Painted in 1860, perhaps deliberately in a British Pre-Raphaelite style. Notice the picture by Millais hanging to the right.
Friday, July 31, 2009
Philip Naviasky
[The Beach, Hastings]
signed Philip Naviasky 1924 l.l.
oil on canvas
22 x 30"
.
1894-1982
Thomas W. Holgate
[Fishing on the Thames]
signed T.W.Holgate l.l.
oil on board
9.5 x 13.5"
.
exh. 1899 - 1910.
Edwin Thomas Roberts - Early Morning
[Early morning, Vale of Heath from Battery Hill, Hampstead Heath]
signed Edwin Roberts l.r.
oil on canvas
24 x 36"
Thursday, July 30, 2009
Frederic Edwin Church - The Heart of the Andes
More than five feet (1.7 metres) high and almost ten feet (3 metres) wide, it depicts an idealized landscape in the South American Andes, where Church traveled on two occasions.
I don't often American artists but Church was much admired by Ruskin for his style and there is a fascinating story attached to this painting.
The Heart of the Andes was first exhibited publicly between April 29 and May 23, 1859 at New York's Studio Building on West 10th Street, the city's first "studio edifice" designed for artists. The event attracted an unprecedented turnout for a single-painting exhibition in the United States: more than 12,000 people paid an admission fee of twenty-five cents to view the painting. Even on the final day of the showing, patrons waited in line for hours to enter the Exhibition Room.
The installation of the work was as unique as its dimension and detail. There is no record of the appearance or arrangement of the Studio Building exhibit. It has been widely claimed, although probably falsely, that the room was decorated with palm fronds and that gaslights with silver reflectors were used to illuminate the painting. More certain is that the painting's casement-window–like "frame" had a breadth of fourteen feet and a height of almost thirteen, which further imposed the painting upon the viewer. It was likely made of brown chestnut, a departure from the prevailing gilt frame. The base of the edifice stood on the ground, ensuring that the landscape's horizon would be displayed at the viewer's eye level. Drawn curtains were fitted, creating the sense of a view out a window. A skylight directed at the canvas heightened the perception that the painting was illuminated from within, as did the dark fabrics draped on the studio walls to absorb light. Opera glasses were provided to patrons to allow examination of the landscape's details, and may have been necessary to satisfactorily view the painting at all, given the crowding in the exhibition room.
Church's canvas had a significant effect on its viewers: "women felt faint. Both men and women succumb[ed] to the dizzying combination of terror and vertigo that they recognize[d] as the sublime. Many of them will later describe a sensation of becoming immersed in, or absorbed by, this painting, whose dimensions, presentation, and subject matter speak of the divine power of nature."
Accompanying the admission were two pamphlets about the painting: Theodore Winthrop's A Companion to The Heart of the Andes and the Reverend Louis Legrand Noble's Church's Picture, The Heart of the Andes. In the manner of travel guides, the booklets provided a tour of the painting's varied topography. An excerpt from Noble reads:
Imagine yourself, late in the afternoon with the sun behind you, to be travelling up the valley along the bank of a river, at an elevation above the hot country of some five or six thousand feet. At the point to which you have ascended, heavily-wooded mountains close in on either hand, (not visible in the picture – only the foot of each jutting into view,) richly clothed with trees and all the appendage of the forest, with the river flowing between them. … Conspicuous on the opposite side of the river is the road leading into the country above, a wild bridle-path in the brightest sunshine, winding up into, and losing itself in the thick shady woods. The foreground … forms of itself a scene of unrivalled power and brilliancy, …
Church wanted Humboldt, his intellectual mentor, to see his masterpiece. Close to the end of the first exhibition, on May 9, 1859 he wrote of this desire to American poet Bayard Taylor:
The "Andes" will probably be on its way to Europe before your return to the City … [The] principal motive in taking the picture to Berlin is to have the satisfaction of placing before Humboldt a transcript of the scenery which delighted his eyes sixty years ago—and which he had pronounced to be the finest in the world.
