“CATALOGUE RAISONNÉ” – All recorded works (with or without images known) by Susan Isabel Dacre of which the author of this web site is aware.

This is list of all Susan Isabel Dacre’s works, confirmed or attributed, compiled from lists of works in public and private collections, auction records, vendor web sites, exhibition catalogues, newspaper mentions and other sources.

Note: some works mentioned in the above referances have titles which are too generalised – e.g., ‘Portrait of a woman’, ‘Coastal scene’, etc. – or have to little supporting information to enable them to be usefully included in the list below.

Special thanks to Mike Stewart who has provided much information below. He is happy to be contacted at by anyone researching the genealogy of Susan Isabel Dacre and her extended family: contact this web site at swynnerton.blog@gmail.com.

This page is a ‘work in progress’, begun February 2026, and will take some weeks or months to reach stability, at which time this notice will be removed.

  1. A Devonshire fishing boy.
    • History:
      • 1883 – “was available at King Street in 1883 and was “to be shown next week by the Manchester Society of Women Painters… admirable”” (Manchester Evening News, 23 Nov 1883) [1].
  2. A Forest Nymph / Ninfa del bosque.
  3. A gateway in Siena.
  4. A Greek girl.
    • History:
      • 1896 – “was exhibited … by the Royal Scottish Academy” [1].
  5. A Maiden Never so Bold of Spirit, so Still and Quiet.
    • History:
      • 1889 – “was exhibited by the Royal Academy in London (#99). The work was referred to in the Preston Herald 11 May 1889 as No. 60. The painting was noted in The Lady’s Pictorial, London, 18 May 1889″ [1].
  6. An interior with four children.
  7. An Italian Boy.
  8. Assisi cathederal (Cattedrale de Assisi).
  9. Assisi from Perugia.
  10. Assisi from the city walls.
  11. Autumn.
    • History:
      • 1895 – “was exhibited at the 1895 Exhibition of the Manchester Academy of Fine Arts, No. 127: a splendid piece of colour. The head and bust of a woman, with rich and appropriate colour surroundings give expression to the season which produces the “kindly fruits of the earth” and the idea is finely accentuated by the apple held in the right hand. The handling in this canvas is strong and vigorous, and the colour scheme is the richest we have yet seen from the easel of this gifted lady.” (Manchester Courier and Lancashire General Advertiser, 1 Feb. 1895)” [1].
  12. A view from a window.
    • History:
      • 1925 – “In 1925 a view from a window shown by Manchester Society of Women Painters” [1].
  13. A view in Venice.
  14. Borghese Garden.
    • History:
      • 1882 – “exhibited in 1882 by the Manchester Society of Women Painters. Conveys first vivid impressions of sunshine and cloud rather than the multitude of facts, which the eye discovers after a long examination but conveys them with a vigour and directness which do not fail to charm. (Same painting as An Avenue in the Borgeshe Gardens: Rome?) “The Borghese Gardens”- A landscape shown at the Annual Exhibition in the old Town Hall.” [1].
  15. Collepardo / Collepardo from the valley (assumed to be tha same work).
    • Description: “… panorama of hill beyond hill and the city in the near distance … in which the town is piled on its hillside with the great church crowning it …” (The Manchester Guardian, 28 March, 1913) [1].
    • History:
      • 1927 – Exhibited Manchester Art Gallery.
  16. Court Hill, Clovelly.
    • History:
      • 1883 – “exhibited in 1883 by the Manchester Society of Women Painters. A clever landscape study of the gorse-clad.” [1]. Note: ‘Courth Hill’ in original message assumed to be an error for ‘Court Hill’, referring to the vicinity of Clovelly Court.
  17. Dawn.
    • History:
      • 1903 – “Miss Dacre’s painter-like quality is shown best in this fine study of a dark Italian girl’s head that was exhibited by the Manchester Academy of Fine Arts Exhibition at the City Art Gallery in 1903” [1].
  18. Dorothy.
    • History.
      • 1883 – “exhibited in 1883 by the Manchester Society of Women Painters where it was sold” [1].
