British Paintings

Thomas Sidney Cooper - The Liverpool and London Royal Mail Coach, 1812

2012-01-30T17:00:00.000Z

George Goodwin Kilburne - Her First Communion

2012-01-30T13:00:00.000Z

George Goodwin Kilburne - The Cottage Door

2012-01-30T06:00:00.001Z

George Goodwin Kilburne Jnr - Lost in thought by a rockpool

2012-01-30T06:00:00.000Z

Shropshire, Ludlow and Dinham Bridge

2012-01-29T17:00:00.000Z

Daniel Ridgway Knight - In the Flower Garden

2012-01-29T13:00:00.000Z

Daniel Ridgway Knight - Gathering Lilacs

2012-01-29T06:00:00.001Z

Daniel Ridgway Knight - Cutting the Roses

2012-01-29T06:00:00.000Z

Gloucestershire, Forest of Dean, The Buckstone in the 1890's

2012-01-28T17:00:00.000Z

Henry Robert Campling - Rudyard Lake 1900

2012-01-28T13:00:00.000Z

George Cammidge - Ghyll Beck, near Barden Tower, Yorkshire 1878

2012-01-28T06:00:00.001Z

George Cammidge - Hollym Village, Holderness, East Riding of Yorkshire before 1884

2012-01-28T06:00:00.000Z

The Story of Alma-Tadema and the Epps Family

2012-01-27T19:00:00.001Z

http://www.vam.ac.uk/content/articles/t/the-story-of-alma-tadema-and-the-epps-family/

Buckinghamshire, Marlow High Street

2012-01-27T17:00:00.000Z

Artist’s rare works shown for first time

2012-01-27T13:00:00.001Z

http://www.northantset.co.uk/news/artist_s_rare_works_shown_for_first_time_1_3452926

Henry Herbert La Thangue - Calling to the Valley

2012-01-27T13:00:00.000Z

Price Realized
£61,250
($94,631)

signed 'H. H. LaThangue' (lower left) and signed and inscribed 'Calling to the Valley H. H. La Thangue' (on the stretcher)
oil on canvas
30 x 40 in. (76.2 x 101.6 cm.)

In his youth Henry Herbert La Thangue had visited the Rhône valley to paint the peasants of the Dauphiné and the memory of this experience remained vivid as the restless painter became increasingly disenchanted with the changes affecting rural England at the turn of the twentieth- century. He bemoaned the damage that the modern world was inflicting upon such communities and like D.H. Lawrence, he had rejected the England of industrial grime and rampant commercialism. In the winter of 1901 he set off for the South of France and each year thereafter, Provence, Liguria and Southern Spain became destinations of choice. He avoided the fashionable coastal watering holes of the Riviera favoured by English expatriates, preferring instead the mountain paths and hill villages beyond the reach of Baedeker, such as St Jeannet and La Roquette. These 'castelli' frequently feature in his work but are never identified; they were regarded by travellers as 'more picturesque at a distance'. (Augustus J.C. Hare, The Rivieras, 1897, George Allen, p. 69.) Where other artists might broadcast their discoveries, this painter wished to guard his secrets and one such is the location of Calling to the Valley. Here, a young woman on a high mountain plateau has tethered her donkey and is calling down to unseen peasants in the valley. In the distance are the glistening snow-covered peaks of the Alpes Maritimes. The clean, pure air in such a place may well throw back an echo of her call.

Suggesting the sounds one might hear at such a place was a ploy frequently adopted by painters of La Thangue's generation. Fragments of conversation or characteristic calls became picture titles. Themes such as 'the song of the lark' accentuated the crystalline stillness of the countryside at dawn or dusk. In the mountains near his winter studio at Bormes-les-Mimosas, such piercing cries were not unusual, especially during the olive harvests when donkeys carrying sackcloth panniers would be led up into the hills to bring back the fruit to village presses, their well-worn tracks etched into the hillsides. The pack animal was a familiar sight on these roads and no one painted it with more sympathy. In Ligurian Olives and The Threshing Floor for instance, La Thangue's familiar peasant woman wearing a red headscarf loads her donkey in preparation for the trek while in The First of Spring, the painter comes upon a harvesters' campfire high in the hills. It was a scene relished by Lawrence in the last Winter before the outbreak of the Great War.

