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"Dismal Art" or "strong, realistic pictures"? Luke Fildes, Frank Holl and 'social realism'

By Philip Daniel McEvansoneya

Abstract

Volume 2 (containing a collection of plates) is not available electronically on the Leicester Research Archive. Volume 2 is available for consultation at the David Wilson Library, University of Leicester

Publisher: University of Leicester
Year: 1992
OAI identifier: oai:lra.le.ac.uk:2381/8547

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Citations

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  73. cally self-deprecating terms, Fildes wrote: --------------------334. Menella Smedley,
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  85. Convalescent, 1867,18" x 22", formerly McCormick collection.
  86. (1981). Courbet the Communist & the Temple Bar Magazine',
  87. (1973). Courbet: The Studio of the Painter, Art in Context,
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  95. (1976). Describe or Narrate ?A Problem in Realistic Representation',
  96. (1985). Dickens and Art',
  97. (1980). Dickens and His Original Illustrators,
  98. Dicksee, The Crisis, 1891,
  99. Did you ever kill anyone, Father ? ', 1883,52 1/2" x 42 1/2", untraced, reproduced from
  100. Difference of Position, 1868,20" x 25", private collection. Photo: Pyms Gallery. 51. Frank Holl, Difference of Position, before restoration.
  101. (1979). Dion Boucicault. A Biography,
  102. (1978). Dore's London: Art and Evidence'
  103. (1977). Down the Garden Path: Courtship Culture and Its Imagery in Victorian Painting',
  104. Drawing and Engraving on Wood',
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  106. (1884). Edwin Drood was Illustrated', Century Illustrated Monthly Magazine,
  107. (1983). Egg's triptych: a narrative of Victorian adultery',
  108. Eldest surviving son Luke Valentine born, followed by Paul (1883-1971), Kitty, Geoffrey, Denis and Dorothy. 1881 Began to contibute Venetian scenes to the RA. 1887 Portrait of his wife at the RA marks change of career.
  109. Emigrant's Departure (1878, private collection). 25 Moreover his is the only collection discussed here to have been visited by F.
  110. (1985). Emigration! thou'art the curse... ' Victorian Images of Emigration Themes',
  111. (1988). Employer, husband, spectator: Thomas Fairbairn's commission of The Awakening Conscience',
  112. (1987). Encounters: Two Victorian Sensations,
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  119. Engraver and Philosopher,
  120. Engraving after Frank Holl, No Tidings, reproduced from the Magazine of Art,
  121. (1988). Ephemeral Vistas: The Expositions Universelles, Great Exhibitions and World's Fairs, 1851-1939,
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  124. (1948). Etheredge, Hogarth's Literary Relationships,
  125. (1975). Expression: Meaning
  126. Fadin g Away, 1858, composite photograph, 9 1/4" x 14 1/2".
  127. Faed, Forgiven, c. 1874,14" x 19", London,
  128. (1981). Fathers: Images of Authority in Pre-Revolutionary French Art',
  129. Fildes, first sketch for The Doctor, c. 1890, 132. Leon Lhermitte, Claude Bernard in his Laboratory at the College de France. 1889,69 1/4" x 108 3/4",
  130. (1880). Fildes, illustrat ion to Lord B rackenbury,
  131. Fildes, Playmates, RA 1877 (1059), 48" x 32", untraced, reproduced from H. Blackburn, Academy Notes,
  132. Fildes, study for The Widower c. 1876,21" x 14 1/2", private collection. 89. Frank Holl, An Italian scene, panel, 23 1/2" x 44 3/4", private collection.
  133. Fildes, The Village Wedding, 1883,60" x 100", private collection.
  134. Fildes, The Widower, c. 1902,26" x 37", Liverpool, Walker Art Gallery, replica of RA 1876 (476), 66" x 97", Sydney, Art Gallery of New South Wales.
