Albert Anker - part 4

May 17, 2017, 5:44 am

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Albert Anker (1831–1910) is regarded as the “national painter” of Switzerland. His meticulous paintings of Swiss rural life endeared him to the public and during his heyday, he was regarded as the most popular artist. His works captured the daily and social life of the rustics in the picturesque villages of Switzerland. While these captured the imagination of the public, his portraits charmed the critics. Indeed, his portraits and still-lifes are what cemented his enduring legacy. Unlike many of his contemporaries, his documentation of the social life of villagers was never judgmental. Rather he portrayed them as plain and unpretentious. Anker also worked on many still-lives, which are considered to be among his most important works.

For a fuller biography see part 1 also. For earlier works see parts 1 to 3 also.
This is part 4 of a 5-part post on the works of Albert Anker:

1904 Seated Peasant Woman Knitting watercolour 33.3 x 24.1 cm Private Collection

1904 Sitting Farmer Reading watercolour 24.5 x 24.8 cm Private Collection

1905 Girl Reading  watercolour 28.5 diameter Private Collection

1905 Grandfather with His Morning Snack watercolour on paper 35 x 25 cm Private Collection

1905 Grandmother with a Bible watercolour on paper 35 x 25 cm Private Collection

1905 Seated Grandmother Mending watercolour 28.5 cm diameter Private Collection

1906 Girl in a Winter Landscape watercolour and pencil on paper 34 x 24 cm Private Collection

1906 Grandfather with a Newspaper watercolour 24.8 x 33.7 cm Private Collection

1906 Old Man Smoking a Pipe watercolour 34.5 x 24.5 cm Private Collection

1906 Young Girl Writing watercolour 24.4 x 24.4 cm Private Collection

1907 Girl Knitting while Reading watercolour 33 x 23.9 cm Private Collection

1907 Girl Looking at a Book watercolour 34 x 24 cm Private Collection

1907 Reading Farmer Sitting by the Tiled Stove watercolour 35 x 25 cm Private Collection

1907 The Absinthe Drinker watercolour 19.1 x 14.8 cm Private Collection

1908 A Peasant Woman Reading watercolour and pencil on paper 34.5 x 24.5 cm Private Collection

1908 Child at a Table watercolour and pencil on paper 25 x 34.5 cm Private Collection

1908 Farmer from Ins at a Table watercolour on paper 33.5 x 34.5 cm Private Collection

1908 Old Man Sitting at Table, Shown from Behind watercolour 34 x 24.5 cm Private Collection

1908 The Absinthe Drinker watercolour Private Collection

1908 The Convalescent watercolour and pencil on paper 26 cm diameter Private Collection

1908 The Little Seamstress watercolour 34.5 x 24.9 cm Private Collection

1908c Writing Boy 36.3 x 35.3 cm Private Collection

1909 Girl with Homework watercolour on paper 25.4 x 35.6 cm Private Collection

1909 Man Reading watercolour 34.5 x 24.5 cm Private Collection

1909 Sitting Peasant Woman Holding a Cup in Her Hand watercolour 34 x 24.5 cm Private Collection

1910 Boy wit Hat, Eating watercolour 34 x 24 cm

1910 Girl Knitting watercolour 24.4 x 34.6 cm Private Collection

1910 Old Farmer, Reading watercolour 34 x 24 cm Private Collection

1910 Peasant Woman at the Spinning Wheel watercolour 34 x 24 cm Private Collection

1910 Tea Service

n.d. A Farmer's Wife, Sewing watercolour on paper 33.5 x 23.5 cm Private Collection

n.d. A Mouse with a Peanut watercolour 10 x 15.4 cm Private Collection

n.d. A Seated Farmer with a Pipe watercolour and pencil on paper 33.5 x 24 cm Private Collection

n.d. An Old Man Reading a Newspaper watercolour 24.5 x 35 cm Private Collection

n.d. Boy with a Slate watercolour and pencil on paper 22 x 18 cm Private Collection

n.d. Child with a Doll oil on canvas 40 x 32 cm Private Collection

n.d. Coffee and Cognac Private Collection

n.d. Corner Stove with Laundry Basket watercolour and pencil on paper 23 x 33.5 cm Private Collection

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Albert Anker - part 5

May 19, 2017, 5:50 am

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Albert Anker (1831–1910) is regarded as the “national painter” of Switzerland. His meticulous paintings of Swiss rural life endeared him to the public and during his heyday, he was regarded as the most popular artist. His works captured the daily and social life of the rustics in the picturesque villages of Switzerland. While these captured the imagination of the public, his portraits charmed the critics. Indeed, his portraits and still-lifes are what cemented his enduring legacy. Unlike many of his contemporaries, his documentation of the social life of villagers was never judgmental. Rather he portrayed them as plain and unpretentious. Anker also worked on many still-lives, which are considered to be among his most important works.

For a fuller biography see part 1 also. For earlier works see parts 1 to 4 also.
This is part 5 of a 5-part post on the works of Albert Anker:

n.d. Girl Drinking Coffee oil on canvas 31.1 diameter Private Collection

n.d. Girl with Loaf of Bread oil on canvas 30 x 20.5 cm Private Collection

n.d. Girl with Sheaves watercolour and pencil on paper 34 x 24 cm Private Collection

n.d. Grandmother Reading watercolour 33.5 x 23.5 cm Private Collection

n.d. Knitting Bernese Woman with Child oil on canvas 49 x 38 cm Private Collection

n.d. Knitting Grandmother brush and ink on paper 35 x 25 cm Private Collection

n.d. La Parisienne watercolour and pencil on paper 26 x 21.9 cm Private Collection

n.d. Mother and Child chalk on paper 65 x 46 cm Private Collection

n.d. Newsboy charcoal heightened with white 76 x 57 cm Private Collection

n.d. Old Schnapps Drinker oil on canvas 64 x 46.5 cm Private Collection

n.d. Peasant Woman

n.d. Portrait of a Bernese Girl oil on canvas 51 x 37.5 cm Private Collection

n.d. Portrait of a Boy oil on canvas 40.5 x 31.5 cm Private Collection

n.d. Portrait of a Boy oil on canvas 40.5 x 32 cm Private Collection

n.d. Portrait of a Boy oil on canvas 42.5 x 32 cm Private Collection

n.d. Portrait of a Boy with Cap oil on canvas 37 x 32 cm Oskar Reinhart Collection, Winterthur, Switzerland

n.d. Portrait of a Boy with Cap oil on canvas 42.5 x 34 cm Private Collection

n.d. Portrait of a Girl oil on canvas 39.4 x 29.2 cm Private Collection

n.d. Portrait of a Girl oil on canvas 40.5 x 31.5 cm Private Collection

n.d. Portrait of a Girl oil on canvas 41 x 32 cm

n.d. Portrait of a Girl with Red Necklace

n.d. Portrait of a Young Girl oil on canvas 42 x 33 cm Private Collection

n.d. Portrait of an Old Farmer watercolour 34.2 x 24.7 cm Kunstmuseum, Lucerne, Switzerland

n.d. Sitting Boy Peeling Potatoes oil on paper 14 x 13 cm Private Collection

n.d. Sleeping Girl on a Wooden Bench oil on canvas 45 x 70 cm Private Collection

n.d. Still Life oil on canvas 43.2 x 36.9 cm Private Collection

n.d. Still-Life with Coffee, Bread and Potatoes

n.d. The Girl with the Dominoes oil on panel 37 cm diameter Private Collection

n.d. The Little Knitters oil on panel 62 x 68.5 cm Museum Oskar Reinhart, Winterthur, Switzerland

n.d. The Strawberry Girl watercolour 35 x 25 cm Private Collection

n.d. The Village Tailor

n.d. Young Boy of Ins Holding a Child in His Lap watercolour and pencil on paper 19 x 13 cm Private Collection

n.d. Young Girl with Slate watercolour 56.4 x 36.1 cm Private Collection

n.d. Young Mother

n.d. Young Woman Knitting watercolour 33.8 x 23.9 cm Private Collection

n.d. Young Woman, Seated watercolour 32 x 22 cm Private Collection

Portrait of a Young Woman watercolour 23.7 x 21.7 cm Private Collection

Portrait of Wilibald Pirkheimer watercolour and pencil 17.5 diameter Private Collection

Charles Gesmar - part 1

May 22, 2017, 5:17 am

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Charles Gesmar (born Geismar), simply known as Gesmar, was one of the greatest designers of costumes and posters during the golden age of the Paris music hall during the Jazz Age and was primarily renowned for his work for the great Parisian star Mistinguett. Although his tenure was short, his output was prolific and his creativity and talent unrivalled at the time.

Mistinguett

Charles Geismar was born in Nancy in 1900 to a Jewish family. He attended the drawing School of Applied Arts of Auguste Vallin, and at the outbreak of the Great War, the Geismar family sought refuge in Paris. Here in early 1915, Charles met Mlle Andrée Spinelly, the famous actress-dancer who was enthusiastic about his work and asked him to design her costumes, previously created by the couturier Paul Poiret. Gesmar also designed for "L’Arciduc," a show at the Folies Bergere in October 1916 and provided illustrations for "La Baionette," "La Vie Parisienne," and "Fantasio" and "Le Rire."

Andrée Spinelly

Allegedly, effeminate and neurotic, one day in early 1917 in Spinelly’s house, he tried to shoot himself after an altercation with the actress but the bullet went into the lavatory cistern and flooded the house instead. Spinelly was not amused and their relationship ended. Mistinguett, often called the “Queen of the Paris Music Hall” was impressed by his unique talent and took him under her wing as her costume designer, describing him as "one of those gentle, ultra-sensitive lads, so feminine that you felt one harsh word would have shattered him." Over the next decade, although he designed mostly for Mistinguett, he was in great demand by all the main music halls in Paris.

Despite his unique relationship with Mistinguett, Gesmar created costumes and poster designs for most of the stars of the Paris Music Hall, including Barbette, Maurice Chevalier, the Dolly Sisters, Gilda Gray, Earl Leslie, Jane Marnac, and Mitty and Tillio, to name but a few.

In late 1923 Gesmar went to New York with Mistinguett, travelling aboard "Leviathan" from Cherbourg, arriving on the 26th November. He designed all the costumes for the Shubert revue "Innocent Eyes," starring Mistinguett, that was launched in Atlantic City in January 1924 followed by a regional run before opening at the Winter Garden Theatre in New York on 20th May 1924.

Gesmar’s costumes and graphics caused as much excitement at the time that was equal to the that shown a few years earlier by the elegance of Leon Bakst’s Ballets Russes. The seductive and sophisticated elegance of his art influenced generations of graphic designers and he was indisputably a bridge linking the works by other two great artists who worked for the Moulin Rouge, Toulouse-Lautrec (1864-1901) and René Gruau (1909-2004).

Gesmar allegedly died of pneumonia in February 1928, before his 28th birthday.

