]]>Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), n.p.]]>
November 21, 2016, by LM
January 20, 2017, by LM]]>
]]>The Victorian Art World in Photographs (London: Barrie & Jenkins, 1984), p. 206, fig. 394.]]>Benezit Dictionary of Artists, s.v. "Lawson, George Anderson," repr., Oxford Art Online.]]>The Derby Mercury (Derby, England), issue 8831, April 16, 1884. "The photo-engravings (representing Messrs. J. E. Millais, S. Cousins, G. A. Lawson, and Marcus Stone in their studios) are very graphic and agreeable, and the accompanying biographical sketches are informing and well written."]]>Jeannie Deans, 1862, plaster cast]]>The Girl and Tortoise, 1883]]>Cleopatra, 1881]]>Lord Beaconsfield, portrait bust]]>Mr. Dorman, clay]]>Come unto These Yellow Sands]]>Nymph at the Pool]]>Hubert and Arthur, terracotta]]>The Maiden’s Secret]]>Retiarius]]>
]]>
]]>
]]>Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), n.p.]]>
October 2, 2016
November 21, 2016, by LM
January 17, 2017, by LM]]>
]]>The Victorian Art World in Photographs (London: Barrie & Jenkins, 1984), p. 215, fig. 409.]]>The Derby Mercury (Derby, England), issue 8831, April 16, 1884. "The photo-engravings (representing Messrs. J. E. Millais, S. Cousins, G. A. Lawson, and Marcus Stone in their studios) are very graphic and agreeable, and the accompanying biographical sketches are informing and well written."]]>Samuel Cousins, print after James Sant, Speak Lord For Thy Servant Hears also known as The Calling of Samuel (1854) ]]>Marie Antoinette and Louis XVI in the Prison of the Temple, (1862)]]>A Mother and Child (date unknown)]]>Yes (ca. 1877)]]>Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), n.p.]]>
November 21, 2016, by LM
January 20, 2017, by LM]]>
Charlotte Gere, Artistic Circles: Design & Decoration in the Aesthetic Movement (London: V&A Publishing, 2010), fig. 9, p. 22.
]]>The Derby Mercury (Derby, England), issue 8831, April 16, 1884. "The photo-engravings (representing Messrs. J. E. Millais, S. Cousins, G. A. Lawson, and Marcus Stone in their studios) are very graphic and agreeable, and the accompanying biographical sketches are informing and well written."]]>The Art Journal 46 (1884): 256. "The portraits of Mr. Millais and Mr. Marcus Stone are excellent likenesses, but those of Mr. Alma-Tadema and Mr. Pettie somehow miss the distinguishing characteristics of the two men."]]>The Victorian Art World in Photographs. London: Barrie & Jenkins, 1984. Fig. 203, p. 107.]]>Mancoff, Debra N., ed. John Everett Millais: Beyond the Pre-Raphaelite Brotherhood. Studies in British Art 7. New Haven: Yale University Press, 2001. Fig. 3, p. 6.]]>Art in the Age of Queen Victoria: Treasures from the Royal Academy of Arts Permanent Collection. New Haven and London: Royal Academy of Arts, London, in association with Yale University Press, 1999. Reproduced p. 154.]]>The Victorian Art World in Photographs. London: Barrie & Jenkins, 1984. pp. 106–7, fig. 203.]]>Lived in London: Blue Plaques and the Stories behind Them. New Haven and London: Yale University Press, 2009. pp. 229–30.]]>J. E. Millais, RA, albumen print, approx. 6½ x 8½ in., by Joseph Parkin Mayall (1839-1922), ca. 1883]]>Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), n.p.]]>
November 21, 2016, by LM
January 20, 2017, by LM]]>The Derby Mercury (Derby, England), issue 8828, March 26, 1884. "The four plates in the part (No. 1) now before us represent Sir Frederic Leighton, Mr. W. C. Marshall, Mr. T. Webster, and Mr. V. C. Prinsep, in their workrooms, and in their habits as they live there. The portraits of the artists are admirable as likenesses, and the details of the studios themselves are admirably brought out. . . . The biographies are from the highly competent pen of Mr. F.G. Stephens, who supplies a variety of interesting particulars, especially in regard to the works and studies of the artists treated. Thus, of Mr. Prinsep’s house and work-room Mr. Stephens says . . . ."]]>The Magazine of Art 7 (September 1884): xlviii. "Mr. Mayall’s photographs—or rather, the photo-engravings on copper plates reproduced therefrom—are singularly lifeless and dull. Everybody looks as though he were sitting for his portrait; the very furniture is posing; and over all is that terrible and tremendous presence, the photographer’s light, “the light that never was on sea or land.” Mr. Calderon affronts the camera with much sternness; Sir John Gilbert has the sun in his eyes, and comes out very white and vague; Mr. Boehm, sitting desultorily among busts and statues, seems to have been caught in the act of reading the paper; while Mr. Alma Tadema, as unlike himself as possible, leans boldly and airily on the chimney-piece, and Mr. Frank Dicksee, austere yet frightened, does even as Mr. Alma Tadema, and Mr. Val Prinsep turns from his picture with a frown, as if he felt inclined to wring the photographer’s neck."]]>Art in the Age of Queen Victoria: Treasures from the Royal Academy of Arts Permanent Collection. London: Royal Academy of Arts, in association with Yale University Press, New Haven and London, 1999. Repr. p. 156]]>Art and the Victorian Middle Class: Money and the Making of Cultural Identity. Cambridge, England: Cambridge University Press, 1996. p. 297, repr. plate 57.]]>Oxford Art Online, s.v. "Prinsep, Valentine Cameron," Benezit Dictionary of Artists, repr.]]>Gere, Charlotte. Artistic Circles: Design & Decoration in the Aesthetic Movement. London: V&A Publishing, 2010. Repr. fig. 126, p. 144, erroneously attributed to J. J. Mayall.]]>Artists’ Houses in London 1764–1914. Aldershot, Hants, England; Brookfield, VT: Scolar Press, 1994. Repr. p. 53. ]]>V. C. Prinsep, ARA, albumen print, approx. 6½ x 8½ in., by Joseph Park Mayall (1839-1922), 1883]]>Portrait of a Woman with Dark Hair, 1884, oil on canvas]]>The Little Bookworm, 1884, oil on canvas]]>
