Quantcast
Channel: ART & ARTISTS
Viewing all 1760 articles
Browse latest View live

Cats in Art - part 9

0
0
Concluding a look at art that has featured cats in one way or another, either as the subject of the work, or as an adjunct to it.

They say you’re either a ‘dog person’ or a ‘cat person.’ I’ve always fallen into the latter category, so I thought I would do a themed feature for this series of posts, covering a large time span through art history.

The time span of approximately five-hundred artworks in the series (in roughly chronological order) is close to five hundred years - from 1525 (Francesco d’Ubertino Verdito) to 1999 (Louise Bourgeois).

This is part 9, the final part of a 9-part series on Cats in Art. For earlier works see parts 1 - 8 also. Note: I have added portraits and dates of the artists where I was able to find them (some of the artists below have been featured in earlier posts).



Marc Chagall
( 1887 Vitebsk, Belarus - 1985 St. Paul de Vence, France )


Marc Chagall
Man at Table 1911

© ADAGP, Paris and DACS, London 2016

Marc Chagall
The Poet, or Half Past Three 1911-12
oil on canvas 146 x 197 cm
Philadelphia Museum of Art, PA

© ADAGP, Paris and DACS, London 2016

Marc Chagall
Paris Through the Window 1913
oil on canvas 136 x 141.9 cm
Soloman R. Guggenheim Museum, New York City

© ADAGP, Paris and DACS, London 2016

Marc Chagall
Man with a Cat and Woman with a Child 1914
ink on paper 17.2 x 22.3 cm
The State Tretakov Gallery, Moscow

© ADAGP, Paris and DACS, London 2016

Marc Chagall
Yellow Cat 1915
oil on board 47.6 x 45.1 cm
Private Collection

© ADAGP, Paris and DACS, London 2016

Marc Chagall
The Cat and Two Sparrows 1925

© ADAGP, Paris and DACS, London 2016

Marc Chagall
The Cat Transformed into a Woman 1928-31c
etching, drypoint and oil on paper 29.5 x 24.1 cm
Tate, London

© ADAGP, Paris and DACS, London 2016


José Mongrell i Torrent
( 1870 Valncia, Spain -1937 Barcelona, Spain )


José Mongrell i Torrent
Chica con Gatto 1920
oil on canvas 92 x 73 cm
Private Collection


Norbertine Bresslern-Roth
Two Cats 1920s
linocut print

1925 Norbertine Bresslern-Roth
Angora Cat 1925
linocut print

Norbertine Bresslern-Roth
Black Cat 1925
woodcut print

Norbertine Bresslern-Roth
Young Cats 1944
linocut print

Norbertine of Bresslern-Roth
Siamese 1946
linocut print


Fernand Léger c1916
( 1881 Argentan, France -1955 Gif-su-Yvette, France )


Fernand Léger
Woman with a Cat 1921
oil on canvas 13.5 x 89.5 cm
The Metropolitan Museum of Art, New York City


Ernst Ludwig Kirchner
Alte Frau mit Katze 1922
drypoint etching 26.3 x 19.9 cm (plate)

Ernst Ludwig Kirchner
Black Cat (Bobby) 1929


Lotte Laserstein
( 1898 Pr. Holland, Prussia -1993 Kalmar, Sweden )


Lotte Laserstein
Self Portrait with a Cat 1928
oil on panel 61 x 51 cm
Leicester Museums, UK

Lotte Laserstein
Girl with Cat 1932 33
oil on panel 70.3 x 55 cm

Paul Klee
( 1879 Münchenbuchsee, Switzerland - 1940 Muralto,
Switzerland )
Paul Klee
Cat and Bird 1928
oil and ink on gessoed canvas, mounted on wood 38.1 x 53.2 cm
Museum of Modern Art, New York City


Duncan Grant
( 1885 Rothiemurchus, Scotland -1978 Aldermaston, England )


Duncan Grant
The Cat, Opussyquinusque 1932c


Balthus [ Balthasar Klossowski de Rola ]
( 1908 Paris - 2001 Rossinière, Switzerland )


Balthus
Girl with Cat 1937
oil on board 87.6 x 77.5 cm
Art Institute of Chicago, IL
Frida Kahlo
( 1907 Coyoacán, Mexico - 1954 Coyoacán, Mexico )


Frida Kahlo
Self Portrait With Necklace Of Thorns  1940
oil on canvas 49.5 x 63.5 cm
Harry Ransom Humanities Research Centre Art Collection,
University of Texas, Austin, Texas


Pablo Picasso
Dora Maar au Chat 1941
oil on canvas 128.3 x 95.3 cm
Private Collection


Victor Brauner
( 1903 Piatra Neamt, Romania - 1966 Paris )


Victor Brauner
Rainbow 1943
oil on canvas


Robert Colquhoun
( 1914 Kilmarnock, Scotland -1962 London )


Robert Colquhoun
Woman with Leaping Cat 1945
oil on canvas 76.7 x 61 cm
Tate, London


Lucien Freud
( 1922 Berlin, Germany - 2011 London, UK )


Lucien Freud
Girl with a Kitten 1947
oil on canvas 39.5 x 29.5 cm
Private Collection


Richard Lindner
( 1901 Hamburg, Germany -1978 New York City )


Richard Lindner
Homage to a Cat 1952
oil on canvas 92.1 x 60.3 cm
Tate, London

© ADAGP, Paris and DACS, London 2016


Andy Warhol
( 1928 Pittsburgh, PA - 1987 New York City )

Part of a larger series:


Andy Warhol
Brown Sam with Orange Eyes 1954c
lithograph and watercolour 22 x 14 cm

Andy Warhol
Light Pink Sam with Red Eyes 1954c
lithograph with watercolour 22 x 14 cm

Andy Warhol
Pink Sam with Pink Eyes 1954c
lithograph with watercolour 22 x 14 cm

Andy Warhol
Pink Sam with Yellow Eyes 1954c
lithograph with watercolour 22 x 14 cm

Andy Warhol
Red Sam with Purple Eyes 1954c
lithograph with watercolour 22 x 14 cm

Andy Warhol
Sam 1954c
lithograph on wove paper 35.6 x 25.4 cm

Andy Warhol
Yellow Sam with Red Eyes 1954c
lithograph with watercolour 22 x 14 cm


Gertrude Abercrombie
( 1909 Austin, Texas - 1977 Chicago, Illinois )


Gertrude Abercrombie
The Stroll ( n.d. )
oil on fibre-board 69.8 x 88.9 cm
SmithsonianAmerican Art Museum, Washington, DC


1957 Gertrude Abercrombie
Black Cat 1957
oil on fibreboard 12.4 x 9.8 cm


Otto Dix
( 1891 Gera, Germany - 1969 Singen, Germany )


Otto Dix
Cat 959
colour lithograph on laid paper 44 x 58 cm
Otto Dix
Cat in the Poppy Field 1968
colour lithograph 56 x 45.5 cm

James Lloyd
( 1905 Alsager, UK - 1974 )
Cat and Mouse 1967
gouache on board 38.1 x 53.3 cm
Tate, London

© The Estate of James Lloyd


David Hockney
( 1937 Bradford, UK - )


David Hockney
A Black Cat Leaping 1970
from "Fairy Tales of the Brothers Grimm"
etching and aquatint 23.7 x 27.3 cm ( plate )
David Hockney
Mr and Mrs Clark and Percy 1970-71
acrylic on canvas 213.4 x 304.8 cm
Tate, London

© David Hockney

Elisabeth Frink 1974
( 1930 Thurlow, Suffolk, UK -1993 Blandford Forum,
Dorset, UK )
Elisabeth Frink
Wild Cat 1970
lithograph on paper 51.9 x 66 cm
Tate, London


Louise Bourgeois
( 1911 Paris - 2010 New York City )


Louise Bourgeois
The White Cat 1994
drypoint, etching and aquatint on paper 43.2 x 59.7 cm

Louise Bourgeois
The Angry Cat 1999
drypoint and etching 25.4 x 30.5 cm (image)


Belle Époque - part 1

0
0
1882 A Bar at the Folies-Bergère by Édouard Manet
oil on canvas 96 x 130 cm
Courtauld Gallery, London
The Belle Époque (the Beautiful Period) in France is conventionally dated from the end of the Franco-Prussian War in 1871 to the the outbreak of World War I in 1914. It was a period characterised by optimism, regional peace and economic prosperity, and of technological, scientific, and cultural innovation. Whilst showing key works from the Belle Epoque, I am including works from the fall-out of the period almost up to World War II, so as to put these works in context.

Artists in the late 1800s found opportunities to present their work to the masses through advertising art that began to appear as billboards and posters, plastering the streets of Paris. “Affiche Artistique” was the term that the French used to describe a poster that contained artistic expression.  The art was so impressive to the public, people began to collect the posters as soon as they went up, which is why they are so scarce today.  

Artists such as Henri de Toulouse-Lautrec, Jules Chéret, Théophile-Alexandre Steinlen, and Alfred Choubrac, contributed to the creative body of work that became what some called  “a free museum for the masses”.  The craze for collecting these examples of modern art was even given the name, "affichomanie", meaning “artistic poster mania”.  Collectors today pay hundreds, if not thousands for original prints of these rare posters.

This is part 1 of a 9-part series on art of the Belle Epoque:

  
1880 Folies-Bergère
Le Spectre de Paganini

1885 Folies-Bergère
Poster by Émile Lévy and Co.

1887 Folies-Bergère
Les Selbinis Famille de Vélocipédistes

1890 At the Moulin Rouge, The Dance
by Henri de Toulouse-Lautrec
oil on canvas 115.6 x 149.9 cm
Philadelphia Museum of Art, PA

1890 Folies-Bergère
G. Lockart et ses Éléphants 

1890 Folies-Bergère
L'Orchestre des Elephants

1890 Folies-Bergère
La Famille Birmane

1890 Folies-Bergère
Les Chiens Sauteurs présentés par Fred Leslie

1890 Folies-Bergère
Les Griffith's

1890 Folies-Bergère
Les Trevally Acrobates

1892c La Loïe Fuller aux Folies Bergère
poster by Ferdinad Bach
La Loïe Fuller at the Folies Bergère

1894 Ambassadeurs Paris, Yvette Guilbert
poster by Theophile-Alexandre Steinlen

Yvette Guilbert


1894 Folies-Bergère, Peter Jackson

Peter Jackson

1895 Folies-Bergère, Le Kangourou Boxeur

1895 Folies-Bergére, Miss Mabel Love

1895 Folies-Bergère, Miss Mabel Love
poster by Lucien Baylac
Miss Mabel Love

1895 Folies-Bergère, Nala Damajanti Charmeuse Hindoue


1895c Salle Wagram, Bal
Poster by Èmile Lévy and Co.

1896 Folies-Bergère, Lona Barrison
poster by Albert Guillaume
Lona Barrison

1897  Folies-Bergère, Matinée

1899 La Pépinière, Chauffons! Revue

1900 Folies Bergère, Tous les Soirs, Spectacle Varié
poster by Leonetto Cappiello

1900s Ambassadeurs, Paris Tout Nu
poster by Carlobali

1905 Bal du Moulin Rouge

1905 Bal du Moulin Rouge

1913c Mistinguett
poster by Georges Kugelmann Benda

1920 Casino de paris, Mistinguette
poster by Leonetto Cappiello

Mistinguette

1920s Ba-Ta-Clan, La Danse de Libellules

1926c Folies Bergère
poster by Maurice Picaud

1927 Josephine Baker au Bal Negre poster by André-Charles Caron
Josephine Baker

1927c Folies-Bergère, La Grand Folie Hyper Revue
poster by Fico

1927c Mistinguett
poster by Rougemont

1928c Casino de Paris, Maurice Chevalier
poster by Charles Kiffer

Maurice Chevalier 1929

1933 Folies en Folie, Mistinguette
poster by Paul Selten (Seltenhammer)

1936 Josephine Baker, Folies Bergère
poster by Michel Gyarmath

1936 Josephine Baker, Folies Bergère
poster by Michel Gyarmath

1938 Mistinguett
poster by Jean-Dominique van Laulaert

Au Joyeaux Moulin Rouge

Casino de Paris, Camille Stéfani

Casino de Paris, Edith Piaf

Edith Piaf

Casino de Paris, The Sisters Levey
The Sisters Levey

Casino de Paris. Entrée 2Fr.

Casino de Paris. Mistinguett
poster by Videmanette Rougemont

Belle Époque - part 2

0
0
Au Joyeux Moulin Rouge
poster by Alfred Choubrac

The Belle Époque (the Beautiful Period) in France is conventionally dated from the end of the Franco-Prussian War in 1871 to the the outbreak of World War I in 1914. It was a period characterised by optimism, regional peace and economic prosperity, and of technological, scientific, and cultural innovation. Whilst showing key works from the Belle Epoque, I am including works from the fall-out of the period almost up to World War II, so as to put these works in context.

Artists in the late 1800s found opportunities to present their work to the masses through advertising art that began to appear as billboards and posters, plastering the streets of Paris. “Affiche Artistique” was the term that the French used to describe a poster that contained artistic expression.  The art was so impressive to the public, people began to collect the posters as soon as they went up, which is why they are so scarce today.  

Artists such as Henri de Toulouse-Lautrec, Jules Chéret, Théophile-Alexandre Steinlen, and Alfred Choubrac, contributed to the creative body of work that became what some called  “a free museum for the masses”.  The craze for collecting these examples of modern art was even given the name, "affichomanie", meaning “artistic poster mania”.  Collectors today pay hundreds, if not thousands for original prints of these rare posters.

This is part 2 of a 9-part series on art of the Belle Epoque. For more works in the series see part 1 also.

ALFRED CHOUBRAC


Alfred Choubrac ( 1853 - 1902) was a French painter, illustrator, draughtsman, and poster artist. His most famous poster is "Au Joyeux Moulin Rouge" ( above ). He contributed to the satirical weekly publication "Le Courrier français."

With his older brother Leon ( who signs his own work "Hope," Alfred has his artistic training with painters Charles Doerr and Isidore Pils. The Chobrac brothers were early visitors to the shows, by 1875 with the introduction of chromolithography, they were experimenting with the modern treatment of colours and typography.

They later created their own print workshop, one of the first graphic design agencies in Paris, creating their own artworks by lithography.

