Wednesday, 22 April 2026

Harry Epworth Allen - part 1

Harry Epworth Allen (1894–1958) was a painter, notably in tempera, especially of Derbyshire. Born in Sheffield, Allen attended King Edward VII School for boys, then became a clerk in the steel works of Arthur Balfour, in his spare time attending Sheffield Technical School of Art. Served in the Army in World War I, gaining the Military Medal for conspicuous gallantry. Although badly injured and having an artificial leg Allen continued to paint and became Balfour’s confidential secretary until the slump made Allen redundant in 1931. He now painted full-time and joined the new Yorkshire Group of Artists. Began exhibiting RA. Also showed with RSBA and PS. Although Allen’s early work is conventionally realistic he soon developed his distinctive style of simplified landscape and figure studies, which eventually were shown abroad in Canada and America.

In the early 1940s Allen published a series of articles in The Artist on landscape painting in which he expounded his approach. His work is in a number of provincial galleries, notably Sheffield, Wakefield, Newcastle upon Tyne, and Newport, as well as in Australia and New Zealand. Memorial show at Graves Art Gallery, Sheffield, in 1959, which in 1986 held an exhibition of his decorative works, and tour. He lived in Ecclesall, Sheffield.

This is part 1 of a 2-part post on the works of Harry Epworth Allen:

1930s Sheepdog Trials
tempera on canvas 47 x 61 cm
Buxton Museum & Art Gallery, Derbyshire

c1933-34 A Derbyshire Farmstead
tempera on paper 36.5 x 50 cm
The Potteries Museum & Art Gallery, Stoke-on-Trent

1934 The Wall of Death
pencil & tempera on paper 35.6 x 51.1 cm

by 1934 The Caravan
tempera on board 36.5 x 50 cm
Homerton College, University of Cambridge

by 1934 Derbyshire Hills
watercolour 27 x 37 cm

c1936 Eyam, Derbyshire
pencil & tempera on paper 35.2 x 51.2 cm
Laing Art Gallery, Laing Art Gallery, Newcastle Upon Tyne

1936 The Wall of Death
gouache & watercolour over pencil 21.5 x 16.5 cm

1936 Portrait of a Lady
tempera on panel 51 x 40.8 cm
The Hepworth Wakefield

by 1937 An Archill Landscape
colour lithograph, after a tempera painting by Allen
41.2 x 53.3 cm

1940 Summer
tempera on canvas 50.4 x60.8 cm
Glynn Vivian Art Gallery, Swansea, Wales

1945 Valle Crucis Abbey, Llangollan, Wales
gouache 29 x 38 cm

by 1945 The Road to the Hills
tempera on board 45.7 x 61 cm
Derby Museum and Art Gallery

1947 Evening Achill Island, Ireland
tempera on pulpboard 45.5 x 53 cm

1949 The Derelict Farm
tempera on board 48.3 x 59.7 cm
Harris Museum & Art Gallery, Preston

c1950 A Derbyshire Landscape
tempera on board 50 x 61 cm

by 1954 Burning Limestone
tempera on paper 46.5 x 58.3 cm
Newport Museum and Art Gallery, Newport

by 1955 Derbyshire Walls
tempera on canvas 47.5 x 58 cm
Sheffield Museums

c1959 Industrial Landscape, Hope Valley, Derbyshire
tempera on paper 63.1 x 76.7 cm
Buxton Museum & Art Gallery, Derbyshire

Note: Dates were not found for the remainder of works in this series.

