Ukrainian Art with a story

Today’s focus is on an oil painting not so much for its own sake but for the hands that it went through before coming into mine. It was given to #JeremyMarshall. A man who worked in international banking or many years and ended his financial career as CEO of C. Hoare & Co. – the UK’s oldest private bank.He retired after being diagnosed with incurable cancer in 2016. He remains as Chairman of #ChristianityExplored,PastorTrainingInternational and #ChristianBooksWorldwide.

This artwork was given to him in by #VictorYushchenko in May of 1994. At that time Mr. Yushchenko was Governor of the National Bank of the Ukraine. He later became the third President of the Ukraine (2005-2010). The occasion was the opening of the new banknote printing plant in Kiev. The plant was opened by then President #LeonidKravchuk.

The painting is a still-life. The artwork is signed and dated 1990. The pottery in the work is certainly typical of that produced in the Ukraine. I do not know what the other symbols such as the flowers, wren and fruit mean if they are symbols at all.

A nicely painted piece with an interesting story to hold with it.

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Henry Alken artist

Today a visit with an English artist who was known for his sporting and coaching scenes. #HenryThomasAlken (1785-1851) was a painter and engraver. In fact, we could talk about a number of the Alken family who were artists. His father Samuel, his brothers George and Samuel the Younger as well as two of Henry’s five children. His early studies were with his father and JT Beaumont – a painter of miniature portraits which Henry abandoned to paint sporting scenes. Alken was a prolific artist. Producing a continuous run of paintings, drawings, and engravings from 1816 to 1831. During this time, he lived over the printing shop and was employed by #ThomasMcLean – publisher of the “Repository of Wit and Humour”.

The drawing in my collection (6″ x 10.5″) bears the initials GL and was drawn in 1811. The watermark on the Whatman paper is 1811. I have seen an image on line of an engraving from a book published in 1821 which is much like the drawing although not exactly the same attributed to Henry. It maybe by a follower or friend who admired the work of the Alken family. Whomever painted this did capture the style perfectly. The postures and expressions of the horse and hounds and the rider are exactly correct. Nicely drawn in pencil and then coloured with watercolour, it is a fine piece from more than 200 years ago.

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William Lionel Wylie artist

Today, we look at British artist #WilliamLionelWylie (1851-1931). He was a painter of maritime scenes and considered the ‘most distinguished marine artist of his day’. His works are held in the many of the major galleries and museums in this country and across the globe.

Wylie’s parents were also artistic. His father as a successful genre painter and his mother was a singer. They lived in London and Wimereux, France. Wylie was encouraged in his early artistic aptitude by his father and half-brother Lionel Smythe. His tutelage eventually brought him to the #RoyalAcademy were he worked under Landseer, Millais, Leighton and others. With his painting ‘Dawn after the Storm’, he won the Turner Gold Medal in 1869.

It was his love of the sea that continuously inspired his art. Wylie was a great supporter of the Royal Navy. So much so, that his funeral was with full naval honours. His coffin was rowed up Portsmouth Harbour with battleships’ colours dipped and bugles calling. The quayside was lined with dockyard workers in respect. His panorama of the Battle of Trafalgar which hangs in the #RoyalNavalMuseum in Portsmouth sees more than 100,000 visitors a year.

The engraving in my collection is ‘The Solent from Southsea with Fort Blockhouse’. It is no. 20 from a publication run of 50. Well struck with fine colour. A beautiful work by an extremely talented artist.

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John Everett Millais artist

We look at another artist who contributed to the publications ‘Good Words’ which we considered in the previous chapter. #JohnEverettMillais (1829-1896) was a regular contributor to the artworks for the magazine over a number of years. His commission to produce 20 designs to portray the parables from the bible by the #DalzielBrothers became for him a work from the heart and nothing less than utter beauty and near perfection could be enough. We will only consider a few of them. It took Millais seven years to complete the commission. He illustrated each parable with close to a dozen different images for each before deciding on his preferred choice. After finishing his chosen drawing he would then transfer it onto a prepared woodblock and give it to the Dalziels to be carved. They would be pressed and Millais would then inspect and make any alterations he thought necessary. Twelve of the woodcuts appear in ‘Good Words’ for 1863. I also have a complete set found in ‘Art Pictures from the Old Testament and Our Lord’s Parables’ published around 1900. As one considers them, one cannot doubt the great effort and consideration which went into them. Beautifully rendered by the Dalzeils, one can sense a depth beyond just an image. There is an emotional depth imbued into each portrayal.Through this depth we join in the searching for the lost coin, we feel the pain of the beaten man, the empathy of the Good Samaritan, the elation and fear of the man who found a treasure which he hides in the ground until he can buy the field, and the over-whelming joy of the father at the return of his child in the prodigal son. One is confronted with the realisation that these images were special – something important to the artist. They were created by body and soul. There can be nothing else said.