1885c Folies Bergère, Armand Ary
poster by Alfred Choubrac

Armand 'Ary

1890 Folies-Bergère, Ilka de Mynn
poster by Alfred Choubrac

1890 Le Fétiche, Musique de Victor
poster by Alfred Choubrac

1891 D. Victor et Darto Troupe
poster by Alfred Choubrac

1892 Folies-Bergère, Loïe Mystèrieuse (Loïe Fuller) 
poster by Alfred Choubrac

Loïe Fuller

1895 Exposition Russe, Champ de Mars
poster by Alfred Choubrac

1898 Où Sont-ils?
poster by Alfred Choubrac

Adèle Verly
poster by Alfred Choubrac

Adèle Verly

Alacazar d'Eté en Voulez Vous des Z'Homards
poster by Alfred Choubrac

Alcazar d'Été, E. Foucère
poster by Alfred Choubrac

Alcazar d'Été, Revue
poster by Alfred Choubrac

Alcazar d'Hiver
poster by Alfred Choubrac

Folies-Bergère, Les Dante
poster by Alfred Choubrac

Ambassadeurs, Gavrochinette
poster by Alfred Choubrac

Gavrochinette

Ambassadeurs, Le Jal
poster by Alfred Choubrac

Ambassadeurs, Les Cinq Demi-Vierges
poster by Alfred Choubrac

Ambassadeurs, Revue Blanche
poster by Alfred Choubrac

Anna Held
poster by Alfred Choubrac

Anna Held

Ba-Ta-Clan, Les Proto Coleries
poster by Alfred Choubrac

Berthe Delaurianne
poster by Alfred Choubrac

Berty
poster by Alfred Choubrac

Boite à Musique, Théâtre d'Ombres
poster by Alfred Choubrac

Casino de Paris Abdj - Abdulla
poster by Alfred Choubrac

Casino de Paris, Les Amoureux de Venise
poster by Alfred Choubrac

Eldorado Revue, Paris Chansons
poster by Alfred Choubrac

F. Deferville
poster by Alfred Choubrac

Fin de Siecle
Journal cover by Alfred Choubrac

Folie, Danse Serpentine Par Mabell Stuart
poster by Alfred Choubrac

Folies Bergère, Les Sisters Barrison
poster by Alfred Choubrac

Folies Bergère, Les Sisters Barrison
poster by Alfred Choubrac

Folies Bergère, Les Sisters Barrison
poster by Alfred Choubrac

Folies Bergère, Les Sisters Barrison
poster by Alfred Choubrac

Les Sisters Barrison

Folies-Bergère, La Tortajada (Consuelo Tamayo)
poster by Alfred Choubrac

Folies-Bergère, La Tortajada (Consuelo Tamayo) 
poster by Alfred Choubrac
La Tortajada (Consuelo Tamayo)

Folies-Bergère, La Troupe Birmane
poster by Alfred Choubrac

Irène Henry
poster by Alfred Choubrac

Mily Myer
poster by Alfred Choubrac

Mily Meyer

Moulin Rouge, Ah! Chaleur Revue
poster by Atelier Choubrac

ohé! ohé! Le Théâtre des Folies Marigny
poster by Alfred Choubrac

Parisiana, Tananarive ça y Est
poster by Alfred Choubrac

Salle Wagram
poster by Alfred Choubrac

Théâtre du Chatelet, La Biche au Bois
poster by Alfred Choubrac

Théâtre Cluny, Le Papa de Francine
poster by Alfred Choubrac


Théâtre des Folies Dramatiques, Miss Robinson
poster by Alfred Choubrac

Miss Robinson

Théatre de la Gaité, Le Pays de L'Or
poster by Alfred Choubrac

Théâtre de la Gaité, Le Voyage de Suzette
poster by Alfred Choubrac

Théâtre de la Renaissance, les Douze Femmes de Japhet
poster by Alfred Choubrac

Belle Époque - part 3

0
0
The Belle Époque (the Beautiful Period) in France is conventionally dated from the end of the Franco-Prussian War in 1871 to the the outbreak of World War I in 1914. It was a period characterised by optimism, regional peace and economic prosperity, and of technological, scientific, and cultural innovation. Whilst showing key works from the Belle Epoque, I am including works from the fall-out of the period almost up to World War II, so as to put these works in context.

Artists in the late 1800s found opportunities to present their work to the masses through advertising art that began to appear as billboards and posters, plastering the streets of Paris. “Affiche Artistique” was the term that the French used to describe a poster that contained artistic expression.  The art was so impressive to the public, people began to collect the posters as soon as they went up, which is why they are so scarce today.  

Artists such as Henri de Toulouse-Lautrec, Jules Chéret, Théophile-Alexandre Steinlen, and Alfred Choubrac, contributed to the creative body of work that became what some called  “a free museum for the masses”.  The craze for collecting these examples of modern art was even given the name, "affichomanie", meaning “artistic poster mania”.  Collectors today pay hundreds, if not thousands for original prints of these rare posters.

This is part 3 of a 9-part series on art of the Belle Epoque. For more works in the series see parts 1 and 2 also.


CHARLES LÉVY

I could find no information on the life of Charles Lévy:


1882-88 Hippodrome, La Chasse
poster by Charles Lévy

1883 Hippodrome, Ling-Look
poster by Charles Lévy

1885 Ambassadeurs, Vanoni
poster by Charles Lévy

1885 Cirque d'Été
poster by Charles Lévy

1885 Divan Japonais
poster by Charles Lévy

1885 Hippodrome, Jenny O'Brien et ses Pigeons
poster by Charles Lévy

1885 L'Anonsa
poster by Charles Lévy

1885 Ransard
poster by Charles Lévy

1888 Alcazar d'Été, Anna Thibaut
poster by Charles Lévy

1888 Folies-Bergère Original's, Huline Brothers
poster by Charles Lévy

1889 Ambassadeurs, Brunin
poster by Charles Lévy

1890 Alcazar d'Été, Valti
poster by Charles Lévy

1890 Ambassadeurs, Duclerc
poster by Charles Lévy

1890 Ambassadeurs, Frou-Frou
poster by Charles Lévy

1890 Ambassadeurs, Macaronada
poster by Charles Lévy

1890 Ambassadeurs, Polaire
poster by Charles Lévy

Polaire ( Emilie Marie Bouchaud )

1890 Ambassadeurs, Saker Brothers
poster by Charles Lévy

1890 Concert de la Pépinière
poster by Charles Lévy

1890 Eldorado, Bonnaire
poster by Charles Lévy

1890 Eugénie Fougère
poster by Charles Lévy

1890 Horloge, Eugénie Fougére
poster by Charles Lévy
Eugénie Fougére

1890 Horloge
poster by Charles Lévy

1890 Jardin de Paris, la belle Irene
poster by Charles Lévy

La Belle Irène

1890 La Lance
poster by Charles Lévy

1890 Miss Gicka
poster by Charles Lévy

1890 Moulin Rouge, M.elle Pétrescu
poster by Charles Lévy

1890 Valérie Léotti
poster by Charles Lévy

1890 Valti
poster by Charles Lévy

1892 Fête des Fleurs
poster by Charles Lévy

1895 Roskoff
poster by Charles Lévy

Menus-Plaisirs, Emilienne d'Alençon
poster by Charles Lévy


Emilienne d'Alencon


PAUL ÉMILE BERTHON

Paul Émile Berthon ( 1972-1909 ) was a French artist who mainly produced posters and lithographs. He studied as a painter in Villefranche-sur-Saône before moving to Paris. He later enroled at the École Normale d'Enseignement de Dessin and received lessons from Luc-Olivier Merson. His study of the decorative arts influenced his print-making, shown by the strong lines and natural details.


1895 Salon des 100
poster by Paul Berthon

1896 Almanac of Alsace and Lorraine
by Paul Berthon

1896 Tisane Gauloise
poster by Paul Berthon

1897 L'Ermitagelithograph in four colours
by Paul Berthon


1898 Femme de Profil
lithograph 25.4 x 33.2 cm
by Paul Berthon

1898 Mandore
lithograph 48.9 x 64.1 cm
by Paul Berthon

1899 Les Pipeaux
lithograph 65 x 51.5 cm
by Paul Berthon

1899 Societe des Amis des Arts de la Manche
poster by Paul Berthon

1899 The Son of the Virgin (decorative wall panel)
by Paul Berthon

1899 The Wave (decorative wall panel)
by Paul Berthon

1900 Geneviève Williams
poster by Paul Berthon

1900 Jane Othello
poster by Paul Berthon

1900 Les Eglantines
lithograph 38.7 x 53.3 cm
by Paul Berthon

1900c Poster for Salon des Arts Libéraux
lithograph 
by Paul Berthon

1901 Sarah Bernhardt as Mélissinde in La Princesse Lointaine
lithograph 51.7 x 36 cm
by Paul Berthon

Sarah Bernhardt

Folies Bergère, Liane de Pougy
by Paul Berthon

Les Boules de Niege
lithograph 
by Paul Berthon

Sa très gracieuse Majesté la Reine Wilhelmine
 lithograph on wove paper 38.7 x 36.1 cm
by Paul Berthon

Belle Époque - part 4

0
0
The Belle Époque (the Beautiful Period) in France is conventionally dated from the end of the Franco-Prussian War in 1871 to the the outbreak of World War I in 1914. It was a period characterised by optimism, regional peace and economic prosperity, and of technological, scientific, and cultural innovation. Whilst showing key works from the Belle Epoque, I am including works from the fall-out of the period almost up to World War II, so as to put these works in context.

Artists in the late 1800s found opportunities to present their work to the masses through advertising art that began to appear as billboards and posters, plastering the streets of Paris. “Affiche Artistique” was the term that the French used to describe a poster that contained artistic expression.  The art was so impressive to the public, people began to collect the posters as soon as they went up, which is why they are so scarce today.  

Artists such as Henri de Toulouse-Lautrec, Jules Chéret, Théophile-Alexandre Steinlen, and Alfred Choubrac, contributed to the creative body of work that became what some called  “a free museum for the masses”.  The craze for collecting these examples of modern art was even given the name, "affichomanie", meaning “artistic poster mania”.  Collectors today pay hundreds, if not thousands for original prints of these rare posters.

This is part 4 of a 9-part series on art of the Belle Epoque. For more works in the series see parts 1 - 3 also.


HENRY PRIVAT-LIVEMONT ( 1861 - 1936 )

Henry Privat-Livemont was born in Schaerbeek, Brussels, Belgium in 1861. Known mainly as a poster artist, between 1883 and 1889 he worked and studied in the studios of Lemaire, Lavastre and Duvignaud. With Lemaire he created the decor of the Théâtre Français and the Hôtel de Ville, Paris. He later moved back to Brussels and worked on theatres and casinos there.


1890 Ameublement
poster by Henri Privat-Livemont

1895 Absinthe Robette
poster by Henri Privat-Livemont

1896 Bec Auer
poster by Henri Privat-Livemont

1896 Biscuits & Chocolat Delacre
poster by Henri Privat-Livemont

1896 Cabourg a 5 heures de Paris
poster by Henri Privat-Livemont

1896 Savon Cristel
poster by Henri Privat-Livemont

1896c Cercle Artistique de Schaerbeek
poster by Henri Privat-Livemont

1897 Bitter Original
poster by Henri Privat-Livemont

1897 International Exhibition Brussels
poster by Henri Privat-Livemont

1897 La Reforme, Le Masque Anarchiste
poster by Henri Privat-Livemont

1897 Le Vague (The Wave)
by Henri Privat-Livemont

1897c J. C. Boldoot Eau de Cologne Parfumerie
poster by Henri Privat-Livemont

The Scent of a Rose
by Henri Privat-Livemont

1898 Beaux-Arts 6e. Exposition Annuelle
poster by Henri Privat-Livemont

1898 Cover of The Poster magazine
by Henri Privat-Livemont

1899 Helm Cacao
poster by Henri Privat-Livemont

1899 Henry à la Pensée, Paris
poster by Henri Privat-Livemont

1899 Rajah Coffee
poster by Henri Privat-Livemont

1900 Biscuits de Beukelaer
poster by
 Henri Privat-Livemont

1900 Cacao A. Driessen
poster by Henri Privat-Livemont

1900 P D Corsets
poster by Henri Privat-Livemont

1900 Palais de la Femme, Exposition de 1900
poster by Henri Privat-Livemont

1901 Bols'
poster by Henri Privat-Livemont

1901 Orfèvrerie Miele & Co.
poster by Henri Privat-Livemont

1901 The Sculptress
poster by Henri Privat-Livemont

1901 Untitled
poster design by Henri Privat-Livemont

1902 Michiels Frères Pépiniéristes Architectes de Jardins
poster by Henri Privat-Livemont

1903 6eme Exposition Internationale de L'Automobile
du Cycle et des Sports
poster by Henri Privat-Livemont

1903 Automobile Club de France
poster by Henri Privat-Livemont

1903 Manfacture Royale de Corsets, Bruxells
poster by Henri Privat-Livemont

1903 Untitled
poster design by Henri Privat-Livemont

1903 Untitled
poster design by Henri Privat-Livemont

Le Bec Liais
poster by Henri Privat-Livemont

Rajah Tea and Coffee
poster by Henri Privat-Livemont

Stained Glass Window in Hotel Saintenoy, Brussels
by Henri Privat-Livemont


JEAN DE PALEOLOGU

Jean de Paleologu ( Paleologue ) ( 1855 - 1942 ) was a Romanian poster artist, painter and illustrator acive in France and the United states. He often signed his work Pal of PAL.

Born in Bucharest, he trained in England, then returned to Romania and attended a military academy, before visiting London again several times and moving to Paris more permanently. He left Paris for the United States in 1900.



1897 Folies-Bergère, La Loïe Fuller
poster by Jean de Paléologu

Folies Bergère, La Loïe Fuller, Tous les Soirs
poster by Jean de Paleologu

Folies-Bergère, La Loïe Fuller
by Jean de Paléologu

Folies-Bergère, La Loïe Fuller
poster by Jean de Paléologu

Folies-Bergère, La Loïe Fuller
poster by Jean de Paléologu

La Loïe Fuller

1897 Theatre de Opéra-Comique "Sapho" / Emma Calvé
poster by Jean de Paleologu

Emma Calvé

Alcazar d' Été La Belle Otero
poster by Jean de Paleologu

La Belle Otéro

Folies-Bergère
poster by Jean de Paléologu

*          *          *          *          *


Folies Bergère, Les Demoieselles du XXe Siècle
poster by Louis Trinquier Trianon

Folies Bergère, Tous les Soirs, Americans 'Sings' and Dancers
poster by Maurice Biais

Folies-Bergère, Cléo de Mérode

Cléo de Merode

Folies-Bergère, Jane Derval

Jane Derval

Folies-Bergère, La Folie d'Amour
poster by Michel Gyarmathy

Folies-Bergère, Le Capitaine Costentenus
Le Capitaine Costentenus
( where are the tattoos? )

Folies-Bergère, Maurel
poster by Daniel de Losques

Folies-Bergère, Napoli Ballet Pantomime

Folies-Bergère, Ramoneurs Musicaux

Folies-Bergère

Belle Époque - part 5

0
0
The Belle Époque (the Beautiful Period) in France is conventionally dated from the end of the Franco-Prussian War in 1871 to the the outbreak of World War I in 1914. It was a period characterised by optimism, regional peace and economic prosperity, and of technological, scientific, and cultural innovation. Whilst showing key works from the Belle Epoque, I am including works from the fall-out of the period almost up to World War II, so as to put these works in context.

Artists in the late 1800s found opportunities to present their work to the masses through advertising art that began to appear as billboards and posters, plastering the streets of Paris. “Affiche Artistique” was the term that the French used to describe a poster that contained artistic expression.  The art was so impressive to the public, people began to collect the posters as soon as they went up, which is why they are so scarce today.  

Artists such as Henri de Toulouse-Lautrec, Jules Chéret, Théophile-Alexandre Steinlen, and Alfred Choubrac, contributed to the creative body of work that became what some called  “a free museum for the masses”.  The craze for collecting these examples of modern art was even given the name, "affichomanie", meaning “artistic poster mania”.  Collectors today pay hundreds, if not thousands for original prints of these rare posters.

This is part 5 of a 9-part series on art of the Belle Epoque. For more works in the series see parts 1 - 4 also.


