A FINE COLLECTION OF EUROPEAN PAINTINGS 1800-1970 by Masterart

A FINE COLLECTION OF

EUROPEAN PAINTINGS 1800 -1970 Exhibition opens: Wednesday 24th November 2010 Contact: Matthew Green matthewgreen@richard-green.com David Saker â&#x20AC;˘ Melissa Maestro 39 Dover Street, London W1S 4NN Telephone: +44 (0)20 7499 4738 www.richard-green.com

All the paintings in this catalogue are for sale Cover: Sir Edward John Poynter, Chloe, catalogue no.11 Title page: John William Godward, The favourite, catalogue no.22 Contents page: Frederic, Lord Leighton, A girl in profile, catalogue no.9

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A FINE COLLECTION OF

EUROPEAN PAINTINGS 1800 -1970

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CONTENTS Cat No.

Artist

Title

Biog No.

Christiaan van Pol A still life of roses, auriculas, a tulip, a hyacinth and other flowers

111

Edward Bird

The country auction

Joseph Mallord William Turner

Off Margate: a steamship in rough weather

116

4 Frans Xaver Petter

A still life of roses, tulips, auriculas, a bird of paradise flower (Strelitzia), peonies and other flowers in an urn

A still life of roses, morning glory, an iris, poppies, viburnum and other flowers in an urn

110

David Roberts

A view of the Doge’s Palace and the Piazzetta, Venice

114

Admiral Richard Brydges Beechey

View of Dublin Bay from the rocks between the Salthill and Seapoint stations

Henry Pether

A view of the Thames at Lambeth Palace, by moonlight

110

Edward William Cooke

Trabaccoli carrying wood, San Giorgio Maggiore and the Dogana, Venice

101

Frederic, Lord Leighton

A girl in profile

106

Sir Edward Coley Burne-Jones

Portrait of Frances, Lady Horner

100

Sir Edward John Poynter

Chloe

112

Federico del Campo

The Grand Canal, Venice

101

Adolphe Alexandre Lesrel

Chess game

107

Luigi Loir

View of the beach and Casino at Dieppe

108

Frederick Arthur Bridgman

A Moorish courtyard

Alexei Alexeievich Harlamoff

Choosing apples

103

Alexei Alexeievich Harlamoff

A young girl crocheting

103

Alfred de Bréanski snr

Ben Nevis & Kilchurn

Vittorio Reggianini

The birthday

113

William Logsdail

The Bank and the Royal Exchange

107

21 Rubens Santoro The Grand Canal, Venice A Venetian canal 115 22

John William Godward

The favourite

102

Philip Alexius de László

Portrait of Raymond Patrick Johnson-Ferguson (1912-1997)

105

Rudolf Weisse

The carpet merchant

117

Alexander Rossi

By the seaside

115

Richard Edward Miller

Mimi (Woman in a green dress)

109

Helen Bradley

Blackpool Beach

Cecil Kennedy

Spring

104

Cecil Kennedy

Summer

104

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CHRISTIAAN VAN POL Berkenrode 1752-1813 Paris

A still life of roses, auriculas, a tulip, a hyacinth and other flowers in a terracotta vase, with a goldfish bowl and a bird’s nest on a marble ledge curly calligraphy of the signature – much more elaborate than in other works by van Pol – appears to pay tribute to Jan van Huijsum. To place a bowl of goldfish in such a still life appears to have been an invention of Jan van Os (1744-1808), who can be considered as the most important Dutch painter of flower and fruit still lifes of the generation following van Huijsum. The combination of two pink roses and two white roses, as in this picture, was clearly a personal favourite with van Pol. It can be found, among other pictures, in a work in the museum in Orléans and in a floral still life that was auctioned in 2006. The latter also includes Indian cress draped over the edge of the marble table, as in the present picture. Another signed work by van Pol that possesses this motif was on the London art market in the 1960s and 1970s. Like the present picture, it is probably a fairly early work by the artist, showing several sources of inspiration, in contrast with later works for which van Dael appears to have been the main inspiration. A signature feature of van Pol is the detailed handling of the rose leaves. As well as in the paintings mentioned above, they can be found most characteristically in a signed pair of floral still lifes by Christiaan van Pol that were with Richard Green in 1996. With its refined details and pleasant palette, this painting by Christiaan van Pol, like the majority of this artist’s still lifes, reflects the elegance of the life in the higher circles of his time rather than the turbulence of this age of Revolution that also made its mark on van Pol’s Paris.

Signed Oil on canvas: 26 x 211/4 in / 66 x 54 cm Frame size: 33 x 29 in / 83.8 x 73.7 cm In its original frame Painted c. 1800 Provenance

Emile Scrive (1852-1921), Lille Comtesse Eugénie Thellier de Poncheville (1882-1959), Lille Françoise Desnoulez Thellier de Poncheville (1925-2009), Lille Van Pol’s floral compositions range from modest arrangements of a few flowers in a vase to larger, more lavish bouquets. The present painting is one of his more sumptuous works. Here the impact of the work of Gerrard and Cornelis van Spaendonck and of that of Frans van Dael is clearly present, for instance in the rendering of the pink roses and the tulip. As a whole, however, the painting is the result of numerous influences, which the artist combined into a personal arrangement. The general composition is clearly indebted to one of the most influential flower painters of the eighteenth century, Jan van Huijsum (1682-1749). The greenish garden background that we see here was an invention of van Huijsum, and he was probably also the first to place a bird’s nest next to the vase in such a floral still life – most likely as a symbol of fertility. The terracotta vase decorated with putti was probably a motif that van Huijsum’s work inspired van Pol to include. Even the

Report by Fred G Meijer of the Rijksbureau voor Kunsthistorische Documentatie, The Hague. 6

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EDWARD BIRD ra Wolverhampton 1772-1819 Bristol

The country auction Signed Oil on panel: 255/8 x 39 in / 65.1 x 99.1 cm Frame size: 341/4 x 475/8 in / 87 x 121 cm Painted in 1812 Provenance

Alfred Ernest Bright, Chairman of the Trustees of the Felton bequest to the National Gallery of Victoria, Melbourne, then by descent Exhibited

London, Royal Academy of Arts, 1812, no. 112 Literature

Sarah Richardson, Edward Bird 1772-1819, exhibition catalogue, Wolverhampton Art Gallery, Kenmore Printing, 1982, p. 19

Recently re-discovered, Edward Bird’s The country auction is an elaborate and rare exterior genre scene ‘ranked by many as one of his cleverest pictures’1. With raised gavel in hand, the elevated auctioneer presides over a disordered collection of decorative and household goods being handled, tested and considered by an assortment of country characters. As Alan Cunningham so vividly describes in his Lives of the Most Eminent British Painters, the picture shows ‘a motley crowd, all anxious to bid for articles, and all bidding in character. An old grey-headed peasant has bought a large Bible; his son-in-law hesitates between a punch bowl and a cradle; and his daughter sees

nothing but the glitter of a tea-table service. A cautious gamekeeper and a bustling butcher are contending for a fowling-piece. A little girl has placed a burnished cullender above her curls and eyes a mirror with much satisfaction; while a gaping crowd of connoisseurs are examining, with all the empty sagacity of a committee of taste, into the merits of an old daubing about to be exposed to sale’(ibid). Though as highly detailed as the picture itself, Cunningham’s review misses the group of children on the left, who entertain themselves by trapping a kitten in a warming pan. Children were central to the success of Bird’s genre painting and he often used his own as models2.

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The country auction

continued

The complex horizontal composition, allowing for a panorama of figurative groups, was established in a preparatory oil sketch in the collection of the Wolverhampton Art Gallery. The sketch blocked out in broad terms of light and shade the rural wooded setting, the cottage on the right, the tree trunk on the left and the gap of sky in between. While leaving most of the detail to the final work, Bird highlighted the basic figural groups and suggested props in the sketch, indicating the seated and standing couples on the right, the auctioneer and the group of children in the left foreground. According to his friend and fellow artist George Cumberland, ‘it was no uncommon thing to see him begin a large picture without any previous drawing in two or three parts at once’ (Gentleman’s Magazine, 1819, p. 470). When The country auction was exhibited at the Royal Academy in 1812, Bird’s star was in the ascendancy. The critics first took note with the exhibition of Good news at the RA in 1809 and the following year his Country choristers was purchased by the Prince Regent. Though painted on a slightly smaller panel, The country choristers in the Royal Collection displays a similarly intricate composition, depicted with the same humour and characterization as in the present work. The country auction won Bird election as an Associate Royal Academician and a reputation as a self-taught artist to rival David Wilkie. 1 A. Cunningham, The Lives of the Most Eminent British Painters, Sculptors and Architects, John Murray, London, 1830, p. 251. 2 See Sarah Richardson, Edward Bird 1772-1819, exhibition catalogue, Wolverhampton Art Gallery, Kenmore Printing, 1982, p. 19.

The country auction, Edward Bird, preparatory oil sketch Courtesy of Wolverhampton Art Gallery, England

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JOSEPH MALLORD WILLIAM TURNER 1775-London-1851

Off Margate: a steamship in rough weather This small but startlingly intense watercolour epitomizes Turner’s passion for the sea and the fascination which his sketches have held for generations of collectors. Painted in the 1830s, probably on one of his many trips to Margate on the north-east coast of Kent1, it belonged in the nineteenth century to John Edward Taylor (18301905), proprietor of the Manchester Guardian and a major collector of Turner’s work. It demonstrates the fusion of conciseness and extraordinary virtuosity with which Turner conjured up the effects of nature. The plumes of spray are described in white bodycolour with an almostdry brush; the rain-laden clouds are a tumble of wet-inwet washes. Turner pulls out the colours in nature, such as the exquisite purples and lilacs of the clouds, to form a leitmotif for his composition, making them seem more real and immediate than any strictly naturalistic colouring. While purple predominates, complementary hues of ochre are scattered across the sketch to unify it, while black and white add another balance. The only black object is the new technology of the man-made steamship, cutting through the waves, but still ultimately at the mercy of the elements.

Watercolour and bodycolour on blue paper: 51/2 x 71/2 in / 14 x 19 cm Frame size: 12 x 14 in / 30.5 x 35.6 cm Painted in the 1830s Provenance

John Edward Taylor (1830-1905); Sale, Christie’s London, 5th and 8th July 1912, 2nd day, lot 131 (as A sea-piece; 155 gns to Agnew’s) ER Debenham Agnew’s, London, 1929 Frank C Parker Sale, Sotheby’s London, 18th March 1971, lot 77 Agnew’s, London Private collection, UK Exhibited

London, Agnew’s, 100th Annual Exhibition of Watercolours and Drawings, January-February 1973, no.87, illustrated Literature

Andrew Wilton, The Life and Work of JMW Turner, Fribourg and London, 1979, p.469, no.1410

This watercolour is related to a group of sketches in the Turner Bequest, Tate Britain on the same blue paper and of approximately the same size as the present work. They are dated by Ian Warrell to the late 1820s/1830s and are seascapes of the south coast: some, for example inv. no.D22773, clearly show The old chain pier, Brighton. Others, like Seashore scene, with figures and boats, c.18302 and Figures on the pier, c.18303 feature Margate landmarks

A steamship chugs into the wind, black smoke streaming behind. An orange buoy bobs on the waves and the choppy sea breaks against a wooden jetty, sending up white spume. Purple clouds hug the horizon, hurtling before the wind. Showers of rain are dragged across a band of brightening sky.

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Actual size

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Off Margate: a steamship in rough weather

continued

like the lighthouse on the end of the pier. One, Steamer and sailing boats, c.18304, is a rapid sketch of the drifting smoke of a steamer. Throughout this series Turner uses the flecked blue wove watercolour paper to set the key of his compositions, evoking the blue marine light. Ruskin wrote of Turner’s skill in ‘doing as much as can probably be done by merely leaving this tint of the paper for the main colour of light – and cooling, or enhancing it, by the touches of opaque colour5.

the comings and goings of the North Sea fleet, and at all times with lively commercial craft. From 1827 Turner had an added incentive to go to Margate: his friendship with Sophia Booth, his landlady in a modest dwelling overlooking the Cold Harbour foreshore. He eventually moved her to his house in Cheyne Walk, Chelsea, where unsuspecting neighbours knew the famous painter as Mr Booth or even Admiral Booth. Sophia nursed Turner devotedly until his death on 19th December 1851.

The daring use of colour in Off Margate, such as the juxtaposition of lilac and ochre, is evident in other watercolours of this group, for example Figures on the pier. However, Off Margate is one of the most pleasingly composed and fully realized watercolours of this series; many of the Turner Bequest watercolours are rapid, exiguous notations, made in a matter of minutes on the breezy shore. Off Margate’s attractive coherence is no doubt why it escaped from the chaos of Turner’s studio after his death and on to the art market, evading the Bequest. Ruskin was given some sketches by Turner’s companion, Sophia Booth, and seems to have assimilated others to himself as he ploughed through Turner’s painted legacy. Other escapees which have very close associations with Off Margate are the two superb watercolours in the Vaughan Bequest, National Gallery of Scotland, Harbour view and Sea view, which share with it a similar cloudscape and intense blue-violet keynote6.

Turner would travel down to Margate by the steam packet which left every morning from the King’s Moorings off the Tower and took about nine hours. In the 1830s, this technology was barely two decades old: the first steam packet to ply from London to Margate was the Thames, in 1815. Having spent all his life observing and painting graceful sailing vessels, Turner was as quick to embrace the power of the sooty steamboat in works like Off Margate, as he was to embrace the railway in Rain, steam and speed, 1844 (National Gallery, London). The steam packet in Off Margate is almost a personality, shouldering aside the choppy waves as it passes the fragile-looking Jarvis’s Landing, the wooden jetty used when the water was too low for boats to reach the stone Pier in the harbour. A steamboat and the Landing are major motifs of Margate pier, c.1835-40, a larger watercolour on buff paper in the Courtauld Institute of Art, London8.

Turner painted Margate many times during his long career. He first went there as a boy to visit relatives; precociously accomplished watercolours of St John’s church and A street in Margate (private collection) are said to have been executed in 1784, when Turner was nine7. The oil Margate (Petworth House, NT), showing warships and other shipping clustered together on the heavy swell of the North Sea, was bought by Lord Egremont from Turner in 1808. He made over 100 paintings, including thirty large canvases, of this unpretentious seaside town and its adjacent coastline, filled during the Napoleonic Wars with

Much of Turner’s art is about the constant war of attrition between man and nature. He was no doubt fascinated by the steam packet, with its power to face down the elements. A contemporary wrote: ‘The distinguishing merit of steam-engine packets is, that they proceed both against wind and tide with much velocity, but when these are favourable, they use sails also, and then the speed of these vessels is astonishing. While other vessels think it fortunate just to keep off a lee shore, steam boats proudly dart forward into the wind’s eye’9. 14

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Paper historian Peter Bower has determined that Off Margate is painted on blue wove paper made by George Steart at De Montalt Mill, Coombe Down, Bath10. Turner used batches of Steart’s paper watermarked 1823, 1827, 1828 and 1829. He considers that Off Margate is executed on the lighter of the three 1829 batches, which is consistent with Ian Warrell’s dating of the watercolour in the 1830s. All four edges of the Off Margate watercolour are slightly irregular from being cut with a knife. Although he also used bound sketchbooks, in his later career Turner liked to work on an Imperial (22 x 30 in) sheet of paper folded down into sixteenths. Catching the fleeting effects of nature, he would unfold the sheets almost at random, so that if the sheets had remained uncut some watercolours would be upside down in relation to the others. The individual drawings were later severed from one another with a knife, some acting as aide-memoires

and inspirations in the studio for larger and more fully worked up watercolours. Sheets of handmade paper have deckle (ragged) edges from the production process: the paper for Off Margate must be one of the four pieces at the centre of the sheet, as every other sketch from this Imperial sheet would have at least one deckle edge. The roughness of the paper edge in this magnificent watercolour gives it a touching vitality, the sense that Turner snatched up his paints to record as rapidly as possible the ever-changing drama of the Kentish coast. 1 I am grateful to Ian Warrell of the Clore Gallery, Tate Britain for his many insights into this watercolour. 2 Inv. no.D28410. Bodycolour and watercolour on blue paper, 5 ½ x 7 ½ in / 13.9 x 19.3 cm. 3 Inv. no.D24834. Bodycolour and watercolour on blue paper 5 ½ x 7 ½ in / 13.9 x 19 cm. 4 Inv. no.D24792. Bodycolour and watercolour on blue paper 5 ½ x 7 ½ in / 13.9 x 19 cm. 5 Ruskin to William T Blodgett, 10th September 1869. 6 Bodycolour on blue paper, 5 ½ x 7 3/8 in / 13.9 x 18.9 cm and 5 ¼ x 7 ½ in / 13.5 x 19 cm respectively, inv. no.D(NG)881 and D(NG)879; see Keith Andrews, The Vaughan Bequest of Turner Watercolours, Edinburgh 1980, pp.16-17, illustrated in colour. 7 Andrew Wilton, JMW Turner: His Art and Life, Fribourg 1979, p.300, cat. 1 and 2. 8 8¾ x 11½ in / 22.4 x 29.2 cm. See Grasmere, Dove Cottage/London, Courtauld Institute, Paths to Fame: Turner Watercolours from the Courtauld Gallery, 2008-9, exh. cat. by Joanna Selbourne, pp.1347, no.26, illustrated in colour. 9 Samuel Leigh, Leigh’s New Picture of London, London 1819. 10 See report by Peter Bower on the paper of Off Margate, May 2009.

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FRANS XAVER PETTER 1791-Vienna-1866

A still life of roses, tulips, auriculas, a bird of paradise flower (Strelitzia), peonies and other flowers in an urn, with a Blue-fronted Amazon parrot (Amazona aestiva), grapes and peaches on a marble ledge A still life of roses, morning glory, an iris, poppies, viburnum and other flowers in an urn, with an African Grey parrot (Psittacus erithacus), grapes, peaches and walnuts on a marble ledge A pair, both signed and dated 1830 Oil on panel: 36 x 271/4 in / 91.4 x 69.2 cm Frame size: 441/2 x 36 in / 113 x 91.4 cm Provenance

Frost & Reed, London Private collection, USA

produced their late works after 1850. As examples we can cite Ferdinand Georg Waldm端ller (died 1865), Franz Xaver Petter (1791-1866) and other important Viennese flower painters.

