Edward Ardizzone - part 7

April 17, 2018, 5:49 am

Edward Ardizzone 1954 by Howard Coster
© National Portrait Gallery, London

Edward Ardizzone is one of the most significant illustrators of the 20th century, whose wide-ranging output spanned children's books, literary classics, war illustration and much more.

Ardizzone’s lively line-and-wash drawings were based on constant observation of the world, disciplined by classical figure composition. He is best-known for his illustrated children’s books, in particular the ‘Little Tim’ series which he wrote and illustrated, starting in 1936 with Little Tim and the Brave Sea Captain, all of which are still in print today.

For more biographical notes see part 1. For earlier works by Ardizzone, see parts 1 - 6 also.

This is part 7 of 15-part series on the works of Edward Ardizzone:

1951 Masterpieces of Victorian Photography
Arts Council
for the Festival of Britain

1951 The Wreck l
ithograph no.32 for School Prints Ltd
4th "Festival of Britain" series 45.7 x 73.2 cm

1952 Altarpiece of Our Lady of Mount Carmel, Faversham, Kent, UK

1952 Indian Women and Children in Mysore
watercolour on paper 14.5 x 22.5 cm

1952 Mungo's Mansion
Radio Times illustration
pen and ink 15 x 20 cm

1952 Study of figures on a beach
pen and ink 16 x 20 cm

1952 The Blackbird in the Lilac by James Reeves

1952 The Blackbird in the Lilac by James Reeves
"Mrs Golightly" black ink 12 x 15 cm
Private Collection

1952 The Boat to Greenwich ( in Rain )
etching and aquatint 20.3 x 33 cm

1952-53 Indian Diary
( this copy published 1984 )

1952c Barrister and Clients
pen and ink and watercolour on paper
H.M. Government Art Collection, London

1953 Guinness for Strength
lithographic poster 102 x 67 cm

1953 Lilliput magazine "Home and Away" by Paul Holt
"I soon learnt to give a sharp blast on Father's whistle"
pen and ink and monochrome watercolour 7.6 x 14 cm

1953 The Cockney by Julian Franklyn
sketch in black ink 23 x 18 cm

1953 The Coronation:

1953 Members of the Royal Family Arriving at the Abbey
pencil, ink and wash on paper 40 x 51.5 cm
H.M. Government Art Collection, London

1953 The Guests Leaving the Abbey, Coronation
watercolour on paper
H.M. Government Art Collection, London

1953 Waiting at the Stands, Coronation
pen and ink and wash on paper
H.M. Government Art Collection, London

1953 Tim in Danger:

1953 Tim in Danger

1953c Old Ladies on the Green
lithograph 19.7 x 25.4 cm

1954 Guinness for strength
advertising poster

1954 Punch magazine illustration

1955 Bleak House
by Charles Dickens:

1955 Bleak House by Charles Dickens
"Caddy's Flowers"

1955 Bleak House by Charles Dickens
pen and ink 12.1 x 18.4 cm

1955 Bleak House by Charles Dickens
pen and ink12.1 x 18.4 cm

1955 Pictures on the Pavement
by G.W. Stonier:

1955 Pictures on the Pavement

1955 Pictures on the Pavement
"Lunch-time Prophet"
pen and ink 15.2 x 15.2 cm

1955 Pictures on the Pavement
"Animal Spirits"
pen and ink 15.2 x 15.2 cm

1955 Shopping in Mysore
design for a lithograph
watercolour 54.6 x 72.4 cm

1955 Shopping in Mysore
2-colour lithograph for Lyons Corner House, London 70 x 97 c

1955 The Little Bookroom by Eleanor Farjeon
Front cover

1955 The Little Bookroom

1955 The Newcomes by William Makepeace Thackery
Front Cover

1955 The Newcomes by William Makepeace Thackery
"Little Rosey sang charmingly now"

1955 The Suburban Child
by James Kenward:

1955 The Suburban Child
Front cover

1955 The Suburban Child
Title page

1955 The Suburban Child
Pavement toys

1955 The Suburban Child
At the ponds

1955 The Suburban Child
Girls, for general purposes, were white and bunchy

1955 The Suburban Child
Suburbia

1955 The Suburban Child
The motor-car of the friend of my uncle

1955 The Suburban Child
Badminton was a game of Suburbia's great days

1955 The Suburban Child
A back-garden friend

1955 The Suburban Child
The Buttercup Field

↧

Edward Ardizzone - part 8

April 18, 2018, 5:50 am

≫ Next: Edward Ardizzone - part 9

≪ Previous: Edward Ardizzone - part 7

Edward Ardizzone 1954 by Howard Coster

Edward Ardizzone is one of the most significant illustrators of the 20th century, whose wide-ranging output spanned children's books, literary classics, war illustration and much more.

For more biographical notes see part 1. For earlier works by Ardizzone, see parts 1 - 7 also.

This is part 8 of 15-part series on the works of Edward Ardizzone:

1955 The Tale of an Old Tweed Jacket
written for Moss Bros. (tailors) of Covent Garden

1955 The Tale of an Old Tweed Jacket
"In those days Moss Bros was a smaller place."

1955 Young Lovers
lithograph on cream Japanese paper 16.5 x 21.6 cm

1955c Elgin Avenue in the Snow ( Christmas Card )

1956 Hunting with Mr. Jorrocks by R.S. Surtees

1956 Pigeons and Princesses by James Reeves

1956 St. Luke's Life of Christ
Translated into modern English by J.B. Phillips

1956 St. Luke's Life of Christ

1956 Street Corner
lithograph 24 x 26 cm

1956 The Fattest Woman in the World
colour lithograph
Curwen Press for Guiness Ltd. 48 x 73.5 cm

1956 The Long Sunday by Peter Fletcher

1956 Tim All Alone:

1956 Tim All Alone

1956c News from Suez
ink and wash 23 x 30 cm

1957 Ding Dong Bell, A first book of Nursery Songs
devised by Percy Young and Edward Ardizzone

1957 Ding Dong Bell, A first book of Nursery Songs

1969 version:
Ding Dong Bell, A first book of Nursery Songs

1957 Prefabulous Animiles
by James Reeves:

1957 Prefabulous Animiles by James Reeves

1957 Sugar for the Horse by H.E. Bates
dust-wrapper

1957 The Boy Down Kitchener Street

The Wandering Moon by James Reeves

1957 The Wandering Moon by James Reeves
"Doctor Emmanuel Harrison-Hyde
pen and ink12.7 x 10.2 cm

1958 Mimff-Robinson by H.J. Kaese

1958 Pinky Pye
by Eleanor Estes:

1958 Pinky Pye

1958 The Long Sunday by Peter Fletcher

1958 Two Ladies
pencil on card 15.2 x 12.7 cm

1959 The Boat to Greenwich
from the portfolio "Wapping to Windsor"
lithograph 36.5 x 50.5 cm
Government Art Collection, London

1959 The Godstone and the Blackymor
by T.H. White:

1959 The Godstone and the Blackymor by T.H. White

1959 The Godstone and the Blackymor by T.H. White
Title page ( signed by T.H. White )

1959 The Godstone and the Blackymor
original illustration
pen and ink 14 x 16 cm

1959 The Last Stand of the Spoons
lithograph on paper 35.6 x 53 cm
Tate, London

1959 Titus in Trouble by James Reeves
and Edward Ardizzone

1959 When my Ship Comes Home
by Chris Massie

1960 Eleanor Farjeon's Book
Stories - Verses - Plays:

1960 Eleanor Farjeon's Book: Stories - Verses - Plays
front and back covers

1960 Eleanor Farjeon's Book: Stories - Verses - Plays

1960 Eleanor Farjeon's Book: Stories - Verses - Plays
"Gabble Gabble"

1960 Eleanor Farjeon's Book: Stories - Verses - Plays

1960 The Eleanor Farjeon Book

↧

Edward Ardizzone - part 9

April 20, 2018, 6:10 am

≫ Next: Edward Ardizzone - part 10

≪ Previous: Edward Ardizzone - part 8

Edward Ardizzone 1954 by Howard Coster

Edward Ardizzone is one of the most significant illustrators of the 20th century, whose wide-ranging output spanned children's books, literary classics, war illustration and much more.

For more biographical notes see part 1. For earlier works by Ardizzone, see parts 1 - 8 also.

This is part 9 of 15-part series on the works of Edward Ardizzone:

1960 Italian Peep Show
by Eleanor Farjeon:

1960 Italian Peep Show by Eleanor Farjeon

1960 Italian Peep Show"Birthday Carnival"
pen and ink 20 x 29 cm

1960 Italian Peepshow
"The King of Tripoli brings the Pasta"
pen and ink 15.2 x 19 cm

1960 Italian Peepshow
"The Her of Fear"
pen and ink 15.2 x 19 cm

1960 Italian Peepshow
"There at the door stood the merry old milkman"
pen and ink 15.9 x 21.6 cm

1960 Italian Peepshow
"We danced the dances of all countries"
pen and ink 15.9 x 18.4 cm

1960 Italian Peepshow
"When Florinda came that night to escort her to the carnival, he found her the joyous Rosaura of yesterday"
pen and ink 14.6 x 17.8 cm

1960 Italian Peepshow
The old Pantaleone came to Rosaura wreathed in smiles. "Well, my charmer," said he, "have I not gained the prize?"
pen and ink 12.7 x 16.5 cm

1960 Italian Peepshow
"What is it?" asked the King of Tripoli
pen and ink 17.1 x 19 cm

1960 Italian Peepshow
"Little BIanca threw her arms around the King's neck"
pen and ink 15.2 x 17.8 cm

1960 Italian Peepshow
"Or else she would dance in their gardens"
pen and ink 16.5 x 20.3 cm

1960 Italian Peepshow
"The Prince sat down in despair by the wall"
pen and ink 16.5 x 19 cm

1960 Johnny the Clockmaker by Edward Ardizzone

1960 Lovers by the Sea
lithograph on paper 21 x 35.2 cm
Tate, London
© The estate of Edward Ardizzone

1960 Merry England by Cyril Ray

1960 Mimff takes over by H.J. Kaeser

1960 Model and Her Reflection
lithograph on paper 25.1 x 35.9 cm
Tate, London

1960 The Penny Fiddle by Robert Graves
Front cover wrapper

1960 The Penny Fiddle by Robert Graves
Back cover wrapper

1960 The Penny Fiddle by Robert Graves

1960 The Rib of the Green Umbrella by Naomi Mitchison

1960 The Witch Family
by Eleanor Estes:

1960 The Witch Family by Eleanor Estes

1960s At the Laundrette

1960s Four Children playing by a Stream
ink and watercolour 21 x 23.5 cm

1961 Boating Pond
lithograph on paper 34 x 48.3 cm
Tate, London

1961 Down the Cellar by Nicholas Stuart Gray

1961 Not Such An Ass by Henry Cecil
cover and end-papers only

1961 Stories from the Bible
published by Faber and Faber:

Moses – the Flight from Egypt
pen and ink 15.2 x 20.3 cm

Moses Smites the Waters of the Nile
pen and ink 15.2 x 20.3 cm

Moses, Egypt Afraid
pen and ink 15.2 x 20.3 cm

Moses, the Burning Bush
pen and ink 15.2 x 20.3 cm

Moses, the Petition to Pharoah
pen and ink 15.2 x 20.3 cm

Moses, the Wilderness
pen and ink 15.2 x 20.3 cm

Samson and the Lion
pen and ink 20 x 29 cm

1961 The Adventures of Huckleberry Finn
by Mark Twain:

1961 The Adventures of Huckleberry Finn by Mark Twain

↧

Edward Ardizzone - part 10

April 23, 2018, 5:58 am

≫ Next: Edward Ardizzone - part 11

≪ Previous: Edward Ardizzone - part 9

Edward Ardizzone 1954 by Howard Coster

Edward Ardizzone is one of the most significant illustrators of the 20th century, whose wide-ranging output spanned children's books, literary classics, war illustration and much more.

For more biographical notes see part 1. For earlier works by Ardizzone, see parts 1 - 9 also.

This is part 10 of 15-part series on the works of Edward Ardizzone:

1961 The Bullies
lithograph on paper 24.4 x 35.2 cm
Tate, London

1961 The Otterbury Incident
by Cecil Day Lewis
Front cover

1961 The Otterbury Incident
by Cecil Day Lewis
Front and back covers

1961 The Penny Fiddle

1961-63 Wine List decoration
pencil, pen and ink 17.8 x 27.9 cm

1962 A Ring of Bells
poems of John Betjeman
Selected for Younger Readers by Irene Slade
Front cover

1962 Naughty Children
An Anthology compiled by Christiana Brand:

1962 Naughty Children
Front cover dust wrapper

1962 Naughty Children
Front cover of hardback

1962 Naughty Children

1962 Naughty Children
"The Rude Little Girl"

1962 Naughty Children

1962 J.M. Barrie's Peter Pan
( Unites States version )
Front cover

1962 J.M. Barrie's Peter Pan
Front cover

1962 The Singing Cupboard
by Dana Faralla:

1962 The Singing Cupboard
Front cover

1962 The Singing Cupboard

1962 Tim's Friend Towser
by Edward Ardizzone:

1962 Tim's Friend Towser
Front cover

1962 Tim's Friend Towser

1962 Tim's Friend Towser
Rough preparatory sketch for the above
ink and watercolour

1962 Tim's Friend Towser

1963 Kaleidoscope by Eleanor Farjeon
Front cover

1963 Peter the Wanderer
by Edward Ardizzone:

1963 Peter the Wanderer
Front cover

1963 Peter the Wanderer
Title page

1963 Peter the Wanderer
"The Long Road"

1963 Peter the Wanderer

1963 Stig of the Dump
by Clive King:

1963 Stig of the Dump
Front cover

1963 Stig of the Dump
Back cover

1963 Stig of the Dump

1964 Diana and Her Rhinoceros
by Edward Ardizzone:

1964 Diana and Her Rhinoceros
Dust wrapper

1964 Diana and Her Rhinoceros
Hardback cover

1964 Diana and Her Rhinoceros

1964 Swanhilda-of-the-Swans
by Dana Faralla:

1964 Swanhilda-of-the-Swans
Dust wrapper

1964 Swanhilda-of-the-Swans
"Raking the Meadow Grass"
black ink 9 x 15 cm

1964 Swanhilda-of-the-Swans
"They perched themselves around her"
black ink 13 x 18 cm

1964 The Alley by Eleanor Estes

↧

Edward Ardizzone - part 11

April 25, 2018, 5:38 am

≫ Next: Edward Ardizzone - part 12

≪ Previous: Edward Ardizzone - part 10

Edward Ardizzone is one of the most significant illustrators of the 20th century, whose wide-ranging output spanned children's books, literary classics, war illustration and much more.

