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{{Short description|Scottish painter}}
{{Use British English|date=November 2018}}
{{Use British English|date=November 2018}}
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| name = Margaret Gillies
| name = Margaret Gillies
| image = Margaret Gillies 1864.jpg
| image = Margaret Gillies 1864.jpg
| imagesize =
| caption = Margaret Gillies, 1864 photograph
| caption = Margaret Gillies, 1864 photograph
| birth_name =
| birth_date = 7 August 1803
| birth_date = 7 August 1803
| birth_place = London, England
| birth_place = London, England
| death_date = {{death date and age|1887|7|20|1803|8|7|df=y}}
| death_date = {{death date and age|1887|7|20|1803|8|7|df=y}}
| death_place = [[Crockham Hill]], Kent
| death_place = [[Crockham Hill]], Kent
| nationality = British
| nationality = British
| education =
| field = Painting
| field = Painting
| partner = [[Thomas Southwood Smith]]
| training =
| movement =
| works =
| patrons =
| awards =
| spouse =
| partner =
}}
}}
⚫
'''Margaret Gillies''' (7 August 1803 – 20 July 1887) was a London-born Scottish [[portrait miniature|miniaturist]] and [[watercolour]]ist.

⚫
'''Margaret Gillies''' (7 August 1803– 20 July 1887) was a London-born Scottish painter, known for painting miniatures and water-colours.


==Biography==
==Biography==
Gillies was the second daughter of William Gillies, a Scottish merchant in [[Throgmorton Street]], London, where she was born on 7 August 1803. Having lost their mother, Charlotte Hester Bonnor Gillies, when Margaret was eight years old, and their father having met with business reverses, she and her older sister, [[Mary Gillies|Mary]] (1800-1870), were placed under the care of their uncle, [[Adam Gillies, Lord Gillies]]. They were educated by him, and then introduced to Edinburgh society.<ref name="DNB">{{cite DNB|wstitle=Gillies, Margaret|volume=21}}</ref>
Gillies was the second daughter of William Gillies, a Scottish merchant in [[Throgmorton Street]], London, and his wife Charlotte Hester Bonnor (died 1811), daughter of Thomas Bonnor. Having lost their mother when Margaret was eight years old, and their father having met with business reverses, she and her older sister, [[Mary Gillies|Mary]] (1800&ndash;1870), were placed under the care of their uncle, [[Adam Gillies, Lord Gillies]]. They were educated by him, and then introduced to Edinburgh society.<ref name="DNB">{{cite DNB|wstitle=Gillies, Margaret|volume=21}}</ref><ref name="ODNB">{{ODNBweb|id=10745|title=Gillies, Margaret Southwood|first=Charlotte|last=Yeldham}}</ref>

⚫
Before she was twenty, Gillies decided to earn her own living, and returned with her sister to her father's home in London. Mary Gillies became an author, while Margaret took the direction of a professional artist. She received lessons in miniature-painting from Frederick Cruikshank, and gained a reputation for it. Cruikshank's style was based on that of [[Andrew Robertson (miniaturist)|Andrew Robertson]].<ref name="DNB"/><ref name="ODNB"/>
[[File:southwood-smith.jpg|thumb|left|Southwood Smith, 1844 engraving by [[James Charles Armytage]] after a drawing by Margaret Gillies]]
In the early 1830s [[Thomas Southwood Smith]], a physician, [[General Assembly of Unitarian and Free Christian Churches|Unitarian]] and a pioneer in the improvement of the health of the poor, particularly in London, separated from his second wife, Mary, and went to live with Gillies and her sister Mary.


