Ashcan School - Maurice Prendergast part 4

February 3, 2013, 2:17 am

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Maurice Brazil Prendergast (1858 – 1924) was an American Post-Impressionist artist who worked in oil, watercolour, and monotype. He exhibited as a member of The Eight associated with the Ashcan School, though the delicacy of his compositions and mosaic-like beauty of his style differed from the philosophy of the group.

Prendergast's work was strongly associated from the beginning with leisurely scenes set on beaches and in parks. His early work was mostly in watercolour or monotype, and he produced over two hundred monotypes between 1895 and 1902.He also experimented with oil painting in the 1890s, but did not focus on that medium until the early 1900s.

He developed and continued to elaborate a highly personal style, with boldly contrasting, jewel-like colours, and flattened, patternlike forms rhythmically arranged on a canvas. Forms were radically simplified and presented in flat areas of bright, unmodulated colour. His paintings have been aptly described as tapestry-like or resembling mosaics.

This is part 4 of a 7-part post on the works of Maurice Prendergast. For biographical notes on Prendergast see part 1. For earlier works see parts 1 - 3 also.

c1905-07 April Snow, Salem pencil, coloured pencil & watercolour 38.7 x 56.2 cm

c1905-07 Boston pencil & watercolour 27.9 x 38.7 cm

c1905-10 In the Park oil on panel 26.7 x 36.8 cm

1907 In the Luxembourg Gardens oil on panel 27.3 x 35.6 cm

1907 Lighthouse at St. Malo oil on canvas 51.1 x 62.5 cm

1907 Bathing Tents, St. Malo pencil & oil on panel 26.7 x 34.9 cm

c1907-09 On the Beach pencil & watercolour 36.8 x 54.6 cm

c1907-10 Beach Promenade pencil & watercolour 26.7 x 38.7 cm

c1907-10 Buck's Harbor oil on panel 24.8 x 34.9 cm

c1907-10 Boston, Snowy Day oil on canvas 77.1 x 66 cm

c1907-10 Children in the Park oil on canvas

c1907-10 Crepuscule oil on canvas 26.7 x 34.6 cm

c1907-10 New England oil on panel 26.7 x 34.9 cm

c1907-10 Opal Sea oil on canvas 55.9 x 86.4 cm

c1907-10 East Boston Ferry oil on panel 36.8 x 32.4 cm

c1907-10 Rocky Cove with Village pencil, pastel & watercolour 36.2 x 53.3 cm

c1907-10 Salem, Massachusetts pencil & watercolour 28.6 x 46.4 cm

c1907-10 Seaside Picnic oil on panel 26 x 34.9 cm

c1907-10 Squanton oil on panel 26.7 x 34.9 cm

c1907-10 The Holiday oil on canvas 174.2 x 87.3 cm

c1907-10 Summer Day pencil & watercolour 24.1 x 34.3 cm

c1907-10 The Point, Gloucester oil on canvas 44.7 x 54.3 cm

c1907-10 Under the Trees oil on canvas 58.4 x 71.1 cm

c1907-10 Viewing the Sailboat 39 x 53 cm

c1907-10 [title not known] oil on canvas 39.4 x 51.4 cm

c1907 Beach Scene, St. Malo oil on panel 15.9 x 22.2 cm

c1907 Band Concert pencil & watercolour 35.2 x 48.9 cm

c1907cBeach at St. Malo oil on canvas 44 x 53.3 cm

c1907 Beach at St. Malo oil, crayon, pastel & watercolour on paper 34.3 x 49.8 cm

c1907 Beach, St. Malo pencil & watercolour 38.1 x 27.3 cm

c1907 In Luxembourg Gardens oil on panel 26 x 34.9 cm

c1907 Crescent Beach oil on panel 26 x 34.3 cm

c1907 Chateaubriand's Tomb, St Malo oil on canvas 29.2 x 36.8 cm

c1907 Notre Dame, Paris pencil & watercolour 35.6 x 50.8 cm

c1907 On the Beach, St. Malo pencil & watercolour 34.3 x 50.5 cm

c1907 Luxembourg Gardens oil on panel 26.7 x 34.9 cm

c1907 Rising Tide, St. Malo pencil & watercolour 47.3 x 34.3 cm

c1907 Seascape oil on canvas 27.9 x 35.6 cm

c1907 Snow in April oil on canvas 50.8 x 71.1 cm

c1907 St. Malo No. 2 crayon & watercolour 32.4 x 48.9 cm

c1907 Paris watercolour 31.1 x 24.8 cm

c1907 St. Malo oil on panel 21.6 x 15.9 cm

c1907 St. Malo oil on panel 26.7 x 34.9 cm

c1907 St. Malo pencil, gouache & watercolour 38.7 x 27.9 cm

c1907 Study, St. Malo. No 11 oil on panel 26.7 x 34.9 cm

c1907 St. Malo pencil & watercolour 28.6 x 38.7 cm

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Ashcan School - Maurice Prendergast part 5

February 4, 2013, 2:41 am

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He developed and continued to elaborate a highly personal style, with boldly contrasting, jewel-like colours, and flattened, patternlike forms rhythmically arranged on a canvas. Forms were radically simplified and presented in flat areas of bright, unmodulated colour. His paintings have been aptly described as tapestry-like or resembling mosaics.

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

c1907 The Balloon pencil & watercolour 35.2 x 50.8 cm


c1907 The Louvre pencil & watercolour 35.6 x 50.8 cm

1908-12 Landscape near Hahant oil on canvas 51.4 x 70.8 cm

1910 The Pavilion pencil & watercolour 34.9 x 50.5 cm

1910-11 [title unknown] watercolour 30.8 x 56.2 cm

c1910-11 Spring Promenade pencil & watercolour 54.9 x 37.8 cm

1910-11 House with Flag in the Cove pencil, pastel & watercolour 34.9 x 51.4 cm

c1910-11 The Cove pencil, pastel & watercolour 37.5 x 53 cm

1910-13 Country Road, New Hampshire pencil & watercolour 25.4 x 35.6 cm

1910-13 Merry-Go-Round oil on canvas 38.1 x 50.8 cm

1910-13 Donkey Rider 47 x 61 cm

c1910-13 A Dark Day oil on canvas 54 x 69.5 cm

c1910-13 Floral Still Life oil on board 36.8 x 48.9 cm

c1910-13 Girls on the Riverbank pencil, pastel & watercolour 30.8 x 45.4 cm

c1910-13 Autumn in New England pencil & watercolour 27.9 x 39.4 cm

c1910-13 Hindu Dancer pencil, pastel & watercolour 45.7 x 27.3 cm

c1910-13 Hillside Village pencil, pastel & watercolour 25.4 x 35.2 cm

c1910-13 House by the Sea pencil & watercolour

c1910-13 Lake, New Hampshire pencil & watercolour 22.2 x 29.8 cm

c1910-13 Landscape with Figures oil on canvas 75.2 x 108.9 cm

c1910-13 Park Scene Near Bay oil on canvas 45.7 x 55.9 cm

c1910-13 Le Rouge - Portrait of Miss Edith King oil on canvas 72 x 80 cm

c1910-13 Maine Beach oil on panel 23.2 x 41.3 cm

c1910-13 Portrait of a Young Girl oil on canvas 36.8 x 27.9 cm

c1910-13 Seated Girl oil on canvas 61 x 45.7 cm

c1910-13 Still Life - Fruit and Flowers oil on canvas 47 x 54.6 cm

c1910-13 Seashore oil on panel 27.9 x 38.1 cm

c1910-13 Still Life oil on canvas

c1910-13 Still Life with Apples oil on canvas 36.8 x 45.7 cm

c1910-13 Still Life with Flowers oil on board 48.9 x 38 cm

c1910-13 Summer Outing pencil & watercolour 34.9 x 50.2 cm

c1910-13 The Inlet oil on panel 27.3 x 41 cm

c1910-13 The Inlet oil on canvas 45.7 x 55.9 cm

c1910-13 Village Against Purple Mountain pencil & watercolour 25.4 x 35.2 cm

c1910-13 Two Girls by a Waterfall pencil & watercolour 22.9 x 18.4 cm

c1910-13 The Park at Sunset oil on canvas 45.7 x 70.5 cm

c1910-13 Village Against Purple Mountain pencil & watercolour 25.4 x 35.2 cm

c1910-14 Blue Landscape watercolour 26.7 x 38.1 cm

c1911 Waterfall oil on canvas 61.6 x 51.4 cm

c1911-12 Little Bridge, Venice pencil & watercolour 38.7 x 48.9 cm

c1911-12 Campo Santa Maria Formosa, Venice pencil & watercolour 32.1 x 47 cm

1911-12 Canal pencil & watercolour 39 x 55.9 cm

c1911-12 Rialto Bridge watercolour 38.7 x 56.2 cm

c1911-12 Santa Maria Formosa, Venice watercolour 55.p x 38.7 cm

c1911-12 Scene of Venice pencil & watercolour 36.8 x 50.8 cm

c1911-12 Venice, The Little Bridge pencil & watercolour 38.7 x 56.2 cm

c1911-12 View of Venice pencil & watercolour 39.4 x 55.9 cm

c1912-13 The Promenade oil on canvas 71.1 x 102.2 cm

1912 Summer, New England oil on canvas 48.9 x 69.9 cm

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Ashcan School - Maurice Prendergast part 6

February 5, 2013, 1:55 am

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He developed and continued to elaborate a highly personal style, with boldly contrasting, jewel-like colours, and flattened, patternlike forms rhythmically arranged on a canvas. Forms were radically simplified and presented in flat areas of bright, unmodulated colour. His paintings have been aptly described as tapestry-like or resembling mosaics.

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

c1912 Bathers oil on canvas 55.9 x 86.4 cm

c1912 Cinerarias and Fruit oil on canvas 53.3 x 68.6 cm

c1912-15 Bathers pencil & watercolour 28.9 x 44.4 cm

c1912-15 Distant Hills, Maine pencil, pastel & watercolour 34.9 x 50.5 cm

c1912-15 Bathers watercolour 34.3 x 49.5 cm

c1912-15 Figures in a Landscape pencil, charcoal, pastel & watercolour 34.3 x 49.5 cm

