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  • 04/26/17--06:51: Edward Lear - part 17
  • 1885 Self-Portrait with his cat "Foss"

    Edward Lear (1812  - 1888) was an English artist, illustrator, musician, author and poet, and is known now mostly for his literary nonsense in poetry and prose and especially his limericks, a form he popularised. His principal areas of work as an artist were threefold: as a draughtsman employed to illustrate birds and animals; making coloured drawings during his journeys, which he reworked later, sometimes as plates for his travel books; as an illustrator of Alfred Tennyson's poems. As an author, he is known principally for his popular nonsense collections of poems, songs, short stories, botanical drawings, recipes, and alphabets. He also composed and published twelve musical settings of Tennyson's poetry.

    For a full biography see part 1, and for earlier works see parts 1 - 16 also.

    This is part 17 of 21- part series on the works of Edward Lear.


    1871 Nonsense Songs, Stories, Botany and Alphabets printed/published by Watson and Hazell for Robert John Bush:


    Front Cover


    Title Page

    The Owl and the Pussy-Cat

    Nonsense Botany:


    Baccopipia Gracilis

    Bottlephorkia Spoonifolia

    Cockatooca Superba

    Fishia Marina

    Guittara Pensilis

    Manypeeplia Upsidownia original artwork

    Manypeeplia Upsidownia

    Barkia Howlaloudia

    Enkkopia Chickabiddia

    Shoebootia Utilis

    Phattfacia Stupenda

    Piggiwiggia Pyramidalis

    Plumbunnia Nutritiosa

    Pollybirdia Singularis

    For comparison - one of Lear's botanical studies from around the same time:


    1870 A Flowering Plant
    pen and brown ink on blue writing paper 24.9 x 18.7 cm
    The Morgan Library and Museum, New York City

    Nonsense Alphabet 1:








































    Nonsense Alphabet 2:







































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  • 04/28/17--05:45: Edward Lear - part 18

  • Edward Lear (1812  - 1888) was an English artist, illustrator, musician, author and poet, and is known now mostly for his literary nonsense in poetry and prose and especially his limericks, a form he popularised. His principal areas of work as an artist were threefold: as a draughtsman employed to illustrate birds and animals; making coloured drawings during his journeys, which he reworked later, sometimes as plates for his travel books; as an illustrator of Alfred Tennyson's poems. As an author, he is known principally for his popular nonsense collections of poems, songs, short stories, botanical drawings, recipes, and alphabets. He also composed and published twelve musical settings of Tennyson's poetry.

    For a full biography see part 1, and for earlier works see parts 1 - 17 also.

    This is part 18 of 21- part series on the works of Edward Lear.


    1873-77 India:


    1873 Barrackpore
    watercolour and sepia ink over graphite on white paper 30.2 x 45.4 cm
    Houghton Library, Harvard College Library, Harvard University

    1873 Lucknow
    watercolour and sepia ink over graphite on white paper 17.6 x 25.6 cm
    Houghton Library, Harvard College Library, Harvard University

    1873 Marble Rocks
    watercolour and sepia ink over graphite on white paper 17 x 35.2 cm
    Houghton Library, Harvard College Library, Harvard University

    1873 Marble Rocks
    watercolour and sepia ink over graphite on white paper 35.5 x 50.8 cm
    Houghton Library, Harvard College Library, Harvard University


    1873 Near Jabalpur: Marble Rocks
    watercolour and sepia ink over graphite on white paper 17 x 35.4 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Marble Rocks
    watercolour and sepia ink over graphite on white paper 34.7 x 50.7 cm
    Houghton Library, Harvard College Library, Harvard University


    1873 Varanasi
    watercolour, sepia ink and Chinese white over graphite on white paper 34 x 50.5 cm
    Houghton Library, Harvard College Library, Harvard University

    1873-75c A Temple in India
    watercolour heightened with white over traces of pencil on paper 15.5 x 25.7 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Agra
    watercolour and sepia ink over graphite on white paper 36.8 x 52.5 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Arrah
    watercolour and sepia ink over graphite on cream paper 24.5 x 31.6 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Bangalore
    watercolour and sepia ink over graphite on cream paper 34.5 x 24.9 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Bangalore
    watercolour and sepia ink over graphite on white paper 17.3 x 35.5 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Below Rajpur
    watercolour and sepia ink over graphite on white paper 13.8 x 22.6 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Bharatpur
    watercolour and sepia ink over graphite on white paper 23.4 x 35.5 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Calcutta: Bamboo
    watercolour and sepia ink over graphite on white paper 45.3 x 30.5 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Calicut
    watercolour and sepia ink over graphite on white paper 22.5 x 28.8 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Calicut
    watercolour and sepia ink over graphite on white paper 32.4 x 50.6 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Coonoor
    watercolour and sepia ink over graphite on white paper 36 x 55.8 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Dehi: Qutb Minar
    watercolour and sepia ink over graphite on cream paper 35.8 x 54.4 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Govardhun
    watercolour and sepia ink over graphite on cream paper 36.2 x 52.7 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Gwalior
    watercolour and sepia ink over graphite on white paper 19.7 x 51.8 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Hyderabad
    watercolour and sepia ink over graphite on white paper 32.8 x 55.2 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Kurseong
    watercolour and sepia ink over graphite on cream paper 35.3 x 50.8 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Landour-mussooree
    watercolour and sepia ink over graphite on cream paper 37.2 x 54.2 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Mount Kinchinjunga ( All Things Fair ), Himalayas
    grey wash and brush on wove paper 9.6 x 14.7 cm
    National Gallery of Art, Washington, DC

    1874 Mussooree from Rajpur
    watercolour and sepia ink over graphite on white paper 30.3 x 45.7 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Near Hardwar
    watercolour and sepia ink over graphite on white paper 27.5 x 45 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Ootacamund
    watercolour and sepia ink over graphite on white paper 34.5 x 54.8 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Poona
    watercolour and sepia ink over graphite on cream paper 37.2 x 54.3 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Poona
    watercolour, gouache and sepia ink over graphite on blue paper 17.9 x 25.5 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Poona
    watercolour, gouache and sepia ink over graphite on blue paper 18 x 25.5 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Poona
    watercolour, gouache and sepia ink over graphite on blue paper 18 x 25.5 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Roorkee
    watercolour and sepia ink over graphite on white paper 25.5 x 35.5 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Roorkee
    watercolour and sepia ink over graphite on white paper 34.8 x 50.8 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Saharanpur
    watercolour and sepia ink over graphite on white paper 17.5 x 25.2 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Simla
    watercolour and sepia ink over graphite on cream paper 21 x 34.7 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Simla
    watercolour and sepia ink over graphite on cream paper 37.9 x 54.2 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Simla
    watercolour and sepia ink over graphite on cream paper 38.4 x 54 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Simla
    watercolour and sepia ink over graphite on white paper 38.4 x 55.9 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Tiruchirappalli
    watercolour and sepia ink over graphite on white paper 38.2 x 55.4 cm
    Houghton Library, Harvard College Library, Harvard University

    1874 Wai
    watercolour and sepia ink over graphite on white paper 17.1 x 35.5 cm
    Houghton Library, Harvard College Library, Harvard University

    1875 Coonoor
    watercolour and sepia ink over graphite on white paper 35.8 x 56.2 cm
    Houghton Library, Harvard College Library, Harvard University

    1875 View near Conoor, Nilcheris, India
    watercolour on paper 25.5 x 40.1 cm
    National Galleries of Scotland, UK

    1877 Kinchenjunga from Darjeeling
    oil on canvas 161.2 x 224.7 cm
    National Museum Wales, Cardiff, UK

    1878-82 Indian Trees, Palms and Bamboos - an album of original watercolours 48.3 x 30 cm:





























    Letter from Edward Lear to Sir Joseph Hooker, 1878


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  • 05/01/17--05:53: Edward Lear - part 19


  • Edward Lear (1812  - 1888) was an English artist, illustrator, musician, author and poet, and is known now mostly for his literary nonsense in poetry and prose and especially his limericks, a form he popularised. His principal areas of work as an artist were threefold: as a draughtsman employed to illustrate birds and animals; making coloured drawings during his journeys, which he reworked later, sometimes as plates for his travel books; as an illustrator of Alfred Tennyson's poems. As an author, he is known principally for his popular nonsense collections of poems, songs, short stories, botanical drawings, recipes, and alphabets. He also composed and published twelve musical settings of Tennyson's poetry.