In Vienna, as almost everywhere else, the three decades around the year 1800 were an epoch of upheaval and innovation. The French Revolution, the Napoleonic Wars and finally the Congress of Vienna left their mark on Europe and its citizens. That held true not only for politics and society, but also in a decisive way for the visual arts. Since the mid eighteenth century Classicism had ruled with a rod of iron. After 1800 it slowly relaxed its grasp, yielding to varying trends of Romanticism, and now ran parallel to that new Realism which became an intrinsic feature of the Biedermeier style, particularly in Vienna. We are speaking of the period between the Congress of Vienna (1814/15) and the Revolution of 1848. This date is regarded in general as the end of the Biedermeier period, even though many features of this past epoch still had an effect long afterwards. As elsewhere, this occurred in painting too, since several key Viennese masters only

Flower painting was a particular characteristic, a true speciality of Biedermeier art in Vienna. An ideal environment especially suitable for this had been developing since the late eighteenth century. There was in one respect an extremely receptive public, for the interest in plants and gardens as well as in botanical rarities from all corners of the earth was prevalent at that time and was enacted at a very high level. Here too Emperor Franz I presented a shining example to his subjects. The old Netherlanders stood as godparents to the compositions of the Viennese flower painters of the 16

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Biedermeier period. Pictures by these masters (Daniel Seghers, Jan van Huysum, Rachel Ruysch and many others) could be admired and studied - and also copiedin Viennese art collections, the Imperial Art Gallery in the Belvedere and the collections of aristocrats. For Franz Xaver Petter too, one of the most important and successful Viennese flower painters, the Netherlandish still lifes of flowers were the great model. He was taught chiefly by Johann Baptist Drechsler (1756-1811), who was employed at the Vienna porcelain factory until after 1800 he founded a specialist school for flower painting at the Viennese Academy of Fine Arts, becoming its first Director. From the outset of his career Drechsler engaged intensively with pictures by the old Netherlanders, as in them he perceived the key to flower painting in Vienna. His credo was passed down to his pupils, among them Petter. The bouquet fashioned from a great variety of flowers with a highly varied blossoming time and origin, accompanied by insects, animals or fruit, became the model for the art of painting flowers until about the middle of the nineteenth century. These costly arrangements, far removed from what grew in the gardens of private houses, became desirable art objects. The flower bouquets, painted in enamel on porcelain, from the Imperial porcelain factory constituted an extremely exclusive and, of course, also considerably more expensive version of flower paintings in oil. Petter never painted a plaque of this kind, working only on canvas and panel, though he probably taught painters at the Academy who would later work for the factory. It must be added here that around 1820 he also introduced forms of composition into his flower painting that departed from tradition.

the marble: peaches, grapes, redcurrants and a nut cracked open. On the edge of the table in the first painting, an African Grey parrot (Psittacus erithacus) is perched. The second flowerpiece includes a Blue-fronted Amazon parrot (Amazona aestiva), found in central South America. Both birds create superb accents, the colour of their plumage harmonising with the respective blossoms. Within the bouquets, particularly light-coloured blossoms in the centre attract the eye, while exotic rarities (Strelitzia), or costly plants like the extraordinary parrot tulips tend to dominate the areas around the edge. Whether Petter was aware of the symbolism connected to certain plants, fruit or animals since the time of the Late Middle Ages and the old Hollanders, we cannot determine, since we lack the corresponding evidence. That the parrot was a symbol of inane chatter but also, from time to time, of purity and innocence, the peach a symbol of truth, grapes a play on wine, is perhaps knowledge he may have possessed. Report by Prof. Dr Gerbert Frodl.

In Vienna flower bouquets were frequently painted as pendants. That held true for porcelain plaques as well as for pictures on canvas or panel. These pendants were often produced to order â&#x20AC;&#x201C; perhaps to serve as special presents. Both the splendid and very expensively painted bouquets presented here are each standing on a marble tabletop and are arranged in chalice-shaped vases before a neutral background. In both compositions fruit lies on

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DAVID ROBERTS ra Stockbridge 1796-1864 London

A view of the Doge’s Palace and the Piazzetta, Venice, with Santa Maria della Salute The Illustrated London News, 29th May 1852, p.421, Royal Academy Exhibition’ The Literary Gazette, and Journal of Science and Art, no.1841, 1st May 1852, p.388, ‘Royal Academy’ The Times, 1st May 1852, p.8, ‘Exhibition of the Royal Academy (Private View)’ Letter from Roberts to his son-in-law Henry Sanford Bicknell, July 1858 (private collection) J Ballantine, The Life of David Roberts ra, 1866, pp.174 and 251, no.173

Signed Oil on canvas: 41 x 761/2 in / 104.1 x 194.3 cm Frame size: 491/4 x 851/4 in / 125 x 217 cm Painted in 1852 Provenance

Bought from the artist by Thomas Cubitt (1788-1855) for £400 in 1852; by descent until sold by Roland Cubitt, Christie’s London, 7th November 1947, lot 32, bt. Vicars (The Doge’s Palace) Sale, Phillips London, 16th March 1963, lot 80, bt Agnew’s (The Grand Canal) Sold by Agnew’s to Leggatt’s, 1964 Warrington Sale, Christie’s London, 28th November 1969, lot 199 (The Bacino di San Marco Venice) Sale, Sotheby’s London, 18th March 1970, lot 148, bt Gonzales de Leon (Grand Canal) Private collection, USA

Like Canaletto, Joli and Marieschi before him, David Roberts started life as a scene painter, a worthy apprenticeship for the theatre that is Venice. He had made his reputation in the 1830s and 40s with trips to Spain and the Near East, then truly pioneering destinations for an artist. Roberts’s first visit to Venice was in October 1851. He wrote excitedly to his daughter: ‘I am so puzzled it will take me many days to sober down….great as Canaletti is & much as I have hitherto admired his works, they fall short of the reality….perhaps in brilliancy of effect Turner is more near, but still it is not Venice….here is a combination of architectural beauty – with Statuary – boats – water & effects combined as impress upon the mind at once’. Ten days later he wrote to his son-inlaw Henry Sanford Bicknell that he was ‘at work from 9 o’clock until 4 or 5 in the afternoon; I find a Gondola the most convenient as well as agreeable, as I can get all my traps around me & free from beggars and & idlers with which the town swarms’.

Exhibited

London, Royal Academy of Arts, 1852, no.34 as Venice Literature

David Roberts’s Record Book, no.155 (Venice – the Piazzetta and the Ducal Palace) (MS in the Roberts family collection) Letter from Roberts to David Ramsay Hay, 13th April 1852 (National Library of Scotland) The Art-Journal, 1st June 1852, p.166, ‘The exhibition of the RA, 1852’ The Athenaeum, no.1280, 8th May 1852, p.520, ‘Royal Academy’

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A view of the Doge’s Palace and the Piazzetta, Venice, with Santa Maria della Salute

continued

Canal), of The Aspern Papers. Napoleon had ended the thousand-year-old Republic and in the 1850s Venice was under the yoke of Austria, trading on her past glories. ‘There she stands or rather sits and floats on her native element’, Roberts wrote, ‘noble “though in ruin majestic” even in her decay’1.

In this imposing painting, exhibited at the Royal Academy in 1852, Roberts has chosen the famous view from the Bacino di San Marco, taking in the panorama from the Dogana, topped by its Fortune weathervane, to the Prigioni, where the prisoners dreaded the broiling piombi (leads) more than the dungeons. At the left is Santa Maria della Salute, the masterpiece of Baldassare Longhena, built from 1631-81 in thanksgiving for the delivery of Venice from the plague of 1630. In the central distance are the Giardini Publici, laid out by Napoleon on the site of the Republican Granaries, a welcome green oasis among the warren of buildings. To their right are the Zecca (Mint), the Libreria Sansoviniana and the Piazzetta with the columns of St Theodore and St Mark.

The painting is based on an oil study made on the spot, dated 7th October 1851, about a week after Roberts arrived in Venice (private collection). He commented: ‘I have made two or three of the Doge’s Palace from the Water, which, although it has been so often done, yet I think can bear repainting, besides Venice without St Mark’s & the Doge’s Palace is like London without St Paul’s or Edinburgh without the Castle’.

Roberts captures the pearly changeability of the light of the Venetian lagoon, with clouds drifting down from the foothills of the Dolomites casting soft shadows on the water. The shifting blues and greys of the Bacino and sky are contrasted with the mellow pink of the Doge’s Palace and the dark hues of the water-craft, both gondolas and cargo-carriers. Roberts’s city has a more darkly Romantic air than Canaletto’s: it is the Venice of Byron, of Wagner’s Tristan (written at Ca’Giustinian just down the Grand

Roberts plundered his Venetian subjects for the next twelve years, but this painting is one of the first of the city that he made upon his return to London, and has all the freshness of his recent, vivid impressions. He sent it to the Royal Academy with an interior of St Stephen’s Cathedral, Vienna, which he had seen on his return journey, and a view of Antwerp Cathedral. Roberts wrote to his old friend David Ramsay Hay in April 1852: ‘I have sent Three

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rather large Pictures to the RA, which took up every hour of daylight until the day they were sent in’. All were ‘the property of one individual, plain Thomas Cubitt, the man who has created & covered Belgravia from Hyde Park to the Thames. It is he & such as he that will possess the best works of modern times’2.

Thomas Cubitt (1788-1855), the first owner of this painting, was, like Roberts, a splendid example of the nineteenth-century self-made man. The son of a Norwich carpenter, he started life himself as a ship’s carpenter and built up one of the largest building firms of Victorian England, dying in 1855 worth more than £1 million. He developed the Marquess of Westminster’s Belgravia and Pimlico estates in the handsome, white-stuccoed style influenced by Italian classicism. He collaborated with Prince Albert on the Royal Family’s Italianate Isle of Wight retreat, Osborne House. Cubitt also concerned himself with London’s environment, advocating a better sewage system and the development of Battersea Park. He was an enthusiastic buyer of paintings: Roberts’s Venice, a celebration of a magnificent architectural past by a contemporary British painter, is a fitting tribute to his taste and vision.

The Literary Gazette, reviewing the Royal Academy exhibition, commented: ‘The most striking picture, because least expected, is from the easel of David Roberts, a large and beautifully transparent view of Venice, evidently fresh from nature’3. Thomas Cubitt, a decisive man, had bought all three of Roberts’s paintings for £1,200 before they even reached the Academy’s walls. As The Athenaeum recounted, Cubitt was allowed to see them at a private view: ‘They were all submitted to his choice, and the prices separately named. After a short but silent contemplation, “I will take them all,” was the reply. – “Nay,”, said the artist, “I am under promise to other friends, who must have their turn after your first selection.” Mr. Cubitt was pressing, - and the flattered painter softened. “Well, I will wait until five o’clock, - and then if my other patrons fail to come, the three shall be yours.” The hour struck: - and 1,200 l. was paid’4.

1 2 3 4

Quoted in Katharine Sim, David Roberts ra 1796-1864, London 1984, p.263. MS in National Gallery of Scotland. 1st May 1852, p.388. 8th May 1852, p.520.

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ADMIRAL RICHARD BRYDGES BEECHEY London 1808-1895 Southsea

View of Dublin Bay from the rocks between the Salthill and Seapoint stations Signed and dated 1869; signed and inscribed with the title on the stretcher Oil on canvas: 251/4 x 44 in / 64 x 118.8 cm Frame size: 325/8 x 511/8 in / 82.9 x 129.9 cm Provenance

Private collection, UK Exhibited

Dublin, Royal Hibernian Academy, 1869, no.156

Described by EHH Archibald as ‘the best painter the Navy ever produced’1, Richard Brydges Beechey was the son of the Royal portrait painter Sir William Beechey (17531839). He entered the Royal Naval College, Portsmouth in 1821 and was probably taught to draw by John Christian Schetky (1778-1874). After seeing service from the Pacific to Alaska, Beechey was attached to the Survey of Ireland in 1835. He married Frideswide, daughter of Robert Smyth of Portlick Castle, Co. Westmeath, and the couple settled in Monkstown on the south side of Dublin Bay.

harbour beyond crowded with three-masters. The painting celebrates the conjoining of old and new worlds: the grace of the sailing ships and the new technology of the steam ships and the railway. Seapoint’s station had opened in 1862; the steam rising from the train drifts towards the glorious bank of clouds. In the distance, another train passes through Salthill station, not far from Beechey’s home. On the skyline is the red brick Salthill Hotel; the row of white Georgian houses to the right survives today. In the foreground, families enjoy a tranquil day by the sea as a panorama of maritime life goes on behind them. Beechey depicts an elegant yacht, a fishing boat, a ferry boat and canoe, as well as seagulls swooping for fish, white against the steel grey water.

Beechey produced very fine marine paintings during his years in Ireland, especially after he went on half pay in 1856 and retired in 1864. This 1869 view of Dublin Bay reflects his meticulous attention to detail and ability to capture the grand effects of the changeable, maritime climate. It is taken from near Seapoint railway station looking towards West Pier, Dun Laoghaire, with the

1 The Dictionary of Sea Painters, Woodbridge 2000, p.122.

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HENRY PETHER Fl. 1828-1865

A view of the Thames at Lambeth Palace, by moonlight Signed Oil on canvas: 24 x 36 in / 61 x 91.4 cm Frame size: 313/4 x 431/4 in / 80.6 x 109.9 cm Painted c. 1852 Provenance

Private collection, UK Henry Pether specialised in nocturnal views of the river Thames, recording London’s most impressive historic buildings, including the Houses of Parliament, the Tower of London, Greenwich Palace and Somerset House, amongst others. The present work represents one of the artist’s favourite subjects during the 1850s, Lambeth Palace, the London residence of the Archbishops of Canterbury. The view is painted on the south bank looking west towards Vauxhall Bridge on the horizon, with the spire of St. Saviour’s Church, Pimlico visible on the right. Though the main part of the palace in which the Archbishop now resides was built in 1829 by Edward Blore, the older medieval buildings are visible from the river, the most magnificent being the red-brick Tudor gatehouse built by John Morton c.1490, its twin five-story battlement towers forming the entrance to the palace and grounds. Pether painted Lambeth Palace several times from various perspectives and at different times of day, this being his most romantic. Though the street lamps are lit along the south bank, it is the rising full moon that brightly illuminates the low tide and discarded boats in the foreground, as well as the figures of a man and woman captivated by the splendour of the scene. 28

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EDWARD WILLIAM COOKE ra frs fsa fls fza fgs London 1811-1880 Groombridge, Kent

Trabaccoli carrying wood, San Giorgio Maggiore and the Dogana, Venice exhibits of Dutch, French and other Italian views. His loyal gondolier, Vincenzo Grilla, rowed the artist to new vantage points on the lagoon for each painting, and adapted his gondola by raising the felze or cabin top by twelve inches to accommodate larger canvases. Although Cooke’s views may sometimes appear to be capricci, they are faithful records, taken from unusual angles, without an element of caprice about them. Cooke’s principal interest was the shipping, against which the city and its magnificent skies form a backdrop.

Signed, dated 1859 and inscribed Venezia Oil on canvas: 241/2 x 41 in / 62.2 x 104.1 cm Frame size: 33 x 491/2 in / 83.8 x 125.7 cm Provenance

Arthur Charles Burnand AG Rogers; his deceased sale, Christie’s, 24th November 1916, lot 20 (95 gns. to Cooling) Cooling Gallery, London Christopher Wood, London, 1970 Sotheby’s Belgravia, 27th March 1973, lot 161 (£8,000) Frost & Reed, London Oscar & Peter Johnson, London Sotheby’s Belgravia, 18th March 1980, lot 9 (£10,000) Private collection, UK Richard Green, London, 1997 Private collection

In the present painting the focus on the trabaccolo da trasporto, used for carrying wood, introduces the everyday life of modern Venice into a view of the famous skyline. The composition is taken from the entrance to the Grand Canal opposite the Dogana, the Customs House built by Giuseppe Benoni (1676-82) and surmounted by a golden globe with the figure of Fortune. In the central distance the luminous marble façade of Palladio’s San Giorgio Maggiore shimmers in mirror image in the lagoon. The spiralling clouds and soft light demonstrate Cooke’s brilliance in evoking the effects of the changeable climate.

Exhibited

London, Royal Academy of Arts, 1859, no. 262, as Venice Literature

Art Journal, 1859, p.166 J Munday, Edward William Cooke – A Man of His Time, 1996, no.58/21, p.351; illustrated in colour pl. 130, p.191

Cooke spent ten seasons in Venice between 1850 and 1877, initially visiting the city in search of new subject matter following the success of his Royal Academy

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FREDERIC, LORD LEIGHTON pra rws hrca hrsw Scarborough 1830-1896 London

A girl in profile Oil on canvas: 151/8 x 101/8 in / 38.4 x 25.7 cm Frame size: 231/2 x 185/8 in / 59.7 x 47.3 cm Painted in the 1890s Provenance

Private collection, London

Leighton’s interest in the classical style of painting began to dominate his work from the mid-1860s, his first important classical picture being Orpheus and Eurydice in 1864. From this period Leighton was looking for greater aesthetic freedom in his paintings, an admiration of the human form which did not depend on narrative. As the Victorian public gradually acquired the taste for ‘art for art’s sake’, Leighton found great commercial success with such subjects. Beautiful women in graceful attitudes had first inspired him and this decorative intention remained paramount until his death in 1896. A girl in profile is thought to date from the 1890s and may have been made as a study or part of a series of studies of the female profile, echoing the graceful lines observed in Roman sculpture. Leighton achieves a wonderful blend of pure lines and sfumato softness. The model in At the fountain, circa 1892 (Milwaukee Art Center)1 has a strikingly similar profile, as does Candida, 18952, an almost identical profile study. The same model may have been used in all three examples.

Framed Image

We are grateful to Richard Ormond, co-author of Lord Leighton, for authenticating the present work. 1 See Richard Ormond, Lord Leighton, Yale University Press, London 1975, p.171, no.370. 2 Ormond p.173, no.399.

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SIR EDWARD COLEY BURNE-JONES Birmingham 1833-1898 London

Portrait of Frances, Lady Horner Signed with initials Brown chalk on paper: 11 x 9 in / 27.9 x 22.9 cm Frame size: 22 x 191/8 in / 55.9 x 48.6 cm Painted in the late 1870s Provenance

William Graham, then by descent Literature

Oliver Garnett, ‘The Letters and Collection of William Graham – Pre-Raphaelite Patron and Collector’, The Walpole Society, Vol. 62, 2000, B48, 21st June 1885, Letter to Burne-Jones from William Graham, p. 276 There is no doubt that this exquisite drawing of Lady Frances Horner is a work of art in its own right. With incredible delicacy the artist captures her elegant features turning from the light with subtle modulation of tone, suffused with an almost golden glow. Though Burne-Jones often made preparatory studies for paintings, he saw his drawings as autonomous works, frequently exhibiting them independently of his paintings and giving them as gifts to friends. The artist gave the present work to the sitter’s father, his friend and enthusiastic patron William Graham (1817-1885), as requested in a letter dated 1885, though it was executed years before: ‘Yes bring the other drawing of Frances to show me when you come. I think I can remember it - but it does seem long ago’1. Most of Burne-Jones’s portrait drawings of Frances Graham date from the late 1870s, around the same time as his only oil portrait of her, painted in 18792.