JULES CHÉRET ( 1836 - 1932 ) part 1:


Jules Chéret was born in Paris to a family of of artisans. Aged 13 he began a three-year Apprenticeship with a lithographer, after which his interest in painting led him to an art course at École Nationale de Dessin.
Between 1859 and 1866 he trained as a lithographer in London, where he was strongly influenced by the British approach to poster design and printing. On returning to France he created numerous posters for the theatres and music halls of the day where his work was in great demand, as well becoming a major force in the advertising industry.
1875 Folie-Bergère, La Charmeuse de Serpents
poster by Jules Chéret

1875 Folies-Bergère, Thaumaturgie Humoristique
poster by Jules Chéret

1875 Tous les Soirs a 8 Heures, Folies-Bergère
poster by Jules Chéret

1876 Folies-Bergère, Skating Concert
poster by Jules Chéret

1876 Tous les Soirs a 8 Heures, Folies-Bergère
poster by Jules Chéret

1887 Exhibition of Arabs of the Sahara Desert
poster by Jules Chéret

1888 Bullier
poster by Jules Chéret

1888 Exposition, Tableaux 7 Dessins de A. Willette
poster by Jules Chéret

1888 Kinia Raffard
poster by Jules Chéret

1888 L'Amant des Danseuse Eldorado Music Hall
poster by Jules Chéret

1889 Bal du Moulin Rouge
poster by Jules Chéret

1889 Exposition Universelle des Arts Incoherents
poster by Jules Chéret

1889 Job, Cigarette Papers
stage 1 poster by Jules Chéret

1889 Job, Cigarette Papers 
stage 2 poster by Jules Chéret

1889 Jouets, Objets pour Etrennes
poster by Jules Chéret

1889 La Gomme
poster by Jules Chéret

1890 Bagnères de Luchon, Fête des Fleurs
poster by Jules Chéret

1890 Jardin de Paris, fete de Nuit Bal
poster by Jules Chéret

1890 La Diaphane, Sarah Bernhardt
poster by Jules Chéret

1890 Maquettes Animées de Georges-Bertrand
poster by Jules Chéret

1890 Moulin Rouge
poster by Jules Chéret

1890 Paris Courses
poster by Jules Chéret

1890 Théâtrophone
poster by Jules Chéret

1890c Arlette Dorgère
poster by Jules Chéret

Arlette Dorgère

1890 L'HIver à Nice
poster by Jules Chéret

1891 2me Expostion de Mille Dessins originaux du Courrier Français
stage 1 poster by Jules Chéret

1891 2me Expostion de Mille Dessins originaux du Courrier Français 
stage 2 poster by Jules Chéret

1891 Purgative Géraudel
stage 1 poster by Jules Chéret

1891 Ambassadeurs, la jolie Fagette
poster by Jules Chéret

1891 Casino de Paris, Camille Stèfani
poster by Jules Chéret

1891 Comedy (decorative panel)
by Jules Chéret

1891 Dance (decorative panel)
by Jules Chéret

1891 Music (decorative panel)
by Jules Chéret

1891 Pantomime (decorative panel)
by Jules Chéret

1891 Cosmydor Savon
poster by Jules Chéret

1891 Grands Magasins du Louvre, Jouets Etrennes
poster by Jules Chéret

1891 L'Infamant
poster by Jules Chéret

1891 Les Coulisses de l'Opera au Musée Grévin
poster by Jules Chéret

1891 Librairie Ed. Sagot
poster by Jules Chéret

1891 Purgatif Géradel
poster by Jules Chéret

1891 Purgatif Géradel 
poster by Jules Chéret

1891 Yvette Guilbert au Concert Parisien
poster by Jules Chéret

Yvette Guilbert

1891-93 Folies-Bergère, L'Arc en Ciel
stage 1 poster by Jules Chéret

1891-93 Folies-Bergère, L'Arc en Ciel 
stage 2 poster by Jules Chéret

1892 Olympia anciennes Montagnes Russes
stage 1 poster by Jules Chéret

1892 Olympia anciennes Montagnes Russes 
stage 2 poster by Jules Chéret

1892 Pantomimes Lumineuses
stage 1 poster by Jules Chéret

1892 Pantomimes Lumineuses 
stage 2 poster by Jules Chéret

Works by Jukes Cherét continue in part 6.

Belle Époque - part 6

0
0
The Belle Époque (the Beautiful Period) in France is conventionally dated from the end of the Franco-Prussian War in 1871 to the the outbreak of World War I in 1914. It was a period characterised by optimism, regional peace and economic prosperity, and of technological, scientific, and cultural innovation. Whilst showing key works from the Belle Epoque, I am including works from the fall-out of the period almost up to World War II, so as to put these works in context.

Artists in the late 1800s found opportunities to present their work to the masses through advertising art that began to appear as billboards and posters, plastering the streets of Paris. “Affiche Artistique” was the term that the French used to describe a poster that contained artistic expression.  The art was so impressive to the public, people began to collect the posters as soon as they went up, which is why they are so scarce today.  

Artists such as Henri de Toulouse-Lautrec, Jules Chéret, Théophile-Alexandre Steinlen, and Alfred Choubrac, contributed to the creative body of work that became what some called  “a free museum for the masses”.  The craze for collecting these examples of modern art was even given the name, "affichomanie", meaning “artistic poster mania”.  Collectors today pay hundreds, if not thousands for original prints of these rare posters.

This is part 6 of a 9-part series on art of the Belle Epoque. For more works in the series see parts 1 - 5 also.

JULES CHÉRET ( 1836 - 1932 ) part 2:

See part 5 for earlier works by Jules Chéret.


1892 Saxoléine
poster by Jules Chéret

1892 Théâtre de l'Opera Carnaval
poster by Jules Chéret

1892 Violinist
monochrome poster by Jules Chéret

1893 Saxoléine
poster by Jules Chéret

1893 Alcazar d'Eté, Louise Balthy
poster by Jules Chéret

Louise Balthy

1893 Alcazar d'Été, Lidia
poster by Jules Chéret
Lidia

1893 Folies-Bergère, Emilienne d'Alençon
poster by Jules Chéret

Emilienne d'Alencon

1893 Folies-Bergère, Fleur de Lotus
poster by Jules Chéret

1893 Folies-Bergère, La Loïe Fuller
poster by Jules Chéret

1893 L'Auréole du Midi 1896 Théâtre de l'Opera
poster by Jules Chéret

1893 Olympia
poster by Jules Chéret

1893 Pastilles Géraudel
poster by Jules Chéret

1894 Eldorado Music Hall
poster by Jules Chéret

1894 Redoute des Etudiants
stage 1 poster by Jules Chéret

1894 Redoute des Etudiants
stage 2 poster by Jules Chéret

1894 Théâtre de L'Opera, Carnaval
poster by Jules Chéret

1894 Vin Mariani
poster by Jules Chéret

1895 Punch Grassot
stage 1 poster by Jules Chéret

1895 Punch Grassot 
stage 2 poster by Jules Chéret

1895 Quinquina Dubonnet Apéritif
stage 1 poster by Jules Chéret

1895 Quinquina Dubonnet Apéritif 
stage 2 poster by Jules Chéret

1895 Quinquina Dubonnet Apéritif 
stage 1 poster by Jules Chéret

1895 Quinquina Dubonnet Apéritif 
stage 2 poster by Jules Chéret

1896 Bal au Moulin Rouge
poster by Jules Chéret

1896 Concert Été
 poster by Jules Chéret

1896 Palais de Glace, Champs-Elysées
poster by Jules Chéret

1896 Pastilles Géraudel
poster by Jules Chéret

1896 Pastilles Poncelet
poster by Jules Chéret

1896 Quinquina Dubonnet
poster by Jules Chéret

1896 Quinquina Dubonnet
poster by Jules Chéret

1896 Saxoléine
poster by Jules Chéret

1896 Théâtre de l'Opera
poster by Jules Chéret

1896 Théâtre de l'Opera
poster by Jules Chéret

1897 Folies-Bergère, La Danse du Feu
poster by Jules Chéret

1897 Folies-Bergère, Loïe Fuller
poster by Jules Chéret

1897 Parfumerie-Distillerie Iris Villa
poster by Jules Chéret

1898 Palais de Glace, Champs-Elysées
poster by Jules Chéret

1898 Pantomimes Lumineuses
poster by Jules Chéret

1899 Jardin de Paris
poster by Jules Chéret

1899 Pippermint
poster by Jules Chéret

1899 Taverne Olympia
poster by Jules Chéret

1900 Musée Grévin Théâtre
poster by Jules Chéret

1900 Palais de Glace, Champs-Elysées
poster by Jules Chéret

1900 The Spinner (decorative panel)
by Jules Chéret

1904 Arlette Dorgère
stage 1 poster by Jules Chéret

1904 Arlette Dorgère 
stage 2 poster by Jules Chéret

Arlette Dorgère

1906 Au Printemps
poster by Jules Chéret

Belle Époque - part 7

0
0
The Belle Époque (the Beautiful Period) in France is conventionally dated from the end of the Franco-Prussian War in 1871 to the the outbreak of World War I in 1914. It was a period characterised by optimism, regional peace and economic prosperity, and of technological, scientific, and cultural innovation. Whilst showing key works from the Belle Epoque, I am including works from the fall-out of the period almost up to World War II, so as to put these works in context.

Artists in the late 1800s found opportunities to present their work to the masses through advertising art that began to appear as billboards and posters, plastering the streets of Paris. “Affiche Artistique” was the term that the French used to describe a poster that contained artistic expression.  The art was so impressive to the public, people began to collect the posters as soon as they went up, which is why they are so scarce today.  

Artists such as Henri de Toulouse-Lautrec, Jules Chéret, Théophile-Alexandre Steinlen, and Alfred Choubrac, contributed to the creative body of work that became what some called  “a free museum for the masses”.  The craze for collecting these examples of modern art was even given the name, "affichomanie", meaning “artistic poster mania”.  Collectors today pay hundreds, if not thousands for original prints of these rare posters.

This is part 7 of a 9-part series on art of the Belle Epoque. For more works in the series see parts 1 - 6 also.

JULES CHÉRET ( 1836 - 1932 ) part 3:

See parts 5 and 6 for earlier works by Jules Chéret.


1906 Fêtes de Nice
artwork by Jules Chéret

1906 Fêtes de Nice
poster by Jules Chéret

1914 Exposition Internationale de Lyon
poster by Jules Chéret

Alcazar d'Éte, Revue Fin de Siècle
poster by Jules Chéret

Benzo-Moteur
poster by Jules Chéret

Chemin de Fer PLM, Auvergne
poster by Jules Chéret

Cosmydor Savon
poster by Jules Chéret


Folies-Bergere, Le Miroir
poster by Jules Chére

Folies-Bergère, Les Hanlon-Lees
poster by Jules Chéret
Les Hanlon-Lees (William and Frederick Hanlon-Lees


Folies-Bergère, La Belle Otero (Carolina Otera)
poster by Ateliers Chéret

La Belle Otero (Carolina Otera)


Folies-Bergère, Les Garetta
poster by Jules Chéret

Folies-Bergère, Les Girard
poster by Jules Chéret

L'Horloge, Champs Elysées, Les Girard
poster by Jules Chéret

Folies-Bergère, Léonati, Vélocipediste
poster by Jules Chéret

L'Amant des Danseuses
poster by Jules Chéret

Félicien Champsaur

l'Etendard Français, Bicyclettes et Tricycles
poster by Jules Chéret

La Bodiniére
poster by Jules Chéret

La Danseuse de Corde, Félicia Mallet
poster by Jules Chére
Félicia Mallet (Mime artist)
Le Pays des Fées, Jardin Enchanté
poster by Jules Chéret

Le Rappel
poster by Jules Chéret

Leona Dare
poster by Jules Chéret

Leona Dare

Musée Grévin, Les Coulisses de l'Opera
poster by Jules Chéret

Orphée aux Enfers, J. Offenbach
poster by Jules Chéret

Skating-Theatre, Bal Masqué
poster by Jules Chéret

*               *               *               *               *

L'Hippodrome, Boulevard de Clichy

La Folie-Pigalle
poster by Weiluc (Lucien-Henri Weil)

La Ghanteuse Parisienne, Armand 'Ary


Armand 'Ary

La Loïe Fuller aux Folies Bergère
poster by Ferdinand Bac

La Loïe Fuller

La Loïe Fuller, Salomé
poster by Georges de Feure

La Loïe Fuller

Moulin de La Galette, Bal
poster by Tony M.

Moulin Rouge
poster by Auguste Roedel

Moulin Rouge, Spectacle - Concert - Bal
poster by Jose Belon

Louis Gaudin (Zig) (1882-1936) 

Louis Gaudin was a French poster artist and costume designer. He began his career in the United States drawing costume musicals designs for Broadway productions (Keep Kool, 1924).

1930 Casino de Paris
poster by Louis Gaudin (Zig)

1930 Mistinguette
poster by Louis Gaudin (Zig)

1931 Casino de Paris, Mistinguett
poster by Louis Gaudin (Zig)

1932 Mistinguette
poster by Louis Gaudin (Zig)

Casino de Paris, Mistinguette
poster by Louis Gaudin (Zig)

Mistinguette (Jeanne Florentine Bourdeois)

1931 Casino de Paris
poster by Louis Gaudin (Zig)

Jane Marnac, Paris-Béguin
poster by Louis Gaudin (Zig)

Jane Marnac

Palace Nudist' Bar
poster by Louis Gaudin (Zig)


Belle Époque - part 8

0
0
The Belle Époque (the Beautiful Period) in France is conventionally dated from the end of the Franco-Prussian War in 1871 to the the outbreak of World War I in 1914. It was a period characterised by optimism, regional peace and economic prosperity, and of technological, scientific, and cultural innovation. Whilst showing key works from the Belle Epoque, I am including works from the fall-out of the period almost up to World War II, so as to put these works in context.

Artists in the late 1800s found opportunities to present their work to the masses through advertising art that began to appear as billboards and posters, plastering the streets of Paris. “Affiche Artistique” was the term that the French used to describe a poster that contained artistic expression.  The art was so impressive to the public, people began to collect the posters as soon as they went up, which is why they are so scarce today.  

Artists such as Henri de Toulouse-Lautrec, Jules Chéret, Théophile-Alexandre Steinlen, and Alfred Choubrac, contributed to the creative body of work that became what some called  “a free museum for the masses”.  The craze for collecting these examples of modern art was even given the name, "affichomanie", meaning “artistic poster mania”.  Collectors today pay hundreds, if not thousands for original prints of these rare posters.

This is part 8 of a 9-part series on art of the Belle Epoque. For more works in the series see parts 1 - 7 also.



Jules-Alexandre Grün (1868 – 1934)


Jules-Alexandre Grün was a post-impressionist painter, illustrator and poster artist.  Born in Paris, Grün studied under Jean-Baptiste Lavastre, the theatrical director of the Paris Opera, and Antoine Guillemet, the noted landscape painter.  Grün was especially fond of painting scenes of Bohemian lifestyle.  He worked at the Chaix Printing Company where Jules Chéret was his art director.  Grün’s best known painting titled “The Dinner Party” was completed in 1911.

1893-94 Décadent’s Concert
poster by Jules-Alexandre Grün

1893-94 Divan Japonais, Strack Créations
poster by Jules-Alexandre Grün

1894 Le Carillon, Cabaret Artistique
poster by Jules-Alexandre Grün

1897 Bal du Déficit
poster by Jules-Alexandre Grün

1897 Le Grand Guignol
poster by Jules-Alexandre Grün

1897 Nouveau Théâtre, Vachalcade
poster by Jules-Alexandre Grün

1897 Trianon, Les Chansonniers de Montmartre
poster by Jules-Alexandre Grün

1897-98 Tournée Milo de Meyer
poster by Jules-Alexandre Grün

1898 La Cigale
poster by Jules-Alexandre Grün

1898 L’Ane Rouge
poster by Jules-Alexandre Grün

1899 La Bôite à Fursy
poster by Jules-Alexandre Grün

1899 La Chan­son de Mont­martre
poster by Jules-Alexandre Grün

1900 La Cigale
poster by Jules-Alexandre Grün

1901 Folies-Bergère, Napoli Ballet Pantomime
poster by Jules-Alexandre Grün

1901 Tréteau de Tabarin, La Bôite à Fursy
poster by Jules-Alexandre Grun

1903 Gaîté Rochechouart
poster by Jules-Alexandre Grün

1911 Friday at the French Artists' Salonby Jules-Alexandre Grün
 Musée des Beaux-Arts de Rouen

1913 The End of Dinner

A Cheer­ful Mont­martre Dweller
by Jules-Alexandre Grün

Casino de Paris, Réouverture
poster by Jules-Alexandre Grün

D’où Viennent-Ils? Du Tréteau De Tabarin
poster by Jules-Alexandre Grün

La Chanson à Montmartre
poster by Jules-Alexandre Grün

La Cigale, Allo!…Allo!…
poster by Jules-Alexandre Grün

La Pepiniere, oh! la la! mon empereur!
poster by Jules-Alexandre Grün

Où la Menent-Ils? "Au Violin"
poster by Jules-Alexandre Grün

Scala, La Revue de la Scala
poster by Jules-Alexandre Grün

Scala. Revue à Poilre
poster by Jules-Alexandre Grün

Théâtre du Moulin Rouge
poster by Jules-Alexandre Grün

Lucien Marie François Métivet (1863 - 1932)

Lucien Métivet (right) with Henri de Toulouse-Lautrec

Lucien Métivet was a French poster artist, cartoonist, illustrator, and author who achieved notoriety during the Belle Epoque. Best known for his 1893 poster of the chanteuse Eugénie Buffet, he was also a popular cover artist for the Parisian humour magazine "Le Rire" and a frequent contributor of cartoons and illustrations to it and other magazines. He illustrated books by a number of prominent authors of the time and wrote at least two books of his own.

