John Reinhard Weguelin
John Reinhard Weguelin RWS (23 June 1849 – 28 April 1927) was an
English painter and illustrator, active from 1877 to after 1910. He
specialized in figurative paintings with lush backgrounds, typically
landscapes or garden scenes. Weguelin emulated the neo-classical style
Edward Poynter and Lawrence Alma-Tadema, painting subjects inspired
by classical antiquity and mythology. He depicted scenes of everyday
life in ancient Greece and Rome, as well as mythological subjects,
with an emphasis on pastoral scenes. Weguelin also drew on folklore
for inspiration, and painted numerous images of nymphs and mermaids.
His subjects were similar to those of his contemporary, John William
Waterhouse, who also specialized in painting the female figure against
dramatic backgrounds, but unlike Waterhouse, many of Weguelin's
subjects are nude or scantily-clad. Weguelin was particularly noted
for his realistic use of light.
Although his earliest work was in watercolour, all of Weguelin's
important works from 1878 to 1892 were oil paintings. In order to
supplement his income, he drew and painted illustrations for several
books, most famously Macaulay's Lays of Ancient Rome. Beginning in
1893, Weguelin devoted himself almost entirely to watercolour, and
became a member of the Royal Watercolour Society.
Weguelin's work was exhibited at the
Royal Academy and a number of
other important London galleries, and was highly regarded during his
career. However, he was forgotten following the first World War, as
his style of painting fell out of fashion, and he is best remembered
as the painter of Lesbia, depicting the fabled muse of the Roman poet
2 Artistic style
3 Selected works
4 Other works
6 External links
The Swing, 1893.
John Reinhard Weguelin
John Reinhard Weguelin was born 23 June 1849, in the village of South
Stoke, near Arundel. His father, William Andrew Weguelin, was Rector
of South Stoke, but was forced to relinquish his position
about 1856, when he joined the Tractarian Movement, and became a Roman
Catholic. When he was still a child, Weguelin's family departed
Sussex for Italy, where they lived for several years. Weguelin spent
much time at Rome, where he was inspired by art and history. Other
than a few drawing lessons in Italy, Weguelin had no formal training
in art during his childhood. In 1860, the eleven-year-old Weguelin
was sent to Cardinal Newman's Oratory School in Edgbaston. From
1870 to 1873, he worked as an underwriter for Lloyd's of London.
At the age of twenty-three in 1873, Weguelin enrolled in the Slade
School of Fine Art, then headed by Edward Poynter. He studied there
for five years, under both Poynter and his successor, Alphonse
Legros. Weguelin's first exhibited work was a watercolour, The
Death of the First-born, at the Dudley Gallery in 1877. On his
graduation from "the Slade," he had his first painting exhibited at
the Royal Academy. Although later celebrated as a watercolourist,
Weguelin would not exhibit in this medium again until the 1890s, and
nearly all of his paintings until 1893 were in oil.
Weguelin was heavily influenced by the work of Lawrence Alma-Tadema,
but within a few years he developed his own interpretation of
classical subjects. Beginning in 1878, he exhibited numerous paintings
at various London galleries, including the Royal Academy, the
Grosvenor Gallery, and the New Gallery. His work was also featured
by the Society of British Artists. His subjects included landscapes,
classical and Biblical themes, and pastoral scenes. He also produced
illustrations for several books, including the 1881 edition of
Macaulay's Lays of Ancient Rome, G.A. Henty's The Cat of Bubastes
(1889), a volume of poems by
Catullus (1893), Hans Christian
Andersen's stories in The Little
Mermaid and other Tales (1893), and
Thomas Stanley's translation of
The Library described Weguelin as one of the few decorative artists
who seldom relied on pen, and habitually expressed themselves in
"wash" rather than by line: "Mr. Weguelin has illustrated
a manner to earn the appreciation of Greek scholars, and his
illustrations to Hans Andersen have had a wider and not less
appreciative reception. His drawings have movement and atmosphere."
In 1893, Weguelin took up watercolour for the first time since leaving
the Slade. He exhibited The Swing at the Royal Academy, and after a
few months he was elected an associate of the Royal Society of
Painters in Water Colours. He became a full member in 1897. From
this time, Weguelin painted almost exclusively in watercolour, and
produced little in oil. He exhibited regularly at a gallery in Pall
Weguelin enjoyed canoeing and swimming, and was a member of the Savile
Club. In mature life, he settled at Hastings. He died 28 April
Weguelin's early works could be considered classicist, reconstructing
images of daily life from Greek and Roman times. However, his work
reflected a free adaptation of the pagan spirit of classical art,
instead of adhering to a strictly historical interpretation. Writing
in 1904, art critic
Alfred Lys Baldry
Alfred Lys Baldry described Weguelin as "a painter
of classic abstractions."
