Artists at Home (higher resolution)]]> 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
February 14, 2017, by LM]]> The Victorian Art World in Photographs. London: Barrie & Jenkins, 1984. Repr. p. 77, fig. 137.]]> 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.]]> The Victorian Art World in Photographs (London: Barrie & Jenkins, 1984), fig. 246, p. 131]]> The Graphic, issue 788, Jan. 3, 1885. "Part VI. of 'Artists at Home' (S. Low and Co.), contains the portraits of five very opposite characters—E. J. Poynter, R.A., T. O. Barlow, R.A., Macbeth and Storey, A.R.A.’s, and Mr. Gladstone. The volume fully sustains the promise of the earlier numbers, the photo engravings are excellent, and the letterpress brief and to the point."]]> E. J. Poynter, RA, albumen print, approx. 6½ x 8½ in., by Frank Dudman (1855-1918) for Joseph Park Mayall (1839-1922), 1883]]> The Visit of the Queen of Sheba to King Solomon, 1890, Art Gallery of New South Wales. 
http://www.artgallery.nsw.gov.au/collection/works/898/. In the studio-portrait, the painting is shown unfinished.]]> The Ides of March, 1883, Manchester Art Gallery, England.
http://artuk.org/discover/artworks/the-ides-of-march-205859]]> Decoration for the Dome: St. Paul's, The Upper Circular Panel. "Christ in Judgment," 1884. "Ink photo" of small copy of color cartoon for the mosaic decoration reproduced in The Builder (London)47 (July 5, 1884), n.p.]]> 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] A R A, & interior of his studio at 2 Fitzroy Square, London. Standing by the Mantel Piece."]]> November 16, 2016, by LM
January 17, 2017, by LM]]>
]]> Art in the Age of Queen Victoria: Treasures from the Royal Academy of Arts Permanent Collection (New Haven and London: Royal Academy of Arts, in association with Yale University Press, 1999), repr. p. 146.]]> Benezit Dictionary of Artists, s.v. "Dicksee, Frank Bernard," Oxford Art Online, repr.]]> 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."]]> Romeo and Juliet, 1884, Southampton City Art Gallery, Southampton, UK.]]> Spring Maiden, 1884.]]> ]]> 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.]]>
]]> January 20, 2017, by LM
March 4, 2017, by LM]]> ]]> The Graphic, issue 788, Jan. 3, 1885. "Part VI. of 'Artists at Home' (S. Low and Co.), contains the portraits of five very opposite characters—E. J. Poynter, R.A., T. O. Barlow, R.A., Macbeth and Storey, A.R.A.’s, and Mr. Gladstone. The volume fully sustains the promise of the earlier numbers, the photo engravings are excellent, and the letterpress brief and to the point."]]> The Victorian Art World in Photographs  (London: Barrie & Jenkins, 1984), repr. p. 66, fig. 117.]]> Artistic Circles: Design & Decoration in the Aesthetic Movement  (London: V&A Publishing, 2010), repr. p. 86, fig. 60 (erroneously attributed to the photographer's father, J. J. E. Mayall).]]> G. A. Storey, RA, albumen print, approx. 6½ x 8½ in., by Frank Dudman (1855-1918) for Joseph Park Mayall (1839-1922), 1883

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]]> 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 Illustrated London News 35 (July 12, 1884): 26. "The June number of “Artists at Home” contains portraits and views of the studios of G. F. Watts, R.A., W. H. Thornycroft, A.R.A., W. F. Yeames, R. A., and J. MacWhirter, A.R.A.  Considering that this is a purely artistic work, it is surprising that the artists represented have not exercised a more beneficial control over the arrangement and production of the pictures. . . ."]]> The Graphic, issue 767, August 9, 1884. "Part IV of “Artists at Home” (S. Low and Co.), containing the portraits of Messrs. Watts, Thorneycroft [sic ], Yeames, and MacWhirter is now published. The illustrations are fully equal both in interest and quality to its three predecessors."]]> Jeremy Maas, The Victorian Art World in Photographs (London: Barrie & Jenkins, 1984), p. 68, fig. 124.

]]> Caroline Dakers, The Holland Park Circle: Artists and Victorian Society  (New Haven, CT: Yale University Press, 1999), p. 256, fig. 123.