    For a full biography see part 1, and for earlier works see parts 1 - 18 also.

    This is part 19 of 21- part series on the works of Edward Lear.


    1877 Laughable Lyrics. 
    A Fourth Book of Nonsense Poems, Songs, Botany, Music
    (images are a bit blurry) :


















































































    1878-85 Italy:


    1878 Buon Ricovero, in the Roman Campagna
    oil on canvas 23.4 x 46.4 cm
    Museums Sheffield, UK

    1878 Campagna di Roma
    oil on canvas 24 x 46 cm
    Birmingham Museums Trust, UK

    1878 Monte Generoso
    pen and brown ink and watercolour over pencil 37.2 x 49.4 cm

    1879 Monte Generoso
    sepia ink over graphite on cream paper 31.8 x 25 cm
    Houghton Library, Harvard College Library, Harvard University

    1880 The Plains of Lombardy from Monte Generoso
    oil on canvas 24 x 47 cm
    The Ashmolean Museum of Art and Archaeology, Oxford, UK

    1883 Perugia, Italy
    pen and brown ink and watercolour over pencil 32.5 x 50.5 cm

    1884-85 A Town on a Hilltop ( Sanctuary of Lampedusa )
    grey wash with touches of pen and black ink on card
    National Gallery of Art, Washington, DC

    1884-85 Bridge with Mountains in the Distance ( Ventimiglia )
    grey wash over traces of graphite on card 9.6 x 14.6 cm
    National Gallery of Art, Washington, DC

    1884-85 Campagna di Roma
    grey wash over traces of graphite on card 9.4 x 14.5 cm
    National Gallery of Art, Washington, DC

    1884-85 Goats Resting above a River Gorge ( Narni, Italy )
    grey wash on card 9.6 x 14.6 cm National Gallery of Art, Washington, DC

    1884-85 Napoli ( Naples )
    grey and black wash over traces of graphite on card 9.5 x 14.6 cm
    National Gallery of Art, Washington, DC

    1884-85 Taggia
    black and grey wash with white gouache on card 9.5 x 14.6 cm
    National Gallery of Art, Washington, DC

    1884-85 View of a Bay from a Hillside ( Amalfi )
    black and grey wash with graphite on card 9.6 x 14.6 cm
    National Gallery of Art, Washington, DC

    1879 Ceylon:


    1879 Road near Galle, Ceylon
    oil on canvas 37.9 x 23.8 cm
    Government Art Collection, UK

    1879c Road near Galle, Ceylon
    watercolour on paper 38.4 x 27.9 cm
    National Galleries Scotland, UK

    1879c Ceylon Scenery
    oil on canvas 37.9 x 23.8 cm
    Government Art Collection, UK

    1880c (Nonsense) Birds:


    1880c The Black and White Bird
    pen and ink and watercolour 14 x 11 cm approx
    © Victoria and Albert Museum, London

    1880c The Black Bird
    pen and ink and watercolour 14 x 11 cm approx
    © Victoria and Albert Museum, London

    1880c The Brown Bird
    pen and ink and watercolour
    © Victoria and Albert Museum, London

    1880c The Crimson Bird
    pen and ink and watercolour 14 x 11 cm approx
    © Victoria and Albert Museum, London

    1880c The Dark Blue Bird
    pen and ink and watercolour 14 x 11 cm approx
    © Victoria and Albert Museum, London

    1880c The Dark-Green Bird
    pen and ink and watercolour 14 x 11 cm approx
    © Victoria and Albert Museum, London

    1880c The Gray Bird
    pen and ink and watercolour
     © Victoria and Albert Museum, London

    1880c The Light-Blue Bird
    pen and ink and watercolour 14 x 11 cm approx
    © Victoria and Albert Museum, London

    1880c The Light-Green Bird
    pen and ink and watercolour 14 x 11 cm approx
    © Victoria and Albert Museum, London

    1880c The Lilac Bird
    pen and ink and watercolour 14 x 11 cm approx
    © Victoria and Albert Museum, London

    1880c The Pink Bird
    pen and ink and watercolour 14 x 11 cm approx
    © Victoria and Albert Museum, London

    1880c The Purple Bird
    pen and ink and watercolour 14 x 11 cm approx
    © Victoria and Albert Museum, London

    1880c The Red Bird
    pen and ink and watercolour 14 x 11 cm approx
    © Victoria and Albert Museum, London

    1880c The Yellow Bird
    pen and ink and watercolour 14 x 11 cm approx
    © Victoria and Albert Museum, London


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  • 05/03/17--06:23: Edward Lear - part 20

  • Edward Lear (1812  - 1888) was an English artist, illustrator, musician, author and poet, and is known now mostly for his literary nonsense in poetry and prose and especially his limericks, a form he popularised. His principal areas of work as an artist were threefold: as a draughtsman employed to illustrate birds and animals; making coloured drawings during his journeys, which he reworked later, sometimes as plates for his travel books; as an illustrator of Alfred Tennyson's poems. As an author, he is known principally for his popular nonsense collections of poems, songs, short stories, botanical drawings, recipes, and alphabets. He also composed and published twelve musical settings of Tennyson's poetry.

    For a full biography see part 1, and for earlier works see parts 1 - 19 also.

    This is part 20 of 21- part series on the works of Edward Lear.


    1880c Nonsense Alphabet:


    1880c Nonsense Alphabet "A"
    pen and indian ink 4.5 x 5.5 cm
    © Victoria and Albert Museum, London

    1880c Nonsense Alphabet "C"
    pen and indian ink 4.5 x 5.5 cm
    © Victoria and Albert Museum, London

    1880c Nonsense Alphabet "D" 
    pen and indian ink 4.5 x 5.5 cm 
    © Victoria and Albert Museum, London

    1880c Nonsense Alphabet "D" 
    pen and indian ink 4.5 x 5.5 cm 
    © Victoria and Albert Museum, London

    1880c Nonsense Alphabet "I" 
    pen and indian ink 4.5 x 5.5 cm 
    © Victoria and Albert Museum, London

    1880c Nonsense Alphabet "J" 
    pen and indian ink 4.5 x 5.5 cm 
    © Victoria and Albert Museum, London

    1880c Nonsense Alphabet "K" 
    pen and indian ink 4.5 x 5.5 cm 
    © Victoria and Albert Museum, London

    1880c Nonsense Alphabet "L" 
    pen and indian ink 4.5 x 5.5 cm 
    © Victoria and Albert Museum, London

    1880c Nonsense Alphabet "N" 
    pen and indian ink 4.5 x 5.5 cm 
    © Victoria and Albert Museum, London

