George Clare

Still Life of Fruit - British 19th century Victorian art oil painting still Life

Circa 1870

This stunning 19th century still life floral oil on panel painting is by noted still life female Norwich School artist Emily Stannard. Emily Stannard and her niece Eloise Harriet Stannard are nowadays considered to be among the most accomplished British women still life painters of the 19th century. Stannard is associated with the Norwich School of painters. She also travelled to Holland to study Dutch art and was given permission to copy Jan van Huysum's work which was then highly praised. She had a long and distinguished career as an artist and many of her works are house in Norfolk Museums. Painted circa 1840, this lovely composition is a naturalistic floral arrangement in an urn on a marble ledge. The flowers are a mix of whites, pinks and blues with some geraniums, roses, daisies and mallow. There is a beautifully detailed dragonfly and butterfly as well as a little snail on the marble ledge. One side of the background is darker than the other which shows of the flowers against it to great effect. The colours are vibrant and brush work detailed. This painting is a fantastic example of Stannard's work and clearly shows how well she deserved her superb reputation as being one of the most accomplished female 19th century still life painters. Provenance: Oscar and Peter Johnson Gallery, London Condition. Oil on panel, 20 inches by 15 inches and in good condition. Frame. Housed in a beautiful gilt swept cradled frame, 27 inches by 22 inches and in good condition. Emily Stannard (née Emily Coppin; 8 February 1802 – 6 January 1885), who from 1826 called herself (even during her long widowhood) Mrs Joseph Stannard, was a British still life painter. She was associated with the Norwich School of painters, Britain's first provincial art movement. Along with her niece Eloise Harriet Stannard, she is considered to be the most accomplished British female still life artist of the 19th century. Stannard was born in Norwich of artistic parents. In 1820, she travelled with her father Daniel Coppin to the Netherlands to study the paintings of Jan van Huysum and other Dutch masters, an episode which influenced her artistic style. She married the Norwich artist Joseph Stannard in 1826, but was widowed four years later. She painted until she was in her eighties, mainly depicting paintings of flowers in vases...

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