In Search of Sun and Shadow - The Art of Albert Goodwin RWS (1845-1932) by Chris Beetles

In Search of Sun and Shadow The Art of Albert Goodwin RWS (1845-1932)

CHRIS BEETLES GALLERY

Copyright © Chris Beetles Ltd 2019 8 & 10 Ryder Street St James’s London SW1Y 6QB 020 7839 7551 gallery@chrisbeetles.com www.chrisbeetles.com ISBN 978-1-905738-92-2 Cataloguing in publication data is available from the British Library Researched and written by David Wootton, with a contribution from Andrew Wilton and further research by Sasha Morse and Philip Tite Edited by Fiona Nickerson, Pascale Oakley and David Wootton Design by Pascale Oakley with Fiona Nickerson Photography by Julian Huxley-Parlour Reproduction by www.cast2create.com Colour separation and printing by Geoff Neal Litho Limited Cover: Wells Carnival [80]

Front endpaper: The Medway at Maidstone [4]

Frontispiece: Edytha Goodwin Albert Goodwin

This page: Butterflies Paradise [45]

Back endpaper: The Sea Raiders [121]

CONTENTS David Wootton, Albert Goodwin: A Ruskinian in the Tropics

Albert Goodwin: Chronology of Life and Work

Andrew Wilton, Albert Goodwin RWS, 1845-1932

David Wootton, A Sketchbook of 1872: The Tour with John Ruskin

Key to Abbreviations of Exhibitions used in the Catalogue

1 2 3 4 5 6 7 8 9 10 11 12

Kent, Sussex and Hampshire 1850s-1870s In France, Switzerland and Italy with Ruskin 1872 Devon and Cornwall 1870s-1890s Switzerland and the North 1880s-1890s England 1880s-1890s France and Italy 1880s-1890s Egypt, India, South Africa and the West Indies Subjects from the Imagination 1880s-1920s England 1900s Switzerland 1900s-1910s Italy, Spain and North Africa 1900s-1920s England 1918-1920s

25 33 43 55 67 83 91 107 121 141 149 169

Exhibitons and Collections Exhibitions Public and other Institutional Collections

189 190 224

Select Bibliography and Acknowlegements

230

Topographical Index

231

ALBERT GO O DW IN RW S DAVID WO OT TO N ALB E RT GOODWIN: A RUS KINIAN IN T H E T RO PICS

Albert Goodwin (1845-1932) was one of the most significant British landscape painters to work in the period that followed the death of Turner in 1851. Painting chiefly in watercolour, but also in oil, he created a substantial and wide-ranging body of work that captured the beauty of the world with sensitivity and splendour, from the cathedrals of England to the temples of India. Often recollecting the essence of a place from the quiet of his studio, he was equally skilled at bringing biblical, literary and other imaginative subjects vividly to life. Working hard and exhibiting regularly into old age, he received recognition through the appreciative response of artists, critics and collectors, and election to both the Royal Society of Painters in Water-Colours and the Royal West of England Academy. Goodwin was one of many to fall under the influence of the writings of John Ruskin, the leading critic of the Victorian age. However, he was almost unique in synthesising the extremes of Ruskin’s aesthetic of ‘truth to nature’, and so demonstrating its logic in the course of his artistic development. (The very different Alfred William Hunt is the only other artist who comes readily to mind as a Ruskinian landscape painter). Ruskin came to prominence as a result of his defence of Turner’s radically atmospheric approach to landscape, which spurred him to write the five volumes of Modern Painters (1843-60). However, he also promoted the young painters who founded the Pre-Raphaelite Brotherhood in 1848 in order to reform art by reviving fundamental aspects of the early Renaissance, notably its precise rendering of mimetic detail. Goodwin absorbed both. The son of a builder, Goodwin was still a child when he entered the orbit of the Pre-Raphaelites. He first studied in his native Maidstone under Arthur Hughes, who was close to the core members of the brotherhood, and then in London under Ford Madox Brown, another of its associates. He also worked for a while in the firm of William Morris, and was introduced to Pre-Raphaelite collectors and supporters, notably the industrialist, James Leathart, as well as Ruskin. Ruskin recognised his distinctive qualities as an artist, and broadened his horizons by taking him to Switzerland and Italy in 1872 (as is charted in the essay on pages 21-23). As a result, he encountered the subjects of many of Turner’s paintings in the company of their primary interpreter. The Pre-Raphaelite characteristics of Goodwin’s early work are best exemplified in the present catalogue by The Wooded Lake (1865) [ ] and Old Mill near Winchester (1875) [ ] (watercolours that are analysed in Andrew Wilton’s substantial and insightful appreciation on pages 15-20). Each renders precisely and preciously the details of a sequestered natural space in which trees or buildings are reflected in water, a trope that creates an intense sense of unity. While Goodwin could still revive such pure Pre-Raphaelitism as late as 1888 – in the oil of Kynance Cove [ ] – he had by then absorbed the influence of Turner. He harnessed the influence especially, even inevitably,

in the watercolours of Switzerland that he made following a trip to that country in 1887, with his brother and ‘brother brush’, Harry [ - , - ]. These generally employ a greater sense of aerial perspective, representing distance through strokes that are paler, looser and less detailed. Viewpoints are often high and, when they still look out across areas of water, the water reflects the sky. The effect remains unifying, but is more expansive, even panoramic. Equally, viewpoints can be low and aim upwards, as in the English composition, Buck Mills N Devon (1889) [ ], in which the eye is led up a steep coastal road by a man guiding a horse and cart. Such positioning of figures and objects also originated with Turner. In interpreting Ruskin’s ‘truth to nature’ and honing his own artistic personality, Goodwin often tempered the Pre-Raphaelite with the Turnerian, and vice versa. However, he could also be attracted along other artistic avenues. For instance, he found great pleasure in decoration, creating such large-scale panels as Butterflies Paradise [ ] (the frame for which was carved by his brother, Charles) and retrospectively embellishing his watercolours with borders (examples of which can be seen throughout the present catalogue). This tendency was possibly nurtured by his experience of working in the firm of William Morris in the late 1860s, and it chimed particularly well with the burgeoning Aesthetic Movement. This movement developed out of Pre-Raphaelitism, but departed from its explicit literary foundation – and from other elements that had appealed to Ruskin the moralist – in favour of ‘art for art’s sake’. Goodwin was even occasionally tempted to find inspiration in the work of James McNeill Whistler, a leading exponent of Aestheticism and an opponent of Ruskin. Following Whistler’s lead, he produced paintings that present the compositional devices of Japanese printmakers in a restricted palette, as in Clovelly [ ]. This work also exemplifies an aspect of Goodwin’s experimental approach to media, in its mixture of watercolour, bodycolour and ink on tinted paper. Though he was able to produce a watercolour in the traditional way, with pure transparent washes, he preferred to utilise whatever combination of materials would produce a desired effect. He was guided in this direction by looking at Turner and listening to Ruskin. Ruskin also ensured that he focus on draughtsmanship, ‘ballyragging’ him ‘into love of form when I was getting too content with colour alone’, as he wrote in his diary on 18 July 1900. So he would strengthen many a composition, sometimes even the composition of an oil, with pen and ink. It is from the diary that Goodwin kept between 1883 and 1927 that one is able to gain an understanding of his mindset in general and of his views on art in particular. So one discovers that he eventually chose loyalty to Ruskin over his attraction to the more self-centred Whistler: The plane on which Ruskin stood was immeasurably higher than the other and its way the upward. Whistler’s tended downward. Ruskin with all his seeming arrogance in his writing was in Art and in feeling humility itself, while Whistler’s thought was mostly, see how dextrous I am, who can do it like this? And with that

A L B ERT GOODW IN: A RUSKINIAN IN T HE T RO PICS

thought taking lead always the man’s way is the way of deterioration. The vale of humility is the only safe place in Art as in life. ‘He that is down need fear no fall’. (1 December 1918) This extract, ending in a quotation from a hymn by his beloved John Bunyan, reveals that Goodwin’s art was grounded in a clear set of values and a strength of character. Goodwin had been brought up by his parents as a General Baptist (to believe that Jesus had died for the entire world and not just a chosen elect), and he strove to sustain a strong Christian faith throughout his life. His diary provided him with a regular opportunity to reflect on that faith and the ways that it affected his artistic vocation. In 1888, he echoed Ruskin in writing what might be considered a succinct manifesto: Beauty – the beauty that is in the landscape – is a sealed book to many, hence in a degree the landscape painter may magnify his calling, for is he not one who is helping to open the eyes of the blind that they may see the hand of our Heavenly Father in the things that he made for our delight? (Christmas 1888) While elsewhere Goodwin may modestly allude to the ‘question of providing for his wife and children’ (in the catalogue of his Fine Art Society exhibition in May 1890), here he considers himself to have an evangelistic purpose, and his resulting art to have the weight of intention. However, the viewer does not need to share his faith to gain from its fruit. His work surely makes almost all but those who are clinically blind appreciate ‘the beauty that is in the landscape’. What makes Goodwin’s career and oeuvre particularly interesting are the ways in which his understanding of beauty is extended, beyond that which he learned from Ruskin and others, and tested, by encounters with the unexpected elements of a wider world. In his first decade as an artist, Goodwin had worked mainly in southern England, depicting rural landscapes and well-established towns, from Kent to Devon. During this period, the limits of this somewhat homely subject matter were set by three experiences of 1864, when he visited industrial Newcastle, the island of Jersey and the coast of Holland. At the same time, those limits were being stretched by the artist’s developing vision. The development of that vision was greatly encouraged by Ruskin in 1872, when he took Goodwin to Switzerland and Italy, and so revealed to him an environment – both natural and cultural – on a much grander scale. For Ruskin, and for Turner before him, Continental Europe provided Britain with the context by which it might be measured and understood, whether by comparison or contrast. And so it became Goodwin’s measure too. This is instanced by his work of the 1880s and 1890s (as shown in Chapters 5 and 6), in which he increases his ambitions by representing some of the most characteristic, resonant and often monumental of native sites (including Oxford [ - ], Bristol [ - ] and Wells [ ]), so paralleling those of Italy (including Verona [ - ], Pisa [ ] and Amalfi [ ]).

