A small watercolour portrait was added to my collection this past week. On the recto, we see a beautiful young lady wearing a large hair – no signature, no date, no clues as to who this young woman was or who the artist was. But all is not lost, for on the verso is a small label with the framing companies name and address and a few hand written notes as to owner and sitter. From the note, we find that this watercolour is a copy of a painting held by CH Parry. Being a musician and living near Ely Cathedral, when I think of CH Parry – it is #SirCharlesHubertHastingsParry (1848-1918) the composer. You might know as the composer of the song ‘Jerusalem’, the coronation anthem ‘I was glad’ or the hymn tune ‘Repton’.
But of course, there was an earlier CH Parry. #CharlesHenryParry (1779-1860) was a physician and author.
So to the other notes on the back. The note mentions an #AmeliaParry (1800-1888). I, so far, have not found any information on this Amelia Parry (assuming the date are correct). There are a number of Amelia Parry’s but none with these dates.I think, at the moment, I will just appreciate the beauty of this piece and maybe some day I might find out who this young lady is.
Although #AlfredSharpe was born in Tranmere, Cheshire, England he became one of New Zealand’s most important artists. His father, a well to do Liverpool merchant, was an art lover and collector. Alfred studied at the Birkenhead School of Art. A short two year stay in Ireland (after graduating) was followed by emigration to #NewZealand in 1859. Alfred, eventually, found himself living and working in Auckland. He was very much a self-promoter but did exhibit with the Auckland Society of Arts. He was denied the professional recognition he desired due to his critics calling his watercolours ‘painfully elaborate’.
Although Sharpe thought of himself as a professional artist, his works were created in what little time was left after a full time job as an architectural draftsman and part-time teaching post. By the late 1870’s Sharpe had wed, sired two children, and become profoundly deaf.
Sharpe was a devotee of local landscape painting. He stated ‘New Zealand scenery is special and unique,and, therefore it is altogether inexcusable to take liberties with it on the pretence of improvement … strive to reproduce Nature here as she is, ere her originality disappears before the combined effects of advancing civilisation and imported vermin and vegetation.’ The painting, in my collection, is entitled #MilfordSound . It’s size is roughly 6 1/2″ by 10 3/4″ (163mm x 275mm). It shows Alfred’s very definitive brush technique and his wonderful use of layered washes. His monogram appears lower left but is undated. Title appears on a label verso. Although he was a successful artist none of his works were owned publicly till well into the 20th century. He is now appreciated (deservedly so) for being at the vanguard of New Zealand art during it’s colonisation.
We consider an artist who broke with family tradition and followed his own road. #GeorgeOwenWynneApperley was born into a wealthy aristocratic Welsh military family in 1884. Family tradition destined him for military service. He was educated at Eagle House, Sandhurst and Uppingham School but George forwent his military education to study art at the Herkomer Academy (1903).
He first exhibited at the Royal Academy in 1904 and had his first solo show by 1906. Apperley was elected into the Royal Institute of Watercolour Artists in 1913 but ill health saw him move to Madrid, Spain and then Grenada (until 1933). He fled Spain at the beginning of the Spanish Civil War and settled in Tangier, Morocco. Even with his absence, Spain awarded him a number of honours.
The watercolour, in my collection, is titled ‘Paissaje Tangerino‘ and shows a landscape near Tangier where Apperley lived from 1933 till his death in 1960. Whether it was a study for an oil painting or done ‘en plain air’ as a painting on it’s own, I do not know. It does show a nice use of colour and a deftness of brush stroke. I especially like the sky with it’s clouds. It is signed and date lower right on the face and again on the verso.
We travel to Scotland, to visit the home of artist #MayMarshallBrown (nee Brown Robertson). She was born in 1887, the daughter of an Edinburgh wine merchant (William Robertson). Her artistic talents were the focus of her education. She studied at the Royal Institute in Edinburgh and the Edinburgh College of Art. She was mainly a land/seascape and figure painter, an etcher as well as teacher. May exhibited at the Royal Scottish Academy, the Royal Scottish Society of Painters in Watercolours, the Glasgow Institute of Fine Art and the Scottish Society of Artists. She was elected to the Royal Scottish Society of Painters in Watercolours in 1936. In 1912, May married artist William Marshall Brown RSA (some 24 years her elder). Many of her watercolours portray fishing villages, boats, harbours and those people that resided and frequented those places.
A street scene of a man selling his wares from the back of his horse drawn cart. I continue to look at this painting and there is some just so ‘real’ about it. She has captured something. The grouping feels right, body postures real, colouring good. All this without too much finesse and fine brush work. The evidence of a talented artist, who knew her stuff.
Today, we visit with an artist best known for his etchings although he was an accomplished water-colourist also (few of his watercolours remain). #AlbanyEHowarth was born in Durham in 1872. His artistic flair was seen early on in life. His early career path was as a draftsman – working for a company in Newcastle-upon-Tyne designing ships, locomotives, automobiles, and aircraft. This ‘too mechanical’ style of working restricted his own artistic talents. His career as a draftsman was short lived – 4 years only. Howarth moved on to illustrating for various newspapers and magazines. This work also allowed him to learn about different printing techniques and their benefits as well as their limitations and drawbacks. This was immensely helpful early in his own artistic career when he self published his works and later in commercial publication of his pieces. As with many engravers of his time, he took advice from master printer Frederick Goulding. His series of etchings of Oxford (1909) and Cambridge (1910) are some of his best known works. Howard has exhibited at the Royal Society of Painters, Etchers and Engravers until 1923 and showed with a number of galleries as well as the Royal Academy. Howarth’s work was extremely popular and most of his works up to 1912 sold to collectors and were only obtainable if they came up for resale at auction. During his artistic career , Howarth worked with several printers/publishers. They would purchase the finished plate from him and produce a limited set of prints – after which the plate would be destroyed. Howarth died in 1936 at the young age of 64.