A wealthy East India merchant and Liberal MP for Glasgow, William Graham took his daughter at an early age to visit the studios of artists he admired, including those of Dante Gabriel Rossetti and Edward Burne-Jones. Burne-Jones first painted Frances at the age of eleven, as the young bride in The King’s Wedding, 1870 (private collection), at the same time as Rossetti drew her as La Donna della Finestra. During this period, Burne-Jones would dine at the Grahams’ home in Grosvenor Place two or three times a week and began to take particular notice of his patron’s daughter. Mary Gladstone noted on 14th February 1875, ‘Valentines Day – Frances got such a beauty from Mr Burne-Jones – a big picture of Cupid dragging a maiden through all the meshes of love’ (cited in J. Abdy and C. Gere, The Souls, London, 1984, p.131).

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Portrait of Frances, Lady Horner continued Frances became one of the artist’s most intimate friends and muses, inspiring the exchange of more than five hundred letters over a period of thirty years, in which he constantly reinforced the significance of their relationship ‘All the romance and beauty of my life means you and my days are ending in splendour through you’3. The artist lavished her with gifts of needlework designs, illuminated books, a painted jewel-casket and even a design for shoes4. He also included her features in several paintings including the nymph on the far right of Perseus and the Sea Nymphs, 1876 (Southampton Art Gallery) and a girl on the left at the foot of The Golden Stairs, 1880 (Tate Britain). In 1879 William Graham commissioned the artist to design and decorate a piano on which he depicted the story of Orpheus and Eurydice (private collection), depicting Frances as Eurydice and himself as Pluto. He also painted a self-portrait with a likeness of Frances in The Maiden and the Necromancer, or The Wizard, 18912 (Birmingham Museum and Art Gallery). Most likely based on the relationship of Prospero and Miranda in The Tempest, it is tempting to read autobiographical significance into the subject, ‘the artist conjuring up visions in his studio to entrance his beautiful young friend and model’5.

At Mells Lady Horner became ‘the High Priestess of the Souls’, an artistic and intellectual coterie of aristocratic friends, principally as a result of her cherished relationship with Burne-Jones6. She also continued in her father’s footsteps as patron of the arts, organising several memorial commissions in the village and church of Mells. These included works by Burne-Jones, Eric Gill and William Nicholson, as well as an equestrian statue by Sir Alfred Munnings on an Edwin Lutyens plinth to commemorate her son Edward Horner, killed in the Great War. In 1933 she published her memoirs containing reminiscences of the artist she described as ‘my greatest friend’. When Burne-Jones died in 1898, Herbert Asquith wrote to her, ‘He gave you always of his best, and it must be some solace to you to remember that up to the end you above all others lightened and enriched his difficult life’ (cited in Francis Horner, Time Remembered, London, 1933, pp.110-11). 1 O liver Garnett, ‘The Letters and Collection of William Graham – Pre-Raphaelite Patron and Collector’, The Walpole Society, Vol. 62, 2000, B48, 21st June 1885, Letter to Burne-Jones from William Graham, p. 276. 2 See S. Wildman and J. Christian, Edward Burne-Jones: Victorian Artist-Dreamer, exhibition catalogue, The Metropolitan Museum of Art, New York, 1998, no. 107, pp. 244-5. 3 Cited in Caroline Dackers, ‘Yours affectionately, Angelo: The letters of Edward Burne-Jones (183398) & Frances Horner (1858-1940)’, The British Art Journal, vol. II, no. 3, 2001, p.16. 4 J. Abdy and C. Gere, The Souls, London, Sidgwick & Jackson, London, 1984, p.129. 5 S. Wildman and J. Christian, ex cat, 1998, p.322. 6 Cited in J. Abdy and C. Gere, The Souls, p.127.

Even after her marriage to John Francis Fortescue Horner, a barrister and later Sir John Horner of Mells Abbey, Somerset, Frances remained a platonic focus for the artist’s romantic yearnings, though the event seems to have grieved him. ‘Many a patient design went to adorning Frances’ ways’, he wrote to John Ruskin in 1883 (who was also an admirer), ‘Sirens for her girdle, Heavens and Paradises for her prayer-books, Virtues and Vices for her necklace-boxes – ah! the folly of me from the beginning – and now in the classic words of Mr Swiveller ‘she has gone and married a market gardener’’ (Georgiana Burne-Jones, Memorials of Edward Burne-Jones, London, 1904, vol. II, pp.130-131).

Perseus and the Sea Nymphs, c.1876 (gouache), Sir Edward Burne-Jones, Southampton City Art Gallery, Hampshire, UK/ The Bridgeman Art Library.

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SIR EDWARD JOHN POYNTER pra rws Paris 1836-1919 London

Chloe Signed with monogram and dated 1893 Oil on canvas: 28 x 36 in / 71.1 x 91.4 cm Frame size: 41 x 48 in / 104.1 x 121.9 In its original frame Provenance

Sale, Sotheby’s, London, 18th June 1985, lot 57 Private collection, UK Exhibited

London, Royal Academy of Arts, 1893, no. 199 Literature

Henry Blackburn (ed.), The Academy Notes 1893, London, p.11, illustrated p. 65 Royal Academy Pictures, London, 1893, illustrated p.101 Athenaeum, no. 3418, 29th April 1893, p. 453 The Times, 20th May 1893, p. 10

Exhibited at the Royal Academy in 1893, the title Chloe was accompanied in the catalogue by a line from the Odes of Horace, Book III, no. 9: ‘dulces docta modos et citharae sciens’ meaning ‘skilled in sweet harmonies and mistress of the lyre’. Music and harmony are key to this sophisticated arrangement, which combines the archaeological fidelity of Neo-Classicism with the Aesthetic movement’s devotion to sensual delight. The pipes in the model’s right hand and the lyre leaning against the leopard skin to her left, signify the subject’s musical attributes and accomplishment. The bullfinch to which she offers cherries at her feet, also

enhances the melodic theme (perhaps a rival to its mistress in terms of musical skill). Music is also obliquely referred to in the painting’s carefully composed colour harmonies and surface patterns, which combine to create a rich decorative effect. The russet, blue and gold of the intricate architectural mouldings are repeated in the beads around Chloe’s neck and picked up again in the blanket upon which she rests. The pale, shimmering tessellated pattern of her Grecian robe is echoed in the pearlised marquetry of the footstool, whose pattern reflects a smaller version of the marble floor. Sight and sound are not the only senses

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Chloe

continued

alluded to in this visual feast. The bowl of ripe cherries fulfils the sense of taste, sitting directly below an aperture through which we imagine the fragrance of poppies and foxgloves enters. Poynter painted another version of Chloe (Tasmanian Museum and Art Gallery, Hobart)1 which he exhibited a year earlier in 1892 at the New Gallery, the more liberal alternative to the Royal Academy. The same line from Horace appeared in the catalogue and Poynter depicted the same porcelain-skinned, red-haired beauty, but the composition is entirely different. In the earlier work, Chloe is shown seated on a marble ledge between two white marble pilasters, her legs invisible, the background in shadow. With her head turned towards the viewer, she holds a less elaborate lyre in her right hand balanced on her knee. The starkness of the 1892 composition throws the beauty of the model into relief, but appears onedimensional in comparison with the symphony of colour and form orchestrated by Poynter a year later. If Walter Pater was correct in his assertion that ‘all art constantly aspires towards the condition of music’, then Chloe is the artist’s magnum opus. 1 See Cosmo Monkhouse, ‘The Life and Work of Sir Edward J Poynter’, Art Journal, Easter Annual, London, 1897, illustrated, p. 20 and Victorian Olympians, exhibition catalogue, Art Gallery of New South Wales, Sydney, 1975, cat. no 31, illustrated p. 62.

Chloe, 1892, Sir Edward John Poynter Tasmanian Museum and Art Gallery, Hobart.

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Chloe

continued

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FEDERICO DEL CAMPO South American School fl.1880-1912

The Grand Canal, Venice Signed, dated 1892 and inscribed Venezia Oil on canvas: 221/4 x 355/8 in / 56.5 x 90.5 cm Frame size: 295/8 x 431/8 in / 75.2 x 109.5 cm Provenance

Private collection, UK Richard Green, London, 1994 Private collection

style, designed in 1694 by Antonio Gaspari, one of the finest architects of the seventeenth century. During the nineteenth century, Palazzo Barbaro was bought by the Bostonian Daniel Sargent Curtis and became the artistic centre of American social life in Venice; its guests including John Singer Sargent, James Whistler, Isabella Stewart Gardner, Edith Wharton and Henry James. James included a description of the Barbaro ballroom in his novel The Wings of a Dove and it was subsequently used as a location in the 1997 film adaptation.

This wonderful Venetian panorama records one of the city’s best loved views along the Grand Canal from the Ponte dell’Academia looking towards Santa Maria della Salute. Focussing on the Palazzi on the left side of the canal, Del Campo first depicts the Palazzo CavalliFranchetti, the original late gothic building dating from the mid-fifteenth century with subsequent improvements from the 1840s, instigated by Archduke Frederick Ferdinand of Austria, Commander of the Imperial Navy. Following the Archduke’s untimely death, the Palazzo was bought by the Comte de Chambord, who entrusted further restorations to the architect Giambattista Meduna. After Chambord left Venice in 1866, it was purchased by Baron Raimondo Franchetti and his wife Sarah Luisa de Rothschild, who commissioned Camillo Boito to construct the grand staircase.

Del Campo also articulates the handsome façade of the Palazzo Benzon Foscolo, the Casina delle Rose and Palazzo Corner della Ca’Grande. On the right side of the canal, in front of Santa Maria della Salute, we can see the Palazzo Venier dei Leoni, which today houses the Peggy Guggenheim Collection.

Next to the Palazzo Cavalli-Franchetti are the Palazzi Barbaro, a pair of adjoining palaces, the first of which was built in 1425 by Giovanni Bon in the Venetian gothic style and the second executed in the Baroque

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ADOLPHE ALEXANDRE LESREL 1839-Genets-c.1929

Chess game Signed and dated 1877 Oil on canvas: 471/2 x 653/8 in / 120.6 x 166.1 cm Frame size: 64 x 841/2 in / 162.6 x 214.6 cm In its original frame Provenance

The Chanler Family, New York, then by descent Chess Game is a stunning example of Lesrel’s dedicated attention to antiquarian details of dress and elaborately furnished interiors, extremely popular from the second half of the nineteenth and early twentieth century. The historical genre scene depicts a group of men engrossed in a game of chess dressed in the costume of the late 1620s to mid 1630s; the décor suggesting a Louis XIII French interior. Lesrel was greatly influenced by Dutch Old Masters of the seventeenth century in composition as well as costume, the standing figure on the right recalling the vivacious opulence of The Laughing Cavalier (The Wallace Collection, London) by Frans Hals (1582/3-1666). Lesrel would also have been familiar with the detailed depictions of costume in the work of artists such as Abraham Bosse (1602-1676). The seated chess-player nearest to the viewer has the most accurate costume, in particular the velvet jerkin over his doublet, inspired by brocaded silks of the 1620s. The standing man smoking a pipe has a buff jerkin and breastplate seen in early seventeenth century Dutch militia scenes. Most of the costume, however, is made of nineteenth century materials, mainly furnishing fabrics (themselves inspired by seventeenth / eighteenth century designs); the lace on the collars is nineteenth

century cotton lace. Lesrel records the lustrous sheen of the cavaliers’ clothing with photographic accuracy, their brilliance appearing from the dark confines of the shaded chamber with jewel-like effect. We are grateful to Professor Aileen Ribero for her assistance with the cataloguing of this work.

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Chess game

continued

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LUIGI LOIR Guritz 1845-1915 Paris

View of the beach and Casino at Dieppe Signed Oil on canvas: 93/4 x 133/4 in / 24.8 x 35 cm Frame size: 151/2 x 191/2 in / 39.4 x 49.5 cm Painted c. 1886 Provenance

Watson Art Galleries, Montreal (inv. no.14977) Maurice Duplessis, Quebec, then by descent To be included in Volume II of the catalogue raisonné of the works of Luigi Loir being prepared by Noé Willer.

Luigi Loir was celebrated for his street scenes of Paris, painted with an assured draughtsmanship and an impressionistic touch. He also produced advertising materials for the confectioner Léfevre-Utile and for the burgeoning railway networks which took the inhabitants of Paris to fashionable seaside resorts. Loir’s private patrons were as eager for his sparkling views of holiday places as they were for his views of Paris. He thus explored many of the picturesque coastal towns of Normandy and Brittany, painting Boulogne, Dinan, Tréport and Etretat, among others.

in a few deft strokes, giving the sense of the bustle of the beach. The eye is swept across the foreground by alternating touches of pink and blue in the costumes; two little girls in blue dresses and white pinafores hold the centre of the composition. Contrasting with the man-made pleasures of the resort are the imposing cliffs and a sky full of clouds evoked in subtle hues. Dieppe became fashionable in 1824 when the Duchesse de Berry, daughter-in-law of Charles X, summered there. In the later nineteenth century it attracted many artists and writers, including Jacques-Emile Blanche, Proust, Guy de Maupassant, Swinburne and Oscar Wilde. The Moorish Casino, owned by Isidore Bloch, was the third to be built on the site. Apart from gaming rooms, the complex had a concert hall, baths, restaurant, shops, gardens and space for children’s entertainments. It was replaced by an Art Deco Casino in 1926.

This charming view of Dieppe was probably inspired by the opening of the new Moorish-style Casino in 1886. Loir excelled in working upon a comparatively small scale, as in this work. The Casino is painted with miniaturist delicacy, while the figures are brilliantly characterized

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FREDERICK ARTHUR BRIDGMAN Tuskegee, Alabama 1847-1928 Rouen, France

A Moorish courtyard Signed Oil on canvas: 26 x 36 in / 66 x 91.4 cm Frame size 361/2 x 47 in / 92.7 x 119.4 cm In its original frame Painted c. 1885 Provenance

The Folso Galleries, New York Private collection, USA

Zohr. An air of domestic harmony pervades A Moorish courtyard; the young mother has made this enclosed space flower and the presence of the tame gazelles and young girl introduces a sense of joyous innocence. Bridgman’s fluid, impressionistic brushwork exquisitely conveys the North African light. The turquoise of the courtyard tiles is echoed in the intense blue of the Mediterranean glimpsed through the window.

Frederick Bridgman visited North Africa for the first time in 1872-73. It proved a turning point in his career and he made many more trips to Morocco, Algeria and Egypt. He was fascinated by the street and domestic life of those countries, writing ‘my impressions of North Africa can never be dispelled….no sooner had I set foot on land than I began with joy to sniff the odours so peculiar to Oriental towns – perfumes of musk, tobacco, orange blossom and coffee – a subtle combination of which….hovers about the shops and bazaars’ (Winters in Algeria, 1890). This painting develops a favourite theme: the sun-dappled Moorish courtyard shaded by vines, with a graceful woman going about her domestic duties. It is probably inspired by Bridgman’s visit to Algiers in 1885. He hired a guide, Belkassem, to gain him access to private houses, difficult for a European because of the nature of Islamic culture. Belkassem arranged for Bridgman to work in the house of a young widow, Baïa, who lived in a tiny dwelling in the Kasbah with her seven-year-old daughter,

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ALEXEI ALEXEIevich HARLAMOFF Saratov 1849-1925 Paris

Choosing apples Signed Oil on canvas: 287/8 x 213/8 in / 73.3 x 54.3 cm Frame size: 361/2 x 291/4 in / 92.7 x 74.3 cm Painted in the 1880s Provenance

M Newman Ltd., London Richard Green, London Private collection, UK Literature

O Sugrobova-Roth and E Lingenauber, Alexei Harlamoff: Catalogue Raisonné, Düsseldorf, 2007, p. 226, no. 201, pl. 186

Choosing apples is a rare and more elaborate example of Harlamoff ’s exquisite two figure compositions, combining both genre and still life subjects. The painting portrays two girls, possibly sisters, in the process of choosing from a bushel of apples recently collected in a basket on the floor. With boots still on the older, seated girl tests the firmness of the apples on her knee, while the smallest child lifts one to her cheek to compete with it’s own rosy glow. Though the setting is rendered in earth-toned shadows, Harlamoff uncharacteristically adorns the background with a picture frame and carved, wooden dresser, in front of which stands a table covered with a white cloth. Upon the table sits a painted porcelain jug and between the girls a glass, pewter bowl and half-eaten apple.

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ALEXEI ALEXEIevich HARLAMOFF Saratov 1849-1925 Paris

A young girl crocheting Signed Oil on canvas: 321/4 x 233/4 in / 81.9 x 60.3 cm Frame size: 41 x 321/2 in / 104.1 x 82.6 cm Painted in the late 1880s Provenance

Private collection, UK Richard Green, London, 1995 Private collection To be included in the forthcoming addendum to Alexei Harlamoff: Catalogue Raisonné, Düsseldorf, 2007, being prepared by O Sugrobova-Roth and E Lingenauber

is absorbed by the girl and the noble simplicity of her actions. Like Rembrant before him, Harlamoff used chiaroscuro or strong light and shadow to create focus and depth. The dark, roughly painted wall against which the girl is depicted, heightens the intensity of her profile and prevents the viewers’ attention being diverted from the subject.

