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Thread: George Stubbs - Liverpool Artist

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    Default George Stubbs - Liverpool Artist





    The son of a currier and leatherseller, George Stubbs appears to have had a natural talent for portraiture and had only a little formal instruction from the local artist Hamlet Winstanley, an assistant of Sir Godfrey Kneller. His early career as a provincial portrait painter took him to the towns of Leeds, Wigan,York and Hull. He had however a great scientific curiosity typical of many of the Renaissance masters and, like Leonardo, throughout his life made extensive studies of both human and animal anatomy.

    His technical treatises extended from The Anatomy of the Horse, published 1766, to a work comparing the structure of the human body with that of a tiger and common fowl on which he was engaged until the time of his death. His great anatomical knowledge combined with precise draughtsmanlike skill in portraiture has earned him the accolade of being known arguably as "the greatest painter-scientist in the history of art". Such was his interest that he would portray a baboon, cheetah or rhinoceros with as much enthusiasm and sympathy as he would depict a horse or a dog.

    When in York he knew enough of anatomy to enable him to teach it to medical students at the hospital, which in turn led to a commission in 1751 to illustrate a book on midwifery, for which he learnt enough about etching from a local engraver to enable him to etch the plates himself.

    At the age of 30 he travelled to Rome to further his studies but of more immediate relevance to his work is the possibly apocryphal anecdote that on his way back, staying at Ceuta in Morocco, he saw a lion in the moonlight stalking and pouncing on a white Barbary horse. Weather true or not, haunted by this image, he was compelled to depict the various stages of encounter between the pursuer and quarry - the approach, the fear, the attack. The resulting series, a 'beauty and the beast' sublimation, had a dream-like romantic quality which uniquely conveyed the sensations of disquiet and menace but was conveyed with a certain detachment.

    On his return to England in 1754, he embarked upon his study of the horse. The Jockey Club had been founded in 1750 and racing had revived as a sport. He logically reasoned therefore that a detailed work of reference on the horse's structure would be of great use to bloodstock breeders. Settling in a farmhouse in the Lincolnshire village of Horkstow with his common-law wife Mary Spencer and their son George Townly Stubbs, he commenced work on his famous series of precise anatomical drawings, supported by portrait commissions from Lady Nelthorpe. He then moved to London in search of a suitably skilled engraver and there quickly established a reputation as a painter of horses and wild animals.

    His early patrons included the Duke of Richmond, the Marquess of Rockingham, Earl Spencer, Earl grosvenor and the Duke of Grafton. He first exhibited at the Society of Artists in 1762 and, by 1764, had moved to his home at 24 Somerset Street, Portman Square, where he was to remain for the remainder of his life (the site is now occupied by Selfridge's department store). Attached to it were a studio-laboratory, 28 x 21 ft with a lantern skylight, a coach-house and a four-horse stable for his equine models!

    His portraits tended to delight his patrons, including the Marquis of Rockingham who owned Whistlejacket, the fiery stallion which attacked Stubbs during a portrait 'sitting' at Wentworth, causing him to defend himself and subdue the horse with only his mahl-stick.

    In the same period he was sought out by several naturalists including the explorer Sir Joseph Banks, who voyaged with Captain Cook, and the researchers and surgeons William and John Hunter. Banks commissioned Stubbs to paint the first kangaroo brought to England. William Hunter requested portraits of a nylghau, the Indian antelope, and a moose; for John Hunter a baboon, Indian rhinoceros, macaque monkey and a yak. Some of the models, such as the kangaroo, were stuffed, but others were living - including the rhinoceros which he drew at Pidcock's Menagerie in Spring Gardens in 1772. In fact there were several locations for the study of wild animals from life, including John Hunter's own menagerie, the royal menagerie at the Tower of London and the menagerie at Windsor Great Park, created by the Duke of Cumberland, and where the artist could observe many animals including a lion, a tiger and a zebra brought from the Caoe of Good Hope as a present for the royal family.

    For some time Stubbs had been experimenting with enamel paints fired onto copper plates and in the 1780's, wishing to work on a larger scale, consulted Josiah Wedgewood about the possibility of making large pottery plaques on which the enamel process could be used. He stayed with him at the Etruria works in 1780, using this process in portraits of Wedgewood and his family. There he was further influenced by Wedgewood ceramics which often contained classical themes and the 'phaeton' that often appears in his work (a form of light four-wheeled eighteenth-century carriage) recalled to him Phaeton the charioteer of Greek legend.

