Edmund Thomas PARRIS (1793-1873) - Portrait de la reine Victoria au théâtre de Drury Lane en 1837 - Aquarelle gouachée - à vue : H 19 L 14 cm - Dans son cadre en bois doré et verre églomisé - Cadre : H 36 L 31 cm - Provenance - Cadeau de la reine Victoria à la Princesse Marie Joanna (?) de Bourbon-Siciles (?), selon l’inscription manuscrite au dos
(1793 London - 1873 ebenda) Putti beim Malunterricht in einer Parklandschaft Allegorisches Genrebild des englischen Künstlers, der zu den bekanntesten, vielseitigsten, schaffenreichsten, erfindungsfreudigsten und gefragtesten Malern der viktorianischen Ära gehört. Parris studierte seit 1816 an der Royal Academy, von da an bis zu seinem Lebensende war er ein häufiger Aussteller in der Royal Academy und der British Institution. 1832 wurde er zum Historienmaler von Königin Adelaide ernannt. Öl/Lwd.; R. u. sign. u. dat. 1840(?). 85 cm x 85 cm. Rahmen. Oil on canvas. Signed and dated 1840(?).
Edmund Thomas Parris English, (1793-1873) portrait of Louise, Duchess de La Valliere, afterwards Sister Louisa of the Order of Misericordia in the Convent of the Camelites oil on canvas In gilt frame. N.B. An engraving was made of this subject and possibly after this very painting by Henry Robinson. Louise, Duchess de La Valliere (1644-1710) was mistress to Louis XIV and gave birth to five of his children before turning to religion and joining the Carmelite order. She featured in Alexander Duma's Three Musketeers series.
Edmund Thomas Parris English, (1793-1873) portrait of Louise, Duchess de La Valliere, afterwards Sister Louisa of the Order of Misericordia in the Convent of the Camelites oil on canvas In gilt frame. N.B. An engraving was made of this subject and possibly after this very painting by Henry Robinson. Louise, Duchess de La Valliere (1644-1710) was mistress to Louis XIV and gave birth to five of his children before turning to religion and joining the Carmelite order. She featured in Alexander Duma's Three Musketeers series.
Edmund Thomas Parris English, (1793-1873) portrait of Louise, Duchess de La Valliere, afterwards Sister Louisa of the Order of Misericordia in the Convent of the Camelites oil on canvas In gilt frame. N.B. An engraving was made of this subject and possibly after this very painting by Henry Robinson. Louise, Duchess de La Valliere (1644-1710) was mistress to Louis XIV and gave birth to five of his children before turning to religion and joining the Carmelite order. She featured in Alexander Duma's Three Musketeers series.
(1793 London - 1873 ebenda) Putti beim Malunterricht in einer Parklandschaft Allegorisches Genrebild des englischen Künstlers, der zu den bekanntesten, vielseitigsten, schaffenreichsten, erfindungsfreudigsten und gefragtesten Malern der viktorianischen Ära gehört. Parris studierte seit 1816 an der Royal Academy, von da an bis zu seinem Lebensende war er ein häufiger Aussteller in der Royal Academy und der British Institution. 1832 wurde er zum Historienmaler von Königin Adelaide ernannt. Öl/Lwd.; R. u. sign. u. dat. 1840(?). 85 cm x 85 cm. Rahmen. Oil on canvas. Signed and dated 1840(?).