In A young girl crocheting, Harlamoff represents the three-quarter length figure of a peasant girl on the cusp of womanhood. She sits gracefully with a straight back, her head and eyes directed modestly down towards her practical employment. The light, golden wisps of hair which frame her face are recorded with such fine and rapid strokes that they appear to move and catch the light. Harlamoff ’s exceptional talent lies in his representation of the girl’s pale complexion, reproducing the smooth transition of tone across the delicate contours of her face with subtle highlights and shadows. His skilful sfumato rendering of the flesh is tempered by the broader, more impressionistic style with which he depicts the hair, the clothes and background adding vitality to the image while simultaneously creating a foil for the sitter’s luminous countenance. The image is composed to ensure our gaze

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ALFRED DE BRĂ&#x2030;ANSKI snr rba London 1852-1928 Dartford

Ben Nevis & Kilchurn Signed; signed and inscribed with the title on the reverse Oil on canvas: 24 x 36 in / 61 x 91.4 cm Frame size: 31 x 421/2 in / 78.7 x 108 cm Painted in the 1890s Provenance

Private collection, UK

The highest mountain in the British Isles, Ben Nevis sits at the western end of the majestic Grampian mountains, in the Lochaber region of the Scottish Highlands. Breanski painted this mountain many times, always managing to combine the serene and the spectacular in the isolated Scottish landscape. In this peaceful scene, the artist represents a loch surrounded by the encircling mountains of the Highlands, its jagged perimeter dotted with incident to draw us further in. In the middle distance a herd of highland cattle wades into the water without disturbing the flawlessness of its mirrored surface. Just above the reflected rays of the setting sun are the picturesque ruins of Kilchurn Castle, dating back to 1440. Originally a five-storey towerhouse built by Sir Colin Campbell, first Lord of Glenorchy, the castle was damaged and rebuilt in the seventeenth century before being garrisoned by Hanoverian troops during the Jacobite Rising in the eighteenth century. In 1760 Kilchurn was badly damaged by lightening and is now a dramatic shell. Breanskiâ&#x20AC;&#x2122;s portrayal of light and atmospheric colouring is inspired, illuminating the scene with an unearthly glow which covers the water and mountain tops with the last vestiges of sunshine.

Inscription on the reverse

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VITTORIO REGGIANINI Modena 1858-1939

The birthday Signed Oil on canvas: 331/2 x 49 in / 85.1 x 124.5 cm Frame size: 421/4 x 58 in / 107.3 x 147.3 cm In its original frame Painted c. 1900 Provenance

Private collection, New York, 1950

dresses, upholstery and draperies, revealing his mastery of the lustrous sheen of folded silk and satin.

Nineteenth century artists frequently looked back to preceding centuries for inspiration. Nostalgia for the elegance, aristocratic taste and luxury of the eighteenth century interior was particularly prevalent. Dress and decoration in these historical genre scenes was of the utmost importance, as the artist Alfred Stevens remarked, ‘the public are attracted to costume subjects in the same way that they fall in love with the fancy-dress of a masked ball’ (cited in P. Hook and M. Poltimore, Popular 19th Century Painting: A Dictionary of European Painters, Antique Collectors’ Club, Suffolk, 1986, p. 295). Vittorio Reggianini was an exceptionally skilled exponent of domestic costume drama, his brilliant technique and highly detailed recreations delighting the eye and warming the heart. In the present work, Reggianini’s ostentatious interior is inhabited by a group of graceful gossiping females (and one male), interrupted by two adorable girls clumsily delivering a floral birthday gift. One lady rises to receive the present while the others gaze enchanted at the smiling children. Reggianini lovingly dwells on the richness of fabric texture in the ladies’

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The birthday

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WILLIAM LOGSDAIL Lincoln 1859-1944 Noke, near Oxford

The Bank and the Royal Exchange Peter Trippi, JW Waterhouse, 2002, pp. 73-4, 140, illustrated p. 74, pl. 48 Jeremy Paxman, The Victorians: Britain through the Paintings of the Age, BBC Books, London, 2009, pp. 42-3

Signed Oil on canvas: 251/8 x 301/4 in / 63.8 x 76.8 cm Frame size: 321/2 x 371/2 in / 82.6 x 95.2 cm Painted in 1887 Provenance

Logsdail’s view of The Bank of England and the Royal Exchange is taken from the vantagepoint of the Mansion House. The artist obtained special permission to set up his easel between the columns of the Mansion House façade. This viewpoint was raised and thus the painting allows a glimpse both of the passengers seated atop an omnibus as well as an aerial view of passing carts and carriages.

Purchased from the artist by George McCulloch, London McCulloch Sale, Christie’s, 23rd May 1913, lot 272 Sir Alfred Newton, Bt, then by descent Richard Green, London, 1998 Private Collection, UK Exhibited

London, Royal Academy of Arts, 1887, no. 723 London, Royal Academy of Arts, The McCulloch Collection of Modern Art, 1909, no. 154 Richard Green, London, The 19th Century Through Painters’ Eyes, 1998, no.5, illustrated on front cover

The omnibus, which enters the frame at the far right-hand edge of the painting, is of particular interest. Logsdail delighted in including portraits of his family, friends and contemporaries in his fabulously detailed city scenes and The Bank and Royal Exchange was no exception. Logsdail commissioned a local carpenter to construct an exact scale model of the top of an omnibus in the artist’s studio in Primrose Hill. He then convinced a group of friends and relatives who lived on Primrose Hill to pose for this elegant and engaging group.

Literature

The Art Journal, 1887, p. 278 The Magazine of Art, 1887, p. 290 ‘Modern Art, The McCulloch Collection’, The Art Journal, 1909, illustrated p. 65 Anthony Hobson, The Art and Life of JW Waterhouse RA, 1980, p. 39 William Logsdail 1859-1944, A Distinguished Painter, exhibition catalogue, Usher Gallery, Lincoln, 1994, p. 11 Mary Cowling, Victorian Figurative Painting: Domestic Life and the Contemporary Social Scene, Andreas Papadakis Publisher, London, 2000, p. 155, 158-9, fig.s 75 and 76

In a letter of 13th May 1917 to Sir Alfred Newton, who had purchased the painting, Logsdail drew a diagram identifying each of these figures by name and profession, noting that many of these merry friends had died by 1917. The figure carrying a tennis racket and dressed in a striped jacket and cap of radiant turquoise blue at the pinnacle of

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The Bank and the Royal Exchange

overleaf

the group was Tom Lloyd, the watercolourist; the head of a man with a beard and a bowler hat immediately to the left of this figure is a portrait of William Logsdail painted by his friend, the artist J W Waterhouse. The man with glasses and sideburns, reading a newspaper, is Wolf, the distinguished animal painter. The man without a hat and with the exposed white shirtfront is Lance Calkin, the portraitist. The ginger-bearded man in a top hat to the left of Logsdail’s head is the war correspondent Fred Villiers.

The theme of the bustling life of the capital was a source of fascination for Logsdail, as he explained in his memoirs: ‘I had always thought that London of all places in the world, ought to be painted, but it appeared too formidable, too unassailable…I do not wonder that so few have even dared to touch it. However, I did take courage to try and leave a few records of it, only after a very few years to acknowledge myself beaten.’ This view of the financial hub of the British Empire was particularly important to the artist, who described it in later life as being of: ‘real value…in the years to come that may increase as at least an historical record of exactly how the scene looked in 1887.’

The five figures in the front driving seat are, from left to right: the late Pre-Raphaelite painter who was Logsdail’s closest friend, J W Waterhouse, who leans forward, his fists on his thighs, wearing a brown suit and a blue tie and handkerchief. His wife, dressed in pink, is seated next to him; the driver is the ruddy-cheeked landscape painter P M Feeney. The driver is speaking to a woman in white and peach gown with a parasol who is Waterhouse’s step-sister Mrs Somerville. The lady in blue who gazes off pensively is Mrs P M Feeney, wife of the landscape painter and Waterhouse’s sister-in-law.

Sir Alfred Newton had hoped to commission a similarly detailed view of the Horse Guards Parade from Logsdail, also including a set of portraits. However, by 1917 Logsdail was almost exclusively a portrait painter and was no longer willing to undertake the strain of the miniaturist work necessary to complete a masterpiece like The Bank and Royal Exchange: ‘I regret to say that is now a physical impossibility as I am now 58 years old and the usual changes in one’s eye-sight preclude the possibility of such minute work.’

The painting was well placed at the Royal Academy Summer Exhibition of 1887. The many favourable press notices included one review which particularly admired the charming group atop the omnibus: ‘the jovial driver and his party of gaily dressed shop girls.’

We are grateful to Robert Upstone and Rosalyn Thomas for their assistance with the cataloguing of this work.

This work is one of the finest examples of the five London street scenes which William Logsdail painted in the 1880s, all of which were exhibited at the Royal Academy. The other views include St Paul’s and Ludgate Hill of 1887, exhibited at the Royal Academy as no. 846; St Martin’s in the Fields, now at Tate Britain, of 1888, exhibited at the Royal Academy as no. 18; Sunday in the City of 1889, exhibited at the Royal Academy as no. 18 and The Ninth of November of 1890, exhibited at the Royal Academy as no. 1028.

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The Bank and the Royal Exchange

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The Bank and the Royal Exchange An architectural and historical overview Sixteenth century merchants seeking a convenient meeting place in the City first established the Royal Exchange, which dominates the background of Logsdail’s composition. The first building was constructed in Cornhill and financed by Thomas Gresham, the ‘King’s Merchant.’ A second Royal Exchange was designed by Edward Jarman and was completed in 1669, to replace the structure burned down in the Great Fire. When this structure was also burned down in 1834 the third Royal Exchange was designed by Sir William Tite. This elegant building is the one that appears in Logsdail’s painting. The massive portico with eight Corinthian columns is decorated with a pediment sculpted by Richard Westmacott of seventeen figures carved in limestone, the central figure of which is Commerce. The large central court has a Turkish pavement and Sir Frank Brangwyn, Lord Leighton and others decorated it with painted murals of scenes from London’s history. Founded by the Bank of England Act in 1694, the Bank of England began business in Mercer’s Hall, then moved to Grocer’s Hall in Poultry where it stayed until 1734. In 1734, the Bank of England moved to its present location in Threadneedle Street into a building by George Sampson. After considerable damage during the Gordon Riots, the building was redesigned by Sir John Soane in 1788. He created the magnificent neo-classical façade surrounded by a windowless wall. This building, which was and is the heart of the British financial world, has the nickname ‘The Old Lady of Threadneadle Street’ after the quip of the playwright Sheridan, who described the edifice during the rigours of the Napoleonic wars as: ‘an elderly lady in the city of great credit and long standing.’

Letter from William Logsdail to Sir Alfred Newton, 13th May 1917

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RUBENS SANTORO 1859-Mongrassano-1942

The Grand Canal, Venice A Venetian canal A pair, both signed Oil on canvas: 193/4 x 143/4 in / 50.2 x 37.5 cm Frame size: 29 x 24 in / 73.7 x 61 cm Painted c. 1890 Provenance

Private collection, UK

The second painting depicts the Palazzo Soranzo-van Axel-Barozzi (its original name and subsequent owners) also known as Palazzo Sanudo, built in the 1470s with striking ogee windows and entrances. The colossal carved wooden door, seen on the left overshadowed by trees from the Palazzo’s garden and beneath the van Axel family coat of arms, is the only one in Venice to survive intact from the fifteenth century1. It is located on the Fondamenta Sanudo, on the canal Rio della Panada, a few steps away from the Campo dei Miracoli. The bell tower behind the Palazzo is a fictive addition on the part of Santoro.

Venice has always been a favourite site for artists inspired by its rich golden light, the vestiges of its great flowering of Renaissance art and architecture and its special status as Europe’s gateway to the East. The Grand Canal is the main canal in Venice, which intersects the centre of the city and is lined with many important and attractive buildings. Rubens Santoro painted this scene from the wooden Ponte dell’ Accademia, which spans the Grand Canal near the Palazzo Barbaro, and featured in the novel by Henry James, The Wings of the Dove. The dome of the Santa Maria della Salute can be seen on the right, illuminated by the sunshine. The church commemorates a terrible plague, which ravaged Venice in 1630; the name signifies both health and salvation. Inside, there are altarpieces by Luca Giordano (1632-1705), Jacopo Tintoretto (1518-1594) and Titian (c.1487/90-1576).

We are grateful to Taryn Zarrillo for her assistance with the cataloguing of these works. 1 H. Honour, The Companion Guide to Venice, Collins, London, 1990, p. 92.

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The Grand Canal, Venice

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A Venetian canal

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JOHN WILLIAM GODWARD rba 1861-London-1922

The favourite Signed and dated 1901 Oil on canvas: 233/4 x 283/4 in / 60.3 x 73 cm Frame size: 361/4 x 43 in / 92.1 x 109.2 cm Provenance

Commissioned by Thomas McLean, London, 17th April 1901 (70) Colonel H S Stern Richard Green, London, 1982 Richard Green, London, 1996 Private collection Exhibition

London, Richard Green, An eye for detail: An exhibition of nineteenth century paintings, 20th November 1996, no. 32, illustrated in colour

Godward painted several pictures of young Roman women teasing cats with a peacock plume, the first being Playtime, 1891, followed by Idleness, 1900, in which he used the same ginger kitten as featured in The favourite. Here we see the dark-haired beauty in a deep crimson tunic with tan stola, sitting on a marble exedra seat with a sculpted herm at one end and the Mediterranean behind. The clarity of the composition, combing simple yet powerfully rendered elements of dress, marble, feather and fur, recalls the polished treatment of varied textures in Expectation, 1900, in the collection of the Manchester City Art Gallery. Reclining on a marble bench, the same model in saffron hue and tan stola looks towards a marble herm of a pater nostrus, similar to that in the present work, but this time painted. In her left hand the peacock feather has become a fan.

Literature

McClean sketch and letter to Godward, Milo-Turner Collection Dr Vern Swanson, John William Godward, The Eclipse of Classicism, Antique Collectorsâ&#x20AC;&#x2122; Club, Suffolk, 1901, no.6, p. 205, illustrated colour plate no. 43, p. 69

Expectation, 1900, by John William Godward Manchester City Art Gallery

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PHILIP ALEXIUS DE LáSZLó Budapest 1869-1937 London

Portrait of Raymond Patrick Johnson-Ferguson (1912-1997) series of family portraits that Aberconway commissioned from the artist. He painted a double portrait of Raymond’s elder brothers, Brian and Neil, in 1912, as well as his parents, Major Edward Johnson-Ferguson (1915) and his wife Elsie McLaren, Aberconway’s elder daughter (1917).

Signed and dated 1923 Oil on canvas: 261/4 x 211/2 in / 66.5 x 54.5 cm Frame size: 38 x 33 in / 96.5 x 83.8 cm In the original Italianate cassetta frame Provenance

Commissioned by Charles, 1st Baron Aberconway (18501934), grandfather of the sitter; then by descent

De László’s earlier portrait of Raymond, made in 1922 (private collection), shows the boy in a white shirt, holding a ball. The present work is more formal, making brilliant use of the translucent lace cravat and the rich blue velvet of Raymond’s coat. It would have formed a visual counterpart to de László’s portrait of Raymond’s mother (private collection), who is wearing white and midnight blue.

Literature

1923 Album, National Portrait Gallery, London, p.19 To be included in the catalogue raisonné of the work of Philip de László being compiled by the Hon. Mrs de László and a team of editors

Raymond Johnson-Ferguson was born in Dumfriesshire in 1912. After studying at Pembroke College, Oxford, he was commissioned in the Westmorland and Cumberland Yeomanry (RA). In the Second World War he served in the Artillery in the Middle and Far East, gaining a mention in Dispatches. He later commanded the Westmorland and Cumberland Yeomanry in the Territorial Army. Raymond Johnson-Ferguson farmed in Langholm, south-west Scotland and was appointed Deputy Lieutenant for Cumberland. He married Winifred Edwards, daughter of Colonel H Edwards in 1988 and died at Langholm in 1997.

This sensitive painting reflects de László’s skill as a portraitist of children, a trait he shared with Sir Thomas Lawrence, whose portraits similarly epitomized the spirit of his age. De László was a great admirer of Velásquez; the fluency of his brushwork and ability to render the luminosity of skin and the textures of materials derives from his study of the Spanish master. The frank gaze of the little boy captures all the freshness of youth. The portrait of Raymond Johnson-Ferguson was commissioned by his grandfather, the industrialist and landowner Lord Aberconway, Chairman of John Brown & Co, the largest shipbuilder on the Clyde. It is one of a

Report based on catalogue notes by Dr Caroline CorbeauParsons, British and French Editor of the Philip de László catalogue raisonné.

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RUDOLF WEISSE Usti (Aussig), Bohemia 1869-Paris circa 1930

The carpet merchant Signed and inscribed Paris Oil on panel: 25 x 20 in / 64.7 x 50.8 cm Frame size: 32 x 27 in / 81.3 x 68.6 cm Painted c. 1886 Provenance

The Cooling Galleries Ltd, London, 1940 Private collection, Canada

Rudolf Weisse followed his slightly older Austrian contemporaries Ludwig Deutsch (1855-1935) and Rudolf Ernst (1854-1932) in specialising in highly detailed and richly coloured Orientalist street scenes. The style of the architecture in The carpet merchant and many other works suggests Cairo, which Weisse no doubt visited. He was fascinated by mercantile life in the narrow streets and by the variety of objects traded. Like many Orientalist painters, he built up a collection of artefacts which are employed with brilliant observation to give a sense of authenticity to his genre scenes. Among the objects depicted here is a large Turkish Iznik plate. The inlaid mother-of-pearl and wood casket also appears in The vendor of Eastern curios, 1887 (Najd Collection).

A label on the reverse of the panel reports that this painting was part of the stock of the Cooling Galleries saved by the London Fire Brigade when incendiary bombs dropped on the building in September 1940. The carpet merchant was shipped to the Cooling Galleriesâ&#x20AC;&#x2122; premises in Toronto, Canada and has descended through a Canadian private collection.

The Nubian merchant and his Arab buyers are strongly characterized and probably derive from portrait sketches that Weisse made when travelling in Egypt. The green striped silk coat of the man on the right is typically Egyptian and it is used again to give a vivid accent to Weisseâ&#x20AC;&#x2122;s Bargaining for a sword (Najd Collection).

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ALEXANDER ROSSI Corfu 1840-1916 London

By the seaside Signed Oil on paper laid down on canvas: 123/4 x 201/8 in / 32.4 x 51.1 cm Frame size: 19 x 253/4 in / 48.3 x 65.4 cm Painted in the 1890s Provenance

Private collection, UK

many artists of the era, including Firth, often portrayed his own children. The location is most likely Bognor Regis.

The tradition of Victorian paintings of the seaside began with William Powell Frith’s Life at the seaside, Ramsgate Sands, 1852-4 (Royal Collections). Recording a detailed, figurative panorama at Ramsgate with an abundance of incident and accompanying paraphernalia, Frith’s cluttered, claustrophobic beach scene is a world away from Rossi’s contemplative coastal view. Looking out to sea, the calmness of the ebbing tide, which leaves rock formations and pools to break up the shore, seems to reflect the passivity of the protagonists. The well-behaved, elegantly attired children may hold spades, but they do not use them. The majority stand, as does their female chaperone, in smart coats and hats, the upright formality of their posture serving to counterbalance the horizontal emphasis of the setting. The colours of the children’s clothing are also attuned to their surroundings, their light brown, white and blue apparel appropriate to the subject and in harmony with the scene. Rossi contrasts the tranquillity of the picture with the immediacy of his impressionistic technique, which lends itself to the dappled sunshine and breaking waves. Rossi excelled at seaside subjects and like

We are grateful to Ben Plumridge for his assistance with the cataloguing of this work.