  135. Fildes, Venetian Life, 1884,84 1/2" x 62", private collection.
  136. Flameng, engraving (1883) after Luke Fildes, The Widower,
  137. Fondly G azing, 1861, 16" x 13 1/4", private collection.
  138. (1891). For example the Artist,
  139. (1984). For one dealer's account of the process
  140. Francis Montague Holl born in Kentish Town, London, second child and eldest son of the engraver Francis Holl ARA (1815-84) and Alicia nee Dixon (1820-99). 1854-58 Attended Mr. Rae's school, Hampstead, where Holl showed an early interest in drawing.
  141. Frank Holl and his Works',
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  145. (1983). Fruits of a Connoisseur's Friendship: Sir Thomas Fairbairn and William Holman Hunt',
  146. (1950). Funeral Since
  147. (1909). Gaskell's sale at Christie's on 24-25
  148. (1982). George Elgar Hicks: Painter of Victorian Life,
  149. Gervex, Dr Plan operating at the St Louis Hospital, 1889., 95 1/4" x 74", Paris, Muse de 1'Assistance Publique.
  150. Going Home, 1877,40" x 55", London, Royal Military Hospital.
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  154. (1972). Greuze: The rise and fall of an eighteenth-century phenomenon,
  155. Gustave Courbet', TemDle Bar,. XLII (1874),
  156. (1855). Handbook for Young Painters,
  157. (1973). Happy Mothers and Other New Ideas in French Art',
  158. (1990). Hard Times and Culture'
  159. (1973). Harry Furniss's Joke Academy',
  160. (1989). Harry Spielmann and the Role of the Press in the Professionalisation of Artists',
  161. Hayllar, The Old Master, 1883,
  162. Haymaking, 1867,22" x 14", private collection. Photo: Richard
  163. Haymaking, 1880,29" x 38", private collection.
  164. Healthy Life and Healthy Dwellings...,
  165. (1971). Heaven and the Victorians,.
  166. (1962). Henry Hill: An Untypical Victorian Collector',
  167. Her Firstborn, 1876,42" x 60",
  168. (1984). Here a captive heart lies busted": From Victorian Sentimentality to Modern Sexuality',
  169. (1988). His Life and The Walpole Society, LII TAYLOR, Jenny Bourne, In the Secret Theatre of the Home: Wilkie Collins, sensation narrative and nineteenth-century psychology,
  170. Historical Notes on Cullercoats, Whitley and Monkseaton,
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  172. (1983). Hobsbawm,
  173. (1941). Hogarth and Reynolds: A Contrast in English Art Theory Charlton Lecture
  174. Hogarth, detail of The March to Finchlev, 1746,40" x 52 1/2", London, The Thomas Coram Foundation for Children.
  175. (1965). Hogarth's Graphic Works,
  176. Holl, away..., 1868,36" x 49",
  177. Holl, Bad News, watercolour, c. 1879,7 3/4" x 11 1/2",
  178. Holl, engraving after Frank Holl, Waiting, c. 1876, ? 17". x 21", reproduced from P.
  179. Holl, study for The Lord gave..., c. 1868, 20" x 29", private collection.
  180. Hopeles s Dawn, 1888, 48 1/4" x 66",
  181. (1962). HoQarth and his Place in European Art
  182. (1869). Houseless and Hungry',
  183. (1897). How I painted "The Doctor" an inter view with
  184. (1897). How I painted The Doctor, An interview with Mr Luke Fildes,
  185. (1878). How we bury our dead',
  186. (1984). Hubert von Herkomer and the Modern Life Subject',
  187. Hushedl, 1877,13 1/2" x 17 1/2",
  188. (1986). Ideology: the English 9ition 1740-1860,
  189. (1872). III am the resurrection and the life"',
  190. Illustrated Interviews XXV - Mr Luke Fildes RA',
  191. Illustrated Interviews XXV -Mr. Luke Fildes R.
  192. (1990). Ilya Repin and the World of Russian Art.
  193. (1985). Images of Man and Death, trans. Janet Lloyd,
  194. (1988). Images of the Army: The Military in British Art 1815-1914,
  195. (1987). Images of Victorian Womanhood in English Art,
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  197. (1967). Individual And Society: A Study of the Theme
  198. (1989). Industrialists as Patrons',
  199. Ing Alfred Rankley's Old Schoolfellows (1854, Sir David Scott collection), Thomas Brooks's Resignation (1863, FORBES collection), Mrs. A. Farmer's An Anxious Hour.
