The Catalogue and its Categories
In an attempt to organise Susanna's large number of paintings, we have arranged them in categories such as rural scenes and buildings, and then in sub-divisions such as: domestic duties, working from home, working in the fields, dealing with livestock, selling produce, leisure and playtime. In the the section on 'Buildings' we have added an alignment of south from the Lisbon area to north on Portugal's border with Spain at Caminha. This helps to give us some idea of her perambulations around northern Portugal. All this arrangement of her paintings will inevitably throw up inconsistencies, for instance Susanna's paintings of oxen pulling casks of wine, are they all from her time at Eira Vehla or are all her scenes of harvesting from Afife, Lavadores or elsewhere? Many of Susanna's paintings such as a scene depicting a woman holding a fishing basket - should it be placed under 'Rural Life' or 'Seascapes'? These arrangements are fluid and will change as we fine-tune the catalogue.
Julian Rawes, Harvington, 2026.

The viewpoint in this painting suggests that Susanna was standing on the lower slopes west of the Mont Blanc massif, most likely somewhere along the gentle rise above the Arve valley between Sallanches and Passy. From this position, the foreground plain opens broadly toward the distant peaks, exactly as shown here: a wide, lightly wooded valley leading the eye toward the snow-covered dome of Mont Blanc. The soft, hazy presentation of the massif corresponds closely to the appearance of Mont Blanc when seen from this western approach, where the mountain sits slightly recessed behind its outlying ridges. The composition therefore reflects a real, observed vantage point rather than an imagined Alpine scene, confirming that Susanna was painting directly from nature during her 1875 visit.

11 x 9½.

10 x 8cms.

10 x 8cms.

10 x 8cms.

Gatton Woods is a real woodland area within the historic Gatton Park estate near Merstham and Reigate in Surrey, part of the North Downs. The landscape of tall beech trees, ivy-covered trunks, small wooden gates, and quiet reflective pools corresponds closely to the scene depicted in this painting. The atmospheric mist and gentle modelling of the woodland match the character of Gatton Woods, confirming that the work records an actual location Susanna visited during her early years in Surrey.

24.5 X 34.5cms.

17 x 22cms.

18 x 26½cms.

18 x 19½cms.

14 x 7cms.

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.

16 x 23cms.

17 x 12½cms.

The composition and handling of srd522 show strong similarities to Dutch landscape painters such as members of the Koekkoek family, whose works Susanna may have known or studied. The painting is therefore placed with other uncertain or non-Portuguese works, including srd379.

Small painting.

58½ x 43cms.

17½ x 14cms.

17½ x 14cms.

17 x 12½cms.

15 x 10½cms.

not known.

9 x 11½.

Painted late in her career, this work demonstrates Susanna’s continued engagement with Classical sources and her ability to reinterpret established models through her own atmospheric sensibility. It stands as a thoughtful homage to Reynolds, executed with tenderness and quiet reverence, and forms a distinctive and important part of her Classical output.

22½ x 28cms.

12 x 9cms.

22½ x 15cms.

not known.

The boats in the foreground are small lateen-rigged craft, typical of the Tagus.

not known.

18 x 9½cms.

9 x 8cms.

not known.

There are also a number of Susanna’s woodland and rural studies whose exact locations cannot be determined with certainty. While they may well depict parts of Lavadores, they are placed separately in the Rural category.

21 x 16cms.

The title Gun Rock appears to be Susanna's own descriptive name for one of the distinctive boulders on the Lavadores shoreline. No historical Portuguese record of this name is known, but the rock's form is characteristic of the area and appears in several of her Lavadores studies.

16 x 12cms.

The inscription “Lavadores” on the reverse provides secure location evidence. The rocky forms match the geology of the area, where rounded boulders and low outcrops punctuated the sand. This drawing complements 287 by presenting the same environment in a different medium - one painterly, one linear - and together they form a coherent record of the Lavadores shoreline.

11 x 13cms.

10½ x 8cms.

25 x 17½cms.

This painting is assumed to be of Lavadores, it certainly complements the other Lavadores works by showing the shoreline in its most minimal form.

23 x 9½cms.

The inscription “Lavadores” on the reverse provides secure location evidence. The composition aligns closely with Susanna's other Lavadores works: a broad sandy foreground, isolated boulders, and a soft horizon where sea and sky merge. The muted palette - browns, greys, and cool blues - is consistent with her late coastal style, capturing the subdued light of the northern Portuguese shore.

22 x 17cms.

The inscription “Lavadores” on the reverse provides secure location evidence, making it one of the few coastal works with documentary certainty. The composition aligns with what is known of the area at that date: an open, lightly vegetated coastal plain leading to a quiet stretch of sea, without the heavy rock formations found further north or the crowded fishing activity of Espinho.

15 x 10cms.

12½ x 10cms.

16 x 22cms.

11 x 16cms.

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.

11½ x 16½cms.

14 x 9cms.

11½ x 16½cms.

12 x 8cms.

Although Lavadores is best known in her work for its beaches, rocks, and fishing life, this painting records the inland coastal plain behind the shoreline - the everyday landscape she would have seen from her cottage or on her walks. Its openness and solitude convey the atmosphere of the place she called home. A solitary building stands on the far horizon, possibly a small chapel or fishermen's hut, both common in Lavadores in the early 20th century; its presence reinforces the sense of place without providing definitive architectural identification.

