I am heading to Cambridge to see the exhibition #CarolineWatson (1760-1814) and Female Printmaking in Late Georgian England’. She is regarded as ‘the first British professional woman engraver’. Born in London she studied under her father, James Watson, an Irish engraver.
Boy and Birds Nest
etching by Caroline Watson after B Murillo
She worked together with artists such as Sir Joshua Reynolds and used the techniques of stipple etching and aquatint.
I have only one etching done by Caroline Watson – #BoywithBirdsNest. It was published in 1781 by John Boydell. It is after a painting by B. Murillo and at that time in the collection of the Duke of Norfolk. A combination of stipple and line engraving are the basis of this print and then finely hand coloured. After examining my print, I can understand why she is considered to be so good. She was a prolific and meticulous artist, working with and for the best artists and painters of her day.
Against this, I wish to look at a father/daughter team of etchers. William and #LetitiaByrne (1779-1849). She and her older sister Anne studied engraving under their father, William.
Pony at Play
etching by William & Lititia Byrne @ 1795
Although this etching is often attributed to William, we find Lititia’s name beside his in the accreditation beneath the image. The etching is after a painting by George Stubbs, likely the most famous equine painter of his day. William was one of the finest landscape engravers of the late eighteenth century. Cross-hatching and free hand engraving with hand-colouring finish #PonyatPlay. It is considered to be among the best of his/their most famous individually published engravings.
Only a couple of prints by ladies of great talent and I look forward to seeing more of their works in Cambridge at the Fitzwilliam Museum. On now until 5 January 2015.
I have to thank a friend for introducing me to this piece of art and allowing me to hold it in my hands and study it. There are moments, if like me you love art. Like going to the Ashmolean Museum in Oxford and holding many of Turners watercolours in ones hands. The Turners are roughly 150 to 200 years old but my friend allowed me to hold a piece that is 300 years old. As with last chapters artist this artist comes from a family of painters – truly talented artists.
#AntoineCoypel (1661-1722) was born in Paris – son of Noel Coypel. Noel painted pictures for the Louvre and his finest work ‘The Martyrdom of St James’ hangs in Notre Dame Cathedral. Antoine tutored under his father in France and Rome. At eighteen he was admitted into the Academy of which he became professor and rector, and director. In 1716 he was appointed the king’s painter. His half-brother Noel and his son Charles-Antoine (1694–1752) were also accomplished painters and the sculptor Francois Dumont was his brother-in-law. An amazingly artistic family.
Head of a Man
Pastel/chalk drawing by Antoine Coypel
A study of a man’s face which has such depth of emotion. A figure aged in years with wisdom and knowledge in his eyes. An old man – such nobility in his countenance. Antoine with just a few lines and shading produces an image of breadth and intensity. The black and red chalks were the staples of his drawing studies which he used to prepare for his oil paintings. I do not know in which painting this face appears but the wealth of power and feeling in this small illustration must bring us to a finished painting of awfulness.
A true joy to hold and behold such a work of beauty.
A circuitous writing taking us from a drawing by Carriere to the LeBrun family and finally to an angel which I bought a while back. As I said I bought a painting of an angel and when looking at images of angels came across an etching of a drawing by Carriere.
etching after Carriere
Here is an etching of a drawing by Carriere of a #cherubin done around 1800. It is taken from a painting by LeBrun. Not sure which LeBrun it might be since being a talented artist seemed to be a family trait and I have not yet found the original image from which the drawing is derived.
The #LeBrun artists begin with Charles (1619-1690). He was declared to be the most important French artist ever by Louis XIV. His marvellous achievements range from the decoration of the châteaux of Versailles, Vaux, and Hesselin, to the council apartments in the Louvre, and numerous churches.
From there we go to #LouiseElizabethVigeeLeBrun. Charles was her husbands great-great uncle. A professional portrait painter from her late teens, she was a favourite of Marie Antoinette. She is recognized as the most important female painter of the 18th century.
Lets now go to my #angel. It is not signed or dated but is very finely done. One way to judge the quality of a painting is to look at how well the hands and feet are painted. They are more difficult than you think.
I was struck by the similarity of the facial structure between the drawing and the painting. She is superbly portrayed by a talented artist. Are they images taken one from the other or both taken from another image altogether? Does it matter? Behold loveliness. Stand and gaze in wonder and appreciation.