    1880c Nonsense Alphabet "O" 
    pen and indian ink 4.5 x 5.5 cm 
    © Victoria and Albert Museum, London

    1880c Nonsense Alphabet "P" 
    pen and indian ink 4.5 x 5.5 cm 
    © Victoria and Albert Museum, London

    1880c Nonsense Alphabet "R" 
    pen and indian ink 4.5 x 5.5 cm 
    © Victoria and Albert Museum, London

    1880c Nonsense Alphabet "T" 
    pen and indian ink 4.5 x 5.5 cm 
    © Victoria and Albert Museum, London

    1880c Nonsense Alphabet "U" 
    pen and indian ink 4.5 x 5.5 cm 
    © Victoria and Albert Museum, London

    1880c Nonsense Alphabet "V" 
    pen and indian ink 4.5 x 5.5 cm 
    © Victoria and Albert Museum, London

    1880c Nonsense Alphabet "X" 
    pen and indian ink 4.5 x 5.5 cm 
    © Victoria and Albert Museum, London

    1880c Nonsense Alphabet "Y" 
    pen and indian ink 4.5 x 5.5 cm 
    © Victoria and Albert Museum, London

    1880c Nonsense Alphabet "Z" 
    pen and indian ink 4.5 x 5.5 cm 
    © Victoria and Albert Museum, London
    1878-79c The Forest of Bavella, Corsica
    oil on canvas 146 x 240 cm

    1879 Plain of Argos from Mycenae
    watercolour 29 x 52.5 cm

    1884 Argos from Mycene
    oil on canvas 80 x 163 cm
    Trinity College, Cambridge, UK

    1879c The Plains of Bethany
    oil on canvas 24.1 x 47.6 cm

    1881 Mahabalipooram
    oil on canvas 22.9 x 45.7 cm
    Philadelphia Museum of Art, PA

    1882 A View of Adam's Peak, Ceylon
    oil on canvas 24.7 x 47.2 cm
    Government Art Collection, UK

    1884 Feluccas on the NIle near Abu-Simbel
    watercolour over pencil heightened with touches of body-colour 8.5 x 17 cm

    1884 View of Deir Kadige, on the Nile, Egypt
    pencil and watercolour 9.5 x 18.5 cm

    1884-85 Avisavella, Ceylon
    grey wash on wove paper, laid down on card 9.5 x 14.6 cm
    National Gallery of Art, Washington, DC

    1884-85 Figures Setting Out in Canoes from a Palm Grove ( Wady Feiran )
    grey and black wash on card 9.6 x 14.7 cm
    National Gallery of Art, Washington, DC

    1884-85 Mahatta
    grey wash on wove paper 9.6 x 14.6 cm
    National Gallery of Art, Washington, DC

    1884-85 River Winding through a Rock Formation ( Philae, Egypt )
    grey wash on card 9.7 x 14.6 cm National Gallery of Art, Washington, DC

    1884-85 Tanjore, India
    grey and black wash over traces of graphite on card 9.7 x 15 cm
    National Gallery of Art, Washington, DC

    1884-85 Thebes
    black and grey wash over traces of graphite on card 9.7 x 14.6 cm
    National Gallery of Art, Washington, DC

    1884-85 View across a Bay ( Monaco )
    grey wash and black wash on card 9.8 xx 14.7 cm
    National Gallery of Art, Washington, DC
     Note: The remainder of images in this series are undated.


    n.d. A View of Mount Athos and the Pantokrator Monasery, Greece
    oil on canvas  18 x 28 cm

    n.d. A View of the Roman Campagna, a Villa and Aqueduct in the Distance
    oil on canvas 19 x 39.7 cm

    n.d. An Album of Sketches
    brown ink 10.4 x 16.5 cm

    n.d. An Album of Sketches 
    brown ink 10.4 x 16.5 cm

    n.d. An Album of Sketches 
    brown ink 10.4 x 16.5 cm

    n.d. An Album of Sketches 
    brown ink 10.4 x 16.5 cm

    n.d. An Album of Sketches 
    brown ink 10.4 x 16.5 cm

    n.d. An Album of Sketches 
    brown ink 10.4 x 16.5 cm

    n.d. An Album of Sketches 
    brown ink 10.4 x 16.5 cm

    n.d. An Album of Sketches 
    brown ink 10.4 x 16.5 cm


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  • 05/05/17--06:17: Edward Lear - part 21
  • 1988 UK Postage stamp issued on the centenary of Lear's death

    Edward Lear (1812  - 1888) was an English artist, illustrator, musician, author and poet, and is known now mostly for his literary nonsense in poetry and prose and especially his limericks, a form he popularised. His principal areas of work as an artist were threefold: as a draughtsman employed to illustrate birds and animals; making coloured drawings during his journeys, which he reworked later, sometimes as plates for his travel books; as an illustrator of Alfred Tennyson's poems. As an author, he is known principally for his popular nonsense collections of poems, songs, short stories, botanical drawings, recipes, and alphabets. He also composed and published twelve musical settings of Tennyson's poetry.

    For a full biography see part 1, and for earlier works see parts 1 - 20 also.

    This is part 21 of 21- part series on the works of Edward Lear.


    Undated images:

    n.d. British Philae
    oil on canvas 24 x 46 cm

    n.d. Cefalu, Sicily
    watercolour 11.5 x 18 cm

    n.d. Cervara, Rome, Italy
    hand-coloured lithograph

    n.d. Church of the SS. Quattro Coronati, Rome
    watercolour and graphite on paper 23.5 x 32.4 cm
    Tate, London

    n.d. Collepardo, Italy
    lithograph
    Victoria and Albert Museum, London

    n.d. Corfu from Pantaleone
    watercolour on paper 18.1 x 38.2 cm
    National Galleries of Scotland, UK

    n.d. Delphi, Greece
    watercolour 12 x 19 cm

    n.d. Fountain of the Sea-Horses in the Garden of the Villa Borghese, Rome
    graphite on paper 23.5 x 33.7 cm
    Tate, London

    n.d. Jerusalem from the Mount of Olives
    pencil and watercolour heightened with white 17 x 37 cm

    n.d. Landscape with a Stream and a Footbridge
    watercolour over pencil on wove paper 16.4 x 32.5 cm
    The Morgan Library and Museum, New York

    n.d. Lugano, Switzerland
    watercolour with touches of gum arabic 12.3 x 18.6 cm

    n.d. Mount Olympus, Greece
    watercolour over traces of pencil 13.2 x 26.4 cm

    n.d. Mt. Aeta ( from Lamia ), Greece
    brush and grey wash on paper 9.5 x 14.6 cm
    The Morgan Library and Museum, New York

    n.d. Olevano, Italy
    lithograph

    n.d. Pamvotis Lake looking towards Aslan Pasha Mosque, Ioannina
    watercolour and gouache over pencil 16.5 x 26 cm

    n.d. Phyle Attica, Greece
    watercolour and gouache heightened with gum arabic 16.5 x 26 cm

    n.d. Ponte del Vecchio, Corsica
    pen and black ink with wash, white gouache and graphite on paper 13.4 x 20.9 cm
    The Morgan Library and Museum, New York City

    n.d. Ponte delle Maddalena, Bagni di Lucca
    watercolour 16 x 25.5 cm

    n.d. Porta Maggiore, Rome
    gouache and watercolour on paper 23.5 x 38.4 cm
    Tate, London

    n.d. Rocca Giovane, Italy
    lithograph

    n.d. S. Francesco di Paola
    graphite and watercolour on paper 15.6 x 10.8 cm
    Tate, London