14½ x 9½cms.

not known.

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. However, as with srd044, we cannot prove these were painted at Lavadores.

Small painting.

9½ x 13½cms.

9 x 14cms.

14½ x 19cms.

16x 22cms.

10½ x 15cms.

17 x 25cms.

Appearing in Portugal, Its Land and People (1909), this painting is a key example of her Oporto river-front work, of which their are a number.

not known.

Appearing in Portugal, Its Land and People (1909), this painting is a key example of her Gaia-side views of Porto and sits naturally within the Oporto division alongside srd013 and srd309. It demonstrates her ability to capture both the structure and the mood of the city from one of its most iconic vantage points.

not known.

22 x 16½cms.

21½ x 17½cms.

17½ x 24½cms.

Behind the waterfront arcades rises the Ribeira district and Praça do Infante Dom Henrique, the historic front upon which Rawes & Company maintained its offices. The firm was run by Prescott Rawes and his brother Glennie, whose commercial premises stood just east of the square, directly across from the Gaia quays where Susanna often sat to paint. Their presence in this part of the waterfront adds a personal dimension to the scene, linking Susanna's artistic viewpoint to the business world of her extended family.

Small painting.

15 x 20½cms.

10 x 19cms.

not known.

18½ x 11cms.

21 x 13cms.

The south bank of the Douro with its wine lodges was probably quieter and offered a perfect vantage point for Porto’s skyline, anchored ships, river traffic in the soft haze of late afternoon light. Susanna returned to this spot repeatedly. The painting has movement, human stillness, and a gentle interplay between industry and contemplation.

18½ x 14½cms.

This painting is a tranquil study of leisure and reflection. The boy is again seated, again contemplative, but the absence of the vessel shifts the balance: the painting becomes more personal, more inward, focused on the boy’s quiet communion with the river.

15 x 13cms.

This painting therefore records not only the garden itself but also the domestic world surrounding the Rawes family home.

12½ x 20cms.

11 X 13½cms.

11½ x 16½cms.

Family recollections strengthen this association: Francis Rawes wrote about the garden with the large wisteria and a vegetable plot tended by the gardener and handyman José, who worked at the Campanhã property. The presence of wisteria, shaded seating, and a domestic window aligns closely with these descriptions of the Rawes family garden. While the window differs from that seen in srd124, the overall composition fits the character of the Campanhã house and its grounds.

10 x 14½cms.

11½ x 17cms.

A Douro Town

The absence of inscriptions or distinctive landmarks prevents firm identification, but the overall character of the scene - its light, its steepness, and its tightly packed dwellings - places it securely within the Douro valley tradition.

not known.

18 x 26½cms.

24 x 14½cms.

17½ x 12½cms.

12 x 9cms.

11½ x 8½cms.

11 x 15½cms.

8 X 12cms.

The property eventually passed into private ownership and has since been restored. Today it operates as a small hotel, preserving elements of the original convent architecture within a modernised setting.

9 x 14cms.

10½ x 15cms.

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.

10 x 13½cms.

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.

10 x 15cms.

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.

10½ x 14cms.

small painting.

15 x 11cms.

10½ x 8cms.

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.

14 x 10cms.

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.

17 x 12cms.

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.

23.5 x 16.2cms.

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.

9 x 12cms.

The muted greens and greys, together with the gentle sky, suggest early morning or late afternoon light - a time when Susanna often painted. The low wall and narrow track leading toward the tower evoke the simple, rural approach to the church before modern alterations. This is a tender, faithful depiction of Afife’s parish church, painted with sensitivity to both its architecture and its landscape setting.

11 x 16cms.

14½ x 10cms.

10½ x 15½cms.

This painting forms a paired study with number srd439 in Susanna'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.

14½ x 21½cms.

This painting forms a paired study with number srd073 in Susanna-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.

11 x 16cms.

10 x 14cms.

16½ x 22cms.

• Flail - Mangual: a traditional threshing tool consisting of two wooden rods connected by leather or rope, used for striking the grain. In srd007, the women appear to be using flail‑like tools or long wooden sticks for striking.
• Winnowing Fork - Forcado de joeirar: a light wooden fork used to toss grain into the air during winnowing. In Susanna's paintings, these are often long, slender, and held with both hands.
• Threshing Floor - Eira: a flat, hard surface (stone or packed earth) used for threshing and winnowing. Many Minho farms had communal eiras.
• Straw Stack - Medas de palha: stacks of straw or hay stored near the threshing area.
• Grain Basket - Cesto de grão: Woven baskets used to carry grain or chaff.
• Sieve - Peneira: a large hand-held sieve used for final cleaning of grain.

Although the painting is titled generically, the combination of oxen, coastal light, and expansive fields strongly suggests the agricultural land around Afife, where Susanna lived and painted. This was a landscape she knew intimately, and the work captures the rhythm of rural life in the Minho with both respect and affection. Its large format and careful composition indicate that Susanna intended it as a finished, exhibition-ready piece - one of her most accomplished depictions of traditional farming.

48½ x 32cms.

16 x 11½cms.

