Mary DeNeale Morgan (American, 1868 – 1948): Carmel Valley Ranch (via Bonhams)


Octopus, 150×150 cm, acrylic, glitter, canvas.

Ida Törnström (Swedish, 1862 – 1949): Village road, Portugal (1890) (via Uppsala Auktionskammare)

new noah icon 💜

Georgina de l’Aubinière (English, 1848 – 1930): Summer evening (via Uppsala Auktionskammare)

Frances Richards (Canadian, 1852 – 1934): Portrait (c. 1884-1887) (via National Gallery of Canada)

Emily Carr (Canadian, 1871 – 1945): Four Children in a Breton Cottage (1911) (via National Gallery of Canada)

A short note on photography and reposts

Long-time followers may have noticed I occasionally repost the same pictures, sometimes months or years apart.

The way I work on this blog is simple: I try and find good paintings by women that are in the public domain*, then I upload then here, always with a link back to the source. I occasionally crop the images (when frames are shown in the original pictures for instance) but I never alter them in any other way. What this means is that the quality of the painting you get here is pretty much always the same as the original photography of said painting. Whenever a picture comes up for auction, it will be photographed again. Some pictures, inevitably, will be better than others, and that will occasionally warrant a repost from me.

Sometimes new information will come up as well. The first time I posted the portrait of the lady in black above, Uppsala Auktionskammare called it, quite simply, “Portrait of a young woman in black”. When it was up for auction again about ten months later in Stockholm, though, the sitter was identified as follows: “Portrait of baroness Catharina Eleonora Fredrika Märta Sparre (1832-1912), at the age of 21″.

And sometimes the same auctions houses will just take new pictures of artworks. “Bathsheba at her Bath” by Artemisia Gentileschi was sold at least twice by Sotheby’s, once in 2014 and once quite recently. I’ll let you be the judge of which picture is best.

Let this be a reminder to all of us never to assume we’ve “seen” a painting until we have actually been in the same room with it. We’re all looking at the invisible work of photographers here.

*As an aside, the law in the US as far as copyright goes, states that if a two-dimensional work of art is in the public domain, then a faithful photographic image of said work of art is also in the public domain.

Links to the original posts:

“Y porque ahi pusiste que … (meme del gato regañado)” 2019, Ilustración plumón sobre papel 21/29.

Charlotte Schreiber (British / Canadian, 1852 – 1934): Naughty Girl (Ottilie and Vio Grahame) (c. 1890) (via National Gallery of Canada)

From the museum website:

Charlotte Schreiber (née Morrell) was a painter whose work is defined by an attention to detail and realistic renditions of everyday or literary scenes – most often executed in oil. She is credited with bringing high realism to Canada when she moved from England with her husband in 1875.

Schreiber trained at Mr. Carey’s School of Art in London where she also took lessons in anatomy and studied with John Rogers Herbert, R.A. an expert in portraits and historical paintings. While still in England, she made a name for herself and was commissioned to illustrate several books. In 1871 she illustrated “Knight of the Red Cross”, the first book of the epic poem The Faerie Queene by Edmund Spenser “A lovely Ladye rode him faire beside…”. She exhibited at the Royal Academy in London, the Paris Salon, and later, in Canada and the United States.

In 1880 she was a founding member of the Royal Canadian Academy and the first woman elected as full academician (although she was not allowed to attend meetings or partake in policy making). Her diploma painting for the RCA, The Croppy Boy (The Confession of an Irish Patriot) (1879) is a fine example of her meticulous rendition of the human form, combined with a literary source of inspiration. She was also the only woman on the council of the Ontario School of Art. She continued to paint actively throughout her life, as well as passing her passion and skill on to a new generation through teaching at the OSA. Her notable role as a woman artist with positions on governing bodies helped pave the way for women artists after her.