  19. Evening / A young girl playing the violin.
    • History:
      • 1898 – Exhibited “at the fall Manchester Fine Arts Academy at the City art gallery … It was the central picture of the show” [1].
  20. Facade of San Francesco.
  21. Flowers.
    • Title(s): Flowers (title used in private correspondence) [1].
    • Description: “The work included a bumble bee, 2 flies and 2 ants, and possibly a butterfly” (private correspondence).
    • Media: “was done in chalk” (private correspondence). Date/signature/other text: “dated 1856 or 1866 (hard to read) and was signed “S Dacre”” (private correspondence) [1].
    • History:
      • “a copy of [a] work in the Louvre” (private correspondence) [1].
      • A sticker on the back “Rowley’s, fine art dealers, framing, rebuilding and restoring. 5, Bargin Sq., St Ann’s Square, Manchester” (private corrensponence) [1].
    • Location: private collection [1].
  22. Fountain.
    • History:
      • 1992 = “exhibited in 1882 by the Manchester Society of Women Painters. A sketch form Italy or Brittany, Coveys first vivid impressions of sunshine and cloud rather than the multitude of facts, which the eye discovers after a long examination but conveys them with a vigour and directness which do not fail to charm” [1].
  23. From a balcony at Perugia.
  24. Fruit with shrimp.
  25. Giovanina.
    • Description:
      • “Giovanina being a portrait of a handsome Italian Girl… the background is unfortunate, and does not get away from the figure; it should either be lowered in tone or painted out altogether; in either case the result would contribute to make this a complete work” (Manchester Courier and Lancashire General Advertiser, 14 Mar 1877) [1].
    • History:
      • 1876 – Exhibited “Liverpool Art Gallery” [1].
      • 1877 – Exhibited “Royal Academy … #440 [1].
      • 1877 – Exhibited “Manchester Academy of Fine Arts” [1].
  26. Helen.
  27. Italian girl with necklace.
  28. Italian girl with red cuffs / Italian child.
  29. Italian women in church.
  30. La Ballerina.
    • Description: “A careful and intelligent study from an Italian model. it was exhibited in 1876 at the Manchester Academy exhibition “A capital head, the best work she as done yet, full of strong work and good colour” (Manchester Courier and Lancashire General Advertiser, 10 Mar 1876) [1].
    • History:
      • 1876 – Exhibited Royal Academy, London (Manchester Courier and Lancashire General Advertiser, 10 Mar 1876).
  31. Landscape with figures and donkeys.
  32. Landscape with trees and stone wall.
  33. Landscape with winding road.
  34. Ludlow Castle.
  35. La Reveuse (The Dreamer).
    • History:
      • 1883 – “A seated figure in white, harmonious and delicate in colour exhibited in 1883 by the Manchester Society of Women Painters.” [1].
  36. Little Annie Rooney / The Blue Necklace (assumed to be the same work).
  37. Loretto.
    • Description: “A portrait of a little girl in an old fashioned chair, with a charming childish face bent a little forward and feet tucked almost out of sight. This was exhibited in 1882 by the Manchester Society of Women Painters / A portrait of a lady is not only full of life and character but displays technical qualities of a very exceptional kind. The painting of the child’s velvet dress is a skillful and delicate piece of work, needing only a rather brighter light on its lower portion to give the full play of light and shade on the material This was exhibited in 1882 by the Manchester Society of Women Painters.” [1].
    • History:
      • 1882 – “exhibited in 1882 by the Manchester Society of Women Painters.  Sold in 1882 for £15 15s.” [1].
  38. Madonna Mia.
    • Note: “A very small and carefully structured Madonna’s head in the style of the English Pre-Raphaelites was exhibited in 1896 at the New Gallery, London” [1].
    • History:
      • 1897 – Exhibited “Annual Exhibition of the Manchester Academy in 1897, referred to as “A charming woman’s head”” (Ladies Pictorial, London, 6 Feb 1897) [1].
  39. Marietta.
    • Note: “Could also be Miss Crabtree’s portrait that was exhibited by the Manchester Society for Women Painters in 1883 (Manchester Evening News, 23 Nov. 1883) [1].