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By the seaside

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RICHARD EDWARD MILLER St Louis, MO 1875-1943 St Augustine, FL

Mimi (Woman in a green dress) Signed Oil on canvas: 391/2 x 32 in / 100.3 x 81.2 cm Frame size: 48 x 41 in / 121.9 x 104.1 cm Painted c. 1913 Provenance

Private collection, USA

characteristic of Miller’s work at this period, give the painting a sparkling airiness and freshness, as does the tapestry-like weaving of the brushwork. Miller has taken influences from Monet’s later landscapes and Matisse’s sizzling colour palette to create his own highly individual manner.

Richard Miller is one of the most important exponents of American Post-Impressionism. He worked in France from 1899 to 1914 and from 1907 to 1912 spent summers in Giverny, painting en plein air and imbibing the influence of Claude Monet, whose famous studio and garden attracted both American and European painters to the village. Miller developed the motif of a woman seated in a garden, or an interior opening on to a garden, so that he could explore the effects of strong sunlight and dappled shade with richly-impasted brushwork and vibrant tones. The combination of textured surfaces with a restrained number of compositional elements gives Miller’s paintings of graceful young women an air of poetic reverie which echoes the contemporary music of Debussy.

Several of the still-life elements in Mimi are found in other Saint-Jean-du-Doigt paintings by Miller, most notably the tall, circular wicker table, the lavender bird-cage and the iron railing behind the figure, all of which are found in The bird cage (oil on canvas 391/2 x 313/4 in; sold at the Bayeux Auction House, Normandy, 14th July 1991, lot 44, illus. in colour on the cover), as well as in the painting Morning sunlight (listed in 1914 Macbeth Gallery, New York catalogue Paintings by Charles H Davis, D Garber, RE Miller, CF Ryder, G Symons, no.8). Morning sunlight (39 x 32 in) was offered in 1914 to The Saint Louis Art Museum (then called the City Art Museum). The same table and porcelain pot appear in L’heure du thé (Le vase de pivoines), or Afternoon tea (oil on canvas 321/4 by 391/2 in), which appeared in the Bayeux auction mentioned above

Marie Louise Kane dates Mimi (Woman in a green dress) circa 1913, during the period (1912-14) when Miller spent his summers in the picturesque Breton coastal town of Saint-Jean-du-Doigt, before the outbreak of the First World War forced him to leave France. He developed the themes of his Giverny years, but in a higher key. The contrasts in Mimi of green, violet-blue and white, very

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Mimi (Woman in a green dress)

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(lot 52), as well as at Drouot, Paris, 3rd April 1995, and was then with Adelson Galleries, New York, in May 1995. It too is one of Miller’s Saint-Jean-du-Doigt paintings. The bird cage, the model’s dress, the glass-paned French doors and railing also appear in Miller’s large Saint-Jeandu-Doigt painting Spring (The open window), circa 191214 (private collection; oil on canvas 58.5 x 45 in)1, which was exhibited at the Paris Salon in 1914. Mimi shares with that painting and with The lady with red hair (oil on canvas 57.5 x 45 in, exhibited at the Salon, Société des Artistes Français, Paris, 1913) a new and highly decorative colour scheme: green and violet. Reviewing the Salon, the art journalist EA Taylor wrote in The International Studio (July 1913) of Miller’s painting that ‘the predominant green and violet colour vibrations are more luminous than he has yet attained’. Marie Louise Kane comments that ‘Mimi has all the desirable characteristics of a classic Miller impressionist painting: a comely but not saccharine model; a sunny, garden-like setting; a colourful, vibrant palette; lively, virtuosic brushwork; and a composition that plays artfully with line and shape, to achieve a highly pleasing and original decorative effect. It fulfils Miller’s dictum that “Art’s mission is not literary, the telling of a story, but decorative, the conveying of a pleasant optical sensation”’. We are grateful to Marie Louise Kane for her assistance with the cataloguing of this work. 1 S ee New York, Jordan-Volpe Gallery, A Bright Oasis: the Paintings of Richard E Miller, 25th April-6th June 1997, exh. cat. by Marie Louise Kane, p.110, colour pl.27; illus. in colour on the cover.

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HELEN BRADLEY Lees 1900-1979 Oldham

Blackpool Beach Signed with fly insignia; signed, dated 1971 and inscribed on a label attached to the reverse Oil on canvas laid down on board: 30 x 38 in / 76.2 x 96.5 cm Frame size: 34 x 42 in / 86.4 x 106.7 cm Provenance

Windsor & Eton Fine Arts, Windsor Private collection, then by descent

The inscription on a label attached to the reverse reads: ‘“Willie Murgatroyd”, cried Miss Carter (who wore pink)/“stop this minute”/George & I and the dogs Gyp & Barney, were at the back/watching the Punch & Judy man. Willie & Annie/Murgatroyd were there also, when all at once he lifted/his spade and was about to whack the poor man/ when Miss Carter saw him. His mother rushed/forward also, so I thought I had better get George/back to Mother and Father before there was any/trouble. They had stood at the back of the crowd/to let Cousin Edward & Cousin Marion see the Punch &/Judy show. Father held them up in turn. Mother, Aunt/Charlotte & Aunt Frances were chatting when Aunt Frances/noticed Bertie and Nellie HopeAinsworth standing/near. “Look who’s near you Jane”, she said “Be careful what/you say”, for Nellie Hope-Ainsworth listened to everyone’s/conversation and then passed it on to her mother who was/enjoying the show. She was wearing her Parma Violet outfit./And the year was 1907 and it was late September at Blackpool/Helen Layfield Bradley 1971’.

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CECIL KENNEDY Leyton 1905-1997 St Albans

Spring Signed Oil on canvas: 20 x 16 in / 50.8 x 40.6 cm Frame size: 271/2 x 231/2 in / 69.8 x 59.7 cm Painted in the 1970s Provenance

Private collection, UK, purchased directly from the artist

This varied and well balanced composition, centres on the camellias, which are the most exotic flowers in the vase, coming originally from China and Japan. Their delicate blush pink, tinged with yellow, is echoed more vigorously by the terracotta colours of the primula, and the golden colours of the surrounding daffodils, freesias, cowslip and broom. The daffodils are garden hybrids representing several different groups, including those with long yellow trumpets known as Ajax daffodils, those with short cups known as Poeticus, and the bunch-flowered Tazettas, all of which have been developed from wild flowers from different parts of Europe, especially Spain. The bluebell is also a Spanish bulb, which has been cultivated in gardens, as distinct from the woodland bluebell which has darker, daintier flowers. The bulbous iris and the anemone were cultivated from species that grow in the Eastern Mediterranean, and both became favourites with flower painters when they were first introduced in the seventeenth century. Like the old master flower painters, Cecil Kennedy has also included native wild flowers â&#x20AC;&#x201C;

forget-me-nots, cowslips, broom and the green hellebore, to add small, delicate touches around the edges of the composition. We are grateful to Dr Celia Fisher for her assistance with the cataloguing of this work.

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CECIL KENNEDY Leyton 1905-1997 St Albans

Summer Signed; inscribed on the stretcher Oil on canvas: 20 x 16 in / 50.8 x 40.6 cm Frame size: 271/2 x 231/2 in / 69.8 x 59.7 cm Painted in the 1970s Provenance

The Fine Art Society, London Private collection, UK, September 1972

The roses at the centre of the summer bouquet have been chosen to contrast with one another both in colour and shape. The almost sculptural buds of the deep red and amber-coloured roses suggest they represent modern hybrids, which were first created by crossing European and Chinese roses. This was done to achieve the richest colours and a longer flowering season. The process began in the nineteenth century and most famously produced the hybrid tea roses. On the other hand, the pale central roses look like traditional European ‘old roses’, probably a type of damask rose, which appeared in seventeenthcentury flower paintings, and in Redouté’s collection of Malmaison roses. Surrounding the spray of roses, the blue-mauve flowers are sweet peas and scabious – both developed from European wild flowers. Below are the dainty white flowers of gypsophila, a favourite with florists who use them to create lightness in their arrangements. Above the roses the spears of gladioli give upward movement

to the arrangement, as well as bringing another continent into the grouping, since they originated from South Africa. We are grateful to Dr Celia Fisher for her assistance with the cataloguing of this work.

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Biographies

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ADMIRAL RICHARD BRYDGES BEECHEY London 1808-1895 Southsea

Richard Brydges Beechey was the son of the Royal portrait painter Sir William Beechey (1753-1839) and his second wife, the miniaturist Anne Jessop (1764-1833). He entered the Royal Naval College, Portsmouth in 1821 and was probably taught drawing by John Christian Schetky (1778-1874). In 1824 Beechey took part as a midshipman in a cutting-out expedition at the siege of Algiers. From 1825 to 1828 he was a midshipman in HMS Blossom, commanded by his brother, the hydrographer Commander Frederick William Beechey (1796-1856). Blossom made a voyage of discovery in the Pacific and sailed north to the Bering Strait in an attempt to meet up with Captain John Franklin’s polar expedition. Richard Beechey made watercolours on the journey and contributed two illustrations to his brother’s Narrative of a Voyage to the Pacific and Bering’s Strait (1832). His Arctic experiences enabled him to paint a vivid account of Rear-Admiral Sir James Clark Ross’s Antarctic expedition, HMS Erebus passing through the chain of bergs, 1842 (National Maritime Museum, Greenwich). Promoted Lieutenant in 1828, Beechey served on the Mediterranean and Home stations before being appointed to the Survey of Ireland in 1835. While surveying the river Shannon in the 1840s, he made a number of exquisitely detailed drawings and watercolours. Beechey was placed on half pay in 1856, made Captain in 1857 and retired in 1864, giving him the leisure to dedicate himself fully to marine painting. He depicted single ships, yacht races and calm coastal scenes, but was particularly skilled in the painting of storms and maritime drama. By virtue of seniority in retirement, Beechey reached the rank of full Admiral in 1885. He died at Southsea, Hampshire on 8th March 1895. Beechey exhibited seascapes (as an Honorary Exhibitor) at the Royal Academy from 1832 to 1877, at the British Institution from 1833 to 1864, and at the Suffolk Street Galleries and the Royal Hibernian Academy, Dublin, of which he became an honorary member in 1868. The work of Admiral Richard Brydges Beechey is represented in the Royal Collection; the Government Art Collection, London; the National Maritime Museum, Greenwich; the National Gallery of Ireland, Dublin; the National Library of Australia, Sydney and the New Zealand National Maritime Museum, Auckland.

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EDWARD BIRD ra Wolverhampton 1772-1819 Bristol

The son of a carpenter from Wolverhampton, Edward Bird was educated at the Free Grammar School, Wolverhampton, before becoming an apprentice decorator at Taylor & Jones, manufacturers of japanned wares. He moved to Bristol in 1794, initially still working in japanned goods, then establishing himself as a drawing master. Two years after arriving in Bristol he married Martha, the daughter of engraver John Dodrell. Bird made friends with a number of amateur artists in Bristol including George Cumberland, Francis Chantry and Thomas Stothard and went on to form a drawing society c.1813, which involved Edward Villiers Rippingille, Francis Gold, George Holmes and Francis Danby, later known as the Bristol School. Bird first exhibited at the Bath Institution in 1807 and from 1809 at the Royal Academy, London, where he was considered a rival to David Wilkie. In 1810 his Country Choristers was purchased at the Royal Academy by the Prince Regent. Following the success of Bird’s first historical painting, Day after the Battle of Chevy Chase, he was appointed Historical Painter to Princess Charlotte in 1812, and was elected ARA the same year. He became an RA in 1815. In 1814 he began a pair of paintings depicting the return of Louis XVIII to France from England following the defeat of Napoleon, perhaps his most ambitious project. A much-loved artist, Bird’s untimely death at the age of forty seven, was marked by three hundred people following his coffin through the streets of Bristol. The work of Edward Bird is represented in the collections of the City of Bristol Museum and Art Gallery, the Wolverhampton Art Gallery and the Royal Collection.

HELEN BRADLEY Lees 1900-1979 Oldham

Born in Lees, outside Oldham in Lancashire, Helen Bradley attended the Oldham School of Art where she studied embroidery and jewellery. At the age of sixty-five she began to paint pictures for her grandchildren to illustrate her childhood and each of her works is a commentary on Edwardian life. The artist once said, ‘The Edwardian era was lovely, gay and exciting, and I love painting it, even the weather was kinder’. Successful exhibitions of Helen Bradley’s work have been held in London and Los Angeles and the International Herald Tribune once wrote of her work as ‘The enchantment of the season and better than whole volumes of social history’. The work of Helen Bradley is represented in Gallery Oldham, Greater Manchester.

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ALFRED DE BRéANSKI snr rba London 1852-1928 Dartford

Alfred de Bréanski was a distinguished landscapist who became famous for his resplendent views of Wales, the Scottish Highlands and the Thames. Often bathed in a flood of golden light, these landscapes usually feature water and cattle or sheep on grassy banks; sometimes a solitary figure is seen in the distance. Born in London, Alfred was the eldest son of Leopold Bréanski; his younger brother and sister, Gustave and Julie, were also painters. He made his début at the Royal Academy in 1872, where he exhibited until 1918. He also exhibited at the Royal Institute of Oil Painters, and the Royal Cambrian Academy. Amongst his patrons were Sir James Lemon, JP, and the Bishop of Petersborough, who purchased his first picture exhibited at the Royal Academy entitled Evening: Softly falls the even light. In 1873, Bréanski married Annie Roberts, a talented Welsh artist whom he met during his frequent painting trips to Wales. They had seven children, two of which, Alfred Fontville and Arthur, were both to become painters. For much of his life Bréanski lived in Greenwich, Lewisham and Cookham, and in 1880 he became a Freeman of the City of London. The work of Alfred de Bréanski is represented in several museums including the Southampton Art Gallery and the Laing Art Gallery, Newcastle upon Tyne.

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FREDERICK ARTHUR BRIDGMAN Tuskegee, Alabama 1847-1928 Rouen, France

Frederick Arthur Bridgman was a well-known landscape and historical painter. He is most admired for his Orientalist subjects, including views of North Africa, in particular Egypt and Algeria, and his scenes from Ancient Egyptian history. Although born in Alabama, Bridgman came from a Yankee family. After the death of his doctor father and amid the mounting tension before the Civil War, the Bridgmans returned to their native New England, settling in New York. Young Frederick showed artistic gifts and was apprenticed as an engraver to the American Banknote Company. He attended evening classes at the Brooklyn Art Association at the same time. He also studied at the National Academy of Design, where he met Harry Humphrey Moore and Thomas Hovendon. In these early years, Bridgman exhibited at the Brooklyn Art Association. Bridgman travelled to France, where he visited Pont Aven, the artists’ colony in Brittany frequented by Paul Gauguin and Emile Bernard as well as a circle of American painters around the Philadelphian Robert Wylie (1839-1877). Bridgman also studied in Paris with Jean Léon Gérôme at the École des Beaux-Arts. Bridgman made an important reputation for himself in France at the annual Paris Salons; in Britain, where he exhibited at the Royal Academy between 1871 and 1904, and in Germany, where he showed at the Grosse Berliner Kunst Ausstellung. His work was included in the American displays at the 1889 Exposition Universelle held in Paris. In 1872 Bridgman travelled to Spain and North Africa in the company of a British artist known only as ‘S’. In the winter of 1873-4 he made a second trip, visiting Egypt in the company of fellow American artist Charles Sprague Pearce. Bridgman married a young Bostonian, Florence Mott Baker; the deterioration of his wife’s health from the terrible inherited neurological disorder Huntington’s Chorea led him to return to Algiers in 1885 for a respite for them both in a warm climate. He wrote a fascinating travel narrative describing his journeys in North Africa, Winters in Algiers, published in 1888 and illustrated with woodcuts from his works. Bridgman’s great success culminated at the Paris Salons of 1877, 1878 and 1879 with a trio of paintings portraying life in the ancient Near East: The funeral of a mummy, which was purchased by James Gordon Bennett, owner of The New York Herald; The diversion of an Assyrian King and The procession of the Sacred Bull. Exhibitions of the artist’s work were held at the American Art Gallery in New York in 1881 and 1890. In 1881 Bridgman was elected a member of the National Academy of the United States. In 1889 he was given the honour of hanging five works in the Paris International Exposition. In 1907, he was made an officer of the Légion d’Honneur. During the First World War, Bridgman suffered financial losses, in part due to gambling debts, and was forced to sell his lavish studio in the Boulevard Malherbes in Paris. Bridgman retired with his second wife, Marthe Yaeger, whom he had married three years after Florence’s death in 1901, to their house in Lyons-la-Forêt in Normandy where he remained until his death in 1928. The work of Frederick Arthur Bridgman is represented in the Walker Art Gallery, Liverpool; the Metropolitan Museum of Art, New York; the Dahesh Museum, New York; the Corcoran Art Gallery, Washington DC; the Museum of Fine Arts, Boston; the Detroit Institute of Arts and the Art Institute of Chicago.