'....you have no idea how beautiful olives are, so grey, so delicately sad now the hills are full of voices, the peasant women and children all day long and day after day, in the faint shadow of olives, picking the fallen fruit off the ground, pannier after pannier full".
A. Huxley introd., DH Lawrence, Selected Letters, London, 1950 (Penguin Books, 1954 reprint), p. 65 (letter to W.E. Hopkin, 18 December 1913).

Calling to the Valley thus portrays a typical moment. The low rampart and cross suggests that it was painted on the edge of a village, convent or monastic settlement, affording splendid views of distant peaks and deep ravines. These are appropriately framed by an everyday event, a wave of the hand, a call, a greeting.

KMc.

http://www.christies.com/lotfinder/henry-herbert-la-thangue-ra-calling-to/5521087/lot/lot_details.aspx?from=salesummary&pos=10&intObjectID=5521087&sid=9954c15e-eda4-4842-adcb-7417973762cc&page=3

Edward Brian Seago - Storm over the farm

2012-01-27T06:00:00.001Z

Price Realized
£16,250
($25,106)

signed 'Edward Seago' (lower left)
oil on board
11½ x 16 1/8 in. (28.5 x 41 cm.)

http://www.christies.com/lotfinder/edward-seago-rws-rba-storm-over-the/5521086/lot/lot_details.aspx?from=salesummary&pos=9&intObjectID=5521086&sid=9954c15e-eda4-4842-adcb-7417973762cc&page=3

Robert Anning Bell - Three girls preparing to bathe

2012-01-27T06:00:00.000Z

Price Realized
£7,500
($11,588)

signed and dated 'RA.BELL.01' (lower left)
pencil, watercolour and bodycolour on paper
14 1/8 x 14 7/8 in. (36 x 37.8 cm.)

Unlike many of his contemporaries Bell painted as much in watercolour as in oil. Exhibiting his first painting at the Royal Academy in 1885, in 1914 he was elected an Associate member, and from then onwards he showed annually until his death, being elected a full Royal Academician in 1922. In 1901 he was invited to become an Associate of the Royal Society of Painters in Water-Colours (the Old Watercolour Society) and he was elected a full member three years later, by which time he had exhibited twenty-nine works. During that period watercolours became Bell's principal form of expression, and he wrote enthusiastically about the merits of the watercolour medium, which he prized above all others, in the second annual volume of the Old Water-Colour Society's Club.

The figures in the present watercolour appear to relate to those in The Pool, a watercolour dated 1906 and exhibited at The Royal Society of Painters in Water-Colour, Winter exhibition, 1906, no. 41.

http://www.christies.com/lotfinder/robert-anning-bell-ra-rwsbistrongemfont-three/5521042/lot/lot_details.aspx?from=salesummary&intObjectID=5521042&sid=9954c15e-eda4-4842-adcb-7417973762cc

LGOC 'knifeboard' type horse bus operating between Highbury and Hornsey, 1860-1870

2012-01-26T17:00:00.000Z

http://www.ltmcollection.org/resources/index.html?IXglossary=Public+transport+in+Victorian+London%3A+Part+One%3A+Overground

John Atkinson Grimshaw - In the artist's house

2012-01-26T13:00:00.000Z

signed and dated 'Atkinson Grimshaw/1878 May' (lower right), and signed and inscribed 'A reverie Atkinson Grimshaw' (on the stretcher)
oil on canvas
32¾ x 48¼ in. (83.3 x 127.7 cm.)

Although Grimshaw is best known for his moonlit 'nocturnes', of British ports and the lanes of suburban Leeds, he produced in the 1870s a remarkable group of works celebrating the interiors he created at Knostrop Hall, a house he leased on the Temple Newsam estate.