    Elected Associate of the Royal Academy (ARA) in 1780, he becama a full member (RA) in 1781, but did not receive the diploma because he refused to comply with a rule made after his election that academicians should deposit a diploma picture. He complained that his works on enamel were badly hung, but still continued to exhibit there.

    In his later years Stubbs cointinued a vigorous lifestyle, conserving his energy by a controlled diet and physical exercise. Indeed he is reputed to have drunk nothing but water for 40 years. He walked regularly and when almost 80, thought nothing of walking the 16 miles between Portman Square and Lord Clarendon's house in Hertfordshire while carrying his baggage, and reputedly walked 9 miles the day before hos death.

    In the 1790's the Prince of Wales, as Colonel of the 10th Light Dragoons, commissioned a painting of members of his regiment, his only-known military subjects. His portraying of a mounted sergeant, a trumpeter, a sergeant-at-arms and a private presenting arms was considered remarkable in its clear-cut design and colour, entering well into the military spirit. Other royal commissions of this period include the spirited equestrian portrait of Laetitia, Lady Lade, who was described as being of scandalous reputation and notorious for her foul language. But she was also an accomplished horsewoman and society's disapproval of her did not deter her husband, Sir John Lade, from whom the Prince bought horses, from adding this portrait of her in riding dress on a rearing horse to his private collection.

    Work on his ambitious sequel to the Anatomy of the Horse, A Comparative Anatomical Exposition of the Human Body with that of a Tiger and a Common Fowl, occupied him from 1795 until the day of his death, causing him some financial hardship. The majority of the 142 drawings were sold at Christies in 1827, eventually being discovered in the Library of Worcester, Massachusetts in 1957. The engravings he had completed were finally published in 1817.

    Stubbs recorded much that was typical of his time. He conveys the essence of rural life in its 'golden age' - that of the great landowners whose mansions were the focal point of social life, sport and the arts - his pictures are considered as idyllic masterpieces. He was also a master of the art of depicting class distinction, although the servants of the great houses are portrayed with understanding and without condescension. No sportsman himself, his patrons came mainly from the sporting aristocracy, which led his work, until the twentieth century, to be categorised alongside that of the several sporting specialists of the turf and hunt, and in his day he never gained the celebrity of his compatriots Gainsborough, Reynolds and Hogarth. This is possibly due to his nature as a dedicated and simple man who pursued his own interests rather than those suggested by the society of the day. Only relatively recently has his work been rediscovered and given the credit it deserves.

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    Senior Member lindylou's Avatar
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    Default George Stubbs

    Liverpool born painter George Stubbs (1724-1806) was considered to be the greatestof all animal painters. Some of his work can be seen in the Walker art gallery.

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    The Walker Art Gallery celebrates the bicentenary of the death of Liverpool's greatest painter George Stubbs in a small exhibition of about 25 masterpieces from 7th April to July 30th.It might be worth checking out.

    George Stubbs

    The Most Original and Searching of All Animal Painters
    Stubbs, labeled `Mr Stubbs the Horse Painter,' was undervalued for far too long. Now he is recognized as the equal of his contemporaries, Gainsborough and Reynolds. He is the most original and searching of all animal painters, whether his subject is a brood-mare and foal, a monkey or a poodle. He is also a portraitist, as much a master of the art of class-distinction in eighteenth-century England as he is of the anatomy of the horse. This is a unique record of the most important exhibition of Stubbs ever held, described by the Times Educational Supplement as `wild, exotic and modern.'

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    Creator & Administrator Kev's Avatar
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    A PAINTING by Liverpool artist George Stubbs, of a red and white dog, fetched almost £1m at auction yesterday - more than twice as much as expected. more
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    Re-member Ged's Avatar
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    I read somewhere he lived in Prussia Street off Pall Mall?

