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We have so far recorded over 550 of Susanna's sketches and paintings, almost all created between 1891 and her death in 1927. The great majority depict people, animals and rural scenes in northern Portugal. She must have visited the London Galleries where she became interested in copying other works, in particular that of J.M.W. Turner. There are five known examples, one of which is a large-scale copy of Turner's Agrippina arriving at Rome with the ashes of her son Germanicus. She also extended her skills to cover portraiture with a fine portrait of her sister Kate. This latter gives the impression that the various portraits which appear in her paintings are true to life. Occasionally she would write the name of a place on the back; sometimes she would sign a painting on the right or left, either with S.R.D. or S R Dockery. Many of the paintings in the possession of her family are preliminary sketches and unfinished paintings and it is assumed that most of her finer works were sold near her home in Surrey, at her various exhibitions, or in Portugal and within the English Community of Portugal. Her paintings range in size from a large postcard to approximately A4 size, however some examples are considerable larger. The price differences in the Dunthorne catalogue probably reflect this range in sizes.
The Catalogue and its Categories
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| Double quotations indicate title by SRD. |
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| The home of Kate and Arthur Dagge. |
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| srd327 |  View from da Eira Velha, Douro |
This lovely painting is one of Susanna Roope Dockery’s most intimate and revealing works of her stay at Eira Velha where her sister Kate Dagge lived. Unlike her wide, dramatic valley panoramas, this painting draws the viewer into the quiet domestic world of the quinta itself. The foreground terrace - with its terracotta pots, modest plants, and stone parapet - is unmistakably the lived‑in space of the house, a place where Susanna would have stood daily, looking out over the Douro. On the painting is written "From the 'Pomar' at Eira Vehla". It is assumed that 'Pomar' is a shortened Pombal.
The composition is anchored by these pots, which act almost as portraits of the household: practical, unpretentious, and rooted in the rhythms of rural life. Beyond them, the landscape opens into a soft, atmospheric sweep of river and hills, rendered with Susanna’s characteristic restraint. The river curves gently through the valley, and the distant slopes dissolve into warm haze, giving the scene a sense of depth and tranquillity. This is not the dramatic Douro of tourist imagination, but the quiet Douro of those who lived and worked on its terraces. What makes this painting particularly valuable is its topographical accuracy. The view is unmistakably upriver, toward the interior, seen from the north‑east‑facing terrace of the Eira Velha house. The angle of the river, the height above the valley, and the recession of the hills all confirm that Susanna painted this from the upper terrace of the Dagge residence. The Painting therefore serves not only as a lyrical study of light and domestic stillness, but also as a documentary anchor for reconstructing Susanna’s movements and viewpoints during her stay at Eira Velha and is one of the clearest visual confirmations of where she lived, where she stood, and how she saw the Douro during this period. 'The Pombal', depicted on painting srd390, stood a short distance to the east of Eira Vehla. The painting may be mentioned in the Grave's exhibition of 1902. Sadly, neither the house nore the pombal appear to survive. |
Dimensions:- 14.75 x 21.6cms. |
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| srd113 |  "Bom Jesus" The 'Roope' Estate |
This is the only painting we have to be titled 'Bom Jesus', the Roope Estate.
One of Susanna's serene terrace studies from her time at Eira Velha. The composition centres on a sunlit parapet lined with terracotta pots, their small flowers glowing against the warm ochre of the terrace wall. Beyond this intimate foreground, the landscape opens into a soft, hazy sweep of Douro mountains - the familiar, layered horizon that defines the Eira Velha hillside. Susanna’s palette is gentle and harmonious: warm earth tones in the terrace, cool blues and purples in the distant ridges, and a delicate, diffused light that unifies the scene. The painting captures a moment of quiet domestic life on the quinta, where the cultivated pots and the vast valley coexist in perfect balance. It is a work of calm observation and understated beauty, firmly rooted in the Eira Velha terrace environment and closely related to her other still‑life‑on‑the‑parapet compositions. |
Dimensions:- 20 x 12½cms. |
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| srd111 | "Douro Girl" |
A painting by Susanna at Eira Vehla. This intimate portrait shows Susanna Roope Dockery working in a quieter, more personal mode than in her sweeping Douro landscapes. A young woman leans gently against a simple wooden railing, her posture relaxed, her gaze turned toward the valley beyond. The soft blue‑green of her dress and the warm yellow of her headscarf create a delicate contrast against the muted purples and greys of the distant mountains. Unfortunately we do not know who she was. (Also reproduced in the Portrait section.)
The background is rendered with Susanna’s characteristic atmospheric touch: the hills dissolve into haze, giving the scene a sense of depth and tranquillity. The railing, rustic and unadorned, anchors the composition and situates the viewer on a terrace or veranda — almost certainly at Eira Velha, where Susanna painted several works of similar mood and palette. What makes this painting especially compelling is the balance between the human presence and the landscape. The girl is neither posed nor idealised; she is simply part of the quiet life of the quinta, absorbed in her own thoughts. The result is a tender, contemplative work that reveals the domestic side of Susanna’s time at Eira Velha - a moment of stillness on the terrace, with the vast Douro valley stretching softly behind. |
Dimensions:- 12½ x 15cms. |
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| srd355 |  Melons on Wall |
One of Susanna's more quietly lyrical works from her stay at Eira Velha. Set on the stone parapet of the house terrace, the composition balances the solidity of the granite spheres with the organic roundness of the watermelons, creating a gentle dialogue between the built and natural worlds. The melons are rendered in warm, earthy tones and sit confidently in the foreground, their weight and texture contrasting with the smooth, weathered stone beneath them.
Behind this still‑life arrangement, the Douro landscape unfolds in soft blue‑grey layers, the distant hills dissolving into atmospheric haze. The juxtaposition is striking: the immediacy of the fruit, tangible and close, against the vast, receding quiet of the valley. This is Susanna at her more contemplative, capturing not the drama of the Douro but the intimate, lived‑in beauty of a terrace where daily life and landscape meet. The painting stands as a companion to her other terrace work (notably 327), forming a small but significant duo that reveals Susanna’s affection for the quiet corners of the quinta where life unfolded at its own unhurried pace. |
Dimensions:- 15½ x 15½cms. |
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| srd390 |  "The Pombal, Eira Velha" on the Douro |
Susanna painted this scene while positioned to the east. The pombal stood on an exposed shoulder on the estate. The quinta cannot be seen but was situated a short distance to the east. It was painted sometime before 1909. This watercolour is one of Susanna Roope Dockery’s most evocative studies of the high ground above Pinhão, painted during a period when she stayed with a relative managing the Taylor’s Port wine estate on the south side of the Douro. The solitary round pombal stands on an exposed shoulder of land at Eira Velha, a traditional threshing area overlooking the deep valleys that fall away toward Vale de Mendiz. Susanna captures the structure with her characteristic clarity: a simple, cylindrical dovecote set against rolling ochre hills and the soft blue‑grey distances of the Marão range. The composition is spare but atmospheric. The pombal anchors the foreground, while the sweeping emptiness around it conveys the isolation of these upland farms. Her delicate handling of the distant mountains - dissolving into haze - is typical of her Douro work, where she consistently sought out high, contemplative viewpoints rather than the riverbank scenes favoured by many visiting artists. This painting belongs firmly to her southern‑side Douro period, when she explored the slopes above Pinhão, Eira Velha, and São Salvador do Mundo, producing some of her most quietly powerful landscapes. See number srd018. |
Dimensions:- 15 x 9½cms. |
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| srd018 |  "Douro Vineyard" |
From Portugal, its Land and People, 1909. This is Susanna's refined, public‑facing interpretation of the Eira Velha pombal scene. Unlike No. 390 - which is a field study painted directly on the hillside - No. 018 has been edited, tightened, and idealised for publication. This painting must have been painted just before 1909, the publication date of the book.
The pombal is still the central subject, but it is rendered with cleaner lines and a more deliberate silhouette. The background hills are softened and simplified, giving the scene a more lyrical, atmospheric quality. The colour palette is more controlled — warmer earth tones, cooler distances, and a more even sky wash. This is Susanna in “publication mode” tidy, balanced, and designed to represent Portugal to an English‑speaking audience. See number srd390. Both are valuable - one as evidence, the other as interpretation. |
Dimensions:- not known. |
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| srd274 |  "Road from Sagrado, Douro" |
One of Susanna'sstudies of the Eira Velha road, capturing the quiet rhythm of rural life on the southern slopes above Pinhão. Unlike the dramatic ascent shown in painting 306, this work looks down the long curve of the road, where the hillside opens gently toward the valley. The broad ochre bank on the left anchors the composition, its warm tones contrasting with the cooler, receding hills beyond.
At the centre of the scene, a figure walks beside an ox laden with goods - a familiar sight on these upland tracks in the late 19th century. Susanna’s handling of the figures is understated but full of life; they give scale to the landscape and remind us that this was a working road, used daily by farmers, muleteers, and estate workers. The muted purples and browns of the distant hills, softened by atmospheric haze, place the viewer firmly on the south side of the Douro, looking toward the north‑west. This confirms the location as the descending stretch of the Eira Velha road, just below the Dagge house terrace and the pombal site. The painting forms a natural pair with 306: one looking up the road, the other looking down, together giving a complete sense of Susanna’s daily surroundings during her stay at Eira Velha. It is a quiet, observant work - a record of movement, labour, and the gentle dignity of the Douro’s rural landscape. Sagrado” is not a village. It is the local name for the sanctuary of São Salvador do Mundo.Locals say “vou ao Sagrado” meaning “I’m going to the Sanctuary”. |
Dimensions:- 11½ x 8cms. |
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| srd306 |  "Sagrado, Eira Velha" |
This painting captures one of the classic viewpoints on the old mountain road descending from São Salvador do Mundo (Sagrado) toward the Douro, specifically the upper section of the route rather than the lower valley road. From this high vantage, the path winds along the steep hillside and opens south‑eastward into the broad Vale de Mendiz and Vale de Rodo. It is a landscape long admired by travellers for its drama and solitude, and Susanna Roope Dockery renders it with her characteristic sensitivity to distance and light. The descending track draws the viewer’s eye toward the pale, mist‑filled valley beyond, while the two small figures on the road emphasise both the scale of the terrain and the quiet rhythm of movement between the sanctuary above and the river villages below. On the right, the tall pines rise in a dark vertical counterpoint to the open, luminous space on the left, where the land drops sharply away. Susanna handles the distant hills with delicate blue‑grey washes, creating a convincing sense of depth and the soft morning haze typical of the upper Douro. The composition is faithful to the terrain of this ancient route, capturing not only its topography but also the contemplative stillness that defines these high slopes above Pinhão. | Dimensions:- 12½ x 10cms. |
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| srd319 |  Douro |
Susanna probably p;ainted this scene from the Eira Vehla. She here captures the quiet majesty of the Douro as it winds toward the interior. The composition is built around the river’s gentle curve, which leads the eye into a landscape of soft, layered hills rendered in muted purples and blues. Susanna’s handling of distance is particularly refined here: the far ridges dissolve into haze, giving the scene a sense of depth and tranquillity.
The foreground slope, painted in warm ochres, anchors the composition and situates the viewer on the sun‑baked terraces of the Eira Velha house. This is not the dramatic, plunging view of the pombal painting, but a calmer, more contemplative vantage point — the kind of view one would see daily from the terrace where Susanna stayed with her sister Kate Dagge. The sky, with its subdued light and drifting cloud, adds to the painting’s quiet mood. There is no human presence here, no oxen or muleteers, only the slow, unhurried movement of the river and the timeless stillness of the hills. It is a work of serenity and observation, capturing the Douro not as spectacle but as lived landscape. This painting stands as a key piece in the Eira Velha group: a pure landscape study that reveals how deeply Susanna absorbed the rhythms and atmosphere of the place. |
Dimensions:- 15 x 11cms. |
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| srd024 |  Vineyards Along the Douro |
Susanna painted this scene from just above Eira Vehla. It captured the Douro in a moment of quiet, almost meditative stillness. The river winds gently through the centre of the composition, its pale surface catching the light as it curves toward the distant interior. The surrounding hills are rendered in soft purples, greys, and muted browns, creating a delicate sense of depth through atmospheric layering.
Unlike her more intimate terrace studies, this painting steps back to embrace the full breadth of the valley. The absence of foreground structures or figures gives the scene a contemplative purity: the viewer is invited simply to look, to breathe, and to absorb the vastness of the landscape. The sky, with its subdued light and drifting cloud, reinforces the mood of calm introspection. This work belongs firmly to the Eira Velha group, sharing the same upriver orientation as srd319 but offering a wider, more panoramic sweep. It reflects Susanna’s ability to shift effortlessly between domestic detail and grand landscape, capturing both the intimacy and the immensity of the Douro from the hillside where she stayed with her sister. It stands as a quiet masterpiece of atmosphere and restraint - a portrait of the Douro not as spectacle, but as a place of enduring tranquillity. |
Dimensions:- not known. |
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| srd097 |  "Lane at Eira Velha" |
A colour study by Susanna of the Eira Vehla hillside, capturing the narrow upper lane that winds between rocky banks above the house. The warm, glowing palette — far richer than her usual Douro colours - suggests late afternoon light, giving the scene a sense of quiet closure at the end of a working day.
The composition is anchored by the lane itself, a sunken track carved by generations of muleteers. The figure and pack animal moving away from the viewer lend the painting a gentle narrative pull, emphasising the daily rhythms of rural life on the high terraces. Susanna’s handling of the rocky banks is particularly sensitive: the warm ochres and siennas contrast beautifully with the cool purples of the distant hills, creating a striking interplay of temperature and depth. The background valley opens softly, its layered hills dissolving into haze - a hallmark of the north-west view from the upper Eira Velha slopes. This gives the painting a sense of spaciousness despite the narrowness of the lane, and situates it firmly within the geography of the quinta. Painting 97 stands apart from the other Eira Velha works in its colour and mood, yet it completes the narrative of Susanna’s walks along the hillside, capturing the intimate, enclosed upper lane where the day’s light lingers longest. |
Dimensions:- 28 x 23cms. |
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| srd311 |  "The New Road, Eira Velha" |
Susanna's clear-eyed record of the newly-engineered road that climbed the south bank above Pinhĕo toward Eira Velha. Unlike her more intimate studies of the old mule lanes, this work captures a broader, more open stretch of the hillside, where the new road cuts a clean line across the slope. The composition emphasises the sense of progress and accessibility that such roads brought to the Douro in the late 19th century.
The river winds through the valley below, its pale surface catching the light as it curves toward the distant hills. Susanna’s palette here is restrained and atmospheric: soft purples and greys in the distance, warm ochres in the foreground, and a sky that feels both expansive and contemplative. The painting conveys a sense of quiet modernity — the landscape unchanged, but the human route through it subtly transformed. What makes this work especially valuable is its documentary quality. It shows the Eira Velha hillside at a moment of transition, when the old mule paths were giving way to wider, more navigable roads. Yet Susanna’s sensitivity ensures that the engineering never overwhelms the landscape; instead, the road becomes a gentle curve guiding the viewer’s eye into the valley. The painting stands as a bridge between her rustic lane scenes and her broader valley studies - a thoughtful, beautifully balanced record of change on the hillside where she lived and painted. |
Dimensions:- 11 x 8cms. |
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| srd313 |  Traveller on Mountain Road |
This is Susanna's more expansive hillside studies, capturing the upper mule path above Eira Velha where the landscape opens into a wide, atmospheric panorama. The winding track, flanked by scattered trees and rocky banks, leads the viewer gently into the scene, guided by the figures of a rider and a walker - a familiar pairing in Susanna’s Douro works, evoking the daily movement of people across these upland routes.
