Harry Morley was a British painter, etcher and engraver, known for his classical and mythological compositions. He was born in Leicester, where he attended Alderman Newton's School. At the age of 16 years, he left school to study architecture at Leicester School of Art, under Augustus Spencer and Benjamin Fletcher. In 1900, Morley was awarded a scholarship to study architecture under Professor Beresford Pite at the Royal College of Art (RCA). He won an RCA scholarship in 1903, which enabled him to visit Italy for the first time. Later that year, Morley was articled to Beresford Pite, whose architectural practice was on the RCA campus. At the Royal College, Morley also attended the mural painting department and life classes. He won two further scholarships in 1905 an RCA Architecture Award and another from the Royal Institute of British Architects (RIBA), for the study of colour decoration. These awards allowed him to spend long periods in Italy, between 1905 and 1908, where he came to admire early Renaissance painters, such as Pinturicchio, Pietro Perugino, Paolo Uccello and Sandro Botticelli. Now, determined to become a painter himself, he attended the Académie Julian, Académie Colarossi and Académie de la Grande Chaumière in Paris.
In London, in 1911, Morley married Lilias Helen Swain ARCA. A skilful calligrapher and embroiderer, Lilias had studied design at the Royal College of Art under William Lethaby. She was trained in lettering and illumination by Professor Edward Johnston and went on to become his first assistant. She studied embroidery under Grace Christie, whom she assisted after her graduation. Lilias was teaching calligraphy and embroidery at the Royal College, when she became engaged to Harry Morley. Lilias all gave up her artistic career to support Morley in his work. Whenever the opportunity arose, she undertook private commissions in calligraphy and embroidery design. She continued to draw and paint under the name Lester Romley. A quiet feminist from an early age, Lilias shared digs in Chelsea with fellow Royal College of Art student, Sylvia Pankhurst, who like Lilias, was from Manchester. Lilias designed and embroidered for the Pankhursts, a demonstration banner (now lost).
By 1921, Morley had been elected a member of the Art Workers' Guild. He joined the Society of Painters in Tempera, two years later. The ethos and camaraderie of artist groups appealed to him. He was an active member of both organisations. The Society of Painters in Tempera frequently held their meetings in Morley's studio. John D. Batten, the painter-activist, Mary Sargant Florence, Francis Ernest Jackson, Maxwell Armfield and Joseph Southall were among the many that attended. The revival of British interest in tempera painting had begun as early as 1901, with the formation of the Society. By the 1920s, the medium was better understood. However, it was only after the Royal Academy of Arts's ground-breaking “Italian Art exhibition”, at Burlington House, in 1930, that the Academy accepted contemporary tempera paintings in its “Summer Exhibition”. A tempera of Morley's was one of the 36 tempera paintings shown that first year. Morley was considered to be an artist's artist. His pictures proclaim their dependence on the early Italian masters, not only by their oil and tempera technique, but in their visual vocabulary. The artist's strong sense of monumental form and spatial clarity reflected his early training as an architect. Together, with his use of clean lines, academic coolness and detachment, Morley's work is clearly distinguished from the narrative purpose and sentiment of the Pre-Raphaelites. Morley's principal concern was the mythological and biblical figure paintings in oil and tempera that he exhibited at the Royal Academy of Arts from 1912. In 1924, his tempera painting, Apollo and Marsyas was purchased for the Tate, under the terms of the Chantrey Bequest.
The 1920s and 1930s, marked for Morley, a period of relative success and public recognition. Despite the collapse of the art market, during the economic depression that followed the 1929 Wall Street Crash, Morley continued to paint, engrave and exhibit. In 1932, he reluctantly accepted a post at St. Martin's School of Art, where for eight years, he taught painting and life drawing, two days a week. Portrait commissions also supplemented his income, during the 1930s. Morley's friend and Keeper of the Royal Academy Schools, Sir Walter Westley Russell invited him to attend the Schools, as a visiting teacher to critique students' work. Morley was appointed to the Faculty of Engraving, at the British School at Rome, in 1931. He was elected Associate of the Royal Watercolour Society (RWS), in 1927 and a full member, in 1931. He served as RWS Vice President, from 1937 to 1941. Having been nominated for Associate Membership of the Royal Academy of Arts (ARA) since 1921, he was eventually elected ARA in 1936. That same year, he was also elected Master of the Art Workers's Guild. A series of six articles by Morley on the “Theory and Practice of Figure Painting in Oils” appeared in the Artist Magazine, between September 1936 to February 1937. Morley's mythological and classical figure compositions helped establish his reputation and attract critical approval. By the mid 1930s, however, he had begun to experiment with a new approach to landscape painting, influenced in part by his long-standing admiration for the work of Paul Cézanne. Were it not for the disruption caused by World War II, his relocation out of London, his ill-health and early death, it is impossible to tell where this new direction might have led.
