George Hendrik Breitner - part 5

February 28, 2024, 6:11 am

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George Hendrik Breitner (1857-1923) was born in Rotterdam, the Netherlands. In 1876, he enrolled at the academy in The Hague. Later, he worked at Willem Maris's studio. In this early period he was especially influenced by the painters of the Hague School. Breitner preferred working-class models: labourers, servant girls and people from lower-class neighbourhoods. He saw himself as 'le peintre du peuple', the people's painter. In 1886, he moved to Amsterdam, where he recorded the life of the city in sketches, paintings and photos. Sometimes he made several pictures of the same subject, from different angles or in different weather conditions. Photos might serve as an example for a painting, as for his portraits of girls in kimonos, or as general reference material. Breitner often collaborated with Isaac Israels; both painters are referred to as Amsterdam Impressionists. Conservative critics called Breitner's style ‘unfinished'.

For earlier works see part 1 - 4 also.

This is part 5 of 6 parts on the works of George Hendrik Breitner:

n.d. Figure Studies pencil and brown wash on paper 21 x 34.5 cm Teylers Museum, Haarlem, Netherlands

n.d. Figure Study black chalk on paper  33.8 x 28.2 cm Teylers Museum, Haarlem, Netherlands

n.d. Figure Study black chalk on paper 33.1 x 26.1 cm Teylers Museum, Haarlem, Netherlands

n.d. Figure Study black chalk on paper 33.5 x 27.6 cm Teylers Museum, Haarlem, Netherlands

n.d. Figure Study black chalk on paper 34 x 29.5 cm Teylers Museum, Haarlem, Netherlands

n.d. Figure Study black chalk on paper 34.1 x 29.4 cm Teylers Museum, Haarlem, Netherlands

n.d. Figure Study pencil on paper 10.2 x 13.5 cm Teylers Museum, Haarlem, Netherlands

n.d. Forest View oil on cardboard 41 x 26 cm  Rijksmuseum, Amsterdam

n.d. Four Cows oil on cardboard 30 x 42 cm Rijksmuseum, Amsterdam

n.d. French cuirassiers, Paris oil on canvas 55 x 65 cm

n.d. Group of riders, gathering on wide forest trail chalk on paper 55.2 x 66.6 cm Rijksmuseum, Amsterdam

n.d. Galloping Hussars in front view etching National Gallery of Art, Washington, DC

n.d. Head of a dying man chalk on paper 22.3 x 28.2 cm Rijksmuseum, Amsterdam

n.d. Head of a Girl (after anonymous) chalk on paper 32.3 x 24.1 cm Rijksmuseum, Amsterdam

n.d. Head of a Nun chalk on paper 34.6 x 24.5 cm Rijksmuseum, Amsterdam

n.d. Head of a woman looking down black chalk on paper 16.1 x 9.7 cm

n.d. Head of a woman watercolour on paper 31.5 x 26.8 cm Kröller-Müller Museum, Otterlo, Netherlands

n.d. Head of a Woman watercolour on paper 37.8 x 32.9 cm Kröller-Müller Museum, Otterlo, Netherlands

n.d. Heathland landscape, presumably in Drenthe oil on panel (size not given) Rijksmuseum, Amsterdam

n.d. Hussars standing next to their horses pencil and watercolour on paper 32.4 x 54.1 cm Rijksmuseum, Amsterdam

n.d. Hussars riding single file etching National Gallery of Art, Washington, DC

n.d. Hussars on maneuver  oil on canvas 9.6 x 22.8 cm Rijksmuseum, Amsterdam

n.d. Horses on the beach, in the background a barge and fishermen watercolour and chalk on paper 33.5 x 27.2 cm Rijksmuseum, Amsterdam

n.d. Infantry Trooper pencil on paper 28.1 x 13.1 cm Kröller-Müller Museum, Otterlo, Netherlands

n.d. Interior Study pencil and black chalk on paper 35 x 26.8 cm Teylers Museum, Haarlem, Netherlands

n.d. Woman in a studio behind a harmonium watercolour and chalk on paper 35.4 x 39.6 cm Rijksmuseum, Amsterdam

n.d. Lady sitting at a table chalk on paper 27 x 34.8 cm Rijksmuseum, Amsterdam

n.d. Landscape near Waalsdorp, with soldiers on maneuver oil on panel 15.6 x 21 cm Rijksmuseum, Amsterdam

n.d. Man walking forward chalk on paper-cardboard 34.6 x 23.9 cm Rijksmuseum, Amsterdam

n.d. Manouevres in the dunes oil on panel (size not given)

n.d. Marie Anne Henriette Breitner oil on cardboard 44 x 32.5 cm Rijksmuseum, Amsterdam

n.d. Market with flower stalls watercolour on paper size not given Rijksmuseum, Amsterdam

n.d. Meadow landscape oil on cardboard 22 x 40.5 cm Rijksmuseum, Amsterdam

n.d. Model study of standing half-naked man chalk on paper 33.8 x 24.8 cm Rijksmuseum, Amsterdam

n.d. Model study oil on panel 24.5 x 19 cm Rijksmuseum, Amsterdam

n.d. Moored boats on the Damrak with the Victoria Hotel in the distance oil on board 62.5 x 74 cm

n.d. Mother and child oil on canvas, laid down on plywood 36 x 29 cm

n.d. Mother and child pencil on paper 35.9 x 18.3 cm Kröller-Müller Museum, Otterlo, Netherlands

n.d. Mounted Guard watercolour on paper 34.4 x 53.6 cm

n.d. Neighbourhood street in Rijswijk near The Hague oil on panel 40 x 27 cm Rijksmuseum, Amsterdam

n.d. Neighbourhood street in The Hague or Scheveningen oil on paper laid on panel 34.5 x 22 cm Rijksmuseum, Amsterdam

n.d. Nude study chalk on paper 27.5 x 20.2 cm Kröller-Müller Museum, Otterlo, Netherlands

n.d. Paljas of Torero, with raised arm chalk on paper 19.2 x 23.1 Rijksmuseum, Amsterdam

n.d. Plaster mask chalk on paper 31.3 x 23.9 cm Rijksmuseum, Amsterdam

n.d. Portrait of a koffiepikster  oil on canvas 62.5 x 59.5 cm

n.d. Portrait of a man  pencil and Siberian chalk on paper 61 x 47.3 cm Teylers Museum, Haarlem, Netherlands

n.d. Portrait of Dante (after Rafaël) chalk on paper 47.5 x 28 cm Rijksmuseum, Amsterdam

n.d. Portrait of Floris Verster oil on panel 45 x 24.5 cm Rijksmuseum, Amsterdam

n.d. Portrait of Marie Breitner, wife of the artist oil on canvas 73 x 55.5 cm

n.d. Prinsengracht near Lauriergracht, Amsterdam oil on canvas 70.1 x 100.2 cm Rijksmuseum, Amsterdam

n.d. Reclining nude chalk on paper 12.1 x 32.6 cm Kröller-Müller Museum, Otterlo, Netherlands

n.d. Resting cavalry  oil on canvas 40.5 x 101 cm

n.d. Scene in a Dutch city with pile driver in foreground etching National Gallery of Art, Washington, DC

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George Hendrik Breitner - part 6

March 1, 2024, 5:31 am

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n.d. Self Portrait oil on canvas? Johannesburg Art Gallery

George Hendrik Breitner (1857-1923) was born in Rotterdam, the Netherlands. In 1876, he enrolled at the academy in The Hague. Later, he worked at Willem Maris's studio. In this early period he was especially influenced by the painters of the Hague School. Breitner preferred working-class models: labourers, servant girls and people from lower-class neighbourhoods. He saw himself as 'le peintre du peuple', the people's painter. In 1886, he moved to Amsterdam, where he recorded the life of the city in sketches, paintings and photos. Sometimes he made several pictures of the same subject, from different angles or in different weather conditions. Photos might serve as an example for a painting, as for his portraits of girls in kimonos, or as general reference material. Breitner often collaborated with Isaac Israels; both painters are referred to as Amsterdam Impressionists. Conservative critics called Breitner's style ‘unfinished'.

For earlier works see part 1 - 5 also.

This is part 6 of 6 parts on the works of George Hendrik Breitner:

n.d. Scene with horses standing in stream etching on paper National Gallery of Art, Washington, DC

n.d. Scheveningen girl at the washtub chalk and watercolour on paper 38.2 x 26.2 cm Rijksmuseum, Amsterdam

n.d. Scottish hunting group pencil on paper 24.2 x 36.7 cm Rijksmuseum, Amsterdam

n.d. Seated boy chalk and wash 11.9 x 19.2 cm Rijksmuseum, Amsterdam

n.d. Seated female figure on a couch pencil and watercolour on paper 34.9 x 23.9 cm Kröller-Müller Museum, Otterlo, Netherlands

n.d. Seated female figure watercolour on paper 25 x 31.3 cm Kröller-Müller Museum, Otterlo, Netherlands

n.d. Seated woman reading chalk on paper 33.3 x 27.3 cm Rijksmuseum, Amsterdam

n.d. Seated Shepherd chalk on paper 23 x 19.5 cm Rijksmuseum, Amsterdam

n.d. Sketch sheet with studies of a gardener chalk on paper 45.1 x 30.6 cm Rijksmuseum, Amsterdam

n.d. Street in Montmartre, Paris oil on panel 21.5 x 16 cm Rijksmuseum, Amsterdam

n.d. Still life of roses black chalk and watercolour on paper 26.3 x 37.6 cm

n.d. Standing naked woman etching on paper 42.4 x 29.2 cm Rijksmuseum, Amsterdam

n.d. Standing man chalk on paper 37.5 x 17.7 cm Kröller-Müller Museum, Otterlo, Netherlands

n.d. Standing horse chalk on paper 24.3 x 31.9 cm Rijksmuseum, Amsterdam

n.d. Soldier with bugle black chalk on paper 33.7 x 25.8 cm Teylers Museum, Haarlem, Netherlands

n.d. Soldier eating chalk on paper 19.3 x 22.5 cm Rijksmuseum, Amsterdam

n.d. Soldier 'Smits' pencil on paper 33.3 x 13.9 cm  Kröller-Müller Museum, Otterlo, Netherlands

n.d. Skull (medium?) on paper 33.6 x 24.2 cm Rijksmuseum, Amsterdam

n.d. Sketches of a woman chalk on paper 34.7 x 26.7 cm Rijksmuseum, Amsterdam

n.d. Study of two women standing black chalk on paper 15.5 x 11.5 cm

n.d. Study after the Model (Geesje Kwak?) oil on panel 24.5 x 19 cm Rijksmuseum, Amsterdam

n.d. Studies of a walking woman chalk on paper 45.6 x 25.8 cm Rijksmuseum, Amsterdam

n.d. Studies of a Gardener chalk on paper 27.5 x 28 cm Rijksmuseum, Amsterdam

n.d. The Baan in Rotterdam oil on panel 26 x 36 cm

n.d. The blacksmith oil on board 17 x 15.1 cm

n.d. The Funfair oil on canvas 27 x 21.5 cm Rijksmuseum, Amsterdam

n.d. The Leidsegracht, Amsterdam oil on panel 24.5 x 32.5 cm Rijksmuseum, Amsterdam

n.d. The Paleisstraat near the Spuistraat, Amsterdam, at night oil on canvas 120.6 x 90.2 cm

n.d. The Prinsengracht at the Lauriergracht, Amsterdam oil on ? (size not given)

n.d. The Rokin, Amsterdam oil on panel 29.5 x 40 cm Rijksmuseum, Amsterdam

n.d. The Rokin, Amsterdam oil on panel 38 x 46 cm Rijksmuseum, Amsterdam

n.d. The Rokin, seen from Arti pen and ink on paper 21.5 x 27.8 cm Rijksmuseum, Amsterdam

n.d. The Teertuinen in winter, Amsterdam charcoal, watercolour and gouache on paper 66 x 97 cm

n.d. Three coffee pickers black chalk and pastel on paper 31.4 x 44 cm

n.d. Sketch of women black chalk on paper 20 x 12.7 cm Teylers Museum, Haarlem, Netherlands

n.d. Three women in the snow oil on canvas 60 x 82.5 cm

n.d. Two Cavalry men chalk on paper 25 x 31.3 cm Kröller-Müller Museum, Otterlo, Netherlands

n.d. Two girls in the snow oil on canvas 58 x 56.5 cm

n.d. Two maids walking watercolour on paper 30.2 x 21.9 cm Kröller-Müller Museum, Otterlo, Netherlands

n.d. Two servants busy talking black chalk on paper 23.5 x 16.5 cm

n.d. Two studies of a woman leaning forward chalk on paper 46.6 x 30.3 cm Rijksmuseum, Amsterdam

n.d. Two Waspitten pastel on paper 57 x 34 cm

n.d. Vase with pink flowers oil on panel 46 x 38 cm Rijksmuseum, Amsterdam

n.d. Veiled Arab woman  chalk on paper 19.2 x 11.6 cm Rijksmuseum, Amsterdam

n.d. View in The Hague (?) oil on panel 24.5 x 32.6 cm Rijksmuseum, Amsterdam

n.d. View in the woods oil on cardboard 41 x 26 cm Rijksmuseum, Amsterdam

n.d. View of the Kalverstraat in Amsterdam near Gerzon department store watercolour on paper (size not given) Rijksmuseum, Amsterdam

n.d. Washerwoman chalk on paper 34.5 x 26.3 cm Rijksmuseum, Amsterdam

n.d. Waspitten on a bridge, Amsterdam chalk, watercolour and gouache on paper 47 x 65 cm

n.d. Windmill chalk on paper 44.3 x 28.7 cm Kröller-Müller Museum, Otterlo, Netherlands

n.d. Woman getting dressed chalk on paper 35 x 26.8 cm Rijksmuseum, Amsterdam

n.d. Woman on a couch chalk on paper 19.2 x 11.6 cm Rijksmuseum, Amsterdam

n.d. Work horses at the Houthaven, Amsterdam watercolour, gouache and charcoal on paper 57 x 88 cm

Maurice Verneuil - part 1

March 4, 2024, 6:05 am

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Maurice Pillard Verneuil

Maurice Pillard Verneuil (1869 - 1942) was born in Saint Quentin, France. He learned his trade from the Swiss designer Eugène Grasset (a series on Eugène Grasset can be found in the index of this blog). Verneuil then went on to become a well-known artist and designer. He was inspired by Japanese art and nature, particularly the sea. He is known for his contribution to the Art Deco movement and, in particular, his use of bold, floral designs in ceramic tiles, wallpapers, and other furnishing textiles.

His designs covered both the Art Nouveau and Art Deco periods, subsequently transitioning into his much acclaimed geometric patterns. Verneuil also produced numerous poster works in France alongside the well-known artists such as Toulouse-Lautrec and Jules Chéret. Other collaborators included Armand Point. René Juste, Alphons Mucha, and Mathurin Méheut.

After the First World War, he moved to Geneva, and then, from 1921 to his death to Rivaz, Switzerland, where he lived with his third wife, Adélaïde Verneuil de Marval, (who was also a painter and the photographers model) who he used for his portfolio, "Images d'une femme", in the 1930s.

