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  • 05/10/14--04:20: Carl Larsson - Part 5
  • 1906 Self-Portrait "Self-Recognition" oil on canvas 95.5 x 61.5 cm Polo Museum, Florence
    Carl Larsson (1853 – 1919) was a Swedish artist representative of the Arts and Crafts movement. His many works include oils, watercolours and frescoes. He considered his finest work to be Midvinterblot (Midwinter Sacrifice), a large wall mural now displayed in the Swedish National Museum of Fine Arts.


    For full biographical notes on Larsson see part 1. For earlier works see parts 1 - 4 also. This is part 5 of a 7-part post on the works of Carl Larsson.


    1905 Kersti in Black watercolour

    1909 Kersti in Black etching 14.7 x 19.9 (plate) © Finnish National Gallery, Helsinki

    1905 Kersti's Friend Visiting pencil and watercolour 33 x 22.5 cm

    1905 My Yard pencil and watercolour

    1905 On the Farm pencil and watercolour

    1905 Pastor C.F. Petterson In Sundborn watercolour

    1905 Potato Harvest pencil and watercolour

    1905 The Antiquity Room pencil and watercolour

    1905 The Evening Meal pencil and watercolour

    1905 The Guardian Angel etching 15.2 x 19.7 cm (plate) Minneapolis Institute of Arts MN and others

    1906 At the Scaffold Painter

    1906 Author Carl Gustaf Lawrence etching 11.8 x 15.9 cm (plate) © Finnish National Gallery, Helsinki

    1906 Azaleas pencil and watercolour Thiel Gallery, Stockholm

    1906 Bo pencil and watercolour

    1906 Children of the Carpenter Helberg watercolour

    1906 Cowgirl in the Meadow pencil and watercolour

    1906 Karin At The Linen Cupboard pencil and watercolour

    1906 Karin pencil and watercolour

    1906 Model Writing Postcards watercolour 68 x 100cm Thiel Gallery, Stockholm

    1906 Oscar Levertin oil on canvas

    1906 Oscar Levertin


    1906 Red and Black pencil and watercolour

    1906 Rose and Back pencil and watercolour

    1906 The Cowshed pencil and watercolour

    1906 The Future Diva pencil and watercolour

    1906 The Manure Pile watercolour

    1906 The Model on the Table

    1906 Threshing pencil and watercolour

    1906 Woodcutters in the Forest pencil and watercolour

    1907 Girl Weaving Red Gold Ribbon pencil and watercolour

    1907 Greta Arnbom pencil and watercolour 54.3 x 75 cm Malmö Konstmuseum, Sweden

    1907 Kersti with Breadbasket

    1907 Minni and Essi pencil and watercolour

    1907 Now it's Christmas Again watercolour

    1907-08 The Entry of King Gustav Vasa of Sweden into Stockholm, 1523 oil on canvas 700 x 1400 cm Nationalmuseum, Stockholm photo: Creative Commons Licence 2

    1908 After the Dance pencil and watercolour

    1908 Brita at the Piano pencil and watercolour

    1908 In Mum's Bed pencil and watercolour

    1908 Ingrid E. watercolour

    1908 Karin on the Shore pencil and watercolour 54.3 x 75 cm Malmö Konstmuseum, Sweden

    1908 Lisbeth and Peonies pencil and watercolour


    1908 Lisbeth and the Lily pencil and watercolour

    1908 Lisbeth in her Sundborn Dress pencil and watercolour

    1908 Ludvig Looström

    1908 Model in Front of the Stove etching 16.4 x 12 cm (plate) © Finnish National Gallery, Helsinki

    1908 Omakuva etching 16.5 x 23.7 cm (plate) © Finnish National Gallery, Helsinki

    1908 Rovasti C.F. Pettersson etching 17.9 x 12 cm (plate) © Finnish National Gallery, Helsinki

    1908 Selma Lagerlöf oil on canvas Bonnierska Porträttsamlingen, Stockholm

    1909 Dagmar Grill in the Garden pencil and watercolour 66 x 56 cm

    1909 Friends from the Towm - Dining Room Scene watercolour

    1909 Karin and Brita with Cactus pencil and watercolour

    1909 Karin and Esbjörn pencil and watercolour

    1909 Kersti's Birthday pencil and watercolour

    1909 Lisbet Playing the Accordion

    1909 Our Guardian Angel pencil and watercolour

    1909 The Cottage in Snow pencil and  watercolour

    1909c The Falun Yard watercolour Private Collection

    1910 Brita pencil and watercolour

    1910 Esbjörn oil on canvas 70 x 100 cm

    1910 Lisbeth's New Hat pencil and watercolour

    1910 Self-Portrait in Landscape pencil and watercolour

    1910 Suzanne as a Red Cross Nurse pencil and watercolour

    1910 Suzanne on the Porch pencil and watercolour

    1910c Schoolgirl in an Interior (Kersti) pencil and watercolour 50.8 x 71.8 cm Brooklyn Museum, New York

    1911 Brother and Sister watercolour pencil and watercolour

    1911 Girl on Skis pencil and watercolour 74 x 52.5 cm


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  • 05/13/14--05:19: Carl Larsson - Part 6
  • 1912 Self-Portrait in the Studio pencil and watercolour 54.3 x 75 cm Malmö Konstmuseum, Sweden
    Carl Larsson (1853 – 1919) was a Swedish artist representative of the Arts and Crafts movement. His many works include oils, watercolours and frescoes. He considered his finest work to be Midvinterblot (Midwinter Sacrifice), a large wall mural now displayed in the Swedish National Museum of Fine Arts.


    For full biographical notes on Larsson see part 1. For earlier works see parts 1 - 5 also. This is part 6 of a 7-part post on the works of Carl Larsson.

    1910 Lasst Licht Hinein (Let in More Light):


    Frontispiece of "Lasst Licht Hinein"



    1908 Bridesmaid (from "Lasst Licht Hinein" series) pencil and watercolour 52.3 x 75 cm © Finnish National Gallery, Helsinki

    1908 Christmas Morning (from "Lasst Licht Hinein" series) pencil and watercolour

    1908 Evening Light (from "Lasst Licht Hinein" series) pencil and watercolour

    1908 Household Dining Room (from "Lasst Licht Hinein" series) pencil and watercolour

    1908 Shelling Peas (from "Lasst Licht Hinein" series) pencil and watercolour

    1908 Summer Morning (from "Lasst Licht Hinein" series) pencil and watercolour Private Collection

    1908c Trousseau (from "Lasst Licht Hinein" series) pencil and watercolour

    1909 Anna Arnbom (from "Lasst Licht Hinein" series) pencil and watercolour

    1909 Christmas Holidays (from "Lasst Licht Hinein" series) pencil and watercolour

    1909 Evening Before the Journey to England (from "Lasst Licht Hinein" series) pencil and watercolour

    1909 Fishing (from "Lasst Licht Hinein") pencil and watercolour

    1909 Lisbeth Prepares a Bath (from "Lasst Licht Hinein" series) pencil and watercolour

    1909 My Friends, the Carpenter and the Painter (from "Lasst Licht Hinein" series) pencil and watercolour

    1909 The Bedroom (from "Lasst Licht Hinein" series) pencil and watercolour

    1909 The Reading Room (from "Lasst Licht Hinein" series) pencil and watercolour

    1909 The Study Room (from "Lasst Licht Hinein" series) pencil and watercolour

    1910 My Acid Workshop "Where I do my Etching" (from "Lasst Licht Hinein" series) pencil and watercolour

    Workshop pencil and watercolour

    From "Lasst Licht Hinein" pencil and watercolour 30 x 40 cm
    *      *      *

    1910-13 Breakfast in the Open:

    1910 Esbjörn

    1910 Lisbeth and the Birch Grove

    1910 Lisbeth by a Birch

    1910 Mother Kersti

    1910 Breakfast in the Open

    1913 Breakfast in the Open
    *      *      *

    1911 Hilda pencil and watercolour

    1911 In the Back Yard watercolour

    1911 Karin Peeling Rhubarb pencil and watercolour

    1911 My Sundborn Studio pencil and watercolour

    1911 Rosalind pencil and watercolour

    1911 Seated Nude Woman etching 24.6 x 19.4 cm (plate) © Finnish National Gallery, Helsinki

    1911 The Falun Home watercolour

    1912 A Sunbeam Kersti

    1912 Correspondence watercolour

    1912 Esbjörn Doing His Homework pencil, watercolour and gouache 74.3 x 68.6 cm

    1912 Esbjörn Reading during the Mumps etching

    1912 Esbjörn in the Studying Corner pencil and watercolour

    1912 For Grandma On Her Birthday watercolour

    1912 Her Royal Highness, Big Sister pencil and watercolour

    1912 Ingrid W. pencil and watercolour

    1912 Like Bees Around Honey watercolour

    1912 Lillanna and the Crocus watercolour

    1912 Lillanna watercolour

    1912 Little Matts Larsson pencil and watercolour

    1912 Self-Portrait etching

    1912 Son-In-Law Sings pencil and watercolour

    1912 The Bridge at the Harbour pencil and watercolour Private Collection

    1912 Three sharing a Book. Kersti, Esbjörn and Muff watercolour

    1912 The Picture Book etching

    1912 Under the Chestnut Tree pencil and watercolour Private Collection

    1913 Anna-Johanna Grill pencil and watercolour 75 x 53 cm

    1913 Carl Oscar Persson, Painter

    1913 Gunlög with her Mother pencil and watercolour

    1913 Hat Fitting pencil and watercolour

    1913 Woman Lying on a Bench pencil and watercolour

    1914 Barbro Laurin - 10 Years Old watercolour

    1914 Interior with a Cactus watercolour

    1914 Mme Jeanne Tramcourt pencil and watercolour

    1914 Paul Petter Waldenström

    1914 The Model pencil and watercolour

    1915 Esbjörn as a Farmhand pencil and watercolour

    1915 Hans Arnbom, Carpenter pencil and watercolour

    1915 Karl-Otto Bonnier


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  • 05/16/14--05:54: Carl Larsson - Part 7
  • Carl Larsson in his studio c1900 photo: Public Domain
    Carl Larsson (1853 – 1919) was a Swedish artist representative of the Arts and Crafts movement. His many works include oils, watercolours and frescoes. He considered his finest work to be Midvinterblot (Midwinter Sacrifice), a large wall mural now displayed in the Swedish National Museum of Fine Arts.


    For full biographical notes on Larsson see part 1. For earlier works see parts 1 - 6 also. This is part 7 of a 7-part post on the works of Carl Larsson.