The middle distance is softened by clusters of vegetation, but the true drama lies in the background: a sweep of pale purple and blue mountains receding into haze. Susanna’s handling of atmospheric depth is particularly refined here, giving the painting a sense of quiet grandeur. The warm foreground tones - ochres, siennas, and muted greens - contrast beautifully with the cool, distant hills, creating a balanced and harmonious composition. Unlike her terrace or road paintings, this work conveys the feeling of being high above the valley, where the air is clearer and the view more commanding. It is a painting of movement, solitude, and the timeless rhythm of the Douro’s upland paths. |
Dimensions:- 12½ x 7½cms. |
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| srd231 |  Country Road |
Appears to be an unfinished painting depicting a person on a road - possibly below Eira Vehla. |
Dimensions:- 8 x 11cms. |
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| srd520 |  The Broad Highway |
Dimensions:- Small painting. |
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| srd526 |  View from Eira Velha, Pinhão, on the Douro |
On the reverse is written "View from Eira Velha, S. Dockery". Everything in the composition - the bridge, the broad river curve, the gentle recession of hills, and the elevated but not precipitous viewpoint - places Susanna on the Eira Velha house terrace, looking downriver towards Pinhão. The bridge is the old Pinhão iron bridge (Gustave Eiffel’s firm was involved in its design). One of Susanna's more refined terrace views from Eira Velha, capturing the Douro as it sweeps gracefully toward Pinhão. The iron bridge anchors the foreground, its delicate truss reflected in the still water below. Susanna paints it not as an industrial intrusion but as a quiet, almost lyrical element within the landscape.
The river’s broad curve leads the eye into a valley softened by mist and distance, where the hills dissolve into muted greys and blues. This atmospheric handling is characteristic of her finest Douro work: the landscape is vast, but never harsh; structured, but never rigid. The composition balances human presence - the bridge, the riverside houses - with the overwhelming calm of the natural setting. As a signed and titled “View from Eira Vehla,” this painting is one of the key documents of Susanna’s time on the hillside, and one of the clearest visual records of the terrace where she stayed with her sister Kate. See srd116. | Dimensions:- 23 x 34cms. |
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| srd116 |  Railway bridge Across the Douro |
Painted from almost exactly the same position as srd526 - the Eira Velha house terrace - but with a slightly lower or more forward stance, giving a more intimate view of the bridge and riverbank.
The painting is a serene and beautifully balanced view of the Douro from the Eira Velha terrace, focusing on the iron bridge and the quiet cluster of riverside houses at Pinhão. The composition is intimate: the bridge sits closer to the viewer than in srd526, and the river feels broader, calmer, almost glasslike. Susanna’s palette is soft and harmonious — warm browns in the foreground, cool greys and blues in the distance - creating a gentle atmospheric depth. The hills fade into mist, giving the scene a sense of early morning or late afternoon stillness. The framing of the bridge is particularly elegant: it becomes the hinge between human settlement and the vastness of the valley. Where srd526 is expansive and airy, srd116 is contemplative and grounded. Together they form a pair that captures both the grandeur and the intimacy of the Douro as seen from Eira Velha. |
Dimensions:- 14½ x 21½cms. |
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| srd323 |  River, Town and Rail Bridge |
Susanna painted this scene from the south‑bank hillside just above the railway line, looking north‑west toward Pinhão and the railway bridge.
It is part of the same geographical world as the Eira Velha paintings, but taken from a lower, river‑facing position. It is an atmospheric depictions of the Douro’s transformation in the late 19th century. The iron bridge spans the river with a delicate lightness, its reflection shimmering in the calm water below.
Susanna’s palette is soft and restrained: muted purples and browns in the mountains, gentle greens along the riverbank, and a pale, mist‑washed sky that gives the whole scene a sense of early morning stillness. The distant houses of Pinhão nestle at the foot of the great northern wall of the valley, emphasising the scale and grandeur of the landscape.
| Dimensions:- 17 x 12cms. |
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| srd440 |  The Linha do Douro Railway |
This scene depicts the railway line beyond Pinhão on its route to the east towards the bridge over the rio Tua, where the line hugs the steep northern bank and curves repeatedly into narrow folds of the valley. The most likely location is Between Ferrão and Tua, on one of the deep bends where the line disappears into the hillside. The view appears to be looking west with the river hidden to the left. This is one of the most dramatic and recognisable parts of the Douro line - and Susanna clearly found it compelling.
Susanna's painting captures the line not in its open, river‑side splendour, but in one of its most dramatic inland passages. The single track curves through a steep, narrow valley, flanked by rugged hillsides rendered in soft purples, browns, and greens. The composition emphasises the sense of enclosure: the railway disappears into the distance, swallowed by the folds of the mountains. Susanna’s palette is gentle and harmonious, with muted tones that evoke early morning or late afternoon light. The vegetation is sparse but expressive, giving the scene a natural, unpolished character. Unlike her terrace or river views, this painting conveys movement and direction - the railway as a thread cutting through the ancient landscape, modern yet unobtrusive. What makes this work particularly striking is its mood. There is no town, no river, no human structure except the railway itself. The scene feels remote, quiet, almost contemplative. It captures the Douro not as a cultivated valley but as a wild, mountainous corridor, where the railway winds through solitude and stone. This painting stands as a counterpart to her Pinhão bridge views: one shows the railway entering civilisation, the other shows it deep in the heart of the valley. |
Dimensions:- 14½ x 11½cms. |
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| Tending, picking and carrying of the fruit. |
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| srd008 |  "Bringing in the Grapes" |
From Portugal, its Land and People, 1909. Probably at Eira Velha. The painting depicts a single worker carrying a large basket of grapes on his head, supported by one hand. The landscape behind him is unmistakably Douro: rolling hills, soft purples, and warm sky. Susanna captures both the strain and the dignity of the task. It is possible the same man is portrayed in numbers srd027 and srd330. | Dimensions:- not known. |
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| srd170 |  Man Carrying Grapes |
Dimensions:- 17 x 24cms. |
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| srd198 |  Grape Carriers |
Dimensions:- 23 x 18cms. |
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| srd027 |  Resting Grape Picker |
Some foxing. Here is a worker seated on stone steps, resting after carrying the basket of grapes. His posture - head supported by hand - conveys fatigue and contemplation. The muted foliage and stone surroundings suggest the exterior of the Eira Velha adega. | Dimensions:- 12½ x 17½cms. |
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| srd330 |  "Man Carrying Grape Basket" |
Painting 330 shows a similar figure from behind, carrying a heavy basket on his back. The simplicity of the background emphasises the burden and movement. Susanna’s brushwork is expressive, focusing on posture and weight. This is a companion piece to srd008, forming a natural pair. | Dimensions:- 18.5 x 25.5cms. |
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| srd367 |  Douro Wine Harvest |
This painting captures the opening movement of the vindima (harvesting process), at Eira Velha: men carrying heavy baskets of grapes toward the adega while, on the left, women continue picking the fruit directly from the vines. This dual activity gives the scene a natural rhythm - harvesting and transporting happening simultaneously, as was typical in Douro vineyards.
The men advance with purposeful stride, their baskets full and heavy, while the women work quietly among the vines, bending to gather the last clusters. Susanna’s composition emphasises the teamwork of the vindima: labour shared between men and women, each contributing to the flow of grapes toward the lagar. The background hills, painted in soft Douro tones, anchor the scene unmistakably in the upper valley, almost certainly Eira Velha, where Susanna stayed with Kate and Arthur Dagge. Her palette is warm and earthy, capturing both the heat of the day and the richness of the harvest. This painting gives us a vivid image of the human effort that precedes every stage of wine and port production. |
Dimensions:- 19½ x 14½cms. |
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| srd199 |  Grape Carrier & Woman |
Dimensions:- 28 x 25cms. |
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| srd197 |  Grape Carriers Resting |
Dimensions:- 17 x 24cms. |
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| srd086 |  Woman Gathering Firewood |
This painting was, along with three others by the same artist, offered for auction in July 2003 by Lawrences of Crewkerne, Somerset. The original owner has not been traced. This scene appears to be set amongst the grape crop. | Dimensions:- 48½ x 32cms. |
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| filling the lagars and treading the grapes. |
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| srd012 |  "Filling the Lagar" |
Published in Portugal: Its Land and People (1909), is one of Susanna’s vivid depictions of the enchimento do lagar - the moment when freshly harvested grapes are poured (encher o lagarinto), into the stone tank where treading and fermentation begin. A worker lifts and tips a heavy basket, releasing a dense cascade of grapes that spill into the lagar. Susanna paints the movement with remarkable immediacy: the fruit tumbles in a dark, textured flow, and the first trickles of mosto run visibly down the wooden edge.
The interior setting - timber beams, rough stone walls, and the warm, enclosed light of a working Douro adega - strongly suggests Eira Velha, where Susanna had direct access to the winemaking process while staying with Kate and Arthur Dagge. Her palette is rich with purples, browns, and warm earth tones, capturing both the atmosphere of harvest time and the physical labour involved. As one of the few winemaking works chosen for publication, this painting represents the beginning of the transformation from vineyard fruit to wine. It stands as a key piece in Susanna’s narrative cycle of Douro winemaking, showing the transition from outdoor labour to the intense, enclosed activity of the adega. Probably shown in the Dunthorne's exhibition in 1897. |
Dimensions:- not known. |
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| srd085 |  "Three Men Filling a Lagar" |
This painting presents a close, concentrated study of the enchimento do lagar, showing a worker tipping a heavy basket of grapes into the stone tank where treading will soon begin. Susanna focuses on the physical act itself: the worker leans forward with effort, the basket angled sharply, and the grapes pour out in a dense, textured stream. The mosto runs visibly down the side of the vat, a detail she handles with remarkable sensitivity and accuracy.
The interior setting - rough stone walls, timber beams, and the warm, enclosed light of a working Douro adega - is entirely consistent with Eira Velha, where Susanna had direct access to the winemaking process. Compared with painting 12, this study is more intimate and tactile, concentrating on the weight of the basket, the movement of the fruit, and the richness of colour within the lagar. Together with 12, this painting forms a natural pair: two complementary angles on the same essential moment in the winemaking cycle, painted with immediacy, authenticity, and deep familiarity with the labour of the adega. This painting was, along with three others by the same artist, offered for auction in July 2003 by Lawrences of Crewkerne, Somerset. The original owner has not been traced. The present owner is known. |
Dimensions:- 34½ x 24cms. |
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| srd004 |  "Treading the Grape" |
Published in Portugal: Its Land and People (1909), this painting is one of Susanna’s most powerful depictions of pisar uvas, the traditional treading of grapes in a lagar. Two workers stand immersed in the dense mass of crushed fruit, their legs disappearing into the deep burgundy‑red pulp (must), forms the base of the composition, but the true brilliance of the painting lies in the men themselves, each caught in a different gesture, as if Susanna had pressed the shutter of a camera - a moment of life frozen in time, Susanna is not painting anonymous workers, She is painting individuals: Two men smoking - relaxed, utterly at ease, their pipes or cigarettes held casually as they tread. Their presence gives the scene a social, almost convivial atmosphere; a man holding what may be a banjo, adding the likelyhood of music to the scene; a man with his hand behind him - possibly dancing - his posture is light, almost playful, suggesting a rhythmic movement - Douro workers traditionally sang and moved in coordinated steps - Susanna may be capturing a moment of that rhythm; Another man holding his hands up - perhaps gesturing to a companion, perhaps caught mid‑conversation, perhaps reacting to Susanna herself, his raised hands animate the composition and break the symmetry of the group; and then their is the man looking directly at Susanna - this is the most extraordinary detail, he meets her gaze with complete immediacy, as if posing for a photograph. His expression is alert, curious, and slightly amused. This single glance anchors the entire painting in lived reality. The impliment leaning against the lagar near the basket is a bango - a long wooden mallet used to break up grape skins, stir the mass, and help manage the must. It is a working tool, and its presence confirms the authenticity of the scene.
The man is holding what appears to be a banjo is historically accurate; Douro workers often sang, clapped, joked, and moved in rhythm. Music was part of the tradition. It kept the pace, lifted spirits, and turned hard labour into communal ritual.and thereby capturing music, song and perhaps dance. Susanna has here captured not only labour, but music, rhythm, and celebration from inside the lagar. Susanna's brushwork is fluid and confident, capturing both the physical labour and the almost ceremonial nature of treading. This painting marks the dramatic centre of her winemaking cycle: the moment when the fruit becomes must, and the human effort of the adega becomes fully visible. As one of the works chosen for publication, it stands as a key visual record of traditional Douro winemaking. Recorded as being No.24 in an exhibition in 1897. |
Dimensions:- not known. |
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| srd031 |  Treading Grapes |
This painting offers a more intimate and concentrated view of pisar uvas inside the lagar to compliment SRD004. The workers stand immersed in the deep burgundy‑red must, their legs disappearing into the dense mixture of crushed grapes. Susanna focuses on the rhythm and unity of the group: the men tread in coordinated movement, their bodies angled with purpose, their clothing - jackets, hats, headscarves - suggesting the cool interior of the adega.
The atmosphere is warm and enclosed, with wooden beams overhead and stone walls surrounding the lagar, entirely consistent with Eira Velha, where Susanna had direct access to the winemaking process. Compared with the lively, spontaneous scene in Painting srd004, this study is quieter and more concentrated, emphasising the physical labour and communal rhythm of treading rather than individual gesture. |
Dimensions:- 21½ x 12cms. |
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| srd192 |  One Man |
Dimensions:- 29 x 20cms. |
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| srd011 |  "The Old Press and the New" |
This painting depicts the final stage of Susanna’s winemaking cycle: the pressing of the grapes after treading. In the foreground, a worker stands beside a large stone basin, holding a bucket filled with grape pulp or juice. His posture is steady and purposeful, suggesting he is either collecting the mosto that flows from the press or preparing to transfer it to another vessel. Susanna paints him with quiet dignity - a single figure representing the careful, measured work that follows the vigorous activity of treading.
Behind him, three men operate a prensa de vara, large wooden beam press, turning the horizontal arm to tighten the pressure on the grape skins. Their bodies lean into the movement, working together in coordinated effort. The wooden screw mechanism (parafuso de madeira ), rising vertically from the press, depicted on the left, is a key detail: this type of screw-and-beam press was standard in Douro adegas in the late 19th century, and its presence confirms that Susanna was painting inside a fully equipped winery, almust certainly at Eira Velha. The interior is warm and atmospheric - rough stone walls, timber beams, and subdued light filtering across the workers. The baskets of grapes in the background link this scene directly to the earlier stages of the cycle: harvesting, carrying, filling the lagar, and treading. Here, the process reaches its final transformation, as the last juice is extracted from the skins. The scene is quieter than the lively treading scenes, but no less important. It shows the controlled, mechanical strength of the press and the teamwork required to operate it. Susanna captures the moment with accuracy and respect, preserving a traditional Douro method that has now largely disappeared. Painting from Portugal, its Land and People, 1909. |
Dimensions:- 23 x 15½cms |
||||
| srd383 |  Testing the Product |
This painting depicts the final stage in the treading pressing process. It depicts a solitary figure seated on the edge of a large vat, calmly examining the contents with a tester - a small wooden or metal dipper traditionally used to sample the mosto during fermentation. His posture is relaxed yet purposeful: one hand steadying himself on the rim of the vat, the other holding the tester over the deep burgundy liquid. The scene is quiet, almost contemplative, suggesting a moment of inspection rather than labour.