In an 1888 article on exhibitions at the New Gallery, The Art Journal
compared the work of three contemporaries, Alma-Tadema, whose work had
strongly influenced Weguelin, Charles Napier Kennedy, and Weguelin
himself, to that of George Frederic Watts. All four artists treated
Mr. Alma-Tadema's Venus and Mars, Mr. C.N. Kennedy's Fair-haired Slave
who made himself a King, and Mr. J.R. Weguelin's Bacchus and the Choir
of Nymphs are figure subjects of more realistic intention than the
preceding [referring to Mr. Watts' ''Angel of Death'']. Mr. Tadema's
colour is the most mellow, and Mr. Weguelin's the hardest and coldest.
All three are seriously studied, and give a more or less true notion
of the figure in its natural relation to the environment.
Weguelin's later work was described by Baldry in The Practice of
It is especially as a painter of the nude figure in water-colour that
Mr. J.R. Weguelin has made himself famous. He has taken up a class of
subject that comparatively few artists attempt, and he has handled it
in a long series of very attractive paintings with a charm and
distinction that can be sincerely admired. He has a very pleasing
fancy and a delightful sense of style; and his graceful
draughtsmanship, his exquisite feeling for delicate harmonies of
colour, and his brilliantly direct and expressive brushwork make his
productions more than ordinarily important as examples of the
judicious application of the water-colour medium.
Baldry goes on to discuss Weguelin's principles and techniques.
The Eleventh Edition of the Encyclopædia Britannica mentions Weguelin
as, "one of the most facile and expressive painters of fantastic
British Water-Colour Art lists the colours used by members and
associates of the Royal Society of Painters in Water Colours.
Weguelin's palette included "vermilion, light red, rose madder, purple
madder, brown madder, yellow ochre, cadmium 1 and 2, oxide of
chromium, oxide of chromium (transparent), black and Chinese white,
Vandyke brown, raw umber, burnt umber."
The Practice of Water-Colour Painting describes his palette as "cendre
blue, French blue, oxide of chromium (opaque and transparent),
Hooker's green, No. 1, yellow ochre, aureolin, cadmium orange, raw
sienna, burnt sienna, purple madder, rose madder, light red, brown
madder, Vandyke brown, raw umber, and flake white; and occasionally
vermilion, burnt umber, and lampblack."
The Death of the First-born (1877, watercolour) was Weguelin's
debut at the Dudley Gallery, and his last important watercolour until
1893. The subject was one that Alma-Tadema had treated in both 1859
and 1872. Its title refers to the last of the ten Plagues of Egypt
appearing in the Book of Exodus, in which the first-born children of
all Egypt were struck down, convincing the Egyptians to release the
Hebrews from bondage.
The Death of the Firstborn, by Mr. Weguelin, shows a young man
stretched out stark for the funeral-rites, and his mother (perhaps,
rather, his wife) crouched on the ground with her face hidden between
her knees; a sufficiently well-conceived treatment, fairly executed,
but not to be called intense.
Pressing Grapes (1880).
The daughters of the Greek king Danaüs pour jugs of water into a
bottomless jar that they are condemned to fill, in The Labor of the
Danaïdes (1878). This painting was exhibited at the Royal
Weguelin's most famous painting is probably Lesbia (1878), inspired
by the woman who inspired many of the Roman poet Catullus' works.
Catullus used the pseudonym "Lesbia" to refer to an aristocratic lover
whom he did not wish to scandalize, although their relationship was
Catullus writes bitterly of its ending. She is widely
supposed to have been Clodia, around whom swirled rumors and scandals
involving some of the most prominent men at Rome, although no
contemporary source makes that identification, and this element of
mystery adds to the appeal of both the poems and Weguelin's painting.
In the painting, Lesbia is depicted as a young woman, standing
contrapposto and framed in the gateway of a garden. She is clad only
in a diaphanous gown through which sunlight is visible, and in her
hair is a garland. Lesbia is feeding the birds, which fly and perch
about her and gather at her feet. The birds depicted are house
sparrows. Behind Lesbia are flowers, trees, and a view of the sea.