c1912-15 The Rider pencil & watercolour 29.2 x 41.6 cm

c1913-15 Cherubs watercolour 39 x 47.6 cm

c1913-15 Beach Scene with Boats charcoal & watercolour 30.5 x 45.7 cm

c1913-15 Decorative Composition pencil & watercolour 34.3 x 50.8 cm

c1913-15 Figures and Donkeys pencil, crayon & watercolour 36.8 x 44.4 cm

c1913-15 Fantasy tempera on paper 36.8 x 47 cm

c1913-15 The Shore pencil, pastel & watercolour 44.4 x 55.9 cm

c1913-15 The Cove pencil & watercolour 26.3 x 35.6 cm

c1913-15 Landscape with Figures oil on canvas 75.6 x 109.2 cm

c1913 Beach No. 3 oil on canvas 47.9 x 75.9 cm

c1913 Portrait of a Girl with Flowers oil on canvas 53.3 x 45.7 cm

c1913-15 Under the Trees oil on canvas 60.6 x 80 cm

c1913 Seashore oil on canvas 61 x 81.3 cm

c1913 The Promenade oil on canvas 76.2 x 86.4 cm

1914 The End Men pencil & watercolour 31.4 x 41.6 cm

1914-15 Idyllic Landscape oil on canvas 39.4 x 31.7 cm

1914-15 Girls in the Park oil on canvas 72 x 101 cm

1914-15 Fantasy oil on canvas 56.2 x 80.3 cm

1914-15 Ladies in a Seaside Arbor oil on canvas 57.1 x 61.9 cm

1914-15 Marblehead pencil, charcoal, pastel & watercolour 29.2 x 45.7 cm

1914-15 Picnic oil on canvas 195.6 x 270.5 cm

1914-15 Women at Seashore oil on panel 43.2 x 81.3 cm

1914-15 Central Park oil on canvas 51.4 x 68.6 cm

c1914-15 Fantasy oil on panel 55.9 x 66 cm

c1914-15 Blue Mountains oil on canvas 41.3 x 65.1 cm

c1914-15 Along the Shore oil on canvas 50.1 x 86.4 cm

c1914-15 Marblehead oil on canvas 38.1 x 45.7 cm

c1914-15 Lady in Yellow Dress in the Park oil on panel 26.7 x 34.9 cm

c1914-15 Naples pastel & watercolour 31.1 x 48.3 cm

c1914-15 Park, Naples oil on canvas 48.9 x 61.6 cm

c1914-15 Rider against Blue Hills oil on canvas 50.8 x 76.8 cm

c1914-15 Promenade oil on canvas 212.7 x 340.4 cm

c1914-15 The Picnic 94 x 144.8 cm

c1914-15 The Swans oil on canvas 76.8 x 109.5 cm

c1914 Boat Landing, Dinnard charcoal, gouache & watercolour 38.7 x 56.5 cm

c1914 Quai, Dinard pastel & watercolour 38.7 x 55.9 cm

c1914 On the Shore oil on canvas 56.2 x 86.4 cm

c1914-16 Summer Afternoon pastel & watercolour 42.5 x 58.1 cm

c1914-16 In the Park oil on canvas 63.5 x 91.4 cm

1915 Picnic by the Sea oil on canvas 61.6 x 81.3 cm

1915 Salem pastel, gouache & watercolour 29.8 x 45.7 cm

1915 Gloucester, Fishermen's Houses pastel & watercolour 28.6 x 38.7 cm

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Ashcan School - Maurice Prendergast part 7

February 6, 2013, 4:46 am

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He developed and continued to elaborate a highly personal style, with boldly contrasting, jewel-like colours, and flattened, patternlike forms rhythmically arranged on a canvas. Forms were radically simplified and presented in flat areas of bright, unmodulated colour. His paintings have been aptly described as tapestry-like or resembling mosaics.

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

1915-16 Summer Day pastel & watercolour 34.3 x 49.5 cm

c1915-16 Road to the Shore pencil & watercolour 27.9 x 36.8 cm

c1915-18 Holidays oil on canvas 76.2 x 109.9 cm

c1915-18 Outer Harbor oil on panel 47 x 81.9 cm

1916-18 The Bathing Cove oil on canvas 68.6 x 66 cm

c1915-18 Late Afternoon, New England oil on canvas 51.4 x 71.1 cm

c1915-18 Sunset oil on canvas 53.3 x 81.3 cm

c1916-18 On the Beach No. 3 oil on canvas 66 x 84.1 cm

c1916-18 Figures on the Beach pencil & watercolour

c1916-18 Landscape - Figures, Cottages and Boats oil on canvas 61.3 x 81.6 cm

c1916-19 Bathers, New England pencil, pastel & watercolour 39.7 x 57.1 cm

c1916-19 Bathers pencil, pastel, chalk & watercolour 13.9 x 19.9 cm cm

c1916-19 Landscape with Figures and Goat pastel & watercolour 30.5 x 45.7 cm

c1916-19 Beach Scene, New England pencil, charcoal & watercolour 34.3 x 49.5 cm

c1916-19 Picking Strawberries pastel & watercolour 27.9 x 33 cm

c1916-19 On the Rocks, North Shore pencil, pastel & watercolour 35.2 x 50.5 cm

c1916-19 New England Village watercolour 39.4 x 45.7 cm

c1917 Sunset oil on canvas 53.3 x 81.3 cm

1918 The Hay Cart pencil, pastel & watercolour 34.3 x 49.5 cm

1918 Landscape with Figures No. 2 oil on canvas

c1918-20 The Seashore oil on canvas 61 x 91.4 cm

c1918-20 The Idlers oil on canvas 53.3 x 81.6 cm

c1918-21 Beach at Gloucester oil on canvas 76.5 x 109.2 cm

c1918-23 Acadia oil on canvas 80.6 x 94 cm

c1918-23 Cove with Figures oil on canvas 68.6 x 83.8 cm

c1918-23 Bathers oil on canvas 44.4 x 61.3 cm

c1918-23 Gloucester Harbor oil on canvas 59.1 x 69.8 cm

c1918-23 Group of Figures oil on canvas 59 x 70.5 cm

c1918-23 Picnic by the Inlet oil on canvas 71.8 x 62.5 cm

c1918-23 Seashore oil on canvas 51.4 x 71.8 cm

c1918-23 Sunset and Sea Fog oil on canvas 45.7 x 73.7 cm

c1918-23 The Cove oil on canvas 71.1 x 101 cm

c1918-23 Twilight oil on canvas53.3 x 68.6 cm

c1919 Bathers and Strollers pencil, pastel, gouache & watercolour 40 x 56.5 cm

c1919-23 New England Harbor oil on canvas 61 x 71.2 cm

c1920 Promenade Salem pastel & watercolour 34.3 x 45.9 cm

c1920 Crepuscule oil on canvas 51.4 x 61.6 cm

c1920-23 Farmhouse in New England pencil, pastel & watercolour 50.5 x 35.2 cm

c1920-23 Park, Gloucester pencil & watercolour 34.9 x 50.5 cm

c1920-23 Gloucester Park pencil, charcoal & watercolour 28.3 x 57.1 cm

c1920-23 Landing Stage pencil & watercolour 34.9 x 49.5 cm

c1920-23 Long Beach pencil & watercolour 39.4 x 57.1 cm

c1920-23 Gloucester Park pencil, charcoal & watercolour 28.3 x 57.1 cm

c1920-23 Picnic pencil, pastel & watercolour 39.4 x 55.9 cm

c1920-23 Rockport pencil, pastel & watercolour 34.9 x 41.6 cm

c1920-23 Salem Harbor No. 1 watercolour 34.3 x 48.9 cm

c1920-23 Rockport, Mass. pencil & watercolour 35.6 x 50.8 cm

c1920-25 The Cove watercolour 35.6 x 50.8 cm

c1920-23 View Along New England Coast pencil, pastel & watercolour 39.4 x 57.1 cm

c1920-23 The Donkey Driver watercolour 34.9 x 50.49 cm

1921 Landscape with Figures oil on canvas 82.9 x 108.3 cm

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Jim Flora - part 1

February 8, 2013, 1:56 am

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Biography from the University of Connecticut:

"James (Jim) Flora (1914 – 1998), was born in 1914 in Bellefontaine, Ohio, the son of James Bernard (a barber) and Laura (Royer) Flora. He attended Urbana University (1931-1933), the Art Academy of Cincinnati (1934-1939), and Atelier 17 (two years). He co-founded The Little Man Press, a series of letterpress publications, with author Robert Lowry (1919-1994), and provided illustrations and designs for Little Man publications (1939-1942). After graduating from the Art Academy, he began freelancing in Cincinnati. His clients included Procter and Gamble and the Union Central Life Insurance Co.

Flora was hired by the art department of Columbia Records in 1942, and established a reputation for his eccentric and amusing style of caricature, which appeared in Columbia's trade literature and ads. He became the label's art director in 1943, and was later promoted to advertising manager, and then sales promotion manager. He began designing (without credit) album covers for Columbia around 1945. Around 1947 he began a series of idiosyncratically stylized, cartoonish covers (usually signed), which are today considered some of the more dazzling exemplars of the early golden age of album cover design and dozens were reproduced in a book by Irwin Chusid, entitled The Mischievous Art of Jim Flora (Fantagraphics Books, 2004).

Flora left Columbia Records in 1950 and moved with his family to Mexico. They lived in the town of Taxco, which provided the inspiration and setting for Flora's first published children's book, The Fabulous Firework Family (1955). After returning from Mexico in 1951, Flora lived in Rowayton, Connecticut, and resumed his career as a freelance illustrator. He returned to album cover design in 1953, this time for RCA Victor, on a series of widely acclaimed assignments jobbed out by RCA art director, Robert M. Jones (who had succeeded Flora as Columbia Records' art director in 1945).

The success of The Fabulous Firework Family convinced Flora to devote more time to authoring and illustrating children's books. He eventually wrote and drew 17, both for Harcourt Brace and for Atheneum, between 1955 and 1982. Several of these books were later adapted into animated features, for which Flora wrote the scripts. He was a boating enthusiast, and spent a good deal of his time during the 1980s and 1990s painting works with nautical themes, including large, intricate steamship canvases. Jim Flora died in 1998."

My thanks go to Irwin Chusid and the heirs of Jim Flora’s estate for allowing me to use these images. Here is Jim Flora’s official website containing lots more information and some merchandise: www.jimflora.com

This is part 1 of a 3-part post on the works of Jim Flora:

c1939-42 Untitled woodcut © The Heirs of James Flora, courtesy JimFlora.com

1940s Untitled tempera

1940s The Rape of the Stationmaster's Daughter tempera on paper © The Heirs of James Flora, courtesy JimFlora.com

1940s White Block Quadrupeds tempera on wood © The Heirs of James Flora, courtesy JimFlora.com

1943 Illustration for Coda booklet, Colombia Records © The Heirs of James Flora, courtesy JimFlora.com

1943 Jazz Quintet tempera © The Heirs of James Flora, courtesy JimFlora.com

1944 Illustration for Coda booklet, Colombia Records © The Heirs of James Flora, courtesy JimFlora.com

1945 Illustration for Coda booklet, Colombia Records © The Heirs of James Flora, courtesy JimFlora.com

1945 illustration © The Heirs of James Flora, courtesy JimFlora.com

1947 "Louis Armstrong's hot 5" 78 album cover © The Heirs of James Flora, courtesy JimFlora.com

1947 "Kid Ory and His Creole Jazz Band" 78 album cover © The Heirs of James Flora, courtesy JimFlora.com

1947 "Gene Krupa and His Orchestra" 78 album cover © The Heirs of James Flora, courtesy JimFlora.com

1947 Trio (second state) © The Heirs of James Flora, courtesy JimFlora.com

1947 "Bix and Tram" Leon "Bix" Beiderbecke and Frankie Trumbauer album cover © The Heirs of James Flora, courtesy JimFlora.com

1948 Sidney Bechet album cover © The Heirs of James Flora, courtesy JimFlora.com

1949 Burl Ives "The Wayfaring Stranger" record cover for Columbia Records © The Heirs of James Flora, courtesy JimFlora.com

1949 Duke Ellington's "Liberian Suite" © The Heirs of James Flora, courtesy JimFlora.com

1950s Untitled tempera on board © The Heirs of James Flora, courtesy JimFlora.com

1950s 63rd Street tempera & watercolour on paper © The Heirs of James Flora, courtesy JimFlora.com

c1950-51 Gunfight on the Roof tempera on illustration board © The Heirs of James Flora, courtesy JimFlora.com