Humboldt, however, had died on May 6, so the planned shipment to Europe did not occur. However, later in 1859, the painting was exhibited in London, where it met with similar popularity, and engravings allowed for broad distribution. Showings in six more U.S. cities followed. The 1864 exhibition at the Metropolitan Sanitary Fair at New York's Union Square is better documented than the original exhibit; photographs confirm how the painting was displayed.
The painting was widely acclaimed. Poetry was written in its honor, and the composer George William Warren dedicated a piece to it in 1863. Mark Twain described the painting to a friend:
You will never get tired of looking at the picture, but your reflections—your efforts to grasp an intelligible Something—you hardly know what—will grow so painful that you will have to go away from the thing, in order to obtain relief. You may find relief, but you cannot banish the picture—it remains with you still. It is in my mind now—and the smallest feature could not be removed without my detecting it."
Church eventually sold the work for $10,000—at that time the highest price ever paid for a work by a living American artist. The painting was acquired by Margaret Dows, widow of David Dows, and bequeathed to the Metropolitan Museum of Art upon her death in February 1909. In 1993, the museum held an exhibition that attempted to reproduce the conditions of the 1859 exhibit.
The installation of the work was as unique as its dimension and detail. There is no record of the appearance or arrangement of the Studio Building exhibit. It has been widely claimed, although probably falsely, that the room was decorated with palm fronds and that gaslights with silver reflectors were used to illuminate the painting. More certain is that the painting's casement-window–like "frame" had a breadth of fourteen feet and a height of almost thirteen, which further imposed the painting upon the viewer. It was likely made of brown chestnut, a departure from the prevailing gilt frame. The base of the edifice stood on the ground, ensuring that the landscape's horizon would be displayed at the viewer's eye level. Drawn curtains were fitted, creating the sense of a view out a window. A skylight directed at the canvas heightened the perception that the painting was illuminated from within, as did the dark fabrics draped on the studio walls to absorb light. Opera glasses were provided to patrons to allow examination of the landscape's details, and may have been necessary to satisfactorily view the painting at all, given the crowding in the exhibition room.
Church's canvas had a significant effect on its viewers: "women felt faint. Both men and women succumb[ed] to the dizzying combination of terror and vertigo that they recognize[d] as the sublime. Many of them will later describe a sensation of becoming immersed in, or absorbed by, this painting, whose dimensions, presentation, and subject matter speak of the divine power of nature."
Accompanying the admission were two pamphlets about the painting: Theodore Winthrop's A Companion to The Heart of the Andes and the Reverend Louis Legrand Noble's Church's Picture, The Heart of the Andes. In the manner of travel guides, the booklets provided a tour of the painting's varied topography. An excerpt from Noble reads:
Imagine yourself, late in the afternoon with the sun behind you, to be travelling up the valley along the bank of a river, at an elevation above the hot country of some five or six thousand feet. At the point to which you have ascended, heavily-wooded mountains close in on either hand, (not visible in the picture – only the foot of each jutting into view,) richly clothed with trees and all the appendage of the forest, with the river flowing between them. … Conspicuous on the opposite side of the river is the road leading into the country above, a wild bridle-path in the brightest sunshine, winding up into, and losing itself in the thick shady woods. The foreground … forms of itself a scene of unrivalled power and brilliancy, …
Church wanted Humboldt, his intellectual mentor, to see his masterpiece. Close to the end of the first exhibition, on May 9, 1859 he wrote of this desire to American poet Bayard Taylor:
The "Andes" will probably be on its way to Europe before your return to the City … [The] principal motive in taking the picture to Berlin is to have the satisfaction of placing before Humboldt a transcript of the scenery which delighted his eyes sixty years ago—and which he had pronounced to be the finest in the world.
Humboldt, however, had died on May 6, so the planned shipment to Europe did not occur. However, later in 1859, the painting was exhibited in London, where it met with similar popularity, and engravings allowed for broad distribution. Showings in six more U.S. cities followed. The 1864 exhibition at the Metropolitan Sanitary Fair at New York's Union Square is better documented than the original exhibit; photographs confirm how the painting was displayed.