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SIR EDWARD COLEY BURNE-JONES Birmingham 1833-1898 London

Born in Birmingham in 1833, Edward Coley Burne-Jones was the only child of Edward Richard Jones, the owner of a carving and gilding business and Elizabeth Coley, daughter of a successful jeweller, who died days after his birth. A distinguished painter, decorative artist and designer during his lifetime, Burne-Jones became a leading figure of the Pre-Raphaelite Brotherhood, the Aesthetic movement and the inspiration for international Symbolism. Burne-Jones was educated at the local grammar school, King Edward’s in Birmingham, from 1844 and from 1848 attended evening classes at the Birmingham School of Design. In 1853 he went to study Theology at Exeter College, Oxford, where he met his lifelong friend and working associate William Morris (1834-1896). Under the influence of the writings of John Ruskin and the inspiration of paintings by the Pre-Raphaelite Brotherhood, both Burne-Jones and Morris decided to devote themselves to art. After gaining an introduction to the PRB founder Dante Gabriel Rossetti (1828-1882) in 1856, Burne-Jones left Oxford without his degree and moved to London to begin his artistic career. Rossetti gave him informal lessons and collaborated with him to decorate the debating chamber of the new Oxford Union with murals from the Morte d’Arthur the following year. He first travelled to Italy in 1859 with Val Prinsep (1838-1904), making copies of 14th and 15th century paintings which were to be a source of inspiration throughout his career. In June 1860 he married Georgina MacDonald (1840-1920), shortly after which he co-founded Morris, Marshall, Faulkner & Co., becoming their chief designer for stained glass and ceramic tiles. He returned to Italy with John Ruskin in 1862. In 1864 he was elected an Associate of the Old Water-Colour Socitey which brought his work to a broader audience, attracting followers and patrons including businessman and MP for Glasgow, William Graham, and Liverpool ship-owner, FR Leyland. In 1867 the Burne-Joneses moved from Kensington Square to The Grange, North End Lane, Fulham, where they would remain till the artist’s death. They had two children, Philip, who became a successful portrait painter, born in 1861 and Margaret, born in 1866. Burne-Jones suffered a personal and professional crisis in 1870 following his affair with the Greek model Mary Zambaco and criticism of the nude female figure in his Phyllis and Demophoön (whose features were recognized to be those of his mistress). He resigned from the OWCS rather than alter the painting and hardly exhibited until the opening of the Grosvenor Gallery in 1877. He exhibited eight large paintings at the alternative venue, making him a key figure of the Aesthetic movement and one of the most successful leading artists of the day. He continued to exhibit at the Grosvenor Gallery until 1887 when he transferred to the New Gallery. In 1885 he accepted the Presidency of the Birmingham Society of Artists and was reluctantly elected ARA. He was never fully aligned to the Royal Academy however and after exhibiting only one painting there (The depths of the sea) in 1886, he resigned in 1893. In 1886 he was re-elected to the OWCS. During the 1890s Burne-Jones enjoyed an international reputation, his work was exhibited in Paris, where he was awarded the Légion d’honneur, and acclaimed all over Europe and in America. To his continuous designs for stained glass, he added designs for tapestry (the Holy Grail series completed in 1894 being the most notable), a piano, mosaic, needlework, jewellry and shoes, amongst others, many of which were exhibited at the Arts and Crafts Exhibition Society founded in 1888. In 1890 Morris launched the Kelmscott Press, for which Burne-Jones illustrated twelve books. In 1892-3 a retrospective of his work was held at the New Gallery and in 1894 he accepted a baronetcy from his friend William Gladstone. After the death of Morris in 1896, Burne-Jones’s health deteriorated. He died following an attack of influenza in Fulham in 1898. 100

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The work of Sir Edward Coley Burne-Jones is represented in Birmingham Museums & Art Gallery; Manchester City Art Gallery; Tate Britain, the British Museum and the Victoria & Albert Museum, London; The Stained Glass Museum, Ely Cathedral; The Royal Museums of Fine Arts, Belgium; the Albertina, Vienna; the Musée d’Orsay, Paris; the Metropolitan Museum of Art, New York; the Museum of Fine Arts, Boston; the National Gallery of Art, Wasington DC and the National Gallery of Canada, Ottawa, amongst others.

EDWARD WILLIAM COOKE ra frs fsa fls fza fgs London 1811-1880 Groombridge, Kent

Edward William Cooke is best known for his coastal and river scenes. He worked in both oil and watercolour, though in his teens he was already a proficient etcher. He was the son of George Cooke (d.1834) a prominent engraver; the family lived in London and were friendly with many eminent artists of the day including Turner, Cotman, Prout, Clarkson Stanfield, A W Calcott and David Roberts. Sixty-five Plates of Shipping and Craft, a series of etchings published between 1829 and 1831, established E W Cooke’s reputation as a marine artist and his accurate drawing led to his being employed by Clarkson Stanfield to make studies of the details of ships. Cooke took up painting in oil under the guidance of James Stark in 1834. Cooke exhibited regularly at the Royal Academy between 1835 and 1879. He was elected associate of the Royal Academy in 1851 and a member in 1863. He also showed at the British Institution and the Royal Society of Artists, Suffolk Street. Cooke travelled extensively in France, Germany, Italy, Scandinavia, Spain, Morocco and Egypt. He visited Holland eight times between 1837 and 1860. Fascinated by the details of geology, Cooke rendered both land masses and rock formations with extraordinary accuracy. He was devoted to an almost scientific rendering of nature. He was elected a fellow of the Royal Society and was also a member of the Geological, the Linnean and the Geographical Societies. Cooke’s paintings were popular and sold well; he was able to purchase a house in Hyde Park Gate South and in 1868 to commission R Norman Shaw to design his country residence at Groombridge, Kent. The work of Edwaard William Cooke is represented in the Art Gallery of New South Wales, Sydney; the Yale Centre for British Art, New Haven; the Victoria and Albert Museum, London and the National Maritime Museum, Greenwich.

FEDERICO DEL CAMPO South American School fl.1880-1912

Little is known about the life of the talented genre painter Federico del Campo. Although born in Lima, Peru, he was educated in Paris, and studied under the Spanish painter Lorenzo Valles. Del Campo also spent much time travelling in Italy and was particularly inspired by the beauty of Venice, where many of his finest works were painted. He became famous for his Venetian views, which he exhibited at the Paris Salon in 1880 and at the Madrid Art Exhibition in 1881. The work of Federico del Campo is represented in the Ducal Art Gallery at Karlsruhe.

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JOHN WILLIAM GODWARD rba 1861-London-1922

John William Godward was a painter of classical genre scenes. His works embody the aesthetics of the circle of artists around Sir Lawrence Alma-Tadema (1836-1912), often described as the ‘Greco-West Kensington School’, who saw the world of Ancient Greece as a Golden Age of poetic beauties and graceful languor. Godward excelled in oil and watercolour. His work remained consistent throughout a remarkable career spanning almost forty years, over which time he created a vital stylistic niche for his oeuvre. Godward is best known for his highly finished paintings of pretty girls attired in classical robes, indeed, he became known as the master ‘classical tunic gown’ painter. The diaphanous fabrics of their Grecian tunics highlight their pearly flesh surrounded by marble statuary and balustrades amidst abundant flowers. Godward was admired for his archaeologically exact rendering of the surfaces of marble and the flowing movement of classical costume. These girls reminded one critic of ‘true English roses’ as much as Hellenic goddesses; it is this gentle beauty which is Godward’s greatest charm. Godward first worked in his father’s prosperous insurance firm before training with William Hoff Wontner (1814-1881) to become an architect. He became a friend of Wontner’s son, William Clarke (1857-1930) who was also a painter. Vern Swanson has persuasively argued that Godward probably attended the St John’s Wood Art School at Elm Tree Road and the Clapham School of Art in the early 1880’s. Godward exhibited regularly at the Royal Academy between 1887 and 1905 and at the Royal Society of British Artists, Suffolk Street, of which he became a member in 1889. Godward’s paintings were also often accepted to the Birmingham Royal Society of Artists’ Autumn Exhibitions. The art dealer Thomas McLean was an important champion of Godward’s work which was often included in his annual exhibitions. The prints made of Godward’s work by McLean and later by Eugène Cremetti introduced a wider audience to the artist’s work and guaranteed his popularity. Godward also exhibited internationally, making his début at the Paris Salon of 1899. In 1913 he was awarded the gold medal at the International Exhibition in Rome. The first years of the twentieth century saw a revival of interest in classicism, as prosperity rose throughout the British Empire. In fact, ‘the early Victorians believed that in ancient Rome they had found a parallel universe – a flawless mirror of their own immaculate world,’ (cited in Iain Gale, ‘The Empire Looks Back’, Country Life, 30th May 1996, p.68.) This increased Godward’s popularity and success, with 1910 emerging as one of the best years for him as an artist. Godward lived with his parents in Wimbledon until he achieved financial and critical success in 1889. He took a house at 34 St Leonard’s Terrace on the corner of Smith Street in Chelsea. He gave up his lease at Bolton Studios and rented a studio just around the corner. He filled his studio with marbles, ancient statues (mostly reproductions) and other antique objects, which he purchased from local shops and East End dealers, attempting to recreate a Graeco-Roman inspirational environment for his work. After a first trip to southern Italy in 1911, Godward moved to Rome where he remained until 1921. He took up residence in the Villa Stohl-Fern on the Monti Parioli near the Villa Borghese. The abundance of floral varieties and statuary in the villa’s elegant gardens appear in his work of this period. However, declining health and depression meant Godward produced very few paintings in later life. Having returned to London in 1921, Godward committed suicide and was buried in Old Brompton Cemetery, Fulham. The work of John William Godward is represented in the Russell-Cotes Art Gallery, Bournemouth and the Manchester City Art Gallery.

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ALEXEI ALEXEIevich HARLAMOFF Saratov 1849-1925 Paris

Alexei Alexeiwicz Harlamoff was born at Saratov, Russia in 1849. He studied at the Academy of Fine Arts in St Petersburg and won a gold medal and a travel scholarship in 1868 for his painting The return of the prodigal son. This enabled him to go to Paris, where he remained, working with the great portrait painter and teacher at the École des Beaux-Arts, Léon Bonnat (1834-1922). His work was exhibited in the Russian section of the Décennale exhibition of art produced between 1889 and 1900, which was part of the World’s Fair held in Paris in 1900. In his early career, he painted many genre and religious subjects, learning his skills by copying Old Master paintings such as Rembrandt’s Anatomy lesson in the Mauritshuis in The Hague. He also became a respected portrait painter, with such important sitters as Tsar Alexander II and Prince Demidoff. Perhaps his most beloved subjects were informal portraits of peasant girls. These sitters were painted for their beauty and innocence rather than their fame. Harlamoff eloquently evoked the symbolism of the flower representing the short-lived innocence of youth so popular with artists of the end of the nineteenth century, while capturing a uniquely Russian ambience in the details of dress and facial features. Harlamoff was also interested in the range of emotions within facial expressions; his Girl in a white veil with her charming, contemplative gaze is an excellent example. It was probably the sweet, smiling expressions of his Children playing with flowers that drew the admiration of Queen Victoria when she saw it in the Glasgow International Exhibition in 1888. The work of Alexei Harlamoff is represented in the Alexander III Museum in St Petersburg, the Tretiakov Gallery in Moscow and in the Brobinksi Collection.

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CECIL KENNEDY Leyton 1905-1997 St Albans

Cecil Kennedy will be best remembered for his minutely detailed depictions of flowers, though he also worked as a portraitist. His greatest works are admired for their exquisite detail and artful compositions, and many of these were produced during the 1960s. His wife Winifred created the brilliant flower arrangements, usually in a vase from their collection of mid-eighteenth century Waterford vases, which continually inspired his work. Kennedy was born into a large artistic Victorian family. He was the youngest of thirteen children. His grandfather was an artist who had lived in France, sketched with Jean Baptiste Camille Corot (1796-1875) and exchanged drawings with him. His father was a landscape painter and four of his brothers were artists. His brother Charles, who died in the ’flu epidemic of 1918, was a particular influence on him. In the early thirties he met and married Winifred Aves. She became his inspiration and for sixty-four years they worked together as a creative team. In the Second World War he was called up and fought in the British Army in Europe. He was in Antwerp during the winter of 1944 where he sought out and befriended Flemish painters. It was a time for reflection and studying Flemish and Dutch still life paintings in their natural setting brought about a definite change in his painting style. He maintained contact with Flemish artists up to his death. Cecil Kennedy had many important patrons. Queen Mary bought his work, as did the Duke of Windsor and the Astors. Queen Mary is quoted as saying “When I see Cecil Kennedy’s pictures I can smell the flowers and hear the hum of the bees.” She noticed he had painted a ladybird on a flower stem. Thereafter all his paintings contained a ladybird. Lord Thompson of Fleet, a friend and patron, wrote about him and commented that “his pictures conveyed a joy of life and artistic creativity.” Kennedy had an important exhibiting career, showing before the age of twenty-four at both the Royal Scottish Academy and the Royal Hibernian Academy, regularly at the Royal Academy and in the provinces. From the 1950s until the 1970s, he exhibited regularly with the Fine Art Society, who were keen advocates of his work. He was awarded a silver medal at the Paris Salon in 1956, and a gold medal in 1970. He was celebrated in a retrospective of contemporary flower painting, Three Flower Painters, held at the Richard Green Gallery in 1997. Mr Green was one of several art dealers to champion Kennedy’s unsurpassed eminence in the genre of flower painting, blending botanical accuracy and sensual effects. Kennedy’s artful juxtapositions of modern exotic hybrids, blooms and humble favourites like field grasses, as well as the plant species celebrated in the works of the Old Masters revealed his knowledge as a plantsman as well as an artist. While studying in the great national collections of the major artistic centres, London, Paris, Antwerp and Zurich, he fell under the influence of the Old Masters, from whom he derived his meticulous technique. The novelty of his all white arrangements reflected an awareness of twentieth century horticultural innovations as well as Vita Sackville-West’s ‘white garden’.

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PHILIP ALEXIUS DE LÁSZLÓ Budapest 1869-1937

Philip de László was one of the most stylish and successful portrait painters of the late nineteenth and first half of the twentieth centuries. Like John Singer Sargent (1856-1925), he was an exponent of the fluidly-painted ‘swagger portrait’, but always managed to capture a sense of the sitter’s interior life, sometimes with a tinge of romantic melancholy. He portrayed the glamorous European high society that was rent asunder by the First World War and the leading figures of the era that succeeded it. Born Fülöp Elek Laub in 1869 in Budapest, the son of a tailor, Philip de László began his studies at the Hungarian National Academy of Arts under Bertalan Székely and Károly Lotz. In 1890 he won a scholarship to study in Munich at the Akademie der Bildenden Künste with Sándor Liezen-Mayer. He also studied briefly at the Académie Julian in Paris. De László’s first works were highly detailed genre and history paintings, but he soon turned to portraiture and became one of the most fashionable artists of the Austro-Hungarian Empire. He portrayed Emperor Franz Joseph I in 1899 (Hungarian National Gallery, Budapest) and in 1900 a hugely successful exhibition in Berlin led to commissions from the German Royal Family. In 1900 de László married Lucy Guinness from the renowned Irish brewing family and in 1907 they moved to London, where de László received many commissions from the British aristocracy. In 1908 de László visited the United States to paint President Theodore Roosevelt (American Museum of Natural History, New York), a trip which brought commissions from several other wealthy Americans. He was appointed MVO by King Edward VII in 1909. Briefly interned on suspicion of spying for Austria during the First World War, de László continued throughout his life to paint portraits of some of the most famous and influential figures of the twentieth century, including the Duchess of York (the future Queen Mother), Princess Elizabeth (the future Queen Elizabeth II), Andrew Mellon, Benito Mussolini, Arthur Balfour and Jerome K Jerome. Strongly influenced by the work of Velásquez, de László wrote in 1936: ‘the picture must show us the spirit by which the human form is vitalised…it must provide the sitter with the surroundings and atmosphere which are suitable to his personality and consistent with his state of life’. The work of Philip de László is represented in the Royal Collection, London; the National Portrait Gallery, London; the Hungarian National Gallery, Budapest; the American Museum of Natural History, New York and the National Gallery of Art, Washington DC.

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FREDERIC, LORD LEIGHTON pra rws hrca hrsw Scarborough 1830-1896 London

The English painter and sculptor Frederic Leighton (nicknamed Jupiter Olympus by Edward Burne-Jones) was the established leader of the Victorian Neo-Classical School of painting. Born in Scarborough, Yorkshire in 1830, he was brought up initially in London, attending University College School from 1840-41. The son of a Doctor (Frederic Septimus Leighton), Frederic spent most of his youth travelling on the Continent with his family due to his mother’s ill health (Augusta Susan Nash). They settled briefly in Berlin, Frankfurt, Florence, Brussels and Paris, where Leighton was enrolled in various art schools, returning to the Städelsches Kunstinstitut in Frankfurt between 1850-2, where he studied under the Nazarene artist, Edward von Steinle (1810-1886). Leighton travelled to Rome in 1852 and became friendly with Giovanni Costa and George Heming Mason, who later became leading figures of the Etruscans. While in Rome, he began work on Cimabue’s Celebrated Madonna Carried in Procession through the streets of Florence, his first Royal Academy picture, exhibited in 1855, and bought by Queen Victoria. The reception of this picture heralded the start of an incredibly successful career which took him to the heights of his profession. From 1855-59, Leighton was based in Paris where he met Jean-August-Dominique Ingres and Eugéne Delacroix, as well as Ary Scheffer and Joseph Nicholas Robert-Fleury. These years marked a period of transition for the artist from his early devotion to the Nazarenes to incorporate a broader combination of influences including the painterly effects and colouring of Venetian art, the Realist landscapes of Jean-Baptiste-Camille Corot and classical subject matter. Leighton also travelled to North Africa and the Near East between 1857 and 1882. It was following his stay in Damascus in 1873 that he began to include decorative Eastern accessories in his work, as well as building the Arab Hall in his house at Holland Park from 1877-79, which is now Leighton House Museum. In the 1860 Leighton settled in London and moved towards painting scenes of classical mythology, which coincided with a rising interest in Hellenic art. Leighton’s interest in Hellenic art also informed his representations of the idealised nude in sculpture, such as Athlete wrestling with a python, 1877. Frederic Leighton became a Royal Academician in 1868, was elected President of the RA in 1878 and was increasingly thought of as leader of the Victorian art establishment until his death in 1896. He was also knighted in 1878, made Baronet in 1886 and was raised to the peerage in 1896 just before his death – the only English artist to be accorded this honour. After lying in state at the RA, he was buried in St Paul’s Cathedral. The work of Frederic, Lord Leighton is represented in Birmingham Museums & Art Gallery; Manchester City Art Gallery; Leighton House Museum, the National Gallery, National Portrait Gallery, the Royal Academy of Arts, Tate Britain, the Victoria & Albert Museum and The Royal Collection, London; the Ashmolean Museum, Oxford; the Fitzwilliam Museum, Cambridge; the Metropolitan Museum of Art, New York; the Museum of Fine Arts, Boston; the Kimbell Art Museum, Texas, amongst others.

