William Ashford was an English landscape painter who worked exclusively in Ireland. Ashford was born in Birmingham, England in 1746, baptised 20 May 1746 in St Martins parish church and he was the son of Richard Ashford. Little is known about his education, but it is presumed he received some technical or artistic training in England. He moved to Dublin, Ireland, in 1764 at the age of eighteen after having obtained an appointment in the Ordnance Office through the interest of the Surveyor-General, Ralph Ward. His job, at least in the years, consisted of checking on the armaments stored at forts. Ashford married circa 1775, the name of his wife is unknown, the couple had two sons and one daughter. His son, became an artist but did not receive the same acclaim as his father, the architect, James Gandon, designed his home in Sandymount, County Dublin in 1792 where he lived for the rest of his life. Within three years of his arrival, Ashford was exhibiting with the Society of Artists on William Street, at first, he was an amateur painter specialising in flower paintings and still life, but in 1772 he exhibited his first landscape at the Dublin Royal Society of Arts.
After the death of Thomas Roberts, Ashford became the pre-eminent landscaper in Ireland and he was elected President of the Irish Society of Artists in 1813, was a founding member of the Royal Hibernian Academy, becoming its first elected President in 1823. He exhibited in England, at The Royal Academy in London from 1775, despite becoming a fellow of the Society the next year, Ashford only exhibited there sporadically, works shown there including a set of views of North Wales. From 1806 he showed at the newly established British Institution, some of his pieces seen there had been painted some years earlier, including some subject pictures showing scenes from Shakespeare. Ashford lived at a number of addresses in Dublin and London, travelling back, Ashford was among the most respected landscape painters of Ireland in his time, on par with Thomas Roberts and George Barret. Most of his works were topographical views of seats and well-ordered parks and his principal patrons were, therefore. Institutions such as Society of Artists in Ireland, the Academy of Artists in Dublin, and he was most prolific from 1777–1813, selling numerous paintings at auction.
At the beginning of the 19th century – probably between 1804 and 1806 – he painted a set of landscapes in and around Mount Merrion for Lord Fitzwilliam and it was near this time that he completed his Marino Casino, one of his finest works. The Fitzwilliam commission was the last major one he received, although he continued to paint, in the last decade of his life he painted less, with his last known painting dated as 1821. Ashfords work is viewed as heavily influenced by such as Claude Lorraine and Richard Wilson. Artists like James Arthur OConnor show Ashfords influence in the Irish landscape painting genre, as well as his landscape painting, Ashford is known for his flower paintings, with his early work painted in the Dutch style
Helen Allingham RWS was an English watercolour painter and illustrator of the Victorian era. Helen Mary Elizabeth Paterson was born on 26 September 1848, at Swadlincote in Derbyshire, the daughter of Alexander Henry Paterson, a medical doctor, Helen Paterson was the eldest of seven children. The family moved to Altrincham in Cheshire when she was one year old, in 1862 her father and her 3-year-old sister Isabel died of diphtheria during an epidemic. The family moved to Birmingham, where some of Alexander Patersons family lived, Paterson showed a talent for art from an early age, drawing some of her inspiration from her maternal grandmother Sarah Smith Herford and aunt Laura Herford, both accomplished artists of their day. Her younger sister Caroline Paterson became a noted artist and she initially studied art for three years at the Birmingham School of Design. From 1867 she attended the National Art Training School in London, the School is presently the Royal College of Art. While studying at the National Art Training School, Paterson worked as an illustrator and she painted for childrens and adult books, as well as for periodicals, including The Graphic newspaper.
One highlight was her commission to provide illustrations for the 1874 serialisation of Thomas Hardys novel Far from the Madding Crowd in Cornhill Magazine. Her illustrations from this era were signed H. Paterson and she became a lifelong friend of Kate Greenaway whom she met at evening art classes at the Slade School of Fine Art. While Vincent Van Gogh was developing as an artist by studying English illustrated journals he was struck by Pattersons work in The Graphic, on 22 August 1874 she married William Allingham, Irish poet and editor of Frasers Magazine, who was almost twice her age. After her marriage she gave up her career as an illustrator, in 1881 the family moved from Chelsea to Witley in Surrey. Helen started to paint the beautiful countryside around her and particularly the picturesque farmhouses and cottages of Surrey, to her critics, despite elements of protest in The Condemned Cottage for example, hers was an overly sentimental, conservative vision of the area. She went on to paint rural scenes in parts of the country – Middlesex, the Isle of Wight.