The Tired Dancer, also known as Revelry (1879), was exhibited at the
Grosvenor Gallery. It was reviewed in The Dublin University
J.R. Weguelin's "Tired Dancer" is very clear and rich. The girl has
flung herself upon a marble seat beneath a marble pillar; her loose
dress of dark red gause forms a brilliant patch against the marble,
and yet it does not hide the limbs beneath. Her dark hair is crowned
with clustering yellow flowers, the face is utterly asleep, and the
right arm flung out straight upon the marble slab behind her well
conveys the idea of complete weariness. The execution of the marble is
a kind of reminiscence of Alma Tadema's work.
A Portrait (1880) was exhibited at the Royal Academy.
In Pressing Grapes (1880), two young women, their skirts gathered
to their knees, stand in a stone tub, pressing grapes, as the juice
pours into a bucket through a notch in the side of the tub. The two
women stand on either side of a pole suspended from above, which they
grasp with their hands to keep their balance. Behind them are arches,
through which a richly-forested landscape can be seen below and
stretching into the distance. Stone jars and baskets of grapes line
the wall. A young girl with a ribbon in her hair leans against a large
vessel, her feet on a stool as she watches the women work. The
painting was discovered at a home in Portland, Maine in 1997, and
subsequently determined to be the work of Weguelin. This may be the
same painting as The Vintage.
The Vintage (1880, oil on canvas, 45 1/2 x 30") was exhibited at the
Grosvenor Gallery with an excerpt from Macaulay's poem, Horatius: And
in the vats of Luna/This year the must shall foam/Round the white feet
of laughing girls/Whose sires have marched to Rome. In its review, The
Times described the painting as, "a rare example of pictorial use made
of a good subject which is contemporary as well as antique." A
simpler version appears as one of the illustrations to the 1881
edition of the Macaulay poems.
The Obsequies of an Egyptian Cat (1886).
The Fishers (1881) was exhibited at the Royal Academy.
A Roman Acrobat (1881) was exhibited at the Grosvenor Gallery.
It was critiqued in The Gentleman's Magazine, where it was compared
with William Britten's The Flight of Helen, with which it was
Allegory has no place in Mr. Weguelin's canvas; no Venus need smile
approval of the feat that is there recorded. A Roman Acrobat—a
strapping girl making her perilous way along the tight-rope, and
watched by wondering eyes as the arms balance each other and the bare
feet press and squeeze round the narrow cord—is a subject that most
of the few painters fitted to deal with it at all would have been
tempted to make too carefully antiquarian. A painful realisation of
the furniture of antiquity—a small truth to a small matter—would
have left little room for the greater truths of character and the
higher interests of beauty and action. From this permanent
error—which yet would have ensured that passing popularity which
waits on the adroit display of mere learning and craftsmanship—Mr.
Weguelin is freed. One's first thought is not of the artist, of his
fund of antiquarian knowledge and his laborious battle with technical
difficulty. One takes, instead, a frank and simple pleasure in the
picture. It is of excellent draughtsmanship and expressive action—at
once imaginative and real. Mr. Weguelin is hardly shown by it to be a
skilled colourist, but he is a vivid painter of open-air light, in
which it may be that colours strike one as less subtle. Mr. Weguelin's
work depends less, however, upon any single highly developed gift of
technical skill than upon a union of many gifts which are considerable
already, and will improve by and by.
Weguelin's illustrations for Macaulay's Lays of
Ancient Rome appeared
in the 1881 edition, the cover of which employed Weguelin's depiction
of Horatius defending the Sublician bridge against the army of Lars
In Bacchus Triumphant (1882, oil on canvas, 18 x 12 1/4"), the god is
depicted as a child, being carried on a litter through a jubilant
crowd. He is seated on a wild boar, and in his hand he clutches a
thyrsus, which he raises triumphantly. In the background is an ancient
tree trunk, and the pedestal of some monumental statuary. Poplars and
the sea are visible in the distance.
The Feast of Flora (1882) was exhibited at the Royal
"The Feast of Flora" (No. 766), by J. R. Weguelin, is a bright
picture, well drawn, with great attention paid to the details, and
some humour. The chief figure is a young woman with a basketful of
fresh flowers coming down a marble staircase, holding a bunch of
narcissus blossoms up to the nose of a great black Egyptian idol. In
the courtyard to the left, there is a bronse figure, and about the
staircase and in the distance are gay crowds celebrating the joyous
The Bath (1884).
