This charming British Victorian oil painting is by noted artist Albert Chevalier Tayler. Painted in 1896 the composition is four women in a sitting room. One young woman is holding up sheer fabric that she is planning to use for a new dress. She is watched by two more young women and an older lady as they consider her choice. A hat box of ribbons lies on the floor. This is a lovely dynamic figurative interior painting telling a story of dress making at home and a young woman's hopes and dreams of a new dress, maybe even a wedding dress. The is also an excellent example of Victorian art and of Tayler's work.
This painting can now be viewed at Tate Britain, London .
This superb oil on canvas self portrait painting is by British Victorian female artist Louise Jopling. Painted in 1875, when the artist was pregnant with her son Lindsay, the painting is a three quarter length self portrait of the artist painting herself from a reflection. She is seated wearing a light blue gown and mop hat and holds a palette and brushes. There is an oriental screen behind and various objects in the room. The brush work and impasto are fantastic. It is an absolutely charming self portrait by a prominent Victorian female portrait painter.
A research project on Louise Jopling and her circle has been in progress at the University of Glasgow since 2005. The project aims to document her career as a leading female artist and her close-knit artistic, literary and theatrical world of late 19th century London and Paris. It also seeks to understand better the climate in which women then practised as artists and, more generally, the climate for women's growing participation in the workplace and in public life.
Signed and dated 1875 lower right.
Provenance Christies London. Label verso.
Tate Britian say:
Tate Britain has made an exceptional acquisition, bringing to light the often-overlooked brilliance of Louise Jopling, a pioneering English artist whose legacy has languished in obscurity for over a century. Jopling, a prominent figure in the 19th-century art scene and a staunch suffragist, was sidelined by an art establishment that failed to recognise her professional achievements.
The painting in question, a captivating self-portrait created in 1875 during Jopling’s pregnancy with her son, Lindsay, is a poignant nod to her talent and resilience. Titled “Through the Looking Glass,” this artwork is a gateway into Jopling’s world and her remarkable journey as a woman artist in Victorian England.
If you are a dog lover like us you'll love a good painting of a dog. We have had some stunning paintings of dogs over the years and here are just a few from our current selection.
Robert Morley - Portrait of a Spaniel
This gorgeous British Edwardian dog portrait oil painting is by noted animal artist Robert Morley. Painted circa 1910 the composition is of a black and white spaniel, sitting down, against a white wall and door way. The dog has a black face and black patches with lovely roan type speckles up its legs and body. Morley has beautifully captured the wispy softness of its fur and fluffiness on its chest. Of course the dog has those mesmerising dark brown spaniel eyes that would melt any heart. This is a simply wonderful spaniel portrait and any dog lover will be blown away by it and it it is also an excellent example of Morley's work as a dog artist.
Signed lower right.
Francesco Fieravino - Italian Greyhound and Friends
This stunning Old Master 17th century oil portrait painting is attributed to circle of Francesco Fieravino, an artist famous in his day for still lifes and carpets. This painting which dates to circa 1650 is a stunning depiction of an Italian Greyhound on the right with two other dogs. The dogs are collared and a prized possession along with the Ushak carpet on which they are portrayed. A really beautiful painting with tremendous detail and colouring.
Ushak carpets were woven for the wealthy Ottoman home market but their depictions in paintings by 16th century artists, like Velasquez, Zurbaran and Vermeer, illustrate their wider appeal. By the 17th century there was a substantial market in Europe and they could be found in Italian, Spanish and Portuguese churches as well as large European country houses.
This absolutely charming portrait of a Pekingese dog called Dodo is attributed to much loved Scottish artist Samuel Fulton. Famous as an animal artist and chiefly a painter of dogs, this has got to be one of his best if you are a Pekingese fan. Painted circa 1920, Dodo, a lovely little black and tan dog is sat profile but is turning to look at the artist/viewer. Beneath him is a beautiful orange and brown Persian rug. Fulton has perfectly captured with his brushwork his longer hair on his legs and chest and the cute curl of his tail. Dodo’s black eyes shine with intelligent curiosity. It is a wonderful painting of a real character and Dodo deserves to find his forever home.