Such paralleling may have provided a sufficient strategy for Goodwin to extend his career as the quintessential Ruskinian landscape painter, and indeed Britain and Europe continued to provide equally sustained stimulation, as is exemplified by such radiant works of the 1920s as Richmond Hill, Yorks [ ] and Port Soller, Majorca [ ], the latter painted when the artist was eighty. However, from the mid 1870s, Goodwin began to make a literal change in direction, by travelling beyond Europe. Initially, in 1876, he went to Egypt [ ], which had become an established destination for painters through the nineteenth century, including those in search of biblical sources, such as the Pre-Raphaelite, William Holman Hunt. Then, two decades later, in 1895, Goodwin travelled to India [ ], as the result of the generosity of his friend, the lepidopterist and statistician, George Blundell Longstaff. India had become part of the British Empire, and was visited by artists, including Ruskin’s friend, the extravagantly talented gentleman amateur, Hercules Brabazon Brabazon, who first went to the country in 1870. Nevertheless, for the devout son of a Maidstone builder, it was a very different proposition, simultaneously seductive and shocking. As he wrote in his introduction to the catalogue of his exhibition at the Fine Art Society in March 1896, ‘The holy city of Benares, with all its wonders of picturesqueness and colour, is in other respects an abomination’. Even more surprising expeditions, not least for Goodwin himself, were those that he made to the West Indies [ & ] and America in 1902 and 1912. On both occasions he went as the guest of Arthur McConnell, the husband of a niece of Goodwin’s wife, who worked for a family firm of general merchants, shippers and plantation owners. Again, his responses were complex and contradictory, and yet at the same time resulted in many alluring landscapes, imaginative as well as topographical, the places that he visited providing the ideal illustrations for his favourite books, including Robinson Crusoe [ ] and The Arabian Nights [ ]. In 1929, when Goodwin was 84, Aldous Huxley published an essay entitled ‘Wordsworth in the Tropics’. It asserted that Wordsworthian nature worship – adhered to by Ruskin – would have been impossible in equatorial lands. The same problematic may apply to Goodwin, in the way that his travels tested the Eurocentric beliefs and tastes that had been shaped for him by Ruskin. However, while his writings reveal that, wrenched from his ‘comfort zone’, he could become depressed, his paintings confirm triumphantly his ability to find beauty in all the landscapes that he considered had been made by his ‘Heavenly Father’.

ALBERT GO O DW IN RW S C H RONO LO GY O F LIFE AND WO RK

17 January 1845 Albert Frederick Goodwin [AG] was born at 1 Acton Place, 62 Boxley Road, Maidstone, Kent, to the builder, Samuel Goodwin, and his wife, Rosetta (née Smith). He was the seventh of eight surviving children. The most artistically significant of his siblings were William (1833-1916), who had artistic talents but joined the Royal Engineers, Charles (1840-1907?), who became a wood carver and frame-maker, and Harry (1842-1925) and Frank (1848-1873), who became painters. During his childhood, AG attended Mr William Henry Wicksteed’s School at Rocky Hill House, Bedford Place, London Road, Maidstone. He and his family were General Baptists who worshipped at Bethel Chapel, Union Street. His father, who had built the chapel and its Sunday school in 1834, sometimes preached there, while his uncle, the organ builder, Thomas Goodwin, was its organist. According to Hammond Smith, ‘Although quite delicate as a boy, Goodwin grew into a sturdy youth, noted for being a strong swimmer and a keen cyclist’ (Smith 1977, page 13). 1851 The young sibling painters, Rosa (1829-1882) and John Brett (1831-1902), were living in Boxley Road, close to AG, and may have had an influence on his interest in art. Like him, they were drawn into the orbit of the Pre-Raphaelites. By 1854 Hammond Smith has stated that, AG ‘attracted the attention of the local printer, Mr Vince Hall, who, it seems, was acquainted with William Holman Hunt [1827-1910], one of the founder members of the Pre-Raphaelite Brotherhood’ (Smith 1977, page 13). This is almost certainly the bookseller, John Vine Hall, who lived in Maidstone until 1854, and was an associate of AG’s father. 1855 AG first exhibited (according to his obituary in The Times, 12 April 1932). 1855-60 During the late 1850s, AG began an apprenticeship with a draper. However, he stayed with him for just six months, and probably left to train as a painter. At some point, he met the Pre-Raphaelite painter, Arthur Hughes (1832-1915), who married in Maidstone in 1855, and lived in the town with his wife and children between 1858 and 1860. AG may have been introduced to Hughes by Holman Hunt, though he later stated that Hughes discovered him painting in a wood. Hughes became AG’s first teacher, and AG painted one of Hughes’s children. (Later, AG gave lessons in watercolour to Hughes’s eldest child, Arthur Foord Hughes, in Lynmouth.) 1859 AG painted Bluebell Hill nr Maidstone [1], which he inscribed on reverse: ‘Bluebell Hill nr Maidstone painted when I was about 14 AD AG. But amended Feb 5th 1925 when past eighty!’

May-July 1860 AG first exhibited at the Royal Academy of Arts, London: no 156, Under the Hedge (oil). 16 March 1863 AG’s mother, Rosetta, died in Maidstone. 1863/1869 Hughes introduced AG to John Ruskin, who asked to see some of his drawings and then bought them; AG also gave Ruskin a lesson in watercolour painting. It has been generally thought that this occurred in 1869. However, according to Hughes’s son, Arthur, it was as a result of Ruskin’s payment of £50 that AG was able to spend five weeks in Hastings, as his first painting ground, and this trip took place in 1863. AG himself remembered that he ‘had saved up five pounds and lived on it there for five weeks. Happily the old town remains a picturesque delight still’ (catalogue to the Fine Art Society exhibition of March 1896). Circa 1864-68 Hughes introduced AG to Ford Madox Brown (1821-1893), and he began to study under him in London. So he entered the circle of William Morris, D G Rossetti, William Bell Scott and George Price Boyce. According to his daughter, Olive, he ‘worked in William Morris’s firm in Red Lion Square for some time with his brother, Harry’ (letter to Sidney Harris, 26 November 1931?). 1864 AG made his first visits overseas, going to Holland (including Rotterdam and Amsterdam) and, in the summer, Jersey. September 1864 AG visited Newcastle where he had planned to see the industrialist and collector, James Leathart, both Hughes and Brown having recommended AG to him. In the event, he was apparently too shy to visit him, though he did make contact with the painters, Scott and Boyce, and may have been travelling with the latter. He returned from Newcastle with a ‘host of material for delineating the Tyne and all things in her neighbourhood’ (as he stated 1

C H RONO LO GY O F LIFE AND WO RK

in a letter dated 20 September 1864). During this trip, he also visited Durham and Whitby. Leathart eventually owned at least five of his watercolours, four dating to 1864, including St Anthony’s Works, Newcastle upon Tyne, which depicts the smelting works of the lead manufacturers Locke, Blackett & Co, which were extended in 1864, and came under the direction of Leathart as managing partner.

Spring 1871 Ruskin wrote to AG inviting him to work with him at Abingdon, near Oxford, ‘before we start for Verona’, suggesting that they had planned a trip to Italy. AG joined Ruskin at the Crown & Thistle, Abingdon, producing drawings for Ruskin (two views for the Rudimentary Series of the Ruskin Art Collection in the Ashmolean Museum, Oxford).

Spring 1865 AG visited Bideford, on what was possibly his first trip to Devon.

May-July 1871 AG exhibited The Medway at Maidstone [4] at the Royal Academy.

1866 AG exhibited at the Dudley Gallery, Egyptian Hall, Piccadilly, London, for the first time, and his contributions were praised by The Spectator. 16 February 1867 AG married Mary Ann Lucas, aged about 27, the eldest daughter of George Lucas, a Brighton fruiterer, at St Nicholas’s Church, Arundel. They lived initially at The Parade, Arundel. 1868 AG and his wife, Mary Ann, were living at 10 Waterloo Street, Brighton. 4 May-July 1868 AG’s brother, Harry, exhibited at the Royal Academy for the first time. 29 June 1868 AG’s brother, Harry, married Henrietta Lucas, the sister of AG’s wife, Mary Ann, in Brighton. 13 December 1869 AG’s first wife, Mary Ann, died, aged 30, of tubercular peritonitis. Circa 1869 AG joined Arthur Hughes and his family at 2 Finborough Road, West Brompton, London, and became the artist’s studio assistant, working chiefly on large monochrome paintings for Manchester, including The Central Executive Cotton Famine Relief Committee (Manchester Town Hall). He continued to use 2 Finborough Road as his studio address until 1877. Before January 1871 AG visited Bruges. 1871 AG was elected an Associate of the Society of Painters in Water Colours. (This would become the Royal Society of Painters in Water-Colours in 1881.) 2 April 1871 According to the Census, AG was living at Maltravers Street, Arundel, Sussex, with his brother, Harry, who is described as a ‘Professor of Music’, and Harry’s wife, Henrietta. However, Henrietta died later the same year.