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Sir Edward Coley Burne-Jones artist

In my small collection of old books are five volumes of ‘Good Words’ spanning 1862 to 1866. These were produced by the Dalziel Brothers, who ran a commercial wood-engraving company (they were considered to be the best in London at that time). The volumes contain the monthly magazine which was edited by Queen Victoria’s Chaplin, Dr. Norman McLeod. Each monthly magazine contain parts of novels ( in serialisation), travel stories, poetry. It proved to be huge success.

The woodcut designs were done by some of the best artists of the day and at times a few lesser known artists. In 1862, #EdwardColeyBurne-Jones was a not so well known artist. He was asked for two works on the recommendation of # WilliamHolmanHunt. Holman Hunt described Burne Jones as “the most remarkable of all the younger men of the profession for talent, and will, undeniably in a few years fill the high position in general public favour which at present he holds in the professional world”. Above, you see, Sigurd, the Crusader, the first of the designs submitted and produced for the magazine in 1862.

The second design produced by Burne-Jones was published in 1863 to illustrate the poem ‘Summer Snow’ by #DoraGreenwood. Here, we certainly see the individual style which Burne-Jones had developed. It was a step apart from the normal or regular woodcuts of the time. The beautiful lady who posed for this image was no other than #JaneBurdenMorris. The wife of artist William Morris. I have the photogravure by Emery Walker of Jane in my collection too.

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Ladies of Painting

Today, I would like to consider two artists. The first #EdithGranger-Taylor (1887-1958) and the second #MurielWyman. The two paintings in my collection might be considered somewhat out of the ordinary for Grainger-Taylor. As you will see they are both oils on canvas of the interior of an inn. The information I have gleaned from the web puts her more as an artist working  with pastels. Even so, both paintings bear a label on the verso giving title, price, and signature with residence. Edith Granger-Taylor said at the Royal Academy, St John’s Wood Art School, and the Slade School of Fine Art with Henry Tonks. She, in some ways, was a successful artist exhibiting regularly in the 1920’s and 1930’s with two solo shows included but she suffered from non-acceptance mainly based on that she was female. This frustration saw her withdraw from the art world and she did not exhibit her work again after the 1930’s. The two works display a good eye for depth and shading. The two paintings show the interior of The Old George, Norton St. Philip.

The next painting Still-life with Lampshade (1952) is painted by Muriel Wyman. The only thing that I have come across in regards to her is a photograph of her and New Zealand artist Beatrix Charlotte Dobie. Dobie moved to London to study at the #SladeSchoolofFineArt in 1911. Other than this photo I have found no other info concerning Ms Wyman.This work is done completely using only a palette knife. A nice work and very heavily painted allowing for the play of shadows on the work itself. It may be that all three women knew each other since they studied with #HenryTonks at the Slade School of Fine Art.

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Laurie & Whittle Publishers III

Today, we will conclude our look at the vue d’optique although I still have several which will not be included. We will look at another 8 images ending with three of my favourites (two are un-coloured).We begin with an image showing a view of the gardens and buildings of the Cortile del Belvedere at the Vatican Palace in Rome. The space was designed to link the Belvedere Court to the Vatican Palace via a series of terraces and stairs. Our next two views are not published by Laurie & Whittle. There were a number of publishers at the time which also held vue d’optique in there production books. Three of those were #RobertWilkinson, #RobertSayer, and #CarringtonBowles.These two prints have all three of the aforementioned publishers on them. At times appearing in different order depending on which publishing house they came from. These depict Rome at its’ beautiful best. Sites as the Trojan Arch, the Tomb of Cestus, the Imperial Palace, the Senate House, the Egyptian Obelisk, and the Temple of Fortune appear in these two views. Again all are hand coloured and show their age in one way or another. We look at another pair published by Laurie & Whittle. These show events rather than specific sites.This pair of views show events pertaining to the siege of Barcelona. The first shows men digging trenches to fortify their position as well as captured building which would then be used as barracks and hospitals. In the distance stands Barcelona. The second attempts to display the barbarity which can ensue when soldiers succumb to battle fury and becoming ravagers, looters, and plunderers.

A final three which are my favourites. The magnificent Niagara Falls. A place that certainly most who would view this print would never have seen in person. A written description in English and French appears at the bottom of the image.

We return to Rome for a view of The Church of St Peter published by Bowles & Carver. The piazza and basilica are wonderfully portrayed here. The last, a plate published by Robert Wilkinson shows the stunning Rialto Bridge in Venice as it crosses over the Grand Canal at its’ narrowest point. I appreciate that these final two have not been coloured.

