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(RM) 601161259
CHECKMATE - NEXT MOVE, BY J. C. HORSLEY, A.R.A., FROM THE EXHIBITION OF THE ROYAL ACADEMY, 1862. CREATOR: H. HARRALL.
Checkmate - Next Move, by J. C. Horsley, A.R.A., from the exhibition of the Royal Academy, 1862. Engraving of a painting. The great merit of the picture is its very admirable painting of interior perspective and its still more remarkable representation of the effects of sunlight...how pleasantly the certainty of victory is indicated in the action and expression of the lady of the hall in her smile of self-complacency, her rallying look at her absorbed antagonist, her partial withdrawal from the chessboard...Look, too, at the wicked eyes of that pretty party to the plot standing, in the olden fashion, dutifully behind mamma's chair, and, like a well-bred girl as she is, suppressing the involuntary titter with her fan. How are we to apply the apparent double entendre of the title? Will the old gentleman be "mated" as well as "checkmated," for in chess parlance the one is identical with the other?...What is the young gallant - the son, we may suppose, of the older victim - whispering?...The background...is an interior at Haddon Hall...The room here represented is of the time of Henry VII...Mr. Horsley is, we believe, the only painter who has taken important portions of the building literally as backgrounds to elaborate subject pictures'. From "Illustrated London News", 1862. Checkmate - Next Move, by J. C. Horsley, A.R.A., from the exhibition of the Royal Academy, 1862. Creator: H. Harrall. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160114
THE INTERNATIONAL EXHIBITION: WHITE MARBLE MANTELPIECE AND BAS-RELIEF EXECUTED..., 1862. CREATOR: UNKNOWN.
The International Exhibition: white marble mantelpiece and bas-relief executed by the late J. Thomas, 1862. 'This chaste and elegant mantelpiece was executed in pure white marble by the late Mr. John Thomas...The figures on the spandrils and centre represent Oberon and Titania, from "A Midsummer Night's Dream", attended by Puck and one of the little elfs bearing a bullrush, Puck with the ass's head. The figures are tastefully drawn and executed. Above the jambs are two small heads, one on each side, exquisitely moulded, almost emblematical of Peace and War, for one holds a bunch of wheat, whilst the other is apparently in a great passion. The latter was modelled from the artist's own son, who died in infancy. The stove, which was also designed by Mr. Thomas, is a lovely piece of work in bright steel and encaustic tiles. This portion is from the works of Messrs. Stewart and Smith of Sheffield...The bas-relief hanging above the centre of the mantelpiece does not belong to the work, but is a pleasing idea, nicely carried out, of Little Red Riding Hood, accompanied by the wolf. The stove and mantelpiece were executed for Mr. Charles Lucas, one of the contractors for the Great Exhibition building'. From "Illustrated London News", 1862. The International Exhibition: white marble mantelpiece and bas-relief executed..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601159384
GAME AND FRUIT BY W. DUFFIELD, IN THE GALLERY OF THE BRITISH INSTITUTION, 1862. CREATOR: E. SKILL.
Game and Fruit by W. Duffield, in the Gallery of the British Institution, 1862. Engraving of a painting. 'This picture gives evidence of increasing inventive power, as well as technic skill...This group of various members of the feathered tribes, with fruits, pomegranates, grapes, &c., and a curious old jug, is put together with great freedom and ease, yet in extremely picturesque arrangement. The textural treatment of the several objects is admirably discriminated, even to the difference between the loose and ruffled plumage of the moorcock and other game hanging up against the wall and the soft down of the duck. Like a true artist, moreover, Mr. Duffield, not satisfied with a close imitation of externals, aims at representing the substance as well as the surface of every object in its normal character. His duck is temptingly plump; his grapes and pears pulpy and almost fragrant; his ancient jug shows a roundness and capacity which speak of many a joyous libation which it has served in its time...In short, his touch, in every part, is solid and thoroughly genuine; and thus, without the slightest undue gloss or striving after effect, he realises truthfulness in the most satisfactory and legitimate sense of the word'. From "Illustrated London News", 1862. Game and Fruit by W. Duffield, in the Gallery of the British Institution, 1862. Creator: E. Skill. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601158863
HONEYWOOD INTRODUCING THE BAILIFFS TO MISS RICHLAND AS HIS FRIENDS, BY W. P. FRITH, R.A..., 1862. CREATOR: W THOMAS.
Honeywood introducing the Bailiffs to Miss Richland as his friends, by W. P. Frith, R.A., in the Sheepshanks Collection, Kensington Museum, 1862. Engraving of a painting. 'We all recognise in this picture the admirable scene in Goldsmith's comedy of "The Goodnatured Man," where the improvident hero is reduced to the awkward necessity of introducing the two bailiffs who have come to pay their unwelcome addresses to him to Miss Richland as his friends. The young spark, however, carries it off with a high hand and matchless nonchalance. "Two of my very good friends," he says, "Mr. Twitch and Mr. Flanigin. Pray, gentlemen, sit, without ceremony." Miss Richland, a little puzzled at the strange appearance of the bailiffs, equipped in all the conventional, grotesque attire of their class, and having shrewd misgivings on their real calling and the nature of their business, says (aside), "Who can these odd-looking men be? I fear it is as I was informed." She nevertheless drops a curtsey in acknowledgment of the first salutation of the visitors, one of whom resorts, of course, to the weather as a theme upon which to mumble a few words - "Pretty weather, very pretty weather, for the time of year, Madam".' From "Illustrated London News", 1862. Honeywood introducing the Bailiffs to Miss Richland as his friends, by W. P. Frith, R.A..., 1862. Creator: W Thomas. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
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