Habet! (1882) features a bather stooping down to assist a tortoise,
whom she has inadvertently knocked over. This painting was
exhibited at the Grosvenor Gallery.
In The Maidens' Race, (1883) six virgins wearing chitons await the
start of a footrace before an arena filled with cheering spectators. A
seventh is preparing to give the signal for the race to begin. In a
catalogue of works exhibited at the Royal Academy, a note reads,
"During the games celebrated in honour of Here, it was the custom of
the young girls of
Elis to run in the Olympic stadium, which was
shortened for them by one-sixth." This painting was admired by
Lewis Carroll, who mentioned it in his diary.
The Bath (1884, oil on canvas, 20 x 10") features a nude woman
standing before a fountain, from which she has drawn water in an urn.
The bather is pouring water from the urn over her left shoulder, while
her face is turned away from the viewer.
Herodias and her Daughter (1884), Weguelin depicts a scene from
the Gospels of Matthew and Mark. Herodias, whose marriage to Herod
Antipas was called illegal by John the Baptist, encourages her
Salome to dance for her stepfather, and demand an
oath of him. Once he has agreed,
Salome requires her stepfather to
bring her the head of John, much to Herod's dismay. This painting was
exhibited at the Royal Academy.
In the painting, Weguelin depicts
Herodias persuading her reluctant
daughter to participate in her plan for revenge.
Salome is clad in
veils, preparing to dance seductively before her stepfather and his
guests at a banquet. The two stand behind the corner of a wall, and a
large statue of a lion carved in an oriental style. There is an
elaborate marble floor, and guests are visible at the edge of the
painting, while Herod's pavilion, in the style of a Greek temple, is
in the background.
An Egyptian Difficulty in the time of Augustus (1885, 35 x 23"),
otherwise known as A Young Girl with Flamingoes, and probably the same
as Dance of the Flamingos (1885, oil on canvas, 92 x 61.2 cm)
was exhibited in the Grosvenor Gallery. The catalogue describes the
painting as, "a girl with flamingoes; marble arch over bronze door. A
characteristic picture by this artist." In one hand, the girl holds a
hoop wound with ivy or a similar vine, and in the other a stalk of
grass, which she waves toward one of a group of tame flamingos,
apparently trying to coax it through the hoop.
In The Swing Feast (1885, oil on canvas, 51 x 33"), two young
women, one standing, one seated, enjoy a pair of swings suspended from
trees before a temple, with other celebrants in the background. The
Royal Academy catalogue explains, "In expiation of the death of
Erigone, who hung herself, and in imitation of her, the maids of
Athens on this day swung themselves from trees, while they sang hymns
in her honour."
Reflection (1885, oil on canvas, 8 x 10") depicts a nude lying on
cushions before a pool of water. She plays with a long garland of
In The Obsequies of an Egyptian Cat (1886, 32 x 49"), a priestess
kneels before an altar upon which is placed the mummy of a cat. She is
burning incense, and has presented offerings of flowers and food to
the cat's spirit, together with a plate of milk. On the wall behind
the priestess is an Egyptian fresco, and a statue of the goddess
Bastet enthroned guards the entrance to the temple. Stairs
lead up to the doorway, through which a view of the sky and other
buildings are visible.
A Summer Afternoon (1886, 8 x 10") is a picture of a young woman
napping on a pile of cushions on a wide bench, attached to a high
wall. It was exhibited at the Grosvenor Gallery.
The Fair Girl (1886) was also exhibited at the Grosvenor Gallery.
Grosvenor Notes describes the subject: "dark hair, standing against a
The Captive Wood
Nymph (1887) received a diploma of the third order of
merit amongst oil and watercolour paintings from the Adelaide Jubilee
The Gardens of
The Toilet of Faunus, or Adoring the Herm (1887, 20 x 22") was
exhibited at the Royal Academy, where it was described as, "girl
placing wreaths of purple flowers on Faun's head."
The Gardens of
Adonis (1888, oil on canvas, 93 x 135 cm) was
exhibited at the New Gallery, where it was described: "Light
flowing robes of pink purple, green and pale lemon colour; one maiden
carries rose wreaths for offerings." The catalogue explains,
Before the feast of
Adonis it was the custom of the Greeks to sow in
shallow vessels the seeds of lettuce, endive, barley, &c. These
grew up quickly, and having no roots soon withered away, and in
consequence were considered as typifying the life and early death of
Adonis. They were called Gardens of Adonis, and after being carried in
procession were, together with a statuette of the god, committed to
the sea on the last day of the ceremonies. This observance is
described by Theocritus, Idyll XVI.