These demonstrate the prevailing taste for Japanese objects. Following the dawn of the Meiji period, during which Japan, after centuries of self-imposed isolation, sought to strengthen its links with the West, Japanese textiles, fans and ceramics became a pre-requisite for fashionable, 'aesthetic' interiors. The eclecticism of this taste is shown in the richly stamped wall paper, which showed the Jacobean furniture to best advantage. The exoticism is continued in the deliberately archaic costume of the sitter who wears her hair, her gown and slippers in a pastiche of the fashions of Regency England. Everything in the interior has been carefully collected, and composed to demonstrate a refined sensibility.

In this small series of pictures of his house and garden, Grimshaw demonstrates his versatility as an artist. Several carry echoes of Alma-Tadema, and Tissot, and they brought the artist to the attention of leading London galleries, such as Agnew's, who started to sell his work from the 1880s onwards. Perhaps Grimshaw's most sophisticated and celebrated interior, entitled 'Dulce Domum', is now in the collection of Lord Lloyd Webber and was exhibited at his exhibition at the Royal Academy, Pre-Raphaelite and Other Masters, 2003, no. 117.

http://www.christies.com/lotfinder/john-atkinson-grimshawbistrongemfont-in-the/5279733/lot/lot_details.aspx?from=searchresults&intObjectID=5279733&sid=56633591-dbdb-46f3-9027-19fa8ee00236

John Atkinson Grimshaw - The Sere and Yellow Leaf

2012-01-26T06:00:00.001Z

Price Realized
£127,250
($248,010)

signed 'Atkinson Grimshaw' (lower left) and further signed and inscribed 'In the Sere and Yellow/Atkinson Grimshaw' (on the reverse)
oil on canvas
12 x 18 in. (30.5 x 45.7 cm.)
http://www.christies.com/lotfinder/john-atkinson-grimshaw-the-sere-and-yellow/5089456/lot/lot_details.aspx?from=searchresults&intObjectID=5089456&sid=56633591-dbdb-46f3-9027-19fa8ee00236

John Atkinson Grimshaw - The Harvest Moon

2012-01-26T06:00:00.000Z

Price Realized
($396,165)
£192,500

signed, inscribed and dated 'Atkinson Grimshaw 53 72' (lower right) and further signed and inscribed 'Painted by Atkinson Grimshaw Knostrop Old Hall Leeds' (on a label on the frame), and inscribed on the stretcher 'Under the Harvest Moon Atkinson Grimshaw Knostrop Hall Leeds. 53 72+'
oil on canvas
20 x 30 in. (50.8 x 76.2 cm.)

This is a rare composition, where the artist has responded to the landscape before him with great sensitivity. In his early career, Grimshaw painted views, notably in the Lake District, with Pre-Raphaelite intensity and attention to detail. Later, in the 1860s, he enjoyed the friendship of John Linnell. Linnell was the son-in-law of Samuel Palmer, and some of Palmers, and Linnells ideas undoubtedly influenced the younger artist, especially after works by Linnell were shown at the Leeds Infirmary in 1868.

Under the Harvest Moon seems imbued with the spirit of English Romanticism. It is an early essay in the 'nocturnes that made Grimshaw famous. The effect of moonlight, on the hanging wood in the distance, the top of the cart laden with hay, and the gently meandering farm track, is expressed with great poetry. As opposed to later suburban lane scenes, which were often repeated, the artist has carefully considered each element of the composition and there is nothing formulaic in his rendition.

Dated 1872, the picture stands firmly within the decade where Grimshaw saw his career take wing. He moved to Knostrop Old Hall, outside Leeds, and started to be promoted by Thomas Agnew & Sons, who also had branches in the commercial centres of Manchester, Liverpool and Glasgow, where his work found a ready market.

http://www.christies.com/lotfinder/john-atkinson-grimshaw-the-harvest-moon/5001024/lot/lot_details.aspx?from=searchresults&intObjectID=5001024&sid=56633591-dbdb-46f3-9027-19fa8ee00236

Austin Osman Spare

2012-01-25T19:00:00.001Z

[ Operating in a Regimental Aid Post (1918)]
http://www.spartacus.schoolnet.co.uk/ARTspare.htm

Tabernacle Frames: From Sacred to Secular

2012-01-25T19:00:00.000Z

http://beardedroman.com/?p=202

Bedford Double Decker Bus 1950's.

