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  • 05/17/17--05:44: Albert Anker - part 4
  • 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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  • 05/19/17--05:50: Albert Anker - part 5
  • 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


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  • 05/22/17--05:17: Charles Gesmar - part 1



  • 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





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  • 05/24/17--05:30: Charles Gesmar - part 2
  • 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


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  • 05/26/17--06:06: Helen Allingham - part 1
  • 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


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  • 05/29/17--06:03: Helen Allingham - part 2
  • 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


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  • 05/31/17--05:46: Helen Allingham - part 3

  • 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


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  • 06/02/17--05:25: Helen Allingham - part 4
  • 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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  • 06/05/17--06:00: Helen Allingham - part 5


  • 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


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  • 06/07/17--05:26: Puffin Books - part 1
  • 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


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  • 06/09/17--06:15: Puffin Books - part 2
  • 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


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  • 06/12/17--08:27: Puffin Books - part 3
  • 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 )


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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


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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


    0 0

    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


    0 0

    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


    0 0

    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


    0 0

    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