This painting is part of the collection of the Northampton Central
Museum & Art Gallery.
Bacchus and the Choir of Nymphs (1888, oil on canvas, 49 x 108 1/2")
was described as "one of the most important compositions in the New
Bacchus with red garment lying on a leopard skin holds a thyrsus. The
nymphs have pale draperies of pink, yellow and white; one has ivy in
her hair, and another on the left some violet flowers; the sea lies
blue below them, flecked with purple shadows; the rocks are grey; the
picture is light in color throughout, and delicately
The painting was exhibited with the anonymous translation, perhaps
that of the artist, of the first lines of Horace's Bacchum in remotis
carmina rupibus vidi docentem (Odes 2.19):"I saw within remotest
rocks/ (Believe that read in after time)/Bacchus who taught and nymphs
in flocks/Who learnt the lesson of his rhyme."
Bacchus and the Choir of Nymphs (1888).
A Bacchante (oil on canvas, 11 1/2 x 7 1/2") features a young
worshipper of Bacchus, leaning against a pillar. She wears a leopard
skin, and in her hair is an ivy garland.
The Study of Conchology (1888, 20 x 10") was exhibited at the
Grosvenor Gallery. It features a young woman, nude, gathering
seashells. Grosvenor Notes describes the background: "blue sea, with
purple rocks showing through clear water."
The Yellow Sands (1888, oil on canvas, 10 x 20") is described as "a
small nude study; back view." It features a woman sitting on the beach
on a clear day, when the sea is calm. This painting was exhibited at
the New Gallery.
In 1889, Weguelin painted three "Decorative Panels for a door,"
described in Grosvenor Notes as "(1) girl standing on crab; (2) seated
on back of fish; and (3) flying through the air, followed by fishes.
Small nude studies."
Psyche (1890, oil on canvas, 24 x 20") was exhibited at the New
Gallery, whose catalogue described it: "small head of a girl, with
opal-tinted butterfly wings." She is holding the box of Pandora.
"Spring-time" (1890, oil on canvas, 68 1/4 x 32") was also
exhibited at the New Gallery. The catalogue describes it: "foremost
figure in almost transparent white robe, with dark violet blue sash;
behind her a figure in reddish purple. All the foreground is in
shadow. A gleam of sunlight catches the apple-blossom and strikes
across the grass beyond." The painting is labeled, O primavera,
gioventù del anno/O gioventù, primavera della vita (O spring, youth
of the year/O youth, the springtime of life).
A Roman man bearing a sprig of laurel pours water from a pitcher into
a pool of water in O Babbling Spring, an illustration for Horace, Book
iii, Ode xiii. The spring rises at the foot of large boulders, and a
young goat is tied to a statue above some small urns. An engraving of
this picture was used as the frontispiece for the July, 1890 edition
of Scribner's Magazine.
To Faunus is a drawing depicting a maiden and her companion behind a
large rock on a hillside, as Faunus plays upon his flute nearby. The
maiden wears a garland in her hair, and carries her drapery as she
stands, listening. Her naked companion is rising from the ground. This
illustration served as the frontispiece for the July, 1891 edition of
Old Love Renewed (1891) is an illustration for one of the poems of
Horace, Book iii. Ode ix. It was exhibited at the New Gallery.
Behind the dark-haired maiden, who stands looking back at her former
lover, is the pale-blue sky and the warmer tinted sea, and in full
contrast to them a branch of crimson rhododendron which grows out from
behind the marble wall. The man who sits in the shadow of a cypress is
clad in a pale purple cloak. In the middle distance the many-coloured
town is seen in full sunlight.
A nude girl whispers to a silent statue of a sphinx in A Whispered
Question (1892), which was exhibited at the Royal Academy. This
painting was one of seven used as illustrations in S.G. Owen's edition
Mr. Weguelin's plates enhance greatly the value of the book. These
consist of a charming frontispiece and six other illustrations, all
equally graceful in design and execution. The first and most graceful
of these is to the second ode, and presents Lesbia and her sparrow.
The last illustration is to l. 35 of the 'Pervigilium Veneris.' Mr.
Weguelin's designs have the grace and beauty of last century
Heard Melodies are Sweet; but Those Unheard are Sweeter was exhibited
at the New Gallery in 1892.