The man appears to be young, his clothing and confident handling of the tester imply someone with responsibility in the adega, and it is entirely possible that Susanna has painted Arthur Dagge, her brother-in-law and manager of the Eira Velha. The interior - wooden beams, stone walls, subdued light - is consistent with the same building seen throughout Susanna’s winemaking cycle. Beside him lies a section of the vat filled with dark grapes, reinforcing that this is a moment within active production. Susanna’s palette is rich and atmospheric, with the deep red of the must contrasting beautifully against the cooler tones of the grapes. The painting captures a quiet but essential part of winemaking: the careful testing of the fermenting juice, a task requiring knowledge, experience, and judgement. |
Dimensions:- 23 x 16cms. |
||||
| srd401 |  Spade and Grapes |
Dimensions:- 28½ x 22cms. |
|||||
| srd215 |  Men Treading Grapes |
Dimensions:- not known. |
|||||
| srd407 |  Grape Treaders |
Dimensions:- 17 x 25½cms. |
|||||
| srd497 |  Man with Hat |
Dimensions:- 10½ x 25cms. |
|||||
| srd498 |  Men in Vat |
Dimensions:- 25 x 10½cms. |
|||||
| srd473 |  Men in Vat |
Dimensions:- 24 x 16cms. |
|||||
| srd496 |  Men Treading Grapes |
Dimensions:- 25 x 15cms. |
|||||
| transporting the wine/port down to the river. |
|||||||
| srd375 |  Ox Carts on a Country Road |
Almost certainly on the lower reaches of the 'new road' up to Eira Vehla. It captures the slow, rhythmic movement of rural life on the hillside below Eira Velha. An ox‑cart carrying a large barrel makes its way along a curving mountain road, guided by a figure in a red garment whose presence adds warmth and humanity to the composition. The road winds through a quiet valley framed by soft, hazy mountains rendered in muted purples and browns - a hallmark of Susanna’s Douro palette.
The atmosphere is subdued and contemplative, with the distant slopes dissolving into mist and the foreground bathed in gentle light. Susanna’s handling of the landscape is both tender and observant: the road, the cart, and the surrounding hills form a harmonious whole, evoking the timeless labour of the Douro region. This painting belongs to her Eira Velha road group, showing the working life of the valley rather than the domestic stillness of the terrace. |
Dimensions:- 10½ x 18½cms. |
||||
| srd285 |  Man on with ox cart |
In original frame. See srd336. | Dimensions:- 21 x 14½cms. |
||||
| srd366 |  Oxen Guided Along Road |
See srd285. | Dimensions:- 12½ x 20cms. |
||||
| srd333 |  Ox Cart Waiting in Road |
Dimensions:- not known. |
|||||
| srd140 |  Struggling up the Hill |
Dimensions:- 15 x 23cms. |
|||||
| There was a tradition of growing olives in the Douro Valley and here is a group of Susanna's paintings depicting olive trees. We do not know where she painted these scenes but the terrain suggests strongly that she painted them at or near the quinta at Eira Vehla. |
|||||||
| srd550 |  Olive Groves in the Douro Valley |
Dimensions:- not known. |
|||||
| srd098 |  Two Figures Walking on Road |
This painting shows two figures walking along a sunlit path that winds through a grove of olive trees. The rounded crowns and soft silvery-green tones of the trees are characteristic of Susanna’s Douro work, and the warm ochre earth beneath them suggests late summer heat. The distant hills fade into muted purples and yellows, giving the scene depth and atmosphere. The figures provide scale without dominating the composition, allowing the landscape itself to speak. It is a serene, contemplative study of the Douro’s terraced terrain, and the presence of olive trees strongly suggests a location near Eira Velha or another quinta in the valley. | Dimensions:- 7½ x 10cms. |
||||
| srd514 |  Man Walking Through Olive Grove |
This painting depicts a solitary figure walking with a dog along a rocky path bordered by trees and large boulders. The path leads the eye toward a misty valley and distant hills, rendered in soft greys and greens that evoke early morning or late afternoon light. The terrain - steep, rocky, and overlooking a river valley - is entirely consistent with the Douro region. The figure’s steady movement and the dog’s quiet companionship give the scene warmth and narrative. It is one of Susanna’s tender landscape studies, balancing human presence with the grandeur of the valley. | Dimensions:- 10 x 8cms. |
||||
| srd224 |  Olive Trees |
Dimensions:- 10 x 15cms. |
|||||
| srd138 |  Olive Tree high above the River |
Dimensions:- 19 x 14cms. |
|||||
| srd429 |  Olive Grove |
Dimensions:- 8 x 10½cms. |
|||||
| srd034 |  Olive Grove |
Dimensions:- 10 x 15cms. |
|||||
| srd464 |  Olive Trees |
Dimensions:- 10 x 12cms. |
|||||
| srd318 |  Ancient Olive Tree |
Dimensions:- 10 x 12½cms. |
|||||
| srd307 |  Mountain Track with parapet |
Dimensions:- 11½ x 10cms. |
|||||
| Double quotations indicate title by SRD. |
|||||||
| Lavadores lies on the coast just south of the estuary of the Douro. Although the area has been heavily developed in recent years, it was once characterised by extensive maritime pine forests growing in sandy soils. The coastline was known for its natural beauty, with wide sand dunes, patches of wild lavender, and dramatic rocky outcrops. Behind the dunes were small agricultural pockets, where local people cultivated wheat, maize, and other crops in sheltered fields. Many of Susanna’s paintings - particularly those showing tall maritime pines, sandy ground, and rocky coastal features - strongly resemble this earlier landscape of Lavadores. While exact locations are not known, the terrain in these works suggests that she probably painted these scenes in or near Lavadores. |
|||||||
| srd127 |  Water Lane at Lavadores |
This painting shows a quiet stream or canal bordered by stone edges, with tall grasses rising on the left. In the background stand several slender pine trees, their trunks long and straight, with sparse foliage near the top. The sky is pale and calm, giving the whole scene a soft, reflective atmosphere. The water catches the light gently, creating a tranquil, almost meditative composition.
This is a delicate study of a pine‑bordered watercourse, painted with Susanna’s characteristic sensitivity to light and quiet spaces. The tall maritime pines immediately evoke the coastal terrain of Lavadores, where sandy soils and scattered trees create a distinctive landscape. The muted colours and gentle reflections give the scene a peaceful stillness, as though the viewer has stumbled upon a hidden corner of the countryside. It is a restrained, atmospheric work that shows Susanna’s ability to capture the subtle poetry of ordinary places. |
Dimensions:- 11½ x 16½cms. |
||||
| srd042 |  Water Lane, Lavadores |
Dimensions:- 11 x 16cms. |
|||||
| srd125 |  Lavadores Gate |
Dimensions:- 13½ x 10cms. |
|||||
| srd037 |  Path at Lavadores |
Dimensions:- 12½ x 10cms. |
|||||
| srd039 |  Lavender Path |
Dimensions:- 9½ x 13½cms. |
|||||
| srd300 |  Pathway to the Beach, Lavadores |
Dimensions:- 16 x 11cms. |
|||||
| srd540 |  Pinewood and Ploughland |
Dimensions:- Small painting. |
|||||
| srd536 |  Harvest Time |
Dimensions:- Small painting. |
|||||
| srd035 |  Pines at Sunset |
Dimensions:- 11½ x 7cms. |
|||||
| srd502 |  "Pines" |
Dimensions:- not known. |
|||||
| srd517 |  Pines |
Dimensions:- 10 x 7cms. |
|||||
| srd518 |  Sunrise or is it Sunset? |
Dimensions:- 10 x 8cms. |
|||||
| srd533 |  Path Towards Sea? |
Dimensions:- Small painting. |
|||||
| srd543 |  Country Scene |
Dimensions:- Small painting. |
|||||
| srd358 |  Trees at Sunset |
Dimensions:- 10½ x 7½cms. |
|||||
| srd393 |  Cross on Rock |
Dimensions:- 8½ x 12½cms. |
|||||
| srd394 |  Tree and Fence |
Dimensions:- 11½ x 8cms. |
|||||
| srd305 |  Stone Pillar |
Dimensions:- 8 x 12cms. |
|||||
| |
|||||||
| srd476 |  Farm |
Dimensions:- 12½ x 7½cms. |
|||||
| srd041 |  Pines above the Douro |
Dimensions:- 9½ x 14cms. |
|||||
| srd053 |  Farm Buildings |
Dimensions:- 12 x 8½cms. |
|||||
| srd235 |  Trees on Slope |
Dimensions:- 12½ x 17½cms. |
|||||
| srd483 |  Corn Field |
Dimensions:- 17½ x 12½cms. |
|||||
| srd489 |  Bales |
Dimensions:- 17½ x 12½cms. |
|||||
| srd402 |  Maize |
Dimensions:- 17½ x 12cms. |
|||||
| srd131 |  Harvesting the Corn |
Dimensions:- 16 x 21½cms. |
|||||
| srd523 |  Tree and Crop |
Dimensions:- Small painting. |
|||||
| srd049 |  Haystacks |
Dimensions:- 24 x 17cms. |
|||||
| srd437 |  Hay Wagon |
Dimensions:- 24 x 16cms. |
|||||
| srd023 |  Threshing Yard |
Dimensions:- 16 x 11½cms. |
|||||
| srd434 |  Ladder in Hay Stack |
Dimensions:- 25 x 16cms. |
|||||
| srd036 |  Old Field Gate |
Dimensions:- 8 x 11cms. |
|||||
| srd077 |  Cork Tree |
Dimensions:- 16½ x 22cms. |
|||||
| srd239 |  Flowers Bordering Path |
Dimensions:- 9 x 14cms. |
|||||
| srd240 |  Road to Somewhere |
Dimensions:- 12x 8½cms. |
|||||
| srd364 |  Gate in Hedge |
In unusual frame. | Dimensions:- 10½ x 15cms. |
||||
| srd374 |  Avenue |
Dimensions:- 14½ x 19cms. |
|||||
| srd503 |  "Pine" |
Dimensions:- not known. |
|||||
| srd504 |  Gateway |
Dimensions:- not known. |
|||||
| srd515 |  Buildings and Pines |
Dimensions:- 9 x 7cms. |
|||||
| srd516 |  River and Hills |
Dimensions:- 10 x 7cms. |
|||||
| srd522 |  After a Long Day |
Dimensions:- Small painting. |
|||||
| srd529 |  Mountain Scene |
Dimensions:- Small painting. |
|||||
| srd537 |  Passing the Olive tree |
Dimensions:- Small painting. |
|||||
| srd542 |  Track to the Hills |
Dimensions:- Small painting. |
|||||
| srd544 |  "Villança" 1 |
Possibly near Vilança de Minho. | Dimensions:- Small painting. |
||||
| srd545 |  "Villança" 2 |
Possibly near Vilança de Minho. | Dimensions:- Small painting. |
||||
| srd357 |  Mountain Scene |
Dimensions:- 10½ x 7½cms. |
|||||
| srd395 |  Trees on Slope |
Dimensions:- 7½ x 11½cms. |
|||||
| srd435 |  View |
Dimensions:- 22 x 8cms. |
|||||
| srd477 |  Scene |
Dimensions:- 16 x 11cms. |
|||||
| srd461 |  Hay Waggon in Fields |
Dimensions:- 11 x 8cms. |
|||||
| Double quotations indicate title by SRD. |
|||||||
| |
|||||||
| srd281 |  Cooking in the Minho |
Framed. | Dimensions:- 22 x 16½. |
||||
| srd102 |  Child Pleading to Mother |
Dimensions:- 16½ x 24cms. |
|||||
| srd344 |  Tending the Bird Cage |
The Times: "The Prince of Wales, accompanied by Francis of Tech, also visited McLean's Galleries, and inspected the exhibition of water-colour drawings of Portugal by Mrs. S. Roope Dockery now on view at the Graves Galleries". | Dimensions:- not known. |
||||
| srd104 |  Woman Tending Birdcage |
Dimensions:- 17½ x 27cms. |
|||||
| srd352 |  Small Portrait of Woman |
Dimensions:- 11½ x 9cms. |
|||||
| srd009 |  "While Mother is at Work" |
From Portugal, its Land and People, 1909. Probably shown in the Dunthorne’s exhibition in 1897 as No. 6 “While Mother is at Work in the Fields". | Dimensions:- not known. |
||||
| srd512 |  Woman Sewing in Room |
Dimensions:- not known. |
|||||
| srd513 |  Woman Sewing in Room |
Dimensions:- not known. |
|||||
| srd094 |  Woman Holding Pot |
Dimensions:- 8 x 10cms. |
|||||
| srd360 |  Woman Sweeping Yard |
Dimensions:- 17 x 12cms. |
|||||
| srd370 |  Elderly Man Sitting by Fire |
Dimensions:- 16 x 22cms. |
|||||
| srd105 |  Woman Commencing her Wash |
Dimensions:- 15½ x 20½cms. |
|||||
| srd109 |  Woman Pouring Water |
Dimensions:- 14½ x 22½. |
|||||
| srd509 |  Woman Pouring Water |
Dimensions:- not known. |
|||||
| srd334 |  Girl Filling Ewer at Spring |
Dimensions:- not known. |
|||||
| srd180 |  Woman at Spring with Ewer 1 |
Dimensions:- 16 x 23cms. |
|||||
| srd184 |  Woman with Ewer at Spring 3 |
Dimensions:- 17 x 24cms. |
|||||
| srd181 |  Woman at Spring with Ewer 2 |
Dimensions:- 16 x 23cms. |
|||||
| srd336 |  Woman Filling Ewer at Spring |
Dimensions:- not known. |
|||||
| srd106 |  Woman Sitting in Doorway |
Dimensions:- 16½ x 20½cms. |
|||||
| srd089 |  Women Washing Clothes |
Dimensions:- 8½ x 8cms. |
|||||
| |
|||||||
| srd005 |  "Weaving" |
From Portugal, its Land and People, 1909. Probably painted in the Minho. |
Dimensions:- not known. |
||||
| srd558 |  "Weaving in Cottage" |
Offered for auction in 2022. Probably painted in the Minho. |
Dimensions:- not known. |
||||
| srd006 |  "Spinning" |
From Portugal, its Land and People, 1909. Probably painted in the Minho. |
Dimensions:- not known. |
||||
| srd182 |  Woman Spinning |
Dimensions:- 13 x 23cms. |
|||||
| srd179 |  Woman Spinning 2 |
Dimensions:- 11 x 18cms. |
|||||
| srd091 | Country Girl of Minho |
Dimensions:- 4 x 6½cms. |
|||||
| srd096 |  Woman with a Spindle |
Dimensions:- 15 x 22cms. |
|||||
| srd156 |  Sketch of Woman Spinning |
Dimensions:- 16 x 24cms. |
|||||
| srd553 |  Working from Home 1 |
Dimensions:- not known. |
|||||
| srd556 |  Working from Home 2 |
Dimensions:- not known. |
|||||
| srd217 |  Woman Spinning |
Dimensions:- 12 x 17½cms. |
|||||
| srd178 |  Woman Spinning 1 |
Dimensions:- 11 x 18cms. |
|||||
| srd103 |  Woman Doing Needlework by Fire |
Dimensions:- 17½ x 25½cms. |
|||||
| srd213 |  Woman Working 1 |
Dimensions:- 18 x 24cms. |
|||||
| srd214 |  Woman Working 2 |
Dimensions:- 18 x 24cms. |
|||||
| srd347 |  Woman Sitting, Man Standing |
Dimensions:- 17½ x 24cms. |