    • History:
      • 1880 – Exhibited Royal Academy, London. [1]
      • 1883 – “exhibited … by the Manchester Society of Women Painters where it was sold”. [1]
      • 1978 – “Sold … Sotheby in Amsterdam for £350”. [1]
  40. Meditation, a study.
    • History:
      • 1886 – “# 454 was exhibited at the Royal Scottish Academy:  a capital sketch of a grey-robed friar with expressive face and well-arranged drapery. (The Scotsman, 22 Feb 1886)” [1].
  41. Music.
    • History:
      • 1886 – “which was exhibited by the Manchester Academy of Fine Arts Exhibition in 1886 consists of two female figures, in Italian costume, signing amid architectural surroundings reminding one of Venice or Florence. The work is rich in colour and strong in handling, and a little more atmosphere would tone down some of the details of the background, with advantage to the picture as a whole” (Manchester Courier and Lancashire General Advertiser, 16 Feb 1886) [1].
  42. Passion Flower.
    • History:
      • 1885 – Exhibited Royal Academy, London, (#86) (Preston Herald, 9 May 1885) and in 1886 by the Manchester Society for Women Painters in 1886 # 423. “Passion Flower” (86), “a female head, by Miss S. Isabel Dacre, amongst others in the room, are worthy to note” (Manchester Courier and Lancashire General Advertiser, 23 May 1885). “Isabel S. Dacre appears for the first time in the RSA Catalogue with four studies of the figure showing considerable knowledge of this branch of art and power, also to give expression for it” [1].
      • 1886 – “The best of the four to our liking is Passion Flower (423) a well finished and refined head” (The Scotsman, 22 February 1886) [1].
  43. Polly.
    • History:
      • 1927 – “Exhibited at the Manchester Art Gallery, Mosley Street, Manchester in 1927. A portrait study showing intimacy of the sympathy and technical accomplishment. It was not found in the catalogue; likely it is found under a different name or description” [1].
  44. Portrait of a child [Salford Museum and Art Gallery].
  45. Portrait of Alderman Samuel Melor.
    • History:
      • 1909 – “a very satisfactory portrait” was exhibited at the 1909 Exhibition of the Manchester Academy of Fine Arts. (8 March, 1909 Yorkshire Post and Leeds Intelligencer, Leeds, Yorkshire” [1].
  46. Portrait of Alderman Sir Thomas Baker (Manchester Art Gallery).
  47. Portrait of Alderman Sir Thomas Baker (Manchester Town Hall).
  48. Portrait of Bertha Edgar / Portrait of a girl in a red dress [Manchester Art Gallery].
  49. Portrait of an Italian woman.
  50. Portrait of a young girl in a satin cap.
  51. Portrait of a young girl in a white dress [Salford Museum and Art Gallery].
  52. Portrait of a young woman in a pink dress.
  53. Portrait of a young woman seated at a round table.
  54. Portrait of a young woman with a lace cuff.
  55. Portrait of Claude and Dane Keet.
    • History:
      • 1901 – “a portrait of two little boys was exhibited in 1901 at the Manchester Academy of Fine Art Exhibition at the City Art Gallery. (is more ambitious and less successful than “Margaret and Dorothy. . . “, though it contains some fine passages, such as the painting of the younger child’s mauve dress and the glazed cupboard behind him.)” / “(202) … a group portrait of children; delightful … [where the] flesh painting of the faces and limbs has all this artist’s accustomed robust mastery, and the colour is rich and harmonious.” (Manchester City News, 23 Feb. 1901) [1].
  56. Portrait of Colonel Volbert.
  57. Portrait of Henry Hugh.
    • Note: “Henry Hugh “Harry” Dacre (1887-1977) was a nephew of the artist … Perhaps the portrait was of him” [1].
    • Description: “An Admirable portrait. A wholesome, comely lad in an Eton jacket and collar, with a black sailor’s tie, a brown overcoat hanging from his left arm akimbo, and his tall hat in his right hand. The face is finely modelled and painted; the pose is full of life and unaffected grace; there is just a touch of listlessness about the expression of the face, as if the lad was rather bored by standing for his portrait, and was trying not to show it; for, above all things, he is a little gentleman. That is the main impression the picture conveys. Miss Dacre has succeeded in painting a real live boy, and the right sort of boy, too, and we do not see many of them on canvas. (Manchester City News, 21 Feb. 1903) [1].