This is part 1 of a 2-part post on the works of Charles Gesmar:

 

1916 La Baionnette magazine illustration Celle du Sucre

1917 Maurice Chevalier 160 x 117 cm

Maurice Chevalier

1917 Mistinguett 115.8 x 157 cm

1918  Jane Marnac 107.6 x 149.4 cm

Jane Marnac

1919 Comoedia Illustré magazine ( Andrée Spinelly )

1919? Spinelly watercolour 48.3 x 31.4 cm

1919? Spinelly

1920 Costume design watercolour and ink 47.6 x 31 cm

1920c Costume design watercolour and pencil 38 x 21.2 cm

1920c Jane Marnac

1921 Mistinguett lithograph 132 x 113 cm

1921c Costume design gouache and pencil 25.5 x 33.8 cm

1921c Costume design  gouache and pencil 25.5 x 33.8 cm

1921c Costume design  gouache and pencil 25.5 x 33.8 cm

1921c Woman with a Swan gouache and crayon 35.2 x 31.2 cm

1922 Leslie, Casino de Paris ( Earl Leslie )

1922 Mistinguett Casino de Paris 116.2 x 156 cm

1922 Mistinguett gouache and pencil on paper 73.7 x 53.3 cm

1922 Mistinguett, Casino de Paris 112.2 x 152.4 cm

1922 Mistinguett, Casino de Paris 116.6 x 157.5 cm

1922 Spinelly 158 x 118 cm

1923 Casino de Paris

1923 Mistinguett

1923 Sheet music cover L'Amour au Claire de Lune

1924 Leslie

1924 Mistinguett, Moulin Rouge

1925 Elvire Popesco 159.4 x 120 cm

Elvire Popesco

1925 Dancer

1925 Gilda Gray colour lithograph 153.4 x 103.2 cm

Gilda Gray

1925 Guy Sarlin 157.5 x 117 cm

1925 Jane Pierly

Jane Pierly

1925 Lucienne Delahaye

Lucienne Delahaye

1925 Mistinguett 112.4 x 157.3 cm

1925 Mistinguett 116.9 x 159.6 cm

1925 Mistinguett 120 x 159.6 cm

1925 Mistinguett 154.9 x 114.3 cm

1925 Mistinguett in Bonjour Paris, Revue du Casino de Paris colour lithograph 31 x 24 cm

1925 Mistinguett in Bonjour Paris, Revue du Casino de Paris colour lithograph 59.4 x 82.5 cm

1925 Mondain Cours de Danse, Roger's Gallais lithograph 119 x 79 cm

Charles Gesmar - part 2

May 24, 2017, 5:30 am

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Charles Gesmar (born Geismar), simply known as Gesmar, was one of the greatest designers of costumes and posters during the golden age of the Paris music hall during the Jazz Age and was primarily renowned for his work for the great Parisian star Mistinguett. Although his tenure was short, his output was prolific and his creativity and talent unrivalled at the time.

For more biographical notes, and for earlier works , see part 1 also.

This is part 2 of a 2-part post on the works of Charles Gesmar:

1925 Moulin Rouge Music-Hall programme cover

1925 Yvonne Legeay lithographic poster

1926 Barbette lithographic poster 160 x 120.4 cm

1926 Diane Belli et Gaston Gerlys lithographic poster

1926 Marion Forde lithographic poster

Marion Forde

1926 Mistinguett, Moulin Rouge lithographic poster 74.7 x 117 cm

1926 Theater des Westens lithographic German poster

1927 Dancer in Black and Gold Dress gold paint, gouache and pencil on paper 53.6 x 34 cm

Mistinguett lithographic poster 140.4 x 118.4 cm

1927 Mistinguett   lithographic poster 160.6 x 118.4 cm

1927 Mistinguett gouache on paper backed on linen 149 x 120 cm

1928 Concert Mayollithograph

1928 L'Intransigeant: Bal des Petits Blancs lithographic poster 42.5 x 29.8 cm

1928 Mistinguett   lithographic poster 313.6 x 113.3 cm

1930 Bal de la Fourrurelithographic poster

n.d. Bird with Train silver paint, gouache and pencil on paper 32 x 49 cm

n.d. Boys on Pink gouache and pencil on paper 47.5 x 31.7 cm

n.d. Duet Drawing ink and gouache 25.4 x 37.8 cm

n.d. Casino de Paris, Mistinguett

n.d. Costume design

n.d. Dancer with Golden Dress on a White Background gold paint, gouache and pencil on paper 52.5 x 35.5 cm

n.d. Dancer with Golden Hoop on Head gold paint, watercolour and pencil on paper 19.5 x 12.4 cm

n.d. Dancer with Long Golden Dress gold paint, gouache and pencil on paper 53.6 x 36 cm

n.d. Dancer with Red Flower Hat gouache and pencil on paper 49 x 32 cm

n.d. Dianalithographic poster

n.d. Dorianelithographic poster

n.d. Mary gouache and pencil on paper 39 x 30 cm

n.d. Le Cherry de mon Cheri, Mistinguett

n.d. Mistinguett lithographic poster 158 x 117 cm

n.d. Mistinguett gouache on paper 158 x 118 cm

n.d. Mistinguett pencil and gouache on paper 48 x 36 cm

n.d. Mitty et Tillio lithographic poster

n.d. Moulin Rouge Music-Hall programme cover

n.d. Costume design artwork

n.d. Sheet music cover "Elle ressemble à sa Mere"

n.d. Costume design  64.5 x 50 cm

Helen Allingham - part 1

May 26, 2017, 6:06 am

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Self-Portrait 1885

Helen Allingham  (née Helen Mary Elizabeth Paterson 1848 – 1926) was an English watercolour painter and illustrator of the Victorian era.

Helen Mary Elizabeth Paterson was born in 1848, at Swadlincote, Derbyshire, the daughter of Alexander Henry Paterson, a medical doctor, and Mary Herford Paterson. Helen Paterson was the eldest of seven children. The family moved to Altrincham in Cheshire when she was one year old. In 1862 her father and her 3-year-old sister Isabel died of diphtheria during an epidemic. The family then moved to Birmingham where some of Alexander Paterson's family lived.

Helen Mary Elizabeth Paterson was born in 1848, at Swadlincote, Derbyshire, the daughter of Alexander Henry Paterson, a medical doctor, and Mary Herford Paterson. Helen Paterson was the eldest of seven children. The family moved to Altrincham in Cheshire when she was one year old. In 1862 her father and her 3-year-old sister Isabel died of diphtheria during an epidemic. The family then moved to Birmingham where some of Alexander Paterson's family lived.

Helen Allingham blue plaque, 16 Market Street, Altrincham, Greater Manchester, England photo Creative Commons Attribution-Share Alike 3.0 Unported

Paterson showed a talent for art from an early age, drawing some of her inspiration from her maternal grandmother Sarah Smith Herford and aunt Laura Herford, both accomplished artists of their day. Her younger sister Caroline Paterson also became a noted artist. She initially studied art for three years at the Birmingham School of Design. From 1867 she attended the National Art Training School in London, which had a separate division for women; her aunt Laura Herford had previously studied there. The School is presently the Royal College of Art.

While studying at the National Art Training School, Paterson worked as an illustrator, eventually deciding to give up her studies in favour of a full-time career in art. She painted for children'sand adult books, as well as for periodicals, including “The Graphic” newspaper. One highlight was her commission to provide twelve illustrations for the 1874 serialisation of Thomas Hardy’s novel “Far From the Madding Crowd” in Cornhill Magazine. Her illustrations from this era were signed "H. Paterson".She became a lifelong friend of Kate Greenaway whom she met at evening art classes at the Slade School of Fine Art. 

While Vincent Van Gogh was developing as an artist by studying English illustrated journals he was apparently struck by Patterson's work in The Graphic.

In 1874 she married William Allingham, Irish poet and editor of Fraser’s Magazine, who was almost twice her age. After her marriage she gave up her career as an illustrator and turned to watercolour painting. In 1881 the family moved from Chelsea to Witley in Surrey. 

Allingham's Surrey home

Helen started to paint the countryside and picturesque farmhouses and cottages of Surrey and Sussex, for which she became famous. To her critics, however, despite elements of protest in “The Condemned Cottage” for example, hers was an overly sentimental, conservative vision of the area. She went on to paint rural scenes in other parts of the country, as well as Venice, Italy. She completed several portraits, including one of Thomas Crlyle. In 1890, she became the first woman to be admitted as a full member of the Royal Watercolour Society.

This is part 1 of a 5-part post on the works of Helen Allingham:

1874 The Last House in Lynmouth watercolour, gouache and gum arabic on wove paper laid down on board 19.1 x 26.4 cm Yale Centre for British Art, New Haven, CT

1876 William Allingham watercolour 29.2 x 23.5 cm © National Portrait Gallery, London

1880 A Bershire Cottage watercolour 36 x 26 cm Private Collection

1880 The Lady of the Manor watercolour with bodycolour 36 x 48 cm

1887 The Basket Woman watercolour 37 x 55 cm

1889c Gathering Flowers watercolour 27.5 x 24 cm Art Gallery of New South Wales, Sydney, Australia

1900c A Buckinghamshire house at Penstreet watercolour 36 x 50.5 cm

1900c Kitty watercolour 11.1 x 10 cm © Manchester City Galleries, UK

1902 Off Marketing watercolour 45.7 x 35.6 cm

1904 The Waller Oak, Coleshill watercolour

1905 The Homes of Tennyson:
(Note: The reproduction quality of these images is rather poor)

1905 The homes of Tennyson Painted by Helen Allingham and described by Arthur Paterson

Title page

*          *          *          *          *

1905c A Cottage Near Crocken Hill watercolour

1906 The Six Bells, Hollingbourne, Kent:

1906 The Six Bells, Hollingbourne, Kent watercolour

The Six Bells, Hollingbourne, Kent watercolour

A photograph of The Six Bells, Hollingbourne, Kent from 1906

Note: From here on in this series of works is undated, and will appear in alphabetical order by title.

A Berkshire Cottage watercolour

A Cart by a Village watercolour

A Chat at the Garden Gate watercolour 37 x 27 cm

A Child at the Doorway of a Thatched Cottage watercolour

A Cottage at Farringford, Isle of Wight watercolour

A Cottage at Farringford, Isle of Wight  watercolour

A Cottage at Freshwater Gate watercolour and bodycolour 29.9 x 38.7 cm © Manchester City Galleries, UK

A Cottage at Freshwater, Isle of Wight watercolour

A Cottage at Nunton, Wiltshire watercolour 21.5 x 16.5 cm

Helen Allingham - part 2

May 29, 2017, 6:03 am

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Helen Allingham (1848-1926) was an English watercolour painter and illustrator of the Victorian era.

For full biographical notes and for other works in this series, see part 1 also.