|||||
| srd164 |  Woman with Spinning Wheel |
Dimensions:- 22 x 16cms. |
|||||
| srd552 |  "Grinding Corn, Ancora" |
Sold by auction 2022. | Dimensions:- 16.23 x 23.16cms. |
||||
| |
|||||||
| srd084 |  Ploughing the Minho |
This is a copy downloaded from the Internet. The painting was, along with three others by the same artist, offered for auction in July 2003 by Lawrences of Crewkerne, Somerset. The original owner has not been traced. | Dimensions:- 48½ x 32cms. |
||||
| srd087 |  "Threshing Corn in the Minho" 1 |
This painting was, along with three others by the same artist, offered for auction in July 2003 by Lawrences of Crewkerne, Somerset. The original owner has not been traced. | Dimensions:- 48½ x 32½cms. |
||||
| srd343 |  "Threshing Corn in the Minho" 2 |
Dimensions:- not known. |
|||||
| srd007 |  "Threshing Wheat" |
From Portugal, its Land and People, 1909. | Dimensions:- not known. |
||||
| srd196 |  Man Ploughing |
Dimensions:- not known. |
|||||
| srd211 |  Woman Ploughing |
Dimensions:- 24 x 16cms. |
|||||
| srd167 |  Woman Ploughing |
Dimensions:- 14 x 23cms. |
|||||
| srd284 |  Woman Ploughing with Oxen |
Framed. | Dimensions:- 18 x 13cms. |
||||
| srd506 |  Man Ploughing with Oxen |
Dimensions:- not known. |
|||||
| srd279 |  Woman Carrying Basket & Sickle |
Framed. | Dimensions:- 15 x 20½cms. |
||||
| srd162 |  Two Women Working |
Dimensions:- 24 x 16cms. |
|||||
| srd161 |  Figure Threshing |
Dimensions:- 17 x 23cms. |
|||||
| srd154 |  Figures Threshing 1 |
Dimensions:- 25 x 15cms. |
|||||
| srd155 |  Figures Threshing 2 |
Dimensions:- 25 x 15cms. |
|||||
| srd415 |  Sketches of Women |
Dimensions:- 25 x 17cms. |
|||||
| srd416 |  Woman Bending |
Dimensions:- 16 x 22cms. |
|||||
| srd209 |  Woman Working |
Dimensions:- 17 x 24cms. |
|||||
| srd430 |  Woman Picking |
Dimensions:- 16 x 23cms. |
|||||
| srd233 |  Women Sitting Working |
Dimensions:- 15½ x 11cms. |
|||||
| srd505 |  Woman with Water Can |
Dimensions:- not known. |
|||||
| srd338 |  "Portuguese Peasant" |
Described in a Lisbon review of 1899 as a girl with a blue dress and a red handkerchief. |
Dimensions:- not known. |
||||
| srd160 |  Two women Hoeing or Threshing |
Dimensions:- not known. |
|||||
| srd163 |  Three Women Working |
Dimensions:- 24 x 17cms. |
|||||
| srd423 |  Woman Hoeing |
Dimensions:- 18 x 24cms. |
|||||
| srd212 |  Four Woman Hoeing |
Dimensions:- 28½ x 21cms. |
|||||
| srd418 |  Woman Hoeing |
Dimensions:- 25 x 17½cms. |
|||||
| srd148 |  Sketch of Woman Hoeing 1 |
Dimensions:- 15½ x 21cms. |
|||||
| srd149 |  Sketch of Woman Hoeing 2 |
Dimensions:- 14 x 18cms. |
|||||
| srd151 |  Three Women Hoeing |
Dimensions:- 15 x 20cms. |
|||||
| srd169 |  Woman Hoeing |
Dimensions:- 19 x 27cms. |
|||||
| srd152 |  Woman Hoeing |
Dimensions:- 15 x 24cms. |
|||||
| srd153 |  Sketch of Woman hoeing |
Dimensions:- 17 x 23cms. |
|||||
| srd171 |  Woman Hoeing 1 |
Dimensions:- 17 x 24cms. |
|||||
| srd172 |  Woman Hoeing 2 |
Dimensions:- 17 x 24cms. |
|||||
| srd173 |  Woman with Hoe |
Dimensions:- 12 x 21cms. |
|||||
| srd419 |  Woman Hoeing |
Dimensions:- 25 x 17½cms. |
|||||
| srd494 |  Woman Hoeing |
Dimensions:- 17½ x 12½cms. |
|||||
| srd166 |  Woman Hoeing |
Dimensions:- 17 x 18cms. |
|||||
| srd175 |  Two women Hoeing |
Dimensions:- 16 x 16cms. |
|||||
| srd176 |  Woman |
Dimensions:- 13 x 22cms. |
|||||
| srd177 |  Woman Hoeing |
Dimensions:- 17 x 24cms. |
|||||
| srd541 |  Ploughing with Oxen |
Dimensions:- 19 x 13cms. |
|||||
| |
|||||||
| srd132 |  Woman Tending Oxen |
Dimensions:- 16½ x 12cms. |
|||||
| srd346 |  Man Tending Ox |
Same position as srd508. | Dimensions:- 24 x 17cms. |
||||
| srd508 |  Woman Leading Oxen |
Same position as srd246. | Dimensions:- not known. |
||||
| srd201 |  Men Loading Ox Cart 1 |
Dimensions:- 25 x 16cms. |
|||||
| srd203 |  Man Holding Ox Team |
Dimensions:- 20 x 17cms. |
|||||
| srd453 |  Etching Collage |
Dimensions:- 10½ x 11cms. |
|||||
| srd428 |  Woman Loading Ass |
Dimensions:- 23½ x 16½cms. |
|||||
| srd204 |  Mule Train |
Dimensions:- 28½ x 15cms. |
|||||
| srd356 |  Man with Donkey |
Dimensions:- 10 x 10cms. |
|||||
| srd146 |  Man on Ass |
Dimensions:- 11 x 16cms. |
|||||
| srd147 |  Man Loading Donkey |
Dimensions:- 14 x 14cms. |
|||||
| |
|||||||
| srd144 |  Market |
Dimensions:- 23½ x 15½cms. |
|||||
| srd068 |  Man Selling Neckerchiefs |
Dimensions:- 10 x 13½cms. |
|||||
| srd168 |  Woman Preparing for Market |
Dimensions:- 12 x 8cms. |
|||||
| srd454 |  Selling Fruit in the Streets |
Dimensions:- 14 x 10cms. |
|||||
| |
|||||||
| srd267 |  Boy Playing |
Dimensions:- 11 x 16cms. |
|||||
| srd069 |  Boy Throwing Dice |
Dimensions:- 12 x 17cms. |
|||||
| srd447 |  Boy on Oporto Wharf |
Dimensions:- 15 x 13cms. |
|||||
| srd289 |  Boy Sitting on Quay at Oporto |
Original frame. | Dimensions:- 18½ x 14½cms. |
||||
| srd340 |  "The Last Hole, Espinho" |
Recorded as being No.58 in an exhibition in 1897. | Dimensions:- not known. |
||||
| srd341 |  "Boys at Play on Beach" |
Exhibited in London in 1897. | Dimensions:- not known. |
||||
| srd547 |  Cooling His Feet |
Dimensions:- Small painting. |
|||||
| srd342 |  "Playing with Fire" |
Dimensions:- not known. |
|||||
| srd445 |  Boy with Hat |
Dimensions:- 17 x 24cms. |
|||||
| srd403 |  Woman Dancing/Man Dancing |
Dimensions:- 8 x 9cms. |
|||||
| srd108 |  Woman by Fountain |
Dimensions:- 12½ x 14½cms. |
|||||
| srd043 |  Protection Against the Rain |
Some foxing. | Dimensions:- 17 x 22½cms. |
||||
| srd339 |  "A Rainy Day" |
Believed to have been exhibited at Dunthornes in 1897. | Dimensions:- not known. |
||||
| srd190 |  Baby and Umbrella |
Dimensions:- 25 x 17cms. |
|||||
| srd047 |  Girl Sitting on Ground |
Dimensions:- 9½ x 12cms. |
|||||
| srd251 |  Caddy Boys Gambling on Golf Course |
Presumed to be at Espinho. | Dimensions:- 18½ x 15cms. |
||||
| srd480 |  Boys Playing |
Possibly a forerunner of "Throwing Tops", mentioned in the reviews. | Dimensions:- 20 x 12cms. |
||||
| srd193 |  Man with Musical Instrument |
Dimensions:- 16½ x 25. |
|||||
| srd205 |  Sketches of Boys Playing Chequers |
Dimensions:- 35 x 23cms. |
|||||
| srd345 |  "A Copper for St. Anthony" |
Recorded as being No.32 in an exhibition in 1897. | Dimensions:- not known. |
||||
| |
|||||||
| srd472 |  Woman |
Dimensions:- 17 x 25cms. |
|||||
| srd265 |  Portrait of a Woman |
Dimensions:- 10 x 13cms. |
|||||
| srd271 |  Woman in Palm-Leaf Cloak |
Dimensions:- 14 x 20cms. |
|||||
| srd335 |  Old Man in Palm-Leaf Cloak |
Dimensions:- not known. |
|||||
| srd349 |  Portrait of Woman Facing |
Dimensions:- 10 x 12½cms. |
|||||
| srd385 |  Woman Holding Net |
Dimensions:- 14 x 20cms. |
|||||
| srd443 |  Woman |
Dimensions:- 13 x 22cms. |
|||||
| srd159 |  Woman Walking Away |
Dimensions:- 16 x 24cms. |
|||||
| srd158 |  Sketches of Men |
Dimensions:- 17 x 26cms. |
|||||
| srd183 |  Woman |
Dimensions:- 13 x 23cms. |
|||||
| srd191 |  Three Men |
Dimensions:- 29 x 20cms. |
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| srd253 |  Portrait of Man |
Dimensions:- 17 x 24cms. |
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| srd237 |  Portrait of Female in the Making |
Dimensions:- 14 x 18cms. |
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| srd417 |  Man with Wheel |
Dimensions:- 17 x 21cms. |
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| srd010 |  On the Sand Dunes |
From Portugal, its Land and People, 1909. At Lavadores or Affife. |
Dimensions:- not known. | ||||
| srd095 |  Woman on Steps |
Dimensions:- 14 x 18cms. |
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| srd229 |  The Over Hat |
Dimensions:- 12 x 15cms. |
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| srd234 |  Portrait of a Woman |
Dimensions:- 9 x 12cms. |
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| srd350 |  Portrait of Woman Facing Away |
Dimensions:- 10 x 12½cms. |
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| srd451 |  Etching 1 |
Dimensions:- 7 x 8cms. |
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| srd452 |  Etching 2 |
Dimensions:- 7 x 9cms. |
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| srd528 |  Woman and Child on Steps |
Dimensions:- Small painting. |
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| srd150 |  Four Sketches |
Dimensions:- 7 x 9, 6 x 7, 6 x 8, 10½ x 8cms. |
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| srd194 |  Two Men |
Dimensions:- 15 x 15cms. |
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| srd195 |  Man |
Dimensions:- 16 x 19cms. |
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| srd411 |  Woman Sitting |
Dimensions:- 17½ x 25cms. |
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| srd420 |  Man and Woman |
Dimensions:- 17 x 25cms. |
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| srd495 |  Guando |
Written in pencil is thought to repreasent "Os, quando nascem, comem tudo". In English this reads “When they are born, they eat everything.” "Os" can mean they (masculine plural); the term "comen tudo" is a common rustic expression; "quando nascem" is when they are born, as with animals. The wording suggests that the writer either has a poor understanding of Portuguese or is quoting from a rustic source. In any case the writing does not appear to have a relevance to the sketch. | Dimensions:- 17½ x 19cms. |
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| srd487 |  Man, Woman and Basket |
Dimensions:- 17½ x 12½cms. |
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| srd466 |  Man |
Dimensions:- 13½ x 23½cms. |
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| srd471 |  Man |
Dimensions:- 13 x 19cms. |
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| srd020 |  "A Douro Ox Yoke" |
From Portugal, its Land and People, 1909. See srd406. | Dimensions:- not known. |
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| srd406 |  Man Tending Ox cart |
See srd020. | Dimensions:- 25 x 16cms. |
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| srd202 |  Men Loading Ox Cart 2 |
Dimensions:- 19 x 16cms. |
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| srd206 |  Man Holding Ox Team |
Dimensions:- 17 x 15cms. |
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| srd046 |  Two Oxen |
Dimensions:- 21½ x 16cms. |
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| srd062 |  Oxen Pulling Cart |
Dimensions:- 11 x 8½cms. |
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| srd112 |  Oxen Waiting |
A parelha (yoked working pair of oxen), with a cange (a yoke joining the pair), and a carro de pipas (a large cylindrical barrel used as the standard measure in the Douro region).
The scene may well be connected to Eira Velha or similar Douro estates, where ox‑carts were essential for moving wine down the hillside roads. Susanna captures the patient stance of the animals, the weight of the barrel, and the quiet readiness of rural labour. The muted mountains behind them reinforce the Douro atmosphere. |
Dimensions:- 21 x 16cms. |
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| srd052 |  Oxen with Wine Cask |
Dimensions:- 23 x 15cms. |
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| srd380 |  Ox Waiting in Courtyard |
Dimensions:- 23½ x 16½cms. |
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| srd324 |  Ox Cart and Gate |
Dimensions:- 17 x 12cms. |
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| srd474 |  Ox on Wheel |
This painting depicts an ox turning a moinho de sangue - literally a “blood mill,” the traditional term for an animal‑powered mill used for grinding grain or pressing materials. The ox walks in a circular path, pulling a long trave (beam) attached to the mill’s central axle. A faint human figure supervises the process. Susanna’s soft washes and earthy tones evoke the slow, rhythmic movement of the animal and the timelessness of rural industry. This is an important record of pre‑mechanised agricultural practice. | Dimensions:- 26 x 21½cms. |
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| srd243 |  Oxen |
Dimensions:- 15 x 11cms. |
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| srd260 |  Ox Cart |
This work appears to show a single ox, pulling a carro de vime (a wicker‑sided cart), used for light agricultural loads such as straw, tools, or produce, unlike the heavy barrel carts. These were everyday working vehicles found throughout northern Portugal. The oxen are shown from behind, harnessed with a canga and cambães (the wooden shafts of the cart). Susanna’s earthy palette and simple composition emphasise the humble, practical nature of this rural equipment. It is a quiet, honest study of daily labour. | Dimensions:- 13 x 8cms. |
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| srd122 |  Oxen with Cart |
Dimensions:- 22 x 17cms. |
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| srd280 |  Yoked Oxen |
Painting 280 shows a parelha (a pair of oxen), standing before a richly decorated carro festivo - a ceremonial cart adorned with geometric and floral motifs. This type of decoration is characteristic of carros enfeitados, used in northern Portuguese festivals, processions, and special agricultural celebrations.