    1914-15 Midwinter Sacrifice:


    1914-15 Midwinter's Sacrifice oil on canvas 640 x 1360 cm Nationalmuseum, Stockholm, Sweden

    Study oil on canvas 202 x 341 cm Nationalmuseum, Stockholm, Sweden

    Study coloured pencils and gouache, squared in pencil 44.5 x 78 cm Nationalmuseum, Stockholm, Sweden

    Study oil on canvas 123 x 199 cm Nationalmuseum, Stockholm, Sweden

    1914 Study  for the Executioner black chalk and gouache 77.5 x 37 cm  Nationalmuseum, Stockholm, Sweden

    1914 Study oil on canvas 76.5 x 46 cm Nationalmuseum, Stockholm, Sweden

    1914-15 Midwinter's Sacrifice oil on canvas 640 x 1360 cm Nationalmuseum, Stockholm, Sweden
    *      *      *

    1915 Kersti pencil and watercolour

    1915 Mowing the Oats pencil and watercolour

    1915 Oat Harvest watercolour

    1915 Self-Portrait

    1915 Tage Thiel pencil and watercolour

    1916 Seamstress pencil and watercolour

    1917 By the Cellar pencil and watercolour 74 x 52.5 cm Nationalmuseum, Stockholm

    1917 Esbjörn Convalescing pencil and watercolour

    1917 Girl with Ice Skates pencil and watercolour 75 x 52.5 cm

    1917 Girl With Spinning Wheel pencil and watercolour

    1917 Lars-Erik Lamm pencil and watercolour

    1917 LillAnna is Playing Mozart pencil and watercolour

    1917 Say Hello Nicely pencil and watercolour 

    1918 Erik Axel Karlfeldt

    1918 Esbjörn Reading on the Veranda pencil and watercolour

    1918 Lillanna Feeds the Heater watercolour

    1918 Self Portrait

    1995 My Backyard pencil and watercolour

    Unfortunately I do not have dates for the remainder of the works in this series (some are dated but illegible), so they will not be any chronological order, but as there a number of works here I thought I should include them:

    A Farmstead watercolour

    A Miner's Home pencil and watercolour

    A Miner's Home pencil and watercolour

    Beehives and Roses pencil and watercolour

    Birgitta the Saint pencil and watercolour

    Bolla pencil and watercolour

    Brita In The Flowerbed watercolour

    Brita with a Cat and a Sandwich pencil and watercolour

    Christmas Decoration pencil and watercolour

    Christmas Tree Confetti watercolour

    Cock-a-Doodle, Seven O'Clock watercolour

    Daniels Mats pencil and watercolour

    Day is Done pencil and watercolour

    Erik Erikson, the Blacksmith pencil and watercolour

    Evening Light at the Grand Piano pencil and watercolour

    Father and Mother watercolour

    Fertilising the Field watercolour

    Flowers In The Meadow watercolour

    Harrowing the Field watercolour

    Idun's 25th Year Anniversary pencil and watercolour

    In The Hawthorn Hedge pencil and watercolour

    Jenny with a Flower Garland

    Landscape at Marstrand watercolour

    Martha Winslow as a Girl pencil and watercolour

    Martina in Front of the Fire pencil and watercolour

    My Wife watercolour

    Our Courtyard pencil and watercolour

    Period of The Thirty Years War pencil and watercolour

    Ploughing watercolour

    Rättvik Girl By Wooden Storehouse watercolour

    Self-Portrait "Before the Mirror" watercolour

    Sowing watercolour

    Stone Age Woman pencil and watercolour

    Summer Flowers watercolour

    Sun and Flowers watercolour

    Suzanne and Another pencil and watercolour

    The Bridge

    Viking Woman pencil and watercolour

    Washerwoman

    Winnowing The Grain watercolour

    Winter Landscape pencil and watercolour

    Woman with Bicycle pencil and watercolour

    Young Seamstress watercolour


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  • 05/20/14--01:12: Apple Crate Labels - part 1
  • A post featuring apple crate labels from the USA, spanning the 1910's to the 1950's. These colourful illustrated labels were printed by lithography and were designed to be attached to the ends of wooden fruit crates. They usually identified the manufacturer, the type, class and origin of the fruit. Some were generic - overprinted by different companies or brands.



    This is the second series of posts featuring fruit crate labels (See Citrus Fruit Crate Label series in the Blog Archive: February 2014).
    This is part 1 of a 4-part post on Apple Crate Labels (1910s - 1930s) :


    1910-20s Appleton Brand Apples

    c1910s Golden West Brand California Apples

    c1910s Pennant Brand Newtown Pippins Apples

    1910s F.B. Brand Pajaro Valley Apples

    1910s Good Stock Brand Newtown Pippins Apples
    An example of an earlier artwork being re-drawn at a later date for a different brand (above and below):

    1920s Lake View Brand Pajaro Valley Apples


    1910s John Jacobs Company Apples

    1910s Kentucky Cardinal Brand Apples

    1910s Mountain Valley Apples Brand

    1910s P.M. Brand Pajaro Valley Apples

    1910s Peacock Brand California Apples

    1910s Pride Brand Apples

    1910s Solo Brand Pajaro Valley Apples

    1911 Paonia Mountain Apples

    1920s America's Delight Brand Northwest Apples

    1920s Anchor Brand Northwest Apples

    1920s Best Strike Brand Pajaro Valley Apples

    c1920s Deep Blue Sea Brand Northwestern Apples

    c1920s Delight Brand Apples

    c1920s Pinal Ranch Brand Apples

    1920s Camel Brand Apples

    1920s Cleveland Brand Apples

    1920s DB Brand Northwest Apples

    1920s Depend-On Brand Washington Apples

    1920s Diving Girl Brand California Apples

    1920s Green Bluff BrandApples

    1920s Indian Head Brand Yakima Apples

    1920s Lucky Lad Brand Northwest Apples

    1920s Mariposa Brand Fancy Northwestern Apples
    A Mariposa Brand label fro the 1930s still employing the butterfly artwork:

    1930s Mariposa Brand Apples


    1920s Million Dollar Brand Apples

    1920s Nightingale Brand Pajaro Valley Apples

    1920s Oak Glen Mountain Apples

    1920s Pacific Exporter Brand Apples

    1920s Pic-O-Pete Brand Apples

    1920s Rip Van Winkle Brand Apples

    1920s Sno-Fed Brand Apples

    1920s Spinner Fruit Corporation Apples

    1920s Tennis Brand Apples

    1920s Tiger Brand Apples

    1920s Uncle Sam Brand Yakima Valley Apples

    1920s Vanbo Brand Apples

    1920s Wenatchee Valley Fruit Growers Association

    1920s Williams Brand Apples

    1930s Baby Brand Apples

    1930s Buckaroo Brand Apples

    1930s Buddy Brand Apples

    1930s Buffalo Brand Pajaro Valley Apples


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  • 05/23/14--03:28: Apple Crate Labels - part 2
  • A post featuring apple crate labels from the USA, spanning the 1910's to the 1950's. These colourful illustrated labels were printed by lithography and were designed to be attached to the ends of wooden fruit crates. They usually identified the manufacturer, the type, class and origin of the fruit. Some were generic - overprinted by different companies or brands.

    This is the second series of posts featuring fruit crate labels (See Citrus Fruit Crate Label series in the Blog Archive: February 2014). This is part 2 of a 4-part post on Apple Crate Labels (1930s - 1940s) See part 1 for earlier labels.


    1930s Chalet Brand Apples

    1930s Dainty Maid Brand Apples

    1930s Far West Brand North Apples

    1930s Glacier Brand Apples

    1930s Governor Winthrop Brand Yakima Apples

    1930s Grizzly Brand Apples

    1930s Hula Brand Apples

    1930s Indian Head Brand Washington Apples

    1930s K-O Brand Apples

    1930s Yakima Chief Brand Evaporate Apples

    1930s Lady Apples Brand Tuolumne County Mountain Apples

    1930s Lamb Brand Fancy Apples

    1930s Lucky Trail Brand Fancy California Apples

    1930s Maine Apples Brand

    1930s Majorpak Brand Apples

    1930s Ox Team Brand Apples

    1930s Pelican Brand Washington Apples

    1930s Red Winner Brand Okanogan Valley Apples

    1930s Redman Brand Wenatchee District Apples

    1930s Redskin Brand Northwest Apples

    1930s Tulip Brand Apples

    1930s Utah Mountain Apples

    1930s Western Star Brand Yakima Valley Apples

    1930s Wolf Brand Apples

    1940s A-Plus Brand Apples

    1940s Apple Kids Brand Washington Apples

    1940s Aurora Brand Apples

    1940s Beckwith Brand Washington Apples

    1940s Benz Goodfruit Brand Washington Apples

    1940s Best Bite Brand Apples

    1940s Big Chief Brand Canadian Apples

    1940s Black Bear Brand Canadian Apples

    1940s Blue Grouse Brand Canadian Apples

    1940s Blue Larkspur Brand Apples

    1940s Blue Mountain Brand Apples

    1940s Blue Ribbon Brand Yakima Apples

    1940s Blue Seal Brand Apples

    1940s Blue Winner Brand Okanogan Valley Apples

    1940s Boy Blue Brand Wenatchee Apples

    1940s Briskey Brand Apples

    1940s Britevale Brand Okanogan Valley Apples

    1940s Buffalo Brand Canadian Apples

    c1940s Bite Size Brand Apples

    c1940s Clasen Brand Apples

    c1940s Golden Girl Brand Apples

    c1940s  Hy-Tone Brand Apples

    c1940s Pacific Chief Brand Northwest Apples

    c1940s Persian Brand Northwest Apples

    c1940s Tyee Brand Washington Apples


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  • 05/26/14--04:22: Apple Crate Labels - part 3
  • A post featuring apple crate labels from the USA, spanning the 1910's to the 1950's. These colourful illustrated labels were printed by lithography and were designed to be attached to the ends of wooden fruit crates. They usually identified the manufacturer, the type, class and origin of the fruit. Some were generic - overprinted by different companies or brands.

    This is the second series of posts featuring fruit crate labels (See Citrus Fruit Crate Label series in the Blog Archive: February 2014). This is part 3 of a 4-part post on Apple Crate Labels (1940s continued) See parts 1 - 2 for earlier labels.