The 1841 census records Margarett Gillies as aged 35 living at Hortet's Terrace, St.Pancras with Thomas Smith aged 50, Gertrude Hill aged 3, Harriet Lebe 21 and Sarah Hargrove 15.
⚫
Before she was twenty, Gillies decided to earn her own living, and returned with her sister to her father's home in London. Mary Gillies became an author, while Margaret took the direction of a professional artist. She received lessons in miniature-painting from [[Frederick Cruikshank]], and gained a reputation for it. She then went for a while to Paris, where she worked in the studios of [[Hendrik Scheffer|Hendrik]] and [[Ary Scheffer]], and on her return to England she exhibited some portraits in oil. She then concentrated on water-colour painting, typically choosing domestic, romantic, or sentimental subjects, for which she was best known.<ref name="DNB"/>
Smith and Gillies lived together at Hillside, Fitzroy Park, [[Highgate]] from 1844.<ref name="ODNB"/> Smith, an ordained Unitarian minister, and Gillies associated with the group around the ''[[Monthly Repository]]'', a Unitarian periodical; Mary Gillies was involved in editing it from 1836.<ref name="WaP">{{cite book |last1=Rogers |first1=Helen |title=Women and the People: Authority, Authorship and the Radical Tradition in Nineteenth-Century England |date=2017 |publisher=Routledge |isbn=9781315318004 |url=https://books.google.com/books?id=lgckDwAAQBAJ&pg=PT200 |language=en}}</ref><ref>{{cite book |last1=Gaze |first1=Delia |last2=Mihajlovic |first2=Maja |last3=Shrimpton |first3=Leanda |title=Dictionary of Women Artists: Artists, J-Z |date=1997 |publisher=Taylor & Francis |isbn=9781884964213 |page=583 |url=https://books.google.com/books?id=6_0Y0PALzQMC&pg=PA583 |language=en}}</ref> Margaret Gillies illustrated in 1842 Smith's first report as a mines inspector, on a tour in Leicestershire and West Yorkshire.<ref>Darley, Gillian. ''Octavia Hill: Lessons in Campaigning.'' Octavia Hill, Social Activism and the Remaking of British Society, edited by Elizabeth Baigent and Ben Cowell, School of Advanced Study, University of London, London, 2016, pp. 27–44, at p. 31. {{JSTOR|j.ctv4w3whm.9}}</ref>
[[File:Grave of Margaret and Mary Gillies in Highgate Cemetery.jpg|thumb|Grave of Mary Gillies in [[Highgate Cemetery]]]]
Around 1850 Gillies' studio was at 36 Percy Street, where she briefly gave a home to the "auto-icon" of [[Jeremy Bentham]],<ref name="DH">{{cite journal |last1=Hayes |first1=David |title=From Southwood Smith to Octavia Hill: a remarkable family's Camden years |journal=Camden History Review |date=2009 |volume=33 |page=9}}</ref> on whose cadaver Southwood Smith had conducted a highly controversial public dissection in 1832.<ref>{{cite ODNB|id=2153|title=Bentham, Jeremy|first=F.|last=Rosen}}</ref>
She went in 1851 to Paris for a year, where she worked in the studios of [[Hendrik Scheffer|Hendrik]] and [[Ary Scheffer]], and on her return to England she exhibited some portraits in oils.<ref name="DNB"/><ref name="ODNB"/> She then concentrated on watercolour painting, typically choosing domestic, romantic, or sentimental subjects, for which she was best known.<ref name="DNB"/> She joined the [[Society of Female Artists]] in 1856.<ref name="WaP"/> In 1854, short of money, they had moved to The Pines, near [[Weybridge]], but Gillies kept a studio in 6 Southampton Street, off [[Fitzroy Square]], later renumbered [[Conway Street|27 Conway Street]].<ref name="DH"/>
The 1861 census records Mary Gillies 60, authoress and Margaret Gillies 56, Artist in Water Colours, living at Heath House, Weybridge with Thomas S Smith, 72, physician and widower, his son Herman Smith 40, Wine merchant, his granddaughter Gertrude Hill 23, lady, and also a cook and servant.
Thomas Southwood Smith died in [[Florence|Florence, Italy]] in 1861.<ref name="ODNB"/>


⚫
After Smith's death, Margaret and Mary Gillies lived for many years at [[Church Row, Hampstead|25 Church Row, Hampstead]], and worshipped at the Unitarian Chapel, [[Rosslyn Hill]]. Living with her was Charles Lewes, son of [[George Lewes]] the lover of [[George Eliot]], and his wife Gertrude, Southwood Smith's granddaughter.<ref name="DH"/> Mary died in 1870 and early in 1887<ref name="DNB"/> Margaret moved to The Warren, [[Crockham Hill]], Kent, where she died later that year, on 20 July, of [[pleurisy]], after a few days' illness.<ref name="DNB"/> Among her pupils was [[Marian Emma Chase]],<ref>{{cite ODNB|id=32379|title=Chase, Marian Emma|first=Charlotte|last=Yeldham}}</ref> and she gave early encouragement to [[Anna Mary Howitt]]<ref>{{cite ODNB|id=63040|title=Howitt, Anna Mary|first=Pam|last=Hirsch}}</ref> and the portraitist Mary Field, wife of the architect [[Horace Field]].
In the early 1830s [[Southwood Smith]], physician, utilitarian and a pioneer in the improvement of the health of the poor, particularly in London, separated from his second wife, Mary, and went to live with Gillies and her sister Mary. Smith and Gillies lived together in [[Highgate]] from 1844.<ref name="ODNB">{{ODNBweb|id=10745|title=Gillies, Margaret Southwood|first=Charlotte|last=Yeldham}}</ref> Around 1850 Gillies was at 36 Percy Street, and was housing the "auto-icon" of [[Jeremy Bentham]], on whose cadaver Southwood Smith had conducted a highly controversial public dissection in 1832..<ref>{{cite ODNB|id=2153|title=Bentham, Jeremy|first=F.|last=Rosen}}</ref> In 1854, short of money, they moved to The Pines, near [[Weybridge]]. Smith died in 1861.<ref name="ODNB"/>