This is part 1 of a 7-part series on the works of Maurice Verneuil:

1896 La Plante et ses Applications ornementales

published by Librairie Centrale des Beaux-Arts, E. Lévy, éditeur 

compiled by Eugène Grasset 

illustrations by Maurice Verneuil & others:

La Plante et ses Applications ornementales Title page

Plate 1 Iris by M.P. Verneuil

Plate 2 Iris by M.P. Verneuil

Plate 3 Iris by E. Hervegh

Plate 4 Pavot by M.P. Verneuil

Plate 5 Pavot by M.P. Verneuil

Plate 6 Pavot by Marc Mangïn

Plate 7 Nenuphar by M.P. Verneuil

Plate 8 Nenuphar by M.P. Verneuil

Plate 9 Nénuphar by C.G. Schlumberger

Plate 10 Ancolie by M.P. Verneuil

Plate 11 Ancolie by M.P. Verneuil

Plate 12 Ancolie by Anna Martin

Plate 13 Courge by M.P. Verneuil

Plate 14 Courge by M.P. Verneuil

Plate 15  Courge by C.G. Schlumberger

Plate 16 Couronne Imperiale by M.P. Verneuil

Plate 17 Couronne Imperiale by M.P. Verneuil

Plate 18 Couronne Imperiale by J.Milesi

Plate 19 Geranium Sauvage by J. Milesi

Plate 20 Geranium Sauvage by J. Milesi

Plate 21 Geranium Sauvage by Marcelle Gaudin

Plate 22 Cyclamen by E. Hervegh

Plate 23 Cyclamen by E. Hervegh

Plate 24 Cyclamen by Anna Martin

Plate 25 Sagittaire by M.P. Verneuil

Plate 26 Sagittaire by M.P. Verneuil

Plate 27 Sagittaire by Anna Martin

Plate 28 Jonquille by M.P. Verneuil

Plate 29 Jonquille by M.P. Verneuil

Plate 30 Jonquille by E. Hervegh

Plate 31 Perce-Neige by M.P. Verneuil

Plate 32 Perce-Neige by M.P. Verneuil

Plate 33 Perce-Neige by J. Milesi

Plate 34 Sceau de Salomon by M.P. Verneuil

Plate 35 Sceau de Salomon by M.P. Verneuil

Plate 36 Sceau de Salomon by G. Bourgeot

Plate 37 Muguet by E. Hervegh

Plate 38 Muguet by E. Hervegh

Plate 39 Muguet by A. Poidevin

Plate 40 Capucine by M.P. Verneuil

Plate 41 Capucine by M.P. Verneuil

Plate 42 Capucine by Anna Martin

Plate 43 Pissenlit by M.P. Verneuil

Plate 44 Pissenlit by M.P. Verneuil

Plate 45 Pissenlit by J, Milesi

Plate 46 Glycine by M.P. Verneuil

Plate 47  Glycine by M.P. Verneuil

Plate 48 Glycine by A. Poidevin

Plate 49 Lilas by Anna Martin

Plate 50 Lilas by Anna Martin

Plate 51 Lilas by E. Hervegh

Plate 52 Marronnier by J. Milesi

Plate 53 Marronnier by J. Milesi

Plate 54 Marronnier by Anna Martin

Note: La Plante et ses Applications ornementales continues 

in part 2.

Maurice Verneuil - part 2

March 6, 2024, 7:15 am

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Maurice Pillard Verneuil (1869 - 1942) was born in Saint Quentin, France. He learned his trade from the Swiss designer Eugène Grasset (a series on Eugène Grasset can be found in the index of this blog). Verneuil then went on to become a well-known artist and designer. He was inspired by Japanese art and nature, particularly the sea. He is known for his contribution to the Art Deco movement and, in particular, his use of bold, floral designs in ceramic tiles, wallpapers, and other furnishing textiles.

This is part 2 of a 6-part series on the works of Maurice Verneuil.

1896 La Plante et ses Applications ornementales, continued from part 1:

Plate 55 Aconit by M.P. Verneuil

Plate 56 Aconit by M.P. Verneuil

Plate 57 Aconit by Anna Martin

Plate 58 Chardon by M.P. Verneuil

Plate 59 Chardon by M.P. Verneuil

Plate 60 Chardon by J. Milesi

Plate 61 Pervenche by Marcelle Gaudin

Plate 62 Pervenche by Marcelle Gaudin

Plate 63 Pervenche by Anna Martin

Plate 64 Bouton d'or by M.P. Verneuil

Plate 66 Bouton d'Or by A. Poidevin

Plate 67 Eglantier by M.P. Verneuil

Plate 68 Eglantier by M.P. Verneuil

Plate 69 Eglantier by E. Hervegh

Plate 70 Chrysanthème by M.P. Verneuil

Plate 71 Chrysanthème by M.P. Verneuil

Plate 72 Chrysanthème by A. Poidevin

1897 L'Animal dans la Décoration (The Animal in the Decoration) by M.P. Verneuil

Front Cover

Title Page

Maurice Verneuil - part 3

March 8, 2024, 5:57 am

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Maurice Pillard Verneuil (1869 - 1942) was born in Saint Quentin, France. He learned his trade from the Swiss designer Eugène Grasset (a series on Eugène Grasset can be found in the index of this blog). Verneuil then went on to become a well-known artist and designer. He was inspired by Japanese art and nature, particularly the sea. He is known for his contribution to the Art Deco movement and, in particular, his use of bold, floral designs in ceramic tiles, wallpapers, and other furnishing textiles.

This is part 3 of a 6-part series on the works of Maurice Verneuil.

1903 Etude de la Plante (Study of Plants):

Etude de la Plante Front Cover

Ornamentation by the Plant

Study of the plant

Examples of simple inflorescences

Snowdrops

Mistletoe

Hedge bindweed

Hedge bindweed

White lily Details of the leaves

White lily The whole plant

White lily Details of the flower

Wild angelica

Wild angelica Details of the shoots

Wild angelica Details of the leaves

Wild angelica Leaves in profile

Wild angelica Details of the flowers

Anemone Sylvie and Narcissus

Anemone Sylvie

Anemone Sylvie and Narcissus

Trumpet Narcissus

Germanic Iris

Germanic Iris

Germanic Iris for wallpaper frieze

Germanic Iris Large lace

Germanic Iris carved and exposed wood

Borders

Vertical Jasmine border

Jasmine

Hazel

Hazel border Yellow Hazel Border

Nuphar (type of waterlily)

Poppy

Poppy border

Poppy

Hollyhock Border

Hollyhock

Hollyhock

Wisteria

Wisteria border

Sagittaire oblique border

Sagittaire or Water Arrow

Bryonia dioecious

Bitter Sweet circular border

Ornate backgrounds and fittings

Ornate backgrounds Wild Iris

Spanish Iris

Ornate background Nasturtium

Nasturtium

Oak

Teasel

Teasels

Minor periwinkle

Two stencilled borders in one tone

Ivy

Etude de la Plante (Study of Plants) continues in part 4.

Maurice Verneuil - part 4

March 11, 2024, 7:22 am

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Maurice Pillard Verneuil (1869 - 1942) was born in Saint Quentin, France. He learned his trade from the Swiss designer Eugène Grasset (a series on Eugène Grasset can be found in the index of this blog). Verneuil then went on to become a well-known artist and designer. He was inspired by Japanese art and nature, particularly the sea. He is known for his contribution to the Art Deco movement and, in particular, his use of bold, floral designs in ceramic tiles, wallpapers, and other furnishing textiles.

This is part 4 of a 6-part series on the works of Maurice Verneuil.

1903 Etude de la Plante (Study of Plants) continued from part 3:

Fuchsia stencil border

Fuchsia

Stencil in one tone. Ornate background. Chestnut tree.

Lily seedlings stencil

Stencil in one tone. Columbine.

Columbine

Mimosa border and stencil seedlings

Mimosa

Stencil in two tones. Ornate poppy background

Poppy

Poppy details

Stencil in one tone Clematis

Perce-Niege seedlings stencil

Ceramic

Apple Tree

Tile border. Cyclamen

Cyclamen

Two tile border. Sunflower

Border. Loofah

Floor tile Columbine. Floor tile Maple. Pavement Water Lily. Floor tile Cyclamen

Small panelling Foxgloves

Foxgloves

Crown Imperial

Crown Imperial

Vases. Bindweed, Fritillary, Freesia

Brize

Three decorated vases

Cypripédium roezlii

Cypripédium

Two decorated vases. Cypripédium and cyclamen

Decorated vases

Dandelion

Campanule

Two vases Campanule Butome

Leek Soup

Leek

Apple blossom compote and tray detail

Strawberry

Green seaweed water jug and bowl

Wallpapers and printed fabrics

Orchid wallpaper

Purple orchid

Lily of the Valley necklace wallpaper

Lily of the Valley

Chinese Spring Necklace

Chinese Primrose

Eschscholtzia wallpaper

Eschscholtzia

Freesia

Refracted inflorescence freesia

Painted wallpaper

Stramoine or thorny apple

Stramoine or thorny apple wallpaper

Stramoine flower and seed details

Stramoine  leaf detail

Water lily and Sagittarius wallpaper

Etude de la Plante (Study of Plants) continues in part 5.

Maurice Verneuil - part 5

March 14, 2024, 7:23 am

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Maurice Pillard Verneuil (1869 - 1942) was born in Saint Quentin, France. He learned his trade from the Swiss designer Eugène Grasset (a series on Eugène Grasset can be found in the index of this blog). Verneuil then went on to become a well-known artist and designer. He was inspired by Japanese art and nature, particularly the sea. He is known for his contribution to the Art Deco movement and, in particular, his use of bold, floral designs in ceramic tiles, wallpapers, and other furnishing textiles.

This is part 5 of a 6-part series on the works of Maurice Verneuil.

1903 Etude de la Plante (Study of Plants) continued from part 4:

Ceiling wallpaper

Ferns

Martagon Lily

Martagon Lily

Bitter Gourd

Bitter Gourd flower details

Bitter Gourd fruit details

Stained Glass

Bull Rush

Stained glass without painting Iris

Border. Stained glass. Teasel

Border. Stained Glass. Poppy

Seaweed. Stained glass

Stained glass. Plane tree

Stained glass. Gourd

Gourd

131 Gourd. Detail of the fruit

Woven fabrics

Tiger Lily

Tiger Lily

Woven fabric

Laurel Rose

Loofah

Loofah flower details

Loofah woven fabric

Loofah leaf details

Cobaea

Cobaea woven fabric

Cobaea

Swamp gladiolus

Gladiolus woven fabric

Milk thistle. Woven fabric

Slipper Orchids woven fabric

Castor

Common castor

Oleander and castor

Mimosa

Mimosa lace

Dandelion and Acanthus lace fans

Bindweed lace collar

Virginia creeper

Milk Thistle lace

Guinea fowl fritillary

Etude de la Plante (Study of Plants) continues in part 6.

Maurice Verneuil - part 6

March 16, 2024, 6:34 am

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Maurice Pillard Verneuil (1869 - 1942) was born in Saint Quentin, France. He learned his trade from the Swiss designer Eugène Grasset (a series on Eugène Grasset can be found in the index of this blog). Verneuil then went on to become a well-known artist and designer. He was inspired by Japanese art and nature, particularly the sea. He is known for his contribution to the Art Deco movement and, in particular, his use of bold, floral designs in ceramic tiles, wallpapers, and other furnishing textiles.

This is part 6 of a 6-part series on the works of Maurice Verneuil.

1903 Etude de la Plante (Study of Plants) continued from part 5:

Anemone pulsatilla

Maize

Maize embroidery

Maize

Saffron lily, applied fabric border

Saffron Lily

Eucalyptus, woven fabric

Door frame. Wisteria

Carpet marquetry, bookbinding and mosaic

White Water Lily

Pomegranate leaves and fruit

Sunflower

Sunflower

Sunflower

Sunflower

Tiger Lily

Cypriedium Binding

Maple, leather and gold belt

Iron and bronze

Wrought iron andirons

Wrought iron gate. Bramble

Wrought iron hinge. Ivy

Fig tree

Autumn Crocus

Hat Pins

Mimosa coffee pot and cup

1925 Étoffes et tapis étrangers (Foreign fabrics and carpets) by various artists, under the direction of Maurice Verneuil:

Front Cover

Title Page

Cretonne imprimée by Philipp Haas

Étoffes tissées by Else Pohl-May

Cretonne imprimée by Will Foxton

Doie imprimée by Thomas Boyd

Étoffes imprimées by Will Foxton

Kilim by J. Czajkowski

Batik by Ateliers de Cracovie

Tapisseries by Gestrikslands Hemslöjdförening Gefle

Tapis point noué by Maja Andersson

Tapis by Malöhus Läns Hemslöjdfôrening

Etoffe imprimée by Association des Fabricants Suisses de bonneterie en soie artificielle

Cretonne imprimée by Trust de l'Industrie do coton de Moscou

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John Hassall - Part 1

March 18, 2024, 7:00 am

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Designed 1908 printed 1926 Skegness is So Bracing L.N.E.R.. (London North Eastern Railway) colour lithograph poster 101.6 x 63.5 cm

John Hassall, (1868-1948) was born in Kent, UK, and educated in Devon and Heidelberg. In 1888 he emigrated to Canada with his brother, Owen, to work in farming. He returned to Europe in 1890 and studied art in Antwerp and Paris. Although he did paint portraits on commission, he is best known as an illustrator and commercial artist, producing illustrations for books, magazine covers, cartoons and advertisements for a huge variety of products, from advertisements in magazines and newspapers to posters. Hassall also taught art and design, firstly at the New Art School and School of Poster Design in London, then through the John Hassall Correspondence Art School, where students worked from instruction booklets and submitted their works to Hassall by post for comments and criticism. Hassall was a prolific artist and produced a huge body of work over the course of his career. His work as an illustrator included books of fairy tales, as well as cover illustrations for adventure stories for older children and for comic novels for adults. His advertising clients included many brands that have become household names, such as Kodak, OXO and Coleman’s Mustard. His posters advertised not only products, but also events, such as pantomimes and exhibitions. The poster for which he has become best known was designed for the Great Northern Railway in 1908 to advertise both British seaside resorts as holiday destinations, and the railways as a means of reaching them. The poster shows a fisherman, skipping along a beach, with the slogan “Skegness is SO bracing!” The design, known as the Jolly Fisherman, proved instantly popular and the fisherman was eventually adopted as the mascot of the town and a statue of the figure stands in a local park. The influence of the Jolly Fisherman has continued with the image being adapted by cartoonists and caricaturists to this day.