As well as landscapes, she completed several portraits, including one of Thomas Carlyle, in 1890, she became the first woman to be admitted as a full member of the Royal Watercolour Society. There is a Helen Allingham Society, founded in 2000 and her time in Altrincham is commemorated by blue plaques at 16 Market Street, Altrincham and at Levenhurst, St. Johns Road, Bowdon. Burgh House, has the worlds largest archive and collection of her work, illustrated by Helen Allingham Huish, Marcus B. Happy England as Painted by Helen Allingham, R. W. S, written by Helen Allingham Seedtime and reaping. Walter Tyndale, influenced by Allingham and lived in Surrey, the marketing of Helen Allingham, the English cottage and national identity
John Henry Frederick Bacon
John Henry Frederick Bacon ARA was a British painter and illustrator of genre works and bible scenes, and portraits. Bacon was the son of the lithographer John Cardanall Bacon. He trained at the Westminster School of Art and the Royal Academy Schools in London, in his teens he acquired a reputation as an outstanding black-and-white illustrator, and at the age of 18 set off on a professional tour of India and Burma. On his return to England, in 1889, Bacon exhibited The Village Green and he was an Associate of the Royal Academy and was awarded the MVO for distinguished service to the King. Bacon illustrated books as well as magazines and periodicals, Bacon married in 1894 and took up residence at Pillar House in Harwell, Berkshire. He died of bronchitis on 24 January 1914, aged only 49. The Wedding Morning, John Henry Frederick Bacon Portrait of Michael Lewis Myers,1906 Ebbutt, hero-myths & legends of the British race. Celtic myth and legend, poetry & romance
W. H. Allen
William Herbert Allen was a notable English landscape watercolour artist whose career spanned more than 50 years from the 1880s to the 1940s. He was invariably referred to as WH rather than by his given name, born 14 September 1863 in West Brompton, London, of parents from Alton, Allen was for many years Director of the Farnham School of Art in Surrey. He produced several thousand watercolours and pencil sketches mainly of the landscapes and people of West Surrey, in addition, he produced scenes of other parts of the British Isles and various parts of Europe. These works included commissions in Italy for the Victoria and Albert Museum, Edinburgh and he was made a member of the Royal Watercolour Society in 1903 and the Royal Society of British Artists in 1904 and his work was exhibited at the Royal Academy in 1927. He moved from Surrey to Wylye, Wiltshire in 1932 and is buried at St Nicholass Church, many of W. H. Allens paintings are regularly displayed at the Allen Gallery, Church Street, Alton.
These include landscapes of the local East Hampshire countryside at the beginning of the 20th century, many of his paintings were produced in the field and are bold in their depiction of light and shadows, or of changing weather conditions. His studio works are larger and of greater detail. Very few were sold on the market, but he did exhibit regularly at the major galleries. Allen embraced many styles and techniques from vivid, almost abstract, watercolours to more traditional oils and his field sketches and studies are considered to be particularly successful and were painted in all weathers and conditions. He was a private and modest man who changed peoples perception of their surroundings, in this he was helped by fellow Farnham resident and friend George Sturt, whose writings reflect Allens approach to the recording of rural life and change. Thanks to their work and rural landscapes began to be preserved at a time when progress was causing sweeping changes. W. H. Allen entered the Royal College of Art in 1884, where he came under the influence of its Director, Thomas Armstrong, a disciple of William Morris and this was to remain his predominant influence throughout his working life as an artist and teacher.
In 1888 he was awarded a medal and a scholarship of £50, enabling him to travel to Europe. He was still a student at the Royal College of Art when he became a lecturer in Design. He became master of the Sydenham Art Class, after receiving a reference from his college principal, Allen gave private wood carving lessons to Harold Falkner who became an architect and leading light in the preservation of Georgian Farnham. By 1897 Allen was sufficiently settled in the Farnham area to commission Harold Falkner to design a house for him. Situated on the Tilford Road, Strangers Corner was to remain Allens home until 1932 and this gallery, whilst dedicated to the memory of Allen, shows works by a wide variety of artists and has frequently changing exhibitions, including occasional large exhibitions of Allens work
Henry Thomas Alken
Henry Thomas Alken was an English painter and engraver chiefly known as a caricaturist and illustrator of sporting subjects and coaching scenes. His most prolific period of painting and drawing occurred between 1816 and 1831, Alken was born on 12 October 1785 in Soho and baptised on 6 November at St Jamess Church, Piccadilly. He was the son of Samuel Alken, a sporting artist. Two of his brothers were George and Samuel Alken the Younger, in 1789, the Alken family moved from Soho to 2, Francis Street East, Bedford Square. Young Henry first studied under his father and with the miniature painter John Thomas Barber Beaumont, in 1801, Alken sent a miniature portrait of Miss Gubbins to the Royal Academy Exhibition. He exhibited a miniature at the Royal Academy before abandoning miniature painting and taking on painting and illustrating. Early in his career, he painted sporting subjects under the name of Ben Tally-O, Alken married Maria Gordon on 14 October 1809 at St Clement’s Church, Ipswich. On 22 August of the year the couples first son was baptised.
