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669:—a strapping girl making her perilous way along the tight-rope, and watched by wondering eyes as the arms balance each other and the bare feet press and squeeze round the narrow cord—is a subject that most of the few painters fitted to deal with it at all would have been tempted to make too carefully antiquarian. A painful realisation of the furniture of antiquity—a small truth to a small matter—would have left little room for the greater truths of character and the higher interests of beauty and action. From this permanent error—which yet would have ensured that passing popularity which waits on the adroit display of mere learning and craftsmanship—Mr. Weguelin is freed. One's first thought is not of the artist, of his fund of antiquarian knowledge and his laborious battle with technical difficulty. One takes, instead, a frank and simple pleasure in the picture. It is of excellent draughtsmanship and expressive action—at once imaginative and real. Mr. Weguelin is hardly shown by it to be a skilled colourist, but he is a vivid painter of open-air light, in which it may be that colours strike one as less subtle. Mr. Weguelin's work depends less, however, upon any single highly developed gift of technical skill than upon a union of many gifts which are considerable already, and will improve by and by.
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600:(1880), two young women, their skirts gathered to their knees, stand in a stone tub, pressing grapes, as the juice pours into a bucket through a notch in the side of the tub. The two women stand on either side of a pole suspended from above, which they grasp with their hands to keep their balance. Behind them are arches, through which a richly-forested landscape can be seen below and stretching into the distance. Stone jars and baskets of grapes line the wall. A young girl with a ribbon in her hair leans against a large vessel, her feet on a stool as she watches the women work. The painting was discovered at a home in Portland, Maine in 1997, and subsequently determined to be the work of Weguelin. This may be the same painting as
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710:"The Feast of Flora" (No. 766), by J. R. Weguelin, is a bright picture, well drawn, with great attention paid to the details, and some humour. The chief figure is a young woman with a basketful of fresh flowers coming down a marble staircase, holding a bunch of narcissus blossoms up to the nose of a great black Egyptian idol. In the courtyard to the left, there is a bronse figure, and about the staircase and in the distance are gay crowds celebrating the joyous festival.
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1006:"Spring-time" (1890, oil on canvas, 68 1/4 x 32") was also exhibited at the New Gallery. The catalogue describes it: "foremost figure in almost transparent white robe, with dark violet blue sash; behind her a figure in reddish purple. All the foreground is in shadow. A gleam of sunlight catches the apple-blossom and strikes across the grass beyond." The painting is labeled,
808:(1885, oil on canvas, 92 x 61.2 cm) was exhibited in the Grosvenor Gallery. The catalogue describes the painting as, "a girl with flamingoes; marble arch over bronze door. A characteristic picture by this artist." In one hand, the girl holds a hoop wound with ivy or a similar vine, and in the other a stalk of grass, which she waves toward one of a group of tame
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sincerely admired. He has a very pleasing fancy and a delightful sense of style; and his graceful draughtsmanship, his exquisite feeling for delicate harmonies of colour, and his brilliantly direct and expressive brushwork make his productions more than ordinarily important as examples of the judicious application of the water-colour medium.
111:, who also specialized in painting the female figure against dramatic backgrounds, but unlike Waterhouse, many of Weguelin's subjects are nude or scantily-clad. Weguelin was particularly noted for his realistic use of light. Beginning in 1893, Weguelin devoted himself almost entirely to watercolour, and became a member of the
1308:, features a man wearing renaissance garb, standing on a flight of stone stairs leading down to the water, and staring in astonishment at the young woman draped across the stones at the base. Her hair is red, and she is unclad from the waist up; from the waist down she has pink fins. The picture alludes to the legend of the
1350:(1905, watercolour, 15 x 21") depicts a nude woman, seated at the edge of a small wood with her back to the viewer, playing a flute as sheep graze nearby. She wears a garland in her hair. The foreground is in shadow, with sunlight visible through the trees. Shrubs in blossom and the size of the sheep suggest springtime.
1326:(1901) features a mermaid sitting in the midst of a winding stream emptying into the sea across a sandy beach. She has long, red hair, her fish tail is green with red fins, and she rests in blue and purple water between golden bars of sand. Green waves, capped by white foam, break realistically in the background.
1267:(1897) features a piper playing at the foot of a gnarled tree by the banks of a stream, as nymphs listen from their seats on roots on the other side. A young nymph stands on a rock overlooking the stream, rapt in the music. She is nude, and flowers fill her hair. This painting was exhibited at the Royal Academy.
