Anonymous, The Months of the Year - January

Anonymous, The Months of the Year - January, about 1870. Musuem no. E.705A-1888

Anonymous
The Months of the Year - January
About 1870
Wood engraving
Musuem no. E.705A-1888
Engraved by R. & L. Taylor

These prints employ popular imagery and symbolism to create an easily recognisable character for each month. Although the purpose of the series is unknown, it was probably intended for publication in a magazine or annual.

Anonymous, The Months of the Year - February

Anonymous, The Months of the Year - February, about 1870. Musuem no. E.705B-1888

Anonymous
The Months of the Year - February
About 1870
Wood engraving
Musuem no. E.705B-1888
Engraved by R. & L. Taylor

These prints employ popular imagery and symbolism to create an easily recognisable character for each month. Although the purpose of the series is unknown, it was probably intended for publication in a magazine or annual.

Anonymous, The Months of the Year - March

Anonymous, The Months of the Year - March, about 1870. Musuem no. E.705C-1888

Anonymous
The Months of the Year - March
About 1870
Wood engraving
Musuem no. E.705C-1888
Engraved by R. & L. Taylor

These prints employ popular imagery and symbolism to create an easily recognisable character for each month. Although the purpose of the series is unknown, it was probably intended for publication in a magazine or annual.

Anonymous, The Months of the Year - April

Anonymous, The Months of the Year - April, about 1870. Musuem no. E.705D-1888

Anonymous
The Months of the Year - April
About 1870
Wood engraving
Musuem no. E.705D-1888
Engraved by R. & L. Taylor

These prints employ popular imagery and symbolism to create an easily recognisable character for each month. Although the purpose of the series is unknown, it was probably intended for publication in a magazine or annual.

Anonymous, The Months of the Year - January May

Anonymous, The Months of the Year - January May, about 1870. Musuem no. E.705E-1888

Anonymous
The Months of the Year - May
About 1870
Wood engraving
Musuem no. E.705E-1888
Engraved by R. & L. Taylor

These prints employ popular imagery and symbolism to create an easily recognisable character for each month. Although the purpose of the series is unknown, it was probably intended for publication in a magazine or annual.

Anonymous, The Months of the Year - June

Anonymous, The Months of the Year - June, about 1870. Musuem no. E.705F-1888

Anonymous
The Months of the Year - June
About 1870
Wood engraving
Musuem no. E.705F-1888
Engraved by R. & L. Taylor

These prints employ popular imagery and symbolism to create an easily recognisable character for each month. Although the purpose of the series is unknown, it was probably intended for publication in a magazine or annual.

Anonymous, 'The Months of the Year - July'

Anonymous, 'The Months of the Year - July', about 1870. Museum no. E.706G-1888

Anonymous
'The Months of the Year - July'
About 1870

Wood engraving
Engraved by R. & L. Taylor
Museum no. E.706G-1888

In these engravings the imagery underlines the link between women and nature that was so popular in the 19th century. The settings are largely contemporary, rather than taken from historical sources.

Anonymous, 'The Months of the Year - August'

Anonymous, 'The Months of the Year - August', about 1870. Museum no. E.706H-1888

Anonymous
'The Months of the Year - August'
About 1870
Wood engraving
Engraved by R. & L. Taylor
Museum no. E.706H-1888

In these engravings the imagery underlines the link between women and nature that was so popular in the 19th century. The settings are largely contemporary, rather than taken from historical sources.

Anonymous, 'The Months of the Year - September'

Anonymous, 'The Months of the Year - September', about 1870. Museum no. E.706I-1888

Anonymous
'The Months of the Year - September'
About 1870
Wood engraving
Engraved by R. & L. Taylor
Museum no. E.706I-1888

In these engravings the imagery underlines the link between women and nature that was so popular in the 19th century. The settings are largely contemporary, rather than taken from historical sources.

Anonymous, 'The Months of the Year - October'

Anonymous, 'The Months of the Year - October', about 1870. Museum no. E.706J-1888

Anonymous
'The Months of the Year - October'
About 1870
Wood engraving
Engraved by R. & L. Taylor
Museum no. E.706J-1888

In these engravings the imagery underlines the link between women and nature that was so popular in the 19th century. The settings are largely contemporary, rather than taken from historical sources.

Anonymous, 'The Months of the Year - November'

Anonymous, 'The Months of the Year - November', about 1870. Museum no. E.706K-1888

Anonymous
'The Months of the Year - November'
About 1870
Wood engraving
Engraved by R. & L. Taylor
Museum no. E.706K-1888

In these engravings the imagery underlines the link between women and nature that was so popular in the 19th century. The settings are largely contemporary, rather than taken from historical sources.

Anonymous, 'The Months of the Year - December'

Anonymous, 'The Months of the Year - December', about 1870. Museum no. E.706L-1888

Anonymous
'The Months of the Year - December'
About 1870
Wood engraving
Engraved by R. & L. Taylor
Museum no. E.706L-1888

In these engravings the imagery underlines the link between women and nature that was so popular in the 19th century. The settings are largely contemporary, rather than taken from historical sources.