    1940s Chazy Orchards Brand Apples

    1940s Chief Joseph Brand Apples

    1940s Cliff Brand Apples

    1940s Columbia Belle Brand Apples

    1940s Don't Worry Brand Northwestern Apples

    1940s Eatmor Brand Apples

    1940s Ed. Kinze Brand Washington Apples

    1940s Falls Brand Apples

    1940s Fashion Plate Brand Northwest Apples

    1940s Ferndale Brand Gravenstein Apples

    1940s Frigid-Aps Brand Washington Apples

    1940s Garsco Brand Apples

    1940s Gloriosa Brand Apples

    1940s Gold-Ridge Brand Gravenstein Apples

    1940s Golden Falcon Brand Idaho Apples

    1940s Golden Rod Brand Apples

    1940s Gosling Brand Northwest Apples

    1940s Great-Northwest Brand Washington Apples

    1940s Happy Home Brand Yakima Valley Apples

    1940s Hesperian Brand Apples

    1940s Hy-Valley Brand Apples

    1940s Iceberg Brand Washington Apples

    1940s Jackie By Brand Apples

    1940s Jade Brand Apples

    1940s Jim Dandy Brand Apples

    1940s Jim Hill Brand Apples

    1940s Jo-Jo Brand Apples

    1940s Kare-Ful-Pak Brand Yakima Apples

    1940s Kile Brand Apples

    1940s King of Color Brand Sebastopol Gravenstein Apples

    1940s Kyte Brand Apples

    1940s L-Z Brand Apples

    1940s Lake Chelan Brand Washington Apples

    1940s Laurie Brand Washington Apples

    1940s Legal Tender Brand Apples

    1940s Linse Brand Apples

    1940s Morjon Brand Apples

    1940s Mountain Brand Apples

    1940s Mountain Edge Brand Apples

    1940s Mountain Goat Brand Chelan Apples

    1940s Nob Hill Brand Apples

    1940s NSP Brand Apples

    1940s Nuchief Brand Washington Apples (Loop Loop Brand Apples)

    1940s Orchard Boy Brand Washington Apples

    1940s Orchard Brand Canadian Apples

    1940s Pacific Fruit & Produce Co. Apples

    1940s Pacific Pride Brand Sonoma County Gravenstein Apples

    1940s Penoka Brand Canadian Apples

    1940s Peter Pan Brand Northwest Apples


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  • 05/29/14--05:46: Apple Crate Labels - part 4
  • A post featuring apple crate labels from the USA, spanning the 1910's to the 1950's. These colourful illustrated labels were printed by lithography and were designed to be attached to the ends of wooden fruit crates. They usually identified the manufacturer, the type, class and origin of the fruit. Some were generic - overprinted by different companies or brands.

    This is the second series of posts featuring fruit crate labels (See Citrus Fruit Crate Label series in the Blog Archive: February 2014). This is part 4 of a 4-part post on Apple Crate Labels (1940s - 1950s) See parts 1 - 3 for earlier labels.


    1940s Red Giant Brand Mountain Grown Apples

    1940s Repetition Brand Apples

    1940s Rodeo Brand Washington Apples

    1940s See! See! Brand Washington Apples

    1940s Senorita Brand Apples

    1940s Skookum Brand Apples

    1940s Snoboy Brand Apples

    1940s Snomaid Brand Fancy Apples

    1940s Tom Tit Brand Apples

    1940s U Like Um Brand Apples

    1940s Up North Brand Apples

    1940s Wenatchee Chief Brand Apples

    1940s Western Brand Washington Apples

    1940s White Ribbon Brand Yakima Valley Apples

    1940s Wilko Brand Apples

    1940s Yum-Yum Brand Apples

    1950s Band Box Brand Northwest Apples

    1950s Blewett Pass Brand Washington Apples

    1950s Carriage Trade Brand Apples

    1950s Dynamo Brand Apples

    1950s Eatum Brand Apples

    1950s Eatum-Rite Brand Apples

    1950s Empire Builder Brand Washington Apples

    1950s Erickson Brand Canadian Apples

    1950s Garbro Orchard Brand Gravenstein Apples

    1950s Glacier Peak Brand Washington Apples

    1950s Good Pickens Brand Washington Apples

    1950s Gromore Brand Yakima Apples

    1950s Headline Brand Washington Apples

    1950s Hell's Canyon Brand Idaho Apples

    1950s Hi Sea Brand Washington Apples

    1950s Hi-Yu Brand Apples

    1950s Hy-Land Kids Brand Washington Apples

    1950s Jack's Brand Washington Apples

    1950s Lake Wenatchee Brand Apples

    1950s Lamb Brand Apples

    1950s Mischief Brand Washington Apples

    1950s Northern Line Brand Washington Apples

    1950s Nuchief Brand Washington Apples

    1950s O-fine-O Brand Washington Apples

    1950s Plen Tee Color Brand Yakima Valley Apples

    1950s Progress Brand Fancy Pajaro Valley Apples

    1950s Pyramid Brand Extra Fancy Canadian Apples

    1950s Sir Apple Brand

    1950s Sky Ranch Brand Washington Apples

    1950s Tell Brand Apples

    1950s Tu-Rivers Brand Apples

    1950s Wilshire's Oak Glen Mountain Apples


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    1753-54c Self Portrait in Van Dyck Costume (aged about twenty) oil on canvas 76.2 x 63.5 cm Derby Museum and Art Gallery, Derby UK
    Joseph Wright (1734 – 1797) styled Joseph Wright of Derby. Was an English landscape and portrait painter. He has been acclaimed as “the first professional painter to express the spirit of the Industrial Revolution”. Wright is noted for his use of Chiaroscuro effect, which emphasises the contrast of light and dark, and for his paintings of candle-lit subjects. His paintings of the birth of science out of alchemy, often based on meetings of the Lunar Society, a group of very influential scientists and industrialists living in the English Midlands, are a significant record of the struggle of science against religious values in the period known as the Age of Enlightenment.


    Joseph Wright (1734 – 1797) was born in Irongate, Derby in 1734. In 1751 Wright went to London and studied for two years under Thomas Hudson, the master of Joshua Reynolds. After painting portraits for a while in Derby, Wright again worked as an assistant to Hudson for fifteen months. In 1753 he returned and settled in Derby and varied his work in portraiture with subjects using strong chiaroscuro under artificial light, and by landscape painting. Wright spent a productive period between 1768 – 1771 painting portraits of prominent figures in Liverpool.


    In 1773 Wright married Ann (aka Hannah) Swift, the daughter of a lead-miner. They had six children, three of whom died in infancy. In the same year Wright and his pregnant wife travelled by sea to Livorno in Italy, arriving in February 1774. He subsequently spent a great deal of time in Naples. On his return from Italy he established himself in the city of Bath in Somerset as a portrait painter, but meeting little encouragement he returned to Derby in 1777, where he spent the rest of his life.


    Wright was a frequent contributor to the exhibitions of the Society of Artists, and to the Royal Academy, of which he was elected an associate in 1781, and a full member in 1784. However, he declined the latter honour on account of a slight he believed he had received, and severed his connection with the Academy, though he continued to exhibit from 1783 until 1794.


    Wright had close contact with pioneering industrialists of the Midlands. Two of his most important patrons were Josiah Wedgwood, credited with the industrialization of pottery manufacture, and Richard Arkwright, regarded as the creator of the factory system in the cotton industry. Wright also had connections with Erasmus Darwin (grandfather of Charles Darwin), who lived in Derby, and other members of the Lunar Society, which brought together leading industrialists, scientists and philosophers, inspiring some of Wright’s works.

    Wright became increasingly asthmatic and nervous about the house, and for these complaints he was treated by his friend Dr. Erasmus Darwin. Ann Wright died in 1790. Joseph Wright died in August 1797 at his new home at No. 28 Queen Street, Derby, where he had spent his final months with his two daughters.


    This is part 1 of a 5 - part post on the works of Joseph Wright:

    1750 Boy with Plumed Hat and Greyhound charcoal and stumping 33.6 x 23.5 cm Derby Museum and Art Gallery, Derby UK

    1751-57c Study of an Unknown Man (attributed to) chalk on paper 45.6 x 28 cm Tate, London UK

    1753c Richard Wright, Surgeon of Derby

    Richard Wright, the sitter in this portrait, was the brother of Joseph Wright. At the time this was painted, Richard was 23 and Joseph was 19 years old.


    1753c Richard Wright (1730–1814), Surgeon of Derby oil on canvas 76.8 x 63.1 cm Wellcome Library, London UK

    1755 Anne Bateman, Later Mrs John Gisborne oil on canvas 77 x 65 cm Private Collection

    1755-65 Portrait of a Gentleman oil on canvas 76.2 x 63.5 cm Museum of Fine Arts, Houston TX

    1760 William Pigot (1729–1782) oil on canvas 127 x 102 cm Doncaster Museum and Art Gallery UK

    1760 Elizabeth Pigot (1726–1766) oil on canvas 127 x 102 cm Doncaster Museum Service UK

    1760 Lawrence Monck oil on canvas 126.9 x 102.5 cm Laing Art Gallery, Newcastle UK

    1760 Mrs Lawrence Monck oil on canvas 127.5 x 101.7 cm Laing Art Gallery, Newcastle UK

    1760 Portrait of Miss Jane Monck oil on canvas 125.7 x 101.3 cm Laing Art Gallery, Newcastle UK

    1760c Portrait of a Girl (Jane Monck, d.1794) oil on canvas 40.6 x 33 cm  Leeds Museums and Galleries UK

    1760 William Brooke oil on canvas 127 x 101.6 cm Private Doncaster Museum and Art Gallery UK

    1760-62c Girl Reading a Letter by Candlelight, With a Young Man Peering over her Shoulder oil on canvas 88.9 x 69.8 cm Private Collection

    1760c Anne or Molly Cracroft oil on canvas 127 x 101.6 cm Private Collection

    1760c Harvey Wilmot oil on canvas 50.8 x 40.6 cm Private Collection

    1760c Simon Wilmot oil on canvas 50.8 x 40.6 cm Private Collection

    1760c Portrait of a Gentleman oil on canvas 76.5 x 63.9 cm National Gallery of Art, Washington D.C.