This is part 2 of a 5-part post on the works of Helen Allingham:

A Cottage at Pinner, Middlesex watercolour

A Cottage at Redlynch watercolour 24 x 17.5 cm

A Cottage Door watercolour Private Collection

A Cottage Garden watercolour Private Collection

A Cottage near Brook, Witley, Surrey watercolour

A Cottage Near Crocken Hill watercolour

A Cottage Near Godalming, Surrey watercolour

A Cottage near Haslemere watercolour

A Cottage With Sunflowers At Peaslake watercolour

A Garden in Spring watercolour

A Herbaceous Border in Miss Jekyll's Garden watercolour and gouache on paper 31 x 24 cm Private Collection

A Hill Farm, Symondsbury, Dorset watercolour

A Kentish Cottage watercolour

A Kentish Cottage watercolour

A Mother and Child entering a Cottage watercolour

A Saucer of Milk watercolour 26 x 21 cm

A Seaside Study watercolour

A Spring Garden watercolour

A Surrey Cottage watercolour

A Surrey Cottage watercolour Private Collection

A Surrey Cottage watercolour

A Surrey Cottage with a Mother and her Children watercolour

A Surrey Farmhouse watercolour

A Sussex Cottage watercolour 28 x 26 cm

A Thatched Cottage near Peaslake, Surrey watercolour

A Village Street watercolour 34.4 x 53.5 cm Private Collection

A Wiltshire Cottage watercolour 16 x 23 cm

A Wiltshire Cottage watercolour 26 x 17.1 cm

A Wiltshire Garden watercolour

Alfred Lord Tennyson watercolour Private Collection

Alice watercolour

An Old Buckinghamshire House watercolour

An Old Cottage Garden, Brook, Surrey watercolour 35.6 x 25.4 cm

An Old Surrey Cottage watercolour

An Old Well, Brook, Surrey watercolour

At Sandhills watercolour

At Sandhills, Witley watercolour

At Stedham near Midhurst, Kent watercolour

I believe this is the same property today at Stedham, near Midhurst:

At Symondsbury near Bridport, Dorset watercolour

The same cottages today:

At Symondsbury near Bridport ( Duck Street Cottage, Symondsbury )

At the Cottage Door watercolour

At the Cottage Door watercolour

At the Cottage Gate watercolour 35.5 x 27 cm

At the Cottage Gate watercolour

Helen Allingham - part 3

May 31, 2017, 5:46 am

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Helen Allingham (1848-1926) was an English watercolour painter and illustrator of the Victorian era.

For full biographical notes see part 1. For earlier works in this series see parts 1 and 2 also.

This is part 3 of a 5-part post on the works of Helen Allingham:

At the Cottage Gate watercolour

At the Garden Gate watercolour 33.5 x 25.5 cm

Baking Bread watercolour

Beside the Old Church Gate Farm, Smarden, Kent watercolour

Blake's House, Hampstead Heath, London watercolour

Bluebell Copse watercolour

Bubbles watercolour

Buttercups watercolour

By the Old Cottage watercolour

Children on a Path outside a Thatched Cottage, West Horsley, Surrey watercolour and pencil with scratching out 30.9 x 22.8 cm Private Collection

Children Outside a Cottage watercolour with scratching out 22.2 x 27.3 cm Private Collection

Corcorus Japonica watercolour

Cottage at Broadham Green, Surrey in Sunset Light watercolour

Cottage at Pinner watercolour

Cottage at West Horsley, Surrey watercolour

Cottage in Kent watercolour 35.5 x 25 cm

Cottage near Freshwater watercolour

Cottage near Pinner watercolour

Cottage near Wells, Somerset watercolour

Cottage Near Witley, Surrey watercolour

Cottage, Freshwater, Isle of Wight watercolour Private Collection

Crabapple Trees, Hampstead Heath watercolour over pencil with scratching out, stopping out and touches of gum arabic 33.6 x 30.7 cm

Crabbing at Eastbourne watercolour 25 x 19 cm

Daydreamer watercolour

Drying Clothes watercolour

East End Farm, Moss Lane, Pinner watercolour

East Hagbourne, Berkshire watercolour

Feeding the Fowls watercolour

Feeding the Kitten watercolour

Feeding Time at the Cottage watercolour on paper laid down on board 35 x 43.5 cm

Fetching the Milk watercolour 23 x 19 cm

Foxgloves watercolour

Freshwater, Isle of Wight, with a Woman with a Child on a Path in an Orchard watercolour 23 x 17.5 cm

Gathering Firewood watercolour

Gathering Wood for Mother watercolour

Gertrude Jekyll's Garden watercolour

Going Shopping watercolour

Harvest Moon watercolour

Harvest Twilight watercolour 15.7 x 26 cm Russell-Cotes Art Gallery and Museum, Bournemouth, UK

Haymaking watercolour

Hill Farm, Symondsbury watercolour

Hillside Cottage watercolour and scratching out 32.2 x 32 cm Art Gallery of New South Wales, Sydney, Australia

Hindhead fron Sandhills, Witley watercolour

Hollyhocks watercolour

Helen Allingham - part 4

June 2, 2017, 5:25 am

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Helen Allingham (1848-1926) was an English watercolour painter and illustrator of the Victorian era.

For full biographical notes see part 1. For earlier works in this series see parts 1 - 3 also.

This is part 4 of a 5-part post on the works of Helen Allingham:

In a Witley Lane watercolour

In the Nursery watercolour

In the Primrose Wood watercolour

In the Spring watercolour

Irish Cottage watercolour

Lessons watercolour

Manor House, Kent watercolour

Near Beachy Head watercolour

Near Freshwater, Isle of Wight watercolour

Near Hambledon watercolour

Near Haslemere watercolour

Near Witley, Surrey watercolour

Netley Farm, Shere, Surrey watercolour

Netley Farm, Shere, Surrey  artist Richard Manser Rayner ( 1843-1908 ) painting at Netley Farm

Nightjar Lane, Witley watercolour Shrewsbury Museums Service

Old Cottage at Alfriston watercolour 24 x 36.5 cm

Old Cottage, Witley watercolour

Old Dorset Cottage watercolour 35.5 x 53 cm

Old Kentish Cottage watercolour

Old Manor House watercolour

Old Post Office near Witley, Surrey watercolour

Old Wyldes Farm watercolour

Old Wyldes Farm east of Golders Hill on the slopes of Hampstead Heath, London

Old Wyldes Farm Blue Plaque

On the Brook Road near Witley watercolour

Outside a Timbered Cottage watercolour

Outside the Cottage watercolour 35 x 43 cm

Past Work watercolour

Pause for Reflection watercolour

Picking Primroses watercolour 33 x 53.3 cm

Purple Bluebells watercolour

Reading Lesson watercolour

Reunited watercolour 29 x 17.5 cm

Rhoda watercolour

Roses in Gertrude Jekyll's Garden, Surrey watercolour 42.5 x 31.7 cm

San Giorgio Maggiore, Venice watercolour

Sewing watercolour 28 x 22.3 cm Art Gallery of New South Wales, Sydney, Australia

Stanfield House, Hampstead watercolour

Stanfield House, Hampstead

Straying watercolour

Study of Flowers watercolour 7.3 x 8.1 cm Russell-Cotes Art Gallery and Museum, Bournemouth, UK

Study of Flowers watercolour 8.5 x 9.7 cm cm Russell-Cotes Art Gallery and Museum, Bournemouth, UK

Study of Flowers watercolour 11,8 x 9.1 cm Russell-Cotes Art Gallery and Museum, Bournemouth, UK

Study of Flowers watercolour 12.8 x 7.8 cm Private Collection

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Helen Allingham - part 5

June 5, 2017, 6:00 am

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Helen Allingham (1848-1926) was an English watercolour painter and illustrator of the Victorian era.

For full biographical notes see part 1. For earlier works in this series see parts 1 - 4 also.

This is part 5 of a 5-part post on the works of Helen Allingham:

Study of Flowers watercolour 13.8 x 12.5 cm Private Collection

Sunflowers watercolour

The Ancient Oak watercolour 35.5 x 53.5 cm

The Artist's Children in a Goat Carriage by Broadstairs, Kent watercolour

The Black Kitten watercolour

The Children's Maypole watercolour

The Children's Tea watercolour

The Condemned Cottage watercolour

The Convalescent watercolour

The Cottage Gate watercolour

The Cottage with Beehives watercolour

The Cuckoo watercolour

The Dairy Farm, Edenbridge watercolour 29.5 x 50 cm

The Fiddler watercolour

The Garden Gate watercolour

The Goose-Girl watercolour

The Governess and the Ayah on the Beach watercolour

The Kentish Farmhouse at Crockham Hill watercolour 30.5 x 27.5 cm

The Market Cross, Hagbourne watercolour

The Market Cross, Hagbourne today

The Mowers watercolour

The Old Men's Gardens, Chelsea Hospital watercolour with gouache over pencil 18 x 25 cm

The Old Men's Gardens, Chelsea Hospital watercolour

The Old Place watercolour 20.5 x 26.5 cm

The Old Yew Tree watercolour

The Priest House, West Hoathly, Sussex watercolour

The Priest House, West Hoathly, Sussex today

The Reapers watercolour

The Staircase, Whittington Court, Gloucestershire watercolour 35.6 x 26.7 cm Private Collection

The Young Mother gouache on paper laid down on board 13 x 13 cm

Thomas Carlyle watercolour

Under the Old Malthouse, Hambledon, Surrey watercolour

Unstead Farm, Godalming watercolour

Valewood Farm under Blackwood, Surrey watercolour

Valewood Farm under Blackwood, Surrey watercolour

Valewood Farm, Haslemere, Surrey today

Valewood Farm, Haslemere, Surrey watercolour with scratching out 43 x 36.5 cm Birmingham Museums and Art Gallery, UK

Venetian Fruit Stall watercolour

Venice watercolour 41.3 x 30.5 cm

Verona, Italy watercolour

Young Girl in Blue watercolour 16.5 x 12.6 cm Private Collection

Puffin Books - part 1

June 7, 2017, 5:26 am

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Four years after Penguin Books had been founded by Sir Allen Lane,the idea for Puffin Books was hatched in 1939 when Noel Carrington, at the time an editor for Country Life books, met him and proposed a series of children's non-fiction picture books, inspired by the brightly coloured lithographed books mass-produced at the time for Soviet children. Lane saw the potential, and the first of the picture book series were published the following year. The name "Puffin" was a natural companion to the existing "Penguin" and "Pelican" books. Many continued to be reprinted right into the 1970s. A fiction list soon followed, when Puffin secured the paperback rights to Barbara Euphan Todd’s 1936 story Worzel Gummidge and brought it out as the first Puffin story book in 1941.

Many well-known illustrators and artists illustrated covers for Puffins - Charles Tunniliffe, Ronald Searle, and Edward Ardizzone amongst others.