The most striking feature is the ornament placed behind the oxen’s horns: a canga enfeitada with cascavéis (small bells) and panos de enfeite (decorative cloths). These embellishments were traditionally used on feast days or during communal events, marking the animals as part of a proud rural display rather than everyday labour. Susanna paints the oxen with her usual sensitivity - strong, patient animals rendered with warm browns and soft modelling - but here she adds the vivid colours and intricate patterns of the cart, capturing the artistry of rural craftsmanship. The result is a lively and culturally rich scene, showing not only the working animals she knew so well but also the festive traditions that shaped northern Portuguese village life. |
Dimensions:- 22 x 13cms. |
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| srd421 |  Ox Heads |
Dimensions:- 13 x 11cms. |
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| srd157 |  Oxen with Yoke |
Dimensions:- 24 x 17cms. |
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| srd110 |  Head of an Ox |
This is one of Susanna’s sensitive animal studies. The ox’s head is shown in quiet profile, its expression calm and dignified. Across the forehead lies a canga (wooden yoke) - the traditional Portuguese wooden yoke ornamented with enfeites (cloth and coloured tassels). The horns are beautifully modelled, and the soft washes of colour give the animal a gentle presence. This is not simply a study of anatomy but a portrait of a working creature central to rural life. Susanna’s brushwork is delicate, affectionate, and precise, capturing both strength and serenity. | Dimensions:- 19 x 16cms. |
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| srd444 |  Oxen |
Dimensions:- 23 x 17cms. |
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| srd413 |  Cow |
Dimensions:- 11 x 9cms. |
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| srd244 |  Ox Cart |
Needs to be scanned again. | Dimensions:- 11½ x 7cms. |
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| srd249 |  Pigs, Cows and People |
Dimensions:- 12 x 17cms. |
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| srd348 |  Harnessed and Waiting |
see srd500. Painting 348 shows a cavalo selado, (a saddled horse ready for riding). The sela (saddle) and estribos (stirrups) are clearly indicated, and the bridão (bridle) is lightly suggested. Susanna uses minimal brushstrokes to convey the horse’s form, relying on posture, light, and shadow rather than detail. The animal stands calmly, balanced and attentive, giving the impression of readiness rather than motion. This is one of her more economical equine studies - a quiet, confident rendering of a working horse prepared for travel. | Dimensions:- 22½ x 15cms. |
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| srd500 |  Waiting for Master |
See srd238. | Dimensions:- 22½ x 14½cms. |
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| srd510 |  Two Horses Waiting |
Dimensions:- not known. |
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| srd219 |  Boy on Mule |
Painting 219 depicts a cavalo de carga (a pack horse), being ridden by a man in everyday rural clothing. The horse carries large alforges (saddlebags or side bundles), used for transporting goods between farms, villages, or market towns. The rider’s wide‑brimmed hat and relaxed posture suggest a routine journey, perhaps along a country track. Susanna’s soft brushwork and muted tones give the scene a gentle narrative quality: a moment of movement and quiet companionship between rider and animal. It is a fine example of her ability to capture rural life with simplicity and truth. | Dimensions:- 14½ x 17½cms. |
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| srd088 |  Sketches of Donkeys |
Dimensions:- 12 x 8cms. |
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| srd256 |  Laden Donkey 1 |
Dimensions:- 9 x 12cms. |
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| srd257 |  Laden Donkey 2 |
Dimensions:- 11 x 9½cms. |
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| srd535 |  Overladen Donkey |
Dimensions:- Small painting. |
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| srd141 |  Woman on Donkey |
Dimensions:- 15 x 16cms. |
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| srd400 |  Donkey Laden |
Dimensions:- 14 x 13cms. |
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| srd479 |  Donkeys |
Dimensions:- 23 x 11cms. |
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| srd050 |  Two Pack Horses |
On the back is written: From Mrs Dockery 16/1/09. | Dimensions:- 20 x 16cms. |
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| srd070 |  Donkey Fully Harnessed |
Painting 70 shows a mule (mula), standing quietly with a traditional albarda, (the padded pack saddle used throughout rural Portugal), for carrying loads along steep or uneven terrain. The red cloth covering the albarda is typical of northern working gear, protecting both the animal and the cargo. The mule’s lowered head and simple cabresto (rope halter), suggests a moment of rest between journeys. Susanna’s restrained palette and gentle modelling emphasise the mule’s patience and endurance - qualities that made these animals indispensable in rural transport. | Dimensions:- 16 x 14cms. |
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| srd099 |  Man on Donkey |
Dimensions:- 9 x 14cms. |
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| srd276 |  Donkey Waiting to Go |
Dimensions:- not known. |
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| srd470 |  Donkey Collage |
Dimensions:- 19½ x 30cms. |
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| srd391 |  Harnessed Ass |
Dimensions:- 8½ x 9cms. |
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| srd450 |  Donkey Feeding |
Dimensions:- 19 x 10cms. |
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| srd218 |  Of Men and Asses |
Dimensions:- 12½ x 15½, 14 x 12, 10 x 10, 8½ x 10, 5 x 10cms. |
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| srd066 |  Bird Sketches |
Dimensions:- 25 x 17½cms. |
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| srd463 |  Pigeons |
Dimensions:- 11 x 13cms. |
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| srd414 |  Pigeons |
Dimensions:- 17 x 13cms. |
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| srd412 |  Peacocks |
Dimensions:- 17½ x 25cms. |
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| Double quotations indicate title by SRD. |
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| |
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| srd025 |  Sardine Boats at Espinho |
Some foxing. | Dimensions:- 22½ x 16½cms. |
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| srd551 |  Sardine Boats, Espinho |
Sold by auction in 2022. | Dimensions:- 15.5 x 23.5cms. |
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| srd017 |  "Espinho Beach: Hauling in the Nets" |
From Portugal, its Land and People, 1909. South of Oporto. |
Dimensions:- not known. |
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| |
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| srd468 |  "Lavadores 1914" |
Dimensions:- 14½ x 9½cms. |
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| srd058 |  "Lavadores" |
Dimensions:- 15 x 10cms. |
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| srd045 |  A Wave |
Dimensions:- 21 x 16cms. |
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| srd462 |  Rocks "Lavadores" |
Dimensions:- 11 x 13cms. |
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| srd287 |  Gun Rock, Lavadores |
Framed. | Dimensions:- 16 x 12cms. |
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| srd056 |  Wave over Rocks, Lavadores |
Dimensions:- 10½ x 8cms. |
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| srd189 |  Gun Rock, Lavadores |
Dimensions:- 25 x 17½cms. |
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| srd236 |  Beach at Lavadores |
Dimensions:- 23 x 9½cms. |
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| srd288 |  Beach at Lavadores |
Framed. | Dimensions:- 22 x 17cms. |
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| |
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| srd001 |  "The Lower Reach" |
From Portugal, its Land and People, 1909. | Dimensions:- 14½ x 22cms. |
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| srd021 |  "Douro Wine Boat" |
From Portugal, its Land and People, 1909. Oporto harbour. |
Dimensions:- not known. |
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| srd286 |  Cargo Boats at Oporto |
Framed. | Dimensions:- 18½ x 11cms. |
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| srd507 |  Ships Near Oporto |
Dimensions:- not known. |
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| srd388 |  "Oporto" Ships in Harbour |
Dimensions:- 16½ x 11cms. |
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| srd263 |  Loading Boat with Port |
Painting 263 is a vivid and authentic depiction of Douro river labour, showing a heavily loaded barco rabelo - the traditional wine boat used to transport pipas (large Douro barrels) downriver toward Vila Nova de Gaia. The vessel sits close to the bank, where men and animals work together to haul it by ropes, a practice commonly used at Pinhão, where the river’s bends and currents demanded careful guidance.
The steep, hazy hills rising behind the scene, together with the presence of animals assisting the pull, strongly suggest the Pinhão–Eira Velha stretch of the Douro. This identification is reinforced by the inscription “From C. Dagge with best wishes”, linking the painting directly to Kate Dagge, Susanna’s sister, who lived at Eira Velha on the Roope estate. Susanna captures both the physical weight of the barrels and the quiet dignity of the labour involved. Her soft, muted palette evokes the river’s atmosphere, while the figures on the bank give the scene rhythm and purpose. It is one of her most evocative records of the Douro wine trade - a blend of observation, memory, and family connection. |
Dimensions:- 24 x 16cms. |
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| srd107 |  Moored Boat on Douro |
Painting 107 is a quiet, atmospheric study of a small Douro river craft resting near the bank. The boat, lightly built and fitted with a single oar or mast, suggests a barco de passagem or local working skiff rather than a full rabelo. Behind it rise the steep, terraced hills typical of the Douro valley, with a faint cluster of houses on the slope. Susanna’s soft washes of grey, peach, and muted green create a tranquil mood, capturing the stillness of the river at dawn or dusk. It is a gentle, contemplative piece, rooted firmly in the Douro landscape. | Dimensions:- 22½ x 16cms. |
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| srd329 |  "Douro Wine Carrying Boats" |
Dimensions:- 23.5 x 18.5cms. |
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| srd295 |  Boats on the Douro |
Framed. | Dimensions:- 13½ x 10½cms. |
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| srd283 |  Wine Boat on the Upper Douro |
Framed. This painting shows a small Douro wine boat most likely at Pinhãao. It is moored quietly near the riverbank with a single sail partly raised and a long steering oar resting across the hull. A lone pipa (wine barrel) sits on the shore, suggesting loading or unloading in progress. The surrounding hills rise in soft purples and browns, fading into mist - a classic upper Douro landscape.
The light is the painting’s most striking feature: a gentle, pearly glow that softens the sky and reflects delicately on the water. Susanna often used this restrained palette to evoke early morning or late afternoon calm, and here it creates a mood of stillness and quiet labour. |
Dimensions:- 22½ x 16cms. |
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| srd232 |  On the Banks of the Douro |
Dimensions:- 11½ x 9cms. |
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| srd060 |  "Douro Boat, Cashes of Wine" |
Dimensions:- 22 x 14cms. |
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| srd019 |  "The Upper Reach" |
From Portugal, its Land and People, 1909. On the Douro. The setting is very likely to be at Pinhão. The Upper Reach is where the river enter a narrower more mountainous region. The serene and expansive view of the Douro, showing several moored river boats resting quietly on still water. Their tall masts rise against a backdrop of layered, misty mountains, creating a sense of depth and calm. The reflections in the water are soft and delicate, typical of Susanna’s handling of river light. The distant hills, painted in muted blues, browns, and greys, evoke the grandeur of the upper Douro valley, where the river narrows and the slopes become steep and dramatic. The composition is balanced and contemplative: human presence is implied through the boats, but the landscape dominates. Susanna captures the Douro not as a place of labour here, but as a place of quiet majesty. The painting’s gentle transitions of colour and its atmospheric stillness make it one of her most poetic river scenes. |
Dimensions:- not known. |
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| |
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| srd016 |  "A Sardine Boat" |
From Portugal, its Land and People, 1909. maybe at Espinho, just south of Oporto. It shows a traditional sardine boat drawn up on the sand — a type of vessel characteristic of the Atlantic fishing beaches south of Porto. The curved prow and stern, the long oars, and the fishing gear scattered across the beach all point unmistakably to the Espinho fishing fleet, which was famous for its sardine catch and for hauling boats directly onto the sand.