1890 La Femme-Enfant
poster by Lucien Métivet

1891 A L'Hygiène
poster by Lucien Métivet

1893 Ambassadeurs, Eugénie Buffet
poster by Lucien Métivet
1913 Eugénie Buffet, Concert de La Cigale
poster by Lucien Métivet

Eugénie Buffet

1895 Nouveau Theatre, Les Joyeuses Commeres de Paris
poster by Lucien Métivet

1895 Théâtre de L'Athénée-Comique
poster by Lucien Métivet

1908 Scala, Pour Vos Beaux Yeux
poster by Lucien Métivet

1909 Martgny Vosges
poster by Lucien Métivet

1909 Martgny Vosges
poster by Lucien Métivet

1920 Emprunt National, Société Général
poster by Lucien Métivet

Théophile Alexandre Steinlein (1859 - 1923)

Théophile Steinlen

Théophile Steinlein was born in Lausanne and studied at the University of Lausanne before becoming a trainee designer at a textile mill in Mulhouse, France. In his early twenties he and his new wife were encouraged by painter François Bocion to move to the artistic community in Montmartre, Paris.

Le Chat Noir (The Black Cat)

Once there, Steinlein was befriended by the painter Adolphe Willette, who introduced him to the artistic crowd at 'The Black Cat' (Le Chat Noir). This led to commissions for posters from Aristide Bruant, the cabaret owner and entertainer.

 
1894 Théophile Steinlen exhibition poster

1896 Affiches Charles Verneau
poster by Théophile Steinlen

1896 Cocorico
poster by Théophile Steinlen

1896 Motocycles Comiot
poster by Théophile Steinlen

1896 Tournée du Chat Noir de Rodolphe Salis
poster by Théophile Steinlen

1896-1900 Mothu et Doria
poster by Théophile Steinlen

1905 Clinique Chéron
poster by Théophile Steinlen

Chocolats Thés Cie. Française
poster by Théophile Steinlen

Compagnie Francaise des Chocolats et des Thès
poster by Théophile Steinlen

La Traite des Blanches
poster by Théophile Steinlen

Lait pur de la Vingeanne Stérilisé
poster by Théophile Steinlen

Belle Époque - part 9

0
0
The Belle Époque (the Beautiful Period) in France is conventionally dated from the end of the Franco-Prussian War in 1871 to the the outbreak of World War I in 1914. It was a period characterised by optimism, regional peace and economic prosperity, and of technological, scientific, and cultural innovation. Whilst showing key works from the Belle Epoque, I am including works from the fall-out of the period almost up to World War II, so as to put these works in context.

Artists in the late 1800s found opportunities to present their work to the masses through advertising art that began to appear as billboards and posters, plastering the streets of Paris. “Affiche Artistique” was the term that the French used to describe a poster that contained artistic expression.  The art was so impressive to the public, people began to collect the posters as soon as they went up, which is why they are so scarce today.  

Artists such as Henri de Toulouse-Lautrec, Jules Chéret, Théophile-Alexandre Steinlen, and Alfred Choubrac, contributed to the creative body of work that became what some called  “a free museum for the masses”.  The craze for collecting these examples of modern art was even given the name, "affichomanie", meaning “artistic poster mania”.  Collectors today pay hundreds, if not thousands for original prints of these rare posters.

This is part 9, the final part of a 9-part series on art of the Belle Epoque. For more works in the series see parts 1 - 8 also.


Henri de Toulouse-Lautec (1864 - 1901)



Henri de Toulouse Lautrec was a French painter, printmaker and illustrator whose immersion into the colourful and theatrical life of Paris during the Belle Époque allowed him to produce elegant and evocative, and sometimes decadent images. He spent much time in the Parisian brothels, where he was accepted and would sometimes live, recording the colourful life therein.
An alcoholic for most of his adult life, he was placed in a santorium shortly before his death at the age of 36. He died of complications due to alcoholism and syphilis at the family estate in Malrome, France.


1892 At the Moulin Rouge, La Goulue with Her Sister
by Henri de Toulouse Lautrec
45.8 x 34.7 cm
Private Collection

1892 La Goulue Arriving at the Moulin Rouge with Two Women
by Henri Toulouse-Lautrec
oil on cardboard
Museum of Modern Art, New York City
1891 Moulin Rouge, La Goulue 
by Henri de Toulouse-Lautrec 
lithograph 191 x 117 cm

La Goulue

1891-92c Jane Avril Dancing
by Henri de Toulouse-Lautrec
oil on cardboard 86.5 x 65 cm
Musée Toulouse-Lautrec, Paris

1892 Jane Avril Dancing
by Henri de Toulouse-Lautrec
oil on cardboard 85.5 x 45 cm
Musée du Louvre, Paris
1893 Jane Avril, Jardin de Paris
poster by Henri de Toulouse Lautrec

Jane Avril 

1893 Divan Japonais, Jane Avril, Jardin de Paris
by Henri de Toulouse Lautrec
outline and watercolour test poster

1893 Divan Japonais, Jane Avril, Jardin de Paris 
by Henri de Toulouse Lautrec

1899 Jane Avril
by Henri de Toulouse Lautrec

Jane Avril 

1892 Ambassadeurs Paris, Aristide Bruant
poster by Henri de Toulouse Lautrec

1892 Ambassadeurs Paris, Aristide Bruant 
poster by Henri de Toulouse Lautrec
1893 Aristide Bruant dans son cabaret
poster by Henri de Toulouse-Lautrec

1893 Bruant au Mirliton
poster by Henri de Toulouse-Lautrec

Eldorado, Aristide Bruant dans son cabaret
poster by Henri de Toulouse-Lautrec

Aristide Bruant

1892 Reine de Joie
test poster by Henri de Toulouse-Lautrec

1892 Reine de Joie
poster by Henri de Toulouse-Lautrec

1892 The Englishman at the Moulin Rouge
lithograph by Henri Toulouse-Lautrec
90 x 64 cm
Private Collection

1892-95 At the Moulin Rouge
by Henri de Toulouse Lautrec
oil on canvas 123 x 141 cm
Art Institute of Chicago, IL

1893 Cadieux
poster by Henri de Toulouse-Lautrec

1893 Le Matin
poster by Henri de Toulouse-Lautrec

1893 Le Missionnaire
programme by Henri de Toulouse Lautrec

1893 Le Missionnaire 
programme by Henri de Toulouse Lautrec

1893 La Loïe Fuller
by Henri de Toulouse-Lautrec
brush and spatter lithograph in five colours 38 x 25.8 cm
Metropolitan Museum of Art, New York City

1893 La Loïe Fuller
by Henri de Toulouse-Lautrec
oil on board 63.2 x 45.3 cm

La Loïe Fuller
by Henri de Toulouse-Lautrec

La Loïe Fuller 

1893 Nicolle
lithograph by Henri de Toulouse-Lautrec

1894 Babylone d'Allemagne
stage 1 poster by Henri de Toulouse-Lautrec

1894 Babylone d'Allemagne 
stage 2 poster by Henri de Toulouse-Lautrec

1895 Bust of Miss Marcelle Lender
stage 1 lithograph 30.5 x 25.4
by Henri de Toulouse-Lautrec

1895 Bust of Miss Marcelle Lender 
stage 2 lithograph 30.5 x 25.4 
by Henri de Toulouse-Lautrec

Marcelle Lender

1895 La Dépêche, Le Tocsin
poster by Henri de Toulouse-Lautrec

1895 May Belfort
poster by Henri de Toulouse-Lautrec

1895 May Milton
poster by Henri de Toulouse-Lautrec

1895 The Chap Book (Irish and American Bar)
by Henri de Toulouse Lautrec (test proof)

1895 The Chap Book (Irish and American Bar) 
by Henri de Toulouse Lautrec

1896 Extra in the Folies Bergère Revue
by Henri de Touluse-Lautrec
oil on cardboard

1896 l'Artisan Moderne
poster by Henri de Toulouse-Lautrec

1896 La Chaîne Simpson
poster by Henri de Toulouse-Lautrec

1896 La Vache Enragée
poster by Henri de Toulouse-Lautrec

1896 Own exhibition poster
by Henri de Toulouse-Lautrec

1896 P. Sescau, Photographe
poster by Henri de Toulouse-Lautrec

1896 Salon des Cent
poster by Henri de Toulouse-Lautrec

1896 Troupe de Mlle Elegantine
stage 1 poster by Henri de Toulouse-Lautrec

1896 Troupe de Mlle Elegantine 
poster by Henri de Toulouse-Lautrec

1896c Mrs. Lona Barrison avec son Manager et Époux
by Henri de Toulouse-Lautrec
lithograph 26.7 x 12.2 cm
Brooklyn Museum, NY

1900 Au Bal des Etudiants
poster by Henri de Toulouse Lautrec

In the Moulin Rouge
by Henri de Toulouse-Lautrec
pastel on cardboard 56.4 x 42 cm
Szépművészeti Múzeum, Budapest

Samuel Palmer - part 1

0
0
Self-Portrait
Samuel Palmer (1805– 1881) English painter and etcher of visionary landscapes who was a disciple of William Blake.


Palmer’s father, a bookseller, encouraged him to become a painter. By 1819 he had already exhibited small landscape studies at the Royal Academy. The works that survive from 1819 to 1821 are able but conventional. In the following years, however, there are signs of a profound change in his thinking, perhaps connected with his conversion from the Baptist faith to a personal form of High Anglicanism and with his discovery of medieval art.


A sketchbook of 1824 (British Museum), rediscovered in 1956, already shows all the elements of his visionary style: a mystical but precise depiction of nature and an overflowing religious intensity, united by a vivid re-creation of the pastoral conventions. In October 1824 the painter John Linnell took him to see William Blake, who encouraged Palmer in the mystical direction he was taking and provided examples of his own work for Palmer to follow. Blake’s influence can be seen clearly in the “Repose of the Holy Family” (1824–25) and the series of sepia drawings of 1825.


1824-25 Repose of the Holy Family
oil on panel 31 x 39 cm
Ashmolean Museum of Art, Oxford, UK

In 1826 Palmer visited Shoreham in Kent, and the following year he settled there. His Shoreham paintings became more naturalistic but were still charged with visionary intensity. The years 1827–30 were his most productive, but after 1830 his work shows unmistakable signs of artistic decline. As his religious fervour faded, the precarious balance between realism and vision was lost. He left Shoreham for London in 1834, and expeditions to Wales and Italy confirmed the break with his own past.

The house in Shoreham, Kent, where Samuel Palmer lived
( photo copyright Poul Webb )

Palmer’s real forebears are writers rather than painters. He read with enthusiasm the writings of the German mystic Jakob Böhme, the pastoral poems of John Milton, and above all the works of John Bunyan, whose “Countrey of Beulah” is the nearest equivalent to Palmer’s “Valley of Vision.”
Biographical notes from Encyclopaedia Britannica

This is part 1 of a 5 - part series on the works of Samuel Palmer:

1795 Hecate, or The Night of Enitharmon's Joy by William Blake
pen and ink with watercolour on paper 44 x 58 cm
Tate, London

1819 Sketch from Nature in Sion Park
oil on card 32.7 x 27.6 cm
Yale Centre for British Art, New Haven, CT

1821 At Hailsham, Sussex: A Storm Approaching
watercolour and graphite on wove paper 59.7 x 43.8 cm
Yale Centre for British Art, New Haven, CT

1821 Evening
pen and bistre 19.2 x 26.8 cm
© Victoria and Albert Museum, London

1824-35c Untitled sketch
india ink wash 13.6 x 17.8 cm approx
© Victoria and Albert Museum, London

1824c Untitled Drawing
pen and ink on paper
© Victoria and Albert Museum, London

1824c Harvest Celebration
ink sketch 11.7 x 19.1 cm
© Victoria and Albert Museum, London

1824c Sunset
pen sketch 11.7 x 19.1 cm
© Victoria and Albert Museum, London

1825 Early Morning
pen and ink wash with gum arabic and varnish 18.8 x 23.2 cm
Ashmolean Museum, Oxford, UK

1825 Study of a Hand Holding a Knobbled Stick
pen and chalk sketch 10.2 x 7 cm
© Victoria and Albert Museum, London

1825 The Rest on the Flight into Egypt
oil and tempera on panel
Ashmolean Museum, Oxford, UK

1825 The Valley Thick with Corn
pen and brush in dark brown ink with gum arabic 18.2 x 27.5 cm


Painted shortly after he settled in Shoreham in Kent. The Darenth valley appeared to Palmer a perfect, neo-Platonic world and he called it the 'Valley of Vision'. In this picture he creates an ideal image of pastoral contentment, unaffected by the outside world. The unseasonal combination of flowering horse-chestnut and huge ripe heads of wheat symbolise fertility and the richness of the soil:

1826-28c A Hilly Scene
watercolour and gum arabic on paper mounted on wood 20.6 x 13.7 cm
Tate, London

1826c Harvest Under a Crescent Moon
wood engraving on cream laid paper 13.3 x 10.5 cm
Yale Centre for British Art, New Haven, CT

1826c Landscape, Girl Standing
ink and gouache on card 11.5 x 13.4 cm
Tate, London

1827 George Richmond Engraving "The Shepherd"
(see below)
pen and ink 12.7 x 11.7 cm
The Huntington Library, San Marino, CA

1827 The Shepherd by George Richmond
engraving on paper 17.8 x 11.4 cm
Tate, London

1827c A Moonlit Scene with a Winding River
black and brown wash, gouache, and gum on wove paper 18.1 x 26.7 cm
Yale Centre for British Art, New Haven, CT

1827c A Shepherd and his Flock under the Moon and Stars
pen and brown ink with grey washes heightened with white gouache on card 52.7 x 40 cm
Yale Centre for British Art, New Haven, CT

1828 Ancient Trees, Lullingstone Park
graphite on cream wove paper 37.1 x 26.7 cm
Yale Centre for British Art, New Haven, CT

1828 Oak Trees, Lullingstone Park
pen, brush, brown ink, graphite, watercolour, gouache and gum arabic on wove paper 29.5 x 46.8 cm
National Gallery of Canada, Ottowa

1828c A Country Road Leading Towards a Church
watercolour 18.4 x 15.2 cm
© Victoria and Albert Museum, London

1828c An Ancient Barn at Shoreham
watercolour
© Victoria and Albert Museum, London

1828c Ruth returned from Gleaning
pen and ink and wash, heightened with white 29.4 x 39.4 cm
© Victoria and Albert Museum, London

1829 Pear Tree in a Walled Garden
watercolour and tempera over brush and grey wash, traces of graphite, on grey paper 22.2 x 28.3 cm
The Morgan Library and Museum, New York City

1829-30c A Kentish Idyll
brown wash on paper 8.9 x 10.8 cm
© Victoria and Albert Museum, London

1829-30c Nocturnal Landscape with Full Moon and Deer
bodycolour and wash
© Victoria and Albert Museum, London

1829c A Cow Lodge with a Mossy Roof
watercolour and gouache with pen and black ink on cream wove paper 59.7 x 43.8 cm
Yale Centre for British Art, New Haven, CT

1829c A Wooded Hillside at Underriver, near Sevenoaks, Kent
pen and ink sketch on paper, heightened with white 15.2 x 27.3 cm
© Victoria and Albert Museum, London

1829c Cornfields with Barn, Shoreham
pen and brown ink with grey wash over graphite on cream wove paper 33 x 20 cm
Yale Centre for British Art, New Haven, CT

1829c The Bridge at Shoreham
pen and brown ink, brush and black and grey wash and white gouache, over graphite, on grey-brown paper 22.1 x 27.8 cm
The Metropolitan Museum of Art, New York City

1829c The Primitive Cottage
pen and ink wash, heightened with white 22.4 x 30.2 cm
© Victoria and Albert Museum, London

1830 Coming from Evening Church
tempera, chalk, gold, ink and graphite on gesso on paper 30.2 x 20 cm
Tate, London

1830 Harvesters by Firelight
pen and black ink with watercolour and gouache on wove paper 28.7 x 36.7 cm
National Gallery Of Art, Washington, DC

1830 Shepherd Under a Full Moon
pen and brown ink with brush in India Ink heightened with bodycolour on white card
Ashmolean Museum, Oxford, UK

1830 The Magic Apple Tree
pen and Indian ink, and watercolour, which in some areas has been mixed with a gum-like medium on paper 34.9 x 27.3 cm
The Fitzwilliam Museum, Cambridge, UK

1830 The Sleeping Shepherd
oil, tempera and chalk 39.4 x 51.8 cm

1830-35 View from Wilmot Hill, Kent
watercolour over black chalk on cream wove paper 24.6 x 36.5 cm
Art Institute of Chicago, IL

Samuel Palmer - part 2

0
0
1830 Samuel Palmer by George Richmond
graphite on beige wove paper 35.2 x 25.7 cm
Yale Centre for British Art, New Haven, CT
Samuel Palmer (1805 – 1881) English painter and etcher of visionary landscapes who was a disciple of William Blake.