  200. Isragls, Expectation, 1874,71 1/2" x 54",
  201. It was Gaskell's Liverpool Daily Post which published a lengthy encomium (cited above) of Fildes's Village Wedding whilst in progress in 1882.
  202. (1963). L'Absinthe in England',
  203. (1987). Lady Bountiful; Woman of the Landed Classes and Rural Philanthropy',
  204. Lady Butler Battle Artist 1846-1933, ex.
  205. (1909). Le sentimentalisme dans la peinture fran aase de Greuze a David, I: Les Origines',
  206. Le Voeu, 1867, 41" x 56",
  207. Leaving Home, n. d., 28" x 42", private collection,
  208. (1883). Lectures on Painting,
  209. (1968). Les collectionneurs de Bouguereau en Angleterre et en Amerique'
  210. (1982). Les Quat' Pattes": the image of the dog in late nineteenth-century French art',
  211. Library, London: letters to and from Fildes and others, loosely catalogued as: National Art Library,
  212. Living Artists: Michael Munkacsy',
  213. (1875). London Sketches - The Deserter',
  214. (1978). Lost and Found: once more the fallen woman',
  215. (1988). Lost: Paintings of English Country Life and Landscape 1850-1914,
  216. (1909). lots 23-26,47. He also owned two works by Fildes's brother-in-law Woods (lots 109 and 110) and one by Fildes's wife Fanny
  217. (1925). lots 71,72,73. --------------------20. On Taylor see his obituary in the Wigan Examiner,
  218. lower to m, con NRAC f, low education in to u Lib Not Known art world, con to lib°
  219. (1895). Luke Fildes painting Thg Doctor', Graphic, c. 1891, reproduced from
  220. (1968). Luke Fildes RA A Victorian Painter,
  221. (1968). Luke Fildes RA: A Victorian Painter,
  222. Lullaby, 1880,39 1/2" x 32", private collection.
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  224. (1974). Maritime Painting in England 1700-1900,.
  225. (1983). Master Class: Robert Scott Lauder and his Pupils,
  226. (1880). Masters of Genre Painting,
  227. (1976). Masters or Servants? A Study of Selected English Painters and their
  228. (1954). Melodrama: Plots That Thrilled,
  229. (1985). Military Themes in British Painting 1815-1914',
  230. Mixture: First Dose', 145. Frank Holl, The Sisters, 1869,36" x 27 1/2", private collection.
  231. (1983). Moral Judgement and the Language of English Art Criticism 1870-1910',
  232. (1952). More,
  233. (1983). Murillo and eighteenth-century painting outside Spain',
  234. (1976). Musee de Dijon, Palais des Etats de Bourgogne and Hartford, The Wadsworth Athenaeum,
  235. (1880). Museums and Galleries,
  236. (1988). Myths of Sexuality: Representations of Women in Victorian Britain,
  237. (1918). NAL, Royal correspondence 1915-18,86 PP 8. Herkomer was knighted in 1907. Professionalism', Victorian Painter's World,
  238. (1984). Napier Hemy 1841-1917, ex.. cat.,
  239. (1976). Nineteenth-century periodicals', in The Art Press: Two Centuries of Art Magazines,