For more biographical notes see part 1. For earlier works by Ardizzone, see parts 1 - 10 also.

This is part 11 of 15-part series on the works of Edward Ardizzone:

1964 Ann at Highwood Hall
Poems for Children by Robert Graves:

1964 Ann at Highwood Hall by Robert Graves
Front cover

1964 Ann at Highwood Hall by Robert Graves
"All England thought more highly of him when he put the French to rout"
pen and ink and watercolour 18.4 x 32.4 cm

1964 Ann at Highwood Hall by Robert Graves
"If you were a bailiff I'd like to be a rag rug…to slide and trip you up and make you knock your head"
pen and ink and watercolour 12.1 x 16.5 cm

1964 Ann at Highwood Hall by Robert Graves
"If you were a Kitchen Maid, I'd like to be the Farmer's Boy and show you who was master"
pen and ink and watercolour 13.3 x 14.6 cm

1964 Ann at Highwood Hall by Robert Graves
"Needles and ribbons and packets of pins, prints and chintz and little bodkins"
pen and ink and watercolour 17.8 x 32.4 cm

1964 Ann at Highwood Hall by Robert Graves
George swore; "I shall reward him with a Garter!"
pen and ink and watercolour 17.8 x 32.4 cm

1964 Ann at Highwood Hall by Robert Graves
"Nell Gunn, a stolid sailor with bold eyes, performed the service, showing no surprise"
pen and ink and watercolour 14.6 x 16.5 cm

1964 Ann at Highwood Hall by Robert Graves
The Frontier Minister, reading the piece through, swore by his pigtail; "This will never do!"
pen and ink and watercolour 10.2 x 16.5 cm

1964 Ann at Highwood Hall by Robert Graves
"We graciously will, none the less, allow ten junks a year to anchor at Hankow"
pen and ink and watercolour 11.4 x 16.5 cm

1964 Ann at Highwood Hall by Robert Graves
The famed Kien Lung, now ruling at Pekin ( but Tartar, not Chinese, by origin )
pen and ink and watercolour 11.4 x 16.5 cm

1964 Ann at Highwood Hall by Robert Graves
"Li-Chung, a Bond Street Tea-man with meek eyes, performed the service, showing no surprise"
pen and ink and watercolour 14 x 16.5 cm

1964 Ann at Highwood Hall by Robert Graves
"The Foreign Minister, reading the note through, swore by his wig, why this would never do"
pen and ink and watercolour 17.8 x 32.4 cm

1964 Ann at Highwood Hall by Robert Graves
"We English have good reason when we brag; no heathen shall insult our glorious flag"
pen and ink and watercolour 12.1 x 16.5 cm

1964 Ann at Highwood Hall by Robert Graves
"Silver salvers for your board, satin for your bed, and scented suds to blow your bubbles, green blue, yellow and red"
pen and ink and watercolour 14.6 x 16.5 cm

1964 Ann at Highwood Hall by Robert Graves
"Stockings for your jaunty legs, staddles for your ricks, strings to tie the pickle-jar, straw to make bricks"
pen and ink and watercolour 15.2 x 16.5 cm

1964 Ann at Highwood Hall by Robert Graves
"A lovely lady in her attic room working, folk say, by starlight at her loom"
pen and ink and watercolour 14 x 16.5 cm

1964 Ann at Highwood Hall by Robert Graves
"But her story…dims at last with the Duke's execution"
pen and ink and watercolour 14 x 16.5 cm

1964 Ann at Highwood Hall by Robert Graves
"Portraits by rival painters"
pen and ink and watercolour 19 x 16.5 cm

1964 Ann at Highwood Hall by Robert Graves
"She sang to her own lute, lay on a-bed, swooned fashionably, embroidered with gold thread"
pen and ink and watercolour 15.9 x 16.5 cm

1964 Ann at Highwood Hall by Robert Graves
"Now she dined in state at the Duke's board as though the Heiress of some powerful Lord"
pen and ink and watercolour 13.3 x 16.5 cm

1964 Ann at Highwood Hall by Robert Graves
"The Butler, Browne, led Ann to a large tub full of hot water. She enjoyed her scrub"
pen and ink and watercolour 14.6 x 16.5 cm

1964 Ann at Highwood Hall by Robert Graves
"In flounced the Duchess. Ann gave her a smile but still continued reading a long while"
pen and ink and watercolour 12.7 x 16.5 cm

1964 Ann at Highwood Hall by Robert Graves
"Ann, dressed in rags and an old tattered shawl, marched resolutely off to Highwood Hall"
pen and ink and watercolour 21.6 x 32.4 cm

* * * * *

1964 Bathers on the rocks at Cap Ferrat
ink and watercolour 25.4 x 35.6 cm

1964 The Story of Jackie Thimble by James Reeves
Front cover

1964 The Thirty-Nine Steps by John Buchan
Front cover

1964c Public Schools Series:

1964c Charterhouse - Scholars' Court from Public Schools Series
lithograph
H.M. Government Art Collection, London

1964c Downside Abbey: The Courtyard from Public Schools Series
lithograph
H.M. Government Art Collection, London

1964c Downside Abbey: The Tower from Public Schools Series
lithograph
H.M. Government Art Collection, London

1964c St. Paul's School from the North
lithograph
H.M. Government Art Collection, London

1964c St. Paul's School from the South
lithograph
H.M. Government Art Collection, London

1965 Open the Door
Stories collected & arranged by Margery Fisher:

1965 Open the Door
Front cover

1965 Open the Door

1965 Sarah and Simon and no Red Paint
by Edward Ardizzone:

1965 Sarah and Simon and no Red Paint

1965 The Old Nurse's Stocking-Basket by Eleanor Farjeon
Front cover

1965 The Truants by John Walsh
Front cover American edition

1965 The Truants by John Walsh
Front cover English edition

1965 Tim and Ginger by Edward Ardizzone

1966 Daddy Long-Legs
by Jean Webster:

1966 Daddy Long-Legs
Front cover

1966 Daddy Long-Legs
Title page

1966 Daddy Long-Legs
"I took your cheque down to 'my family'. "

1966 Daddy Long-Legs
"The Founder's Dance. I carried crimson roses which Jimmie McBride sent."

1966 Daddy Long-Legs
"It's just the right height for a window seat - very comfortable."

1966 Daddy Long-Legs
The shadow looked, for all the world, like a huge, wavering daddy-long legs.

1966 Daddy Long-Legs
I've learned to fish with funny little flies made of feathers."

1966 Daddy Long-Legs
Buttercup got into the orchard and ate apples until they went to her head."

1966 The Dragon
by Archibald Marshall:

1966 The Dragon by Archibald Marshall
Front cover

1966 The Dragon by Archibald Marshall
Back cover

1966 The Dragon by Archibald Marshall
pen and ink and watercolour 13 x 22 cm

1966 The Eleanor Farjeon Book

1966 The Land of Green Ginger by Noel Langley

↧

Edward Ardizzone - part 12

April 27, 2018, 6:43 am

≫ Next: Edward Ardizzone - part 13

≪ Previous: Edward Ardizzone - part 11

Edward Ardizzone is one of the most significant illustrators of the 20th century, whose wide-ranging output spanned children's books, literary classics, war illustration and much more.

For more biographical notes see part 1. For earlier works by Ardizzone, see parts 1 - 11 also.

This is part 12 of 15-part series on the works of Edward Ardizzone:

1966 The Little Girl and the Tiny Doll
by Edward and Aingelda Ardizzone:

1966 The Little Girl and the Tiny Doll
Front Cover

1966 The Little Girl and the Tiny Doll
Paperback version published by Puffin Books

1966 The Little Girl and the Tiny Doll

1966 The Secret Shoemaker and other stories by James Reeves

1966 Timothy's Song by William J. Lederer
Front cover

1966 Timothy's Song by William J. Lederer
Title page

1967 Kali and the Golden Mirror
by Eva-Lis Wuorio:

1967 Kali and the Golden Mirror
Front cover

1967 Kali and the Golden Mirror

1967 Miranda the Great by Eleanor Estes

1967 Nurse Matilda Goes to Town by Christianna Brand

1967 The Magic Summer by Noel Streatfeild

1967 Travels with a Donkey in the Cevennes by Robert Louis Stevenson

1967 View from the Window of My Studio in Kent
watercolour, pen and pencil 26.5 x 40.5 cm

1968 The Land of Right Up and Down
by Eva-Lis Wuorio:

1968 The Land of Right Up and Down

1968 Tim to the Lighthouse by Edward Ardizzone

1969 Birthday Greetings - Post Office Telegram
by Edward Ardzzone:

1969 Birthday Greetings - Post Office Telegram

1969 Do You Remember What Happened by Jean Chapman

1969 The Angel and the Donkey by James Reeves

1969 The Secret Shoemaker by James Reeves
Puffin Books

1969 Titus in Trouble by James Reeves and Edward Ardizzone

1970 Johnny's Bad Day

1970 The Wrong Side of the Bed

1970 The Little Grey Men by "BB"

1970 The Young Ardizzone
An Autobiographical Fragment

1970c Bacchanal before a statue of Pan
pen and ink and watercolour 16 x 23 cm

1970c The Evening Drink
pencil and watercolour on paper 16 x 58 cm
H.M. Government Art Collection, London

1971 Here Comes the Queen - The Royal Garden Party
ink and watercolour 26 x 40 cm

1971 How the Moon Began by James Reeves:

1971 How the Moon Began by James Reeves

↧

Edward Ardizzone - part 13

April 30, 2018, 5:35 am

≫ Next: Edward Ardizzone - part 14

≪ Previous: Edward Ardizzone - part 12

Edward Ardizzone is one of the most significant illustrators of the 20th century, whose wide-ranging output spanned children's books, literary classics, war illustration and much more.

For more biographical notes see part 1. For earlier works by Ardizzone, see parts 1 - 12 also.

This is part 13 of 15-part series on the works of Edward Ardizzone:

1971 Upsidedown Willie by Dorothy Clewes

1971c Quarter Sessions Counsel for the Prosecution
watercolour on paper laid down on board 19 x 27.9 cm

1972 Evening on the Zattere, Venice
ink and watercolour 19.7 x 28.6 cm

1972 The Old Ballad of The Babes in the Wood

1972 The Second-Best Children in the World by Mary Lavin

1972 The Tunnel of Hugsy Goode by Eleanor Goode

1972 Tim's Last Voyage by Edward Ardizzone

1973 The Little Fire Engine
by Graham Greene:

1973 The Little Fire Engine

1973 The Night Ride by Aingelda Ardizzone

1974 Diary of a War Artist by Edward Ardizzone

1974 Nurse Matilda Goes to Hospital by Christianna Brand

1974 The Lion that Flew by James Reeves

1974 The Little Horse Bus
by Graham Greene:

1974 The Little Horse Bus by Graham Greene

1974 The Little Steam Roller
by Graham Greene:

1974 The Little Steam Roller

1975 More Prefabulous Animiles
by James Reeves and Edward Ardizzone:

1975 More Prefabulous Animiles by James Reeves and Edward Ardizzone

1975c Drinkers by a Pub Fire
pen and ink 12.7 x 11.4 cm

1975c Pelican Noses - Grotesques
pencil on paper 15.2 x 14.6 cm

1977 Ship's Cook Ginger
by Edward Ardizzone:

1977 Ship's Cook Ginger by Edward Ardizzone

↧

Edward Ardizzone - part 14

May 2, 2018, 6:04 am

≫ Next: Edward Ardizzone - part 15

≪ Previous: Edward Ardizzone - part 13

Edward Ardizzone is one of the most significant illustrators of the 20th century, whose wide-ranging output spanned children's books, literary classics, war illustration and much more.

For more biographical notes see part 1. For earlier works by Ardizzone, see parts 1 - 13 also.

This is part 14 of 15-part series on the works of Edward Ardizzone:

1978 Arcadian Ballads
by James Reeves:

1978 Arcadian Ballads by James Reeves

1978 Ardizzone's Hans Andersen
published by Andre Deutsch, London:

1978 Ardizzone's Hans Andersen

1978 The James Reeves Story Book

1979 A Child's Christmas in Wales
by Dylan Thomas

1979 The Nine Lives of Island MacKenzie by Ursula Moray Williams

1980 The Nine Lives of Island MacKenzie by Ursula Moray Williams

1980 Ardizzone's English Fairy Tales
published by Andre Deutsch, London

1982 Brithday Greetings Telegrams

Note:
Edward Ardizzone died in 1979, so the last few items posted above were published posthumously. The rest of the images in this part (part 14) and part 15 are undated. The majority are original artworks.