This is part 2 of a 5 - part series on the works of Samuel Palmer. For full biographical notes, and for earlier works, see part 1 also.


1830c A Church among Trees
ink on card 15.2 x 18.4 cm
Tate, London

1830c A Village Church among Trees
black and grey wash on card 18.4 x 15.2 cm
© Victoria and Albert Museum, London

1830c Cornfield by Moonlight
watercolour and gouache, with pen and ink, varnished

1830c In a Shoreham Garden
watercolour
© Victoria and Albert Museum, London

1831-32 Shoreham, Kent
graphite and grey wash on moderately thick, smooth, cream wove paper 7.6 x 11.1 cm
Yale Centre for British Art, New Haven, CT

1831-32c The Harvest Moon: Drawing for ‘A Pastoral Scene’
ink and gouache on paper 15.2 x 18.4 cm
Tate, London

1833-34 The Golden Valley
watercolour, body-colour, gum arabic, gold paint, with ‘scratching out’ over pencil 12.9 x 16 cm

1833-35 A Pastoral Scene
oil and tempera on panel 30 x 40 cm
Ashmolean Museum, Oxford, UK

1835 A Pastoral Scene
brown wash on wove paper 11.4 x 9.5 cm
Yale Centre for British Art, New Haven, CT


1831-33 Moonlight, a Landscape with Sheep
ink on card 15.2 x 18.3 cm
Tate, London

1832c A Road Past a Farm
6.7 x 13 cm

1833 The Harvest Moon
oil on panel 22.2 x 27.6 cm
Yale Centre for British Art, New Haven, CT

1833-34 The Shearers
oil and tempera on wood
Private Collection

1833-34 The Timber Wain
watercolour and gouache on cream wove paper 52.7 x 40 cm
Yale Centre for British Art, New Haven CT

1833-34 The Weald of Kent
watercolour and gouache on cream wove paper 27 x 18.7 cm
Yale Centre for British Art, New Haven, CT

1833-34c A Cornfield bordered by Trees
oil on panel 17.5 x 14.9 cm
The Ashmolean Museum of Art, Oxford, UK

1833-34c The Bright Cloud
ink and watercolour on paper 22.9 x 30.5 cm
Tate, London

1833-34c The Bright Cloud
tempera on mahogany 23.3 x 32 cm
Manchester City Art Gallery, UK

1833-34c The White Cloud
oil on canvas 22.3 x 27.4 cm
The Asmolean Museum, Oxford, UK

1833c The Gleaning Field
tempera on Mahogany 30.5 x 45.4 cm
Tate, London

1834 Evening, engraved by Welby Sherman
mezzotint on paper 14.9 x 17.8 cm
Tate, London

1834 View of Lee, North Devon
oil on canvas 26.7 x 38.1 cm
The Fitzwilliam Museum, Cambridge, UK

1835 Culbone, Somerset
watercolour, grey wash and gouache over black chalk and traces of pencil 29.4 x 38.8 cm
National Gallery of Victoria, Melbourne, Australia

1835 Mountains by the Traveller's Rest near Dolgelly
watercolour and gouache over graphite on beige wove paper
Yale Centre for British Art, New Haven, CT

1835 Pistil Mawddach, North Wales
black chalk and watercolour heightened with white on light buff paper 35.5 x 41 cm

1835 Pistil Mawddach, North Wales
watercolour, gouache and graphite 47 x 37.2 cm

1835-36 Pistil Mawddach, North Wales
watercolour, gouache and graphite with scratching out on cream wove paper 53.3 x 44.1 cm
Yale Centre for British Art, New Haven, CT

1835-36 The Waterfalls, Pistil Mawddach, North Wales
oil on canvas 40.6 x 26 cm
Tate, London


1835 Tintern Abbey
gouache and watercolour with pen and ink over graphite on cream wove paper 59.1 x 76.2 cm
Yale Centre for British Art, New Haven, CT

1835 Tintern Abbey
watercolour, gouache, brown ink and black chalk on white laid paper 37 x 48.6 cm
© Victoria and Albert Museum, London

1835-36 Llwyngwynedd and Part of Llyn-y-ddina Between Capel Curig and Beddegelert, North Wales
gouache, watercolour, graphite and black chalk on wove brown paper 46 x 48.1 cm
Yale Centre for British Art, New Haven, CT

1835-36 Rocky Landscape in Wales
gouache and watercolour with traces of gum and black chalk on cream wove paper 47.9 x 37.9 cm
Yale Centre for British Art, New Haven, CT

1835c On the North Coast of Devon, Lundy Island in the Distance
watercolour and black chalk over graphite with touches of gouache 27.1 x 38 cm
The Metropolitan Museum of Art, New York City

1836 Conway Castle
graphite, watercolour, gouache and pen and brown ink on on wove paper mounted on card 76.2 x 59.1 cm
Yale Centre for British Art, New Haven, CT

1837 Street of the Tombs, Pompeii
watercolour 30.2 x 42.2 cm
© Victoria and Albert Museum, London

1837 The Villa D'Este, 1837
watercolour 17.3 x 37.4 cm
© Victoria and Albert Museum, London

1837-39 The Colosseum and the Arch of Constantine from the Palatine, Rome
graphite and watercolour on paper 13.7 x 27.9 cm
Tate, London

after 1838 Italian Hill Town
watercolour and gouache over graphite on blue wove paper 32.1 x 23.5 cm
Yale Centre for British Art, New Haven, CT

1838 The Cypresses at the Villa d'Este, Tivoli
watercolour, gouache and graphite on blue wove paper 43.8 x 59.7 cm
Yale Centre for British Art, New Haven, CT

Samuel Palmer - part 3

0
0
1830 Samuel Palmer by George Richmond
pen and brown ink on paper 18.1 x 11.4 cm
Yale Centre for British Ar, New Haven, CT
Samuel Palmer (1805 – 1881) English painter and etcher of visionary landscapes who was a disciple of William Blake.

This is part 3 of a 5 - part series on the works of Samuel Palmer. For full biographical notes see part 1, and for earlier works, see parts 1 and 2 also.



1838-39 View of Tivoli
transparent and opaque watercolour with fabricated black chalk and graphite on paper, mounted on cardboard 32.7 x 41.6 cm Philadelphia Museum of Art, PA

1838c Florence
watercolour 44.4 x 60.4 cm
© Victoria and Albert Museum, London

1839 Florence
watercolour over pencil heightened with bodycolour 42 x 61 cm

1839c The Rising of the Skylark
oil on panel 30.8 x 24.5 cm
National Museum of Wales, Cardiff, UK

1840c Underriver Hills, near Sevenoaks, Kent,
from the Grounds of J. Herries, Esq. *
watercolour 59.7 x 43.8 cm
Yale Centre for British Art, New Haven, CT


*John Charles Herries (b. 1778) was a high-ranking politician in the British government. He died intestate at his home "St. Julians" now a private members club (I have been a member!) near Sevenoaks in 1855.


1843 View from Rook's Hill, Kent
graphite, watercolour with gouache and pen and brown ink
on paper 41.3 x 52.4 cm
Yale Centre for British Art, New Haven, CT

1844 Guildford
watercolour and gouache and scraping out with some varnish over graphite on paper 27 x 18.7 cm
Yale Centre for British Art, New Haven, CT

1845 Evening in Italy - the Deserted Villa
watercolour, with traces of shell gold, over graphite on paper 19 x 41.2 cm
Art Institute of Chicago, IL

1846 Crossing the Ford
watercolour
Bucks County Museum, Aylesbury, UK

1846 Pictures From Italy by Charles Dickens
illustrated by Samuel Palmer

1846c A Farmyard near Princes Risborough, Bucks
watercolour 39.2 x 54 cm
© Victoria and Albert Museum, London

1847 Crossing the Bridge
transparent and opaque watercolour over graphite on paper 40.6 x 51.1 cm
The Morgan Library and Museum, New York City

1848 Carting the Wheat
watercolour with traces of pencil, gum arabic and touches of gouache 31 x 54 cm
National Gallery of Victoria, Melbourne, Australia

1848 Christian Descending into the Valley of Humiliation
watercolour and gouache on paper 51.9 x 71.4 cm
Ashmolean Museum, Oxford, UK

1848-49c View of Clovelly, Devon
watercolour, gouache, black chalk and graphite 27 x 38 cm
The Metropolitan Museum of Art, New York City

1848c Box Hill, Surrey
oil on paper 24 x 40.1 cm

1848c Kensington Gardens
watercolour over graphite on  paper 37.1 x 25.7 cm
Yale Centre for British Art, New Haven, CT

1849 Sir Guyon with the Palmer Attending, Tempted by Phaedria to Land upon the Enchanted Islands
watercolour and bodycolour, with some gum arabic, over black chalk underdrawing 53.7 x 75.1 cm
The J. Paul Getty Museum, Los Angeles

1849c The North Devon Coast
watercolour over pencil, heightened with bodycolour and black chalk
18.7 x 26.9 cm

1850 Christmas, or Folding the Last Sheep
etching 9.8 x 8.1 cm

1850 The Herdsman's Cottage
etching on laid paper 9.7 x 7.7 cm (image)
National Gallery of Art, Washington, DC

1850 The Skylark
etching on chine collé: seventh or eighth state of eight 9.9 x 7.4 cm (image)

1850 The Willow
etching 12 x 8.2 cm (plate)
© Victoria and Albart Museum, London

1850c Sunset
etching on paper 9.7 x 7.7 cm (image)
Art Institute of Chicago, IL

1851c Harvesting
watercolour and gouache over graphite with scratching-out and touches of gum arabic on paperboard 37.8 x 51.5 cm
 National Gallery of Art, Washington, DC

1851c Summer Storm near Pulborough, Sussex
watercolour on paper 72 x 51.5 cm
Art Gallery of South Australia, Adelaide

1851c Wilmot's Hill, Kent
watercolour and gouache over black chalk on paper 37.5 x 27.3 cm
Yale Centre for British Art, New Haven, CT

1853c The Rustic Dinner
watercolour 75.5 x 53.3 cm
Art Gallery of South Australia, Adelaide

1854 Old Cedar Tree in Botanic Garden, Chelsea
black chalk and graphite on paper 59.7 x 43.8 cm
Yale Centre for British Art, New Haven, CT

1854-57c The Sleeping Shepherd: Early Morning
etching 9.5 x 7.8 cm (image)

1854-57c The Sleeping Shepherd: Early Morning
etching, hand-coloured with watercolour and opaque white with gold highlights 9.5 x 7.8 cm (plate)

1855-57 The Rising Moon
etching on chine collé 14.6 x 22.1 cm (plate)

1856c A Woodland Study
brush and black and brown washes, with white gouache and scraping, ruled in graphite, on ivory paperboard 22.5 x 17.2 cm
 Art Institute of Chicago, IL

1857 Pele Point, Land's End
pencil on paper 38 x 28 cm
The Phillips Collection, Washington, DC

1857 The Rising Moon, or An English Pastoral
etching

1858 Going to Dea
watercolour 35.4 x 58.8 cm
© Victoria and Albert Museum, London

1858 The Weary Ploughman, or The Herdsman, or Tardus Bubulcus
etching 13.3 x 20 cm

1860-61 (begun) The Morning of Life
etching 13.6 x 20.6 cm (image)

1861 Noon; Resting Time
watercolour, heightened with gouache and gum arabic, over graphite 20.2 x 43.2 cm
Private Collection

1861 Tintern Abbey at Sunset
watercolour, gouache and varnish over graphite with scratching on heavy card 70.5 x 33.3 cm
Yale Centre for British Art, New Haven, CT

Samuel Palmer - part 4

0
0
1849 Samuel Palmer by Henry Walter
Samuel Palmer (1805 – 1881) English painter and etcher of visionary landscapes who was a disciple of William Blake.

This is part 4 of a 5 - part series on the works of Samuel Palmer. For full biographical notes see part 1, and for earlier works, see parts 1 - 3 also.


1861c Sunset
watercolour, gouache and gum over graphite on wove paper 38.7 x 27 cm
Yale Centre for British Art, New Haven, CT

1861c The Early Ploughman
etching on laid paper 17.6 x 24.5 cm (plate)
National Gallery of Art, Washington, DC

1863 Moonlit Scene
graphite on paper 11.3 x 9.3 cm
de Young/Legion of Honour Fine Arts Museums of San Francisco, CA

1864 (exhibited) A Dream in the Apennine
watercolour and gouache on paper mounted on wood 66 x 101.6 cm
Tate, London

1864 Going Home at Curfew Time
watercolour 27.3 x 39.4 cm
© Victoria and Albert Museum, London

1864-70c An Illustration to Milton’s ‘Lycidas’
graphite and watercolour, heightened with scratching out and gouache 10.4  x 15.1 cm

1865 The Golden Hour
watercolour and gouache with graphite and scraping out 25.6 x 35.4 cm
The Cleveland Museum of Art, Ohio

1868 Box Hill
grey, green and brown washes with black chalk over graphite on brown wove paper 30.8 x 24.1 cm
Yale Centre for British Art, New Haven, CT

1868 The Lonely Tower
watercolour, gouache and gum arabic on London board 70.8 x 51.4 cm
Yale Centre for British Art, New Haven, CT

1879 The Lonely Tower
etching 16.5 x 23.3 cm (image)

1880 The Lonely Tower
watercolour and gouache 16.8 x 23.5 cm
The Huntington Library, San Marino, CA


1868c The Towered City: The Haunted Stream
sepia wash with white body-colour on card 26 x 42.3 cm
© Victoria and Albert Museum, London

1870 The Curfew (or The Wide Water'd Shore)
graphite, eraser, watercolour and gouache on paper 51 x 71 cm
Rijksmuseum, Amsterdam

1870 The Near and the Distant: From Southern Italy
watercolour and body-colour over pencil, heightened with scratching out and gum arabic, on board 41.7 x 60 cm

1874 Old England's Sunday Evening
watercolour over graphite, heightened with body-colour, scratching out and gum arabic 30 x 70 cm

1879 Going to Fold: Study for Eclogue VI: 'Til Vesper Bade the Swain'
watercolour 12.7 x 19.2 cm
© Victoria and Albert Museum, London

1879 The Eastern Gate
sepia wash 27.3 x 38.1 cm
© Victoria and Albert Museum, London

1879c The Bellman
etching 19 x 25.1 cm (plate)

1879c The Winding Stream
watercolour10.2 x 17.8 cm
© Victoria and Albert Museum, London

1880 The Herdsman's Cottage, or Sunset
etching 9.8 x 7.6 cm (image)

1880c Opening the Fold: Early Morning
watercolour over graphite

1880c Opening the Fold: Early Morning
graphite and grey wash with pen and black ink on cream laid paper 10.8 x 14.9 cm
Yale Centre for British Art, New Haven, CT

1883 An English Version of the Eclogues of Virgil:


1883 Eclogues of Virgil by Samuel Palmer
published by Seeley & Company, London


1876 "Eclogue IV: Thy Very Cradle Quickens"
study for an etching graphite on paper

1880 Opening the Fold
etching and drypoint 17.6 x 11.7 cm 

1883 Moeris and GalateaIllustration for Eclogue 9 
 etching 21 x 31.3 cm

1883 The Cypress Grove
etching
The Cleveland Museum of Art, Ohio

1883 The Homeward Star
etching 13-3 x 19 cm
1883 The Sepulchre
etching 21 x 32.1 cm
 The Cleveland Museum of Art, Ohio

*         *          *          *          *

1890c The Shadowy Stream
watercolour on card 10.8 x 17.8 cm
© Victoria and Albert Museum, London

Note: From here on in, the works are undated, so will inevitably be out of date sequence:


n.d. A Barn with a Mossy Roof, Shoreham
watercolour, pen and brown ink, white gouache and graphite on cream wove paper 27.6 x 37.8 cm Yale Centre for British Art, New Haven, CT

n.d. A Cottage among Trees, Shoreham
pen and black ink with grey wash on cream wove paper 19.1 x 27.6 cm
Yale Centre for British Art, New Haven, CT

n.d. A Harvest Field
watercolour 30.5 x 53.3. cm
© Victoria and Albert Museum, London

n.d. A Rocky Shore with Distant Sailing Boats, Margate
watercolour and gouache 28.6 x 40.6 cm

n.d. An Ancient Barn at Shoreham
pen and black ink, grey and brown washes over graphite on cream wove paper 27.8 x 15.6 cm
Yale Centre for British Art, New Haven, CT

n.d. Cornfield and Church by Moonlight
brush and black ink on very thick, smooth, cream wove paper 40 x 50.8 cm
Yale Centre for British Art, New Haven, CT

Samuel Palmer - part 5

0
0
Samuel Palmer by John Linnell
Samuel Palmer (1805 – 1881) English painter and etcher of visionary landscapes who was a disciple of William Blake.