Provenance. Aiken Dott Scottish Gallery label verso.
And last but not least, our gorgeous dog Forest on her favourite seat in the woods.
We previously had a liver and white springer spaniel called Woody whom we adored. We now have a black and white sprocker called Forest who is also an absolute joy and very good with the chickens.
Presented by the Contemporary Art Society in 1949.
On a recent trip to Liverpool, where we were surrounded by Everton and Beatles fans, we spent several hours at the Walker Art Gallery - one of our all time favourite galleries in the UK, along with the Lady Lever Gallery. This superb British landscape oil painting by Paul Nash caught my eye. Painted in 1944, it is a view of Wittenham Clumps, two round hills outside of Oxford.There is a strange sense of space in the painting. Nash used binoculars to look at the hills from his friend's garden! This made them appear much closer than they really were. He called his fascination for this view at night his 'appetite for monstrous moons'.
Nash's work reminded me of Welsh artist Glyn Morgan (1926-2015) whose work we have. Morgan studied at Cardiff college of art under renowned Welsh artist Ceri Richards where he was introduced to the work of Cedric Morris, who proved to be his main source of inspiration
throughout his career. Morgan's work was also influenced by the Benton end artists, Greek
mythology, nature and the landscape.
The painting below by Glyn Morgan is entitled Landscape with Nesting Birds and is signed and
dated lower right. Moons, birds and trees feature in many of Morgan's paintings and the image below is not dissimilar to Nash's painting above.
This superb large British Edwardian exhibited portrait oil painting is by noted artist George Spencer Watson. It was painted in 1909 and exhibited at the Royal Academy the same year and has a beautiful Pre-Raphaelite tone to it. One can see the influences of Lord Leighton and George Frederick Watts as well as John Singer Sargent. The sitter is Mrs William Tisdall, nee Elsie Gardiner, sister of Watson's wife, Hilda Gardiner. She was born in 1875 and died in 1940 aged sixty-five. She would have been about thirty-four at the time of this portrait. She married William Tisdall - The Tisdalls were a prominent Irish family who had owned the Charlesfort Estate, Kells, Co. Meath since the mid 18th Century. They had a son, Michael. They moved to England and lived in Brighton, Sussex, in 1881 and Leigh, Worcestershire, in 1891. William registered for military service in 1915 which he survived and he died in 1954, at the age of 78, so out living his first wife by some 14 years, having married again. This stunning full-length portrait is of Elsie in quite a casual pose, one leg out and elbow resting on a mantlepiece of the fire place, a pink shawl beneath it. Next to her on the mantlepiece is a gleaming vase with red flowers partly reflected in the mirror. An ornate wall paper is behind her. She is gazing to her right and downwards. She is a beautiful woman, wearing a white lace dress, caught in the sunlight, adorned with a pink flower and her dark hair is up on her head showing off her slender neck. She is wearing several gold rings, bracelets and necklaces suggesting her status and wealth. The luminosity of Elsie's white dress and skin tones against the dark background is simply beautiful. There are lovely details in her facial features and hands and the brushwork on the flowers and wallpaper is superb. This is a fantastic example of Watson's work and a simply stunning large Edwardian portrait oil painting that would not look out of place in any major gallery.
Signed and dated 1909 lower right.
Details of sitter inscribed on stretcher bar verso.
Provenance Exhibited: The Royal Academy, London 1909. no.40 entitled Mrs William Tisdall.
Possibly Exhibited at The Paris Salon. Dresden. Kunstsalon Emil Richter, 1911. Dorset County Museum, Dorchester & Southampton Art Gallery 18th Sept 1981-10 January 1982 no.3
The Artist's family, by descent. The artist refers to the painting of this portrait in his notebook at the time. 'Aug 08. Mrs Tisdall nee Gardiner sister of Hilda and Mrs Thompson...done at Charlesfort.....Had a delightful time there'.
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