The Swing (1893) marked Weguelin's return to watercolour. This
painting was exhibited at the Royal Academy.
The same year, Weguelin produced sixty-five illustrations for The
Mermaid and Other Stories, a collection of fairy tales by Hans
Christian Andersen. A review in
The Sketch reported, "as for Mr. J.R.
Weguelin's illustrations it would scarcely be possible to over-praise
them; the pencil can do no more for Andersen than Mr. Weguelin has
done for him here."
In 1894, Weguelin illustrated Thomas Stanley's translation of
Anacreon. His watercolor paintings were turned into photogravures for
the book. Ten paintings from this collection were exhibited at the New
Gallery, including a frontispiece, Love's Night Walk, Roses, The Wish,
The Invitation, The Picture, Love Imprisoned, The Spring, The Bee, and
On a Basin wherein Venus was Engraved. 
The frontispiece depicts two young women on the ground, one seated and
one reclining, before a statue of Anacreon, who holds a flute. Trees
and bushes occupy the background, with the words,
In Love's Night Walk, a young man lies on a bed of cushions, asleep
but with a restless pose and expression. Behind him is a wall, open to
the outside, and seated on the wall is Cupid, aiming an arrow of love
at the sleeper.
Two young women, one fair and one dark, both wearing long, flowing
dresses, dance beneath a garland in Roses.
The Wish depicts a woman untying her sandal before stepping into a
pool of water to bathe. Lilies rest on the calm, reflecting surface,
and grasses and shrubs occupy the background.
A youth on the ground implores a maiden's affections in The
Invitation. The young man wears a garland as he stretches toward his
companion. She, nude, looks away, bashfully. Behind them is a wall of
The Picture depicts a woman in contemplation, as she reclines against
some pillows on a bed. Behind her is a relief, depicting a festival
Love Imprisoned features a nude woman, seated on the ground, who has
Cupid between two trees with a garland of flowers. The annoyed
deity looks over his shoulder at his captor, whose back is to the
The Magic of Pan's Flute (1905).
In The Spring, three nude maidens gather flowers to string into
garlands. One sits on the ground, holding the garland on which she has
been working, as a second holds a string of blossoms above her head,
and a third picks flowers to add.
The infant Cupid, distressed after being stung by a bee, seeks his
mother's comfort in The Bee. Venus stands amidst small trees by a
shallow pool, gazing at her crying son, who sits on the a cloth on the
ground, looking at his wound. She wonders at the pain her son's arrows
will inflict on lovers, compared with the hurt caused by that "winged
serpent" called a bee.
Venus swims amidst breaking waves in On a Basin wherein Venus was
Engraved. Here the title is allegorical, the basin being the sea
itself, and Venus' birth being described as engraving. The fins of a
dolphin (depicted in the heraldic manner, rather than realistically)
emerge from the foam nearby, and a rocky headland can be seen in the
Two young women in flowing gowns gather flowers in a spring garden and
fling them at one another in mock battle, in A Battle of Flowers
(1894, watercolour, 20 x 28 1/2"). This picture was exhibited by the
Royal Watercolour Society, together with Venetian Gold, and may be the
same picture known as Rose Petals.
In Venetian Gold (watercolour, 1894), Weguelin depicts
"sixteenth-century ladies in their schiavonetti, having their hair
combed in the sun on the flat roofs of a house." The Saturday Review
says, "Mr. Weguelin affects a new style of technique this year, very
liquid, and light in hue. His Venetian Gold is one of the most
interesting drawings he has exhibited."
Rodantha (watercolour, 13 3/4 x 20 3/4") depicts a young woman with
red hair, draped in blue and reclining against a pile of cushions.
Cupid Bound by the Nymphs (1896, oil on canvas) depicts three nymphs
frolicking in a wood with the infant Cupid, whom they have bound with
garlands. This painting was exhibited at the Royal Academy, and the
Walker Gallery in Liverpool.
The Piper and the Nymphs (1897) features a piper playing at the foot
of a gnarled tree by the banks of a stream, as nymphs listen from
their seats on roots on the other side. A young nymph stands on a rock
overlooking the stream, rapt in the music. She is nude, and flowers
fill her hair. This painting was exhibited at the Royal
In 1898, Weguelin illustrated a volume of works by Lew Wallace,
including The Wooing of Malkatoon and Commodus.
Pan the Beguiler (1898, watercolour, 23 x 17") depicts two mermaids
sprawled upon the rocks, and listening intently to Pan, who is playing
his flute as the waves break against the shore. The god's back is
turned to the viewer.