I live in a part of the country which is quite flat and I am also a hour from the coast. Some people consider the fen landscape boring but when one stands out in the fields and looks over the land for many miles – one can feel the wideness of this place.
near Blythburgh, Suffolk
by Juliet Pannett 1972
#JulietPannett (1911-2005) is not known for her landscapes. She is a very respected portrait painter. Painting came naturally to her and by the time she was 17, she knew she wanted to paint portraits for a living. Commissions from The Illustrated London News and other papers began her professional career which led to her employment by the Illustrated London News. From 1957 to 1964 she had her own seat in the press gallery of the House of Commons. She portrayed over a thousand soldiers, intellectuals, politicians, musicians, fellow artists and ordinary British people. She painted nine Prime Ministers including Wilson, Callaghan, Heath, Thatcher, and Churchill. She has 21 portraits in the National Portrait Gallery collection in London. Her treatment of the wide open space and grandness of the sky exudes wonder and warmth. In simple strokes of colour a land is portrayed in beauty. One stands at the edge of this vista near #Blythburgh and is overcome by the vastness of sky as can only be felt and seen from a flat land.
Pilot Cutters A-sail
unknown artist late 19th – early 20th century
We move to an expanse which has a life of it’s own. The sea has for most of human history held a fascination for man. It beckons serenely and yet is fraught with dangers. For those who live upon the waters there is no other life. I love the #PilotCutters in this image as they strive with the wind. But for me it is actually the portrayal of the sea which is this pictures life and soul. Hang on and feel the salt spray against your face. Wrap yourself against the buffeting wind. Struggle forward to the beckoning horizon. Here is space. A vastness, an immensity to be felt.. We are so small.
Posted in Watercolour paintings
Tagged Blythburgh, church, fen, jib, lighthouse, main sail, pilot cutter, river, sailing, sails, sea
I have come across Japanese and Chinese artworks and am fascinated by their technique and style. I picked up a woodblock print by #HokusaiKatsushika. I believe it to believe a fairly modern reprint on quite rough textured paper.
In the Mountains of Totomi Province woodblock print by Hokusai Katsushika
It is titled #IntheMountainsofTotomiProvince and comes from Hokusai’s most famous set of block prints entitled ‘Thirty-six Views of Mount Fuji’. Hokusai lived from 1760 to 1849. Certainly, this set of 36 prints involving Mount Fuji brought to Hokusai national and international fame especially the prints ‘The Great Wave’ and ‘Mount Fuji in Clear Weather’.
It is thought that Hokusai learned painting from his father – a mirror maker which included the decorating of the frame which held them.
He was known by at least 30 different aliases – each one seeming to relate to a style change in his artistic output. At 14, he became an apprentice wood carver. At 18, he moved to work under an master ukiyo-e artist. Ukiyo-e wood block prints focused on images of the courtesans and Kabuki actors who were popular in Japan’s cities at the time. After fifteen years at the studio as well as two wives and five children , he was expelled from the studio for his exploration into other styles of art. His work became focused on landscapes and images of the daily life of Japanese people from a variety of social levels. This change of subject was a breakthrough in ukiyo-e and in Hokusai’s career.
And to finish another pair of prints by unknown artists (at least to me).
Sparrow beneath blossoms
Sparrows in Flight
This weeks chapter is one of speculation and imagination in regards to an aquatint in my collection. It is a portrait of a man who was the inspiration for a very famous fictitious character known around the world.
Joseph Bell (1837-1911)
I believe my research to be correct so here we have #JosephBell. Dr. Joseph Bell was a Scottish lecturer at the medical school of the University of Edinburgh in the 19th century. He is perhaps best known as the inspiration for the literary character #SherlockHolmes. #ArthurConanDoyle served as a clerk in the Edinburgh Royal Infirmary under him. Bell was famous for making deductions about his patients and others whom he met. Supposedly, he was never wrong. He used his observations and skills in his lecturing also. Ten years after their first meeting Bell was on paper as an energetic eccentric detective with extraordinary skills in logic and deduction. Sherlock’s way of thinking and physique were reminiscent of the professor. Holmes also possessed the same gait, narrow nose, grey eyes, angled chin and high forehead. Holmes was also attired in the same way as Dr. Bell. He wore the deer-stalker cap and the long caped coat. It is said that Dr. Bell investigated one of the most famous villains of all time – ‘Jack the Ripper’ – killer of prostitutes. Dr. Bell investigated for a week and named a suspect in his notes – they have since been lost so whether he was correct in his assumptions or not we do not know. Even recently speculation in regards to the Rippers identity continued using DNA testing.
This aquatint is odd in that the missive at the bottom is actually by Joseph Bell which means that he gave this image of himself to somebody.
Signed in ink. It reads ‘Yours Very Truly – Joseph Bell’. A lovely aquatint with the image of a very famous person both real and fictitious.
Two acknowledgements but one piece of art. #GeorgeCattermole (1800-1868) is the original artist while #VincentBrooks (1814-1885) is the man who made the lithograph which I bought the other day.
Vincent Brooks lithograph 1854 after George Cattermole
I present ‘Columbus propounding to the Prior of the Franciscan Convent of Santa Maria de Rabida, his theory of a new world’. A stunningly beautiful lithograph made in 1854. So far, I have not been able to find anything about the original painting by George Cattermole done in 1849. Born in Diss, Norfolk, George became a draughtsman and then ventured into watercolour and oil painting but his great strength was in illustrating. He was a friend of Charles Dickens and illustrated ‘The Old Curiosity Shop’ and ‘Barnaby Rudge’ for him. He was largely employed by publishers. He illustrated many a ‘The Waverly Novel’ as well as many other books.
