(Source: interwar)

welovepaintings:

Fernand Khnopff (1858-1921)

An Abandoned City

1904

Pastel and pencil on paper

76 x 69 cm

Hearst Family Trust

aquietsunday:

By Charles Gates Sheldon

Gorrrrrrrrrrrrrgeous girlie.

oldbookillustrations:

Contemplation.

Frederick Sandys, from The graphic arts of Great Britain, by Malcolm C. Salaman & Charles Holme, London, Paris, New York, 1917.

(Source: archive.org)

Dante Gabriel Rossetti drawing, possibly Alexa Wilding (?)

(Source: vickywinters)

historiful:

Illustration of an unknown woman, date and artist unknown.

Stunning

centuriespast:

Proud Maisie, Frederick Sandys, 1868

ramacharaka:

Shadow Dance (1930) by Martin Lewis

via 2.bp.blogspot.com

Albrecht Durer, A Nuremberg Costume Study, 1500

Albrech Durer, Female Nude with Headcloth and Slippers, 1493

Charlotte Corday, probably drawn in the 1820s

Adelaide Claxton, The Daily Governess, 1850s

I have a passion for 19th century book illustration. My favourite is of course the inimitable Phiz but it’s depressingly difficult to find good quality copies of his drawings on the internet!

Leeds on a Market Day, A Sketch in Boar Lane and Briggate, 1872

The Town of Saltaire Leaving The Mills, 1913

(Salts Mill, Saltaire, West Yorkshire)

Salts Mill was one of the best places to live and work in the second half of the nineteenth century and the beginning of the twentieth. Sir Titus Salt created the mill and also created a village (named Saltaire after himself and the River Aire which powered the mill), complete with hospital and church, for his workers to live in, his theory being that the happier and healthier his workers were, the better they would work.

The mill is now home to an art supplies shop, an antiques dealer & a brilliant bookshop amongst various others along with a permanent gallery of David Hockney’s work and a museum of the history of Saltaire.

fallingribbons:

Elizabeth Siddal, The Lady of Shalott, pencil, pen, black ink, and sepia, 1853. This is the 4th version of the Lady of Shalott, and the only one done by a woman. It’s interesting to note what point in the story the artist chooses to depict. Here, Siddal shows her at the moment she looks out the window, echoing these lines by Tennyson:

Out flew the web and floated wide;
The mirror crack’d from side to side;
‘The curse is come upon me,’cried
The Lady of Shalott.

Still, some critics have noted that this is the one moment in the story and poem in which the lady is in control of her own destiny; others have remarked that while most Pre-Raphaelite paintings allow us to look at women, in this drawing it is the woman who is allowed to look at the world. (via)