The Sacristan, Engraving, Signed, Early 20th Century
By Harry Morley
Located in New Orleans, LA
This image shows a cleric seated in a church sacristy surrounded by religious statues, croziers, various saints, statues and chalices. It is an origina...
Engraving
Harry Morley - The Horse Fair - 20th Century British watercolour
By Harry Morley
Located in London, GB
HARRY MORLEY, ARA, RWS (1881-1943) At the Horse Fair Signed and dated 1927 Watercolour and bodycolour, framed 36.5 by 52cm., 14 ¼ by 20 ½ in. (frame size 60.5 by 75 cm., 23 ¾ by ...
Watercolor, Paper
$495
H 16 in W 12 in D 0.25 in
Chester Cathedral - Drypoint Etching in Ink on Paper
Located in Soquel, CA
Chester Cathedral - Drypoint Etching in Ink on Paper Dramatic drypoint etching by J. Alphege Brewer (British, 1881-1946). This composition shows the interior of Chester Cathedral in Brewer's characteristic style - highly detailed and with strong contrast. The scene encompasses the cathedral from floor to ceiling, capturing the immense size of the building. There are several people in the scene which contribute to the sense of scale. Signed by hand "J. Alphege Brewer" in the lower right corner. Titled "Chester Cathedral" in plate, lower left corner. Includes original card with artist's name. Presented in a new black mat with foamcore backing. Mat size: 16"H x 12"W Paper size: 10.75"H x 7.75"W James Alphege Brewer was well known in the early 20th century as a producer of color etchings of European cathedrals and other scenes of church, college, and community. He was born July 24, 1881, in the Kensington section of London, England, the son of Henry W. Brewer, noted artist of historical architecture and prominent convert to the Catholic Church, and the grandson of John Sherren Brewer, Jr., “the brilliant editor of the Calendar of Letters of Henry VIII.” His great uncle was E. Cobham Brewer, the polymath who compiled Brewer’s Dictionary of Phrase and Fable. Among his older siblings were the artist Henry C. Brewer and the organist and writer John Francis Brewer. Brewer attended the Westminster School of Art in London, where his brother Henry also trained. In 1910, he married Florence Emma Lucas, an accomplished painter in oil and watercolor, whose father was the noted landscape artist George Lucas and whose great uncle was David Lucas, the famous engraver for John Constable. Florence's brothers Edwin and George assisted Brewer in the printing of Brewer's etchings. Brewer exhibited at the Royal Academy (RA) and the Royal Institute of Painters in Watercolour (RI), at the Paris Salon of the Académie des Beaux-Arts, and in the shows of the Royal Cambrian Academy (RCA). He became an associate of the Royal Cambrian Academy in 1929 and a full member in the last two years of his life. He was also a member of the Hampstead Society of Artists, the Society of Graphic Art, and the Ealing Arts Club, where he was first Honorary Art Secretary and then Honorary Art Chairman. Most of Brewer's larger etchings were published by Alfred Bell...
Paper, Ink, Drypoint
$1,150
H 20 in W 26 in D 1 in
Early 20th Century Country Cottage Landscape with Ducks
Located in Soquel, CA
Serene depiction of a country house with ducks milling around in the grass by Josh Fisher (British, 1859-1930). Signed "JOSH FISHER" in the lower-left corne...
Paper, Watercolor
$2,375
H 18.25 in W 23.5 in D 0.88 in
"King of the Friendly Islands" (Tonga); Engraving from Captain Cook's 3rd Voyage
By John Webber
Located in Alamo, CA
"Poulaho, King of the Friendly Islands, Drinking Kava" is an engraving created by William Sharp (1749-1824), from a drawing by John Webber (1752-1793), who was the artist on Captain James Cook's 3rd and final voyage of discovery. It was published in the atlas of "A Voyage to the Pacific Ocean Undertaken by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere", the official British Admirality sanctioned journal published upon completion of the voyage in London in 1784 by Strahan & Cadell. Captain Cook visited Tonga on his 3rd voyage, which he named The Friendly Islands because of the warm welcome he and his crew received, unlike some of the other more hostile Pacific islands. The engraving depicts Cook and his men observed a kava ceremony at the village of Mu’a on Tongatapu. King Paulaho sits in the centre foreground, his back to the spectator with a man kneeling before him. The ceremonial mat depicted behind Paulaho indicates that nobody was allowed to sit behind him. The figure in the centre holds a single cup, referring to the Tongan custom of offering the cup to the king first. Kava is native to the islands of the South Pacific and was first described for English readers in 1768 by Captain James Cook. The kava root has been used for centuries as a central feature of ceremonies and celebrations because it was able to bring about a calming and pleasant social atmosphere. The root was crushed and processed into coconut milk to become the focal ceremonial beverage, simply referred to as kava. This engraving is presented in a Koa wood frame and a white mat. Koa wood is legendary in Hawaii. There are occasional faint spots, but the print is otherwise in very good condition. This amazing Koa wood is native to Hawaii and it is known for the deep rich colors and varied grain pattern. Koa has an honored heritage in Hawaii and is highly revered and sacred. The word “koa” means “warrior” in Hawaiian. The warriors of King Kamehameha the Great, created canoes and weapons from a wood plentiful on the Big Island of Hawaii. This wood became synonymous with the warriors themselves, and it became known as koa. There are three other engravings listed from the official journal of Captain Cook's 3rd voyage available that are presented in identical Koa wood frames and mats (LU117324682422, LU117324684052, LU117324684032). They would make a wonderful grouping for a display of 2, 3 or 4 prints. A discount is available for a grouping depending on the number of items included. Captain Cook is remembered as one of the greatest explorers and navigators in history. His explorations included Australia, New Zealand and islands of the South Pacific and the northwest coast of North America. Hawaii was discovered by Captain Cook during this voyage. Hawaii was originally called The Sandwich Islands in honor of The Earl of Sandwich...