This is part 1 of a 12-part series on the works of John Hassall:

1889 Cowboys & Indian watercolour 22.3 x 66.3 cm

1889 D'Oyly Carte Opera Company  colour lithograph poster 75.7 x 50.7 cm V&A Museum, London

c1890-1900 The Only Way, A Tale of Two Cities   colour lithograph theatre poster Bibliothèque Municipale de Lyon

c1890 Cinderella colour lithograph poster for the pantomime 75.9 x 33.8 cm

c1890s Allsopp's Pale Ale. Stout. Lager. colour lithograph poster (size not given) V&A Museum, London

1890s The Archer ink and watercolour Blackburn Museum & Art Gallery, UK

1893-99 Aladdin colour lithograph pantomime poster

1894 The Shop Girl A little bit of fluff colour lithograph poster

1894 Three original watercolours for a book which was never published.

c1894 Bear watercolour 17.5 x 27 cm

c1894 Elephant watercolour 17.5 x 27 cm

c1894 Red Deer watercolour 17.5 x 27 cm

after 1895 How London Lives, Princess's Theatre,  Oxford St. W.  colour lithograph poster 74.7 x 50.4 cm

1895 The Mummy by G.D. Day and Allan Reed. colour poster on linen 76 x 51 cm

1895-99 The Celestials colour lithograph poster

c1895-1818 Colman's Starch colour lithograph advertisement V&A Museum, London

c1895-1905 The Magazine of Commerce colour lithograph poster V&A Museum, London

1895-1918  Veritas Mantles colour lithograph advertisement V&A Museum, London

1895-1918 "My Vimmy" colour lithograph advertisement V&A Museum, London

1895-1918 "Spiritine" colour lithograph advertisement V&A Museum, London

1895-1918 'Viyella' colour lithograph advertisement V&A Museum, London

1895-1918 A Novelty for the Nursery from Shredded Wheat colour lithograph advertisement V&A Museum, London

1895-1918 Bar-Lock colour lithograph advertisement V&A Museum, London

1895-1918 Barnet Plates P.O.P. lithograph advertisement V&A Museum, London

1895-1918 Cantrell & Cochrane's Dry Ginger Ale colour lithograph advertisement V&A Museum, London

1895-1918 Day & Martin's Blacking colour lithograph advertisement V&A Museum, London

1895-1918 Give 'em all Kodaks colour lithograph poster V&A Museum, London

1895-1918 Great Scott! What a Find (Fry's Pure Cocoa) colour lithograph poster V&A Museum, London

1895-1918 He Buys a Royal Bar-Lock colour lithograph advertisement V&A Museum, London

1895-1918 Lux Wont Shrink Woollens colour lithograph advertisement V&A Museum, London

1895-1918 Milo Food for Infants & Invalids colour lithograph advertisement V&A Museum, London

1895-1918 No Tips! "Zotos has done for me!!!" colour lithograph advertisement V&A Museum, London

1895-1918 Onoto Self Filling Safety Fountain Pen  lithograph advertisement V&A Museum, London

1895-1918 Orient Line Pleasure Cruises colour lithograph poster V&A Museum, London

1895-1918 Peter's colour lithograph advertisement V&A Museum, London

1895-1918 Richest in Cream "Nestlés" colour lithograph poster V&A Museum, London

1895-1918 Richest in Cream Nestlés Milk colour lithograph advertisement V&A Museum, London

1895-1918 The "Dalo" Camera colour lithograph advertisement V&A Museum, London

1895-1918 The 'Allenbury's Foods & Feeder colour lithograph advertisement V&A Museum, London

1895-1918 The Ewbank Carpet Sweepers colour lithograph poster V&A Museum, London

1895-1918 The Gramophone and Typewriter Ltd two-colour lithograph advertisement V&A Museum, London

1895-1918 The New Robin Starch. colour lithograph advertisement V&A Museum, London

1895-1918 The Printseller two-colour lithograph advertisement V&A Museum, London

1895-1918 Use Washeesi and Finish before Lunch (Suggestion for a Soap Advertisement) colour lithograph V&A Museum, London

1895-1918 Who Said Nestlé's Milk? colour lithograph advertisement V&A Museum, London

1895-1918 Why Not Try a Royal Bar-Lock two-colour lithograph advertisement V&A Museum, London

1895-1918 Wright's Coal Tar Soap colour lithograph advertisement V&A Museum, London

c1895-1918 Goodall's Playing Cards. "Mystery."  colour lithograph advertisement V&A Museum, London

John Hassall - Part 2

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In 1901 John Hassall was elected to the membership of both the Royal Institute of Painters in Water-Colour and the Royal Society of Miniature Painters. He also belonged to several clubs, including the Langham (until 1898), the Savage, and the London Sketch Club (of which he was a President 1903-4). David Cuppleditch has called him ‘the epitome of a good all round English clubman’ (1994, page 78).

In 1900, Hassall opened his own New Art School and School of Poster Design in Kensington, with the help of his former teacher Van Havermaet; he numbered Bert Thomas, H M Bateman and Harry Rountree among his students. In 1908, the school amalgamated with Frank Brangwyn’s London School, but was closed at the outbreak of the First World War. In the post war period, he ran the very successful John Hassall Correspondence School.

For more information about John Hassall, and for earlier works, see part 1 also.

This is part 2 of of a 12-part series on the works of John Hassall:

c1895 The Follies, a Pierrot troupe formed in 1895 colour lithograph poster

c1895 The Follies Momo lithograph poster V&A Museum, London

c1895 The Pantomime ABC hardback book cover published by Sands & Company, London

c1895 Weldon's Ladies Journal for October colour line-block print poster 77 x 50.8 cm V&A Museum, London

Posters advertising a production of ‘Newmarket,’ performed by Alexander Loftus’s Musical comedy Company at the Opéra Comique, London, 22 August - 17 October, 1896:

1896 Opera Comique - Newmarket, Poppy and Her Trainer colour lithograph poster

1896 Opera Comique Newmarket, Poppy and Her Trainer colour lithograph poster 75.5 x 50.4 cm V&A Museum, London

1896 Shaftesbury Theatre, The Little Genius colour lithograph poster 51 x 75.5 cm V&A Museum, London

1896 The French Maid colour lithograph poster

1896 The Geisha from Day's Theatre, London colour lithograph poster

1896 The Mummy colour lithograph poster 76 x 50 cm Museo Nacional d'Art de Catalunya

1897 Saucy Sally (at the Comedy Theatre, 10th March 1897) colour lithograph poster 36.5 x 25.5 cm V&A Museum, London

1897 Saucy Sally (at the Comedy Theatre, 10th March 1897) colour lithograph poster 63.5 x 25.5 cm V&A Museum, London

1897 The Shop Girl theatre poster, colour lithograph 50 x 71.8 cm

1897 Two Little Vagabonds colour lithograph poster 76 x 51 cm

1897-98 Cinderella two-colour lithograph poster

c1897 A Night Out, Vaudeville Theatre colour lithograph poster 75.5 x 50 cm

c1897 D'Oyly Carte Opera Company colour lithograph poster 76.1 x 50.5 cm V&A Museum, London

c1897 The Yashmak, A Story of the East colour lithograph poster. 75.8 x 51 cm

1898 A Brace of Partridges colour lithograph poster 76.5 x 52 cm Museo Nacional d'Art de Cataunya

1898 A Greek Slave, Daly's Theatre, London colour lithograph poster 76 x 50 cm V&A Museum, London

1898 Colmans Mustard advertisement colour lithograph V&A Museum, London

1898 Colmans Mustard colour lithograph poster 223 x 98 cm  Musée des Arts Decoratifs, Paris

1898 Garrick Theatre, Little Tich. colour lithograph poster 76 x 51 cm

1898 Little Red Riding Hood colour lithograph cover published by Walmer, London

1898 Orlando Dando, The Volunteer colour lithograph poster 50.7 x 36.5 cm V&A Museum, London

1898 Terry's Theatre, The White Knight two-colour lithograph poster 76 x 51 cm

1898 The Dandy Fifth, Duke of York's Theatre colour lithograph poster

1898 The Daughters of Babylon colour lithograph poster 61.7 x 41.5 cm V&A Museum, London

1898 The French Maid black & white poster

1898-1900 Colman's Mustard advertisement process engraving V&A Museum, London

1898-1918 Colman's Mustard colour lithograph advertisement V&A Museum, London

c1899 Colman's Mustard colour lithograph poster 223.5 x 99 cm

c1898 The Daughters of Babylon colour lithograph poster for the Lyric Theatre, London

1899 Aladdin pantomime poster colour lithograph

1899  Cover of "The Favourite" Christmas Number colour lithograph

1899 The Active Army Alphabet published by Sands & Company An alphabet about the South African Boer War

1899 The Gay Grisette "Ho! What a lovely squeeze!" colour lithograph poster 76.2 x 50.7 cm The Gay Grisette is a musical comedy by George Dance with music by Carl Kiefert, first staged in 1898

1899 The Only Way, A Tale of Two Cities

Posters advertising the play adapted from “A Tale of Two Cities” by Rev. Wills and F. Langbridge, first produced at the Lyceum Theatre, London, 16 February 1899. It depicts the actor Martin Harvey as Sidney Carton on a scaffold:

1899 The Only Way, A Tale of Two Cities colour lithograph poster 72.5 x 49.6 cm V&A Museum, London

1899 The Only Way, A Tale of Two Cities colour lithograph poster 75 x 46.5 cm V&A Museum, London

1899 The Wild Rabbit, Criterion Theatre colour lithograph poster 74.8 x 50 cm V&A Museum, London

c1899-1929 Weekly Telegraph. colour lithograph poster 63.5 x 50.3 cm V&A Museum, London

c1899-1929 Weekly Telegraph. colour lithograph poster 63.5 x 50.3 cm V&A Museum, London

c1899 Colman's Mustard "Returned from Klondyke." colour lithograph poster 224 x 101 cm

c1900 Morning colour lithograph

c1900 Night colour lithograph

John Hassall - Part 3

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In 1900, Hassall opened his own New Art School and School of Poster Design in Kensington, with the help of his former teacher Van Havermaet; he numbered Bert Thomas, H M Bateman and Harry Rountree among his students. In 1908, the school amalgamated with Frank Brangwyn’s London School, but was closed at the outbreak of the First World War. In the post war period, he ran the very successful John Hassall Correspondence School.

For more information about John Hassall see part 1, and for earlier works, see parts 1 & 2 also.

This is part 3 of of a 12-part series on the works of John Hassall:

1900 Adelphi Theatre "Two Little Vagabonds" colour lithograph advertisement V&A Museum, London

c1900 Patience, D'Oyly Carte Opera Co. colour lithograph poster 75.2 x 49.5 cm V&A Museum, London

c1900 Bed Time chromolithographic print Original design nursery poster for Liberty & Co.

c1900 Lesson Time chromolithographic print Original design nursery poster for Liberty & Co.

c1900 Nestlé's Milk, Richest in Cream, Always to the Front (Boer War reference) lithograph poster

1900c Nursery frieze, set of six for Liberty’s store, London © V&A Museum, London:

Artwork on brown paper 48.3 x 150 cm

Detail 1

Detail 2

Detail 1

Detail 2

Detail 1

Detail 2

Detail 1

Detail 2

c1900 The White Doll ink and watercolour on paper 25.4 x 25.4 cm Sainsbury Centre for Visual Arts, University of East Anglia

c1900 The Goose Girl silk embroidery, after Hassall 25 x 21 cm

c1900 The Brixton Burglary colour lithograph poster 46 x 69 cm

c1900 The British Empire watercolour on paper 60 x 50 cm Private Collection

c1900 The Babes in the Wood watercolour & pen & ink on paper

c1900 Nursery frieze, set of six for Liberty’s

The designs were part of a wider collaboration between Hassall and fellow artist Cecil Aldin, “Art for the Nursery” aimed at making the appearance of children’s rooms more attractive. This resulted in an exhibition at The Fine Art Society in 1900, “Pictures for Children.”

These friezes were also displayed at the Leighton House centenary John Hassall exhibition in 1968. They were recently on display again  at The Fine Art Society as part of the exhibition “British Murals & Decorative Painting 1910-1970.”

These original designs would have been printed as lithographs by Jellicoe & Co.. to be fixed directly to walls of children’s nurseries.

c1900 Tom Tom The Piper’s Son gouache on sugar paper 48.3 x 48.3 cm

c1900 Tom Tom The Piper’s Son gouache on sugar paper 48.3 x 48.3 cm

c1900 Stole a pig and away he ran gouache on sugar paper 48.3 x 48.3 cm

c1900 The pig was eat and Tom was beat And Tom went roaring down the street gouache on sugar paper 48.3 x 48.3 cm

1900 Little Refugees, A Scene at Orange River Station illustration for The Graphic, 3 February 1900

early1900s The Punch and Judy Show colour print 18.5 x 30.3 cm V&A Museum, London

1901 Henley Rowing Regatta colour lithograph 42 x 66.5 cm Published by Henry Graves & Co. Ltd.

1901 Old King Cole colour lithograph poster 31 x 61 cm

1901 (or before) Dick Whittington colour lithograph poster 75.9 x 50.6 cm Plandiura Collection, Museu Naciinal d'Art de Catalunya

1901 The Humour of Life Travelling Dog Fancier: Do either of you two want a cheerful companion for the winter? © Illustrated London News Ltd / Mary Evans

c1901 Sinbad the Sailor colour lithograph poster 76.2 x 51.2 cm  Museo Nacional d'Art de Cataunya

c1901 The Babes in the Wood colour colour lithograph poster 75 x 50 cm Museo Nacional d'Art de Cataunya

1902 A Runaway Girl. Theatre Royal, Sheffield colour lithograph poster 76 x 51 cm

before 1902 Charley's Aunt colour lithograph poster 50.9 x 38.5 cm V&A Museum, London

1902 The Four Seasons "Spring" colour lithograph

1902 The Four Seasons "Summer" colour lithograph

1902 The Four Seasons "Autumn" colour lithograph

1902 The Four Seasons "Winter" colour lithograph

1902 Xmas 1902.  How Tommy carried it home, Please eat the plum pudding as above design for a Christmas card 14 x 10 cm

c1902 Circol Artistich colour lithograph poster 11.5 x 16.4 cm  Museo Nacional d'Art de Cataunya.

c1902 His Master's Voice

Long before RCA appropriated the pup-and-phonograph icon, Nipper the dog was the emblem of HMV (His Masters Voice). The concept was originally put on canvas by Francis Barraud, who noticed that his deceased brothers pet would actually sit and listen to homemade gramophone recordings of his late master. In 1902, the rights to the image were purchased by Victor Talking Machine Company, who used the HMV tagline in its advertisements from then on until being purchased by RCA in 1929. Here, we are presented with a model made especially for the music-loving traveller  a seaside parasol substituting for the phonograph “horn."

c1902 His Master's Voice, Take it on your Holiday colour lithograph poster 72.2 x 47.2 cm

1903 A tipsy monk watercolour and body-colour, tondo 6.3 x 6.3 cm

1903 Love and a Cottage by Keble Howard cover, published by Grant Richards

1903 The Printseller, A Monthly Journal two- colour lithograph V&A Museum, London

John Hassall - Part 4

March 25, 2024, 7:10 am

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In 1900, Hassall opened his own New Art School and School of Poster Design in Kensington, with the help of his former teacher Van Havermaet; he numbered Bert Thomas, H M Bateman and Harry Rountree among his students. In 1908, the school amalgamated with Frank Brangwyn’s London School, but was closed at the outbreak of the First World War. In the post war period, he ran the very successful John Hassall Correspondence School.

For more information about John Hassall see part 1, and for earlier works, see parts 1 - 3 also.

This is part 4 of of a 12-part series on the works of John Hassall:

1903 An ABC by G.E. Farrow, published by Dean & Son, London:

Front Cover

c1903 Hop O' My Thumb 

published by Blackie & Son Limited:

Front Cover

A woman came to the door

Boys forgave their parents and they were very happy to see them again.

Hop o' my Thumb let the peas fall by the wayside

The poor woman at the roadside

They saw the giant going at a great pace

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1903 Bank, New Forest watercolour 36 x 21 cm Exhibited at the John Hassall Centenary Exhibition, Leighton House

before 1903 Robinson Crusoe colour lithograph poster 76 x 50.8 cm  Museo Nacional d'Art de Cataunya

before 1903 Robinson Crusoe colour lithograph poster 76.2 x 50.6 cm  Museo Nacional d'Art de Cataunya

1903 Ding! Din! Don! rag book with nine leaves, printed on cloth 27.9 x 20.3 cm

1903 Ding! Din! Don!

1903 Ding! Din! Don!

1903 Fallen Jester watercolour artwork 51 x 29 cm

1903 Love and a Cottage by Keble Howard cover published by Grant Richards

1903 Young girl wearing a hat  ink and coloured chalk 63.5 x 48.2 cm

1904 Drury Lane Pantomime, The White Cat chromolitograph poster 50.8 x 76.3 cm

1904 Look before you leap colour postcard

1904 Makes the Hair Grow

John Hassall reigned supreme as the poster king during the first two decades of the twentieth century, but some of his designs were rejected by nervous clients. Hassall ensured they were reproduced in issues of The Poster magazine, and here, as a series in The Sketch magazine.

