The art of George Sheringham, 1884–1937

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Baptism of Dylan, Son of the Wave from The Cauldron of Anwn (c. 1902).

About the artist:

George Sheringham was born in London. He studied art first at the Slade School (1899–1901) before leaving for Paris, where he studied from 1904–1906. Chiefly known as a designer of stage sets and decorative artist he was also illustrator of works by Arthur Conan Doyle and Max Beerbohm. He was the author of Drawing in Pen and Pencil (1922) and Design in the Theatre (with James Laver, 1927). An invalid from 1932, he continued to paint flowers until his death.

About the work:

This striking series of paintings were commissioned by the 8th Lord Howard de Walden (Baron Seaford) to illustrate his Celtic poem, The Cauldron of Anwn. It has been suggested that they were part of a decorative sceme for de Walden and it is therefore likely that they were part of his remodelling on the interior of Seaford House in Belgravia which he undertook from 1902 onwards. The modifications at Seaford House included the panelling of the dining room and installation of an onyx staircase and frieze carved from marble imported from South America. No expense was spared and it is said that to ensure a supply of the right kind of marble, Baron Seaford bought the mine.

The series of The Cauldron of Anwyn reflects Sheringham’s interest in oriental ornamentation and also reflects modern approaches to book illustration. A close comparison can be drawn between Sheringham’s work and that of Edmund Dulac and Sheringham’s work is also suggestive of a more exotic continental approach to decoration. Sheringham had studied at the Slade School between 1899 and 1901 and in Paris between 1904 and 1906. The qualities of his work were recognised in Paris before they were in Britain and his first exhibits were at the Paris Salon. He was born and lived in London all his life and became well known as a decorative artist, applying his talents to costume and scenery design for various theatrical productions. He also illustrated many books including The Happy Hypocrite and Design in Theatre and this interest in intricate decoration was transposed into his interior design work.

The Cauldron of Anwyn at ARC.

Elsewhere on { feuilleton }
The illustrators archive

Men with snakes

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Laocoön and His Sons attributed to Agesander, Athenodoros
and Polydorus of Rhodes (c. 160–20 BCE).

No jokes about snakes in a frame, please. Bram Dijkstra’s Idols of Perversity: Fantasies of Feminine Evil in Fin de Siècle Culture (1986) is a wide-ranging study of the “iconography of misogyny” in 19th century painting. Dijkstra examines the numerous ways that women were depicted in late Victorian and Symbolist art, with one chapter, “Connoisseurs and Bestiality and Serpentine Delights”, being devoted to representations of women with animals, especially snakes. The story of Eve and the Serpent prompts many of these latter images, of course, while scenes with other creatures seem intended to demonstrate the Victorian attitude that woman was closer to the brute beasts than man and could often be found conspiring with them to bring down her masculine masters. Continue reading “Men with snakes”

Weel done, Cutty-sark!

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Brad David wrote last week asking about the picture I used on the recent Jack Rose poster design. I’d seen this engraving for years in various books but was unsure of its provenance so the enquiry made me curious as well. The picture in question is an illustration for the poem Tam O’Shanter by Robert Burns and since it’s a depiction of cavorting witches and warlocks it turns up frequently in occult encyclopedias.

After a bit of searching it transpires that the engraving is based on a series of six paintings illustrating the poem by Scottish artist John Faed (1819–1902). Here we’re seeing the moment just before drunken Tam (his face visible at the window) shouts “Weel done, Cutty-sark!” to the young witch in the centre, whereupon the lights go out and a shrieking horde of angry witches chase him home.

Elsewhere on { feuilleton }
The etching and engraving archive

Obverse Paintings by Fred Chuang

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Au-gel (2006).

Resuming my mixed-media, collage work, and experimenting with gold-on-gold effects, this small painting incorporates the figure, printed on tissue paper with “printed” bird wings. The textural effects in the wings suggests a more “butterfly” metaphor, but the texture of the feathers can be more clearly seen in the actual work.

More of Fred Chuang’s obverse angels (and other beings) here.

Elsewhere on { feuilleton }
The gay artists archive

Previously on { feuilleton }
Czanara’s Hermaphrodite Angel