]]> 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, 1999), p. 159, detail on p. 142.]]> Benezit Dictionary of Artists, s.v. "Watts, George Frederick," in Oxford Art Online.]]> G. F. Watts in Kensington: Little Holland House and Gallery (Compton: Watts Gallery, 2009), n.p.]]> Lady Lindsay of Balcarres, 1876-77, oil on canvas (private collection).]]> Britomart and Her Nurse, 1978, oil on canvas (original in Birmingham City Museums) ALBERTINE: Please check date: do you mean 1878?]]> the Meeting of Jacob and Esau, 1878.]]> Cardinal Manning, 1882, oil on canvas (National Portrait Gallery, London).]]> Duke of Devonshire, 1883, oil on canvas (The Fitzwilliam Museum, Cambridge).]]> Paolo and Francesca, 1872-75, oil on canvas (The Watts Gallery, Compton, Guildford)]]> 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 23, 2017, by LM]]> 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 . . . . "]]> Times [London, England] (March 3, 1891): 13. "Mr. J. P. Mayall, jun., of Kilburn, has produced an enlarged copy of the fine portrait of the late Sir Edgar Boehm, which was taken by photogravure and published in 1884 among the series of “Artists at Home” (Sampson Low and Marston). The present copy, which is taken from the negative by the silver process, is an excellent portrait of the sculptor sitting in his studio. The focus of the picture is occupied by the well-known bust of Mr. Huxley, which was exhibited some years ago. The companion picture represents the artist at work on a bust of the Queen. The representation loses nothing of the firmness of outline which is sometimes sacrificed in enlarging from a negative, and the shades of tint appear to be as delicately handled as in the original photogravure."]]> Royalist and Realist: The Life and Work of Sir Joseph Edgar Boehm. New York and London: Garland Publishing, 1988. Mentioned p. 67, reproduced plate 5.]]> Sir Francis Drake, statuette, 1884–85, model for statues for Fitzford, Tavistock, and The Hoe, Plymouth]]> Thomas Huxley, plaster bust, 1881. Victoria and Albert Museum (on loan to Imperial College).]]> Monsieur B. Bertrand, fencing-master of the late Prince Imperial Louis Napoleon, 1882, terra cotta]]> J. Edgar Boehm, by 1872]]> ]]>
]]> 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 Illustrated London News 35 (July 12, 1884): 26. "The June number of “Artists at Home” contains portraits and views of the studios of G. F. Watts, R.A., W. H. Thornycroft, A.R.A., W. F. Yeames, R. A., and J. MacWhirter, A.R.A.  Considering that this is a purely artistic work, it is surprising that the artists represented have not exercised a more beneficial control over the arrangement and production of the pictures. . . ."]]> January 20, 2017]]> ]]> ]]> The Victorian Art World in Photographs (London: Barrie & Jenkins, 1984), fig. 76, p. 48.]]> Art in the Age of Queen Victoria: Treasures from the Royal Academy of Arts Permanent Collection (New Haven: Royal Academy of Arts, Longon, in association with Yale University Press, 1999), p. 155. (Photo from RA Archives)]]> 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."]]>
]]> Lawrence Alma-Tadema leans against the mantelpiece in his studio, his contrapposto suggesting movement and informality. In his left hand is a cigar, his right hand he has casually tucked into his trouser pocket. To his right is an empty chair with a tiger fur, to his left, on the mantelpiece, is a portrait bust. To the right of the mantelpiece hangs a luxurious fan. An African mask with peacock feathers is suspended above the artist. On the cornice are placed a sculpture and vases. In the space between the cornice and the mantelpiece hangs a golden cloth. In the background on the left, palm branches, an easel with a finished painting, and another painting behind it catch our eye, before our gaze wonders to the dark liminal space of the entrance into the studio. 

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]]> 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
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January 20, 2017, by LM
March 5, 2017, by LM]]>

]]> ]]> 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."]]> “Art in September.” 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."

]]> Jeremy Maas, The Victorian Art World in Photographs (London: Barrie & Jenkins, 1984), p. 123, fig. 234, p. 123.

 

]]> Sir Lawrence Alma-Tadema, ed. by Edwin Becker, exhib. cat., Van Gogh Museum, Amsterdam, and Walker Art Gallery, Liverpool, 1996 (New York: Rizzoli, 1997), p. 47, fig. 28.]]> The Artist’s Studio, exhib. cat., Compton Verney (London: Hogarth Arts, 2009), p. 68, fig. 51.]]> Artistic Circles: Design & Decoration in the Aesthetic Movement (London: V&A Publishing, 2010), p. 84, fig. 57, erroneously attributed to the photographer's father, J. J. E. Mayall.]]> In the Temple of the Self: The Artist’s Residence as a Total Work of Art: Europe and America 1800–1948, ed. by Margot Th. Brandlhuber and Michael Buhrsed (Ostfildern: Hatje Cantz, 2013), p. 107, fig. 4.]]> 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, 1999), p. 143.]]> Oxford Art Online.]]> L. Alma Tadema, RA,albumen print, approx. 6½ x 8½ in., by Joseph Park Mayall (1839-1922), 1883
]]> The Meeting of Antony and Cleopatra, 1881-1883, oil on canvas (Private Collection)]]> An Old Story, 1883, watercolor, British Museum.]]> 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, by LM]]> 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."]]> 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, 1999), repr. p. 35, fig. 5.]]> Oxford Art Online.]]> The Holland Park Circle: Artists and Victorian Society (New Haven, CT: Yale University Press, 1999), repr. p. 166, fig. 75.]]> Night and Dawn sculptures, originally by Michelangelo Buonarrotti.]]> 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, by LM]]> 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 . . . . "