1904 "Some rejected posters" by John Hassall Makes the Hair Grow black and white lithograph © Illustrated London News Ltd / Mary Evans

John Hassall - Part 5

March 27, 2024, 7:00 am

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1899 Self-Portrait pen and ink, gouache and sepia wash 143 x 168 cm © National Portrait Gallery, London In 1900, Hassall opened his own New Art School and School of Poster Design in Kensington, with the help of his former teacher Van Havermaet; he numbered Bert Thomas, H M Bateman and Harry Rountree among his students. In 1908, the school amalgamated with Frank Brangwyn’s London School, but was closed at the outbreak of the First World War. In the post war period, he ran the very successful John Hassall Correspondence School.

For more information about John Hassall see part 1, and for earlier works, see parts 1 - 4 also.

This is part 5 of of a 12-part series on the works of John Hassall:

1904 The Zoo by Walter Emanuel, published by Alston Rivers:

1904 Hardback front cover

1904 A Rustic turned into a Teetotaler two-colour lithograph

1904 I cannot bring myself to believe that this is a very witty animal  two-colour lithograph

1904 Language two-colour lithograph

1904 Ostrich Feathers two-colour lithograph

1904 The inmates rose as one man, and lashed themselves into a truly terrible state of fury two-colour lithograph

1904 Visitors thrusting their hands through the rails are advised to see that they get them back  two-colour lithograph

1904 Round the World ABC colour lithograph hard cover

1904 Round the World ABC Title page

1904 The General Electric Company March sheet music colour lithograph

1904 Veritas Mantles for Strength & Brilliancy colour lithograph poster 47 x 37 cm

1905 Dont Tell! by John Hassall & G.E. Farrow published by Alf Cooke Ltd., London & Leeds

1905 Dont Tell!

1905 Drury Lane Pantomime, Cinderella colour lithograph poster 50.7 x 76 cm

1905 Ruff & Reddy, The Fairy Guide "The Beanstalk" colour lithograph

c1905-10 Osram Lamps, The Light for All  colour lithograph postcard

c1905 "Putting out" under Edward VII chromolithograph 31.5 x 61 cm

c1905 "Putting out" detail

c1905 "Putting out" detail

c1905 Little Red Riding Hood colour lithograph

c1905 Through the Green with the Georges chromolithograph 31.5 x 61 cm

c1905 Through the Green with the Georges detail

c1905 Through the Green with the Georges detail

1906 "Who said Treasury?" ink and watercolour on paper

1906 A Question of Figure. published in The Sketch

1906 Association Football and The Men Who Made It, Vol.1 hard-back book The Fifa Collection

1906 Barcelone Sejour d'Hiver (Winter stay in Barcelona) colour lithograph poster 130 x 98.5 cm

1906 Good Queen Bess (Elizabeth I):

Front Cover hard-back, colour lithograph

Title Page

Childhood of Elizabeth I colour lithograph

Elizabeth I proclaimed Queen at Hatfield colour lithograph

The Coronation of Queen Elizabeth I colour lithograph

Elizabeth I accompanies her sister, Queen Mary, on her entry into London colour lithograph

Elizabeth I accompanies her sister, Queen Mary, on her entry into London  colour lithograph

Elizabeth I and Sir Walter Raleigh colour lithograph

Elizabeth I dancing lesson colour lithograph

Elizabeth I protests against the Scottish use of the Royal Arms colour lithograph

Elizabeth I refuses the Crown of the Netherlands colour lithograph

Elizabeth I reviews the troops at Tilbury colour lithograph

Elizabeth I with William Shakespeare and Francis Bacon colour lithograph

The revels at Kenilworth colour lithograph

How Elizabeth I dealt with tramps colour lithograph

Elizabethan London at Night colour lithograph

The first pipe smoked in England colour lithograph

Sir Francis Drake and Sir John Hawkins at bowls colour lithograph

The Invincible Armada attacked by Fire Ships colour lithograph

The last of the Invincible Armada colour lithograph

Every inch a Queen colour lithograph

How Elizabeth I dealt with tramps colour lithograph

John Hassall - Part 6

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In 1900, Hassall opened his own New Art School and School of Poster Design in Kensington, with the help of his former teacher Van Havermaet; he numbered Bert Thomas, H M Bateman and Harry Rountree among his students. In 1908, the school amalgamated with Frank Brangwyn’s London School, but was closed at the outbreak of the First World War. In the post war period, he ran the very successful John Hassall Correspondence School.

For more information about John Hassall see part 1, and for earlier works, see parts 1 - 5 also.

This is part 6 of of a 12-part series on the works of John Hassall:

1906 The Merchant watercolour shown in "The Royal institute of painters in watercolours" published in The Studio 1906

1906 - 1911 Printers' Pie:

1906 Printers' Pie "Printers' Pie, cant be beaten" colour lithograph cover

1907 Printers' Pie "Special Printers' Pie" colour lithograph cover

1908 Printers' Pie "Bigger than last year" colour lithograph cover

1909 Printers' Pie "Full of good things" colour lithograph cover

1911 Printers' Pie "Printers' Pie greatly run after" colour lithograph cover

1914 Printers Pie'"What's in it? Buy & see" colour lithograph cover

1919 Printers' Pie "Peace Pudding, A jolly good mixture" colour lithograph cover

1907 "Don't I wish it was loaded." W.D & H.O. Wills showcard. Card Times, Capstan Navy Cut Tobacco & Cigarettes gouache  72 x 51 cm

1907 Brush Pen and Pencil, The Book of Hassall two-colour hardback book cover published by A. E. Johnson

1907 Drury Lane Pantomime, The Babes in the Wood photolithography and chromolithography poster 76.3 x 51 cm V&A Museum, London

1907 Drury Lane Pantomime, The Babes in the Wood photolithography and photolithography & chromolithography poster 50.6 x 76 cm V&A Museum, London

1907 Punch Library of Humour, Life in London published by by Carmelite House, London hard-back cover

1907 Peter Pan chromolithographs 26.5 x 72 cm each:

At the Tops of the Trees

At the Tops of the Trees detail

The Approach of the Indians

The Approach of the Indians detail

The Arrival of Peter Pan

The Arrival of Peter Pan detail

The Arrival of Peter Pan detail

The Building of the House

The Building of the House detail

The Defeat of the Pirates

The Defeat of the Pirates detail

The Defeat of the Pirates detail

The Pillow Dance

The Pillow Dance detail

The Pillow Dance detail

1907 Through the Wood by John Hassall published by Nelson

1907 from Through the Wood by John Hassall published by Nelson

1908 Skegness is so Bracing published by the L.N.E.R. (London & North East Railway colour lithograph poster

1908 Skegness is so Bracing published by G.N.R. (Great Northern Railway) colour lithograph poster

1908 Scouting for Boys by B-P (Baden Powell) Part 1

1908 Scouting for Boys by B-P (Baden Powell) Part 111

1908 Scouting for Boys by B-P (Baden Powell) Part 1V

1908 Scouting for Boys by B-P (Baden Powell) Part V

1909 Illustration for Red Riding Hood and Other Stories published by Henry Frowde and Hodder and Stoughton colour lithograph

1909 The Swiss Family Robinson published by Blackie and Son Ltd:

Front Cover

Title Page

Fritz tried to pull one off.

The Making of the Swimming-Belts

The Building of the Tree-House

It flew swiftly away, bearing its message

The hideous creature lay dead on the plain.

The parting with our sons

One fine morning we set sail

Vainly trying to shake off a large lobster.

John Hassall - Part 7

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In 1900, Hassall opened his own New Art School and School of Poster Design in Kensington, with the help of his former teacher Van Havermaet; he numbered Bert Thomas, H M Bateman and Harry Rountree among his students. In 1908, the school amalgamated with Frank Brangwyn’s London School, but was closed at the outbreak of the First World War. In the post war period, he ran the very successful John Hassall Correspondence School.

For more information about John Hassall see part 1, and for earlier works, see parts 1 - 6 also.

This is part 7 of of a 12-part series on the works of John Hassall:

c1909 Golfing lithographs:

A Bad Lie colour lithograph 27.5 x 71 cm

A Bad Lie detail

A Drive colour lithograph 27.5 x 71 cm

A Drive detail

Bunkered colour lithograph 27.5 x 71 cm

Bunkered detail

Putting colour lithograph 27.5 x 71 cm

Putting detail

Putting detail

1910 Voelker Mantles colour lithograph poster 300.4 x 199.7 cm V&A Museum, London

1910 The Waiting Virgin, from the Three of Hearts

1910 The Tin Soldier cover design watercolour, gouache and ink published by Blackie & Son Ltd

1910 Take a Kodak with you The Kodak Girl colour lithograph poster

1910 The Army Pageant colour lithograph poster V&A Museum, London

1910 The Ambuscade (Ambush) colour lithograph

1910 Queen Mary and Knot had many talks together colour lithograph

1910 Morecombe colour lithograph poster

1910 Bruce brought his battle axe crashing down on the head of Bohun colour lithograph

c1910 A Suffragette's Home

A man arrives home 'after a hard day's work!' to find his children alone and sobbing. The lamp has run out of fuel and is smoking. Pinned to a 'Votes for Women' poster is a note saying 'Back in an hour or so.’ written by the mother of the household who has gone off to a suffragette meeting. 

c1910 A Suffragette's Home  (National League Opposing Woman Suffrage) colour lithograph poster

c1910 Cailler Milch-Chocolade colour lithograph poster 148.5 x 99 cm

c1910 Irresistible! colour lithograph © Mary Evans Picture Library

c1910 Nugget Polishes "And I haven't rubbed it yet" colour lithograph poster 150 x 100cm

c1910 Orient Line Cruises to Sunny Lands colour lithograph poster 101 x 63.4 cm V&A Museum, London

c1910 Robinson Crusoe published by Blackie & Son Ltd.

c1910 The Old Nursery Stories and Rhymes,

published by Blackie & Son Ltd:

Red Riding-Hood makes ready to start colour lithograph

Red Riding-Hood meets the Wolf colour lithograph

The Woodcutter saves Red Riding-Hood colour lithograph

c1910 Yours to Command  pen and ink and watercolour 13.5 x 19 cm

1911 A Bit of a Surprise Illustrated London News colour lithograph © Illustrated London News Ltd / Mary Evans

1911 Barcelona, Ciudad de Invierno (Winter City) colour lithograph poster 129 x 97 cm

1911 The Bargain watercolour 25.4 x 35.5 cm

1911 Worth It. A picture that tells it's own story colour lithograph © Illustrated London News Ltd / Mary Evans

c1911 Hampton Court (The Tudor Bridge) by Tram colour lithograph poster 75.3 x 50 cm V&A Museum, London

c1911 The Old Fiddler lithograph © Mary Evans Picture Library

1912 "Come out and share" colour lithograph © Mary Evans Picture Library

1912 Give me a vote and see what I'll do! Anti-suffrage comic card

1912 The Glad Eye, The Strand Theatre September 2nd 1912 "He tole me he was goin up in a balloon.""I don't think" ink and watercolour 27 x 21 cm

c1912 Underground, Royal Naval and Military Tournament at Olympia colour lithograph poster 101.8 x 64.4 cm V&A Museum, London

c1913 Popular Nursery Rhymes published by Blackie & Sons colour lithograph cover

c1913 Great Adventurer by Arnold Bennett

Colour lithograph poster advertising a production of the play, first produced at the Kingsway Theatre, London, 25 March 1913.

c1913 Great Adventurer by Arnold Bennett colour lithograph poster 73.7 x 47.8 cm V&A Museum, London

1913 When in Doubt take the Underground colour lithograph poster 102 x 64 cm

1913 Wee Macgreegor frontispiece published by Thos. Nelson & Sons

1913 Laden watercolour 25.4 x 34.9 cm

1914 Mameena, Globe Theatre w two-colour poster © Mary Evans Picture Library

1914-15 Bannockburn oil on canvas 125.7 x 180.3 cm The Collection: Art & Archaeology in Lincolnshire (Usher Gallery)

1914-15 The Blacksmith's Shop watercolour

1914-18 Follow The Drum recruitment poster colour lithograph

1914c Madame Tussaud's - Relics Of The French Revolution colour lithograph poster 76 x 50.5 cm V&A Museum, London

c1914 Travelling Man details not found © CLM Archive Collection / Mary Evans

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John Hassall - Part 8

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In 1900, Hassall opened his own New Art School and School of Poster Design in Kensington, with the help of his former teacher Van Havermaet; he numbered Bert Thomas, H M Bateman and Harry Rountree among his students. In 1908, the school amalgamated with Frank Brangwyn’s London School, but was closed at the outbreak of the First World War. In the post war period, he ran the very successful John Hassall Correspondence School.

For more information about John Hassall see part 1, and for earlier works, see parts 1 - 7 also.