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Mr. Weguelin's plates enhance greatly the value of the book. These consist of a charming frontispiece and six other illustrations, all equally graceful in design and execution. The first and most graceful of these is to the second ode, and presents Lesbia and her sparrow. The last illustration is to
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Behind the dark-haired maiden, who stands looking back at her former lover, is the pale-blue sky and the warmer tinted sea, and in full contrast to them a branch of crimson rhododendron which grows out from behind the marble wall. The man who sits in the shadow of a cypress is clad in a pale purple
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described
Weguelin as one of the few decorative artists who seldom relied on pen, and habitually expressed themselves in "wash" rather than by line: "Mr. Weguelin has illustrated Anacreon in a manner to earn the appreciation of Greek scholars, and his illustrations to Hans Andersen have had a wider
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sits on a tree root, his back to the viewer, playing on a flute. On the opposite side of the twisted and gnarled tree stands a naked nymph, listening attentively. She is wearing flowers in her long, golden hair. Scattered rays of sunlight penetrate the misty forest, vaguely depicted in greens and
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Bacchus with red garment lying on a leopard skin holds a thyrsus. The nymphs have pale draperies of pink, yellow and white; one has ivy in her hair, and another on the left some violet flowers; the sea lies blue below them, flecked with purple shadows; the rocks are grey; the picture is light in
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It is especially as a painter of the nude figure in water-colour that Mr. J.R. Weguelin has made himself famous. He has taken up a class of subject that comparatively few artists attempt, and he has handled it in a long series of very attractive paintings with a charm and distinction that can be
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In the painting, Weguelin depicts
Herodias persuading her reluctant daughter to participate in her plan for revenge. Salome is clad in veils, preparing to dance seductively before her stepfather and his guests at a banquet. The two stand behind the corner of a wall, and a large statue of a lion
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J.R. Weguelin's "Tired Dancer" is very clear and rich. The girl has flung herself upon a marble seat beneath a marble pillar; her loose dress of dark red gause forms a brilliant patch against the marble, and yet it does not hide the limbs beneath. Her dark hair is crowned with clustering yellow
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is a drawing depicting a maiden and her companion behind a large rock on a hillside, as Faunus plays upon his flute nearby. The maiden wears a garland in her hair, and carries her drapery as she stands, listening. Her naked companion is rising from the ground. This illustration served as the
1208:. Here the title is allegorical, the basin being the sea itself, and Venus' birth being described as engraving. The fins of a dolphin (depicted in the heraldic manner, rather than realistically) emerge from the foam nearby, and a rocky headland can be seen in the background.
1198:. Venus stands amidst small trees by a shallow pool, gazing at her crying son, who sits on the a cloth on the ground, looking at his wound. She wonders at the pain her son's arrows will inflict on lovers, compared with the hurt caused by that "winged serpent" called a bee.
500:, by Mr. Weguelin, shows a young man stretched out stark for the funeral-rites, and his mother (perhaps, rather, his wife) crouched on the ground with her face hidden between her knees; a sufficiently well-conceived treatment, fairly executed, but not to be called intense.
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it was the custom of the Greeks to sow in shallow vessels the seeds of lettuce, endive, barley, &c. These grew up quickly, and having no roots soon withered away, and in consequence were considered as typifying the life and early death of Adonis. They were called
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are figure subjects of more realistic intention than the preceding . Mr. Tadema's colour is the most mellow, and Mr. Weguelin's the hardest and coldest. All three are seriously studied, and give a more or less true notion of the figure in its natural relation to the
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await the start of a footrace before an arena filled with cheering spectators. A seventh is preparing to give the signal for the race to begin. In a catalogue of works exhibited at the Royal
Academy, a note reads, "During the games celebrated in honour of
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and framed in the gateway of a garden. She is clad only in a diaphanous gown through which sunlight is visible, and in her hair is a garland. Lesbia is feeding the birds, which fly and perch about her and gather at her feet. The birds depicted are
819:(1885, oil on canvas, 51 x 33"), two young women, one standing, one seated, enjoy a pair of swings suspended from trees before a temple, with other celebrants in the background. The Royal Academy catalogue explains, "In expiation of the death of
1369:(1911, watercolour, 25 x 36 cm), the subject sits on a rock by the seashore. The water is turquoise, and the sky filled with purplish clouds. The mermaid tilts her head and looks toward the viewer, as she arranges her long blonde tresses.
1332:(1905, watercolour, 21 x 14 1/4") features a young woman, nude, with a garland of purple flowers, surrounded by the blossoms of a small cherry growing from a low spot. The landscape is covered with spring grass, in which hyacinths are growing.
553:, around whom swirled rumors and scandals involving some of the most prominent men at Rome, although no contemporary source makes that identification, and this element of mystery adds to the appeal of both the poems and Weguelin's painting.
549:' works. Catullus used the pseudonym "Lesbia" to refer to an aristocratic lover whom he did not wish to scandalize, although their relationship was tumultuous, and Catullus writes bitterly of its ending. She is widely supposed to have been
334:, reconstructing images of daily life from Greek and Roman times. However, his work reflected a free adaptation of the pagan spirit of classical art, instead of adhering to a strictly historical interpretation. Writing in 1904, art critic
905:(1888, oil on canvas, 93 x 135 cm) was exhibited at the New Gallery, where it was described: "Light flowing robes of pink purple, green and pale lemon colour; one maiden carries rose wreaths for offerings." The catalogue explains,
758:(1884, oil on canvas, 20 x 10") features a nude woman standing before a fountain, from which she has drawn water in an urn. The bather is pouring water from the urn over her left shoulder, while her face is turned away from the viewer.