The painting was widely acclaimed. Poetry was written in its honor, and the composer George William Warren dedicated a piece to it in 1863. Mark Twain described the painting to a friend:
You will never get tired of looking at the picture, but your reflections—your efforts to grasp an intelligible Something—you hardly know what—will grow so painful that you will have to go away from the thing, in order to obtain relief. You may find relief, but you cannot banish the picture—it remains with you still. It is in my mind now—and the smallest feature could not be removed without my detecting it."
Church eventually sold the work for $10,000—at that time the highest price ever paid for a work by a living American artist. The painting was acquired by Margaret Dows, widow of David Dows, and bequeathed to the Metropolitan Museum of Art upon her death in February 1909. In 1993, the museum held an exhibition that attempted to reproduce the conditions of the 1859 exhibit.
Wikipedia
Ernest Dade
[Waves breaking on a sunlit coast]
believed to be nr Scarborough
signed Ernest Dade 11 l.l.
oil on canvas
14 x 21"
.
1868 - 1935.
including works currently for sale
Wednesday, July 29, 2009
Mary Cassatt - Simone
[Simone in a White Bonnet]
c. 1903
Pastel on paper
featuring a young model from the Oise countryside whom she painted at least 20 times.
Arthur Spooner
[Old Cottage, Redford Marsh, Lenton]signed a. Spooner l.r.
oil on canvasboard
10 x 14"
.
exh. 1890 - 1940.
http://www.artnet.com/artist/15953/arthur-spooner.html
http://www.baronfineart.com/Gallery/arthur_spooner.htm
Frank Lewis Emanuel
[Rye Church in Summer]
signed Frank L. Emanuel 1901 l.r.
oil on canvas
34 x 45"
.
1865 - 1948.
Tuesday, July 28, 2009
Alfred Augustus Glendening - Fairy Glen
[Fairy Glen, Bettwys-y-Coed, Wales]
signed with initials l.l.
oil on canvas laid down on board
23 3/4 x 19.5"
Alfred de Breanski
[On Loch Ewe]
signed A.E. (should be an F) de Breanski l.r.
oil on canvas
20 x 30"
[Llyn Lydnu, North Wales]
oil on canvas
20 x 30"
[Figures before a cottage]
signed Afde Breanski l.l.
oil on canvas
16 x 22"
[Nantile Lake, North Wales]
oil on canvas
16 x 24"
Arthur Gilbert
[Evening on the Thames]
signed A Gilbert and inscribed No.2 On the Thames Evening
oil on canvas
8 x 12"
[A wooded river landscape]
oil on canvas
12 x 18"
.
1819 - 1895.
including works currently for sale
Monday, July 27, 2009
Edward Robert Hughes - Woman walking her Dog
c. 1900Tempera on board
Signed E R Hughes
16.14 inches wide 21.26 inches high
http://www.leicestergalleries.com/art-and-antiques/detail/14035
Mary Cassatt - Margot in Blue
pastel on paper mounted on canvas
24 x 19 5/8"
1902
Baltimore Art Gallery
The model was Margot Lux a young girl from the neighbourhood where Mary lived at the time (Mesnil-Theribus).
Sidney Richard Percy - The Old Bridge
signed and dated SR Percy 48 l.l.
oil on canvas laid down on panel
14 3/4 x 21.5"
.
Joseph Denovan Adam
[Sheep in a Highland winter landscape]
signed J Denovan Adam l.r.
oil on canvas
10 x 14"
.
1842 - 1896.
Henry Hadfield Cubley
[Highland Drovers resting]
signed H. Hadfield Cubley l.r.
inscribed Montpellier/Marlock Bath (reverse)
oil on canvas
24 x 36"
.
fl. 1884 - 1902.
(short biog)
Sunday, July 26, 2009
Henry Moore
[Fishing Boats running for the beach]
signed and dated H. Moore. 1872 l.r.
oil on canvas
16.5 x 26"
[Sunset off the coast]
oil on canvas
11 x 19"
Patrick M. Feeney
oil on canvas
[Saunton Sands, Devon]
30 x 60"
.
fl. 1867 - 1911.
known to work at Primrose Hill Studios and later Croyde, North Devon.
