Ashmolean Museum – IMS Photography

Landscape with Ascanius shooting the Stag of Sylvia

Ian Malpass-Scott — Thu, 27 Mar 2025 19:55:00 +0000

Ascanius, son of the Trojan leader Aeneas, is hunting in the Roman countryside. Tragically, his actions will lead to war between the Trojans and the Latins.

The silver-toned landscape is harmonious and peaceful. The glittering clouds and the breeze rippling through the tall trees evoke the violence to come.

The poetic scene comes from Virgil’s Aeneid. Claud painted it in Rome in the last year of his life for Prince Lorenzo Onofria Colomna. It was intended as a companion piece to another landscape, Dido and Aeneas before Carthage, painted by Claude in 1675-1676 (Kunsthalle, Hamburg)

Provenance: Presented by Mrs W.F.R Weldon, 1926

Object description
Type: Easel painting
Location: Ashmolean Museum, Oxford
Material: Oil on canvas
Artist: Claude Lorrain (c. 1604 or 1605 – 1682)
Date: 1681-82

Image Details
Date: 27 March 2025
Camera body: iPhone Xs
Lens: Wide Camera 26mm ƒ/1.8
Focal Length: 26mm
Aperture: ƒ/1.8
Shutter Speed: 1/33s
ISO: 400
Licensing: Image of an Ashmolean Museum asset. This image cannot be licensed.

James Paine (1717-1789) and his Son, James (1745-1829)

Ian Malpass-Scott — Thu, 27 Mar 2025 19:46:00 +0000

James Paine began his career in the circle of Lord Burlington, who promoted a classical style of architecture in Britain based on that of the Venetian architect, Andrea Palladio 0508-1580). Paine was the architect of many country houses, and here father and son study a plan of a pavilion for the 9th Duke of Norfolk at Worksop Manor. The colouring and design of the portrait, with a luminous sky seen through a grand opening and a richly covered table, is based on Venetian portraiture, notably Tintoretto and Veronese. Reynolds made a formative study visit to Italy from v50-52. The artist David Wilkie later observed ‘Would Reynolds have done what he did, if he had never seen Italy?’

Provenance: Bequeathed by James Paine Jr., 1834

Object description
Type: Easel painting
Location: Ashmolean Museum, Oxford
Material: Oil on canvas
Artist: Sir Joshua Reynolds PRA (1723-1792)
Date: 1764

Image Details
Date: 27 March 2025
Camera body: iPhone Xs
Lens: Wide Camera 26mm ƒ/1.8
Focal Length: 26mm
Aperture: ƒ/1.8
Shutter Speed: 1/50s
ISO: 320
Licensing: Image of an Ashmolean Museum asset. This image cannot be licensed.

The School-Girl’s Hymn

Ian Malpass-Scott — Thu, 27 Mar 2025 19:44:00 +0000

This was described by the artist as a ‘pot-boiler’ and shows ‘a girl going to school in a smiling summer Sunday morning, singing her hymn as she walks along’. The model was Miriam Wilkinson, a labourer’s daughter Hunt met while staying with Thomas Combe at a farmhouse near Hastings in 1858. The painting was completed in October 1859 and bought immediately by Combe.

Provenance: Bequeathed by Mrs Thomas Combe, 1893

Object description
Type: Easel painting
Location: Ashmolean Museum, Oxford
Material: Oil on panel
Artist: William Holman Hunt (1827-1910)
Date: 1859

Image Details
Date: 27 March 2025
Camera body: iPhone Xs
Lens: Wide Camera 26mm ƒ/1.8
Focal Length: 26mm
Aperture: ƒ/1.8
Shutter Speed: 1/33s
ISO: 320
Licensing: Image of an Ashmolean Museum asset. This image cannot be licensed.

Portrait of Violet Manners, Marchioness of Granby (later Duchess of Rutland)

Ian Malpass-Scott — Thu, 27 Mar 2025 19:40:00 +0000

Violet Manners (1856-1937) was an artist, muse, and one of the great beauties of her time. She was a prominent member of The Souls, an elite social set devoted to intellectual and artistic pursuits. Violet was painted on several occasions by the American-born artist James Jebusa Shannon. one of the leading portraitists in London at the time This portrait is his most accomplished and fully captures Violet’s fascinating personality, drawing attention to her haunting beauty. Holding a sketchbook with her gaze fixed on Shannon, she appears to be portraying the artist in return. A glazed terracotta of the Virgin and Child frames her head, surrounded by a wreath of lemons,

Provenance: Purchased with funds provided by Barrie & Deedee Wigmore, 2025

Object description
Type: Easel painting
Location: Ashmolean Museum, Oxford
Material: Oil on canvas
Artist: Sir James Jebusa Shannon (1862-1923)
Date: 1896

View of the High Street, Oxford, 1809-10

Ian Malpass-Scott — Thu, 27 Mar 2025 19:29:00 +0000

This view was commissioned by James Wyatt, an Oxford frame maker and picture dealer, who intended to sell engravings of it in his shop at 115 High Street. The picture was completed in 1810, and its close emphasis on architectural detail is unique in Turner’s painted work_ It was exhibited at the Royal Academy in 1812, together with a companion, also commissioned by Wyatt, a View of Oxford from the Abingdon Road (private collection).

Provenance: Accepted by HM Government in lieu of Inheritance Tax and allocated to the Ashmolean Museum, 2016, with additional funding from the National Lottery through the Heritage Lottery Fund, the Art Fund (with a contribution from the Wolfson Foundation), the Friends and Patrons of the Ashmolean, Mr and Mrs Timothy Sanderson, Mr and Mrs Mark Houghton-Berry, and many private donors, 2016

Object description
Type: Easel painting
Location: Ashmolean Museum, Oxford
Material: Oil on canvas
Artist: Joseph Mallord William Turner (1775- 1851)
Date: 1809-10

Interior of a Highlander’s House

Ian Malpass-Scott — Thu, 27 Mar 2025 19:26:00 +0000

Clausen’s large painting, Labourers after Dinner (1884; private collection), was the first sign that he was turning away from the sentimental peasant pictures popularised in England and France by Jules Bastien-Lepage, towards more naturalistic and brutal genre subjects. This is a study of the head of the boy at the centre of Labourers after Dinner.

Provenance: Accepted by HM Government in lieu of Inheritance Tax from the Estate of Dr Catherine Wills and allocated to the Ashmolean Museum, 2024.

Object description
Type: Easel painting
Location: Ashmolean Museum, Oxford
Material: Oil on canvas
Artist: Sir Edwin Henry Landseer (1802 – 1873)
Date: 1829

Image Details
Date: 27 March 2025
Camera body: iPhone Xs
Lens: Wide Camera 26mm ƒ/1.8
Focal Length: 26mm
Aperture: ƒ/1.8
Shutter Speed: 1/25s
ISO: 640
Licensing: Image of an Ashmolean Museum asset. This image cannot be licensed.

Farmer’s Boy

Ian Malpass-Scott — Thu, 27 Mar 2025 19:21:00 +0000

Provenance: Presented by Miss Orovida Pissarro, 1956

Object description
Type: Easel painting
Location: Ashmolean Museum, Oxford
Material: Oil on canvas
Artist: Sir George Clausen (1852-1944)
Date: 1884

Little Red Riding Hood

Ian Malpass-Scott — Thu, 27 Mar 2025 19:18:00 +0000

This is Watts’s first treatment of the theme, an illustration to Perrault’s fairy tale. It was painted in 1864 and bought by Sir William Bowman, whose portrait Watts painted in the following year. Many years later, in 1890, Watts painted a full-length version of the subject (now in Birmingham City Art Gallery).

Provenance: Bequeathed by Mrs W.F.R. Weldon, 19379

Object description
Type: Easel painting
Location: Ashmolean Museum, Oxford
Material: Oil on canvas
Artist: George Frederic Watts (1817-1904)
Date: 1864

David Garrick

Ian Malpass-Scott — Thu, 27 Mar 2025 19:12:00 +0000

The celebrated actor, David Garrick (1717-1779), bought out the young German artist, Zoffany, from and his apprenticeship with Benjamin Wilson in 1762 became one of his most consistent patrons. Most of Zoffany’s portraits of Garrick show either in character on the him pieces.his wi stage, or in conversation Here, he is seen in an informal pose without g, but with the traditional device of masks and Tragedy below. The portrait was painted in 1762 or 1763.

Provenance: Accepted by HM Government in lieu of inheritance Tax on the estate of Mrs Joan Conway and allocated to the Ashmolean Museum, 1999

Object description
Type: Easel painting
Location: Ashmolean Museum, Oxford
Material: Oil on canvas
Artist: Johan Zoffany (1733-1810)
Date: 1762-63

Image Details
Date: 27 March 2025
Camera body: iPhone Xs
Lens: Wide Camera 26mm ƒ/1.8
Focal Length: 26mm
Aperture: ƒ/1.8
Shutter Speed: 1/33s
ISO: 250
Licensing: Image of an Ashmolean Museum asset. This image cannot be licensed.

The Virgin and Child

Ian Malpass-Scott — Thu, 27 Mar 2025 19:12:00 +0000

Devotional images of the Virgin and Child were common in the home, especially in bedrooms.

Bellini specialized in such paintings early in his career. This small, intimate work may date from about 1470.

There may have been a painted curtain or a landscape background. The gilding was applied during restoration in the early 19005.

Provenance: Accepted by HM Government in lieu of Inheritance Tax and allocated to the Ashmolean Museum, 1987

Object description
Type: Easel painting
Location: Ashmolean Museum, Oxford
Material: Tempera and gilding on panel
Artist: Giovanni Bellini (about 1431/36-1516)
Date: circa 1470