This is part 5 of a 5 - part series on the works of Samuel Palmer. For full biographical notes see part 1, and for earlier works, see parts 1 - 4 also.

The Remainder of works in this series are undated, so will be out of date sequence:



n.d. Evening, Cattle Watering
gouache and watercolour and scraping out with varnish on card 10.8 x 7.7 cm
Yale Centre for British Art, New Haven, CT

n.d. Fantasy View of Lake Nemi
graphite and watercolour on paper 28.5 x 46.6 cm
Tate, London

n.d. Harlech Castle
watercolour, gouache and varnish over graphite with scraping out on brown wove paper 29.5 x 21.9 cm
Yale Centre for British Art, New Haven, CT

n.d. Ivy Cottage, Shoreham
watercolour and gouache with pen and brown ink on blue wove paper 76.2 x 59.1 cm
Yale Centre for British Art, New Haven, CT


Ivy Cottage, Shoreham as it is today


n.d. Landscape Sketch
pink wash and pen and brown ink and brown wash with graphite on cream wove paper 18.7 x 40 cm
Yale Centre for British Art, New Haven, CT

n.d. Mountain Streams and an Ancient Fortress
watercolour 14.7 x 19.8 cm approx.
© Victoria and Albert Museum, London

n.d. Mount Siabod from Tyn-y-Coed near Capel Curig 
gouache and watercolour with pen and brown ink and graphite on brown wove paper 47.3 x 37.8 cm 
Yale Centre for British Art, New Haven, CT

n.d. Mountainous Landscape, Wales
watercolour and body-colour over graphite 12.5 x 17 cm

n.d. Oak Tree and Beech, Lullingstone Park
pen and brown ink, graphite, watercolour, gouache and gum glaze on grey wove paper 29.6 x 47 cm
The Morgan Library and Museum, New York City

n.d. Oxen Ploughing at Sunset

n.d. Ploughing at Sunset
watercolour
Private Collection

n.d. Road in an Italian Mountain Landscape
graphite, watercolour and gouache on grey paper 29.8 x 45.4 cm
Rijksmuseum, Amsterdam

n.d. Rome from San Spirito
brown wash black chalk and graphite with white chalk on cream wove paper 35.9 x 59.4 cm
Yale Centre for British Art, New Haven, CT

n.d. Rustic Contentment
watercolour and gouache on wove paper 40 x 18.4 cm
Yale Centre for British Art, New haven, CT

n.d. Scene in Wales
watercolour and black chalk on beige wove paper 19.1 x 8.6 cm
Yale Centre for British Art, New Haven, CT

n.d. Study of a Pilgrim
brown wash and watercolour with white gouache touched with gold over graphite on green wove paper 20.3 x 27.3 cm
Yale Centre for British Art, New Haven, CT

n.d. Study of Old Buildings
brown ink and wash over graphite with scraping out on cream wove paper 59.7 x 43.8 cm
Yale Centre for British Art, New Haven, CT

n.d. Study of Waves
grey and brown washes with white gouache over graphite on grey wove paper 52.7 x 40 cm
Yale Centre for British Art, New Haven, CT

n.d. The Barns
watercolour and graphite on wove paper 34.3 x 25.4 cm
Yale Centre for British Art, New Haven, CT

n.d. The Brothers Under the Vine
sepia wash touched with white 17.5 x 24.4 cm
© Victoria and Albert Museum, London

n.d. The Colosseum of Rome
black chalk with pen and black ink on paper 6.8 x 7.9 cm
The Morgan Library and Museum, New York City

n.d. The Crescent Moon
pen and sepia ink and graphite on cream wove paper 18.1 x 11.4 cm
Yale Centre for British Art, New Haven, CT

n.d. The End of the Day
graphite and watercolour, heightened with body-colour, scratching out and gum arabic 19.1 x 41.8 cm

n.d. The End of the Day: A Recollection of Italy
watercolour and gouache, with gum arabic glazes and graphite on paper 14.6 x 21.3 cm
The Morgan Library and Museum, New York City

n.d. The Furze Field
graphite and watercolour 19 x 26.7 cm approx.
© Victoria and Albert Museum, London

n.d. The Primitive Cottage, Shoreham
pen and dark brown ink and grey wash on cream wove paper
37.8 x 27.6 cm
Yale Centre for British Art, New Haven, CT

n.d. The Rock Slip near Boscastle
gouache, black, yellow, and blue chalk on wove paper mounted on card 27 x 24.1 cm
Yale Centre for British Art, New Haven, CT

n.d. The Towered City (or The Haunted Stream)
graphite, watercolour and gouache on paper 50.5 x 70 cm
Rijksmuseum, Amsterdam

n.d. The Valley of Vision
gouache, brush and brown ink, brown and grey wash, over graphite on cream wove paper 28.3 x 44.5 cm
Yale Centre for British Art, New Haven, CT

n.d. The Valley of Dolwyddelan
watercolour over black chalk and pen and brown ink, and graphite on cream wove paper 19.4 x 28.3 cm
Yale Centre for British Art, New Haven, CT

n.d. The Waters Murmering
chalk and wash 27.3 38.1 cm
© Victoria and Albert Museum, London

n.d. The Wayside Smithy
watercolour and graphite on beige wove paper 40 x 52.7 cm
Yale Centre for British Art, New Haven, CT

n.d. Timber Wagon Crossing a Stream
watercolour and gouache on cream wove paper 15.2 x 10.5 cm
Yale Centre for British Art, New Haven, CT

n.d. Untitled Landscape
watercolour 26.7 x 38.1 cm approx.
© Victoria and Albert Museum, London

n.d. View in the Campagna
graphite on wove paper 7.8 x 11.7 cm
The Morgan Library and Museum, New York City

n.d. Villa d'Este at Tivoli from the Cypress Avenue
black chalk and watercolour on blue-grey paper 45.7 x 31.9 cm
The Morgan Library and Museum, New York City

n.d. Villa d'Este at Tivoli from the Cypress Avenue
graphite pencil, accented with brush and black wash, on tracing paper 13.5 x 7.7 cm
The Morgan Library and Museum, New York City


American Folk Art - part 1

0
0
1800s Shadow Box Depicting a Bearded Man Reading
13.3 x 13.3 x 4.4 cm
This is a beginning major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic.


The period I’m covering is the C18th and C19th and includes a lot of paintings (much of the painted folk art was commissioned portraits of family members from rural artists), Scrimshaw (the sailors’ art of engraving on ivory from whales’ teeth etc.), Samplers, Quilts and Coverlets, Memorials, and the decorative works on paper by Scriveners (Rural Certificates and Frakturs).


Given the dates, this means that a number of the artists were not born in America but were immigrants from Europe coming to the New World in search of a fresh start and a better life.


I do believe that this may be the biggest collection of Folk Art to be found in one place online (over 1100 objects) – my research has come a great variety of sources.




1890s c Late Advertising Sign
wood with white, blue and black paint 118.1 x 51.4 cm

I’m beginning with a bit of an overview of Folk Art, looking at a variety of objects and techniques, many from un-named artists. Well-known Folk painters like Ammi Phillips (1788-1865) and Erastus Salisbury Field (1805-1900) will feature in their own posts later in the series.


This is part 1 of a 21-part post on American Folk Art:


1720-30c ( Unknown artist ) New London, Connecticut

1720-30c ( Unknown artist ) New London, Connecticut

1800c ( unknown artist ) inscribed "A Mother at the Grave of her Child."
watercolour and ink on paper 22.9 x 17.8 cm

1800s A Theorem of Flowers, Fruit, and a Moth
paint on velvet 45.9 x 65.4 cm

1800s early Silhouette of a Gentleman in a Masonic Reverse-painted Glass Mat
14.9 x 12.7 cm

late-1800s Sheet Iron Silhouette Rooster Weathervane
marked "LWSM 1771"
39.7 x 52.4 cm

mid-1800s Wisconsin Folk Art Painting
27.9 x 36.8 cm

1800s Portrait of Man at a Table with a Quill Pen and Letter
watercolour on paper 9.5 x 8.2 cm

1800s Still Life
watercolour 44.4 x 53.3 cm

1800s Theorem of Fruit in Glass Bowl
paint on velvet 53.3 x 42.5 cm

1800s Theorem of Seashells and Seaweed
paint on velvet 17.8 x 27.9 cm

1804 Birth Record "Anna B. Cochran Born July 6, 1804"
watercolour and ink on paper 21.6 x 15.9 cm

1810c Needlework Picture of a Family Outing
appliqued, solid, and printed cotton and silk shaped fabric segments stitched to a linen foundation with silk embroidered details 61.6 x 63.5 cm

1810c "Liberty" attributed to Sarah Wheeler
silk, watercolour and spangles on silk 48.3 x 41.9 cm

1810c Moses in the Bulrushes and Pharaoh's Daughter
by Misses Patten's School, Hartford, CT
silk, metallic thread, paint and sequins on silk 49.8 x 41.3 cm 

1816 Portrait of Mary Allen "Born January 1. 1765, Aged 51 Years."
 watercolour and ink on paperboard 25.4 x 20.3 cm

1818-22c Aurora
watercolour on silk, applied gold foil and paper label 63.2 x 71.1 cm
American Folk Art Museum, New York City

1820-30c ( Unknown artist ) Double Portrait of Two Children Wearing Red and Green Dresses Holding Grapes
oil on panel 107.9 x 96.5 cm

1820-40 Inscription: "Delia M. Francis"
pen and ink 21.6 x 26.7 cm

1820-40c ( Unknown artist ) Portrait of a Girl with a Hoop
oil on canvas mounted on board 77.2 x 64.1 cm

1820c The Angel Gabriel by R. Ryner
silk on silk 37.8 x 30.6 cm

1820c Portrait of a Young Lady
watercolour on heart-shaped board

1823c Miniature Family Record and Cut Paper Doll Composition
cut-out paper figure and ink on paper 14 x 12.1 cm

1825-30 ( Unknown artist ) Portrait of Susannah Wadhams
oil on panel 52.1 x 40.6 cm

1825-30c ( Unknown artsist ) Portrait of a Woman
graphite, ink and watercolour 13.3 x 11.1 cm

1825c ( Unknown artist ) The Red Lady
painted on paper 76.2 x 63.5 cm

1826c ( Unknown artist ) Portrait of John McClellan as a West Point Cadet
oil on canvas 82.5 x 97.8 cm


1830 ( Unknown artist ) Miniature Portrait
watercolour on paper 8.5 x 3.8 cm

1830 ( Unknown artist ) Miniature Portrait 
watercolour on paper 8.5 x 3.8 cm

1830-45c ( Unknown artist ) Portrait of a Young Boy with His Dog
oil on panel 108.6 x 82.5 cm

1830-45c ( unknown artist ) Portrait of a Young Girl Holding a Bouquet of Flowers and a Cat
oil on canvas & original frame 71.1 x 61 cm
Private Collection

1830c ( Unknown artist ) Basket of Fruit

1830c ( Unknown artist ) Over-mantle painting of a House
oil on wood

1830c ( Unknown artist ) Family Portrait
pastel on paper in period frame 66.7 x 47.6 cm

1830c ( Unknown artist ) Portrait of a Woman
oil on canvas with period frame 85.7 x 75.6 cm
Private Collection

1832 A View of Skeneatless Village by Fanny A. Coney
watercolour on paper 35.9 x 45.1 cm
American Folk Art Museum, New York City

1834c ( Unknown artist) Portrait of a Woman with a Cat

1835c (Unknown artist) Boy on a Stencilled Carpet
oil on canvas 111.1 x 74.3 cm
Abby Aldrich Rockefeller Folk Art Centre, Williamsburg, VA

1840c ( Unknown artist) Still Life

1840c ( Unknown artist ) Young Girl Wearing a Pink Dress
oil on canvas 94.6 x 124.5 cm

1840c ( Unknown artist ) Portrait of a Gentleman
watercolour and gouache on paper45.7 x 32.4 cm

1845c ( Unknown artist ) Portrait of Sisters on Sofa with Puppy
 oil on canvas 68.6 x 91.4 cm

1850c ( Unknown artist ) Girl in a Red Dress
oil on canvas 123.8 x 92.7 cm

1851 Wooden Sign "Six Milehouse by J, Miller"

1854c Portrait of Anna Elizabeth Dickinson Aged 12 Philadelphia, Pennsylvania
oil on canvas 113 x 93.3 cm

1862 Carved and painted document box
25.4 cm wide x 13.3 cm high x 15.2 cm deep
Inscribed "J.W.L. 1862"

1862 Carved and painted document box 
25.4 cm wide x 13.3 cm high x 15.2 cm deep 
Inscribed "J.W.L. 1862"

1870s Whirligig Tavern Sign (Stamford, CT)
carved laminated wood 73.7 cm high

1875 ( Unknown artist ) Apple Creek, Ohio

n.d. ( Unknown artist ) Boy with a Rattle
101.6 x 76.2 cm

American Folk Art - part 2: Samplers

0
0
Continuing a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th.
For an overview of the series with lots of examples see part 1 also.

Part 2 features Samplers and other needlework. The earliest known American Sampler was made by Loara Standish of Plymouth Colony in about 1645. The sampler is embroidered on fine linen using blue. green, pink and red silk thread: 



Loara Standish Sampler c 1645
60 x 18.5 cm

By the 1700s samplers depicting alphabets and numerals were worked by young women to learn basic needlework skills. By the late 1700s and early 1800s schools and academies for well-to-do young woman flourished, and more elaborate pieces with decorative motifs such as verses, flowers, houses, religious and mourning scenes were being made.

