Horse (London: printe
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George Stubbs First of two plates for the First Anatomical Table of the Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, Glands, and Cartilages of a Horse explained, which is the first plate in the book, The Anatomy of the Horse (London: printed
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George Stubbs First of two plates for the Fifth Anatomical Table of the Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, Glands, and Cartilages of a Horse explained,which is the fourteenth plate in the book, The Anatomy of the Horse (London: pri
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George Stubbs First of two plates for the Fifth Anatomical Table of the Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, Glands, and Cartilages of a Horse explained, which is the thirteenth plate in the book, The Anatomy of the Horse (London: pri
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George Stubbs Second of two plates for the Second Anatomical Table of the Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, Glands, and Cartilages of a Horse explained, which is the sixth plate in the book, The Anatomy of the Horse (London: printe
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George Stubbs First of two plates for the Third Anatomical Table of the Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, Glands, and Cartilages of a Horse explained, which is the eighth plate in the book, The Anatomy of the Horse (London: printe
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George Stubbs Second of two plates for the Third Anatomical Table of the Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, Glands, and Cartilages of a Horse explained, which is the eighth plate in the book, The Anatomy of the Horse (London: print
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George Stubbs First of two plates for the Fourth Anatomical Table of the Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, Glands, and Cartilages of a Horse explained, which is the eleventh plate in the book, The Anatomy of the Horse (London: pri
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George Stubbs Second of two plates for the Fourth Anatomical Table of the Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, Glands, and Cartilages of a Horse explained, which is the twelfth plate in the book, The Anatomy of the Horse (London: prin
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William Richardson Bolton Abbey: The Choir, first plate opposite page 60, and forty-second plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph 1848
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William Richardson Easby Abbey: The Refectory, first plate opposite page 76, and sixty-third plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph 1848
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George Stubbs Plate for the Fourteenth Anatomical Table of the Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, Glands, and Cartilages of a Horse, viewed posteriorly, explained, which is the twenty-third plate in the book, The Anatomy of the Hor
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George Stubbs Plate for the Thirteenth Anatomical Table of the Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, Glands, and Cartilages of a Horse, viewed posteriorly, explained, which is the twenty-first plate in the book, The Anatomy of the Horse
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George Stubbs Plate for the Twelfth Anatomical Table of the Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, Glands, and Cartilages of a Horse, viewed posteriorly, explained, which is the twenty-first plate in the book, The Anatomy of the Horse (L
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George Stubbs Plate for the Eleventh Anatomical Table of the Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, Glands, and Cartilages of a Horse, viewed posteriorly, explained, which is the twentieth plate in the book, The Anatomy of the Horse (Lon
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William Richardson Roche Abbey: Gateway, on page [41], and twenty-fourth plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph on text page 1848
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William Richardson Fountains Abbey: Southwest View, second plate opposite page 40, and twenty-second plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph 1848
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William Richardson Kirkham Priory: Gateway , first plate opposite page 80*,and seventy-sixth plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph 1848
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William Richardson Byland Abbey: Looking West, first plate opposite page 48, and twenty-eighth plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph 1848
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George Stubbs Plate for the Tenth Anatomical Table of the Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, Glands, and Cartilages of a Horse, viewed in front, explained, which is the nineteenth plate in the book, The Anatomy of the Horse (London: pri
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George Stubbs Plate for the Ninth Anatomical Table of the Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, Glands, and Cartilages of a Horse, viewed in front, explained, which is the eighteenth plate in the book, The Anatomy of the Horse (London:
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George Stubbs Plate for the Sixth Anatomical Table of the Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, Glands, and Cartilages of a Horse, viewed in front, explained, which is the fifteenth plate in the book, The Anatomy of the Horse (London:
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George Stubbs Plate for the Eighth Anatomical Table of the Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, Glands, and Cartilages of a Horse, viewed in front, explained, which is the seventeenth plate in the book, The Anatomy of the Horse (London
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George Stubbs Plate for the Seventh Anatomical Table of the Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, Glands, and Cartilages of a Horse, viewed in front, explained, which is the sixteenth plate in the book, The Anatomy of the Horse (London:
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George Stubbs Plate for the Fifteenth Anatomical Table of the Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, Glands, and Cartilages of a Horse, viewed posteriorly, explained, which is the twenty-fourth plate in the book, The Anatomy of the Horse