Pilgrimage to the Isle of Cythera (detail), signed and dated and annotated lower left: E T Parris 1837 after Watteau. Watercolor / ink wash on paper. Edmond Thomas Parris was active/lived in England and is known for figure, portrait and landscape painting. Overall size: 15 1/2 x 17 1/2 in. Image size: 9 3/4 x 11 1/4 in. #3271
Couple walking arm in arm, signed and dated and annotated lower left: E T Parris 1837 after Watteau. Watercolor / ink wash on paper. Condition: slight staining. Edmond Thomas Parris was active/lived in England and is known for figure, portrait and landscape painting. Overall size: 15 1/2 x 18 in. Image size: 8 3/4 x 11 in. #3272 Location KB6
ARTIST: Edmond Thomas Parris (British, 1793 - 1873) NAME: The Bride (titled on verso) YEAR: 1831 MEDIUM: oil on board CONDITION: Two cracks to board by the lower edge (7" longest). Some craquelure. Normal wear along edges. Few very small scattered inpaintings. SIGHT SIZE: 36 x 27 1/2 inches / 91 x 71 cm FRAME SIZE: unframed (In-House framing available) SIGNATURE: lower right and on verso CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 120201 US Shipping $120 + insurance. BIOGRAPHY: Edmund Thomas Parris was an English history, portrait, subject, and panorama painter, book illustrator, designer and art restorer. He was appointed history painter to Queen Adelaide, Queen Consort of William IV, and painted Queen Victoria's coronation in 1838 and the Duke of Wellington's funeral in 1852. He supervised the painting of the huge panorama in the London Colosseum in Regent's Park, London, and was the inventor of "Parris's medium".Parris, was born in the parish of St. Marylebone, London on 3 June 1793, the son of Edward and Grace Parris. He showed an early talent for art and was placed with Jewellers "Ray and Montague" (John Ray and James Montague), to learn enamel-painting and metal-chasing. During his apprenticeship, his leisure time was given to the study of mechanics, which subsequently proved to be of great use to him.In 1816 he entered the schools of the Royal Academy, and commenced the study of anatomy under Dr. Carpue. His first important picture, "Christ blessing little Children", was exhibited at the Royal Academy in 1824. In that year, when the proposal was first made to undertake the restoration of James Thornhill's paintings in the cupola of St. Paul's Cathedral, Parris devised an ingenious apparatus for gaining access to them which attracted much attention, and led to his engagement by Thomas Hornor to assist him in the production of his panorama of London at the Colosseum, for which he had been making sketches since 1820. Upon this immense work, which covered nearly an acre of canvas and presented formidable artistic and mechanical challenges, Parris laboured incessantly for four years, completing it in November 1829.Soon after he painted, in conjunction with William Daniell, R.A., a panorama of Madras, for which he also constructed a building. A wholly different class of art, in which Parris gained a great temporary reputation, was the portrayal of female beauty, and he was for some years a fashionable portrait painter. His picture "The Bridesmaid", which was exhibited at the British Institution in 1830, and purchased by Sir Robert Peel, became very popular through the engraving by James Bromley (engraver); and many of his single figures and groups, composed in the same weak, sentimental style, were engraved in the "Keepsake" and similar publications.In 1836 and 1838 three sets of plates from his drawings were published, entitled respectively, "Flowers of loveliness", "Gems of Beauty", and "The Passions", with illustrative verses by Lady Blessington; he also provided illustrations for her "Confessions of an Elderly Gentleman" (1836), and "Confessions of an Elderly Lady" (1838), to much popular approval. His illustrations were also used in several other books.On Queen Victoria's first state visit to Drury Lane Theatre in November 1837, Parris, from a seat in the orchestra, made a sketch of her as she stood in her box, and from this painted a portrait, of which an engraving, by Charles Edward Wagstaff, was published by Hodgson & Graves in the following April. In 1838 he was commissioned by the same firm to paint a picture of the Queen's coronation, and he received sittings for this purpose from the Queen and all the chief personages who were present; a print of this, also executed by Wagstaff, appeared in 1842. At the cartoon competition in Westminster Hall in 1843, Parris gained a prize of ВЈ100. for his "Joseph of Arimathsea converting the Britons".In 1852, he painted the Duke of Wellington's funeral. Also in that year, the proposal to restore Thornhill's paintings in St. Paul's was revived and the commission given to Parris, who, bringing into use the scaffold he had designed for the purpose nearly thirty years before, commenced the task in 1853, and completed it in July 1856. Opinions about the appropriateness of Parris's restoration were divided, with one critic W. A. J. Archbold commenting that "the state of decay into which Thornhill's work had fallen rendered some kind of reparation necessary, but the complete repainting carried out by Parris almost wholly deprived it of such interest as it ever possessed".Parris was a frequent exhibitor of historical and fancy subjects at the Royal Academy and British Institution from 1816 to the end of his life, and in 1832 received the appointment of historical painter to Queen Adelaide. Throughout his career his untiring industry and great facility of invention led him to engage in almost every description of artistic work, and he made innumerable designs for stained-glass windows, carpets, screens, etc. He assisted Robert Smirke in preparing Westminster Abbey for the coronation of William IV, and was much employed in decorating the mansions of the nobility.One of his last important undertakings was the preparation of a model for a piece of tapestry, forty feet long, for the Paris exhibition of 1867. At one time Parris carried on a life-drawing school at his house in Grafton Street, Bond Street. He invented a medium which, when mixed with oil, produced a dull fresco-like surface; this was widely known as "Parris's Medium."Edmund Thomas Parris died at 27 Francis Street, Bedford Square, London, on 27 November 1873.