The light is gentle and maritime: a pale sky, soft clouds, and a calm sea that reflects the quiet rhythm of coastal life. Susanna’s brushwork is delicate, and her restrained palette captures the clarity of the Atlantic air. The barrels, ropes, and nets lying on the sand evoke the daily labour of the fishermen, while the boat itself rests between tides. Susanna’s personal connection strengthens the identification. Espinho lies only a short distance south of Lavadores, where she lived, and contemporary accounts suggest she visited — and may even have stayed in Espinho. The painting’s intimate viewpoint and familiarity with the fishing equipment support the idea that she worked directly from life on this beach. This work marks a transition in her published sequence: moving from the dramatic upper Douro to the open Atlantic coast, yet retaining her characteristic sensitivity to light, labour, and landscape. It stands as one of her clearest depictions of Portugal’s coastal fishing tradition. |
Dimensions:- not known. |
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| srd067 |  "Sardine Boats" |
Dimensions:- 20 x 12½cms. |
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| srd266 |  Sardine Boats |
Dimensions:- 17 x 12cms. |
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| srd328 |  Sardine Boats |
Dimensions:- 23.3 x 16.5cms. |
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| srd354 |  Fishermen Launching Sardine Boat |
Hauling of the fishing boat, (Arrasto de barco de pesca), captures the intense, communal labour of hauling a brightly painted fishing boat up the beach. The men work in coordinated effort, using pranchas (wooden beams) to roll or lever the vessel across the sand - a traditional technique used along the northern Portuguese coast. The boat’s vivid colours and decorative motifs mark it as a barco de arte xávega, the type used for sardine and mackerel fishing. Susanna’s handling of movement is superb: bodies lean, muscles strain, and the boat’s weight is palpable. The scene is full of energy and authenticity, showing the physical reality of coastal work and the teamwork that sustained it. | Dimensions:- 20 x 18cms. |
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| srd297 |  Men Working on a Sardine Boat |
Framed. | Dimensions:- 24 x 16cms. |
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| srd465 |  Boats, Beach and Cart |
Boats and cart on the Shore (Barcos na praia com carro), depicts a quiet moment on a fishing beach, with long, narrow boats drawn up on the sand and a wooden carro (cart) standing nearby with sacks or bundles. The high, curved prows of the boats suggest the xçvega type again, used along beaches from Espinho to Furadouro. The distant settlement and hazy sky create a gentle, atmospheric backdrop. Susanna’s palette is muted and sandy, evoking the calm between tides and the everyday rhythm of coastal life. This is a transitional scene - not the drama of hauling or fishing, but the quiet readiness of tools and boats awaiting work. | Dimensions:- 16 x 9½cms. |
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| srd384 |  Stream Through Sand dunes |
Dimensions:- 23 x 16cms. |
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| srd387 |  Beached Boats |
Dimensions:- 24 x 17cms. |
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| srd185 |  Bringing in the Sardines |
Dimensions:- 26 x 13cms. |
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| srd361 |  "Gathering Seaweed for Fertilizing the Fields" |
This painting depicts the apanha de sargaço, the traditional gathering of seaweed used as fertiliser in coastal agriculture. Women and men work along the shore, carrying baskets and bundles, while tools such as ancinhos (rakes) lie scattered in the foreground. A sailing vessel on the horizon adds depth and maritime context. Susanna’s composition is rich with human detail: figures bent to their tasks, baskets balanced on heads, and the rhythmic movement of labour along the tide line. This is one of her finest records of coastal subsistence work - dignified, accurate, and full of life. | Dimensions:- 27 x 18½cms. |
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| srd207 |  Woman Carrying Bundle |
Dimensions:- 20½ x 25. |
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| srd216 |  Boats in Harbour |
Dimensions:- 18½ x 14½cms. |
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| srd254 |  Boat in Harbour |
Dimensions:- 23 x 15cms. |
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| srd040 |  "The Opposite Bank" |
Dimensions:- 12½ x 9cms. |
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| srd539 |  Gathering on Beach |
Fish Market on the Beach (Mercado de peixe na praia), presents a lively beach fish market, with women sorting, trading, and arranging fish in baskets and trays. Padeiras / peixeiras are traditional terms for women selling fish while 'cestos' is a basket used for sorting and selling. The figures wear traditional coastal clothing - long skirts, shawls, and hats - and the boats and masts behind them anchor the scene firmly in the fishing community. Susanna’s brushwork is fluid and sunlit, capturing both movement and the social energy of the market. This is one of her most human coastal works: full of interaction, commerce, and the daily life of the women who formed the backbone of the fishing economy. | Dimensions:- Small painting. |
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| srd377 |  Stationary Boats |
Dimensions:- 20 x 17½cms. |
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| srd130 |  Oporto Boats |
Dimensions:- 16½ x 21½cms. |
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| srd187 |  Harbour |
Dimensions:- 24 x 16½cms. |
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| srd268 |  Fishing Boat |
Dimensions:- 23½ x 16½cms. |
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| srd269 |  Boats in Ravine |
Dimensions:- 23½ x 16½cms. |
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| srd302 |  Moored Boats |
Dimensions:- 17½ x 25½cms. |
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| srd525 |  Tranquil Waters |
Dimensions:- Small painting. |
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| srd186 |  Boat in Harbour |
Dimensions:- 16 x 24cms. |
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| srd363 |  Unloading Boats at Pier |
Dimensions:- 21 x 16½cms. |
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| srd320 |  Boats Moored by Settlement |
Dimensions:- 19½ x 17cms. |
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| srd534 |  Meandering River |
See srd316. | Dimensions:- Small painting. |
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| srd316 |  River Amongst the Fields |
See srd534. | Dimensions:- 11 x 8cms. |
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| srd484 |  Sunset at Sea |
Dimensions:- 10½ x 8½cms. |
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| srd059 |  Two Boat Scenes |
Dimensions:- 18 x 8cms. |
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| srd493 |  Boats |
Dimensions:- 17½ x 12½cms. |
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| srd359 |  Sketch of Boats in Harbour |
Dimensions:- 24 x 17cms. |
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| srd404 |  Boats on Beach |
Dimensions:- 18 x 10cms. |
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| srd422 |  Two Boats |
Dimensions:- 17 x 7cms. |
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| srd448 |  Figures and Boats |
Dimensions:- 18½ x 10½cms. |
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| srd490 |  Boats |
Dimensions:- 17½ x 12½cms. |
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| srd165 |  Sketches of Three Boats |
Dimensions:- 24 x 16cms. |
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| srd174 |  Boat |
Dimensions:- 24 x 15cms. |
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| srd485 |  Boats |
Dimensions:- 17½ x 12½cms. |
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| srd396 |  Boat and Anchor |
Dimensions:- 24 x 13cms. |
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| srd478 |  Two Boats |
Dimensions:- 24 x 17cms. |
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| srd208 |  Sketches of Boats |
Dimensions:- 22 x 12cms. |
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| Double quotations indicate title by SRD. |
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| |
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| srd456 |  "Sketches of Lisbon" |
1/ written on sketch "Where first king was baptised". This is São Roque; 2/ this is the port and torre de Belém; 3/ This is the Palácio Nationale da Ajuda. | Dimensions:- 12 x 9cms. |
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| srd075 |  Quay on the Tagus |
Dimensions:- 22½ x 15cms. |
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| srd003 |  "Cintra" |
From Portugal, its Land and People, 1909. The National Palace of Pena, Cintra/Sintra. Probably shown in the Graves’ Galleries exhibition in March 1902. | Dimensions:- not known. |
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| srd002 |  "Cloisters" |
From Portugal, its Land and People, 1909. Probably in the monastery at Alcobaca, north of Lisbon. | Dimensions:- not known. |
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| srd511 |  Fishing Boats by the Belém Tower. |
Near Lisbon. |
Dimensions:- not known. |
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| srd449 |  Seascape |
Believed to be the Belém Tower in the background. | Dimensions:- 18 x 9½cms. |
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| srd457 |  "Belém Castle (Lisbon)" |
Dimensions:- 9 x 8cms. |
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| |
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| srd022 |  Roadside Shrine at Lavadores |
Probably formerly on a rocky lane above the beach at Lavadores, facing toward the Atlantic/Douro mouth, now lost to 20th‑century coastal urbanisation. |
Dimensions:- 16 x 22cms. |
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| srd044 |  Nora at Lavadores |
See srd532. A nora is a traditional Portuguese water‑raising device - a wheel-and-bucket mechanism used for irrigation. They were once common in the agricultural zones around Lavadores, Canidelo, and Vila Nova de Gaia, especially before modern pumps replaced them. | Dimensions:- not known. |
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| srd532 |  Nora at Lavadores 2 |
See srd044. This painting depicts the same nora as srd044. The wheel (roda de ãgua), and drum are shown more prominently, and the lever arm is angled as if recently used. The foreground shows furrows or trenches, suggesting irrigation channels or recently worked land. The background is hazy, with distant trees and a pale sky typical of Lavadores’ inland fields.
Susanna’s brushwork is gentle and atmospheric, capturing both the solidity of the machine and the quiet rhythm of agricultural work. The presence of the operator makes this painting more narrative than 44: it shows the nora not just as a structure, but as a lived tool within the farming community. Together with 44, it forms a pair of studies of the same Lavadores nora, seen from different viewpoints and with different emphases. |
Dimensions:- Small painting. |
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| srd373 |  "Waterwheel, Lavadores" |
Dimensions:- 14 x 9cms. |
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| srd123 |  Water Tank at Lavadores |
Dimensions:- 11½ x 16½cms. |
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| |
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| srd309 |  Oporto from Vila Nova de Gaia |
Terreirinho. | Dimensions:- 10½ x 15cms. |
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| srd326 |  "Quay at Vila Nova de Gaia" |
Dimensions:- 17 x 25cms. |
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| |
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| srd013 |  "Quayside: Oporto" |
From Portugal, its Land and People, 1909. View of Oporto from Vila Nova de Gaia. |
Dimensions:- not known. |
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| srd014 | "Oporto: from the Douro" |
From Portugal, its Land and People, 1909. View of Oporto from Vila Nova de Gaia. |
Dimensions:- not known. |
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| srd292 |  Moored Craft on Oporto quayside 1 |
Framed. | Dimensions:- 22 x 16½cms. |
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| srd293 |  Moored Craft on Oporto quayside 2 |
Framed. | Dimensions:- 21½ x 17½cms. |
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| srd410 |  Probably Oporto. |
Dimensions:- 17½ x 24½cms. |
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| srd038 |  Banks of the Douro |
Dimensions:- 12 x 8cms. |
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| srd353 |  Street Scene, probably Oporto |
Dimensions:- 10 x 19cms. |
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| srd546 |  Oporto Harbour |
Looking towards Placa d. Henrique. Painted from the South Bank. |
Dimensions:- Small painting. |
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| srd015 |  "On the Douro" |
From Portugal, its Land and People, 1909. Boat on the river at Oporto. |
Dimensions:- not known. |
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| srd129 |  "Douro Boat Carrying Casks of wine" |
Dimensions:- 21 x 13cms. |
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| srd124 |  Wisteria growing against 'Rawes house' |
Situated on the corner of Direita das Campinas and Felizardo de Lima, Campinas, Oporto. | Dimensions:- 12½ x 20cms. |
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| |
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| srd524 |  Vila Flor |
Igreja Mastriz de Vila Flor in the background. |
Dimensions:- Small painting. |
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| srd270 |  Sailing Boats |
Dimensions:- 23½ x 16½cms. |
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| srd555 |  A Douro Town? |
Susanna went for the dramatic with this scene, capturing a remote settlement nestled in a broad, quiet basin beneath towering mountains. The palette is unusually dark and moody for her Douro work: deep purples, muted greens, and heavy cloud lend the scene a sense of weight and introspection. The river - wide, calm, and reflective - forms a luminous band across the middle of the composition, guiding the eye toward the distant cluster of houses.
Unlike her Eira Velha works, this painting has no terraces - only the raw, unmediated grandeur of the interior Douro or one of its great tributaries. It is a painting of solitude and quiet power, showing Susanna’s sensitivity to the wilder, less cultivated parts of northern Portugal. |
Dimensions:- not known. |
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| |
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| srd310 |  Orange Orchard in the Minho |
Dimensions:- 11 x 8cms. |
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| |
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| srd220 |  Braga |
Igreja do Bom Jesus do Monte, Braga. |
Dimensions:- 18 x 26½cms. |
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| srd424 |  Barcelos |
Igreja do Bom Jesus da Cruz de Barcelos. | Dimensions:- 24 x 14½cms. |
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| srd048 |  S. Romans at Citânia de Briteiros |
Prehistoric settlement east of Braga. | Dimensions:- 17½ x 12½cms. |
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| |
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| srd432 |  Viana do Castelo |
Dimensions:- 11½ x 8½cms. |
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| srd322 |  S. Fransisca, Viana do Castelo |
Dimensions:- 11 x 15½cms. |
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| srd531 |  Cross at the Convent of S. Francisco do Monte Viana do Castelo |
This metal cross is believed to be still standing. | Dimensions:- 8 X 12cms. |
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| srd028 |  Fountain 1 at S. Fransisco Convent, Viana |
Probably the same as No.42 in the Grave's exhibition of 1909. | Dimensions:- 15 x 22½cms. |
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| srd438 |  Viana do Castelo |
Dimensions:- 12 x 9cms. |
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| srd303 |  Fountain 2 at S. Fransisco Convent, Viana |
Dimensions:- 17½ x 23cms. |
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| Susanna lived for some years in a cottage at Afife and many of her agricultural scenes were probably painted here. One of her favoured spots was the convent at Cabinas in the hills above Afife. |
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| transporting the wine/port down to the river. |
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| srd314 |  "Affife Cabanas" |
This painting is a beautifully observed study of the Rio Cabanas as it descends through a small ravine above the convent at Cabinas. Susanna captures the movement of the water with delicate, broken strokes, showing it slipping over rocks and gathering in small pools before continuing its descent. The tall trees on either side frame the scene, their soft foliage creating a cool, shaded atmosphere that contrasts with the brightness of the cascading water. The background dissolves into gentle mist, giving the ravine depth and a sense of quiet isolation. This is not a dramatic waterfall but a natural, intimate watercourse - the kind of place one discovers only by walking the land. Susanna’s handling of colour is subtle and restrained, allowing the textures of rock, water, and foliage to speak for themselves. Because the exact location is known, this painting holds special significance: it shows Susanna working directly from the landscape of Afife, capturing a real place with accuracy and affection. | Dimensions:- 10½ x 15cms. |
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| srd139 |  Bridge by Building |
This painting shows a rustic two‑arched stone bridge crossing a narrow watercourse, surrounded by dense foliage and warm earth tones. The bridge’s modest scale, irregular stonework, and simple construction suggest an older rural crossing rather than a formal road bridge. Above the arches, red‑roofed buildings appear through the trees, positioned in a way that recalls the outbuildings of the Convento de Cabanas, which sit just above the river.
Although the exact location cannot be stated with certainty, the combination of the two arches, the enclosed terrain, and the glimpse of buildings above the bridge makes it quite possible that this is the old bridge associated with the convent - the one that crosses the Rio Cabanas as one enters the convent grounds. The painting captures the quiet, shaded character of the upper river before it descends toward Afife, rendered with Susanna’s characteristic softness and atmospheric restraint. |
Dimensions:- 10 x 13½cms. |
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| srd074 |  Couple on Bridge |
This is the road bridge (ponte de estrada), that crosses the main road into Afife. It crosses the little rio Cabanas. The bridge is double arched but Susanna only depicts the left-hand arch of the bridge from up-river. The bridge is obviously more substantial than Susanna’s clapper bridges: built of stone, with a broad roadway and solid abutments. The single visible arch rises cleanly over the calm water, its reflection forming a soft ellipse beneath it. The riverbanks (margem), are gentle and grassy, typical of the Cabanas valley, and a few small buildings stand beyond the bridge, anchoring the scene in Afife’s rural settlement.
Susanna’s palette is muted and atmospheric - pale sky, soft greens, and warm stone tones - giving the bridge a quiet dignity. This is not a picturesque footbridge but a functional part of Afife’s infrastructure, linking the village to the surrounding countryside. Her viewpoint emphasises the bridge’s solidity and its integration into the landscape. |
Dimensions:- 10 x 15cms. |
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| srd467 |  Bridge at Afife |
As with the above painting (srd074), the scene is from the south bank looking down river. This second painting shows the same road bridge, again from the upstream side, with only the left span visible. Here Susanna shifts her viewpoint slightly to include a house on the left bank, partly obscured by trees. The bridge’s arch is more central in the composition, and the reflections in the water are more pronounced, giving the scene a tranquil, almost contemplative quality.
The stonework is rendered with soft precision, and the muted colours evoke early morning or late afternoon light. The presence of the house suggests the bridge’s role in daily village life - a crossing used by farmers, travellers, and residents moving between Afife’s scattered hamlets. Susanna’s brushwork is gentle and fluid, capturing both the solidity of the structure and the quiet movement of water beneath it. This painting complements the first: together they form a pair of upstream studies of Afife’s principal bridge, showing it from slightly different angles and with different emphases. |
Dimensions:- 10½ x 14cms. |
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| srd521 |  "Afife" Bridge and Building |
See srd072 & srd386. On this painting is the word "Afife" and signed "SD". This painting appears to be the finished version of paintings srd072 & srd386. The bridge’s multiple arches or piers span the calm water, and a building with a sloped roof stands close to the left bank. The composition is more architectural than the others, emphasising the bridge’s shape and its reflection in the river. Soft trees and distant hills complete the scene. Note the other painting that is depicted on No. srd072. | Dimensions:- small painting. |
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| srd072 |  Stone Bridge at Afife |
See srd386 & srd521. Painting 72 shows a low stone passadeira (clapper bridge), crossing a calm stream, almost certainly one of the crossings of the Rio Afife or Rio Cabanas. The bridge consists of several stone piers supporting flat slabs, a typical rural construction used for foot traffic. Beyond the bridge stand small houses and faint figures, giving the scene a lived, village atmosphere. Susanna’s soft palette - greens, browns, and pale sky tones - evokes the quiet inland light of Afife. This is a gentle, truthful record of everyday movement within the village landscape. | Dimensions:- 15 x 11cms. |
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| srd386 |  Stone Bridge and Building |
See srd072 & srd521. This presents the same passadeira, now viewed closer to a house on the left bank. The building, partly hidden by foliage, suggests a farmstead or mill structure typical of Afife. The bridge’s stone piers and slab decking are clearly visible, and a narrow path leads toward it. The reflections of trees in the water create a tranquil atmosphere. Susanna’s muted colours and gentle brushwork capture the quiet rhythm of daily crossings - villagers moving between home and fields. | Dimensions:- 10½ x 8cms. |
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| srd378 |  Stone Bridge at Afife 2 |
This painting a passaseira de lajes (simple clapper bridge), spanning a shallow stream, almost certainly one of the crossings of the Rio Afife or Rio Cabanas. The bridge consists of flat stone slabs laid across low supports, a traditional rural construction used for foot traffic and livestock. Susanna captures the modest beauty of this structure: the stones are irregular, weathered, and partly overgrown, blending naturally into the surrounding landscape.