July 1871 AG stayed with John Ruskin and Arthur and Joan Severn at the New Bath Hotel, Matlock Bath, in the Peak District. Though Ruskin was seriously ill, he ‘made Goodwin and [Severn] go and explore all the interesting mines and caverns in the neighbourhood’ (James Dearden (ed), The Professor: Arthur Severn’s Memoir of John Ruskin, London: George Allen & Unwin, 1967, page 44) 1872 AG’s brother, Harry, married fellow painter, Kate Malleson, in Croydon. April-July 1872 AG travelled with John Ruskin in Europe (and especially Italy and Switzerland). [For the full itinerary and list of travelling companions, please see the essay on pages 21-23.] 1873 AG went to Switzerland, staying three months in the village of Simplon. 15 April 1873 AG married his second wife, Alice Desborough, aged 23, at Holy Trinity, Gidleigh, Devon. She was the daughter of Henry Desborough, formerly the Secretary to the Atlas Fire & Life Assurance Company, who had retired to Devon and died in 1862. She and AG would have seven children. 13 September 1873 AG’s brother, Frank, died in Maidstone. 2 February 1874 AG’s daughter, Ivy, was born in Hastings, Sussex.

ALBERT GO O DW IN RW S

1876 AG and his wife, Alice, travelled to Egypt, via Marseilles, Naples, Gibraltar and Crete.

May 1886 AG held his first exhibition at the Fine Art Society, London, ‘A Collection of Drawings in City, Town and Hamlet by Albert Goodwin RWS’.

29 December 1876 AG’s sister, Marianne (known as Polly), died in Maidstone.

23 July 1886 AG’s daughter, Christabel, was born in Ilfracombe, Devon.

1877 AG, with his wife and daughter, moved from London to 7 Montpelier Terrace, Ilfracombe, Devon. AG visited Lucerne, Switzerland, in the same year.

1887 AG visited Lucerne [51] and the Italian Lakes with his brother, Harry.

25 November 1877 AG’s father, Samuel, died in Maidstone. 19 May 1879 AG and his family visited Arthur Hughes in London. August 1879 Maidstone Museum held ‘A Loan Exhibition of pictures by Mr Albert Goodwin, Mr and Mrs Harry Goodwin, the late Mr Frank Goodwin, Mr W Sydney Goodwin, and Mrs F E Green (née Goodwin)’. Easter 1880 AG visited Holland and Belgium, including Dordrecht, Bruges and Ypres. Summer 1880 AG visited Charles Darwin at Down House, and produced two watercolours of its exterior. (In 1876, Darwin had purchased AG’s The Old Walls of Winchester, from the Society of Painters in Water Colours.)

51 September 1887 Arthur Hughes visited AG in Ilfracombe.

21 August 1880 AG’s daughter, Olive, was born in Hastings, Sussex.

1888 AG accompanied Ruskin and Severn on a tour of Northern France that included Abbeville.

1881 AG was elected a member of the Royal Society of Painters in Water-Colours.

28 March 1888 AG’s daughter, Alice Desborough, was born in Ilfracombe.

3 April 1881 According to the Census, AG was staying at Ferndale House, Lynmouth, Devon, as a ‘boarder’ with Maria Berriman, and is described as ‘a landscape painter’. With him are Alice and their daughters, Ivy and Olive, and Alice Ann Herswell, a 15-year-old nurse/domestic servant from Barnstaple.

1889 AG visited Arthur Hughes in London.

6 September 1881 AG’s daughter, Edytha Margaret, was born in Hastings.

28 July 1890 AG’s son, Harold Desborough Goodwin, was born in Ilfracombe.

12 August 1883 The date of the first entry of AG’s diary (as privately published in 1934).

December 1890 The Fine Art Society held the exhibition, ‘A Collection of Water-Colour Drawings of Many-Sided Nature by Albert Goodwin, RWS’.

26 December 1884 AG’s son, Arthur Albert Desborough, known initially as Albert and later as Desborough, was born in Ilfracombe.

June 1890 AG visited Locarno.

5 April 1891 According to the Census, AG was boarding at 15 West Pier, Whitby, Yorkshire, with the iron shipwright, James Welsh, and his family. AG’s wife, Alice, was living at 7 Montpelier Terrace, Ilfracombe, the ‘living in husband’s

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profession’. With her are their seven children – Ivy, Olive, Edytha, Albert, Christabel, Alice and Harold – and two servants: Sarah A Delbridge, a 26-year-old cook, and Mary A Beer, a 22-year-old nurse. Alice’s mother and sister, Mary, were living at 3 Montpelier Terrace. March 1891 AG visited Whitby.

1901 AG’s sister, Emma Hobday, died. 31 March 1901 According to the Census, AG was staying at the home of his friend, Dr Longstaff, Twitchen House, Mortehoe, Devon. With him were Alice and their four younger daughters, Olive, Edytha, Christabel and Alice. Their two sons were at boarding schools.

1892 AG visited Norway, including Bergen. October 1893 The Fine Art Society held the exhibition, ‘A Collection of Paintings and Drawings by Albert Goodwin, RWS’. 12 April 1894 AG’s mother-in-law, Mary Desborough, died at 3 Montpelier Terrace, Ilfracombe. 1895 AG went to India, as a result of ‘the kindness of my friend, Dr G B Longstaff, who both persuaded me to go and made the way thereto easy’ (catalogue to the exhibition held at the Fine Art Society in March 1896). George Blundell Longstaff was a prominent lepidopterist and statistician. 169 March 1896 The Fine Art Society held the exhibition, ‘A Collection of Pictures and Drawings of Imaginative Landscape in Europe and Asia by Albert Goodwin, RWS’. 8 November 1898 AG’s daughter, Ivy, married Norman Bruce Elliott, a doctor from Lambeth, London. (They had a son, Ian Desborough Elliott, born on 9 September 1901.)

1902 Robert Dunthorne’s The Rembrandt Gallery, London held the exhibition, ‘Sunset and Colour from East and West. Drawings by Albert Goodwin, RWS’.

Before 1900 AG almost joined the Salvation Army (as he mentioned in his diary on 10 July 1900).

January-May 1902 AG left the Isle of Wight for Barbados, accompanied by his daughter, Edytha. He travelled aboard the WIMS Trent, as a guest of Arthur McConnell, the husband of Alice’s niece, Emily. McConnell worked for Booker Brothers, McConnell and Co, general merchants, owners of plantations and shippers. Arriving at their destination on 2 February, the Goodwins parted with McConnell and boarded the RMS Eden, journeying to St Vincent, Grenada, Trinidad and Jamaica. They arrived in Philadelphia on 14 April, and went to Niagara by train the following day. They then spent three nights in New York between 26 and 29 April, and returned to England on 7 May.

March 1900 AG went to Southern Italy [169], including Naples, Pompeii and Torre del Greco.

1904 Robert Dunthorne’s The Rembrandt Gallery, London, held the exhibition, ‘Water Colour Drawings by Albert Goodwin, RWS’.

July 1900 AG visited Oxford, Goring and Windsor.

May 1905 The Fine Art Society held ‘An Exhibition of Water-Colours of the Cathedrals of England by Albert Goodwin, RWS’.

December 1898 The Fine Art Society held the exhibition, ‘Pictures and Sketches including a series of Whitby, and “The First Christmas Dawn”, by Albert Goodwin’.

November 1900 The Fine Art Society held ‘An Exhibition of Pictures and Watercolours entitled “In Praise of All The Churches” by Albert Goodwin, RWS’.