Alken went on to five children, of whom two were artists, Samuel Henry, a sporting artist, known as Henry Alken junior. When Alken was 26, he and his family lived over a shop in Haymarket that belonged to print publisher Thomas McLean of the Repository of Wit. McLean paid Alken a daily wage of thirty shillings, considered a good income at the time, Alken died in April 1851 and was buried in Highgate cemetery. Although fairly affluent for most of his career, he fell on hard times towards the end of his life and was buried at his daughters expense, Alken worked in both oil and watercolor and was a skilled etcher. Alken provided the plates picturing hunting, coaching and steeplechasing for The National Sports of Great Britain, known as an avid sportsman, is best remembered for his hunting prints, many of which he engraved himself until the late 1830s. Nimrods Life of a Sportsman, with 32 etchings by Alken, was published by Ackermann in 1842. One of his best known paintings, The Belvoir Hunt, Jumping Into And Out Of A Lane, hangs in the Tate Britain, a collection of his illustrations can be seen in the print department of the British Museum.
Volume 2 By Pierce Egan The Art and Practice of Etching by Henry Alken,1849 Attribution This article incorporates text from a now in the public domain, Alken. Walter Shaw Sparrow, Henry Alken Henry Thomas Alken, The Grove Dictionary of Art
Anne Margaret Coke, Viscountess Anson
Anne Margaret Coke, Viscountess Anson was an English painter, the daughter of Thomas Coke, 1st Earl of Leicester of Holkham, and wife of Thomas Anson, 1st Viscount Anson. Anne Margaret Coke was born at Holkam Hall on 25 January 1779 to Thomas Coke, 1st Earl of Leicester of Holkham, Anne had an older sister, born in 1777, and a younger sister, Elizabeth born in 1795, one year after Anne was married. Jane was married by that time and her mother was an abolitionist, spent her allowance on donations to the poor and theater tickets for her servants. Jane Dutton believed in the importance of an education for her children. At the age of 15, Anne Margaret Coke was married to 27-year-old Thomas Anson and he was a member of parliament, worth £22,000 per year, and heir to Shugborough estate in Staffordshire. According to Susanna Wade Martins, Anne was described as thin, energetic, never quiet, constantly getting into quarrels, dawson Turner described her as a woman of sweet character and a pleasing personality.
Anson gave birth to children, four by the time she was 20 years of age. She died 23 May 1843 in London, Susanna Wade Martins in Coke of Norfolk states that Anne was likely taught to draw by Thomas Gainsborough in Norfolk and London. One of her paintings of a girl was made after one of Gainsboroughs paintings. She was said to have made a painting of a nest of owls that was considered well done by Benjamin Haydon. Mrs. Powys, who visited Shugborough in 1800, stated that competent works by Anson were in room of the house
George French Angas
George French Angas, was an English explorer and painter who emigrated to Australia. His paintings are held in a number of important Australian public art collections and he was born in Newcastle upon Tyne, the eldest son of George Fife Angas, prominent in the establishment of the new colony of South Australia. Despite showing remarkable talent in drawing, he was placed in a London business house by his father and he left on a tour of Europe and in 1842 published his first book, Rambles in Malta and Sicily. As a result of experience, he turned his back on the world of commerce. Embarking on his travels, he was soon to find his acquired skills extremely useful, Angas painted some of the earliest views of South Australia. Arriving in Adelaide in January 1844, he joined Sir George Grey on an expedition into the interior, following a trip to New Zealand he returned to South Australia in 1845 and travelled to Port Lincoln. In the following year he returned for a short while to England, in this book were views of Cape Town, Wynberg, Genadendal and Somerset West and plates depicting the local ethnic groups such as Hottentots and Zulus.
