Charles Ricketts & Charles Shannon

In November 1901, Robert Ross - the manager of Carfax Gallery - asked Charles Shannon to quote him prices for portraits; Shannon's ans...

Earlier, I have written about the vellum copies of the Vale Press edition of The Life of Benvenuto Cellini (see particularly the second blo...

On 22 March, Princeton University Library has published a blog about a book illustration by Charles Ricketts that 'does not seem to fit ...

Some works by Ricketts and Shannon are on display during the exhibition 'The Beardley Generation' at the Heath Robinson Museum in Lo...

Blogpost number 400 is guest written, on my invitation, by the eminent scholar Dr. Rebecca N. Mitchell of Birmingham University , Department...

A lot of Charles Shannon's lithographs are portraits of friends, others depict nude women; there are genres such as landscapes, street s...

Gleeson White ( Joseph William Gleeson White, 1851-1898 ) supported the work of Ricketts in many ways, and managed to squeeze in his name in...

& is for & & art thou dead, thou much loved youth & didnt thou dye for mee? Then farewell home, for ever more A pilgri...

On 30 January Forum Auctions in London sold the collection of the late Bruce Beatty, and three weeks later, on 20 February 2019, Christie...

About a week ago Brill publishers (Leiden/Boston) published Art Crossing Borders. The Internationalisation of the Art Market in the Age of ...

Recently, an ephemera dealer in Moscow sold a Russian postcard with an image of Charles Shannon's lithograph 'The Incoming Tide'...