    1760c Portrait of a Lady oil on canvas 77.5 x 64.1 cm St Louis art Museum, St Louis MO

    1760c Richard Lovett (attributed) oil on canvas 76 x 62.3 cm Museum of the History of Science, University of Oxford UK

    early 1760s Millicent Mundy, Mrs. French oil on canvas 124.5 x 98 cm

    1761-62c Mrs Andrew Lindington oil on canvas 76.2 x 62.8 cm Philadelphia Museum of Art, Philadelphia PA

    1762-63 Anne Borrow oil on canvas 127 x 101.6 cm Derby Museum and Art Gallery, Derby UK

    1762-63c Edward Becher Leacroft oil on canvas 127 x 101.6 cm Stanford University Museum and Art Gallery, Stanford CA

    1762-63c Francis Noel Clarke Mundy oil on canvas 127 x 101.6 cm Private Collection

    1762-63c Harry Peckham oil on canvas 127 x 101.6 cm Private Collection

    1762-63c Mr and Mrs William Chase oil on canvas 138.4 x 190.5 cm Private Collection

    1762-63c Mrs Wilmot in Riding Dress oil on canvas 127 x 101.6 cm Private Collection

    1762-63c Nicholas Heath oil on canvas 127 x 101.6 cm Private Collection

    1762-63c Thomas Borrow (1709–1786) oil on canvas 127 x 101.6 cm Derby Museum and Art Gallery, Derby UK

    1762-64c Samuel Rastall oil on canvas 76.2 x 63.6 cm Private Collection

    1762-64c William Rastall oil on canvas 76.2 x 63.6 cm Private Collection

    1762-65 Thomas Bennett oil on canvas 76.2 x 63.5 cm Derby Museum and Art Gallery, Derby UK

    1763c Portrait of Miss Frances Warren oil on canvas 124.5 x 99 cm Denver Art Museum, Denver CO

    1764 James and Mary Shuttleworth with One of Their Daughters oil on canvas 142.2 x 182.9 cm Private Collection

    1764 The Honourable Richard Fitzwilliam, Seventh Viscount Fitzwilliam of Merrion oil on canvas 74.9 x 62.2 cm The Fitzwilliam Museum, Cambridge UK

    1764c The Honourable John Grey (1743–1802), as a Gentleman Commoner of Cambridge University oil on canvas 73.5 x 61 cm National Trust, Dunham Massey, Altrincham UK

    1765 Peter Perez Burdett and His First Wife Hannah oil on canvas 145 x 205 cm Narodni Gallery, Prague, Czech Republic

    1765 Three Persons Viewing The Gladiator by Candlelight oil on canvas 101.6 x 121.9 cm Private Collection

    1769 William Paether after Joseph Wright "Three Persons Viewing The Gladiator by Candlelight" mezzotint on off-white laid paper 48.2 x 55.5 cm (plate) Art Institute of Chicago IL

    1765c Mary Bold, Mrs Thomas Hunt III oil on canvas 76 x 63.5 cm The National Trust UK

    1765c Self-Portrait black and white chalks on paper laid on canvas Derby Museum and Art Gallery, Derby UK

    1766 Mrs Robert Gwillym oil on canvas 127 x 101.6 cm Saint Louis Art Museum, St. Louis MO

    1766 Robert Vernon Atherton Gwillym oil on canvas 127 x 101.6 cm Saint Louis Art Museum, St. Louis MO

    1766-68c Cornet Sir George Cooke oil on canvas 76.7 x 63.8 cm Nelson Gallery-Atkins Museum, Kansas City MO

    1766c A Philosopher Lecturing on the Orrery
    A Philosopher Lecturing on the Orrery (1766c) shows an early mechanism for demonstrating the movement of the planets around the sun. The Scottish scientist James Ferguson (1710 – 76) undertook a series of lectures in Derby in July 1762 based on his book “Lectures on Select Subjects in Mechanics, Hydrostatics, Pneumatics, Optics & c.” (1760). To illustrate his lectures, Ferguson used various machines, models and instruments. Wright possibly attended these talks, especially as tickets were available from John Whitehurst, Wright’s close neighbour, a clockmaker and a scientist.


    1766c A Philosopher Lecturing on the Orrery oil on canvas 147 x 203 cm Derby Museum and Art Gallery, Derby UK

    1768 William Pether "A Philosopher Lecturing on the Orrery" mezzotint 48.8 x 59.2 cm The Hermitage Museum, St Petersburg, Russia

    1767-70c A Young Girl Reading a Letter, with an Old Man Reading over Her Shoulder oil on canvas 91.5 x 71.2 cm Private Collection

    1767-70c Self-Portrait in a Black Feathered Hat charcoal heightened with white chalk on paper 53.3 x 36.8 cm Derby Museum and Art Gallery, Derby UK

    1767-70c Two Boys Fighting over a Bladder oil on canvas 91.5 x 71.2 cm Private Collection

    1767c Portrait of a Man, Known as the "Indian Captain" oil on canvas 229.2 x 138.4 cm Yale Centre for British Art, New Haven CT

    1768 An Experiment on a Bird in an Air Pump
    An Experiment on a Bird in the Air Pump (1768) shows people gathered round observing an early experiment into the nature of air and its ability to support life. A travelling scientist is shown demonstrating the formation of a vacuum by withdrawing air from a flask containing a white cockatoo, though common birds like sparrows would normally have been used. Air pumps were developed in the 17th century and were relatively familiar by Wright’s day.


    1768 An Experiment on a Bird in an Air Pump oil on canvas 183 x 244 cm The National Gallery, London UK

    Detail: 1768 An Experiment on a Bird in an Air Pump

    Detail: 1768 An Experiment on a Bird in an Air Pump

    Detail: 1768 An Experiment on a Bird in an Air Pump

    1769 Valentine Green after Joseph Wright "An Experiment on a Bird in an Air Pump" mezzotint 48.3 x 58.6 cm The Hermitage Museum, St Petersburg, Russia

    1768 Richard Gildart oil on canvas 125 x 100 cm Walker Art Gallery, Liverpool UK

    1768 Study of a Young Girl in a Turban and Frilled Collar black and white chalks and stump on paper 43.8 x 29.2 cm Private Collection

    1768-70c Two Girls Dressing a Kitten by Candlelight oil on canvas 90.8 x 72.4 cm Private Collection

    1781 Thomas Boswel Watson after Joseph Wright "Miss Kitty Dressing" mezzotint on ivory laid paper 43.8 x 33.3 cm (image) Five Colleges Museums Collections Database MA

    1768c Portrait of a Man chalks on paper 36.8 x 28.6 cm Yale Centre for British Art, New Haven CT

    1768c Study of a Young Girl with Feathers in Her Hair black and white chalks on paper laid on canvas 43.1 x 29.1 cm Private Collection


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    1765-68 Self-Portrait in a Fur Cap monochrome pastel on blue-grey laid paper 42.5 x 29.5 cm Art Institute of Chicago IL
    Joseph Wright (1734 – 1797) styled Joseph Wright of Derby. Was an English landscape and portrait painter. He has been acclaimed as “the first professional painter to express the spirit of the Industrial Revolution”. Wright is noted for his use of Chiaroscuro effect, which emphasises the contrast of light and dark, and for his paintings of candle-lit subjects. His paintings of the birth of science out of alchemy, often based on meetings of the Lunar Society, a group of very influential scientists and industrialists living in the English Midlands, are a significant record of the struggle of science against religious values in the period known as the Age of Enlightenment.

    This is part 2 of a 5 - part post on the works of Joseph Wright. For full biographical notes, and for earlier works, see part 1 also.


    1769 An Academy by Lamplight oil on canvas 127 x 101.2 cm Yale Centre for British Art, New Haven CT

    1772 William Pether after Joseph Wright "An Academy by Lamplight" mezzotint on paper 58.1 x 45.7 cm Five Colleges Museums Collections Database MA


    1769 (exhibited) A Philosopher by Lamplight

    The painting was described in the catalogue of the 1801 sale as a companion to “The Alchymist Discovering Phosphorous.” A philosopher is examining a collection of human bones in a lamp-lit cave. Two smaller men, or boys, dressed as pilgrims seem to be approaching him. These figures are a lot smaller than the main character.


    Experts believe the painting was based on Salvator Rosa’s “Democritus in Meditation” (c1760). Wright’s friend John Hamilton Mortimer was a follower of Rosa’s, so it is possible that Wright could have seen Rosa’s work or an engraving of it. Democritus was a Greek philosopher remembered for making fun of the foolishness of mankind. Though the painting’s subtitle is “A Hermit Studying Anatomy,” his attitude toward the bones he is holding does not suggest serious scrutiny. He is surrounded by symbols of the ephemeral nature of the human condition, which include the skeleton, a lamp that will burn all its fuel, the moon which has to be reborn every four weeks, and an hourglass. The moon was also the symbol of the “Lunar Society” that Wright was strongly associated with, but never became a member of.


    The preoccupation of the philosopher and the trepidation of the two pilgrims may be reflection on the concerns about the new scientific understanding and the age of enlightenment at the time Wright lived.

    exhibited 1769 A Philosopher by Lamp Light oil on canvas 128.2 x 102 cm Derby Museum and Art Gallery, Derby UK

    Salvator Rosa "Democritus in Meditation" c1760 oil on canvas 344 x 214 cm Statens Museum for Kunst, Copenhagen, Denmark

    1769 Fleetwood Hesketh oil on canvas 127 x 102 cm Private Collection

    1769 Mrs Frances Hesketh oil on canvas 127 x 101.5 cm Walker Art Gallery, Liverpool UK

    1769 Mrs James Hardman of Rochdale and Allerton Hall oil on canvas 76.2 x 63.5 cm  Lancashire County Museum Service, Preston UK

    1769 Mrs Thomas Parke (1740–1827) oil on canvas 76.8 x 64 cm National Museums Liverpool UK

    1769 Thomas Parke (1729–1819) oil on canvas 76 x 63.5 cm Walker Art Gallery, Liverpool UK

    1769 Thomas Staniforth of Darnall, Co. York oil on canvas 93 x 77.5 cm Tate, London UK

    1769 Valentine Green after Joseph Wright "The Bradshaw Children" mezzotint on paper 47.9 x 38.1 cm Five Colleges Museums Collections Database MA

    1769-70c Sarah Carver and Her Daughter, Sarah oil on canvas 127 x 101.6 cm Derby Museum and Art Gallery, Derby UK

    1769-71c Mrs Catherine Swindell oil on canvas 71.4 x 55.7 cm Leicester Museums and Art Galleries, Leicester UK

    1769-71c Mrs John Ashton oil on canvas 126.1 x 101 cm The Fitzwilliam Museum, Cambridge UK

    1769c Charles Goore (1701–1783) oil on canvas 76 x 64 cm University of Liverpool UK

    1769c Elizabeth, Mrs. John Bostock oil on canvas 127 x 101.6 cm The Berger Collection, Denver CO

    1769c Mrs John Ashton oil on canvas 126.1 x 101 cm Fitzwilliam Museum, Cambridge UK

    1769c Mrs. Sarah Clayton oil on canvas 127 x 01.6 cm Fitchburg Art Museum, Fitchburg MA

    1769c Penelope Margaret Stafford  oil on canvas 76.2 x 63.5 cm Derby Museum and Art Gallery, Derby UK

    exhibited 1770 A Conversation of Girls (Two Girls with Their Black Servant) oil on canvas 127 x 101.6 cm Private Collection

    1770 Thomas Day oil on canvas 121.9 x 97.8 cm © National Portrait Gallery, London UK


    1770 Thomas Day (2nd version) oil on canvas 127 x 100.4 cm Manchester City Galleries UK


    1770 William Pether after Joseph Wright "Master John Ashton" mezzotint on paper 65.2 x 15.9 cm Five Colleges Museums Collections Database MA

    1770-72 Mr and Mrs Thomas Coltman

    Thomas Coltman (1747 – 1826) of Hagnaby Priory, Licolnshire, is shown with his wife, Mary Barlow (1747 – 1786) whom he married in 1769. The house in the background is Gate Burton House, Lincolnshire.