Saturday, July 25, 2009
Henry Deacon Hillier Parker
[The Ledr River, North Wales]
signed Henry H. Parker l.l.
oil on canvas
18.5 x 27.5"
William Langley
This is one of a pair and I'm not sure which
[Across the lake or The river valley]
both signed William Langley l.l.
oil on canvas
18 x 12"
.
1852-1922
Friday, July 24, 2009
William Henry Mason
[Off Calshot Castle]
signed with initials l.r.
oil on panel
7 3/4 x 12"
.
fl. 1858 - 1885.
William Mellor - Sheep in a mountainous landscape
signed William Mellor l.r.
oil on canvas
12 x 20"
[Highland Cattle by a loch]
oil on canvas
12 x 20"
pair
.jpg)
Thursday, July 23, 2009
James Webb - A Gypsy encampment, Suffolk
signed and dated James Webb/78 l.l.
painted for Edward Fleet Esq.
oil on panel
9 1/4 x 22.5"
Arthur Johnston Ryle
[The haven under the hill]
signed A Ryle
oil on canvas
50 x 37"
probably exhibited c. 1905
.
1857 - 1915.
John Horace Hooper
[Evening by the June Wood]
[By the Bey, near Godalming]
both oil on canvas
both signed J Horace Hooper
20 x 16"
pair
Albert Goodwin - A Sunlit Stream
signed with monogram
1884
oil on canvas
60 x 36"
.
including works currently for sale
Wednesday, July 22, 2009
William Widgery
[Highland cattle watering at a stream]
signed W. Widgery l.r.
oil on canvas
9 x 17 3/4"
.
1822 - 1893.
James Henry Crossland
[On the River Lickle, near Duddon Bridge, Cumbria]
signed Nov 12th 1902/ ... /James H Crossland
oil on board
9 1/4 x 14 3/4"
.
David Bates
[A Rustic Bridge, Capel Curig]signed David Bates 1901 l.r.
oil on board
11.5 x 15 1/4"
[A glade in the oak wood]
1881
oil on canvas
8 x 10"
Tuesday, July 21, 2009
William Shayer
.jpg)
[The fish market]
oil on canvas
28 x 38"
[Fisherfolk on the Beach]
signed W.Shayer l.l.
oil on canvas
27.5 x 35 3/4"
[The Plough Team]
oil on canvas
31 x 42"
.
including works currently for sale
Isaac Henzell - Cattle watering before a cottage in a wooded landscape
signed and dated I. Henzell/1843 l.l.
oil on canvas
30 x 25"
.
Monday, July 20, 2009
Joseph Thors
[The Village Church]
signed J. Thors
oil on canvas
29 x 36"
[Boys Fishing by a pond in a wooded landscape]
oil on canvas
20 x 30"
[Anglers on the bank of a wooded stream]
oil on canvas
24 1/4 x 20 1/4"
Frederick Carlton - Logger
[A logger on a track in a wooded landscape]
signed Fred Carlton
oil on canvas
20 x 30"
Frederick Henry Henshaw - Cattle watering by a water mill
signed F.H.Henshaw/18.. l.l.
oil on canvas
22 x 32"
.
Sunday, July 19, 2009
William James Muller - A figure by a Cottage unloading a boat
signed W Muller
oil on canvas
11 3/4 x 15 3/4"
.
William Collins - Boys Crabbing
oil on canvas
12 x 16"
.
[Children on a beach]
signed W.C.
oil on panel
11 1/4 x 16"
Alfred Vickers - Shepherd's Family
[A Shepherd's Family resting in a sunlit landscape]
oil on canvas
12 x 18"
Saturday, July 18, 2009
(Rev) Thomas James Judkin
[Children playing by a Watermill]
signed T J Judkin/182 l.c.
oil on canvas
50 x 40"
.
1788 - 1871
John Berney Crome
[The Broads by Moonlight, St Benet's Abbey and Norwich beyond]
oil on canvas
31 x 44"
.
1794 - 1842.