ARTIST: Edmond Thomas Parris (British, 1793 - 1873) NAME: The Bride (titled on verso) YEAR: 1831 MEDIUM: oil on board CONDITION: Two cracks to board by the lower edge (7" longest). Some craquelure. Normal wear along edges. Few very small scattered inpaintings. SIGHT SIZE: 36 x 27 1/2 inches / 91 x 71 cm FRAME SIZE: unframed (In-House framing available) SIGNATURE: lower right and on verso CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 120201 US Shipping $120 + insurance. BIOGRAPHY: Edmund Thomas Parris was an English history, portrait, subject, and panorama painter, book illustrator, designer and art restorer. He was appointed history painter to Queen Adelaide, Queen Consort of William IV, and painted Queen Victoria's coronation in 1838 and the Duke of Wellington's funeral in 1852. He supervised the painting of the huge panorama in the London Colosseum in Regent's Park, London, and was the inventor of "Parris's medium".Parris, was born in the parish of St. Marylebone, London on 3 June 1793, the son of Edward and Grace Parris. He showed an early talent for art and was placed with Jewellers "Ray and Montague" (John Ray and James Montague), to learn enamel-painting and metal-chasing. During his apprenticeship, his leisure time was given to the study of mechanics, which subsequently proved to be of great use to him.In 1816 he entered the schools of the Royal Academy, and commenced the study of anatomy under Dr. Carpue. His first important picture, "Christ blessing little Children", was exhibited at the Royal Academy in 1824. In that year, when the proposal was first made to undertake the restoration of James Thornhill's paintings in the cupola of St. Paul's Cathedral, Parris devised an ingenious apparatus for gaining access to them which attracted much attention, and led to his engagement by Thomas Hornor to assist him in the production of his panorama of London at the Colosseum, for which he had been making sketches since 1820. Upon this immense work, which covered nearly an acre of canvas and presented formidable artistic and mechanical challenges, Parris laboured incessantly for four years, completing it in November 1829.Soon after he painted, in conjunction with William Daniell, R.A., a panorama of Madras, for which he also constructed a building. A wholly different class of art, in which Parris gained a great temporary reputation, was the portrayal of female beauty, and he was for some years a fashionable portrait painter. His picture "The Bridesmaid", which was exhibited at the British Institution in 1830, and purchased by Sir Robert Peel, became very popular through the engraving by James Bromley (engraver); and many of his single figures and groups, composed in the same weak, sentimental style, were engraved in the "Keepsake" and similar publications.In 1836 and 1838 three sets of plates from his drawings were published, entitled respectively, "Flowers of loveliness", "Gems of Beauty", and "The Passions", with illustrative verses by Lady Blessington; he also provided illustrations for her "Confessions of an Elderly Gentleman" (1836), and "Confessions of an Elderly Lady" (1838), to much popular approval. His illustrations were also used in several other books.On Queen Victoria's first state visit to Drury Lane Theatre in November 1837, Parris, from a seat in the orchestra, made a sketch of her as she stood in her box, and from this painted a portrait, of which an engraving, by Charles Edward Wagstaff, was published by Hodgson & Graves in the following April. In 1838 he was commissioned by the same firm to paint a picture of the Queen's coronation, and he received sittings for this purpose from the Queen and all the chief personages who were present; a print of this, also executed by Wagstaff, appeared in 1842. At the cartoon competition in Westminster Hall in 1843, Parris gained a prize of ВЈ100. for his "Joseph of Arimathsea converting the Britons".In 1852, he painted the Duke of Wellington's funeral. Also in that year, the proposal to restore Thornhill's paintings in St. Paul's was revived and the commission given to Parris, who, bringing into use the scaffold he had designed for the purpose nearly thirty years before, commenced the task in 1853, and completed it in July 1856. Opinions about the appropriateness of Parris's restoration were divided, with one critic W. A. J. Archbold commenting that "the state of decay into which Thornhill's work had fallen rendered some kind of reparation necessary, but the complete repainting carried out by Parris almost wholly deprived it of such interest as it ever possessed".Parris was a frequent exhibitor of historical and fancy subjects at the Royal Academy and British Institution from 1816 to the end of his life, and in 1832 received the appointment of historical painter to Queen Adelaide. Throughout his career his untiring industry and great facility of invention led him to engage in almost every description of artistic work, and he made innumerable designs for stained-glass windows, carpets, screens, etc. He assisted Robert Smirke in preparing Westminster Abbey for the coronation of William IV, and was much employed in decorating the mansions of the nobility.One of his last important undertakings was the preparation of a model for a piece of tapestry, forty feet long, for the Paris exhibition of 1867. At one time Parris carried on a life-drawing school at his house in Grafton Street, Bond Street. He invented a medium which, when mixed with oil, produced a dull fresco-like surface; this was widely known as "Parris's Medium."Edmund Thomas Parris died at 27 Francis Street, Bedford Square, London, on 27 November 1873.