2002 (published) Sketches for Friends Letters sent by Ardizzone to friends and relatives:

2002 Sketches for Friends

from Sketches for Friends

Game Pie booklet for Guinness:

Game Pie booklet for Guinness

n.d A Bicycle Outing
pencil, pen and ink and watercolour 38 x 60 cm

n.d. Nude study

n.d. A Day at the Seaside
watercolour 20.3 x 26.7 cm

n.d. A Good Nose
pen and ink and monochrome watercolour 17.1 x 19 cm

n.d. An Elegant Couple
pencil sketch

n.d. And hear old Triton blow his wreathed Horn
ink and watercolour 17 x 25 cm

n.d. Ardizzone's Garden, Rodmersham Green, Kent
black chalk on paper 24 x 31.5 cm

n.d. Arrival of the Ladies - The Mayor's Party
black ink and watercolour 18.5 x 27 cm

n.d. Art School
pencil 17.5 x 19 cm

n.d. Artist and Model
ink and watercolour 18.5 x 19.5 cm

n.d. Artist and Model
watercolour over pencil 19.5 x 26 cm

n.d. Artists and Model
brush and grey wash 20.3 x 25.4 cm

n.d. At the Edge of the Beach
pen, red ink and watercolour over pencil 28.5 x 38.5 cm

n.d. Baigneuses
watercolour 22 x 33 cm

n.d. Barristers in a Courtroom
black ink and watercolour

n.d. Bathers at Cap Ferrat
ink and watercolour 22 x 26 cm

n.d. Bathers at Cap Ferrat
pen and ink and watercolour 25 x 30.5 cm

n.d. Bathers at the Seaside in Summer
ink and watercolour 19 x 25 cm

n.d. Bathing in Antibes
pen and ink and watercolour 19.5 x 25 cm

n.d. Bathing on the Thames
watercolour and pen and ink 21.5 x 30.5 cm

n.d. Boating Lake Incident
pen and ink with watercolour over pencil 20 x 27 cm

n.d. Car Tarts in Maida Vale
watercolour

n.d. Christmas Card

n.d. Court Scene
watercolour 19 x 28 cm

n.d. Drinkers by a Pub Fire
pen and ink 14.5 x 12 cm

n.d. Elgin Avenue, London
pencil, pen and black ink and watercolour 12.5 x 17.8 cm

n.d. First Class Passengers, bathing
watercolour over pencil 19 x 27.7 cm

n.d. Girls at the Bathing Pool
watercolour over pencil 21.5 x 26 cm

↧

Edward Ardizzone - part 15

May 4, 2018, 6:24 am

≫ Next: James Gillray - part 1

≪ Previous: Edward Ardizzone - part 14

Edward Ardizzone is one of the most significant illustrators of the 20th century, whose wide-ranging output spanned children's books, literary classics, war illustration and much more.

For more biographical notes see part 1. For earlier works by Ardizzone, see parts 1 - 14 also.

This is part 15, the final part of 15-part series on the works of Edward Ardizzone:

Note: The remainder of these works are undated.

n.d. Kensington Gardens
ink and watercolour 13 x 14.5 cm

n.d. Kiss Me Quick - Maida Vale
ink and watercolour on paper

n.d. Laughing Widow
pen and ink 11.5 x 16.5 cm

n.d. Life Class
watercolour 20 x 25 cm

n.d. Lovers amidst the Rocks
pen and grey wash 19.5 x 28.5 cm

n.d. Monstrous Statuary
ink and watercolour 26.7 x 27.3 cm

n.d. Observations and Studies
pen and ink on the Artist's card 8.9 x 14.9 cm

n.d. Olive Grove, Liguria
black chalk on pink paper 22.9 x 30.5 cm

n.d. On the Bus
pencil, pen and black ink and watercolour 15.9 x 24.7 cm

n.d. On the beach at Deal
pen, sepia ink and watercolour 12.2 x 23.5 cm

n.d. Party Games for Guinness

n.d. Pleasure Cruise on the Thames
pen, brush and ink 20.9 x 33 cm

n.d. Pub Bar, Maida Vale
ink and watercolour 20.3 x 27.9 cm

n.d. Public Bar at the Royal Albert

n.d. Return to Counsel by Henry Cecil "The Judgement"
pencil and pen and ink 11.8 x 13 cm

n.d. Study of Centaurs
pencil 24.2 x 33 cm

n.d. Sunbathers on the Rocks
ink and watercolour 17 x 23.5 cm

n.d. The Artist Sketching a Nude
pen and ink and wash 12.5 x 17.5 cm

n.d. The Artist with his Model
pen and ink and watercolour 16 x 20.2 cm

n.d. The Artist with his Model
pen and ink and watercolour 28.5 x 27.5 cm

n.d. The Artist's Studio
ink and watercolour 21.5 x 21 cm

n.d. The Attentive Listeners
pencil and grey wash 20.3 x 25.4 cm

n.d. The Barristers Consult
pen and ink on pink card

n.d. The Bathing Pool at Beaulieu
watercolour and wash 27 x 36 cm

n.d. The Chiropodist
watercolour 22.5 x 24.5 cm

n.d. The Courtroom
watercolour 23.5 x 38.5 cm

n.d. The Critic illustration for "The Radio Times"
black ink 15 x 15 cm

n.d. The Drunks
oil on canvas 38.1 x 48.3 cm

n.d. The Model

n.d. The Off Licence
pen and ink and wash, on paper 27.9 x 38.1 cm
H.M. Government Art Collection, London

n.d. The Presentation "The Mayor at Paddington"
ink and watercolour 27.3 x 29.2 cm

n.d. The Railway Station
lithograph

n.d. The Royal Garden Party
ink and watercolour

n.d. The Secretary - Radio Times illustration ( unpublished )
black ink and watercolour 9 x 6 cm

n.d. The Weighing Machine
pen and ink and watercolour on paper 20.5 x 21 cm
H.M. Government Art Collection, London

n.d. Three Girls by the Beach Huts
ink and watercolour 18.4 x 27.9 cm

n.d. Three Ladies
watercolour over pencil 12.5 x 26.5 cm

n.d. Watering the Flowerbeds
ink and watercolour

n.d. Woman in a Bar
pen and ink and wash 12 x 14 cm

The Penny Whistle by Robert Graves
( Publication date not found ):

The Penny Whistle by Robert Graves

↧

James Gillray - part 1

May 7, 2018, 5:40 am

≫ Next: James Gillray - part 2

≪ Previous: Edward Ardizzone - part 15

1800c Self-Portrait
watercolour on ivory 7.6 x 6.4 cm
© National Portrait Gallery, London

James Gillray,(born 13 August 1756, Chelsea, near London - died 1 June 1815, London), an English caricaturist chiefly remembered for lively political cartoons directed against George III of England and Napoleon I. Often scurrilous and violent in his criticism, he brought a highly dramatic sense of situation and analogy to cartooning.

Gillray learned letter engraving and in 1778 was admitted as a student to the Royal Academy.

The name of Gillray’s publisher and print seller, Miss Hanna Humphrey, is inextricably associated with his; he lived in her house during all the years of his fame, and his prints were shown in the windows of her shop.

Gillray’s caricatures may be divided into two classes: political and social. The political caricatures form a historical record of the latter part of the reign of George III, whom Gillray called “Farmer George.” They were widely circulated throughout Britain and Europe. In this series George III, the Queen, the Prince of Wales, Charles James Fox, Edmund Burke, William Pitt, and Napoleon are trenchantly satirised; the latter two are featured in a celebrated cartoon, “The Plum Pudding in Danger.”

Among Gillray’s best satires on the king are “Anti-Saccharrites,” in which the king and queen propose to dispense with sugar to the great horror of the family, and the companion plates of Farmer George and his wife “Frying Sprats” and “Toasting Muffins.”

After 1807 Gillray declined mentally and eventually became insane.

Gillray’s plates were executed in etching with stipple and coloured by hand. They were produced in broadsheets for popular consumption, and perhaps this is one of the reasons for the spontaneity that makes them so lively and timely.

Biography from Encyclopædia Britannica

This is part 1 of a 6-part post on the works of James Gillray:

1777 THE COUNTRY POLITICIANS.
hand-coloured etching 10.8 x 16.7 cm ( plate )
© National Portrait Gallery, London

1778 FEMALE CURIOSITY.
hand-coloured etching 34.1 x 25 cm ( paper size )
© National Portrait Gallery, London

1778 JOHN BULL taking a Luncheon:- or-British Cooks cramming Old Grumble-Gizzard, with Bonne-Chére
hand-coloured etching
National Maritime Museum, London

1779 PADDY on HORSE-BACK
etching 25.9 x 37.2 cm ( paper size )

1779 PADDY on HORSE-BACK
hand-coloured etching 25.9 x 37.2 cm ( paper size )
© National Portrait Gallery, London

1779 SAWNEY in the BOG-HOUSE.
hand-coloured etching 34.3 x 23.9 cm ( paper size )
© National Portrait Gallery, London

1779 THE CHURCH MILITANT. ( William Markham )
hand-coloured etching 24.5 x 35.3 cm ( paper size )
© National Portrait Gallery, London

1779 The LIBERTY of the SUBJECT.
hand-coloured etching 25 x 35.3 cm ( plate )
© National Portrait Gallery, London

1779 THE WHORE'S LAST SHIFT.
hand-coloured etching
© National Portrait Gallery, London

1779? BOMBARDINIAN. ( Sir Grey Cooper; Sir Robert Hamilton, 4th Bt )
hand-coloured etching 33.8 x 25.6 cm ( paper size )
© National Portrait Gallery, London

1780 Sophia, Honour; & the Chambermaid
stipple engraving 26.2 x 18.4 cm ( paper size )
© National Portrait Gallery, London

1780 "Ah, grant a me von letel Bite"
etching 16.6 x 14.2 cm ( paper size )
© National Portrait Gallery, London

1780 "And ADAM had Power over all the Beasts of the Earth"
hand-coloured etching 18.7 x 26.4 cm ( paper size )
© National Portrait Gallery, London

1780 AQUILA HAPSBURGHIENSIS. ( Basil, 6th earl of Denbigh )
hand-coloured etching 29.2 x 22.2 cm ( paper size )
© National Portrait Gallery, London

1780 ARGUS.
hand-coloured etching 25.1 x 35.3 cm ( paper size )
© National Portrait Gallery, London

1780 Emma Edgcumbe, Countess of Mount Edgcumbe
hand-coloured etching 8.3 x 6.4 cm ( paper size )
© National Portrait Gallery, London

1780 Lady Cecilia Johnston
hand-coloured etching 7.5 x 6 cm ( paper size )
© National Portrait Gallery, London

1780 JOHN BULL TRIUMPHANT.
hand-coloured etching 24.7 x 35.4 cm ( plate )
© National Portrait Gallery, London

1780 NATIONAL DISCOURSE. ( attributed to )
hand-coloured etching 21.8 x 24.4 cm ( paper size )
© National Portrait Gallery, London

1780 Tom Jones, Partridge and the Beggar
stipple engraving 21.3 x 17.5 cm ( paper size )
© National Portrait Gallery, London

1781 Les Plaisir du Mènage.
hand-coloured etching 22.3 x 28.1 cm ( paper size )
© National Portrait Gallery, London

1781 Mr C-m-l The Jolly Presenter of the Cannongate Kirk, in Edinburgh ( John Campbell )
hand-coloured etching 11.5 x 7.3 cm ( plate )
© National Portrait Gallery, London

1781 Pensionary VAN BERKEL
etching and aquatint 24 x 18.8 cm ( plate )
© National Portrait Gallery, London

1781 SIGNOR PUPPY. First Catgut Scraper. ( Guiseppe Puppo )
hand-coloured etching 15.2 x 9.3 cm ( plate )
© National Portrait Gallery, London

1781 Sketched by Humphrey ( William Humphrey ) Spoil'd by Gillray ( William Lamb, 2nd Viscount Melbourne )
crayon manner engraving 25.8 x 19.5 cm ( paper size )
© National Portrait Gallery, London

1781? Regardez moi.
hand-coloured etching 28.1 x 37.4 cm ( paper size )
© National Portrait Gallery, London

1782 A MEETING of UMBRELLAS.
hand-coloured etching 22.2 x 17.4 cm ( plate )
© National Portrait Gallery, London

1782 A Modern Antique ( attributed to )
hand-coloured etching 17.6 x 12.4 cm ( plate )
© National Portrait Gallery, London

1782 CINCINNATUS in Retirement. ( Edmund Burke )
hand-coloured etching 25.1 x 34.6 cm cm ( paper size )
© National Portrait Gallery, London

1782 CRUMBS of COMFORT. ( Charles James Fox and Edmund Burke )
hand-coloured etching 24.9 x 34.6 cm ( paper size )
© National Portrait Gallery, London

1782 GLORIA MUNDI, or- The Devil addressing the Sun
hand-coloured etching 35.2 x 24.8 cm ( paper size )
© National Portrait Gallery, London

1782 OLD WISDOM. Blinking at the Stars. ( Samuel Johnson )
hand-coloured etching 21.9 x 18.9 cm ( plate )
© National Portrait Gallery, London

1782 St. GEORGE & the Dragon. ( Charles James Fox; George Bridges Rodney, 1st Baron Rodney )
hand-coloured etching 24.8 x 34.6 cm ( paper size )
© National Portrait Gallery, London