This is part 2 of a 21-part post on American Folk Art:


1648 Embroidered Sampler by Mary Pots
silk on linen 87.6 x 21 cm
Metropolitan Museum of Art, New York City

1721 Embroidered Sampler by Anne Chase, Newport, Rhode Island
wool and silk 31.1 x 21 cm
Metropolitan Museum of Art, New York City

1725 Sampler embroidered by Mary Burgess (aged 9), Rhode Island
linen plain weave embroidered with silk 42.6 x 19.7 cm
Museum of FIne Arts, Boston, MA

1739 Embroidered by Ruth Rogers, Boston, MA
silk on linen 46.4 x 22.9 cm
Metropolitan Museum of Art, New York City

1739 Sampler embroidered by Anne Wing (b.1726) Boston, MA
linen plain weave embroidered with silk in reversible cross, eyelet, satin, couching, herringbone, running, and speckling
Museum of Fine Arts, Boston, MA 

1743 Sampler embroidered by Mary Fleet (b.1729) Boston, MA
linen plain weave embroidered with silk in reversible cross, stem, and Romanian stitches
Museum of Fine Arts, Boston, MA

1747 Sampler embroidered by Mary Dowrick, Boston, MA
linen plain weave embroidered with silk 43.2 x 21 cm
Museum of Fine Arts, Boston, MA

1748c Canvas-work by Hannah Carter
silk and wool on linen 55 x 48 cm

1750-1800 Sampler embroidered by Hepzibah Lord
32.1 x 23.5 cm linen plain weave embroidered with silk and metallic thread
Museum of Fine Arts, Boston, MA

1750c Canvas-work linen plain weave with wool and silk embroidery tent stitch
60cm x 60 cm approximately
RISD Museum, Providence, RI

1754c Embroidered Picture by Mary Wright (1740-1828)
linen embroidered with wool and silk thread 19.4 x 19.4 cm
Metropolitan Museum of Art, New York City

1764 Sampler by Dorothy Ashton (b. 1751) Salem, New England
48 x 40 cm linen plain weave embroidered with silk and metallic thread
Museum of Fine Arts, Boston, MA

1775 Sampler by Ann Clarkson (American b.  c1765 Britain) New York State
wool plain weave embroidered with silk
Museum of Fine Arts, Boston, MA

1786 Sampler by Ann Anthony (b.1776) Newport, Rhode Island
linen plain weave embroidered with silk 45 x 32.4 cm
Museum of Fine Arts, Boston, MA

1788 Embroidered Sampler by Mary Munro (b.1776)
embroidered silk on linen 34.3 x 26 cm
Metropolitan Museum of Art, New York City

1788 Sampler by Rebecca Carter, Providence, RI
silk, metallic thread and human hair on linen 48.9 x 34.3 cm
American Folk Art Museum, New York City

1789 Sampler by Caty Field aged 7, Mary Balch's School, Providence, RI
silk on linen 41.9 x 26 cm
American Folk Art Museum, New York City

1790c Sampler "Work-d by Eunice Hooper in The Ninth Year of her Age" Marblehead, MA
silk on linen 53.3 x 54 cm
Private Collection

1791c Embroidered Sampler by Rebekah S. Munro, Providence, RI
40 x 29.8 cm
Metropolitan Museum of Art, New York City

1792c Embroidered Sampler by Patty Coggleshall (1780-1797)
49.5 x 42.2 cm  Bristol, RI
Metropolitan Museum of Art, New York City

1795 Embroidered Sampler by Mary Jones
embroidered silk and linen with gold leaf on linen 38.7 x 33.7 cm
Metropolitan Museum of Art, New York City

1796 Sampler by Anne "Nancy" Moulton aged 10, Newburyport, MA
silk on linen 59 x 50.8 cm
Huntingdon Library Art Collections

1796 Sampler embroidered by Abigail Gould, New York
linen plain weave embroidered with silk and wool 25 x 30 cm
Museum of Fine Arts, Boston, MA

1797 Sampler embroidered by Betsy Davis, Providence, RI
linen plain weave embroidered with silk 44.5 x 36.5 cm
Museum of FIne Arts, Boston, MA

1799 Embroidered Sampler by Millsent Connor (b.1789)
embroidered silk on linen 53.7 x 41.3 cm
Metropolitan Museum of Art, New York City

1800 Embroidered Sampler by Laura Hyde (b.1787)
silk on lined 33.7 x 33 cm Franklin, Connecticut
Metropolitan Museum of Art, New York City

1800 Sampler embroidered by Mary Ann Huntting (b.1790) Dorchester, MA
linen plain weave embroidered with silk 62.2 x 56 cm
Museum of Fine Arts, Boston, MA

1804 Sampler embroidered by Harriet Boardman (b.1794) Dover, MA
wool and linen plain weave embroidered with silk 43 x 28 cm
Museum of Fine Arts, Boston, MA

1807 Embroidered Sampler by Julia Ann Fitch (b.1792)
silk on linen 45.7 x 40 cm
Metropolitan Museum of Art, New York City

1804 Sampler embroidered by Ann Folwill, Burlington, New Jersey
linen plain weave embroidered with silk and metallic thread, paper, pigment 31.8 x 45.7 cm
Museum of Fine Arts, Boston, MA

1807 Embroidered Sampler by Julia Ann Fitch (b.1792)
silk on linen 45.7 x 40 cm
Metropolitan Museum of Art, New York City

1807 Sampler by 12 year old Mary Antrim 
(It sold for over $1 million at auction)

1808 Sampler embroidered by Mary Noble (b.1798), Portsmouth, NH
wool and linen plain weave embroidered with silk
Museum of FIne Arts, Boston, MA

1809 Sampler embroidered by Mabel Jenkins (b.1795)
linen plain weave embroidered with silk 47 x 43.6 cm
Museum of Fine Arts, Boston, MA

1811c Sampler embroidered by Rebecah French (b.1802) New Hampshire
linen plain weave embroidered with silk 50.5 x 45 cm
Museum of FIne Arts, Boston, MA

1814 Sampler embroidered by Charlotte Green
linen plain weave embroidered with silk 42 x 31.1 cm
Museum of Fine Arts, Boston, MA

1820 Sampler by Elizabeth Stone aged about 16
silk on linen 40.6 x 40 cm
Huntingdon Library Art Collections

1826 Embroidered Sampler by Margaret A Cassedy, Washington, DC
silk on linen 41.9 x 39.4 cm
Metropolitan Museum of Art, New York City

1826 Embroidered Sampler by Mary Davis, Baltimore, Maryland
silk and silk chenille on linen
Metropolitan Museum of Art, New York City

1829 Genealogy Sampler embroidered by Mary Crawford Jennings, Massachusetts
linen plain weave embroidered with silk 50.8 x 47.3 cm
Museum of FIne Arts, Boston, MA

1829 Sampler by Jane Hammell aged 9, Burlington County, NJ
silk on linen 44.4 x 42.5 cm

1830 Embroidered Sampler by Mary Ann Stauffer, Lancaster County, East Hempfield, PA
silk on linen 60.3 x 64.1 cm
Metropolitan Museum of Art, New York City

1831 Sampler embroidered by Sarah Ann Buck, Connecticut
linen plain weave embroidered with silk 45.1 x 45.7 cm
Museum of FIne Arts, Boston, MA

1832 Sampler embroidered by Jane Felton (b.1822)
linen plain weave embroidered with silk 47 x 49.5 cm
Museum of Fine Arts, Boston, MA

1832c Genealogy Sampler embroidered by Julyann Boyer (b.1816) Berks County, Amity Township, PA
linen plain weave embroidered with silk 43.3 x 43.8 cm
Museum of Fine Arts, Boston, MA

1833 Sampler embroidered by Nancy Russell (b.c1819) New England
linen plain weave embroidered with silk 44 x 45 cm
Museum of Fine Arts, Boston, MA

1840 Sampler by Isabel Arthur aged 10, Bethel Park, PA
wool on linen 41.9 x 61 cm
Huntingdon Library Art Collections

1844 Sampler by Sarah Maria Hunt aged about 14
wool on linen 41.p x 61 cm
Huntingdon Library Art Collections

1844 Shaker Sampler by Mariah Boil (b.1832)
33 x 29.8 cm
Metropolitan Museum of Art, New York City

1850s Sampler by A A Wilhite, Martha Wilhite, J B Wilhite
52.1 x 47 cm

American Folk Art - part 3

0
0
Continuing a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th.
For an overview of the series with lots of examples see part 1. See part 2 for needlework samplers.

This is part 3 of a 21-part post on American Folk Art:


Pieter Vanderlyn (c1687 - 1778)


The designation "Gansevoort Limner" was given to the unknown painter of a stylistically coherent group of portraits depicting members of the Gansevoort family. The majority of his sitters were children, and several of his portraits are inscribed in either Dutch or Latin.


Until further evidence comes to light, it cannot be said with complete certainty that The Gansevoort Limner is Pieter Vanderlyn. If they are, The Gansevoort Limner was born in Holland about 1687, coming to New York from Curaçao around 1718. He travelled frequently between Albany and Kingston until 1777, then moved to Shawangunk, New York. He died there in 1778.


1720-30 (formerly attributed to) Portrait of a Lady (Possibly Hannah Stillman)
oil on canvas 74.9 x 62.2 cm
Metropolitan Museum of Art, New York City

1725c Portrait of Elizabeth Van Dyck Vosburg
oil on canvas 78.7 x 66 cm

1730 (attributed to) Girl of the Van Rensselaer Family
oil  on canvas  113.7 x 88.9 cm

1730 (possible attribution) Susanna Traux
oil on bed ticking 95.9 x 83.8 cm
National Gallery of Art, Washington, DC

1730-40 (attributed to) Pau Gansevoort or Pau de Wandelaer
oil on canvas 113.7 x 89.5 cm
Albany Institute of History and Art, NY

1730c Catarina De Wandelaer Gansevoort
oil on canvas 120.7 x 90.2 cm

1732 (attributed to) Young Lady with a Rose
oil on canvas 82.6 x 68.6 cm
Metropolitan Museum of Art, New York City

1735c (possible attribution) Miss Van Alen
oil on canvas 79.2 x 66.4
National Gallery of Art, Washington, DC

1737 (possible attribution) Young Lady with a Fan
oil on canvas 96.6 x 80.7 cm
National Gallery of Art, Washington, DC

1739c (attributed to) Deborah Glen
oil on canvas 146.1 x 89.9 cm

1741 Mrs. Myndert Myndertse Jannetje Persen & Sara Terra
oil on canvas 99.7 x 82.2 cm
© 2004–2005 Terra Foundation for American Art 

1743c (attributed to) Anna Brodhead Oliver
oil on canvas 30.6 x 25.2 cm

Joseph Badger (c1707 – 1765)


Born on Charlestown, Massachusetts, he began his career as a house-painter and glazier, and throughout his life continued this work, besides painting signs, hatchments and other heraldic devices, in order to eke out a livelihood when orders for portraits slackened. After marrying in 1731 he moved to Boston around 1733. He died in 1765. Works by Badger are in the collections of the Worcester Art Museum, the Museum of Fine Arts Boston, and Historic New England's Phillips House, Salem, Mass.


1746-47 James Bowdoin
oil on canvas 129.9 x 101.9 cm
© Detroit Institute of Arts, MI

1746c Elizabeth Storer (Mrs. Isaac Smith)
oil on canvas 91.4 x 73.7 cm
Museum of Fine Arts, Boston, MA

1750 Portrait of Cornelius Waldo
oil on canvas
Worcester Art Museum, MA

1750-54 James Pitts
oil on canvas 90.2 x 70.5 cm
© Detroit Institute of Arts, MI

1750c (attributed to) Portrait of a Child
oil on canvas

1750c Mrs. William Foye (Elizabeth Campbell)
oil on canvas 92.1 x 74 cm
Museum of Fine Arts, Boston, MA

1750c William Foye, Jr.
oil on canvas 92.1 x 73.7 cm
Museum of Fine Arts, Boston, MA

1755 Dr. William Foster
oil on canvas 90.8 x 71.4 cm
National Gallery of Art, Washington, DC

1755 Isaac Foster Jr.
oil on canvas 81.3 x 66.2 cm
National Gallery of Art, Washington, DC

1759 John Haskins
oil on canvas 91.4 x 68.9 cm
Brooklyn Museum, New York

1759 Mrs John Haskins
oil on canvas 91 x 72 cm
Brooklyn Museum, New York

1760 James Badger
oil on canvas 108 x 84.1 cm
Metropolitan Museum of Art, New York City

n.d. Mrs. John Edwards (Abigail Fowle)
oil on canvas 118.1 x 90.5 cm
Museum of Fine Arts, Boston, MA

Abraham Delanoy Jr. (1742-1795)


Abraham Delanoy, Jr. was born in 1742, and was most likely the son of another Abraham De Lanoy, a merchant,and grandson of the area Schoolmaster. The family were relatives of the Beekman family, from whom some of his known commissions came.Abraham's great-uncle, Peter Delanoy, was the first elected mayor of New York City at the time when the English were taking the colony over from the Dutch. Delanoy was also a descendant of Abraham De Lanoy, who married Cornelia Toll Duyckinck after the early death of her husband. Her son was the limner Evert Duyckinck III, and it has been suggested that it was his relationship to this artistic family that led to the young man's choice of profession.The De Lanoys were among the earliest settlers of New Amsterdam and were tradespeople and merchants.


1766 Benjamin West
oil on canvas

1785c (attributed to) Girl with a Basket of Fruit
oil on canvas

Portrait of John Sherman Jr., New Haven, CT
oil on canvas

Benjamin Blyth (1746 – 1811)


Benjamin Blyth was born in Salem, Massachusetts, in 1746 and was one of the best known and most successful portraitists on the North Shore from the mid-1760s through the early 1780s. While Blyth sometimes worked in oil, his preferred medium was pastel. He found a ready clientele amongst wealthy ship owners and merchants.

1780c (style of) Portrait of a Gentleman Wearing a Blue Coat with Ledger Books, Massachusetts
pastel on paper 57.1 x 43.2 cm

1766c John Adams
pastel on paper 68 x 55.2 cm
Massachusetts Historical Society, Boston

1780c Portrait of Captain John Somes
pastel on paper mounted on canvas
Cape Ann Museum, Gloucester, MA

1780c  Portrait of Elizabeth Rogers Low
pastel on paper mounted on canvas
Cape Ann Museum, Gloucester, MA

1786 (attributed to) Dr. Joseph Lemmon
pastel on paper mounted on linen 51.1 x 40.7 cm
Smithsonian American Art Museum, Washington, DC

Winthrop Chandler (1747 – 1790)


Born in Woodstock, Connecticut, the son of a farmer. After his father’s death in 1754, Chandler pursued a career as a portrait and ornamental painter. He does not appear to have participated in the Revolutionary War. Members of his family did as is demonstrated by the portrait of his brother Samuel in captain's uniform. 

1780c Captain Samuel Chandler
oil on canvas 139 x 121.7 cm
National Gallery of Art, Washington, DC
Over time he pursued a variety of visual arts, including gilding, carving and illustrating, as well as portraiture, landscape and house painting. This variety of skills points to a possible training as an artisan-painter. Despite a modest family inheritance, Chandler soon began to experience financial difficulties that would continue throughout his life.

In 1785 Chandler moved to Worcester, Massachusetts, where he remained for five years. He likely made this move to look for new patrons as he was constantly experiencing financial difficulties. Here he also worked as a house painter.During this period his son Charles as well as his wife died, and his remaining children were sent to live with relatives, possibly his sister, since he painted Mrs. Crafts, née Mahitible Chandler in 1781. His sister had moved with her husband Ebenezer Crafts to Craftsbury, Vermont.

Chandler returned to Chandler Hill where he died on 29 July 1790. Chandler was so destitute that his estate was left to the selectmen of Thompson to pay for his medical and funeral expenses.


1768-90c (attributed to) Overmantle painting fragment
oil on panel 78.7 x 106.7 cm
Private Collection

1770-75c  Levi Willard
oil on canvas 67.9 x 59.7 cm
Museum of Fine Arts, Boston, MA

1770-75c Homestead of General Timothy Ruggles, Hardwick, MA
oil on canvas 79.2 x 159.4 cm
Worcester Art Museum, MA

1770-75c Mrs. Levi Willard (Catherine Chandler)
oil on canvas 67.9 x 59.7 cm
Museum of Fine Arts, Boston, MA

1772 Judge Ebenezer Devotion
oil on canvas 177.8 x 113 cm
Lyman Allen Art Museum, New London, CT

1773 Portrait of Reverend Ebenezer Gay Sr.
oil on canvas 94 x 71.1 cm

1775-85c New England Man
pastel on paper over canvas 55.9 x 40.6 cm
Fenimore Art Museum, Cooperstown, NY

1776-77 The Battle of Bunker Hill
oil on panel 88.6 x 136.2 cm
Museum of Fine Arts, Boston, MA

1780c Mrs. Samuel Chandler (wife of Captain Samuel Chandler)
oil on canvas 139.1 x 121.7 cm
National Gallery of Art, Washington, DC

1780c Overmantle painting

1785c Mrs. Quackenbush
oil on canvas 61 x 45,7 cm
de Young-Legion of Honour Fine Arts Museums of San Francisco, CA

1785c The Reverend Mr. Quackenbush
oil on canvas 61 x 45.7 cm
de Young/Legion of HOnour Fine Arts Museums of San Francisco, CA

1786c John Paine
oil on canvas
 Museum of Fine Arts, Boston, MA

n.d. (attributed to) James Greene of Providence, Rhode Island
oil on canvas 78.5 x 63.8 cm
Princeton University Art Museum, NJ

American Folk Art - part 4 - Frakturs

0
0
Continuing a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th.
See parts 1-3 also for earlier works.