ARTIST: Edmond Thomas Parris (British, 1793 - 1873) NAME: The Bride (titled on verso) YEAR: 1831 MEDIUM: oil on board CONDITION: Two cracks to board by the lower edge (7" longest). Some craquelure. Normal wear along edges. Few very small scattered inpaintings. SIGHT SIZE: 36 x 27 1/2 inches / 91 x 71 cm FRAME SIZE: unframed (In-House framing available) SIGNATURE: lower right and on verso CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 120201 US Shipping $120 + insurance. BIOGRAPHY: Edmund Thomas Parris was an English history, portrait, subject, and panorama painter, book illustrator, designer and art restorer. He was appointed history painter to Queen Adelaide, Queen Consort of William IV, and painted Queen Victoria's coronation in 1838 and the Duke of Wellington's funeral in 1852. He supervised the painting of the huge panorama in the London Colosseum in Regent's Park, London, and was the inventor of "Parris's medium".Parris, was born in the parish of St. Marylebone, London on 3 June 1793, the son of Edward and Grace Parris. He showed an early talent for art and was placed with Jewellers "Ray and Montague" (John Ray and James Montague), to learn enamel-painting and metal-chasing. During his apprenticeship, his leisure time was given to the study of mechanics, which subsequently proved to be of great use to him.In 1816 he entered the schools of the Royal Academy, and commenced the study of anatomy under Dr. Carpue. His first important picture, "Christ blessing little Children", was exhibited at the Royal Academy in 1824. In that year, when the proposal was first made to undertake the restoration of James Thornhill's paintings in the cupola of St. Paul's Cathedral, Parris devised an ingenious apparatus for gaining access to them which attracted much attention, and led to his engagement by Thomas Hornor to assist him in the production of his panorama of London at the Colosseum, for which he had been making sketches since 1820. Upon this immense work, which covered nearly an acre of canvas and presented formidable artistic and mechanical challenges, Parris laboured incessantly for four years, completing it in November 1829.Soon after he painted, in conjunction with William Daniell, R.A., a panorama of Madras, for which he also constructed a building. A wholly different class of art, in which Parris gained a great temporary reputation, was the portrayal of female beauty, and he was for some years a fashionable portrait painter. His picture "The Bridesmaid", which was exhibited at the British Institution in 1830, and purchased by Sir Robert Peel, became very popular through the engraving by James Bromley (engraver); and many of his single figures and groups, composed in the same weak, sentimental style, were engraved in the "Keepsake" and similar publications.In 1836 and 1838 three sets of plates from his drawings were published, entitled respectively, "Flowers of loveliness", "Gems of Beauty", and "The Passions", with illustrative verses by Lady Blessington; he also provided illustrations for her "Confessions of an Elderly Gentleman" (1836), and "Confessions of an Elderly Lady" (1838), to much popular approval. His illustrations were also used in several other books.On Queen Victoria's first state visit to Drury Lane Theatre in November 1837, Parris, from a seat in the orchestra, made a sketch of her as she stood in her box, and from this painted a portrait, of which an engraving, by Charles Edward Wagstaff, was published by Hodgson & Graves in the following April. In 1838 he was commissioned by the same firm to paint a picture of the Queen's coronation, and he received sittings for this purpose from the Queen and all the chief personages who were present; a print of this, also executed by Wagstaff, appeared in 1842. At the cartoon competition in Westminster Hall in 1843, Parris gained a prize of ВЈ100. for his "Joseph of Arimathsea converting the Britons".In 1852, he painted the Duke of Wellington's funeral. Also in that year, the proposal to restore Thornhill's paintings in St. Paul's was revived and the commission given to Parris, who, bringing into use the scaffold he had designed for the purpose nearly thirty years before, commenced the task in 1853, and completed it in July 1856. Opinions about the appropriateness of Parris's restoration were divided, with one critic W. A. J. Archbold commenting that "the state of decay into which Thornhill's work had fallen rendered some kind of reparation necessary, but the complete repainting carried out by Parris almost wholly deprived it of such interest as it ever possessed".Parris was a frequent exhibitor of historical and fancy subjects at the Royal Academy and British Institution from 1816 to the end of his life, and in 1832 received the appointment of historical painter to Queen Adelaide. Throughout his career his untiring industry and great facility of invention led him to engage in almost every description of artistic work, and he made innumerable designs for stained-glass windows, carpets, screens, etc. He assisted Robert Smirke in preparing Westminster Abbey for the coronation of William IV, and was much employed in decorating the mansions of the nobility.One of his last important undertakings was the preparation of a model for a piece of tapestry, forty feet long, for the Paris exhibition of 1867. At one time Parris carried on a life-drawing school at his house in Grafton Street, Bond Street. He invented a medium which, when mixed with oil, produced a dull fresco-like surface; this was widely known as "Parris's Medium."Edmund Thomas Parris died at 27 Francis Street, Bedford Square, London, on 27 November 1873.