1951 Railroad Town woodcut relief print © The Heirs of James Flora, courtesy JimFlora.com

1952 Seasonal banners from pharmaceutical publication 'What's New' © The Heirs of James Flora, courtesy JimFlora.com

1952 Fortune magazine cover © The Heirs of James Flora, courtesy JimFlora.com

1952 Illustration for Coda booklet, Colombia Records © The Heirs of James Flora, courtesy JimFlora.com

1952 Seasonal banners from pharmaceutical publication 'What's New' © The Heirs of James Flora, courtesy JimFlora.com

1953 Coda cover © The Heirs of James Flora, courtesy JimFlora.com

1953 Columbia Records Calendar - Benny Goodman © The Heirs of James Flora, courtesy JimFlora.com

1953 "A Song For December" music sheet © The Heirs of James Flora, courtesy JimFlora.com

1953 Columbia Records Calendar - Roy Acuff © The Heirs of James Flora, courtesy JimFlora.com

1953 Columbia Records Calendar © The Heirs of James Flora, courtesy JimFlora.com

1953 Illustration for Coda booklet, Colombia Records © The Heirs of James Flora, courtesy JimFlora.com

1953-54 "The Incredible Flutist/Les Patineurs" EP cover © The Heirs of James Flora, courtesy JimFlora.com

1954 "An Evening At the Embers" Alex Kallao Trio with Milt Hinton and Don Lamond album cover © The Heirs of James Flora, courtesy JimFlora.com

1954 "Inside Sauter-Finegan" Eddie Sauter and Bill Finegan album cover © The Heirs of James Flora, courtesy JimFlora.com

1954 "For Boppers Only" 7" LP © The Heirs of James Flora, courtesy JimFlora.com

1954 "Ravel - Valses Nobles et Sentimentales"album cover © The Heirs of James Flora, courtesy JimFlora.com

1954 "The Panic Is On" Nick Travis Quintet album cover © The Heirs of James Flora, courtesy JimFlora.com

1954 “Redskin Romp” by Charlie Barnet and his Orchestra. album cover © The Heirs of James Flora, courtesy JimFlora.com

1954 Manhatten hand-coloured woodcut relief print © The Heirs of James Flora, courtesy JimFlora.com

1954 Morton Downey sings Songs You Love album cover © The Heirs of James Flora, courtesy JimFlora.com

1954 Primer for Prophets series alphabet booklet © The Heirs of James Flora, courtesy JimFlora.com

↧

Jim Flora - part 2

February 10, 2013, 2:12 am

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James "Jim" Flora (1914 – 1998), best known for his distinctive and idiosyncratic album cover art for RCA Victor and Columbia Records during the 1940s and 1950s, was also a prolific commercial illustrator from the 1940s to the 1970s and the author/illustrator of 17 popular children's books. Less well known is that he was a fine artist with a diabolical bent, who created hundreds of paintings, drawings, etchings and sketches over his 84-year lifespan.

This is part 2 of a 3-part post on the works of Jim Flora. For biographical notes on Jim Flora, and for earlier works, see part 1.

1954 Primer for Prophets series alphabet booklet © The Heirs of James Flora, courtesy JimFlora.com

c1954 "Music of the Bonampak Mexican Ballet and Brazilian Songs" album cover © The Heirs of James Flora, courtesy JimFlora.com

c1954 Shorty Rogers "Counts the Count" © The Heirs of James Flora, courtesy JimFlora.com

1955 "Coming-Out Party" Pete Jolly Trio album cover © The Heirs of James Flora, courtesy JimFlora.com

1955 "Hipsters, Flipsters, and Finger-Poppin' Daddies, Knock Me Your Lobes" Lord Buckley album cover © The Heirs of James Flora, courtesy JimFlora.com

1955 "Collaboration" Andre Previn and Shorty Rogers album cover © The Heirs of James Flora, courtesy JimFlora.com

1955 "Pete Jolly Duo" EP cover © The Heirs of James Flora, courtesy JimFlora.com

1955 "Richard Strauss - Till Eulenspiegel Death and Transfiguration" album cover © The Heirs of James Flora, courtesy JimFlora.comjpg

1955 "This Is Benny Goodman and his Orchestra" album cover © The Heirs of James Flora, courtesy JimFlora.com

1955 "The Music of Victor Herbert" album cover © The Heirs of James Flora, courtesy JimFlora.com

1955 "The Sons of Sauter-Finegan" Sauter-Finegan Orchestra album cover © The Heirs of James Flora, courtesy JimFlora.com

1955 "Mambo for Cats" album cover © The Heirs of James Flora, courtesy JimFlora.com

1955 The Fabulous Firework Family © The Heirs of James Flora, courtesy JimFlora.com

1955 "This Is Benny Goodman and his Orchestra" album cover © The Heirs of James Flora, courtesy JimFlora.com

1956 Collier's Magazine © The Heirs of James Flora, courtesy JimFlora.com

1956 "What is Automation," Collier's magazine © The Heirs of James Flora, courtesy JimFlora.com

1956 "You and Your Allergy" Collier's Magazine © The Heirs of James Flora, courtesy JimFlora.com

1956 Memorable Music From the Movies © The Heirs of James Flora, courtesy JimFlora.com

1956 Sauter - Finegan Orchestra "Concert Jazz" © The Heirs of James Flora, courtesy JimFlora.com

1957 spot illustration, Electromechanical Design © The Heirs of James Flora, courtesy JimFlora.com

1957 Jugglers woodcut relief print © The Heirs of James Flora, courtesy JimFlora.com

1957 The Day the Cow Sneezed cover © The Heirs of James Flora, courtesy JimFlora.com

1957 The Day the Cow Sneezed inside cover © The Heirs of James Flora, courtesy JimFlora.com

1957 The Day the Cow Sneezed back cover detail © The Heirs of James Flora, courtesy JimFlora.com

1957 The Day the Cow Sneezed pp 10-11 © The Heirs of James Flora, courtesy JimFlora.com

1957 The Day the Cow Sneezed pp 14-15 © The Heirs of James Flora, courtesy JimFlora.com

1957 The Day the Cow Sneezed pp 16-17 © The Heirs of James Flora, courtesy JimFlora.com

1957 The Day the Cow Sneezed pp24-25 © The Heirs of James Flora, courtesy JimFlora.com

1957 The Day the Cow Sneezed p 26 © The Heirs of James Flora, courtesy JimFlora.com

1957 The Day the Cow Sneezed pp 34-35 © The Heirs of James Flora, courtesy JimFlora.com

1957 The Day the Cow Sneezed pp 38-39 © The Heirs of James Flora, courtesy JimFlora.com

1958 Road Rage © The Heirs of James Flora, courtesy JimFlora.com

1958 Battle of New Orleans © The Heirs of James Flora, courtesy JimFlora.com

1959 Charlie Yup and His Snip-Snap Boys © The Heirs of James Flora, courtesy JimFlora.com

1960 The Talking Dog and the Barking Man © The Heirs of James Flora, courtesy JimFlora.com

1960 Big Evening tempera on paper mounted on masonite © The Heirs of James Flora, courtesy JimFlora.com

1960s Charles, Mother Has Come to Stay tempera on paper © The Heirs of James Flora, courtesy JimFlora.com

1960s The Big Bank Robbery tempera on board © The Heirs of James Flora, courtesy JimFlora.com

1960s Little Rock Getaway tempera on Crescent board © The Heirs of James Flora, courtesy JimFlora.com

1961 Leopold, the See-Through Crumbpicker © The Heirs of James Flora, courtesy JimFlora.com

1963 Back to Bellefontaine tempera on paper © The Heirs of James Flora, courtesy JimFlora.com

1964 The Five Spot tempera on paper © The Heirs of James Flora, courtesy JimFlora.com

1964 Illustration for Fortune magazine © The Heirs of James Flora, courtesy JimFlora.com

1965 illustration from A Red Skel(e)ton In Your Closet © The Heirs of James Flora, courtesy JimFlora.com

↧

Jim Flora - part 3

February 12, 2013, 1:17 am

≫ Next: John Sell Cotman – part 1

≪ Previous: Jim Flora - part 2

This is part 3 of a 3-part post on the works of Jim Flora. For biographical notes on Jim Flora see part 1.For earlier works see parts 1 - 2 also [note: I do not have dates for all the works in part 3].

1966 Fortune Magazine © The Heirs of James Flora, courtesy JimFlora.com

1966 Fortune Magazine 2 © The Heirs of James Flora, courtesy JimFlora.com

1968 The Joking Man © The Heirs of James Flora, courtesy JimFlora.com

1968 Bell Island at Night tempera © The Heirs of James Flora, courtesy JimFlora.com

1969 Little Hatchy Hen © The Heirs of James Flora, courtesy JimFlora.com

1969 Life Magazine © The Heirs of James Flora, courtesy JimFlora.com

1970s Rowayton Creature Tableau pen, ink, watercolour on illustration board © The Heirs of James Flora, courtesy JimFlora.com

1970 G3 in Tampico painting © The Heirs of James Flora, courtesy JimFlora.com

1970 Chance Encounter tempera © The Heirs of James Flora, courtesy JimFlora.com

1972 Pishtosh Bullwash & Wimple © The Heirs of James Flora, courtesy JimFlora.com

1973 Stewed Goose © The Heirs of James Flora, courtesy JimFlora.com

1976 The Great Green Turkey Creek Monster © The Heirs of James Flora, courtesy JimFlora.com

1978 Grandpa's Ghost Stories © The Heirs of James Flora, courtesy JimFlora.com

1982 Grandpa's Witched-Up Christmas © The Heirs of James Flora, courtesy JimFlora.com

1992 Miff Mole's Cat © The Heirs of James Flora, courtesy JimFlora.com

1996 Chateau Country © The Heirs of James Flora, courtesy JimFlora.com

1996 Mournful Thoughts © The Heirs of James Flora, courtesy JimFlora.com

1998 An Evening at Condon's © The Heirs of James Flora, courtesy JimFlora.com

1998 Taken Before His Time © The Heirs of James Flora, courtesy JimFlora.com

2004 "Conviction" Taylor Mali CD cover © The Heirs of James Flora, courtesy JimFlora.com

The above Taylor Mali cover is a reworking of Flora's famous 1947 Gene Krupa cover I featured in part 1:

1947 "Gene Krupa and His Orchestra" 78 album cover © The Heirs of James Flora, courtesy JimFlora.com

The Gene 1947 Gene Krupa cover is also employed for the cover of a forthcoming book by Irwin Chusid and Barbara Economon, who have sent me an exclusive preview:

2006 "Do This" Reptet CD cover © The Heirs of James Flora, courtesy JimFlora.com

2007 "Whirled Chamber Music" Quartet San Francisco CD © The Heirs of James Flora, courtesy JimFlora.com

2007 "Ectoplasm" The Raymond Scott Quintet (1948-49 recordings) album cover © The Heirs of James Flora, courtesy JimFlora.com

2008 "Pow Wow" R. Stevie Moore digital © The Heirs of James Flora, courtesy JimFlora.com

2008 "Chicken or Beef?" Reptet CD cover © The Heirs of James Flora, courtesy JimFlora.com

2008 Terry Adams Rock & Roll Quartet 7" single © The Heirs of James Flora, courtesy JimFlora.com

2009 "Agendacide" Reptet 7" single © The Heirs of James Flora, courtesy JimFlora.com

2009 "R. Stevie Moore Sings Ford Theatre" digital © The Heirs of James Flora, courtesy JimFlora.com

2009 "Duos" Charles Wuorinen CD cover © The Heirs of James Flora, courtesy JimFlora.com

