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Collector's Journal — Liverpool Art

Edward Carter Preston: Rediscovering a Modernist Painter

Art Research British Interwar Art British Modernism British Modernist Art British Still Life Collectors Journal Cubism Cubist Still Life Dead Mans Penny Edward Carter Preston Edward Carter Preston Watercolour Gerard Chowne Liverpool Art Liverpool Cathedral Liverpool Modernism Modern British Art Modernist Painting Next of Kin Memorial Plaque Paul Cezanne Post Impressionism Provenance Research Sandon Studios Society Watercolour

Edward Carter Preston: Rediscovering a Modernist Painter

An intimate Cubist-influenced watercolour of everyday kitchen vessels reveals a lesser-known side of Edward Carter Preston, the Liverpool artist better remembered for sculpture, medals and his monumental work for Liverpool Anglican Cathedral.

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Walter Linsley Meegan: Moonlight Over Victorian Liverpool

19th Century Art Architectural Painting Art Research British Art British Cityscape Collectors Journal John Atkinson Grimshaw Liverpool Art Liverpool Paintings Moonlight Painting Nocturne Painting Trinity Church Liverpool Victorian Art Victorian Liverpool Victorian Nocturne Walter Linsley Meegan

Walter Linsley Meegan: Moonlight Over Victorian Liverpool

An atmospheric late Victorian nocturne of Trinity Church reveals Walter Linsley Meegan’s fascination with Liverpool after dark, where architecture, figures and street lighting emerge dramatically through shadow and silvery moonlight.

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James Gordon (1824–1901): Rediscovering a Portrait by Alice Gates

Alice Gates Art Attribution Art Research British Art British Sculpture Bronze Portrait Collectors Journal Edwardian Art Edwardian Sculpture James Gordon Liverpool Art Memorial Sculpture Portrait Relief Provenance Research Walker Art Gallery Women Sculptors

James Gordon (1824–1901): Rediscovering a Portrait by Alice Gates

An indistinct signature on an early Edwardian bronze portrait of James Gordon (1824–1901) led to an intriguing discovery: sculptor Alice Gates exhibited The late James Gordon, Esq. at Liverpool’s Walker Art Gallery in 1902, providing compelling evidence for the portrait’s newly researched attribution.

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