]]>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.]]>
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]]>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]).]]>
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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.]]>
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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.]]>
]]>Conway, M. D. “Decorative Art and Architecture in England. Third Paper.” Harper’s New Monthly Magazine 50 (December 1874/75): 35-49. https://babel.hathitrust.org/cgi/pt?id=coo.31924079637579;view=1up;seq=49;size=75]]>The Art Amateur 5, no. 1 (June 1881): 13.]]>Meynell, Wilfred. “The Homes of Our Artists: Sir Frederick Leighton’s House in Holland Park Road.” The Magazine of Art (London) 4 (1881): 169–76. https://babel.hathitrust.org/cgi/pt?id=mdp.39015010783259;view=1up;seq=15
]]>Monkhouse, Cosmo. “Some English artists and their studios.” Century Magazine 24 (August 1882): 553–57.]]>Haweis, Mary Eliza. Beautiful Houses; being a description of certain well-known artistic houses. London: Low, Marston, Searle, and Rivington, 1882. Leighton House, pp. 1-12. https://catalog.hathitrust.org/Record/011407369 ]]>Hatton, Joseph. “Some Glimpses of Artistic London.” Harper’s New Monthly Magazine 67, no. 402 (November 1883): 829-34. https://babel.hathitrust.org/cgi/pt?id=uc1.c058323290;view=1up;seq=838]]>Adams, Maurice B. Artists’ Homes: A Portfolio of Drawings including the Houses and Studios of Several Eminent Painters, Sculptors and Architects. London: B. T. Batsford, 1883. Leighton House, pp. 4-5.]]>Strand Magazine: An Illustrated Monthly 4 (July 1892): 126-37.]]>The English Illustrated Magazine 31 (October 1905): 3–17.]]>Walkley, Giles. Artists’ Houses in London 1764–1914. Aldershot, Hants, England; Brookfield, VT: Scolar Press, 1994. ]]>Apollo 143, no. 408 ( February 1996): 17-21.]]>Campbell, Louise. “Decoration, Display, Disguise: Leighton House Reconsidered." In Tim Barringer and Elizabeth Prettejohn, eds.,Frederic Leighton: Antiquity, Renaissance, Modernity, pp. 267-93. New Haven: Published for the Paul Mellon Centre for Studies in British Art and the Yale Center for British Art by Yale University Press, 1999. ]]>The Journal of the Decorative Arts Society, 1850—Present, no. 34, The Aesthetic Movement(2010): 92-111]]>Journal of Design History 24, no. 4 (2011): 339-58]]>In the Temple of the Self: The Artist’s Residence as a Total Work of Art: Europe and America 1800–1948, pp. 74-91. Ostfildern: Hatje Cantz, 2013.]]>
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]]>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.]]>
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 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]]>
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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
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]]>
]]>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]]>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.]]>
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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.]]>
]]>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.]]>
January 20, 2017]]>
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]]>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."]]>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.]]>
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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.]]>
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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.]]>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."]]>The Victorian Art World in Photographs (London: Barrie & Jenkins, 1984), p. 57, fig. 100.]]>William Frederick Yeames, 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.]]>
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. . . ."]]>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.]]>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.]]>
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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.]]>
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.]]>
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]]>