Edmond Thomas Parris. 1836. Watercolor painting of mother and children feeling a shipwreck. Framed under glass. Sight: 12 x 9.25in. Overall: 18.5 x 15.25in.
Edmund Thomas Parris, British 1793-1873- Four figures in the gardens of a large house; pen and brown ink and pen and black ink on paper, signed 'E Parris / 1845' (lower left), 36 x 25 cm. Provenance: Private Collection, UK. Please refer to department for condition report
ARTIST: Edmond Thomas Parris (British, 1793 - 1873) NAME: The Bride (titled on verso) YEAR: 1831 MEDIUM: oil on board CONDITION: Two cracks to board by the lower edge (7" longest). Some craquelure. Normal wear along edges. Few very small scattered inpaintings. SIGHT SIZE: 36 x 27 1/2 inches / 91 x 71 cm FRAME SIZE: unframed (In-House framing available) SIGNATURE: lower right and on verso CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 120201 US Shipping $120 + insurance. BIOGRAPHY: Edmund Thomas Parris was an English history, portrait, subject, and panorama painter, book illustrator, designer and art restorer. He was appointed history painter to Queen Adelaide, Queen Consort of William IV, and painted Queen Victoria's coronation in 1838 and the Duke of Wellington's funeral in 1852. He supervised the painting of the huge panorama in the London Colosseum in Regent's Park, London, and was the inventor of "Parris's medium".Parris, was born in the parish of St. Marylebone, London on 3 June 1793, the son of Edward and Grace Parris. He showed an early talent for art and was placed with Jewellers "Ray and Montague" (John Ray and James Montague), to learn enamel-painting and metal-chasing. During his apprenticeship, his leisure time was given to the study of mechanics, which subsequently proved to be of great use to him.In 1816 he entered the schools of the Royal Academy, and commenced the study of anatomy under Dr. Carpue. His first important picture, "Christ blessing little Children", was exhibited at the Royal Academy in 1824. In that year, when the proposal was first made to undertake the restoration of James Thornhill's paintings in the cupola of St. Paul's Cathedral, Parris devised an ingenious apparatus for gaining access to them which attracted much attention, and led to his engagement by Thomas Hornor to assist him in the production of his panorama of London at the Colosseum, for which he had been making sketches since 1820. Upon this immense work, which covered nearly an acre of canvas and presented formidable artistic and mechanical challenges, Parris laboured incessantly for four years, completing it in November 1829.Soon after he painted, in conjunction with William Daniell, R.A., a panorama of Madras, for which he also constructed a building. A wholly different class of art, in which Parris gained a great temporary reputation, was the portrayal of female beauty, and he was for some years a fashionable portrait painter. His picture "The Bridesmaid", which was exhibited at the British Institution in 1830, and purchased by Sir Robert Peel, became very popular through the engraving by James Bromley (engraver); and many of his single figures and groups, composed in the same weak, sentimental style, were engraved in the "Keepsake" and similar publications.In 1836 and 1838 three sets of plates from his drawings were published, entitled respectively, "Flowers of loveliness", "Gems of Beauty", and "The Passions", with illustrative verses by Lady Blessington; he also provided illustrations for her "Confessions of an Elderly Gentleman" (1836), and "Confessions of an Elderly Lady" (1838), to much popular approval. His illustrations were also used in several other books.On Queen Victoria's first state visit to Drury Lane Theatre in November 1837, Parris, from a seat in the orchestra, made a sketch of her as she stood in her box, and from this painted a portrait, of which an engraving, by Charles Edward Wagstaff, was published by Hodgson & Graves in the following April. In 1838 he was commissioned by the same firm to paint a picture of the Queen's coronation, and he received sittings for this purpose from the Queen and all the chief personages who were present; a print of this, also executed by Wagstaff, appeared in 1842. At the cartoon competition in Westminster Hall in 1843, Parris gained a prize of ВЈ100. for his "Joseph of Arimathsea converting the Britons".In 1852, he painted the Duke of Wellington's funeral. Also in that year, the proposal to restore Thornhill's paintings in St. Paul's was revived and the commission given to Parris, who, bringing into use the scaffold