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    Senior Member ChrisGeorge's Avatar
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    Hi Ged

    Unable at this moment to verify where he lived in London but I did find this about the question of his exact birthplace in Liverpool:

    The George Stubbs exhibition at the Walker (from now until 31 July) celebrates Liverpool’s greatest painter. He was born on 25 August 1724 in Dale Street or Leather Lane (according to who you believe), his father having worked in Ormonde Street as a currier (a processor of leather, nothing to do with vindaloos!). Stubbs worked in Liverpool sometime between 1742 and 1745 and again in 1755 when he painted James Stanley. He became Britain’s best known painter of horses, having dissected a number of the animals muscle by muscle to understand their structure properly. In fact, the galloping of horses was never properly understood until photography came along. There should be a blue plaque for this artist. Who knows exactly where he was born?

    From www.liverpool-heritage.org.uk newsletter, no. 12, 1 May 2006 (document may be downloaded here).
    Christopher T. George
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    Editor, Loch Raven Review
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    PhilipG
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    Quote Originally Posted by Kev View Post


    The son of a currier and leatherseller, George Stubbs appears to have had a natural talent for portraiture and had only a little formal instruction from the local artist Hamlet Winstanley, an assistant of Sir Godfrey Kneller. His early career as a provincial portrait painter took him to the towns of Leeds, Wigan,York and Hull. He had however a great scientific curiosity typical of many of the Renaissance masters and, like Leonardo, throughout his life made extensive studies of both human and animal anatomy.

    His technical treatises extended from The Anatomy of the Horse, published 1766, to a work comparing the structure of the human body with that of a tiger and common fowl on which he was engaged until the time of his death. His great anatomical knowledge combined with precise draughtsmanlike skill in portraiture has earned him the accolade of being known arguably as "the greatest painter-scientist in the history of art". Such was his interest that he would portray a baboon, cheetah or rhinoceros with as much enthusiasm and sympathy as he would depict a horse or a dog.

    When in York he knew enough of anatomy to enable him to teach it to medical students at the hospital, which in turn led to a commission in 1751 to illustrate a book on midwifery, for which he learnt enough about etching from a local engraver to enable him to etch the plates himself.

    At the age of 30 he travelled to Rome to further his studies but of more immediate relevance to his work is the possibly apocryphal anecdote that on his way back, staying at Ceuta in Morocco, he saw a lion in the moonlight stalking and pouncing on a white Barbary horse. Weather true or not, haunted by this image, he was compelled to depict the various stages of encounter between the pursuer and quarry - the approach, the fear, the attack. The resulting series, a 'beauty and the beast' sublimation, had a dream-like romantic quality which uniquely conveyed the sensations of disquiet and menace but was conveyed with a certain detachment.

    On his return to England in 1754, he embarked upon his study of the horse. The Jockey Club had been founded in 1750 and racing had revived as a sport. He logically reasoned therefore that a detailed work of reference on the horse's structure would be of great use to bloodstock breeders. Settling in a farmhouse in the Lincolnshire village of Horkstow with his common-law wife Mary Spencer and their son George Townly Stubbs, he commenced work on his famous series of precise anatomical drawings, supported by portrait commissions from Lady Nelthorpe. He then moved to London in search of a suitably skilled engraver and there quickly established a reputation as a painter of horses and wild animals.

    His early patrons included the Duke of Richmond, the Marquess of Rockingham, Earl Spencer, Earl grosvenor and the Duke of Grafton. He first exhibited at the Society of Artists in 1762 and, by 1764, had moved to his home at 24 Somerset Street, Portman Square, where he was to remain for the remainder of his life (the site is now occupied by Selfridge's department store). Attached to it were a studio-laboratory, 28 x 21 ft with a lantern skylight, a coach-house and a four-horse stable for his equine models!

    His portraits tended to delight his patrons, including the Marquis of Rockingham who owned Whistlejacket, the fiery stallion which attacked Stubbs during a portrait 'sitting' at Wentworth, causing him to defend himself and subdue the horse with only his mahl-stick.

    In the same period he was sought out by several naturalists including the explorer Sir Joseph Banks, who voyaged with Captain Cook, and the researchers and surgeons William and John Hunter. Banks commissioned Stubbs to paint the first kangaroo brought to England. William Hunter requested portraits of a nylghau, the Indian antelope, and a moose; for John Hunter a baboon, Indian rhinoceros, macaque monkey and a yak. Some of the models, such as the kangaroo, were stuffed, but others were living - including the rhinoceros which he drew at Pidcock's Menagerie in Spring Gardens in 1772. In fact there were several locations for the study of wild animals from life, including John Hunter's own menagerie, the royal menagerie at the Tower of London and the menagerie at Windsor Great Park, created by the Duke of Cumberland, and where the artist could observe many animals including a lion, a tiger and a zebra brought from the Caoe of Good Hope as a present for the royal family.

