AN IMPROVED IMAGE for Annie’s Oleander has been uploaded, scanned directly from the 2002 Sotheby’s auction catalogue.

Known only from two auction records in 1999 and 2002. A particulary fine work which hints at how many other otherwise unknown works must be ‘out there.’ This is dated 1883, completed several years before her ‘symbolist’ period blossomed, but one can perhaps see beginnings here.

It’s tempting to try to align Annie with a particular movement, such a Realism, Pre-Raphaelitism and even Impressionism, but it never quite works. There are definate influences, but she retains her classically-based training and love of the human figure throughout her career – carefully moulded forms, gradation of tones, no broad monochrome areas.

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THE SKETCH FOR the Equestrian Portrait of Elizabeth Williamson (also known as Elizabeth Williamson at Wemmergill) sold today at Keys Auctioneers and Valuers, Aylesham, Norfolk.

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GRISELDA POLLOCK gave an interesting talk on Front Row (Radio 4 – still available online) re-broadcast this week, on how female artists have been consistently written out of art history from the beginning of the 20th century. I happened to be watching an online auction at the time of the broadcast, and as is usally the case, out of over two-hundred lots, only a handful were by women artists.

Annie expressed gratitude for her admission to the Royal Academy, but was also critical of the fact that her recognition was long overdue. It was another fourteen years before Laura Knight became the second woman to be admitted.

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Jonathan Russell