This is part 8 of of a 12-part series on the works of John Hassall:

1914-18 World War 1:

1914 1,500,000 Belgians are Destitute in Belgium They must not starve. colour lithograph poster 76 x 51 cm

c1914-16 Belgian Canal Boat Fund Mono lithograph poster 76 x 51 cm

1914-18 Nestlés Milk Richest in Cream, Always to the Front lithograph poster

c1914 Your King and Country Want You sheet music published by Chappell & Co. V&A Museum, London

1915 The Vision of St George over the Battlefield oil on canvas 76.2 x 130.2 cm Imperial War Museums, London

1915 Short Seaplane oil on canvas 101 x 150 cm The Collection: Art & Archaeology in Lincolnshire  (Usher Gallery)

1915 Music in War-Time mono lithograph poster 76.4 x 51 cm V&A Museum, London

1915 Hurry Up! Boys Fill the Ranks, Public Schools Brigade lithograph poster 76 x 51 cm

1915 A Tank in Action oil on canvas 101.7 x 152 cm The Collection: Art & Archaeology in Lincolnshire  (Usher Gallery)

1915 Ye Berlyn Tapestrie (WW1):

1915 Ye Berlyn Tapestrie, Wilhem's Invasion of Flanders

Hys Carefule Preparations For War, Invention of ye Deadly Gas

Wilhelm Teareth Ye Treaty

Wilhelm Maily Fiste

Into Belgium & Nth France

There Was Unexpected Delay At Liege

& Then: With Artillery

And With Cavalrie

Carefule Preparations For War

Wilhem Teareth ye Treaty

He: Wilhelm Drinketh: Der Tag

Ye Aviatiker Meeteth An Enemy

He Trieth The Air

He Passeth Through Luxemberg

Men & Children: First!!

c1914 Hark Hark the dogs do bark, the beggars are coming to town. watercolour 76.2 x 127 cm

1916 "An Interior"& S.C. Jan 14th 1916 watercolour heightened with white on buff paper 31 x 23.7 cm

1916 The Bing Boys (Alfred S. Lester and George Robey) colour lithograph poster 71.3 x 50.2 cm

1916 The Bing Boys Are Here, Revue at Alhambra Theatre, London colour lithograph poster © Mary Evans Picture Library

1916 The Bing Boys Are Here sheet music 32.5 x 25.5 cm

1916 The Bing Boys Are Here at Alhambra Theatre colour lithograph poster 76.3 x 49 cm V&A Museum, London

1917 The State Entry of Queen Elizabeth into Bristol, 14 August 1574 oil on canvas 256.5 x 195.6 cm Bristol Museum & Art Gallery, UK

c1917-18cAviator Car Mascot bronze, 17.5 cm high Imperial War Museum, Duxford

c1917 "Smile!" Garrick Theatre colour lithograph poster 75 x 49 cm V&A Museum, London

c1917 Robert the Policeman car mascot 11.5 cm high

c1917 Robert the Policeman back view

1918 St David's Day, Welsh Flag Day colour lithograph poster (size not given)

1918 The Hassall ABC hard cover 30.5 x 24.5 cm published by Collins, London & Glasgow

1918 The Hassall ABC Title Page

1918 The Hassall ABC Good-Night

1919 "Oo-er". Savage Club Costume Ball. colour lithograph poster 76.7 x 50.5  cm V&A Museum, London

1920 A Night Out, Vaudeville Theatre. colour lithograph poster 50.9 x 76.2 cm

1920 Hey! Diddle Diddle (the Cat and the Fiddle) published by Blackie

c1920 Aladdin published by Blackie & Son Ltd

c1920 Andrews Liver Salt "I must heve left it behind!" colour lithograph advertisement 47 x 35 cm

c1920 Children's Country Holiday Fund colour lithograph poster 76.5 x 50.1 cm V&A Museum, London

c1920 Orient Cruises by S.S. Ophir to Norway  colour lithograph poster 100.5 x 64 cm

c1920 The Firelight Book of Nursery Stories published by Blackie & Son Ltd.,

early 1920s Great Eastern Railway The East Coast. Ideal for Golfing. colour lithograph poster

1921 And her Mother came too! sheet music cover

c1921 Milkmaid colour lithograph advertisement for Nestle's milk by Dudley Hardy and John Hassall 46 x 34.9 cm V&A Museum, London

1922 Once Upon A TimeOnce Upon A Time (The Great Sphinx and Pyramids at Gizeh in Egypt) from Bibbys Annual 1922

1923 Hop O' My Thumb & The 3 Little Pigs published ny Blackie

1924-27 Old Pink 'Un Days book jacket

c1924 "All In" Suet Puddings of various kinds, The New Way colour lithograph poster © Mary Evans Picture Library

c1924 The Sport of Kings colour lithograph poster 74.5 x 49.3 cm V&A Museum, London

c1924 Walton on the Naze for Healthy Holidays colour silkscreen poster 102 x 64 cm

1925 Martial Moments colour lithograph poster © Mary Evans Picture Library

1925 Popular Marches sheet music colour lithograph 34.3 x 25.7 cm V&A Museum, London

c1925 Milford Haven - where Fish comes from poster for G.W.R. (Great Western Railway) 101.5 x 63.7 cm

1928 The Swiss Family Robinson published by Blackie & Son

1929 The Giant and the Three Golden Hairs published by Blackie & Son colour lithograph

1930 "Superseded" monotone watercolour 34 x 30 cm approx.

John Hassall - Part 9

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In 1900, Hassall opened his own New Art School and School of Poster Design in Kensington, with the help of his former teacher Van Havermaet; he numbered Bert Thomas, H M Bateman and Harry Rountree among his students. In 1908, the school amalgamated with Frank Brangwyn’s London School, but was closed at the outbreak of the First World War. In the post war period, he ran the very successful John Hassall Correspondence School.

For more information about John Hassall see part 1, and for earlier works, see parts 1 - 8 also.

This is part 9 of of a 12-part series on the works of John Hassall:

1930 The Ugly Duckling published by Blackie & Son:

Front Cover

Big Brother, original artwork pen & ink

"Can you lay eggs?"

"The new one is the best?" they said

Not so bad as he looks  pen & ink artwork

Pity the poor duckling

Untitled

Untitled

c1930 Blackie's Popular Nursery Rhymes:

Blessing light upon you

Blessing light upon you

Girls and Boys come out to play

Johnny shall go to the fair

Little Bo Peep "She finds their tails"

1930s Wookey Hole Cave postcards:

The Escape of the Axe. Wookey Hole Cave.

The Hall of Wookey. Wookey Hole Cave.

The Inner Grotto. Wookey Hole Cave.

The New Grotto. Wookey Hole Cave

The Witch of Wooky. Wooky Hole Cave.

The Witch's Parlour. Wookey Hole Cave

1930s Robinson Crusoe hardback cover published by Blackie & Son Ltd

1930s Robinson Crusoe detail

1930s Robinson  Crusoe detail

1931 The Goose Girl, published by Blackie & Son Ltd:

End Cover: Serving maid "Drink if you will. I will not be your waiting maid." original artwork pen and ink and crayon 38 x 27 cm

Page 1. The Queen - "cut off a lock of her hair" Page 4 Forced to take off her royal clothes & put on her maid's shabby ones original artwork

Page 3. As she leaned down drink, the lock of hair floated away. original artwork

Page 5 The Princess stayed in the court below.

Page 13 She had no place until she told him all. Page 14 The young Prince was married to his true wife - Showing where sehe tended the geese original artwork

1932 Passing of the Regiments sheet music cover 31.4 x 24 cm V&A Museum, London

1932 The Flying Trunk The Princess was asleep colour lithograph

1932 The Flying Trunk chapter heading

1932 The Tin Soldier published by Blackie & Son Ltd. She Took Him to the Parlour colour lithograph

1932 She Took Him to the Parlour original artwork

1932 The Tin Soldier "That would be just the wife for me" colour lithograph

1936 Sir Frederic Hobday (1870–1939) oil on canvas 210 x 111 cm Royal Veterinary College, London

before1938 Milton Bode's Grand Pantomine Jack and the Giant Killer colour lithograph poster 76 x 51 cm

1939 Self portrait with Native American headdress pen & ink on Whatman Drawing Board

c1940 John Gilpin published by Blackie & Son Ltd:

Front Cover

Gilpin loses his hat, wig, and cloak

Quoth Mistress Gilpin - "Thats well said"

Said John - "It is my wedding-day".

"Look! Look!"

John Hassall - Part 10

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In 1900, Hassall opened his own New Art School and School of Poster Design in Kensington, with the help of his former teacher Van Havermaet; he numbered Bert Thomas, H M Bateman and Harry Rountree among his students. In 1908, the school amalgamated with Frank Brangwyn’s London School, but was closed at the outbreak of the First World War. In the post war period, he ran the very successful John Hassall Correspondence School.

For more information about John Hassall see part 1, and for earlier works, see parts 1 - 9 also.

This is part 10 of of a 12-part series on the works of John Hassall:

1940 Popular Nursery Stories published by Blackie & Son:

Mistress Gilpin, "Thats well said" colour lithograph

"How neat!" colour lithograph

"Listen!" colour lithograph

"Look! Look!" colour lithograph

"Nobody asked you sir" said she "Where Are You Going" colour lithograph

Cooking the broth colour lithograph

Greedy Nan (Come Lets to Bed)  colour lithograph

He shot Johnnie Sprig-through the middle of his wig colour lithograph

Snow-Drop in the wood colour lithograph

Sleepy Head slow (Come Lets to Bed) colour lithograph

She took him to the parlour colour lithograph

Pomp and splendour colour lithograph

Over the Wide World colour lithograph

I took the marrow bone and flung it at his head colour lithograph

"The new one is the best!" they said colour lithograph

The Miller finds the baby colour lithograph

The Merry Sparrow and the naughty boy (Little Cock Sparrow) colour lithograph

The king wanted to buy the child colour lithograph

The four friends colour lithograph

The dwarf knew which was the youngest colour lithograph

Summer-time in Storkland colour lithograph

The old King sat and watched colour lithograph

The old woman was a spiteful fairy colour lithograph

The Princess was asleep colour lithograph

The Queen did the packing colour lithograph

The swan would not come near colour lithograph

The wood-cutter finds May-Bird  colour lithograph

Three Men in a Tub colour lithograph

c1940 The Services Painting Book:

Front Cover

Able Seaman And Bosun Piping

Airman and Briton

Bedside Gas Masks And Highlander

British Forces Enlistment Queue And Refugees

British Marine And Royal Navy Sailor

British Soldier Kit And Lancers

Canadian Soldier And Dugout

Royal Navy Captain And Destroyer

Q-Ship And Royal Navy Radio

Officer's Orderly Man And Padre

Naval Military Man And Jolly Jack

Midshipman And Royal Navy Boy

German U-Boat And Vet

Evacuees And French Soldier

Ensign Flag And Wartime Fisherman

Royal Navy Petty Officer And Lookout

Sailor In Pyjamas And Submarine Torpedo

Sailor's Knot And Captain's Boat

Soldier And New Zealander

South African Soldier And Territorial

Toy Gun And Sailor Sleeping In Hammock

Union Jack And H.M.S. Victory

Warrior Sailor And Red Cross Flag

Wireless S.O.S. Call And Red Cross Nurse

Yeoman Signaller And Celebrating Sailor

John Hassall - Part 11

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In 1900, Hassall opened his own New Art School and School of Poster Design in Kensington, with the help of his former teacher Van Havermaet; he numbered Bert Thomas, H M Bateman and Harry Rountree among his students. In 1908, the school amalgamated with Frank Brangwyn’s London School, but was closed at the outbreak of the First World War. In the post war period, he ran the very successful John Hassall Correspondence School.

For more information about John Hassall see part 1, and for earlier works, see parts 1 - 10 also.

This is part 11 of of a 12-part series on the works of John Hassall

Note: I was unable to find dates for the remainder of this series.

Brothers Grimm Fairy Tales:

Roland and May-Bird

The children lagged behind original artwork

The children lagged behind

The Golden Goose

The Queen Bee, The ants came and helped original artwork

The Queen Bee, The ants came and helped

The Travelling Musicians, The Dreadful Story original artwork

The Travelling Musicians, The Dreadful Story

Fairy Tale Pictures

Note: Some images have appeared in other contexts.

Front Cover

Alladin

Dick Whittington and his cat

Jack and Jill

Jack and Jill original artwork watercolour and ink on thin board 40 x 30.5 cm

John Gilpin

Little Bo Peep

Little Red Riding Hood

Sleeping Beauty

Tommy Pepper

Native Americans

Note: Buffalo Bill gave his first show in England in 1887 and on that occasion the Sioux chief Black Elk was presented to Queen Victoria. The circus came to Paris in 1889 on the occasion of the Universal Exhibition and a new European tour began in England in 1902 and in Paris in 1905.

A Native American pencil and coloured pencil 19 x 10.1 cm

A study of a Native American wearing a feathered headdress watercolour 16.5 x 12.7 cm

Jacob White Eyes charcoal and pastel 72 x 52 cm

Self Portrait as a Native American Chief

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A Conversazione at the London Sketch Club lithograph © Illustrated London News Ltd / Mary Evans

A show that failed, a car in the Munich Carnival Procession engraving

An Alternative published in The Sketch

At the Spring watercolour and gouache on card 36.5 x 26.5 cm

Birds' Tipple pen and ink 9 x 15.5 cm

Entre Nous  watercolour painted in Manitoba, Canada

Dodge's Red Picture Book, Fairy Tales for Little Folk published by Dodge Publishing Co., New York

Detail of a watercolour painted in Manitoba, Canada

Fairy Wood watercolour on paper Usher Gallery, Lincolnshire County Council, UK

Four children in Winter hand-coloured black & white proof 22.2 x 30 cm

Harbour Nocturne coloured chalks 35 x 35.3 cm

In the Theatre ink wash and gouache 31 x 32 cm

Knife Dancer gouache Private Collection © Liss Fine Art / Bridgeman Images

"Lanura" Pure Undyed Wool Flannel process engraving poster on paper V&A Museum, London

Macintosh. I'm sweired to bother ye but Postcard

Master's Favourite - and Mine! advertisement V&A Museum, London

Mrs G to out of work mute. pen & ink on paper laid down on card 18 x 18 cm

My Darling gouache and black ink on paper 31 x 21.5 cm

Nomad pencil and watercolour 52 x 35 cm

On The March Prince of Wales Theatre, London colour lithograph poster 76 x 51 cm

Peter's Milk-Chocolate advertisement V&A Museum, London

Pip-Pip colour lithograph

Pontings Xmas Show, Dover to Calais Tube colour lithograph

John Hassall - Part 12

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In 1900, Hassall opened his own New Art School and School of Poster Design in Kensington, with the help of his former teacher Van Havermaet; he numbered Bert Thomas, H M Bateman and Harry Rountree among his students. In 1908, the school amalgamated with Frank Brangwyn’s London School, but was closed at the outbreak of the First World War. In the post war period, he ran the very successful John Hassall Correspondence School.

For more information about John Hassall see part 1, and for earlier works, see parts 1 - 11 also.

This is part 12 of of a 12-part series on the works of John Hassall

Note: I was unable to find dates for the remainder of this series.

Portrait of a cleric watercolour heightened with white 26.6 x 36.8 cm

Portrait of an old man with a beard oil on canvas 81 x 76 cm

Portrait of Bert Thomas Inscribed, Bert, yours J. ‘Present from Walton on the Naze’  pen and ink on board

"Sweet Violets." watercolour and ink 26 x 18 cm

"Posies" watercolour and ink 26 x 18 cm

Puryta Parchment, The Fashionable Writing Paper colour lithograph advertisement

Ragwort watercolour 74 x 52 cm

Robinson Crusoe, The Swiss Family Robinson, and Gulliver's Travels published by Blackie & Son Ltd. Front Cover

Ships at sea watercolour 39.5 x 50 cm

Shredded Wheat "A Funny 'Biscuit'!" colour lithograph advertisement V&A Museum, London

Sleeping Lion pen and ink with crayon 21 x 15 cm

"Smile, Please!" colour lithograph The New Zoo Annual

Social Announcement - there was a small musical party at Mrs de Laundry's on the 16th ink, grey wash, and heightened with white 33 x 21.5 cm

Social Announcement - there was a small musical party at Mrs de Laundry's on the 16th

The City pen and ink 32 x 21 cm

The Fisherman watercolour and body-colour 29.2 x 45.7 cm

The Frog Prince watercolour with gouache highlights on paper 49.5 x 39.3 cm Exhibited at the Royal Institute of Painters in Water Colours, London

The Grand Ball watercolour on paper 29.2 x 55.9 cm

The Nun watercolour 43.2 x 35.6 cm Estate of Mary Donovan-Roughsedge

The Tea Tray, 16B Grafton St. W advertisement

The Tram's gone watercolour and body-colour 19 x 28.5 cm

The Victory Parade pencil, black ink and watercolour 76 x 127 cm

"The wedding bells were calling"  ink and watercolour 59.7 x 45.7 cm

Two Monks watercolour laid down on board 37 x 25.5 cm

Untitled (Man and Dogs) watercolour for a book illustration 24.7 x 20.3 cm V&A Museum, London

Venus pen, ink and watercolour 28 x 17 cm

Write Away Postcards:

Dear - I am very much better today, almost able to sit up.

Dear - I will see you under the clock at.

Dear - It won't be long now

Dear - So sorry I was out

Dear, I am in rather a fix

Do you think you'll be in

How do you like this portrait of you True Love? P.S. Don't Keep me in suspense

How do you like this? P.S. Come early and bring music

I am dropping you a line

I am leaving this place

Now that I'm feeling well again.