The water flows gently beneath, and the banks are soft with grasses and earth tones typical of Afife’s inland fields. The composition is quiet and contemplative, emphasising the bridge as part of everyday rural life rather than a grand architectural feature. Susanna authentically records of the small infrastructure that shaped movement within the village - humble, practical, and deeply rooted in local tradition. |
Dimensions:- 14 x 10cms. |
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| srd298 |  Stone Bridge at Afife 1 |
Painting 298 presents a rustic footbridge (passadeira rústica), this time integrated into a broader landscape of path, bank, and flowing water. The bridge appears slightly raised, with stone supports and a simple slab crossing (travessia), - again characteristic of the passadeiras used in Afife’s agricultural zones. The surrounding terrain suggests a well-used route: a narrow path leads toward the bridge, and the vegetation is worn where people and animals have passed for generations.
Susanna’s palette is soft and earthy, capturing the dampness of the stream and the muted greens of the banks. The hills beyond are faint, giving the scene depth without distracting from the bridge itself. This painting conveys the rhythm of rural movement - a place where villagers crossed daily on their way to fields, mills, or neighbouring hamlets. It is a gentle, truthful study of Afife’s small-scale landscape architecture. |
Dimensions:- 17 x 12cms. |
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| srd331 |  "Afife" at Sunset |
This is a serene and luminous coastal study, painted where the Rio Afife meets the Atlantic. The composition is simple but deeply atmospheric: a stretch of pale sand in the foreground, gentle water along the right, and distant dunes or low land on the left. The sky is the true protagonist - a soft gradient of yellow, pink, and lavender that reflects delicately on the wet sand and shallow water. Susanna’s handling of light is exceptionally subtle here. She captures the moment when the sky and sea seem to merge, creating a quiet radiance across the beach. There are no figures, no boats, no dramatic waves - just the calm, open beauty of Afife’s shoreline. The emptiness is intentional: it allows the viewer to feel the stillness of early morning or late afternoon, when the colours are at their gentlest.
The inscription “Afife” on the reverse gives this painting special significance. It anchors the entire river sequence: from the ravine at Cabinas, past the convent, under the bridges, through the fields, and finally to this tranquil meeting of river and sea - a moment of quiet after the river’s long journey. |
Dimensions:- 23.5 x 16.2cms. |
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| srd376 |  Street in Afife |
This scene is almost certainly Afife. Susanna's painting offers a gentle, atmospheric view of Afife as Susanna would have known it. The dirt road leads the eye directly toward Igreja Paroquial de Santa Maria de Afife, whose steeple rises quietly above the rooftops. The houses lining the road are simple and warm in tone, their red roofs contrasting softly with the greens and browns of the large tree that dominates the left side of the composition. A lone figure walks away from the viewer, carrying a basket on the head - a familiar sight in rural northern Portugal, and a reminder of the daily movement between fields and village. The distant hills complete the scene, giving it depth and a sense of place.
Susanna’s watercolour technique brings a calm, almost nostalgic quality to the painting. It captures Afife before modern alterations, preserving the village’s character with clarity, affection, and a keen eye for everyday life. |
Dimensions:- 9 x 12cms. |
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| srd294 |  Convento de São João Cabanas, Afife |
Framed. | Dimensions:- 9 x 14cms. |
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| srd399 |  Cabanas |
Dimensions:- 11 x 16cms. |
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| srd439 |  Afife |
A Baroque devotional roadside column on the old road between Afife and Âncora. Believed to have stood just east of the modern Rua de Paçô on the old lane toward Cabanas). Same column as No.srd073.
This painting forms a paired study with number 439 in Susanna Roope Dockery's Minho work, depicting the same devotional column from two complementary viewpoints. These works are examples of her ability to combine topographical accuracy with a poetic sensitivity to atmosphere, and they offer a revealing glimpse into her working method.
Light and Atmosphere Both works show Susanna's mastery of the Minho light - soft, humid, and diffused by Atlantic air. Her palette is restrained: muted earths, pale greens, and gentle violets in the distance. The shadows are delicate, never harsh, allowing the monument to sit naturally within its environment. This atmospheric subtlety is one of the reasons her Minho paintings feel so authentic: she paints not only the place, but the air of the place. Technique Susanna's watercolour technique is confident and economical: wet-in-wet washes for distant hills; dry brush for stone texture; fine linear work for the sculptural details; controlled reserve of white paper to suggest sunlight on stone; Her handling of the monument's geometry is precise without being rigid - a balance that gives the column both solidity and life. Art‑Historical Significance This pair is important for several reasons: It is the only confirmed instance where Susanna painted the same monument twice; It shows her methodical approach to recording Minho devotional architecture; It demonstrates her sensitivity to how landscape and monument interact; It provides a rare visual record of a cross that may no longer exist; Within her body of work, Nos. 73 and 439 stand as a small but significant study in devotional topography, and they exemplify her ability to elevate humble rural monuments into subjects of quiet beauty. |
Dimensions 11 x 16cms. |
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| srd073 |  Afife |
A Baroque devotional roadside column on the old road between Afife and Âncora. Believed to have stood just east of the modern Rua de Paçô on the old lane toward Cabanas). Same column as No.srd439.
This painting forms a paired study with number 439 in Susanna Roope Dockery-s Minho work, depicting the same devotional column from two complementary viewpoints. These works are examples of her ability to combine topographical accuracy with a poetic sensitivity to atmosphere, and they offer a revealing glimpse into her working method.
Light and Atmosphere Both works show Susanna's mastery of the Minho light — soft, humid, and diffused by Atlantic air. Her palette is restrained: muted earths, pale greens, and gentle violets in the distance. The shadows are delicate, never harsh, allowing the monument to sit naturally within its environment. This atmospheric subtlety is one of the reasons her Minho paintings feel so authentic: she paints not only the place, but the air of the place. Technique Susanna's watercolour technique is confident and economical: wet-in-wet washes for distant hills; dry brush for stone texture; fine linear work for the sculptural details; controlled reserve of white paper to suggest sunlight on stone; Her handling of the monument's geometry is precise without being rigid - a balance that gives the column both solidity and life. Art & Historical Significance This pair is important for several reasons: It is the only confirmed instance where Susanna painted the same monument twice; It shows her methodical approach to recording Minho devotional architecture; It demonstrates her sensitivity to how landscape and monument interact; It provides a rare visual record of a cross that may no longer exist; Within her body of work, Nos. 73 and 439 stand as a small but significant study in devotional topography, and they exemplify her ability to elevate humble rural monuments into subjects of quiet beauty. |
Dimensions 14½ x 21½cms. |
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| srd078 |  Building at Afife |
Dimensions:- 10½ x 15½cms. |
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| srd312 |  Cross at Afife |
Dimensions:- 8 x 11½cms. |
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| srd055 |  Gate and Farmhouse at Afife |
Dimensions:- 10 x 14cms. |
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| srd301 |  |
This is one of Susanna Roope Dockery's more architecturally precise devotional studies, and she treats both the church and the cross with unusual clarity. The church is rendered with confident, economical brushwork: the bell-cote, the pitched roof, and the clean geometry of the facade suggest a real, identifiable parish building rather than an imagined structure. The surrounding trees and the soft, luminous sky create a gentle atmospheric frame, typical of her plein-air technique. The cross in the foreground is the true focal point. Its stepped base, tall shaft, and crucifix form a strong vertical counterpoint to the horizontal mass of the church. Susanna paints it with enough detail to convey its material presence, but without overworking the stone texture. The relationship between the cross and the church - close but not formally connected - suggests a wayside or churchyard cross rather than a calvary group. The Composition is balanced and serene: the warm foreground light, the cool shadows cast by the cross, and the restrained palette all contribute to a contemplative mood. This is a devotional landscape rather than a topographical record, but the architectural accuracy indicates she was painting a real site she knew well. |
Dimensions:- 15 x 21cms. |
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| srd290 |  Rural Scene at Afife |
Framed. | Dimensions:- 14½ x 10cms. |
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| srd299 |  Roadside Cross at Afife |
Dimensions:- 8 x 11cms. |
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| |
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| srd382 |  Town Gateway 1, Caminha |
Painting 382 presents a clear and dignified view of Caminha’s Torre do Relógio, the medieval gateway that once formed part of the town’s defensive walls. Susanna captures the tower’s vertical strength: the arched entrance below, the small decorative niche above it, and the distinctive bell structure crowned with a cross at the summit. The flanking houses, with their balconies and red‑tiled roofs, soften the composition and anchor the tower within the lived fabric of the town. The gentle light and warm palette give the scene a calm, settled atmosphere, making this one of her most architectural and carefully observed studies of Caminha. | |||||
| srd426 |  Clock Tower 3, Caminha |
Painting 426 shows the Torre do Relógio from a slightly different angle, emphasising its civic presence within the town. The clock face is clearly visible, and the small bell turret above it gives the tower its distinctive silhouette. A flag hangs from the adjacent building, adding a touch of colour and suggesting a moment of local life or festivity. The surrounding houses, red roofs, and the tree to the right create a balanced, sunlit composition. Susanna’s soft handling of stone and sky gives the scene a gentle, atmospheric quality, capturing both the tower’s authority and the everyday charm of Caminha’s old streets. | |||||
| srd092 |  Town Gateway 2, Caminha |
Painting 092 focuses more intimately on the gateway itself - the arched passage at the base of the Torre do Relógio. Here, Susanna emphasises the human scale of the structure: the stone arch frames a bright, sunlit street beyond, where figures move quietly through the town. Above the arch sits a small devotional niche, a familiar feature in northern Portuguese towns and a reminder of Caminha’s layered history. The contrast between the cool shadow of the gateway and the warm light of the street beyond creates depth and atmosphere. This is a more personal, street‑level view of the same monument, showing how the tower functions as both architecture and lived space. | |||||
| srd076 |  Caminha at Night |
This gentle landscape captures the quiet beauty of the Minho estuary, with a broad sweep of marshland leading the eye toward the distant town of Caminha. The foreground is a tranquil expanse of grasses and shallow water channels, painted with delicate washes that evoke stillness and the slow movement of tidal water. In the distance, the clustered buildings of Caminha rise beside the river, their forms softened by the warm evening light. Behind them, the low hills of Vilarelho and Argela lift gently toward the right, completing the harmonious composition.
Susanna’s palette is restrained and atmospheric: soft greens and browns in the marsh, pale blues in the distant water, and warm pinks and yellows in the sky. The result is a serene, contemplative study of land, water, and light - almost certainly painted from the Galician bank of the Minho, where she is known to have sketched. It is a fine example of her ability to capture the quiet poetry of the northern Portuguese landscape.. |
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| |
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| srd264 |  "Church at Villa do Frasos Corvas" |
Dimensions:- 11 x 8cms. |
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| srd115 |  Street Scene |
Dimensions:- 22½ x 15½cms. |
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| srd371 |  Plaza in Town |
Dimensions:- 20½ x 15½cms. |
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| srd519 |  The Village |
Dimensions:- Small painting. |
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| srd337 |  Town of Roofs |
Dimensions:- 22 x 14cms. |
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| srd282 |  Aljubarreta |
Framed. | Dimensions:- 22 x 15½cms. |
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| srd054 |  Village Cross |
Dimensions:- 9 x 12½cms. |
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| srd030 |  Washing Clothes |
Some foxing. | Dimensions:- 13½ x 20½cms. |
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| srd064 |  Countryside Cross |
On the reverse is painted number srd063. | Dimensions:- 16½ x 23½cms. |
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| srd128 |  Cross |
Roadside Devotional Column in the Minho.