This is not a sketch or a casual study. It is a fully resolved exhibition piece, composed with care and intended to represent the Minho’s agricultural identity. Together with Ploughing in the Minho, it forms a pair (with srd084) of Susanna’s finest depictions of rural labour - one showing the preparation of the soil, the other the harvest and its processing. This painting is paired with srd023 as both depict the same threshing floor and building, note also srd343.

48½ x 32½cms.

The terrace, the rustic building, and the distant horizon appear to be the same location as in srd087, suggesting that Susanna returned to this site repeatedly, sketching and refining her understanding of the work. The sea-light and open sky again play a crucial role, emphasising the breezy conditions needed for winnowing. Although srd343 may be slightly less formal than srd087, it is still a finished, large‑scale composition - part of her major Minho agricultural series. Note the two preceding paintings srd023 & srd 087, this could be the same threshing floor.

not known.

This painting is closely related to her later, larger works such as 087 and 343, but 007 has a slightly more intimate, documentary quality. It is less theatrical and more observational - almost ethnographic. Its inclusion in Portugal: Its Land and People shows that Susanna herself viewed it as a truthful representation of Minho rural life.

not known.

Town Gateway 1, Caminha

Clock Tower 3, Caminha

Town Gateway 2, Caminha

Caminha at Night

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..

“Although the architectural features correspond to the Igreja Matriz de Vila Flor, the town however lies well to the east of Susanna's documented Douro movements and is not situated on the Pinhão-Pocinho railway line. The identification is therefore tentative and based primarily on architectural comparison rather than confirmed travel evidence.”

Small painting.

22½ x 15½cms.

The dome in this painting bears a resemblance to the Manueline dome of the Jerónimos Monastery at Belém, Lisbon. While the similarity is notable, the architectural context is insufficient to confirm the identification.

20½ x 15½cms.

Although the architectural forms feel authentic, the absence of distinctive façades or identifiable landmarks prevents secure identification. The painting is therefore placed in the Unidentified - Towns subdivision.

not known.

Small painting.

15 x 11cms.

16 x 20½cms.

The illuminated altar screen behind the crucifix is unusually plain for a Portuguese cathedral or major city church, consisting of a simple classical arch without the gilded Baroque ornament typical of Lisbon, Porto, Braga, or Viana. This suggests either a monastic church with an austere interior or a building whose original retable was removed or simplified in the 18th or 19th century. Despite the clarity of the crucifix and the architectural framing, the absence of distinctive sculptural or decorative elements prevents identification with any known photographed altar.

20 x 27½cms.

18 x 29cms.

The presence of a kneeling young woman accompanied by a small child suggests a moment of personal grief rather than general devotion. The intimacy of the scene implies that Susanna likely knew the woman, making it probable that the chapel is located near one of Susanna’s habitual places of residence or extended stays, most plausibly in the Porto or Gaia region.

not known.

The painting is housed in an ornate carved and gilded frame that appears original to the work. Its Classical ornament and warm gold finish complement the devotional and architectural character of the composition, giving the piece the presence of a small shrine or altarpiece fragment. Although not artist‑decorated, the frame's quality and period style make it an appropriate and likely intentional choice, enhancing the painting’s contemplative and ecclesiastical atmosphere.

34 x 45cms.

The painting belongs to Susanna’s small group of devotional or monastic architectural studies, in which she captures the emotional resonance of enclosed sacred spaces rather than producing strict topographical records. The muted palette and delicate brushwork create a contemplative mood, suggesting a place of stillness and gentle retreat. It sits naturally beside other works exploring ecclesiastical architecture and devotional settings.

15 x 22½cms.

This painting reflects Susanna’s interest in devotional or semi-devotional architectural fragments, where natural growth and built structure coexist in gentle harmony. Rather than documenting a specific site, she evokes the emotional character of such places - enclosed, peaceful, and touched by quiet reverence.

17½ x 23cms.

22 x 14cms.

11 x 15cms.

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.

15 x 21cms.

11 x 8cms.

9 x 12cms.

16 x 24cms.

14½ x 21½cms.

18 x 26½cms.

13½ x 20½cms.

24 x 17cms.

22 x 15½cms.

Identified verses Unidentified Works: Several crosses - notably 301, 282, 531, and others - have been placed in different sections of the catalogue because their settings can be confidently recognised. These works are not repeated in the Unidentified Crosses list, but they remain part of the full record above. The present sub‑division contains only those crosses whose locations cannot be identified, arranged according to the typology outlined above.

8 x 11½cms.

8 x 11cms.

8½ x 12½cms.

9 x 12½cms.

16½ x 23½cms.

13 x 20½.

14 x 21½cms.

15 x 21½cms.

10½ x 11cms.

10 x 15cms.

23 x 13½cms.

10 x 15cms.

17 x 22cms.

Category F - Unclassified / Hybrid Rural Structures
For works that do not fit neatly into any of the above categories. Included are srd248, srd554.

11 x 16cms.

Small painting.

8 x 11cms.

9 x 12cms.

9 x 15cms.

16 x 23cms.

22½ x 29½cms.

10 x 15cms.

21½ x 16cms.

10 x 14½cms.

25½ x 18cms.

not known.

14 x 10cms.

not known.

10½ x 7cms.

19 x 11½cms.

12 x 14cms.

16 x 11cms.

15 x 10cms.

17 x 12cms.

16½ x 23cms.