2012-01-25T17:00:00.001Z

John Atkinson Grimshaw - Nightfall in Scarborough Harbour, 1884

2012-01-25T13:00:00.000Z

http://www.bridgemanart.com/image/Grimshaw-John-Atkinson-1836-93/Nightfall-in-Scarborough-Harbour-1884-oil-on-canvas/bbfcd3eb15ca478ca19b015484694e15?key=grimshaw&filter=CBPOIHV&thumb=x150&num=15&page=8

John Atkinson Grimshaw - Dulce Domum (Sweet Home) 1885

2012-01-25T06:00:00.001Z

John Atkinson Grimshaw and Theodosia Grimshaw

2012-01-25T06:00:00.000Z

http://www.bridgemanart.com/image/British-Photographer-19th-century/John-Atkinson-Grimshaw-and-Theodosia-Grimshaw-b-w-photo/c812486b81624ea992d213872986eb94?key=grimshaw&filter=CBPOIHV&thumb=x150&num=15&page=2

The Pocket Guide to Victorian Artists and Their Models by Russell James

2012-01-24T19:00:00.000Z

http://www.amazon.co.uk/Pocket-Victorian-Artists-Models-Remember/dp/1844680959

Derbyshire, Darley Dale, Whitworth Gardens in the 1890's

2012-01-24T17:00:00.000Z

A mid-Victorian room

2012-01-24T13:00:00.001Z

William Talbot - Self Portrait

2012-01-24T13:00:00.000Z

Elizabeth Taylor's Augustus John collection to be auctioned

2012-01-24T12:55:00.002Z

http://www.telegraph.co.uk/culture/art/artsales/9019836/Elizabeth-Taylors-Augustus-John-collection-to-be-auctioned.html

The The Grosvenor Gallery Exhibitions: Change and Continuity in the Victorian Art World Exhibitions: Change and Continuity in the Victorian Art World

2012-01-24T10:47:00.001Z

http://www.amazon.co.uk/Grosvenor-Gallery-Exhibitions-Continuity-Victorian/dp/0521612128

Art for the Nation: The Eastlakes and the Victorian Art World (National Gallery Company) (National Gallery London)

2012-01-24T10:43:00.002Z

http://www.amazon.co.uk/Art-Nation-Eastlakes-Victorian-National/dp/1857095073

Charles Harold Taffs - Lady with a Fan in a Chair 1905

2012-01-24T06:00:00.001Z

Vanessa Bell - Angelica Garnett, née Bell (b.1918), as 'Mistress Millament' in 'The Way of the World'

2012-01-24T06:00:00.000Z

Miriam Marsh 1936

2012-01-23T17:00:00.000Z

George Clausen - Winter Work 1883-4

2012-01-23T13:00:00.000Z

http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=2287&searchid=9621

George Clausen - The Farmer's Boy 1895

2012-01-23T06:00:00.001Z

http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=101646&searchid=9621

George Clausen - A Frosty March Morning 1904

2012-01-23T06:00:00.000Z

Old Birmingham

2012-01-22T17:00:00.000Z

http://www.francisfrith.com/birmingham/

James Jacques Joseph Tissot - Without a Dowry

2012-01-22T13:00:00.000Z

James Jacques Joseph Tissot - The Ruins

2012-01-22T06:00:00.001Z

James Jacques Joseph Tissot - The Shop Girl

2012-01-22T06:00:00.000Z

Women in focus: the Kodak girl – in pictures

2012-01-21T19:00:00.000Z

The Kodak product was marketed, in the beginning, at women, who often took a central role in advertising. In 1893 the Kodak girl, a character embodying independence and travel, began to appear in publicity shots. As the Eastman Kodak company files for bankruptcy, we reproduce some images from history.

http://www.guardian.co.uk/artanddesign/gallery/2012/jan/19/women-in-focus-kodak-girl-in-pictures#/?picture=384687588&index=3

James Jacques Joseph Tissot - Chrysanthemums. ca1875

2012-01-21T13:00:00.000Z

James Jacques Joseph Tissot - Study for (also known as Woman in an Interior)

