Object of the Day: Mrs. Fry Visiting Newgate Prison by Henrietta Ward, 1893

The granddaughter of famed painter, James Ward, Henrietta Ward was fascinated by art at an early age and showed an uncommon talent as a child. Growing up, she was surrounded by artists such as Sir Edwin Landseer, C.R. Leslie and the great historical painter, Edward Matthew (E.M.) Ward (no relation). In 1843, at the age of 11, she decided she was madly in love with E.M Ward, sixteen years her senior. Her love grew over the years, and in 1848, aided by family friend Wilkie Collins, she and E.M. Ward eloped—an act for which her family never forgave her.


Mrs. Ward’s marriage fostered her artistic talent. As she raised their eight children (one of whom was Leslie Ward, who under the name “Spy” drew some of the most famous covers of Vanity Fair Magazine), she painted some of the most famous historical paintings in English art history. A favorite of Queen Victoria, Mrs. Ward was commissioned to teach art to the Royal children. Very quickly, she became the most famous female painter in England and enjoyed an induction into the Royal Academy (an unusual distinction for a woman). With the support of her husband and prominent friends such as Charles Dickens, she became a true pioneer.

One of Mrs. Ward’s most celebrated paintings was a historical scene of another female pioneer—prison and social reformer, Mrs. Elizabeth Fry. Her painting of Mrs. Fry Visiting Newgate Prison was heralded for its raw drama and sensitivity. Conditions in prisons such as Newgate were deplorable. Mrs. Fry made considerable strides in bringing attention to the conditions in these prisons where entire families were mistreated. Mrs. Ward’s painting continued Mrs. Fry’s crusade. When an engraving of the painting was displayed at the 1893 Royal Exposition, people were shocked by the cruelty it depicted.

In her second memoir, Memories of Ninety Years, written in 1911, a year before her death, Henrietta Ward explained that two engraved versions of the painting were created. An example of one of the versions remains in the Royal Collection. An example of the other was given as a gift to the Lady Abercrombie. This version of the engraving was stolen, but later recovered. Signed by the artist, with the message, “To the Lady Abercrombie, with kindest regards of the artist,” this engraving now resides here—under the watchful eye of security cameras and motion detectors. I discovered this engraving at a local antique store—evidently passed from owner to owner after the dissolution of the estate.

Also signed by the engraver, T.D. Atkins, the engraving crisply illustrates the vile conditions in Newgate prison. Mrs. Fry, the central figure, clutches her prayer book and with a resolute expression seems to be set to battle the Governor of the jail.

It’s a remarkable piece and it reminds me each day of the bravery of two exceptional women. In a world where such inspiration is in short order, I cherish both the artistry and the message.

 

Object of the Day: An Engraving by E.M. Ward

Edward Matthew Ward (1816-1879) was a prolific historical painter of the Victorian era. Very much against the emerging Pre-Raphaelite movement, E.M. Ward declared the works of the “brotherhood” to be “un-British” and preferred to continue to paint in the style of epic historical painters such as Hogarth. His steady “British-ness” made him extremely popular with the crown and government and he was often commissioned to do paintings for Parliament.


Ward was married to Henrietta Ward (maiden name and married name were both “Ward,” but they were unrelated), a skilled painter in her own right. Together, they associated with some of the most notable names of the era including Charles Dickens and Wilkie Collins. Henrietta was a celebrated art teacher in addition to her other work. Her intimate friendship with Queen Victoria led her to be the tutor appointed to teach the Royal children how to draw. Leslie Ward, the son of E.M. and Henrietta, went on to be a well-respected caricaturist for Vanity Fair, under the name “Spy.”

Many of E.M. Ward’s paintings were recreated as engravings so that they could be included in books and presented as wall hangings which could be enjoyed by everyday people. This engraving shows Ward’s signature style. Like his wife, he filled every inch of a composition with complicated figures, detailed scenery and theatrical costumes. The result is always a painting which is full of life and serves to give one a heightened sense of a historical scene.

Object of the Day: “Memories of Ninety Years,” Henrietta Ward

Renowned English painter Henrietta Ward penned two memoirs during her long life. The first was Mrs. E.M. Ward’s Reminiscences which was published in 1911 and recounted her exciting life with her husband, also an accomplished and celebrated painter as well as their relationships with such luminaries as Charles Dickens and Wilkie Collins. In her second memoir, Memories of Ninety Years, published before her death in 1924, Ward spoke plainly about her life as a painter, her friendship with Queen Victoria and told tales from her scintillating life and family. She speaks fondly of her son, Sir Leslie Ward, and chronicled her time as tutor to the children of Queen Victoria and Prince Albert.


Included in the book are several attractive plates of reproductions of her works as well as intimate photographs from her own collection. These include personal photos as well as images of her friends and family.