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ADOLPHE ALEXANDRE LESREL 1839-Genets-c.1929

Adolphe Alexandre Lesrel was a nineteenth century French artist who specialised in painting historical genre scenes featuring cavaliers and elegantly dressed ladies. Like Jean Louis Ernest Meissonier (1815-1891), by whom he was greatly influenced, Lesrel’s style was derived from a study of seventeenth century Dutch painting and is characterised by its painstaking technique and attention to details of dress, furnishings and accessories. He also painted many pictures of cardinals. Lesrel exhibited regularly at the Salon, the State sponsored exhibition held annually in May, in all its forms throughout his career. He won an honourable mention at the Salon of 1889. He was a member of the Société des Artistes Français from 1885 and he became an associate of the Société Nationale des Beaux-Arts from its foundation in 1890. He continued to exhibit regularly at the Salons of both societies once they split in 1891. In England, he exhibited many works at the Arthur Tooth and Sons Gallery in London. He is last recorded sending works from his home in Genets to England in 1921. The work of Adolphe Alexandre Lesrel is represented in several museums including the Museum of Art, Baltimore, the New York Public Library and the Musée des Beaux-Arts, Nantes, France.

WILLIAM LOGSDAIL Lincoln 1859-1944 Noke, near Oxford

William Logsdail was born in Lincoln, the son of George Logsdail, verger of Lincoln Cathedral, who encouraged his son’s early interest in church architecture. He first studied at the Lincoln School of Art under E. R. Taylor and went to Antwerp in 1878, where he continued his training at the École des Beaux-Arts under Verlat. During this period his picture of the Fishmarket at Antwerp, exhibited at the Royal Academy in 1880, attracted much attention and was bought by Queen Victoria for Osborne House. Logsdail married Mary Ashman in 1892 and they spent their early married life in Venice. Logsdail worked prolifically in Venice where he painted many topographical and architectural scenes. He was also commissioned by the Fine Art Society to paint a series of small pictures of the French and Italian Riviera, seven of which were bought by the Duke of Westminster. He returned to England in 1902 and the success of his portrait of his daughter entitled An early Victorian exhibited at the Royal Academy in 1907, led to many portrait commissions. Amongst his most important sitters were the Viscount Halifax, the Rt. Hon. Sir Edward Grey, Bt., and Lord Curzon. In 1922, Logsdail moved to Noke, near Oxford, where he spent the rest of his life, and resumed his interest in painting architectural and topographical subjects. He exhibited at the Royal Academy from 1877-1926, became a member of the New English Art Club in 1886 and a member of the Royal Society of Portrait Painters in 1912. The work of William Logsdail is represented in many museums including the Birmingham City Art Gallery, The Usher Gallery, Lincoln, the Walker Art Gallery, Liverpool, the Museum of London and Tate Britain.

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LUIGI LOIR Guritz 1845-1915 Paris

Luigi Aloys François Joseph Loir was born in Guritz, Austria of French parentage; his parents were in service to Charles X’s daughters-in-law, Marie-Caroline de Bourbon and the Duchess of Angoulême. After studying at the Academy of Fine Arts in Parma, he went to Paris in 1863 to work in the studio of the painter and decorator Jean Pastelot (18201870). Two years later he sent a Paysage à Villiers-sur-Seine to the Salon, where it was well received. In 1870, during the Franco-Prussian War, Loir distinguished himself at the battle of Bourget. In 1875 he married MarieLouise Raynaud and lived in Neuilly and Paris. His son Jules became an artist and his sister Marie painted miniatures. Loir specialised in cityscapes of Paris. He combined the careful and affectionate observation of Jean Béraud’s Paris scenes with a lighter, more Impressionistic touch. As the leading critic, Octave Uzanne commented: ‘Jean Béraud paints the Parisians of Paris and Luigi Loir paints the Paris of Parisians…There is in him a dilettantism of the stroller and the thoughtfulness of the poet. One senses that all his impressions are real and that he can only paint them with charm’ (Octave Uzanne, Figures Contemporaines, vol. II, 1890-1908). In his later paintings, Loir developed a much looser touch and a soft, pastel palette reminiscent of James McNeill Whistler’s Nocturnes. His radiant street scenes and views of the Normandy coast established his reputation. Loir also illustrated literary texts and made charming caricatures for periodicals, as well as producing advertising materials for the burgeoning railway companies and the confectioner Léfevre-Utile, who also employed Mucha. Loir’s delicate graphic line was well reproduced by chromolithography. He exhibited regularly at the Société des Artistes Français and was awarded medals in 1879 and 1889. In 1898 he was awarded the Légion d’Honneur. The work of Luigi Loir is represented in the Hôtel de la Ville de Paris; the Musée Carnavalet, Paris; the Musée des Beaux-Arts, Nice; the Musée de Rouen; the Musée de Bordeaux; the Musée d’Avignon and the Musée de Nantes.

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RICHARD EDWARD MILLER St Louis, MO 1875-1943 St Augustine, FL

Richard Edward Miller was born in St Louis, Missouri, the son of an engineer. He studied at the School of Fine Arts in St Louis and in 1899 took classes with Jean-Paul Laurens and Benjamin-Constant at the Académie Julien in Paris. He was influenced by Naturalism, the paintings of Whistler and Japanese woodcuts, which spurred his attention to pattern and his awareness of spatial planes. He won medals at the Salon and at the 1904 St Louis World’s Fair and in 1906 returned briefly to St Louis to paint portraits of civic leaders. From 1907, Miller spent summers in Giverny, where he met Monet and taught plein-air painting classes. That year he married one of his pupils, Harriet Adams. In 1908 he was awarded the Légion d’Honneur. In 1909 he was given the honour of a room at the 8th Venice Biennale. From 1910, Miller was a leading member of the Giverny Group, a circle of American Impressionist painters, including Karl Anderson, Frederick Frieseke, Edmund Graecen, Lawton Parker and Guy Rose, who gravitated to Giverny under the influence of Monet, though they had little direct contact with the grand old man of French Impressionism. Women seated in a garden, or indoors in a room opening onto a garden, were favourite motifs in Miller’s work of this period, as was virtuosic brushwork and highly individual colouring, inspired by Matisse’s dramatic contrasts of blue and green. Miller was interested in the decorative quality of light and sometimes worked in a distemper technique (powdered colours mixed with hot glue and water) to create richly textured, tapestrylike brushwork. From 1912, Miller summered in St Jean du Doigt, Brittany, where his work developed the themes of his Giverny paintings, but in a higher key. That year he had his first major one-man American show, at the Macbeth Gallery in New York, and one of his works was bought by the Metropolitan Museum. He was elected an Academician of the National Academy of Design in 1914. After the outbreak of the First World War, Miller returned to America, teaching at the Stickney Memorial School of Art in Pasadena, CA and in 1917 settling in Provincetown, MA, a picturesque fishing village at the tip of Cape Cod, where he remained (with frequent trips elsewhere in America and Europe) until his death in 1943. He continued to teach and paint portraits and from 1919-21 executed historical murals for the Missouri State Senate Chamber at the Capitol in Jefferson City. In the 1930s Miller reverted to a low-keyed tonal palette and returned to the theme of the nude. Although critical of Modernism, his emphasis on composition rather than colour in these pictures shows that he had imbibed some Modernist ideas. He also painted sensitive landscapes and naturalistic works depicting the hardy, dignified farmers and fishermen of Cape Cod. In 1940 Miller began wintering in Florida and died in St Augustine on 23rd January 1943. The work of Richard Edward Miller is represented in the Art Institute of Chicago; the Smithsonian American Art Museum, Washington DC; The Detroit Institute of Arts; the Metropolitan Museum of Art, New York, the St Louis Art Museum and the Cincinnati Art Museum.

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HENRY PETHER Fl. 1828-1865

Henry Pether was born into a family of artists who specialised in moonlight scenes: he was the son of Abraham (17561812) and the brother of Sebastian (1790-1844). His father’s cousin, William Pether (1738-1821) was a well-known engraver. Henry Pether exhibited at the Royal Academy from 1828 to 1862, as well as at the British Institution and the Society of British Artists. He painted views of London, the English countryside and Venice. The work of Henry Pether is represented in Tate Britain, London and the Museum of London.

FRANS XAVER PETTER 1791-Vienna-1866

Franz Xaver Petter was born in Vienna, the son of a porcelain decorator, and lived and worked in that city all his life. At the Vienna Academy of Arts he was a student of the flower painters Johann Baptist Drechsler (1756-1811) and Sebastian Wegmayr (1776-1857). In 1814 he was appointed instructor at the Viennese Blumenzeichenschule. In 1832 he took up a position as professor at the Manufaktur Zeichenschule and became academic counsellor and director of this institute in 1835. His son Theodor Petter (1822-1872) also became a flower painter. Petter worked in the Biedermeier period during which, particularly in the German-speaking countries, genre painting was the most popular subject, with Georg Ferdinand Waldmüller as its most important exponent. Such works were executed in great detail with substantial refinement, while their narrative subjects tended towards a certain sentimentality. The tendency towards refinement and sweetness is also clearly present in flower painting. During the early decades of the nineteenth century a relatively large number of highly skilled flower painters were active in Vienna, Petter and his teachers among them. Many of them also had a relationship of some kind with the Viennese porcelain factory. Moreover, there was a great interest in botany in which the botanical illustrators Nicolaus von Jacquin (1727-1817) and his son Joseph Franz played an important role. While Petter’s teacher Johan Baptist Drechsler improvised particularly on the compositional schemes of floral bouquets by such artists as Jan van Huysum and Rachel Ruysch, Petter’s inspiration appears to have come less directly from one or two specific predecessors. His style is a clever and natural-looking amalgam of a century and a half of European – and particularly Dutch – flower and still-life painting. His refined technique is a worthy rival to that of his examples. Like Drechsler, Franz Xaver Petter often supplemented his arrangements with some fruit on the ledge and in his larger compositions he often included a lively parrot or parakeet. The work of Franz Xaver Petter is represented in the Belvedere, Vienna; the Collection of the Princes of Liechtenstein, Vaduz-Vienna and the Kunstmuseum, Bern.

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CHRISTIAAN VAN POL Berkenrode 1752-1813 Paris

Christiaan van Pol was a Dutch artist who specialised in flower and fruitpieces and arabesques. He was born in Berkenrode, near Haarlem. At a young age his talents as a painter became apparent and he was apprenticed to a local Haarlem painter. After the latter’s death, van Pol went to Antwerp to continue his training and in 1782, at the age of twenty, he moved to Paris. There he soon became successful as a painter of decorative ‘arabesques’, which he adorned with flowers and birds. Van Pol is known to have been friendly with the Antwerp still-life painter Jan Frans van Dael (1764-1840), who moved to Paris in 1786 and who was very influential on his work. They maintained a life-long friendship. Apart from van Dael, van Pol was also clearly inspired by the work of the brothers Gerard and Cornelis van Spaendonck, who worked in Paris from 1769 and 1773 respectively, and who were very successful and influential there. According to his biographers, van Pol contributed to the decorative schemes at the Châteaux of Bellevue, Chantilly and St Cloud, though no examples can be traced today. He was also employed for some time by the Gobelins tapestry works, as a designer for tapestry decorations, as well as producing popular miniatures of flowers and fruit as lids for sweet and snuff boxes. Van Pol exhibited at the Paris Salon from 1801 to 1810. The work of Christiaan van Pol is represented in the Musée Fabre, Montpellier and the Musée de Chartres.

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SIR EDWARD JOHN POYNTER pra rws Paris 1836-1919 London

Edward John Poynter was born in Paris on the 20th March 1836. He spent most of his childhood growing up in Westminster, London, spending winters in Madeira and Rome due to his delicate health. His family was artistic on both sides, his great-grandfather was the sculptor Thomas Banks RA and his father Ambrose Poynter was an architect and watercolour painter. Edward began studying art in 1852 with Thomas Shotter Boys, a family friend, but was mainly influenced in his choice of career by his visit to Rome in 1853-4 where he met and was greatly impressed by Frederic Leighton. Having returned to London, Edward studied at Leigh’s Academy and the studio of William Dobson RA. Poynter entered the Royal Academy Schools in 1855, but his admiration for French painting led him to Charles Gleyre’s studio in Paris the following year. He remained there until 1859, with fellow students George Du Maurier, Thomas Armstrong and James McNeil Whistler, whose adventures were documented in Du Maurier’s novel Trilby, 1894. His first commissions at this time were for decorative work including stained glass and painted furniture. After returning to England his friend William Burgess employed him to decorate the ceiling of Waltham Abbey, Essex in 1860. He also contributed drawings to magazines such as Once a Week and executed 12 illustrations for Edward and George Dalziel’s Bible Gallery, published in 1880. Poynter first exhibited at the Royal Academy in 1861 and for the next few years produced small pictures of Egyptian and Classical subjects while simultaneously painting small portraits and landscape watercolours for the Dudley Gallery, London. His large-scale Israel in Egypt (Guildhall Art Gallery, London), exhibited in 1867, established his reputation, which he confirmed the following year with The Catapult (Laing Art Gallery, Newcastle upon Tyne). Both displayed an attention to archaeological detail and technical proficiency which would characterise his work. Poynter became the brother-in-law of Pre-Raphaelite painter Edward Burne-Jones in 1866 when he married Agnes MacDonald, Georgina Burne-Jones’s sister. They had two sons; the elder, Ambrose Poynter, became a well-known architect. In 1869 he was elected ARA. Poynter undertook several decorative commissions during the late 1860s, including a cartoon for the St George mosaic at the Houses of Parliament, part of the Royal Albert Hall frieze (both in 1869) and the Grill Room at the South Kensington Museum from 1866-74. In 1871 he was appointed the first Slade Professor at University College, London and in 1875 became Director and Principal of the National Art Training Schools in South Kensington. His Ten Lectures on Art were published in 1879. Between 1872 and 1879 Poynter painted and exhibited a series of four large works, Perseus and Andromeda, 1872, More of More Hall and the Dragon of Wantley, 1873, Atalanta’s race, 1876 and Nausicaa and her Maidens Playing at Ball, 1879 commissioned by Edward Montagu Stuart Granville, 3rd Baron and 1st Earl of Wharncliffe to decorate his billiard room at Wortley Hall, Yorkshire. He was elected an RA in 1876. During the 1880s and 1890s he continued to produce large classical pictures as well as smaller classical genre paintings. The latter part of Poynter’s career was increasingly involved in public office. From 1894 to 1904/5 he was Director of the National Gallery, London (the last practising artist to fill

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this position). In 1896 he was elected President of the Royal Academy, a position he held until his resignation in 1918. He was knighted in 1896 and created a Baronet in 1902. He was buried in St Paulâ&#x20AC;&#x2122;s Cathedral, London. The work of Sir Edward John Poynter is represented in the National Gallery of Art, Washington DC, the Aichi Prefectural Museum, Japan, the Art Gallery of New South Wales, Australia, the Clark Art Institute, Massachusetts, the Delaware Art Museum, the Courtauld Institute of Art, London, the Royal Academy of Art, London, Manchester City Art Gallery, National Museums Liverpool, Tate Britain, The British Museum, Laing Art Gallery, Newcastle and the Victoria & Albert Museum.

VITTORIO REGGIANINI Modena 1858-1939

Vittorio Reggianini specialised in genre subjects including elegant scenes of bourgeois life, figure compositions and studies of children, as well as more humble interiors with peasants. He combined fantasy with reality, sensuality with sensibility and above all, like many of the Florentine historical genre painters, furnished his costume pieces in luxury. Reggianini was born in Modena, north Italy, in 1858. He studied at the Modena Academy of Fine Arts where he later became a professor. Like many of his contemporaries, he migrated south to Florence, where in 1900 he participated in the Alinari Corcorso with a painting entitled Tristis Matris Nati Presaga Finis. Reggianini also exhibited with the Florentine Art Association in 1907-8 and again at the exhibition of 1910-11. He was affiliated with the Florentine genre painters such as Federico Andreotti (1847-1930) and Francesco Vinea (1845-1902), painting similar subjects, using similar props, at times sharing the same model and like them inscribed a number of his works, Firenze. Like his Florentine contemporaries, Reggianini executed a variety of costume pieces of the bourgeoisie enjoying the arts. His pictures often include many incidental details. Similar scenes are portrayed by Andreotti or Joseph Frederic Charles Soulacroix. The work of Vittorio Reggianini is represented in the Mainz Museum, West Germany.

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DAVID ROBERTS ra Stockbridge 1796-1864 London

David Roberts established his reputation as a topographical landscapist with a particular talent for rendering architectural features. Born at Stockbridge in 1796, the son of a Scottish cobbler, he received no formal artistic training, but served an apprenticeship as a house painter. He began his career as a scene painter, first with Bannister’s travelling circus, and then with theatres in Glasgow, Edinburgh, York and London. He designed the scenery for the first London production of Mozart’s Die Entführung aus dem Serail at Covent Garden in 1827. Roberts also painted panoramas and dioramas, a favourite entertainment of the mid-nineteenth century. Roberts settled in London in 1822 and was employed to paint the sets and backcloths at the Drury Lane Theatre, where he collaborated with George Clarkson Stanfield (1828-1878) who was to become a lifelong friend. He was an indefatigable traveller, visiting Belgium in 1845, 1849, 1850 and 1851, France in 1822, 1832 and 1843, Italy in 1851 and 1853 and Spain and North Africa in 1832-3. Nonetheless, he returned to his native Scotland every year. In 1838-9 Roberts was one of the first Western artists to visit the Near East. He travelled up the Nile on an eleven-month tour, visiting Cairo, the Sinai Desert, Syria, Palestine and Lebanon. He sketched every ancient site and monument that he saw, often from three or four different viewpoints. These sketches were published in lithographic albums entitled Picturesque Sketches in Spain and Views of the Holy Land, Syria, Idumea, Arabia, Egypt and Nubia, which appeared in six volumes between 1842 and 1849. Roberts made his début at the Royal Society of British Artists where he continued to exhibit from 1824 to 1836, and where he was made President in 1831. He also exhibited at the Royal Academy between 1826 and 1864 and at the British Institution between 1825 and 1859. Roberts was elected an honorary member of the Royal Scottish Academy in 1859 and a Royal Academician in 1841. He was also appointed as one of the Fine Arts Commissioners for the Great Exhibition held in the Crystal Palace in 1851. Roberts died in London in 1864. The work of David Roberts is represented in the Royal Collection; the National Gallery of Scotland, Edinburgh; Tate Britain; Harris Museum, Preston; the Sheffield City Art Gallery; the Fogg Art Museum, Cambridge, MA; the Dahesh Museum, New York City; the Yale Center for British Art, New Haven, CT and Denver Art Museum.