A Welsh Bridge
tempera on board 35 x 47 cm

A Rural Landscape
mixed media 19 x 27 cm

A Lane near Clifden
watercolour 20.3 x 30.4 cm

A Farmstead
bodycolour 31.7 x 38.6 cm

A Connemara Cottage with Figures
pastel 26 x 37 cm

Ashopton Packhorse Bridge
tempera 47 x 59 cm

Ballindooly, County Galway
tempera on card 22 x 26 cm

Barn Interior in Derbyshire
coloured chalks 35 x 49 cm

Burning Limestone
woodcut 17.7 x 25.4 cm

Cart shed with Farm Buildings
pencil and watercolour 24 x 33 cm

Carpenter's Cottage, Cordwell Valley
woodcut 17.7 x 25.4 cm

Clouds over Achill
tempera and gesso on panel 35 x 50 cm

Connemara Village
pencil on paper with watercolour wash 20.2 x 25.5 cm

Connemara Landscape
pastel 27 x 37 cm

Connemara Cottages
tempera 24 x 37 cm

Connemara Cottages
pastel 26 x 37 cm

Conisborough Castle
oil on board 41.9 x 57.2 cm

Coverack
watercolour 16 x 20 cm

Cottages in Keel, Achill Isand
tempera on board 36 x 51 cm


Monday, 20 April 2026

Arnold Böcklin -part 3



Self-Portrait
oil on mahogany wood 39.5 x 31 cm
Kunstmuseum Basel

Arnold Böcklin (1827-1901). Böcklin’s art had little in common with Impressionism or the academic art of his time. Instead, his depictions of demigods in naturalistic settings interpret themes from Classical mythology in an idiosyncratic, often sensual manner. In the Sea, part of a series of paintings of mythological subjects, displays an unsettling, earthy realism. Mermaids and tritons frolic in the water with a lusty energy and abandon verging on coarseness. Occupying the centre of the composition is a harp playing triton. Three mermaids have attached themselves to his huge frame as if it were a raft; the one near his shoulder seems to thrust herself upon him. The work’s sense of boisterousness is tempered by the ominously shaped reflection of the triton and mermaids in the sea and by the oddness of the large-eared heads that emerge from the water at the right. In addition to imaginative, bizarre interpretations of the Classical world, Böcklin painted mysterious landscapes punctuated by an occasional lone figure. These haunting later works made him an important contributor to the international Symbolist movement. They also appealed to some Surrealist artists, particularly Giorgio de Chirico, who declared, “Each of (Böcklin’s) works is a shock. Art Institute of Chicago, IL

Part 3 of a 3-part series on the works of Arnold Böcklin:


c1871 A sacred Grove
oil on canvas 80.5 x 103.1 cm
Bavarian State Painting Collections, Munich

1871 The Ride of Death (Autumn and Death)
oil on canvas 79 x 136.5 cm
Bavarian State Painting Collections, Munich

1872 Venus Anadyomene
oil on panel 59.1 x 45.7 cm
Saint Louis Art Museum, Missouri

1872 The Dying Cleopatra (First Version)
oil on canvas 76 x 61.5 cm
Kunstmuseum Basel
.

c1872 The Painting on the Rainbow
(Fragment of a Screen)
oil on canvas, gold primed 66.9 x 64.6 cm
Kunstmuseum Basel

c1872 Roman May Festival
oil on canvas 75.5 x 61 cm
Bavarian State Painting Collections, Munich

c1872 Idyll (fragment of a screen)
oil on canvas, gold primed 67.1 x 64.5 cm
Kunstmuseum Basel

1872/73 Portrait of Clara Böcklin, the artist's eldest daughter
tempera on canvas 105 x 77 cm
Kunstmuseum Basel

1872-73 Centaur Fight
oil on canvas 104.2 x 194.3 cm
Kunstmuseum Basel

c1873 Astolf rides away with Orill's head
oil on canvas 54 x 77 cm
Kunstmuseum Basel

1873 In Springtime
oil on canvas 104,5 x 78 cm
National Gallery of Victoria, Australia

1874 Nymph on the Shoulders of Pan
tempera on panel 38.3 x 35.5 cm
Private Collection

1874 Triton and Nereid
oil on canvas 105.3 x 194 cm
Bavarian State Painting Collections, Munich

1874 Sideboard with Ceres and Bacchus
walnut a
nd oil on canvas  307.3 x 325.1 x 67.3 cm overall
Los Angeles County Museum of Art

1875 The Muse Clio
oil on canvas 105.5 x 78 cm
Kunstmuseum Basel

1875 Portrait of the art historian Adolph Bayersdorfer
Tempera (?) on mineral support materia 38.7 x 30 cm
Kunstmuseum Basel

1875 Faun, blowing the syrinx
oil on canvas 62.5 x 50 cm
Bavarian State Painting Collections, Munich

1876 Portrait of Clara Bruckmann-Böcklin, the artist's eldest daughter
 tempera (?) on fir wood 60.5 x 47 cm
Kunstmuseum Basel

