#English school

[sictransitgloriamvndi]

[floral-art-prints]

Flowered Textile Design, possibly by William Kilburn (1745-1818) by English School (colour lithograph)

[lionofchaeronea]

Portrait of a Lady with a Parrot, unknown artist (English School), 1592

[artschoolglasses]

Double Portrait, English School, 1650

[grayghostofthenorth]

English School (circa 1900) Karenina, favourite Russian Wolfhound of Alfred, Lord Tennyson inscribed "Tennyson's favourite old Russian wolfhound (17 years old) Farringford Study 5 7th 1900 / She died in March ?) 1901" and signed with unidentified monogram pencil and watercolour heightened with white 17 x 26 cm.

[meisterdrucke]

Tiger by English Schoolcolour lithographPrivate Collection

[liturgical-agenda]

Portrait of a young gentleman before a moonlit sea, unsigned - attributed to Sir Joshua Reynolds, English School

[laclefdescoeurs]

Elegant company in the grounds of an English country house, English School, circa 1740

[huariqueje]

Pattie's Christmas Tree -  English School

Engraving

[christliche-kunstwerke]

Martha bittet unseren Herrn, Maria zu helfen von English School (coloured engraving)

[hermerriday]

All-girls boarding school at Malory Towers (2020)

[floral-art-prints]

Oyama Magnolia by English School (colour lithograph)

[mythical-art]

The Fairies Dispute by English School (pen and ink on paper)

[art-allegory]

Prudence

Artist: British (English) School

Date: circa 1674

Medium: OIl Paint and Wood

Collection: National Trust Collections, United Kingdom

DESCRIPTION

An oil painting on panel, full-length standing allegorical female figure of Prudence (after Quellinus), wearing an orange dress with red robe, British (English) School, c1674. Prudence (one of the four Cardinal Virtues) stands, in a landscape, holding a snake, symbolic of wisdom, in her left hand and a mirror in her right, so that she can see herself as she really is. After an engraving by Hubertus Quellinus (Antwerp 1619 - Antwerp 1687), published in 1665-1668, after sculptural figures by his brother, Artus II Quellinus (Antwerp 1609 - Antwerp 1688) in the Vierschaar (High Court) in Amsterdam Town Hall.

[meisterdrucke]

Page from The Pictorial Museum of Animated Nature 

[galleryofart]

Vlad the Impaler

Portrait of Vlad III Dracula (Ambras Portrait)

Artist: European School

Date: Second Half of the 16th Century

Collection: Kunsthistorisches Museum, Vienna

No other historical figure from Eastern Europe has enjoyed as much popularity in the historical record and the modern imagination as Vlad III Dracula. He was prince of Wallachia on three separate occasions during the second half of the 15th century (Oct–Nov 1448; 1456–62; and Nov–Dec 1476).

This was a time of great turmoil across Eastern Europe, following the capture of Constantinople by the Ottoman Turks in 1453 and the subsequent fall of the Byzantine Empire. Although many of the details of Vlad’s life and deeds remain open to interpretation, several surviving visual and textual sources offer a complex picture of this medieval hero who inspired the modern vampire.

This portrait (commonly known as the Ambras Portrait) preserves an iconic image of Vlad III Dracula. Completed several decades after his death and supposedly based on a now-lost original, this painting shows the Wallachian ruler’s bust in three-quarter view and dressed in a red velvet coat with gold buttons and a large fur collar. His elaborate headdress is lined with pearls, a large central gem, and gold accents. His appearance is stern, with large, piercing eyes, arched eyebrows, an aquiline nose, long curly hair, and a prominent mustache. In this painting, the “Dux Balachie” (or ruler of Wallachia)—as the portrait was described in the inventory of Archduke Ferdinand in 1596—is shown as a respectable, yet stern, figure.

The portrait seems to match the only extant written description of Vlad, penned by Niccolò Modrussa (Modruš)—a papal legate at the court in Buda while Vlad was in captivity there for more than a decade, from 1462–74. Modrussa’s description reads:

"(Vlad) was not very tall, but very stocky and strong, with a cold and terrible appearance, a strong and aquiline nose, swollen nostrils, a thin and reddish face in which the very long eyelashes framed large wide-open green eyes; the bushy black eyebrows made them appear threatening. His face and chin were shaven, but for a mustache. The swollen temples increased the bulk of his head. A bull’s neck connected [with] his head from which black curly locks hung on his wide-shouldered person." Radu R. Florescu and Raymond T. McNally, Dracula, Prince of Many Faces, 1989