2012-01-21T06:00:00.001Z

Thomas Sully - Lord Byron, ca1828

2012-01-21T06:00:00.000Z

English-born American Painter, (1783-1872)

A woman should never be seen eating or drinking, unless it be lobster salad and Champagne, the only true feminine and becoming viands.
Lord Byron

Frederick Goodall - Old Maid

2012-01-20T13:00:00.000Z

Julia Prinsep Jackson, c.1856 - unknown photographer

2012-01-20T06:00:00.001Z

Julia Prinsep Jackson (1846-1895) was the third daughter of Dr. John and Maria Pattle Jackson. Born in India in 1846, she moved to England with her mother in 1848. This photograph of Virginia Woolf’s mother was taken when she was ten years old and reveals her legendary beauty. She later became a model for Pre-Raphaelite painters, such as Edward Burne-Jones.

William John Hennessy - The artist’s studio

2012-01-20T06:00:00.000Z

Cumbria, Westmorland, Ambleside in the 1890's

2012-01-19T17:00:00.000Z

John Collier - A Glass of Wine with Caesar Borgia 1893

2012-01-19T13:00:00.000Z

John Collier - Marion Collier (née Huxley)

2012-01-19T06:00:00.001Z

Marian Huxley Collier - Portrait of John Collier - circa 1882-1883

2012-01-19T06:00:00.000Z

Edward Atkinson Hornel - Autumn 1904

2012-01-18T19:00:00.000Z

http://beta.tate.org.uk/art/work/N04401?text_type=display_caption

Tribute to Henry Meynell Rheam

2012-01-18T17:00:00.000Z

Stanhope Alexander Forbes - The Wool Pack Inn

2012-01-18T13:00:00.000Z

Stanhope Alexander Forbes - A safe anchorage 1909

2012-01-18T06:00:00.001Z

Stanhope Alexander Forbes - The Village Street, Newlyn about 1925

2012-01-18T06:00:00.000Z

Edward Arthur Walton - Berwickshire Field-workers 1884

2012-01-17T19:00:00.001Z

http://beta.tate.org.uk/art/work/T03447?text_type=short_text

Joan Eardley - British artist ( 1921 - 1963 )

2012-01-17T17:00:00.000Z

Harold C. Harvey - Unloading the boats, Newlyn Harbour

2012-01-17T13:00:00.000Z

Two portraits by celebrated Irish artist Sir William Orpen to headline Sotheby's London sale

2012-01-17T09:03:00.000Z

http://www.artdaily.org/index.asp?int_sec=2&int_new=53058

Harold C. Harvey - Girl with a red beret 1916

2012-01-17T06:00:00.001Z

Joan Eardley

2012-01-17T06:00:00.000Z

http://www.pallantbookshop.com/books/details/joan_eardley

John Lavery - The Glasgow Exhibition, 1888

2012-01-16T19:00:00.002Z

Probably one of the about forty sketches of scenes in the grounds of the Glasgow Exhibition of 1888 whose exhibition (see above) led to the commission for the commemoration picture of Queen Victoria's State Visit, 22 August 1888, now in Glasgow (repr. Lavery, 1940, after p.267).

Unknown woman photograph in case

2012-01-16T19:00:00.000Z

1900's Ladies Fashion

2012-01-16T17:00:00.000Z

Charles Silem Lidderdale - Portrait Study

2012-01-16T13:00:00.000Z

Charles Silem Lidderdale - Portrait with Bullrushes 1880

2012-01-16T06:00:00.001Z

Charles Silem Lidderdale - The Feather Hat

2012-01-16T06:00:00.000Z

John Seymour Lucas - After Culloden, Rebel Hunting 1884

2012-01-15T19:00:00.000Z

Women in Cages (post)

2012-01-15T17:00:00.001Z

http://vichist.blogspot.com/2012/01/women-in-cages.html
Really good post

John Singer Sargent - Madame X in the museum

2012-01-15T13:34:00.001Z

NEW YORK.- A couple views Madame X, second left, by John Singer Sargent, and Victory, on a pedestal, by Augustus Saint-Gaudens, is displayed in the American Wing of the Metropolitan Museum of Art, in New York. AP Photo/Richard Drew.