In 1866 Margaret bought a grave plot in the [[dissenter|dissenters']] section of the western side of [[Highgate Cemetery]] for a stillborn baby of Charles and Gertrude Lewes. Mary was later interred in this grave on 23 July 1870, as was Catherine, the widow of the poet and critic [[Richard Henry Horne|Richard Hengist Horne]], on 6 September 1893. In the adjoining grave rests [[Caroline Southwood Hill]] (buried on 3 January 1903), Southwood Smith's daughter and mother of the social reformers [[Miranda Hill]] and [[Octavia Hill]], the latter of whom jointly founded the [[National Trust]]. The ashes of Caroline's youngest daughter Florence was the last interment in December 1935.<ref>{{cite journal |title=Listing of Grave entries for Grave 14900 |journal=Highgate Cemetery |date=10 April 2021}}</ref> Although Margaret Gillies is memorialised on this grave she is buried elsewhere, presumably in Crockham Hill.
⚫
Gillies lived for many years in Church Row, [[Hampstead]]. She died at The Warren, [[Crockham Hill]], Kent, on 20 July 1887, of [[pleurisy]], after a few days' illness.<ref name="DNB"/> Among her pupils was [[Marian Emma Chase]],<ref>{{cite ODNB|id=32379|title=Chase, Marian Emma|first=Charlotte|last=Yeldham}}</ref> and she gave early encouragement to [[Anna Mary Howitt]].<ref>{{cite ODNB|id=63040|title=Howitt, Anna Mary|first=Pam|last=Hirsch}}</ref>


==Works==
==Works==
Before she was 24, Gillies was commissioned to paint a miniature of [[William Wordsworth]], and stayed at [[Rydal Mount]] for several weeks.<ref name="DNB"/> She has three oil paintings in British national collections—in Aberystwyth, Nottingham and the National Portrait Gallery.<ref name=yp>{{Art UK bio}}</ref> Pamela Gerrish Nunn wrote that she "combined an early-Victorian aesthetic with a mid-Victorian independence of mind".<ref>Pamela Gerrish Nunn, ''Between Strong-Mindedness and Sentimentality: Women's Literary Painting'', Victorian Poetry Vol. 33, No. 3/4, Word and Image (Autumn - Winter, 1995), pp. 425-447 at p. 437. Published by: West Virginia University Press. {{JSTOR|40002330}}</ref>
⚫
[[File:Portrait of Charles John Huffman Dickens.png|thumb|right|[[Charles Dickens]], portrait by Margaret Gillies, 1843]]


[[File:Richard Henry (or Hengist) Horne by Margaret Gillies.jpg|thumb|right| ''Richard Henry (or Hengist) Horne'' by Margaret Gillies, {{circa|lk=yes|1840}}]]
Before she was 24, Gillies was commissioned to paint a miniature of [[William Wordsworth]], and stayed at [[Rydal Mount]] for several weeks. She painted also a portrait of [[Anne Marsh]] the novelist; and for many successive years contributed portraits to the exhibitions of the [[Royal Academy]].<ref name="DNB"/> Gillies has three oil paintings in British national collections in Aberystwyth, Nottingham and the National Portrait Gallery.<ref name=yp>{{Art UK bio}}</ref>