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ALEXANDER ROSSI Corfu 1840-1916 London

Alexander Mark Rossi was a painter of genre and portrait subjects, specialising in images of children. Rossi was born in Corfu, the son of an Italian, Dr Mark Rossi, one of three judges who governed the Ionian Islands during British rule. The artist met his first wife Jane Gillow, on a visit to Preston in 1866 and spent his early career at the local art school there. In the early 1870s he moved with his young family to London (settling in 1875 in Shepherds’ Bush), and exhibited over 60 paintings between 1870-1903 at the Royal Academy, including perhaps his most celebrated work entitled Forbidden Books (1897). He also exhibited over 40 paintings at the Royal Society of British Artists and the New Watercolour Society.

RUBENS SANTORO 1859-Mongrassano-1942

Rubens Santoro was a painter of genre and marine scenes specialising particularly in Venetian views. He came from an artistic family; his father Giovanni Battista Santoro was a painter and his brother Francisco became Professor at the Institute of Fine Arts in Naples. After studying at the Academy of Naples under Domenico Morelli, Santoro started exhibiting in Naples, Turin, Venice, Rome and abroad in London in 1872 and in Paris in 1896, where he gained an ‘honourable mention’. His works include titles such as Canal Giovanni and Paolo, Venice, The Traghetto, Venice, St Giorgio dei Greci and The Grand Canal. The work of Rubens Santoro is represented in the Cincinnati Art Museum, the Museo Nazionale, Reggio di Calabria and the Museo Civico, Turin.

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JOSEPH MALLORD WILLIAM TURNER ra 1775- London-1851

Joseph Mallord William Turner was the outstanding English landscape painter of the nineteenth century. Born in Maiden Lane, Covent Garden in 1775, the son of a barber, he worked for the architectural draughtsman Thomas Malton and, with Thomas Girtin in 1794, copied the drawings of Alexander Cozens for Dr Monro. Throughout the 1790s Turner made accomplished topographical watercolours and explored the Sublime scenery of the north of England and Wales. In 1802 he toured Switzerland. After exhibiting his first oil painting, Fishermen at sea (Tate Britain, London) at the Royal Academy in 1796, he was made ARA in 1799 and RA in 1802. Turner opened his own gallery in Harley Street in 1804. In 1807 he began his Liber Studiorum, mezzotints after his own works. His oil paintings were often imbued with influences from Dutch and Italian Old Masters; he treated subjects from history, poetry, the Bible and modern life, and himself wrote poetry. In 1819 Turner first visited Italy and his palette lightened. In 1814, with Picturesque Views on the South Coast of England (1814-26), Turner made the first of his series of highly complex and allusive topographical watercolours for engraving; the finest is the series of Picturesque Views in England and Wales (1825-35). He worked out the compositions in ‘colour beginnings’, blocks of colour, before adding detail in the finished watercolour. From 1808-25, Turner was a frequent visitor to the north of England, visiting his Yorkshire patron Walter Fawkes. Commissions such as the watercolour series on the Loire and the Seine took Turner often to Europe in the 1820s and 30s. In 1828 he was once more in Rome; the influence of the classical world and the paintings of Claude inspired important works such as Ulysses deriding Polyphemus, RA 1829 (National Gallery, London), which combine history painting with an intense evocation of a sunset landscape. In 1828 Turner painted a series of gouaches evoking the intimate atmosphere of a house party at Petworth, home of his patron Lord Egremont. In 1836 and 1841-4 a series of visits to the Alps resulted in some of Turner’s most free, expressive and sublime watercolours. His Venetian views of the late 1830s and 40s epitomise the brilliant, misty atmosphere of his late style. Rain, steam and speed: the Great Western Railway, 1844 (London, National Gallery) shows him dealing in his inimitable way with the scientific advances of the Victorian world. Turner died, a wealthy and reclusive man, in Chelsea in 1851. By the terms of his will a large number of his works were left to the nation and are now housed at the Clore Gallery, Tate Britain. The work of Joseph Mallord William Turner is represented in the National Gallery, London; Tate Britain, London; the Victoria and Albert Museum, London; the Louvre, Paris; the Metropolitan Museum of Art, New York, the National Gallery of Art, Washington DC and the Yale Center for British Art, New Haven.

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RUDOLF WEISSE Usti (Aussig), Bohemia 1869-?Paris circa 1930

Rudolf Weisse (not to be confused with the Swiss Orientalist painter Johann Rudolf Weiss, b.1846) was born in Usti (Aussig), Bohemia, a town on the banks of the Elbe. He studied at the Viennese Akademie der Bildenden Künste. He exhibited at the Salon in Paris between 1889 and 1927 and also showed paintings in Vienna, London, Bordeaux and Toulon. Weisse specialised in portraits and Orientalist views, chiefly street scenes in Cairo, which he must have visited. He was influenced by the colourful, meticulous and realistic genre scenes of the Viennese painters Ludwig Deutsch (1855-1935) and Rudolf Ernst (1854-1932). In 1889 Weiss was awarded a Médaille d’Honneur at the Parisian Exposition Universelle for Après la guerre – scène orientale and a Portrait de femme. He won a gold medal in Vienna in 1920. The work of Rudolf Weisse is represented in the Najd Collection.

Abbreviations FGS Fellow of the Geological Society FLS Fellow of the Linnean Society FRS Fellow of the Royal Society FSA Fellow of the Society of Antiquaries FZA Fellow of the Zoological Association HRCA Honorary Royal Cambrian Academician HRSW Honorary Member of the Royal Scottish Society of Painters in Watercolour PRA President of the Royal Academy of Art RA Royal Academician RBA Member of the Royal Society of British Artists, Suffolk Street RWS Member of the Royal Watercolour Society (formerly OWS)

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TERMS AND CONDITIONS OF SALE Seller agrees to sell and Buyer agrees to buy the Work on the Terms set out in this document. 1. 2. 2.1

DEFINITIONS OF TERMS ‘Address’ the address to which both parties have agreed in writing the Work is to be delivered; ‘Agreement’ the agreement for the sale of the Work set out on the Invoice; ‘Buyer’ the person(s) named on the Invoice; ‘Delivery’ when the Work is received by Buyer or Buyer’s agent at the Address; ‘Invoice’ the sales invoice; ‘Invoice Address’ the address which Buyer has requested on the Invoice; ‘Local Taxes’ local import taxes and duties, and local sales and use taxes, including VAT where applicable; ‘Price’ the Invoice price of the Work; ‘Seller’ Richard Green (Fine Paintings) or Richard Green & Sons Limited; ‘Terms’ the terms and conditions of sale in this document which include any special terms agreed in writing between Buyer and Seller; ‘Third Party Payer’ shall have the meaning set out at clause 2.4; ‘VAT’ United Kingdom value added tax; and ‘Work’ the work or works of art detailed on the Invoice.

2.2 2.3 2.4

BASIS OF PURCHASE The Terms shall govern the Agreement to the exclusion of any other terms and representations communicated to Buyer prior to entering into this Agreement and to Buyer’s own conditions (if any) and constitute the entire agreement and understanding of the parties in relation to the sale of the Work. Delivery of the Work will be made following receipt by Seller of the Price in cleared funds. Buyer shall be responsible for all costs of Delivery. Seller reserves the right to require Buyer to present such documents as Seller may require to confirm Buyer’s identity. Where payment of the Price is made by someone other than Buyer (‘Third Party Payer’) Seller may require documents to confirm the identity of Third Party Payer and the relationship between Buyer and Third Party Payer. Seller may decline payments from Third Party Payers.

3. 3.1 3.2

RISK TITLE AND INSURANCE Seller shall deliver the Work to the Address. Risk of damage to or loss of the Work shall pass to Buyer on Delivery. Dates quoted for Delivery are approximate and Seller shall not be liable for delay. Time of Delivery shall not be of the essence. Buyer shall provide Seller with all information and documentation necessary to enable Delivery. Notwithstanding Delivery and passing of risk, title in the Work shall not pass to Buyer until Seller (1) receives in cleared funds the Price and any other amount owed by Buyer in connection with the sale of the Work; and (2) is satisfied as to the identity of Buyer and any Third Party Payer and its relationship to Buyer.

3.3 3.4 3.5

If Buyer fails to accept delivery of the Work at the Address at the agreed time (1) Seller may charge Buyer for the reasonable costs of storage, insurance and re-delivery; (2) risk in the Work shall immediately pass to Buyer; and (3) Seller is irrevocably authorised by the Buyer to deposit the Work at the Address if delivery has not occurred within six months. Seller is not responsible for any deterioration of the Work, howsoever occasioned, after risk in the Work has passed to Buyer. Unless agreed in writing between the parties, responsibility for insurance of the Work passes to Buyer on Delivery and Buyer acknowledges that thereafter Seller shall not be responsible for insuring the Work.

4. 4.1 4.2 4.3

PAYMENT The Price shall be as stated on the Invoice. Payment shall be made in full by bank transfer or cheque and is received when Seller has cleared funds. Full payment of the Price shall be made to Seller within 30 days of receipt of Invoice. Interest shall be payable on overdue amounts at the rate of 3% per annum above Royal Bank of Scotland Base Rate for

4.4 4.5

Sterling. Until full title to the Work has passed, Buyer shall not sell, export, dispose of, or part with possession of the Work. Until full title to the Work has passed, Buyer shall hold the Work unencumbered as Seller’s fiduciary agent and bailee and shall: (1) keep the Work at Buyer’s premises separate from the property of Buyer and third parties and identified as Seller’s property and properly stored with adequate security measures; (2) keep the Work comprehensively insured for not less than the Price, have Seller’s interest noted on the policy and provide a copy of such notification to Seller; and (3) preserve the Work in an unaltered state, in particular not undertake any work whatsoever and shall take all reason able steps to prevent any damage to or deterioration of the Work. Until such time as full title to the Work has passed, if Buyer is in breach of clauses 4.3 or 4.4; or (1) Buyer (if it is more than one person, jointly and/or severally) shall enter into, and/or itself apply for, and/or call meetings of members and/or partners and/or creditors with a view to, one or more of a moratorium, interim order, administration, liquidation (of any kind, including provisional), bankruptcy (including appointment of an interim receiver), or composition and/or arrangement (whether under deed or otherwise) with creditors, and/or have any of its property subjected to one or more of appointment of a receiver (of any kind), enforcement of security, distress, or execution of a judgment (to include similar events under the laws of other countries);or (2) Seller reasonably apprehends that any of the events mentioned above is about to occur in relation to Buyer and notifies Buyer accordingly; or (3) Buyer does anything which may in any way adversely affect Seller’s title in the Work, then Seller or its agent may immediately repossess the Work and/or void the sale with or without notice and Buyer will return the Work to Seller’s nominated address (at Buyer’s sole risk and cost), or, at Seller’s option, Seller may enter the premises where the Work is kept to regain possession.

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5. 5.1 5.2 5.3 5.4

Both parties agree that in entering into the Agreement neither party relies on, nor has any remedy in respect of, any statement, representation or warranty, negligently or innocently made to any person (whether party to this Agreement or not) other than as set out in the Agreement as a warranty. The only remedy for breach of any warranty shall be for breach of contract under the Agreement. Nothing in the Agreement shall operate to limit or exclude any liability for fraud. The benefit of the Agreement and the rights thereunder shall not be assignable by Buyer. Seller may sub-contract its obligations. Any notice in connection with the Agreement shall be in writing and shall be delivered by hand or by post to Seller’s registered office at the time of posting or to Buyer to the Invoice Address, and shall be deemed delivered on delivery if by hand or on the third day after posting if posted. In the case of a consumer contract within the meaning of the Unfair Contract Terms Act 1977, these conditions shall not apply to the extent that they would be rendered void or unenforceable by virtue of the provisions thereof. No amendment, modification, waiver of or variation to the Invoice or the Agreement shall be binding unless agreed in writing and signed by an authorised representative of Buyer and Seller. Neither Seller nor Buyer intends the terms of the Agreement to be enforceable by a third party pursuant to the Contracts (Rights of Third Parties) Act 1999. The Agreement and all rights and obligations of Seller and Buyer under it shall be governed by English Law in every particular and, subject always to the prior application of the arbitration provisions set out in clause 9, both parties agree to submit to the exclusive jurisdiction of the English Courts.

7.2 7.3

EXPORT AND LOCAL TAXES Where the Work is to be exported from the UK by Buyer, this Agreement is conditional on the granting of any requisite export licence or permission, which the parties shall use reasonable endeavours to obtain. Where the Work is, or is to be exported from the European Union and VAT has not been charged because, by reason of such intended export, the Work is zero rated or not subject to VAT, both parties shall take all necessary steps to ensure that there is compliance with the time limits and formalities laid down by HM Revenue & Customs and that such documentation as is required, including any necessary proofs of export and Bills of Lading are fully and properly completed. Buyer shall indemnify Seller against any claims made against Seller for VAT or any other expenses or penalties imposed by reason of Buyer’s failure to observe and comply with the formalities referred to herein. Unless otherwise stated on the Invoice, Buyer shall be responsible for all Local Taxes.

8.2 8.3 8.4 8.5 8.6 8.7 8.8 9. 9.1 9.2

ARBITRATION All claims and disputes relating to, or in connection with, the Agreement are to be referred to a single arbitrator in London pursuant to the Arbitration Act 1996. In the event that the parties cannot agree upon an arbitrator either party may apply to the President of the Law Society of England and Wales for the time being to appoint as arbitrator a Queen’s Counsel of not less than 5 years standing. The decision of the arbitrator shall be final and binding. Save that Buyer acknowledges Seller’s right to seek, and the power of the High Court to grant interim relief, no action shall be brought in relation to any claim or dispute until the arbitrator has conducted an arbitration and made his award.

8. 8.1

GENERAL Buyer shall not be entitled to the benefit of any set-off and sums pay able to Seller shall be paid without any deduction whatsoever. In the event of non-payment Seller shall be entitled to obtain and enforce judgement without determination of any cross claim by Buyer.

6. 7. 7.1

REPRESENTATION OF SELLER Seller confirms that, to the best of its knowledge and belief, it has authority to sell the Work. Buyer agrees that all liability of Seller and all rights of Buyer against Seller in relation to the Work howsoever arising and of whatever nature shall cease after the expiry of five years from Delivery. This paragraph does not prejudice Buyer’s statutory rights. Notwithstanding anything in this Agreement to the contrary, Seller shall not be liable to Buyer for any loss of profits, loss of revenue, goodwill or for any indirect or consequential loss arising out of or in connection with this Agreement, whenever the same may arise, and Seller’s total and cumulative liability for losses whether for breach of contract, tort or otherwise and including liability for negligence (except in relation to (i) death or personal injury caused by Seller’s negligence or (ii) fraud or fraudulent misrepresentation by Seller) shall in no event exceed the Price. All representations made by Seller as to the authenticity, attribution, description, date, age, provenance, title or condition of the Work constitute the Seller’s opinion only and are not warranted by Seller. Seller accepts no liability as a result of any changes in expert opinion or scholarship which may take place subsequent to entry into this Agreement. COPYRIGHT All copyright in material relating to the Work vesting in Seller shall remain Seller’s. Seller reserves the right to exploit all such copyright.

March 2006 “Richard Green” is a registered trade mark of Richard Green Old Master Paintings Ltd in the EU, the USA and other countries. Asking prices are current at time of going to press - Richard Green reserves the right to amend these prices in line with market values

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RICHARD GREEN Richard Green has assisted in the formation and development of numerous private and public collections. These include the following;

UNITED KINGDOM

CANADA

EIRE

Aberdeen: City Art Gallery Altrincham: Dunham Massey (NT) Barnard Castle: Bowes Museum Bedford: Cecil Higgins Museum Canterbury: Royal Museum and Art Gallery Cheltenham: Art Gallery and Museum Chester: The Grosvenor Museum Coventry: City Museum Dedham: Sir Alfred Munnings Art Museum Hampshire: County Museums Service Hull: Ferens Art Gallery Ipswich: Borough Council Museums and Galleries Leeds: Leeds City Art Gallery Lincoln: Usher Gallery Liskeard: Thorburn Museum London: Chiswick House (English Heritage) Department of the Environment The Iveagh Bequest, Kenwood The Museum of London National Maritime Museum National Portrait Gallery National Postal Museum Tate Britain The Wimbledon Lawn Tennis Museum Lydiard Tregoze: Lydiard House Norwich: Castle Museum Plymouth: City Museum and Art Gallery Richmond: London Borough of Richmond upon Thames and Orleans House Gallery St Helier: States of Jersey (Office) Southsea: Royal Marine Museum Stirling: Stirling Smith Art Gallery and Museum York: York City Art Gallery

Fredericton: Beaverbrook Art Gallery Ottawa: The National Gallery of Canada

Dublin: National Gallery of Ireland FRANCE

UNITED STATES OF AMERICA

Boston, MA: Museum of Fine Arts Cincinnati, OH: Art Museum Gainesville, FL: Harn Museum of Art Houston, TX: Sarah Campbell Blaffer Foundation Los Angeles, CA: J Paul Getty Museum New Haven, CT: Yale Center for British Art New York, NY: Dahesh Museum Ocala, FL: The Appleton Museum of Art Omaha, NE: Joslyn Art Museum Pasadena, CA: Norton Simon Museum Rochester, NY: Genessee County Museum St Louis, MO: Missouri Historical Society Sharon, MA: Kendall Whaling Museum Toledo, OH: Toledo Museum of Art Ventura County, CA: Maritime Museum Washington, DC: The National Gallery The White House Williamstown, MA: Sterling and Francine Clark Art Institute Winona, MN: Minnesota Marine Art Museum Worcester, MA: Worcester Art Museum

Compiègne: Musée National du Château GERMANY

Berlin: Staatliche Kunsthalle Darmstadt: Hessisches Landesmuseum Hannover: Niedersachsisches Landesmuseum Karlsruhe: Staatliche Kunsthalle Speyer am Rhein: Historisches Museum der Pfalz HOLLAND

Amsterdam: Joods Historisch Museum Rijksmuseum Utrecht: Centraal Museum SOUTH AFRICA

Durban: Art Museum SPAIN

Madrid: Real Academia de Bellas Artes de Sun Fernando Museo Thyssen-Bornemisza Museo Nacional del Prado SWITZERLAND

Zurich: Schweizerisches Landesmuseum BELGIUM

Antwerp: Maisons Rockox Courtrai: City Art Gallery DENMARK

Published by Richard Green, A fine collection of European Paintings 1800-1970,

Tröense: Maritime Museum

Catalogue by Rachel Boyd & Susan Morris, Photography by Sophie Drury, Design by Theo Hodges Design Consultants, Printed in England by Butler Tanner and Dennis, Fine Art Services. This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated (without the publisher’s prior consent), in any form of binding or other cover than in which it is published, and without similar condition being imposed on another purchaser. All material contained in this catalogue is subject to the new laws of copyright, December 1989.

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