Gerald Gardiner - The Artist's Wife - Evelyn - Knitting on a Daybed

2012-01-15T13:00:00.000Z

http://www.thebritishimpressionists.com/display.php?KT_artists=Gerald+Gardiner

Lady Laura Alma-Tadema - Always welcome, 1887,

2012-01-15T06:00:00.002Z

Fred Hall - Cinderella, Grimm’s Fairy Tale, 1891

2012-01-15T06:00:00.000Z

Frederick Hollyer: working methods

2012-01-14T17:00:00.000Z

Frans Xaver Winterhalter (circle) - At the Ball (c. 1850

2012-01-14T13:00:00.000Z

http://www.onlinegalleries.com/art-and-antiques/detail/at-the-ball/93163

William Oliver - The Flower Maiden (c. 1880)

2012-01-14T06:00:00.001Z

http://www.onlinegalleries.com/art-and-antiques/detail/the-flower-maiden-/93350

John Atkinson Grimshaw - Hull Docks at Night

2012-01-14T06:00:00.000Z

http://www.onlinegalleries.com/art-and-antiques/detail/john-atkinson-grimshaw-hull-docks-at-night/93385

Pre Raphaelite lens

2012-01-13T17:00:00.001Z

Henry Peach Robinson, British, 1830 – 1901
Elaine Watching the Shield of Lancelot, 1862
albumen print,
http://www.nga.gov/exhibitions/2010/preraphaelite/slideshow/index.shtm#

George Clausen - A moment's rest

2012-01-13T13:00:00.000Z

Price Realized
£37,250
($57,551)

signed 'G. Clausen' (lower right), inscribed and dated 'G CLAUSEN./1882' (on the reverse) and inscribed and dated '...1882/Childwick Green ST. A...' (on the stretcher)
oil on canvas
18 x 13 in. (45.7 x 33 cm.)

When Clausen moved to Childwick Green, near St Albans in the Autumn of 1881, his work changed fundamentally. The Hampstead street scenes and interiors ceased and his entire production was given over to recording the life of the fields. 'One saw people doing simple things', he later recalled, 'under good conditions of lighting... Nothing was made easy for you: you had to dig out what you wanted' ('Autobiographical Notes', Artwork, no. 25, Spring 1931, p. 19, quoted in K. McConkey, Sir George Clausen RA 1852-1944, 1980, ex. cat., Bradford and Tyne and Wear Museums, p. 29). The first results of this liberating experience appeared in the following Spring when Gleaners (sold in these Rooms, 24 November 2004, lot 40) was shown at the Grosvenor Gallery where it was seen for the first time that Clausen had joined the mainstream of European rural naturalism, led by Jules Bastien-Lepage and then considered avant-garde. His friend, Dewey Bates, recalled that after his arrival in Hertfordshire, the painter was able to hold;

"a mirror up to nature whether it be in the delineation of a ploughed field, a weather-beaten, wrinkled woman of the fields, a ploughboy or a country maiden. He puts them before you with all the infinitely delicate effects of atmosphere, with the reality of truth, with the simplicity of nature. He expresses plainly the poetry, the charm, which he himself has discovered in the subtle colour and modelling of a labourer's face, in the pearly greys of a fallow field or a bit of stubble, even in the tints and tones of a smock-frock or a corduroy trouser".
(D. Bates, 'George Clausen ARA', The Studio, V, 1895, p. 7).

In his reference to the 'weather-beaten... woman of the fields', Bates was undoubtedly recalling one of Clausen's favourite models - a peasant woman who first appears in A Moment's Rest. Not only did she pose for the painter's important pictures such as Winter Work, Day Dreams, Flora, A Woman of the Fields and Labourers after Dinner, but the artist also photographed her as an aide-memoire for other compositions (K. McConkey, 1980, pp. 29-39).

A Moment's Rest was painted at a time when the experience of Bastien-Lepage's Les Foins (1880, Musée d'Orsay, Paris) was fresh in Clausen's mind (K. McConkey, 'Un petit cercle de thuriféraires, Bastien-Lepage et la Grande-Bretagne', 4814, La revue du Musée d'Orsay, no. 24, Printemps 2007, pp. 20-33).