===Portrait artist===
⚫
Gillies' portrait of [[Charles Dickens]], painted during the period when he was writing ''[[A Christmas Carol]]'', was exhibited in the [[Royal Academy of Arts]]' 1844 summer exhibition.<ref name="Brown">{{cite news |last1=Brown |first1=Mark |title=Lost portrait of Charles Dickens turns up at auction in South Africa |url=https://www.theguardian.com/books/2018/nov/21/lost-portrait-charles-dickens-turns-up-auction-south-africa-margaret-gillies |accessdate=22 November 2018 |work=[[The Guardian]] |date=21 November 2018 |language=en}}</ref> After viewing it three, [[Elizabeth Barrett Browning]] said that it showed Dickens with "the dust and mud of humanity about him, notwithstanding those eagle eyes".<ref name="Brown" /> A simplified form was used as the frontispiece of a book, ''A New Spirit of the Age'', in the same year. The painting's location was unknown, from later in Gillies lifetime, when she was unable to trace it, until it was rediscovered in KwaZulu-Natal, South Africa, and acquired and restored by the art dealer [[Philip Mould]].<ref name="Mould">{{cite web |title=Charles Dickens: The Lost Portrait Now Open |url=https://philipmould.com/gallery/edit/charles-dickens-the-lost-portrait-open |publisher=[[Philip Mould]] |accessdate=22 November 2018 |language=LANGUAGE |date=8 November 2018}}</ref>
During the 1830s and 1840s Gillies was a career portrait artist, and for many successive years contributed portraits to the exhibitions of the [[Royal Academy]].<ref name="DNB"/><ref name="Vic">{{cite book |last1=Orr |first1=Clarissa Campbell |title=Women in the Victorian Art World |date=1995 |publisher=Manchester University Press |isbn=9780719041228 |page=61 |url=https://books.google.com/books?id=2y68AAAAIAAJ&pg=PA61 |language=en}}</ref> Her subjects included feminist figures: [[Mary Leman Grimstone]], [[Mary Howitt]] and her daughter Anna Mary Howitt, [[Harriet Martineau]] of the ''Monthly Repository'' group.<ref name="Vic"/><ref>{{cite book |last1=Peart |first1=Sandra J. |title=Hayek On Mill: The Mill-Taylor Friendship and Related Writings |date=2015 |publisher=Routledge |isbn=9781317562344 |page=25 |url=https://books.google.com/books?id=tJusBwAAQBAJ&pg=PA25 |language=en}}</ref> She also painted the poet and critic [[Richard Henry Horne|Richard Hengist Horne]] and the novelist [[Anne Marsh-Caldwell]].<ref name="DNB"/>
⚫
[[File:Portrait of Charles John Huffman Dickens.png|thumb|left|[[Charles Dickens]], portrait by Margaret Gillies, 1843]]
⚫
Her portrait of [[Charles Dickens]], painted during the period when he was writing ''[[A Christmas Carol]]'', was in the [[Royal Academy of Arts]]' 1844 summer exhibition.<ref name="Brown">{{cite news |last1=Brown |first1=Mark |title=Lost portrait of Charles Dickens turns up at auction in South Africa |url=https://www.theguardian.com/books/2018/nov/21/lost-portrait-charles-dickens-turns-up-auction-south-africa-margaret-gillies |accessdate=22 November 2018 |work=[[The Guardian]] |date=21 November 2018 }}</ref> After viewing it there, [[Elizabeth Barrett Browning]] said that it showed Dickens with "the dust and mud of humanity about him, notwithstanding those eagle eyes".<ref name="Brown" /> A simplified form was used as the frontispiece of a book, ''A New Spirit of the Age'', in the same year. The painting's location was unknown (from later in Gillies' lifetime, when she was unable to trace it) until it was rediscovered in [[Pietermaritzburg]], South Africa,<ref name="Brown" /><ref>{{Cite news|url=https://edition.cnn.com/style/article/charles-dickens-portrait-scli-intl/index.html|title=Lost portrait of Charles Dickens found in South Africa|date=2018-11-21|work=CNN Style|access-date=2018-11-25|language=en}}</ref> and acquired and restored by the art dealer [[Philip Mould]] in 2018.<ref name="Mould">{{cite web |title=Charles Dickens: The Lost Portrait Now Open |url=https://philipmould.com/gallery/edit/charles-dickens-the-lost-portrait-open |publisher=[[Philip Mould]] |accessdate=22 November 2018 |date=8 November 2018}}</ref>