Painted on the reverse of srd064, this work belongs to the same upland Minho sequence as the promontory cross. A more detailed study of the same staircase and newel posts appears in srd351, confirming that both works depict the same upland Minho farmstead.

21½ x 14½.

24 x 17cms.

15½ x 22½cms.

17 x 19cms.

4 x 6cms.

Small painting.

12½ x 17½cms.

17½ x 25cms.

22 x 15cms.

14 x 10cms.

24 x 16½cms.

16½ x 23½cms.

15½ x 11cms.

23 x 15cmsn.

25 x 17cms.

12 x 8½cms.

16½ x 11½cms.

16 x 11cms.

8 x 12cms.

17 x 12cms.

25 x 17cms.

17½ x 12½cms.

18 x 15½cms.

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. It is one of the clearest visual confirmations of where she lived, where she stood, and how she saw the Douro during this period.

14.75 x 21.6cms.

This painting captures a moment of quiet domestic life on the Roope estate, where cultivated pots and 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.

20 x 12½cms.

What makes this painting especially compelling is the balance between human presence and landscape. The girl is neither posed nor idealised; she is simply part of the quiet rhythm 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 mountains stretching softly behind.

12½ x 15cms.

This painting stands as a companion to her other terrace works (notably srd327 and srd113), forming a small but significant group that reveals Susanna's affection for the quiet corners of Eira Velha. These paintings document where she stood, what she saw, and how she experienced the quinta: not only as a vantage point over the Douro, but as a home.

15½ x 15½cms.

not known.

Noel Roope, Susanna's great nephew, visited the quinta after WW2 and remembers, to his delight, orange and lemon trees adjacent to the terrace and that the house had two storeys.

11 x 8cms.

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.

15 x 11cms.

390 is therefore a key piece of evidence for the estate's historical layout: it confirms that Eira Velha possessed a pombal, now lost, and shows its position on the north-bank terraces above Pinhão.

15 x 9½cms.

Although srd018 was once thought to be related to the pombal scene in No. srd390, the differences in building type and terrain indicate that it is a separate subject. It stands on its own as a carefully composed landscape intended for an English-speaking audience, showing Susanna's ability to transform everyday Douro structures into quiet, contemplative images.

not known.

Small painting.

Small painting.

Although unfinished, the study captures the quiet openness of the upper terraces - a place where cultivation meets the vastness of the Douro uplands. It forms a natural counterpart to Susanna's road paintings, offering a glimpse of the cultivated slopes that lie just above the engineered ascent.

10½ x 7½cms.

23 x 34cms.

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.

14½ x 21½cms.

17 x 12cms.

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.

14½ x 11½cms.

"Bringing in the Grapes"

not known.

17 x 24cms.

23 x 18cms.

12½ x 17½cms.

18.5 x 25.5cms.

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.

19½ x 14½cms.

28 x 25cms.

17 x 24cms.

48½ x 32cms.

Probably shown in the Dunthorne's exhibition in 1897.

not known.

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.

34½ x 24cms.

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.

not known.

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.

21½ x 12cms.

29 x 20cms.

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.

23 x 15½cms

28½ x 22cms.

not known.

25 x 10½cms.

17 x 25½cms.

10½ x 25cms.

24 x 16cms.

25 x 15cms.

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.

23 x 16cms.

The composition captures the slow, rhythmic movement of rural labour in the Douro, with the oxen leaning into their work and the road winding gently through the quiet valley. The atmosphere is subdued and contemplative, with distant slopes dissolving into haze and the foreground bathed in soft light. This painting therefore belongs not to the Eira Velha ascent but to the lower road group, forming a natural counterpart to No. srd274 and documenting the working life of the valley below the estate.

10½ x 18½cms.

The atmosphere of the painting is quiet and observant. The oxen move slowly along the curve, their weight emphasised by the incline of the road and the tightness of the space. There are faint figures and additional buildings further along the road suggesting a small cluster of quinta outbuildings, giving the scene a lived-in, working quality. The muted palette and soft handling of the distant slopes reinforce the sense of early‑morning or late-afternoon stillness - a moment of labour unfolding in the half‑light of the valley.

21 x 14½cms.

No. srd366 forms a close pair with No. srd285: both works show the same bend, the same buildings, the same parapet, and the same steep valley setting. Together they offer a rare double glimpse into the working life of the Pinhão valley's wine‑transport roads, capturing the slow, deliberate movement of ox‑carts along the narrow hillside tracks that connected the quintas.

12½ x 20cms.

The mood of the painting is one of gentle stillness: the couple at the doorway, the slow movement of the oxen, and the muted palette all contribute to a sense of everyday life unfolding quietly on the hillside. No. 333 belongs to Susanna’s wine‑transport road group, complementing Nos. srd285 and srd366, and capturing the human presence and working rhythms of the Douro's narrow, winding roads.

not known.

Until shortly after 1907, the only access to the estate was by mule track - a narrow, difficult route known for its hard gradients and rough footing. The “new road” was created at Arthur Dagge's own expense, probably soon after he purchased the estate from the Roope Newman Company. Susanna painted this new engineered ascent repeatedly, capturing its bends, banks, cuttings, and the changing landscape as it climbed toward the house and adega and beyond.

7½ x 11½cms.

