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Two Ladies Reading (also known as On the Simplon) (c.1910-1911). John Singer Sargent (American, 1856-1925). Watercolor on paper.
Sargeant visited Simplon Pass, Switzerland, with sister Emily, niece Reine Violet Ormond, and her family and friends. Here he paints a group of watercolors. Among his models were Emily, Violet, his niece Rose-Marie Ormond Michel, and Dorothy Barnard. Due to the lack of detail, this work appears to be unfinished.
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Catherine McNeil with dog and architecture in “The After Afterparty” for Allure US, December 2016. Photograph by Giampaolo Sgura.
“Good Spike. Sequined top and pants, leather shoes, earrings, gloves and belts (worn around neck and waist) by Rodarte.”
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Lydia Cassatt Leaning on Her Arms, Seated in a Loge (1879). Mary Cassatt (American, 1844-1926). Pastel on paper. Nelson-Atkins Museum of Art.
This is one of the artist’s most important paintings and was shown in the Fourth Impressionist Exhibition of 1879. The image of Lydia leaning forward, suggests anticipation. Her posture is completely relaxed, reflecting Cassatt’s impression of the Opera as a relaxing, social, and romantic atmosphere.
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Vagn Åge Clemmensen bookplate (1972). Artist: Gerard Gaudaen.
A woman lies in a bookcase reading a book. Other books are readily available to her.
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Woman Reading. Zbigniew Pronaszko (Polish, 1885-1958). Watercolour on paper.
Pronaszko studied at the Faculty of Painting at the Academy of Fine Arts in Krakow. In 1917, together with his brother Andrzej Pronaszko and Tytusem Czyżewski, he founded the artistic group Ekspresjoniści Polscy (later renamed Formist).
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Lily Aldridge with architecture in “Smoking Star” for Madame Figaro, November 2016. Photograph by Fred Meylan.
“Fluide. Veste en laine, blouse et pantalon en satin de soie, l’ensemble Max Mara. Escarpins Céline. Boucles d’oreilles en or blanc, rubis et diamants, Bulgari.”
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Music practice. Victor Lagye (Belgian, 1825-1896). Oil on panel.
Lagye was a painter whose main subject matter was portraits and genre paintings. He started as a typical representative of the late-Romantic style as developed in Belgium by pupils and teachers of the Antwerp Academy. In particular, the influence of Lagye’s teacher Henri Leys remained paramount at the Academy throughout the second half of the 19th century in style as well as subject matter.
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No Sign of Murder. Wallace Reed. New York: Phoenix Press, (1940). First edition. Original dust jacket.
“Clarabelle Bates died peacefully in her sleep without apparent reason. Bill Lloyd found it no picnic to trace a murderer who’d left no clues. A fine assorted collection of suspects, including an ancient and miserly hellion, a smooth gentleman fly by night, a glamour boy physician and an night club racketeer.”
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The Artist’s Model. John Henry Witt (American, 1840-1901). Oil on canvas.
The model poses in front of a mirror to give the painter multiple perspectives. She had been reading the book in her hand as she looks down at the sleeping dog providing an unusual pose. The painter’s brushes can be seen on the table with the red cloth covering.
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Laura Morera and Tristan Dyer in Liam Scarlett’s Viscera, Royal Ballet, October 2015. © Dave Morgan.
Scarlett focuses particularly on the distinction between the female soloist and the rest of the dancers. Just as Liebermann’s piano at times engages in a dramatic dialogue with the orchestra and at others is more independent, the solo ballerina is a virtuoso protagonist who shifts in and out of the group. While she appears to lead the dancers at the start of the movement, there are times when she is set apart.
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The Silver Goblet (Self-Portrait) (1912). Lucy May Stanton (American, 1875-1931). Watercolor on ivory. NPG, Washington.
Stanton depicted herself in the miniature with soft, fluid washes, produced by a new innovative “puddling” technique, in which the artist controlled the flow of washes by tilting the workboard. Stanton looks directly at the viewer in a confident and celebratory manner in this portrait.
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A Peakland Faggot: Tales Told of Milton Folk. R. Murray Gilchrist. London: Grant Richards, 1897. First edition.
Issued as a volume in the publisher’s “Sylvan Series.” Collection of eighteen short stories in the author’s regionalistic manner (set in Derbyshire), two of which were included in the Ash-Tree edition of Gilchrist’s weird tales.
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Woman Reading (c.1937). Evan Walters (Welsh,1893-1951). Oil on canvas. Glynn Vivian Art Collection.
Walters trained first as a painter and decorator in Morriston, Swansea, but soon progressed to the Swansea School of Art, the Regent Street Polytechnic in London and the Royal Academy Schools.
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Charlotte Le Bon with architecture in “Couture Spells” for Madame Figaro, February 2017. Photograph by Dominique Isserman.
“Giambattista Valli Haute Couture. Robe de bal brodée en tulles de soie. Entièrement pavée de pastilles glitter.”
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Interior of the Gold Room, Townshend House (c.1883). Anna Alma-Tadema (British, 1867–1943). Watercolor with scraping over graphite on paper. Nelson-Atkins Museum of Art.
In the Gold Room, a double arched opening entices the visitor to cross the threshold, marked by a magnificent Chinese silk curtain and a bust of Antinous (probably a replica of an ancient object); beyond are a Byzantine- style piano and a Mexican onyx window.