===Watercolourist===
In 1852 Gillies was elected an associate of the [[Old Society of Painters in Water-colours]], and was a contributor to its exhibitions for the rest of her life. Her exhibited works included:<ref name="DNB"/>
In 1852 Gillies was elected an associate of the [[Royal Watercolour Society|Old Society of Painters in Water Colours]], and was a contributor to its exhibitions for the rest of her life. Her exhibited works included:<ref name="DNB"/>


* ''Past and Future'', 1855, and ''The Heavens are telling'', 1856, both of which were engraved;
* ''Past and Future'', 1855, and ''The Heavens are telling'', 1856, both of which were engraved
* ''Rosalind and Celia'', 1857;
* ''Rosalind and Celia'', 1857
* ''Una and the Red Cross Knight in the Cavern of Despair'', ''An Eastern Mother'', and ''Vivia Perpetua in Prison'', 1858;
* ''Una and the Red Cross Knight in the Cavern of Despair'', ''An Eastern Mother'', and ''Vivia Perpetua in Prison'', 1858
* ''A Father and Daughter'', 1859;
* ''A Father and Daughter'', 1859
* ''Imogen after the Departure of Posthumus'', 1860;
* ''Imogen after the Departure of Posthumus'', 1860
* ''Beyond'', 1861;
* ''Beyond'', 1861
* ''The Wanderer'', 1868;
* ''The Wanderer'', 1868
* ''Prospero and Miranda'', 1874;
* ''Prospero and Miranda'', 1874
* ''Cercando Pace'', a drawing in three compartments, 1875; and
* ''Cercando Pace'', a drawing in three compartments, 1875
* ''The Pilgrimage'', exhibited at the Royal Jubilee Exhibition at Manchester in 1887.
* ''The Pilgrimage'', exhibited at the Royal Jubilee Exhibition at Manchester in 1887


Her last work was ''Christiana by the River of Life'', exhibited in 1887.<ref name="DNB"/>
Her last work was ''Christiana by the River of Life'', exhibited in 1887.<ref name="DNB"/>
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==External links==
==External links==
*{{ArtUK bio}}
{{commons category}}
{{commons category}}


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{{DEFAULTSORT:Gillies, Margaret}}
{{DEFAULTSORT:Gillies, Margaret}}
[[Category:Portrait miniaturists]]
[[Category:British portrait miniaturists]]
[[Category:Scottish watercolourists]]
[[Category:Scottish watercolourists]]
[[Category:1803 births]]
[[Category:1803 births]]
[[Category:1887 deaths]]
[[Category:1887 deaths]]
[[Category:Burials at Highgate Cemetery]]
[[Category:Scottish portrait painters]]
[[Category:Scottish portrait painters]]
[[Category:Scottish women painters]]
[[Category:Scottish women painters]]
[[Category:Women watercolorists]]
[[Category:Women watercolorists]]
[[Category:19th-century Scottish painters]]
[[Category:19th-century Scottish painters]]
[[Category:19th-century women artists]]
[[Category:19th-century British women artists]]
[[Category:19th-century women painters]]

Latest revision as of 17:49, 23 June 2024

Margaret Gillies
Margaret Gillies, 1864 photograph
Born7 August 1803
London, England
Died20 July 1887(1887-07-20) (aged 83)
Crockham Hill, Kent
NationalityBritish
Known forPainting
PartnerThomas Southwood Smith

Margaret Gillies (7 August 1803 – 20 July 1887) was a London-born Scottish miniaturist and watercolourist.

Biography

[edit]

Gillies was the second daughter of William Gillies, a Scottish merchant in Throgmorton Street, London, and his wife Charlotte Hester Bonnor (died 1811), daughter of Thomas Bonnor. Having lost their mother when Margaret was eight years old, and their father having met with business reverses, she and her older sister, Mary (1800–1870), were placed under the care of their uncle, Adam Gillies, Lord Gillies. They were educated by him, and then introduced to Edinburgh society.[1][2]

Before she was twenty, Gillies decided to earn her own living, and returned with her sister to her father's home in London. Mary Gillies became an author, while Margaret took the direction of a professional artist. She received lessons in miniature-painting from Frederick Cruikshank, and gained a reputation for it. Cruikshank's style was based on that of Andrew Robertson.[1][2]

Southwood Smith, 1844 engraving by James Charles Armytage after a drawing by Margaret Gillies

In the early 1830s Thomas Southwood Smith, a physician, Unitarian and a pioneer in the improvement of the health of the poor, particularly in London, separated from his second wife, Mary, and went to live with Gillies and her sister Mary.