Philip Tennyson Cole
[Portrait of the sixth Marquess of Donegal (1903 - 1975) with his Mother (d. 1952)]
signed : Tennyson Cole/1907 u.l.
oil on canvas
61 x 47"
the Marquess is here aged 4 with his Mother, Violet.
.
fl. 1880 - 1930.
George Vincent
[Aylesford Church, Kent]
oil on canvas
14 x 20"
[Cattle Grazing in a wooded landscape]
oil on panel
11 x 17"
.
1796 - 1831.
Friday, July 17, 2009
William Powell Frith - Annie Gambart
oil on canvas
54 x 43cm
54 x 43cm
1851/2
Commissioned by Ernest Gambart for his wedding
A portrait of Annie Gambart (1835-1870), who was the third wife of Ernest Gambart, the great Victorian art dealer and publisher. She married him in 1851 at just sixteen, half the dealer's age. Gambart seems to have indulged her every whim at first with beautiful clothes and jewellery. However in 1867 the couple separated and Annie went on to die of liver disease at the early age of 35.
Margaret Fletcher
[Portrait of a girl, small full-length, in a yellow dress, holding a fan, in an interior]
signed M Fletcher l.l. and 1903 l.r.
oil on canvas
27 x 20"
.
exhibited 1886
Herbert Arnoud Olivier
signed and dated H A Olivier 1902
[Portrait of a Lady, quarter-length, in a white dress with ermine shawl]
oil on canvas
24 x 20"
.
1851 - 1952.
Frederick Cayley Robinson
signed and dated CAYLEY ROBINSON 1907 l.l.
tempera on panel
23 3/4 x 29 3/4"
Owned by the Marquess of Reading until 1989
.
1862 - 1927.
Thursday, July 16, 2009
Helen Allingham - Crabbing at Eastbourne
10 by 7 1/2"
signed l.r.: H Allingham; inscribed on an old label attached to the backing board: 2/ Crabbing, Eastbourne/ Mrs Allingham/ Eldon House, Lyndhurst Road/ Hampstead
watercolour
watercolour
James Jebusa Shannon - Portrait of a Young Girl
signed J.J.SHANNON u.l. and dated 1890 u.r.
oil on canvas
17 x 14"
.
Harry Robert Mileham
[Autolycus in the Kitchen]
signed H.R. MILEHAM/1918 l.l.
oil on canvas, arched top
the subject is from The Winter's Tale
influenced by Ford Madox Brown
[Rachel by the Well] 1903
oil on canvas
.
1873 - 1957.
Wednesday, July 15, 2009
James Tissot - A Winter's Walk
signed J J Tissot u.r.
oil on panel
31 x 14.5"
Promenade dans la Neige
the model was Kathleen Newton, his mistress who dued in 1882, of tuberculosis at the age of 28. This was painted late in 1879 or early 1880 and at some point Tissot added the libnes from Keats:
"She will bring in spite of frost / Beauties that the Earth has lost"
Frederic Lord Leighton - The Bath of Pysche
oil on canvas32 x 6.5"
painted for the atrium of Alma Tadema's house in Grove End Road, St John's Wood. A larger slightly modified version was painted in 1889/90 for the RA exhibition - now in the Tate Gallery.
Edward John Poynter
[Nymph of the Stream]
signed with monogram and 19 EJP14 l.l.
oil on canvas
32 1/34 x 22"
also known as Fishing
exhibited RA in 1907
[The Wonders of the Deep : An Idyll]
inscribed on a label : Edward J. Poynter/70 Adduson Road/W14
oil on canvas
38.5 x 54.5"
exhibited at the RA in 1917
.
(Sir) James Dromgole Linton
[Dante with his Dog]
[Above Florence]
a pair, one signed with JDL99, l.l.
both oil on canvas
each 23.5 x 17"
.
1840 - 1916.
http://www.artmagick.com/pictures/artist.aspx?artist=j-d-linton
http://www.artnet.com/artist/557965/james-dromgole-linton.html
Tuesday, July 14, 2009
John Morgan - Which Hand has It ?
36 x 28.5"
signed l.l.: John Morgan
oil on canvas
oil on canvas
estimate : 50,000—70,000 GBP
.