This is part 1 of a 3 - part post on Puffin Books:

1940 Puffin Picture Book No. 1 War on Land illustrated by James Holland

1940 Puffin Picture Book No. 2 War at Sea illustrated by James Holland

1940 Puffin Picture Book No. 3 War in the Air illustrated by James Gardner

1940 Puffin Picture Book No. 4 On the Farm illustrated by James Gardner

1941 Puffin Picture Book No. 6 Flowers of Field and Hedgerow and their Garden Cousins illustrated by Marion Rivers-Moore

1941 Puffin Picture Book A Book of Trains illustrated by F.E. Courtney

1941 Puffin Picture Book No. 8 Great Deeds of the War illustrated by Roland Davies

1941 Puffin Story Book Worzel Gummidge "The Scarecrow of Scatterbrook" illustrated by Elizabeth Alldridge

1942 Puffin Picture Book No. 16 Village and Town illustrated by S. R. Badman

1942 Puffin Picture Book No. 16  Village and Town  illustrated by S. R. Badman

1942 Puffin Picture Book No.26 Orlando's Home Life illustrated by Kathleen Hale

1943 Puffin Picture Books No.30 Pantomime Stories illustrated by Hilary Stebbing

1944 ( published 1946 ) Palaces on Monday cover by Arthur H. Hall

1944 Gay-neck cover by Arthur H. Hall

1944 My Friend Mr. Leakey cover by John Harwood

1944 Puffin Picture Book No. 14 Orlando's Evening Out illustrated by Kathleen Hale

1944 Puffin Picture Book No. 37 A History of the Countryside by Margaret and Alexander Potter front cover

1944 Puffin Picture Book No. 37  A History of the Countryside by Margaret and Alexander Potter back cover

1945 Jehan of the Ready Fists cover by Arthur H. Hall

1945 Puffin Picture Books No.12 A Book of Rigmaroles or Jingle Rhymes illustrated by Enid Marx

1945 Puffin Picture Books No.40 Make Your Own Zoo, Part One illustrated by Trix front cover

1945 Puffin Picture Books No.40  Make Your Own Zoo, Part One  illustrated by Trix back cover

1946 ( published 1947 ) The Incredible Adventures of Professor Branestawn illustrated by W. Heath Robinson front cover

1946 ( published 1947 ) The Incredible Adventures of Professor Branestawn  illustrated by W. Heath Robinson back cover

1946 David Goes to Zululand cover by Gwen White

1946 Kidnapped cover by Lake

1946 North After Seals

1946 Puffin Picture Book No.38 About a Motor Car illustrated by Phyllis Ladyman front cover

1946 Puffin Picture Book No.38  About a Motor Car  illustrated by Phyllis Ladyman back cover

1946 Puffin Picture Book No.58 The Story of Plant Life illustrated by Isabel Alexander

1946 Puffin Picture Books  The Tale of Noah and the Flood  illustrated by Clarke Hutton front cover

1946 Puffin Picture Books The Tale of Noah and the Flood illustrated by Clarke Hutton back cover

1946 Puffin Picture Books  The Tale of Noah and the Flood  illustrated by Clarke Hutton

1946 Puffin Picture Books  The Tale of Noah and the Flood  illustrated by Clarke Hutton

1946 Puffin Picture Books  The Tale of Noah and the Flood  illustrated by Clarke Hutton

1946 Puffin Picture Books  The Tale of Noah and the Flood  illustrated by Clarke Hutton

1946 Puffin Picture Books  The Tale of Noah and the Flood  illustrated by Clarke Hutton

1946 Puffin Picture Books  The Tale of Noah and the Flood  illustrated by Clarke Hutton

1946 Puffin Picture Books  The Tale of Noah and the Flood  illustrated by Clarke Hutton

1946 Puffin Picture Books  The Tale of Noah and the Flood  illustrated by Clarke Hutton

1946 Puffin Picture Books  The Tale of Noah and the Flood  illustrated by Clarke Hutton

Puffin Books - part 2

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Four years after Penguin Books had been founded by Sir Allen Lane, the idea for Puffin Books was hatched in 1939 when Noel Carrington, at the time an editor for Country Life books, met him and proposed a series of children's non-fiction picture books, inspired by the brightly coloured lithographed books mass-produced at the time for Soviet children. Lane saw the potential, and the first of the picture book series were published the following year. The name "Puffin" was a natural companion to the existing "Penguin" and "Pelican" books. Many continued to be reprinted right into the 1970s. A fiction list soon followed, when Puffin secured the paperback rights to Barbara Euphan Todd’s 1936 story Worzel Gummidge and brought it out as the first Puffin story book in 1941.

Many well-known illustrators and artists illustrated covers for Puffins - Charles Tunniliffe, Ronald Searle, and Edward Ardizzone amongst others.

This is part 2 of a 3 - part post on Puffin Books.

For earlier works, see part 1 also.

1946 Treasure Island cover by Lake

1947 Cranes Flying South cover by Eleanor Graham

1947 Jam Tomorrow cover by Grace Gabler

1947 Puffin Picture Book No. 74 Locomotives illustrated by Paul B. Mann

1947 Puffin Picture Books No.52 Paper Birds illustrated by R.B. Talbot Kelly front cover

1947 Puffin Picture Books No.52  Paper Birds illustrated by R.B. Talbot Kelly back cover

1948 Golden Island cover by Constance Marshall

1948 The Young Detectives cover by William Grimmond

1949 Ballet Shoes

1949 Kidnapped cover by A.H. Hall

1949 Puffin Picture Book No.60 Building a House illustrated by Richard Leacroft front cover

1949 Puffin Picture Book No.60  Building a House  illustrated by Richard Leacroft back cover

1949 Puffin Picture Book No.86 Airliners illustrated by John Stroud front cover

1949 Puffin Picture Book No.86  Airliners  illustrated by John Stroud back cover

1949 Tarka The Otter illustrated by Charles Tunnicliffe

1949 Worzel Gummidge Againillustrated by Elixabeth Alldridge

1950 The Adventures of Tom Sawyer cover by Arthur H. Hall

1950 Woman Among Savages cover by Faith Jacques

1951 Fairy Tales from the Isle of Man front cover by John Harwood

1951 Fairy Tales from the Isle of Man  back cover by John Harwood

1951 The Grey Goose of Kilnevin

1951 The Secret Garden cover by Gloria Freedman

1952 Ditta's Tree cover by Sheila Hawkins

1952 Selected Stories and Verses cover by Richard Kennedy

1953 ( 1945 illustration ) Worzel Gummidge or The Scarecrow of Scatterbrook illustrated by Elixabeth Alldridge

1953 Little Women illustrated by Astrid Walford

1955 Melissa Ann cover by Sylvia Dyson

1955 Puffin Picture Book No.98 Farm Crops in Britain illustrated by S.R. Badmin front cover

1955 Puffin Picture Book No.98  Farm Crops in Britain  illustrated by S.R. Badmin back cover

1955 The Children Who Lived in a Barn cover by Mary Gernat

1956 Four Mysteries Solved by Norman & Henry Bones

1956 Heidi cover by Cecil Leslie

1956 The Circus is Coming cover by Clarke Hutton

1956 The Puffin Song Book cover by Ronald Searle

1957 Redcap Runs Away

1957 Savage Gold illustrated by Robert Medley

1958 The Story of the Treasure Seekers illustrated by Cecil Leslie

1958 The Story of the Treasure Seekers  illustrated by Cecil Leslie ( 1969 edition )

1958 The Wouldbegoods illustrated by Cecil Leslie

1959 Avalanche! illustrated by Alie Evers

1960 A Hundred Million Francs cover by Richard Kennedy

Puffin Books - part 3

June 12, 2017, 8:27 am

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Four years after Penguin Books had been founded by Sir Allen Lane, the idea for Puffin Books was hatched in 1939 when Noel Carrington, at the time an editor for Country Life books, met him and proposed a series of children's non-fiction picture books, inspired by the brightly coloured lithographed books mass-produced at the time for Soviet children. Lane saw the potential, and the first of the picture book series were published the following year. The name "Puffin" was a natural companion to the existing "Penguin" and "Pelican" books. Many continued to be reprinted right into the 1970s. A fiction list soon followed, when Puffin secured the paperback rights to Barbara Euphan Todd’s 1936 story Worzel Gummidge and brought it out as the first Puffin story book in 1941.

Many well-known illustrators and artists illustrated covers for Puffins - Charles Tunniliffe, Ronald Searle, and Edward Ardizzone amongst others.

This is part 3 of a 3 - part post on Puffin Books.

For earlier works, see parts 1 - 2 also.

1960 Eleanor Farjeon's Book: Stories - Verses - Plays illustrated by Edward Ardizzone

1960 The Borrowers Afield illustrated by Diana Stanley

1960 The Railway Children illustrated by C.E. Brock

1960 The Silver Sword illustrated by C. Walter Hodges

1961 A Little Princess illustrated by Margery Gill

1961 Carbonel illustrated by V.H. Drummond

1961 The Orphans of Simitra illustrated by Margery Gill

1961 The Otterbury Incident illustrated by Edward Ardizzone

1961 The Otterbury Incident  illustrated by Edward Ardizzone

1961 The Street Musician illustrated by Richard Kennedy

1962 Tell Me a Story  illustrated by Judith Bledsoe

1963 Children on the Oregon Trail cover by Elizabeth Grant

1963 Stig of the Dump illustrated by Edward Ardizzone

1963 The Cricket in Times Square illustrated by Garth Williams

1963 Worzel Gummidge

1964 A Dog So Small illustrated by Anthony Maitland

1964 Little House on the Prairie

1964 The Bookshop on the Quay illustrated by Peggy Fortnum

1964 The Bookshop on the Quay  illustrated by Peggy Fortnum

1964 The Children Who Stayed Behind cover by Walter C. Hodges

1964 The Children Who Stayed Behind  cover by Walter C. Hodges

1964 The Children's Crusade

1964 The Magician's Nephew illustrated by Pauline Baynes

1964 The Rescuers

1965 Prince Caspian illustrated by Pauline Baynes

1965 The Voyage of the Dawn Treader illustrated by Pauline Baynes

1965 The Young Detectives

1966 Five Children and It illustrated by H.R. Miller

1966 The Land of Green Ginger illustrated by Edward Ardizzone

1968 Peter Duck

1968 The Long Winter

1969 Coot Club

1969 Secret Water

1970 Secret Laughter illustrated by Margery Gill

1970 The Adventures of Tom Sawyer

1970 The Borrowers Afloat

1970 The Borrowers Aloft

1976 The Story of the Amulet

1977 Tarka the Otter

The Phoenix and the Carpet ( I do not have a date for this )

The Secret Garden ( I do not have a date for this )

Treasure Island ( I do not have a date for this )

John Everett Millais - part 1

June 14, 2017, 7:09 am

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1847 Self-Portrait oil on board 27.3 x 22.2 cm Walker Art Gallery, Liverpool, UK

Sir John Everett Millais was born in Southampton, the son of John William Millais, a wealthy gentleman from an old Jersey family. His mother's family were prosperous saddlers. Considered a child prodigy, he came to London in 1838. He was sent to Sass's Art School, and won a silver medal at the Society of Arts at the age of nine. In 1840 he was admitted to the Royal Academy Schools as their youngest ever student, winning a silver medal in 1843 for drawing from the antique, and a gold medal in 1847 for his painting "THe Tribe of Benjamin Seizing the daughters of Shiloh." He first exhibited at the Royal Academy in 1846, with "Pizarro Seizing the Inca of Peru."