The muted purples and browns of the distant hills, softened by atmospheric haze, indicate a north‑westward orientation. This matches the terrain behind Eira Velha, where the uplands rise toward Provezende and Sabrosa. The absence of the river confirms that Susanna is painting from a point above the Douro, on the descending stretch of the road that approaches the Eira Velha terraces from the north.

11½ x 8cms.

What makes this painting especially valuable is its documentary quality. It shows the Eira Velha hillside at the exact moment when the estate's access was improved, making the quinta more reachable and more connected to the surrounding upland communities. Yet Susanna's sensitivity ensures that the engineering never overwhelms the landscape; the road becomes a graceful curve guiding the viewer’s eye through the pines and into the valley beyond.

11 x 8cms.

In the background, the pale purples and blues of the north‑west mountains rise in soft layers, confirming the orientation and situating the painting firmly within the geography of Eira Velha. The composition, though unfinished, conveys the transition from the enclosed zig-zag section to the more open upper hillside, forming a natural link between Nos. srd311 and srd313.

8 x 11cms.

No. srd313 is therefore a key part of Susanna's record of the hillside: a painting of movement, solitude, and the timeless rhythm of the Douro's upland paths, capturing the moment where the new road leaves the pines behind and opens into the high ground of Eira Velha.

12½ x 7½cms.

Although previously unknown in the catalogue, this painting fits naturally into the sequence of road studies documenting Dagge's improvements. It sits between Nos. srd231 and srd313, forming part of Susanna's clear-eyed record of the new road as it climbed toward the terraces of Eira Velha.

Small painting.

No. srd140 therefore forms an important part of the Eira Velha road sequence, documenting the ascent toward the adega and the terraces above, and completing Susanna's visual record of the hillside where she lived and painted.

15 x 23cms.

This painting stands apart from the other Eira Velha works in its colour and mood, yet it completes the narrative of Susanna's movements around the estate. It records the quiet, upper hillside lane where the day's light lingers longest - a place of solitude, work, and gentle transition between the domestic terraces of Eira Velha and the high ground above.

28 x 23cms.

The terrain is rugged, with scattered rocks, scrub, and mixed trees rather than olives, confirming that this is not part of the olive groves but part of the hillside routes. The distant hills fade into soft blue tones under a pale sky, creating a subdued, contemplative atmosphere.

7½ x 10cms.

The distant hills dissolve into soft purples and greys, characteristic of the north‑western ridges toward Provezende and Sabrosa. The composition captures the quiet rhythm of rural movement on these upland paths, used by farmers, muleteers, and estate workers travelling between the scattered hamlets and quintas of the north‑bank slopes.

12½ x 10cms.

11½ x 10cms.

16 x 11cms.

10 x 15cms.

12½ x 17½cms.

The background fades into soft, muted tones, creating a misty, atmospheric haze that emphasises the quiet stillness of the grove. With no path, building, or distant vista, the painting focuses entirely on the organic forms of the trees and the subdued light filtering through them.

10 x 15cms.

The composition is intimate and concentrated, with no path, building, or distant vista - a pure tree portrait rather than a landscape. The subdued light and gentle atmosphere give the painting a quiet, contemplative mood.

10 x 12½cms.

The background fades into muted greens and atmospheric haze, giving the painting a tranquil, contemplative mood. This is not a route painting but a grove interior, capturing the stillness and natural texture of the estate's olive landscape.

8 x 10½cms.

The foreground is rendered in warm ochre tones, with the rough hillside rising gently toward a line of distant mountains painted in muted purples and browns. The soft atmospheric haze gives the scene a quiet, contemplative mood, blending the intimacy of the grove with the openness of the surrounding landscape.

10 x 12cms.

A faint path runs through the grove, but it is incidental - part of the landscape rather than the subject. The background hills rise softly under a muted sky, echoing the quiet atmosphere found in Susanna's other olive-grove works.

10 x 8cms.

Beyond the grove, soft blue hills rise under a muted sky, creating a sense of depth and calm that is distinct from the dramatic valley views below. The subdued palette and gentle transitions of colour give the painting a contemplative atmosphere, capturing the quiet, internal landscape of Eira Velha rather than its more travelled routes.

not known.

The contrast between the intimate foreground and the sweeping background gives the painting a quiet, contemplative mood. This is not a grove interior but a hillside study, with the olive tree acting as a natural anchor against the immensity of the landscape.

19 x 14cms.

9½ x 14cms.

The painting is housed in a warm, subtly carved frame that appears original to the work. Its reddish tone and simple decorative pattern complement the palette of the landscape, adding a gentle harmony to the object as a whole. Although less individual than the hand-painted frames associated with some of Susanna’s portraits, its character contributes quietly to the painting's upland atmosphere.

10½ x 15cms.

not known.

17½ x 12cms.

16 x 21½cms.

not known.

9 x 7cms.

10 x 7cms.

10 x 7cms.

Small painting.

Small painting.

24 x 16cms.

8 x 11cms.

22 x 8cms.

25 x 16cms.

12½ x 7½cms.

Small painting.

Small painting.

Small painting.

13½ x 10cms.

11½ x 7cms.

10½ x 7½cms.

not known.

10 x 8cms.

11½ x 8cms.

