I added a couple of engravings to my collection this week. #AndrewWatsonTurnbull (1874-1957) was a painter, etcher, and stained glass designer. He was born in Edinburgh. His training was done at the Royal College of Art and the Royal Academy. His work with glass can be seen at St Mark’s Episcopal, St Cuthbert’s Episcopal – in Edinburgh – and St Peter’s Episcopal in Montrose.
The drypoint etching of St John’s College, Cambridge is fine example of his work in this genre – beautiful detail and excellent colour tonality throughout.
We go to an artist born in the north of England. #WilliamTattonWinter (1855-1928) was a well known and respected northern artist. His studies took him to Europe but he returned to England and settled in Reigate. He received royal recognition from both Queen Victoria and Queen Mary and exhibited across Europe. Winter worked mostly in watercolour with which he created many an atmospheric landscape picturing shepherds and sheep and north country life.
Published by #TheMuseumGalleries in 1923, this engraving displays Winter’s wonderful use of colour and perspective in producing his works.
#SchlossOranienstein is found at Diez on the Lahn. It is a castle or palace which was home to #WilliamV,PrinceofOrange for a number of years. The palace was built on the ruins of #DiersteinAbbey for the CV ountess Albertine Agnes of Nassau.
The French invasion of the Dutch Republic forced William V to flee; first to England and then to Oranienstein. From there he renounced his claim to any and all territories in the Netherlands and recognised the Batavian Republic. This was offset by First Consul Napoleon Bonaparte, who granted him financial and territorial benefits elsewhere.
Some years later William VI refused his support of Napoleon and as a result his claim to the castle was rescinded and all the furniture and art was sold by Napoleon. The palace then became the summer house/hunting lodge to the Grand Duke of Luxembourg.
In 1866, the Duchy of Nassau was annexed by Prussia and the palace was given to the Prussian army the following year. The castle remains a station for the army but now contains offices and a museum. Being a military base, one must book tours and have identification to enter.
The whole image is lightly drawn in graphite and the sepia tones added to give depth and shading. This sepia wash drawing from my collection shows the palace standing tall and majestic at the rim of a promontory A river runs a the foot of this precipice although not seen. A fine home to the royal family even in exile. A finely executed drawing from history.
We visit a French Impressionist painter known for his many landscapes, marine views and city scenes. #FerdinandJeanLuigini (1870-1943) was born in Orleans, France. His father was a renowned composer of ballets and operas. His sister was a concert harpist and his nephew Jean Tardieu was a major French poet.
Ferdinand learned his craft in Paris under Emile Verhaeren and by 1892 was exhibiting his works regularly. Within a handful more years he had broadened his shows to London, Brussels, Amsterdam and New York.
In fact, he was equally well known for both his large colour aquatints and his watercolours. Around 1920, the artistry of printing in aquatint with colours reached it’s peak. The publisher #EstampeModerne was a leading company in this field. It published works by many of the leading artists of the day including Kashmir, Pollack, Figura, Robbe, Helleu, Coussens,Luigini and Icart. These pieces were published in limited runs of around 200.
The aquatint (above) displays the extent to which publishing in aquatint had come. It bears the Estampe Moderne imprint (lower left) by the edition number. Rich tones of colour combine with smooth tonal shading bring this street scene to life. A fine example of not only Ferdinand’s talent but also Estampe Moderne’s publishing prowess.
#CharlesRennieMackintosh (1868-1928) is world renowned as an artist and architect. His greatest architectural masterpiece was the Glasgow School of Art. After his success working for # Honeyman&Kepple, he attempted to set up a practice of his own. The failure of this business to thrive brought on a depressive illness. The illness required that he rest and in 1914 he and his wife, Margaret, moved to #Walberswick in Suffolk. It was at this time that he concentrated on painting with watercolours producing landscapes and floral images often in collaboration with his wife.
It is thought that the elegant flower studies which were created during his stay in Walberswick are the best of that genre. These portrayals are delicately expressed with line and use a subtlety in colour and shading to instill a lyrical and magical quality. They were meant to be compiled and then published as a set by a company in Germany but WWI ended that possibility. Within his floral watercolours was included a small cartouche at the bottom or side providing date, subject, location, and the artist’s initials.
The watercolour shown is certainly influenced by Mackintosh’s work but it is not signed, dated or titled. It is delicately drawn and nicely coloured. I would suggest that you take a look at Mackintosh’s floral drawings some of which he did in collaboration with his wife. They are truly worth a view.
Having moved across the pond, some 25 years ago, I am always pleasantly surprised when I come across a piece of Canadian art as was the case today. To be true it is not a stunning work but just a competent one. It is a small oil on canvas which is unsigned and undated. The only reason I know that it is a work by a Canadian artist is that there is a gallery stamp on the verso.