The 1841 census records Margarett Gillies as aged 35 living at Hortet's Terrace, St.Pancras with Thomas Smith aged 50, Gertrude Hill aged 3, Harriet Lebe 21 and Sarah Hargrove 15. Smith and Gillies lived together at Hillside, Fitzroy Park, Highgate from 1844.[2] Smith, an ordained Unitarian minister, and Gillies associated with the group around the Monthly Repository, a Unitarian periodical; Mary Gillies was involved in editing it from 1836.[3][4] Margaret Gillies illustrated in 1842 Smith's first report as a mines inspector, on a tour in Leicestershire and West Yorkshire.[5]

Grave of Mary Gillies in Highgate Cemetery

Around 1850 Gillies' studio was at 36 Percy Street, where she briefly gave a home to the "auto-icon" of Jeremy Bentham,[6] on whose cadaver Southwood Smith had conducted a highly controversial public dissection in 1832.[7] She went in 1851 to Paris for a year, where she worked in the studios of Hendrik and Ary Scheffer, and on her return to England she exhibited some portraits in oils.[1][2] She then concentrated on watercolour painting, typically choosing domestic, romantic, or sentimental subjects, for which she was best known.[1] She joined the Society of Female Artists in 1856.[3] In 1854, short of money, they had moved to The Pines, near Weybridge, but Gillies kept a studio in 6 Southampton Street, off Fitzroy Square, later renumbered 27 Conway Street.[6] The 1861 census records Mary Gillies 60, authoress and Margaret Gillies 56, Artist in Water Colours, living at Heath House, Weybridge with Thomas S Smith, 72, physician and widower, his son Herman Smith 40, Wine merchant, his granddaughter Gertrude Hill 23, lady, and also a cook and servant. Thomas Southwood Smith died in Florence, Italy in 1861.[2]

After Smith's death, Margaret and Mary Gillies lived for many years at 25 Church Row, Hampstead, and worshipped at the Unitarian Chapel, Rosslyn Hill. Living with her was Charles Lewes, son of George Lewes the lover of George Eliot, and his wife Gertrude, Southwood Smith's granddaughter.[6] Mary died in 1870 and early in 1887[1] Margaret moved to The Warren, Crockham Hill, Kent, where she died later that year, on 20 July, of pleurisy, after a few days' illness.[1] Among her pupils was Marian Emma Chase,[8] and she gave early encouragement to Anna Mary Howitt[9] and the portraitist Mary Field, wife of the architect Horace Field.

In 1866 Margaret bought a grave plot in the dissenters' section of the western side of Highgate Cemetery for a stillborn baby of Charles and Gertrude Lewes. Mary was later interred in this grave on 23 July 1870, as was Catherine, the widow of the poet and critic Richard Hengist Horne, on 6 September 1893. In the adjoining grave rests Caroline Southwood Hill (buried on 3 January 1903), Southwood Smith's daughter and mother of the social reformers Miranda Hill and Octavia Hill, the latter of whom jointly founded the National Trust. The ashes of Caroline's youngest daughter Florence was the last interment in December 1935.[10] Although Margaret Gillies is memorialised on this grave she is buried elsewhere, presumably in Crockham Hill.

Works

[edit]

Before she was 24, Gillies was commissioned to paint a miniature of William Wordsworth, and stayed at Rydal Mount for several weeks.[1] She has three oil paintings in British national collections—in Aberystwyth, Nottingham and the National Portrait Gallery.[11] Pamela Gerrish Nunn wrote that she "combined an early-Victorian aesthetic with a mid-Victorian independence of mind".[12]

Richard Henry (or Hengist) Horne by Margaret Gillies, c. 1840

Portrait artist

[edit]

During the 1830s and 1840s Gillies was a career portrait artist, and for many successive years contributed portraits to the exhibitions of the Royal Academy.[1][13] Her subjects included feminist figures: Mary Leman Grimstone, Mary Howitt and her daughter Anna Mary Howitt, Harriet Martineau of the Monthly Repository group.[13][14] She also painted the poet and critic Richard Hengist Horne and the novelist Anne Marsh-Caldwell.[1]

