Oil on board, signed lower right
Image size: 20 x 14 inches
Contemporary style frame
Eric Pitt Brown was born in 1894 in Salisbury. His father (William Lewis Brown 1864-1922) ran a builder’s merchants but later (around 1906) became a portrait painter and artist.
Eric’s older sister, Dorothy, was also an artist and his younger brother, Bernard, became a successful architect in Salisbury. His daughter, Zoë Napier Brown 1926-2011, was an accomplished painter although she worked in the field of social services.
Eric Brown always painted in oil which were mainly distant views of his local Salisbury or rural views in the surrounding countryside. His works have a innocence about them which captured the English countryside perfectly.
Oil on canvas, signed and dated upper right '1978'
Image size: 24 x 13 ½ inches
George Thomson NEAC
En Plein Air Sketch
Oil on paper, signed & dated '1916' lower left
Image size: 15 x 12 inches
Contemporary style frame
Alice Headley Neave
Oil on canvas, signed lower left
Image size: 19 x 15 inches
Contemporary style frame
The daughter of Dr Arthur Henry Headley Huckle, Alice was born on 6th October 1903 in Hastings. She appears to have inherited her grandfather’s artistic interests. She trained at the Slade School of Fine Art, studying with Sir Walter Restley Russell and Henry Tonks.
She painted local scenes, usually in oil on board. She is noted as a prolific exhibitor. In the 1960s HMAG acquired pictures from single artist shows including Alice Headley Neave’sChildren Returning to School.
Awarded the Landseer Prize in 1920, for her fine works. She married Alfred Neave in Rye in 1932 and they had three children. She died in 1977.
There are some of her pictures in Hastings Museum and Art Gallery.
Anna Katrina Zinkeisen ROI
Portrait of Audrey
Oil on canvas, signed & dated 1921 lower left
Image size: 24 x 20 inches
Hand made silver frame
This painting was completed early in Anna's career. The sitter, who sadly currently we do not know is resplendent in the fashion of the period, gazes confidently at the viewer, a Arts & Crafts pottery urn in her grasp. Less a portrait than a celebration of purely formal beauty, the painting blends the abstraction of Asian aesthetics with the realism of the Western tradition to appeal to both the intellect and the senses.
The painting is quite muted in its palette, with vivid colour being restricted to the object, and to the eyes and lips of the sitter. Zinkeisen's skill as a portraitist is well demonstrated here with her treatment of skin tones and the way the dress rests on the sitter.
To give you an idea of what happened the year this was painted in 1921
11 March - Queen Mary becomes the first woman to be awarded an honorary degree by Oxford University.
17 September – Shackleton-Rowett Expedition: Ernest Shackleton sets sail on his last expedition to Antarctica.
23 September – The second female MP enters Parliament
October – The first women are admitted to study for full academic degrees at the University of Cambridge, but have no associated privileges.
Both sisters attended Harrow School of Art, and then were awarded scholarships to the Royal Academy. At this point Anna was still only fifteen years old. In 1918, Doris and Anna volunteered as St John Ambulance Voluntary Aid Detachment nurses (VADs). Voluntary Aid Detachments were groups of volunteers who among other things provided field nursing services, mainly in hospitals in the United Kingdom, and in various parts of the British Empire. The VADs worked alongside technical and professional staff. The sisters would have been trained in first aid nursing, and would have cared for convalescing soldiers who had been injured at the front.
Anna and Doris were part of a small select circle of talented female artists at the Royal Academy. During the summer exhibition of 1921, the work of this small circle of young female students ruffled quite a few feathers among the old guard of the older male artists who believed that their works had no place in the exhibition. In addition to this, the Sunday Express newspaper produced an article which homed in on Doris and Anna. The article stated that traditional art circles were infuriated with the hanging committee’s decision to give these women a prominent position within the exhibition. This controversy surrounding the exhibition and the sisters helped catapult them into the public domain. In addition to portraiture, Anna was also an esteemed sculptress.
In the 1930's Anne was commissioned to paint murals for the glamorous ocean liners, Queen Mary and Queen Elizabeth. Anna also designed posters, mainly for London Transport.
Doris and Anna volunteered their services again during the Second World War when they both worked as auxiliary nurses for the Order of St John, at St Mary’s Hospital in Paddington. They worked in the casualty department helping to nurse air raid victims who had been caught up in the Blitz. By day they nursed war casualties and by night the sisters worked as medical artists. Each night they would commandeer disused operating theatres where they would work on paintings of wounded air raid victims that they had nursed during the day. Anna also created pathological and anatomical drawings of war injuries, complex surgical procedures, and dismembered limbs for the Royal College of Surgeons.
Anna returned to portrait painting after the war but continued her support of the medical profession in the creation of two portraits for St John Ambulance in the 1950s, which were used in publicity campaigns. Her portrait of noted plastic surgeon Sir Archibald Hector McIndoe hangs in the National Portrait Gallery, along with an enigmatic self-portrait of the artist, further cementing her legacy as an artist with admirable range and noted skill in capturing the essence of her subjects. She died in 1976.