Richard Morrisさんのイラストまとめ

'Holywell Park' Thomas Gainsborough. Although Gainsborough lived in Ipswich for seven years, this rare early topographical work of the artificial ponds created to supply water to Thomas Cobbold's brewery, is his only known depiction of the town.

The Deluge remains one of the most familiar artworks of the first half of the 20th century. Winifred Knights’ 6ft canvas is packed with 21 anguished, beseeching figures and a worried-looking dog. The nominal subject is the story of Noah’s ark, without an ark in sight.

In 1932, Walter Sickert painted 'Miss Earhart’s Arrival' from a photograph in the Daily Sketch; shown on her arrival at Hanworth Air Park in Middlesex, Amelia Earhart is almost lost in the crowd of well-wishers braving the rain to celebrate her solo crossing of the Atlantic.

William Nicholson 'Poppies in Pewter.' Nicholson's still lifes are deft examples of the genre; in this painting he revels in the transitory play of light and the reflection of the poppies bulge out from the plate's convex surface.

Michael Rothenstein RA 'A Dish of Fruit' w/colour in a polished chrome frame, dimensions 37cm x 46 cm, with frame 55cm x 64 cm £2200

Peter Doig 'One Hundred Years Ago (Carrera).' The painting was inspired in part by an image on the inside gatefold of the record An Anthology by Duane Allman. The figure in the canoe was based on American bassist Berry Oakley, a founding member of the band.

This pre-Reformation altar frontal is a rare survival of the type of devotional textiles that were once common in wealthy 16th-century English households. It shows Christ and his 12 Apostles standing under canopies against a velvet background scattered with gold fleur de lys.

In the winter of 1930-31, while on a lecturing tour of the US, Clare Leighton visited a logging camp in the Laurentian Mountains of Quebec owned by the Canadian International Paper Company to observe lumberjacks at work and rest. 'Limbing' is from her 'Lumber Camp Series.'

'Cutting' Clare Leighton

Dora Carrington,'The Giantess.' For all their ambitions, the male torchbearers of surrealism were not forward-looking when it came to women & equally promoting their art. Down Below, Carrington's narrative of mental breakdown, is easily as good as Sylvia Plath’s The Bell Jar