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
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.
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.
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.
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.
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.