he had designed for the purpose nearly thirty years before, commenced the task in 1853, and completed it in July 1856. Opinions about the appropriateness of Parris's restoration were divided, with one critic W. A. J. Archbold commenting that "the state of decay into which Thornhill's work had fallen rendered some kind of reparation necessary, but the complete repainting carried out by Parris almost wholly deprived it of such interest as it ever possessed".Parris was a frequent exhibitor of historical and fancy subjects at the Royal Academy and British Institution from 1816 to the end of his life, and in 1832 received the appointment of historical painter to Queen Adelaide. Throughout his career his untiring industry and great facility of invention led him to engage in almost every description of artistic work, and he made innumerable designs for stained-glass windows, carpets, screens, etc. He assisted Robert Smirke in preparing Westminster Abbey for the coronation of William IV, and was much employed in decorating the mansions of the nobility.One of his last important undertakings was the preparation of a model for a piece of tapestry, forty feet long, for the Paris exhibition of 1867. At one time Parris carried on a life-drawing school at his house in Grafton Street, Bond Street. He invented a medium which, when mixed with oil, produced a dull fresco-like surface; this was widely known as "Parris's Medium."Edmund Thomas Parris died at 27 Francis Street, Bedford Square, London, on 27 November 1873.
ARTIST: Edmond Thomas Parris (British, 1793 - 1873) NAME: The Bride (titled on verso) YEAR: 1831 MEDIUM: oil on board CONDITION: Two cracks to board by the lower edge (7" longest). Some craquelure. Normal wear along edges. Few very small scattered inpaintings. SIGHT SIZE: 36 x 27 1/2 inches / 91 x 71 cm FRAME SIZE: unframed SIGNATURE: lower right and on verso CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 120201 US Shipping $120 + insurance. BIOGRAPHY: Edmund Thomas Parris was an English history, portrait, subject, and panorama painter, book illustrator, designer and art restorer. He was appointed history painter to Queen Adelaide, Queen Consort of William IV, and painted Queen Victoria's coronation in 1838 and the Duke of Wellington's funeral in 1852. He supervised the painting of the huge panorama in the London Colosseum in Regent's Park, London, and was the inventor of "Parris's medium".Parris, was born in the parish of St. Marylebone, London on 3 June 1793, the son of Edward and Grace Parris. He showed an early talent for art and was placed with Jewellers "Ray and Montague" (John Ray and James Montague), to learn enamel-painting and metal-chasing. During his apprenticeship, his leisure time was given to the study of mechanics, which subsequently proved to be of great use to him.In 1816 he entered the schools of the Royal Academy, and commenced the study of anatomy under Dr. Carpue. His first important picture, "Christ blessing little Children", was exhibited at the Royal Academy in 1824. In that year, when the proposal was first made to undertake the restoration of James Thornhill's paintings in the cupola of St. Paul's Cathedral, Parris devised an ingenious apparatus for gaining access to them which attracted much attention, and led to his engagement by Thomas Hornor to assist him in the production of his panorama of London at the Colosseum, for which he had been making sketches since 1820. Upon this immense work, which covered nearly an acre of canvas and presented formidable artistic and mechanical challenges, Parris laboured incessantly for four years, completing it in November 1829.Soon after he painted, in conjunction with William Daniell, R.A., a panorama of Madras, for which he also constructed a building. A wholly different class of art, in which Parris gained a great temporary reputation, was the portrayal of female beauty, and he was for some years a fashionable portrait painter. His picture "The Bridesmaid", which was exhibited at the British Institution in 1830, and purchased by Sir Robert Peel, became very popular through the engraving by James Bromley (engraver); and many of his single figures and groups, composed in the same weak, sentimental style, were engraved in the "Keepsake" and similar publications.In 1836 and 1838 three sets of plates from his drawings were published, entitled respectively, "Flowers of loveliness", "Gems of Beauty", and "The Passions", with illustrative verses by Lady Blessington; he also provided illustrations for her "Confessions of an Elderly