The painting is an important example of her interest in interior ethnography - recording the everyday life of Portuguese homes with accuracy and affection. It pairs naturally with her agricultural works, showing the other half of rural existence: the home, the hearth, and the daily rhythms of cooking and care.

22 x 16½.

Susanna excels at capturing gesture - the small movements that reveal human relationships. Here, she shows maternal care without sentimentality, simply through posture and proximity. The painting is intimate, quiet, and deeply human. This work is essential for understanding Susanna’s interest in domestic life. It shows that her artistic attention extended beyond fields and chapels into the private world of rural families.

16½ x 24cms.

Graves Galleries (in Pall Mall) was one of the most respected watercolour venues of the period and Susanna's inclusion there places her firmly within the professional artistic world. The Prince of Wales saw it, this is not trivial. Royal visits were recorded because they conferred prestige and the fact that The Times mentioned her exhibition means her work was considered noteworthy. Graves Galleries were a commercial enterprise and Works shown at Graves Galleries were often sold to private collectors, or acquired by patrons; often to collectors from abroad. It is not known what happened to this painting or whether it still survives.

not known.

This painting shows Susanna's gift for observing quiet domestic rituals. It is not dramatic, but it is deeply human. She captures the dignity of everyday life - the small acts of care that define a household. In contrast to her agricultural works, which depict communal labour, this scene shows a private moment of affection and routine.

17½ x 27cms.

11½ x 9cms.

Around the cradle, Susanna includes a handful of domestic objects that speak volumes about the household: a small wooden stool, worn from use, a pair of dark placed neatly beside the cradle, a broom leaning against the wall, all on a bare floor, a simple, rustic wall with no decoration. These details are not incidental. They are Susanna's way of recording the material reality of rural Minho life - its simplicity, its modesty, and its quiet dignity. The broom suggests the mother's work; the shoes hint at her presence just outside the frame; the stool implies a place where she might sit while tending to the child. The composition is tender but unsentimental. Susanna does not idealise the scene; she simply observes it with affection and respect. The muted palette - browns, greys, soft greens - creates a calm, warm atmosphere. The child’s stillness contrasts with the implied movement of the mother, who is “at work” somewhere nearby. This painting is a perfect example of Susanna's ability to capture domestic truth: the quiet moments that define a household, the small objects that reveal a life, and the emotional bond between mother and child even when the mother is absent from the frame.

not known.

The Doorway and Exterior: through the open doorway, bright sunlight floods in, revealing a garden with flowers in bloom. This contrast - dim interior, radiant exterior - is one of Susanna’s effective compositional devices. It creates depth, warmth, and a sense of domestic peace. This painting is not about labour but about quiet domestic life - the rhythm of a household, the interplay of light and shadow, and the serenity of a woman at work in her home.

not known.

Susanna includes several telling details: a table holding green leafy vegetables, suggesting food preparation, the stone floor, worn and uneven. These details anchor the painting firmly in the Minho’s domestic world. Unlike 512, which may depict a more refined home, 513 is clearly a working farmhouse interior.

not known.

8 x 10cms.

17 x 12cms.

The stone support on the left appears to have carving. This is unusual in rural domestic architecture, which tended to be functional rather than decorative. This suggests an older building of some status, possibly of ecclesiastical origins.

16 x 22cms.

The trough is a key element: carved or shaped stone, elevated, positioned against a wall and used for washing vegetables, clothes, or utensils. Susanna painted these troughs many times. They were standard features in Minho farmhouses and courtyards, often fed by a small spout or basin. Although the background is not fully detailed, the warm tones and stonework suggests a kitchen interior or a courtyard wash area, typical of rural Minho homes. The absence of clutter focuses attention on the gesture itself.

15½ x 20½cms.

The stone structure is important: a tank or spring-head, water emerging from a spout, a trough or basin beneath, carved or shaped stone typical of rural Minho fountains. These spring-heads were common in courtyards, farmyards, and village edges.

14½ x 22½.

not known.

The spring‑head is carved with a face - a traditional Minho feature. These fountains were common in village squares, courtyards, and farmyards. Susanna painted several of them, always with affection for their sculptural character. The foliage and flowers around the base add a touch of life and softness, suggesting a well‑used and well‑loved water source. The scene is serene, rustic, and intimate. The soft colours and gentle brushwork give it a sense of quiet daily rhythm - a moment of rural life observed with tenderness - a truly lovely painting.

not known.

16 x 23cms.

17 x 24cms.

16 x 23cms.

not known.

16½ x 20½cms.

8½ x 8cms.

When viewed, the background becomes especially interesting when viewed in conjunction with number srd103. It is includes: surface with qhat looks like a cauldron, muted brown tones, soft interior light, a warm, subdued palette, an impressionistic rendering of domestic objects. It is a refined domestic interior. There is a market similarity of the background in the painting srd103.

not known.

When viewed, the background becomes especially interesting when viewed in conjunction with number srd553. It is includes: surface with qhat looks like a cauldron, muted brown tones, soft interior light, a warm, subdued palette, an impressionistic rendering of domestic objects. It is a refined domestic interior. There is a market similarity of the background in the painting srd553.

17½ x 25½cms.

The woman is absorbed in her work, seated at the loom with a posture that suggests familiarity and skill. Her clothing is typical Minho rural dress, but the scene has a slightly more formal, “demonstrative” quality - as though Susanna intended it to be instructive. This painting is calm, industrious, and documentary a clear ethnographic record of Minho weaving.

not known.