1906 AG and his wife moved to ‘Ellerslie’, Bexhill-on-Sea, Sussex, with their five single children.

ALBERT GO O DW IN RW S

May 1906 The Turner House, Penarth, Wales, held an ‘Exhibition of Works by Albert Goodwin, RWS’ (alongside sculpture by W Goscombe John). 1907 AG went to Lucerne, Switzerland. His brother, Charles, may have died in the same year. January 1907 The Fine Art Society held ‘An Exhibition of Water-Colours of Dawn and Sunset by Albert Goodwin, RWS’. May-August 1907 AG’s daughter, Edytha, exhibited at the Royal Academy for the first of four times. 1908 The Leggatt Brothers Gallery, London, held the exhibition, ‘Drawings and Pictures by Albert Goodwin, RWS’. March 1908 AG’s son, Arthur Albert Desborough, married Evelyn Saunders in Hailsham, Sussex. January-March 1909 AG went – via the Spanish coast, Naples and Vesuvius – to Egypt, staying in Cairo and Suez. April-June 1909 AG went to Italy and Switzerland with his wife and two of their daughters, visiting Baveno, Lago Maggiore, Fribourg, Berne, Lucerne and Engelberg. July-September 1909 AG and his wife visited Whitby, Edinburgh, York and Weybourne, Norfolk. Edytha Goodwin, Albert Goodwin

October 1909 AG visited Bath and Winchester, the latter as a guest of Montague Rendall, the Headmaster of Winchester College, ‘a sort of cousin of my wife’s’ (Diary, 28 October 1909). Circa 1910 Edytha painted a watercolour miniature on ivory of AG [below left]. 4 January 1910 Arthur Hughes and his son, Godfrey, visited AG. March 1910 A Lys Baldry’s article, ‘The Art of Mr Albert Goodwin, RWS’, was published in The Studio, March 1910, pages 86-97. August 1910 AG went to Switzerland (with his wife, children and Ivy’s two children), visiting Lauterbrunnen and Spiez, Lake Thun. September 1910 AG visited Windsor. February 1911 AG visited Edinburgh and Scarborough with his wife and daughter, Christabel, and also Daisy (possibly his great niece). April 1911 AG considered emigrating to New Zealand. 2 April 1911 According to the Census, AG was living at ‘Ellerslie’, Bexhill-on-Sea, with his wife, Alice, and their five unmarried children: Olive, Edytha, Christabel, Alice and Harold. May 1911 AG went to Switzerland with his wife and daughter, Edytha, visiting Weggis, Lake Lucerne and Engelberg. July 1911 AG made visits to Cambridge and Windsor. 1912 The Leggatt Brothers Gallery held the exhibition, ‘Water-Colour Drawings and Paintings by Albert Goodwin, RWS’. January-April 1912 AG made his second visit to the West Indies as a guest of Arthur McConnell. He was accompanied by his daughter, Alice. They stayed at Barbados [105], Trinidad, Venezuela, Grenada, St Lucia, Martinique, St Kitts and Georgetown (Demerara, British Guiana). On 16 April, all three arrived in New York. Late in the month, they returned to England on the Mauretania. 1913 AG’s sister, Rosetta Turner, died.

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September 1915 AG stayed in Chichester, and visited Bosham and Arundel. December 1915 AG’s brother, William Sydney, and his teacher, Arthur Hughes, both died in this month. 11 January 1916 AG’s second wife, Alice, died. Soon after, he and his unmarried daughters built ‘Little Ellerslie’ in a field adjoining ‘Ellerslie’ and moved into that. 1 July 1916 AG’s son, Harold, of the Middlesex Regiment, died in the Battle of the Somme. 105 March 1913 AG’s daughter, Edytha, married Ralph Longstaff in Battle, Sussex. (They lived at ‘Twitchen’, Mortehoe, Devon, and had 5 children between 1913 and 1924.) June-July 1913 AG and his wife went to Switzerland, and visited Pontresina and Schaffhausen. Summer 1913 AG took Kenneth Clark sketching.

October 1916 Walker’s Galleries, London, mounted a memorial exhibition of the work of Arthur Hughes, AG providing the preface to the accompanying catalogue. November 1916-1917 AG sailed – via South Africa [107] – to Australia and New Zealand, visiting his son, Arthur Albert Desborough, in the latter, where he was working as a surveyor. 1917 AG went to Sicily with the shipping magnate, Sir Thomas Devitt.

Autumn 1913 AG probably visited Cashel, Tipperary.

April 1918 Sir Frederick Wedmore’s article, ‘Albert Goodwin, RWS’, was published in The Studio, April 1918, pages 79-90.

October-November 1913 AG and his wife visited Cambridge and Norfolk.

May-June 1918 AG visited Bosham.

January 1914 AG and his daughter, Olive, stayed in Penzance and made ‘a very pleasant visit to Stanhope Forbes at Newlyn’ (Diary, 18 January 1914); he then visited London where he called on Arthur Hughes.

July-September 1918. AG made two visits to Devon that included stays in Clovelly.

February 1914 AG visited his daughter and son-in-law, Edytha and Ralph Longstaff, in Mortehoe, near Ilfracombe, returning there for the first time in almost 10 years. May 1914 AG went to Italy, visiting Naples, Palermo and Taormina. Summer 1914 AG took Kenneth Clark sketching. June-July 1914 AG and his wife went to Switzerland, visiting Geneva and Chamonix.

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1919 The Leggatt Brothers Gallery held the exhibition, ‘Drawings and Pictures by Albert Goodwin, RWS’. By 1920 AG was elected to the membership of the Royal West of England Academy. 1920 The Collector’s Gallery, London, held ‘An Exhibition of Works by Albert Goodwin RWS’. 1921 Frost & Reed, Bristol, held the exhibition, ‘Water-colours by Albert Goodwin RWS’. 1922 The Leggatt Brothers Gallery held the exhibition, ‘Drawings and Pictures by Albert Goodwin, RWS’. 1925 AG’s brother, Harry, died in Hastings. March 1925 Vicar Brothers, London, held the exhibition, ‘Water-Colour Drawings and Oil Paintings by Albert Goodwin, RWS’. December 1925 The Municipal Art Gallery and Museum, Wolverhampton, held ‘An Exhibition of Oil Paintings, Water Colour Drawings, Etc by Albert Goodwin, RWS RWA. Loaned by M B Walker, RWA Esq’.

1926 The City of Birmingham Museum and Art Gallery held ‘A Collection of Oil Paintings, Water Colour Drawings etc by Albert Goodwin, RWS RWA. Lent by M B Walker Esq’. 1927 Walker Art Gallery, Liverpool, held an ‘Exhibition of Pictures in Oil and Watercolour, by Albert Goodwin, RWS, lent by Matthew Biggar Walker, Esq, Wolverhampton’. 8 July 1927 The date of the last entry of AG’s diary (as privately published in 1934). 9 March 1928 Messrs Christie, Manson & Woods, London, held the sale, ‘A Collection of Works by Albert Goodwin, RWS RWA. The Property of Matthew Biggar Walker, Esq of 1 Park Crescent, Wolverhampton’. 25 July 1928 Lyndon Goodwin Harris was born in Halesowen, Worcestershire, to Sidney and Polly Harris, friends of AG and collectors of his work. 10 April 1932 AG died at ‘Little Ellerslie’, Bexhill-on-Sea, at the age of 87.

Albert Goodwin before The Hardy Norseman in Venice, exhibited at the Royal Academy in 1920, No 600 (the last work that he exhibited at the RA)

A L B E RT GO O DW IN RW S, 1845- 1932

ANDREW W ILTO N ALB ERT GO O DWIN RWS, 1845-1932 This essay first appeared as the foreword to Albert Goodwin RWS, 1845-1932, London: Royal Watercolour Society, 1986, the catalogue to the touring exhibition of ‘129 of his best works borrowed from private collections’. [X] refers to works in this exhibition, and [Plate] refers to works illustrated in the limited edition colour plate book, Albert Goodwin RWS, 1845-1932, London: Chris Beetles, 1986. All other works mentioned are in private collections. An artist who dies at the age of 87, still painting, after an early start and a productive career, is likely to be either a great genius or a great bore. The perpetuation of mediocrity over so long a period cannot be conducive either to originality or to entertainment. Albert Goodwin lived to that age, and was very prolific; but he knew that he was no insignificant drudge. In 1883, his thirty-ninth year, he began a Diary:

practical, full of feeling. No gush, but very earnest, without the pretension of any kind’. Yet his inner life, as the Diary shows, had its own pretensions all the same. As he begins it, he is in the throes of a chronic spiritual crisis: his religion was always the point of departure for his ideas and feelings. But fierce as he is in self-mortification, his words betray that as an artist he is accustomed to having his ideas received and studied by others. He genuinely believes that his struggles illuminate the condition of all mankind. He lives his life, however personal and private, on a public stage of his own construction. He dramatises and externalises his problems, perhaps as a means of obtaining relief, perhaps out of habit. It is a psychology that is deeply rooted in him.

August 13th. Awake most of the night. Prayed to God that He would lead me to His light.

When he was only 14 he made a study of sunset light burning life fire on a low hillside in Kent [1]. It is a precocious externalisation of a sudden emotion in the presence of nature. A lifetime later, when he was 80, he signed it. It had remained valid: a truth about the inward life of a boy that could bear to be made public. ‘I have been thinking,’ he wrote in his Diary on 12 October 1909, ‘how much joy I have had since I was little in the colour of the evening and morning sky and what a delight thousands have in the same thing’. The following year, he was exhibiting for the first time at the Royal Academy. Goodwin, for all his self-doubt, perceived himself as a representative of humanity at large, an inspired figure; if he could not hope to be saint in life, he might be a saint, at least, in art.

Wind moaning outside. Sound of the sea. Is Prayer a delusion?? or is it so for me? A man near about 40. How seldom is it that he begins life anew. Darkness. Sleep.

He could look retrospectively from the dreadful year 1916 at the boyhood of his, across the dark backward and abysm of time, as at some sort of holy innocent:

That is not the ingenuous anguish of a soul exclusively concerned with its own salvation. It is a conscious statement, evidently intended to be made public, of the fundamental humanity of one who feels himself to be peculiarly honest, sensitive and serious. It is rhetoric, not meditation. It belongs more to art than to life, or more, at least, to the artificial than to the real. Its effects are calculated, not spontaneous; the show of inwardness is for the benefit of the outside observer. (The Diary was published three years after Goodwin’s death.)