1782 The discarded VICEROY silenced. ( Charles James Fox )
hand-coloured etching 18.5 x 20.7 cm ( paper size )
© National Portrait Gallery, London

1782 The German Dancing Master.
hand-coloured etching 18.8 x 24.3 cm ( plate )
© National Portrait Gallery, London

1782 The KETTLE hooting the PORRIDGE-POT.
hand-coloured etching 24.6 x 34.9 cm ( paper size )
© National Portrait Gallery, London

1782 William Parsons
hand-coloured etching 7.5 x 69 cm ( paper size )
© National Portrait Gallery, London

1783 Apollo and the Muses, inflicting Penance on Dr. Pomposo, round Parnassus ( Samuel Johnson )
hand-coloured etching 26.9 x 32.5 cm ( paper size )
© National Portrait Gallery, London

1783 Head of an Old Man ( attributed to )
hand-coloured etching 10.9 x 91 cm ( plate )
© National Portrait Gallery, London

1783 The COALITION. ( Frederick North, 2nd Earl of Guilford; Charles James Fox )
hand-coloured etching 34.5 x 24 cm ( paper size )
© National Portrait Gallery, London

1783 The Golden Pippin. ( attributed to )
hand-coloured etching 10.6 x 8.4 cm ( paper size )
© National Portrait Gallery, London

1785 L'Enfant trouvé
stipple engraving 24.9 x 22.3 cm
© National Portrait Gallery, London

1785 WESTMINSTER SCHOOL.
hand-coloured etching 35.4 x 25.6 cm ( paper size )
© National Portrait Gallery, London

1786 LADY TERMAGANT FLAYBUM going to give her STEP SON a taste of her DESERT after Dinner
etching 43.2 x 54.5 cm ( paper size )
© National Portrait Gallery, London

1786 MY POLL & MY PARTNER JOE.
hand-coloured stipple engraving 26.8 x 30.5 cm cm ( paper size )
© National Portrait Gallery, London

1786 Pialle d'Avoine, - Paille d'Avoine
hand-coloured etching 21.6 x 19 cm ( paper size )
© National Portrait Gallery, London

1786 The POLITICAL BANDIT assailing the SAVIOUR of INDIA
hand-coloured etching 31.3 x 42.1 cm ( plate )
© National Portrait Gallery, London

1787 A noble Lord, on an approaching Peace, too busy to attend to the Expenditure of a Million of the Public Money
hand-coloured etching
© National Portrait Gallery, London

1787 LA BELLE ASSEMBLÉE
hand-coloured etching 24.8 x 34.9 cm ( plate )
© National Portrait Gallery, London

↧

James Gillray - part 2

May 9, 2018, 6:24 am

≫ Next: James Gillray - part 3

≪ Previous: James Gillray - part 1

James Gillray c1800 after James Gillray
hand-coloured etching 17.4 x 12.6 cm ( plate )
© National Portrait Gallery, London

James Gillray (1756 – 1815) was one of the greatest caricaturists of the 18^th century. From around 1775 to 1810 he produced nearly 1000 prints caricaturing the rich and famous, and satires on British political and social life during the age of Napoleon. He was both sought-after and feared. No sooner would a new Gillray print appear than it was sure to be plagiarised or imitated by contemporaries both in England and abroad.

For a fuller biography, and for earlier works by Gillray, see part 1 also.

This is part 2 of a 6-part post on the works of James Gillray:

1787 MONSTROUS CRAWS, at a New Coalition
etching and aquatint 37.5 x 47.8 cm ( paper size )
© National Portrait Gallery, London

1787 MONSTROUS CRAWS, at a New Coalition
hand-coloured etching and aquatint 37.5 x 47.8 cm ( paper size )
© National Portrait Gallery, London

1787 The FRIENDLY AGENT ( Sophia Charlotte of Mecklenburg-Strelitz: King George III: Warren Hastings: John Scott-Waring )
hand-coloured etching 22.3 x 17.5 cm ( plate )
© National Portrait Gallery, London

1787 The Happy Mother ( after Lavinia Spencer )
stipple engraving 43.2 x 50.8 cm ( paper size )
© National Portrait Gallery, London

1787 The Loss of the Halsewell East Indiaman
engraving, etching and stipple 50.2 x 62.7 cm ( paper size )
© National Portrait Gallery, London

1787 The Tender Mother ( after Lavinia Spencer )
stipple engraving 43.9 x 51.6 cm ( paper size )
© National Portrait Gallery, London

1788 A Lady at a Card Party who Does not play ( attributed to )
hand-coloured etching 10 x 7.7 cm ( plate )
© National Portrait Gallery, London

1788 DUN-SHAW, ( Henry Dunda, 1st Viscount Melville )
hand-coloured etching, aquatint and soft-ground etching 41.7 x 27.4 cm ( paper size )
© National Portrait Gallery, London

1788 The BATTLE of BOW-STREET.
hand-coloured etching 24.8 x 35.8 cm ( paper size )
© National Portrait Gallery, London

1788 The BUBBLES of OPPOSITION.
hand-coloured etching 34.8 x 22.4 cm ( paper size )
© National Portrait Gallery, London

1788 The Fall of PHAETON.
hand-coloured etching 24.8 x 34.8 cm ( plate )
© National Portrait Gallery, London

1788 The ROYAL JOKE, - or - BLACK JACKS DELIGHT.
hand-coloured etching 24.9 x 35 cm ( plate )
© National Portrait Gallery, London

1788 The Triumph of Benevolence
stipple and line engraving 64.6 x 50.6 cm ( paper size )
© National Portrait Gallery, London

1788 The WESTMINSTER HUNT.
hand-coloured etching 24.7 x 34.8 cm ( plate )
© National Portrait Gallery, London

1788 "THERE'S MORE WAYS THAN ONE."
hand-coloured etching 24.3 x 24.1 cm ( plate )
© National Portrait Gallery, London

1789 Edward Thurlow
hand-coloured etching 16.2 x 12 cm ( paper size )
© National Portrait Gallery, London

1789 The Right Hon. William Pitt
line engraving 34.4 x 27.2 cm ( paper size )
© National Portrait Gallery, London

1789 The VULTURE of the CONSTITUTION. ( William Pitt )
hand-coloured etching 24.5 x 34.7 cm ( paper size )
© National Portrait Gallery, London

1790 JOHN-BULL, Baited by the DOGS of EXCISE.
hand-coloured etching and aquatint 24.6 x 41.4 cm ( paper size )
© National Portrait Gallery, London

1790 Smelling out a Rat; - or - The Atheistical-Revolutionist disturbed in his Midnight Calculations
hand-coloured etching 24.8 x 35 cm ( plate )
© National Portrait Gallery, London

1791 'The IMPEACHMENT, - or - 'The Father of the Gang, turned Kings Evidence''
hand-coloured etching 31.2 x 39.6 cm ( paper size )
© National Portrait Gallery, London

1791 A Natural Crop; - alia - A Norfolk Dumpling ( Charles Howard, Duke of Norfolk )
hand-coloured etching 24.2 x 18.7 cm ( paper size )
© National Portrait Gallery, London

1791 A Uniform Whig ( King George III; Edmund Burke )
hand-coloured etching 27.5 x 17.3 cm ( plate )
© National Portrait Gallery, London

1791 A WITCH, upon a MOUNT's EDFE. ( Emma Edgcumbe, Countess of Mount Edgcumbe )
hand-coloured etching 27.2 x 18.9 cm ( plate )
© National Portrait Gallery, London

1791 An ANGEL, gliding on a Sun-beam into Paradise ( Juliana Elizabeth Schwellenberg )
hand-coloured etching 27.3 x 21.4 cm 9 plate )
© National Portrait Gallery, London

1791 An Excresence; - a Fungus; - alias - a Toadstool upon a Dung-hill
( William Pitt )
hand-coloured etching 27.5 x 22.5 cm ( plate )
© National Portrait Gallery, London

1791 At Church
hand-coloured etching 12.8 x 7.9 cm ( plate )
© National Portrait Gallery

1791 At the Opera ( Lady Cecilia Johnston )
hand-coloured etching 12.3 x 7.8 cm ( plate )
© National Portrait Gallery

1791 BARBAITIES in the WEST INDIAS
hand-coloured etching 25 x 34.7 cm ( paper size )
© National Portrait Gallery, London

1791 BRITANNIA.
hand-coloured etching and aquatint 27 x 19.7 cm ( paper size )
© The National Portrait Gallery, London

1791 FRENCH DEMOCRATS surprising the Royal Runaways
hand-coloured etching 25 x 35.2 cm ( plate )
© National Portrait Gallery, London

1791 FRYING SPRATS, TOASTING MUFFINS ( Sophia Charlotte of Mecklenburg-Strelitz: King George III )
hand-coloured etching and aquatint 23.9 x 34.8 cm ( paper size )
© National Portrait Gallery, London

1791 La derniere ressource; - or - Van-Buchells Garters ( Albinia, Countess of Buckinghamshire )
hand-coloured etching 27.2 x 17.6 cm ( plate )

1791 LES TROIS MAGOTS.
hand-coloured etching 34.9 x 32.1 cm ( paper size )
© National Portrait Gallery, London

1791 LUBBER'S HOLE, - alias - The Crack'd JORDAN.
hand-coloured etching 27.5 x 22.3 cm ( paper size )
© National Portrait Gallery

1791 "Oh! that this too too solid flesh would melt."
hand-coloured etching 21 x 22 cm ( paper size )
© National Portrait Gallery, London

1791 PANTENT-BOLSTERS: - Le moyèn d'etre en-bon-point ( Maria Anne Fitzherbert )
hand-coloured etching 27.6 x 17.6 cm ( plate )
© National Portrait Gallery, London

1791 PATIENCE on a MONUMENT ( Lady Cecilia Johnston )
hand-coloured etching 30.8 x 20.9 cm ( plate )
© National Portrait Gallery

1791 TAMING of the SHREW: Katharine & Petruchio: The Modern Quixotte, or what you will
hand-coloured etching 25 x 40.3 cm ( paper size )
© National Portrait Gallery, London

1791 The Accusing Spirit which flew up to heaven's Chancery with the Oath…
hand-coloured etching 40.6 x 29.8 cm ( paper size )
© National Portrait Gallery, London

1791 The Finishing Touch ( Lady Sarah Archer )
hand-coloured etching 27.3 x 17.6 cm ( plate )
© National Portrait Gallery, London

1791 The Introduction
hand-coloured etching 25.1 x 35.4 cm ( plate )
© National Portrait Gallery, London

1791 The Monster broke loose - a peep into the SHAKESPEARE- GALLERY.
hand-coloured etching 35.5 x 24.5 cm ( paper size )
© National Portrait Gallery, London

1791 The NATIONAL ASSEMBLY Petrified. / The NATIONAL ASSEMBLY Revivified.
hand-coloured etching 41.4 x 29.7 cm ( paper size )
© National Portait Gallery, London

1791 THE RIGHTS OF MAN; - or -Tommy Paine
hand-coloured etching 35.5 x 25 cm ( plate )
© National Portrait Gallery, London

1791 The SOLDIER'S Return; - or - rare New for Old England
hand-coloured etching and stipple-engraving 27.5 x 21.1 cm ( plate )
© National Portrait Gallery, London

1791 The YORK-MINUET.
hand-coloured etching 23.5 x 29.7 cm ( paper size )
© National Portrait Gallery, London

↧

James Gillray - part 3

May 11, 2018, 5:45 am

≫ Next: James Gillray - part 4

≪ Previous: James Gillray - part 2

James Gillray Self-Portrait

For a fuller biography see part 1 also. For earlier works by Gillray see parts 1-2 also.