2010 "Every Voice Counts" Clockwork Singers CD cover © The Heirs of James Flora, courtesy JimFlora.com

2011 "Stepping High Dance and Other Songs" Eddie Murray digital © The Heirs of James Flora, courtesy JimFlora.com

2011 "At the Cabin" Reptet CD cover © The Heirs of James Flora, courtesy JimFlora.com

2011 "Alone with You" Cracked Latin CD cover © The Heirs of James Flora, courtesy JimFlora.com

2012 "Suite for Violin and Piano" Raymond Scott CD cover © The Heirs of James Flora, courtesy JimFlora.com

2012 "Raymond Scott Rewired" Various Artists CD cover © The Heirs of James Flora, courtesy JimFlora.com

Some miscellaneous works I couldn't find dates for:

Como Mola una Meren Ola © The Heirs of James Flora, courtesy JimFlora.com

Berber Camel Market © The Heirs of James Flora, courtesy JimFlora.com

Barberinni © The Heirs of James Flora, courtesy JimFlora.com

Erotic Nightmare © The Heirs of James Flora, courtesy JimFlora.com

Dr. Seuss' "500 Hats of Bartholomew Cubbins" © The Heirs of James Flora, courtesy JimFlora.com

Great Ship © The Heirs of James Flora, courtesy JimFlora.com

Finger Flip © The Heirs of James Flora, courtesy JimFlora.com

King In Samarkand © The Heirs of James Flora, courtesy JimFlora.com

Iano Hands acrylic on canvas © The Heirs of James Flora, courtesy JimFlora.com

Celebities pen & ink © The Heirs of James Flora, courtesy JimFlora.com

The Errant Postulant acrylic on canvas © The Heirs of James Flora, courtesy JimFlora.com

Paddleboat © The Heirs of James Flora, courtesy JimFlora.com

Pena Palace - Portugal © The Heirs of James Flora, courtesy JimFlora.com

Polka Party © The Heirs of James Flora, courtesy JimFlora.com

San Gimininano © The Heirs of James Flora, courtesy JimFlora.com

Sauter-Finegan Revisited album cover © The Heirs of James Flora, courtesy JimFlora.com

Serenade © The Heirs of James Flora, courtesy JimFlora.com

Square Dances Vol. 1 album cover © The Heirs of James Flora, courtesy JimFlora.com

The Skittish Horse © The Heirs of James Flora, courtesy JimFlora.com

The War of the Bands Concert EP album cover © The Heirs of James Flora, courtesy JimFlora.com

↧

John Sell Cotman – part 1

February 14, 2013, 2:22 am

≫ Next: John Sell Cotman - part 2

≪ Previous: Jim Flora - part 3

John Sell Cotman by John Varley 1810

John Sell Cotman (1782 – 1842) was born in Norwich, England in 1782, the eldest son of a prosperous silk merchant and lace dealer. He showed a talent for art from an early age and would often go out on frequent drawing trips into the surrounding countryside.

His father intended him to go into the family business but instead, intent on a career in art, he moved to London in 1797-8, initially making a living through commissions from print-sellers. He came under the patronage of Dr. Thomas Monro, physician to Bridewell and the Bethlehem Hospital, whose house in Adelphi Terrace was a studio and a meeting place for artists. There Cotman made the acquaintance of J M W Turner, Peter de Wint and Thomas Girtin who became an influential figure in his artistic development. He joined a sketching club started by Girtin, and went on drawing expeditions to Wales and Surrey.

In 1800, aged 18, Cotman exhibited at the Royal Academy for the first time, showing five scenes of Surrey and one of Harlech Castle. In 1800 he was also awarded an honorary palette by the Society of Arts. He continued to exhibit at the academy until 1806, and went on several extended drawing trips through England and Wales. In the three summers of 1803–5 he stayed with the Cholmeleys at Brandsby Hall in Yorkshire. On the last of the three visits to Yorkshire, he made a series of watercolours of the River Greta.

While based in London, Cotman had spent some time in the city of his birth, and in September 1802 advertised his services as teacher of drawing in the Norwich Mercury. In 1806 he returned to live in Norwich and joined the "Norwich Society of Artists”, exhibiting 20 works, including six portraits, at the society's exhibition in 1807, and 67 works, including some oils, in 1808. In 1811 he became president of the society.

In 1809, Cotman married Ann Mills and they had five children. His main living came from teaching art and one of his students, the local antiquary Dawson Turner, became a good friend, introducing him to many pupils and collaborating on one of his books. As part of his teaching Cotman operated a kind of subscription library of watercolours, which his pupils took home to copy. Many of his works bear numbers related to this scheme.

In 1811 his first set of etchings was published; all but one of the subjects were architectural, mostly buildings in Yorkshire.He followed this with a set of 60 etchings of ancient buildings in Norfolk, published in ten parts between 1812 and 1818.In 1817 he visited Normandy with Dawson Turner, making drawings of buildings, and went there again in 1818 and 1829. Two years later he published a set of 100 etchings based on sketches he made there.

After these visits the character of his paintings changed, the later ones being brighter in colour.

From 1812 to 1823, Cotman lived on the coast at Great Yarmouth where he studied shipping and mastered the form of waves. Some of his finest marine pieces date from this time. He returned to Norwich in 1824, hoping to improve his financial position, and moved into a large house in St Martin's Plain, opposite the Bishop's Palace, where he built up a collection of prints, books, armour and many models of ships to aid his compositions. He showed work from 1823 to 1825 at the Norwich Society of Artists' annual exhibitions.

In 1825, Cotman became an Associate of the Royal Society of Painters in Watercolours and was a frequent exhibitor until 1839. However he was driven to despair by his constant financial struggles.

In January 1834 Cotman was appointed Master of Landscape Drawing at King's College School in London, partly on the recommendation of J M W Turner. In 1836, his son, Miles Edmund was appointed to assist him. Dante Gabriel Rossetti was one of his pupils. In 1836, he became an honorary member of the Institute of British Architects. In 1838, all of his etchings were published by Henry George Bohn including "Liber studiorum".

Cotman died in July 1842, and was buried in the cemetery at St. John's Wood Chapel.

John Sell Cotman's grave in St. John's Wood, London photo © Poul Webb

All his works and collection of prints and books were sold by auction at Christie's Auction House, realising just over £525 - a relatively paltry sum.

His sons, Miles Edmund Cotman and John Joseph Cotman, became painters of note. Cotman's name is used as a trademark by Winsor & Newton for a range of artist's watercolour materials.

Published works by John Sell Cotman:

Etchings of Ancient Buildings in England (1811)
Specimens of Norman and Gothic Architecture in the County of Norfolk (1817)
Excursions in the Count of Norfolk (1818)
Sepulchral Brasses in Norfolk (1819)
Architectural Antiquities of Normandy (1822

This part 1 of a 6-part post on the works of John Sell Cotman:

1796-1806 Aberystwyth Castle watercolour 30.8 x 52.1 cm

1800 Houses at Epsom graphite and watercolour 22.6 x 16.9 cm

1800 Carnarvon graphite, watercolour and gum arabic

c1800 Loch Ranza Castle, Isle of Arran, Scotland graphite and wash 27 x 20 cm

c1800 Fantastic Figures Seated on a Mound graphite and watercolour 20.6 x 14.3 cm

1800-02 Ruins and Houses, North Wales watercolour 25.1 x 35.6 cm

c1800-02 Harlech Castle watercolour 26.7 x 42.9 cm

1800-10 Consett Iron Works, Durham oil on canvas 35.7 x 50.5 cm

1800-10 In Rokeby Park graphite and watercolour 32.7 x 22.9 cm

1801 Llangollen graphite and watercolour 18.8 x 28.8 cm

1801 Llanthony Abbey watercolour 43.8 x 33 cm

c1802 Cader Idris from the Mawddach Estuary above Barmouth graphite and wash 13.3 x 22.5 cm

1803 Rievaulx Abbey, Yorkshire graphite and watercolour 30.3 x 21 cm

1803 Doorway of the Refectory, Rievaulx Abbey graphite and watercolour 31.9 x 25.5 cm

1803 Ruins of Rievaulx Abbey, Yorkshire watercolour

1803 Rievaulx Abbey graphite on paper 37.1 x 27 cm

c1803 Bolton Priory, Yorkshire graphite and wash 22.2 x 41.9 cm

c1803 Brecon Bridge, Yorkshire graphite and wash 21.6 x 40.3 cm

c1803 East End of Howden Church, Yorkshire graphite and wash 39.1 x 29.8 cm

c1803 Mountainous Landscape with a Blasted Tree graphite and watercolour 29.6 x 44.7 cm

c1804 Crowland Abbey watercolour 21.6 x 15.9 cm

1804 Kirkthorpe, Yorkshire watercolour

c1804 Castle Acre Priory, Norfolk graphite and watercolour 26 x 36.2 cm

c1804 Croyland Abbey, Lincolnshire

c1804 Mountain Lake graphite and watercolour 16.2 x 28.3 cm

c1804 Interior of a Church, Looking West from South Aisle graphite and watercolour 28.9 x 19.1 cm

1805 A View on the Greta or the Tees graphite and watercolour 22.7 x 33.2 cm

c1805 Distant View of Greta Bridge from Mortham Wood watercolour 26 x 39.4 cm

1805 Crambe Beck Bridge, near Kirkham, Yorkshire watercolour

c1805 Durham graphite and watercolour 23.5 x 25.4 cm

c1805 On the Greta graphite, watercolour and gouache 22.8 x 33.3 cm

1805-15 An Ancient Alms Box, Walsingham Church, Norfolk graphite and wash 24.4 x 17.5 cm

c1806 An Old House at St Albans oil on millboard 42 x 33.2 cm

c1806 Tan-y-Bwlch, North Wales graphite on paper 12.7 x 18.1 cm

1806-08 Boat House and Trees oil on millboard 42 x 35.6 cm

c1806-10 Duncombe Park, Yorkshire oil on paper laid on canvas 41.6 x 27.9 cm

c1807 Norwich Cathedral, Entrance to Jesus Chapel graphite and watercolour 27.3 x 35.9 cm

c1807-08 Moreton Hall, Cheshire oil on canvas 62.3 x 75.5 cm

1807-10 Buildings on a River oil on canvas 36.2 x 31.1 cm

1808 Bamborough Castle, Northumberland graphite 11.1 x 19.4 cm

1808 St Luke's Chapel, Norwich Cathedral, East graphite and watercolour 35.2 x 46.1 cm

1808 Bamborough Castle, Northumberland graphite 11.1 x 19.4 cm

c1808 Interior of Norwich Cathedral, Doorway and Screen Between the South Transept and the Aisle of the Presbytery graphite and wash 25.4 x 17.8 cm

c1808 A Ploughed Field

c1808 Seashore with Boats oil on board 28.3 x 41 cm

c1808 Sheriff Hutton Castle, Yorkshire graphite and watercolour 33 x 21.6 cm

c1808 The Window Between Saint Andrew's Hall and the Dutch Church, Norwich graphite, watercolour and body-colour 25 x 17.2 cm © The Samuel Courtauld Trust, The Courtauld Gallery, London

c1808 Wherries on Breydon [Attributed] oil on canvas 54.6 x 78.7 cm

c1808 Lake at Trentham, Staffordshire graphite on paper 21.3 x 34 cm

c1808-09 The Judgement of Midas oil on canvas 60.8 x 73.7 cm

↧

John Sell Cotman - part 2

February 16, 2013, 1:30 am

≫ Next: John Sell Cotman - part 3

≪ Previous: John Sell Cotman – part 1

John Sell Cotman by Miles Edmund Cotman

John Sell Cotman (1782 – 1842) was an English marine and landscape painter, etcher, illustrator and author, and a leading member of the Norwich School of artists.