  240. No Tidings from the Sea, 1870,27 1/2" x 35 1/2", Royal collection.
  241. No Tidings, 1882,20" x 29 1/2", private collection.
  242. (1988). Northern Light: Nordic Art at the Turn of the Century,
  243. (1882). Office Directories London, passim;
  244. (1966). On Painting,
  245. On paintings of scenes from Dickens, see Gordon,
  246. (1984). On the enrichment of poor monkeys by Myth and Dream; or, How Dickens Rousseauisticised and PreFreudianised Victorian Views of Children',
  247. (1878). On the use of theatrical means to present theatrical subjects see Pamela Gerrish Nunn, 'Rebecca Solomon: Painting and Drama',
  248. (1884). Ordered off',
  249. Ordered to the Front, reduced replica, 1880,30 1/42 x 25",
  250. Our Living Artists - Frank Holl ARA',
  251. Our Living Artists - Luke Fildes ARA',
  252. (1984). Outcast London: A Study
  253. (1953). Painters of the Victorian Scene,
  254. (1986). Paintings of the British Social Scene from Hogarth to Sickert (London,
  255. Palace of Westminster) are reduced to the --------------------112. Palgrave, Essays,
  256. (1988). Panoramania! The Art and Entertainment of the 'All Embracing'
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  259. Peeling Potatoes, c. 1880,14" x 17 7/8",
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  261. (1980). Periodical Critics of Drama, Music and Art, 1830-1914: A Preliminary List',
  262. (1971). Periodical Critics of Drama, Music, and Art 1830-1914: A Preliminary List', VPR" XIII
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  264. Philadelphia Exhibition 1876: Painters to be represented... ', 86 FF 58. Royal Academy of Arts, Council Minutes. London: Royal Holloway and Bedford miscellaneous artists' New College, Egham, Surrey: letters to
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  267. (1980). Pictorial narrative in the art of William Mulready',
  268. (1973). Popular Literature',
  269. (1991). Poverty and the Workhouse in Victorian England, (Far Thrupp,
  270. (1929). Practical Criticism: A Study of Literary Judgement,
  271. (1986). Pre-Raphaelite critic and art historian',
  272. (1913). Pre-Raphaelitism and the Pre-Raphaelite Brotherhood.
  273. (1986). PreRaphaelite critic and art historian',
  274. (1975). Prince of the Victorian Art World,
  275. (1880). Progress in English Art... Luke Fildes',
  276. (1980). Prostitution and Victorian Society,
  277. quoted by Pickering, Moral Tradition,
  278. (1919). Reade and Collins: Sensation Novelists.
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  280. (1971). Realism, Style and Civilisation,
  281. (1983). Realizations: Narrative. Pictorial and Theatrical Arts in NineteenthCentury England.
  282. Rebecca Solomon: Painting and Drama',
  283. (1976). Rediscoveries in Art: some aspects of taste. fashion and collecting in England and France.,
  284. Religion of Art,
  285. (1895). Reminiscences of Artistic Cullercoats',
  286. (1992). Reply to Pamela Tamarkin Reis',
  287. Resting by the Way, 1879,15 1/2" x 19 1/4", private collection.
  288. (1973). review of Linda Nochlin, Realism,
  289. (1988). review of the Hard Times exhibition,
  290. (1988). Rewarded: Victorian Paintings from the FORBES Magazine Collection, ex. cat., Loiusville, The JB Speed Art Museum etc.,
  291. (1985). Rodin's Thinker and the Dilemmas of Modern Public Sculpture,
  292. (1988). Royal Academy's Victorian Pictures',
  293. Rustic children leaning on a gate, 1867,24 1/2" x 19", private collection. Photo: Pyms Gallery.
  294. (1987). Sacred Tears: Sentimentality in Victorian Literature,
  295. (1991). Samuel Carter Hall: Publisher as Promoter of the High Arts',
  296. (1976). Samuel Pickering Jnr., The Moral Tradition in English Fiction 1785-1850,
  297. (1964). Sculpture in Britain 1530-1830, Pelican History of Art,
  298. (1986). Seeing it feelingly: Victorian Symbolism and Narrative Art',
  299. (1874). Sensationalism',
  300. (1986). Sensibility, An Introduction,
  301. (1980). Sensibility: Ideal and Erotic Love from Milton to Mozart,
  302. (1981). Sentiment and Antiquity: European Tombs 1750-1830',
  303. (1988). Sentiment and Sociability; The Language of Feeling
  304. (1909). sentimentalisme dans la peinture francaise de Greuze a David, II: Les Themes Sentimentaux',
  305. (1989). Sex Goddess': Lady Colin Campbell,
  306. (1954). Signs and Symbols in Christian Art,
  307. Silent Pleading. 1859,36" x 28",
  308. (1883). Sketches at the Royal Academy',
  309. (1872). Sketches in London -A flower girl',
  310. (1973). Social and Religious Themes
  311. Social Wrongs": The Painted Sermons of Richard Redgrave',
  312. Some Fisher Folk',
  313. Some pictures of children',
  314. sources: Courtauld Institute of Art, London: microfiche copies of Agnews' 'Indexed Picture Stock Books', 1853-81, 1871-82,1882-91,1891-1904 and 1904-19, and 'On Sale Books',