This is part 3 of a 6-part post on the works of James Gillray:

1791 The YORK-REVERENCE; - or - City-Loyalty, amply rewarded.
hand-coloured etching 25 x 35.2 cm ( plate )
© National Portrait Gallery, London

1791 WEIRD - SISTERS; - MINISTERS of DARKNESS; MINIONS of the MOON
hand-coloured etching and aquatint 25.3 x 35.2 cm
( paper size ) © National Portrait Gallery, London

1791 MARGARET'S GHOST.
What's the matter AUNTEE-PEG, what makes you put on such a long Face?
hand-coloured etching 21.4 x 26.6 cm ( plate )
© National Portrait Gallery, London

1792 A Back View of the Cape -
hand-coloured etching 30.6 x 24.2 cm ( paper size )
© The National Portrait Gallery, London

1792 A CONNOISSEUR examining a COOPER.
( King George III and Oliver Cromwell miniature )
hand-coloured stipple engraving 34.5 x 24.7 cm ( paper size )
© National Portrait Gallery, London

1792 A Duet "Turn fair Clora, turn, ah cruel, turn again"
hand-coloured etching 33.8 x 25.7 cm ( paper size )
© National Portrait Gallery, London

1792 A SPHERE, projecting against a PLANE
( William Pitt and Albinia, Countess of Buckinghamshire )
hand-coloured etching 27.5 x 22.4 cm ( plate )
© National Portrait Gallery, London

1792 A SPENCER & a THREAD-PAPER.
hand-coloured etching and aquatint 27.1 x 21.4 cm ( paper size )
© National Portrait Gallery, London

1792 A VOLUPTUARY under the horrors of Digestion
( King George IV )
hand-coloured stipple engraving 36.3 x 29 cm ( paper size )
© National Portrait Gallery, London

1792 ANTI-SACCHARRITES, - or - JOHN BULL and his Family leaving off the use of SUGAR.
hand-coloured etching 32 x 40.9 cm ( paper size )
© The National Portrait Gallery, London

1792 AUSTRIAN BUGABOO, Funking the FRENCH ARMY.
hand-coloured etching 24.7 x 34.4 cm ( paper size )
© National Portrait Gallery, London

1792 FRENCH LIBERTY. BRITISH SLAVERY.
hand-coloured etching 24.9 x 35.3 cm ( plate )
© National Portrait Gallery, London

1792 Her Royal Highness the Duchess of York.
( Frederica Charlotte Ulrica Catherina, Duchess of York and Albany )
hand-coloured stipple engraving 27.3 x 20.6 cm ( paper size )
© The National Portrait Gallery, London

1792 Her Royal Highness the Duchess of York.
etching 28.6 x 20.6 cm ( paper size )
© National Portraiy Gallery, London

1792 JOHN BULL bother'd; - or - The Geese alarming the Capitol
( William Pitt )
hand-coloured etching and aquatint 31.1 x 38.8 cm ( paper size )
© National Portrait Gallery, London

1792 Le Cochon et ses deux petits, - or - Rich pickings for a Noble appetite
( Charles Howard, 11th Duke of Norfolk )
hand-coloured etching 25.7 x 35.2 cm 9 paper size )
© National Portrait Gallery, London

1792 MODERN HOSPITALITY, - or - A Friendly Party in High Life
hand-coloured etching 25.8 x 36.8 cm ( paper size )
© The National Portrait Gallery, London

1792 Neck or Nothing -
hand-coloured etching 29.9 x 23.7 cm ( paper size )
© The National Portrait Gallery, London

1792 PATRIOT amusing themselves; - or - SWEDES practising at a Post.
hand-coloured etching 24.9 x 34.8 cm ( plate )
© National Portrait Gallery, London

1792 SCOTCH HARRY'S News; - or - NINCUMPOOP in high Glee.
hand-coloured etching 25 x 35 cm ( plate )
© National Portrait Gallery, London

1792 SIN, DEATH, and the DEVIL.
hand-coloured etching 31.8 x 39.9 cm ( paper size )
© National Portrait Gallery, London

1792 Spouting "Strike home! and I will bless thee for the Blow!"
hand-coloured etching 34.4 x 26.2 cm ( paper size )
© National Portrait Gallery, London

1792 TEMPERANCE enjoying a Frugal Meal.
( Sophia Charlotte of Mecklenburg-Strelitz; King George III )
hand-coloured stipple engraving 36.2 x 29.2 cm ( plate )
© National Portrait Gallery, London

1792 The BOTTOMLESS-PITT.
( William Pitt ) hand-coloured etching 27.5 x 22.6 cm ( paper size )
© The National Portrait Gallery, London

1792 The Dagger Scene; - or - The Plot discover'd.
hand-coloured etching 36.8 x 30 cm ( plate )
© National Portrait Gallery, London

1792 The Fall of the WOLSEY of the WOOLSACK.
hand-coloured etching 24.7 x 34.8 cm ( plate )
© National Portrait Gallery, London

1792 The Power of Beauty; - St. Cecilia charming the Brute; - or -The seduction of the Welch Ambassador
( Lady Cecilia Johnston )
hand-coloured etching 25.2 x 35.3 cm ( plate )
© National Portrait Gallery, London

1792 The Visit to Piccadilly; - or - A Prussian Reception.
hand-coloured etching 35.3 x 24.9 cm ( plate )
© National Portrait Gallery, London

1792 TOM PAINE'S Nightly Pest.
hand-coloured etching 29.8 x 36.4 cm ( plate )
© National Portrait Gallery, London

1792 WHA WANTS ME?
hand-coloured etching 26.2 x 21.4 cm ( paper size )
© National Portrait Gallery

1793 A DEMOCRAT, - or - REASON & PHILOSOPHY.
( Charles James Fox )
hand-coloured etching 34.6 x 24.8 cm ( plate )
© National Portrait Gallery, London

1793 A French Hail Storm. - or - Neptune loosing sight of the Brest Fleet -
( Richard Howe, 1st Earl Howe )
hand-coloured etching 31.4 x 36.4 cm ( paper size )
© National Portrait Gallery, London

1793 A SMOKING CLUB.
hand-coloured etching 31 x 42.4 cm ( plate )
© National Portrait Gallery, London

1793 A VESTAL of -93, trying on the CESTUS of VENUS
hand-coloured etching, engraving and aquatint 30.5 x 37 cm ( paper size )
© National Portrait Gallery

1793 BRITTANIA between SCYLLA & CHARYBDIS.
( Charles James Fox; Joseph Priestley; Richard Brinsley Sheridan; William Pitt )
hand-coloured etching 30.4 x 36.3 cm
© National Portrait Gallery, London

1793 DUMOURIER dining in State at St. James's, on the 15th May 1793.
hand-coloured etching 31.3 x 36.8 cm ( paper size )
© National Portrait Gallery

1793 Flemish Characters
etching 23.2 x 36.6 cm ( plate )
© National Portrait Gallery, London

1793 "Here's Songs of Love & Maids forsaken" ( attributed to )
hand-coloured etching 23 x 19.3 cm ( paper size )
© National Portrait Gallery

1793 The CHANCELLOR of the INQUISITION marking the INCORRIGIBLES.
hand-coloured etching 34.6 x 25 cm ( plate )
© National Portrait Gallery, London

1793 The heroic Charlotte la Cordé, upon her Trial, at the bar of the Revolutionary Tribunal of Paris
hand-coloured etching 31.5 x 36.4 cm ( paper size )
© National Portrait Gallery, London

1793 The Reception of the Diplomatique and his Suite, at the Court of Pekin
hand-coloured etching 32 x 39.9 cm ( paper size )
© National Portrait Gallery, London

1793 The Slough of Despond
hand-coloured etching 25.4 x 36.6 cm ( paper size )
© National Portrait Gallery, London

1793 The Zenith of French Glory; – The Pinnacle of Liberty.

1794 A PARIS BEAU.
hand-coloured etching 24.4 x 15.8 cm ( paper size )
© National Portrait Gallery, London

1794 A PARIS BELLE.
hand-coloured etching 24.4 x 16.6 cm ( paper size )
© National Portrait Gallery, London

1794 And catch the living Manners as they rise.
hand-coloured etching and aquatint 34 x 24.7 cm ( paper size )
© National Portrait Gallery, London

1794 FOLLOWING the FASHION.
hand-coloured etching and soft-ground 32.8 x 35.6 cm ( paper size )
© National Portrait Gallery, London

↧

James Gillray - part 4

May 14, 2018, 6:57 am

≫ Next: James Gillray - part 5

≪ Previous: James Gillray - part 3

James Gillray c1800
hand-coloured etching ( after Gillray )

For a fuller biography see part 1 also. For earlier works by Gillray see parts 1-3 also.

This is part 4 of a 6-part post on the works of James Gillray:

1794 JACK a' BOTH SIDES!
hand-coloured etching 35.7 x 24.5 cm ( paper size )
© National Portrait Gallery, London

1794 Miss, I have a Monstrous Crow to pluck with you!!-
hand-coloured etching and stipple engraving 26.3 x 32 cm
( paper size )
© National Portrait Gallery

1794 PANTAGRUEL'S 's victorious return to the court of GARGANTUA.
hand-coloured etching 31.4 x 36.3 cm ( paper size )
© National Portrait Gallery, London

1794 The ERUPTION of the MOUNTAIN, - or - The Horrors of the "Bocca del Inferno"
hand-coloured etching and aquatint 32.4 x 37.4 cm ( paper size )
© National Portrait Gallery, London

1794 Turkey:

1794 A Colonel of the Janizaries
hand-coloured etching and aquatint 33.6 x 23.5 cm ( paper size )
© National Portrait Gallery, London

1794 A common Soldier of the Janizaries
hand-coloured etching and aquatint 34.2 x 23.8 cm 9 paper size )
© National Portrait Gallery, London

1794 A common Turk
hand-coloured etching and aquatint 34 x 24.1 cm ( paper size )
© National Portrait Gallery, London

1794 A Greek Lady
hand-coloured etching and aquatint 34.1 x 23.6 cm ( paper size )
© National Portrait Gallery, London

1794 A Turkish Woman of Constantinople
hand-coloured etching and aquatint 24.4 x 24.4 cm ( paper size )
© National Portrait Gallery, London

1794 A Turkish Woman of Constantinople
hand-coloured etching and aquatint 34.1 x 23.9 cm ( paper size )
© National Portrait Gallery, London

1794 A Valet de chambre of the Grand Sultan
hand-coloured etching and aquatint 33.8 x 23.7 cm ( paper size )
© National Portrait Gallery, London

1794 An Armenian Woman
hand-coloured etching and aquatint 33.8 x 24.1 cm ( paper size )
© National Portrait Gallery, London

1794 The Grand Sultan
hand-coloured etching and aquatint 34.2 x 23.9 cm ( paper size )
© National Portrait Gallery, London

1794 The Grand Sultana
hand-coloured etching and aquatint 33.8 x 24 cm ( paper size )
© National Portrait Gallery, London

1794 The Grand Viser, in his habit of Ceremony
hand-coloured etching and aquatint 34.3 x 23.8 cm ( paper size )
© National Portrait Gallery, London

1794 The Sword-bearer of the Grand Sultan
hand-coloured etching and aquatint 34 x 24.3 cm ( paper size )
© National Portrait Gallery, London

1795 Eloquence series:

1795 Bar Eloquence
hand-coloured etching 12.3 x 8.2 cm ( plate )
© National Portrait Gallery

1795 Billingsgate Eloquence
hand-coloured etching 12.3 x 8.4 cm ( paper size )
© National Portrait Gallery

1795 Fools Eloquence
hand-coloured etching 11.9 x 8 cm ( paper size )
© National Portrait Gallery

1795 Military Eloquence
hand-coloured etching 12.4 x 8.5 cm ( paper size )
© National Portrait Gallery

1795 Ministerial Eloquence
hand-coloured etching 12.3 x 8 cm ( plate )
© National Portrait Gallery

1795 Naval Eloquence
etching 12.4 x 8.1 cm ( plate )
© National Portrait Gallery

1795 Opposition Eloquence
hand-coloured etching 12.2 x 8.2 cm ( paper size )
© National Portrait Gallery

1795 Pulpit Eloquence
hand-coloured etching 12.3 x 81 cm ( plate )
© National Portrait Gallery

* * * * *

1795 A TRUE BRITISH TAR.
( King William IV )
hand-coloured etching 33.6 x 22.9 cm ( paper size )
© National Portrait Gallery, London

1795 Characters in High Life.
hand-coloured etching 35.9 x 25.3 cm ( paper size )
© National Portrait Gallery, London

1795 Enter COWSLIP, with a bowl of Cream
( Albinia, Countess of Buckinghamshire )
hand-coloured etching 34.5 x 23.3 cm ( paper size )
© National Portrait Gallery, London

1795 Light expelling Darkness, - Evaporation of Stygian Exhalations
hand-coloured etching 35.5 x 46.2 cm ( paper size )
© National Portrait Gallery, London

1795 Modern Elegance
( Lady Charlotte Susan Maria Bury )
etching 28.6 x 20.5 cm ( paper size )
© National Portrait Gallery

1795 MODERN ELEGANCE.
( Lady Charlotte Susan Maria Bury ) hand-coloured etching 28.6 x 20.5 cm ( paper size )
© National Portrait Gallery

1795 The great South Sea Caterpillar, transform'd into a Bath Butterfly
hand-coloured etching 35.4 x 24.5 cm ( paper size )
© National Portrait Gallery, London

1795 The LOVER'S DREAM
hand-coloured etching and aquatint 31.1 x 41.2 cm ( paper size )
© National Portrait Gallery

1796 A Philosopher, - Conduit Street
hand-coloured etching 24 x 18 cm ( paper size )
© National Portrait Gallery, London

1796 A Modern Belle going to the Rooms at Bath.
hand-coloured etching 34.3 x 24.8 cm ( plate )
© National Portrait Gallery, London

1796 ENCHANTMENTS lately see upon the Mountains of WALES, - or - Shon-ap Morgan's Reconcilement to the Fairy Princess
hand-coloured etching 25.3 x 35.5 cm ( plate )
© National Portrait Gallery, London

1796 Exaltation of FARO'S's Daughters.
hand-coloured etching 36 x 26 cm ( plate )
© National Portrait Gallery, London

1796 FASHIONABLE-JOCKEYSHIP.
hand-coloured etching 36.4 x 26.3 cm ( plate )
© National Portrait Gallery, London

1796 GEORGEY a' Cock-horse.
( George Hanger, 4th Baron Coleraine )
hand-coloured etching 35.5 x 28.2 cm ( paper size )
© National Portrait Gallery, London

1796 High-Change in Bond Street, - ou - la Politesse du Grande Monde.
hand-coloured etching 25 x 35.1 cm ( plate )
© National Portrait Gallery, London

1796 Ladies Dress, as it soon will be.
hand-coloured etching and stipple engraving 32.5 x 23.3 cm ( paper size )
© National Portrait Gallery, London

1796 Lady Godina's Rout; - or - Peeping-Tom spying out Pope-Joan
hand-coloured etching 25.9 x 36 cm ( plate )
© National Portrait Gallery, London

1796 The CANEING in Conduit Street.
( Thomas Pitt, 2nd Baron Camelford; George Vancouver )
hand-coloured etching

1796 The DOG TAX.
hand-coloured etching 37.3 x 25 cm ( paper size )
© National Portrait Gallery, London

1796 The Fashionable Mamma, - or - The Convenience of Modern Dress.
hand-coloured etching and stipple engraving 35.7 x 25.8 cm ( paper size )
© National Portrait Gallery, London

1796 The GENERÆ of PATRIOTISM, - or - the Bloomsbury Farmer, planting BEDFORDSHIRE Wheat.
hand-coloured etching and aquatint 24.8 x 35 cm ( plate )
© National Portrait Gallery, London

1797 A corner, near the Bany; - or - An Example for Fathers.
hand-coloured etching and engraving 35.8 x 27.3 cm ( paper size )
© National Portrait Gallery, London

↧

James Gillray - part 5

May 16, 2018, 6:00 am

≫ Next: James Gillray - part 6

≪ Previous: James Gillray - part 4

James Gillray by an unknown artist
watercolour c1810

For a fuller biography see part 1 also. For earlier works by Gillray see parts 1-4 also.