1375:(1911, watercolour) features a mermaid sprawled across a sunny beach, a string of shells by her outstretched hand. Green waves roll in behind her, and the shore curves around into a rocky headland, overlooking the wine-dark sea.
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flowers, the face is utterly asleep, and the right arm flung out straight upon the marble slab behind her well conveys the idea of complete weariness. The execution of the marble is a kind of reminiscence of Alma Tadema's work.
43:(23 June 1849 – 28 April 1927) was an English painter and illustrator, active from 1877 to after 1910. He specialized in figurative paintings with lush backgrounds, typically landscapes or garden scenes. Weguelin emulated the
1191:, three nude maidens gather flowers to string into garlands. One sits on the ground, holding the garland on which she has been working, as a second holds a string of blossoms above her head, and a third picks flowers to add.
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described the painting as, "a rare example of pictorial use made of a good subject which is contemporary as well as antique." A simpler version appears as one of the illustrations to the 1881 edition of the
Macaulay poems.
1021:, Book iii, Ode xiii. The spring rises at the foot of large boulders, and a young goat is tied to a statue above some small urns. An engraving of this picture was used as the frontispiece for the July, 1890 edition of
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to dance for her stepfather, and demand an oath of him. Once he has agreed, Salome requires her stepfather to bring her the head of John, much to Herod's dismay. This painting was exhibited at the Royal
Academy.
1287:(1898, watercolour, 23 x 17") depicts two mermaids sprawled upon the rocks, and listening intently to Pan, who is playing his flute as the waves break against the shore. The god's back is turned to the viewer.
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The frontispiece depicts two young women on the ground, one seated and one reclining, before a statue of
Anacreon, who holds a flute. Trees and bushes occupy the background, with the words, ΑΝΑΚΡΕΟΝΤΟΣ ΜΕΛΗ.
982:(1888, oil on canvas, 10 x 20") is described as "a small nude study; back view." It features a woman sitting on the beach on a clear day, when the sea is calm. This painting was exhibited at the New Gallery.
178:, where he was inspired by art and history. Other than a few drawing lessons in Italy, Weguelin had no formal training in art during his childhood. In 1860, the eleven-year-old Weguelin was sent to
227:, but within a few years he developed his own interpretation of classical subjects. Beginning in 1878, he exhibited numerous paintings at various London galleries, including the Royal Academy, the
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features a nude woman, seated on the ground, who has bound Cupid between two trees with a garland of flowers. The annoyed deity looks over his shoulder at his captor, whose back is to the viewer.
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carved in an oriental style. There is an elaborate marble floor, and guests are visible at the edge of the painting, while Herod's pavilion, in the style of a Greek temple, is in the background.
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reported, "as for Mr. J.R. Weguelin's illustrations it would scarcely be possible to over-praise them; the pencil can do no more for
Andersen than Mr. Weguelin has done for him here."
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2089:"Sotheby's: Fine Art Auctions & Private Sales for Contemporary, Modern & Impressionist, Old Master Paintings, Jewellery, Watches, Wine, Decorative Arts, Asian Art & more"
1253:(1896, oil on canvas) depicts three nymphs frolicking in a wood with the infant Cupid, whom they have bound with garlands. This painting was exhibited at the Royal Academy, and the
696:(1882, oil on canvas, 18 x 12 1/4"), the god is depicted as a child, being carried on a litter through a jubilant crowd. He is seated on a wild boar, and in his hand he clutches a
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depicts a woman untying her sandal before stepping into a pool of water to bathe. Lilies rest on the calm, reflecting surface, and grasses and shrubs occupy the background.
918:, and after being carried in procession were, together with a statuette of the god, committed to the sea on the last day of the ceremonies. This observance is described by
700:, which he raises triumphantly. In the background is an ancient tree trunk, and the pedestal of some monumental statuary. Poplars and the sea are visible in the distance.
296:. He became a full member in 1897. From this time, Weguelin painted almost exclusively in watercolour, and produced little in oil. He exhibited regularly at a gallery in
220:. Although later celebrated as a watercolourist, Weguelin would not exhibit in this medium again until the 1890s, and nearly all of his paintings until 1893 were in oil.
239:. His subjects included landscapes, classical and Biblical themes, and pastoral scenes. He also produced illustrations for several books, including the 1881 edition of
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1362:(1911, watercolour) depicts two maids frolicking in a flower-filled meadow. They have garlands in their hair, and a train of yellow blossoms extends between them.
862:(1886, 8 x 10") is a picture of a young woman napping on a pile of cushions on a wide bench, attached to a high wall. It was exhibited at the Grosvenor Gallery.
481:, and his last important watercolour until 1893. The subject was one that Alma-Tadema had treated in both 1859 and 1872. Its title refers to the last of the ten
966:(oil on canvas, 11 1/2 x 7 1/2") features a young worshipper of Bacchus, leaning against a pillar. She wears a leopard skin, and in her hair is an ivy garland.