Vincent Brooks lithograph 1854 after George Cattermole
Vincent Brooks spent most of his life in the printing industry. He became famous for is lithographs. In 1865 Vincent Brooks became involved with the ‘inventor’ of colour printing George Baxter (Descent from the Cross in a previous chapter). He purchased many of Baxter’s plates and printed them using Baxter’s presses but this was a complex printing process using up to 20 stone blocks per print and was found to be a money losing venture. Mr.Brooks bought out the business of Day & Son Ltd in 1867. He bought their property, name, and fine reputation. The firm now became known as Vincent Brooks, Day & Son.
Columbus – label on reverse
On the reverse we find a label from #ArtUnionofGlasgow with the date and title as well as the information regarding the painter George Cattermole and the lithographer Vincent Brooks.
One also notices the fine frame it is mounted in although there have been repairs to it. I wonder where the original painting is or if even if it still exists. Maybe from my posting I might stir others to consider the great talents these two men had and possibly to appreciate their art even more.
I have read quite a lot of Shakespeare thru my days and I recently purchased an almost complete set edited by Charles Knight. I didn’t actually buy them to read but I wanted to add the illustrations into my collection. Just in case you worry, I never take a book apart and strip it of its’ plates. I prefer to keep them together. As I said an almost complete set . I miss Division 6 and someone has actually desecrated a volume by taking out a couple of the plates.
There Sleeps Titania
etching by Fred Heath for Virtue’s Imperial Shakspere @ 1873
#CharlesKnight (1791–1873) was a publisher and editor. There were a number of Knight’s editions of Shakespeare and they were some of the most popular and widely distributed in the nineteenth century.
etching by CW Sharpe for Virtue’s Imperial Shakspere @ 1873
Knight died at the age of 81 in 1873, the year the “Imperial” edition was launched. It was called “Imperial” because it was printed on large, imperial size paper. The “Imperial” edition was first published in parts with elaborate illustration plates by Virtue in London from 1873 to 1876.
The illustrations were done by some of the best etchers of there time. Fine, precise, and intricate etchings adorn the volumes and bring to life the plays.
The Seven Ages of Man
etching by H Bourne for Virtue’s Imperial Shakspere @ 1873
One can immediately see why the editions were so popular. The editions are not terribly rare or valuable but they are for me a very fine addition to my collection because of the quality on the plates which they include.
etching by C Rolls for
Virtue’s Imperial Shakspere @ 1873
#Oxford is a beautiful city and has been depicted by many artists. Today’s artist is #GeorgeHuardel-Bly (1872-19?). A Frenchman by birth who loved to travel. He lived in Brighton, England for a time.
Magdalen College and Bridge
by G Huardel-Bly @ 1929
Oxford High Street
by G Huardel-Bly
I have several etchings by George Huardel-Bly in my collection. Huardel-Bly was an superb engraver and was well known as such. He detailed his travels across Europe in exquisite etchings and drypoints.
by G Huardel-Bly
New College Gates – Oxford
by G Huardel-Bly
Of George Huardel-Bly’s personal life little is known but he was a prolific etcher and print-maker. He was extremely popular during his residency in England. His etching subjects stretched from the humblest of villages to the most famous of landmarks.
New College, Oxford
by G Huardel-Bly
Merton College, Oxford
by G Huardel-Bly
The six etchings in today’s chapter are all of Oxford and the colleges within it’s bounds. Having been to Oxford, I can attest to the accuracy of his renderings. They are fine examples of Huardel-Bly’s talent.
I purchased a few etchings this week, one of which is one of my wife’s favourite images. So we will begin with it.
etching by Camille Fonce after JF Millet
One of the best from #JFMillet. #TheGleaners (Les Glaneuses) was painted in 1857 and depicts several women harvesting from the fields the remnants which have been left behind by the farm workers. The fields were never completely harvested. Some of the harvest would be left so that the poor of the area could come and reap a blessing from the harvest. A gift to the poor, yet they still had to work to gain it.
A very fine etching with superb fine detail and wonderfully coloured. #CamilleFonce (1867-1938) was born in Briare (Loiret) and studied printmaking in Paris. In 1885 he exhibited at the Salon and later at the Royal Academy in London (1896, 1897, and 1902). Today, Fonce is known primarily for his etchings, though he was also a lithographer. He worked after Millet, Corot, Drummond, etc., and also created his own designs. Alas a few age spots have crept onto the image but still a lovely piece.
etching by A Moschetti @ 1843
A detailed and intricate work by Italian etcher, A. Moschetti. I have found little information on #Moschetti but he was very talented as can be seen from this etching of #ForoTrejano.