    n.d. San Miniato al Monte
    graphite, watercolour and ink on paper
    Tate, London

    n.d. Santa Maria Della Salute from across the Bacino, Venice
    watercolour over pencil heightened with touches of body-colour 11.5 x 17.5 cm

    n.d. Sparta
    watercolour on paper 17.1 x 37.5 cm
    National Galleries of Scotland, UK

    n.d. The Baths of Trajan, Rome
    watercolour and graphite on paper 23.5 x 30.2 cm
    Tate, London

    n.d. The Dead Sea, Jordan
    watercolour and body-colour, heightened with white 17.7 x 37.5 cm

    n.d. The Grand Canal with Santa Maria della Salute, Venice
    pen and ink and watercolour over pencil on paper 34.9 x 50.1 cm
    The Morgan Library and Museum, New York City

    n.d. The Walls of Constantinople
    pencil and watercolour heightened with white 17 x 37.2 cm

    n.d. Tivoli
    lithograph
    Victoria and Albert Museum, London

    n.d. Valetta, Malta
    watercolour over pencil heightened with body-colour 11.3 x 18.3 cm

    n.d. Via Porta Pinciana, Rome
    colour lithograph

    n.d. View from Monte Generoso
    watercolour heightened with white on paper 17.1 x 37.5 cm
    The Morgan Library and Museum, New York City

    n.d. View of Florence from San Miniato, Italy
    pencil, pen and brown ink and watercolour 34.6 x 54.6 cm

    n.d. View of Menton from across the Bay
    pencil, watercolour and body-colour 16.5 x 26 cm

    n.d. View of Mount Sinai
    watercolour with some white tempera, over pencil, on cream-coloured wove paper 17.8 x 37.6 cm
    The Morgan Library and Museum, New York City

    n.d. View of the Bay of Ragusa ( now Dubrovnik )
    watercolour on paper 16.8 x 26.3 cm
    National Galleries of Scotland, UK

    n.d. Wady Halfeh, Nile, Nubia
    brush and grey wash on paper 9.5 x 14.6 cm
    The Morgan Library and Museum, New York

    n.d. Woman with Two Children in a Landscape
    pen and brown ink with pink, blue and orange watercolour on paper 11.3 x 8.6 cm
    The Morgan Library and Museum, New York City



    n.d. Letter to Mrs Ellen Rawson

    Letters to a patron. Ellen Rawson was married to William Henry Rawson, a wealthy banker, landowner, and prominent citizen of Halifax. She was a keen collector of the work of various living artists, and this correspondence begins after her purchase of a view of "Beirut" by Lear. 


    n.d. Limerick "There was a old Archbishop of Dublin"
    ink on paper 8.6 x 10.5 cm


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  • 05/08/17--05:48: King Penguin Books
  • The first King Penguin 'K1' was published in November 1939 and sold for one shilling each (5 new pence). The series ended in 1959 after 76 volumes had been produced.

    K1 British Birds on Lake, River & Stream
    with sixteen colour plates

    The inspiration for the series, which was acknowledged by Allen Lane, came from the books published by the German publisher Insel. In an article about the Penguin Modern Painters, Lane said: 'The aim of the King Penguin is different. These have not been planned to coincide with the public's growing appreciation of art, but rather to appeal to the general liking for illustrated keepsakes of special projects. For this reason they are specialised ... often dealing with by no means broad subjects, such as the History of British Military Uniforms, The Stone Carvings at Southwell Cathedral, Poisonous Fungi and Romney Marsh. The original idea for King Penguins came from the small Insel-Verlag books which were published in Germany before the war. Why, we felt, should there not be a similar series of books in this country? The experiment, started a few weeks after war broke out, turned out to be successful. One of the most distinctive features of this series is their decorative covers.' 



    Acknowledgements to www.penguinfirsteditions.com for the images.

    Artist research is my own.


    1939 A Book of Roses

    The designer, commercial artist, and book illustrator Marianne Mahler was brought up in Vienna, Austria, where she received her initial art education. In 1930s England she attended Royal Academy Schools. Mahler exhibited in Vienna, New York, Paris and London. She drew for  Studio and Vogue magazines. One of her designs, of a swinging 'mobile', available in three colour ways, was manufactured by David Whitehead Ltd. in 1952. She had also designed semi-abstract birds, vases, and bowls, printed on rayon.


    1943 A Book of Lilies
    cover by Marianne Mahler

    1943 British Shells
    cover by Marianne Mahler

    William Grimmond (1884 – 1952) was born in Manchester, of landscapes, mainly in watercolour. He was also a designer and illustrator who studied at Manchester School of Art.

    1943 Elizabethan Miniatures
    cover by William Grimmond


    1943 The Microcosm of London 
    cover by William Grimmond

    1948 British Military Uniforms 
    cover by William Grimmond

    1948 Wild Flowers of the Chalk
    cover by William Grimmond

    1950 Tuilpmania
    cover by William Grimmond

    1951 Ackermann's Cambridge
    cover by William Grimmond

    Charles Paine (1895 – 1967) was a versatile and prolific designer. His training started with an apprenticeship in stained glass. He also attended evening classes at Manchester School of Art, before moving to London to further his study. His time at the Royal college of Art however was interrupted by military service. After graduating, Paine left London to work for the Applied Art Department of Edinburgh College of Art. He then went on to work in Glasgow, designing stained glass for Guthrie and Wells. During the 1920s he designed textiles and posters for a wide range of clients. He also worked in America, as head of the Applied Arts Department of the Community Arts Association in Santa Barbara. In the 1930s he lived and worked in Welwyn Garden City, before moving to Jersey.


    1943 Fishes of Britain's Rivers and Lakes
    cover by Charles Paine


    Sir Henry Maximilian "Max" Beerbohm (1872 – 1956) was an English essayist, parodist and caricaturist.  He first became known in the 1890s as a dandy and a humourist. He was the drama critic for the Saturday Review from 1898 until 1910, when he relocated to Rapallo, Italy. In his later years he was popular for his occasional radio broadcasts. Among his best-known works is his only novel, “Zuleika Dobson,” published in 1911. His caricatures, drawn usually in pen or pencil with muted watercolour tinting, are in many public collections.


    1943 The Poets Corner
    cover by Max Beerbohm


    Katherine “Kay” Ambrose (1914 – 1971) was an author, artist and designer. She studied fine arts at Reading University 1933 – 1936, and again 1943 – 1944, when she won awards in drama, elocution and dance. She illustrated many books on ballet, and in 1950 wrote the definitive “Classical Dances and Costumes of India.” Between 1951 and 1962 she lived in Canada where, as assistant to Celia Franca, she contributed her talents to the then fledging National Ballet of Canada.

    1944 English Ballet
    cover by Katherine 'Kay' Ambrose


    Thomas Alan Stephenson (1898-1961) was a marine biologist and artist. The British sea anemones (1928, 1935) and his essay on beauty in nature and art, Seashore life and pattern (1944 ), both of which he illustrated himself, are his best-known works. A participant with his wife Anne in the Great Barrier Reef Expedition of 1928-1929, the couple subsequently travelled world-wide studying rocky-shore zonation patterns, summarised eleven years after Stephenson's death in “Life between tidemarks on rocky shores” (1972)

    1944 Seashore Life and Pattern
    cover by Thomas Alan Stephenson

     Enid Crystal Dorothy Marx, RDI ( 1902 – 1998 ) was an English painter and designer, best known for her industrial textile designs for the London Transport Board and the Utility Furniture Scheme. Marx was the first female engraver to be designated as a Royal Designer for Industry.