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1356:(1908, watercolour, 53 x 35 cm) features a shepherd in a plaid shirt, his back turned to the viewer, standing in a tranquil field with sheep and lambs.
462:, burnt sienna, purple madder, rose madder, light red, brown madder, Vandyke brown, raw umber, and flake white; and occasionally vermilion, burnt umber, and
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a young man lies on a bed of cushions, asleep but with a restless pose and expression. Behind him is a wall, open to the outside, and seated on the wall is
728:(1882) features a bather stooping down to assist a tortoise, whom she has inadvertently knocked over. This painting was exhibited at the Grosvenor Gallery.
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995:(1890, oil on canvas, 24 x 20") was exhibited at the New Gallery, whose catalogue described it: "small head of a girl, with opal-tinted butterfly wings."
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949:(Odes 2.19):"I saw within remotest rocks/ (Believe that read in after time)/Bacchus who taught and nymphs in flocks/Who learnt the lesson of his rhyme."
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823:, who hung herself, and in imitation of her, the maids of Athens on this day swung themselves from trees, while they sang hymns in her honour."
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depicts a woman in contemplation, as she reclines against some pillows on a bed. Behind her is a relief, depicting a festival with musicians.
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enthroned guards the entrance to the temple. Stairs lead up to the doorway, through which a view of the sky and other buildings are visible.
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158:. His father, William Andrew Weguelin, was Rector of South Stoke, but was forced to relinquish his position about 1856, when he joined the
1070:(1892), which was exhibited at the Royal Academy. This painting was one of seven used as illustrations in S.G. Owen's edition of Catullus.
899:(1887, 20 x 22") was exhibited at the Royal Academy, where it was described as, "girl placing wreaths of purple flowers on Faun's head."
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1161:. The young man wears a garland as he stretches toward his companion. She, nude, looks away, bashfully. Behind them is a wall of rock.
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Adelaide
Jubilee International Exhibition, 1887. List of Juries and Official List of Awards. H.F. Leader, government printer (1889).
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as "(1) girl standing on crab; (2) seated on back of fish; and (3) flying through the air, followed by fishes. Small nude studies."
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and a number of other important London galleries, and was highly regarded during his career. He was forgotten following the first
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lists the colours used by members and associates of the Royal
Society of Painters in Water Colours. Weguelin's palette included "
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829:(1885, oil on canvas, 8 x 10") depicts a nude lying on cushions before a pool of water. She plays with a long garland of roses.
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1247:(watercolour, 13 3/4 x 20 3/4") depicts a young woman with red hair, draped in blue and reclining against a pile of cushions.
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And in the vats of Luna/This year the must shall foam/Round the white feet of laughing girls/Whose sires have marched to Rome.
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The painting was exhibited with the anonymous translation, perhaps that of the artist, of the first lines of Horace's
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Two young women in flowing gowns gather flowers in a spring garden and fling them at one another in mock battle, in
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The Royal
Academy of Arts: A Complete Dictionary of Contributors and their work from its foundation in 1769 to 1904
936:(1888, oil on canvas, 49 x 108 1/2") was described as "one of the most important compositions in the New Gallery:"
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l. 35 of the 'Pervigilium Veneris.' Mr. Weguelin's designs have the grace and beauty of last century workmanship.
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Allegory has no place in Mr. Weguelin's canvas; no Venus need smile approval of the feat that is there recorded.
610:(1880, oil on canvas, 45 1/2 x 30") was exhibited at the Grosvenor Gallery with an excerpt from Macaulay's poem,
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972:(1888, 20 x 10") was exhibited at the Grosvenor Gallery. It features a young woman, nude, gathering seashells.
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1215:(1894, watercolour, 20 x 28 1/2"). This picture was exhibited by the Royal Watercolour Society, together with
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for the book. Ten paintings from this collection were exhibited at the New Gallery, including a frontispiece,
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remarked that "Mr. Weguelin affects a new style of technique this year, very liquid, and light in hue. His
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to run in the Olympic stadium, which was shortened for them by one-sixth." This painting was admired by
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98:. In order to supplement his income, he drew and painted illustrations for several books, most famously
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Two young women, one fair and one dark, both wearing long, flowing dresses, dance beneath a garland in
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Love's Night Walk, Roses, The Wish, The Invitation, The Picture, Love Imprisoned, The Spring, The Bee,
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878:(1887) received a diploma of the third order of merit amongst oil and watercolour paintings from the
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mentions Weguelin as, "one of the most facile and expressive painters of fantastic figure subjects."
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compared the work of three contemporaries, Alma-Tadema, whose work had strongly influenced Weguelin,
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1088:(1893) marked Weguelin's return to watercolour. This painting was exhibited at the Royal Academy.