]]> P. H. Calderon, albumen print, approx. 6½ x 8½ in., by Frank Dudman (1855-1918) for Joseph Park Mayall (1839-1922), 1883

 

]]> L'Aurora, c. 1524, marble (original in the New Sacristy, The Church of San Lorenzo, Florence, Italy).]]> La Notte, c. 1526, marble (original in the New Sacristy, The Church of San Lorenzo, Florence, Italy).]]> 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.]]> sic] Studios, Errylands [sic]Lane, Taverstock [sic] Hill, London. Seated sketching" (Public Records, National Archives, Kew, COPY 1/365/303).]]> ]]> The Victorian Art World iin Photographs (London: Barrie & Jenkins, 1984), fig. 64, p. 44.]]> Art in the Age of Queen Victoria: Treasures from the Royal Academy of Arts Permanent Collection (New Haven: Royal Academy of Arts, Longon, in association with Yale University Press, 1999), p. 153. (Photo from RA Archives)]]> The Graphic, issue 788, Jan. 3, 1885. "Part VI. of 'Artists at Home' (S. Low and Co.), contains the portraits of five very opposite characters—E. J. Poynter, R.A., T. O. Barlow, R.A., Macbeth and Storey, A.R.A.’s, and Mr. Gladstone. The volume fully sustains the promise of the earlier numbers, the photo engravings are excellent, and the letterpress brief and to the point."]]> R. W. Macbeth, ARA, albumen print, approx. 6½ x 8½ in., by Frank Dudman (1855-1918) for Joseph Park Mayall (1839-1922), 1883

]]> Far from the Madding Crowd, ca. 1884 (exhibited at the Grosvenor Gallery in 1884).]]>
]]> ]]> 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.]]> ]]> sic] Hyde Park Gate, South Kensington, London. Seated palette in hand."]]> November 21, 2016, by LM]]>
]]> Victorian Painters (London: Barrie & Jenkins, 1988), repr. fig. 83.]]> Benezit Dictionary of Artists, s.v. "Redgrave, Richard," in Oxford Art Online, repr.]]>
August 11, 1883]]> “British Artists: Their Style and Character, No. XLV—Richard Redgrave, R.A.” The Art Journal 5 (July 1, 1859): 205–7.]]> ]]> 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.]]>
]]> J. P. Mayall, “The Whole Hearted Homage of a Hero-Worshipper,” in The Grand Old Man, No. 44, Pall Mall Gazette “Extra” (London) (November 5, 1888), Part VII, pp. 26–30.

]]> Pall Mall Gazette (London), no. 6700 (July 27, 1889): 26–30.

]]> The Morning Post (London, England), issue 34812 (January 19, 1884):3. "Mr. Gladstone has recently given Mr. J. P. Mayall a sitting at Hawarden Castle for a photograph which will be published by Sampson Low, Marston and Co. in a new work, 'Artist’s Homes,' the first number of which will appear on the 1st of March. Mr. Gladstone, who occupies the position of 'Professor of Ancient History' to the Royal Academy, will be included in the series, which consists chiefly of Royal Academicians. The work is dedicated to Sir F. Leighton, P.R.A."

]]> Birmingham Daily Post, issue 7973 (January 21, 1884).  "Mr. Gladstone has recently given Mr. J. P. Mayall a sitting at Hawarden Castle for a photograph which will be published by Sampson Low, Marston and Co. in a new work, “Artist’s Homes,” the first number of which will appear on the 1st of March."]]> The Leeds Mercury, issue 1429 (January 28, 1884). "Mr. Gladstone recently gave Mr. J. P. Mayall, Park-lane Studio, a sitting for a photograph in the library at Hawarden Castle. The photograph was taken expressly for the new serial work, 'Artists’ Homes,' to be published by Messrs. Sampson Low, Marston, and Co. The first number will appear on the 1st of March."