This is part 5 of a 6-part post on the works of James Gillray:

1797 Nature display'd, shewing the Effect of the change of the Seasons on the Ladies Garden
hand-coloured etching 25.2 x 25.2 cm ( paper size )
© National Portrait Gallery, London

1797 The GIANT-FACTOTEM amusing himself.
hand-coloured etching 36.6 x 26.4 cm ( paper size )
© National Portrait Gallery, London

1797 The GORDON-KNOT, - or - The Bonn-Duchess hunting the Bedfordshire Bull.
hand-coloured etching 26.2 x 36.2 cm ( plate )
© National Portrait Gallery, London

1797 The Leadenhall Volunteer, drest in his Shawl.
hand-coloured etching 18.8 x 15.5 cm ( plate )
© National Portrait Gallery, London

1797 The MARRIAGE of CUPID & PSYCHE.
hand-coloured etching and aquatint 28.5 x 34.9 cm ( paper size )
© National Portrait Gallery, London

1798 Lullaby!- sooth him with a lullaby!
hand-coloured etching 21.3 x 23.4 cm ( paper size )
© National Portrait Gallery, London

1798 Nightly Visitors, at St. Ann's Hill; -
hand-coloured aquatint 36 x 26.1 cm ( plate )
© National Portrait Gallery, London

1798 Stealing off; - or - prudent Seces(s)ion
hand-coloured etching and aquatint 25.8 x 36.3 cm
( plate )
© National Portrait Gallery, London

1798 The Tree of LIBERTY, - with, the Devil tempting John Bull.
hand-coloured etching 36.4 x 26.3 cm ( plate )
© National Portrait Gallery, London

1798 Habits of New French Legislators and other Public Functionaries:

1798 French Habits No. 1 Le Ministre d'Etat, en Grand Costume.
( Charles James Fox )
hand-coloured etching 26.1 x 19.4 cm ( plate )
© National Portrait Gallery

1798 French Habits No. 5 Président d'Adminisration Municipale.
( John Horne Tooke )
hand-coloured etching and stipple 26 x 19.3 cm ( plate )
© National Portrait Gallery

1798 French Habits No.3 Les Membres du Conseil des Cinq Cents.
hand-coloured etching 26.1 x 19.4 cm ( plate )
© National Portrait Gallery

1798 French Habits No.4 Membre du Directoire Exécutif.
( Francis Russell, 5th Duke of Bedford )
hand-coloured etching 26 x 19.4 cm ( plate )
© National Portrait Gallery

1798 French Habits No.6 Le Boureau.
( George Tierney )
hand-coloured etching and stipple 26.1 x 19.4 cm ( plate )
© National Portrait Gallery

1798 French Habits No.7 L'Avocat de la Republique.
( Thomas Erskine, 1st Baron Erskine )
hand-coloured aquatint 26 x 19.3 cm ( plate )
© National Portrait Gallery

1798 French Habits No.8 Membre de la Haute Cour de Justice.
( George Shuckburgh )
hand-coloured aquatint 26.1 x 19.3 cm ( plate )
© National Portrait Gallery

1798 French Habits No.9 Judge du Tribunal Correctionnel.
( John Courtenay )
hand-coloured aquatint 26.1 x 19.4 cm ( plate )
© National Portrait Gallery

1798 French Habits No.10 Juge de Paix.
( George Nicholls )
hand-coloured aquatint 26 x 19.4 cm ( plate )
© National Portrait Gallery

1798 French Habits No.11 le Trèsorier.
( Sir William Pulteney )
hand-coloured aquatint 26 x 19.5 cm ( plate )
© National Portrait Gallery

1798 French Habits No.12 Messager d'Etat.
( Sir Francis Burdett, 5th Bt )
hand-coloured aquatint 26.2 x 19.4 cm ( plate )
© National Portrait Gallery

1799 Egyptian Sketches:

1799 Egyptian Sketches
hand-coloured etching 25 x 35.1 cm ( plate )
© National Portrait Gallery, London

1799 L'Infanterie Francaise en Egypte. Le General L'Asne coverted to Ibrahim Bey
hand-coloured etching 25.6 x 35.8 cm ( plate )
© National Portrait Gallery, London

1799 "L'Insurrection de l'Institut Amphibie." - The Pursuit of Knowledge
hand-coloured etching 25.3 x 35.7 cm ( plate )
© National Portrait Gallery, London

1799 "MAMLOUK, et HUSSARD REPUBLICAIN." - General result of BUONAPARTE'S Attack upon Ibrahin BEY'S Rear Guard
hand-coloured etching 26.3 x 37.7 cm ( plate )
© National Portrait Gallery, London

1799 "PRŒTOR-URBANIS; - Inauguration of the Coptic Mayor of Cairo, preceded by the Procureur de la Commune
hand-coloured etching 25.5 x 37.5 cm ( plate )
© National Portrait Gallery, London

1799 THEOLOGIE á la TURQUE. - The Pale of the Church of Mahomet.
hand-coloured etching 25.3 x 35.6 cm ( plate )
© National Portrait Gallery, London

1799 Tirailleur Francais. et Chevau Leger de l'Armée du Pacha de Rhodes. Evolutions of French Mounted Riflemen
hand-coloured etching 25.4 x 35.7 cm ( plate )
© National Portrait Gallery, London

* * * * *

1799 A MAN of IMPORTANCE
( Francis Rawdon-Hastings, ist Marquess of Hasting
hand-coloured etching 36.4 x 26.3 cm ( paper size )
© National Portrait Gallery, London

1799 ALLIED POWERS, UN-BOOTING EGALITE.
hand-coloured etching 26.2 x 36.4 cm ( plate )
© National Portrait Gallery, London

1799 Effusions of a Pot of Porter
( William Pitt )
hand-coloured etching and aquatint 36.2 x 26 cm ( plate )
© National Portrait Gallery, London

1799 EXIT LIBERTE a la FRANOIS! - or - BUONAPARTE closing the Farce og Egalitè, at St. Cloud near Paris Nov. "10" 1799
hand-coloured etching 25.2 x 36 cm ( paper size )

1799 Half Natural
( Sir Lumley St. George Skeffington )
hand-coloured etching 24.7 x 18.4 cm ( plate )
© National Portrait Gallery, London

1799 "MONSTROSITIES" of 1799, - Scene, Kensington Gardens
hand-coloured etching 26.4 x 36.4 cm ( plate )
© National Portrait Gallery, London

1799 Mrs GIBBS the Notorious Street Walker & Extorter
( Jane Gibbs )
hand-coloured etching 25.7 x 19.7 cm ( paper size )
© National Portrait Gallery, London

1799 NAPPER TANDY
etching 26.1 x 19.9 cm ( plate )
© National Portrait Gallery, London

1799 Siege de la COLONNE de POMPEE.
hand-coloured etching 55.3 x 41.8 cm ( paper size )
© National Portrait Gallery, London

1799 SIR SIDNEY SMITH.
hand-coloured etching and aquatint 33.3 x 23.8 cm ( paper size )
© National Portrait Gallery, London

1799 The GOUT.
hand-coloured soft-ground etching 25.7 x 35.9 cm ( plate )
© National Portrait Gallery, London

1799 The Reception in Holland
hand-coloured etching 26 x 36.4 cm ( plate )
© National Portrait Gallery, London

1799 The Twin Stars, CASTOR & POLLUX.
hand-coloured etching 24.9 x 18.8 cm ( plate )
© National Portrait Gallery, London

1800 COCKNEY-SPORTSMEN finding a Hare.
hand-coloured etching, soft-grounD etching and aquatint 25.2 x 35.4 cm ( plate )
© National Portrait Gallery, London

1800 COCKNEY-SPORTSMEN marking Game.
hand-coloured etching, soft-ground etching and aquatint 25.6 x 35.7 cm ( plate )
© National Portrait Gallery, London

1800 COCKNEY-SPORTSMEN Re-charging.
hand-coloured etching, soft-ground etching and aquatint 25.6 x 36 cm ( plate )
© National Portrait Gallery, London

1800 COCKNEY-SPORTSMEN Shooting Flying.
hand-coloured etching, soft-ground etching and aquatint 25.5 x 35.5 cm ( plate )
© National Portrait Gallery, London

1800 Waltzer au Mouchoir.
hand-coloured etching 22.8 x 17.7 cm ( plate )
© National Portrait Gallery, London

1801 A Bravura Air, MANDANE.
( Elizabeth Billington )
hand-coloured etching 36 x 25.3 cm ( paper size )
© National Portrait Gallery, London

1801 A LYONESS.
hand-coloured etching 35.8 x 25.5 cm ( paper size )
© National Portrait Gallery, London

↧

James Gillray - part 6

May 18, 2018, 6:08 am

≫ Next: Film Posters - 1980s

≪ Previous: James Gillray - part 5

James Gillray by Charles Turner c1819
mezzotint 19.5 x 16.5 cm ( plate )

For a fuller biography see part 1 also. For earlier works by Gillray see parts 1-5 also.

This is part 6 of a 6-part post on the works of James Gillray:

1801 A Pair of POLISHED Gentlemen.
hand-coloured etching 35.6 x 25.5 cm ( plate )
© National Portrait Gallery, London

1801 Be gone dull Care, - I prithee begone from Me!
hand-coloured etching 24.2 x 30.3 cm ( paper size )
© National Portrait Gallery, London

1802 Going to London, through "Epping Forest"
hand-coloured etching 25.7 x 20.4 cm ( paper size )
© National Portrait Gallery, London

1802 The Cow-Pock—or—the Wonderful Effects of the New Inoculation!

1802 The PIC-NIC ORCHESTRA
hand-coloured stipple engraving 27 x 35.7 cm ( paper size )
© National Portrait Gallery, London

1803 an Old Encore, at the Opera.
hand-coloured stipple engraving 25 x 20.2 cm ( plate )

1803 Inspecting a Volunteer Corps in Hyde Park.
( Charles Stanhope, 3rd Earl of Harrington )
hand-coloured etching and aquatint 26.1 x 19.9 cm ( plate )
© National Portrait Gallery, London

1803 The Bulstrode Siren.
( Elizabeth Billington )

1803 The first Kiss this Ten Years! - or - the meeting of Britannia & Citizen François.
hand-coloured etching, soft-groung etching and aquatint 35.5 x 25.4 cm ( plate )
© National Portrait Gallery, London

1804 L'ASSEMBLE NATIONALE; -
hand-coloured etching 33.7 x 46.3 cm ( plate )

1805 A Cockney & his Wife going to Wycombe
hand-coloured etching and aquatint 26.2 x 37.3 cm ( plate )
© National Portrait Gallery, London

1805 St. GEORGE and the DRAGON
hand-coloured etching and aquatint 39.7 x 40.2 cm ( plate )
© National Portrait Gallery, London

1805 The Plumb-pudding in danger; - or - State Epicures taking un Petit Souper
hand-coloured etching 26.2 x 36.4 cm ( plate )
© National Portrait Gallery, London

1805 Elements of Skat(e)ing:

1805 ELEMENTS of SKATEING, - A Fundamental Error in the Art of Skaiting ( sic )
hand-coloured etching and aquatint 25.3 x 35.8 cm ( plate )
© National Portrait Gallery, London

1805 ELEMENTS of SKATEING, - Attitude! Attitude is every thing!
hand-coloured etching and aquatint 24.7 x 35.4 cm ( plate )
© National Portrait Gallery, London

1805 ELEMENTS of SKATEING, - Making the most of a passing Friend, in case of Emergency!
hand-coloured etching and aquatint 25.5 x 35.7 cm ( plate )
© National Portrait Gallery, London

1806 The Rake's Progress at the University:

1806 The Rake's Progress at the University No.1
hand-coloured etching and aquatint 24.7 x 34.9 cm ( plate )
© National Portrait Gallery, London

1806 The Rake's Progress at the University No.2
hand-coloured etching and aquatint 24.8 x 34.9 cm ( plate )
© National Portrait Gallery, London

1806 The Rake's Progress at the University No.3
hand-coloured etching and aquatint 24.8 x 35 cm ( plate )
© National Portrait Gallery, London

1806 The Rake's Progress at the University No.4
hand-coloured etching and aquatint 24.8 x 35.4 cm ( plate )
© National Portrait Gallery, London

1806 The Rake's Progress at the University No.5
hand-coloured etching and aquatint 24.8 x 34.9 cm ( plate )
© National Portrait Gallery, London

* * * * *

1806 WIDE-AWAKE.
hand-coloured etching and stipple engraving 26.1 x 23 cm ( paper size )
© National Portrait Gallery, London

1807 CONNOISSEURS examining a collection of GEORGE MORELAND'S.
hand-coloured etching 38.4 x 31 cm ( paper size )
© National Portrait Gallery, London

1808-10 Weather series:

1809? BRISTOL-CHEESE, made, and sold, by Percival & Co
hand-coloured etching 25.2 x 19.2 cm ( paper size )
© National Portrait Gallery, London

1810 La Walse - Le Bon Genre.
hand-coloured etching and stipple engraving 26.2 x 33.7 cm ( paper size )
© National Portrait Gallery, London

1810 Les Invisibles.
hand-coloured etching and stipple engraving 26.2 x 33.4 cm ( paper size )
© National Portrait Gallery, London

1810 Progress of the Toilet. - THE STAYS - Plate 1.
hand-coloured etching and stipple engraving 28.3 x 22.4 cm ( plate )
© National Portrait Gallery, London

1810 Progress of the Toilet - THE WIG. - Plate 2.
hand-coloured etching and stipple engraving 28.1 x 22 cm ( plate )
© National Portrait Gallery, London

1810 Progress of the Toilet - DRESS COMPLETED. - Plate 3.
hand-coloured etching and stipple engraving 28.1 x 22 cm ( plate )
© National Portrait Gallery, London

1810 The GRACES in a high Wind.
hand-coloured etching and aquatint 25.6 x 35.7 cm ( plate )
© National Portrait Gallery, London

The COLE-HEAVERS.
( Charles James Fox; Frederick North, 2nd Earl of Guilford )
hand-coloured etching 24.2 x 33.8 cm ( paper size )
© National Portrait Gallery, London

The Republican Rattle-Snake fascinating the Bedford-Squirrel.
hand-coloured etching 35.1 x 24.7 cm ( plate )
© National Portrait Gallery, London

↧

Film Posters - 1980s

May 21, 2018, 6:22 am

≫ Next: Roy Lichtenstein - part 1

≪ Previous: James Gillray - part 6

This is the seventh part of an occasional series on Film (or Movie) posters. I have previously featured posters from (as indexed in the side-panel indexes):

Film Posters 1913-1929

Film Posters 1930s

Film Posters 1940s

Film Posters 1950s

Film Posters 1960s

Film Posters 1970s

Saul Bass Film Posters

Film Posters 1980s:

1980 Airplane!

1980 Altered States

1980 Any Which Way You Can
artwork by Bob Peak

1980 Bad Timing / A Sensual Obsession

1980 The Blues Brothers

1980 The Shining

1980 Tom Horn

1981 Brazil

1981 Chariots of Fire

1981 Gallipoli

1981 On Golden Pond

1981 Raiders of the Lost Ark
artwork by Richard Amsel

1982 Blade Runner

1982 Das Boot
( Director's Cut )

1982 Das Boot

1982 Dead Men Don't Wear Plaid

1982 Deathtrap

1982 E.T.
The Extra-Terrestrial

1982 Eating Raoul

1982 Gregory's Girl

1982 Pink Floyd The Wall
artwork by Gerald Scarfe

1982 Victor Victoria

1983 Exposed

1983 Scarface

1983 The Draughtsman's Contract

1984 Amadeus

1984 Indiana Jones and the Temple of Doom
artwork by Drew Struzan

1984 Teachers

1984 The Terminator
artwork by Jakub Erol

1985 A View to Kill

1985 After Hours

1985 Blood Simple

1985 Pale Rider

1985 That's Dancing

1985 The Color Purple

1986 Ruthless People

1986 The Fly

1986 The Mission

1987 Empire of the Sun

1987 Full Metal Jacket

1987 Radio Days

1988 The Last Temptation of Christ

1989 Batman

1989 New York Stories

1989 Tie Me Up! Tie Me Down!

↧

Roy Lichtenstein - part 1

May 23, 2018, 5:32 am

≫ Next: Roy Lichtenstein - part 2

≪ Previous: Film Posters - 1980s

c1949 Roy Lichtenstein in Columbus, Ohio

Roy Lichtenstein was born in 1923 in New York. In 1939 he studied under Reginald Marsh at the Art Students League of New York, and the following year under Hoyt L. Sherman at the College of the Arts at Ohio State University in Columbus. He served in the army from 1943 to 1946, after which he resumed his studies and was hired as an instructor. He obtained an MFA in 1949. In 1951 the Carlebach Gallery, New York, organised a solo exhibition of his semiabstract paintings of the Old West. Shortly thereafter, the artist moved to Cleveland, where he continued painting while working as an engineering draftsman to support his growing family.

From 1957 to 1960 Lichtenstein obtained a teaching position at the State University of New York, Oswego. By then he had begun to include loosely drawn cartoon characters in his increasingly abstract canvases. From 1960 to 1963 he lived in New Jersey while teaching at Douglass Residential College, a division of Rutgers University in New Brunswick, New Jersey. He met artists such as Jim Dine, Allan Kaprow, Claes Oldenburg, Lucas Samaras, George Segal, and Robert Whitman, all of whom were experimenting with different kinds of art based on everyday life. In 1961 he began to make paintings consisting exclusively of comic-strip figures, and introduced his Benday-dot grounds, lettering, and balloons; he also started cropping images from advertisements. From 1964 into the next decade, he successively depicted stylized landscapes, consumer-product packaging, adaptations of paintings by famous artists, geometric elements from Art Deco design (in the Modernseries), parodies of the Abstract Expressionists’ style (in the Brushstrokes series), and explosions. They all underlined the contradictions of representing three dimensions on a flat surface.

In the early 1970s he explored this formal question further with his abstract Mirrors and Entablatures series. From 1974 through the 1980s, he probed another long-standing issue: the concept of artistic style. All his series of works played with the characteristics of well-known 20th-century art movements. Lichtenstein continued to question the role of style in consumer culture in his 1990s series Interiors, which included images of his own works as decorative elements. In his attempt to fully grasp and expose how the forms, materials, and methods of production have shaped the images of Western society, the artist also explored other mediums such as polychromatic ceramic, aluminium, brass, and serigraphs.

Beginning in 1962, the Leo Castelli Gallery, New York, held regular exhibitions of the artist’s work. Lichtenstein participated in the Venice Biennale in 1966, and was honored with solo exhibitions in 1967 and 1968 at the Pasadena Art Museum and the Solomon R. Guggenheim Museum, New York, respectively. The artist was the subject of a major retrospective at the Guggenheim in 1994, three years before his death on September 30, 1997.

Solomon R. Guggenheim Museum, New York

This is part 1 of a 20-part series on the works of Roy Lichtenstein (works 1940-1952):

1940 ( Paul Bunyan )
ink on paper

1940 Self-Portrait
ink and crayon on paper 29.8 x 22.2 cm

1942 ( Reclining Woman )
oil on canvas 76.2 x 63.8 cm

1943 ( Portrait of a Man )
oil on canvas 80.6 x 60.3 cm

1943 Untitled
ink on paper 25.9 x 21.6 cm

1944 ( A London Park )
conte crayon on support 28.2 x 25.4 cm

1946 Head
carved stone 12.7 x 17.8 x 15.2 cm

1947 Figures
coloured pencil on paper 22.4 x 30.4 cm

1947 Head
watercolour on paper 17.6 x 14.2 cm

1947 Standing Figure
terracotta 26.7 x 9.2 x 17.8 cm

1947 Two Figures
watercolour (or gouache ) and charcoal on paper 90 x 55 cm

1947 Untitled
wood relief 24.4 x 34 cm

1947 Wrestler
oil on paper 57.8 x 42.5 cm

1948 Alice in Wonderland
oil on pasteboard 40.4 x 50.8 cm

1948 Battle Scene
pastel on paper 48.5 x 64 cm
The Museum of Contemporary Art, Los Angeles, CA

1948 Mother and Child
oil on paper 40.5 x 50.5 cm
The Museum of Contemporary Art, Los Angeles, CA

1948 Pilot
pastel on black construction paper 26.7 x 34.9 cm

1948 The Angel
oil ( and gouache? ) on canvas-board 45.7 x 35.5 cm

1948 The Combat
pastel 41.3 x 61.9 cm

1948 The Cook
pastel 45 x 40.5 cm

1948 The Musician
oil and graphite on canvas 45.5 x 40.5 cm

1948 The Racing Car
pastel, gouache and ink on paper 28.2 x 46.4 cm

1948 Untitled ( Six Figures )
coloured pastels on unprimed muslin 67.9 x 45.1 cm
National Gallery of Art, Washington, DC

1948 Untitled ( Woman in the Garden )
oil on canvas 31.1 x 35.6 cm

1949 Beauty and the Beast I
oil on linen 66 x 81.5 cm

1949 Sea Coast
oil on canvas 30.5 x 35.6 cm

1949 Storming the Castle
etching, aquatint and engraving on cream wove paper 29.9 x 39.6 cm

1949 The Bird
oil on canvas 45.7 x 61 cm

1949 The Philosophers
oil on canvas-board 50.2 x 38.4 cm

1949 Untitled
oil on canvas ( or canvas-board ) 48.3 x 61 cm

1949 Untitled
oil on canvas

1949 Untitled
oil on canvas-board 40.6 x 51.1 cm

1950 ( Two Figures with Hats )
acrylic on gessoed Masonite 30.5 x 40.6 cm

1950 Insect with Man
oil on linen 33 x 38.1 cm

1950 Man on Lion
oil on canvas 40.8 x 35.7 cm

1950 The Charioteer
gouache, gold-bronze paint, graphite and black ink on paper 45.4 x 61.3 cm

1950 The Hero's Return
oil on canvas 35.6 x 52.1 cm

1950 The Horse
wood and metal 18.4 x 31.1 x 5.1 cm

1950 The Owl
woodcut on paper 19.7 x 27.9 cm

1951 ( Head ) III
oil on canvas 40.7 x 30.5 cm

1951 Death of the General
oil on canvas 86 x 101.6 cm

1951 Exhuming the Mastodon
oil on canvas 91.5 x 106.7 cm

1951 Last of the Buffalo
oil on linen 50.8 x 61.3 cm

1951 The End of the Trail
oil on canvas 40.6 x 61 cm

1951 The Indians
oil on canvas 50.8 x 45.8 cm

1951 Washington Crossing the Delaware I
oil on canvas 66 x 81.3 cm

1951 Washington Crossing the Delaware II
oil on canvas 61 x 76.2 cm
( see below )

1951 Washington 1851 Washington Crossing the Delaware by Emanuel Leutze
oil on canvas 149 x 25 cm
The Metropolitan Museum of Art, New York

1952 ( Two Chippewa Building Canoe )
oil on canvas 61 x 76.2 cm

1952 Chief Before the Teepee
oil on canvas 102.6 x 76.2 cm

1952 Indian with Bird I
oil on canvas 40.6 x 51.1 cm

1952 Indians Pursued by American Dragoons - After Wimar
oil on canvas 91.4 x 106.7 cm
( see below )

n.d. Indians Pursued by American Dragoons by Carl Wimar

1952 The Explorer
oil on canvas 40.6 x 35.6 cm

1952 Two Sioux
oil on canvas 76.2 x 56 cm

↧

Roy Lichtenstein - part 2

May 25, 2018, 5:46 am

≫ Next: Roy Lichtenstein - part 3

≪ Previous: Roy Lichtenstein - part 1

c1949 Roy Lichtenstein in Columbus, Ohio

Roy Lichtenstein ( October 27, 1923 – September 29, 1997 ) was an American pop artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in-cheek manner. His work was influenced by popular advertising and the comic book style. He described pop art as "not 'American' painting but actually industrial painting". His paintings were exhibited at the Leo Castelli Gallery in New York City.

For a more detailed biography and for earlier works, see part 1 also.

This is part 2 of a 20-part series on the works of Roy Lichtenstein (works 1953-1961):

1953 Device with Crank
oil on wood 29.8 x 45.7 cm

1953 Hell's Angels
oil on canvas 61 x 91.4 cm

1953 Indian with Pipe
oil on canvas 35.6 x 30.5 cm

1953 Roping the Brahman
oil on canvas 61 x 32 cm

1953 The Capture of Roanoke Island
oil on canvas 91.5 x 106.7 cm

1953 The Heavier-than-Air Machine ( The Flying Machine )
woodcut on Japan paper 42.6 x 52.4 cm

1953 Two Indians, Two Seminoles
oil on canvas 45.7 x 61 cm

1953 Weatherford Surrenders to Jackson
oil on canvas 106.7 x 127 cm

1954 ( Locomotive )
oil on canvas 101.6 x 127 cm

1954 Blueprint
oil on canvas 55 x 75 cm

1954 Eccentric Cam
oil on canvas 30.5 x 40.6 cm

1954 Mechanism, Cross Section
oil on canvas 101.6 x 138.2 cm

1954 The Valve
oil on canvas 51 x 40 cm

1955 ( Assemblage )
oil on canvas, canvas, laminated wood, string, wood battens and screws 81.9 x 46.4 x 3.2 cm

1955 ( Picture without a Frame )
pasteboard, paper, canvas, wood, screws, glue and thread 61 x 52 cm

1955 ( Untitled )
canvas, painted, laminated wood, wood battens, screws 70.5 x 85.5 cm