Gentleman" (1836), and "Confessions of an Elderly Lady" (1838), to much popular approval. His illustrations were also used in several other books.On Queen Victoria's first state visit to Drury Lane Theatre in November 1837, Parris, from a seat in the orchestra, made a sketch of her as she stood in her box, and from this painted a portrait, of which an engraving, by Charles Edward Wagstaff, was published by Hodgson & Graves in the following April. In 1838 he was commissioned by the same firm to paint a picture of the Queen's coronation, and he received sittings for this purpose from the Queen and all the chief personages who were present; a print of this, also executed by Wagstaff, appeared in 1842. At the cartoon competition in Westminster Hall in 1843, Parris gained a prize of ВЈ100. for his "Joseph of Arimathsea converting the Britons".In 1852, he painted the Duke of Wellington's funeral. Also in that year, the proposal to restore Thornhill's paintings in St. Paul's was revived and the commission given to Parris, who, bringing into use the scaffold he had designed for the purpose nearly thirty years before, commenced the task in 1853, and completed it in July 1856. Opinions about the appropriateness of Parris's restoration were divided, with one critic W. A. J. Archbold commenting that "the state of decay into which Thornhill's work had fallen rendered some kind of reparation necessary, but the complete repainting carried out by Parris almost wholly deprived it of such interest as it ever possessed".Parris was a frequent exhibitor of historical and fancy subjects at the Royal Academy and British Institution from 1816 to the end of his life, and in 1832 received the appointment of historical painter to Queen Adelaide. Throughout his career his untiring industry and great facility of invention led him to engage in almost every description of artistic work, and he made innumerable designs for stained-glass windows, carpets, screens, etc. He assisted Robert Smirke in preparing Westminster Abbey for the coronation of William IV, and was much employed in decorating the mansions of the nobility.One of his last important undertakings was the preparation of a model for a piece of tapestry, forty feet long, for the Paris exhibition of 1867. At one time Parris carried on a life-drawing school at his house in Grafton Street, Bond Street. He invented a medium which, when mixed with oil, produced a dull fresco-like surface; this was widely known as "Parris's Medium."Edmund Thomas Parris died at 27 Francis Street, Bedford Square, London, on 27 November 1873.
(England, 1793 - 1873) Watercolor on paper titled, "Sampson in the Hall of the Philistine Judges." The delicately rendered piece has been nicely matted and framed. Sight size: H6" W8 3/4" (without mat and frame) Sold from the collection of Bobby Carpenter and Dr. Garrett Saikley.
Edmund Thomas Parris (1793-1873). Watercolor on paper. Samson in the Hall of the Philistine Judges. Signed and dated LR. Sight H 6" W8-3/4". Overall H11" W13-3/4". Estate of anthropologists and food historian Michael and Sophie Coe. New Haven, Ct Please refer to think link for a high-res image https://www.dropbox.com/s/u3zq28egakxbqs5/1077121_1.jpg?dl=0
Edmund Thomas Parris (1793-1873) British. "Army", A Roman Soldier on a Chariot, with a Lance and Shield in his hand, Watercolour, Signed, and Inscribed 'Painted for the Army and Navy Club', and Dated 1838, Unframed, 11.25" x 15.5", and Two other Studies by the same hand, Three (3).
Oil on metal, unsigned.11 x 9 in., 16 x 14 in. (frame).Note: Cressida is a Trojan woman whose character appears in Medieval and Renaissance re-tellings of the story of the Trojan War.
Oil on metal, unsigned.11 x 9 in., 16 x 14 in. (frame).Note: Cressida is a Trojan woman whose character appears in Medieval and Renaissance re-tellings of the story of the Trojan War.
EDMUND THOMAS PARRIS (LONDON 1793-1873) Marguerite Gardiner, Countess of Blessington inscribed, 'Countess Blessington', signed with initials and dated 1823 (upper left) pencil and watercolour 190 x 145 mm. and another, similar, by the same hand (2) Countess Blessington was an Irish novelist, journalist, and literary hostess. She became acquainted with Lord Byron in Genoa and wrote a book about him.
Edmund Thomas Parris (1793-1873), two elegant ladies in a grand interior, watercolour, signed and dated 1836, 30.5 x 23cm FOOTNOTE: Parris is best known as a fashionable portrait painter. His sitters included Queen Victoria and Queen Adelaide, who appointed him her historical painter in 1832.