    1945 Birds of the Sea
    cover by Enid Marx


    1945 Some British Moths
    cover by Enid Marx

    1950 Early British Railways
    cover by Enid Max

    Sylvia Varley (no information found):


    1945 Garden Birds
    cover by Sylvia Varley

    Joy Jarvis was a British textile designer. Many of her Mid-Century designs are held in the Victoria and Albert Museum collection in London.


    1945 Poisonous Fungi
    cover by Joy Jarvis

    Clarke Hutton ( 1898-1984 ) was one of the great English book illustrators and teachers. He was born in London, and early in his life worked in stage design before deciding to become an artist. He studied at the Central School of Art and became an instructor there between 1930 and 1968.

    (I do wonder of this was the first publication about "Pop Art").


    1945 Popular Art in Britain
    cover by Clarke Hutton


    Painter and teacher Clifford Ellis was a graphic artist and illustrator, working mainly with his wife Rosemary. In collaboration they designed pieces for Shell, The General Post Office and London Transport. As well as this Clifford was also Principal of Corsham Court at the Bath Academy of Art.

    1946 A Book of English Clocks
    cover by Clifford and Rosemary Ellis

    1947 Flowers of the Woods
    cover by Clifford and Rosemary Ellis

    One of author and designer Gwen White's many books on design, the best known of which is "A Book of Toys," whose penguin cover design appears in this work as an example of "wavy line" construction.


    1946 A Book of Toys
    cover by Gwen White


    Noel Rooke ( 1881–1953 ) was an English wood engraver  and artist. His ideas and teaching made a major contribution to the revival of British wood engraving in the twentieth century. His father was Thomas Matthews Rooke, for many years the studio assistant of Edward Burne-Jones, and an accomplished artist in his own right.

    Rooke studied in France at the Lycée de Chartres and then at the Godolphin School in Hammersmith, London. He completed his education at the Slade and the Central School of Arts and Crafts.


    1946 Flowers of Marsh and Stream
    cover by Noel Rooke

    Hans Schwarz ( 1922 – 2003 ), painter, sculptor, illustrator and author, was born in Vienna and died in Greenwich, London. Schwarz is primarily remembered for his portraiture and his work is in many public and private collections including the National Portrait Gallery. He is also known for his paintings of people and places in Greenwich ( where he lived from 1970 ), Somerset ( where he had a house from 1965 ) and coastal villages in France and Spain. Earlier in his career he was a productive and successful graphic artist and sculptor


    1947 Compliments of the Season
    cover by Hans Schwarz

    I found very little information on Mary Duncan, other than she has textile designs in the Victoria and Albert Museum collection in London.


    1947 Spiders
    cover by Mary W. Duncan

    Kenneth Rowntree ( 1915 – 1997 ) was a British artist. A Quaker, he was a conscientious objector during the Second World War. He worked for the War Artists' Advisory Committee. He was one of the Great Bardfield Artists. 1939 Rowntree married architect Diana Rowntree née Buckley. In 2009 his studio was sold at auction in Newcastle. The Catalogue, which was written and researched by Steven Moore, included an introduction by Rowntree's friend and colleague John Milner.


    1948 A Prospect of Wales
    cover by Kenneth Rowntree


    Paxton Chadwick hailed from Manchester but lived in Leiston, Suffolk, and often taught art at the nearby left-leaning alternative school, Summerhill – there's even a road named after him there; Paxton Chadwick Close. For a while Leiston was known as ‘Moscow on Sea‘, and Paxton was a prominent member of the thriving Communist party there before and after the war. Uniquely for a generally Conservative county, the Communists held council seats there by working closely with the local Labour Party, and Chadwick briefly served as the council chairman.

    He supplemented his teaching work by illustrating and writing books for Penguin and later Cassell, drawing (literally) on his expert knowledge of the natural world to produce highly detailed and accurate studies of British flora and fauna. He died in 1961.


    1949 British Reptiles and Amphibia
    cover by Paxton Chadwick

    1951 British Butterflies
    cover by Paxton Chadwick

    1951 The Crown Jewels
    cover design by Paxton Chadwick

    Edward Bawden (1903 – 1989) can be seen as a key artist in the Bardfield group. His long career spanned most of the twentieth century, and comfortably straddled boundaries and borders between the fine and applied arts, boundaries which are seen as so immovable today. Even before his appointment as an Official War Artist in 1940, Bawden had established a reputation as a designer, illustrator and painter. As well as these areas his output over the years include murals, posters, designs for wallpaper, ceramics, lithographic prints and watercolours.


    1949 Life in an English Village
    cover by Edward Bawden

    Robin Tanner  (Wiltshire 1904 – 1988) was an English artist, etcher and printmaker. He followed in the visionary tradition of Samuel Palmer and English neo-romanticism. He lived in London, at KingtonLangley in Wiltshire, and in Bath. 


    Tanner was part of the etching revival in England, but the market for etchings collapsed following the economic depression of 1929, and by the growing use of photography for illustration. He turned to teaching to earn his livelihood. His passion for teaching fine art to young children was infused into many English counties through his role as H.M. Inspector of Schools in primary schools from 1935 to 1964. Tanner believed that the study of natural things and the exploration of arts and crafts, music and poetry were essential for the development of teachers and children.



    1950 Flowers of the Meadow
    cover by Robin Tanner

    1950 Greek Terracottas
    cover by Robin Tanner

    Cover artist unknown:


    1950 Mosses by Paul Richards

    Clifford Barry studied at the Royal College of Art during the 1930s where he met artist, writer and mural painter Barbara Jones. They married but the marriage didn’t last long. Clifford designed posters for London Transport in 1937.

    1950 The Isle of Wight
    cover by Clifford Barry

    Sir Peter Shepheard (1913 – 2002) was born in Oxon, Birkenhead. He studied architecture at the Liverpool School of Architecture, and became a renowned architect, landscape artist and naturalist.


    1951 A Book of Ducks
    cover by Peter Shepheard

    1955 Woodland Birds
    cover by Peter Shepheard

    Sarah Nechamkin (1917 London) from Russian lineage. Her parents were steeped in art, and her Uncle Boris was a successful portrait painter. Before enrolling at the Chelsea School of Art, where her style underwent its mature development, Sarah received lessons from Nan Youngman, a highly influential name in British art education


    Her first steps as a professional artist were in graphic design and book illustration. Other jobs included a spell in the publications department of the National Gallery, teaching at Clapton Secondary School for Girls, and working as a nurse in the West London Hospital.


    1952 Birds of La Plata
    cover by Sarah Nechamkin

    Peggy Jeremy (no information found):

    1953 Animals in Staffordshire Pottery
    cover by Peggy Jeremy
     Lynton Lamb RDI, FSRA, FSIA (1907 - 1977) was an English artist-designer, Author, lithographer and illustrator who was notable for his book jacket, poster and architectural decoration and postage stamp designs.

    He was born the son of The Reverend Frederick Lamb in Nizambabad, India and grew up in London and was educated at Kingswood School, Bath, Somerset. He then worked in an Estate Agents office and attended night school at Camberwell School of Art before studying art full-time at the Central School of Arts and Crafts, London.