    Thomas Coltman was a friend of the painter. This portrait is recorded in Wright’s account book as “Mr & Mrs Coltman, a Converastion (£63)”. Conversation pieces, in which portraits were placed in an attractive landscape setting, or sometimes indoors, were popular in 18th-century England. The National gallery

    1770-72 Mr and Mrs Thomas Coltman oil on canvas 127 x 101.6 cm The National Gallery, London UK

    1770-72 Portrait of a Woman, Her Head Turned to the Right, Wearing an Earring pastel on paper 40.3 x 28 cm Metropolitan Museum of Art, New York

    1770-72c An Open Hearth with a Fire ink and wash on paper 27.9 x 30.4 cm Derby Museum and Art Gallery, Derby UK

    1770-72c Study of the Interior of Glass-House pen and ink, grey wash heightened with white on paper 36.2 x 52.1 cm Derby Museum and Art Gallery, Derby UK

    1770-73c Portrait of a Gentleman oil on canvas 128 x 102 cm National Gallery of Art, Washington D.C.

    1770c Blot Drawing in a Manner of Alexander Cozens brush and ink on paper 25.4 x 38.7 cm Derby Museum and Art Gallery, Derby UK

    1770c Landscape Study Development from a Blot graphite, brush and ink wash on paper 27 x 38.7 cm Derby Museum and Art Gallery, Derby UK


    1770c Catherine Sophia Macauley oil on canvas 74.5 x 61 cm  Brighton and Hove Museums and Art Galleries UK

    1770c Erasmus Darwin oil on canvas 76 x 63.5 cm copy Darwin College, Cambridge UK

    1770c Erasmus Darwin oil on canvas 76 x 63.5 cm Darwin College, Cambridge UK

    1770c Portrait of a Lady with her Lacework oil on canvas 126.7 x 101.6 cm Metropolitan Museum of Art, New York

    1770c Sir Brownlow Cust, 1st Baron Brownlow (attributed) oil on canvas 98 x 89 cm The National Trust, Belton House, Grantham UK

    1770s Captain Edward Salmon oil on canvas The National Trust for Scotland UK

    1771 A Blacksmith's Shop oil on canvas 125.7 x 99 cm Derby Museum and Art Gallery, Derby UK

    1771 A Blacksmith's Shop (detail) oil on canvas 125.7 x 99 cm Derby Museum and Art Gallery, Derby UK

    1771 Richard Earlom after Joseph Wright "A Blacksmith's Shop" mezzotint on white laid paper 61.2 x 43.4 cm (image) Art Institute of Chicago


    1771 A Blacksmith's Shop (2nd version) oil on canvas 128.3 x 104 cm Yale Centre for British Art, New Haven CT

    The Alchymist in Search of the Philosopher’s Stone (exhibited 1771, reworked and dated 1795) (Full title: The Alchymist, in Search of the Philosopher’s Stone, Discovers Phosphorous, and Prays for the Successful Conclusion of his Operation, as was the Custom of the Ancient Chymical Astrologers).



    Traditionally, the chief pursuit of alchemists was the search for “The Philosopher’s Stone,” which would miraculously transform base metals into gold. The painting depicts the accidental discovery of the element phosphorous by German alchemist Hennig Brand in 1669. A flask in which a large quantity of urine has been boiled down is seen bursting into light as the phosphorous, which is abundant in urine, ignites spontaneously in air. Wright’s purpose was not to ridicule superstition, but to commemorate the birth of chemistry as a modern science, beginning with the discovery of phosphorus in 1676. Wright strove for accuracy in depicting the chemist’s apparatus, since many of friends and patrons were scientists and intellectuals who had stimulated the artist’s interest in scientific enquiry.



    exhibited 1771-95 exhibited re-worked and dated 1795 The Alchymist, in Search of the Philosopher's Stone oil on canvas 127 x 101.6 cm Derby Museum and Art Gallery, Derby UK

    1771-95 The Alchymist (detail) oil on canvas 127 x 101.6 cm Derby Museum and Art Gallery, Derby UK

    William Pether after Joseph Wright mezzotint Cleveland Museum of Art, Cleveland OH


    1771-2 An Iron Forge


    Many of Wright’s explorations of new inventions and technology were painted as “night-pieces” which he made between 1771 and 1773, taking as his subject the blacksmith’s shops and forges of Derbyshire. In this scene of a small iron forge at work, an iron-founder and his family are bathed in the warm light cast by a newly forged white-hot iron bar, which has been dragged out of the nearby furnace by an assistant. Wright adapted the scale for dramatic effect, compressing the scene to accommodate the machinery and the figures. In actuality, the heat and sparks would have made the proximity impossible.


    1771-2 An Iron Forge oil on canvas 121.3 x 132 cm Tate, London UK

    1773 Richard Earlom after Joseph Wright "An Iron Forge" mezzotint on paper 47.8 x 59 cm Art Institute of Chicago IL

    exhibited1772 'Captain' Robert Shore Milnes oil on canvas 127 x 101.6 cm Private Collection

    1772 Miravan Breaking Open the Tomb of His Ancestors oil on canvas 127 x 101.6 cm Derby Museum and Art Gallery, Derby UK

    1772 Valentine Green after Joseph Wright "Miravan" mezzotint on off-white laid paper 46 x 35.4 cm (image) Art Institute of Chicago IL

    1772-73c Self-Portrait at the Age of About Forty oil on canvas 76.2 x 63.5 cm Private Collection

    1772c Rocks with Waterfall oil on canvas 80.7 x 109.2 cm Private Collection

    1773 An Iron Forge Viewed from Without oil on canvas 105 x 140 cm The Hermitage, St. Petersburg, Russia

    1773 The Earth-stopper on the Banks of the Derwent oil on canvas 97 x 121 cm Derby Museum and Art Gallery, Derby UK

    1773 The Old Man and Death oil on canvas 101 x 127 cm Wadsworth Atheneum, Harford CT

    1775c The Old Man and Death oil on canvas 63.5 x 76.9 cm Walker Art Gallery, Liverpool UK

    1774 A Cavern Evening oil on canvas 101.6 x 127 cm Five Colleges Museums Collections Database MA

    1774 A Cavern, Evening oil on canvas 101.6 x 127 cm Smith College Museum of Art, Northampton MA

    1774 A Cavern, Near Naples oil on canvas 101.6 x 127 cm Yale Centre for British Art, New Haven CT

    1774 Reverend Basil Bury Beridge oil on canvas 127 x 101 cm Kunsthistorisches Museum. Vienna, Austria

    1774 Study of the Terrain near Vesuvius graphite on paper 31.1 x 45 cm Derby Museum and Art Gallery, Derby UK

    1774 The Captive, from Sterne oil on canvas 102 x 127.5 cm Vancouver Art Gallery, Vancouver, British Columbia Canada

    1774 Vesuvius in Eruption gouache on paper 32.4 x 46.7 cm Derby Museum and Art Gallery, Derby UK

    1774-75 Inside the Arcade of the Colosseum graphite, ink and watercolour 37.7 x 50.7 cm Tate, London UK


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    1765-68c Self-Portrait oil on canvas 69.8 x 58 cm National Gallery of Victoria, Melbourne, Australia
    Joseph Wright (1734 – 1797) styled Joseph Wright of Derby. Was an English landscape and portrait painter. He has been acclaimed as “the first professional painter to express the spirit of the Industrial Revolution”. Wright is noted for his use of Chiaroscuro effect, which emphasises the contrast of light and dark, and for his paintings of candle-lit subjects. His paintings of the birth of science out of alchemy, often based on meetings of the Lunar Society, a group of very influential scientists and industrialists living in the English Midlands, are a significant record of the struggle of science against religious values in the period known as the Age of Enlightenment.

    This is part 3 of a 5 - part post on the works of Joseph Wright. For full biographical notes see part 1. For earlier works see parts 1 - 2 also.


    1774-75c Smaller Italian Sketchbook. Metropolitan Museum of Art, New York:


    Graphite, pen and ink, grey and yellow wash 17.1 x 23.4 cm Metropolitan Museum of Art, New York


    Roman Ruins Including an Arched Aqueduct and Tower grey ink and yellow wash 17.1 x 23.4 cm
    Metropolitan Museum of Art, New York

    Roman Ruins with Arched Alcoves ink and grey wash 17.1 x 23.4 cm Metropolitan Museum of Art, New York

    Landscape with Granary brush and ink, grey and yellow wash 17.1 x 23.4 cm Metropolitan Museum of Art, New York

    Graphite, ink and grey and yellow wash 17.1 x 23.4 cm Metropolitan Museum of Art, New York

    Landscape with Villas and a Church brush and ink and grey wash 17.1 x 23.4 cm Metropolitan Museum of Art, New York

    Landscape with a Curved Wall, Round Tower and Distant Villa pen and ink, brush and grey wash 17.1 x 23.4 cm  Metropolitan Museum of Art, New York

    Roman Ruins pen and grey ink and wash 17.1 x 23.4 cm Metropolitan Museum of Art, New York

    Roman Ruins: Part of the Colosseum pen and grey ink, grey and yellow wash 17.1 x 23.4 cm
    Metropolitan Museum of Art, New York

    Landscape with Villa Surrounded by Trees graphite, brown wash, touches of pen and brown ink and blue wash 17.1 x 23.4 cm Metropolitan Museum of Art, New York

    Landscape with a Distant Buildings pen and ink, grey and yellow wash 17.1 x 23.4 cm
    Metropolitan Museum of Art, New York

    Landscape with Cedars and Buildings graphite, pen and ink, grey and yellow wash 17.1 x 23.4 cm
    Metropolitan Museum of Art, New York

    Landscape with Distant Buildings graphite, pen and ink, grey and yellow wash 17.1 x 23.4 cm
    Metropolitan Museum of Art, New York

    Landscape with Distant Buildings graphite, brown and yellow wash 17.1 x 23.4 cm Metropolitan Museum of Art, New York

    Landscape with Distant Buildings graphite, brown and yellow wash 17.1 x 23.4 cm Metropolitan Museum of Art, New York

    Landscape with a Two-Story Building on a Hill graphite, brown and grey wash 17.1 x 23.4 cm
    Metropolitan Museum of Art, New York

    Tile Roofed Building with an Arcade graphite, grey ink and wash 17.1 x 23.4 cm Metropolitan Museum of Art, New York

    Landscape with a Towered Building and Domed Church pen and grey ink. and wash 17.1 x 23.4 cm
    Metropolitan Museum of Art, New York

    Roman Arch with Road Below and Trees Above graphite, pen and brown ink 23.4 x 17.1 cm
    Metropolitan Museum of Art, New York

    Church with a Tiled Roof and Tower graphite, pen and brown ink and wash17.1 x 23.4 cm
    Metropolitan Museum of Art, New York

    Landscape with Trees and Distant Hills grey ink and wash 23.4 x 17.1 cm Metropolitan Museum of Art, New York

    Landscape with Domed Church graphite, pen and black ink, grey and brown wash 17.1 x 23.4 cm
    Metropolitan Museum of Art, New York