Cherry Blossom (1905).
Zennor (1900, watercolour), also known as The Mermaid
Discovered, features a man wearing renaissance garb, standing on a
flight of stone stairs leading down to the water, and staring in
astonishment at the young woman draped across the stones at the base.
Her hair is red, and she is unclad from the waist up; from the waist
down she has pink fins. The picture alludes to the legend of the
Zennor who lives at Pendour Cove, near the Cornish village
The Rainbow Lies in the Curve of the Sand (1901) features a mermaid
sitting in the midst of a winding stream emptying into the sea across
a sandy beach. She has long, red hair, her fish tail is green with red
fins, and she rests in blue and purple water between golden bars of
sand. Green waves, capped by white foam, break realistically in the
Cherry Blossom (1905, watercolour, 21 x 14 1/4") features a young
woman, nude, with a garland of purple flowers, surrounded by the
blossoms of a small cherry growing from a low spot. The landscape is
covered with spring grass, in which hyacinths are growing.
In The Magic of Pan's Flute (1905, watercolour, 20 3/4 x 13 3/4"),
the god Pan sits on a tree root, his back to the viewer, playing on a
flute. On the opposite side of the twisted and gnarled tree stands a
naked nymph, listening attentively. She is wearing flowers in her
long, golden hair. Scattered rays of sunlight penetrate the misty
forest, vaguely depicted in greens and purples.
Pastoral (1905, watercolour, 15 x 21") depicts a nude woman, seated
at the edge of a small wood with her back to the viewer, playing a
flute as sheep graze nearby. She wears a garland in her hair. The
foreground is in shadow, with sunlight visible through the trees.
Shrubs in blossom and the size of the sheep suggest springtime.
Shepherd and Lambs in a Field before a Windmill (1908, watercolour, 53
x 35 cm) features a shepherd in a plaid shirt, his back turned to
the viewer, standing in a tranquil field with sheep and lambs.
Gladsome Spring (1911, watercolour) depicts two maids frolicking in a
flower-filled meadow. They have garlands in their hair, and a train of
yellow blossoms extends between them.
Mermaid (1911, watercolour, 25 x 36 cm), the subject sits on a
rock by the seashore. The water is turquoise, and the sky filled with
purplish clouds. The mermaid tilts her head and looks toward the
viewer, as she arranges her long blonde tresses.
Mermaid (1911, watercolour) features a mermaid sprawled
across a sunny beach, a string of shells by her outstretched hand.
Green waves roll in behind her, and the shore curves around into a
rocky headland, overlooking the wine-dark sea.
Blossoms from a Roman Garden (1885, 29 x 19")
The Captive Dryad (1903, watercolour)
The Clerk and the Farmer's Wife (watercolour), from "Little Claus and
Big Claus," by Hans Christian Andersen
A Cornish Shore (1903, watercolour)
Down to the Summer Sea (1884, 17")
Evoë Bacche (1882) was exhibited at the Grosvenor Gallery.
Flowers from a Roman Garden, possibly the same as Blossoms from a
Iris and Cherry Bloom (1903, watercolour)
The King's Commands (watercolour, 20 x 36")
A Libation (19")
Libation to the
Maidens (watercolour, 20 x 28")
Mermaid on the Sea Shore
Mrs. Jefferson (oil on canvas, 9 1/2 x 7") is a portrait of a woman,
head and shoulders, in a white dress.
The Racing Nymphs (watercolour)
A Real Princess
Rose Petals (watercolour, 28 x 20")
A Secret (1883)
A Serving Girl Wearing a Garland of Ivy (watercolour, 83 x
Shepherd and Lambs in a Field before a Windmill (1908, watercolour, 53
x 35 cm)
Solutis Gratiæ Zonis (1902, watercolour)
Spring Blossoms and Youth (1904, watercolour, 15 1/2 x 20 3/4")
Summer Afternoon (1886)
Under the Hollow Hung Ocean Green
^ a b c d e Who's Who (1897), Douglas Sladen, ed.
^ a b c d e f g h i j k l m n o p q r s t u v w x Alfred Lys Baldry,
"J. R. Weguelin and his Work." The International Studio, vol. 24
(1904-05), p. 378 ff.
^ a b c d e f g h i j k l "Your Source of Visual Intoxication".
^ a b c d e f g h i j k Marcus Bourne Huish, British Water-Colour Art,
Adam & Charles Black, London (1904).