Some fifty-five years ago a small weedy-looking boy was sitting on his own coat fumblingly trying to paint from nature. He was in a green wood where willows were, and water. There came along a pleasant-looking young man who looked at him and smiled in a friendly way. Said he too was ‘a bit of a painter’, and invited the boy to come and see him and his work. It was the event of the lad’s life; and he went and saw and found the beginning of his inspiration there. This was the first act of a long series of kindnesses which started the boy on that artistic road which is said to be longer than our little life. I was that weedy boy. Arthur Hughes was the ‘bit of a painter’ …

Monday, August 12th. Morthoe, N Devon. Is this day to be a beginning in my life from which I start anew? Or is it to pass in the multitude of days ending in vanished hopes and leaving little behind save vain regrets? He embarks on a long soliloquy in which he unbosoms all his dissatisfaction with himself, his apparently failing eyesight, his selfishness, his unbelief. He wrestles with his human weakness:

But the self-consciousness is not mere humbug. Goodwin was the acme of sincerity. A fellow-artist, J W Bunney, described him in 1872 as ‘quiet, 1

Such reminiscences will always hint at the paradisal, of course; but the hovering angel of ‘inspiration’ should not be overlooked in that passage. We feel that Goodwin knew that he was indeed to become inspired. That is what the sunset light on Bluebell Hill meant. Arthur Hughes (1832-1915) was an entirely apt mentor, for his carefully observed Pre-Raphaelite world is, more conspicuously than that of Hunt or Millais, the haunt of sweet spirits – dryads or angels, they are less of the earth, earthy than his colleagues’ accurate Home Counties truth. Goodwin responded to that spirituality throughout his life by choosing the enigmatic moments of nature: crepuscular, intricate, evanescent lights that slide and shimmer across the surface of things. He preferred those items of day that imply uncertainty, that offer what his religious doubts required: the possibility of the mystical.

ALBERT GO O DW IN RW S not overdone. But he is not primarily a Pre-Raphaelite here, or at any other time: he is preoccupied by his focal idea at the expense of any mere enumeration of facts. Ruskin righted the balance that Brown had unsettled: I owe much thanks to Ruskin [he wrote on 18 July 1900], who ballyragged me into love of form when I was getting too content with colour alone: and colour alone is luxury. Liberty, which, too much used, ends in licentiousness. The study of form is the needful curb to check this.

3 There is a watercolour of a green wood, with willows and water [3], which might be the very drawing that was in hand when Hughes stumbled on him, except that it was dated 1865, when Goodwin was 20 and perhaps too old to be a ‘small weedy-looking boy’; but it reflects all that he might have learnt by that date, from Hughes and the other Pre-Raphaelites whom he met, about the intense realisation of particular natural phenomena. In the main it concerns itself with the incidents of willow trunks, the surface of dark water, the clustering of foliage or of rushes. Yet its central motif is a burst of brilliant light, seen through a tunnel of leaves, which suggests an intensity of purpose that is perhaps missed in the drawing as a whole. It is an effect that might have been selected by Samuel Palmer (1805-1881) for one of his late etchings, and suddenly alerts us to Goodwin’s more personal intentions. It places the work above the common run of woodland scenes by aspirants to the Old Water-Colour Society (of which he was in due course to become a member), redirects our attention to the sparkling twigs of the foreground tree and reminds us that the whole subject is the product of an almost palpable concentration of effort. Whether Goodwin had looked at Palmer in particular or not, he aspired to Palmer’s absorption into the spirituality of nature, and knew that the inwardness that Palmer so strained after is what makes landscape painting worthwhile. He could have learnt the lesson, if not from Palmer, from Ford Madox Brown (1821-1893), with whom, as with Hughes, he had much to do in these years. His high regard for Brown, whom he seems to have recognised as perhaps the most intellectually penetrating of the Pre-Raphaelite group, was somewhat alloyed by a suspicion that his persistent attention to detail was a betrayal of atmospheric truth. Yet Brown succeeded as the most powerful of the Pre-Raphaelites in the field of landscape, bringing to the painting of nature a fascination with unexpectedly observed detail, and a brilliance of colour, that were both to have their effect on Goodwin. Indeed, Goodwin became so enamoured of rich colour that his puritan conscience, ever on the alert, protested at the indulgence: he was ready for a new, sobering influence. It came appositely in the person of John Ruskin (1819-1900). The theory of landscape preached and practised by Ruskin must have come after the awakening of Goodwin’s apparently instinctive sense of natural intensity and its stimulation by the work of Hughes, Brown and the rest. No doubt he had seen ‘Modern Painters’, and there is something Ruskinian in the sheer pursuit of detail in The Wooded Lake – though it is

But he could not renounce the sensuousness that he felt expressed his spiritual response to nature. In the year after The Wooded Lake he once more chose an effect of red sunset light to express a central thought: a view of Whitby [watercolour and bodycolour, 1866] presents a bank of variegated vernacular buildings run together into a single mass like molten metal in the hot twilight. In his manipulation of delicately hatched touches of salmon, purple and pale green to create a smoky glow he is almost certainly paying conscious homage to Alfred William Hunt (1830-1896), whose own views of Whitby display just such a technical virtuosity. It is a virtuosity that was to become a hallmark of Goodwin’s work, and in its skilful combination of washing, hatching and scraping-out points beyond Hunt or Palmer or the Pre-Raphaelites to the inspiration of all of them: J M W Turner (1775-1851). What the twenty-two-year old painter has done is to copy, with considerable skill, Turner’s great forte in the rendering of a unifying atmosphere which absorbs and illuminates his subject matter. His seizing on this as a necessary accomplishment of the landscape painter is, following on this Palmeresque choice of an epiphanic burst of light, a sign of his firm grasp of the essentials of his art. In adding a bird-strewn sky and a few plumes of smoke he creates a basic vocabulary that was to serve him well all his life. The assorted strands of styles and influences that make up these early works were undoubtedly brought together into a coherent skein by Ruskin. Goodwin met him, no doubt through Hughes, in the late 1860s, and it was during the ensuing decade that his characteristic mature manner was forged. That style subsisted with remarkably little modification throughout his long career, a fact which often makes the placing of drawings to within a few years of their execution quite a difficult task. Goodwin’s slightly self-important habit of going through his work and filling signatures and inscriptions, sometimes on relatively slight sketches and long after he had forgotten the exact dates of them, makes this all the harder. There are, however, a number of drawings that evidently precede this more homogenous mature stage, and which throw much light on Goodwin’s developing sensibility under the influence of Ruskin. We need to have little doubt that two watercolours particularly interesting in this regard do belong to the year he cited on them, 1875: one the finished subject shown at the RWS in 1880 and entitled by Goodwin The Emigrants [watercolour and bodycolour]; the other an elaborate study of a mill pool [6]. This latter seems to follow on directly from The Wooded Lake in its use of vivid greens and its concentration on the intimate particulars of an unambitious scene. But in drawing and use of watercolour it is a superior work, more controlled, more imaginative in technique; and it is entirely personal to Goodwin in another important respect: its distinctive composition, which is dominated not by the picturesque textures of old walls and thatched roofs, but the flat green translucency of the surface of the water which fills almost half the sheet. This bold compositional stroke

A L B E RT GO O DW IN RW S, 1845- 1932

6 owes its existence, surely, to Ruskin, who recommended and sanctioned the unwavering concentration of the eye on a single natural phenomenon. Goodwin felt justified by Ruskin’s arguments in allotting so much of his picture space to the correct rendering of weedy depths, their reflections and shadows, and the swallows that dart across them. The justification extended to the assumption that such meticulous depiction of detail could balance and complement the more explicit and picturesque variety of the old walls which seem as if pushed to the edge of our vision by the artist’s concentration on his watery foreground. But however completely observed and rendered, the compositional effect of this passage is one of deliberate emptiness, of contrast with the busier areas that border it; and in this the drawing is harbinger of a most significant feature of Goodwin’s mature style. It shows Goodwin turning Ruskin to his own ends with decided individuality. The other watercolour of 1875, The Emigrants, does so in a quite different way. As another view of Whitby (which appears in the far distance beyond the village of Sandsend), it alludes once more to A W Hunt, whose richly worked and atmospheric manner it again imitates. But even more than the 1866 Whitby it refers through Hunt to Turner. Still more interestingly, it evokes, not simply Turner’s technical virtuosity in rendering an atmospheric effect, but the whole cast of Turner’s mind in the construction of his great mature topographical sequences, the Picturesque Views on the Southern Coast of England or in England and Wales. The panoramic view, the sweep of the eye comprehending land and sea, farm-folk and emigrants, and the relation of all these elements to each other, are Turnerian; the varied technique, with a unified texture of watercolour and scratching-out combined to create a plausible atmospheric envelope for the whole subject, derive from no one but Turner. The sentiment, it is true, belongs perhaps more precisely with the ’sixties illustrators, George Pinwell (1842-1875), Fred Walker (1840-1875) and J W North (1842-1924) – who might well be brought to mind by the drawing – but its manipulation in the context of the landscape is achieved in Turner’s terms. There is little here of Ruskin’s insistence on precision of detail, apart from the typical close-up of weeds along the foreground fence; but Ruskin’s understanding of the greatness of Turner in the England and Wales series surely lies behind significance was to remain a preoccupation of Goodwin’s. He makes similarly Turnerian play with a comparable motif in his view of Hastings from the cliff-top of 1877 [Plate 21]. Several of these themes are restated with striking reassurance in an oil painting that Goodwin showed at the Royal Academy in 1876, Countisbury

