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Most of Elmore's best works were historical narrative paintings. Religious Controversy and The Novice were both implicitly anti-Catholic in character. Other paintings set episodes from Shakespeare, or the history of the French Revolution. They often contained explorations of the process of creation, most importantly his two paintings about technological innovation, The Invention of the Stocking Loom (1847) and The Invention of the Combing Machine (1862). Both portray the process of industrialisation by depicting picturesque pre-industrial handicrafts. The inventor is supposed to be pondering these manual skills while he forms in his mind a mechanism to replace them.
Elmore's best-known work is On the Brink (1865), a moral genre painting depicting a young woman who has lost her money gambling, and is 'on the brink' of responding to the blandishments of a seducer, who is depicted as a satan-like figure, luridly bathed in red light, and whispering corrupting thoughts in her ear.
By the late 1860s Elmore was moving away from such Hogarthian subjects towards a more classical style influenced by Edward Poynter and Lawrence Alma-Tadema. He also painted Arabic figures, in line with the vogue for Orientalism in art.
This is an interesting document - a list, handwritten in ink, of seven of his paintings, with their owners (No.1 "Mary Queen of Scots and Darnley at Jedburgh". Proprietor - Angus Holdern Esq, Woodlands, Bradford) to Philip Cunliffe-Owen, October 16th 1877. This may have been in connection with the Paris 1878 Exposition Universelle which Cunliffe-Owen was organising. There's a good signature at the conclusion of the list.
One horizontal correspondence fold, otherwise in good condition.