Frederick Walker, 'Autumn'

Frederick Walker, 'Autumn', 1865. Museum no. P.3-1911

Frederick Walker (1840-1875)
'Autumn'
Signed and dated 1865
Watercolour
Museum no. P.3-1911
Given by the executors of Sir William Agnew Bt

The young woman here appears older than in the print. It seems probable that Walker is referring not only to the passage of the seasons, but also to the passage of human life. The apple and tree have biblical connotations of Eve and the Tree of Knowledge.

Frederick Walker, Illustration to 'Spring Days' by Dora Greenwell

Frederick Walker, Illustration to 'Spring Days' by Dora Greenwell, 1862. Museum no. E.2570-1904

Frederick Walker (1840-1875)
Illustration to 'Spring Days' by Dora Greenwell
Published in A Round of Days (1866), Picture Posies (1874) and English Rustic Pictures (1882); edited and engraved by the Dalziel brothers
1862
Wood engraving
Museum no. E.2570-1904

Walker was commissioned by the Dalziel brothers, leading publishers and wood engravers of the day, to produce a series of prints. They gave him free-rein to choose his subjects and then had poems written to suit the images.

Frederick Walker, Illustration to 'Autumn Days' by Dora Greenwell

Frederick Walker, Illustration to 'Autumn Days' by Dora Greenwell, 1862. Musuem no. 2960-1904

Frederick Walker (1840-1875)
Illustration to 'Autumn Days' by Dora Greenwell
Published in A Round of Days (1866), Picture Posies (1874) and English Rustic Pictures (1882); edited and engraved by the Dalziel brothers
1862
Wood engraving
Musuem no. 2960-1904

Walker was commissioned by the Dalziel brothers, leading publishers and wood engravers of the day, to produce a series of prints. They gave him free-rein to choose his subjects and then had poems written to suit the images.

Frederick Walker, 'Spring'

Frederick Walker, 'Spring', 1865. Museum no. P.2-1911

Frederick Walker (1840-1875)
'Spring'
Signed and dated 1865
Watercolour
Museum no. P.2-1911
Given by the executors of Sir William Agnew Bt

Although privately owned until 1911, Spring and its companion piece Autumn achieved great fame through reproduction and exhibitions. Spring was bought at auction in 1887 by Sir William Agnew of the celebrated firm of art dealers for a very high price. He believed it to be the finest watercolour produced by Walker.

Myles Birket Foster, 'The Milkmaid'

Myles Birket Foster, 'The Milkmaid', 1860. Museum no. 520-1882

Myles Birket Foster (1825-1899)
'The Milkmaid'
Signed and dated 1860
Watercolour
Museum no. 520-1882
Bequeathed by John Jones

Many of Birket Foster's most popular works offer an idyllic view of rural England. In watercolour he is known for his stippling technique rather than broad brushstrokes. His choice of colour is usually fresh pastel shades that contribute to the unthreatening sweetness of the images.

George Cattermole, 'Knight and Lady'

George Cattermole, 'Knight and Lady', about 1840-1850. Museum no.1449-1869

George Cattermole
'Knight and Lady'
About 1840-1850
Watercolour
Museum no.1449-1869
Bequeathed by Chauncey Hare Townshend

This scene is loosely set in the historical past. Its motivation is not period accuracy but the sentimental evocation of virginal ladies and knights in shining armour. Its appeal is to the feeling heart rather than the antiquarian mind.

George Baxter, after E.H. Corbould

George Baxter, after E.H. Corbould, 'Summer Time – 'Half Light, Half Shade She Stood'', 1856. Museum no.E.3078-1932

George Baxter (1804-1867), after E.H. Corbould (1815-1905)
'Summer Time – 'Half Light, Half Shade She Stood'',
1856
Baxter print
Museum no.E.3078-1932
Bequeathed by Francis William Baxter

The title refers to 'The Gardener's Daughter' (1842), a poem by Alfred, Lord Tennyson. In it, the daughter tenderly replaces the branch of a rose, blown across a path during a storm. In drawing a link between nature and female beauty the poem inspired many works of art.

Arthur Boyd Houghton, Illustration to Songs of Seven by Jean Ingelow

Arthur Boyd Houghton, Illustration to Songs of Seven by Jean Ingelow, about 1867. Museum no. E.313:54-19

Arthur Boyd Houghton (1836-1875)
Illustration to Songs of Seven by Jean Ingelow (1820-1897)
Published in Poems by Jean Ingelow (1867)
About 1867
Wood engraving; by the Dalziel Brothers
Museum no. E.313:54-19

Although popular, Ingelow's verse was also criticised at the time for its overwrought emotion. 'Seven Times Five: Widowhood' includes the stanza: 'I shall not die, but live forlore-/ How bitter it is to part/ O to meet thee, my love once more! / O my heart, my heart!'