1846 Pizarro Seizing the Inca of Peru oil on canvas 128.3 x 171.7 cm Victoria and Albert Museum, London

At the Royal Academy he became friendly with fellow student William Holman Hunt, and contributed with Hunt and Dante Gabriel Rossetti to the Cyclographic Society. In 1848 the three helped form the Pre-Raphaelite Brotherhood. His first Pre-Raphaelite painting was “Isabella” aka “Lorenzo and Isabella” (1848-9, Walker Art Gallery, Liverpool), which he exhibited at the Royal Academy in 1849. His entry for the following year, “Christ in the House of His Parents” (“The Carpenter's Shop”) was received unfavourably.

1848-49 Lorenzo and Isabella oil on canvas 103 x 142.8 cm © National Museums, Liverpool, UK

In 1855 he married Effie Chalmers, Ruskin's former wife, with whom he had fallen in love while he was holidaying with the Ruskins in Scotland. The couple settled in Perth, where he painted "Autumn Leaves." 

1856 Autumn Leaves oil on canvas 104.3 x 74 cm Manchester Art Gallery, UK

Between 1855 and 1864 Millais made illustrations for numerous publications, including the Moxon edition of Tennyson's poems (1857), the magazine "Once a Week" (1859 onwards) and several novels by Trollope. He moved back to London in 1861, where he achieved popular success as a painter of child subjects such as "Bubbles" (1886, A. & F. Pears Ltd.), which became famous as an advertisement for Pears soap. Also popular were his paintings of beautiful young women, such as "Stella" (1868, Manchester City Art Gallery). He built up a practice as a portrait artist from the early 1870s, his sitters including Thomas Carlyle (1877), Lillie Langtry (1878), Gladstone (1879 and 1885), Disraeli (1881) and Tennyson (1881).

1886 Bubbles oil on canvas Lady Lever Art Gallery, Wirral, UK

Millais was made an Associate of the Royal Academy in 1853, and a full member in 1863. In 1885 he was created a baronet and in 1896 was elected President of the Royal Academy, but died shortly thereafter in London. He is buried in St Paul's Cathedral.

biography from Tate, London

1838-39 Three Sword Hilts oil on canvas Birmingham Museums and Art Gallery, UK

1840-41c The Wrestlers watercolour on paper 36.2 x 54 cm Tate, London

1841-42c Othello and Desdemona oil on panel 33 x 22.5 cm National Trust, Wightwick Manor, Woverhampton, UK

1842c Study of a Pottery Jug watercolour over graphite on wove paper 9.2 x 14.9 cm National Gallery of Art, Washington, DC

1843 Aeneas Shown the Body of Pallas from Virgil's "Aeneid" pen and black ink 36.1 x 48.7 cm The Cleveland Museum of Art, Ohio

1843 Hurdy Gurdy Boy oil on canvas 61 x 51 cm Wednesbury Museum and Art Gallery, UK

1843 Pope Gregory and the Slaves from Britain 20.7 x 30.6 cm © The Samuel Courtauld Trust, The Courtauld Gallery, London

1843 Study for Elgiva Seized by Order of Archbishop Odo pen and ink on paper 20.4 x 30.3 cm © Birmingham Museums and Art Gallery, UK

1843-47 Elgiva seized by order of Archbishop Odo oil sketch for painting © Birmingham Museums and Art Gallery, UK

1843c A Spanish Gentleman ( after John Jackson’s ‘Shylock’ ) oil on canvas 53.3 x 43.2 cm Tate, London

1846 Original Historical Painting oil on board 30 x 40.5 cm Royal Society of Arts, London

1847 Master Currie graphite on paper 20.3 x 15.2 cm Tate, London

1847 Miss Currie graphite on paper 20.3 x 15.2 cm  Tate, London

1847 Mrs Currie graphite on paper 20.3 x 15.2 cm Tate, London

1847 The Tribe of Benjamin Seizing the Daughters of Shiloh

1847-48 Cymon and Iphigenia oil on canvas 114.3 x 147.3 cm Lady Lever Art Gallery, Wirral, UK

1847-48 Cymon and Iphigenia study

1847c Infancy oil  on canvas 38.6 x 129.5 cm  Leeds Art Gallery, UK

1847c Manhood oil on canvas 38.6 x 129.5 cm Tate, London

1847c Music oil  on canvas 38.6 x 129.5 cm Leeds Art Gallery, UK

1847c Old Age oil on canvas 38.6 x 129.5 cm Leeds Art Gallery, UK

1847c The Artist Attending the Mourning of a Young Girl oil on panel 18.7 x 25.7 cm  Tate, London

1847c The Conjuror  oil on canvas 35.2 x 45.5 cm Norfolk Museums Service, UK

1848 My Beautiful Lady pen and ink Birmingham Museums and Art Gallery, UK

1848 Serjeant Ralph Thomas oil on panel 40.7 x 30.3 cm Tate, London

1848 Study for Lorenzo and Isabella indian ink on paper 23.6 x 31.4 cm The Fitzwilliam Museum, Cambridge, UK

1848c Study for Lorenzo and Isabella graphite on paper 22.5 x 31 cm The British Museum, London

1848c Landscape, Hampstead oil on panel 23.1 x 33.6 cm Sudley House, Liverpool

1848c The Death of Romeo and Juliet oil on millboard 16.1 x 26.9 cm  Manchester Art Gallery, UK

1849 A Maid Offering a Basket of Fruit to a Cavalier oil on panel 15.2 x 11.4 cm Tate, London

1849 Charles I and his Son in the Studio of Van Dyck oil on panel 15.9 x 11.4 cm Tate, London

1849 Ferdinand Lured By Ariel study graphite on medium, slightly textured, cream wove paper 17.5 x 13 cm Yale Centre for British Art, New Haven, CT

1849-50 Ferdinand Lured By Ariel oil on panel 64.8 x 50.8 cm Private Collection

1849c Ferdinand Lured by Ariel oil on board 14.6 x 10.9 cm Sudley House, Liverpool, UK

1849 James Wyatt and His Granddaughter Mary oil on panel Private Collection

1849 The Disentombment of Queen Matilda ink on paper 22.9 x 42.9 cm Tate, London

1849 The Woodman's Daughter study pen and gray ink, pen and black ink, grey wash, graphite and scraping on moderately thick, slightly textured, beige wove paper 17.8 x 12.7 cm Yale Centre for British Art, New Haven, CT

John Everett Millais - part 2

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1852 Sir John Everett Millais, 1st Bt by Charles Robert Leslie oil on panel 30.6 x 25.2 cm © National Portrait Gallery

John Everett Millais was  an English painter and book illustrator (1829 - 1896). A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Holman Hunt, he founded the Pre-Raphaelite Brotherhood and had his share of the abuse heaped against the members until Ruskin stepped in as their champion.

For full biographical notes, and for earlier works, see part 1.

This is part 2 of a 10-part post on the works of Millais:

1849-50 Christ in the House of His Parents ( ‘The Carpenter’s Shop’ ) oil on canvas 86.4 x 139.7 cm Tate, London

1849c Study for "Christ in the House of His Parents"  graphite on paper 19 x 28.9 cm Tate, London

1849c Study for ‘Christ in the House of His Parents’ graphite on paper 19 x 33.7 cm Tate, London

1850 A Baron Numbering his Vassals graphite, ink and watercolour on paper 29.2 x 40.6 cm Tate, London

1850 Mariana in the Moated Grange ( study for "Mariana" ) pen and ink on paper 35 x 20 cm © Victoria and Albert Museum, London

1851 Mariana oil on mahogany panel 59.7 x 49.5 cm Tate, London

1850 Thomas Combe oil on panel 33 x 27 cm The Ashmolean Museum of Art and Archaeology, Oxford, UK

1850 Wilkie Collins  oil on panel 26.7 x 17.8 cm National Portrait Gallery, London

1850-51 Touching Up Morning at the Royal Academy in 1850 pen and brown ink on paper 21.1 x 18 cm The British Museum, London

1850 The Eve of St. Agnes oil on board 184.1 x 171.5 cm Tate, London

1862-63 Study for "The Eve of St. Agnes" graphite on paper 14 x 9.4 cm The British Museum, London

1863 The Eve of St. Agnes watercolour 20.8 x 27.5 cm Victoria and Albert Museum, London

1850-69c Mamie Dickens oil on canvas 45 x 35 cm Charles Dickens Museum, London

1850c Mrs James Wyatt Jr and her Daughter Sarah oil on mahogany panel 35.3 x 45.7 cm Tate, London

1851 Emily Augusta Patmore oil on canvas 19.7 x 20.3 cm The Fitzwilliam Museum, Cambridge, UK

1851 The Bridesmaid oil on panel 27.9 x 20.3 cm  The Fitzwilliam Museum, Cambridge, UK

1851 The Return of the Dove to the Ark oil on canvas 88.2 x 54.9 cm The Ashmolean Museum of Art and Archaeology, Oxford

1851 The Return of the Dove to the Ark oil on canvas 76.2 x 50.8 cm The Hugh Lane Gallery, Dublin

1851 The Woodman's Daughter oil on canvas 89 x 65 cm Guildhall Art Gallery, London

1851-52 Ophelia oil on canvas 76.2 x 111.8 cm Tate, London

1851-52 Ophelia detail

1851-52 Ophelia study graphite on paper 23.2 x 30.7 cm Birmingham Museums and Art Gallery, UK

1866 Ophelia after Millais mezzotint, etching and stipple on chine collé 52.5 x 86.3 cm ( image ) The Metropolitan Museum of Art, New York

1852 A Huguenot, on St. Bartholomew's Day, Refusing to Shield Himself from Danger by Wearing the Roman Catholic Badge

1852 Portrait of Ann Lynn watercolour 22 x 19.2 cm The British Museum, London

1852 Portrait of Fanny Lynn watercolour on paper 21.5 x 18.8 cm The British Museum, London

1852-53 The Order of Release 1746 oil on canvas 102.9 x 73.7 cm  Tate, London

1853 Awful Protection Against Midges pen and brown ink on medium, smooth, laid paper 16.5 x 11.1 cm Yale Centre for British Art, New Haven, CT

1853 Design for a Gothic Arch with the Artist and Effie Ruskin Embracing graphite, with touches of pen and brown ink on ivory paper 23.2 x 11.5 cm Art Institute of Chicago, IL

1853 Design for Stained Glass Window 18 x 18 cm © The Samuel Courtauld Trust, The Courtauld Gallery, London

1853 Design for Stained Glass Window

1853 Effie with Foxgloves in Her Hair ( Euphemia 'Effie' Chalmers Gray, 1828–1898, Mrs John Ruskin ) oil on millboard 22.5 x 20.5 cm National Trust, Wightwick Manor, Wolverhampton, UK

1853 Kirk ink and watercolour on paper 19 x 22.9 cm Tate, London

1853 Sporting Gent and Highland Boy pen and brown ink on paper 18 x 11.1 cm The British Museum, London

1853 The Proscribed Royalist oil on canvas 102.8 x 73.6 cm Private Collection

1853 William Holman Hunt graphite and some wash 23.5 x 18.9 cm National Portrait Gallery, London

1853-54 John Ruskin oil on canvas 79 x 68 cm Private Collection

1854 Annie Miller oil on panel 22.7 x 14.9 cm Private Collection

1854 St. Agnes' Eve pen and sepia ink and green wash 24.8 x 21 cm  Private Collection

1854 The Violet's Message oil on panel 25.4 x 19.7 cm

1854 Waiting oil on panel 34 x 25 cm © Birmingham Museums and Art Gallery, UK

John Everett Millais - part 3

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1853 Sir John Everett Millais Self-Portrait

John Everett Millais was  an English painter and book illustrator (1829 - 1896). A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Holman Hunt, he founded the Pre-Raphaelite Brotherhood and had his share of the abuse heaped against the members until Ruskin stepped in as their champion.

