This is a detail of an etching made by William Strang of one of his collaborators, Ernest Sichel which is among 24 etchings owned by Anthony J Sargeant.
For the first twenty years of his career, Strang practised primarily as a printmaker. Although he did paint, he did not begin to exhibit his paintings until the early 1890s. From the mid-1890s he started to become increasingly occupied with more lucrative portrait commissions and began to shift the emphasis of his art from etching to painting and drawing. However, he continued to work as a printmaker throughout his career. In 1918 he became President of the International Society of Sculptors, Painters and Gravers and in 1921 was elected an Engraver Member of the Royal Academy. He died suddenly in 1921, shortly after his election as Royal Academician.
During his lifetime, Dumbarton-born William Strang (1859 – 1921) built up an international reputation as a highly skilled and imaginative printmaker, portraitist and painter. His diverse subjects ranged from the fantastic to the very real, including uncompromising depictions of contemporary life and the effects of poverty and social injustice, landscapes, subjects from the bible, bewildering allegories, and narrative illustrations. He was also a prolific and highly successful portraitist.
via Etching ‘The Visit’ by William Strang RA in the collection of Anthony J Sargeant — TONY Anthony SARGEANT
A much better professional illustration of this charming picture will be in the catalogue for Bonhams sale in their Knightsbridge Saleroom 21st November 2017. Nevertheless Tony Sargeant points out the somewhat mischievous look in the eye of the Shetland Pony
Anthony J Sargeant bought this oil on board painting by Rowley Leggett.
Anthony J Sargeant bought this oil on board painting after it was auctioned at Brightwells Auction House in Leominster. Rowley Leggett was a female artist producing work at the beginning of the 20th Century. The scene in the painting is quite likely to be in East Sussex depicting a farm cottage nestled in the South Downs. It has an old label on the frame which refers to Fittleworth, East Sussex. It seems to be in its original frame – which is certainly ‘period’ – but it would probably benefit from being reframed in a less heavy and more sympathetic style.
Rowley Leggett paintings do not attract high prices but we like her style and have personal connections with her – if you have one and you are interested in selling do please let us know. We would like to build up a collection of her work.