Note: Follow me on Twitter for notice of updates @poulwebb

This is part 4 of a 21-part post on American Folk Art:

This post looks at Frakturs (see description below) and the work of scrivenors and decorators.
Fraktur is both a style of lettering  and a highly artistic and elaborate illuminated folk art created by the Pennsylvanian German. Most Fraktur were created between 1740 and 1860.
Fraktur drawings were executed in ink and/or watercolors and are found in a wide variety of forms: the Vorschriften (writing samples), the Taufscheine (birth and baptismal certificates), marriage and house blessings, book plates, and floral and figurative scenes. The earlier Fraktur were executed entirely by hand, while printed text became increasingly common in later examples. Common artistic motifs in Fraktur include birds, hearts, and tulips, as well as black-letter and italic calligraphy,


Today, many major American museums, including the American Folk Art Museum, the Metropolitan Museum of Art and the Philadelphia Museum of Art have Fraktur in their collection. Important Fraktur have been sold by major American auction houses and antique dealers for prices in excess of $100,000.


1760c Ephrata Frakture
ink and watercolour on paper

1770-1800c Fraktur by Johann Heinrich Otto (c1733-c1800)
watercolour, pen and ink and graphite on paper 33.5 x 42.1 cm
Metropolitan Museum of Art, New York City

1775c Adam and Eve
attributed to the Sussel-Washington Artist

1776c Baptismal Certificate for Maria Gertraud
by the Sussel-Washington Artist
watercolour and ink on paper  16.3 x 20.6 cm

1776c Two Soldiers
attributed to the Sussel-Washington Artist

1780c Fraktur attributed to Johann Heinrich Otto
watercolour and pen and ink on paper 21 x 33.3 cm
Metropolitan Museum of Art, New York City

1780c By the Sussel-Washington Artist
watercolour and ink on paper 19.7 x 15.9 cm

1782 Birth and Baptismal Certificate by Johann Heinrich Otto (c1733-c1800)
ink and watercolour on paper 32.1 x 40 cm
Metropolitan Museum of Art, New York City

1785 Religious Poem, Bucks County, PA

1788 Birth and Baptismal Certificate by Johan Zug
ink and watercolour on paper 30.5 x 39.4 cm
Metropolitan Museum of Art, New York City

1795 Birth and Baptismal Certificate, Dauphin County, PA
watercolour and ink on paper 31.1 x 37.5 cm

1795-1805c Small Fraktur of Man and Woman, attributed to Friedrich Krebs (1749-1815), probably Berks County, Pennsylvania
10.2 x 15.2 cm

1795c Christian Mertel, Berks County, PA

1797c Durs Rudy, Lehigh County, PA

1798 Birth and Baptismal Certificate for Anna Maria Oberle
attributed to Johannes Ernst Spangenberg (c1755-1814)

1800 Drawing of the Crucifixion
watercolour, gum arabic and ink on paper 34.3 x 26.7 cm
Metropolitan Museum of Art, New York City

1800 Love Token
watercolour on paper 33 cm diameter
Metropolitan Museum of Art, New York City

1800c Durs Rudy, Lehigh County, PA
"Adam and Eve"

1801 George Geistweite, Centre County, PA

1801c Birth and Baptismal Certificate attributed to Georg Friederich Speyer (active 1774-1801c) Berks County, PA letterpress hand-coloured in ink and watercolour 33.7 x 40.6 cm
Philadelphia Museum of Art, PA

1803 "E.M.M" Bucks County, PA

1806 Flyleaf
ink on paper 30.8 x 26.2 cm
Metropolitan Museum of Art, New York City

Samuel Bentz (1792-1850) Lancaster Pennsylvania:


1807 (attributed to) Birth Certificate for Johannes Giwler 5 January 1807
watercolour and ink on paper 24.1 x 19.1 cm

1811c (attributed to) Birth Record for Lydia Glasz

1828 Bookplate for Elisabeth Niszly 20 February 1828

1830c (attributed to) Presentation Drawing inscribed to Evans Steiner

1835 Birth Certificate for Catherine Styre 18 August 1835
ink and watercolour
 

1838 Birth Certificate for John Rayer
watercolour on paper 23.8 x 18.4 cm
*          *          *          *          *


1809c Birth Certificate Fraktur by Reverend Henry Young (1791-92-1861), Centre County, Pennsylvania
watercolour and ink on paper 24.8 x 19.7 cm

1809c by Martin Brechall (1783-1830) Fraktur Birth-Baptismal Certificate
watercolour and ink on paper 33 x 19.4 cm

1810c Presentation Fraktur, probably Lehigh County, PA

1810c Susanna Hübner (1750-1818) Letter "H"
watercolour and ink on paper

1813 House Blessing printed by Samuel Baumann (1788-1820)
relief print and letterpress with watercolour hand-colouring 31.8 x 39.4 cm
Philadelphia Museum of Art, PA

1815 (Unknown artist) Montgomery County, PA
ink and watercolour on paper 9.1 x 7.6 cm
Philadelphia Museum of Art, PA

1820 Daniel Otto (1770-1822c) Birth and Baptismal Certificate for Katterina Dinges

1820 Johannes Setzer, Bucks County, PA

1821 Jacob Leith Presentation Fraktur

1822 Birth and Baptismal Certificate
ink and watercolour on paper 31.4 x 39.7 cm
Metropolitan Museum of Art, New York City

1822 Charles E. Munch
Birth Certificate

1830 "S.K. - H.K." Bucks County, PA

1830 Durs Rudy "The Prodigal Son"

1830c Johannes Bard, York County, PA "Hunting Scene"

1830c Pennsylvania Fraktur inscribed "Ubraham Weiny"
ink and gouache on paper 29.2 x 39.4 cm

1834 Samuel Gottschall, Montgomery County, PA

1834 Samuel Gottschall, Montgomery County, PA

1834 Samuel Gottschall, Montgomery County, PA

1834-35c (attributed to) Samuel Gottschall (1808-1898)
Adam and Eve watercolour and ink on paper 20.3 x 31.8 cm

1835  (Unknown) Fraktur

1840-55 Birth and Baptismal Certificate by Francis Portzline (1771-1857)
watercolour wash, gum and ink on paper 32.5 x 39.5 cm
Philadelphia Museum of Art, PA

1840-55 Birth and Baptismal Certificate by Francis Portzline (1771-1857)
ink with gum on paper 37.5 x 28.6 cm
Philadephia Museum of Art, PA

1840c Pennsylvania School, Officer on Horseback
watercolour on paper 12.7 x 14 cm

1840c Sarah Kriebel "Swenkfelder Building, PA"

1843 Religious Text attributed to Maris Kriebel (1826-) Montgomery County, PA
graphite, ink and watercolour on paper 31.8 x 34.5 cm
Philadelphia Museum of Art, PA

1850c Henry Young, Centre County, PA

1851 Francis Portzline, Union County, PA

1854 "Valentine" Fraktur dated 22 May 1754

Two identical printed certificates hand-decorated differently:

1857 Birth and baptismal certificate for Amanda Cressman (b. December 12, 1857)
Printed by Blumer und Leisenring, Allentown, PA Decoration and infill by Martin Wetzler
relief print and letterpress with watercolour, pen and ink by hand 41.9 x 34.3 cm

1859 Birth and baptismal certificate for Mente Agnes Elisabeth Trump (b. June 15, 1859)
Printed by Blumer und Leisenring, Allentown, PA
relief print and letterpress with watercolur, pan and ink by hand 42.7 x 35.6 cm
Philadelphia Museum of Art. PA

n.d. "M.R." Montgomery County, PA

n.d. Fraktur

n.d. Fraktur


American Folk Art - part 5

0
0
Continuing a major series on American Folk Art featuring 21 postings. Folk Art encompasses art produced by artists and ordinary folk with little or no training in the arts, and is traditionally utilitarian and decorative rather than purely aesthetic. The period I’m covering is the C18th and C19th.
See parts 1-4 also for earlier works.

Note: Follow me on Twitter for notice of updates @poulwebb

This is part 5 of a 21-part post on American Folk Art:


Scrimshaw is the name given to scrollwork, engravings, and carvings done in bone or ivory. Typically it refers to the handiwork created by whalers made from the byproducts of harvesting marine mammals. It is most commonly made out of the bones and teeth of sperm whales, the baleen of other whales, and the tusks of walruses.

The practice survives as a hobby and as a trade for commercial artisans. 


1775 Scrimshaw Map of Boston on Revolutionary War Powder Horn
40.6 x 9.5 cm

1800c Scrimshaw Horn Beaker
7.6 x 5.1 cm

1800s Walking Stick. American Sailor's Scrimshaw
Walrus Tusk Head Mounted on a Narwhal Tusk
85.5 cm long



1820s Sperm Whale Tooth made on the American whaling ship "Harriet" (front)

1820s Sperm Whale Tooth made on the American whaling ship "Harriet" (back)

Frederick Myrick was one of Nantucket's most famous scrimshaw artists, and the first to sign his work. Born in 1805, Myrick went on at least three whaling voyages. He carved what may be the most famous whaling scrimshaw that depict American whaling. "Susan's Teeth" is a series of 22 scrimshaw creations that depict whalers off the coast of Japan and Peru in 1829.


1828-29 Scrimshaw Whale's Tooth
"The Susan Whaling on the coast of Japan"


1828-29 Scrimshaw whale's tooth showing "The Frances of New Bedford" by Frederick Myrick

1828-29 Scrimshaw whale's tooth showing "The Frances of New Bedford" by Frederick Myrick

1828-29 Scrimshaw whale's tooth showing "The Frances of New Bedford" by Frederick Myrick

1828-29 Scrimshaw whale's tooth by Frederick Myrick on the whaleship "Susan"

1829 (August 28th) Scrimshaw whale's tooth by Frederick Myrick on the Whaleship "Susan."
"Engraved by Fred Myrick on board of the Ship Susan August the 28th 1829."

1829 (August 28th) Scrimshaw whale's tooth by Frederick Myrick on the Whaleship "Susan."
Reverse inscription reads "The Susan on the coast of Japan whaling."

1829 (February 8th) Scrimshaw whale's tooth by Frederick Myrick on the Whaleship "Susan."
The banner reads "The ship Susan of Nantucket"

1929 (August 28th) Scrimshaw whale's tooth  inscribed
"Engraved by Fred Myrick on board of the Ship Susan August the 28th 1829." 
 *          *          *          *          *

1830-70c  Whale's tooth scrimshaw with Abalone shell inlay

1830-70c  Reverse of whale's tooth scrimshaw with Abalone shell inlay

1840 Whalebone scrimshaw
27.9 cm long

1850-90 Whale's tooth scrimshaw
Portland Museum of Art, Maine

after 1865 Scrimshaw Tortoise shell

n.d. Whalebone Scrimshaw

Whale's tooth Scrimshaw featuring the American flag and eagle


Charles Peale Polk (1767-1822)


Charles Peale Polk
Self-Portrait



Charles Peale Polk was born in Annapolis, Maryland in 1767. Orphaned at a young age, he was sent to Philadelphia to live with his uncle and study art. By the time he was in his twenties, Polk was advertising himself as a portrait artist in Baltimore newspapers. Being unsuccessful, he returned to Philadelphia after a couple of years and advertised his services as a house and sign painter.
He continued his artistic pursuits and by 1800 he had opened exhibitions in Baltimore. In 1800 he held government office in Washington, DC, at the National Gallery of Art.


1787-90c Portrait of Mrs. Jacob Ten Broeck and Daughter
oil on canvas 82.1 x 99.7 cm

1790c George Washington
oil on canvas 55.2 x 45.4 cm
The Metropolitan Museum of Art, New York City

1793 George Washington
oil on canvas 75.6 x 58.4 cm
Private Collection

1790c Washington before Nassau Hall
oil on canvas 92.1 x 72.4 cm
Private Collection

1793 George Washington
oil on canvas 76.2 x 58.4 cm
Private Collection

1791-76c Mrs. Thomas Kell nee Aliceanna Bond
oil on canvas 95.9 x 81 cm
Private Collection

1791-96c Captain Thomas Kell
oil on canvas 95.9 x 81 cm
Private Collection

1792 Mrs. Elijah Etting
oil on canvas 90.5 x 70.2 cm
Baltimore Museum of Art, MD

1793 Emily Smiley Snowden
oil on canvas 90.5 x 78.4 cm
Smithsonian American Art Museum, Washington, DC

1797 Mrs. Cornelius Baldwin (Mary Briscoe)
watercolour on ivory 6.5 x 5.4 cm
Smithsonian American Art Museum, Washington, DC

1799 Eleanor Conway Hite and Son, James Madison Hite
oil on canvas 152.4 x 101.6 cm
Belle Grove Plantation, Middletown, VA

1799 Isaac Hite
oil on canvas 152.4 x 101.6 cm
Belle Grove Plantation, Middletown, VA

1799-1820 Thomas Jefferson
oil on canvas 69.2 x 61 cm
Private Collection

Portrait of a Young Lady
oil on canvas 76.2 x 63.5 cm

Rufus Hathaway (1770-1822)

Rufus Hathaway was an American physician and folk art painter. He lived in southern Massachusetts, where he painted numerous portraits between 1790 and 1795. He later studied medicine and established himself as a doctor at Duxbury.



1790 Lady with Her Pets (Molly Wales Forbes) 
oil on canvas 86.6 x 81.3 cm 
Metropolitan Museum of Art, New York City

1791 Captain Pollycarpus Edson
oil on canvas mounted on panel 63.5 x 77.5 cm

1791 Mrs. Pollycarpus Edson
oil on canvas mounted on panel 63.5 x 77.5 cm

1793-95 A View of Mr. Joshua Winsor's House & c.
oil on canvas 71.1 x 81.8 cm
Folk Art Museum, New York City

John Brewster Jr. (1766-1854)


John Brewster Jr. was a prolific, deaf itinerant painter who produced many charming portraits of well-off New England families, especially their children. He lived much of the latter half of his life in Buxton, Maine,  SA, recording the faces of much of Maine's elite society of his time.


Being deaf from birth, and growing up in a time when no standardised sign language for the deaf existed, young Brewster probably interacted with few people outside of the circle of his family and friends, with whom he would have learned to communicate. A kindly minister taught him to paint, and by the 1790s he was travelling through Maine, Connecticut, Massachusetts and eastern New York State, taking advantage of his family connections to offer his services to the wealthy merchant class.


1799 Comfort Starr Mygatt and His Daughter Lucy
oil on canvas 137.2 x 99.7 cm
Private Collection

1799 Lucy Knapp Mygatt and Her Son George
oil on canvas 137.2 x 101.6 cm
Palmer Museum of Art, State College, PA

1800c Betsey Avery Brewster
oil on canvas 78.1 x 55.9 cm
Private Collection

1800c Child with Strawberries
oil on canvas 94.2 x 63.8

1801 Elizabeth Stone Coffin, Massachusetts

1801 Major Stone Coffin, Massachusetts

1805 Francis O. Watts with Bird
oil on canvas 89.5 x 68.6 cm
Fenimore Art Museum, Cooperstown, NY

1807 One Shoe Off
oil on canvas 88.6 x 63.2 cm
Fenimore Art Museum, Cooperstown, NY

1810c John Cox of Bridgeton, Maine
oil on canvas 76.2 x 63.5 cm
Private Collection

1810c Little Girl

1820-35c (attributed to) Portrait of a Young Woman
oil on canvas

1820c John Colley
oil on canvas 76.8 x 63.8 cm
Hood Museum of Art, Dartmouth College, Hanover, NH

1820c Martha Colley
oil on canvas 76.8 x 63.8 cm
Hood Museum of Art, Dartmouth College, Hanover, NH

n.d. Portrait of a Boy with a Book

n.d. Portrait of a Youth with a Book

n.d. William Fogg
oil on canvas 76.2 x 63.5 cm
Private Collection

Viewing all 1760 articles
Browse latest View live


Latest Images