If you are passing this way tomorrow.

I've been kept fearfully busy

I've been feeling a bit off colour lately

P.S. Is it a swallow-tail affair?

So sorry you didn't turn up

Dear - I couldn't keep our appointment.

So sorry I missed you

Eugène Delacroix - part 1

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1850s-60s Studio portrait of Eugène Delacroix albumen silver print

Poet and art critic Charles Baudelaire described his hero Eugène Delacroix as "a volcanic crater artistically concealed beneath bouquets of flowers." Beneath the surface of Delacroix's polished elegance and charm roiled turbulent interior emotions. In 1822 Delacroix took the Salon by storm. Although the French artistic establishment considered him a wild man and a rebel, the French government, bought his paintings and commissioned murals throughout Paris. Though Delacroix aimed to balance classicism and Romanticism, his art centred on a revolutionary idea born with the Romantics: that art should be created out of sincerity, that it should express the artist's true feelings and convictions. Educated firmly in the classics, Delacroix often depicted mythological subjects, themes encouraged by the reigning Neoclassical artists at the Académie des Beaux-Arts. But Delacroix's brilliant colors and passionate brushwork frightened them; their watchwords were "noble simplicity and calm grandeur." They barred him from academy membership until 1857, and even then he was prohibited from teaching in the École des Beaux-Arts. For those very reasons, he was an inspiration to the Impressionists and other young artists. Paul Cézanne once said, "We are all in Delacroix." Intensely private, Delacroix kept a journal that is renowned as a profoundly moving record of the artistic experience.

This is part 1 of of a 6-part series on the works of Eugène Delacroix:

1816 Standing Academic Male Nude black chalk and charcoal with stumping, heightened with white chalk on dark tan laid paper 59 x 45 cm  Art Institute of Chicago, IL

1818 Theatrical Troupe on the Road pen and brown ink, watercolour, over graphite 27.1 x 44.2 cm The Metropolitan Museum of Art, New York

1820 The Consultation lithograph in black on paper 19.2 x 24.7 cm (image) The British Museum, London

1820-21 The Figure of Religion pen and brush with iron gall ink 17.4 x 21.3 cm The Metropolitan Museum of Art, New York

c1820-23 or c1849 Allegorical Figure of Envy charcoal and graphite on tan wove paper 48.3 x 41.3 cm Philadelphia Museum of Art, PA

c1820 A Horse Hitched to a Post oil on canvas 19.4 x 21.3 cm National Gallery of Art, Washington, D.C.

1820s or early1830s Horse and rider Attacked by a lion graphite pencil and brown wash 22 x 29.6 cm Museum of Fine Arts, Boston, MA

1821 A Literary Fellow Meditating lithograph; second state of three 21 x 18 cm The Metropolitan Museum of Art, New York

1821 Le Grand Opéra lithograph 27.5 x 21.8 cm The Metropolitan Museum of Art, New York

1821 Weislingen Held Prisoner by Goetz lithograph in black on off-white China paper 28 x 20.8 cm (image)

1821 Théâtre Italien  lithograph on aper 25.6 x 18.6 cm The Metropolitan Museum of Art, New York

1821 Polemical Duel between Lady Quotidienne and Sir Journal de Paris lithograph 22.8 x 31.5 cm The Metropolitan Museum of Art, New York

1821 Monk at Prayer graphite on thin, smooth, beige wove paper 9.5 x 16.9 cm The Walters Museum, Baltimore, MD

c1821-22 Study of a naked man aka The Pole oil on paper laid down on canvas 80 x 54 cm Musée National Eugène Delacroix ©RMN-grand Palais, Louvre Museum, Paris

1822 Crayfish in Longchamps  lithograph on paper 21.5 x 30.8 cm

1822 Gare Derrière!!!! illustration from the publication Le Miroir lithograph on paper 23.8 x 30.8 cm Philadelphia Museum of Art, PA

1822 Leçon de Voltiges (Aerobatic Lesson) lithograph on wove paper 20.6 x 29.8 cm (image)

1822 The Board of Censors Moves Out lithograph on paper 25.4 x 34.4 cm The Metropolitan Museum of Art, New York 1822 The Barque of Dante The Barque of Dante, also Dante and Virgil in Hell, is the first major painting by the Delacroix, and is a work signalling the shift in the character of narrative painting, from Neo-Classicism towards Romanticism. The painting loosely depicts events narrated in canto eight of Dante’s “Inferno”; a leaden, smoky mist and the blazing City of the Dead form the backdrop against which the poet Dante fearfully endures his crossing of the River Styx. As his barque ploughs through waters heaving with tormented souls, Dante is steadied by Virgil, the learned poet of Classical antiquity.

1822 The Barque of Dante oil on canvas 189 x 246 cm Louvre, Paris

1823 Rebecca and the Wounded Ivanhoe 

The Met note: This was Delacroix’s first treatment of a subject drawn from Sir Walter Scott’s popular novels of medieval chivalry. The eponymous hero of Ivanhoe (1819), straining to leave his sickbed, listens to the terrified Rebecca as she describes a battle raging outside the window. Rather than show the battle itself, Delacroix sought to stimulate the viewer’s imagination by evoking violence through the gestures of the characters reacting to it. The fastidious execution of Rebecca’s extended hand stands in contrast to the jumble of strokes immediately surrounding it and to its left, which suggest the frenzy she witnesses.

1823 Rebecca and the Wounded Ivanhoe oil on canvas 64.5 x 53.7 cm The Metropolitan Museum of Art, New York

1823-24 and 1835 The Natchez

The Met note: In 1823, Delacroix began to paint this scene from Chateaubriand’s widely read Romantic novel Atala, which narrates the fate of the Natchez people following attacks by French forces in the 1730s. After putting the canvas aside for about a decade, he finally completed the picture for the Paris Salon of 1835. In the catalogue, Delacroix provided this explanatory note: "Fleeing the massacre of their tribe, two young savages traveled up the Mississippi River. During the voyage, the woman was taken by pain of labor. The moment is that when the father holds the newborn in his hands, and both regard him tenderly.”

1823-24 and 1835 The Natchez oil on canvas 90.2 x 116.8 cm The Metropolitan Museum of Art, New York

1823-24 The Agony in the Garden

The Met note: Delacroix’s first official religious commission was a painting for the church of Saint-Paul-Saint-Louis in Paris. This study establishes the basic composition: Christ props himself up against a rock, bows his head, and raises his hand to acknowledge acceptance of his fate, announced by the mourning angels in the upper right. Delacroix’s use of wash, with its emphasis on tone, establishes the symbolic importance of light in the picture; it radiates from the angels and Christ himself amid the darkness of the garden.

1823-24 The Agony in the Garden brush and brown wash over graphite 13.4 x 19.4 cm The Metropolitan Museum of Art, New York

c1823-24 Two Studies of a Standing Indian from Calcutta oil on canvas 36.8 x 45.7 cm National Gallery of Art, Washington, DC

c1823-24 Two Studies of an Indian from Calcutta, Seated and Standing oil on canvas 37.5 x 45.7 cm National Gallery of Art, Washington, DC

1824 The Fireplace watercolour over graphite with traces of crayon on off-white laid paper 18.4 x 24.8 cm Philadelphia Museum of Art, PA

1824 Turk Mounting his Horse aquatint on paper 21.8 x 26.4 cm (image) The Metropolitan Museum of Art, New York

1824-26 The Giaour on Horseback 

This dynamic study of a Venetian warrior (the Giaour) furiously racing after his beloved's killer, Hassan, was inspired by Byron's poem "The Giaour, a Fragment of a Turkish Tale," first published in 1813. Fascinated by this romance of passion and violence, Delacroix repeatedly portrayed the fatal combat between the Muslim master of the harem girl Leila and her avenging lover.

1824-26 The Giaour on Horseback pen and iron gall ink with wash over graphite 20.1 x 30.5 cm The Metropolitan Museum of Art, New York

1824-27 Christ in the Garden of Olives watercolour over pencil on brown paper 21.2 x 28.6 cm (sheet)

1824-29 Carnivorous Lion pencil and watercolour on paper 18 x 24.3 cm Rijksmuseum, Amsterdam

c1824 Military Hospital pen and brush and iron gall ink, brush and brown wash, and graphite, on ivory wove paper 22.7 x 25.9 cm  Art Institute of Chicago, IL

c1824 The Death of Lara watercolour with some body-colour and some under-drawing in graphite 17.9 x 25.7 cm J. Paul Getty Museum, Los Angeles

1825 Macbeth Consulting the Witches lithograph on paper 31.9 x 25.1 cm (image)

1825 Prancing Pegasus (attributed to Delacroix) pencil on paper 11 cm diameter Rijksmuseum, Amsterdam

1825 Studies of Armour  lead on paper 19.1 x 27.9 cm The Meyrick Collection, The Wallace Collection, London

1825 Study after one of Goya's Caprices, two medieval binding boards and an oriental jacket oil on canvas 50 x x 61 cm Musée National Eugène Delacroix ©RMN-grand Palais, Louvre Museum, Paris

1825-26 The Execution of the Doge Marino Faliero

Painted in 1825–1826, a period when Delacroix briefly shared his studio with Bonington, whose influence this painting reveals. It was exhibited at the Paris Salon of 1827. The subject is taken from Byron’s 'Marino Faliero, Doge of Venice' (1820), V, iv. Faliero (1274–1355) was elected Doge in 1354 but was executed in the following year after conspiring against the Venetian state. The setting recalls (but does not represent) the Giant’s Staircase of the Doge’s Palace (built 1485–1489), and the costumes, some of the heads of the dignitaries and the rich colouring are derived from Venetian Renaissance painting. The picture was a favourite of Delacroix himself.

1825-26 The Execution of the Doge Marino Faliero oil on canvas 145.6 x 113.8 cm The Wallace Collection, London

c1825-26 The Duke of Orleans showing his Lover oil on canvas 35 x 25.5 cm Museo Nacional Thyssen-Bornemisza, Madrid

1825-30 The Dying Turk transparent and opaque watercolour over graphite pencil 19.6 x 24.3 cm Museum of Fine Arts, Boston, MA

c1825-40 The confession of the Giaour oil on canvas 23.8 x 32.2 cm National Gallery of Victoria, Melbourne, Australia

c1825 Odalisque Reclining on a Divan oil on canvas 38 x 46.7 cm The Fitzwilliam Museum, Cambridge, UK

1826 Baron Schwiter (at age 21) lithograph on white wove paper 25,4 x 22.9 cm

1826 Sheet of Sketches lithograph in black on white wove paper 25.5 x 40.5 cm (sheet) Clarence Buckingham Collection Art Institute of Chicago, IL

1826 The Combat of the Giaour and Hassan oil on canvas 59.6 x 73.4 cm Art Institute of Chicago, IL

1826 The Smuggler's Flight lithograph in black on white laid paper 10.2 x 15.7 cm (image)

Eugène Delacroix - part 2

April 17, 2024, 5:51 am

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1863 Portrait of Eugène Delacroix etching The Metropolitan Museum of Art, New York

Poet and art critic Charles Baudelaire described his hero Eugène Delacroix as "a volcanic crater artistically concealed beneath bouquets of flowers." Beneath the surface of Delacroix's polished elegance and charm roiled turbulent interior emotions. In 1822 Delacroix took the Salon by storm. Although the French artistic establishment considered him a wild man and a rebel, the French government, bought his paintings and commissioned murals throughout Paris. Though Delacroix aimed to balance classicism and Romanticism, his art cenreed on a revolutionary idea born with the Romantics: that art should be created out of sincerity, that it should express the artist's true feelings and convictions. Educated firmly in the classics, Delacroix often depicted mythological subjects, themes encouraged by the reigning Neoclassical artists at the Académie des Beaux-Arts. But Delacroix's brilliant colors and passionate brushwork frightened them; their watchwords were "noble simplicity and calm grandeur." They barred him from academy membership until 1857, and even then he was prohibited from teaching in the École des Beaux-Arts. For those very reasons, he was an inspiration to the Impressionists and other young artists. Paul Cézanne once said, "We are all in Delacroix." Intensely private, Delacroix kept a journal that is renowned as a profoundly moving record of the artistic experience.

This is part 2 of of a 6-part series on the works of Eugène Delacroix:

1825-28 Faust:

1825-27 Faust and Mephistopheles in the Hartz Mountains lithograph 24.8 x 21 cm (image)

1828 Faust and Mephistopheles Galloping Through the Night of the Witches' Sabbath lithograph in black on ivory wove paper 21 x 28.5 cm

1828 Faust and Wagner lithograph in black on light grey China paper 19.5 x 26.1 cm (image)

1828 Faust, Mephistopheles and the Poodle lithograph in black on ivory wove paper 23.8 x 20.9 cm (image)

1828 Marguerite at the Church lithograph in black on ivory wove paper 26.9 x 22.4 cm (image)

1828 Marguerite at the Spinning Wheel lithograph in black on ivory wove paper 22.6 x 18.1 cm (image)

1828 The Duel Between Faust and Valentine lithograph in black on ivory wove paper 23 x 29.9 cm (image)

1828 Mephistopheles Visits Martha lithograph in black on white wove paper 24.5 x 20.8 cm (image)

1828 Mephistopheles Receiving the Student lithograph in black on ivory wove paper 26 x 21.5 cm

1828 Mephistopheles Flying lithograph in black on white wove paper 28 x 23,9 cm (image)

1828 Mephistopheles at the Students' Inn lithograph in black on ivory wove paper 29.1 x 22.4 cm (image)

1828 Mephistopheles Appearing to Faust lithograph in black on ivory wove paper 25.8 x 21 cm (image)

1828 Mephistopheles and Faust Fleeing after the Duel lithograph in black on China paper 26.5 x 22.5 cm (image)

1828 Marguerite's Ghost Appearing to Faust lithograph in black on ivory wove paper 26.7 x 35.4 cm (image)

1827 The Death of Sardanapalus

Delacroix’s monumental painting helped establish his reputation as the leader of the French Romantic movement. Of the few pastels that Delacroix produced, this is the only group that can be related to a single painting. Inspired by an 1821 play by the English Romantic poet Lord Byron, the canvas dramatically depicts the last king of the Assyrians. Reclining on his bed moments before his own suicide, the king gazes passively at his wives, concubines, and livestock as they are slain by his order to prevent their slaughter by the enemy army that has just defeated them.

1927 Death of Sardanapalus oil on canvas 392 x 496 cm Louvre Museum, Paris

1927 Death of Sardanapalus detail 1

1827-28 Faust and Mephistopheles oil on canvas 45.5 x 37.7 cm The Wallace Collection, London

1827-28 Hamlet and Horatio in the Graveyard

The Met note: A highly literate artist, Delacroix was often drawn to the works of William Shakespeare. This scene from Hamlet, for example, appears and reappears in the artist’s drawings, prints, and paintings. It describes the tragicomic encounter between Hamlet and the gravediggers in Act V. Here Hamlet and Horatio contemplate the skull of the fool Yorick.

