Is it possible to be too successful as an artist. #GordonFrederickBrowne (1875-1932) was a prolific artist and illustrator of children’s books. He was exacting in his craftsmanship and strived for accuracy in his work in all details. He was so busy that success passed him by. His output was enormous – six or seven books a year as well a huge number of illustrations for magazines.
His father, #HablotKnightBrowne, also an illustrator of books is far better known. His father’s pseudonym was ‘Phiz’ and under this name he illustrated a number of books by author, Charles Dickens. It is estimated that Browne produced some 3,660 images during his working life. Browne amassed a huge collection of artefacts to assist in his accurate depiction of items. He concentrated on the text of the work he was working on. Identifying and focusing on the details being illustrated.
I have three pen and ink drawings by Gordon Frederick Browne in my collection. He signed his work GB. With such a vast output, I have yet to find to which story these drawings refer but I will keep looking.
Fame passed him by because he would work for everyone and anyone – even very poor quality publications. Had he focused on the more popular magazines or certain authors, he would likely be remembered today as a very fine illustrator. Even so, I think a lot of people have seen his work when they were young and not realised his vast artistic output.
We visit the Lake District to consider the work of #WilliamTaylorLongmire (1841-1914). He was born in #Troutbeck near Ambleside and he was expected to carry on his fathers trade as a farmer and butcher. After the family move to Stavely, William was prompted, by the local vicar, to take up and then study drawing. As a young lad of just 10 years, he suffered an accident. A fall into the lake led to complications resulting in the total loss of hearing. Longmire is most widely known for his paintings of the Lake District mostly in watercolour but he did paint in oils also. By the age of 30, this mostly self-taught painter had set up his own studio in Ambleside.
I have two of Longmire paintings in my collection. The first of an unknown lake ( I think Grasmere) painted in 1891. It has lived a hard life, like many of his works today, it has faded and stained due to being hung in a sunny front room. The second work is of #Buttermere and was executed in 1878.Here, we see a picture in far better condition. From these two works, one comes to understand why Longmire was a well appreciated artist. They are colourful and atmospheric, displaying both the beauty and harshness which the local residents experienced in everyday life. I have been to Ambleside and the Lake District. Things have moved on but the area retains it’s beauty.
Today, we visit an artist who was a successful portrait painter but is known for his early works picturing the life of the poor. #HubertvonHerkomer (1849-1914) was born into a poor family in Waal, Bavaria. His father was a very fine wood carver and his mother a music teacher. They moved to Cleveland, Ohio for a handful of years but returned to Europe to live in Southampton, England. In 1869, Herkomer began exhibiting at the Royal Academy. In the following four years, he went from selling his artworks for two guineas to selling for five hundred pounds.For a number of years, he was an illustrator for The Graphic a London based paper. With his success secure, Herkomer broadened his artistic fields by dabbling in other fields of interest. Proficient in oils, watercolours, etching, engraving, mezzotinting, and works in enamel he was also a film producer, a playwright and a composer of some quality.
The engraving shown here is titled ‘A Study’. It is, I believe of his third wife, Margaret. It is signed and dated (1891) in the plate. A fine work by a very fine artist.
When I try to draw something, there is often too much stuff on the page. The focus of today’s chapter is a drawing which certainly does not have ‘too much’. The artist #RobinCraigGuthrie (1902-1971) was born in Harding, Sussex. His father, James, was a writer,artist and printer – founder of the Pear Tree Press.
Guthrie’s studies brought him to the Slade School of Art where he studied under Philip Wilson Steer and Henry Tonks. He was a superb draughtsman which can best be seen in his portraiture. He drew and painted landscapes and portraits and even illustrated books including his fathers A Wild Garden (1924). He exhibited through the New English Art Club, Royal Academy, Goupil Gallery, Leicester Gallery, Arthur Tooth & Sons, Tate Gallery and many more. For two years Guthrie took the post of director at the School of the Museum of Fine Art in Boston in the USA. During WWII, he was given a commission as an artist to record the workings of the Army cookery School and the activities at the Auxiliary Territorial Service training bases. After the war Guthrie tutored at a number of schools and illustrated several books. His works are held by The Tate, British Museum, Victoria & Albert Museum, National Portrait Gallery and many others both public and private.
The drawing with wash which is shown here does not have superfluous renderings. A minimal amount of lines and a touch of wash is all that is used in this life drawing. How easy, he makes it look. So little to express so much. That is talent.
We visit with an artist not known for watercolours but as a designer of pottery for Wedgwood. #AdaLouisePowell (nee Lessore) was born in 1882. She was the daughter of an artist and studied embroidery, calligraphy, and illuminating. She and her husband, Alfred Powell, became celebrated designers for Wedgwood. They not only painted thousands of pieces for #Wedgwood, they also trained many apprentice painters to produce the works they designed. Indeed Ada came from good artistic stock. Her father was #JulesFrederickLessore and her grandfather was #ÉmileLessore – a designer and painter for Wedgwood during e 1860’s. Her sister Thérèse was a very fine painter in oils and watercolours ( in some ways this work identifies better with Thérèse than Louise) and was married to #WalterSickert (of Camden Town Group fame). Her brother Frederick Lessore was a sculptor and founder of the Beaux Arts Gallery in London.
The image we look at is part of #CanterburyCathedralcrypt and in particular the #ChapeloftheHolyInnocents. The watercolour is not signed on the face but reads ‘Canterbury’ ‘Louise Powell’ on the verso. The age of the paper tells me it comes from the early 1900’s. So, I cannot definitely attribute this painting to Louise Powell but she certainly was a fine enough artist to have produced this work.
Many people will recognise the name JMW Turner but how many would know that at the same time there was another Turner. #WillianTurnerofOxford or TurnerofOxford as he is and was known so as to distinguish himself from JMW Turner.
Born William Turner (1789-1862) at Black Bourton in Oxfordshire, he was sent to live with his wealthy land owning uncle, William Turner, at the age of 14. The estate was a place to which he returned often to paint and gain inspiration.At the young age of 15, he was sent to study under #JohnVarley in London. At that time, Williams’ fellow students under Varley were William Henry Hunt and John Linnell.
William was admitted into the Society of Painters in Watercolour in 1808 and was it’s youngest member. From this highly successful beginning, it was felt that Turner began to declined in status when he moved to Oxford where he was the only artist of any major distinction for nearly 50 years.
Turner persevered as a painter and instructor and his own works are focused on landscapes. His paintings are images of real places. Places where mankind had had little effect or intrusion on. Unlike JMW, William captured serenity, peace, solitude and calm. He loved to paint clouds and many of his landscapes include vast area of sky with majestic or billowing clouds.
The painting shown, I believe was painted around 1808-1810 most likely in #WychwoodForest near Shipton-on-Cherwell where his uncle lived.
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.
Posted in Oil Paintings
Tagged canvas, daffodils, Kravchuk, Marshall, oil painting, roses, seeds table, Ukraine, urn, wren, Yushchenko
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.
Posted in Drawings and Sketches, Watercolour paintings
Tagged drawing, fence, field, graphite, Henry Alken, horse, hounds, hunting, saddle, steeple