  315. (1981). Spectacular Theatre 1850-1910,
  316. (1875). Sprina Exhibition,
  317. (1988). Story-painting and picturewriting": Narrative in Victorian Art',
  318. (1982). Studies for the Casual
  319. (1912). Summary of and Index to Waagen,
  320. (1879). Summoned for Active Service',
  321. Suspense, 1881,32 1/2" x 43 1/2", Shuttlewotth College.
  322. (1992). Tamarkin, 'Victorian Centrefold: Another Look at Millais's Cherry Ripe',
  323. (1989). The "Sensation Scene" in Charles Dickens and Dion Boucicault',
  324. (1879). The Afghan War -A Sister of Mercy',
  325. (1980). The Army and Society 1815-1914,
  326. (1980). The Art and Life
  327. (1895). The Art Annual,
  328. (1943). The Art of Adam Buck - Mrs George Neilson's Collection',
  329. The article appeared in
  330. (1961). The Artist and Social Reform. France and Belgium 1885-1898,
  331. (1989). The Artist as Anthropologist: The Representation of Type and Character in Victorian Art.
  332. (1989). The Awakening Conscience Rightly', in The Pre-Raphaelites
  333. (1964). The Bride of Literature"; Ruskin, the Eastlakes and Mid-Victorian Theories of Art',
  334. (1988). The City as Theatre: From Georgian to Early Victorian London',
  335. The Cole Family:
  336. The Commonplace In Art',
  337. (1958). The Complete Letters of Vincent Van Gogh" 3 Vols.
  338. (1903). The Complete Works of John Ruskin, The Library Edition,
  339. (1982). The conception and interpretation of character in Victorian modern life art',
  340. (1989). The Connoisseur: Art Patrons and Collectors in Victorian Bradford,,
  341. (1985). The Country and the City,. 119731, (rpt.
  342. (1977). The Cranbrook Colony, ex. cat.,
  343. (1990). The Criers and Hawkers of London: Engravings and Drawings by Marcellus Laroon.
  344. (1984). The Cullercoats Fishwife, ex. cat.,
  345. (1980). The Dark Side of the Landscape: The Rural Poor in English Painting 1730-1840,
  346. The Daughter of the House,. 1879,16 3/4" x 24",
  347. (1878). the dead should be buried',
  348. The Deserter, 1874,36 3/4" x 53 1/2", FORBES collection.
  349. (1977). The Development of Social Reportage in English Periodical Illustration During the 1840s and 1850s',
  350. (1974). The Doctor by Sir Luke Fildes: The Robert Packer Hospital Oil Sketch Original',
  351. (1988). The Dog in Art from Rococo to PostModern,
  352. (1977). The Dreary Landscape as a background for scenes of rural poverty in Victorian paintings',
  353. (1975). The Dutch Phase', Apollo Cl
  354. (1961). The Economics of Taste Volume One: The Rise and Fall of Picture Prices 1760-1960,
  355. (1956). The Englishness of English Art,
  356. (1982). The Faeds. A Biography,
  357. The Firstborn, 1876,21" x 17", private collection. Photo: Pyms Gallery.
  358. The Fisherman's Home, 1881,40" x 50 1/2",
  359. The Fisherman's Wife, 1877,13 1/2" x 9",
  360. (1981). The Ghost in the Looking Glass: the Victorian Seamstress,
  361. (1878). The Gifts of the Fairies',
  362. (1884). The Graphic Arts,
  363. (1969). The Gross Clinic as Anatomy Lesson and Memorial Portrait',
  364. (1991). The Hague School and the Scots: A taste for Dutch Pictures',
  365. (1910). The Herkomers,
  366. (1974). The Heyday of Salon Painting: Masterpieces of Bourgeois Realism, trans. Peter Willis,
  367. (1991). The History of Tears: Sensibility and Sentimentality in France,
  368. (1980). The Hogarth Club 1858-1861',
  369. (1962). The Holloway collection has been catalogued by Chapel, Victorian Taste: see nos. 10,20,29,40,41,43, 44,45,59. Over the years Holloway's collection has been much studied, Taylor's a little
  370. The Holmesdale Fine Arts Club of which Pawle was President sometimes benefitted from the presence of Holl on their sketching excursions: see Artist's. Critic Record,
  371. (1984). The Idea of Poverty: England the Early Industrial Age,.