1827-28 Hamlet and Horatio in the Graveyard  brush and brown wash with watercolour over graphite on heavy watercolour paper 34.4 x 20.1 cm The Metropolitan Museum of Art, New York

c1827-29 Fallen Horse and Dead Knight graphite, with touches of stumping, on cream wove paper 24.9 x 31.7 cm Art Institute of Chicago, IL

c1827 Landscape with an Aqueduct pen and brown ink, brush and brown wash 8.6 x 17.3 cm The Metropolitan Museum of Art, New York

c1827 The Old Bridge at Nantes watercolour on cream wove paper 20.3 x 30.3 cm Art Institute of Chicago, IL

1828 Hamlet Contemplating Yorick’s Skull lithograph on chine collé 26.1 x 34.5 cm (image) The Metropolitan Museum of Art, New York

1828 Jane Shore lithograph in black on light-grey China paper 26 x 34.5 cm (image)

1828 or earlier Interior of a Military Hospital aquatint printed in black ink on heavy wove paper 29 x 23.6 cm (image) The Metropolitan Museum of Art, New York

1828 Portrait of Auguste Richard de La Hautière oil on canvas (size not given) Musée National Eugène Delacroix ©RMN-grand Palais, Louvre Museum, Paris

1828 Portrait of Eugéne Berny d'Ouville oil on canvas 61 x 49 cm Philadelphia Museum of Art, PA

1828 Wild Horse Brought Down by a Tiger lithograph in black on light grey China paper 22 x 27.1 cm (Chine)

1828 Wild Horse lithograph: first state of two 22.9 x 23.5 cm

1828-29 Sketches of Tigers, and Men in 16th Century Costume watercolour, pen and iron gall ink, and graphite, on ivory laid paper 39.7 x 51 cm Art Institute of Chicago, IL

1828c Ecorché; Torso of a Male Cadaver 

The Met Note: The posthumous sale of the contents of Delacroix’s studio contained 126 of his anatomical drawings. None of the known surviving examples are dated, and Delacroix never mentioned the practice in written accounts. However, a drawing by the sculptor Henri de Triqueti of a corpse in a pose similar to this one records Delacroix’s presence with him at a hospital in June 1828. This work may derive from that same visit. Triqueti’s testimony makes clear that this was not an activity restricted to Delacroix’s student years.

c1828 Ecorché: Torso of a Male Cadaver red, black, and white fabricated chalk, graphite 25.2 x 15.9 cm The Metropolitan Museum of Art, New York

1829 Duguesclin's Sister lithograph 32/1 x 24 cm The Metropolitan Museum of Art, New York

1829 Vercingétorix lithograph on paper 24.8 x 18.4 cm National Gallery of Art, Washington, DC

1829 Ivanhoe by Sir Walter Scott:

1829 Fronte-boeuf and the Jew lithograph on paper 21.5 x 25.6 cm

1829 Fronte-boeuf and the Jew   lithograph in black on white wove paper 16.6 x 21.5 cm (image)

1829 Fronte-boeuf and the Witch lithograph in black on white wove paper 21,2 x 20.3 cm (image)

1829 Steenie or Redgauntlet Pursued by a Goblin on Horseback unfinished lithograph: first state of three 21.6 x 16.5 cm

1829 The death of Bois-Guilbert from Ivanhoe pencil on paper 8.7 x 11.9 cm

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Eugène Delacroix - part 3

April 19, 2024, 6:39 am

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1889 Portrait of Eugène Delacroix by Marcellin Desboutin heliogravure The Metropolitan Museum of Art, New York

Poet and art critic Charles Baudelaire described his hero Eugène Delacroix as "a volcanic crater artistically concealed beneath bouquets of flowers." Beneath the surface of Delacroix's polished elegance and charm roiled turbulent interior emotions. In 1822 Delacroix took the Salon by storm. Although the French artistic establishment considered him a wild man and a rebel, the French government, bought his paintings and commissioned murals throughout Paris. Though Delacroix aimed to balance classicism and Romanticism, his art cenreed on a revolutionary idea born with the Romantics: that art should be created out of sincerity, that it should express the artist's true feelings and convictions. Educated firmly in the classics, Delacroix often depicted mythological subjects, themes encouraged by the reigning Neoclassical artists at the Académie des Beaux-Arts. But Delacroix's brilliant colors and passionate brushwork frightened them; their watchwords were "noble simplicity and calm grandeur." They barred him from academy membership until 1857, and even then he was prohibited from teaching in the École des Beaux-Arts. For those very reasons, he was an inspiration to the Impressionists and other young artists. Paul Cézanne once said, "We are all in Delacroix." Intensely private, Delacroix kept a journal that is renowned as a profoundly moving record of the artistic experience.

This is part 3 of of a 6-part series on the works of Eugène Delacroix:

1829-30 Lion of the Atlas Mountains lithograph: probably second state of four 33 x 46.7 cm The Metropolitan Museum of Art, New York

n.d. Lion Devouring a Rabbit pen and brown iron gall ink, over graphite, on ivory laid paper 26 x 32 cm Art Institute of Chicago, IL

c1829 Studies of Lions graphite on cream laid paper 22.7 x 34.2 cm Art Institute of Chicago, IL

1829-30 Royal Tiger lithograph in black on light grey China paper 32.5 x 46.4 cm (image)

1829-30 Royal Tiger watercolour and graphite on paper 17.8 x 26.8 cm The Morgan Library & Museum, New York City

c1830 Royal Tiger watercolour on paper 14.1 x 25.1 cm National Gallery of Art, Washington, DC

1829-30 Sketch for the Battle of Poitiers oil on canvas  52 x 64.8 cm The Walters Museum, Baltimore, MD

1829-30 Sketch for the Battle of Poitiers detail

1829-30 Sketch for the Battle of Poitiers detail

1829-31 Interior of the Church of Valmont Abbey brown and grey wash over graphite 18.3 x 21.7 cm The Metropolitan Museum of Art, New York

1830 Liberty leading the People oil on canvas 260 x 325 cm © RMN - Grand Palais (Louvre museum), Paris

1830 Liberty leading the People detail

1830 Liberty leading the People detail

1830 Liberty leading the People study

1830s The Runaway Carriage pen and black ink on heavy laid paper 29.1 x 50.2 cm National Gallery of Art, Washington, DC

1931 Interior of a Dominican Convent in Madrid

The subject of this painting is from a popular nineteenth-century English novel, Charles Maturin's Melmoth the Wanderer, translated into French in 1821. A young man forced into a convent as a child undergoes harrowing trials in order to escape his punitive and corrupt surroundings. Here he is shown being dragged before the bishop of Madrid. The artist depicts a cavernous, vaulted room that is actually based on the interior of the Palace of Justice in Rouen, France. Delacroix's use of this decidedly un-Spanish, secular setting may have been an intentional reference to the oppressive link between civic and religious power, a theme prominent in the novel.

1831 Interior of a Dominican Convent in Madrid oil on canvas 130.2 x 161.9 cm Philadelphia Museum of Art, PA

1831 Interior of a Dominican Convent in Madrid detail

1831 Interior of a Dominican Convent in Madrid detail

1831 Normandy lithograph in black on ivory China paper 17.4 x 22.3 cm (image)

1831 Willibald Gluck at the Clavecin composing the score of his "Armide" brush and brown washes, heightened with white 22.7 x 17.4 cm Museum of Fine Arts, Boston, MA

1831 Young Tiger Playing with its Mother lithograph in black on buff wove paper 11.2 x 18.7 cm (image)

c1831 Episode from "The Corsair" by Lord Byron watercolour, brown ink, touches of gouache, over graphite underdrawing 24.3 x 19.2 cm J. Paul Getty Museum, Los Angeles

1832 A Moroccan Couple on Their Terrace

This is one of eighteen watercolours Delacroix presented to his travel companion, the diplomat Charles de Mornay, following their return from North Africa. The artist executed a number of the works while the men were quarantined for two weeks in Toulon. Inspired by the quality of Mediterranean light observed during the journey, he adopted a brighter palette than he had used previously. His fascination with Moroccan costume is apparent here in the attention he lavished on the multilayered attire of the woman, especially compared to his more abstract approach to other decorative aspects of the scene.

1832 A Moroccan couple on their terrace watercolour over traces of graphite 13.7 x 18.9 cm The Metropolitan Museum of Art, New York

1832 Four sketches of Arab men watercolour and graphite, on tan wove paper 18.4 x 26.9 cm Art Institute of Chicago, IL

1832 Portrait of Amina Biasa, Minister of the Sultan of Morocco graphite and watercolour on paper Louvre Museum, Paris

1832 Saada, the Wife of Abraham Ben-Chimol

The Met note: Delacroix produced this sumptuous watercolor on a trip to North Africa in 1832. He accompanied his friend the Count de Mornay on his mission as good-will ambassador to the Sultan of Morocco, Abd-er-Rahman II. Assigned to the delegation as dragoman was the Jewish interpreter Abraham Ben-Chimol (Abraham Benchimol) of Tangiers, who introduced the Frenchmen to his wife and to his daughter, pictured here in her bridal attire. In his "Journal," Delacroix described in extensive detail a Jewish wedding he attended in Tangiers on February 21, 1832.

1832 Saada, the wife of Abraham Ben-Chimol, and Préciada, one of their daughters watercolour over graphite on wove paper 22.2 x 16.2 cm The Metropolitan Museum of Art, New York

1832 Young Moroccan, standing watercolour  over pen and brown ink 19.4 x 6.7 cm The Metropolitan Museum of Art, New York

1832 Young Spanish lady in costume of Manola gouache and watercolour, with traces of scraping, over graphite, on cream wove paper 30.5 x 24.1 cm Art Institute of Chicago, IL

1832-33 A Portrait of Dr. François-Marie Desmaisons oil on canvas 88.9 x 8.3 cm Detroit Institute of Arts. MI

1832-37 Three Arab Horsemen at an Encampment

Delacroix produced this watercolour based on his sketches, notes, and memories of a ten-day journey between Tangier and Meknès. The blue hills in the background evoke his description of the mountainous landscape as "violet in the morning and evening, blue during the day." He shows just three of the multitude of horsemen that accompanied the diplomatic envoy; two are seated at rest, while the central mounted figure adopts a posture reminiscent of Delacroix’s depictions of Sultan Abd er-Rahman.

1832-37 Three Arab horsemen at an encampment watercolour over graphite 21.7 x 29.6 cm The Metropolitan Museum of Art, New York

c1832 Arab horsemen black, white and red chalk on brown paper 22 x 28.7 cm National Gallery of Victoria, Melbourne, Australia

c1832 Sketches of Algerian men pen and brown ink, with traces of graphite, on tan wove paper 20.5 x 30.2 cm Art Institute of Chicago, IL

1833 A Blacksmith aquatint, drypoint: between third and fourth state of six 16 x 9.8 cm (image) The Metropolitan Museum of Art, New York

1833 A Jewish Bride in Tangier etching: first state of four 21.3 x 17.3 cm

1833 A Lord from the time of Francis I etching and drypoint on white wove paper 17.3 x 12.7 cm (image)

1833 A Man with weapons etching on paper (size not given)

1833 A vase of flowers oil on canvas 57.7 x 48.8 cm © National Galleries of Scotland, Edinburgh

1833 Arabs of Oran etching, roulette and drypoint on ivory laid paper  14.4 x 19.3 cm (image)

1833 Chief Mohammed-Ben-Abou etching on off-white chine 14.2 x 21.3 cm (plate)

1836-45 Goetz of Berlichingen

Drawing inspiration from literature and theatre, Eugène Delacroix developed a long-standing interest in the writer Johann Wolfgang von Goethe (1749–1832). He completed a series of prints based on the famous “Faust” (1828) and seven lithographs, including this one, from “Goetz of Berlichingen” published in German in 1773; and French in 1823) that tells the story of the life of a German knight (1480-1562) who fought to regain the privileges of free knights, nullified by the emperor Maximilian I in 1495. Goetz’s reputation as a noble knight spread so far that even the gypsies declared their loyalty to him and provided him with aid. Goethe highly praised Delacroix’s interpretations of scenes from his plays, such as this one.

1836 Brother Martin clasping the iron hand of Goetz lithograph in black on ivory China paper 24.7 x 18.9 cm

1836 The wounded Goetz cared for by the Bohemians lithograph in black with scrapping on stone, on thin off-white paper 30.4 x 23 cm (image) Art Institute of Chicago, IL

1836 Weislingen attacked by Goetz's men lithograph in black on white China paper 31.1 x 27.2 cm (image) The Metropolitan Museum of Art, New York

1836-43 Goetz von Berlichingen writing his memoirs graphite on beige wove paper 24.5 x 19.2 cm The Metropolitan Museum of Art, New York

1836-43 Goetz von Berlichingen writing his memoirs lithograph on paper 26.5 x 19.2 cm The Metropolitan Museum of Art, New York

1836-43 The Wounded Goetz taken in by the Gypsies lithograph on paper 30.4 x 23 cm The Metropolitan Museum of Art, New York

c1836-43 The Death of Weislingen lithograph on paper 27.8 x 21.7 cm (image)

1842 Goetz van Berlichingen's horse pen and iron gall ink 13 x 19.2 cm The Metropolitan Museum of Art, New York

1843 Death of Goetz von Berlichingen wood engraving 21.8 x 14.6 cm (block) The Metropolitan Museum of Art, New York

1845 Goetz and Friar Martin wood engraving on paper 21.8 x 14.5 cm (block)

Eugène Delacroix - part 4

April 22, 2024, 6:09 am

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Eugène Delacroix © Musée d’Orsay, Dist. RMN-Grand Palais / Alexis Brandt

Poet and art critic Charles Baudelaire described his hero Eugène Delacroix as "a volcanic crater artistically concealed beneath bouquets of flowers." Beneath the surface of Delacroix's polished elegance and charm roiled turbulent interior emotions. In 1822 Delacroix took the Salon by storm. Although the French artistic establishment considered him a wild man and a rebel, the French government, bought his paintings and commissioned murals throughout Paris. Though Delacroix aimed to balance classicism and Romanticism, his art cenreed on a revolutionary idea born with the Romantics: that art should be created out of sincerity, that it should express the artist's true feelings and convictions. Educated firmly in the classics, Delacroix often depicted mythological subjects, themes encouraged by the reigning Neoclassical artists at the Académie des Beaux-Arts. But Delacroix's brilliant colors and passionate brushwork frightened them; their watchwords were "noble simplicity and calm grandeur." They barred him from academy membership until 1857, and even then he was prohibited from teaching in the École des Beaux-Arts. For those very reasons, he was an inspiration to the Impressionists and other young artists. Paul Cézanne once said, "We are all in Delacroix." Intensely private, Delacroix kept a journal that is renowned as a profoundly moving record of the artistic experience.