My estimate for the age of the work is that it was created in the 1940’s to 1950’s but could be slightly earlier. The work itself is done in the Dutch School style of presenting still life images. Various types of flowers arranged in a vase. As I said, it is not an unpleasant work to look at.
The painting has some craquelure but that is not necessarily an indication of age since such crazing can been seen in works only a year old. There is some nice brush work and impasto to create shading and shadows.
Alas, there are a few small areas of loss. These can easily be repair by a professional restorer. Here again we see the fine brush work blending colours.
A pleasant image in the Dutch School style. If the gallery still exists possibly they might be able to tell me who the artist is from their catalogue number.
A look at one of the finest mezzotint and stipple engravers of his day. #RichardEarlom (1743-1822) apprenticed under GB Cipriani to learn his craft of engraving. His studies brought him to work with #JohnBoydell for which he produced around 300 plates after #ClaudeLorain. His engravings were drawn after his contemporaries as well as old masters.
Earlom produced a great number of plates after artist Claude Lorrain who, himself, specialised in landscape painting.
Boydell commissioned Earlom to produce some 200 mezzotints sfter works owned by the Duke of Devonshire. This work is known as the ‘Liber Veritatis’ and is Earlom’s greatest work and a milestone in the art of engraving.
The two pieces displayed are from my collection and show the supreme technique and artistry of Richard Earlom. A man well deserving his reputation.
We visit Wales today to drop in on painter #DavidAldus (1941-). The majority of his works are landscapes but he also created a good number of maritime scenes as well as a few portraits. David was born in the town of Brecon where he spent most of his life. His father and his father’s father were military men while his maternal grandfather was a miner.
David regularly exhibits his works ;the Royal Society of British Artists, the Royal Institute of Oils, the Royal Society of Marine Artists and has made it to the finals in a number of competitions. He is the founder of the Risborough Gallery. While exhibiting his works at Lambeth Palace under the Royal Society of Maritime Artists, he sold all the pieces which he showed.
Davids’ work has been influenced by French artists like Jules Bastien-Leigh and Cézanne. His colour palette is broad and bright.
Above is ‘Poppies at Dusk. A piece from early in his career but it is typical of his landscape work. It is 22″ by 15″, a nice size. It may hang above my fireplace for awhile.
#MalcolmOsborne was born in 1880 at Frome, Somerset. At the age of 20, he moved to Streatham, London with his brother. From 1901 to 1906, he studied under artist and print maker Frank Short at the Royal College of Art.
Osborne produced intaglio landscape prints, urban scenes and portraits. He published his first etching in 1904. Over his career he created just over 100 etchings, drypoints, and aquatints. His works were published in limited editions of 50 to 150 copies.
I have two engravings by Osborne in my collection. A very fine image of St Martin in the Fields from 1906 published by The Art Journal, London, Virtue & Co.
The other a portrait of Charles Melville Gillespie, Professor of Philosophy at Leeds University. A fine example of his portrait work.
No one is quite sure who #EdwardNevil was. Little information regarding him can be found. The name may be an alias so as to avoid contractual obligations something a number of artists did. He was a prolific artist working around 1880 to 1900. He traveled extensively producing views of Buge, Antwerp, Rheims and many images of his favoured northern counties of England.
A very competent artist producing genre scenes of the North of England. He painted a number of scenes around Whitby and Staithes. Using a wide colour palette along with smooth efficient brushwork his images are pleasing and inviting. Nevil was a painter in watercolours/gouache but did dabble in oils.
These two scenes may come from that area of the North of England which Nevil favoured. Two pieces displaying this artists talent and ability.
Over the time, which I have been collecting, I have found myself truly admiring the art which comes from the Far East. Chinese porcelain, sculpture, scrimshaw, drawings, and watercolours. The breadth of this facet of art is enormous. To be consider a specialist, one’s knowledge needs to be immense. This should not deter people from the appreciation of the art which comes from the Far East.
I come across works which I think are beautiful and capture the essence of this genre.
I find myself entranced by the brush work used by the artist. The opaqueness of the paint and the way it seeps into the paper. There is such simplicity in the work and yet it is pure artistry making the difficult seem simple.
Animals have meaning in Chinese society. They are based on the twelve animal signs of the zodiac. These are the rat, ox, tiger, rabbit, dragon, snake, horse, sheep/goat, monkey, rooster, dog and pig/boar. The rabbit symbolises mercy, elegance and beauty. The early Chinese believed a rabbit lived on the moon.
The light strokes of the brush leaves on the paper such wonder to look at. The above three works all bear their artists seals. I do not know their names but each has through their artistry has given us something beautiful to look upon.