    • History.
      • 1903 – Exhibited Manchester Academy, “no. 53” [1].
  58. Portrait of Louise Fitchet.
  59. Portrait of Lydia Becker.
  60. Portrait of Margaret and Dorothy, the daughters of Lawrence Pilkington, Esq.
  61. Portrait of M. Guillaux / A French Officer (assumed to be the same work).
    • History:
      • 1927 – Exhibited Manchester Art Gallery; “Painted with sympathy and understanding illustrates her unfailing instinct for the right use of her medium. A lively little portrait illustrates her unfailing instinct for the right use of her medium” (source?); “a French artillery officer, in which the drawing and colouring are very powerful” (The Manchester Evening News, 23 Nov 1883, p2) [1].
  62. Portrait of Miss J. M. Toller Kingsley.
    • History:
      • 1892 – “exhibited in 1892 at the Manchester Academy of Fine Arts Exhibition at the City Art Gallery #215 “Strikes us as the best and only portrait that leaves a distant image of personality in the sitter” [1].
  63. Portrait of Mme. F. W.
    • History:
      • 1881 – Exhibited Paris Salon #579 [1].
  64. Portrait of Mr Augustus E. Fitzgerald.
    • History:
      • 1892/1904 – “was presented in May 1892 to the Manchester Atheneum “an excellent likeness”. It hung in the reading room in 1904” (Manchester Evening News, 31 Dec 1904) [1].
  65. Portrait of Mr Butterworth.
    • History:
      • 1890 – Miss Dacre’s portraits include one of Mr. Butterworth (Lady’s Pictorial, London, 15 Feb 1890) [1].
  66. Portrait of Mr Edward Watkins.
    • History:
      • 1890 – “Miss Dacre’s portraits include one of Mr. Edward Watkins” (Lady’s Pictorial, London, 15 Feb 1890) [1].
  67. Portrait of Mrs Chandley and her grandson.
    • History:
      • 1904 – “(No 143) representing Mrs. Chanley and grandson, being carried out in sweet pearly scheme of colour, with intelligence and interest in the features of the sitters” (Manchester Courier and Lancashire General Advertiser, 2 Feb 1904) [1].
  68. Portrait of Mrs E. E. Houghton.
  69. Portrait of Mrs Hacking and her daughters.
    • History:
      • 1897 – Exhibited “Manchester Academy of Fine Arts fall exhibition where The portrait is disappointing. It is thoughtfully conceived and the delicate colour scheme is not unpleasing but the flesh painting is not at all good” [1].
  70. Portrait of Mrs Henry Boddington.
    • History:
      • 1927 – Exhibited Manchester Art Gallery, lent by Mrs. Henry Boddington [1].
  71. Portrait of Mrs Hopkinson:
    • History:
      • 1890 – “One of Miss Dacre’s portraits was of Mrs. Hopkinson, mother of the unionist candidate who hopes to win at the next election” (Lady’s Pictorial, London, 15 Feb 1890) [1].
      • 1900 – “Miss Isabel Dacre has been more than successful the canvas showing Mrs. Hopkinson’s genial features. Exhibition of Manchester Academy of Fine Arts” (Manchester Courier and Lancashire General Advertiser, 18 Feb 1900) [1].
      • 1927 – “The painting (#237) was lent to the Manchester Art Gallery for an exhibition in 1927 by Mrs. John Hopkinson” [1].