John Morgan (b London 1822 d.Hastings 1885) a successful Victorian artist.Studied at School of Design,London and also trained in Paris under Thomas Couture (1815-1879).Whilst living in Aylesbury in 1861 found fame with his paintings The Jury and The Country Auction. A member of the Society of British Artists (SBA).His work was influenced by Thomas Webster and William Powell Frith.
His son,Frederick Morgan was an equally popular artist, most noted for His Turn Next , famously used by the Pears Soap advertising campaign .
His son,Frederick Morgan was an equally popular artist, most noted for His Turn Next , famously used by the Pears Soap advertising campaign .
Is it time for another Gothic revival? (article)
[fire dog]
By Antony Thorncroft
FT
-------------------------------------------------------------------------------
Herbert Gandy - The Vikings Farewell
signed HERBERT GANDY/05 l.l.
oil on canvas
72 1/2 x 33"
exhibited at the RA 1906
.
Frederic Lord Leighton - Vittoria
oil on canvas
9 1/4 x 7"
.
Leighton seems to have done several pictures with this title and one of these was exhibited at the Society of British Artists in 1873. This particular version is believed to have been painted in Rome in a garden studio at the French Academy at the Villa Medici using an unknown local model (also known to have been painted by the French artist Antoine Hebert.
It was probably painted as a sort of aid memoire for the artist, to be used later in larger compositions. He never sold these 'studies' and he is known to have had a group of them hanging on his studio walls.
William Lionel Wyllie - Peace
[Peace Driving Away the Horrors of War]
signed W L Wyllie/1903 l.r.
oil on canvas
48 x 84"
exhibited RA 1903
.
Ernest Walbourn
[Wallingford Oxon]
signed Ernest Walbourn l.r.
oil on canvas
oil on canvas
16 x 24"
[Near Dorchester]
oil on canvas
16 x 24"
.
Monday, July 13, 2009
John Collier - portrait of Charles Darwin (study)
inscribed and signed below: Charles Robert Darwin 1809-1882/ Study by John Collier.
12 x 9"
Watercolour
This is a study for the 1881 portrait painted for the Linnaean Society (replica dated 1883, National Portrait Gallery).
.
12 x 9"
Watercolour
This is a study for the 1881 portrait painted for the Linnaean Society (replica dated 1883, National Portrait Gallery).
.
1850 - 1934.
Fred Morgan
[The Merry Month of May]
signed Fred Morgan l.r.
oil on canvas
22 3/4 x 29 1/2"
.
1847 - 1927.
Edwin Harris
[Under the Cornish Cliffs]
signed Edwin Harris l.r.
oil on canvas
29 x 43 1/4"
.
1855 - 1906.
Seymour J Guy
[The Goose Girl]
signed SJGuy l.r.
oil on canvas
11 1/2 x 10"
.
1824 - 1910.
including works currently for sale
(short biog)
Sunday, July 12, 2009
John Frederick Lewis - Hypaethral Temple at Philae on the Nile, Egypt
Watercolour with bodycolour
13 x 18.5"
Lewis spent ten years in Egypt, arriving there in late 1841. However, it was not until 1850 that he made a trip up the Nile, visiting Edfou, Thebes and Philae. If this picture is Ruins, Egypt listed by Major-General Lewis, it was painted in 1851 along with two sketches of doorways of an ancient Egyptian temple (Birmingham Museum and Art Gallery and Victorian and Albert Museum).This temple, also known as the Bed of Pharaoh, is the Roman period, built under the Emperor Trajan (A.D. 98-117). It was intended as a monumental entrance to the temples on the island of Philae but was never completed.
http://www.orientalist-art.org.uk/lewis.html
Frank Holl - Waiting
signed and dated Frank Holl 1879
oil on canvas
.
Typical of his dramatic work in the late 1870's this has an interesting story, as it was based on the interior of a cottage he happened to shelter in whilst on holiday in North Wales in 1876 and the figures are presumably the young widow and her child who lived there. The woman spoke scarcely any English.
.