EDMOND THOMAS PARRIS (1793-1873), BRITISHQUEEN BERTHA (OF KENT) WIFE OF ETHELBERT EDUCATING HER CHILDREN (EADBALD AND ETHELBURGA), 1857Oil on panel; signed and dated 1857 to the post lower right, titled “Queen Bertha wife of Ethelbert Educating Her Children” and numbered “No. 2” to an old handwritten pen and ink card further inscribed with a passage from Rapins History of England: “To Bertha undeviating faith in Christ and Her education in Christianity. Eadbald and her daughter Ethelburga, are mainly to be attributed the rapid and effectual conversion of the Idolatrous Saxons to the sacred truths of Christianity” mounted to the verso18 x 13.75 in — 45.7 x 34.9 cmProvenance:Family of the artist;Mrs. Mason (nee Amy Claudet), the artist’s niece;Presented this work to as inscribed: “Mary Scott in memory of her Aunt, Miss Mary Ann Parris, daughter of the artist” to an old handwritten pen and ink label, indistinctly dated 1904 verso;Britnell Art Galleries, Richmond Hill & Toronto;The Estate of Doreen Britnell, Richmond Hill, OntarioEstimate: $3,000—5,000
EDMUND THOMAS PARRIS (1793-1873). "Two elegant ladies in a grand interior". watercolour, signed and dated 1836. 30.5cm x 23 cm. FOOTNOTE: Parris is best known as a fashionable portrait painter. His sitters included Queen Victoria and Queen Adelaide, who appointed him her historical painter in 1832.
Attributed to Edmund Thomas Parris (British, 1793-1873) Two portrait miniatures of young ladies identified as the Misses Louisa Mary and Henrietta Mott of Lichfield, Staffordshire, one wearing a pink dress and the other a yellow dress with white lace inscribed verso "E T Parris / May 1837 / 17 Grafton St." watercolour on ivory, cased (2) h:7.50 cm
Edmund Thomas Parris (British, 1791-1873) A pleasant distraction pen and grey ink and watercolour en grisaille, signed and dated 1845 lower left, inscribed 'Painted for Sir R. Palmer Bart, Portland Place' 11 1/2 x 9 1/4in. (29.25 x 23.5cm.); together with eight other 18th, 19th and early 20th century watercolour and pen and ink landscape views, including works by or attributed to John Jackson RA, Moses Webster of Derby, A. Hugh Fisher and F. Clarke, all unframed. (9)
Edmund Thomas Parris (British, 1791-1873) A country fair with sideshows and figures making merry watercolour, signed 'E. T. Parris Delt.' lower left, unframed 9 x 11 1/2in. (23 x 29.25cm.)
Edmund Thomas Parris (British, 1793-1873) "A Venetian lady after the departure of her ...[?]" watercolour, heightened with white and scratching out, signed and dated 1834 lower right, inscribed to exhibition label verso 14 5/8 x 10 7/8in. (37 x 27.5cm.) * Provenance: Exhibition label verso for 'Yorkshire Fine Art and Industrial Exhibition York', and hand written label by original owner with details of purchase above.
Elegant young lady holding a letter by a window signed 'E. T. Parris' and indistinctly dated 1833 (lower right) watercolour 22.5 x 17cm (8 7/8 x 6 11/16in).
Edmund Thomas Parris (1793-1873) The painting lesson signed and dated 'E T Parris/1840' (lower centre) oil on canvas, shaped as in illustration 33½ x 34 in. (83.8 x 86.4 cm.)
Edmund Thomas Parris (London 1793-1873) Figures resting in the Turkish cemetary, Ayoub, the city of Constantinople and the Bosphorus beyond signed 'E.T. Parris' (lower right) pencil and watercolour with bodycolour with gum arabic, and with scratching out 7¾ x 11½ in. (19.7 x 29.2 cm.)
Edmund Thomas Parris (London 1793-1873) A Venetian lady signed and dated 'E.T. Parris 1834' (lower right) pencil and watercolour with touches of bodycolour, on paper 14¾ x 11 in. (37.5 x 28 in.); A watercolour of Carnival Gardens, Venice by James Clarke Hook, R.A.; and An unframed watercolour of Beatrice in an arbour by John Borden (3)
![Edmund Thomas Parris (British, 1793-1873) "A Venetian lady after the departure of her ...[?]"](https://stageimg.invaluable.com/housePhotos/martelmaidesauctions/38/418038/H1117-L42145488.jpg)
