Watercolour of a lady in a blue two-piece swimsuit, 1949

Richard A. Siddall (British, Sheffield) Watercolour on paper

Dated 1949, this finely executed watercolour by Sheffield artist Richard A. Siddall captures a poised young woman seated in a patterned blue two-piece swimsuit. Combining assured draughtsmanship with delicate washes of colour, Siddall demonstrates a sensitive understanding of the human figure, using subtle tonal modelling and restrained brushwork to create a portrait of quiet confidence and elegance.

The sitter's relaxed pose and contemporary swimwear reflect the optimism and changing social attitudes of the immediate post-war years, when leisure and outdoor pursuits became increasingly central to everyday life. Rather than presenting an idealised fashion image, Siddall focuses on the individuality of his subject, conveying both composure and natural grace.

The sitter's two-piece swimsuit reflects a significant moment in the history of fashion. In 1946, French engineer Louis Réard introduced the modern bikini in Paris, naming it after Bikini Atoll in the Pacific in the hope that its unveiling would make an equally dramatic impression on the public. Although revealing swimwear was still considered daring in the late 1940s, the emergence of two-piece designs marked a shift towards greater freedom in women's fashion. By 1949, when Siddall painted this work, such garments had begun to symbolise the optimism and changing social attitudes of the post-war years, even though the bikini itself would not become widely accepted until the following decade.

Her softly curled hairstyle is characteristic of the late 1940s, when carefully dressed waves and pin curls were the height of fashion. Popularised by film stars such as Rita Hayworth and Veronica Lake, this elegant style complements the modern simplicity of the swimsuit, placing the work firmly within its historical context.

Executed with remarkable sensitivity, the painting exemplifies Siddall's ability to combine technical precision with warmth and humanity. It offers not only a beautifully observed portrait but also a subtle record of post-war British life and fashion at the close of the 1940s, capturing a moment when changing attitudes towards leisure, style and femininity were beginning to shape a new era.

beautifully framed in a double mount cream and sage and  hand painted mottled edge frame.

50 x 44cm