    1955 The Picture of Cricket
    cover by Lynton Lamb


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  • 05/10/17--04:57: Albert Anker - part 1

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

    Albert Anker was born in 1831 to Samuel (a vet) and Marianne Anker. He was the second of the three children. When he was 11 years old, he visited an exhibition at the Societe des Amis des Arts, in Neuchatel, which kindled in him an early interest in art. He attended his early schooling from 1845 to 1848 and also took drawing lessons from Louis Wallinger. He then attended high school at the Gymnasium Kirchenfield in Bern in 1849 and graduated with a Matura two years later. Soon after graduation, he went to study theology and did the same after he moved to the University of Halle, Germany. In Germany, he had the opportunity to see the vast art collections, which inspired him so much that he decided to follow an artistic career. In 1854, he convinced his father to give him permission to do so.


    In order to train himself as an artist, he moved to Paris in 1855, enrolled at the Ecole Nationale Superieure des Beaux-arts, and joined the studio of Charles Gleyre, the famous Swiss artist. He trained at the Institute for five years and during this time, he devoted himself in painting portraits. During this time, he participated in exhibitions in both Paris and Switzerland and later worked in a studio that he had set up in the attic of his parents’ house. He was a regular participant in the Paris Salon. In 1861, after completing his training at the institute, Anker visited Northern Italy and studied the works of masters like Titan and Corregio. In 1864, Anker married Anna Rufli and they had six children, two of whom died very early in life. Anker depicted his surviving children in some of his paintings.His painting, “Sleeping Child in the Forest” received a gold medal in 1966 at the Paris Salon.


    1865 Sleeping Child in the Forest
    oil on canvas 84 x 145 cm
    Palais des Beaux-Arts, Lille, France

    Ten years later, he was made the Knight of the Legion d’honneur. He was also the foremost advocates for the construction of the Kunstmuseum in Bern when he was a member of the Great Council of Bern for a period of four years from 1870 to 1874. Anker travelled to many countries in Europe repeatedly, particularly Italy, Germany, France and Belgium and he liked to spend winters in Paris. Till 1890, he spent his summers at Anet, where he would devote his time painting his rural subjects. In 1891, he retired to Anet permanently and started working on illustrating the works of the Swiss novelist, Jeremias Gotthelf.

    In 1889, he became a member of the Swiss Federal Art Commission for the first time and served there until 1893. After two years, he was again elected a member of the same organisation and served until 1898. He was also selected as a member of the Gottfried Keller Foundation and continued until 1901. Throughout his life, he remained a member of many international juries. In 1900, the University of Bern awarded him an honorary doctorate and the very next year, he suffered a stroke that significantly reduced his ability to work as his right hand was partially paralysed. He died in 1910 at the age of 79 at his house in Anet. After his death, an exhibition was dedicated to him, which was held at the Musee d’art et d’histoire in Neuchatel.

    This is part 1 of a 5-part post on the works of Albert Anker:


    1858 The Prodigal Son
    oil on canvas 31.9 x 24 cm

    1858 The Whistle Carver
    oil on canvas 82 x 62.5 cm
    Private Collection

    1861 Sunday Afternoon
    oil on canvas 82 x 62 cm
    Musée d'art et d'histoire, Neuchatel, Switzerland

    1862 The School Exam
    oil on canvas 103.1 x 175 cm
    Private Collection

    1862-63 Portrait of the Priest Franz Lüthardt
    oil on canvas 64 x 50 cm
    Kunstmuseum Lucerne, Switzerland

    1863 Funeral of a Child
    oil on canvas 111 x 171 cm
    Aargauer Kunsthaus, Aarau, Switzerland

    1864 The Knuckle Players
    81 x 65 cm
    Musée Gruérien, Bulle, Switzerland

    1865 Girl Feeding Chickens
    oil on canvas 66 x 51 cm
    Musée d'art et d'histoire, Neuchatel, Switzerland

    1865 The Bathers
    oil on canvas 64.1 x 25.2 cm
    Kunstmuseum Bern, Switzerland

    1865 Writing Lessons
    oil on canvas 26 x 34.3 cm

    1866 Böckligumpen
    oil on canvas 25 x 32 cm
    Museum zu Allerheiligen Schaffhausen, Switzerland

    1866 The Lake Dwellers ( study )
    pen and charcoal on paper 48.5 x 64 cm
    Private Collection

    1866 The Lake Dwellers
    oil on canvas 65 x 811 cm
    Oskar Reinhart Collection Winterthur, Switzerland 

    1867 Newborn
    oil on canvas
    Musée Cantonal des Beaux-Arts de Lausanne, Switzerland

    1867 The Farmers and the Newspaper
    oil on canvas 64 x 80.5 cm
    Private Collection

    1868 Girl with a Red Ribbon
    oil on canvas
    Private Collection

    1868 Portrait of Emilie Weiss
    oil on canvas 43.2 x 50.8 cm
    Private Collection

    1868 The Drinker
    oil on canvas 60 x 50 cm
    Kunstmuseum Bern, Switzerland

    1868 Three Girls Winding Wreaths
    oil on canvas 65.5 x 51 cm
    Private Collection

    1869 Portrait of Therese von Wyttenback von Fischer
    oil on canvas 50 x 38 cm
    Private Collectio
    n

    1869 Reudi Anker on His Death Bed
    oil on canvas
    Private Collection

    1869 The Kappeler Milk Soup
    oil on canvas 97 x 137 cm
    Private Collection

    1869 The Kappeler Milk Soup ( study )
    pencil and charcoal on paper 27.2 x 40 cm
    Private Collection

    1870 Fortune Teller
    oil on canvas 70.5 x 94.5 cm
    Private Collection

    1870 Heinrich Pestalozzi and the Orphans in Stans
    oil on canvas 95 x 73 cm
    Kunsthaus, Zurich, Switzerland

    1870-77c An Interior with Mother and Children
    oil on canvas 30.5 x 49 cm
    Private Collection

    1871 The Bourbakis
    oil on canvas 95 x 151 cm
    Musée d'art et d'histoire, Neuchatel, Switzerland

    1872 Boy with Bundle of Wood
    oil on canvas 27 x 21.5 cm
    Private Collection

    1872 The School Walk
    oil on canvas 90 x 150 cm
    Private Collection

    1873 Still Life with Tea, Sugar, Biscuits and Cream

    1873 The Bubble Blower
    oil on canvas 45 x 32 cm
    Kunstmuseum Bern, Switzerland

    1873 The Lake Woman
    oil on canvas 65 x 81 cm
    Musée des Beaux-Arts de La Chaux-de-Fonds, Switzerland

    1873 The Little Musician
    oil on canvas 61 x 50 cm
    Private Collection

    1874 Portrait of Emilie Weiss
    oil on canvas 46.5 x 38.5 cm
    Private Collection

    1874 The Artist's Daughter, Louise Anker
    oil on canvas 85.5 x 65 cm
    Oskar Reinhart Collection, Winterthur, Switzerland

    1874 The Village Clerk
    oil on canvas 64.5 x 62 cm
    Kunsthaus, Zurich, Switzerland

    1875 Berner Boy
    oil on canvas 82.4 x 54 cm
    Kunsthaus, Zurich, Switzerland

    1875 Girl with Jumping Jack ( Marie Anker )
    oil on canvas 35.5 x 30 cm
    Private Collection


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  • 05/12/17--06:04: Albert Anker - part 2
  • 1891 Self-Portrait
    watercolour 16.3 x 12.7 cm

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

    For earlier works and a fuller biography see part 1 also.
    This is part 2 of a 5-part post on the works of Albert Anker:


    1875 Writing Boy with Little Sister
    45 x 58 cm Private Collection

    1875 Young Mother
    oil on panel 36.7 x 46.7 cm

    1875c Schoolboy
    oil on canvas 51 x 45 cm
    Kunstmuseum Bern, Switzerland

    1876 The Country's Orphans
    oil on canvas 43.7 x 175 cm
    Musée d'art et d'histoire, Neuchatel, Switzerland

    1876 The Public Notary
    oil on canvas 58.4 x 48.6 cm
    Museums Sheffield, UK

    1877 Still Life: Coffee
    oil on canvas
    Private Collection

    1879 Children's Breakfast
    oil on canvas 81 x 65 cm
    Kunstmuseum Basel, Switzerland

    1879 Girl Playing at the Stove
    oil on canvas 42.4 x 55.6 cm
    © Kunstmuseum Lucerne, Switzerland

    1879 Gym Class in Ins
    oil on canvas 96 x 14.5 cm
    Private Collection

    1880 Portrait of a Boy
    oil on canvas 43 x 37 cm
    Private Collection

    1880 Sierre
    watercolour and pencil on paper 17 x 13.5 cm
    Private Collection

    1880 The Sons of Chrétien, Paris
    oil on canvas 90 x 62 cm
    Private Collection

    1881 Farmer Reading a Newspaper
    pen and ink and brush on paper 23.6 x 30 cm
    Private Collection

    1881 Knitting Girl
    charcoal 55 x 42 cm
    Private Collection

    1881 Schoolboy
    oil on canvas 56 x 42.5 cm
    Oskar Reinhart Collection, Winterthur, Switzerland

    1881 The Artist's Daughter, Marie Anker
    oil on canvas 81 x 65 cm
    Kunstmuseum Bern, Switzerland

    1882 Girl Reading

    1882 Still LIfe with Coffee

    1883 Boy Writing
    oil on canvas 59 x 42.5 cm
    Private Collection

    1883 Common Work
    oil on canvas 86 x 55.5 cm
    Private Collection

    1883 Little Red Riding Hood
    oil on canvas 

    1883 Parlour with Green Stove
    watercolour and pencil on paper 11.7 x 20.3 cm
    Private Collection

    1883 Rosa and Bertha Gugger
    oil on canvas

    1883-84 Woman with Laurel Wreath
    watercolour 27 x 18 cm
    © Kunstmuseum Lucerne, Switzerland

    1883-84 Young Girl Knitting
    oil on canvas 22.2 x 17.1 cm
    Private Collection

    1884 A Gotthelf Reader
    ( reference to Swiss novelist Jeremias Gotthelf )
    oil on canvas

    1884 Grandfather Telling a Story
    oil on canvas 74 x 109 cm
    Kunstmuseum Bern, Switzerland

    1884 The Strawberry Girl
    Musée cantonal des Beaux-Arts, Lausanne, Switzerland

    1885 Girl Knitting by a Window
    watercolour 66 x 51 cm
    Private Collection

    1885 Knitting Girl Watching a Toddler in a Cradle
    oil on canvas 24 x 70 cm
    Private Collection

    1885 Portrait of a Girl
    oil on canvas 36 x 32 cm
    Private Collection

    1885c Old Age
    oil on canvas 83 x 65 cm
    Private Collection

    1886 Girl Reading ( Cécile Anker, the artist's daughter, aged 12 )
    brush and pen in blue faience colour
    Private Collection

    1886 Old Man with Coffee Grinder
    oil on canvas 76.5 x 60 cm
    Private Collection

    1886 The Little Potato Peeler
    Private Collection

    1886c Girl with a Red Hood
    38.5 x 32 cm
    Private Collection

    1886c Le Bon Vivant ( Inser Farmer )
    Kunstmuseum, Lucerne, Switzerland

    1886c Portrait of a Farmer with Hat
    watercolour 27 x 21 cm
    Private Collection

    1887 Girl Braiding Her Hair
    oil on canvas 70.5 x 54 cm
    Kunstmuseum Bern, Switzerland

    1887 The Civil Wedding
    oil on canvas 76.5 x 126 cm
    Kunsthaus, Zurich,Switzerland


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  • 05/15/17--05:41: Albert Anker - part 3
  • 1909 Self-Portrait
    Albert Anker (1831–1910) is regarded as the “national painter” of Switzerland. His meticulous paintings of Swiss rural life endeared him to the public and during his heyday, he was regarded as the most popular artist. His works captured the daily and social life of the rustics in the picturesque villages of Switzerland. While these captured the imagination of the public, his portraits charmed the critics. Indeed, his portraits and still-lifes are what cemented his enduring legacy. Unlike many of his contemporaries, his documentation of the social life of villagers was never judgmental. Rather he portrayed them as plain and unpretentious. Anker also worked on many still-lives, which are considered to be among his most important works.

    For a fuller biography see part 1 also. For earlier works see parts 1 and 2 also.
    This is part 3 of a 5-part post on the works of Albert Anker:



    1887 The Louvre, Paris
    watercolour on paper 8.4 x 14.5 cm
    Kunstmuseum Bern, Switzerland

    1888 Girl Knitting
    oil on canvas 63 x 45.5 cm
    Private Collection

    1888 Queen Bertha and the Spinners
    oil on canvas 86 x 126 cm
    Musée cantonal des Beaux-Arts, Lausanne, Switzerland

    1889c The Older Sister
    oil on canvas 66 x 46 cm
    Private Collection

    1890 The Creche
    oil on canvas 79.5 x 142 cm
    Oskar Reinhart Collection, Winterthur, Switzerland

    1890c Portrait of a Young Boy
    oil on canvas 45 x 35.6 cm
    Private Collection

    1891 Portrait of a Boy
    oil on canvas
    Private Collection

    1892 Kitchen Scene
    watercolour and pencil on paper 8.2 x 14 cm
    Private Collection

    1892 The Little Knitters
    oil on panel 62 x 68.5 cm
    Oskar Reinhart Collection, Winterthur, Switzerland

    1893 Reading Devotions to Grandfather
    oil on canvas 63 x 92 cm
    Kunstmuseum Bern, Switzerland

    1893 Soup for the Poor
    oil on canvas
    Kunstmuseum Bern, Switzerland

    1894 The Village Tailor
    oil on canvas 53.1 x 41.9 cm
    Kunstmuseum Solothurn, Switzerland

    1895 Two Girls Sleeping on a Stove
    oil on canvas 55.5 x 71.5 cm
    Kunsthaus, Zurich, Switzerland

    1895c Old Man Drinking Tea
    oil on canvas 64 x 49.5 cm
    Private Collection

    1896 Still life with Tea, Sugar, and Biscuits

    1896 Still Life: Excess
    oil on canvas 48 x 62 cm
    Museum of Fine Arts, Bern

    1896 The Village School in 1848
    oil on canvas 104 x 175.5 cm
    Kunstmuseum Basel, Switzerland

    1896 The Zaeslin Siblings
    oil on canvas 54.6 x 75.9 cm
    Private Collection

    1897 Half-length Portrait of a Girl in Traditional Berner Costume
    oil on canvas 51.5 x 37.1 cm
    Private Collection

    1897 Portrait of the Young de Bros
    oil on canvas 45 x 36 cm
    Private Collection

    1897 Sleeping Boy in the Hay
    oil on canvas 55 x 71 cm
    Kunstmuseum Basel, Switzerland

    1897c Boy with Mid-Morning Snack
    oil on canvas 45 x 33 cm
    Private Collection

    1897c Knitting Girl with Basket
    oil on canvas 45.1 x 33 cm
    Private Collection

