Edwin Austin Abbey was an American muralist, illustrator, and painter. He flourished at the beginning of what is now referred to as the "golden age" of illustration, and is best known for his drawings and paintings of Shakespearean and Victorian subjects, as well as for his painting of Edward VII's coronation. His most famous set of murals, The Quest and Achievement of the Holy Grail, adorns the Boston Public Library.
Thomas Stothard was a British painter, illustrator and engraver. His son, Robert T. Stothard was a painter : he painted the proclamation outside York Minster of Queen Victoria's accession to the throne in June 1837.
John Leech was a British caricaturist and illustrator. He was best known for his work for Punch, a humorous magazine for a broad middle-class audience, combining verbal and graphic political satire with light social comedy. Leech catered to contemporary prejudices, such as anti-Americanism and antisemitism and supported acceptable social reforms. Leech's critical yet humorous cartoons on the Crimean War helped shape public attitudes toward heroism, warfare, and Britons' role in the world.
Thomas Rowlandson was an English artist and caricaturist of the Georgian Era, noted for his political satire and social observation. A prolific artist and printmaker, Rowlandson produced both individual social and political satires, as well as a large number of illustrations for novels, humorous books, and topographical works. Like other caricaturists of his age such as James Gillray, his caricatures are often robust or bawdy. Rowlandson also produced highly explicit erotica for a private clientele; this was never published publicly at the time and is now only found in a small number of collections. His caricatures included those of people in power such as the Duchess of Devonshire, William Pitt the Younger and Napoleon Bonaparte.
Benjamin West was a British-American artist who painted famous historical scenes such as The Death of Nelson, The Death of General Wolfe, the Treaty of Paris, and Benjamin Franklin Drawing Electricity from the Sky.
Sarah Biffin, also known as Sarah Biffen, Sarah Beffin, or by her married name Mrs E. M. Wright, was an English painter born with no arms and only vestigial legs. She was born in 1784 in Somerset. Despite her disability she learned to read and write, and to paint using her mouth.
George French Angas, also known as G.F.A., was an English explorer, naturalist, painter and poet who emigrated to Australia. His paintings are held in a number of important Australian public art collections. He was the eldest son of George Fife Angas, who was prominent in the early days of the colonisation of South Australia.
John Phillip was a Victorian era Scottish painter best known for his portrayals of Spanish life. He started painting these studies after a trip to Spain in 1851. He was nicknamed John 'Spanish' Phillip.
Lotherton Hall is a country house near Aberford in West Yorkshire, England. It is a short distance from the A1(M) motorway, 200 miles (320 km) equidistant from London and Edinburgh. It is one of nine sites in the Leeds Museums & Galleries group.
John Vanderbank was an English painter who enjoyed a high reputation during the last decade of King George I's reign and remained in high fashion in the first decade of King George II's reign. George Vertue's opinion was that only intemperance and extravagance prevented Vanderbank from being the greatest portraitist of his generation, his lifestyle bringing him into repeated financial difficulties and leading to an early death at the age of only 45.
James Smetham was an English Pre-Raphaelite Brotherhood painter and engraver, a follower of Dante Gabriel Rossetti.
Henry Martens was an English military illustrator and artist. He worked mainly in water-color although a few oil paintings do exist. He was the eldest of three sons of Christoph Heinrich Martens and his wife Rebecca, the others being John William and Conrad.
Thomas Hearne was an English landscape painter, engraver and illustrator. Hearne's watercolours were typified by applying a wash of subtle subdued colours over a clear outline in fine brush, pen or pencil. His techniques were studied by younger artists such as Thomas Girtin and J. M. W. Turner.
George Fiddes Watt was a Scottish portrait painter and engraver.
The Combat: Woman Pleading for the Vanquished is a large oil painting on canvas by English artist William Etty, first exhibited in 1825 and now in the National Gallery of Scotland. Inspired by the Elgin Marbles and intended by the artist to provide a moral lesson on "the beauty of mercy", it shows a near-nude warrior whose sword has broken, forced to his knees in front of another near-nude soldier who prepares to inflict a killing blow. A woman, also near-nude, clutches the victorious warrior to beg him for mercy. Unusually for a history painting of the period, The Combat does not depict a scene from history, literature or religion and is not based on an existing artwork, but is instead a scene from the artist's own imagination.
Alfred Hitchens was an English painter, father, grandfather and great grandfather of artists Ivon Hitchens, John Hitchens and Simon Hitchens respectively. His work was regularly exhibited at the Royal Academy of Arts.
Alfred Ernest Egerton Cooper, RBA, ARCA, was a British painter of portraits, landscapes and other figurative work. In the era of Modernism, he continued to work in traditional style from his studio in Chelsea, London.
William Walker Morris was a British nineteenth-century painter of the Victorian period who worked in Greenwich and Deptford, England, and was known particularly for his bucolic genre oil paintings depicting sporting and homestead life, with an emphasis on hunting dogs. His works draw upon the imagery of life in the Scottish Highlands. He died at some time from 1867 to 1881.
The Duke of Wellington Describing the Field of Waterloo to George IV is an 1840 history painting by the British artist Benjamin Robert Haydon. It depicts a scene in 1821 when George IV was escorted around the site of the Battle of Waterloo, six years after it was fought, by the victorious Allied commander the Duke of Wellington. Haydon had visited the battlefield himself in 1839.
The Disgrace of Lord Clarendon is an 1846 history painting by the British artist Edward Matthew Ward. It depicts a scene from the seventeenth century when the Earl of Clarendon was dismissed from his position as Lord Chancellor and effective Chief Minister by Charles II. Clarendon had led the Clarendon ministry since the Restoration in 1660. Despite his long service to the Cavalier cause, Clarendon was forced out and replaced by the Cabal. It is also known by the longer title The Disgrace of Lord Clarendon, after his Last Interview with the King - Scene at Whitehall Palace, in 1667