Hill, Lynmouth. The Ruskinian concern with detail manifests itself in a loving account of the raking light on a steep hillside, with lines of trees, small fields, and a huddle of houses. Goodwin’s contrasting interest in abstract composition, as in the Old Mill near Winchester which we have just considered, is apparent in his emphatic separation of this part of the subject from the foreground of water, rocks and figures. These seem to inhabit a different plane by virtue of their much increased scale. There is here a dislocation of foreground and background which will become a hallmark of Goodwin’s work. And one misses, despite his able handling of oil paint, the sensitive hatching of the watercolour brush which gives his work in that medium its atmospheric resonance. We have only to turn to the watercolour view of the same scene, Countisbury Hill, Lynmouth, dated 1877, to acknowledge that technical characteristic as essential to the transcription into two dimensions of Goodwin’s vision. We recognise his hand in the oils because they are composed like Goodwin’s; in the watercolours we see that they are actually painted by him. Ruskin gave Goodwin carte blanche to adopt and adapt everything that he could from Turner. Goodwin could still produce virtually direct Turnerian pastiches as late as 1900 Bergen, Norway [watercolour] and he copied The Fighting Téméraire in 1914 [watercolour and bodycolour]. But Ruskin also transmitted something more positive and at the same time more dangerous. As a highly intelligent and sensitive admirer of Turner’s achievement, and himself a very capable draughtsman, he could adapt Turner’s habit of drawing what he found in nature according to his own perceptions and technical abilities. But he could not so readily imitate the more personal poetry of Turner’s more imaginative later works, in which distortion and exaggeration of both form and atmosphere play a vital role. Ruskin’s attempts to ape this aspect of Turner’s art inevitably led him into absurdity; he needed to invent his own idiosyncratic poetry, but lacked the personal language with which to do so. In his more formal and developed exercises in late Turnerian sublimity (the view of Amalfi in the Fogg Art Museum, Harvard, for instance), there is a stilted theatricality which cannot quite convince us as an emulation of the grandiose gestures embodied in say, Turner’s Swiss subjects of the 1840s. By allowing Goodwin the freedom, as it were, of Turner’s oeuvre, Ruskin exposed the younger artist to the same temptations and the same pitfalls. What those temptations were we can appreciate from a reading of the Diary. Goodwin relished theatricality. He used the language of self-conscious romanticisation instinctively. It was perhaps inevitable, whatever influences were brought to bear on him, that he would give expression to this side of his nature. And where Ruskin only makes us feel uneasy when he deploys such effects, Goodwin demonstrates his more developed talent as a painter by evolving mannerisms that, while by derivation Turnerian, are entirely and recognisably his own. It is in this delicate area of mannerism that the heart of Goodwin’s success and failure as an artist seems to lie. His Diary entry for 12 October 1909, which we began to quote earlier, gives clear indications of his perception of nature, acting on his histrionic self-image, was bound to produce an essentially melodramatic, rather than purely dramatic, art: Night and darkness always are symbolic of death, sin, evil: and yet without night we should have no glory of sunset and sunrise! How needful must evil be, how necessary death! How impossible to see good without its shadow – evil. And again the glory of

ALBERT GO O DW IN RW S sunset is all made for us by the clouds, all of which are the nature of stain on the clear heavens; yet it is the stains which make the colour, I am afraid, though I have a possibly morbid liking for clouds, and love those most which have tragedy in them.

The perception of clouds as ‘stains’, with the full non-conformist connotations of that word clearly present; the curious confession to a ‘morbid’ liking for them – morbid, surely, only because of those connotations – these are strange thoughts for a landscape painter of the English school; the school of Turner, despite his occasionally symbolic blood-red sunsets, or of Constable, even though he sometimes allowed a dark cloud to suggest foreboding. For Goodwin, Nature is a dramatisation of his own conscience, a conscience we may by now have come to see as overwrought. In view of the layers of personal significance that the visible world held for him, we may expect Goodwin’s landscapes to assume patterns and meanings over and above their surface representations. His technical and formal disciplines, invigorated at the hands of Ruskin and in the fresh air of Turner’s achievements, were capable of keeping these patterns in check; but they are nevertheless pronounced, and partake of the overriding strain of self-dramatisation in his character. So, although his work is repeatedly concerned with Turnerian or Ruskinian themes, it often seems to belong to very different developments in late nineteenth-century art; to the self-indulgent symbolism of Odilon Redon (1840-1916), or the quasi abstraction of Whistler (1834-1903). Such men as these more nearly approximate to the self-obsession, the spiritual dandyism, that is manifest in Goodwin’s diary, and which, in a different form, is equally apparent in his work as an artist. His attitude to Whistler, for instance, was significantly ambiguous. He compared him unfavourably to Ruskin, of course; but this was on the moral plane. Aesthetically, he finds matter of value in both: Ruskin loved with the love of a child bright colour; all the subtle lesser things of harmony, tone and values, he simply didn’t see. That made the great gulf between him and Whistler, to whom those things were gospel, and all bright colour the thing least to be desired, so that neither of these two schools could appreciate and understand each other … But there was an incomparable difference between the two schools. The plane on which Ruskin was immeasurably higher and its way the upward one. Whistler’s tended downward. Ruskin with all his seeming arrogance in his writing was in Art and in feeling humility itself, while Whistler’s thought was mostly, see how dexterous I am, who can do it like this? And with that thought taking lead always the man’s way is the way of deterioration (Diary, 1 December 1918). As always, the Protestant conscience is at work, invading Goodwin’s assessment even of another artist’s professional competence. He was obviously of a temperament far removed from Whistler’s, eschewing the facile and flamboyant as a painterly sin; yet it is only too clear from his own work that technical facility had its own allure for him; and one is almost tempted to conjecture that his great spiritual terror of a lapse from true faith was a kind of religious manifestation of his fear of self-indulgence as an artist, as his career progressed and he established his characteristic style, this may well have become a real difficulty. He had acquired the skill to paint hazy dawns, sombre twilights and effulgent sunsets which such ease that they perhaps seemed to him to come too readily. His burning

sunset skies among the ‘stains’ of cleverly painted clouds may have seemed to him the fires of an all too appealing hell. For us, on the other hand, the dominant impression that his art, viewed together, leaves is of an extraordinary fluency that sometimes seems to run ahead of his more serious purposes. Moreover, the very aesthetic of Whistler – the preference for these ‘subtle lesser things of harmony, tone and values’ is palpably of the greatest importance to him in the construction of his designs. As early as the 1860s, if his much later inscription is to be believed, he had made a drawing of barges in a fog on the Thames at Chelsea [watercolour and bodycolour with pen and ink, circa 1862] which is uncannily Whistlerian in its economic orchestration of subdued greys and browns. Even if his memory played him quite false, and the sheet dates from 10 or 15 years later, it still makes the point. For it is, with all its Whistlerishness, quintessential Goodwin. An even more typical work, Porto Venere, Spezzia (Plate 63) might be dismissed as a pastiche of the manner of Turner’s late Swiss studies, employing that Turnerian pen and ink outline to reinforce detail which is so recognisable a feature of mature Goodwin. Yet it relied on a controlled system of muted colour harmonies in blue, grey and silver which is at least as Whistlerian as it is Turnerian in effect. In A Silent Highway, Pompeii [watercolour and bodycolour, 1904] there is nothing Turnerian whatever; but the same Whistlerian blue and silver has now completely taken over the design. Durham [watercolour, 1905] of the following year is likewise restricted to a misty shimmer of peach and grey. Goodwin’s frequent ability to reduce a whole composition to a pattern in one colour is surely something he owes to Whistler. He is allied to Whistler equally in his propensity to restate landscape as abstract design. We have already had occasion to observe his pleasure in an uninterrupted expanse of one colour within a composition – the green pool of the Old Mill near Winchester. With the sanction of Ruskin’s Turnerian mannerism, that propensity to allot a large proportion of the picture-space to a single plane of colour became a compositional habit. In the mature watercolours it can be seen to derive from Turner’s own use of delicate hatching within an area of coloured wash to suggest a suspended mist or theabsorption of atmospheric detail into distance. In Goodwin’s Notre Dame [watercolour with pen and ink] of 1903 the opalescent void in the centre of the subject is evidently mist rising from the Seine; yet it reads as acessation of drawing in favour of the sheer aesthetic delight afforded by the vacancy. His old love of the contrast between detail and blankness is 121