1955 Untitled
oil on canvas 45.1 x 40 cm

1956 A Bad Treaty
oil and charcoal / grease on canvas 142.2 x 105.4 cm

1956 Indian, Tepee and Canoe
oil on canvas 76.2 x 101.6 cm

1956 The Bad Man
oil on canvas 40.5 x 30.5 cm

1956 The Charge of the Light Brigade
oil on canvas 106.7 x 152.4 cm

1956 The Treaty of Traverse des Sioux, after Frank B. Mayer 1851
oil on canvas 71.1 x 106.7 cm
( see below )

1885 The Treaty of Traverse des Sioux by Frank B. Mayer

1957 A Lady
oil on canvas 81.3 x 61 cm

1957 Gallant Scene I
oil on canvas 61 x 91.5 cm

1957 Gallant Scene II
oil on canvas 118.1 x 168.3 cm

1957 Illustration for Polemic Magazine
woodcut on mulberry paper 18.1 x 26 cm

1957 Reclining Shepherdess
oil on canvas 127 x 101.6 cm

1957 The Cowboy ( Blue )
oil on canvas 40.7 x 30.5 cm

1958 ( Composition )
oil on canvas 76.4 x 91.4 cm

1958 Mickey Mouse I
pastel and India ink on paper 48.6 x 63.5 cm

1958 Mickey Mouse II
India ink on paper 52.4 x 47.6 cm

1958 Untitled
oil on canvas 61 x 50.8 cm

1958 Untitled
oil on canvas 61 x 86.4 cm

1958 Untitled
oil on canvas 86.5 x 71.3 cm

1958 Untitled
oil on canvas 106.8 x 142.2 cm

1959 Abstraction - Untitled Drawing
gouache and pastel on paper 48.6 x 63.2 cm

1959 Abstraction - Untitled Drawing
pastel and gouache on paper 24.1 x 34.6 cm

1959 Composition
oil on canvas 61 x 51.4 cm

1959 Untitled
oil on canvas 40.6 x 66 cm

1959 Untitled
oil on canvas 86.4 x 71.1 cm

1959 Untitled
oil on canvas 141.9 x 107 cm

1959 Untitled
oil on canvas 174.6 x 121.3 cm

1959 Untitled
oil on linen 45.6 x 50.7 cm

1959 Variations #7
oil on canvas 121.9 x 152.4 cm

1960 Untitled
gouache on paper 61 x 45.7 cm

1960 Untitled
oil on canvas 86.5 x 55.9 cm

1960 Untitled
oil on canvas 116.8 x 170.2 cm

1960 Untitled
oil on canvas 121.9 x 152.4 cm

1960 Untitled
oil on canvas 121.9 x 178 cm

1960 Untitled
oil on canvas 122.6 x 177.8 cm

At this point we see Lichtenstein's transition into "Pop Art." The point where he became mainstream within the Pop Art movement:

1961 10 Cents
gouache on paper 56.5 x 76.5 cm

1961 Bread in Bag
oil on canvas ( Two Panels ) 72.4 x 144.8 cm

1961 Cup of Coffee
oil on canvas 51.1 x 40.6 cm

↧

Roy Lichtenstein - part 3

May 28, 2018, 6:04 am

≫ Next: Roy Lichtenstein - part 4

≪ Previous: Roy Lichtenstein - part 2

For a more detailed biography see part 1, and for earlier works see parts 1 and 2 also.

This is part 3 of a 20-part series on the works of Roy Lichtenstein (works 1961-1963):

1961 Emeralds
oil on canvas 172.7 x 172.7 cm

1961 Handshake
oil on canvas 81.3 x 147.3 cm

1961 Original comic strip
"I Can See the Whole Room!… And There's Nobody In It!"
from "Comics, Adventures & Superheroes August 1961
( see Lichtenstein version below )

1961 I Can See the Whole Room!… And There's Nobody In It!
oil and graphite pencil pencil on canvas 121.9 x 121.9 cm

1961 Look Mickey
oil on canvas 121.9 x 175.3 cm

1961 Mr. Bellamy
oil on canvas 143.5 x 108 cm

1961 Popeye
oil on canvas 106.7 x 142.2 cm

1961 Step-on Can with Leg
oil on canvas ( diptych 82.6 x 67.3 cm each canvas )

1961 The Engagement Ring
oil on canvas 172.1 x 201.9 cm

1961 The Kiss
oil on canvas 203.2 x 172.7 cm

1961 Wimpey ( Tweet )
oil on canvas 41 x 51 cm

1962 Aloha
oil on canvas 172.7 x 172.7 cm

1962 ART

1962 Blam
oil on canvas 172.7 x 203.2 cm

1962 Original comic strip "All American Men of War No.90"

( see Lichtenstein versions below )

1962 Bratatat!
frottage and graphite on paper 51.4 x 41.3 cm

1962 Bratatat!
oil on canvas 116.8 x 86.4 cm

Original comic strip

All American Men of War No.89 1962

( see Lichtenstein version below )

1962 Brattata
oil on canvas 106.7 x 106.7 cm

1962 George Washington
magna* on canvas 129.5 x 96.5 cm
( see below )

1962 George Washington by Gilbert Stuart
oil on canvas 73.5 x 61.1 cm
Clark Art Institute, Williamstown, MA

*MAGNA

Lichtenstein employed Magna rather than oil on a lot of his paintings as it was probably more suited for the style he employed.

Magna is the brand name of an acrylic resin paint, developed by Leonard Bocour and sold by Bocour Artist Colors, Inc. in 1947. It is very different from modern acrylic paint, as it is composed of pigments ground in an acrylic resin brought into emulsion through the use of solvents.

1962 IN
oil on canvas 142.2 x 172.7 cm
Solomon R. Guggenheim Museum, New York

1962 Live Ammo ( Blang )
oil on canvas 172.1 x 203.2 cm

1962 Masterpiece
137 x 137 cm

1962 Portrait of Madame Cézanne
magna on canvas 172 x 142.2 cm
( based on the diagram below )

Earl Loran's diagram of Madame Cezanne 1943
University of California Press
( see original below )

1962 Portrait of Madame Cézanne by Paul Cézanne
oil on canvas 92.6 x 72.9 cm
Barnes Foundation, Philadelphia, PA

1962 Spray
oil on canvas 172.7 x 91.4 cm
Staatsgalerie Stuttgart, Germany

1962 Takka Takka
oil on canvas 142.2 x 172.7 cm

1962 Tex!
oil on canvas 172.7 x 203.2 cm

1962 The Ring ( Engagement )
oil on canvas 121.9 x 177.8 cm

1962 The Rings
oil on canvas 35.6 x 35.6 cm

1962 Ziing!
oil on canvas 20.3 x 30.5 cm

1963 Crak!
offset lithograph on white wove paper 48.9 x 70.2 cm
( see below )

Original comic strip

1963 Crying Girl
lithograph 45.9 x 60.8 cm
de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

1963 Drowning Girl
oil on canvas 172 x 172 cm

1963 Fastest Gun
magna on canvas 91.4 x 172.7 cm

1963 Femme d'Alger
oil on canvas 203.2 x 172.7 cm

1963 Femme Dans Un Fauteuil
magna on canvas 172.7 x 121.9 cm
( after Pablo Picasso - see below )

1941 Femme Assise dans un Fauteuil by Pablo Picasso

1963 Girl and Spray Can
plates on pp 118-119 in the book One Cent Life ( 1964 )
lithograph 41.5 x 30.3
de Young - Legion of Honour Fine Arts Museums of San Francisco, CA

Original comic strip from Loose Comics

( see Lichtenstein version below )

1963 Girl at Piano
oil and magna on canvas 172 x 121.9 cm

1963 Hot Dog with Mustard
magna on canvas 45.7 x 121.9 cm

1963 Image Duplicator
magna on canvas 61 x 50.8 cm

1961 Original comic strip from Romance N.78

( see Lichtenstein version below )

1963 In the Car
oil and magna on canvas 76.2 x 101.6 cm

1963 Mustard on White
magma on pexiglass 61 x 81.3 cm

1961 Original comic strip from Falling in Love N.41

( see Lichtenstein version below )

1963 Thinking of Him
magna on canvas 172.7 x 172.7 cm

1962 Original comic strip from Our Fighting Forces No.71

( see Lichtenstein version below )

1963 Torpedo… Los!
oil on canvas 127.7 x 203.2 cm

1962 Original comic strip from Our Fighting Forces No.71

1963 Varoom!
magna on canvas 142.2 x 142.2 cm
The John and Kimiko Powers Collection

1963 Sketch for "Whaam"
graphite on paper 14.9 x 30.5 cm
Tate, London

1963 Whaam!
acrylic and oil on canvas 172.7 x 406.4 cm
Tate, London

↧

Roy Lichtenstein - part 4

May 30, 2018, 5:20 am

≫ Next: Roy Lichtenstein - part 5

≪ Previous: Roy Lichtenstein - part 3

1965 Roy Lichtenstein working on "Big Painting No.6"

For a more detailed biography see part 1, and for earlier works see parts 1 - 3 also.

This is part 4 of a 20-part series on the works of Roy Lichtenstein (works 1963-1965):

1963 Girl at the Window
( Study for New York World's Fair Mural )
oil and acrylic on canvas 173 x 142.2 cm
Whitney Museum of American Art, New York

1964 Girl at the Window
for New York World's Fair, Flushing Meadows

Original comic strip

Anxious Girl Girl's Romance N.97 1963

( see Lichtenstein version below )

1964 Anxious Girl
magna on canvas 91.4 x 66 cm

1964 Blonde Waiting
oil and magna on canvas 121.9 x 121.9 cm

Original comic stripCrying Girl Secret Hearts N.88 1963

( see Lichtenstein version below )

1964 Crying Girl
porcelain enamel on steel 116.8 x 116.8 cm

1964 Eccentric Scientist
enamelled steel 92 x 92 cm

1964 Foot and Hand
offset lithograph 43.9 x 54.6 cm
de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

1964 Gas Station Attendant
oil on canvas 61 x 40.6 cm

1964 Girl in Mirror
porcelain enamel on steel 106.7 x 106.7 cm

Original comic strip

Good Morning... Darling! Girl's Romance No.97 1963

( see Lichtenstein version below )

1964 Good Morning... Darling!
oil and magna on canvas 68.6 x 91.4 cm

1964 Gullscape oil and magma on canvas 172.7 x 203.2 cm

Original comic strip

Kiss with Cloud Heart Throbs No.84 1963

( see Lichtenstein version below )

1964 Kiss with Cloud
oil and magna on canvas 152.4 x 152.4 cm

Original comic strip

Nurse Heart Throbs No.82 1963

( see Lichtenstein version below )

1964 Nurse
oil and magna on canvas 121.9 x 121.9 cm

1964 Oh, Jeff... I Love You, Too... But...
oil and magna on canvas 121.9 x 121.9 cm

1964 Ohhh… Alright...
oil and magna on canvas 92.7 x 96.5 cm
Art Institute of Chicago, IL

1964 Sandwich and Soda
screenprint on polystyrene 48.5 x 58.4 cm
Tate, London

1964 Still Life after Picasso
magna on pexiglass 121.9 x 152.4 cm

1964 Temple of Apollo
oil and magna on canvas 238.8 x 325.1 cm

1964-66 Seascapes:

1964 Black and White Sunrise
oil on magna on canvas

1964 Evening Sea
Rowlux* on board 71.1 x 55.9 cm

* Rowlux is a multi-lensed thermoplastic film that manipulates light to create a variety of unique and interesting visual effects. Rowlux gets its appearance of depth and motion from thousands of minute parabolic lenses that are moulded into the surface on both sides of the film.

1964 Eventide
oil and magna on canvas 76.2 x 91.4 cm

1964 Seascape
oil on canvas 76.2 x 91.4 cm

1964 Littoral
oil and magna on canvas 91.4 x 172.7 cm

1964 Sea Shore
oil on magma on Pexiglas 61 x 76.2 cm
Private Collection

1964 Seascape
oil and magna on canvas 121.9 x 172.7 cm

1964 Seascape
Rowlux and magna on board 71.8 x 56.2 cm

1964 Sunrise
Rowlux and magna on board 43.2 x 55.9 cm

1964 Untitled ( Sea Shore )
Rowlux and magna on board 35.6 x 55.9 cm

1964 Untitled ( Seascape )
printed and painted paper and Rowlux mounted on board 71 x 55.9 cm

1964 Untitled ( Seascape )
Rowlux, magna, mylar and paper collage on board 29.8 x 49.5 cm

1964 Untitled ( White Cliffs of Dover )
plastic and magna on board 36.8 x 33.7 cm

1964 Untitled
Rowlux, printed paper and magna on board 43.2 x 59.7 cm

1965 Divided Sea and Sky
Rowlux on board 67.4 x 55.2

1965 Littoral
Rowlux, magna and metal on board 54.6 x 66 cm

1965 Moonscape
screenprint on plastic 50.8 x 61 cm
Tate, London

1965 Perforated Seascape #1 ( Blue )
porcelain enamel on steel 72.4 x 106.7 cm

1965 Perforated Seascape #1 ( Red )
porcelain enamel on steel 71.1 x 106.7 x 10.2 cm

1965 Perforated Seascape #2 ( Blue )
porcelain enamel on steel 72 x 109.3 x 9 cm

1965 Perforated Seascape #2 ( Red )
porcelain enamel on steel 72.4 x 106.7 cm

1965 Perforated Seascape (Yellow )
porcelain enamel on perforated steel 72.4 x 106.7 cm

1965 Pink Seascape
Rowlux and cut-and-pasted painted paper on board 71.1 x 54.6 cm
Private Collection

1965 Pink Sky
Rowlux and magna on board 73 x 41.9 cm

1965 Placid Sea
porcelain enamel on steel 40.6 x 68.6 x 2.5 cm

1965 Quiet Sea and Sky
Rowlux and magna on board 34.9 x 40 cm

1965 Seascape
colour screenprint on Rowlux laminated plastic 43 x 55.5 cm

1965 Seascape No.2
screenprint in colours with collage of die-cut forms on blue rowlux, contained in the original cream painted wooden box with reflective silver-lined interior 33.7 x 63.1 x 9.1 cm