Engraving
$1,720Sale Price|20% Off
H 16 in W 26 in D 3 in
19th Century Loch Tay Scottish Landscape in Watercolor on Paper
By Aaron Edwin Penley
Located in Soquel, CA
19th Century Loch Tay Scottish Landscape in Watercolor on Paper Masterful Scottish watercolor landscape of Loch Tay with boats and small figures on the short by Aaron Edwin Penley (E...
Paper, Watercolor
$358Sale Price|27% Off
H 11.82 in W 14.38 in D 0.91 in
Orientalist Watercolor 'The Watercarrier', Signed, Early 20th Century
By Aiveill
Located in Cotignac, FR
Early 20th century orientalist watercolour on paper by Aiveill, signed bottom right. In art history, Orientalism is the imitation or depiction ...
Paper, Watercolor, Gouache
$1,200Sale Price|20% Off
H 19 in W 28.75 in D 1 in
Mid Century Santa Cruz, California Figurative Vintage Boardwalk Scene, 1944
Located in Soquel, CA
A lively and detailed mid-1940's vintage boardwalk scene of Santa Cruz, California by California artist Cassard (20th Century), 1944. This figurative...
Paper, Watercolor, Gouache
$475
H 21.88 in W 15.88 in D 1.25 in
"Inspection Tour in the Wine Vaults", 1876 Philadelphia Centennial Exposition
Located in Alamo, CA
This engraving is entitled "Philadelphia, PA- The Centennial Exposition - the Jury of Award on an Inspection Tour in the Wine Vaults of Agricultural Hall", ...
Engraving
South San Francisco
By Ephraim Samson
Located in San Francisco, CA
This artwork "South San Francisco" 2003 Is a watercolor on paper by Filipino artist Ephraim Samson, b.1947. It is signed and dated at the lower right co...
Watercolor
$302Sale Price|39% Off
H 11.23 in W 14.38 in D 0.91 in
The Long Walk Home: Signed Orientalist Watercolor, 28.5x36.5 cm
By Aiveill
Located in Cotignac, FR
Early 20th century orientalist watercolour on paper by Aiveill, signed bottom right. In art history, Orientalism is the imitation or depiction ...
Paper, Watercolor, Gouache
Vin Rouge (Red Wine)
By Edmund Blampied
Located in Plano, TX
1932. Drypoint. Appleby 167. 9 1/4 x 11 5/8 (sheet 11 3/8 x 17 15/16). Edition 100 #48. Mat line, well outside the image; otherwise excellent condition. A rich impression with drypo...
Drypoint
$450
H 9.25 in W 6.07 in
Bernard Sanders, Young Girl (With Arms Crossed), about 1930
By Bernard Sanders
Located in New York, NY
Young Girl by Bernard Sanders (1906-1967) is a classic example of his masterful portraiture. This is a drypoint. It is signed in pencil, titled in the lower left margin, and initial...
Drypoint
$250
H 18 in W 20.5 in D 0.5 in
G. Paterson "Dinner Party at a Mandarin's House" Engraving After T. Allom c.1840
Located in San Francisco, CA
G. Paterson "Dinner Party at a Mandarin's House" Original Engraving After T. Allom C.1840 Original engraving Dimensions 8" wide x 5" high The frame measures 20.5" wide x 18.5" hig...
Engraving
Sold
H 19.69 in W 24.81 in
Harry Morley RWS - Signed 1920 Welsh Watercolour, Tithe Barn, Wrexham
By Harry Morley
Located in Corsham, GB
A very fine watercolour sketch with pen and ink detail from English artist Harry Morley RWS (1881-1943), depicting a Welsh Farmyard with thatched barn and cattle. Known for his water...
Watercolor