For full biographical notes see part 1, and for earlier works, see parts 1 and 2 also.

This is part 3 of a 10-part post on the works of Millais:


1853-54 Modern Life:

1853 Accepted pen and brown ink 25.1 x 17.5 cm Yale Centre for British Art, New Haven, CT

1853 Married for Love pen and black and brown ink 24.7 x 17.5 cm The British Museum, London

1853 Married for Rank graphite, pen and black and brown ink on paper 24.1 x 17.1 cm The British Museum, London

1853 Rejected pen and brown ink on medium, slightly textured, cream wove paper 25.1 x 17.5 cm Yale Centre for British Art, New Haven, CT

1853 The Blind Man pen and brown ink and graphite on moderately thick, slightly textured, cream wove paper 25.4 x 35.6 cm Yale Centre for British Art, New Haven, CT

1853 The Ghost at the Wedding Ceremony pencil, pen and ink on paper 50 x 45 cm ( framed ) © Victoria and Albert Museum, London

1853 The Race Meeting pen and black ink on off-white paper  Ashmolean Museum of Art and Archaeology, Oxford, UK

1853 Virtue and Vice pen and ink Private Collection

1853c The Dying Man pen and brown ink and brown wash on medium, slightly textured, cream wove paper 20 x 24.4 cm Yale Centre for British Art, New Haven, CT

1854 Retribution pen and brown ink on paper 21.4 x 27.5 cm The British Museum

*          *          *          *          *

1854 William Monteith watercolour and whitening over graphite on paper 25.7 x 21.9 cm The Fitzwilliam Museum, Cambridge, UK

1854-55 L'Enfant du Regiment ( The Random Shot ) oil on paper laid down on canvas, mounted on board 45.1 x 61 cm Yale Centre for British Art, New Haven, CT

1854-55 Study for "The Blind Girl" graphite on paper 18.7 x 9.2 cm Tate, London

1854-55 The Blind Girl oil on canvas © Birmingham Museums and Art Gallery, UK

1855 The Rescue oil on canvas 121.5 x 83.6 cm National Gallery of Victoria, Melbourne

1855c The Rescue study 16.6 x 12.6 cm © The Samuel Courtauld Trust, The Courtauld Gallery, London

1855c The Rescue study 25.4 x 25.3 cm © The Samuel Courtauld Trust, The Courtauld Gallery, London

1855c Wandering Thoughts oil on canvas 35.2 x 24.9 cm Manchester Art Gallery, UK

1856 Autumn Leaves oil on canvas 104.3 x 74 cm Manchester Art Gallery, UK

1856 Peace Concluded oil on canvas 91.4 x 116.8 cm Minneapolis Institute of Art

1856 Study for Peace Concluded graphite 2.8 x 17.8 cm The British Museum, London

1856 Study for Peace Concluded graphite 16.3 x 22.6 cm  The British Museum, London

1856-57 News from Home oil on panel 35.5 x 25 cm The Walters Art Museum, Baltimore, MD

1857 A Dream of the Past: Sir Isumbras at the Ford oil on canvas 125.5 x 171.5 cm  Lady Lever Art Gallery, Wirral, UK

before 1857 Drawing of Cleopatra. Illustration to "A Dream of Fair Women," for the edition of Tennyson's Poems, published by Edward Moxon, 1857 pen and ink 9.5 x 8.3 cm © Victoria and Albert Museum, London

1857 Escape of the Heretic oil on canvas 25.5 x 19 cm

1857 Study for the Head of the Rescuing Lover in Escape of the Heretic graphite and red chalk, on cream wove paper laid down on ivory 25.3 x 19.1 cm Art Institute of Chicago, IL

1857 Portrait of a Girl ( Sophia "Sophy" Gray ) oil on paper laid down on panel J Paul Getty Museum of Art, Los Angeles, CA

1857 The Young Mother plate 29 from the Etchings for the Art-Union of London folio, published by the Etching Club, London etching on chine collé 20.6 x 16 cm ( plate ) National Gallery of Victoria, Melbourne

1857-58 Only a Lock of Hair oil on panel 35.3 x 25 cm Manchester Art Gallery, UK

1857-58 The Departure of the Crusaders oil on canvas 51.5 x 64 cm Gallery Oldham, UK

1857c A Woman Bowed in Grief pen and brown ink and graphite on medium, slightly textured, cream wove paper 9.8 x 9.8 cm Yale Centre for British Art, New Haven, CT

1858 Bridge of Sighs etching on ivory chine, laid down on ivory wove paper 17.6 x 12.5 cm ( plate ) Art Institute of Chicago, IL

1858 Portrait of Alice Gray oil on canvas 30.5 x 20.3 cm Getty Centre, Los Angeles, CA

1858 The Proscribed Royalist ( 1953 painting - see part 2 ) mixed method engraving on chine collé 75.9 x 53.7 cm ( plate ) The Metropolitan Museum of Art, New York

1858-59 The Vale of Rest oil on canvas 102.9 x 172.7 cm Tate, London

1859 La Fille Bien Gardée wood engraving by Joseph Swain after Millais for "Once a Week" October 1859 The Fitzwilliam Museum, Cambridge, UK

1859 On the Water wood engraving by Dalziel family after Millais for "Once a Week" July 1859 The Fitzwilliam Museum, Cambridge, UK

1859 Spring ( Apple Blossoms ) oil on canvas 113 x 176.3 cm Lady Lever Art Gallery, Wirral, UK

1859 The Crown of Love wood engraving Joseph Swain after Millais for "Once a Week" December 1859 The Fitzwilliam Museum, Cambridge, UK

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John Everett Millais - part 4

June 22, 2017, 5:55 am

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1860s Sir John Everett Millais albumen silver print 10.2 x 6.3 cm The Metropolitan Museum of Art, New York

John Everett Millais was  an English painter and book illustrator (1829 - 1896). A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Holman Hunt, he founded the Pre-Raphaelite Brotherhood and had his share of the abuse heaped against the members until Ruskin stepped in as their champion.

For full biographical notes see part1, and for earlier works, see parts 1 - 3 also.

This is part 4 of a 10-part post on the works of Millais:


1857-64 Parables of Our Lord:

1857 Study for The Good Samaritan graphite with pen and brown ink on paper 15.2 x 8.8 cm The British Museum, London

after 1857 The Good Samaritan watercolour and gouache on off-white wove paper 14.5 x 10.7 cm Harvard Art Museums / Fogg Museum, MA © President and Fellows of Harvard College

1857 Study for 'The Good Samaritan' pen and brown ink on paper 5.7 x 5.3 cm The British Museum, London

1863 The Good Samaritan wood engraving by Dalziel family after Millais for The Parables of Our Lord ( Good Words ) The Fitzwilliam Museum, Cambridge, UK

1863 The Parable of the Virgins wood engraving by Dalziel family after Millais illustration to The Parables of Our Lord ( Good Words ) The Fitzwilliam Museum, Cambridge, UK

1863 The Prodigal Son wood engraving by Dalziel family after Millais illustration to The Parables of Our Lord ( Good Words ) The Fitzwilliam Museum, Cambridge, UK

before 1864 The Foolish Virgins watercolour and gouache on off-white wove paper 14.1 x 10.6 cm Harvard Art Museums / Fogg Museum, MA © President and Fellows of Harvard College

1864 The Foolish Virgins wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image ) The Metropolitan Museum of Art, New York

1864 The Good Shepherd wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image ) The Metropolitan Museum of Art, New York

1864 The Hidden Treasure wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image ) The Metropolitan Museum of Art, New York

1864 The Importunate Friend wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image ) The Metropolitan Museum of Art, New York

1864 before The Labourers in the Vineyard watercolour and gouache on off-white wove paper 14.1 x 10.7 cm Harvard Art Museums / Fogg Museum, MA © President and Fellows of Harvard College

1864 The Labourers in the Vineyard wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image ) The Metropolitan Museum of Art, New York

1864 before The Lost Piece of Silver watercolour and gouache on off-white wove paper 14.6 x 10.4 cm Harvard Art Museums / Fogg Museum, MA © President and Fellows of Harvard College

1864 The Lost Piece of Silver wood engraving by Dalziel Brothers 13.9 x 10.9 cm ( image ) The Metropolitan Museum of Art, New York

1864 The Lost Sheep wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image ) The Metropolitan Museum of Art, New York

1864 The Marriage Feast wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image ) The Metropolitan Museum of Art, New York

1864 The Parable of the ( Ten ) Virgins wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image ) The Metropolitan Museum of Art, New York

1864 The Parable of the Leaven wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image ) The Metropolitan Museum of Art, New York

1865 The Parable of the Tares oil on canvas 111.8 x 86 cm © Birmingham Museums and Art Gallery, UK

1864 The Parable of the Tares wood engraving on paper 14 x 10.8 cm Tate, London

1860c The Pearl of Great Price pen and grey ink, touched with watercolour on paper 15.8 x 11.9 cm The British Museum, London

1864 The Pearl of Great Price wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image ) The Metropolitan Museum of Art, New York

1864 The Pharisee and the Publican wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 ( image ) The Metropolitan Museum of Art, New York

before 1864 The Rich Man and Lazarus watercolour and gouache on off-white wove paper 14.1 x 11 cm Harvard Art Museums / Fogg Museum, MA © President and Fellows of Harvard College

1864 The Rich Man and Lazarus wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image ) The Metropolitan Museum of Art, New York

1864 The Sower  wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image ) The Metropolitan Museum of Art, New York

before 1864 The Unjust Judge watercolour and gouache on off-white wove paper 14.4 x 11 cm Harvard Art Museums / Fogg Museum, MA  © President and Fellows of Harvard College

1864 The Unjust Judge and the Importunate Widow wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image ) The Metropolitan Museum of Art, New York

1864 The Unmerciful Servant wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image )  The Metropolitan Museum of Art, New York

1864 The Wicked Husbandman wood engraving by Dalziel Brothers after Millais 13.9 x 10.9 cm ( image ) The Metropolitan Museum of Art, New York

*          *          *          *          *

1859c A Lady Seated with a Dog by her Side watercolour with touches of black chalk on off-white wove paper 12.2 x 9.7 cm Harvard Art Museums/ Fogg Museum, MA  © President and Fellows of Harvard College

1860 A Head of Hair for Sale wood engraving by Joseph Swain after Millais for Once a Week November 1860  The Fitzwilliam Museum, Cambridge, UK

1860 Dark Gordon's Bride wood engraving by Joseph Sain after Millais for Once a Week August 1860 The Fitzwilliam Museum, Cambridge, UK

1860 Happy Springtime etching on paper 25 x 17.7 cm ( plate ) Yale Centre for British Art, New Haven, CT

1860 Last Words wood engraving by Dalziel family after Millais Cornhill Magazine November 1860

1860 Lord Lufton and Lucy Robarts wood engraving by Dalziel family for Trollope's "Framley Parsonage" in Cornhill Magazine April 1860 The Fitzwilliam Museum, Cambridge, UK

1860 Musa wood engraving by Dalziel family after Millais for Once a Week June 1860 The Fitzwilliam Museum, Cambridge, UK

1860 The Huguenot watercolour and gouache on off-white wove paper 29.9 x 24.6 cm Harvard Art Museums / Fogg Museum, MA  © President and Fellows of Harvard College

1860-62 The Ransom oil on canvas 129.5 x 114.4 cm The J. Paul Getty Museum, Los Angeles, CA

John Everett Millais - part 5

June 26, 2017, 5:22 am

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1860s Sir John Everett Millais albumen silver print The Metropolitan Museum of Art, New York

John Everett Millais was  an English painter and book illustrator (1829 - 1896). A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Holman Hunt, he founded the Pre-Raphaelite Brotherhood and had his share of the abuse heaped against the members until Ruskin stepped in as their champion.