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Vanity Fair (1888, oil on canvas, 24 x 19cm) – head and shoulders of young woman wearing a bonnet
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1229:, exhibited at the Royal Watercolour Society in 1894, depicts "sixteenth-century ladies in their
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Grosvenor Notes 1885: an Illustrated Catalogue of the Summer Exhibition at the Grosvenor Gallery
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In 1893, Weguelin took up watercolour for the first time since leaving the Slade. He exhibited
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1478:(oil on canvas, 9 1/2 x 7") is a portrait of a woman, head and shoulders, in a white dress.
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Grosvenor Notes 1888: an Illustrated Catalogue, with Facsimiles of Sketches by the Artists
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A Roman man bearing a sprig of laurel pours water from a pitcher into a pool of water in
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in 1877. On his graduation from "the Slade," he had his first painting exhibited at the
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The infant Cupid, distressed after being stung by a bee, seeks his mother's comfort in
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Grosvenor Notes 1886: a Complete Catalogue, with Facsimiles of Sketches by the Artists
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describes the background: "blue sea, with purple rocks showing through clear water."
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appeared in the 1881 edition, the cover of which employed Weguelin's depiction of
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and not less appreciative reception. His drawings have movement and atmosphere."
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The Practice of Water-Colour Painting: Illustrated by the Work of Modern Artists
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at the Royal Academy, and after a few months he was elected an associate of the
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cloak. In the middle distance the many-coloured town is seen in full sunlight.
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836:(1886, 32 x 49"), a priestess kneels before an altar upon which is placed the
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In 1889, Weguelin painted three "Decorative Panels for a door," described in
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pour jugs of water into a bottomless jar that they are condemned to fill, in
1410:(watercolour), from "Little Claus and Big Claus," by Hans Christian Andersen
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1954:, John Denison Champlin, Jr. and Charles C. Perkins, eds., vol. IV (1913).
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648:(1881) was exhibited at the Grosvenor Gallery. It was critiqued in
575:(1879), was exhibited at the Grosvenor Gallery. It was reviewed in
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545:(1878), inspired by the woman who inspired many of the Roman poet
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Baldry goes on to discuss Weguelin's principles and techniques.
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Weguelin enjoyed canoeing and swimming, and was a member of the
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John Reinhard Weguelin was born 23 June 1849, in the village of
1010:(O spring, youth of the year/O youth, the springtime of life).
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O primavera, gioventĂą del anno/O gioventĂą, primavera della vita
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In the painting, Lesbia is depicted as a young woman, standing
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Academy Notes 1887, with Facsimiles of Sketches by the Authors
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The same year, Weguelin produced sixty-five illustrations for
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describes the subject: "dark hair, standing against a wall."
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At the age of twenty-three in 1873, Weguelin enrolled in the
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The Academy: a Weekly Review of Literature, Science, and Art
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R.E.D. Sketchley, "English Book-Illustration of To-Day", in
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is one of the most interesting drawings he has exhibited."
565:. Behind Lesbia are flowers, trees, and a view of the sea.
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described Weguelin as "a painter of classic abstractions."
94:, all of Weguelin's important works from 1878 to 1892 were
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538:(1878). This painting was exhibited at the Royal Academy.
107:. His subjects were similar to those of his contemporary,
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1046:, Book iii. Ode ix. It was exhibited at the New Gallery.
1736:, S.G. Owen, editor, Lawrence and Bullen, London (1893).
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A youth on the ground implores a maiden's affections in
166:. When he was still a child, Weguelin's family departed
71:, as well as mythological subjects, with an emphasis on
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Heard Melodies are Sweet; but Those Unheard are Sweeter
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A nude girl whispers to a silent statue of a sphinx in
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In an 1888 article on exhibitions at the New Gallery,
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868:(1886) was also exhibited at the Grosvenor Gallery.
1270:In 1898, Weguelin illustrated a volume of works by
2301:'The Royal Society of Painters in Water-Colours',
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2007:
1636:Alfred Lys Baldry, "J. R. Weguelin and his Work."
1042:(1891) is an illustration for one of the poems of
2178:British and Irish Paintings in Public Collections
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812:, apparently trying to coax it through the hoop.
376:Weguelin's later work was described by Baldry in
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947:Bacchum in remotis carmina rupibus vidi docentem
477:(1877, watercolour) was Weguelin's debut at the
79:for inspiration, and painted numerous images of
1755:, translator, A.H. Bullen, London (1892, 1906).
1573:
1571:
1569:
1567:
1565:
1516:Shepherd and Lambs in a Field before a Windmill
1354:Shepherd and Lambs in a Field before a Windmill
1339:(1905, watercolour, 20 3/4 x 13 3/4"), the god
926:This painting is part of the collection of the
223:Weguelin was heavily influenced by the work of
2503:Members of the Royal Institute of Oil Painters
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2311:
2167:, vols. 1–5, Henry Blackburn, ed. (1888–1892).
2160:
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1428:(1882) was exhibited at the Grosvenor Gallery.
798:An Egyptian Difficulty in the time of Augustus
446:, oxide of chromium (opaque and transparent),
127:, depicting the fabled muse of the Roman poet
420:, oxide of chromium (transparent), black and
355:. All four artists treated similar subjects.