^ a b Catullus: with the Pervigilium Veneris, S.G. Owen, editor,
Lawrence and Bullen, London (1893).
^ a b Anacreon, Thomas Stanley, translator, A.H. Bullen, London (1892,
^ a b R.E.D. Sketchley, "English Book-Illustration of To-Day", in The
Library, New Series, vol. III (1902).
^ The Art Journal, New Series (1888), p. 221.
^ a b Alfred Lys Baldry, The Practice of Water-Colour Painting:
Illustrated by the Work of Modern Artists, Macmillan and Co., Limited,
^ "Painting," in the Encyclopædia Britannica, Eleventh Edition
^ a b c d e f g h i j Christie's, [www.christies.com]
^ W. M. Rossetti, "The Dudley Gallery", in The Academy: a Weekly
Review of Literature, Science, and Art, vol. 11, p. 124 (February 10,
^ a b c d e f g h i j k l m Algernon Graves, The
Royal Academy of
Arts: A Complete Dictionary of Contributors and their work from its
foundation in 1769 to 1904 vol. VIII (1906).
^ a b c d e f g h i j k l m n o p q Cyclopedia of Painters and
Paintings, John Denison Champlin, Jr. and Charles C. Perkins, eds.,
vol. IV (1913).
^ "A Gossip on the Grosvenor Gallery," in The Dublin University
Magazine, vol. 94, p. 66 ff. (July, 1879)
^ "Rising Artists," in The Gentleman's Magazine, vol. 251 (July to
^ "The Pictures at the Royal Academy—III" in The Building News, vol.
42, p. 595 (May 19, 1882).
^ a b "The Picture Shows" in Household Words, vol. III, no. 55 (13 May
^ Jenny Woolf, The Mystery of Lewis Carroll, Haus Publishing Ltd.
^ a b c d e f Christie's, auction of 27 & 28 November 1913.
^ Grosvenor Notes 1885: an Illustrated Catalogue of the Summer
Exhibition at the Grosvenor Gallery, Henry Blackburn, ed.
^ a b c d e f "Sotheby's: Fine Art Auctions & Private Sales for
Contemporary, Modern & Impressionist, Old Master Paintings,
Jewellery, Watches, Wine, Decorative Arts, Asian Art & more".
^ a b Grosvenor Notes 1886: a Complete Catalogue, with Facsimiles of
Sketches by the Artists, Henry Blackburn, ed.
^ Adelaide Jubilee International Exhibition, 1887. List of Juries and
Official List of Awards. H.F. Leader, government printer (1889).
^ Academy Notes 1887, with Facsimiles of Sketches by the Authors,
Henry Blackburn, ed.
BBC - Your Paintings [www.bbc.co.uk/arts/yourpaintings]
^ a b c d e f g h The New Gallery: An Illustrated Catalogue, vols.
1-5, Henry Blackburn, ed. (1888-1892).
^ Christopher Wright, British and Irish Paintings in Public
Collections, Yale University Press (2006).
^ The Faringdon Collection, [www.buscot-park.com]
^ Grosvenor Notes 1888: an Illustrated Catalogue, with Facsimiles of
Sketches by the Artists, Henry Blackburn, ed.
^ Grosvenor Notes 1889: an Illustrated Catalogue of the Summer
Exhibition, Henry Blackburn, ed.
^ DuMouchelles, [www.dumouchelles.com].
^ Scribner's Magazine, vol. VIII, issue 1 (July, 1890).
^ Scribner's Magazine, vol. X, issue 1 (July, 1891).
^ "Notes on Books, &c." in Notes and Queries, Eighth Series, No.
109 (Jan. 27, 1894).
^ Louise Lippincott, Lawrence Alma-Tadema: Spring, J. Paul Getty
^ The Sketch.
^ "The Royal Society of Painters in Water-Colours," in The Saturday
Review, 5 May 1894.
^ a b A Record of Art in 1898, an Extra Number of The Studio, Part 1:
^ a b c d "Bonhams". bonhams.com.
^ "Lots Road". lotsroad.com.
^ "JS Auctions". jsauctions.co.uk. Archived from the original on 23
Media related to
John Reinhard Weguelin
John Reinhard Weguelin at Wikimedia Commons
John Reinhard Weguelin
John Reinhard Weguelin at Project Gutenberg
Works by or about
John Reinhard Weguelin
John Reinhard Weguelin at Internet Archive