William Morrison Wyllie - The Fruit Market, Boulogne
signed W.M. Wyllie
oil on canvas
.
(his son)
His grandson Harold Wyllie was also a good painter (1880 - 1973)
Henry John Yeend King
[Crossing the Bridge]
signed YEEND KING
oil on canvas
[The Path by the Mill] exhib. 1899
oil on canvas
King studied under the London genre painter William Bromley and with Louis Joseph Florentin Bonnat and Fernand Cormon in Patris where his plein air* technique seems to have been established. He was based in London and exhibited at the RA and elsewhere.
.
.
* En plein air is a French expression which means "in the open air", and is particularly used to describe the act of painting outdoors.
Saturday, July 11, 2009
Edward Ladell - Still Life with Fruit, A Birdsnest and Jug
signed with monogram EL l.l.
oil on canvas
.
John S. Sanderson Wells
[Rushing the Hill, Derby Day]signed J S Sanderson Wells
oil on canvas
.
fl. 1890 - 1940.
http://store.encore-editions.com/artist/johnwells.html
Friday, July 10, 2009
Joshua Hargrave Sams Mann
inscribed 'No. 1'
oil on canvas
[First Earrings]
exhibited at the Royal Society of British Artists 1881/2
.
fl. 1849 - 1884.
.
also seen as JHS Mann
Thomas Ballard
[The New Governess]
oil on canvas
.
1836 - 1908.
This was a popular subject in mid-century with an estimated 20,000 governesses leading a precarious life, subject to instant dismissal if they upset the family (notice the numerous travel labels on her trunk), poorly paid but not quite a servant and not one of the family. Given the black dress, she is probably a widow fallen on hard times, or perhaps from a genteel family whose father has died. She seems to be holding the photograph of a man. The novels Jane Eyre and Agnes Grey brought attention to their plight.
This picture was exhibited at the RA in 1877.
John Dawson Watson - Little Girl Sewing
1856
oil on board with an arched top
An early work but to my mind very charming (I never could resist cats!) with some Pre-Raphaelite influences in its acute onservation and colouring. The pretty little girl with the intense red hair occurs in other paintings of his and may have been one of his family.
Thomas Reynolds Lamont - At the Pawnbroker's
[also known as 'Hard Times']
oil on canvas
-- update --
I did some research on this painting as it is rather interesting in its way. If you look carefully you can see the miniature is a soldier in a scarlet uniform. Given the date of the painting (1859), he was probably killed in the Crimean war (1854-6). There seems to be a child's silver rattle resting on the counter so she may well have once been quite well off before being widowed.
The alternative title may have been suggested by Charles Dicken's novel of the same name.
Thursday, July 9, 2009
Edward Hughes - Portrait of Misses Cummings
1888
oil on canvas board
sorry its only black and white but I love these faces
Charles Rossiter - Sad Memories
1854
oil on canvas
exhibited at the RA in the same year.
Showing a young seamstress reading a letter reminding her of her past life and family. Her dress suggests she is mourning a father or husband. Inspired (as were many other similar paintings) by Thomas Hood's The Song of the Shirt.
Rossiter did an even darker version of this subject as an etching in 1858, and in 1859 a painting entitled 'Work-Work-Work' on the same theme.
Wednesday, July 8, 2009
Benjamin Williams Leader
[The Church Yard at Bettws-Y-Coed]
oil on canvas
[The Village Smithy] 1914
oil on canvas
exhibited at the RA in the same year
John Atkinson Grimshaw
[Shops and Ships - Clydeside, Glasgow] 1887
oil on canvas
.
[Colwith Force] 1869
oil on board
an early work of his showing the influence of the Pre-Raphaelites and Ruskin.
Tuesday, July 7, 2009
Edward Charles Williams - On the River
oil on canvas.
http://www.artnet.com/artist/17909/edward-charles-williams.html
including works currently for sale
Monday, July 6, 2009
Sunday, July 5, 2009
(Sir) William Boxall - Portrait of Jane Fortescue Seymour, Mrs Coleridge
oil on panelexhibited at the RA 1855
http://www.victorianweb.org/victorian/painting/misc/boxall1.html
.