The woman is seated close to the loom, almost enveloped by it. Her posture is practical and absorbed, but the scene feels more personal and less demonstrative than srd005. This painting is intimate, rustic, and deeply domestic. It shows weaving as part of everyday cottage life, not as a formal craft.

not known.

The painting has a quiet, rhythmic calm. It is a portrait of domestic industry, but also of companionship: two older women working side by side, sharing labour and time. Susanna’s affection for rural life is evident in every brushstroke.

not known.

13 x 23cms.

11 x 18cms.

Although the painting is more portrait-like than documentary, the girl is clearly engaged in spinning: holding fibre or a spindle, looking at it with concentration. This is the gentler side of textile production. The painting is suffused with warmth and quiet concentration. It is less about work and more about character, youth, and domestic calm.

4 x 6½cms.

15 x 22cms.

16 x 24cms.

not known.

12 x 17½cms.

11 x 18cms.

18 x 24cms.

18 x 24cms.

17½ x 24cms.

22 x 16cms.

Why the figure being a woman matters, it transforms the painting. Instead of a generic rural labourer, we see: a woman performing heavy agricultural work, a rare subject in art of the period, a testament to Susanna's honesty and sympathy. This is not romanticised rural life, it is real rural labour, and Susanna gives it dignity. A poor woman operating a heavy lagar press, the scene depicts strenuous agricultural labour performed by a woman, a rare and powerful subject in Susanna’s work. Rich tones and monumental machinery emphasise the physical intensity of rural industry.

16.23 x 23.16cms.

not known.

not known.

24 x 16cms.

14 x 23cms.

18 x 13cms.

Susanna often made these small watercolours when observing rural women in motion - they are some of her most charming works.

15 x 20½cms.

24 x 16cms.

17 x 23cms.

25 x 15cms.

25 x 15cms.

25 x 17cms.

16 x 22cms.

17 x 24cms.

16 x 23cms.

15½ x 11cms.

not known.

Even in monochrome, the painting has: strong contrasts, confident linework, a sense of movement, and a documentary quality.

not known.

not known.

24 x 17cms.

18 x 24cms.

28½ x 21cms.

25 x 17½cms.

15½ x 21cms.

14 x 18cms.

15 x 20cms.

19 x 27cms.

15 x 24cms.

17 x 23cms.

17 x 24cms.

17 x 24cms.

12 x 21cms.

25 x 17½cms.

17½ x 12½cms.

17 x 18cms.

16 x 16cms.

13 x 22cms.

17 x 24cms.

19 x 13cms.

11 x 8cms.

24 x 17cms.

• Jugo: the wooden yoke placed across the necks of a pair of oxen. Usually carved from a single piece of hardwood. The jugo is the central element of Portuguese ox‑harnessing and appears clearly in many of Susanna's paintings.
• Canga / cangas: the headpieces or horn‑caps that secure the jugo to each ox. These prevent chafing and stabilise the yoke. In some regions the term overlaps with cangalha, but for oxen the correct term is canga.
• Carro de bois: the traditional ox cart, with large wooden wheels and a simple frame. Used for transporting agricultural goods, firewood, produce, and household materials. Susanna paints this cart repeatedly, often with great affection. Bois is the Portuguese word for oxen (plural). Singular: boi.
• Carreiro a carter or ox‑driver, responsible for guiding the oxen and managing the cart. Often seen with a staff or goad. Susanna occasionally sketches these figures, especially in pencil studies.

26 x 21½cms.

not known.

25 x 16cms.

19 x 16cms.

25 x 16cms.

17 x 15cms.

20 x 17cms.

23 x 15cms.

11 x 8½cms.

21½ x 16cms.

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.

21 x 16cms.

Susanna's repeated painting of oxen - far more frequent than her depictions of horses - suggests a genuine fondness for them. Oxen were central to rural life: patient, strong, slow-moving, and deeply emblematic of agricultural labour. She captures them here with a tenderness that goes beyond mere observation. This painting is one of her most evocative village scenes, combining architecture, landscape, and working animals in a single harmonious composition.

23½ x 16½cms.

Susanna painted oxen frequently, far more than horses, and srd243 shows why: she had a clear fondness for their steady presence and their central role in rural labour.

15 x 11cms.

The composition is simple but effective: cart, gate, wall, hills. It captures the quiet rhythm of rural life without animals or figures, focusing instead on the landscape and the tools of labour. The cart's large wheels and sturdy frame are typical of the region, and Susanna's loose brushwork gives the scene a sketch-like immediacy.

17 x 12cms.

17½ x 12½cms.

13 x 8cms.

The animals stand calmly before a rustic building with thick columns and a shaded doorway, giving the scene a strong sense of rural architecture. The soft shadows and warm tones suggest a bright day, and the painting captures the quiet rhythm of agricultural life. Ox-carts like this were ubiquitous in northern Portugal, used for transporting firewood, produce, grain, and household goods. Susanna's repeated depiction of them shows her interest in the everyday machinery of rural labour.

22 x 17cms.

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.

22 x 13cms.

13 x 11cms.

24 x 17cms.

19 x 16cms.

23 x 17cms.

