Isabella Foster (fl.1830s–1860s) was evidently an accomplished artist, but extensive searches have been unable to confirm her identity. She most likely received lessons from a drawing master: her focus on architectural topography and her draughtsmanship in pencil—assuredly modelled with fluidity of line—suggest the distinct influence of Samuel Prout (1783–1852).
'Foster' is most probably her married name. In 1851 and 1852 she travelled extensively in the Holy Land, visiting sites of antiquity in Egypt, Ottoman Palestine and Lebanon. It seems likely that she was influenced by the work of David Roberts RA RBA (1796–1864), who between 1842 and 1849 had published his magnum opus, 'The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia', which contained 250 lithographs by Louis Haghe of Roberts's watercolour sketches. Foster's work is similar to Roberts's in subject and style; many of the locations that she visited feature in Roberts's travelogue.
Isabella Foster must have been born into, or married into, wealth—most likely both. The Foster name was most prominently associated with the Worcestershire ironworks of James Foster (1786–1853), inherited by his nephew William Orme Foster (1814–1899). William married an Isabella (Grazebrook) (1824–1910) in 1843. The family were enormously wealthy, with attendant access to contemporary arts and culture: James Foster owned works by David Roberts RA and William's collection featured a Constable, whilst his library included Alexander William Kinglake's illustrated odyssey to the Holy Land, 'Eothen, or Traces of Travel brought Home from the East'. William and Isabella's grandson became an artist and composer (Lord Berners), but we have not found evidence of Isabella's artistry. Connection between this Foster family and our artist is speculation, and her identification remains elusive.