This is part 4 of of a 6-part series on the works of Eugène Delacroix:

1833 Ecce Homo (Christ with the Reed) etching: first state of four 15.8 x 12 cm The Metropolitan Museum of Art, New York

1833 Muletiers de Tétuan lithograph on paper 19.4 x 26.7 cm (image) Philadelphia Museunm of Art, PA

1833 Portrait of Madame Frédéric Villot etching, second state 8.6 x 8.3 cm The Metropolitan Museum of Art, New York

1833 Strolling Players watercolour on paper 24.8 x 18.4 cm Los Angeles County Museum of Art (LACMA)

1833 Study of a woman seen from the back etching in black on off-white wove paper 10.5 x 15.5 cm (image) Art Institute of Chicago, IL

1833 Women of Algiers graphite on paper 20.7 x 33.5 cm National Gallery of Art, Washington, DC

1833 Women of Algiers lithograph: second state of two 16 x 22 cm (image) The Metropolitan Museum of Art, New York

c1833 Arabes D'Oran etching on paper 14.5 x 19 cm (image) Museum of Fine Arts, Boston, MA

c1833 Still Life with Dahlias  oil on canvas 50 x 33 cm Philadelphia Museum of Art, PA

1834 Bacchus and a Tiger fresco 57 x 89 cm Musée National Eugène Delacroix ©RMN-grand Palais, Louvre Museum, Paris

before 1834 Henri IV Conferring the Regency upon Marie de' Medici (after Rubens) oil on canvas 88.2 x 115.8 Los Angeles County Museum of Art (LACMA)

Henri IV Conferring the Regency upon Marie de' Medici detail

Henri IV Conferring the Regency upon Marie de' Medici detail

1834 Collision of Moorish Horsemen etching on paper 26.2 x 18.4 cm (plate) The Metropolitan Museum of Art, New York

1834 Portrait of George Sand oil on canvas 26 x x 21.3 cm Musée National Eugène Delacroix ©RMN-grand Palais, Louvre Museum, Paris

1834 The Turkish Rider gouache and watercolour, with scraping, selectively gum-varnished, on cream wove paper 25.2 x 18.7 cm  Art Institute of Chicago, IL

1834 Women of Algiers in their Apartment oil on canvas 180 x 229 cm © RMN - Grand Palais (Louvre museum), Paris

1834 Young Clifford finding the body of his father, from "L'Artiste" lithograph on paper 22.3 x 15.7 cm (image) The Metropolitan Museum of Art, New York

1835-43 Hamlet

In 1834 Delacroix began a series of lithographs devoted to Hamlet, creating moody images that mirror the troubled psyche of the prince. Choosing key scenes and poetic passages, the artist's highly personal and dramatic images were unusual in France, where interest in Shakespeare developed only in the nineteenth century. Gihaut frères published the artist's thirteen-print set in 1843, with a second expanded edition of sixteen issued by Bertauts in 1864. Cooly received at first, the prints eventually were recognised as one of the artist's most significant achievements.

1834 Hamlet and the Queen lithograph in black on off-white China paper 25.4 x 19.8 cm (image)

1834 Hamlet and the Queen lithograph in black on off-white China paper 26 x 17.9 cm (image)

1834 Ophelia's Song lithograph in black on off-white China paper 25.8 x 20.7 cm (image)

What ist ? A rat? lithograph in black on off-white China paper

1834-43 Hamlet and Ophelia lithograph in black on off-white China paper 24.2 x 19.8 cm (image)

1834-43 Polonius and Hamlet lithograph in black on off-white China paper 24.9 x 18.4 cm (image)

1835 Hamlet and the Body of Polonius lithograph in black on off-white China paper 25.6 x 17.8 cm (image)

1835 Hamlet Makes the Players Enact the Poisoning of His Father lithograph in black on off-white China paper 24.9 x 32.3 cm (image)

1835 Hamlet Pursuing His Father's Ghost lithograph in black on off-white China paper 25.9 x 20.3 cm (image)

1843 Hamlet and Guildenstern lithograph in black on off-white China paper 25.1 x 20.2 cm (image)

1843 Hamlet and Horatio with the Gravediggers  lithograph in black on ivory China 28.4 x 21.2 cm (image)

1843 Hamlet and Laertes at the Tomb of Ophelia graphite on tracing paper, laid down 23.3 x 30.6 cm

1843 Hamlet and Laertes in Ophelia's Grave lithograph 28.5 x 19.4 cm (image)

1843 Hamlet and the Gravediggers black chalk, with touches of graphite, on cream laid paper 28.4 x 20.1 cm

1843 Hamlet attempts to slay the King lithograph in black on off-white China paper 25.4 x 18.1 cm (image)

1843 Ophelia's Death lithograph in black on white wove paper 15.8 x 25.7 cm (image)

1843 The Ghost on the Platform lithograph in black on off-white China paper 25.9 x 19.2 cm (image)

1846 Hamlet's Death lithograph in black on white China paper 29 x 20.2 cm (image)

1849 Hamlet and His Mother 

This painting depicts the moment in Shakespeare’s epic tragedy Hamlet in which the protagonist, who has been speaking privately with his mother, Queen Gertrude of Denmark, notices a figure behind the curtains of her closet. Immediately afterward, Hamlet will impale the hidden Polonius with his sword, and utter the memorable phrase "How now! A rat? Dead for a ducat, dead!" The composition is identical to a black and white lithograph Delacroix made for a portfolio devoted to the play, which was first published in 1843.

1849 Hamlet and his Mother oil on canvas 27.3 x 18.1 cm The Metropolitan Museum of Art, New York

c1834 Standing woman in Moroccan costume graphite and watercolour on wove paper 32.5 x 20.8 cm The Metropolitan Museum of Art, New York

1835 Lion and tortoise pen and iron gall ink with graphite on light blue moderately thick, smooth wove paper 19.8 x 26.1 cm The Walters Museum, Baltimore, MD

1835 Madame Henri François Riesener 

The Met note: Delacroix rarely portrayed anyone other than his closest family and friends. His affection for Madame Riesener, an aunt by marriage, is expressed through the frank tenderness of this portrait. She was once known for her beauty: some thirty years before the date of this portrait she served as a lady-in-waiting to empress Josephine, and having caught Napoleon’s eye, engaged in a brief liaison with him. After she died, Delacroix wrote to George Sand, "each of the beings necessary to our existence who disappears, takes away with him a whole world of feelings that no other relationship can revive."

1835 Madame Henri François Riesener (Félicité Longrois, 1786–1847)  oil on canvas 74.3 x 60.3 cm The Metropolitan Museum of Art, New York

c1835 Male Nude Posing for figures in the Frieze of War graphite on laid paper 19.6 x 29.1 cm National Gallery of Art, Washington, DC

1838 Christopher Columbus and his son at La Rábida oil on canvas 90.3 x 118 cm National Gallery of Art, Washington, DC

1849 Arab Horseman at the gallop graphite on tracing paper 32 x 25.7 cm National Gallery of Art, Washington, DC

1849 Basket of Flowers and Fruit oil on canvas 108.3 x 143.2 cm Philadelphia Museum of Art, PA

1849 Basket of Flowers and Fruit detail

Eugène Delacroix - part 5

April 24, 2024, 6:34 am

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Poet and art critic Charles Baudelaire described his hero Eugène Delacroix as "a volcanic crater artistically concealed beneath bouquets of flowers." Beneath the surface of Delacroix's polished elegance and charm roiled turbulent interior emotions. In 1822 Delacroix took the Salon by storm. Although the French artistic establishment considered him a wild man and a rebel, the French government, bought his paintings and commissioned murals throughout Paris. Though Delacroix aimed to balance classicism and Romanticism, his art cenreed on a revolutionary idea born with the Romantics: that art should be created out of sincerity, that it should express the artist's true feelings and convictions. Educated firmly in the classics, Delacroix often depicted mythological subjects, themes encouraged by the reigning Neoclassical artists at the Académie des Beaux-Arts. But Delacroix's brilliant colors and passionate brushwork frightened them; their watchwords were "noble simplicity and calm grandeur." They barred him from academy membership until 1857, and even then he was prohibited from teaching in the École des Beaux-Arts. For those very reasons, he was an inspiration to the Impressionists and other young artists. Paul Cézanne once said, "We are all in Delacroix." Intensely private, Delacroix kept a journal that is renowned as a profoundly moving record of the artistic experience.

This is part 5 of of a 6-part series on the works of Eugène Delacroix:

1838 Frédérik Chopin oil on canvas 45.5 x 38 cm © RMN - Grand Palais (Louvre museum), Paris

1838-40 Study of a male nude: Study for "The Death of Seneca" graphite on buff Bristol board 31 x 23.4 cm The Metropolitan Museum of Art, New York

1839 Arab Encampment oil on fabric 38.1 x 46.3 cm Milwaukee Art Museum, WI

1839 Crouching tiger pen and brush and iron gall ink 13.1 x 18.7 cm The Metropolitan Museum of Art, New York

1840-50 Mountain landscape watercolour on paper 15.4 x 24.8 cm Rijksmuseum, Amsterdam

1840-60 Dante’s Bark oil on canvas 34 x 40.2 cm Art Institute of Chicago, IL

1840-60 Dante’s Bark detail

1840-60 Dante’s Bark detail

c1840 The Shipwreck of Don Juan oil on canvas 81.3 x 99.7 cm Victoria & Albert Museum, London

1841 Jewish musician in Mogador costume, Morocco, from "Le Magasin Pittoresque" wood engraving on newsprint 17.4 x 12.8 cm The Metropolitan Museum of Art, New York

1842 The Education of the Virgin oil on canvas 95 x 125 cm Musée National Eugène Delacroix ©RMN-grand Palais, Louvre Museum, Paris

1842-43 George Sand's garden at Nohant oil on canvas 45.4 x 55.2 cm The Metropolitan Museum of Art, New York

1842-43 The edge of a wood at Nohant watercolour on paper 15.5 x 20.5 cm National Gallery of Art, Washington, DC

1843 Flowers watercolour, gouache, and black chalk, over charcoal on light brown wove paper 22.5 x 21.9 cm National Gallery of Art, Washington, DC

1843 Model for Orpheus

“ This painting takes on grandeur and simplicity. I believe it is what I have done best in the genre, ” noted Delacroix on March 4, 1848, when he completed the final work, on the ceiling of the library of the National Assembly. If this study is only a first thought for the final work, painted on a hemicycle 6.80m in diameter, it is nevertheless quite close to the final composition. This is one of the rare sketches that has preserved its original state, that is to say in a semi-hemispherical shape. It was Louis-Philippe, on the advice of his minister Adolphe Thiers, who commissioned Delacroix in 1833 to decorate the Palais Bourbon. After the paintings in the Assembly room, which excited the deputies, comes the ceiling of the library, to which the painter devoted ten years of his life.

1843 Model for Orpheus bringing the arts and peace to the still wild Greeks painting on canvas mounted on wood 40 x 70 cm Musée National Eugène Delacroix ©RMN-grand Palais, Louvre Museum, Paris

1843-44 Collision of the Moorish Horsemen oil on canvas  81.3 x 99.1 cm The Walters Museum, Baltimore, MD

1844 Lion devouring a horse lithograph in black on ivory China paper 17 x 23.5 cm

1844 The Death of Sardanapalus oil on canvas 73.7 x 92.6 cm Philadelphia Museum of Art, PA

1844 The Death of Sardanapalus detail

1844 The Death of Sardanapalus detail

c1844 The Education of Achilles graphite on paper 23.6 x 29.7 cm The Metropolitan Museum of Art, New York

c1844 The Education of Achilles pencil on paper 21.1 x 15 cm J. Paul Getty Museum, Los Angeles

1862 The Education of Achilles pastel 30.6 x 41.9 cm J. Paul Getty Museum, Los Angeles

1845 A false scalping performed by Iowa Tribe members in Paris pen and brown ink on laid paper 20.1 x 31.4 cm National Gallery of Art, Washington, DC

1845 Peasant women from the region of the Eaux-Bonnes watercolour, with touches of gouache, over traces of graphite, on cream wove paper 34 x 26.2 cm

1845 The Madeleine in the desert oil on canvas 55.5 x 45 cm Musée National Eugène Delacroix ©RMN-grand Palais, Louvre Museum, Paris

1832-33? Study for "The Sultan of Morocco and his Entourage" brush and brown ink 19.4 x 25.2 cm The Metropolitan Museum of Art, New York

1845 Study for "The Sultan of Morocco and his Entourage"  graphite on paper 59.7 x 49.7 cm The Metropolitan Museum of Art, New York

1845 The Sultan of Morocco and his Entourage oil on canvas 377 x 340 cm Musée des Augustins, Toulouse, France

1846 Lion and Snake watercolour heightened with gum on slightly textured, moderately thick, cream wove paper 38.7 x 59 cm  The Walters Museum, Baltimore, MD

1846 The Abduction of Rebecca oil on canvas 100.3 x 81.9 cm The Metropolitan Museum of Art, New York

c1846 Mathurin Régnier watercolour and gouache over traces of graphite on wove paper 30.8 x 22.4 cm The Metropolitan Museum of Art, New York

c1846 Tiger lying in the desert etching, roulette, bitten tone, and drypoint on thin laid beige tracing paper; third state of six 9 x 13.3 cm  The Metropolitan Museum of Art, New York

1848-49 Arch of Morning Glories, study for "A Basket of Flowers"  pastel on blue paper 30.6 x 45.7 cm

1848-49 Basket of Flowers oil on canvas 107.3 x 142.2 cm The Metropolitan Museum of Art, New York

1849 A Hunter stalking a lion in the mountains of North Africa pastel and charcoal 24 x 31.1 cm The Metropolitan Museum of Art, New York

1849-52Hercules Binds Nereus

Eugène Delacroix (1798–1863) was commissioned in early 1852 to create a set of designs to decorate the Salon de la Paix of the Hôtel de Ville in Paris. He painted a scene based on the theme of Peace Descending to Earth for the ceiling, classical gods and goddesses for eight chambers, and episodes from the life of Hercules for eleven tympanums around the doors and windows. The finished look—the last project undertaken by Delacroix for a public building—was inaugurated in 1854 but was unfortunately destroyed in a fire in 1871.

Delacroix made the unusual decision to represent episodes of the life of Hercules rather than his twelve labours. This scene occurs just before the eleventh labour. Hercules binds or chains down Nereus—the “old man of the sea” who can change shape to a lion, snake and so on—to get him to reveal the location of the garden of Hesperides, from which he wants to steal some golden apples. The characters wrestle in front of a large vault-shaped rock, which frames their bodies.

1849 Hercules binds Nereus pencil on tracing paper 2.4 x 33.8 cm Musée National Eugène Delacroix, Louvre, Paris

1852 Hercules binds Nereus oil on canvas 24 x 47 cm Musée National Eugène Delacroix, Louvre, Paris

1849 Lioness tearing at the chest of an Arab soft ground etching and roulette on cream chine 21.2 x 28.1 cm (plate)

1849 The Lamentation (Christ at the Tomb) oil on canvas 162.6 x 132.1 cm Museum of Fine Arts, Boston, MA

1849-50 Arab Horseman attacked by a Lion oil on panel 43.9 x 38.1 cm Art Institute of Chicago, IL

1850 Jacob wrestling with the Angel oil over pen and ink on tracing paper; mounted on canvas 56.8 x 40.6 cm The Metropolitan Museum of Art, New York

c1850 Moroccan Horseman crossing a Ford oil on canvas 46 x 38.1 cm J. Paul Getty Museum, Los Angeles

c1850 Sunset pastel on blue laid paper 20.4 x 25.9 cm The Metropolitan Museum of Art, New York

1850s A Lioness and a Caricature of Ingres

This drawing likely dates from a period in which tensions between Delacroix and his rival Jean Auguste Dominique Ingres were particularly high. In the 1840s, critics increasingly cast the two artists as adversaries with opposing styles, and their respective solo exhibitions at the 1855 Exposition Universelle in Paris amplified the sense of competition. Delacroix also blamed Ingres for blocking his election to the Institut de France, the nation’s premier learned society—a post he eventually achieved in 1857. Here, he inserts at left an acerbic caricature of Ingres in profile, demonstrating the incisiveness he could achieve in pen and ink.

1850s A Lioness and a caricature of Ingres pen and brown ink on laid paper 18.6 x 24.9 cm The Metropolitan Museum of Art, New York

1851 Romeo and Juliet (scene from the Capulet tombs) oil on paper mounted on canvas 35.2 x 26.5 cm Musée National Eugène Delacroix ©RMN-grand Palais, Louvre Museum, Paris