A L B E RT GO O DW IN RW S, 1845- 1932 now given atmospheric justification. In London, From Waterloo Bridge of 1902 [watercolour with pen and ink] the Thames is likewise treated as a plain of foggy grey occupying the right-hand half of the sheet in opposition to the detail of trees and buildings on the left. The view of St Leonards that he drew in 1908 [Plate 104] depends entirely for its dramatic impact on the almost featureless expanse of beach which interposes itself between the viewer and Goodwin’s ostensible subject, while Harbour Lights, Algiers of 1926 [watercolour and bodycolour] makes even more ostentatious play with the idea of composition starkly divided into areas treated as units hardly varied within their designated spaces. In an oil painting of 1906, The Afterglow, St Giorgio and the Dogana, Venice the absence of his watercolour hatchings and precise articulations of surface makes particularly apparent his reliance on an uninterrupted sheet of colour to create the dynamism of his design. At its most successful, this device opens up new dimensions of meaning for Goodwin. In The Land of Egypt of 1910 [watercolour] a third of the picture-space is a dusty gold between foreground shelf and backdrop of walls and minarets. It is expressed, not as Turner would have expressed it, with a rapid yet minute analysis of the recession and declivity of the ground, but as a veil of oblivion between spectator and vision. Goodwin seems to approach the abyss with a heady self-abandon which is sensual, not descriptive. Perhaps the Middle-Eastern subject stimulated this response in him, but we may observe it elsewhere in his work: in the firelit street below the rooftops of Milan, for instance [Plate 69], or the vaporous sunset from which the city of Fribourg looms [Plate 159]. These subjects repeatedly confirm that Goodwin’s love of nature was deeply sensual. There was that in her which frightened the Puritan in him; but the artist, the rhetorician, the dandy that he also was needed to give reign to the obsessions she inspired in him. They were, in the end, what fired his best work. The sheer aesthetic hedonism of his relationship with nature, and its fierce battle with the moralist that kept constant vigil within, provides the key to Goodwin’s oddly erratic course as a landscape painter. The most striking single fact about the collection of works reproduced here is their unpredictability. He may have achieved and maintained a clearly recognisable style for all the six or seven decades of his mature career, but from drawing to drawing, from subject to subject, there is a remarkable variety. There is constant travelling, his endless yearning for a new stimuli: his views all over Britain, in Switzerland and throughout Europe, in India and the Orient. There are subjects with historical or fantastic settings – The Sea Raiders, for example [121; Plate 163], or his illustrations to Rasselas, Robinson Crusoe and the Arabian Nights. There is architectural topography; there are seascapes, skyscapes, roofscapes, streets, fairs, markets. And there is, despite the recognisable consistency of his style, a great technical range: he uses papers of all colours, as well as white, and produces some of his most striking images on sheets of dark blue or brown, working economically to evoke a few telling forms and tones with isolated touches of pure white or flecks of pale colour. He mixes his watercolour with bodycolour, or uses bodycolour alone; works in pen and watercolour, or, occasionally, chalk and watercolour, as in the very fresh and somewhat French-looking High Street, Ilfracombe [47; Plate 45] of 1893. His free oil sketches lend new and unexpected vitality to his prehensile technique. Although he sometimes lapses into tameness and dullness, he is at pains always to maintain his sharp engagement with nature and with the art of painting her. The fallings-off are, perhaps, a measure of the

degree to which he keeps up our expectation by the virtuoso deployment and redeployment of so many combinations of his chosen media. In the context of this many-faceted professionalism, this dangerous competence, his early allusion, conscious or unconscious, to Samuel Palmer, was by no means without significance; for he followed Palmer in attempting to preserve with integrity his youthful passion in the presence of nature until old age: we find him frequently recording the same kindling sunsets that had moved him at Whitby in the 1860s. The view at Certosa near Florence [Plate 14] may also recall Palmer’s work in Italy in the 1840s. But his mysticism is always liable to be called back from the tempting brink of self-indulgence by the shades of Turner, Ruskin and the more sober of the Pre-Raphaelites. He usually adds a few figures – often there are many of them, enjoying a fair, taking part in a procession or marching to war – enacting the human meaning of the landscape just as he had learnt from Turner. He sometimes, and very characteristically, uses a trick in placing such figures which is, however, not at all Turnerian. He makes them emerge abruptly form the edge of the composition as if caught by the frame of a camera shot; as in, for instance, The Jungfrau from Lauterbrunnen [Plate 139]. There is a spontaneity about the device which has affinities with Impressionism; but Goodwin probably got it from Holman Hunt (1827-1910), in such drawings as his Procession at Fiesole, where the bandsmen march out of the picture under our very noses. It evolves a response to the problem of foregrounds that we have seen at work already in the early oil painting of a Devon harbour. A common device with him, is to place a screen of trees before a misty view, distancing and enhancing the airy vista beyond. More unusually, but very characteristically, he takes advantage of some other, less picturesque object for the same purpose: looking down from an Oxford roof onto All Souls’ for instance, (a favourite way of getting a bird’s-eye view), he stops the foreground with a detail of scaffolding which provides at once a physical barrier to the eye and a humdrum contrast to his visionary rendering of the architecture [76]. The Turnerian lesson that man is always present in nature is essential to Goodwin’s view of life, too; though with him the result is often a curious imbalance – a sharp shift of scale, a change of key, from foreground to distance, which betokens the agitated and self-conscious place that the artist himself occupies in the world he is describing. We find the same 47

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feature repeatedly in his most ethereal subjects: a pearly Venezia of about 1918 [watercolour and bodycolour with pen and ink] is seen beyond a clutter of parapets and rigging, as though the vision could not quite liberate itself from too solid reality; Dover, Harbour Works of a decade earlier [watercolour and bodycolour, 1906/7] embodies in its title the duality of Goodwin’s chosen subject. It is not that such a duality cannot be found in Turner; but Turner did not bring his foregrounds quite so close to the eye: for him all detail is an integral part of the landscape as a whole. For Goodwin the observation of the minute particulars of working life, something he pursued at Ruskin’s behest, is never entirely at one with the ecstatic contemplation of the light and atmosphere that are truly the ‘things in the scene that he loves’ (see Diary, 18 June 1900). He was frightened of those things; fearful of colour because ‘colour alone is luxury’; fearful of nature herself because of the too intense excitement that he experienced in her presence. Art itself was dangerous, he was an artist at the risk of his immortal soul. Yet he could not be anything else. ‘The habit of Painting, like second nature, seems part of myself,’ he wrote on 9 July 1900. He wrestled with his art as Jacob wrestled with the Angel, and, if he was to some extent a bore about it, he was also, in no little degree, a figure inspired.

Albert Goodwin with John Ruskin in Italy in 1872 left to right: John Ruskin, Mrs J C Hilliard, Mrs Joan Severn, Arthur Severn, Constance Hilliard, Albert Goodwin

A S KETCH B OOK O F 1872: T HE TO UR W IT H JO HN RUSKIN

DAVID WO OT TO N A SK E TC HB OOK O F 1872: T H E TO UR WIT H JO H N RUS KI N This is a revised and newly researched version of the essay that first appeared in Albert Goodwin RWS 1845-1932, London: Chris Beetles Ltd, 2007. Placenames in bold refer to those where Ruskin and his party stayed. In 1872, Albert Goodwin, among others, accompanied John Ruskin (1819-1900) on a tour of Switzerland and Italy. For Goodwin, it was a seminal experience, perhaps the seminal experience of his career. Not only was it just his second taste of foreign travel, but it was also taken in the company of a writer expert in the subject of landscape painting. Seeing Europe with Ruskin helped him to define himself in terms of the critic’s aesthetic, and so synthesise its Turnerian and Pre-Raphaelite elements in his own practice. A knowledge of the tour, and of its affect on Goodwin, can be illuminated by the sketchbook drawings that the artist produced en route. They add helpful details to an understanding of both Goodwin’s appreciation of the itinerary, and of the development of his working methods. This brief text rehearses that itinerary, giving a context for the sketches and so suggesting their importance both to the art of Goodwin and to a study of Ruskin. The tour of 1872 was for Ruskin one in a series in which he examined the art and landscape so central to his writing, and also revived and reviewed feelings concerning his cultural and personal experience. For he first went abroad in 1825, at the age of six, and first visited Italy and Switzerland in 1832, at the age of thirteen. Most of the places that he and his party visited in 1872 had long been known and valued by him; he returned to them precisely because he wished to further explore their cultural riches, and explain them to others, both his companions on the tour, and his audiences and readers. Recently appointed as the first Slade Professor of Fine Art at Oxford, he had need to prepare lectures on his chosen subject of the early Italian Renaissance. In order to deepen his knowledge, he would, in particular, examine the work of Botticelli against that of Michelangelo in the Sistine Chapel, Rome, and make his first visit to Assisi. At the same time, Ruskin had reasons to be away from England, and in sympathetic, supportive company. He had recently vacated one of his two family homes, that on Denmark Hill, and had not properly settled into Brantwood, his new property on Lake Coniston, in the Lake District. But far more emotionally disturbing was his relationship with, and love for, Rose La Touche, a hyper-anxious evangelical Irishwoman 30 years his junior. The silence that followed his proposal of marriage in 1866 had led to his breakdown in 1871, and continued to torture him; her attempt to revive contact with him, while he was in Venice, would bring his tour of 1872 to an abrupt end. And there was a backdrop to this emotional torment, provided by the aftermath of European war: the devastation of Paris and the unification and modernisation of Italy emphasised the frailty of the civilisation that Ruskin found so nurturing. Ruskin financed, organised and aimed to control his tours of Europe. He chose his companions carefully, from among those who would provide him with comfort, and those whom he could help. His cousin, Joan Agnew, fitted both criteria. As he had once been her guardian, so she rapidly became his, her recent marriage to the painter Arthur Severn marking an outward maturity and independence. But she continued to depend on him for