]]>
]]>Artists at Home, photographed by J.P. Mayall and reproduced in facsimile by phototengraving on copper plates; edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), n.p.]]>
]]>sic] Webster R.A. & portion of exterior of his house at Cranbrook, Kent.' Subject sits on chair in doorway of porch surrounded by climbing plants."]]>
November 21, 2016, by LM
November 28, 2016, by HG
January 20, 2017, by LM]]>
]]>The Victorian Art World in Photographs (London: Barrie & Jenkins, 1984), 56.]]>The Derby Mercury (Derby, England), issue 8828, March 26, 1884. "The four plates in the part (No. 1) now before us represent Sir Frederic Leighton, Mr. W. C. Marshall, Mr. T. Webster, and Mr. V. C. Prinsep, in their workrooms, and in their habits as they live there. The portraits of the artists are admirable as likenesses, and the details of the studios themselves are admirably brought out."]]>
]]>Artists at Home, photographed by J. P. Mayall and reproduced in facsimile by photoengraving on copper plates / edited, with biographical notes and descriptions, by Frederick George Stephens (London: Sampson Low, Marston, Searle and Rivington; New York: Appleton & Co., 1884), n.p.]]>
]]>
January 20, 2017]]>The Victorian Art World in Photographs (London: Barrie & Jenkins, 1984), fig. 240, p. 126.]]>The Holland Park Circle: Artists and Victorian Society (New Haven, CT: Yale University Press, 1999), fig. 90, p. 189.]]>Frederic Leighton: Antiquity, Renaissance, Modernity, edited by Tim Barringer and Elizabeth Prettejohn, Studies in British Art 5 (New Haven: Yale University Press, 1999), fig. 82, p. 240.]]>Art in the Age of Queen Victoria: Treasures from the Royal Academy of Arts Permanent Collection (New Haven: Royal Academy of Arts, London, in association with Yale University Press, 1999), p. 152. (Photo from RA Archives)]]>Rethinking the Interior, c. 1867–1896: Aestheticism and Arts and Crafts (Aldershot: Ashgate, 2010), fig. 10.1, p. 214.]]>Charlotte Gere, Artistic Circles: Design & Decoration in the Aesthetic Movement (London: V&A Publishing, 2010), fig. 58, p. 85.]]>The Cult of Beauty: The Victorian Avant-Garde 1860-1900 (London: V&A Publishing, 2011), fig. 227, p. 244.]]>The Derby Mercury (Derby, England), issue 8828, March 26, 1884. "The four plates in the part (No. 1) now before us represent Sir Frederic Leighton, Mr. W. C. Marshall, Mr. T. Webster, and Mr. V. C. Prinsep, in their workrooms, and in their habits as they live there. The portraits of the artists are admirable as likenesses, and the details of the studios themselves are admirably brought out."]]>The Magazine of Art 7 (September 1884): xlviii. "Of 'Artists at Home'—photographs by Mr. Mayall and text by Mr. F. G. Stephens—we have received the first five numbers. To us, we confess it, the publication, if in some sort useful, is absolutely devoid of interest. Mr. Stephens’s text is not much more than catalogue; and Mr. Mayall’s photographs—or rather, the photo-engravings on copper plates reproduced therefrom—are singularly lifeless and dull. Everybody looks as though he were sitting for his portrait; the very furniture is posing; and over all is that terrible and tremendous presence, the photographer’s light, “the light that never was on sea or land.” Mr. Calderon affronts the camera with much sternness; Sir John Gilbert has the sun in his eyes, and comes out very white and vague; Mr. Boehm, sitting desultorily among busts and statues, seems to have been caught in the act of reading the paper; while Mr. Alma Tadema, as unlike himself as possible, leans boldly and airily on the chimney-piece, and Mr. Frank Dicksee, austere yet frightened, does even as Mr. Alma Tadema, and Mr. Val Prinsep turns from his picture with a frown, as if he felt inclined to wring the photographer’s neck. Other artists presented to the public are Mr. Webster, the President (a sufferer, but resigned), Mr. Redgrave, Mr. Cousins, Mr. Millais, Mr. Pettie, Mr. Marshall, and Mr. Marcus Stone."]]>An Athlete Wrestling with a Python, 1877, bronze (larger version in Tate, London).]]>The Sluggard, c. 1884, bronze (larger version in Tate, London).]]>Decoration for the Dome, St. Paul's. The Lower Circular Panel: "The Reesurrection" ("The Sea gave up the dead which were in it.") Designed by Sir F. Leighton, P.R.A., 1884. Reproduced in The Builder 47 (July 5, 1884), n.p.]]>F. Leighton, Letty (c. 1882) (exhib. Royal Academy 1884), http://www.leicestergalleries.com/19th-20th-century-paintings/d/neo-classical/frederic-lord-leighton/13294]]>F. Leighton, Phyrene at Eleusis (c. 1882)]]>Margaret "Eustacia" Dalrymple Smith, oil on canvas, location unknown. Sotheby's phot reproduced in Dianne Sachko MacLeod, Art and the Victorian Middle Class: Money and the Making of Cultural Identity (Cambridge: Cambridge University Press, 1996), p. 294, plate 55.]]>