Tuesday, 4 October 2016

Photography and Pre-Raphaelites.



At the end of last month Tate Britain’s exhibition ‘Painting with Light, Art andPhotography from the Pre-Raphaelites to the Modern Age’ closed its doors. The exhibition examined the relationship between the art of the Victorian and Edwardian period, especially the Pre-Raphaelite and Impressionist movements, and the developing art of photography. It proved an interesting exercise to re-examine our collection of 19th century prints, many of which are after artists like J.E. Millais and George Frederick Watts who feature in the exhibition, along with our 19th photographs.

 

Photography

The development of photography in the 19th century created as a relatively cheap and quick way of 
capturing of capturing a person’s likeness. It allowed the ever growing middle classes of Victorian 
England access to portraiture. As photography was a much more accurate image of a person, photographs of celebrity figures, even royalty, became increasingly popular.

[William Gilbert Grace].
W&S Ltd.
Barraud. 263 Oxford Steer, London & 92, Bold Street, Liverpool. [n.d., c.1888].
Photograph on card mount. Card size: 350 x 260mm (13¾ x 10¼").
William Gilbert ('W.G') Grace (1848 - 1915) was perhaps the most famous sporting celebrity of the Victorian era, his legendary cricketing triumphs earning him a unique place in national life.
[Ref: 33592
 £180.00


                      Madame Norman Neruda. (Lady Hallé). [Facsimile signature:] Wilma Hallé. (Norman Neruda).
Walery, Photographer to the Queen.
164, Regent Street, London. [Published by Sampson Low & Co. May 1889.]
Photograph on card mount. Card size: 400 x 292mm. (16 x 11½").
Wilma Neruda, Lady Hallé, originally Wilhelmine Maria Franziska Neruda (1838 - 1911) was a famous violinist who came from a family long famous for musical talent. She studied with Professor Leopold Jansa (1795-1875), and made her first public appearance as a violinist in Vienna at the age of seven, playing one of Bach's Violin Sonatas.
[Ref: 33591]   £120.00 

Professor Huxley, L.L.D. F.R.S. [Facsimile signature:] Thomas H Huxley.
Walery, Photographer to the Queen.
164, Regent Street, London. [Published by Sampson Low & Co. May 1889.]
Carbon print, photograph on card mount. 406 x 292mm. 16 x 11½". Slight damage to card mount.
Thomas Henry Huxley (1825-1895) was an English biologist, known as "Darwin's Bulldog" for his advocacy of Charles Darwin's theory of evolution. He was a biologist and science educationist.
[Ref: 23292]   £220.00   


[Franz Liszt.]
[On verso: Eigenthum und Verlad von E.H. Schroeder Hermann Kaiser 41. Unter den Linden 41.] [n.d. c.1880.]
Photograph laid on card. Image 81 x 61mm (3¼ x 2½"). Small stains on image, slight crease.
Franz Liszt (1811-1886) the Hungarian composer, virtuoso pianist, conductor and teacher.
[Ref: 34567]   £60.00

Capt. Montagu O'Reilly Rn. [In pencil underneath the image.]
[n.d. c.1856]
Photograph. 318 x 285mm. 12½ x 11¼".
Montagu Frederic O'Reilly (b.1822), watercolourist and naval officer.
[Ref: 18909]   £280.00   


[Seven photographic carte à visites of Victoria, Albert, the Prince & Princess of Wales and their children Louise and Victor.]

[Various dates, c.1860's.]

Seven sepia photographic carte à visites on album sheet dated June 1867. Each c.105 x 65mm (4¼ x 2½"). Three detached from sheet.

The photographers include: Robert Bingham (1825-1870), 58, rue de la Rochefoucauld, Paris; W. & D. Downey of Newcastle; Preston & Poole of Penzance; Hills & Saunders of Eton & Oxford. Downey's carte-de-visite portrait of Alexandra, Princess of Wales and later Edward VII's queen, with Princess Louise was one of the most popular ever issued, with sales of 300,000.

[Ref: 31780]   £220.00  



19th Century 'Photorealism'

With life being captured in photography it perhaps not surprising that close attention to detail became popular in the art of the late nineteenth and early twentieth century.


These prints after portraits by John Everett Millais, one of the founding members of the Pre-Raphaelite Brotherhood, demonstrate the realism the Brotherhood sought to capture, making the print seem almost photographic. Artists seemed to be attempting to imitate the photograph in the accuracy of their painting.