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William Richardson Fountains Abbey: Interior of Choir and Nave, first plate opposite page 40, and twenty-first plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph 1848
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William Richardson Selby Abbey: North Porch, on page [57], and thirty-seventh plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph on text page 1855
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William Richardson Fountains Abbey: Ladye Chapel, on page [35], and twentieth plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph on text page 19th century
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William Richardson Southwest View, Whitby Abbey, second plate opposite p. 16, and fifth plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph with hand coloring circa 1843
Museum of Fine Arts -
Aiden Lassell Ripley, American, 1896-1969 Girl in a Yellow Dress (Valery Hersey) 1930 Oil on
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William Richardson Whitby Abbey: Transept, title plate for vol. 1 on p.[ 1], and first plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph with hand coloring mounted on book page 1843
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William Richardson Northeast View, Whitby Abbey, first plate opposite p. 16, and fourth plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph with hand coloring circa 1843
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William Richardson Whitby Abbey: Nave and Choir, on p. [11], and third plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph with hand coloring mounted on text page circa 1843
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William Richardson Rievaulx Abbey: Abbey in the Vale, first plate opposite page 34, and seventeenth plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph with hand coloring circa 1843
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William Richardson Kirkstall Abbey: Northwest View, first plate opposite page 20, and ninth plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph with hand coloring circa 1843
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William Richardson Mt. Grace Priory: Exterior View, first plate opposite page 56, and thirty-fifth plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph with hand coloring circa 1848
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William Richardson Rievaulx Abbey: East End, on page [28], and sixteenth plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph with hand coloring mounted on text page circa 1843
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William Richardson Roche Abbey: West View, first plate opposite page 44, and twenty-fifth plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph with hand coloring circa 1848
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William Richardson Guisborough Priory: Guisborough Priory and the Vale of Cleveland, on page [49], and thirty-first plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph with hand coloring mounted on text
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William Richardson Bolton Abbey: West Front, second plate opposite page 60, and forty-third plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph with hand coloring circa 1848 - 1855
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William Richardson Selby Abbey: Interior of Nave, first plate opposite page 58, and thirty-eighth plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph with hand coloring circa 1855
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William Richardson St. Mary*s Abbey, York: West End, on page [21], and twelfth plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph with hand coloring mounted on text page circa 1843
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William Richardson Easby Abbey: Exterior of the Refectory, second plate opposite page 76, and sixty-fourth plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph with hand coloring circa 1848
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William Richardson Mt. Grace Priory: Gateway, on page [51], and thirty-fourth plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph with hand coloring mounted on text page circa 1848
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William Richardson Guisborough Priory: Interior Wall of the East End, first plate opposite page 50, and thirty-second plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph with hand coloring circa 1848
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William Richardson Byland Abbey: Gateway, on page [45], and twenty-seventh plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph with hand coloring mounted on text page circa 1848
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William Richardson Byland Abbey: Southeast View, second plate opposite page 48, and twenty-ninth plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph with hand coloring circa 1848
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William Richardson St. Mary*s Abbey, York: North Side of Nave, first plate opposite page 26, and thirteenth plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph with hand coloring circa 1843
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William Richardson Kirkstall Abbey: Interior, Nave and Choir, on page [17], and eighth plate in the book, The Monastic Ruins of Yorkshire (York: Robert Sunter, 1843-[1855]) Color lithograph with hand coloring mounted on text page circa 1843
Museum of Fine Arts -
Rembrandt Harmensz. van Rijn, Dutch, 1606-1669 Altered from Hercules Segers, Dutch, about 1589-90–about 1638 After
Museum of Fine Arts -
Rembrandt Harmensz. van Rijn, Dutch, 1606-1669 The Small Lion Hunt (with One Lion) about 1629
Museum of Fine Arts -
Rosalba Giovanna Carriera, Italian, (Venetian), 1665-1757 Portrait of a Woman Dressed with Jewels Pastel on
Museum of Fine Arts -
Rosalba Giovanna Carriera, Italian, (Venetian), 1665-1757 Portrait of a Woman Wearing a Laurel Wreath Pastel
Museum of Fine Arts -
Harriet Powers, American, 1837-1911 Pictorial quilt United States, Georgia, (Athens), 1895-98 Pieced, appliquéd, and printed
Museum of Fine Arts -
Rembrandt Harmensz. van Rijn, Dutch, 1606-1669 Rembrandt"s Mother Seated at a Table about 1631 Etching
The Metropolitan Museum of Art -
View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm—The Oxbow, 1836 Thomas Cole (born England,
Museum of Fine Arts -
Apollo Pursuing Daphne (from the series, The Story of Daphne) Tapestry France, (Paris), Second or