For full biographical notes see part1, and for earlier works, see parts 1 - 4 also.

This is part 5 of a 10-part post on the works of Millais:

1860 The Black Brunswicker oil on canvas 104 x 68.5 cm  Lady Lever Art Gallery, Port Sunlight, Merseyside, UK

1860c Study for The Black Brunswicker graphite on paper 8.6 x 6.4 cm x 11.7 cm Tate, London

1860c Study for The Black Brunswicker graphite on paper 19.9 x 11.7 cm  Tate, London

1860c Study for The Black Brunswicker graphite on paper 8.6 x 6.4 cm x 11.7 cm Tate, London

1863 or 1867 The Black Brunswicker watercolour heightened with white 15.6 x 9.9 cm The British Museum, London

1860c The Ransom watercolour and white gouache on cream card 21.6 x 19.5 cm Harvard Art Museums / Fogg Museum, MA © President and Fellows of Harvard College

1861 Framley Parsonage; 6 illustrations by Millais:

1860-61 Lord Lufton and Lucy Robarts illustration to Framley Parsonage by Anthony Trollope

1860-61 "Was it not a lie?" illustration to Framley Parsonage by Anthony Trollope

1860-61 The Vrawley Family  illustration to Framley Parsonage by Anthony Trollope

1860-61 Lady Lufton and the Duke of Omnium illustration to Framley Parsonage by Anthony Trollope

1860-61 Mrs Gresham and Miss Dunstable illustration to Framley Parsonage by Anthony Trollope

1861 Mrs Gresham and Miss Dunstable Trollope's 'Framley Parsonage' in The Cornhill Magazine wood engraving by Dalziel family after Millais The Fitzwilliam Museum, Cambridge, UK

1860-61 "Mark," she said, "the men are here." illustration to Framley Parsonage by Anthony Trollope

*          *          *          *          *

1861 Iphis and Anaxarete wood engraving by Joseph Swain after Millais for Once a Week The Fitzwilliam Museum, Cambridge, Uk

1861 Summer Indolence ink on paper 16 x 11.1 cm © The Samuel Courtauld Trust, The Courtauld Gallery, London

1861 Summer Indolence etching 17.6 x 25.3 cm ( plate ) Philadelphia Museum od Art, PA

1861 Swing Song Once a Week wood engraving by Joseph Swain after Millais The Fitzwilliam Museum, Cambridge, UK

1861 Tannhaüser wood engraving by Joseph Swain after Millais for "Once a Week" August 1861 The Fitzwilliam Museum, Cambridge, UK

1861 The Temptation wood engraving by Dalziel family after Millais for The Cornhill Magazine February 1861 The Fitzwilliam Museum, Cambridge, UK

1861-62c Orley Farm:

1861-62c "Why Should I Not?" wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm The Fitzwilliam Museum, Cambridge, UK

1861-62c Bread Sauce is so Ticklish wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm The Fitzwilliam Museum, Cambridge, UK

1861-62c Farewell! wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm The Fitzwilliam Museum, Cambridge, UK

1861-62c Felix Graham in Trouble wood engraving by Dalziel family after Millais illustration to Anthony Trollope's Orley Farm The Fitzwilliam Museum, Cambridge, UK

1861-62c Guilty engraving by Dalziel Brothers after Millais illustration for Anthony Trollope's Orley Farm 17.1 x 10.8 cm © Victoria and Albert Museum, London

1861-62c John Kenneby and Miriam Dockwrath wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm  The Fitzwilliam Museum, Cambridge, UK

1861-62c Lady Mason Going Before the Magistrates wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm  The Fitzwilliam Museum, Cambridge, UK

1861-62c Lady Mason Leaving the Court  wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm  The Fitzwilliam Museum, Cambridge, UK

1861-62c Moncton Grange wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm  The Fitzwilliam Museum, Cambridge, UK

1861-62c Mr Chaffanbrass and Mr Solomon Aram wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm  The Fitzwilliam Museum, Cambridge, UK

1861-62c Mr Furnival's Welcome Home wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm  The Fitzwilliam Museum, Cambridge, UK

1861-62c Never is a Very Long Word wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm  The Fitzwilliam Museum, Cambridge, UK

1861-62c Orley Farm wood engraving by Dalziel family after Millais illustration to  Anthony Trollope's Orley Farm The Fitzwilliam Museum, Cambridge, UK

1861-62c Over Their Wine wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm  The Fitzwilliam Museum, Cambridge, UK

1861-62c Sir Peregrine and His Heir wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm  The Fitzwilliam Museum, Cambridge, UK

1861-62c Sir Peregrine at Mr Round's Office wood engraving by Dalziel family after Millais illustration to Anthony Trollope's Orley Farm The Fitzwilliam Museum, Cambridge, UK

1861-62c Sir Peregrine Orme's Great Love wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm  The Fitzwilliam Museum, Cambridge, UK

1861-62c The Angel of Light wood engraving by Dalziel family after Millais illustration to Anthony Trollope's Orley Farm The Fitzwilliam Museum, Cambridge, UK

1861-62c The Court wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm  The Fitzwilliam Museum, Cambridge, UK

1861-62c The Drawing-Room wood engraving by Dalziel family after Millais illustration to Anthony Trollope's Orley Farm The Fitzwilliam Museum, Cambridge, UK

1861-62c Van Bauhr's Drean wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm The Fitzwilliam Museum, Cambridge, UK

John Everett Millais - part 6

June 28, 2017, 6:01 am

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1862 Sir John Everett Millais as Dante albumen print by David Wilkie Wynfield

John Everett Millais was  an English painter and book illustrator (1829 - 1896). A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Holman Hunt, he founded the Pre-Raphaelite Brotherhood and had his share of the abuse heaped against the members until Ruskin stepped in as their champion.

For full biographical notes see part1, and for earlier works, see parts 1 - 5 also.

This is part 6 of a 10-part post on the works of Millais:

1862 Anna Receives Instruction ( Sister Anna's Probation ) wood engraving by Joseph Swain after Millais from Once a Week The Fitzwilliam Museum, Cambridge, UK

1862 ( attributed to ) Study of a Girl graphite and white gouache on moderately thick, slightly textured, brown wove paper 191 x 13.7 cm Yale Centre for British Art, New Haven, CT

before 1862 Illustration to "The Border Witch" published 1862 engraving by Dalziel Brothers after Millais

1862 Maid Avoraine wood engraving by Joseph Swain after Millais for "Once a Week" July 1862 The Fitzwilliam Museum, Cambridge, UK

1862 Mistress and Maid wood engraving by Dalziel family after Millais from "Good Words" January 1862 frontispiece The Fitzwilliam Museum, Cambridge, UK

1862 Olaf the Sinner and Olaf the Saint from "Good Words" wood engraving by Dalziel family after Millais from Good Words The Fitzwilliam Museum, Cambridge, UK

1862 Polly in Reverie ( The Anglers of the Dove ) wood engraving by Joseph Swain after Millais from Once a Week The Fitzwilliam Museum, Cambridge, UK

1862 The Battle of the Thirty wood engraving by Joseph Swain after Millais for Once a Week February 1862 The Fitzwilliam Museum, Cambridge, UK

1862 The Drowning of Kaer-is - I'll win the Key from my Father's Side wood engraving on paper 11.9 x 13.3 cm © Birmingham Museums and Art Gallery, UK

1862 The Parting of Ulysses wood engraving by Joseph Swain after Millais for Once a Week December 1862 The Fitzwilliam Museum, Cambridge, UK

1862c Love pen and ink and watercolour wash 13.3 x 10.7 cm © Victoria and Albert Museum, London

1862c The Parting Ulysses 11.8 x 10.3 cm © The Samuel Courtauld Trust, The Courtauld Gallery, London

1863 Endymion on Latmos wood engraving by Joseph Swain after Millais for Once a Week January 1863 The Fitzwilliam Museum, Cambridge, UK

1863 Hacho, the Dane: or The Bishop's Ransom wood engraving by Joseph Swain  after Millais for Once a Week October 1863 The Fitzwilliam Museum, Cambridge, UK

1863 My First Sermon oil on canvas 92 x 77 cm Guildhall Art Gallery, London

1863 The Baby House etching on cream chine, laid down on ivory wove paper 14.5 x 18.4 cm ( image ) Art Institute of Chicago, IL

1863 The Eve of St Agnes watercolour on paper 20.8 x 27.5 cm © Victoria and Albert Museum, London

1863 The Eve of St Agnes oil on canvas 117.8 x 154.3 cm

1863 Two Men Seated by the Fireside wood engraving by Joseph Swain after Millais for Once a Week October 1863 The Fitzwilliam Museum, Cambridge, UK

1864 Charlie is my Darling oil on panel 42.5 x 26 cm Private Collection

1864 Leisure Hours oil on canvas 88.9 x 118.1 cm Detroit Institute of Arts, MI

1864 Little Red Riding Hood oil on panel 35.5 x 25 cm Private Collection

1864 Macleid of Dare wood engraving by Joseph Swain after Millais from Good Words The Fitzwilliam Museum, Cambridge, Uk

1864 My Second Sermon oil on canvas 97 x 72 cm Guildhall Art Gallery, London

1864 My Second Sermon oil on wood 27.3 x 21 cm Birmingham Museums Trust, UK

1864 My Second Sermon watercolour 40 x 25 cm © Victoria and Albert Museum, London

1864 Polly wood engraving by Joseph Swain after Millais for Good Words The Fitzwilliam Museum, Cambridge, UK

1864 Prince Albert wood engraving by Joseph Swain after Millais for Good Words The Fitzwilliam Museum, Cambridge, UK

1864 Sepia photograph of Teresa Furtado as Robin in The Lion and the Unicorn at Her Majesty's Theatre sepia photograph by Millais 9.2 x 5.6 cm © Victoria and Albert Museum, London

