Last chapter we were in Portelet Bay, Jersey and this week we are going to jump across the English Channel to Sussex. Specifically an area called the Weald and we’ll throw in a bit of folklore too.
#AdelaideLouisaHaslegrave (1857-1937) was born in London. Her father was rector at St Peter’s Church, Islington. Adelaide became an artist best known for the painting of pastoral scenes in oil and watercolour. She worked out of a block of studios off the King’s Road – 10 Trafalgar Studios – in Chelsea. Fellow studio renters were Frank Brangwyn and Edward Onslow Ford. Adelaide exhibited with the Royal Academy and the Society of Women Artists from 1890 until 1916.
The watercolour shown depicts a view of the Weald of Sussex near Devil’s Dyke. The Weald is a geographical area beginning south of London and stretching to the south east coast and contains outstanding natural beauty and a fascinating history. The Weald stretches across Kent, Surrey, and Sussex.
Devil’s Dyke is a 100m deep v-shaped valley. Lore is told that it was dug by the devil to allow the sea to flood into the Weald of Sussex to destroy the many churches in the area but an old woman lit a candle which caused a cock to crow making the devil think that morning was upon him. He fled leaving the trench unfinished and his last shovelful of earth was thrown over his shoulder to land in the sea forming the Isle of Wight.
A beautiful part of the country filled with amazing history.
The scene which we see here is titled ‘Janvrin’s Tomb’. It is found on the tidal island of L’Ile au Guerdain in Portelet Bay. The tomb/tower is also known as Portelet Tower. It was built in 1808 by the British. It was 17ft (5m) tall and 27ft (8m) in diameter – housed a garrison of 12 men and their commanding sergeant and was armed with an 18-pounder carronade.
He was born in Verdun and went on to study painting and etching under artists like Lanielle, Leclaire and Boulanger. He began to exhibit at the Salon in 1863. Rudaux was a foundational member of a group of artists which revived etching in France after the passing of Charles Meryon. He along with others like Corot, Daubigny, Jacque, and Bracquemond all made etching a vital part of their artistic life and output.
Both etchings shown here (from my collection) Passablement…pas du tout (Quite a bit…not at all) and Il M’aime un peu..beaucoup? (He loves me a little …a lot?) bear the publisher’s name and printers address “Vve Cadart Edit. Imp. 56 Blvrd Haussman, Paris. Both were printed between 1874 and 1882.
It is associated with a refined scholarly taste. The Chinese term for ‘landscape’ is made up of two characters which translate as ‘mountains and water’. This type of painting is also tied to Daoism and its’ emphasis on harmony with the natural world. Mountains are seen as reaching up to heaven and therefore good for the soul to look upon. 
The intensity of the ink colour would depend on the wetness or dryness of the brush and the amount of water used in the ink.
During the 17th century training manuals began to appear. They described a step-by-step approach as to how to paint like a particular artist. They explained the techniques used in illustrating various subjects/objects. The different types of brush strokes were named and explained.
Simplicity. A combining of sublime technique and imagination to produce art that inspires and lifts the spirit. What more could one ask for.
I cannot say for sure that these etching were created by Grant or another of the Bloomsbury Group since they are unsigned but it would be a brave artist to create these without his permission. I have not found anything like these six ‘states’ on the web.
I acquired two 9″ diameter mahogany plaques with finely painted representations of Landseer’s work. ‘Sleeping Bloodhound’ and ‘Suspense’ are presented here done with black oil paint over graphite. They were painted no later than 1900 and possibly much earlier even to Landseer’s time. Might they even be by the great artist. He was known to paint on mahogany panel. They are fine works and unique in shape and material in my searchings.
The mezzotint ‘Waiting for Master’ was etched by William Giller after Landseer’s painting called ‘Favourites’ which resides with the Royal Collection.
One can understand Edwin Landseer’s popularity just from these few works and the reproducing of his work in other mediums allowed his reputation to grow and grow and grow. One quirky point about Landseer is that he was reported to be able to paint with both hands at the same time. A skill indeed seeing the wonderful technique in his works.
The decorating of books by great artists has been done in most societies. Each with their own styles and techniques. Here presented are the recto and verso of a decorated book.
And we finish with a piece which has been decorated – but in this case the painting has been inserted over the top of the original written text. Still beautiful but why paint over the text.
Birket Foster traveled widely ; Scotland, Germany, the Alps, Italy, Venice, the Mediterranean, and the Rhine Valley. He eventually settled in Witley near Godalming, Surrey where he built his residence called ‘The Hill’. He was friends with William Morris and Edward Burne-Jones, his contemporaries, and decorated his home with a number of their works.
The two paintings, presented here, are, I believe, early in his watercolour phase. They are monogrammed (in the regular way) and titled on the verso ‘Whitby Harbour’ and ‘Whitby from West Cliff’. They show only the beginnings of the sentimentality found in his later works and certainly show his eye for detail and hand for execution. Both pieces are 6.25″ by 10.5″ and traveled through the hands of J Pratt Art Dealer in Nottingham. Two lovely pieces by a deservedly well thought of artist.
Do we when looking at the seascape miss colour? I think not for this painting exudes an image of the sea which has depth and life, movement and presence. Would that all art even using colours could be so evocative.
They span from a 20th century Cornwall? coastal scene to a 19th century Welsh?landscape to an 18th century ( maybe earlier yet) portrait (Hagar and Ishmael) – all done in monochrome. Each trying to invoke some response from the onlooker. They all display excellence but the last is still possibly one of the best pieces of art that I own. 
In London, he used his skills to produce wood engravings for illustrated publications. Henry contributed to PUNCH magazine for 3 years and then went to work for the Illustrated London News. Hine returned to painting landscapes. He was elected to the Institute of Painters in Watercolour in 1863 and exhibited regularly with the Institute until his death in 1895.
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