Difficult to find, it’s a fascinating book and a rare glimpse into the life of one of Britain’s most prolific artists.

memories of ninety Years

Object of the Day: 1887 “Vanity Fair” Cover by “Spy”

From 1873 until 1911, the famous caricaturist, “Spy” drew the cover art for over two thousand issues of Vanity Fair Magazine. “Spy” was in reality, Sir Leslie Ward—the son of famed painters E.M Ward and Henrietta Ward, and the grandson of the renowned, James Ward. Though he came from a celebrated artistic family, Leslie, as one of eight children, received no specialized art training in his early life.


During his time at Eton in Windsor, Spy showed considerable artistic talent, and, soon, was being shown at the Royal Academy. Still, his father encouraged young Leslie to be an architect. After a grueling year apprenticing in an architecture firm, Leslie asserted himself and went on to receive training in the arts. His drawings earned him considerable attention, and, in 1873, he replaced the caricaturist “Ape” as the artist in charge of the covers for Vanity Fair Magazine.

His work was applauded and notable figures of the day were honored by his skillful and sympathetic cartoons. In his 1915, autobiography, Sir Leslie Ward said, “If I could sum up the art in a sentence it would be that caricature should be a comic impression with a kindly touch, and always devoid of vulgarity.” His drawings defined the art of caricature so much so that they are referred to as “Spy Drawings.” Three hundred of his original drawings hang in the British National Portrait Gallery.

This Vanity Fair cover from the November 12, 1887 edition is a classic representation of “Spy’s” work. Entitled, “First Lord of the Treasury,” the drawing reflects Sir Leslie Ward’s belief that caricature should not be forced or cruel, but should show “a good memory, an eye for detail, and a mind to appreciate and grasp the whole atmosphere and peculiarity of the ‘subject.’”

Today, Spy’s covers are highly collectable—just as they were at the time. Many of his covers were framed and proudly displayed. This particular cover is still in its original frame from C. Lamm and Company, 1890. The grace and simplicity of these covers makes today’s busy and loud magazine covers seem even more vulgar.

Object of the Day: A Caricature by “Spy,” Sir Leslie Ward

Sir Leslie Ward, the son of celebrated painters E.M. Ward and Henrietta Ward was better known to the citizens of Nineteenth and early Twentieth Century Britain as “Spy.” His sensitive caricatures graced the covers of over two thousand issues of Vanity Fair Magazine.


Spy took great pride in the fact that is caricatures were not grotesque , but rather showed an idealized and affectionate tribute to his subjects. Take for example, this 1880 caricature of the great showman P.T. Barnum. We see Barnum, known for his healthy appetite, seated at a table, in the process of enjoying his lunch. While some artists might have exaggerated the act of eating, “Spy” shows us a man of great elegance, neatly posed with knife and fork, his tasteful cuff buttons evident against his crisp white shirt.

This 1880 magazine cover has been carefully preserved in a frame which dates to the era. Leslie Ward’s covers were often saved and framed because of their high quality and gentle humor.

Object of the Day, Museum Edition: “The First Interview of the Divorced Empress Josephine,” Henrietta Ward, 1870

The First Interview of the  Divorced Empress Josephine
with the King of Rome
1870

Henrietta Ward specialized in tender historical scenes. This painting of the Empress Josephine with the King of Rome was based on this passage from Histoire de Napoleon II by Duc de Reichstadt: “At the sight of this child Josephine experienced profound emotion. She fixed upon him her eyes dimmed with tears... The little Prince returned her affection, and gave himself up, and all the gentleness and amiability of his character... The Emperor heartily thanked Josephine for this testimony of her affection. It was a day of happiness to him.”


The painting, created in 1870, was displayed at The Royal Academy and was recently auctioned at Sotheby’s.

Painting of the Day: “The First Interview of the Divorced Empress Josephine,” Henrietta Ward, 1870

The First Interview of the  Divorced Empress Josephine
with the King of Rome
1870

Henrietta Ward specialized in tender historical scenes. This painting of the Empress Josephine with the King of Rome was based on this passage from Histoire de Napoleon II by Duc de Reichstadt: “At the sight of this child Josephine experienced profound emotion. She fixed upon him her eyes dimmed with tears... The little Prince returned her affection, and gave himself up, and all the gentleness and amiability of his character... The Emperor heartily thanked Josephine for this testimony of her affection. It was a day of happiness to him.”


The painting, created in 1870, was displayed at The Royal Academy and was recently auctioned at Sotheby’s.

Antique Image of the Day: A "Vanity Fair" Cover by "Spy", 1900

Winston
"Spy," 1900
The Victoria & Albert Museum

We’ve talked about “Spy” before. The son of two of my favorite artists (E.M. Ward and Henrietta Ward), Sir Leslie Ward used the name, “Spy” when he created his famous caricatures for the cover of “Vanity Fair.”