The etching shown is titled ‘Five Sisters of York’. It was executed in 1915 and shows the stained glass windows of York Cathedral, the organ facade, and entrance into the choir. It is a very large engraving. The plate mark for this etching measures 33 1/4″ by 18 1/4″ (845mm x 465mm). A monumental artwork indeed and one of the largest engravings in my collection.
The ‘Five Sisters of York’ is a legend told of in Dickens’ novel Nicholas Nickleby. This 13th century window is filled with finely painted clear glass set in geometric designs. It was re-dedicated after WWII to all female victims of violence and conflict.
A visit to an artist who should be far better known. He was an artist who walked the line between Impressionism and Realism. #FritsThualow (1847-1906) was a Norwegian painter known for his beautiful landscapes. As a young man he was educated at the academy in Copenhagen under the tutelage of CF Sorensen and later with Hans Gude in Baden School of Art in Karlsruhe. In 1875, Thaulow moved to Paris where he developed a realistic approach to painting. Thaulow was born into a well-to-do family and this allowed him to study with leading artists of his time.At first Thaulow focused on becoming an artist of seascapes and marine vistas but over time became more interested in landscapes especially those with small bodies of water. His masterful portrayal of water and how it reacts and reflects is sublime. Thaulow traveled between Norway and France for several years and finally settled in Paris for the last 14 years of his life. Thaulow is credited with bringing Impressionism to Norway. Thurlow did not marry, thus after his death, officials sold his studio.The aquatint presented here is titled ‘The River, Snowy Day’ or ‘Wintry Landscape’. It is known that Thaulow painted this scene several times (1 oil and 5 pastel drawings) Each with slight variations in the buildings. Mr. Vidar Poulsson, an expert on this artist, has stated that this present work was probably made during his stay at Petit-Appeville, a small village near Dieppe by the river Scie. Probably painted around 1895.
Posted in Oil Paintings
Tagged fruit slice, grapes, leaves, lemon, lemon peel, oak panel, oil paint, Old Dutch Master, plums, Robert Kell, table
Today, we look at an artist who was at his best when he painted on a small scale but did paint a number of fine large pieces. #WilliamFrederickHulk (1852-1906) was born in Holland. His father Abraham Hulk and uncle Johannes Hulk were well known marine/town/canal scene painters. His brother Abraham junior was a fine painter mostly portraying the English countryside and pastoral scenes.
William travelled widely with his father but eventually settled in London in 1870. William was taught art and painting by his father and quickly became a well regarded landscape painter and exhibited often. William lived in Shere near Guildford from 1882 onward and the surrounding Surrey countryside was an ever present inspiration for his paintings. He specialised in rural scenes usually including cattle and water with the effects of light and shadow on it.
The painting shown is Hulk at his miniature best. It is 3 3/4″ x 4 3/4″ (95mm x 120mm). Small and beautiful.
I bought a pair of magazines earlier this week and they lead to our artist in this chapter. #WassilyKandinsky (1886-1944) is considered to be the father of abstract art. Born in Moscow, Kandinsky spent his childhood and formative years in Odessa. He later enrolled at the University of Moscow, studying law and economics. He was successful in his chosen profession and in 1896, Kandinsky moved to Munich to live and work. He returned to Moscow in 1914, after the outbreak of World War I. Opportunities beckoned Kandinsky back to Germany after the Russian revolution. Here he taught and painted at the Bauhaus School of Art till 1933 when it was closed. Kandinsky then moved to live in Paris. He remained in France, even becoming a citizen, till his death in 1944. The magazine in called #Siecle XXe and I acquired numbers 3 and 4. The magazine was the brain-child of Gualtieri di San Lazaro. It was an art magazine dedicated to the promotion of modern art and artists. Artists were asked to supply works which would be used in the magazine (limited early on to 1200 copies). For the third volume, Kandinsky provided six #woodcuts to be reproduced – 3 in colour and 3 in black and white. Thankfully all six are to be found in the volume which I acquired. They are (as they appear in the chapter)
1. The Archer
2. Two Riders on a Red Background
3. In an Oriental Style
4. Garden of Love
5. Riding Path
6. Black Dot
An odd title. It is a type of print making which is not that popular due to the amount of time and effort required to produce just one print. #Alapoupee comes from the French and is translated ‘with a doll’. It refers to the wad of fabric (ball shaped) used to apply the coloured inks to the copperplate. A new wad is used for each colour and only one pressing is achieved from the inking.
I have very few of this type of print in my collection and the best one is this still-life.
As you can see the colours are superb but as with most prints done in this manor – it is still hand-finished. I do not know who this print is by but it has a couple of clues as to when and who. Firstly, it has a watermark as well as a small monogram in the bottom right corner. I have yet to find the watermark in any records. Nor have I deciphered the monogram.
Even so, one can see the use of different coloured inks from the following images. This application of various colours took time since one wished to avoid the blending or blurring of colours while applying as well as when wiping excess ink from the plate. Not an easy task. Usually only five or six colours or less were used. Here, we have red, blue, green, yellow, black and brown used in this print. One can also see the hand-finishing in the application of further colour to enhance the printed image. This type of print was made popular by #JohanTeyler (1648-1709). Téyler, himself, was not an artist but a mathematician. He did own the patent for the multi-colour printing technique he used and most likely set up a publishing house which employed engravers to produce the plates and prints.
I will continue to research this print but I do hope you enjoy just looking at it. It is a superb piece and displays huge talent and technique.