For biographical notes on Cotman, and for earlier works, see part 1. This is part 2 of a 6-part post on the works of John Sell Cotman:

c1809 On the River Yare oil on wood 42.5 x 33.6 cm

c1809 Norwich Market-Place watercolour 40.6 x 64.8 cm

c1810 Boats at Anchor on Breydon Water oil on canvas 51 x 73.5 cm

1810 River Landscape with Herd of Cattle watercolour 21.3 x 31.5 cm

1810 Kett's Castle, Norwich graphite and watercolour

c1810 Porch and Belfry of Thurgarton Church, Norfolk graphite on paper 28.9 x 23.8 cm

1811 South Door, Arminghall Hall, Norfolk graphite on paper 27.6 x 16.8 cm

1811 Duncombe Park, Yorkshire etching 20.2 x 14 cm

1811 Font in Binham Church, Norfolk graphite on paper 29.2 x 22.2 cm

1811 Yarmouth, the North-west Tower graphite on paper 30.2 x 21.9 cm

1811 The Manor House, York etching 21.5 x 14.4 cm

1811 St. Botolphs Priory Essex etching

c1811 Font at Happisburgh Church, Norfolk graphite and watercolour 22.5 x 28.3 cm

c1811 A Font in Walsoken Church, Norfolk graphite and wash 18.7 x 14.6 cm

c1811 Porch of the Church of Stratton Saint Mary's, Norfolk graphite on paper 30.5 x 22.2 cm

c1811 Interior of a Chapel of Our Lady, The Mount King's Lynn, Norfolk graphite 28.9 x 22.4 cm

1812 Pastoral Landscape oil on panel 45.5 x 32.2 cm

1814 A Piscina in Blickling Church, Norfolk graphite and watercolour 21.9 x 19.1 cm

1814 Near Whitby, Yorkshire graphite on paper 25.1 x 31.8 cm

c1814 Beeston Castle, Cheshire, Entrance to the Castle graphite 12.1 x 17.1 cm

1815 Font at Dersingham Church, Norfolk graphite and watercolour 18.7 x 16.2 cm

c1815 Framlingham Castle, Suffolk, Part of Ruined Interior graphite on paper 31.8 x 22.2 cm

c1815 Framlingham Castle, Suffolk graphite on paper 22.5 x 31.8 cm

c1815 Window on the North Side of Burnham Ulph Church, Norfolk graphite and wash 18.4 x 11.7 cm

c1815 Ingham Church, Norfolk graphite and wash 19.1 x 24.8 cm

1816 Great Snoring Church, Norfolk graphite on paper 15.2 x 23.5 cm

c1815-23 Old Houses at Gorleston, Norfolk oil on canvas 45.5 x 35.3 cm

1816 A Monument in Raveningham Church, Norfolk graphite and wash 30.5 x 21.6 cm

1816 A Sedilia in Upwell Church, Norfolk graphite and wash 16.5 x 24.1 cm

1816 Aylmerton Church; Norfolk, from the South-West graphite and wash 25.7 x 29.8 cm

1816 East Dereham Church Porch graphite on paper 26.8 x 22.7 cm

1816 Font, St Saviour's Church, Norwich etching 48 x 34 cm

1816 Pulpit in South Burlingham Church, Norfolk graphite and wash 25.4 x 18.7 cm_edited-1

1816 Upwell Church graphite on paper 28.7 x 20.5 cm

1816 Upwell Rectory, Norfolk graphite and wash 33 x 24.8 cm

c1816 Brampton Church, Norfolk, from the South-East graphite 26.4 x 31.1 cm

1817 East End of the Abbey Church of St. Paul at Rouen, Normandy graphite and wash 17.8 x 26.4 cm

1817 Church of Graville near Havre de Grace, Normandy, End of the North Transept graphite and wash 34.9 x 27.9 cm

1817 Entrance into the Cornmarket, Formerly the Chapel of St. Louis, at Bayeux graphite, ink and wash 37.5 x 27.9 cm

1817 South-East View of the Church of Lery, near Pont-de-l'Arche, Normandy graphite and wash 26.4 x 33.7 cm

1817 Part of the Old Fortifications at Saint Lo, Normandy graphite and wash 36.2 x 25.1 cm

1817-20 View from Yarmouth Bridge, Norfolk, Looking towards Breydon, Just after Sunset oil on canvas 53.2 x 63.2 cm

c1817 Font at Caister Church, Norfolk graphite and wash 13.7 x 15.9 cm

c1817 Crypt of Saint Gervaise, Rouen, Normandy graphite and wash 24.4 x 31.8 cm

1818 Blakeney Church and Wiveton Hall watercolour

1818 Abbaye Aux Hommes, Caen graphite and wash 19.1 x 41 cm

1818 Bromholm Priory etching 34 x 48 cm

1818 Castle Rising Castle etching 34 x 48 cm

1818 Church of Yainville, near Saint Georges de Bocherville, Normandy graphite and wash 29.2 x 37.5 cm

1818 East End of the Abbey Church of Saint Georges de Bocherville, near Rouen, Normandy graphite and wash 34.9 x 24.1 cm

↧

John Sell Cotman - part 3

February 18, 2013, 2:08 am

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≪ Previous: John Sell Cotman - part 2

John Sell Cotman by Miles Edmund Cotman

John Sell Cotman (1782 – 1842) was an English marine and landscape painter, etcher, illustrator and author, and a leading member of the Norwich School of artists.

For biographical notes on Cotman, and for earlier works, see part 1. For earlier works see parts 1 - 2 also. This is part 3 of a 6-part post on the works of John Sell Cotman:

1818 Elevation of the Church of Columbiers, near Valognes, Normandy graphite and wash 22.5 x 32.4 cm

1818 Gillingham Church, Norfolk watercolour 23.8 x 29.4

1818 Gateway of St Mary, Wiggenhall etching 34 x 48 cm

1818 Interior of the Chancel of Walsoken Church, Norfolk etching 34 x 48 cm

1818 Holt Heath, near Norwich graphite and wash 16.8 x 28.9 cm

1818 Narborough Hall, Norfolk graphite and wash 19 x 30.1 cm

1818 Perspective Elevation of Part of the Abbey Church of Saint Stephen at Caen, Normandy graphite and wash 38.1 x 25.1 cm

1818 North-West View of the Castle at Falaise graphite and wash on paper 19.4 x 38.7 cm

1818 Ruin behind the Free School, Thetford, Suffolk graphite and wash 18.1 x 27.9 cm

1818 Saxon Arches in the Tower of Castle Rising Church, Norfolk etching 34 x 48 cm

1818 South Gate, Yarmouth etching 34 x 48 cm

1818 Stone Vault in Laangley Abbey etching 34 x 48 cm

1818 St. Peter at Lisieux, Normandy, West Front graphite and wash 50.5 x 36.2 cm

1818 The Late Vicarage House, Methwould etching 30.2 x 22.7 cm

1818 The Tower of West Dereham Church etching 30.4 x 22.6 cm

1818 Tower of the Village Church of Saint Maclou, Normandy graphite and wash 41.9 x 25.4 cm

1818 The North West Tower, Yarmouth etching 48 x 34 cm

1818 West Doorway and Window in the Church of Ham near Valognes, Normandy graphite and wash 36.8 x 26.7 cm

1818 West Front of Castle Acre Priory etching 34 x 48 cm

1818 West End of Parish Church of Great Yarmouth etching 34 x 48 cm

1818 West Window of Snettisham Church, Norfolk graphite and wash 20.6 x 15.6 cm

1818 West View of the Castle at Falaise graphite and wash on paper 22.2 x 35.6 cm

1818 Yarmouth Priory etching 34 x 48 cm

1818-19 Sculpture upon a House on the North Side of the Cathedral at Bayeux graphite and wash 20.6 x 14 cm

c1818 Abbey Church at Fecamp, Normandy graphite and wash 39.7 x 28.9 cm

1818-19 Château Gaillard graphite and wash on paper 26 x 41.9

1818 Castle Acre Priory, Norfolk graphite and wash 24.8 x 18.7 cm

c1818 Gate-way, Saint Mary's Wiggenhall, Norfolk graphite and watercolour 18.7 x 25.4 cm

1818 Arches in the West Side of the Cloister of Saint. Georges de Bocherville, near Rouen, Normandy graphite and wash 23.8 x 33.7 cm

c1818 North Doorway of Hales Church, Norfolk graphite on paper 30.5 x 24.4 cm

c1818 Interior of the Chapel of Saint Julien, near Rouen, Normandy graphite and wash 29.2 x 38.1 cm

c1818 Raynham Hall, Norfolk graphite and wash 15.9 x 28.6 cm

1819 East End of Saint Jacques at Dieppe, Normandy graphite ans wash 29.2 x 22.5 cm

1819 Crypt in the Church of St Gervais, Rouen graphite and wash on paper 18.4 x 27.6 cm

1820 The Barons' Hall, Mont Saint Michel graphite and wash 23.5 x 41.3 cm

1820 Domfront, Looking to the South East graphite and wash 28.3 x 41.9 cm

1820 Douvres Church, Normandy graphite and wash 36.8 x 23.8 cm

c1820 Notre Dame sur l'Eau, Domfront, Normandy graphite and wash 26 x 41.3 cm

c1820 Sea View (Fishing Boats) oil on canvas 63.2 x 76 cm

c1820 Castle at Alencon graphite and wash 24.1 x 33 cm

1820 West Front of the Church of Oyestraham [Ouistreham], near Caen, Normandy graphite and wash 41.6 x 32.1 cm

1820s After a Storm oil on canvas 63.2 x 75.6 cm

c1820 South-East View of the Church of Ifs, Near Caen, Normandy graphite and wash 46.4 x 28.8 cm

c1820 The Ramparts, Domfront ink and watercolour 22.2 x 32.1 cm

1822 Castle at Dieppe etching

1822 Castle of Falaise. North View etching 28.4 x 39 cm

1822 Castle at Tancarville etching 25.6 x 36.6 cm

1822 Caverns Excavated in the Rock within the Castle of Chateau Gaillard, near Andelys, Normandy graphite and wash 31.1 x 45.4 cm

1822 Castle of St. Sauveur le Vicomte, near Valonges etching

↧

John Sell Cotman - part 4

February 20, 2013, 2:56 am

≫ Next: John Sell Cotman - part 5

≪ Previous: John Sell Cotman - part 3

John Sell Cotman (1782 – 1842) was an English marine and landscape painter, etcher, illustrator and author, and a leading member of the Norwich School of artists.