Artnews Articles and Exhibition Information: (10)
Click on any of the links below to read about artnews or exhibitions related to Hawkins

Julia Dean Gallery: Call for Artists: The Berenice Abbott Prize for an Emerging Photographer
Judges: Michael Grecco, commercial photographer
G.Ray Hawkins, owner, G. Ray Hawkins Gallery
Brian Storm, president, MediaStorm
Amy Kawadler, Canon’s Professional Markets Rep Call, visit the website or e-mail for informati...
Woman Made Gallery: Autobiographies: Juried by Mary K. O'Shaughnessy

Priska C. Juschka Fine Art: Cool Times: Works by Dan Asher, Nin Brudermann, Ko Kyong-Ho, Stuart Hawkins, Daniel Mirer, Dean Monogenis, Massimo Vitali and Wiebke Maria Wachmann.
Dan Ashers photographic portraits of icebergs capture the beauty of these solemn white sentinels. Austrian Nin Brudermann also finds beauty in far-flung locales, but the subjects of her photos are sites of extreme human intervention. In a multim...
Texas Society of Sculptors: Real Art for Real People
The following artists were selected by juror Dan Hawkins:     Reynaldo Alaniz
  Sylvia Knust
Theresa Bayer
  George Mcfarland
Sandy Bonsell
  Bobby Pearl
Suzanne Bullock
  Dan Pogue
Nancy Ca...
Longview Museum of Fine Arts: Benini: From Earth to the Stars - A Thirty-Year Journey
For 15 years now, Benini set aside stretched canvas and square corners to create colorful, seemingly free-floating compositions in sizes from several feet to 40 feet. The imagery dictates the outer edges and shape of the pieces which are ac...
National Gallery of Victoria: Peter Booth: Human / Nature
Booth was born in Sheffield, England, in November, 1940. The Booth family migrated to Australia in 1957, and settled in Altona. He worked in the steel mills alongside his father until he went to the National Gallery School in 1962 to study paintin...
Gomez Gallery: Body Piercing: Andrew Dunbar, Photographer
Through this photography, Dunbar takes piercing from a sub-culture to popular culture, exposing custom made body jewelry designs in a beautiful and often cheeky manner. Dunbar's unique photographic style has positioned him as a contemporary ma...
Columbus College of Art and Design: Reverent Writings: Scribed Cultural Journals
In stark contrast to how we communicate today through e-mail, voice mail, and computer-generated greeting cards, viewers will be taken back to times when superior craftsmanship and embellishment were used to convey the emotion and beauty of ...
Palm Beach Institute of Contemporary Art: I Feel Mysterious Today: 25 International Emerging and Established Contemporary Artists
I feel mysterious today both emphasizes and reflects a current sensibility that gives privelage to allusive and subjective modes of expression over the more direct and strident political positioning characteristic of art celebrated in the globalis...
Smithsonian, National Museum of American Art and its Rewick Gallery: Treasures to Go!
`Storing treasures that attract more than half a million visitors each year was not an option the staff wanted to consider,` said Elizabeth Broun, director of the Smithsonians American Art Museum. Instead, in January the museum is laun...

Further Artwork and Information:

Basil Hawkins Online
Basil Hawkins - Artist Painting Prices, Art Appraisal, Artist Paintings [AskART.com]
Basil Hawkins (1782 - 1857) Biography, Artwork Images, Exhibitions, Reviews
Artstore
(Samuel HAWKINS - Basil HENDERSON )
**hawkins** - OneLook Dictionary Search
Warner Bros. Cartoon Releases - 1948
CD Review: Eclectic Collection
Eisteddfod Updates
(Samuel HAWKINS - Cheryl Gay SCHAEFER )

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