8:
1947:
1945:
1943:
1941:
1939:
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1935:
1814:, Macmillan and Co., Limited, London (1911).
1672:
1670:
1116:. His watercolor paintings were turned into
941:color throughout, and delicately harmonised.
928:Northampton Central Museum & Art Gallery
541:Weguelin's most famous painting is probably
1997:"The Pictures at the Royal Academy—III" in
1933:
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1032:frontispiece for the July, 1891 edition of
706:(1882) was exhibited at the Royal Academy:
642:(1881) was exhibited at the Royal Academy.
593:(1880) was exhibited at the Royal Academy.
330:Weguelin's early works could be considered
2338:
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1901:
1899:
1897:
1718:, Adam & Charles Black, London (1904).
1142:, aiming an arrow of love at the sleeper.
1082:was exhibited at the New Gallery in 1892.
765:(1884), Weguelin depicts a scene from the
744:, it was the custom of the young girls of
365:Fair-haired Slave who made himself a King,
294:Royal Society of Painters in Water Colours
2265:, Eighth Series, No. 109 (Jan. 27, 1894).
2165:The New Gallery: An Illustrated Catalogue
1895:
1893:
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1867:W. M. Rossetti, "The Dudley Gallery", in
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1324:The Rainbow Lies in the Curve of the Sand
897:The Toilet of Faunus, or Adoring the Herm
880:Adelaide Jubilee International Exhibition
63:. He depicted scenes of everyday life in
2414:Works by or about John Reinhard Weguelin
1963:"A Gossip on the Grosvenor Gallery," in
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1600:
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673:Weguelin's illustrations for Macaulay's
2055:, auction of 27 & 28 November 1913.
1707:
1561:
1510:A Serving Girl Wearing a Garland of Ivy
1219:, and may be the same picture known as
442:describes his palette as "cendre blue,
115:. Weguelin's work was exhibited at the
2463:Alumni of the Slade School of Fine Art
2429:, with 4 library catalogue records
1871:, vol. 11, p. 124 (February 10, 1877).
1726:
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1699:
1697:
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1687:
1126:On a Basin wherein Venus was Engraved.
1530:(1904, watercolour, 15 1/2 x 20 3/4")
1206:On a Basin wherein Venus was Engraved
800:(1885, 35 x 23"), otherwise known as
440:The Practice of Water-Colour Painting
378:The Practice of Water-Colour Painting
7:
2498:British children's book illustrators
2205:(London: Chatto & Windus, 1888).
1988:, vol. 251 (July to December, 1881).
1952:Cyclopedia of Painters and Paintings
1678:"Your Source of Visual Intoxication"
1518:(1908, watercolour, 53 x 35 cm)
1312:who lives at Pendour Cove, near the
1093:The Little Mermaid and Other Stories
785:, encourages her beautiful daughter
235:. His work was also featured by the
1304:(1900, watercolour), also known as
351:, and Weguelin himself, to that of
2374:. jsauctions.co.uk. Archived from
2238:, vol. VIII, issue 1 (July, 1890).
266:The Little Mermaid and other Tales
90:Although his earliest work was in
14:
2513:19th-century English male artists
2508:20th-century English male artists
2019:, vol. III, no. 55 (13 May 1882).
2001:, vol. 42, p. 595 (May 19, 1882).
1540:Under the Hollow Hung Ocean Green
1095:, a collection of fairy tales by
752:, who mentioned it in his diary.
2391:
834:The Obsequies of an Egyptian Cat
633:The Obsequies of an Egyptian Cat
307:. In mature life, he settled at
55:, painting subjects inspired by
2405:Works by John Reinhard Weguelin
2250:, vol. X, issue 1 (July, 1891).
2180:, Yale University Press (2006).
1408:The Clerk and the Farmer's Wife
1204:swims amidst breaking waves in
957:Bacchus and the Choir of Nymphs
934:Bacchus and the Choir of Nymphs
412:, purple madder, brown madder,
369:Bacchus and the Choir of Nymphs
2278:, J. Paul Getty Museum (1990).
2032:, Haus Publishing Ltd. (2010).
1966:The Dublin University Magazine
1771:, New Series, vol. III (1902).
1734:: with the Pervigilium Veneris
1512:(watercolour, 83 x 36 cm)
1108:In 1894, Weguelin illustrated
848:, and a statue of the goddess
661:, with which it was exhibited:
578:The Dublin University Magazine
75:scenes. Weguelin also drew on
1:
2453:20th-century English painters
2443:19th-century English painters
2259:"Notes on Books, &c." in
1780:"Lesbia als Pin-up Girl", in
802:A Young Girl with Flamingoes,
735:, (1883) six virgins wearing
654:, where it was compared with
256:(1889), a volume of poems by
2478:English Orientalist painters
2276:Lawrence Alma-Tadema: Spring
2030:The Mystery of Lewis Carroll
1798:, New Series (1888), p. 221.