For biographical notes on Cotman, and for earlier works, see part 1. For earlier works see parts 1 - 3 also. This is part 4 of a 6-part post on the works of John Sell Cotman:

1817 La Fontaine de la Crosse, Rouen graphite, pen and ink on paper 34.8 x 25.9 cm © The Samuel Courtauld Trust, The Courtauld Gallery, London

1822 Chateau Gaillard etching

1822 Church of Lery, near Pont-de-l'Arche etching 27 x 34.2 cm

1822 Church of the Holy Cross at St. Lo etching 30.5 x 24.1 cm

c1822 View of the Donjon of Chateau Gaillard, near Andelys, Normandy graphite and wash 19.4 x 25.1 cm

1822 Round Tower, Castle of Lillebonne, Normandy graphite and wash 27.3 x 21.9 cm

1823 Dieppe Harbour watercolour 29.6 x 54.2 cm

1823 Domfront, from the Rock of Tertre Grisière graphite, watercolour and body-colour 29.5 x 41.3 cm © The Samuel Courtauld Trust, The Courtauld Gallery, London

1823 Alencon, Normandy watercolour 43.2 x 58.4 cm

c1823-24 Dutch Boats off Yarmouth, Prizes during the War oil on panel 43.5 x 63.5 cm

1823-25c View from Yarmouth Bridge, Norfolk, Looking towards Breydon, Just after Sunset oil on millboard 44.5 x 63.4 cm

c1824-28 The Mishap oil on panel 43 x 35.4 cm

c1824-28 Silver Birches oil on canvas 76.2 x 62.7 cm

c1824-28 The Silent Stream, Normandy, France oil on canvas 40.2 x 33.5 cm

c1824-28 The Baggage Wagon oil on panel 43 x 35.2 cm

c1824 An Old Building graphite and wash 19.1 x 27.6 cm

c1825 Errand Boy Asleep in a Church graphite and watercolour 26.4 x 31.4 cm

c1826 The Drop Gate oil on canvas 34.9 x 26 cm

c1827 Coast Scene with a Castle graphite, ink and wash 22.9 x 29.5 cm

1827-37 A Summer Day graphite and watercolour 31.8 x 46.7 cm

c1828-33 Cader Idris oil on panel 24.4 x 31.6 cm

1828 Mont St. Michel

c1828 Travellers Crossing a Bridge over an Alpine Gorge graphite and gouache on paper 16.5 x 24.1 cm

c1830 Bridge in a Continental Town graphite, watercolour and gouache 39.1 x 56.5 cm

c1830 Blasting St. Vincent's Rock, Clifton graphite, watercolour and gum arabic 34.3 x 57.8 cm

1830s Alder Carr, Norwich oil on panel 33.5 x 52.2 cm

1830s Byland Abbey, Yorkshire graphite on paper 32.6 x 22 cm © The Samuel Courtauld Trust, The Courtauld Gallery, London

1831 The Shepherd on the Hill

1831 Interior of Crosby Hall, Bishopsgate watercolour

1832 Study of Sea and Gulls

c1834 View Through the Arch of a Bridge graphite on paper © The Samuel Courtauld Trust, The Courtauld Gallery, London

c1837-39 Henley-on-Thames, Oxfordshire, Boys Fishing oil on panel 35.1 x 43.3 cm

1838-42 The Meadow oil on canvas 32.7 x 47 cm

c1839-42 Alder Carr, Norwich oil on panel 35.1 x 45.7 cm

1878 A Group of Trees by a Fence graphite and watercolour 25.1 x 19.7 cm

1884 Castle Acre Priory, Norfolk graphite on paper 35.9 x 27.9 cm

Note: From beyond this point I'm afraid I do not have the dates of Cotman's works:

[Attributed] A Galiot in a Gale oil on canvas 109.2 x 138.4 cm

A Castle Tower (Caenarvon Castle) watercolour 27.9 x 19.7 cm

A Starved Greyhound graphite 20.3 x 27 cm

A Man Fishing in a Stream by a Ruined Castle oil on panel 13.5 x 17.5 cm

Barmouth Estuary with Cader Idris, North Wales graphite, watercolour and ink 15.9 x 30.5 cm

An Ancient Castle. A Sketching Society Subject watercolour 22.9 x 34.5 cm

Byland Abbey, Yorkshire graphite and wash 36.2 x 26.4 cm

Castle Acre Priory, Norfolk graphite on paper 30.5 x 22.9 cm

[Attributed] Cows at a Pool, with Wooden Bridge graphite and watercolour 32.8 x 50.3 cm

Doorway and Window of a Church graphite and watercolour 32.7 x 23.8 cm

Castle in a Landscape graphite and wash 17.5 x 28.3 cm

Doorway, Heckingham Church graphite and wash 45.7 x 38.1 cm

↧

John Sell Cotman - part 5

February 22, 2013, 1:53 am

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John Sell Cotman Self-Portrait pen and ink 15.3 x 11 cm

John Sell Cotman (1782 – 1842) was an English marine and landscape painter, etcher, illustrator and author, and a leading member of the Norwich School of artists.

For biographical notes on Cotman see part 1. For earlier works see parts 1 - 4 also. This is part 5 of a 6-part post on the works of John Sell Cotman:

Drawing of the Ruined Pier of the 1818 Crossing of Thetford Abbey graphite and wash

[Attributed] Dutch Barges off the Coast oil on canvas 34.5 x 49.5 cm

Ecclesiastics in a Vestry (Interior of Church in Normandy, France) oil on millboard 26.1 x 21.6 cm

Fishing Vessel off Yarmouth black, red and white chalk on paper 15.6 x 22.9 cm

Fort St. Marcouf, nr. Quineville watercolour 23 x 34 cm

Gable End of Old Houses, St Albans oil on millboard 42.8 x 32.9 cm

Hever Castle, Kent graphite and wash 19.4 x 27.9 cm

Horse Loaded with Artist’s Paraphernalia graphite on paper 31.1 x 40.3 cm

Interior of a Small Room in Norwich Cathedral graphite, watercolour and body-colour 45.1 x 34 cm © The Samuel Courtauld Trust, The Courtauld Gallery, London

Lake Scene watercolour 22.6 x 33.5 cm

Kirby Bedon Tower, Norfolk graphite, chalk and wash 30 x 23.5 cm

Landscape Composition, Classical Subject graphite, chalk and watercolour 35.3 x 45.8 cm

Landscape Composition, Classical Subject graphite, chalk and watercolour 34.7 x 45.9 cm

Landscape in Normandy oil on canvas 32.9 x 48.1 cm

Landscape, Boat on a River oil on board 31.7 x 46.9 cm

[Attributed] Lincolnshire Draining Mill oil on canvas 35.5 x 54.3 cm

Melton Church, Norfolk graphite on paper 15.5 x 23.8 cm

Middleton Tower, near King's Lynn watercolour 21.6 x 17.7 cm © The Samuel Courtauld Trust, The Courtauld Gallery, London

Norman Doorway, Tottenhill Church, Norfolk graphite and watercolour 28.9 x 22.2 cm

Mortain, Normandy graphite and wash 29.2 x 43.5 cm

[Attributed] Mountain Landscape oil on canvas 30 x 43.5 cm

Old Tower at Carrow with Ships graphite and wash 15.3 x 24.7 cm

On the Walls, Yarmouth watercolour 24 x 20.5 cm

On the Yare soft-ground etching

Palace at Perawa, Malwa, Bengal waatercolour 25.9 x 41.9 cm

River and Windmill graphite on paper 10.8 x 17.8 cm

River Scene watercolour 19.1 x 24.4 cm

Pontaber, Glasllyn, North Wales graphite and watercolour

[Attributed] Ruined Castle, Trees and Bridge watercolour 13.1 x 16.9 cm

Schaffhausen watercolour 49.7 x 34.2 cm

[Attributed] Seascape oil on panel 33 x 48.2 cm

Ruined Hilltop Abbey with Seated Artists Sketching graphite, watercolour and body-colour 27.6 x 23 cm © The Samuel Courtauld Trust, The Courtauld Gallery, London

St Benet's Abbey, Norfolk oil on panel 43.5 x 63.5 cm

Stangate Creek on the Medway oil on canvas 43.1 x 58.4 cm

Study of Trees graphite and wash 23.5 x 33.3 cm

[Attributed] Sundial graphite on paper 20..4 x 20.4 2

[Attributed] Sundial graphite on paper 20.4 x 20.4 cm

The Church of St. John, Peronne (Somme) graphite on paper 20 x 26.2 cm

This is the Church of St. John, Peronne after the First World War:

The Mill (after Rembrandt) oil on canvas 80.3 x 111.2

The Entrance of Cromer Church graphite and wash 26.2 x 21.7 cm

The Draining Mill watercolour 49.8 x 38.1 cm

[Attributed] The Mills oil on panel 23.9 x 29.8 cm

The Waterfall oil on canvas 57.3 x 43.2 cm

The Norfolk Broads graphite on paper 12.4 x 17.5 cm

Waterfall in a Desolate Landscape watercolour 21.9 x 34.6 cm

West Front of Byland Abbey, Yorkshire graphite and wash 31.4 x 26.4 cm

Towered Cities Please Us Then... graphite and wash

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John Sell Cotman - part 6

February 24, 2013, 2:38 am

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John Sell Cotman by Horatio Beevor Love pencil and wash 27.3 x 21 cm © National Portrait Gallery, London

John Sell Cotman (1782 – 1842) was an English marine and landscape painter, etcher, illustrator and author, and a leading member of the Norwich School of artists.

For biographical notes on Cotman see part 1. For other works see parts 1 - 5 also. This is part 5 of a 6-part post on the works of John Sell Cotman.

Liber Studiorum, A Series of Sketches and Studies was published in 1838 by Henry G. Bohn. A series of hardground and softground etchings:

01. Title Page, View of a Garden House on the Banks of the River Yare etching 29 x 21.8 cm

02. View of Clifton etching 19.9 x 17.2 cm

03. Trees near Twickenham etching 15.8 x 29.4 cm

04. View on the Yare, Norfolk etching 14 x 19.9 cm

05. View at Walsingham, Norfolk etching 14.3 x 22.3 cm

06. The Judgment of Midas etching 17.1 x 24.9 cm

07. Postwick Grove, Norfolk etching 13.7 x 22.3 cm

08. Millbank on the Thames etching 15.5 x 24.5 cm

09. Study etching 14 x 20.1 cm

10. The Devil's Bridge, Cardiganshire etching 18.5 x 12.2 cm

11. Parson's Bridge, Cardiganshire etching 16.6 x 12.1 cm

12. Dolbadern Castle, Llanberris Lake, North Wales etching 16.6 x 12.1 cm

13. Duncomb Park, Yorkshire etching 20.1 x 13.8 cm

14. Tan-y-Bwlch, Merionethshire, North Wales etching 11.3 x 17.1 cm

15. Cader Iris, North Wales etching 10.5 x 16.7 cm

16. A Study etching 9.3 x 7.7 cm

17. A Study etching 6.6 x 10.6 cm

18. Trees at Norwich Thorpe, Norfolk etching 10.3 x 8.2 cm

19. Postwick Grove, Norfolk etching 7.4 x 10.9 cm

20. Felbrigg Heath, Norfolk etching 6.9 x 11 cm

21. View in North Wales etching 6 x 10.9 cm

22. Whitby etching 17.8 x 24.7 cm

23. Ruins at Beeston, Norfolk etching 18.4 x 13.7 cm

24. Ragland Castle, Monmouthshire etching 18.1 x 12.2 cm

25. Harlech Castle, North Wales etching 12 x 18.5 cm

26. Monnow Bridge, Monmouthshire etching 12.1 x 18.3 cm

27. Kilgarren Castle, North Wales etching 12.6 x 19.5 cm

28. Caernarvon Castle, North Wales etching 16.9 x 12.2 cm

29. Harlech Castle, North Wales etching 18.3 x 12 cm

30. Bambro' Castle, Northumberland etching 10.4 x 19.6 cm

31. Conway Castle, North Wales etching 18.1 x 12.2 cm

32. Caernarvon Castle etching 18 x 12 cm

33. Conway Castle etching 18.2 x 12.1 cm

34. Llanthony Abbey, Monmouthshire etching 18.4 x 11.9 cm

35. Wenlock Priory, Salop etching 18.1 x 11.9 cm

36. Church near Durham etching 24.2 x 21.3 cm

37. A Study etching 17.8 x 14.2 cm

38. View at Deptford etching 18.4 x 26.6 cm

39. View at Ashted, Surrey etching 17.5 x 24.3 cm

40. Lakenham, near Norwich etching 22.7 x 15.7 cm

41. House at Bristol etching 16.2 x 12.1 cm

42. Capel-Carrig, Caernarvonshire etching 12.2 x 18.4 cm

43. A Norfolk Plough etching 8 x 10.2 cm

44. Sketch after Rembrandt etching 12.1 x 9.6 cm

45. French Beggars etching 14 x 10.2 cm

46. Sketch after Teniers etching 23.7 x 18.1 cm

47. A Study etching 16 x 10.1 cm

48. A Study etching 8.3 x 5.9 cm

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Film Posters

February 25, 2013, 3:25 am

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2012 Lincoln

In recognition of yesterday's 2013 Oscar Awards, and Daniel Day Lewis' historic third Best Actor Oscar, I thought I'd take a look at some contemporary (and one or two not so contemporary) film posters.

