I recently added a pastel drawing to my collection. it was described as after Italian artist Antonio Rotta (1828-1903) and titled Charity to a Family of Beggars. This would mean that it is a 19th-century artwork. As with all pastel works, one must be careful while handling since pastel as well as chalk do not harden or soak into the paper. They are laid on top, which means they can be smudged or rubbed off.
Female beggar
The colours are laid and then rubbed or brushed to blend. The blending is often done with a finger. This blending creates an image with soft undefined edges.
Male beggar
The artwork is made up of several pieces of paper that were laid on a backing sheet. I think this might mean the original artwork was much larger and has been cut down. The edges of the sheets are slowly separating from the backing sheet, as can be seen by the image below.
Child beggar
I thought that the image was familiar in some way, and it took me a while to realise that it is reversed and slightly different angle of the family in Rembrandts’ Beggars Receiving Alms at the Door of a House (below)
Beggars Receiving Alms at the Door of a House – engraving by Rembrandt
The pastel work is roughly half to a third of the overall image, but one can easily observe the similarities between the two artworks. Because of this, I do think that the original pastel piece was much larger and a complete copy of what we see in Rembrandts’ engraving.
Today, we will look at a sketch that has been in my collection a while, and I have now researched it at more depth. It is by artist #RobertJacobHamerton (1810-1904). Hamerton was an artist/illustrator who worked alongside illustrators like #HablotKnightBrowne and #George Cruikshank. His works appeared in collections, which included Dickens’ works. These works were often published by Bradbury & Evans, who represented (1844-1859) and published many of Dickens’ novels, including Bleak House, David Copperfield, and A Tale of Two Cities.
On the back, there is a page from an art exhibition in 1835. On this, only partially readable, is an accreditation which states (I think) Sketch 42 has been given to B. Evans by Joan Essery, witness Mr. Gray.
I believe that the B. Evans named here is none other than Bessie Evans, daughter of Frederick Evans of Bradbury & Evans publishers. I surmise that the witness, Mr. Gray was a wood engraver who worked on Barnaby Rudge. Bessie Evans married Charles Dickens Jnr in 1861. This would make the sketch by Hamerton an image of #CharlesDickens, aged 32 at the time.
Charles Dickens – drawing by Robert Jacob Hamerton @ 1844
We see a young Dickens with long flowing hair, well-fashioned attire, and comely appearance. He was partial to fine dress and colourful waistcoats. Only in later life would come the wild unkempt beard, the intense eyes, the rugged and tanned manly look.
I think there are enough clues leading to fair certainty that this image is of Charles Dickens. A lovely and relaxed view of the then young and emerging writer.
Charles Dickens – drawn by Robert Jacob Hamerton @ 1844
Recently, I purchased a piece from an auction house. It was purportedly a print according to the sale catalogue. I was not completely convinced of this, but the image shown was not good enough to say otherwise. It was in a cheap frame, with no glass, a ripped mount, and fairly abused, but I purchased it anyway. Not till I got it home could I examine it close-up to actually see what I had purchased.
The artwork is actually a drawing. Black, brown, and white chalk (highlighting) with added graphite to add shimmer and definition. The image it displays is of Neptune saving Amymone from a satyr. At this point, I will say that it is a magnificent artwork.
Neptune saving Amymone from a satyr – drawing by François Boucher
This drawing was created by #FrançoisBoucher (1703-1770). Boucher was a painter, draughtsman and etcher. He is renowned for his decorative allegories, idyllic pastoral scenes, and portraiture. He was the most celebrated artist of the 18th century. His talent won him the many honours, including ‘First painter tothe King‘ and patrons such as Madame de Pompadour. He designed theatre costumes and sets. He created scenes used on Vincennes and Sevres porcelain. He produced drawings for tapestries woven by Beauvais and Gobelins.
Amymone and the satyr
The oil painting of this scene hangs in the #MuséedesBeaux-ArtsdeRenne, but this scene was originally created to be a central medallion on a tapestry. One of a series of four (a tenture): ‘Aurora and Cephalus’, ‘Vertumnus and Pomona’, Neptune and Amymone’ and ‘Venus and Vulcan’, all of which are taken from Ovid’s ‘Metamorphoses’. The four images also serve as allegories of the four elements, Air, Earth, Water, and Fire, respectively.
Cherubs and horses
From the images, we see Boucher’s chalk technique at its very best, his draughtsmenship sublime, creating a drawing that displays his mastery of the chalk medium. There is found in many of Boucher’s allegorical images a touch of the erotic, an amorous sensuality.