1864 Sepia photograph of Teresa Furtado as Robin in The Lion and the Unicorn at Her Majesty's Theatre sepia photograph by Millais 9.3 x 5.6 cm © Victoria and Albert Museum, London

1864 Swallow, Swallow oil on canvas 102 x 76 cm Private Collection

1864 The Bride of Dandelot wood engraving by Joseph Swain after Millais from Good Words The Fitzwilliam Museum, Cambridge, UK

1864 The Proscribed Royalist watercolour and white gouache on off-white wove paper 15.3 x 10.4 cm Harvard Art Museums / Fogg Museum, MA © President and Fellows of Harvard College

1864 Waiting oil on panel 32.4 x 25 cm Birmingham Museums Trust, UK

1864c Girl's Head oil on canvas laid down on panel 15.2 x 12.1 cm Walker Art Gallery, Liverpool, UK

1865 Esther oil on canvas  Private Collection

1865 Joan of Arc oil on canvas 82 x 62 cm Private Collection

1865-67 Waking oil on canvas 90.8 x 70.5 cm Perth and Kinross Council, UK

1866 Miss Davidson oil on canvas 95 x 71 cm  Private Collection

John Everett Millais - part 7

June 30, 2017, 6:24 am

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John Everett Millais was  an English painter and book illustrator (1829 - 1896). A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Holman Hunt, he founded the Pre-Raphaelite Brotherhood and had his share of the abuse heaped against the members until Ruskin stepped in as their champion.

For full biographical notes see part1, and for earlier works, see parts 1 - 6 also.

This is part 7 of a 10-part post on the works of Millais:

1866 The Minuet oil on canvas

1866 The Minuet watercolour 25.5 x 10 cm

1867 Jephthah oil on canvas 127 x 162.7 cm National Museum Wales, UK

1867c Study for Jephthah's Daughter brush drawing in brown wash, heightened with white, with graphite 25.1 x 29.7 cm The British Museum, London

1868 Sisters oil on canvas 108 x 108 cm Private Collection

1868 Taking his Ease wood engraving after Millais for Once a Week Christmas 1868 The Fitzwilliam Museum, Cambridge, UK

1868 The Souvenir of Velázquez oil on canvas 102.7 x 82.4 cm  Royal Academy of Arts, London

1868 Vanessa oil on canvas 112.7 x 91.5 cm Sudley House, Liverpool, UK

1868-69 Nina Lehmann oil on canvas

1869 Stella oil on canvas 112.7 x 92.1 cm Manchester Art Gallery, UK

1870 A Flood oil on canvas 99.3 x 144.9 cm Manchester Art Gallery, UK

1870 A Widow's Mite oil on canvas 131.5 x 92.4 cm Birmingham Museums Trust, UK

1870 Chill October oil on canvas 141 x 186.7 cm Private Collection

1870 Rosalind in the Forest oil on board 22.6 x 32.7 cm  Walker Art Gallery, Liverpool, UK

1870 The Boyhood of Raleigh oil on canvas 120.6 x 142.2 cm Tate, London

1870 The Knight Errant oil on canvas 220 x 170.8 cm  Tate, London

1870 The Marquess of Granby oil on canvas 35.5 x 29.5 cm Southwark Art Collection, London

1871 Flowing to the Sea  oil on canvas 143 x 188 cm Southampton City Art Gallery, UK

1871 The Martyr of the Solway oil on canvas 70.5 x 56.5 cm  Walker Art Gallery, Liverpool, UK

1871 The Somnambulist oil on canvas 154 x 91 cm Delaware Art Museum, Wilmington, DE

1871 Victory O Lord oil on canvas 194.7 x 141.3 cm Manchester Art Gallery, UK

1871 Yes or No oil on canvas Yale University Art Gallery, New Haven, CT

1872 Going to the Park etching on cream chine, laid down on ivory wove paper ( chine collé ) 18.5 x 13.1 cm ( plate )

1872 Hearts are Trumps oil on canvas 165.7 x 219.7 cm Tate, London

1873 Effie Millais, née Gray oil on canvas 99.6 x 84.1 cm Perth and Kinross Council, UK

1873 Mrs Bischoffsheim  oil on canvas 136.4 x 91.8 cm Tate, London

1873 Winter Fuel oil on canvas 194.5 x 149.5 cm Manchester Art Gallery, UK

1874 ( attributed to ) Reflection oil on canvas 28 x 22 cm Calderdale Metropolitan Borough Council, UK

1874 Day Dreams ( Effie Millais, the artist's daughter ) oil on canvas 89.1 x 69 cm The Dick Institute, Kilmarnock, UK

1874 Miss Eveleen Tennant oil on canvas 107.9 x 80 cm Tate, London

1874 Picture of Health, Alice, the Artist's Daughter oil on canvas 110 x 90 cm Jersey Museum and Art Gallery, St Helier, UK

1874 The North-West Passage oil on canvas 176.5 x 222.2 cm Tate, London

1874 The North-West Passage study red and black pencil, wash, heightened with white 17.5 x 19.7 cm The Huntington Library Art Collections, San Marino, CA

1875 Gracia Lees oil on canvas 107 x 75 cm Private Collection

1875 James Wyatt Junior ( b.1812 ), Aged 65 oil on canvas 73.5 x 61 cm Oxford Town Hall, UK

1875 The Convalescent  oil on canvas 76,8 x 64 cm Aberdeen Art Gallery and Museums, UK

1875 The Crown of Love oil on canvas 127.6 x 86.7 cm Private Collection

1876 Edward Robert Bulwer Lytton, 1st Earl Lytton oil on canvas © Victoria and Albert Museum, London

1876 Edward Robert Bulwer Lytton

1876 Mrs Leopold Reiss oil on canvas 122 x 95 cm Manchester Art Gallery, UK

John Everett Millais - part 8

July 3, 2017, 6:46 am

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1881 Self-Portrait oil on canvas Uffizi Gallery, Florence

John Everett Millais was  an English painter and book illustrator (1829 - 1896). A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Holman Hunt, he founded the Pre-Raphaelite Brotherhood and had his share of the abuse heaped against the members until Ruskin stepped in as their champion.

For full biographical notes see part1, and for earlier works, see parts 1 - 7 also.

This is part 8 of a 10-part post on the works of Millais:

1876 The Sound of Many Waters oil on canvas 57.5 x 107.8 cm The National Trust for Scotland, Fyvie Castle, Turriff, UK

1876 The Twins, Kate and Grace Hoare oil on canvas 153.5 x 113.7 cm The Fitzwilliam Museum, Cambridge, UK

1876 The Yeoman of the Guard oil on canvas 139.7 x 111.8 cm Tate, London

1877 Anthony Ashley-Cooper ( 1801–1885 ), 7th Earl of Shaftesbury, President of the Bible Society oil on canvas 121 x 101 cm Cambridge University Library, UK

1877 Bright Eyes oil on canvas 92 x 71.5 cm Aberdeen Art Gallery and Museums, UK

1877 Effie Deans ( from "The Heart of Midlothian" by Sir Walter Scott )

1886 Effie Deans print by Thomas Oldham Barlow mezzotint with stipple and etching on chine collé 78.5 x 58 cm The British Museum, London

1877 Puss in Boots oil on canvas 106.7 x 79.3 cm Dundee Art Galleries and Museums Collection Dundee City Council, UK

1877 The Good Resolve oil on canvas 110 x 82.2 cm Walker Art Gallery, Liverpool, UK

1877 Yes oil on canvas 116.8 x 149.8 cm Private Collection

1878 A Jersey Lily ( actress Lillie Langtry ) oil on canvas 109 x 85 cm Jersey Museum and Art Gallery, St. Helier. UK

1878 Lillie Langtry

1878 The Bride of Lammermoor oil on canvas 151 x 107.3 cm  Bristol Museum and Art Gallery, UK

1878 The Bride of Lammermoor 1882 after Millais mezzotint with stipple and etching on chine collé 68.8 x 50.3 cm ( image ) The Metropolitan Museum of Art, New York

1878 The Princes in the Tower oil on canvas 147.2 x 91.4 cm Royal Holloway, University of London

1879 Cherry Ripe oil on canvas 134.5 x 89 cm

1879 Cherry Ripe chromolithograph from the newspaper "The Graphic", a Christmas gift

1788 Penelope Boothby by Sir Joshua Reynolds

1879 Louise Jane Jopling oil on canvas 124 x 76.5 cm National Portrait Gallery, London

1879 Meditation oil on canvas 91.5 x 61.4 cm  Shipley Art Gallery, Gateshead, Greater Newcastle, UK

1879 William Ewart Gladstone oil on canvas 125.7 x 91.4 cm National Portrait Gallery, London

William Ewart Gladstone

1880 James Fraser oil on canvas 128 x 93.6 cm Manchester Art Gallery, UK

James Fraser, Bishop of Manchester

1880 Kate Perugini ( daughter of Charles Dickens ) oil on canvas 125 x 80 cm Private Collection

1880 Kate Perugini ( Kate Dickens, right )

1880 Luther Holden ( 1815–1905 ), Surgeon at St Bartholomew's Hospital ( 1865–1881 ) oil on canvas 126 x 92 cm St Bartholomew’s Hospital Museum and Archive, London

1880c Luther Holden ( version 2 ) oil on canvas 124.4 x 92.7 cm The Foundling Museum, London

1880 Reverend John Caird, Principal of Glasgow University oil on canvas 127 x 92.1 cm Hunterian Art Gallery, Glasgow University, UK

1881 "Sweetest Eyes Were Ever Seen" oil on canvas 100.5 x 72 cm National Galleries of Scotland, Scottish National Gallery, Edinburgh

1881c "Sweetest Eyes Were Ever Seen"  pen and ink with bodycolour 23.5 x 17 cm

1881 Alfred Tennyson ( 1809–1892 ), 1st Baron Tennyson, FRS oil on canvas 127 x 93 cm Lady Lever Art Gallery, Wirral, UK

after 1881 Alfred Lord Tennyson after Millais engraving Harvard Art Museums/ Fogg Museum, MA © President and Fellows of Harvard College

Alfred Lord Tennyson

1881 Benjamin Disraeli, Earl of Beaconsfield oil on canvas 127.6 x 93.1 cm National Portrait Gallery, London

Benjamin Disraeli

1881 Cinderella Private Collection

1886 Cinderella afterMillais engraving by Illman Brothers

1881 John Henry Newman oil on canvas 121.3 x 95.3 cm  National Portrait Gallery, London

Cardinal John Henry Newman

1881 Sir Henry Thompson, Bt oil on canvas 125.7 x 91.4 cm Tate, London

Sir Henry Thompson, Bt