Effie Deans.
Painted by John Everett Millais. R.A. Engraved by T. Oldham Barlow, A.R.A [Artist's monogram and 1877 in image lower left].
Published Oct. 20th 1879, by Thomas Agnew & Sons, London, Liverpool and Manchester__Copyright Registered.
Mixed method engraving on india laid paper, 780 x 580mm. 30¾ x 22¾".
[Ref: 8844]   £520.00 

 


Lilac.
J. E. Millais [signed in pencil]. G. H. Every [signed in pencil].
Published October 20th 1888 by Thos. Agnew & Sons London, Liverpool and Manchester.
Mezzotint with very large margins. 350mm x 510mm (13½" x 20"). Printsellers' Association blindstamp. Nearly mint.
Ex: Collection of Thomas Agnew
[Ref: 32028]   £260.00
  


[Pomona.]
Painted by J.E. Millais, R.A. Engraved by S. Cousins, R.A. [also signed in pencil by both.]
London, Published Oct. 2.nd 1882 by Arthur Tooth & Sons, 5 & 6 Haymarket, S.W. & The Fine Art Society, New Bond Street. Copyright Registered. Entered according to Act of Congress in the Year 1882 by Mess.rs Knoedler & Co. in the Office of the Librarian of Congress at Washington.
Mixed method on chine collé. Signed in pencil by artist and engraver, Printseller's Association stamp. Plate 540 x 400mm (21¼ x 15¾"). Mint.
Whitman: 220.
[Ref: 29288]   £280.00


It was with the development of photography that other printing methods also developed. The photogravure permitted much more accurate reproduction of paintings than the traditional engraving and etching methods. The method uses film positive and light sensitive gelatine on a copper plate; the resulting print is like a printed photograph. The following photogravure is a reproduction of the popular Victorian painter George Frederick Watts's self-portrait.

[George Frederick Watts.]
London, Published Dec.r 1.st 1887 by Robert Dunthorne, at The Rembrandt Head in Vigo Street, W.
Photogravure on india. Plate 330 x 247mm. 13 x 9¾". Bit messy.
[Ref: 24133]   £130.00

Orientalism in 19th century Art  
  
The Tate’s exhibition also touches on the Orientalism of 19th Century painting and photography. Much of the European art of the Victorian and Edwardian era was influenced by the increasing popularity and exploration of the Middle East, with paintings showing scenes from contemporary Middle Eastern life as well as biblical scenes.


[Little Fatima.]
[Painted by Frederick, Lord Leighton.] Gerald Robinson.
London Published December 15th 1898 by Arthur Lucas the Proprietor, 31 New Bond Street.
Mezzotint, proof signed by the engraver, ltd to 275. 310 x 490mm.
Printsellers:Vol.II:Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 3801]   £420.00

Pre-Raphaelite artist William Holman Hunt painted many works showing biblical figures inspired by his travels in the Middle East in the 1850s. In keeping with the Pre-Raphaelite ideals these works focus strongly on the naturalistic, seeking to show accurate topography and ethnography.

                                                                             [The Abundance of Egypt] 
W.H. Hunt [1854/7]
Etching on india with very large margins, platemark 155 x 120mm (6 x 4¾"). Uncut sheet. Only published edition.
The best known of the five original etchings by Pre-Raphaelite painter William Holman Hunt (1827-1910).
Hartnoll 14; for 'The Desolation of Egypt' see ref. 35879.
[Ref: 35878]   £250.00

Many artists believed that in painting biblical scenes which were as true to life as possible they would better convey the messages and stories in the bible. These scenes by Edwin Long (1829-1891) and Frederick Goodall demonstrate this almost photographic, naturalistic style.


[The Finding of Moses.]
[Painted by Frederick Goodall, R.A. Engraved by Richard Josey.]
London, April 17th, 1888. Published by Fairless & Beeforth, 126 New Bond Street W. Copyright Registered.
Mezzotint on Indian laid paper, proof before title and artists names, signed by the artist & engraver. 450 x 605mm Uncut. Mint.
[Ref: 29423]   £450.00  




[Anno Domini.]
[Painted by Edward Long R.A, Engraved by Herbert Bourne.] Signed in pencil.
London, April 17th. 1889 Published by Fairless & Beeforth, 25 New Bond Street, W. Copyright Entered to Act of Congress in the 1889 by Frank Hunter Potter in the Office of the Librarian of Congress at Washington U.S.A.
Mixed-method engraving. Signed artist's proof. 1110 x 622mm. 43¾ x 24½". Uncut. Occasional staining outside of image area.
[Ref: 18108]   £280.00  


[Days of Mourning.]
[Painted by Edwin Long, R.A. Engraved by G. Sidney Hunt.] Signed in pencil.
London June 1st. 1892. Published by Fairless & Beeforth. 128, New Bond Street, W. Copyright Registered.
A mixed-method engraving. Signed artist's proof. 673 x 458mm. 26½ x 18". Uncut. Mint.
[Ref: 14085]   £140.00 

Meeting of Jephthah and his Daughter
Painted by Edwin Long, R.A. Engraved by Herbert Bourne.
 London May 2nd. 1892, Published by Fairless & Beeforth. 128, New Bond Street. W. Copyright Registered.
A mixed-method engraving. 674 x 921mm. 26½ x 36¼. Uncut. Mint.
[Ref: 14087]   £260.00   

For more 19th Century Prints and Photographs please visit our website!
                                                     

 

  

Follow @mybloggertricks