A refined study of a statue-topped devotional column, a type of rural monument characteristic of the Minho's older processional routes. The painting demonstrates her ability to balance architectural clarity with atmospheric subtlety, producing a work that is both documentary and poetic. Subject and Setting The column stands on a multi‑tiered stone base, rising into a spiral shaft that supports a small sculptural figure - likely a saint or a representation of Christ. These columns were placed at crossroads, parish boundaries, or along pilgrimage routes, serving as points of prayer and orientation. Susanna depicts the monument within a quiet rural landscape, with low hills and scattered vegetation. The setting is typical of the inland Minho, where such columns were once common. Composition and Artistic Approach Susanna adopts a frontal, slightly elevated viewpoint, allowing the monument to dominate the foreground while still integrating it into the surrounding terrain. The verticality of the column is offset by the gentle horizontals of the landscape, creating a calm, balanced composition. Her handling of the stonework is particularly assured: the base is rendered with crisp, economical lines; the shaft is subtly modelled with light washes; the statue is suggested with minimal but expressive detail. This economy of means is characteristic of her mature style. Light and Atmosphere The palette is restrained - soft earth tones, muted greens, and pale sky washes - evoking the humid, diffused light of the Minho. The shadows are delicate, suggesting a still, overcast day. The atmosphere is contemplative, almost devotional, mirroring the function of the monument itself. Significance Susanna is interested in isolated devotional structures, not just the more dramatic cruzeiros or churchyard crosses. It also demonstrates her sensitivity to the quiet dignity of these rural monuments, many of which have since disappeared. |
Dimensions 13 x 20½. |
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| srd365 |  Cross |
Dimensions:- 14 x 21½cms. |
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| srd427 |  Cross |
Dimensions:- 15 x 21½cms. |
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| srd241 |  Cross on Rustic Column |
Dimensions:- 10½ x 11cms. |
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| srd262 |  Roadside Cross |
Dimensions:- 10 x 15cms. |
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| srd291 |  Cross Overlooking the Sea |
Framed. | Dimensions:- 23 x 13½cms. |
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| srd460 |  Cross |
Dimensions:- 10 x 15cms. |
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| srd436 |  Cross |
Dimensions:- 17 x 22cms. |
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| srd057 |  Village |
Dimensions:- 15 x 11cms. |
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| srd063 |  Courtyard |
On the reverse is painted number srd064. | Dimensions:- 21½ x 14½. |
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| srd100 |  House by Landing Stage |
Dimensions:- 15 x 20½cms. |
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| srd071 |  Barn |
Dimensions:- 15½ x 11cms. |
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| srd142 |  Building Alongside Threshing Floor |
Dimensions:- 23 x 15cmsn. |
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| srd259 |  Threshing Yard |
Dimensions:- 25 x 17cms. |
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| srd273 |  Stone Circle |
Dimensions:- 16½ x 11½cms. |
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| srd317 |  Church Tower & Vane |
Probably Convento de S. Fransisco do Monte, Viana. | Dimensions:- 11 x 15cms. |
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| srd372 |  Flowering Bush Near Window |
Dimensions:- 18 x 19½cms. |
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| srd433 |  Precinct Wall |
Dimensions:- 17 x 19cms. |
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| srd442 |  Tank |
Dimensions:- 10 x 14½cms. |
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| srd458 |  Threshing Yard |
Dimensions:- 17 x 12cms. |
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| srd469 |  Church Tower |
Dimensions:- 9 x 12cms. |
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| srd425 |  Church with Portico 1 |
Dimensions:- 16 x 24cms. |
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| srd362 |  Church with Portico 2 |
Dimensions:- 14½ x 21½cms. |
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| srd321 |  Church with Portico 3 |
Dimensions:- 18 x 26½cms. |
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| srd136 |  Chapel in Olive Grove |
Dimensions:- 24 x 17cms. |
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| srd137 |  Threshing Floor |
Dimensions:- 25 x 17cms. |
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| srd026 |  Waiting Pack Horse |
Some foxing. | Dimensions:- 17½ x 12½cms. |
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| srd033 |  Stone Footbridge |
There is what appears to be a settlement in the background. | Dimensions:- 14 x 10cms. |
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| srd029 |  Steps Ascending |
Dimensions:- 15½ x 22½cms. |
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| srd351 |  Stone Staircase |
Dimensions:- 24 x 17cms. |
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| srd304 |  Nora by Sea |
Dimensions:- 10½ x 7cms. |
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| srd143 |  Nora with Town Behind |
Dimensions:- 19 x 11½cms. |
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| srd238 |  Sketch of a Nora |
Dimensions:- 12 x 14cms. |
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| srd200 |  Nora Beyond Corn Field |
Dimensions:- 16 x 11cms. |
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| srd032 |  Nora at Rest |
Nora is a Portuguese word for a well operated by a donkey. | Dimensions:- 15 x 10cms. |
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| srd325 |  Nora Waiting for Mule |
Dimensions:- 17 x 12cms. |
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| srd389 |  Rough Sketch of a Village street |
Dimensions:- 18 x 15½cms. |
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| srd090 |  Rolling in the Barrel |
Dimensions:- 4 x 6cms. |
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| srd135 |  Church Architecture |
Dimensions:- 18 x 29cms. |
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| srd121 |  Wall |
Dimensions:- 16x 22cms. |
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| srd247 |  House in Olive Grove |
Dimensions:- 17½ x 25cms. |
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| srd548 |  Over the Roof |
Dimensions:- Small painting. |
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| srd409 |  Ghostly Steps |
Dimensions:- 16½ x 23½cms. |
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| srd248 |  Entrance to Shrine |
Dimensions:- 25½ x 18cms. |
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| srd538 |  Shrine |
Dimensions:- Small painting. |
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| srd250 |  Pavilion |
Dimensions:- 22 x 15cms. |
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| srd079 |  Sacred Spring |
Dimensions:- 8 x 11cms. |
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| srd530 |  Sacred Spring 2 |
Dimensions:- 10 x 15cms. |
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| srd392 |  Filling the Jug |
Dimensions:- 9 x 15cms. |
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| srd230 |  Spring Head |
Dimensions:- 9 x 12cms. |
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| srd554 |  Sacred Spring 3 |
Dimensions:- not known. |
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| srd223 |  Shrine in Wall |
Dimensions:- 11 x 16cms. |
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| srd225 |  Spring |
Dimensions:- 16 x 23cms. |
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| srd275 |  Windmill |
Dimensions:- not known. |
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| srd379 |  Windmill |
Dimensions:- 17 x 12½cms. |
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| srd061 |  Windmill |
Dimensions:- 14 x 10cms. |
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| srd398 |  Large Tree by House |
Dimensions:- 12½ x 17½cms. |
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| srd252 |  Wisteria Around Fountain |
Dimensions:- 22½ x 29½cms. |
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| srd272 |  Wisteria |
Dimensions:- 11½ x 17cms. |
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| srd051 |  Wisteria |
On the back is written: Bernard (Susanna's grandson Bernard Rawes). | Dimensions:- 11 X 13½cms. |
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| srd308 |  Wisteria |
Dimensions:- 11½ x 16½cms. |
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| srd441 |  Wisteria |
Dimensions:- 10 x 14½cms. |
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| srd210 |  Well |
Dimensions:- 16½ x 23cms. |
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| srd277 |  Man Standing by Well |
Dimensions:- 21½ x 16cms. |
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| srd475 |  Mill |
Dimensions:- 24 x 16½cms. |
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| srd455 |  Mule Outside House |
Dimensions:- 11 x 7cms. |
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| srd065 |  In the Monastery |
Dimensions:- 16 x 20½cms. |
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| srd134 |  Man in Church |
Dimensions:- 20 x 27½cms. |
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| srd501 |  "The Widow" |
Dimensions:- not known. |
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| srd446 |  Grill Over Window |
Dimensions:- 14½ x 11½cms. |
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| srd405 |  Wall |
Dimensions:- 17 x 12½cms. |
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| srd557 |  Town with aquaduct. |
Thought to be in America at one time. | Dimensions:- not known. |
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| Double quotations indicate title by SRD. |
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| srd093 |  Kate Dagg, Susanna's sister |
Susanna's portrait (retratos) of her sister Kate (Catherine Roope 1869-1963, is a refined and deeply personal portrait of Kate had married Arthur Dagg who became the manager of the Roope estate at Eira Vehla above Pinhão. Susanna portrays Kate with quiet dignity: her hair swept up, her expression calm and thoughtful, and her dress rendered with meticulous attention to texture and detail. The high collar trimmed with lace, the row of small buttons, and the soft fall of the fabric all demonstrate Susanna’s sensitivity to the subtleties of clothing and character.
The background is understated - a warm, neutral tone that allows Kate’s face and posture to dominate the composition. Susanna avoids any decorative distraction, focusing instead on the gentle modelling of the features and the serene, introspective mood. The portrait has a Victorian reserve, yet it is softened by familial warmth: Kate is shown not as a formal sitter but as someone known, loved, and understood. This work stands among Susanna’s finest figure studies. It reveals her ability to capture personality through restraint, light, and delicate brushwork. The portrait also holds special significance within her Douro work where Susanna painted so much. In this sense, it is both a family portrait and a quiet cornerstone of the wider narrative of Susanna’s life and work. |
Dimensions:- 20 x 23cms. |
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| srd111 | "Douro Girl" |
A painting by Susanna at Eira Vehla. This intimate portrait shows Susanna Roope Dockery working in a quieter, more personal mode than in her sweeping Douro landscapes. A young woman leans gently against a simple wooden railing, her posture relaxed, her gaze turned toward the valley beyond. The soft blue‑green of her dress and the warm yellow of her headscarf create a delicate contrast against the muted purples and greys of the distant mountains. Unfortunately we do not know who she was. (Also reproduced in the Eira Vehla section.)
The background is rendered with Susanna’s characteristic atmospheric touch: the hills dissolve into haze, giving the scene a sense of depth and tranquillity. The railing, rustic and unadorned, anchors the composition and situates the viewer on a terrace or veranda — almost certainly at Eira Velha, where Susanna painted several works of similar mood and palette. What makes this painting especially compelling is the balance between the human presence and the landscape. The girl is neither posed nor idealised; she is simply part of the quiet life of the quinta, absorbed in her own thoughts. The result is a tender, contemplative work that reveals the domestic side of Susanna’s time at Eira Velha - a moment of stillness on the terrace, with the vast Douro valley stretching softly behind. |
Dimensions:- 12½ x 15cms. |
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| srd120 |  Portrait of Susanna's son Roderick Dockery |
Dimensions:- 8½ x 13cms. |
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| srd117 |  Portrait of a Young Women |
Dimensions:- 18½ x 22cms. |
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| srd499 |  "A Lady of Fashion" |
Dimensions:- 22½ x 14½cms. |
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| srd381 |  "Heads of Angels" |
Dimensions:- 22½ x 28cms. |
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| srd549 |  "Rita" |
In original oval gold-painted frame. Recorded as being No.58 in an exhibition in 1897. Who is Rita? | Dimensions:- 9 x 11.5cms. |
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| Double quotations indicate title by SRD. |
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| srd083 |  Agrippina at Rome |
Framed. Original by J.M.W. Turner of Agrippina landing at at Rome with the ashes of her son Germanicus. | Dimensions 58½ x 43cms. |
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| srd083a |  Agrippina at Rome by Turner |
Copy of original painting by J.M.W. Turner of Agrippina landing at at Rome with the ashes of her son Germanicus. | |||||
| srd080 |  Lyons |
Original frame. From original by J.M.W. Turner of Lyons in 1846. | Dimensions 17½ x 14cms. |
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| srd080a |  Lyons |
Copy of original painting by J.M.W. Turner of Lyons in 1846. | |||||
| srd081 |  Der Lauerzer see mit dem Mythen |
Original Frame. From original by J.M.W. Turner Painting of lake Lauer in Switzerland. Alongside the lake are two mountains, Little Mythen and Big Mythen. | Dimensions 17½ x 14cms. |
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| srd081a |  Der Lauerzer see mit dem Mythen |
Copy of original painting by J.M.W. Turner of Der Lauerzer see mit dem Mythen. | |||||
| srd082 |  Sunrise |
Original frame. This small atmospheric study is Susanna Roope Dockery’s interpretation of one of J.M.W. Turner’s Italian coastal compositions. The scene shows a low sun over a calm bay, framed by dark architectural masses and rocky shoreline, with small figures gathered on the foreshore. The combination of rising hills, substantial buildings on the left, and a rounded sea‑bastion with adjoining walls on the right corresponds closely to Turner’s depictions of the Bay of Baiae and Pozzuoli, subjects he explored extensively in the Gandolfo to Naples sketchbook (1819). Unfortunately this scene has not been traced. The composition however appears to derive from this group of Italian coastal views, and Susanna’s rendition preserves the luminous, dissolving light characteristic of Turner’s late style. | Dimensions 17 x 12½cms. |
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| srd226 |  Rocky Scene 1 |
Dimensions:- 10 x 8cms. |
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| srd227 |  Rocky Scene 2 |
Dimensions:- 10 x 8cms. |
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| srd118 |  The Golden Bough |
Susanna's copy of J.M.W. Turner's painting of 1834. Aeneas and the Sybel have just presented the Golden Bough to the gatekeeper, which allows entry into the Elysian Fields. | Dimensions 15 x 10½cms. |
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| srd118a |  The Golden Bough |
Copy of original painting by J.M.W. Turner of The Golden Bough. | |||||
| srd126 |  Ponti di Rialto, in Venice |
Dimensions:- 9 x 11½. |
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| srd221 |  Mary with Baby Jesus |
Dimensions:- 15 x 17cms. |
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| srd222 |  Mary & Joseph Receiving Visitors |
Dimensions:- 15 x 16cms. |
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| srd278 |  Ullysses Deriding Polythemus |
From original by J.M.W. Turner. The original was painted in oil by JMW Turner in 1829. | Dimensions:- not known. |
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| srd278a |  Ullysses Deriding Polythemus |
Copy of original painting by J.M.W. Turner of Ullyses deriding Polythemus. | |||||
| srd228 |  Lake Scene |
Dimensions:- 10 x 8cms. |
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| srd119 |  Painting of Jesus Christ |
Dimensions:- 34 x 45cms. |
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| Double quotations indicate title by SRD. |
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| srd242 |  Alguedar Yellow Basin |
Believed to be in the Grave's exhibition of 1902. | Dimensions:- 11½ x 10cms. |
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| srd459 |  Basin |
Dimensions:- 14½ x 12½cms. |
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| srd408 |  Urn and Door |
Dimensions:- 12 x 26cms. |
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| srd101 |  Potted Plants by Window |
Dimensions:- 13½ x 9½cms. |
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| srd188 |  A Bunch of Grapes |
Dimensions:- 24 x 16cms. |
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| srd246 |  Jug |
Dimensions:- 4 x 4cms. |
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| srd486 |  Bales of Corn |
Dimensions:- 17½ x 12½cms. |
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| srd145 |  Ox Bells |
Dimensions:- 9 x 12cms. |
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| srd332 |  Melons |
Dimensions:- 25.5 x 17.5cms. |
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| srd482 |  Melons etc. |
Dimensions:- 17½ x 12½cms. |
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| srd255 |  Plant Sketches |
Dimensions:- 25 x 17cms. |
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| srd397 |  Sunflowers |
Dimensions:- 25 x 17cms. |
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| srd481 |  Work Bench |
Dimensions:- 17½ x 12½cms. |
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| srd488 |  Structures |
Dimensions:- 17½ x 12½cms. |
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| srd491 |  Plaque 1 |
Dimensions:- 17½ x 12½cms. |
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| srd492 |  Plaque 2 |
Dimensions:- 17½ x 12½cms. |
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| srd261 |  Sculpture |
Dimensions:- 11 x 10cms. |
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| srd133 |  Church Architecture |
Dimensions:- 18½ x 31cms. |
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| srd315 |  Niche |
Dimensions:- 7 x 9cms. |
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| Double quotations indicate title by SRD. |
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| srd258 |  Mont Blanc, Switzerland 1875 |
Dimensions:- 11 x 9½. |
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| srd114 |  A Street Scene in Rouen, France |
16 x 23cms. This small finely observed street study captures one of Rouen's medieval lanes, rendered with Susanna Roope Dockery's characteristic sensitivity to light and architectural detail. A tall, jettied timber-framed house dominates the left foreground, its yellow-washed facade leaning slightly over the narrow cobbled street. Figures in contemporary dress animate the scene, emphasising the intimacy of the old quarter.
In the distance rises the modest tower of a parish church, most likely Saint-Maclou, whose silhouette aligns with the street geometry and architectural character of the Rue Martainville area. The composition is both topographically plausible and atmospherically rich, reflecting Susanna's interest in historic European streetscapes during her travels outside Portugal. Susanna's daughter Susanna May, went to school in Rouen in the 1890s. |
Dimensions:- 16 x 23cms. |
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| srd368 |  Cottage with Open Window |
Dimensions:- 17 x 22cms. |
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| srd369 |  Cottage with Open Door |
Painted in Surrey. | Dimensions:- 18 x 26½cms. |
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| srd527 |  Gatton Woods, Surrey |
On the reverse is written "Mrs Susanna Roope Dockery, American Consulate, Leeds. No.2 Galton Woods, Surrey". | Dimensions:- 24.5 X 34.5cms. |
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| srd527a |  Back of Galton Woods |
"Mrs Susanna Roope Dockery, American Consulate, Leeds No.2. In Galton Woods, Surrey". | |||||
| srd245 |  Tombstone |
Dimensions:- 14 x 7cms. |
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| The first subject are Susanna's paintings of crosses etc., mostly in the Minho. |
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STANDING CROSSES AND DEVOTIONAL COLUMNS:- Most of Susanna Roope Dockery's crosses are from the Minho region, probably painted while she was staying in Afife. Some were church or parish crosses, some were roadside devotional columns on processional routes or set on the edge of parishes. Some were fluted, some spiral, some crucifixions, some Baroque, some plain. A number of her paintings were of the same scene but from different angles. Many of these roadside columns have gone due to road widening etc. Apart from numbers 73 & 439, Susanna's paintings of crosses appear to be different crosses. Copilot AI has been used to place her paintings into these different catagorise.
THE EIRA VEHLA ESTATE ON THE DOURO:-
THE WINE MAKING PROCESS:-
Harvesting (Vindima)
Transporting the Grapes
Filling the Lagar (Enchimento do lagar)
Treading the Grapes (Pisar uvas)
Pressing (Prensa / Prensagem)
Fermentation and Fortification
Summary
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