Cherubs close-up
The title of the piece is ‘Quos ego…’ or ‘Neptune apaisant les flots’. Translated itreads ‘Whom I…’ or ‘Neptune calms the floods’, which comes from Virgil’s Aeneid.
Horses and their driver
In this allegory of Water, we see #Neptune coming to the rescue of the nymph Amymone, who had gone into the drought-stricken wilderness in search of water, only to be set upon by a lustful satyr, trident in hand, poised to slay the satyr.
Neptune with his trident
Boucher created his drawings not only as preparatory studies for his paintings and prints but also as finished artworks. The beauty of the hands, the perfection of the physical body, the horses, the cherubs. Need I go on? Everything says a Master has done this.
Hand close-up
I also know that at some point, this piece was in the possession of Danish artist and collector #HubertGeorgesDésiréDupond (1901-1981) since it bears his mark. It’s an amazing piece to have acquired into my collection.
In my collection is a watercolour by #HaroldWorkman (1897-1975). He is mostly known as a painter of landscapes and townscapes in oils and watercolours.
Workman was born in Oldham. He studied at the Oldham School of Art and Manchester School of Art. After his studies, he became a professional painter. Workman regularly exhibited in London (various institutes and venues), Glasgow, Liverpool, Manchester, and in Wales.
Signature and date on watercolour
As seen above, the watercolour in my collection is signed and dated.
Knaresborough @ 1929 – watercolour by Harold Workman
The painting displays a view of the town of #Knaresborough, as seen in 1929. Within it, we see the Viaduct, High Bridge, the #RiverNidd, and the town from a viewpoint on or near the Harrogate Ringway Trail. It is most likely summers’ day as seen by the numerous people paddling on the river as well as wading at the rivers edge.
Close-up section showing the Viaduct and High Bridge
A nice image, which was created early in Workmans’ career. Possibly a study for an oil painting or more elaborate watercolour. It is a fascinating piece of history and art.
We consider, today, two empty chairs. The first is seen in an ink drawing by #HEWalker (no information found regarding this artist). Here, we see a young lady overwhelmed with grief, standing beside an empty chair – husband, father, brother – we do not know, and beside her sits a loyal companion. The forlorn hound appears with downcast eyes as if it knows that it will never again lie at the masters’ feet. An almost palpable sense of sorrow emanates from this scene of a love lost and a faithfulness that continues ever on.
From there, we move to a house in Gads Hill. Here, we see an empty chair drawn back from a writing desk. The walls laden with books, the view into the garden are but inspirations. For this is the chair of #CharlesDickens. Here is a different sorrow. For once we know whose chair this was, we are not overwhelmed with grief, but we sorrow in the knowledge that this worthy person has passed. A loss to us all, and yet, we can and do remember and admire him for what his writings have done and continue to do for so many.
The Empty Chair – Gad’s Hill, ninth of June 1870 – engraving after Samuel Luke Fildes
So. Two chairs – which bring about sorrow in different magnitudes. Grief seen from two sides – one a heart-rending loss and the other a sadness tinted with admiration and appreciation. Both touching a place within us and demanding a response. An acknowledgedment of a thing that is undeniably true. Loss.
We are hitting the road this week to travel south to a village called #Poynings and back in time to 1940, Eastertime also. Which would have been late March then. Poynings lies within the South Downs National Park. Here, we will meet artist #HubertJohnWilliams (1905-1989). Williams was born in Beckenham, Kent. His early years saw him studying at St Martins School of Art and the L.C.C. Schools. Later, he attended the Royal Academy, where he won the Landseer Prize.
Poynings – Title and date on verso
Williams was known as a portrait artist, landscape painter,etcher, and illustrator. During WWII, he worked as a cartographer, and after the war, he became an illustrator for children’s educational publications.
Poynings with Holy Trinity Church – watercolour, ink, and graphite by Hubert John Williams @ 1940
Above is the watercolour by Williams in my collection. We are looking southwest towards Poynings with the South Downs Hills and Devils Dyke in the distance. We see Holy Trinity Church which dates to around 1369 in this form.
It is a beautiful and atmospheric image of early spring morning.
This year is the 200th anniversary of the #ZoologicalSocietyofLondon. The Society is solely devoted to the conservation of animals and their habitats worldwide. They are a charity founded in 1826. They have managed the London Zoo since 1828 and the Whipsnade Zoo since 1931.
The Society designed a #medallion in 1837 to be awarded to individuals or groups. The design was drawn by #ThomasLandseer, engraved by #BenjaminWyon, and cast by John Pinches. They began casting and awarded the first medals in 1847. The medallions were cast in gold (8 ricipients so far) for special services, silver (59 so far) for various reasons contributing to zoology, and bronze (22 so far) for keepers and other members of staff for outstanding care in rearing animals or for long and meritious service.