]]> The Pall Mall Gazette (London, England), issue 6009 (June 12, 1884).  "The Prime Minister, during his recent visit to Hawarden, sat to Mr. J. P. Mayall, both in the library at Hawarden Castle and for some Rembrandt photographs. The photograph of Mr. Gladstone in his library is for publication in 'Artists at Home,' now being issued by Messrs. Sampson Low, Marston, and Co., and is dedicated to Sir F. Leighton."

]]> Daily News (London), issue 11908 (June 12, 1884).  "THE PREMIER.—Mr. J. P. Mayall, Park-lane Studio, has recently been honoured with sittings form the Prime Minister during his recent visit to Hawarden. A photograph of Mr. Gladstone in his library at Hawarden Castle is intended for publication in 'Artists at Home,' a work dealing chiefly with the Royal Academy, now being issued by Messrs. Sampson, Low, Marston, and Co. Mr. Gladstone, as Professor of Ancient History, comes in the series. Mr. Mayall was likewise honoured with a sitting from Mr. Gladstone for a Rembrandt photograph as a companion to a life-size one of Mrs. Gladstone, taken by Mr. Mayall last January, of which Mr. Gladstone had been pleased to express his approval. Several members of the family gave sittings, including the Rector of Hawarden and Mr. and the Hon. Mrs. W. H. Gladstone."

]]> The Leeds Mercury, issue 14411 (June 16, 1884).  "The Prime Minister, during his recent visit to Hawarden, sat to Mr. J. P. Mayall, both in the library at Hawarden Castle and for some Rembrandt photographs. The photograph of Mr. Gladstone in his library is for publication in 'Artists at Home,' now being issued by Messrs. Sampson Low, Marston, and Co., and is dedicated to Sir F. Leighton."

]]> New York Times, July 7, 1884.

]]> The Morning Post (London), issue 35032 (October 2, 1884). "Artists at Home gives portraits and sketches of Mr. Poynter, Mr. Barlow, Mr. Macbeth, and Mr. Storey, and greatest artist of all in his own peculiar line, Mr. W. E. Gladstone, professor of ancient history to the Royal Academy."

]]> The Graphic (London), issue 788 (January 3, 1885).  "Part VI. of 'Artists at Home' (S. Low and Co.), contains the portraits of five very opposite characters—E. J. Poynter, R.A., T. O. Barlow, R.A., Macbeth and Storey, A.R.A.’s, and Mr. Gladstone. The volume fully sustains the promise of the earlier numbers, the photo engravings are excellent, and the letterpress brief and to the point. The Premier as an artist would be a novelty for which few would be prepared. Luckily, however, the notice appended to his portrait explains that besides being a considerable collector of bric-à-brac, Mr. Gladstone has for some nine years been Professor of Ancient History in the Royal Academy, and that it is as such that his portrait is here introduced. The office is one without duties and without salary, a condition to which Oliver Goldsmith, upon whom the honour was first conferred, humorously referred when he wrote to acquaint his brother of his new dignity. The notes in connection with the office from then to now are as interesting as anything in the volume."

]]> “Notes on Art and Archaeology.” The Academy, June 14, 1884, p. 429.  "Mr. J. P. Mayall took a photograph of Mr. Gladstone during his recent stay at Hawarden for the series of Artists at Home (Sampson Low), in which the Prime Minister finds a place by reason of his being Professor of Ancient History at the Royal Academy. At the same time Mr. Mayall took a 'Rembrandt photograph' of Mr. Gladstone, and also photographs of several members of his family."

]]> “Personal Mention.” Daily American, June 26, 1884, p. 2.  "During his recent visit to Hawarden Mr. Gladstone sat to Mr. J. P. Mayall, both in the library at Hawarden Castle and for some Rembrandt photographs. The photograph of him in his library is for publication in 'Artists at Home,' now being issued."

]]> Rt. Hon. W E. Gladstone, M.P, albumen print, approx. 6½ x 8½ in., by Joseph Park Mayall (1839-1922), June 1883

]]> W. E. Gladstone, medallion portrait, bronze]]> ]]> ]]> ]]> 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
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]]> 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.]]> ]]> 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.]]> 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. 139.]]> Sir John Gilbert: Art and Imagination, edited by Spike Bucklow and Sally Woodcock (Burlington, VT: Lund Humphries, 2011), p. 223, reproduced p. 224, fig. 149.]]> Sir John Gilbert: Art and Imagination, edited by Spike Bucklow and Sally Woodcock (Burlington, VT: Lund Humphries, 2011), p. 52. Referred to as "the most famous photograph of the artist."]]> 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 . . . ."]]> Sir John Gilbert, RA, albumen print, approx. 6½ x 8½ in., by Frank Dudman (1855-1918) for Joseph Park Mayall (1839-1922), 1883]]> Fair St. George, 1881, oil on canvas.]]>