  372. (1971). The Illustration of Walter Scott: Nineteenth Century Enthusiasm and Adaptation',
  373. (1991). The Image of the Actor: Verbal and Visual Representation in the Aae of Carrick and Kemble,
  374. (1985). The Industrialization of Taste: Victorian England and the Art Union of London,
  375. (1879). The Kiss Mammy School',
  376. The Language of Flowers; with a complete vocabulary and a new selection of Quotations from the English poets illustrating the sentiment and meaning attached to the various flowers and plants, (London, n. d. but as 1877 in BL cat.
  377. (1883). The Last Look',
  378. (1913). The life and Letters of Sir
  379. (1912). The Life and Work of Frank 'Noll,
  380. (1912). The Life and Work of Frank Holl,
  381. (1912). The Life and Work of Frank Roll,
  382. (1891). The link with Newlyn was also noticed by D.
  383. (1879). The Lost Path. 1863,36" x 28", Makins collection. ' 71. Frank Holl, 'Discipline and Dissipation',
  384. (1902). The Lost Path', after Walker, watercolour, dimensions not known, untraced, reproduced from the Artist, XXXIII
  385. (1888). The Making of the Graphic` Universal Review.
  386. (1980). The Maniac in the Cellar: Sensation Novels of the 1860s,
  387. The Massacre of the Innocents: Infanticide in Britain.
  388. (1978). The Medical Profession in Mid-Victorian London,
  389. (1984). The Medical Profession in the Industrial Revolution,
  390. (1986). The Moderns, ex. cat.,
  391. (1976). The Moral Tradition in English Fiction 1785-1850,
  392. (1985). The Painting of Modern Life: Paris in the Art of Manet and his Followers,
  393. The Passing Column, 1886,9 3/4"x 14", private collection.
  394. (1980). The Peasant in French 19th Century hr-t' ex. cat.,
  395. (1979). The People's Health 1830-1910,
  396. (1966). The Personal History of David CoDnerfield,
  397. (1885). The Pictorial Press: Its Origins and Progress,
  398. (1951). The Picture Frame Proscenium of 1880',
  399. (1882). The Pictures at Aston Rowant',
  400. (1927). The Picturesque. Studies in a Point of View.
  401. (1986). The Political Theory of Painting from Reynolds to Hazlitt, 'The Body of the Public',, (New Haven and London,
  402. (1986). The Politics and of Transgression,
  403. (1984). The Pre-Raghaelites, ex. cat.,
  404. (1991). The Printed Image and the Transformation of Popular Culture,
  405. (1884). The Private Collections of England No.
  406. The Railway Station, Painted by
  407. (1971). The Readership of the Periodical Press In
  408. The Realist Tradition: French Painting and Drawing 1830-1900, ex. cat.,
  409. (1972). The Restless Century,
  410. (1975). The Royal Academy (1837-1901) Revisited: Victorian Paintings from the FORBES Magazine Collection,
  411. The Royal Academy and Other Exhibitions',
  412. (1977). The Sensationalism of The Woman in White',
  413. (1981). The Seven Curses of London,
  414. (1978). The Shows of London,
  415. (1963). The Single Tear: A Stereotype of Literary Sensibility', Philological Quarterly,
  416. (1958). The Sister Arts: The Tradition of Literary Pictorialism and English Poetry from Dryden to Gray,
  417. (1991). The splendidest May number of the Graphic": John Ruskin and the Royal Academy Exhibition of 1875',
  418. (1920). The State Gallery of HH The Maharaja Gaekwar of Baroda GCSI',
  419. (1982). The Substance or the Shadow: Images of Victorian Womanhood, ex. cat.,
  420. (1981). The triumph of Murillo: Spain, Paris and London (1830-1853)', El Greco to Goya: The Taste for
  421. (1976). The Urban Poor Law',
  422. (1977). The Victorian Army at Home: The Recruitment and Terms and Conditions of the British Regular 1859-1899,
  423. (1957). The Victorian Frame of Mind 1830-1870,
  424. (1990). The Victorian Painter's World,
  425. (1962). The Victorian Scene, ex. cat.,
  426. (1951). The Victorian Temper,
  427. (1970). The Victorian Underworld,
  428. (1983). The Victorians and their Flowers,
  429. (1981). The Workhouse System 1834-1929: The History of an English Social Institution.