    Trees, Bushes and Vegetation black and grey ink and wash 23.4 x 17.1 cm Metropolitan Museum of Art, New York
    *      *      *

    1774-75 Studies of a Classical Bust oil on paper mounted on canvas 51 x 42.9 cm Yale Centre for British Art, New Haven CT

    1774-75c Part of the Colosseum Seen in Sunlight pen and ink and wash on paper 38.1 x 51.7 cm
    Derby Museum and Art Gallery, Derby UK

    1774-76 Richard Hurleston (attributed to) oil on canvas 67.3 x 56.5 cm
    Yale Centre for British Art, New Haven CT

    1774-76c An Eruption of Vesuvius, Seen from Portici oil on canvas 101.6 x 127 cm University of Wales, Aberystwyth UK

    1776-80c Vesuvius in Eruption, with a View over the Islands in the Bay of Naples oil on canvas 122 x 176.4 cm
    Tate, London UK

    1777-80c Vesuvius in Eruption 124.4 x 180.3 cm Private Collection

    1778 exhibited An Eruption of Mount Vesuvius, with the Procession of St. Januarius's Head oil on canvas 162 x 213.4 cm Pushkin Museum of Fine Art, Moscow, Russia

    1774-78 Firework Display at Castel Sant'Angelo oil on canvas 42.5 x 70.5 cm Birmingham Museums Trust  UK

    exhibited 1776 The Annual Girandola, at the Castle of St. Angelo, Rome oil on canvas 137.5 c 173 cm Walker Art Gallery, Liverpool UK

    1779 Firework Display at the Castel Sant' Angelo in Rome (La Girandola) oil on canvas 162.5 x 213 cm
    Hermitage Museum, St. Petersburg, Russia

    1775 Study of Melancholy Girl pen and ink on paper 55 x 41.3 cm British Museum, London UK

    1775c Study for "The Old Man Grieving over His Ass" from Sterne pen and ink on paper 55.4 x 34.9 cm
    Pierpont Morgan Library, New York

    1775-77c "The Captive" from  Sterne oil on canvas 101.6 x 127 cm Derby Museum and Art Gallery, Derby UK

    1775c A View of Catania with Mount Etna in the Distance oil on canvas 66 x 88.6 cm Tate, London UK

    1776 John Milnes oil on canvas 127 x 101 cm The Louvre, Paris

    1776 Portrait of Jane Darwin and her son William Brown Darwin oil on canvas 75 x 62 cm

    1777 "Maria" from Sterne oil on canvas 100.3 x 125.7 cm Private Collection

    1777 Richard Cheslyn oil on canvas 127 x 101.6 cm Private Collection

    1777-78 Minstrel. Edwin, from Dr Beattie's oil on canvas 160 x 116.8 cm Private Collection

    1778 John Raphael Smith after Joseph Wright "Edwin (Thomas Haden)" mezzotint on ivory laid paper 47.7 x 35.2 cm (image) Art Institute of Chicago IL

    1781 Maria, from Sterne, a Companion to the Picture of Edwin oil on canvas 160 x 115.6 cm
    Derby Museum and Art Gallery, Derby UK

    1864 Francis Seymour Haden after Joseph Wright "Thomas Haden" etching and drypoint on paper 58 x 51 cm
    Harvard Art Museums - Fogg Museum, Cambridge MA

    1777-79c Thomas and Joseph Pickford as Children oil on canvas Private Collection

    1777-80 Portrait of a Gentleman oil on canvas 75.5 x 63.2 cm Manchester City Galleries UK

    1777-80c Matlock Tor by Moonlight oil on canvas 64.1 x 76.5 cm Detroit Institute of Arts MI

    1778-80c Matlock Tor oil on canvas 73.1 x 100 cm Fitzwilliam Museum, Cambridge UK

    1777-80c Rev. John Pickering oil on canvas 81 x 69.5 cm Private Collection

    1779 Virgil's Tomb, with the Figure of Silius Italicus oil on canvas 101.6 x 127 cm Private Collection

    1778 A Grotto by the Sea-Side in the Kingdom of Naples, with Banditti, a Sun-Set oil on canvas 122 x 172.7 cm
    Museum of Fine Arts, Boston MA

    exhibited 1780 A Grotto in the Gulf of Salernum, with the Figure of Julia, Banished from Rome oil on canvas
    114.3 x 175.3 cm Private Collection

    1780-90 Grotto in the Gulf of Salerno, Italy, Moonlight oil on canvas 101.6 x 127 cm
    Derby Museum and Art Gallery, Derby UK

    1780 Landscape oil on canvas 101.5 x 128.5 cm Civic Centre, Southampton, Hampshire UK

    1780-82 A Lake by Moonlight oil on canvas 62.2 x 75.6 cm Yale Centre for British Art, New Haven CT

    1780-85 Matlock Dale, looking toward Black Rock Escarpment oil on canvas 58.4 x 76.2 cm
    Yale Centre for British Art, New Haven CT

    1780-85 Reverend Thomas Seward, MA oil on canvas 76 x 61 cm English Heritage, Down House, Kent UK

    1780-85c Caernarvon Castle by Moonlight oil on canvas 54 x 64.4 cm Manchester City Art Galleries UK

    1780c Elizabeth Crompton oil on canvas 76.2 x 63.5 cm Derby Museum and Art Gallery, Derby UK



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    1782-85c Joseph Wright (Self-Portrait) oil on canvas 62.2 x 52.7 cm © National Portrait Gallery, London UK
    Joseph Wright (1734 – 1797) styled Joseph Wright of Derby. Was an English landscape and portrait painter. He has been acclaimed as “the first professional painter to express the spirit of the Industrial Revolution”. Wright is noted for his use of Chiaroscuro effect, which emphasises the contrast of light and dark, and for his paintings of candle-lit subjects. His paintings of the birth of science out of alchemy, often based on meetings of the Lunar Society, a group of very influential scientists and industrialists living in the English Midlands, are a significant record of the struggle of science against religious values in the period known as the Age of Enlightenment.

    This is part 4 of a 5 - part post on the works of Joseph Wright. For full biographical notes see part 1. For earlier works see parts 1 - 3 also.


    1780c Francis Hurt oil on canvas 127 x 101.6 cm Private Collection

    1780c Joseph Wright (Self-Portrait) oil on canvas 73 x 61 cm Yale Centre for British Art, New Haven CT

    1780c Mrs Francis Hurt oil on canvas 127 x 101.6 cm Private Collection

    1780c Samuel Crompton oil on canvas 76.3 x 63.5 cm Derby Museum and Art Gallery, Derby UK

    1780c Mrs Samuel Crompton oil on canvas 76.2 x 63.5 cm Private Collection

    1780c Old John, Head Waiter at the King's Head in Derby oil on canvas 74 x 61.5 cm Private Collection

    1780c Portrait of a Girl in a Tawny-Coloured Dress oil on canvas 122 x 99 cm Private Collection

    1781 Christopher Heath oil on canvas 127 x 101.6 cm Private Collection

    1781 Sir Brooke Boothby oil on canvas 148.6 x 207.6 cm Tate, London UK

    1781 The Synnot children oil on canvas 152.4 x 125.8 cm National Gallery of Victoria, Melbourne, Australia

    1781-82 John Whetham of Kirklington, Nottinghamshire oil on canvas 127 x 101.6 cm Private Collection

    1781-82c The Rev. D'Ewes Coke, His Wife Hannah and Daniel Parker Coke
    oil on canvas 152.4 x 177.8 cm Derby Museum and Art Gallery, Derby UK

    1782 Ellen Goodwin (1740/1741–1823), Mrs Henry Case-Morewood
    oil on canvas 127 x 101.5 cm National Trust UK

    1782 The Reverend Henry Case (1746/1747–1825), Later The Reverend Henry Case-Morewood
    oil on canvas 133.5 x 100.5 cm National Trust, Clandon Park, Guildford UK


    1779 Virgil's Tomb by Moonlight, with Silius Italicus Declaiming
    oil on canvas 101.6 x 127 cm Metropolitan Museum of Art, New York

    1782 Virgil's Tomb by Moonlight oil on canvas 101.6 x 127 cm Derby Museum and Art Gallery, Derby UK.

    1785 Virgil's Tomb; Sun Breaking through a Cloud oil on canvas 47 x 65 cm Ulster Museum, Belfast UK


    1782-83c Arkwright's Cotton Mills by Night oil on canvas 99.7 x 125.7 cm Private Collection

    1782-83c John Whitehurst FRS oil on canvas 92.1 x 71.1 cm Private Collection

    1782-83c Samuel Ward (1732–1820)  oil on canvas 76.2 x 63.5 cm Derby Museum and Art Gallery, Derby UK

    1882 -84 The Corinthian Maid
    Josiah Wedgewood, the pioneer of pottery manufacturing, commissioned this mythological scene that illustrates the invention of the art of modeling bas-relief sculpture. Wedgwood’s own fired-clay vessels, decorated with low reliefs, would

    have been seen by an eighteenth-century audience as the aesthetic descendants of this ancient Greek maiden’s attempt to preserve her beloved’s profile. The girl was the daughter of a potter in Corinth. Her boyfriend was about to embark on a perilous journey to foreign lands, taking only his spear and dog. As a memento, she traced her sleeping lover’s silhouette onto the wall. Her father then used the drawing to model a clay relief, which he fired in his kiln to create a ceramic keepsake.

    In this painting Joseph Wright has concealed a hanging lamp behind a curtain, suggesting the source of the beams that cast the youth’s shadow. In contrast to the lam’s gentle glow, intense sparks and embers leap inside the potter’s fiery furnace.


    Wright researched his topic for archeological accuracy. Wedgwood loaned antique vases from his own art collection so that Wright could copy their shapes, and the clothing derives from ancient sculptures. Classical symmetry pervades the design; the curtain and archway flank the focal action of the maiden’s stylus tracing the youth’s profile.


    1782-84 The Corinthian Maid oil on canvas 106.3 x 130.8 cm The National Gallery of Art, Washington D.C.

    1783-84 Penelope Unravelling her Web oil on canvas 105.7 x 128.9 cm The J. Paul Getty Museum, Los Angeles CA

    1783-85 The Gulf of Salerno oil on canvas 41.6 x 59.4 cm Art Institute of Chicago IL

    1783-85c Sir Richard Arkwright oil on canvas 126 x 102 cm © National Portrait Gallery, London UK

    1784 John Coates Browne oil on canvas 156.8 x 110 cm

    1785 Dovedale by Moonlight oil on canvas 62.5 x 77.8 cm Allen Memorial Art Museum, Oberlin OH

    exhibited 1785 The Lady in Milton's Comus oil on canvas 101 x 127 cm Walker Art Gallery, Liverpool UK

    1785 Imaginary Landscape with a Bridge in the Roman Campagna oil on canvas 76.2 x 96.5 cm © Tate, London


    1785 The Widow of an Indian Chief Watching the Arms of Her Deceased Husband
    oil on canvas 101.6 x 127 cm Derby Museum and Art Gallery, Derby UK

    1789 John Raphael Smith "The Widow of an Indian Chief Watching the Arms of Her Deceas'd Husband"
    mezzotint on paper Harvard Art Museums - Fogg Museum, Cambridge MA


    1785-89c Dr. Richard Wright oil on canvas 76.2 x 63.5 cm

    1785-90c Sunset on the Coast near Naples oil on canvas 63.5 x 75.9 cm Private Collection

    1785c Landscape with Dale Abbey and Church Rocks. oil on canvas 72.4 x 99 cm Sheffield City Art Galleries, Sheffield UK

    1785c River Landscape oil on canvas 50.8 x 76.2 cm Towner Gallery, Eastbourne UK


    1785c Portrait of General Giles oil on canvas 75.2 x 83.8 cm Smithsonian American Art Museum, Washington D.C.