Arthur Boyd Houghton, Illustration to Songs of Seven by Jean Ingelow

Arthur Boyd Houghton, Illustration to Songs of Seven by Jean Ingelow, about 1867. Museum no. E.313:55-1910

Arthur Boyd Houghton (1836-1875)
Illustration to Songs of Seven by Jean Ingelow (1820-1897)
Published in Poems by Jean Ingelow (1867)
About 1867
Wood engraving; by the Dalziel Brothers
Museum no. E.313:55-1910

Although popular, Ingelow's verse was also criticised at the time for its overwrought emotion. 'Seven Times Five: Widowhood' includes the stanza: 'I shall not die, but live forlore-/ How bitter it is to part/ O to meet thee, my love once more! / O my heart, my heart!'

Arthur Boyd Houghton, Illustration to Songs of Seven by Jean Ingelow

Arthur Boyd Houghton, Illustration to Songs of Seven by Jean Ingelow, about 1867. Museum no. E.313:56-1910

Arthur Boyd Houghton (1836-1875)
Illustration to Songs of Seven by Jean Ingelow (1820-1897)
Published in Poems by Jean Ingelow (1867)
About 1867
Wood engraving; by the Dalziel Brothers
Museum no. E.313:56-1910

Although popular, Ingelow's verse was also criticised at the time for its overwrought emotion. 'Seven Times Five: Widowhood' includes the stanza: 'I shall not die, but live forlore-/ How bitter it is to part/ O to meet thee, my love once more! / O my heart, my heart!'

Arthur Boyd Houghton, Illustration to Songs of Seven by Jean Ingelow

Arthur Boyd Houghton, Illustration to Songs of Seven by Jean Ingelow, about 1867. Museum no. E.313:57-1910

Arthur Boyd Houghton (1836-1875)
Illustration to Songs of Seven by Jean Ingelow (1820-1897)
Published in Poems by Jean Ingelow (1867)
About 1867
Wood engraving; by the Dalziel Brothers
Museum no. E.313:57-1910

Although popular, Ingelow's verse was also criticised at the time for its overwrought emotion. 'Seven Times Five: Widowhood' includes the stanza: 'I shall not die, but live forlore-/ How bitter it is to part/ O to meet thee, my love once more! / O my heart, my heart!'

Arthur Boyd Houghton, Illustration to Songs of Seven by Jean Ingelow

Arthur Boyd Houghton, Illustration to Songs of Seven by Jean Ingelow, about 1867. Museum no. E.313:59-1910

Arthur Boyd Houghton (1836-1875)
Illustration to Songs of Seven by Jean Ingelow (1820-1897)
Published in Poems by Jean Ingelow (1867)
About 1867
Wood engraving; by the Dalziel Brothers
Museum no. E.313:59-1910

Although popular, Ingelow's verse was also criticised at the time for its overwrought emotion. 'Seven Times Five: Widowhood' includes the stanza: 'I shall not die, but live forlore-/ How bitter it is to part/ O to meet thee, my love once more! / O my heart, my heart!'

Arthur Boyd Houghton, Illustration to Songs of Seven by Jean Ingelow

Arthur Boyd Houghton, Illustration to Songs of Seven by Jean Ingelow, about 1867. Museum no. E.313:60-1910

Arthur Boyd Houghton (1836-1875)
Illustration to Songs of Seven by Jean Ingelow (1820-1897)
Published in Poems by Jean Ingelow (1867)
About 1867
Wood engraving; by the Dalziel Brothers
Museum no. E.313:60-1910

Although popular, Ingelow's verse was also criticised at the time for its overwrought emotion. 'Seven Times Five: Widowhood' includes the stanza: 'I shall not die, but live forlore-/ How bitter it is to part/ O to meet thee, my love once more! / O my heart, my heart!'

Thomas Riley, 'Gathering Apples'

Thomas Riley, 'Gathering Apples', 1882. Musuem no. E.5153-1904

Thomas Riley (active 1880s)
'Gathering Apples'
Published in Portfolio (vol. XIII, 1882)
1882
Etching
Musuem no. E.5153-1904

This print was published with the following caption: 'The association of human and vegetable forms is natural and happy; it is the union of the two greatest worlds of creation known to us, and it has been so valued and understood by the greatest artists of past times.'

Lionel Percy Smythe, 'Under the Greenwood Tree'

Lionel Percy Smythe, 'Under the Greenwood Tree', 1902. Museum no. P.5-1919

Lionel Percy Smythe (1839-1918)
'Under the Greenwood Tree'
1902
Watercolour
Museum no. P.5-1919
Given by a member of the Walpole Society in memory of the glorious Battle of Jutland

This watercolour was probably inspired by the Thomas Hardy novel of the same name, published in 1872. Hardy claimed that his purpose was 'to preserve for my own satisfaction a fairly true record of a vanishing life', but in fact his book is a sentimental rendering of rural life.

John Everett Millais, 'Happy Springtime'

John Everett Millais, 'Happy Springtime', 1860. Musuem no.E.724-1905

John Everett Millais (1829-1896)
'Happy Springtime'
Published by the Etching Club in A Selection of Etchings (1865)
1860
Etching
Musuem no.E.724-1905

The emotional appeal of the mother and child scene in this print looks forward to the popular paintings of Millais' later career. The Nest, exhibited at the Royal Academy in 1887, depicts a similar scene and was much criticised for its sentimentality.