Zoological Society of London 1826 – bronze medallion
I came across this beautiful medal earlier this week. There is an attribution inscribed on the edge of the medal which reads “Miss Lucy Anne Cooper, First Class PrizeExhibition of Domestic Poultry 1845″. This means that this medal might have been awarded posthumously as well as being one of the very first struck.
Verso of the Zoological Society of London medallion
The detail achieved is absolutely fabulous. The obverse is adorned with 12 species of birds and the verso with 5 species of animals.
Birds on the obverseBirds on the obverseAnimals on the versoAnimals on the verso
Above are a number of close ups showing the detailing on this medallion. All on a 76mm diameter piece of bronze.
I will finish with a mezzotint, also from my collection, of Sir Joseph Banks (1743-1820). Although he was not a founding member, he was instrumental in the establishment of the organisation.
I acquired a book this past week, which contains two musical scores and two songs. #GeorgeWalker (1772-1847) established his publishing house in 1790 and was considered ‘a publisher of music at half price’, which meant that he marked his musical publications at double the normal price and then pretended to sell at a 50% mark down. Walker was best known as a publisher of sheet music . The music ranged from Handel songs, popular ballads, Scottish songs, to country dances for pianoforte. He also authored a number of books which he self-published.
Messiah by Handel for voice and pianoforte – published by George Walker @ 1795-1805Messiah – contents listOverture – from Messiah for pianoforte
The book I purchased contains the full #Messiah score arranged for voices and pianoforte, the oratorio #Joshua in full score, and two songs ‘Lord, remember David’ and ‘Oh, had I Jubal’s lyre’ as separate publications.
Joshua – oratorio by Handel published by G Walker @ 1805Joshua – contents listIntroduction – movement from Joshua
Most of Walker’s music was printed on a blue tinged paper, which was then in great use. The only piece done in this colour paper in this book is Lord, remember David the rest are done on cream colour paper.
Lord, remember David – song with pianoforteLord, remember David- song with pianoforte and added flute Oh, had I Jubal’s lyre – first pageOh,had I Jubal’s lyre – second page
There are also a number of watermarks on the the sheets. The Joshua marks are a date 1805 and a pair of cursive intertwined letters.
An inverted 1805 date watermark 2 intertwined letters possibly JG (John Gamble?)
The Messiah score is somewhat more difficult to date. I, luckily, have two loose leaves (from a previous purchase) in my collection of pages 5-8. These are dated 1807, but my latest purchase bears only a R and an G on opposite pages. Likely referring to King George so I will date the full score earlier. Possibly going back to 1795 but more likely sitting right around 1800.
G watermark R watermark
So, two complete full scores from a man not known for publishing large scale works. In my research, so far, I have not found any other large works produced by this publisher- only smaller individual works/songs.
We look at an artist, #RomanIvanovichLiapin, who was born in Leningrad (St. Petersburg) in 1966. His talent was recognised early on, and he went on to study at the Mukhina Leningrad Higher School of Art and Indistry and the Academy of Fine Arts in Rome. He returned to St Petersburg in 2005 and set up his own art school.
Liapin is best known for his work in the genre of urban landscape. Cityscapes and street scenes are expressed with vibrant colours and impressionistic/abstract leanings.
Fontana delle Tartarughe, Rome – ink and watercolour by Roman Ivanovich Liapin @ 1998
The piece I acquired was created in 1998 when Liapin resided in Rome. Ink and watercolour combine to display the #FontanadelleTartarughe in Rome.
Often, an artist, while painting a landscape, will focus on a single item. Today, we look at three pieces, in which the focal point is a tree(s). Two mediums, varying styles, and all unknown artists.
The Copse – impressionist watercolour by unknown
The first is an impressionistic work. In it, we see an attempt to capture the ever changing light with the layering of vibrant colours,one over the other without purposefully blending.. It was most likely painted en plein air (outdoors).
An Ancient Tree – oil by unknown artist
The second is an oil of an ancient tree that stands majestically near the waters edge. The wide expanse of its trunk/bole giving credence to its age while its gnarled limbs reach in all directions to capture the sunlight.
By the Rivers Edge – watercolour by unknown
And the last is a tree on a riverbank. Leaning precariously yet still appearing well rooted. It is more realistic than the first watercolour but still containing a touch of Impressionism. A wonderful use of colours. I love the mystery which is created as your eye travels along the river up to the blue hazy mist.
Three beautiful artworks, each expressing the wonder and majesty of trees in their own style.
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