    1785c Reverend Basil Bury Beridge oil on canvas 127 x 101 cm Kunsthistorisches Museum, Vienna, Austria

    1785c William and Margaret from Percy's 'Reliques of Ancient English Poetry'
    oil on canvas 121.9 x 139.7 cm Yale Centre for British Art, New Haven CT

    1786 Dovedale oil on canvas 64.5 x 84.5 cm Yale Centre for British Art, New Haven CT

    1786 The Rev. and Mrs. Thomas Gisborne, of Yoxhall Lodge, Leicestershire
    oil on canvas 185.4 x 152.4 cm Yale Centre for British Art, New Haven CT

    1786 View in Dovedale oil on canvas 45.7 x 63.5 cm Private Collection

    1786c The Convent of San Cosimato and Part of the Claudian Aqueduct near Vicovaro in the Roman Campagna
    oil on canvas 76.2 x 63.5 cm Private Collection

    1787 Lake with Castle on a Hill oil on canvas 145 x 205 cm

    1787 Lower End of Windermere (attributed to) graphite and ink on paper 20.2 x 31.1 cm

    1787 Moonlight with a Lake and Castellated Tower oil on canvas 58 x 76.2 cm Private Collection

    1787-88 The Convent of San Cosimato oil on canvas 50.5 x 63.5 cm Walker Art Gallery, Liverpool UK

    1787-90 The Prisoner oil on canvas 40.6 x 47 cm Yale Centre for British Art, New Haven CT


    1785-93 Cottage on Fire at Night oil on canvas 56.5 x 80 cm Yale Centre for British Art, New Haven CT

    1787c A Cottage on Fire oil on canvas 58 x 76.2 cm The Minneapolis Institute of Arts, Minneapolis MN

    1793 Cottage on Fire oil on canvas 63.5 x 76.2 cm Derby Museum and Art Gallery, Derby UK


    1788 Lady Wilmot and her Child oil on canvas 213.4 x 157.5 cm Private Collection

    1788 Landgollen (attributed to) graphite and ink on paper 20.7 x 33.6 cm

    1788-90c A view of Vesuvius from Posillipo, Naples
    oil on canvas 54 x 77.5 cm Art Gallery of South Australia, Adelaide, Australia

    1788c Vesuvius from Posillipo oil on panel 63.5 x 83.8 cm

    1788c Sunset on the Coast near Naples oil on canvas 63.5 x 75.9 cm Private Collection

    exhibited 1789 Moonlight with a Lighthouse, Coast of Tuscany oil on canvas 101.6 x 127.6 cm Tate, London UK

    1789 The Children of Hugh and Sarah Wood of Swanwick, Derbyshire (Robert Wood, John Wood & Mary Wood)
    oil on canvas 167.6 x 134.6 cm Derby Museum and Art Gallery, Derby UK

    1789 The Cloister of San Cosimato oil on panel 61 x 81 cm Gemäldegalerie, Berlin, Germany

    1789 The Colosseum, Rome, Italy, Daylight oil on canvas 104.1 x 129.5 cm Derby Museum and Art Gallery, Derby UK

    1789-90c Susannah Hurt with Her Daughter Mary Anne oil on canvas 229.8 x 138.4 cm Private Collection

    1789c Charles Hurt of Wirksworth oil on canvas 229.8 x 138.4 cm Private Collection


    1789-90 Sir Richard Arkwright oil on canvas 241.3 x 152.4 cm Private Collection

    1790 Sir Richard Arkwright (1732–1792) oil on canvas 74.5 x 62 cm Helmshore Mills Textile Museum, Helmshore UK

    Note: The painting below is another version of the painting above, with subtle differences.

    1790 Sir Richard Arkwright (1732–1792) oil on canvas 76.5 x 64.5 cm Science Museum, London UK


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    Portrait of Joseph Wright by William Tate (1747-1806), a student of Joseph Wright
    Joseph Wright (1734 – 1797) styled Joseph Wright of Derby. Was an English landscape and portrait painter. He has been acclaimed as “the first professional painter to express the spirit of the Industrial Revolution”. Wright is noted for his use of Chiaroscuro effect, which emphasises the contrast of light and dark, and for his paintings of candle-lit subjects. His paintings of the birth of science out of alchemy, often based on meetings of the Lunar Society, a group of very influential scientists and industrialists living in the English Midlands, are a significant record of the struggle of science against religious values in the period known as the Age of Enlightenment.

    This is part 5 of a 5 - part post on the works of Joseph Wright. For full biographical notes see part 1. For earlier works see parts 1 - 4 also.


    1789c The Dead Soldier oil on canvas 101.6 x 127 cm

    1790 Italian Landscape oil on canvas 103.5 x 130.4 cm The National Gallery of Art, Washington D.C.

    1790 Portrait of Richard Arkwright Junior with his Wife Mary and Daughter Anne oil on canvas 244 x 158.5 cm

    1790 Romeo and Juliet; The Tomb Scene oil on canvas 177.8 x 241.3 cm Derby Museum and Art Gallery, Derby UK

    1790 The Lake of Albano oil on canvas 101.9 x 126.4 cm National Museum Wales, Cardiff UK

    1790-02c Lake Albano oil on canvas 36.2 x 54.5 cm Yale Centre for British Art, New Haven CT


    1790-92 Antigonus in the Storm (Act III, scene iii) from Shakespeare's "The Winter's Tale"
    oil on canvas 153.9 x 221.3 cm Art Gallery of Ontario, Canada

    1793 Samuel Middiman after Joseph Wright "Winter's Tale" engraving (Spooner Edition 1852)
    49.5 x 63.5 cm Harvard Art Museums - Fogg Museum, Cambridge MA


    1790-92c Samuel Oldknow oil on canvas 243.9 x 152.4 cm Temple Newsam House, Leeds Museums and Galleries UK

    1790-93 Mrs. Francis Boott oil on canvas 77.2 x 64.1 cm Museum of Fine Arts, Boston MA

    1790-93c Harriet Wright, the Artist's Daughter brown monochrome on canvas 24.4 x 21.3 cm
    Derby Museum and Art Gallery, Derby UK

    1790-95c Landscape near Bedgellert, North Wales oil on canvas 57.1 x 76.3 cm Private Collection

    1790c A Cottage in Needwood Forest, Staffordshire oil on canvas 100.4 x 125.7 cm Derby Museum and Art Gallery, Derby UK

    1790c Italian Landscape with Mountains and a River oil on canvas 52.1 x 77.5 cm Museum of Fine Arts, Houston TX

    1790c Jedediah Strutt oil on canvas 127 x 101.6 cm Derby Museum and Art Gallery, Derby UK

    1790c Lake Nemi at Sunset oil on canvas 100 x 128 cm Louvre, Paris

    1790c Lake Nemi oil on canvas 36.2 x 54.5 cm Yale Centre for British Art, New Haven CT

    1790c Lake Nemi, Sunset oil on wood panel 44.5 x 62.5 cm National Gallery of Victoria, Melbourne, Australia

    1790c Landscape with Figures and a Tilted Cart; Matlock High Tor in the Distance oil on canvas 101.6 x 127 cm Southampton City Art Gallery, Southampton NY

    1791 Bridge through a Cavern, Moonlight oil on canvas 63.5 x 76.2 cm Derby Museum and Art Gallery, Derby UK

    1791 Three Children of Richard Arkwright with a Goat oil on canvas [190.5 x 149.9 cm]

    1792 Lake Albano and Castel Gandolfo, Italy 36.9 x 43.4 cm  Royal Albert Memorial Museum, Exeter UK

    1793 Lake of Keswick and Skiddaw (attributed to) graphite and ink on paper 28.4 x 43.6 cm


    1794 Landscape with a Rainbow oil on canvas 81.2 x 106.7 cm Derby Museum and Art Gallery, Derby UK

    n.d. Landscape with Rainbow, View near Chesterfield watercolour 31.1 x 41 cm Yale Centre for British Art, New Haven CT


    1795 Portrait of Sarah and Ann Haden oil on canvas mounted on panel Worcester Art Museum, Worcester MA

    1795 Rydal Waterfall, Cumbria oil on canvas 57.2 x 76.2 cm Derby Museum and Art Gallery, Derby UK

    1795-96 Derwent Water, with Skiddaw in the Distance oil on canvas 56.5 x 80 cm Yale Centre for British Art, New Haven CT

    1795c Ullswater oil on canvas 44.4 x 52 cm Dove Cottage and The Wordsworth Museum, Grasmere UK

    1983-86 Italian Landscape, a View near Tivoli oil on canvas 76.2 x 96.5 cm Derby Museum and Art Gallery, Derby UK

