. British painters; with eighty examples of their work engraved on wood. y similar to other compo-sitions of the same kind from the pencil of the artist: a large expanse ofstormy sky, broken at intervals by clouds lighted up by the sun ; the lightsrepeated on certain portions of the landscape, &c. Such management ofmaterials is generally very effective, and is certainly so in the work we haveengraved, which was never exhibited. His only contribution to the Academyin 1873 was an exceedingly well-painted picture, The Shore at Scheven-ingen—Waiting for the Boats, bought at the private view by Mr.
. British painters; with eighty examples of their work engraved on wood. y similar to other compo-sitions of the same kind from the pencil of the artist: a large expanse ofstormy sky, broken at intervals by clouds lighted up by the sun ; the lightsrepeated on certain portions of the landscape, &c. Such management ofmaterials is generally very effective, and is certainly so in the work we haveengraved, which was never exhibited. His only contribution to the Academyin 1873 was an exceedingly well-painted picture, The Shore at Scheven-ingen—Waiting for the Boats, bought at the private view by Mr. T. Taylor,Hyde Park Gardens. Holland also gave to the artist subjects for two out ofthe three pictures he sent to the Academy in 1874; the titles of the two were, A Ferry-boat in Old Holland and Bringing up Nets at Scheveningen. In 1875 we missed the artist from the walls of the Academy. It appearsthat in the autumn of 1874 Mr. Beaviss health had failed, and he was advisedto try a thorough change of air and scene. He had often felt a strong desire W( fe«,J w H m CO . o s H e ^ IO « ^ IW ^ HW o cj I xo Niivv YORK Asro-, LENOX ANB TO NEW YORK rir^r rrsRARY ;lL/! (•?? j;JNijAllows ?^
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectpainter, bookyear1881
