Artists at Home]]> Artists at Home.]]>
]]> J. E. Millais, the most famous being The Huguenot. Barlow organized memorial exhibitions of works by Phillip and by Thomas Creswick for the South Kensington Museum. He was elected an R.A. when Samuel Cousins retired. Mayall's studio portrait shows Barlow with portraits by Millais and engravings of his own.]]> 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), pp. 83-86.]]> The Athenaeum, no. 3244 (December 28, 1889): 902.]]> 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.]]> Duke of Kent, “he Queen, Thomas Carlyle, and The Princess Alice and Her Daughters, executed in marble, bronze, and terra-cotta. Currently, Boehm is finishing up a colossal statue of Darwin for the Natural History 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), pp. 73-75.]]> January 17, 2017, by LM]]> The Athenaeum, no. 3295 (December 20, 1890): 861.]]>
]]> ]]> ]]> F. G. Stephens, 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), pp. 29-33.

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]]> ]]> Studies in the Literature of Northern Europe. London: C.K. Paul & Co., 1879.]]> ]]> ]]> Procession of Cimabue's Madonna, which was purchased by the queen. He lived in Paris for a time but eventually settled in London, continuing to send paintings to the Academy; in 1864 he was elected an A.R.A. His Syracusan Brides Leadin Wild Beasts in Procession of 1865 was a popular and professional triumph, but "the acme of successful genius" was Procession of the Daphnephoria. Leighton also distinguished himself as a sculptor, and he has produced designs for the decoration of the dome of St. Paul's Cathedral. In 1878 he was elected president of the RA and knighted. His house, designed by George Aitchison, and its most famous room, the Arab Hall, have been justly celebrated. He is a trustee of the British Museum and a member of the Artists' Volunteer Corps.]]> 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), pp. 1-4.]]> ]]> ]]> Mrs. [Mark] Pattison (later Emilia, Lady Dilke), “Sir Frederic Leighton, P.R.A..” in Modern artists a series of illustrated biographies, edited by François Guillaume Dumas, 2 vols. (London: J. S. Virtue & Co., [1882]).

]]> ]]> ]]> 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), pp. 5-7]]> ]]>
]]> ]]> Artists at Home group and the "doyen" of several artistic practices. Webster spent the latter half of his life in Cranbrook, painting homely images of rural life and leading a group of peers referred to as the Cranbrook Colony.]]> 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), pp. 9-10

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]]> Imperial India. Following his return to England, he also wrote the dramas Cousin Dick and M. Le Duc. He was elected an A.R.A. in January 1879, and was a faithful member of the Artist’s Volunteer Corps.]]> 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), pp. 11-13]]>
]]> An Essay on Indian Antiquities (London: J. Murray, 1858).]]> Benares Illustrated in a Series of Drawings (Calcutta: Baptist Mission Press, 1831-1833).]]> Imperial India: an Artist's Journals (London: Chapman and Hall, 1879).]]> The Young Men of the Tribe of Benjamin seizing their Brides. In 1848, Millais and a group of like-minded colleagues formed the Pre-Raphaelite Brotherhood. In 1854, Millais married Euphemia (Effie) Chalmers and was elected an A.R.A. After his marriage he painted a number of portraits of notable persons, including W. E. Gladstone and Lord Lytton, and designed several book illustrations. In December 1863, he was elected a Royal Academician, and in the following years became an Officer in the Legion of Honor (1878) and was elected a member of the Institute of France (1882).]]> 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), pp. 15-18.]]> January 20, 2017, by LM]]>

]]> The Victorian Artist: Artists' Lifewritings in Britain, ca. 1870-1910 (Cambridge: Cambridge University Press, 2003), p. 59]]> 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."]]>
]]> 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), pp. 19-21.]]> 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."]]> Memoir of Samuel Cousins, R.A., member of the Legion of honour. Exeter: Daily Gazette, 1887.]]> Notes on the Engraved Works of Mr. Samuel Cousins, etc. London: Fine Art Society: Catalogues of exhibitions, 1883.]]> Jeannie Deans was displayed at the Royal Academy. Stephens then recaps the highlights of Lawson’s career, providing a list of works and where they were shown, as well as their contributions to Lawson’s style. He begins by discussing the sculptor’s poetic and narrative works and then briefly describes some of his public portrait commissions. Stephens then lists the sculptures on view in Lawson’s studio at the time of the Mayall photograph.]]> 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), pp. 23-26]]> 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."]]> A Prior Attachment (Il y en a toujours un Autre) with the Chantrey Fund. ]]> 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), pp. 27-28.]]> January 20, 2017, by LM]]> he Victorian Artist: Artists’ Lifewritings in Britain, ca. 1870–1910 (Cambridge: Cambridge University Press, 2003), 58.]]> 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."]]> Great Expectations, (London: Chapman & Hall, 1861).]]> Our Mutual Friend, (London: Chapman & Hall, 1865).]]> A Child's History of England, (London: Bradbury & Evans, 1852).]]> He Knew He Was Right, (London: Strahan and Co., 1869).]]> 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), pp.35-38]]> December 6, 2016, by LM]]>
]]> ]]> Art Journal 21 (1859): 205.]]> Art Journal 12 (1850): 49.]]> 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), pp. 39-42.]]> ]]> ]]>
]]> Artists at Home. His most famous work, Harmony, was purchased by the Royal Academy.]]> 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), pp. 43-44.]]>
]]> Caractacus won him one of the First Premiums in the Westminster Hall Competition, funding his travel to Italy. Watts’s works in 1849 illustrated his desire to express his ideas of nature and progress of life by abstract embodiments of hope and ambition. In 1852, Watts was so preoccupied with public commissions that he did not exhibit any works at Trafalgar Square. In 1882, an exhibition of many of his works was held at Grosvenor Gallery.]]> 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), pp. 45-48.]]> The Nineteenth Century ]]> Life of Haydon]]> ]]> Professor Sharpey and a portrait in relief of Mrs. Mordant. Having traveled to Italy, he gained his admiration for the antique from the works of Michelangelo. His sculpture of Artemis, completed in 1880, was considered superior to any of his previous works. In 1883, Thornycroft sculpted what was deemed to be his best work: a statue of The Mower.]]> 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), pp. 49-51.]]> The Magazine of Art 4 (1881): 328–32.]]> Queen Elizabeth Receiving the French Ambassadors after the News of the Massacre of St. Bartholomew; and in 1877 his Amy Robsart was purchased by the Royal Academicians with the Chantrey Fund. But Yeames's best picture is "When did you last see your father?, showing a small boy standing up to interrogation by an intimidating line of commissioners and soldiers of the Long Parliament; the picture was such a success that Yeames's election as an R.A. in 1878 was almost a foregone conclusion.]]> 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), pp. 53-56.]]> ]]> ]]> Magazine of Art (1881): 196-99.]]> 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), pp. 57-60.]]> ]]> ]]> The Art Journal, New Series, 5 (1879): 33-35.]]> 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), pp. 61-64]]> December 16, 2016 (by LM)]]> January 19, 2017, by LM]]> ]]> [F. G. Stephens]. “Sir John Gilbert, R.A.” The Athenaeum, no. 3650 (October 9, 1897): 494-95.

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