1800 - 1879.
http://en.wikipedia.org/wiki/William_Boxall
Thomas Sidney Cooper - Cattle Resting
.jpg)
This is the third picture I have come across of his with the same name!
oil on canvas
Saturday, July 4, 2009
Dorothy Stanley (nee Tennant)
[His First Offence] 1896
oil on canvas
Tate Gallery
.
Lady Dorothy Stanley 1855-1926
http://en.wikipedia.org/wiki/Dorothy_Tennant
http://www.independent.co.uk/arts-entertainment/books/reviews/the-magnificent-mrs-tennant-by-david-waller-1706794.html
http://www.independent.co.uk/arts-entertainment/books/reviews/the-magnificent-mrs-tennant-by-david-waller-1706794.html
by Eveleen Myers (née Tennant)
platinum print on card, 1890
Lady Dorothy Stanley (née Tennant) (1855-1926), Artist; wife of Sir Henry Morton Stanley; daughter of Charles Tennant; sister of Eveleen Myers.
http://www.npg.org.uk/collections/search/person.php?linkID=mp69508
Eleanor Fortescue Brickdale - A Hue and Cry after Cupid
Watercolour
produced as a plate for Old English Songs and Ballads, 1915
16 x 12 1/4"
the title is from Ben Jonson
.jpg)
Friday, July 3, 2009
Louise Rayner
[Cambridge]
Watercolour heightened with bodycolour
[St Stephen's Gateway, Salisbury]
Watercoloyr heightened with bodycolour
[St Stephen's Gateway, Salisbury]
Watercoloyr heightened with bodycolour
[The Falcon Cocoa House]
Watercolour heightened with white
[Eastgate Street, Chester]
Watercolour heightened with bodycolour
.
William Affleck
[Gathering Roses]
[Going to the Well]
pair, watercolours
[The Farmer's Daughter]
watercolour heightened with white
[Feeding the Birds]
watercolour heightened with bodycolour
.
Helen Allingham
[The Picture Book]
Watercolour
[A Young Girl with Blue Beads]
Watercolour, oval
[A Young Girl]
Watercolour heightened with bodycolour, circular
[The Little Maid] 1880
Watercolour
.
George Shalders
[Noonday Rest] 1865
Watercolour and bodycolour
[A Moment's Rest] '63
Watercolour and bodycolour
.
1826 - 1873.
George Shalders lived in Portsmouth and London, England. He exhibited at the Royal Academy, the British Institute and the Society of British Artists at Suffolk Street. His subjects were mostly landscape in Wales, Ireland and Surrey, and occasionally on the Continent. His work is conventional and always attractive. Works by him are in the collections of the Walker Art Gallery and the Victoria & Albert Museum in England.
Thursday, July 2, 2009
Edward Alfred Goodall
[Building the London Embankment]
Watercolour over traces of pencil
(sorry it's not in colour but the subject is too interesting not to show)
1865
.
1819 - 1908.
A London artist. He accompanied the British Guiana boundary expedition of 1841–3 and some of the paintings have survived. He wrote a book Sketches of Amerindian Tribes 1841–43.
his middle name here spelt Angelo.
Hector Caffieri - Mother's Helping Hand
Watercolour heightened with white and scratching out
.
including works currently for sale
Wednesday, July 1, 2009
Early British Drawings, Watercolours and Portrait Miniatures
[Children's Picnic - Robert Hill]
9th July
London
Sotherby's
Frederick W. Meyer
[A Moonlit Voyage]
oil on canvas
.
fl. 1869 - 1922.
http://www.john-noott.com/artist/meyer~frederick-w/meyer~frederick-w.php
(with short biography)
http://www.artnet.com/artist/662680/frederick-william-meyer.html
Edwin Alfred Pettitt
[Arundel, Sussex]
1863
oil on canvas
.
1840 - 1912.
Edwin Pettit (1840-1912) was best known for his views of Northern England and the South of Scotland. He exhibited at the Royal Academy from 1858-1880 as well as the Royal Institute and Royal Society of British Artists.
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