1879 Head of a dead girl
tempera on canvas 9.5 x 17.5 cm
Kunstmuseum Basel

1880 Island of the Dead 

Böcklin’s patron Marie Berna commissioned this painting in 1880 as a memorial to her late husband. It is based on an unfinished canvas that she saw in the artist’s studio in Florence; at her request, he added the draped coffin and the shrouded figure to the rowboat in the foreground. Böcklin later wrote to her, "you will be able to dream yourself into the world of dark shadows." Between 1883 and 1886, he painted three additional versions of the subject, each slightly different. The scene was widely reproduced and inspired numerous artists, including the composer Sergei Rachmaninoff and the Surrealist painter Salvador Dalí.


1880 Island of the Dead
oil on wood 73.7 x 121.9 cm 
Metropolitan Museum of Art, New York

1881 The Gothic Procession
medium? on canvas 100.5 x 141.5 cm
Kunstmuseum Base
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1881 Ruin by the Sea
oil on fabric 111 x 82 cm
The Cleveland Museum of Art, Ohio

1882 Odysseus and Calypso
oil on mahogany wood 103.5 x 149.8 cm
Kunstmuseum Basel

1882 The Sacred Grove
oil on canvas 105 x 150.6 cm
Kunstmuseum Basel

1882-85 Fight on the Bridge
oil on mahogany wood 61 x 50 cm
Kunstmuseum Basel

1883 In the Sea
oil on panel 86.5 x 115 cm
Art Institute of Chicago, IL

1883 In the play of the waves
oil on canvas 180 x 238 cm
Bavarian State Painting Collections, Munich

1884 The Sanctuary of Hercules
oil on wood 113.8 x 180.5 cm
National Gallery of Art, Washington, DC

1886 The Game of the Nereids
oil on canvas 150.5 x 176.4 cm
Kunstmuseum Basel

1887 Shield with the head of Medusa
plaster 60.5 diameter
Kunstmuseum Basel

c1888 Sappho (Calypso)
medium? on canvas on fir wood 85.5 x 69 cm
Kunstmuseum Basel

1888 Vita somnium breve (Life, a brief dream)
medium? on mahogany wood 189 x 114.5 cm
Kunstmuseum Basel

1888 The island of Life
oil on mahogany wood 93.3 x 140.1 cm
Kunstmuseum Basel

1890 The Isle of the Dead
(note: very similar to the 1880 version but not actually the same)
oil on canvas 110 x 156.4 cm
Kunstmuseum Basel

1893 The Muse Thalia
medium? on mahogany wood 26 x 18 cm
Kunstmuseum Basel

1893-97 Saint Paul
brush in grey and pencil on vellum 18.8 x 14.3 cm
Kunstmuseum Basel

1898 Saint Paul
resin tempera on canvas on wood 150 x 65 cm

1896 The Hunt of Diana
oil on canvas 99.5 x 200.5 cm
RMN-Grand Palais (Musée d'Orsay, Paris

1896 Odysseus and Polyphemus
oil and tempera on panel 66 x 150 cm
Museum of Fine Arts, Boston, MA

1897 Shield with the face of Medusa
painted papier-mâchérelief 61 cm diameter
RMN-Grand Palais (Musée d'Orsay, Paris

1898 The Plague

Arnold Böcklin dared to create a personification of the cruel plague in 1898. In the painting, a large-scale and dragon-like monster rages through the picture. A rickety grim reaper sits on top of it; he swings his weapon around seemingly at random, spreading great mischief over the streets. The eyes are hollowed out, the corners of the mouth pulled down - neither compassion nor any other human emotion can be seen in the frozen face. One can literally feel how the monster flies into the picture space and towards the viewer, so dynamically is its flight depicted.

Alexandra Tuschka


1898 The Plague
tempera on wood 149.8 x 105.1 cm
Kunstmuseum Basel

c1900 Ruin by the sea
lithograph 23.3 x 30.6 cm (plate)

c1900 Odysseus and Calypso
lithograph 24 x 31.4 cm

c1900 The Nereids
lithograph 19.7 x 31.5 cm

c1900 The island of the dead
lithograph 24 x 35.4 cm
 

c1900 Centaurs fight
lithograph 20.3 x 33.3 cm