Angas married Alicia Mary Moran in 1849, the marriage producing four daughters, in 1853 Angas was appointed to a position at the Australian Museum in Sydney, eventually becoming Director and staying a total of seven years. Angas was in Sydney when gold was first discovered near Bathurst, travelling there to record the gold diggings he executed a number of drawings of the scenes that he found. These were published in Sydney and subsequently in London, Angas returned to South Australia in 1860, and finally went back to England in 1863. Angas died in London on 8 October 1886, the second, dated 28 July 1849 discusses problems experienced by overseas subscribers in the delivery of Kafirs Illustrated. The third letter instructs the publisher to send a plate from his sisters copy of Kafirs to the bookbinder, Mr Proudfoot, the African antelope, was named in his honour. A Catalogue of paintings by George French Angas, illustrative of the natives and scenery of New Zealand and South Australia, sketches in Brazil, Cape Verde Islands, New South Wales, George French Angas, South Australia illustrated.
George French Angas, The New Zealanders illustrated, George French Angas, The Kafirs illustrated in a series of drawings taken among the Amazulu and Amakosa tribes. George French Angas, Six views of the field of Ophir, at Summerhill. George French Angas, Australia, an account of its physical features and productions. George French Angas, Polynesia, a description of the physical features, natural history. With an account of their discovery, and of the progress of civilization, journal de Conchyliologie, series 3,12, 43-70, pls
Mary Ellen Bagnall-Oakeley
Mary Ellen Bagnall-Oakeley was an English antiquarian and painter known for her work in Bristol and south-east Wales. She was a governor of the Haberdashers Monmouth School for Girls, Mary Ellen Bagnall, eldest daughter and heiress of John Bagnall and his wife Mary Ann Robbins, was born in 1833 in West Bromwich, Staffordshire. Her father John Bagnall, eldest son of John Bagnall, had become the member of John Bagnall and Sons. The firm had established by his father, who had brought five of his sons into partnership with him in 1828. The company had extensive collieries and ironworks, Mary Ellens father John died on 4 February 1840. In 1841, Mary Ellen lived in West Bromwich with her mother, younger sisters Jane and Kate, by 1851, the family had moved to Monmouth in Wales, where she resided with her widowed mother, two sisters, and staff of six. Mary Ellen Bagnall married William Oakeley, son of Thomas and Elizabeth Oakeley and their marriage was registered in Monmouth in the third quarter of 1853.
Mary Ellen and her husband resided in the village of Penallt, near Monmouth, with their family and household servants, at the time of the 1861 and 1871 census enumerations. She was the mother of nine children, James Bagnall, William Ralph, Mary Beatrice, John Lewis, Jane Parnel, Elizabeth Blanche, Alexandra Ethel, Kemeys Leoline, the archer, Richard Henry. Mary Ellen Bagnall-Oakeley was a member of or associated with a number of societies in England and she took an interest in antiquarianism and numismatics, and penned numerous articles and pamphlets on antiquarian topics for societies. These included the 1902 Monnow Bridge Tower, Description of the Tower and Its History, on 8 January 1891, her husband Reverend William Oakeley was elected to membership of the Clifton Antiquarian Club that was based in Bristol. As a woman, Mary Ellen was excluded from membership in that society, she was still able to submit learned papers to the society. In addition, the historian was able to participate in the day excursions that the club sponsored, on 20 July 1889, the club undertook an excursion to Tintern Abbey and Monmouth.
Bagnall-Oakeley and her husband served as guides for the Monmouth portion of the excursion, the group visited St. Thomas Church, the gatehouse on the Monnow Bridge, the ruins of Monmouth Castle, the Church of St. Mary, and Geoffreys Window. All of the papers submitted to the Clifton Antiquarian Club are maintained in the seven volumes of the Proceedings. The five papers that Mary Ellen submitted to the Proceedings of the Clifton Antiquarian Club cover the period from 1887–1888 to 1895, in chronological order, they include, Bagnall-Oakeley was a member of the Bristol and Gloucestershire Archaeological Society where she made presentations on a variety of antiquarian subjects. The society was founded in 1876 and, similar to the Clifton Antiquarian Club, offered a program of lectures and excursions. In 1889, she presented a paper entitled Sanctuary knockers which detailed the history of 12th to 14th century church door knockers, all of the papers that she submitted are maintained in the Transactions of the Bristol and Gloucestershire Archaeological Society
Sophie Gengembre Anderson
Sophie Gengembre Anderson was a French-born British artist who specialised in genre painting of children and women, typically in rural settings. She began her career as a lithographer and painter of portraits and her work, was the first public collection purchase of a woman artist. Her painting No Walk Today was purchased for more than £1 million, Sophie was born in Paris, the daughter of Charles Antoine Colomb Gengembre, a French architect and artist, and his English wife, whose maiden name was Hubert. They lived in Paris during the years of Sophies life, where her father was acquainted with artists, intellectuals. Circumstances required that the family leave Paris and live in an area in France from 1829 to 1843. At seventeen she developed an interest in art when a portrait painter visited her town. She had two brothers and Henry P. Gengembre and her brother Philip changed his name to Philip Hubert, using his mothers maiden name, and was a successful architect in New York City. She was largely self-taught in art, but briefly studied portraiture with Charles de Steuben in about 1843, soon after she began her studies, he left for Russia and did not return within the one year allotted for her studies.