1640:, vol. 24 (1904–05), p. 378
1471:The Mermaid on the Sea Shore
1436:Blossoms from a Roman Garden
1396:Blossoms from a Roman Garden
392:The Eleventh Edition of the
210:The Death of the First-born,
1580:(1897), Douglas Sladen, ed.
1432:Flowers from a Roman Garden
475:The Death of the First-born
16:British painter (1849–1927)
2529:
2326:, Part 1: British Section.
2189:The Faringdon Collection,
1827:, Eleventh Edition (1911).
498:The Death of the Firstborn
237:Society of British Artists
1528:Spring Blossoms and Youth
1251:Cupid Bound by the Nymphs
840:of a cat. She is burning
804:and probably the same as
763:Herodias and her Daughter
536:The Labor of the DanaĂŻdes
311:. He died 28 April 1927.
262:Hans Christian Andersen's
113:Royal Watercolour Society
1985:The Gentleman's Magazine
1716:British Water-Colour Art
1638:The International Studio
1337:The Magic of Pan's Flute
1265:The Piper and the Nymphs
1181:The Magic of Pan's Flute
651:The Gentleman's Magazine
402:British Water-Colour Art
367:and Mr. J.R. Weguelin's
198:Slade School of Fine Art
2468:English watercolourists
2318:A Record of Art in 1898
2013:"The Picture Shows" in
1825:Encyclopædia Britannica
1495:(watercolour, 28 x 20")
1467:(watercolour, 20 x 28")
1449:(watercolour, 20 x 36")
1434:, possibly the same as
1276:The Wooing of Malkatoon
1097:Hans Christian Andersen
970:The Study of Conchology
395:Encyclopædia Britannica
109:John William Waterhouse
2398:John Reinhard Weguelin
2217:, Henry Blackburn, ed.
2128:, Henry Blackburn, ed.
2107:, Henry Blackburn, ed.
2067:, Henry Blackburn, ed.
1782:Catull in Bild und Ton
1420:Down to the Summer Sea
1391:
1306:The Mermaid Discovered
1298:
1184:
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1053:
1017:, an illustration for
999:is holding the box of
960:
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893:
876:The Captive Wood Nymph
806:Dance of the Flamingos
781:was called illegal by
722:
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387:
374:
349:Charles Napier Kennedy
327:
147:
33:John Reinhard Weguelin
29:
2448:English male painters
2400:at Wikimedia Commons
2320:, an Extra Number of
1982:"Rising Artists," in
1459:Libation to the Nymph
1441:Iris and Cherry Bloom
1386:
1302:The Mermaid of Zennor
1293:
1179:
1072:
1060:The Mermaid of Zennor
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955:
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903:The Gardens of Adonis
890:The Gardens of Adonis
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448:Hooker's green, No. 1
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357:
353:George Frederic Watts
322:
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2493:British illustrators
2473:English illustrators
2176:Christopher Wright,
1522:Solutis Gratiæ Zonis
1373:The Sleeping Mermaid
1068:A Whispered Question
909:Before the feast of
777:, whose marriage to
685:against the army of
675:Lays of Ancient Rome
244:Lays of Ancient Rome
225:Lawrence Alma-Tadema
104:Lays of Ancient Rome
53:Lawrence Alma-Tadema
2427:Library of Congress
2378:on 23 October 2015.
2274:Louise Lippincott,
2248:Scribner's Magazine
2236:Scribner's Magazine
1823:"Painting," in the
1810:Alfred Lys Baldry,
1712:Marcus Bourne Huish
1524:(1902, watercolour)
1447:The King's Commands
1443:(1903, watercolour)
1416:(1903, watercolour)
1404:(1903, watercolour)
1213:A Battle of Flowers
1034:Scribner's Magazine
1023:Scribner's Magazine
659:The Flight of Helen
416:, cadmium 1 and 2,
363:Mr. C.N. Kennedy's
253:The Cat of Bubastes
160:Tractarian Movement
57:classical antiquity
1392:
1299:
1185:
1136:Love's Night Walk,
1064:
961:
894:
860:A Summer Afternoon
767:Gospels of Matthew
723:
704:The Feast of Flora
694:Bacchus Triumphant
637:
530:of the Greek king
524:
513:
359:Mr. Alma-Tadema's
328:
272:'s translation of
148:
30:
2409:Project Gutenberg
2396:Media related to
2262:Notes and Queries
2140:– Your Paintings
1999:The Building News
1969:, vol. 94, p. 66
1909:vol. VIII (1906).