I have quite an extensive digital archive of film posters and will put together some themes on here from time to time in the future. I like the fact that a simple, strong, monochromatic design was used for the Lincoln poster, and have put together a group of other minimal, monochromatic (for the most part) designs that I like.

There is often more than one version of a film poster (and has been throughout the history of film posters). The next one here is an 'alternative' poster for Zero Dark Thirty, another 2013 Oscar nominee:


2012 Zero Dark Thirty

1976 Rocky

1977 Eraserhead

1981 Gallipoli

1999 The Blair Witch Project

2001 A.I. Artificial Intelligence

2002 American Ganster

2002 Duets

2004 Criminal

2004 I, Robot

2005 Gypo

2006 Blood Diamond

2006 Madea's Family Reunion

2006 Stranger Than Fiction

2008 Doubt

2008 The Universe of Keith Haring

2009 Madea Goes to Jail

2009 Moon

2009 Rage

2010 Athlete

2010 Buried

2010 Catfish

2010 Leaves of Grass

2010 Repo Men

2010 Lake Mungo

2010 The Scenesters

2011 Elevator

2012 Bert Stern - Original Madman

2012 My Week With Marilyn

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Film Posters 2

February 27, 2013, 1:24 am

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While I was on the subject of contemporary film posters (see latest post 25 February 2013) I thought I would share some more of my favourite film poster designs of the recent (and not so recent) past:

1984 Amadeus

1988 Imagine

1988 The Last Temptation of Christ

1991 The Silence of the Lambs

1999 Being John Malkovich

2000 Small Time Crooks

2002 Catch Me If You Can

2005 Walk the Line

2006 Little Miss Sunshine

2007 Cashback

2008 Birds of America

2009 Breaking Upwards

2009 Afghan Star

2009 Milton Glaser. To Inform and Delight

2009 The White Ribbon

2010 A Little Death

2010 Black Swan

2010 Dinner for Schmucks

2010 Happy Tears

2010 Eat, Pray, Love

2010 The Last Play at Shea

2011 Bad Posture

2011 Albert Nobbs

2011 All In - The Poker Movie

2011 Elena

2011 Granito

2011 Shame

2011 Pariah

2011 The Black Power Mixtape 1967-1975

2012 Django Unchained

2012 Casa de mi Padre

2012 Bully

2012 Marina Abramovic The Artist Is Present

2012 The Capsule

2012 The Magic Life

2012 V-H-S

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The Ariel Poems – part 1

March 1, 2013, 2:07 am

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The Ariel poems were a series of 38 pamphlets published between 1927 – 1931 by Faber and Gwyer (and later Faber and Faber) which contained illustrated poems.

Each numbered pamphlet had an illustrated cover. Four pages were sewn inside the cover. The frontispiece had another, usually multi-coloured illustration, and named the author and illustrator. Following that page was the poem. Several authors and illustrators had multiple pamphlets.

A second series of eight Ariel poems was published in 1954.

This is part 1 of a 2-part post on the original series of Ariel Poems. Part 1 covers poems 1-19. Part 2 will show poems 20-38.

01. 1927 Yuletide in a Younger World by Thomas Hardy, drawings by Albert Rutherston

02. 1927 The Linnet's Nest by Henry Newbolt, drawings by Ralph Keene

03. 1927 The Wonder Night by Lawrence Binyon, drawings by Barnett Freedman

04. 1927 Alone by Walter de la Mare, wood engravings by Blair Hughes-Stanton

05. 1927 Gloria in Profundis by G. K. Chesterton, wood engravings by Eric Gill

06. 1927 The Early Whistler by Wilfred Gibson, drawings by John Nash

07. 1927 Nativity by Siegfried Sassoon, designs by Paul Nash

08. 1927 Journey of the Magi by T. S. Eliot, drawings by E. McKnight Kauffer

09. 1928 The Chanty of the Nona, poem and drawings by Hilaire Belloc

10. 1928 Moss and Feather by W. H. Davies, illustrated by Sir William Nicholson

11. 1928 Self to Self by Walter de la Mare, wood engravings by Blaire Hughes-Stanton

12. Troy by Humbert Wolfe, drawings by Charles Ricketts

13. 1928 The Winter Solstice by Harold Monro, drawings by David Jones

14. 1928 To My Mother by Siegfried Sassoon, drawings by Stephen Tennant

15. 1928 Popular Song by Edith Sitwell, designs by Edward Bawden

16. 1928 A Song for Simeon by T. S. Eliot, drawings by E. McKnight Kauffer

17. 1928 Winter Nights, a reminiscence by Edmund Blunden, drawings by Albert Rutherston

18. 1929 Three Things by W. B. Yeats, drawings by Gilbert Spencer

19. 1929 Dark Weeping by "AE", designs by Paul Nash

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The Ariel Poems – part 2

March 3, 2013, 1:45 am

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The Ariel poems were a series of 38 pamphlets published between 1927 – 1931 by Faber and Gwyer (and later Faber and Faber) which contained illustrated poems.

Each numbered pamphlet had an illustrated cover. Four pages were sewn inside the cover. The frontispiece had another, usually multi-coloured illustration, and named the author and illustrator. Following that page was the poem. Several authors and illustrators had multiple pamphlets.

A second series of eight Ariel poems was published in 1954.

This is part 2 of a 2-part post on the original series of Ariel Poems. See part 1 for poems 1-19.

20. 1929 A Snowdrop by Walter de la Mare, drawings by Claudia Guercio

21. 1929 Ubi Ecclesia by G. K. Chesterton, drawings by Diana Murphy

22. 1929 The Outcast by James Stephens, drawings by Althea Willoughby

23. 1929 Animula by T. S. Eliot, wood engravings by Gertrude Hermes

24. 1929 Inscription on a Fountain-Head by Peter Quennell, drawings by Albert Rutherston

25. 1930 The Grave of Arthur by G. K. Chesterton, drawings by Celia Fiennes

26. 1930 Elm Angel by Harold Monro, wood engravings by Eric Ravilious

27. 1930 In Sicily by Siegfried Sassoon, drawings by Stephen Tennant

28. 1930 The Triumph of the Machines by D. H. Lawrence, drawings by Althea Willoughby

29. 1930 Marina by T. S. Eliot, drawings by E. McKnight Kauffer

30. 1930 The Gum Trees by Roy Campbell, drawings by David Jones

31. 1930 News by Walter de la Mare, drawings by Barnett Freedman

32. 1930 A Child is Born by Henry Newbolt, drawings by Althea Willoughby

33. 1931 To Lucy by Walter de la Mare, drawings by Albert Rutherston

34. 1931 To the Red Rose by Siegfried Sassoon, drawings by Stephen Tennant

35. 1931 Triumphal March by T. S. Eliot, drawings by E. McKnight Kauffer

36. 1931 Jane Barston 1719-1746 by Edith Sitwell, drawings by R. A. Davies

37. 1931 Invitation To Cast Out Care by V. Sackville-West, drawings by Graham Sutherland

38. 1931 Choosing A Mast by Roy Campbell, drawings by Barnett Freedman

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Aubrey Beardsley – part 1

March 5, 2013, 1:27 am

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This is an update, enlargement, and replacement of a much earlier blog post on the works of Aubrey Beardsley.

Aubrey Beardsley (1872 – 1898) was born in 1872 in Brighton, England. The family, of middle and upper middle class origins, was often nearly destitute. His father, Vincent, having lost his inherited fortune, worked irregularly at London breweries. Beardsley's mother, Ellen Pitt, provided a slender income by giving piano lessons. Both Beardsley and his sister, Mabel - who later became an actress - were considered artistic and musical prodigies.

Beardsley’s health was always fragile: at the age of nine, he had his first reported attack of tuberculosis, the disease which was to reduce him to an invalid several times and finally cause his death. When in 1884 his mother became too ill to care for him and his sister, they were both packed off to live with an aunt nearby. He attended Bristol Grammar School for four years as a boarder, indulging in his talents by drawing caricatures of his teachers. In 1889, he was sent to London as a clerk in an insurance office. His recovered mother soon followed and remained to nurse her son for the rest of his short life.

Beardsley first published work was “The Valiant,” a poem in the June 1885 issue of Past and Present, the Brighton Grammar School magazine. Two years later his first reproduced drawings, a series of sketches, “The Jubilee Cricket Analysis,” appeared in the same journal.

1887 The Jubilee Cricket Analysis

He also provided the program book illustrations for "The Pay of the Pied Piper," his School's 1888 Christmas entertainment.

1888 The Pay of the Pied Piper

In 1889 his prose piece “The Story of a Confession Album,” was published in Tit Bits, a Reader's Digest-type publication of the day. These and other works of juvenilia brought the artist little attention, however; increasingly frustrated by clerking, Beardsley sought entree into the art world. In a famous incident, the artist and his sister went uninvited to see the studio of painter Sir Edward Burne-Jones. They were sent away by a servant, but as they left, Burne-Jones spotted Mabel's red hair and asked them in. Impressed by the Pre-Raphaelite-influenced drawings in Beardsley's portfolio, he recommended that the young artist attend night classes at the Westminster School of Art - the only formal training he ever received.

The years 1893-94 were perhaps the most important in Beardsley's career. He was hard at work producing illustrations and covers for books and periodicals, including his first commission, J. M. Dent's edition of Malory's LeMorte d’Arthur (Beardsley had been introduced to the publisher in the summer of 1892). This massive work, issued first in 12 parts and later in volume form, contained over 300 different illustrations, chapter headings, and vignettes. Also in 1893 the artist formed an alliance with the person who was to catapult him to fame and prove his downfall - Oscar Wilde.

In February of 1893, Wilde's scandalous play Salome was published in its original French version. An illustration inspired by the drama (reproduced in Joseph Pennell's article, “A New Illustrator: Aubrey Beardsley,” in the inaugural issue of The Studio) was admired by Wilde, and Beardsley was commissioned 50 guineas to illustrate the English edition (1894). (Not content with art alone, Beardsley expressed an intense desire to translate the French text after Wilde found the translation by his intimate, Lord Alfred Douglas, to be unsatisfactory.) This assignment was the beginning of celebrity but also of an uneasy, and at times unpleasant, friendship with Wilde, which officially ended when Wilde was tried and convicted of sodomy in 1895.