    For some time Stubbs had been experimenting with enamel paints fired onto copper plates and in the 1780's, wishing to work on a larger scale, consulted Josiah Wedgewood about the possibility of making large pottery plaques on which the enamel process could be used. He stayed with him at the Etruria works in 1780, using this process in portraits of Wedgewood and his family. There he was further influenced by Wedgewood ceramics which often contained classical themes and the 'phaeton' that often appears in his work (a form of light four-wheeled eighteenth-century carriage) recalled to him Phaeton the charioteer of Greek legend.

    Elected Associate of the Royal Academy (ARA) in 1780, he becama a full member (RA) in 1781, but did not receive the diploma because he refused to comply with a rule made after his election that academicians should deposit a diploma picture. He complained that his works on enamel were badly hung, but still continued to exhibit there.

    In his later years Stubbs cointinued a vigorous lifestyle, conserving his energy by a controlled diet and physical exercise. Indeed he is reputed to have drunk nothing but water for 40 years. He walked regularly and when almost 80, thought nothing of walking the 16 miles between Portman Square and Lord Clarendon's house in Hertfordshire while carrying his baggage, and reputedly walked 9 miles the day before hos death.

    In the 1790's the Prince of Wales, as Colonel of the 10th Light Dragoons, commissioned a painting of members of his regiment, his only-known military subjects. His portraying of a mounted sergeant, a trumpeter, a sergeant-at-arms and a private presenting arms was considered remarkable in its clear-cut design and colour, entering well into the military spirit. Other royal commissions of this period include the spirited equestrian portrait of Laetitia, Lady Lade, who was described as being of scandalous reputation and notorious for her foul language. But she was also an accomplished horsewoman and society's disapproval of her did not deter her husband, Sir John Lade, from whom the Prince bought horses, from adding this portrait of her in riding dress on a rearing horse to his private collection.

    Work on his ambitious sequel to the Anatomy of the Horse, A Comparative Anatomical Exposition of the Human Body with that of a Tiger and a Common Fowl, occupied him from 1795 until the day of his death, causing him some financial hardship. The majority of the 142 drawings were sold at Christies in 1827, eventually being discovered in the Library of Worcester, Massachusetts in 1957. The engravings he had completed were finally published in 1817.

    Stubbs recorded much that was typical of his time. He conveys the essence of rural life in its 'golden age' - that of the great landowners whose mansions were the focal point of social life, sport and the arts - his pictures are considered as idyllic masterpieces. He was also a master of the art of depicting class distinction, although the servants of the great houses are portrayed with understanding and without condescension. No sportsman himself, his patrons came mainly from the sporting aristocracy, which led his work, until the twentieth century, to be categorised alongside that of the several sporting specialists of the turf and hunt, and in his day he never gained the celebrity of his compatriots Gainsborough, Reynolds and Hogarth. This is possibly due to his nature as a dedicated and simple man who pursued his own interests rather than those suggested by the society of the day. Only relatively recently has his work been rediscovered and given the credit it deserves.

    Very interesting, Kev.
    All your own work?
    I can't see any source.

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    Quote Originally Posted by PhilipG View Post
    Very interesting, Kev.
    All your own work?
    I can't see any source.


    his father having worked in Ormonde Street as a currier (a processor of leather, nothing to do with vindaloos!).


    What's all this about curry/vidaloos/source (sp) sauce.

    I thought he was 'scouse' not Indian.

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    Senior Member ChrisGeorge's Avatar
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    Art review from today's New York Times about an exhibition of our man George Stubbs's work just opened up at the Frick Collection in New York:

    Finding Art in Nature, and the Beauty in the Beast
    By GRACE GLUECK

    A small, appealing monkey of indeterminate ancestry, face turned to the viewer as it plucks a peach from a branch, occupies a prime spot in “George Stubbs (1724-1806): A Celebration” at the Frick Collection, an intimate show recognizing the bicentenary of Stubbs’s death. For those who still think of Stubbs as first and foremost a painter of horses, the prominent placement of the monkey painting is meant to signal that the artist was equally brilliant at capturing other mammals, including humans, as is soon made clear in the rest of this 17-painting exhibition.