Here, we see a print entitled “Winston” depicting Winston Churchill, which graced “Vanity Fair” in September of 1900. This is one of a series of portraits published by “Vanity Fair” under the title “Men of the Day.”

Decorating Tip: Oversized Mats

When framing a picture, the size of the image doesn’t necessarily dictate the size of the frame. Some people purposefully choose frames that are much larger than the painting, print of photograph that they’re framing. The space between the frame and the image is filled with a mat board. Often, a picture can be over-matted, meaning that the size of the mat is far larger than the actual field of the picture. Over-matting and large frames serve several purposes. First of all, they give the image more weight and importance. Second, a large mat allows the picture to be more easily viewed and appreciated without interference from the frame. Placing a picture in a what seems to be a too-large frame creates a sense of drama between the image and the negative space of the mat.


I chose to frame this engraving by E.M. Ward (husband of Henrietta Ward and father of Sir Leslie Ward) in an over-sized antique frame with a double mat. I thought that this important engraving deserved the weight and drama of a large frame. The mat also helps the image be seen more clearly. If you’re going to over-mat an image, I would suggest using a neutral mat in black or white that will not interfere with the colors and patterns in the artwork, but instead serve to enhance them.

Painting of the Day: Portrait of a Young Man, 1845

Portrait of a Young Man
Alexander Boyd, sitter?
Margaret Sarah Carpenter, 1845
The Victoria & Albert Museum

In the 1840’s, very few women were accepted into the rank of professional painter. Henrietta Ward was among the first in Britain. Painter Margaret Sarah Carpenter, though less known today, was also a talented artist who was described by a peer as, “one of the most distinguished portrait painters in England, “and her husband's obituarist wrote that she “would certainly have been a Royal Academician but for her sex.”


Carpenter’s enormous skill is evidenced in this portrait of a young man which she painted in 1845. During this period, she was commissioned to paint “Exit Portraits” of young men being graduated from Eton. A label on the back of this painting notes that the young man is “Alexander Boyd,” however that is often debated, and, really, the sitter is unknown. Nevertheless, it’s a beautifully rendered piece which shows that Carpenter, indeed, could have been a Royal Academician.

Painting of the Day: Portrait of a Young Man, 1845

Portrait of a Young Man
Alexander Boyd, sitter?
Margaret Sarah Carpenter, 1845
The Victoria & Albert Museum

In the 1840’s, very few women were accepted into the rank of professional painter. Henrietta Ward was among the first in Britain. Painter Margaret Sarah Carpenter, though less known today, was also a talented artist who was described by a peer as, “one of the most distinguished portrait painters in England, “and her husband's obituarist wrote that she “would certainly have been a Royal Academician but for her sex.”


Carpenter’s enormous skill is evidenced in this portrait of a young man which she painted in 1845. During this period, she was commissioned to paint “Exit Portraits” of young men being graduated from Eton. A label on the back of this painting notes that the young man is “Alexander Boyd,” however that is often debated, and, really, the sitter is unknown. Nevertheless, it’s a beautifully rendered piece which shows that Carpenter, indeed, could have been a Royal Academician.

Goal for the Day: Be a Pioneer

Even the most sedate of us feels passionate about something. While not everyone will have the opportunity to be as prolific in our efforts as Elizabeth Fry or Henrietta Ward, each of us has the power to make a difference in the world. Today, I invite you to be a pioneer. If we’re going to create our own Belle Époque, we need to actively pursue it. If you’re frustrated by the pervasive lack of manners in the world today, try being a little extra polite. If you’re bothered by the ugliness around you, do something small to make your surroundings more beautiful. If the well-being of our fellow humans concerns you, take a few minutes to do something to make someone else feel better. Bring a gift of flowers to a local nursing home. Offer a donation of pet food to a nearby animal shelter. Hang a poster in the your cubicle or office. We all have gifts. Share yours today to try to make the world a little nicer. Everyone can be a pioneer every day in even the smallest of ways.

Painting of the Day: Portrait of a Young Man, 1845

Portrait of a Young Man
Alexander Boyd, sitter?
Margaret Sarah Carpenter, 1845
The Victoria & Albert Museum

In the 1840’s, very few women were accepted into the rank of professional painter. Henrietta Ward was among the first in Britain. Painter Margaret Sarah Carpenter, though less known today, was also a talented artist who was described by a peer as, “one of the most distinguished portrait painters in England, “and her husband's obituarist wrote that she “would certainly have been a Royal Academician but for her sex.”


Carpenter’s enormous skill is evidenced in this portrait of a young man which she painted in 1845. During this period, she was commissioned to paint “Exit Portraits” of young men being graduated from Eton. A label on the back of this painting notes that the young man is “Alexander Boyd,” however that is often debated, and, really, the sitter is unknown. Nevertheless, it’s a beautifully rendered piece which shows that Carpenter, indeed, could have been a Royal Academician.