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Laurie & Whittle Publishers II

We continue our views of #vued’optique published by #Laurie&WhittlePublishers. We look at 6 different city prospects. We start in France and of course with Paris.We see a scene of the river Seine as it divides to bypass the Ile de la Cite. It is considered to be the epicentre of Paris and the site of Norte-Dame Cathedral. The bridge seen connects the Ile Saint-Louis to Ile de la Cite. I am not quite sure why the horsemen are riding down the ramp into the river. From here we move to the Chateau de Versailles. We look down towards the palace. It was the royal residence until the French Revolution in 1789 and is located some 12 miles from Paris. A place of great events in history. Marie Antoinette married here, the Peace of Paris (1783) was signed here as well as the Proclamation of the German Empire and the Treaty of Versailles to end WWI. It is now a Unesco World Heritage site and welcomes close to 8 million tourists a year. We now take to the water and visit the city of Naples. If Italy is a boot then Naples is it’s ankle. Nearby sits Mount Vesuvius, a still active volcano, which destroyed the city of Pompeii. The city is a focal point of art and architecture, Neapolitan cuisine which includes pizza. We board our ship again and sail out of the Mediterranean to the Portuguese city of Oporto.A coastal city located in north-west Portugal. It is known for its’ bridges, the Ribeira (riverside) district, and its narrow cobbled streets. The city is also known as Porto – a mistake by the English in pronunciation led to the Oporto name. The city lies at the mouth of the Douro River. It is the second largest city in Portugal and is famous for port wine created in 1678. We re-board our ship to sail up the coast to the city of Amsterdam. This capital city of the Netherlands is famous for its elaborate canal system, its narrow houses with gabled facades, its artistic heritage. The Rijksmuseum holds works by Rembrandt and Vermeer and a visit to the Van Gogh Museum would be special too. A visit to the Anne Frank house would not be amiss and there are many small eccentric museums to visit. And we board again to set sail for distant Bombay. Today, this city is called Mumbai and lies on India’s west coast. It is a financial centre for India, it’s largest city, and the centre of the Bollywood film industry.

All the above vue d’optique were printed in 1794 and are hand-coloured. Some show there handling more than others but you can see why people would view them – to travel to places they might never get to.

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Laurie & Whittle Publishers

I have a number of old maps in my collection and they usually appear as singles or pairs when I come across them. But a couple of years back I came across a bunch of them. Some 33 maps or prospects. Nineteen of these views were published by #Laurie&Whittle and of those we look at the images concerning English sites. #RobertLaurie (1755-1836) and #JamesWhittle (1757-1818) formed a partnership in 1794 to take over the publishing company of #RobertSayer. Sayer’s collection of maps and atlases and decorative prints were the foundation of the new partnership but the new owners added new material to freshen up the atlases and also printed on topical issues such as the Napoleonic Wars. Laurie was apprenticed to Sayer from 1770 to 1777. He was a talented artist as well as engraver of mezzotints. Producing portraits, scenic views and decorative works. Whittle was apprenticed to the Needlemaker’s Guild.

The five views as they appear are:

1. A View of the Royal Palace of Windsor

2. The South View of Kensington

3. A Front View of the Royal Palace of Kensington

4. A View of the Royal Palace of Hampton Court

5. The Inside View of the Royal Exchange at London

All of these prints were printed in 1794 and are hand coloured. The image size of the first four without lettering measures 9″ by 15″ while the last is 10″ by 16″.

These pieces and those we will see in future chapters are called Vue d’Optique. They were set of prints with a central theme. Their owner would travel from city to city displaying them. Charging customers to view them through the lens of a zograscope. A convex lens with a adjacent mirror to look at the print giving it more of a 3D feel. This did reverse the image so you will often find the the printing on such images is in reverse. They were meant to be handled and looked at – a couple from the ones I acquired do show it.

Beautiful prospective views. Next week we will visit the European sites.

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The Art of Portraiture II

I have a number of other portraits in my collection, a few of we will visit in this chapter. I do not know the identity of the two gentlemen pictured or the artists that painted them while there appears a signature and date on the third portrait from the artist.

The first portrait is of an unknown gentleman. Painted in the 19th century. The image measures 6″ x 6 1/2″ . Finely painted in watercolour with the focus on the face. This is quite typical of the style of portrait painting at that time. The accuracy leans toward vagueness as one goes further away from the face. This allows the artist to finish his work quickly while still presenting the subject with their desired object – a beautiful image of themselves. We go to a somewhat more delicate portrait. This miniature is 2 1/4 x 2 3/4 in an oval frame. It is, I believe, painted on ivory. You can see through the damage to the paint work the underlying white ivory it is painted on. I think possibly an 18th century work. The execution is superb. Once again the face being the focal point and having an almost three dimensional feel to it. Luckily the damage has not reached the face so this man’s visage is still wonderful to look at. Once again the gentleman is not known nor is the artist. We finish with a large portrait done in 1908. It sits again in an oval matte. The image is 14″ by 17″. This of course is a copy of a painting by Rembrandt – his portrait of Aechie Claesdr done in 1634. This copy is painted by Lilian Harries in 1908. It is fairly true too the original but it lacks precision and accuracy bis t still manages to convey that Lilian had some talent as an artist. I have found no information about her.

Three very different types of portraits from different times, all which are meant to do the same thing – portray the sitter in their best image.

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