    Men and women gathering grain; an extraordinary ox; the Duke of Richmond’s prized bull moose; a landscape with a race course; foxhounds and other hunting dogs are among the nonhorse images on view.

    But horses were Stubbs’s prime subject, and he earned fame with his still admired tour de force, “The Anatomy of the Horse” (1766), based on painstaking dissections of equine corpses from head to hoof. His studies enabled him to paint without cutesy anthropomorphism the elegant thoroughbreds belonging to aristocratic owners, like “Molly Longlegs” (1762), an anorexic-looking but powerful bay filly just retired from racing. He portrayed her, attended by her jockey, as he was readying his “Anatomy” for publication, and beneath her polished brown coat you can see eloquent evidence of her skeletal structure and the taut pull of her muscles.

    In sharp contrast with the quiet rendering of Molly in a calm landscape is a painting Stubbs did the next year, “Horse Attacked by a Lion” (1763), a masterly view of a terrified equine, mane streaming and mouth agape, as it tries to shake off a hungry lion crouched on its back. The theme was common in Classical and Renaissance sculpture. In Stubbs’s day, the horse was regarded as a creature close to man; the lion represented brutal, untamed nature. We don’t see it in the painting, but the horse was destined to win by fighting a noble fight to the end. Stubbs’s painting anticipated the Romantic treatment of the subject by later artists like Eugène Delacroix and Antoine-Louis Barye.

    Stubbs was famous in the England of his time, but his reputation declined sharply after his death because he was seen as simply a horse painter. He remained obscure until the 20th century, when his reputation was revived by scholarly study and the interest of Paul Mellon, Anglophile and equinophile, who acquired many of his works. This show, organized by the Tate Britain and the Walker Art Gallery in the artist’s native Liverpool, is said to be the first Stubbs presentation in a New York museum. The paintings are drawn from British collections and have rarely been seen here.

    Born to a prosperous family of Liverpool leather merchants, Stubbs taught himself art as a child, making drawings from bones lent to him by a local doctor. By the age of 21, having moved to York, he was seriously studying human and animal anatomy and lecturing privately on the subject to students at York Hospital. The town surgeon provided him with the body of a 110-year-old woman for dissection, and he apparently painted her likeness.

    He spent 1756 through 1758 at a farmhouse in Lincolnshire, dissecting horses for his great anatomical manual, assisted by his future wife, Mary Spencer. He rigged up a suspension device for supporting a horse’s body upright, and proceeded to work in from skin to skeleton. Finding no one to engrave plates from his drawings, he did it himself, and so, while he continued to paint portraits and such for clients, he was able to publish the portfolio and sell it by subscription. Appearing in 1766, the widely acclaimed treatise “The Anatomy of the Horse” seemed to “throw him into horse painting,” he reportedly said.

    Stubbs was fond of placing his subjects in a placid landscape, displaying them at their calmest, when their physical characteristics stood out, like “Mares and Foals in a River Landscape” (about 1763-65), showing two thoroughbred bay mares with their nuzzling offspring on a riverbank, set off by a beautiful white, virginal-looking onlooker that could have served as the mount for Lady Godiva.

    “Five Hounds in a Landscape” (1762), painted for one of England’s wealthiest landowners, the second Marquess of Rockingham, depicts five handsome dogs of uniform pedigree in a row, tails held high, posed as if for judging. The lead male is at center, facing an interested female.

    One of the show’s most amusing paintings is “The Lincolnshire Ox” (1790), depicting an enormous beast over six feet tall and weighing 3,000 pounds, won by one John Gibbons in a cockfight. In 1790 Gibbons took the ox and the victorious bird to London for a public exhibition. Stubbs’s painting, done for Gibbons as a model for subscription prints, shows the three swanning in St. James Park, each male in a winsome display.

    Another lively scene is “Thomas Smith, Huntsman of the Brocklesby Hounds, and His Father, Thomas Smith, Former Huntsman, With the Hound Wonder” (1776). It shows the father and the son, each mounted on a stunning horse, as they set out “riding to covert” (fox-hunting), the spotted brown and white foxhound Wonder preceding them, eager for the hunt to begin. English county gentry never looked better.