  72. Portrait of Mrs Muirhead Bone and Stephen.
    • History:
      • 1906 – “a small painting of a baby on its back on a settle kicking, and its mother seated beside it knitting and with uplifted chin looking at it seriously, was exhibited at the Manchester Academy of Fine Arts exhibition at the City Art Gallery in 1906.  Miss S Isabel Dacre’s admiral portrait “Mrs. Muirhead Bone and Stephen” was exhibited at the Manchester Academy exhibition 1906 (112) “this is a pleasant little idle. A lady in a loose blue wrapper, seated on a dark wooden settle, a light green cushion, knitting.  She looks sideways at a baby who is kicking and crowing on a pillow on her side. Note the strength and precision of the drawing. There is no question here of the anatomy beneath the clothes…. The lighting is effective; the colour scheme is effectively harmonized. (Manchester City News, 17 Feb 1906). The subjects were likely Gertrude Helena Dodd, (1876-1962) a writer and her son Stephen Bone (1904-1958), an English painter, writer, broadcaster and noted war artist. He was born in Chiswick west London, the son of Sir Muirhead Bone, an artist. Mrs. Muirhead Bone was a British writer who wrote short stories, three novels, and several illustrated collections” [1].
  73. Portrait of Mr Swynnerton.
    • Note: Annie Louisa Swynnerton also painted a portrait of her husband, Joseph Swynnerton, but that is dated 1908 (or 1905).
    • History:
      • 1882 – Exhibited in 1882 by the Manchester Society of Women Painters [1].
  74. Portrait of Sally and Kitty Dacre / Two girls with yellow flowers.
    • Note: “They were children of William Dacre” [1].
    • Title(s): Portrait of Sally and Kitty Dacre (this web site); “Two girls with yellow flowers” (title used in private correspondence).
    • Description: two young girls seated, one (Sally) in a yellow dress, the other (Kitty) in a green dress, several large yellow flowers blooming above their heads, surrounded by broad, heart-shaped green leaves [1].
    • Media: “painting” (private correspondence).
    • History.
      • c. 1885 [1].
    • Location: private collection.
  75. Portrait of Sir Edward Watkin.
    • Description: A little picture of Watkin standing in his own conservatory … “A thoroughly intimate piece of painting, ruddy flesh tones admirably given and expression of not unkindly shrewdness felicitously caught. The background, always a strong point with Miss Dacre, is most delicate and refined without being the least laboured” [1].
    • History:
      • 1890 – Exhibited Manchester Academy of Fine Arts exhibition at the City Art Gallery [1].
  76. Portrait of the artists’s mother / The Mother.
  77. Portrait of the Children of James S. Hoyle, Esq.
    • Description: “a picture described as “a delightful portrait of Mr. Hoyle’s two children. The little one is charmingly posed and the colouring is well managed” [1].
    • History:
      • 1927 – “as lent by James S. Hoyle, was exhibited at the Manchester Art Gallery in 1927. (#228) / was at the Manchester Academy of Fine Arts conversazione held in February 1898” [1].
  78. Portrait of the children of Lieut. Colonel Hardman.
    • History:
      • 1894 – Exhibited Manchester Academy; “Miss Dacre is also well represented by her portrait picture of the two children of Lieut. Colonel Hardman (No. 169)” (Manchester Courier and Lancashire General Advertiser, 24 Feb. 1894) [1].
  79. Portrait of Winifred.
  80. Sadly.
    • Description: “a well painted study of a head” [1].
    • History:
      • 1899 – Exhibited at the fall exhibition of the Manchester Academy of Fine Arts, held at the city art gallery [1].
  81. San Etene.
    • History:
      • 1880 – “exhibited in 1880 by the Manchester Society of Women Painters, # 4 There is light and luster and shimmer” [1].
  82. San Michele.
    • History:
      • 1880 – “exhibited in 1880 by the Manchester Society of Women Painters, # 4 There is light and luster and shimmer” [1].
  83. Santa Maria dei Monti, Perugia.
  84. Scene with haystack.
  85. Siena, looking towards the cathederal (Duomo di Siena).
  86. Singing Children.
  87. Swans.
  88. The courtyard, Rome.
    • History:
      • 1882 – “exhibited in 1882 by the Manchester Society of Women Painters. A landscape shown at the Annual Exhibition in the old Town Hall” [1].
  89. The Kite.
    • Description: “a sturdy little boy on the window sill and a girl at the piano who has neglected her practicing to watch him”; “A pretty and graceful little composition in which the figures show keen observation of the humour of childhood; the colour scheme is pleasing” [1].