  430. (1825). The Works of Anna Laetitia Barbauld with a Memoir by Lucy Aikin,
  431. The Wreck, detail, reproduced from Blackburn, Academy Notes, (London, 1876), title page. 1n 57. Frank Holl, The Firstborn, 1877,13 3/4" x 19 3/4",
  432. The Wreck, RA 1876 (13), 81" x 60", untraced, reproduced from H. Blackburn, Academy Notes.
  433. (1984). Theatre Critics in Late Victorian and Edwardian Periodicals: A Supplementary List',
  434. (1980). They Sang "The Song of the Shirt": the Visual Iconology of the Seamstress',
  435. (1988). Things,
  436. This periodical had a large number of contributors in the period under review:
  437. (1983). Thomas Eakins: The Heroism of Modern Life,
  438. (1957). Thomas Hood and The Times'
  439. Times of Fear, 1880,30 3/4" x 18 3/4", private collection.
  440. (1987). Times: Social Realism in Victorian Art,
  441. (1987). Title Type Readership Politics Art Critic PMG N/E educated m to u Lib to
  442. (1990). Tom Taylor, William Powell Frith, and the British School of Art',
  443. (1908). Tourmentes, date and dimensions not known, untraced, reproduced from Sir Isidore Spielmann, Souvenir of the Fine Art Section of the Franco-British Exhibition.
  444. (1975). Toward a Supreme Fiction: Genre and Beholder in the Art Criticism of Diderot and His Contemporaries',
  445. (1992). Van Gogh in England: Portrait of the Artist as a Young Man, ex. cat.,
  446. (1975). Victorian Conventions.
  447. (1968). Victorian England in its Novels,
  448. (1970). Victorian Novelists and their Illustrators,
  449. (1975). Victorian Painting and their
  450. (1976). Victorian Panorama: Paintings of Victorian Life,
  451. (1968). Victorian Patrons and Patronage in
  452. (1963). Victorian Patrons of the Arts: Twelve Famous Collections and their Owners,
  453. (1976). Victorian Social Conscience, ex. cat.,
  454. (1982). Victorian Taste: The completecatalogue of p nt gs at the Royal Holloway College,
  455. (1982). Victorians on the Move: or, 'Tis Forty Years since',
  456. (1987). Virtuous Discourse: Sensibility and Community
  457. (1979). Visual ArtsKilvert Society Lecture,
  458. Waiting, 1879,35" x 46", private collection. Photo: Göteborgs Auktionsverk.
  459. (1981). War and Death, Grief and Mourning in Modern Britain',
  460. Wayfarers, c. 1866, engraving, reproduced from Claude Phillips, Frederick Walker. The Portfolio monographs no. 6,
  461. Wayfarers. 1866, dimensions not known, untraced, reproduced from
  462. (1982). What is "sensational" about the 'sensation novel'
  463. (1991). Wilkie Collins and Other Sensation Novelists: Walking the Moral Hospital (London,
  464. (1988). Wilkie Collins: Women. Property and Propriety,
  465. (1986). William Henley and the Magazine of Art',
  466. (1977). William Mulready's "The Widow": a subject "unfit for pictorial representation"',
  467. (1977). Winslow Homer in Cullercoats',
  468. Woods, A country studio, C. 1881,8" x18", private collection. Photo: Christopher Wood Gallery.
  469. (1876). Works of Frank Holl',
  470. (1970). Wyfold Court, Oxfordshire',

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