Beardsley's fame was established for all time when the first volume of The Yellow Book appeared in April 1894. This famous quarterly of art and literature, for which Beardsley served as art editor and the American expatriate Henry Harland as literary editor, brought the artist's work to a larger public. It was Beardsley's starling black-and-white drawings, title-pages, and covers which, combined with the writings of the so-called "decadents," a unique format, and publisher John Lane's remarkable marketing strategies, made the journal an overnight sensation. Although well received by much of the public, The Yellow Book was attacked by critics as indecent. So strong was the perceived link between Beardsley, Wilde, and The Yellow Book that Beardsley was dismissed in April 1895 from his post as art editor following Wilde's arrest, even though Wilde had in fact never contributed to the magazine.

Soon after he was let go from The Yellow Book, Beardsley was approached by Leonard Smithers, a publisher intent on creating a rival periodical. Though (or perhaps because) Smithers was known for publishing pornography and erotica, Beardsley jumped at the chance, and so The Savoywas created, with Arthur Symons as editor. Beardsley found in The Savoyan outlet for his writings as well as art. “Under the Hill” (his version of the Tannhauser legend) and “The Ballad of a Barber” both appeared in numbers of The Savoy. When publication ceased in December 1896, Beardsley continued to illustrate other authors' works for Smithers. Among these volumes were editions of Pope's The Rape of the Lock, Ben Jonson's Volpone, and The Lysistrata of Aristophanes). Smithers also issued Beardsley's own A Book of Fifty Drawings, the first collected album of his work.

In the hope that the climate might improve his deteriorated condition Beardsley followed doctor's advice and travelled to the south of France. Realizing his short time left to live, he converted to Catholicism. During the night of 15-16 March 1898, exiled in the same country as Oscar Wilde, he died at the age of 25.

This is part 1of a 7-part post on the works of Aubrey Beardsley:

1891 (attributed to) The Litany of Mary Magdalen graphite on paper 22.7 x 16.9 cm

1891 Hail Mary first published in The Studio 1898

1892 Vignette Design for "Bon Mots" ink and graphite 10 x 8.2 cm

1892 Aubrey Beardsley Self-Portrait pen and wash 25 x 9.5 cm

Beardsley went to night classes at the Westminster School of Art under Professor Brown for three months in the summer of 1892. For Fred Brown, one of the founder-members of the New English Art Club. The style of the drawing shows the influence of Whistler, whose Peacock Room is imitated in the decoration of the wall. Beardsley acknowledged this influence by incorporating in the design a peacock feather and Whistler's ‘Butterfly’ signature.

1892 Professor Fred Brown graphite and ink on paper 25.4 x 25.4 cm

1892-96 From Juvenal's VI Satire & Lucian's True History:

Juvenal: Frontispiece

Juvenal: Dreams graphite, ink and white gouache 15.6 x 11.7 cm

Juvenal: A Snare of Vintage ink 19.8 x 14.4 cm

Juvenal: Bathyllus Taking the Pose

Juvenal: Bathyllus in the Swan Dance

Juvenal: Birth from the Calf of the Leg

Juvenal: Juvenal Scourging Woman

Juvenal: Lucians Strange Creatures 12.7 x 22.9 cm

Juvenal: Messalina Returning from the Bath

Juvenal: The Scarlet Pastorale graphite and ink 27.1 x 18.8 cm

Juvenal: Messalina and her Companion graphite, ink wash and watercolour 27.9 x 17.8 cm

Juvenal: A Snare of Vintage

c1892 Katharina Klafsky as Isolde pen and ink and wash

1892-98 (attributed to) Decorative Study - Satyr pen and ink 12.4 x 8.7 cm

1892-98 (attributed to) Decorative Study - Two Angels pen and ink, brush and wash 14.3 x 9.6 cm

1892-98 Crouching Midget pen and ink 9.7 x 6.7 cm

1892-98 Madame Réjane pen and brush and ink 22.4 x 14 cm

1892-98 Man with Skull pen and ink 8.6 x 7.6 cm

1892-98 (attributed to) Decorative Study - Woman with Sunflowers pen and ink, brush and wash 12.8 x 8.5 cm

1892-98 Portrait of Whistler in Spanish 17th Century Costume pen and ink

1893 After Sandro Botticelli (Alessandro Filipepi) graphite on paper 35.5 x 20 cm

1893 Cover for Pastor Sang by Bjørnstjerne Bjørnson

1893 Evalina Front Cover

1893 Evalina Title Page

1893 Evalina and her Guardian

1893 Frontispiece for "Virgilius the Sorcerer pen and brush and ink 23.3 x 14.3 cm

1893 Grotesque in Bon-Mots of Foote and Hook


1893 Grotesque in Bon-Mots of Foote and Hook

1893 Grotesque in Bon-Mots of Foote and Hook

1893 Pierrot and Cat, from St. Paul's

1893 Incipit Vita Nova pen and ink and wash 20.3 x 19.7 cm

1893 From Salome:

Salome: Design for the cover of Salome

Salome: Cover of Salome

Salome: Title Page graphite and ink 22.6 x 17.2 cm

Salome: The Woman in the Moon graphite and ink 23 x 16.5 cm

Salome: The Peacock Skirt graphite and ink 23 x 16.8 cm

Salome: The Black Cape 15.9 x 22.4 cm

Salome: A Platonic Lament

Salome: Enter Herodias ink 23.2 x 17 cm

Salome: The Eyes of Herod graphite and ink 22.9 x 16.9 cm

Salome: The Stomach Dance graphite and ink 22.6 x 16.6 cm

Salome: The Toilet of Salome pen and ink 22.7 x 16.2 cm

Salome: The Toilet of Salome

Salome: Border Design graphite and ink 24 x 19.7 cm

Salome: The Dancer's Reward graphite and ink 23 x 16.5 cm

Salome: John and Salome graphite and ink 23.3 x 16.4 cm

Salome: The Climax

Salome: The Climax ink and green wash

Salome: Salome on Settle graphite and ink 23 x 16.4 cm

Salome: The Burial of Salome tailpiece, graphite and ink 16.4 x 17.4 cm

1893 Servant Carrying Slippers on a Tray ink on paper

1893 The Kiss of Judas ink 22 x 31.4 cm

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Aubrey Beardsley – part 2

March 7, 2013, 1:50 am

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Aubrey Beardsley by Walter Richard Sickert 1894 tempera on canvas 76.2 x 31.1 cm

1893 The Landslip frontispiece to Pastor Sang

1893 The Studio Vol. 1 No. 1. Cover

1893 The Studio Vol. 1 No. 1. The Birthday of Madame Cigale graphite, ink, grey wash heightened with white 24.9 x 39 cm

1893 The Studio Vol. 1 No. 1. Les Revenants de Musique

1893 The Studio Vol. 1 No. 1. Siegfried Act II

1893-94 The Pall Mall Budget. Master Leo

1893-94 The Pall Mall Budget. Margery

1893-94 The Pall Mall Budget. The Disappointment of Emile Zola

1893-94 The Pall Mall Budget. Emile Zola

1893-94 The Pall Mall Budget. The Pilgrim (Old Style)

1893-94 The Pall Mall Budget. The Pilgrim (New Style)

1893-94 The Pall Mall Budget. Bullet-Proof Uniform - Tommy Atkins Thinks it Rather Fun

1892-94 Le Morte d’Arthur

This edition of Sir Thomas Malory's Morte d'Arthur was published in 1892 by J. M. Dent. Unlike the more elitist fine presses of the time, such as Kelmscott and Doves, Dent produced books priced to be accessible to a large audience. Titles were mass-produced and costs were kept to a minimum by utilizing the latest methods of mechanical reproduction. Bindings were likewise a low-cost item, often of heavy paper stock mechanically printed, as in the Library's complete, twelve-instalment example.

Illustrated by the young Aubrey Beardsley. His style of illustration at the time, with its elegant lines executed in high-contrast black and white, perfectly fit Dent's production values. With this work Beardsley found a broad popular audience—it was, in fact, this project that allowed him to give up his day job as an office-worker and pursue an artistic career.

Design for Front Cover of Bound Volumes of Le Morte d'Arthur

Cover of Le Morte d'Arthur

A Modern Edition

Alternative cover design

How King Arthur Saw the Questing Beast (Frontispiece)

Title page for Vol. I

Design for title page

Book I. Chapter I

Merlin Taketh the Child Arthur into His Keeping

The Lady of the Lake Telleth Arthur of the Sword Excalibur

Book II. Chapter I

Book III. Chapter I

Book IV. Chapter I

Arthur and the Strange Mantle

Book V. Chapter I

Book VI. Chapter I

How Four Queens found Launcelot Sleeping graphite, ink, red chalk 31 x 24 cm

Sir Launcelot and the Witch Hellawes

Book VII. Chapter I

Book VIII. Chapter I

How La Beale Isoud Nursed Sir Tristram graphite and ink 28.4 x 22.3 cm

How Sir Tristram Drank of the Love Drink

The Achieving of the Sangreal

Book IX. Chapter I

How La Beale Isoud Wrote to Sir Tristram

How King Marke Found Sir Tristram

How Morgan Le Fay Gave a Shield to Sir Tristram ink on paper 21.1 x 27 cm

Book X. Chapter I

How King Mark and Sir Dinadan Heard Sir Palomides (left-hand page)

How King Mark and Sir Dinadan Heard Sir Palomides (right-hand page)

How King Mark and Sir Dinadan Heard Sir Palomides (spread)

La Beale Isoud at Joyous Gard (left-hand page)

La Beale Isoud at Joyous Gard (right-hand page)

La Beale Isoud at Joyous Gard (spread)

Book XI. Chapter I

Book XII. Chapter I

How Sir Launcelot was Known by Dame Elaine (left-hand page)

How Sir Launcelot was Known by Dame Elaine (right-hand page)

How Sir Launcelot was Known by Dame Elaine (spread)

Book XIII. Chapter I

Book XIV. Chapter I

Book XV. Chapter I

Book XVI. Chapter I

How a Devil in Woman's Likeness Would Have Tempted Sir Bors (left-hand page)

How a Devil in Woman's Likeness Would Have Tempted Sir Bors (right-hand page)

How a Devil in Woman's Likeness Would Have Tempted Sir Bors (spread)

Book XVII. Chapter I

Book XVIII. Chapter I

Book XIX. Chapter I

Le Morte d'Arthur continues in part 3

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Aubrey Beardsley – part 3

March 9, 2013, 2:05 am

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Aubrey Beardsley by Max Beerbohm c1894

Aubrey Beardsley (1872 – 1898) was an English illustrator and author. His drawings in black ink, influenced by the style of Japanese woodcuts, emphasized the grotesque, the decadent, and the erotic. He was a leading figure in the Aesthetic movement which also included Oscar Wilde and James McNeill Whistler. Beardsley's contribution to the development of the Art Nouveau and poster styles was significant, despite the brevity of his career before his early death from tuberculosis at the age of 25.

This is part 3 of a 7-part post on the works of Aubrey Beardsley. For biographical notes on Beardsley see part 1. For earlier works see parts 1 - 2 also.

Part 3 shows the remainder of Beardsley 1892 - 94 works for Le Morte d’Arthur: