My Lockdown Life: Collages

2021: July

A meditation on my visual impairment at the Hays Galleria bus stop next to London Bridge Station featuring an illustration of the eye from Hermann von Helmholtz's "Handbuch der physiologisch Optik" (1867), a photograph of a bus stop on London Bridge, and a 25 April 2006 Opthavision image of my optic nerve
John Lavery's "Mrs. Ralph Peto as a Bacchanate" (1910) in front of a phone booth on Evelyn Street, Deptford, which has on it a female torso planter from in front of the Charleston Gift Shop. Next to the figure are two urns featuring poppies from Charleston Farm (Shannon R. Smith photograph urn sold at the Charleston Gift Shop). Everything is within a frame from the Birmingham Museums Trust (1984P24).
"Half Sick of Shadows" - William Holman Hunt's "The Lady of Shalott" (c. 1888–1905) in front of an illustration of a paper storage warehouse from the 1892 "Sell's World Press" on construction hoardings on Dragoon Street in Deptford., which also includes My Lockdown Life Day 442, My Lockdown Life Day 421, and My Lockdown Life Day 447
William Holman Hunt's "Two Gentlemen of Verona" (1850–1851) (via Birmingham Museums Trust) on the platform at London Bridge Station
John Lavery's "A Rally" (1885) on the Strand under bunting featuring Edwin Landseer's "Man Proposes, God Disposes" (1864)
Jean-Auguste-Dominique Ingres's "Mme Victor Baltard and sa fille, Paule" (1836) near the Southampton Street bus stop on the Strand, where overhead there is bunting featuring Ingres's "La Grande Odalisque" (1814) in a thin gold frame from Birmingham Museums Trust (1953P149) "Ariccia" by John Robert Cozens (1783)
William Etty's "Study for 'The Crochet Worker'" (1849) on a bus stop in front of a sign reading "Another World is Possible" on Southwark Street near Lavington Street, Southwark, London
"This Is Far From Over" featuring Pascal-Adolphe-Jean Dagnan-Bouveret's "Chimères" (n.d.), Tooley Street near London Bridge Station after sunset, and a gold frame from Birmingham Museums Trust (1905P8)
John Lavery's "Walter Burton Harris" (1907) and Dante Gabriel Rossetti's "Woman in Evening Dress" (1852) outside of London City Hall, Southwark in gold frame from Birmingham Museums Trust (1945P55)
Figures from Gustave Caillebotte's "Paris Street, Rainy Day" (1877) near London City Hall, Southwark, London, in a gold frame from Birmingham Museums Trust (1986P112)
Edward Richard Taylor's "Street Scene with Musicians" (1876) on the Queen's Walk by the Thames, Southwark
Dante Gabriel Rossetti's "Rosso Vestita" (Dressed in Red) (1850) in the Lightwell at the London Library, St. James's, London
Figure from Adolph Sandoz's illustration "Why Lingers He? The Hour of Tryst is Past" (1891) from Cassell's Family Paper (p. 173) behind St. James's Piccadilly between Jermyn Street and Piccadilly in gold frame from Birmingham Museums Trust (1945P55)
Margaret I Dicksee's "The Least Frequented Way" (1891) from Cassell's Family Paper (p. 203) on Jermyn Street, St. James's, London in gold frame from Birmingham Museums Trust (1953P360)
J. Nash's "The Engine Was Thundering..." (1891) from Cassell's Family Paper (p. 277) on the Jubilee Line platform at Canada Water Station
Figures from Percy Tarrant's illustration "She Views, With Much Apparent Satisfaction, Our Double Reflection in the Mirror" (1891) (p. 5) from "A Sharp Experience" by Kate Eyre in Cassell's Family Paper on The Queen's Walk near Tower Bridge, Southwark, London
Davidson Knowles's "Marion Was Alone" (1891) from Cassell's Family Paper in Masons Yard, St. James's, London (My Lockdown Life Day 458 on the sign in the background)
G.H. Sydney Cowell's "You Still Love Me" (1891) from Cassell's Family Paper next to the St. James's Piccadilly, Jermyn Street, London
George du Maurier's "The Sterner Sex" (1891) from p. 147 of the 26 September 1891 issue of "Punch" (coloured) in Masons Yard behind the London Library, St. James's, London
Figure from Edward Linley Sambourne's "Will You, Won't You!" from the 21 November 1891 issue of "Punch" (vol. 101, p. 242)(coloured) on Jermyn Street, St. James's London
Figure from Edward Linley Sambourne's "Will You, Won't You!" from the 21 November 1891 issue of "Punch" (vol. 101, p. 242)(coloured) on Jermyn Street, St. James's London
Figure from George du Maurier's "Criketana: Young Ladies v Boys" (1891) from p. 126 of the 12 September 1891 issue of "Punch" (coloured) on Belvedere Road behind the BFI, South Bank, London
Figures from Edward Linley Sambourne's "Now You're Quite the Gentleman" (1891) from the 5 December 1891 issue of "Punch" (vol. 101, p. 266) on Waterloo Bridge near Royal Festival Hall, South Bank, London
Figure from John Tenniel's "Nothing But the Truth" (1891) from the 12 September 1891 issue of "Punch" at sunset on the South Bank next to the Thames, London, in a gold frame from "Elijah and the Widow's Son" via Birmingham Museums Trust (1912P23)
Figures from John Tenniel's "Nothing But the Truth" (1891) from the 12 September 1891 issue of "Punch" (vol. 101, p. 127) at Canada Water Station, Rotherhithe, London
John Leech's "A Staggerer for an Excursionist" (1851) from "Punch" (vol. 21, p. 124)(coloured) on Southampton Street, Covent Garden, London (outside former headquarters of George Newnes Limited)
Figures from John Leech's "Bloomerism – An American Custom" (1851) from "Punch" (vol. 21, p. 141)(coloured) on Exeter Street between Burleigh Street and Wellington Street, Covent Garden, London

2021: June

George Clausen's "Ploughing" (1889) in St. James's Square, London
Charles François Marchal's "Penelope" (1868) on Edtward Street, Deptford Penelope image sourced from the Victoria & Albert Museum (Item No. 0576977-2013fy9050)
Gustave Caillebotte's "Baigneur s'apprêtant à plonger" (1878) on Prince Street in Deptford
Edward Linley Sambourne's "Fashion à la Shakespeare" (1897) from page 110 of the 11 September 1897 issue of "Punch" (vol. 13) on Despard Road, Islington, London
Amélie Lundahl's "Before a Swim" (1885) on the Jubilee Line under the Thames on the way to Westminster Station, London
Edward Burne-Jones's The Briar Rose Series - Study for 'The Garden Court' (1889) in Mason's Yard behind the London Library [Burne-Jones photo by Birmingham Museums Trust, licensed under CC0]
Albert Joseph Moore's "Sapphires" (1877) in front of the Ritz, Piccadilly, Mayfair, London [Artwork from Birmingham Museums Trust, licensed under CC0]
Deptford Park School bus stop with image of Elizabeth Adela Forbes's "Ring a Ring O'Roses" (1880) in front of a car parked on the pavement near Dragoon Road, Evelyn Street, London
Figures from Aubrey Beardsley's "The Toilet" (1896) (hand coloured) from p. 161 of the January 1896 issue of "The Savoy" next to The Garden Halls, Cartwright Gardens, Bloomsbury, on the side of a bus stop next to Russell Square, Bloomsbury, London (Senate House is in the background)
Bus stop on Archway Road, Islington, with a Cadbury's Pure Cocoa ad from the 12 August 1893 issue of the "Law Gazette" in front of the Kimpton Fitzroy London, Russell Square, Bloomsbury, London
Bus stop on Archway Road, Islington, with figures from a Genuine Macintosh Waterproofs ad sample from "Sell's World Press" (1892) next to Russell Square, Bloomsbury, Lodon
Figure from a sample advertisement for Beetham's Glycerine and Cucumber from "Sell's World Press" (1892) pictured in front of the brick wall around Deptford Park School, Oxestalls Road, framed by a bus stop on Oxestalls Road, Deptford
Bus stop on Oxestalls Road with an image of Henri de Toulouse-Lautrec's "La Troupe de Mlle Églantine" (1895–1896) next to a Diverted Traffic sign on Southampton Row, Bloomsbury, London
Edward Burne-Jones's "Green Summer Drapery Study of Central Figure" (1863–1864) on the platform at Orpington Station next to a billboard with a B&W photograph taken at Charleton Farm, Lewes, East Sussex on 12 June 2021
Dante Gabriel Rossetti's "The Beloved – Study of a Black Boy" (1865–66) in front of the stairway in the Piccadilly Waterstones (b&w) on the side of a bus stop on Oxestalls Road next to Deptford Park School, Deptford, London
Edward Burne-Jones's "The Mirror of Venus – Study of Kneeling Female Attendant" (1865–66) next to a table of books at the Piccadilly Waterstones on the side of a bus shelter on Evelyn Street in Deptford
Figure from Edward Linley Sambourne's "February Fancies" illustration from the 1 March 1884 issue of "Punch" (p. 98) at the Burlington Gardens entrance to the Royal Academy of Arts in a frame on the wall of the Riverside Youth Club, Grove Street, Deptford
Central figure from Edward Linley Sambourne's "The Angel in 'The House' Or, the Result of Female Suffrage (A Troubled Dream of the Future)" from the 14 June 1884 issue of "Punch" (p. 279) (hand coloured) on Haymarket, St. James's, in front of two photographs taken at Charleston on the side of Her Majesty's Theatre: (1) poppies from the Charleston gardens and (2) a statue by the Charleston pond
John Tenniel's "The Nemesis of Neglect" from the 29 September 1888 issue of "Punch" (vol. 95, p. 151) in front of construction hoardings around the newly demolished Elephant & Castle Shopping Centre on the side of an Evening Standard kiosk on Regent Street, St. James's, London
Figure from John Tenniel's "The Return of the Wanderer" from the 4 February 1888 issue of "Punch" (vol. 94, p. 55) at Canada Water Bus Station, Surrey Quays, on the side of a bus stop in front of the Riverside Youth Centre on Grove Street, Deptford
Figure from Edward Linley Sambourne's "The Japanese School at the Royal Academy" from the 4 February 1888 issue of "Punch" (hand coloured) on the Green Park Station escalator to the Jubilee Line and in front of a picture of Charleston House
Harry Furness's "How We Advertise Now" from the 3 December 1887 issue of "Punch" (including hand-coloured policeman figure) on the Jubilee Line escalator in Green Park Station, London
Figures from "A Fair Jury, All Home-Rulers" illustration from the 30 April 1887 issue of "Punch" on a Lady Gaga advertisement on the side of building on Piccadilly (across from The Ritz), Mayfair, London
Figures from John Tenniel's "Whitechapel, 1888" from the 13 October 1888 issue of "Punch" on City Road, Islington, London
Figure from Edward Linley Sambourne's "Ladies Not Allowed" from the 21 March 1896 issue of Punch (p. 134) next to a bus stop on East Road, Hoxton, London, which features image of Cayton Street outside Moorfield's Eye Hospital
Hand-coloured figure of a man carrying a bindle from "British Workman" No. 9 (1855), p. 35 crossing City Road, where there is a bus with an advertisement featuring the former Alexandra Trust Dining Rooms sign and a figure from Frank Bramley's "Friends" (n.d.), a painting of his wife, Katherine, and her dog
Thomas Benjamin Kennington's "Reading the Letter" (1885) in the Newsroom at the British Library surrounded by My Lockdown Life Day 275 [Joseph Clayton Clark's "A Reader of the Era" (c1900) in the British Library] and My Lockdown Life Day 391 [Georges Merle’s “L’Envoûteuse” (The Sorceress) (1883) in front of the King's Library at the British Library]
"The Convalescent" sample advertisement for Coleman's Liebig's Extract of Meat and Malt from "Sell's World's Press" (1892) on construction hoardings on Dragoon Road, Deptford
Images from "Sell's World Press" (1892), including Aziz Ahmed, editor of "Asia" (Published in Glasgow), a woman with an umbrella from a sample ad designed by Sell's Advertising, and eyes from a sample advertisement for Lewis's Wonderful Velveteen, on City Road across from Moorfields Eye Hospital, London in a Tunbridgeware frame made by James Brown in the Hollamby workshop (c. 1850)
Figures from Charles Samuel Keene's "To Be Quite Accurate" illustration from p. 286 of the 11 June 1887 issue of "Punch" in front of IALS, London in a gold frame from the Birmingham Museums Trust

2021: May

Walter Crane’s “A Garland for Mayday 1895” (1895) on Euston Road (near the British Library) in London
John Everett Millais’s “Vanessa” (1868) crossing Midland Road near the British Library in London
William Henry Hunt’s “A Black Boy Holding a Casket” (c. 1833) on Grove Street in Deptford
Pascal Dagnan-Bouveret’s “Ophelia” (1900) at the Elephant and Castle (London)
Aubrey Beardsley’s “The Three Musicians” (1896) from the January 1896 issue of “The Savoy”
Edward Robert Hughes’s “Sabbath Morn” (1872) on Jamaica Road next to the Dickens Estate in Bermondsey (London)
Georges Merle’s “L’Envoûteuse” (The Sorceress) (1883) in the British Library
Théobald Chartran’s Vanity Fair illustration of Giuseppe Verdi (1879) making the most of waiting in line at the British Library
Pascal Dagnan-Bouveret’s “A Woman From Bern, Switzerland” (1887) in the British Library pandemic queue area
Elizabeth Adela Forbes's "The Open Book" (n.d.) in front of the Waldron Health Centre, New Cross
Roger Fry's "Edward Carpenter" (1894) in front of the The Old Vic, The Cut, London
Walter Crane's "La Belle Dame Sans Merci" (1865) on Alaska Street near intersection of Waterloo Road
Nikolai Vasilyevich Nevrev's "Vasilisa Melentyevna" (1886) on Arklow Road in Deptford
"Savage Attack by Cats" illustration from the "Illustrated Police News" (11 April 1885) on Rolt Street in Deptford, London
John Collier's "Lillith" (1887) in front of The Black Horse pub, Evelyn Street, Deptford
James Collinson's "Mother and Child by a Stile" (1849) in front of The Gilbert Scott at the intersection of Euston Road and Midland Road, London
Illustration from Richard Doyle's "In Fairy Land" (1870) in St. James's Square, London
Illustration from Vol. 1, No. 8, p. 32 of "The British Workman" (1855) in front of the London Library, St. James's Square, London
Gustave Caillebotte's "Homme portant une blouse" (1884) and "Dans un café" (1880) in Emma Cons Gardens, Waterloo Road, London
Figure from Gustave Caillebotte's "Les raboteurs de parquet" (1875) in the construction area in front of the Britsh Library
Jules Bastien-Lepage's "Pas mèche" (1883) on Tower Bridge Road, Bermondsey
Jules Bastian-Lepage's "Young Girl" (1881) on Arklow Road, Deptford, London
Figure from Jules Bastien-Lepage's "Les Foins" (1877) in front of Elephant and Castle Underground Station, London
Richard Doyle's "Portrait of Maharajah Dhuleep Singh of Lahore" (n.d.) on Great Eastern Street, Shoreditch, London. Doyle drawing © The Trustees of the British Museum (Museum Number: 1886,0619.90)
Jules Bastien-Lepage's "October" (1878) on Curtain Road, Shoreditch, London
John Doyle's (HB) "Portrait of John Fane" (1830) in front of Stik's "Past, Present, Future", Old Street, Shoreditch, London
Frédéric Bazille's "The Family Reunion" (c.1867) on Great Eastern Street, Shoreditch, London
Eleanor Fortescue-Brickdale's "They Toil Not, Neither Do They Spin" (1903) on London Bridge

2021: April

Lawrence Alma-Tadema’s “Portrait of Ignancy Jan Paderewski” (1891) on Watergate Street in Deptford
Pascal Dagnan-Bouveret’s “On the Summit” (1903) on Watergate Street in Deptford
Aubrey Beardsley illustration for Edgar Allan Poe’s “Murders in the Rue Morgue” (c.1894) on Czar Street in Deptford
William Henry Hunt’s “Le Malade Imaginaire” (1855) (self portrait) in Charlotte Turner Gardens, Deptford
Thomas Benjamin Kennington’s “Orphans” (1885) on Watergate Street in Deptford
Frédéric Bazille’s “Portrait of Renoir” (1867) on Wharf Street next to the Thames in Deptford
Alexandre Cabanel’s “Ophelia” (1883) in Twinkle Park Pond, Deptford
Berthold Woltze’s “Der lästige Kavalier” (The Annoying Gentleman) (1874) in Twinkle Park in Deptford
Jean Frédéric Bazille’s “Little Italian Street Singer” (1866) in front of the Welcome Inn Fish Bar on Evelyn Street in Deptford
Alexandre Cabanel’s “Napoleon III” (c.1865) next to a plastic toy found on a wall on Watergate Street in Deptford
Water Crane’s “Diana and Endymion” (1883) on New King Street in Deptford
Alexandre Cabanel’s “Fallen Angel” (1847) on Watergate Street in Deptford
Eleanor Fortescue-Brickdale’s “Catherine of Aragon” (1919) from the Golden Book of Famous Women and Walter Crane’s “The Frog Asks to be Allowed to Enter the Castle” (1874) from “The Frog Prince”
John Everett Millais’s “Esther” (1865) next to the Twinkle Park pond in Deptford
Alexandre Cabanel’s “The Daughter of Jephthah” (1879) on Trevithick Street in Deptford
Alexandre Cabanel’s “Pandora” (1873) on Trevithick Street in Deptford
Elizabeth Southerden Thompson’s (Lady Butler) “Missed” (1874) on Trevithick Street in Deptford
George Catlin’s “Wa-ta-we-huch-a-nah” (Le général commandant) on Watergate Street in Deptford
Walter Crane’s “Diana and Endymion” (1883) on New King Street in Deptford
Evelyn De Morgan’s “The Love Potion” (1903) in front of The Watergate on Watergate Street in Deptford
Briton Rivière’s “Requiescat” (1888) at the intersection of Czar Street and New King Street in Deptford
Walter Sickert’s “Aubrey Beardsley” (1894) on New King Street in Deptford
Elizabeth Adela Forbes’s “April” (n.d.) on Waterloo Bridge in front of the National Theatre
William Henry Hunt’s “The Pet of the Village” (1852) in front of the British Library
Gustave Etienne Courtois’s “Madame Gautreau” (1891) on the Victoria Line platform at Green Park Station (London)
Giovanni Boldini’s “Portrait of the Princess Cécile Murat Ney d’Elchingen” (1910) at the British Library
Frédéric Bazille’s “Woman With Peonies” (1870) outside Saint Pancras Station (London)
George Wallis’s “Fall of Napoleon” (1836) in front of King’s College London on the Strand
Etching of Max Beerbohm’s “Caricature of Mr. Beerbohm Tree” (1896) from the January 1896 issue of “The Savoy” (vol. 1, no. 1, p. 125) in front of the unopened Khadija Saye “In This Space We Breathe” exhibition (16 May 2021–8 August 2021). Beerbohm image is from https://1890s.ca/savoyv1_beerbohm_caricature/

2021: March

John Atkinson Grimshaw’s “Spirit of the Night” (1879) at the Edward Place railway arches (and The Bike Project Workshop) in Deptford
John William Waterhouse’s “Isabella and the Pot of Basil” (1907) in the Royal Naval Place Allotments, New Cross
William Etty’s “Miss Mary Arabella Jay” (1819) in front of a heavily tagged white van on Edward Street in Deptford
George Frederic Watts’s “The Good Samaritan” (1904) in Amersham Grove Playground, New Cross
Gustave Moreau’s “La Chimère” (1867) next to the railway arches off of Arklow Road, Deptford
John Lavery’s “On the Clyde: Study of Lady Glen Coats” (1890) on Grove Street in Deptford
George Clausen’s “Girl” (1888) on Amersham Vale in New Cross
Marie Spartali Stillman’s “Self Portrait” (1871) on Grove Street in Deptford
Eleanor Fortescue Brickdale’s illustration of Catherine Douglass (Kate Barlass) from “The Golden Book of Famous Women” (1919)
John Collier’s “Circe” (1885) in front of construction hoardings near Amersham Grove, New Cross
John Lavery’s “Mrs. Lavery Sketching” (1910) on Arklow Road in Deptford
John Collier’s “Clytemnestra” (1882) on Arklow Road in Deptford
John Lavery’s “Portrait of Miss Mary Burrell” (1896) and a figure from Alfred Stevens’s “The Painter and His Model” (1855) on Arklow Road, Deptford
Jean Benner’s “À la France, toujours” (1906) on Arklow Road in Deptford
John Lavery’s “Gaines Ruger Donoho” (1883) in the Royal Naval Place Allotments, New Cross, London
Edward Robert Hughes’s “Night Wth Her Train of Stars” (1912) on Arklow Road in Deptford
Alice Mary Havers’s “Belle of the Village” (1883) in front of Waldron Health Centre, New Cross
William Etty’s “Portrait of Mademoiselle Rachel” (c.1841) and James Abbott McNeill Whistler’s “Drawing of Charles Keene Sketching” (c. 1891) in front of Waldron Health Centre, New Cross
Elizabeth Adela Forbes’s “The Zandvoort Fishergirl” (1884) under a railway bridge on Edward Street in Deptford
Daniel Maclise’s “The Rat Catcher” (n.d.) under the Edward Street railway arch in New Cross. The Maclise “The Rat Catcher” image comes from ArtUK and the Leicester Museum & Art Gallery (CC BY-NC-SA).
George Clausen’s “The Gleaners” (1908) on Amersham Grove in New Cross
Lawrence Alma-Tadema’s daughter from “This Is Our Corner”(1873) on Watergate Street in Deptford
Boy from William Henry Hunt’s “The Father’s Boots” (also known as “Grandfather’s Boots”)(1834) on Watergate Street in Deptford
Henry Meynell Rheam’s “Titania Welcoming Her Fairy Bretheren” with some COVID-19 graffiti on New King Street, Deptford
Giovanni Boldini’s “Portrait of Robert de Montesquiou” (1897) on Watergate Street in Deptford
Edmund Blair Leighton’s “Stitching the Standard” (1911) next to the steps to the Thames on Watergate Street in Deptford
Giovanni Boldini’s “Portrait of Giuseppe Verdi” (1886) on Dacca Street in Deptford
George Clausen’s “Brown Eyes” (1891) on Prince Street in Deptford
Walter Crane’s “Little Red Riding Hood Meets the Wolf in the Woods” (1896) on Dacca Street, Deptford
One of Lawrence Alma-Tadema’s “Silver Favourites” (1903) on Watergate Street in Deptford
Alexandre Cabanel’s “Cornelia Lyman Warren” (1871) in front of the phone booth on the corner of Grove Street and Dragoon Road in Deptford

2021: February

William Powell Frith’s “The Two Main Figures from 'The Derby Day'” (1860) in front of Eat Vietnam bar-b-grill on Evelyn Street, Deptford
Nimue from Edward Burne-Jones’s “The Beguiling of Merlin” (1872–1877) in front of Mr. Potatoes on Evelyn Street, Deptford
Figures from Edmund Leighton’s “Till Death Do Us Part” (1878) take a pandemic walk along Prince Street, Deptford
Celebrating my 300th pandemic Twitter post with Queen Victoria and Albert from Edwin Landseer’s “Windsor Castle in Modern Times” (c.1842) in Pepys Park, Deptford
Two figures from Edward Burne-Jones’s “The Rose Bower” (Buscot Park Copy) (1890) sleeping on Watergate Street in Deptford
Alice Havers’s “But Mary Kept All These Things and Pondered Them in Her Heart” (1888) admiring the yellow crocuses in Lower Pepys Park, Deptford
Figure from Edward Burne-Jones’s “The Rose Bower” (Buscot Park Copy) (1890) sleeping in Sayes Court Park, Deptford
Figure from Alfred Stevens’s “The Painter and His Model” (1855) on a bench in Sayes Court Park, Deptford
Edwin Landseer’s “Saved” (1856) in Twinkle Park, Deptford
Edwin Landseer’s “Eos, A Favourite Greyhound of Prince Albert” (1841) in Sayes Court Park, Deptford, next to John Evelyn’s mulberry tree
William Powell Frith’s “The Signal” (1858) on Watergate Street in Deptford
Alfred Stevens’s “L’Étude du Rôle” (1888) on Trevithick Street in Deptford
Charles Edward Perugini’s “A Summer Shower” (c.1888) on Watergate Street near Twinkle Park, Deptford, in front of a community Covid display
Arthur Hacker’s “Christ and Magdalene” (1890) on Watergate Street near Twinkle Park, Deptford
One of the polar bears from Edwin Landseer’s “Man Proposes, God Disposes” (1864) near the Watergate Street stairs to the Thames
Edward Burne-Jones’s “Cupid and Psyche” (1870) adorning the text I received about scheduling my first Covid-19 vacciation
George Sheridan Knowles’s “Her First Love” (1885) on Grove Street in Deptford
Figures from Edmund Blair Leighton’s “Off” (1899) on Grove Street in Deptford
Jean-Auguste-Dominique Ingres’s “Madame Moitessier” (1856) in front of the Dog and Bell, Prince Street, Deptford. Today is my birthday. If it were not for the pandemic, I would have visited Madame Moitessier at the National Gallery before grabbing a few pints at the Dog & Bell.
Gustave Moreau’s “Salomé Dancing (Salomé Tattooed)” (1874) in front of The Victoria pub, Grove Street, Deptford
Figure from Eleanor Fortescue-Brickdale’s “Golden Book of Famous Women” (1919) on Arlow Road in Deptford
Henry Nelson O’Neil’s “The Letter Writer” (1860) on Arklow Road in Deptford
Figure from James Tissot’s “The Bunch of Lilacs” (1875) on Arklow Street in Deptford
George Frederic Watts’s “Miss Mary Fox with Spanish Pointer” (c. 1854) in Amersham Grove Playground, New Cross
Boy from George Clausen’s “Bird Scaring” (1887) on Arklow Road in Deptford
George Dunlop Leslie’s “The Convent Garden” (c.1857–1870) on Arklow Road in Deptford (Leslie image via ArtUK and Sudley House)
Annie Swynnerton’s “The Young Mother” (c.1887) crossing Evelyn Street, Deptford

2021: January

Arthur Hacker’s “Cockle Gatherers” (n.d.) near Russell Square Underground Station
Figures from Edward Burne-Jones’s “Princess Sabra Led to the Dragon” (1866) near Cartwright Gardens, Bloomsbury, London
Figures from Jean Béraud’s “Paris Kiosk” (c.1880–84) outside of the Brunswick Shopping Centre, Bloomsbury, London
Léon François Comerre’s “l’Odalisque au tambourin” on the upper deck of the 188 on Bush Road, Surrey Quays, London
Figures from Jean Béraud’s “A Windy Day on the Pont des Arts” (1880s) descending a British Library staircase
John William Waterhouse’s “Thisbe” (1909) in Rare Books & Music in the British Library
John William Waterhouse’s “Psyche Opening the Door Into Cupid’s Garden” (1903) and the printing press found on the Lower Level of the British Library
George Dunlop Leslie’s “Charity School Girl” (1882) in the British Library’s Rare Books & Music reading room
Figure from Jean Béraud’s “A Windy Day on the Pont des Arts” (1880s) outside the Lord John Russell pub on Marchmont Street
Figure from Evelyn De Morgan’s “Queen Eleanor and Fair Rosamund” (c.1901) outside the Rare Books & Music reading room at the British Library
John Clayton Clark's "A Reader of the Era" (c1900) in the British Library
William Powell Frith’s “Dolly Varden” (1842) at the intersection of Euston Road and Midland Road near the British Library and St. Pancras station
Subject of Jean-Auguste-Dominique Ingres’s “Portrait of Comtesse d’Haussonville” (1845) across the street from Russell Square Park, Bloomsbury, London
John William Waterhouse’s “Destiny” (1900) outside of the China House restaurant on Marchmont Street, Bloomsbury, London
Joseph Clayton Clark’s (aka Kyd) “A Reader of the Daily News” (c.1900) on Marchmont Street, Bloomsbury, London
Bessie MacNicol’s “Portrait of a Lady (The Green Hat)” (n.d.) outside of the Brunswick Shopping Centre, Marchmont Street, Bloomsbury, London
Joseph Clayton Clark’s (aka Kyd) “A Reader of The Times” (c.1900) on a Deptford Landings balcony at sunset
William Powell Frith’s “The Little Gleaner” (c. 1850) near some bins on Grove Street in Deptford
Frederic Leighton’s “After Vespers” (1871) in front of graffiti found on Watergate Street, Deptford
Joseph Clayton Clark’s (aka Kyd) illustration of Charles Dickens’s “Escaped Convict Magwitch” from "Great Expectations" (c.1900) outside the Evelyn Street Paddy Power
Joseph Clayton Clark’s (aka Kyd) illustrations of two Dickens characters (Wilkins Micawber from David Copperfield and Mr. Jingle from the Pickwick Papers) next to the Grove Street gateway to the former Royal Navy Dockyard (now Convoys Wharf)
Joseph Clayton Clark’s (aka Kyd) illustration of Mr. Pickwick (c.1900) from Charles Dickens’s “The Pickwick Papers” lifts a glass while admiring graffiti next to the Watergate Street stairs down to the Thames
Figure from Frederic Leighton’s “The Last Watch of Hero” (1880) at the entrance gate to Sayes Court Park, Deptford, London
Oscar Wilde and three other figures from William Powell Frith’s “A Private View at the Royal Academy, 1881” (1883) visit Sayes Court Park, Deptford
Arthur Hughes’s “Ophelia” (Second Version) (c. 1865) and some tagging on the Convoy’s Wharf hoardings on Prince Street, Deptford
Alfred Stevens’s “Will You Go Out With Me Fido?” (1859) next to Convoy’s Wharf hoardings on Prince Street (Deptford)
Woman holding a dog from Edmund Blair Leighton’s “My Next Door Neighbour” (1894) walks past the recycling bins on Grove Street in Deptford
John William Waterhouse’s “Miranda” (1875) sits outside the Grove Street entrance to the former Royal Naval Yard (now Convoy’s Wharf)
Gustave Doré’s “Flower Sellers of London” (1875) in Watergate Street, Deptford
John Singer Sargent’s “Rosina” (1878) (artist’s model Rosina Ferrara) in front of graffiti on Prince Street, Deptford

2020: December

Henry Meynell Rheam’s “Girl in Blue” (1891) leans against the IALS entrance stairs
Bessie MacNicol’s “A Girl of the Sixties” (1899) walks past a bus stop outside of Burger King on Kingsway near Holborn Station
Figures from Emily Mary Osborn’s “Nameless and Friendless” (1857) crossing Waterloo Bridge at sunset
Photograph of public art near Old Kent Road in London with Burne-Jones’s “Pygmalion and the Image 2: The Hand Refrains” (1878)
Evelyn De Morgan’s “Helen of Troy” (1898) waits for a bus on the New Kent Road near Elephant and Castle
Photograph taken on the top deck of the 188 bus near Russell Square with figure from Frederick Leighton’s “Solitude” (c.1890)
Photograph taken on Marchmont Street, London, with figure from Alice Havers’s “Wide Awake” from the “Cassell’s Christmas Annual” (1890)
Collage made for the December 2020 RSVP Digital Salon that incorporates a variety of images from Victorian Periodicals: ILN, Penny Illustrated Paper, Chatterbox, Punch, Ally Sloper’s Half Holiday, Chums, and Fun.
Fork Deli on Marchmont Street, London, with illustrations from nineteenth-century periodicals: C. Harrison’s “Don’t Leave Your Shopping Until the Twenty-Fourth” from p. 265 of the 10 December 1898 issue of “Punch” and “At a Loss Where to Begin” cover illustration from the December 1899 issue of “Chatterbox”
Evelyn De Morgan’s “Eos” (1895) walks down Deptford’s Oxestalls Road at night
“Christmas Up to Date: A Notorious Company ‘Pro-Motor!’” from the 20 December 1898 issue of “Fun” on Euston Road in front of the British Library
Photograph taken near Holborn Station with figures from Emily Mary Osborn’s “God’s Acre” (1866)
No. 91 bus as it approaches Tavistock Square featuring Alfred Stevens’s “The Parisian Sphinx” (1875–77)
First floor of the British Library with Evelyn de Morgan’s “The Crown of Glory” (1896)
British Library Rare Books & Music room with Alfred Stevens’s “News from Afar” (mid-1860s)
Photograph taken at London Bridge Station that incorporates Dante Gabriel Rossetti’s “Dante’s Dream at the Time of the Death of Beatrice” (1871)
Photograph of the Sayes Court Park gates with animals from JS Dyson’s “The Foster Mother” (1894) and William Quiller Orchardson’s “The Young Housewife” (1878)
Photograph taken at the Q (Deptford Park School) bus stop on Evelyn Street that incorporates a polar bear from the “With an Angry Roar the Bear Rose to Its Full Height” illustration on the cover of the 17 December 1899 issue of “Chums” and some bubbles from C. Gregory’s “Christmas Decorations” illustration on page 9 of the 20 December 1870 issue of the “Illustrated London News”
Photograph of Deptford Park Primary School taken from Evelyn Street with an illustration titled “The Grocer’s Shop at Christmas—Drawn by Foster” found on p. 17 of the 21 December 1850 issue of the “Illustrated London News”
Photograph of Deptford Park Primary School taken from Oxestalls Road with Bessie MacNicol’s “Deborah” (1904)
Photograph of Lower Pepys Park, Deptford, with Léon François Comerre’s “The Favourite”
Photograph of bench in Lower Pepys Park, Deptford, with a violin-playing figure from Alfred Walter Bayes’s “Samuel Crompton Inventing the Spinning Mule” (1880)
Photograph of flytipped broken table in Upper Pepys Park with figure from Alfred Walter Bayes’s “Day Dreams” (c.1902–1903)
Photograph of the Thames and Canary Wharf that incorporates Edward Burne-Jones’s “Temperantia” (1872)
Photograph of Greenland Pier, Surrey Quays, London with figure from Leon François Comerre’s “The Pretty Maid” (c.1916)
Photograph of Deptford Landings water feature with hand-coloured ice skating figures from a black-and-white 26 November 1892 (p. 54) “Illustrated London News” drawing called “A Christmas Greeting” by E. Morant Cox (Engraved by R. Taylor & Co)
Photograph of Lower Pepys Park, Deptford with two snowball throwing boys (hand coloured) from Alfred Hunt’s “Christmas in the Good Old Times: The Watchman’s Christmas Box” illustration from the 19 December 1891 issue of the “Penny Illustrated Paper” (p. 31)
Photograph taken in Victoria Embankment Gardens that incorporates figures from Emily Mary Osborn’s “For the Last Time” (1864)
Photograph taken in Victoria Embankment Gardens that incorporates figure from Léon François Comerre's "Portrait of the Ballerina Rosita Mauri"
Photograph of the Thames and Canary Wharf that incorporates Edward Burne-Jones's "Vespertina Quies" (1893)
Photograph of a bus stopped near Holborn Station with Tissot's "La Japonaise au bain" (1864) at the back door of the bus
Photograph of a McMillan and Wheeler merman fountain sculpture in Trafalgar Square with Frank Bernard Dickesee’s “Hesperia” (1887)

2020: November

Photograph taken in front of the Evelyn Street Laundrette with a cat illustration by Harrison Weir from “Our Cats” (1892) and figures from Arthur Hughes’s “Edward Robert Hughes as a Child” (1853–1854), William Mulready’s “Studies of Italian Organ Boys and Their Monkeys”
Photograph taken in Lower Pepys Park, Deptford, that incorporates figure from James Tissot’s “Kathleen Newton in an Armchair” (1878)
Photograph taken at the corner of Oxestalls Road and Grove Street, Deptford, that incorporates Edward Burne-Jones’s “Angel” (1881)
Photograph taken in Lower Pepys Park, Deptford, that incorporates figure from Robert Braithwaite Martineau’s “The Last Chapter” (1860–1863)
Photograph of the mulberry tree in Sayes Court Park, Deptford, London, with a figure from the right wing of Walter Crane’s “The Briar Rose” (1905) triptych sitting on a branch.
Photograph of the Thames, Isle of Dogs, and Canary Wharf taken from the Deptford Creek Bridge that incorporates figures from James Tissot’s “Portsmouth Dockyard” (1877), John Atkinson Grimshaw’s “The Lady of Shalott” (c. 1875), and Walter Crane’s “The Lady of Shalott” (1862)
Photograph of a motorcycle parked on a sidewalk in Deptford, London, which incorporates figure from Alfred Stevens’s “Winter” (c.1876)
Photograph of shopfronts on Evelyn Street, Deptford, that incorporates figures from Edward Hughes’s “Adele, Second Wife of the 7th Earl of Essex” (1893) and Jon Everett Millais’s “Madeleine Undressing” (1863)
Photograph taken in front of the Evelyn Street Post Office, Deptford, which incorporates figures from George Henry Boughton’s “Girl with Pitchers, Summer Scene” (c.1883–1887) and Augustus Edwin Mulready’s “A Flower Seller on London Bridge” (1885)
Photograph taken in Sayes Court Park, Deptford, London, that incorporates a figure from Arthur Hughes’s “Memories” (1882)
Figure from Frederick Sandys’s “Morgan-le-Fay” (1864) standing near the recycling bins on Grove Street, Deptford (SE8), London
Photograph taken on Evelyn Street, Deptford, London, that incorporates a figure from Arthur Hughes’s “That Was a Piedmontese” (1862)
Photograph of Deptford Landings water feature that incorporates Evelyn De Morgan’s “The Martyr (Nazuraea)” (1880)