    As Stubbs grew older, he aimed at attracting a broader audience by a more democratic depiction of rural life. Two large paintings, “Haymakers” and “Reapers” (both 1785), carry out this intention, each depicting men and women in a choreographed, stylized ritual of raking and reaping grain. They are dressed in celebratory finery as they go about their work.

    Brilliantly painted, with meticulous attention to figures and details (there are horses in these paintings, too), the works are hailed today as among Stubbs’s greatest masterpieces. They got him admitted to the Royal Academy. But they were coolly received by critics, and I can see why. Attempting to elegize these time-honored country occupations, Stubbs has taken a classical distance from the players, coming up with candy-box scenes whose figures seem frozen.

    Stubbs died in 1806, leaving his unfinished study “Comparative Anatomical Exposition of the Structure of the Human Body With That of a Tiger and a Common Fowl.” His monuments are the horses he left behind.

    “George Stubbs (1724-1806): A Celebration” continues through May 27 at the Frick Collection, 1 East 70th Street, Manhattan; (212) 288-0700.
    Christopher T. George
    Editor, Ripperologist
    Editor, Loch Raven Review
    http://christophertgeorge.blogspot.com/
    Chris on Flickr and on MySpace

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    Default Other 'famous' Liverpool artists of bygone times.

    Ever heard of James William Carling who had works published in the Raven by Edgar Allen Poe and has work exhibited in the Poe Museum, USA. He was a pavement artist in Bold St as a boy and went to the U.S. with his older bro, came back here and died young and is buried in a paupers grave in Walton. Author Mike Kelly has written a book about him and Ron Formby has a feature on him on the Scottie Press. He was born in Fontenoy Street, L3.

    Also William or it may be James Daniels who has 2 pics hanging up in the Walker. A barefoot urchin born in Gascoyne street off Vauxhall Road,he worked in the brickfields with his dad and during rain which stopped work he made sculptures to pass the time and was spotted by lecturers of the Art school that was then what became the Inny (not next door as it is now).
    Local author Billy Woods is doing some work on him. He entered a competition and won an award at the school aged 14, beating middle and upper class candidates.

    When I find a bit more out about them, i'm sure they're worth a place on their own in this thread.
    www.inacityliving.piczo.com/

    Updated weekly with old and new pics.

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    Senior Member ChrisGeorge's Avatar
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    Quote Originally Posted by Ged View Post
    Ever heard of James William Carling who had works published in the Raven by Edgar Allen Poe and has work exhibited in the Poe Museum, USA. He was a pavement artist in Bold St as a boy and went to the U.S. with his older bro, came back here and died young and is buried in a paupers grave in Walton. Author Mike Kelly has written a book about him and Ron Formby has a feature on him on the Scottie Press. He was born in Fontenoy Street, L3.

    Also William or it may be James Daniels who has 2 pics hanging up in the Walker. A barefoot urchin born in Gascoyne street off Vauxhall Road,he worked in the brickfields with his dad and during rain which stopped work he made sculptures to pass the time and was spotted by lecturers of the Art school that was then what became the Inny (not next door as it is now).
    Local author Billy Woods is doing some work on him. He entered a competition and won an award at the school aged 14, beating middle and upper class candidates.

    When I find a bit more out about them, i'm sure they're worth a place on their own in this thread.
    Hi Ged

    That's great information. I didn't know that artist James William Carling was a Liverpool man so I am exited to hear that as I am quite interested in Poe's works and life. There's one of Carling's illustrations at

    http://www.learner.org/channel/works...rial=5&page=11

    I agree that there ought to be a thread for each of these artists. Thanks for the tips about them, Ged.

    Chris
    Christopher T. George
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    There you go Chris.

    http://www.scottiepress.org/main.htm

    The projects page has the Carling article.
    www.inacityliving.piczo.com/

    Updated weekly with old and new pics.

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    Senior Member ChrisGeorge's Avatar
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    Quote Originally Posted by Ged View Post
    There you go Chris.

    http://www.scottiepress.org/main.htm

    The projects page has the Carling article.
    Hi Ged

    I have looked over the interesting page on artist James William Carling and sent an email to Mike Kelly. Thanks for the information, Ged.

    Chris
    Christopher T. George
    Editor, Ripperologist
    Editor, Loch Raven Review
    http://christophertgeorge.blogspot.com/
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    Steven
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    He was a great painter and his speciality was racehorses. I personally didn't like them 'cos they all looked the same - styleised.

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