    • History:
      • 1898 – Exhibited at Isabel Dacre’s studio at 20, South King Street in Manchester [1].
  90. The Morning Call / Portrait of Edith Susan Dacre / Portrait of a young woman wearing a bonnet.
  91. The Mother.
    • Description: “A working woman sits sadly by a wooden cradle in a tidy kitchen, and holds a sleeping baby in her lap. An elderly daughter eagerly pours some childish trouble into the patient ear of the mother. The open door with its glimpse into the bright light beyond is excellently conceived, and the scene is depicted with much force and feeling. (Manchester Evening News, 29 Apr 1893) [1].
    • History:
      • 1893 – Exhibited Royal Academy.
      • 1894 – Exhibited “at the Museum in Manchester (or Warrington) and was valued at £315 (The Warrington Express, Warrington, Lancashire, 1 Dec. 1894″ [1].
      • 1896 – Exhibited Oldham Art Gallery, “A conscientious and impressive study of humble life which is undoubtedly one of her best works” [1].
      • 1898 – Exhibited at the artist’s studio, 10 South King Street, Manchester, “Remarkable for its rich colour and powerful modeling; often exhibited in or near Manchester” [1].
      • 1907 – Exhibited Rochdale, “Perhaps the best painting, other than a landscape, in the gallery. A large canvas which has dignity, observation, and genuine feeling and is thoroughly well painted. It is worthy of a permanent place in some great municipal gallery” [1].
  92. The Paglia from Orvieto.
  93. The Rain it Raineth Every Day / A Rainy Day / Portrait of Susan Isabel Dacre (the younger, niece of Susan Isabel Dacre senior).
  94. The Roofs of Perugia.
  95. The Venetian.
    • History:
      • 1877 – “At the 1877 fall exhibition of the Manchester Academy of Fine Arts, in the third room “there are two clever little heads, by this lady [Miss Isabel Dacre] deserving of high commendation, the one entitled “The Venetian” being to our thinking one of the gems of the exhibition; it is delightful in its subtle gradation of colour, and possesses high poetic felling.” (Manchester Courier and Lancashire General Advertiser, 15 Mar. 1877 [1].
  96. The Walls of Siena.
  97. The Whitelegge portraits – “THE MANCHESTER ACADEMY … In portraiture [Susan Isabel Dacre’s] Miss Alice Whitelegg” is noticeable for its reserved colour and tone, though there is perhaps something to [illegible] in the modelling of the head” (Manchester Evening News, 2 Feb 1904, p2c7). “MANCHESTER ACADEMY. PORTRAITS AND WATER COLOURS … the two portraits of the Misses Whitelegge by Susan Isabel Dacre (Nos. 39 and 105) … may be taken as examples of excellence and beauty. The first is a full length figure in outdoor costume. The features are pleasant, the costume is well arranged and strongly painted, and the flesh tones are delicately done. Miss Dacre’s subjects are seated figures, one holding a violin, and the other having a citron coloured sunshade, which serves as an agreeable backing and gives value to the beautiful flesh painting and to the general scheme of colour in the costume painting” (Manchester Courier, 28 Feb 1905, p9c1).
    • Portrait of Miss Alice Whitelegge / The Young Violinist (assumed to be the same work).
      • History:
        • 1904 – Exhibited “Manchester Academy of Fine Arts exhibition … “In No. 178 “Miss Alice Whitelegge” Miss Dacre has made good use of the concentration of light, which results in some pleasant effects on the face and figure of her subject. (Manchester Courier, and Lancashire General Advertiser, 2 Feb. 1904.) The subject was Alice M. Whitelegge who was born in about 1887 in Cheshire, a year younger than her sister Sylvia” [1].
    • Portrait of Miss Sylvia Whitelegge.