Bastien-Lepage's resting labourers were regarded as degraded humanity. For the young Clausen however, impressed by the writings of William Morris, the true degradation occurred in the metropolis. He believed that it was the painter's mission to present objectively a rural underclass by whose toil human life was sustained. In this he had a second powerful visual source in Jean-François Millet who was ever reminded of physical toil as the common lot of the peasant. The first suggestion of this visual idea originates in A Moment's Rest.

http://www.christies.com/lotfinder/sir-george-clausen-ra-rws-a-moments/5521084/lot/lot_details.aspx?from=salesummary&pos=8&intObjectID=5521084&sid=9954c15e-eda4-4842-adcb-7417973762cc&page=3

Alfred James Munning - Willows near Langham Pool

2012-01-13T06:00:00.001Z

Price Realized
£16,250
($25,106)

signed 'A. J. Munnings' (lower right) and inscribed 'Willows/near Langham/Pool/A.J.M.' (on the reverse).
oil on canvas laid down on board
20 x 24 in. (50.8 x 60.9 cm.)

Munnings held a particularly strong affection for Langham on the Suffolk/Essex border, an idyllic spot which he described in his autobiography, 'To use the word Arcadia here is not affectation. No other word could describe Langham Mill, its lock, bridge, mill-pool, floodgates and trees... From 1919 to 1935 I used to paint there, bathe there, row there in a boat, walk there, and ride there'
(see A.J. Munnings, An Artist's Life, Bungay, 1950, p. 120).
http://www.christies.com/lotfinder/sir-alfred-james-munnings-pra-rws-willows/5521082/lot/lot_details.aspx?from=salesummary&pos=6&intObjectID=5521082&sid=9954c15e-eda4-4842-adcb-7417973762cc&page=3

Edith Hayllar - Five o'clock tea

2012-01-13T06:00:00.000Z

Price Realized
£17,500
($27,038)

signed and dated 'Edith Hayllar 1895.' (lower right) and inscribed 'Five O'clock tea/[N]o 2 /Miss Edith Hayllar/Castle Priory/Wallingford.' (on the artist's label attached to the strecher)
oil on canvas
18 x 14 in. (45.7 x 35.5 cm.)
Sold with the original artist's receipt to the first purchaser for £31.10.

London, Royal Academy, 1895. no. 132.

http://www.christies.com/lotfinder/edith-hayllar-five-oclock-tea/5521079/lot/lot_details.aspx?from=salesummary&pos=5&intObjectID=5521079&sid=9954c15e-eda4-4842-adcb-7417973762cc&page=3

Brompton Oratory

2012-01-12T17:00:00.000Z

http://www.victorianweb.org/art/architecture/churches/6.html

James Paterson - A Quiet Moment in the Shade

2012-01-12T13:00:00.000Z

http://www.victorianweb.org/painting/paterson/1.html

Catty - Punch 1890

2012-01-12T06:00:00.003Z

Feline Amenities. George du Maurier. Punch. 8 February 1890, p. 66.

Fair Hostess (to Mrs. Masham, who is looking her very best). “Howydo, Dear! I hope youre not so tired as you look!.”

The Victorian railway station

2012-01-12T06:00:00.000Z

Bristol, Clifton, Grand Spa Interior

2012-01-11T17:00:00.000Z

Alfred James Munning - Knight Riding by a Lake

2012-01-11T13:00:00.000Z

Lawrence Alma-Tadema - Love’s Jewelled Fetter, 1895

2012-01-11T06:00:00.001Z

Lawrence Alma-Tadema - Flora, 1877

2012-01-11T06:00:00.000Z

Devon, Bovey Tracey, Mary Street

2012-01-10T17:00:00.000Z

Sir Walter Russell - Cordelia exhibited 1930

2012-01-10T13:00:00.000Z

Sir Walter Russell - The Blue Dress 1911

2012-01-10T06:00:00.001Z

Sir Walter Russell - Tying her shoe

2012-01-10T06:00:00.000Z

1867-1949

Art Tatum - Tiger Rag 1933

2012-01-09T17:00:00.000Z