    1992 Erasmus Darwin oil on canvas 76 x 63.5 cm Wolverhampton Arts and Heritage UK

    Note: I couldn't find dates for the following works; they are either undated or not dated by the in the relevant collections. They will by default be out of date sequence:


    n.d High Tor, Matlock, Derbyshire oil on canvas  Leicester Arts and Museums Service UK

    n.d. A Church in Italy watercolour 24.8 x 32.4 cm Yale Centre for British Art, New Haven CT

    n.d. Anna Ashton (Later Mrs Thomas Case)  oil on canvas 123.7 x 98.8 cm University of Liverpool UK

    n.d. Dovedale by Derbyshire, Moonlight oil on canvas 68.5 x 90 cm Derby Museum and Art Gallery, Derby UK

    n.d. Girl with a Dove oil on canvas 61 x 50.8 cm Private Collection

    n.d. Ironworking (attributed) oil on board 17 x 24.1 cm  Ironbridge Gorge Museum Trust UK

    n.d. Italianate Lake Scene with Waterfall  oil on canvas 52.5 x 89.5  cm The Ashmolean Museum of Art and Archaeology, Oxford UK

    n.d. James Winthorpe Mortimer (attributed) oil on canvas 65 x 54.8 cm Derby Art Gallery, Derby UK

    n.d. Landscape with Ruins graphite, black and white chalk, grey, brown and black wash on beige paper 40.6 x 46 cm Yale Centre for British Art, New Haven CT

    n.d. Nice. A Tower on a Hill graphite and watercolour 24.2 x 34.8 cm Tate, London UK

    n.d. Portrait of a Man Reading (attributed to) oil on canvas 72.4 x 57.8 cm Temple Newsam House, Leeds Museums and Galleries UK

    n.d. Portrait of Mr. Anthony Greatorex oil on canvas 76.2 x 63.5 cm SCAD Museum of Art, Savannah GA

    n.d. Portrait of Mrs. Anthony Greatorex oil on canvas 76.2 x 63.5 cm SCAD Museum of Art, Savannah GA

    n.d. Portrait of Mrs Abney 125 x 100 cm Private Collection

    n.d. Portrait of Susannah Leigh oil on canvas mounted on panel 74 x 63 cm Private Collection

    n.d. Portrait of the Hon Mrs Boyle oil on canvas 76.2 x 63.5 cm Auckland Art Gallery, Auckland, New Zealand

    n.d. Ravenhead Works, St Helens, Lancashire (attributed) oil on canvas 76 x 105 cm  Pilkington Glass Collection UK

    n.d. Robert Parker of Cuerden Hall oil on canvas 127 x 102 cm Astley Hall Museum and Art Gallery, Astley Park, Chorley, Lancashire UK

    n.d. Rocky Landscape with Waterfalls graphite and wash on paper 38.1 x 54.3 cm Yale Centre for British Art, New Haven CT

    n.d. Samuel Bristowe of Twyford and Beesthorpe (1736–1818) (attributed) oil on canvas 73.5 x 61.1 cm County House, Castle Meadow Road, Nottingham UK

    n.d. Scene near Naples, Italy, Moonlight oil on canvas 59.1 x 74.3 cm Derby Museum and Art Gallery, Derby UK

    n.d. Snowdon by Moonlight oil on canvas 88 x 123 cm Victoria Gallery and Museum, Liverpool UK

    n.d. The Campagna graphite, grey and blue wash on cream laid paper 27.6 x 49.2 cm Yale Centre for British Art, New Haven CT

    n.d. The Funeral Pyre oil on millboard 48.3 x 63.9 cm York Museums Trust UK

    n.d. The Reverend Thomas Wilson (1703–1784) and Miss Catherine Macaulay (1731–1791) oil on canvas 127.6 x 101.6 cm Chawton House Library, Alton UK

    n.d. Two Students Sketching (attributed) oil on canvas 115.6 x 135.9 cm Five Colleges Museums Collections Database MA


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  • 06/16/14--04:14: Pauline Ellison - part 1
  • Pauline Ellison working in the 1970s
    Pauline Ellison was born in Keighley, Yorkshire in 1946. Educated at Bradford, Leicester and Cambridge Schools of Art. She has illustrated a large number of magazines and newspapers in both Europe and America, and books including “A Love of Flowers”, in collaboration with H.E. Bates (Michael Joseph 1971), “Dark Lord of Pengersick” by Richard Carlyon (G. Whizzard Publications 1975), “Grimm’s Fairy Tales” (Routledge & Kegan Paul 1981), “Master Maid” retold by Aaron Shepard (Dial Books New York 1997).


    Pauline has also illustrated numerous newspaper and magazine articles, packaging, greetings cards, and many advertisements, including a “super-hoarding” in Central London for British Airways. She has exhibited original artworks in London, the USA, and in the Ashmolean Museum, Oxford. She has received two D&AD (Design & Art Directors) Silver Awards for her illustrations. 



    This is part 1 of a 2 - part post on the works of Pauline Ellison.


    Grimm's Fairy Tales published 1981 by Routledge & Kegan Paul Ltd:

    Front Cover "Hansel and Gretel"


    Bearskin


    Cinderella

    Fitcher's Bird

    Little Briar-Rose

    Little Snow-White

    Mother Holle

    Rumpelstiltskin

    The Blue Light

    The Fisherman and his Wife

    The Frog King, or Iron Henry

    The Golden Bird

    The Golden Goose

    The Juniper Tree

    The Moon

    The Seven Ravens

    The Six Swans

    Thumbling

    Heads and Tails Game:
























    Christmas Card:


    "Air Mail"

    Original artwork:

    Cat in Madeira


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  • 06/19/14--04:07: Pauline Ellison - part 2
  • Pauline Ellison was born in Keighley, Yorkshire in 1946. Educated at Bradford, Leicester and Cambridge Schools of Art. She has illustrated a large number of magazines and newspapers in both Europe and America, and books including “A Love of Flowers”, in collaboration with H.E. Bates (Michael Joseph 1971), “Dark Lord of Pengersick” by Richard Carlyon (G. Whizzard Publications 1975), “Grimm’s Fairy Tales” (Routledge & Kegan Paul 1981), “Master Maid” retold by Aaron Shepard (Dial Books New York 1997).


    Pauline has also illustrated packaging, greetings cards, and many advertisements, including a “super-hoarding” in Central London for British Airways. She has exhibited original artworks in London, the USA, and in the Ashmolean Museum, Oxford. She has received two D&AD (Design & Art Directors) Silver Awards for her illustrations. 

    This is part 2 of a 2 - part post on the works of Pauline Ellison. For earlier works see part 1 also.

    Master Maid 'A Tale of Norway' retold by Aaron Shepard published 1997 by Penguin Books USA (Dial Books for Young Readers):



































    Magical Toy Box series:
















    *      *      *



    Night Playroom

    Christmas Card "Santa's Balloon"

    Christmas Card "Santa's Tugboat"

    Carousel

    Illustration for Playboy magazine "The Perfect Italian Feast"

    "Toys' Fairground"


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    Portrait of Rembrandt van Rijn by Jan Lievens 1629c oil on panel 57 x 44.7 cm Rijksmuseum, Amsterdam

    Rembrandt Harmenszoon van Rijn (1606 – 1669) was born in 1606 in Leiden, Holland, the ninth child of a well-to-do family, son of a Miller and a Baker’s daughter. He attended elementary school from 1612 to 1616 and then attended the Latin School in Leiden, where he partook in biblical studies and lessons on the classics. It is unclear whether Rembrandt completed his studies at the Latin School, but one account claims that he was removed from school early and sent to be trained as a painter at his own request.

     

    From 1620 to either 1645 or 1625, Rembrandt trained as an artist under two masters. His first was the painter Jacob van Swanenburgh (1571 – 1638), with whom he studied for about three years. Under van Swanenburgh, Rembrandt would have learned basic artistic skills. Van Swanenburgh specialized in scenes of hell and the underworld, and his ability to paint fire and the way its light reflects on surrounding objects was likely an influence on Rembrandt’s later work.


    Jacob van Swanenburgh "Aeneas and Sibilla in the Underworld" c1625 National Museum, Gdansk

    Rembrandt’s second teacher was Amsterdam’s Pieter Lastman (1583 – 1633), who was a well-known history painter and likely helped Rembrandt to master the genre, which included placing figures from biblical, historical and allegorical scenes in complex settings.


    Pieter Lastman "Juno discovering Jupiter with Io" 1618 oil on wood The National Gallery, London

    In 1625 Rembrandt settled back in Leiden, now a master in his own right, and over the next six years he laid the foundations for his life’s work. It was during this time that Lastman’s influence was most noticeable, as in several instances Rembrandt deconstructed his former master’s compostions and reassembled them into his own, a practice carried on by Rembrandt’s own pupils later on.

     

    Rembrandt’s paintings created at this time were general small but rich in detail - religious and allegorical themes were prominent. He also worked on his first etchings in Leiden, and his eventual international fame would rely on the widespread dissemination of these works. Diverging from his contemporaries, Rembrandt endowed his etchings with a painterly quality achieved through suggestive handling of light and dark.


    1652-56 The Presentation in the Temple etching and drypoint on paper 20.9 x 16 cm

    Rembrandt’s style soon took an innovative turn involving his use of light. His new style left large areas of his paintings obscured in shadow; through his interpretation, illumination grew rapidly weaker as it extended into the painting, creating spots of brightness and pockets of deep darkness. In this vein, in 1629 Rembrandt completed “Judas Repentant, Returning the Pieces of Silver,” among others – works that further evidence his handling of light.


    1629 Judas Repentant, Returning the Thirty Pieces of Silver oil on panel 79 x 102.3 cm Private Collection

    Another example is the 1628 work “Two Old Men Disputing” (Peter and Paul?), in which the painting’s lighted elements are clustered together and surrounded by darker tones, drawing the viewer’s eye to a general focal point before moving in to observe the details within.


    1628 Two Old Men Disputing (Peter and Paul?) oil on oak panel 72.4 x 59.7 cm
    National Gallery of Victoria, Melbourne, Australia

    Starting in 1628, Rembrandt took on students, and over the years his fame attracted many young artists seeking to learn at his side. Only an estimate of the number of his pupils can be made, since official registers of trainees have been lost, but it is believed that over the course of his career he had fifty or so students.

     

    In around 1631 Rembrandt moved to Amsterdam from Leiden and began to do business with Hendrick van Uylenburgh, an Amsterdam entrepreneur who had a workshop that created portraits and restored paintings, among other activities. Lodging in van Uylenburgh’s hous he met his landlord’s young cousin Saskia. They married in 1634. Numerous paintings of her suggest they were happily married. In 1636 Saskia gave birth to their first son Rumbartus, who died after only two weeks. Over the next four years two more children were born, but also within a couple of months.


    1635 Saskia van Uylenburgh in Arcadian Costume as Flora oil on canvas 123.5 x 97.5 cm National Gallery, London

    Rembrandt began to paint dramatic, large-scale biblical and mythological scenes using his high-contrast method of light and dark, such as “The Blinding of Samson” (1636) and “Danaë” (1636).


    1636 The Blinding of Samson oil on canvas 276 x 206 cm The Städel, Frankfurt am Main, Germany

    1636-43 Danaë oil on canvas 185 x 202.5 cm Hermitage Museum, St. Petersburg

    In Amsterdam, Rembrandt also painted numerous commissioned portraits with the help of various assistants in Uylenburgh’s shop. He produced more energetic works than those created by the portrait artists so prevalent in Amsterdam at the time, and he received numerous commissions despite his questionable ability to capture the likeness of his subject. To this point, Constantijn Huygens, a Dutch diplomat, mocked a portrait Rembrandt had done of one of his friends for its lack of verisimilitude, and Rembrandt’s self-portraits contained noticeable physiognomic differences from one image to the next.

     

    In 1641 a fourth child, Titus, was born – and lived. Saskia was unwell after the birth and Rembrandt made various drawings of her looking tired and drawn in bed. In 1642 Saskia made a will leaving Rembrandt and Titus her fortune, although most of Rembrandt’s share would be lost if he remarried. She died shortly after, still aged only 30, probably from plague or TB.