      • History:
        • 1905 – Exhibited “Manchester Academy of Fine Arts exhibition at the City Art Gallery. It has been described as a portrait that shows considerable accomplishment. The subject was Sylvia Leam Whitelegge, whose birth was registered at Altrincham in the 2nd quarter of 1886, was born at Knutsford Cheshire, the daughter of William Carrington Whitelegge [1]. Qualified as a violin teacher at the Royal Academy of Music, Christmas 1908 (The Musical Times, Feb 1 1907, p2), and entering Somerville College, Oxford, in 1919 (ox.ac.uk). She died unmarried, 1951, in London [1].
    • Portrait of Mrs Whitelegge.
      • History:
        • 1899 – Notes by Mike Stewart: Exhibited Manchester Academy of Fine Arts, “the head is slightly upturned, the eyes looking upward towards the top portion of the canvas, the draperies are dark, the hands are crossed in front, and the whole is set against a background of mixed colours of which deep blue predominates. The canvas is enclosed in a black frame and ‘the tout ensemble” suggests the richness and value of the work of an old master. The painting of the face is admirable; it is flesh and blood, and moreover the mental qualities of the sitter shine through the brushwork and technique of the painting. We are apt to think that a woman can paint men better than she can paint women, but this example shows that Miss Dacre can do ample justice to the sitters of her own sex. This portrait is a work of great artistic value and is honourable to its author.” (Manchester Courier and Lancashire General Advertiser, 3 Mar 1899). The subject is likely Margaret nee (not known) wife of William Carrington Whitelegge, Stockbroker agent in the 1891 Census. [1.]
  98. Watching the Swans.
    • Note: A work titled “Swans” is on record, acquired by Manchester Art Gallery in 1927. It may be a cut down portion of this work. Description: “A large and ambitious picture, which has brilliant and charming passages but fails somewhat as a whole. The canvas perhaps is unnecessarily large and the picture lacks unity. Is this the same as a picture described as Children gazing at swans on a lake? / A large painting painted with sympathy and understanding illustrates her unfailing instinct for the right use of her medium. “The Swans” – a good study of children”. [1]
    • Description:
      • “There is original treatment in this subject: two children occupy the foreground; one a boy, who lies at full length on the trunk of a tree, his face from the spectator; the other a delightful little country lass, seated sideways on the tree, and also gazing at the swans on the pool of water occupying the middle of the canvas. The picture is closed in by the foliage on the far side of the pool, and no sky is visible. This is a fine composition, and the focus of light is admirably managed. This picture sows unmistakably that Miss Dacre has got a thorough grip on her art, and we are pleased to find that its merits have been recognized by its having found a purchaser.” (Manchester Courier and Lancashire General Advertiser, 1 March 1887) [1].
    • History:
      • 1883 – “exhibited in 1883 by the Manchester Society of Women Painters”; “admirable” (Manchester Evening News, 23 Nov 1883) [1]
      • 1887 – “annual exhibition of the Manchester Academy in 1887”, sold [1]
      • 1926 – Exhibited Manchester Art Galleryl “a delightful study” (Westminster Gazette) [1].
      • 1927 – “exhibited in the Manchester Art Gallery, on Mosley street in 1927”. [1]
  99. Wetherlam from Little Langdale.

Other references to works, but lacking enough information to assign to work in the above list:

  • “A Portrait was exhibited in 1876 at the annual exhibition of the Manchester Academy of Fine Arts: Miss Susan Isabel Dacre gives evidence in “A Portrait” of that high talent which we have before suspected her of possessing, and we are not quite assured, but we are strongly inclined to think that the work before us indicates genius. We like to see a portrait painted in such a manner; there is originality in the easy pose and line of the figure, and the work is powerful knowing, and remarkable for excellent quality. There is no niggling or hesitation in the work, but it is broad and certain in its touch. That there is a strong resemblance to the original we are convinced, and the intelligence and sparkle in the expression of the feature most happily given render this work something more than a faithful likeness – it is pictorial portraiture. We congratulate the fair artist on a genuine success.” (Manchester Courier and Lancashire General Advertiser, 8 March 1876) This portrait may be the same as La Ballerina which was exhibited at the same exhibition” [1].
  • “A study of a head – “well painted” was exhibited at the Manchester Academy of Fine Arts, fall exhibition at the City Art Gallery in 1898″ [1].

References:

[1] Mike Stewart.