She did develop relationships with women artists at the school where she gained a little more instruction. The family left France for the United States to escape the 1848 revolution, first settling in Cincinnati and her brother Henry P. Gengembre was an artist, active in Cincinnati in the early 1850s. Her portrait and Brittany landscape paintings were exhibited in October 1849 at the Western Art Union Gallery, four or more of her illustrations were included in the Historical Collections of the Great West by Henry Howe. She collaborated with Walter Anderson, her husband, on portraits of Protestant Episcopal bishops. She lived in Manchester, Pennsylvania with her parents, where she is believed to have married Walter Anderson and she worked there for the chromolithographers Louis Prang & Company. In 1854 the Andersons moved to London, where Sophie exhibited a still life of fruit, game and it was considered an admirable composition made with surprising truth. Her works were exhibited at the Royal Academy.
They returned to Pennsylvania in 1858 for a visit with her family. The latter year she and her husband had work shown at the National Academy of Design and she settled in London again around 1863. Andersons work was exhibited at venues including the Royal Academy, the Royal Society of British Artists
John Samuel Agar
John Samuel Agar, was an English portrait painter and engraver, who exhibited his works at the Royal Academy from 1796 to 1806 and at the British Institution until 1811. He did not exhibit again until 1836 and he had been declared bankrupt in February of the previous year. He was at one time president of the Society of Engravers and his engravings were chiefly in stipple. They include works after Richard and Maria Cosway, and a series of allegories of the months after Edward Francis Burney, national Portrait Gallery Profile Media related to John Samuel Agar at Wikimedia Commons
Clare Tony Atwood was a British painter of portraits, still life, landscapes and decorative flower subjects. Atwood lived in a ménage à trois with the dramatist Christabel Marshall, Atwood was born in 1866 at Richmond, the only daughter of Frederick Atwood, an architect, and his wife, Clara Becker. Named Clara at birth, she used the form Clare and was known as Tony. Atwood studied at Westminster School of Art and the Slade School of Fine Art, Atwood first exhibited at the New English Art Club in 1893, becoming a member in 1912. She held an exhibition of her work at the Carfax Gallery in 1911, in 1917, during World War I, she was commissioned to paint war scenes for the Canadian Government through the Canadian War Memorials Fund. The Fund arranged for Atwood to visit the camp at Folkestone in Kent to gather ideas for the work. However, Atwood decided instead to paint a scene at one of Londons main railway stations where troops were waiting for trains to take them to camps or to the front. During the war, Attwood was commissioned by the Womens Work Sub-committee of the Imperial War Museum to produce several pieces depicting the activities of the Womens Voluntary Service.
The most notable of these, Christmas Day at the London Bridge YMCA Canteen, records the visit of the actress Ellen Terry, in 1920 she was commissioned for four more war paintings by the Imperial War Museum. She, Edith Craig and Christabel Marshall were friends with many artists, Atwood designed props for several of Edith Craigs productions with the Pioneer Players, including the 16 foot high crucifix for their production of Paul Claudels The Hostage. Atwood was a member of the Pioneer Players, Atwood occasionally performed at the Barn Theatre at Smallhythe Place in Kent, which was founded by Craig to stage performances in memory of her late mother, the actress Ellen Terry. Atwood acted in the matinée at the Palace Theatre, London on 23 April 1929, in July 1932, Atwood decorated the shoe for Craigs production of The Shoe in Tenterden. After Craigs death, Atwood wrote an essay about Craig, Atwood suffered a fractured femur, senile myocarditis and heart failure, and died at Kench Hill Nursing Home, Kent, on 2 August 1962.
Atwoods paintings are held in collections Tate Collection, the V&A and Imperial War Museum in London, as well as in the Victoria Art Gallery, Glasgow and Liverpool. She exhibited at the Royal Academy, and in 1940 one of her paintings was purchased by the National Art Gallery of New Zealand, there is material relating to Clare Atwood held in the Ellen Terry Collection at the V&A Department of Theatre & Performance Archive. 27 Painting by or after Clare Atwood at the Art UK site John Gielguds Room by Atwood in the Tate Collection Atwood on Artnet. com AHRC Ellen Terry and Edith Craig Archive