Charles Dickens, portrait by Margaret Gillies, 1843

Her portrait of Charles Dickens, painted during the period when he was writing A Christmas Carol, was in the Royal Academy of Arts' 1844 summer exhibition.[15] After viewing it there, Elizabeth Barrett Browning said that it showed Dickens with "the dust and mud of humanity about him, notwithstanding those eagle eyes".[15] A simplified form was used as the frontispiece of a book, A New Spirit of the Age, in the same year. The painting's location was unknown (from later in Gillies' lifetime, when she was unable to trace it) until it was rediscovered in Pietermaritzburg, South Africa,[15][16] and acquired and restored by the art dealer Philip Mould in 2018.[17]

Watercolourist

[edit]

In 1852 Gillies was elected an associate of the Old Society of Painters in Water Colours, and was a contributor to its exhibitions for the rest of her life. Her exhibited works included:[1]

  • Past and Future, 1855, and The Heavens are telling, 1856, both of which were engraved
  • Rosalind and Celia, 1857
  • Una and the Red Cross Knight in the Cavern of Despair, An Eastern Mother, and Vivia Perpetua in Prison, 1858
  • A Father and Daughter, 1859
  • Imogen after the Departure of Posthumus, 1860
  • Beyond, 1861
  • The Wanderer, 1868
  • Prospero and Miranda, 1874
  • Cercando Pace, a drawing in three compartments, 1875
  • The Pilgrimage, exhibited at the Royal Jubilee Exhibition at Manchester in 1887

Her last work was Christiana by the River of Life, exhibited in 1887.[1]

Notes

[edit]
  1. ^ a b c d e f g h i j k Stephen, Leslie, ed. (1890). "Gillies, Margaret" . Dictionary of National Biography. Vol. 21. London: Smith, Elder & Co.
  2. ^ a b c d e Yeldham, Charlotte. "Gillies, Margaret Southwood". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/10745. (Subscription or UK public library membership required.)
  3. ^ a b Rogers, Helen (2017). Women and the People: Authority, Authorship and the Radical Tradition in Nineteenth-Century England. Routledge. ISBN 9781315318004.
  4. ^ Gaze, Delia; Mihajlovic, Maja; Shrimpton, Leanda (1997). Dictionary of Women Artists: Artists, J-Z. Taylor & Francis. p. 583. ISBN 9781884964213.
  5. ^ Darley, Gillian. Octavia Hill: Lessons in Campaigning. Octavia Hill, Social Activism and the Remaking of British Society, edited by Elizabeth Baigent and Ben Cowell, School of Advanced Study, University of London, London, 2016, pp. 27–44, at p. 31. JSTOR j.ctv4w3whm.9
  6. ^ a b c Hayes, David (2009). "From Southwood Smith to Octavia Hill: a remarkable family's Camden years". Camden History Review. 33: 9.
  7. ^ Rosen, F. "Bentham, Jeremy". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/2153. (Subscription or UK public library membership required.)
  8. ^ Yeldham, Charlotte. "Chase, Marian Emma". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/32379. (Subscription or UK public library membership required.)
  9. ^ Hirsch, Pam. "Howitt, Anna Mary". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/63040. (Subscription or UK public library membership required.)
  10. ^ "Listing of Grave entries for Grave 14900". Highgate Cemetery. 10 April 2021.
  11. ^ 4 artworks by or after Margaret Gillies at the Art UK site
  12. ^ Pamela Gerrish Nunn, Between Strong-Mindedness and Sentimentality: Women's Literary Painting, Victorian Poetry Vol. 33, No. 3/4, Word and Image (Autumn - Winter, 1995), pp. 425-447 at p. 437. Published by: West Virginia University Press. JSTOR 40002330
  13. ^ a b Orr, Clarissa Campbell (1995). Women in the Victorian Art World. Manchester University Press. p. 61. ISBN 9780719041228.
  14. ^ Peart, Sandra J. (2015). Hayek On Mill: The Mill-Taylor Friendship and Related Writings. Routledge. p. 25. ISBN 9781317562344.
  15. ^ a b c Brown, Mark (21 November 2018). "Lost portrait of Charles Dickens turns up at auction in South Africa". The Guardian. Retrieved 22 November 2018.
  16. ^ "Lost portrait of Charles Dickens found in South Africa". CNN Style. 21 November 2018. Retrieved 25 November 2018.
  17. ^ "Charles Dickens: The Lost Portrait Now Open". Philip Mould. 8 November 2018. Retrieved 22 November 2018.
Attribution

 This article incorporates text from a publication now in the public domain: Stephen, Leslie, ed. (1890). "Gillies, Margaret". Dictionary of National Biography. Vol. 21. London: Smith, Elder & Co.

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