FRAMED 1800s ANSDELL & PHILLIP Engraving "The Way-Side in Andalusia" SIGNED COA

Description: --> Four Centuries of the world's finest artists from our collection to yours --> Thank you for visiting... Click here for HOT DEALS | Click here for our NO RESERVE AUCTIONS Please feel free to ask any questions you might have about this work and we will answer promptly.International bidders are always welcome to bid and we combine shipping on all orders. --> Artist: Richard Ansdell (English, 1815-1885) and John Phillip (British, 1817-1867)Title: The Way-Side in Andalusia Medium: Antique engraving on wove paper after the original Oil on canvas by master engraver Charles Cousin (British, 1819-1889). Signature: Signed in the plate. Year: 1854Condition: ExcellentDimensions: Image Size 8 1/4 x 10 inches. Framed dimensions: Approximately 17 x 19 inches. Framing: This piece has been professionally matted and framed using all new materials. Additional notes: This is not a modern print. This engraving is more than 170 years old. The strike is crisp and the lines are sharp. The original oil on canvas is housed in the Aberdeen Art Gallery. Extra Information:A gypsy woman in profile to the right, sitting on a donkey which is led to the left foreground by a boy, playing the guitar, another laden donkey following them in the right middle distance, along a path flanked by cactuses. Artist Biography: Richard Ansdell was an English oil painter of animals and genre scenes. He was also an engraver. Ansdell was born in Liverpool, Lancashire, the son of Thomas Griffiths Ansdell, a freeman who worked at the port, and Anne Jackson. His father died young and Richard was educated at The Liverpool Blue Coat school for orphans. He had a natural talent for art from an early age, and after leaving school worked for a portrait painter in Chatham in Kent, and also spent time as a sign painter in the Netherlands. He first exhibited at the Liverpool Academy in 1835, becoming a student there the following year. His animal and rural subjects proved to be popular and he soon attracted wealthy patrons. His first exhibition at the Royal Academy, London, was in 1840, with two paintings called "Grouse shooting" and "A Galloway farm". This was followed, in 1841 by "The Earl of Sefton and party returning from hunting", in 1842 "The death of Sir William Lambton at the Battle of Marston Moor", in 1843 "The Death" and in 1844 "Mary Queen of Scots returning from the chase to Stirling Castle". He went on to exhibit pictures every year at the Academy until 1885 (149 canvases in all). In 1846 he exhibited his first picture, "A Drover's Halt" at the British Institution, London, and went on to show 30 canvases there. In June 1841, he married Maria Romer - the couple went on to have 11 children. In 1847 the family left Liverpool to live in Kensington in London. In 1850, Ansdell started collaborating on pictures with Thomas Creswick, who specialised in landscapes (e.g.:"The South Downs", "England's day in the country" etc.). He also worked with William Powell Frith ("The Keeper's daughter") and John Phillip, with whom he travelled to Spain in 1856 and painted a series of Spanish subjects - "The Water Carrier", "The Road to Seville", "The Spanish shepherd" etc. He returned to Spain alone the following year to paint more pictures there. In 1855, Andsell was awarded a gold medal at the Paris Exhibition for his works, "The Wolf Slyer" and "Taming the Drove". He also won the "Heywood medal" three times for his work at the Manchester Royal Institution. He was elected an Associate of the Royal Academy (ARA) in 1861 and a Royal Academician (RA) in 1870. During part of his career he kept a "summer house" at Lytham St Annes, in the borough of Fylde, where a district, Ansdell, is named after him. He is the only English artist to have been honoured in this way. Ansdell died at "Collingwood Tower" near Frimley, Surrey in April 1885. He was buried at Brookwood Cemetery. Ansdell's best known works include Stag at Bay (1846), The Combat (1847), and Battle of the Standard (1848) - depicting the capture of the French flag at Waterloo by Sergeant Ewart of the Scots Greys. Ansdell's subject matter was compared to that of Edwin Landseer, though critical opinion was that, though popular, his works lacked the latter's emotional impact. His reputation was as a hardworking but occasionally over-proud artist; for instance, he received no royal commissions after refusing to paint Queen Victoria's dogs unless they were brought to his studio. Many of his works are under the guardianship of Fylde Borough Council, having been donated to the former Lytham St Annes Corporation in the 1930s. A selection of these paintings is periodically exhibited at the Fylde Gallery above Booths supermarket in Lytham where The Herd Lassie is on long-term loan. There are further Ansdell paintings hanging in non-public rooms at Fylde Borough Council Town Hall that can be viewed by prior arrangement or on heritage open days in September. The largest public collections of Ansdell's paintings in Britain are in Liverpool's Walker Art Gallery, the Lytham St Annes Art Collection, and Preston's Harris Museum. John Phillip was a Victorian era Scottish painter best known for his portrayals of Spanish life. He started painting these studies after a trip to Spain in 1851. He was nicknamed "Spanish Phillip". Born into a poor family in Aberdeen in Scotland, Phillip's artistic talent was recognised at an early age. Lord Panmure paid for Phillip to become the student of Thomas Musgrave Joy in London briefly in 1836. His education at the Royal Academy of Arts was paid for by Panmure. While at the academy, Phillip became a member of The Clique, a group of aspirant artists organised by Richard Dadd. The Clique identified as followers of William Hogarth and David Wilkie. Phillip's own career was to follow that of fellow-Scot Wilkie very closely, beginning with carefully detailed paintings depicting the lives of Scottish crofters. He moved on to much more broadly painted scenes of Spanish life influenced by Bartolomé Esteban Murillo and Diego Velázquez. Phillip's early works tended to depict pious Scots families. In 1851 he visited Spain, after he was advised to travel to southern Europe for his health. Thereafter he concentrated on Spanish subjects. The first of these, The Letter Writer, Seville, displayed the influence of Pre-Raphaelitism, a movement he had previously opposed, along with most other members of The Clique, despite his friendship with Millais, one of its leaders. He was so influenced by his travels that he advised other artists to do the same. Some artists, such as Edwin Long, took this advice and were similarly inspired. In the late 1850s and 1860s Phillip's style became much broader and more painterly, in line with Millais's late work. Phillip's two most important paintings in these years were The Early Career of Murillo (1864) and La Gloria (1865, National Gallery of Scotland). The first depicted the young Murillo drawing his art from Spanish street-life; the second portrayed a Spanish wake for a dead child. Phillip was commissioned to paint the wedding in 1858 of Victoria, Princess Royal to Prince Frederick William of Prussia, later German Emperor Frederick III. Phillip married Richard Dadd's sister. Like her brother she became insane. Phillip died of a stroke while visiting William Powell Frith in Kensington. Phillip's self-portrait, The Evil Eye, commissioned by his close friend Patrick Allan-Fraser, is in Hospitalfield House in Arbroath, along with portraits of other members of The Clique. 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Price: 299 USD

Location: Cape Coral, Florida

End Time: 2024-12-20T21:05:00.000Z

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