1905:Algernon Graves,
1482:The Racing Nymphs
1402:The Captive Dryad
1310:Mermaid of Zennor
1015:O Babbling Spring
916:Gardens of Adonis
733:The Maidens' Race
656:William Britten's
485:appearing in the
418:oxide of chromium
336:Alfred Lys Baldry
229:Grosvenor Gallery
200:, then headed by
191:Lloyd's of London
180:Cardinal Newman's
2520:
2418:Internet Archive
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1534:Summer Afternoon
1398:(1885, 29 x 19")
1285:Pan the Beguiler
1225:The watercolour
1110:Thomas Stanley's
1040:Old Love Renewed
980:The Yellow Sands
783:John the Baptist
683:Sublician bridge
571:, also known as
569:The Tired Dancer
509:The Tired Dancer
483:Plagues of Egypt
450:, yellow ochre,
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2016:Household Words
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1488:A Real Princess
1414:A Cornish Shore
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1360:Gladsome Spring
1235:Saturday Review
1171:Love Imprisoned
1112:translation of
987:Grosvenor Notes
974:Grosvenor Notes
870:Grosvenor Notes
817:The Swing Feast
667:A Roman Acrobat
646:A Roman Acrobat
618:In its review,
598:Pressing Grapes
520:Pressing Grapes
472:
361:Venus and Mars,
344:The Art Journal
317:
206:Alphonse Legros
162:, and became a
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2387:External links
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1255:Walker Gallery
1159:The Invitation
1099:. A review in
681:defending the
563:house sparrows
493:from bondage.
487:Book of Exodus
479:Dudley Gallery
471:
470:Selected works
468:
456:cadmium orange
316:
315:Artistic style
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298:Pall Mall East
270:Thomas Stanley
214:Dudley Gallery
202:Edward Poynter
183:Oratory School
164:Roman Catholic
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268:(1893), and
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32:
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25:
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2488:1849 births
2483:1927 deaths
2358:"Lots Road"
1769:The Library
1493:Rose Petals
1426:Evoë Bacche
1422:(1884, 17")
1379:Other works
1316:village of
1272:Lew Wallace
1165:The Picture
964:A Bacchante
640:The Fishers
608:The Vintage
602:The Vintage
444:French blue
434:burnt umber
410:rose madder
305:Savile Club
281:The Library
264:stories in
248:G. A. Henty
233:New Gallery
152:South Stoke
92:watercolour
2437:Categories
2323:The Studio
2289:The Sketch
2053:Christie's
1856:Christie's
1556:References
1499:Saturnalia
1453:A Libation
1388:A Pastoral
1348:A Pastoral
1189:The Spring
1102:The Sketch
920:Theocritus
827:Reflection
591:A Portrait
332:classicist
241:Macaulay's
231:, and the
100:Macaulay's
2344:"Bonhams"
1578:Who's Who
1344:purples.
1280:Commodus.
1259:Liverpool
1086:The Swing
1029:To Faunus
810:flamingos
621:The Times
528:daughters
464:lampblack
430:raw umber
406:vermilion
290:The Swing
187:Edgbaston
144:The Swing
121:World War
61:mythology
47:style of
1749:Anacreon
1732:Catullus
1504:A Secret
1245:Rodantha
1152:The Wish
1114:Anacreon
775:Herodias
756:The Bath
719:The Bath
679:Horatius
612:Horatius
547:Catullus
452:aureolin
324:Rodantha
309:Hastings
276:(1894).
274:Anacreon
260:(1893),
258:Catullus
129:Catullus
85:mermaids
77:folklore
73:pastoral
2416:at the
2201:(ed.),
1465:Maidens
1390:(1905).
1367:Mermaid
1314:Cornish
1297:(1905).
1196:The Bee
1183:(1905).
1062:(1900).
1001:Pandora
959:(1888).
892:(1888).
850:Sekhmet
842:incense
821:Erigone
737:chitons
721:(1884).
698:thyrsus
635:(1886).
573:Revelry
522:(1880).
511:(1879).
491:Hebrews
212:at the
156:Arundel
154:, near
146:, 1893.
1550:Wishes
1536:(1886)
1506:(1883)
1461:(1883)
1318:Zennor
1147:Roses.
1044:Horace
1019:Horace
993:Psyche
911:Adonis
854:Bastet
846:fresco
787:Salome
726:Habet!
551:Clodia
543:Lesbia
532:DanaĂĽs
460:sienna
458:, raw
168:Sussex
125:Lesbia
81:nymphs
28:(1878)
26:Lesbia
1455:(19")
1202:Venus
1140:Cupid
838:mummy
761:With
172:Italy
1278:and
1124:and
771:Mark
769:and
746:Elis
742:Here
526:The
176:Rome
170:for
135:Life
83:and
69:Rome
67:and
59:and
51:and
2425:at
2407:at
2138:BBC
1365:In
1341:Pan
1335:In
1257:in
1187:In
1134:In
997:She
852:or
832:In
815:In
731:In
692:In
596:In
466:."
436:."
250:'s
185:in
40:ROI
37:RWS
2439::
2331:^
2310:^
2145:^
2097:^
2072:^
2037:^
2006:^
1971:ff
1914:^
1876:^
1858:,
1832:^
1803:^
1760:^
1751:,
1741:^
1723:^
1714:,
1686:^
1649:^
1642:ff
1585:^
1564:^
1320:.
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689:.
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604:.
581::
454:,
432:,
428:,
424:,
300:.
246:,
193:.
131:.
87:.
2292:.
1644:.
380::
326:.
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