11½ x 7cms.

16½ x 12cms.

A tentative suggestion is that the setting is Eira Velha, where similar prosperous upland farm structures are known to have existed.

24 x 17cms.

A tentative suggestion is that the setting is Eira Velha, consistent with the architecture and agricultural equipment.

not known.

The three sketches together form a compact record of donkey use in village life - riding, load-carrying, and movement through confined urban spaces.

10½ x 11cms.

This sketch sits naturally alongside 453, sharing the same rural Minho subject matter and careful observation of rural life and working animals.

11 x 7cms.

Although containing several animal studies, this sheet is fundamentally a travel collage made during Susanna’s journey “Up the Douro”, almost certainly connected with her stay at Eira Velha.

12 x 17cms.

28½ x 15cms.

The collage as a whole forms a compact visual record of working animals in different roles - heavy transport, water carrying, domestic movement, and muleteer travel. It is unusually informative because it shows the range of pack systems in one mounted sheet.

19½ x 30cms.

23½ x 16½cms.

The mule is carrying: two large, heavy packs, tightly secured, balanced across the back, typical of Minho pack transport. The man is wearing: a wide-brimmed rural hat, a vest, light trousers. His posture suggests he is holding the bridle, steadying the mule.

10 x 10cms.

The man is adjusting the load, steadying the donkey or checking the straps. His posture is practical, not affectionate - this is work, not care. He wears: a broad hat, a vest, light trousers. The background is minimal, Susanna often used minimal backgrounds for studies of an animal or person so the viewer focuses on the point of the moment. Her tone and style loose, expressive, observational and slightly harsher in mood. srd 356 feels like a moment of care srd146 feels like a moment of strain. The donkey’s posture - head lowered, body compressed under the load - is telling. Susanna is not sentimental here, she is recording the reality of rural labour.

14 x 14cms.

19 x 10cms.

22½ x 15cms.

22½ x 14½cms.

The horses are calm, stationary, loosely rendered, shown without riders or background. It feels like a moment before or after use - a pause in the working day. Susanna often painted horses in this quiet, observational way, focusing on posture and tack rather than narrative.

not known.

14½ x 17½cms.

15 x 16cms.

12 x 8cms.

Susanna captures this moment with humour and affection. The loose brushwork emphasises the sagging weight of the bundles and the stubborn stance of the animal, creating a lively contrast between the soft folds of the pack and the creature's determined refusal to cooperate. It is one of her most characterful pack-animal studies, and its inclusion adds a welcome touch of personality to the donkey and mule section.

9 x 12cms.

14 x 13cms.

Susanna renders the donkey with soft, economical brushwork, emphasising the weight, balance, and practical construction of the load rather than background detail. The painting is a concise but accurate record of everyday labour, illustrating the essential role of pack animals in domestic water supply.

11 x 9½cms.

Susanna’s brushwork is economical yet expressive, emphasising the weight and balance of the burden and the mule's quiet endurance. The plain background keeps the focus entirely on the relationship between animal and load, making this a truthful record of everyday rural labour.

Small painting.

23 x 11cms.

The inscription “From Mrs Dockery 16/1/09” confirms the painting’s provenance within the family, and the additional note “Jack Asses” identifies the animals.

20 x 16cms.

16 x 14cms.

not known.

8½ x 9cms.

12½ x 15½, 14 x 12, 10 x 10, 8½ x 10, 5 x 10cms.

11 x 16cms.

9 x 14cms.

The painting is: loose, fluid, sunlit, impressionistic, with soft transitions and warm tones. It feels like a finished field study, not a preliminary sketch.

23½ x 15½cms.

10 x 13½cms.

12 x 8cms.

14 x 10cms.

The boy is holding a string or cord between both hands, stretching it out, concentrating on the tension or shape. This is almost certainly one of the traditional string games or manual tricks children played: cat's cradle, loop tricks, knot puzzles, or simple finger-string patterns. These were extremely common among boys - cheap, portable, and endlessly repeatable.

11 x 16cms.

12 x 17cms.

not known.

not known.

The boy's clothing is notably clean, neat, and not typical of rural Minho children. His light trousers and tidy shirt suggest a child of more comfortable background - possibly a visitor, or a boy on holiday. This raises the possibility that he may be one of Susanna’s sons, which would the painting to the mid-1890s. A delicate and atmospheric study of childhood leisure, complementing her other scenes of boys at play.

Small painting.

not known.

17 x 24cms.

The clothing suggests: everyday rural wear, not festival costume or formal attire, but an informal moment of joy or play.

8 x 9cms.

12½ x 14½cms.

17 x 22½cms.

This is Susanna painting weather as emotion. Her ability to turn a fleeting moment (like 043) into a formal exhibition piece, her interest in mood and atmosphere, her skill in conveying weather with minimal detail.

not known.

25 x 17cms.

9½ x 12cms.

18½ x 15cms.

20 x 12cms.

16½ x 25.

35 x 23cms.

not known.

17 x 25cms.

10 x 13cms.

14 x 20cms.

not known.

10 x 12½cms.

14 x 20cms.

11 x 9cms.

13 x 22cms.

16 x 24cms.

17 x 26cms.

13 x 23cms.

29 x 20cms.

17 x 24cms.

14 x 18cms.

17 x 21cms.