    1898 Bertha Gugger with Daughter
    oil on canvas 41.5 x 32 cm
    Private Collection

    1898 Old Feissli with a Child on the Oven Bench
    oil on canvas

    1899 The Conductor
    oil on canvas

    1900 School Children at the Church Bridge
    oil on canvas 30 x 50 cm
    Kunstmuseum Bern, Switzerland

    1900 Vesper Bread
    watercolour 24.5 x 35 cm
    © Kunstmuseum Lucern, Switzerland

    1901 Girl with Apple Pie
    charcoal on paper 57 x 42 cm
    Private Collection

    1901 Old Feissli with Stick and Hat
    charcoal 79 x 39.6 cm
    Private Collection

    1901 Old Man Taking a Rest
    oil on canvas 49.5 x 41.3 cm
    Private Collection

    1901c Portrait of a Blonde Girl
    37 x 32 cm
    Private Collection

    1903 Knitting Young Woman with Vase of Flowers

    1903 Seated Girl with Cat
    watercolour 34.9 x 24.9 cm
    Private Collection

    1903 The Song
    oil on canvas 62 x 50 cm
    Private Collection

    1903 Young Woman Writing a Letter
    watercolour 23.5 x 33 cm
    Private Collection

    1904 Boy Eating an Apple
    watercolour heightened with white on paper 33.7 x 24.1 cm
    Private Collection

    1904 Drumming Boy
    watercolour
    Kunstmuseum Bern, Switzerland

    1904 Elderly Woman Reading the Bible
    watercolour 35 x 25 cm
    Private Collection

    1904 Little Boy with Big Carrot
    watercolour on paper 33 x 24.5 cm
    Private Collection


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  • 05/17/17--05:44: Albert Anker - part 4
  • Albert Anker (1831–1910) is regarded as the “national painter” of Switzerland. His meticulous paintings of Swiss rural life endeared him to the public and during his heyday, he was regarded as the most popular artist. His works captured the daily and social life of the rustics in the picturesque villages of Switzerland. While these captured the imagination of the public, his portraits charmed the critics. Indeed, his portraits and still-lifes are what cemented his enduring legacy. Unlike many of his contemporaries, his documentation of the social life of villagers was never judgmental. Rather he portrayed them as plain and unpretentious. Anker also worked on many still-lives, which are considered to be among his most important works.

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


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

    1904 Sitting Farmer Reading
    watercolour 24.5 x 24.8 cm
    Private Collection

    1905 Girl Reading
     watercolour 28.5 diameter
    Private Collection

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

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

    1905 Seated Grandmother Mending
    watercolour 28.5 cm diameter
    Private Collection

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

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

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

    1906 Young Girl Writing
    watercolour 24.4 x 24.4 cm
    Private Collection

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

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

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

    1907 The Absinthe Drinker
    watercolour 19.1 x 14.8 cm
    Private Collection

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

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

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

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

    1908 The Absinthe Drinker
    watercolour
    Private Collection

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

    1908 The Little Seamstress
    watercolour 34.5 x 24.9 cm
    Private Collection

    1908c Writing Boy
    36.3 x 35.3 cm
    Private Collection

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

    1909 Man Reading
    watercolour 34.5 x 24.5 cm
    Private Collection

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

    1910 Boy wit Hat, Eating
    watercolour 34 x 24 cm

    1910 Girl Knitting
    watercolour 24.4 x 34.6 cm
    Private Collection

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

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

    1910 Tea Service

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

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

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

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

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

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

    n.d. Coffee and Cognac
    Private Collection

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


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  • 05/19/17--05:50: Albert Anker - part 5
  • Albert Anker (1831–1910) is regarded as the “national painter” of Switzerland. His meticulous paintings of Swiss rural life endeared him to the public and during his heyday, he was regarded as the most popular artist. His works captured the daily and social life of the rustics in the picturesque villages of Switzerland. While these captured the imagination of the public, his portraits charmed the critics. Indeed, his portraits and still-lifes are what cemented his enduring legacy. Unlike many of his contemporaries, his documentation of the social life of villagers was never judgmental. Rather he portrayed them as plain and unpretentious. Anker also worked on many still-lives, which are considered to be among his most important works.

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


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

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

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

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

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

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

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

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

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

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

    n.d. Peasant Woman

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

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

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

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

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

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

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

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

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

    n.d. Portrait of a Girl with Red Necklace

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

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

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

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

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

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

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

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

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

    n.d. The Village Tailor

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

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

    n.d. Young Mother

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

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

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

    Portrait of Wilibald Pirkheimer
    watercolour and pencil 17.5 diameter
    Private Collection


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



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

    Mistinguett

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

    Andrée Spinelly

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

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

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

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

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


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

     

    1916 La Baionnette magazine illustration
    Celle du Sucre


    1917 Maurice Chevalier 160 x 117 cm

    Maurice Chevalier


    1917 Mistinguett
    115.8 x 157 cm

    1918  Jane Marnac
    107.6 x 149.4 cm

    Jane Marnac


    1919 Comoedia Illustré magazine
    ( Andrée Spinelly )


    1919? Spinelly
    watercolour 48.3 x 31.4 cm

    1919? Spinelly 

    1920 Costume design
    watercolour and ink 47.6 x 31 cm

    1920c Costume design
    watercolour and pencil 38 x 21.2 cm

    1920c Jane Marnac

    1921 Mistinguett
    lithograph 132 x 113 cm

    1921c Costume design
    gouache and pencil 25.5 x 33.8 cm

    1921c Costume design 
    gouache and pencil 25.5 x 33.8 cm

    1921c Costume design 
    gouache and pencil 25.5 x 33.8 cm

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

    1922 Leslie, Casino de Paris
    ( Earl Leslie )

    1922 Mistinguett Casino de Paris
    116.2 x 156 cm

    1922 Mistinguett
    gouache and pencil on paper 73.7 x 53.3 cm

    1922 Mistinguett, Casino de Paris
    112.2 x 152.4 cm

    1922 Mistinguett, Casino de Paris
    116.6 x 157.5 cm


    1922 Spinelly
    158 x 118 cm

    1923 Casino de Paris

    1923 Mistinguett

    1923 Sheet music cover
    L'Amour au Claire de Lune

    1924 Leslie

    1924 Mistinguett, Moulin Rouge

    1925 Elvire Popesco 159.4 x 120 cm


    Elvire Popesco


    1925 Dancer


    1925 Gilda Gray
    colour lithograph 153.4 x 103.2 cm

    Gilda Gray


    1925 Guy Sarlin
    157.5 x 117 cm


    1925 Jane Pierly

    Jane Pierly
    1925 Lucienne Delahaye
    Lucienne Delahaye


    1925 Mistinguett
    112.4 x 157.3 cm

    1925 Mistinguett
    116.9 x 159.6 cm

    1925 Mistinguett
    120 x 159.6 cm

    1925 Mistinguett
    154.9 x 114.3 cm

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

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

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





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  • 05/24/17--05:30: Charles Gesmar - part 2
  • Charles Gesmar (born Geismar), simply known as Gesmar, was one of the greatest designers of costumes and posters during the golden age of the Paris music hall during the Jazz Age and was primarily renowned for his work for the great Parisian star Mistinguett. Although his tenure was short, his output was prolific and his creativity and talent unrivalled at the time.

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

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


    1925 Moulin Rouge Music-Hall
    programme cover

    1925 Yvonne Legeay
    lithographic poster

    1926 Barbette
    lithographic poster 160 x 120.4 cm

    1926 Diane Belli et Gaston Gerlys
    lithographic poster