financial security, and it was he who enabled her to travel to Rome with her husband to meet her father-in-law, Joseph Severn. His relationships with the others on the tour, including Goodwin, were less fraught with complication. Mrs Kate Hilliard and her daughter Constance were close and reliable friends; Frederick Crawley a most trusted servant. Ruskin’s party left London on Friday 12 April; it probably travelled mostly by rail, via Dover and Calais, to Paris (13 April), where it stayed at the Hôtel Meurice. It then went on to Basel (13 April) (according to Arthur Severn: see James S Dearden (ed), The Professor. Arthur Severn’s Memoir of John Ruskin, London: Allen & Unwin, 1967, Page 51). On arriving in Geneva (14-15 April), it stayed at the Hôtel des Bergues. Ruskin had many fond memories of Geneva, especially as a centre for his impressive studies of geology and meteorology. These he had used to help himself understand and explain Turnerian topography, and now he revived them to encourage Goodwin. He noted in his diary (15 April) that ‘Goodwin and Arthur [were] hard at work on my well known path, at the sunset over Bonneville’; Severn later remembered that Ruskin had been ‘anxious to take us for a drive up the Salève to get a view of Mont Blanc in the evening sunlight. The expedition was a great success: Mont Blanc behaved beautifully ... Goodwin and I did sketches on the spot’ (Page 51). However, the sketches from the book presently included were made by Goodwin at Annecy (16-18 April) [8] and Chambéry (19 April) [10 & 9]. While Ruskin corrected the proofs of Elementary Drawing, his forthcoming manual, Goodwin worked independently on his elemental drawings. Though Severn remembered Ruskin ‘in the best of spirits’, Ruskin himself had noted the ‘dismal inn, and more dismal morning’ at Chambéry (20 April). According to Ruskin it remained ‘wet all the way to Turin’ (20-21 April) and, though the skies brightened temporarily, a ‘storm [broke] among Apennine to Genoa’ (22 April), where ‘dismal rain’ continued to fall (23 April). Apart from a visit to the monastery of Superga, outside Turin (21 April), Ruskin and his party probably spent most time surveying the palace picture galleries; these included the Galleria Sabauda, in Turin, where, in 1858, Ruskin had, in studying Veronese’s Solomon and Sheba, undergone what he later described as his ‘unconversion’, an important 8

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9 shift in his belief from evangelicalism to a religion of humanity. Leaving Turin, they travelled along the coast to stay at Sestri Levante (23 April), the beauty of which only Ruskin appreciated; according to Severn, the others ‘all rather rebelled. It was very hot; the windows of the hotel were not properly shut …; our sitting room was full of flies; the beach was dirty’ (Page 53). So they quickly moved on to La Spezia, arriving in moonlight (24 April), and next day exploring the valley and visiting an Italian warship (25 April). On leaving La Spezia for Pisa, Goodwin drew the Carrara Mountains, with their famous marble quarries, the material source for so many of the sculptures that Ruskin admired. Ruskin had intended Pisa to be one of the more important stops on the journey, an exemplar of late mediaeval culture. On the first full day in the city (27 April), Ruskin took the party across the River Arno from the Hotel Victoria to look at Santa Maria della Spina, an exquisite chapel of the thirteenth and fourteenth centuries (built to house the sacred relic of a fragment of Christ’s crown of thorns). However, he received his first great disappointment on finding that it was in the radical process of being demolished prior to rebuilding and restoration. This experience would be repeated a few days later, when, on arriving in Lucca (30 April-7 May), he discovered that Santa Maria della Rosa, to him the sister chapel to that in Pisa, was also under threat. In Pisa, Ruskin compensated by spending many hours making drawings, sometimes in the company of Goodwin and Severn, and sometimes alone; his records of such favourite buildings as the Palazzi Gambacorti and Guinigi, the Duomo and the Campo Santo, as well as the chapel itself, would be integrated into the Oxford lectures collected as Val d’Arno. In Lucca, he wrote prefaces to Christian Art and Symbolism by the Reverend St John Tyrwhitt and to his own lecture on Michelangelo and Tintoretto, as well as passages of Fors Clavigera, a long series of wilful, urgent, even prophetic public letters. At other times, ‘to show his friends something of Italian landscape, he took them for rambles through olive farms and chestnut woods’ (W G Collingwood, The Life and Work of John Ruskin, London: Methuen & co, 1893, vol II, page 136). When the party left Lucca for Florence (8-10 May), Goodwin sketched the fortified towns en route and the Ponte Vecchio on arrival. Followed by rain and wind, the party stayed only briefly at this stage in the Tuscan capital; however, Ruskin did find time to visit the Duomo and Santa Maria Novella, and probably the major galleries.

As the party moved south from Florence to Rome (12-20 May), Ruskin became increasingly irritable, his mood not helped by the continuing rain. Joan Severn wrote to Ruskin’s friend, Charles Eliot Norton, the Harvard academic, that Ruskin was ‘much out of humour, with everything, or, rather, triumphant at having his bad opinion of things in Rome confirmed’. Goodwin, however, obviously felt a great sense of expectation, as suggested by the drawings he made on arriving in the Roman Campagna, first of Narni and then of a distant view of Rome itself [12]. Even Ruskin accepted that the city had much to offer, as he settled into one of his more concentrated periods of work. Over a stretch of ten days, he studied the work of Botticelli in the Sistine Chapel, to the detriment of Michelangelo, for his forthcoming Oxford lectures, Ariadne Florentina; he also visited the surviving Romanesque churches. As a result, the other members of the party were mostly left to their own devices. Joan and Arthur spent time with Joseph Severn, in his apartment overlooking the Fontana di Trevi, while Goodwin drew many of the city’s most memorable sights, including the Colosseum, the Roman Forum [13], the Teatro Marcellus [11] and the Piazza Barberini. As always, Ruskin was attentive to changes in the weather and the effect that it had on him; so he noted in his diary, ‘glowing sunshine with painted sky’ (17 May), ‘soft grey sky; flaky cloud’ (18 May) and ‘fierce dust and sirocco, making me ill’ (19 May). Ruskin gradually improved in health and temperament as the party moved north again, leaving Rome for Assisi (21-24 May). Even Ruskin was visiting the city for the first time, and Severn remembered that they ‘liked it better than any of the other places. It was quiet and we were not pestered by beggars. Goodwin did some beautiful pencil sketches here and the Professor gave him the very highest praise’ (page 61). The subjects of these sketches certainly included the famous monastery, and especially ‘the Fathers of all the flying buttresses’, as Ruskin described them to Goodwin. The party went from Assisi to Perugia for a day (24 May), the excursion enabling Ruskin to properly appreciate the merits of Perugino. Then, on leaving Assisi, it travelled via Florence (25-26 May) and Siena (27-29 May) [15] to Orvieto (30-31 May). There Goodwin visited the market in the company of Ruskin, who recalled the event two years later, in writing the lecture ‘Giotto’s Pet Puppy’; considering the warm red ochre of the earth of the Apennines, he described the ‘steps of its cathedral occupied on market-day with such a company of lively modern Etruscan pots.’ Once again in Florence (1 June), and for a more substantial stay, Ruskin set to work, devoting attention mainly to the Baptistery, and leaving 15

A S KETCH B OOK O F 1872: T HE TO UR W IT H JO HN RUSKIN Goodwin to make sketches, including studies of the Via Crucis and the Ponte alla Grazie. [See 27 for the related watercolour, The Ponte alle Grazie Before its Demolition, Florence.] 27

The final stage of the party’s journey through Italy augured well; for though Ruskin noted at Bologna (14 June) of a ‘pain in side (bilious)’, the weather was ‘perfectly fine … and very hot’. Verona and Venice, two of the most important sites in Ruskinian topography, were surely expected to prove the climaxes of the trip. Goodwin made a sketch of Padua [16] on the way to Verona (15-21 June), and continued to concentrate on drawing, both the city and surroundings, while Ruskin prepared a pamphlet for the Arundel Society on the Cavalli tombs in Santa Anastasia. On arriving in Venice (22 June-12 July) and settling in at Danieli’s, the party was greeted by Rawdon Brown, as expert as his old friend Ruskin in the history and culture of the city. Ruskin encouraged the party to enthuse about its major sights, though was amused that Goodwin should liken the Byzantine splendour of San Marco to a ‘travelling show’ (as recalled by Arthur Severn, page 62). Then, when Ruskin turned to his studies, examining the work of 16

Carpaccio at the Scuola di San Giorgio degli Schiavoni, Goodwin again made many drawings, concentrating on such picturesque elements as the traditional fishing boats [19]. Goodwin’s work was admired by John Wharlton Bunney, another of Ruskin’s proteges, best known for his depiction of the facade of San Marco. He remembered how on one evening ‘I went to see Mr Goodwin’s sketches; he has a good many. I was greatly pleased with them. Some of them are very lovely, very tender and beautiful’. He described Goodwin himself as ‘quiet, practical, full of feeling. No gush but very earnest, without pretension of any kind’. Unfortunately, Goodwin’s experience of Venice was soon brought to an end. Ruskin learned from the writer George MacDonald that Rose La Touche was anxious to see him. At first unwilling to interrupt his work, or again subject himself to the pain of rejection, he sent a telegram (30 June) and letters (5 July); but he soon decided to return home. Goodwin, Crawley and the Hilliards went with him, while the Severns travelled separately. The speed at which he and his companions crossed the continent indicates his sense of urgency, and he could no longer allow Goodwin much time for drawing. The route taken, in late July, was as follows: Milan (13), Como (14-15), Baveno (16-18), Domo d’Ossola (19), Simplon (20-22), Brieg, Sion (23), Geneva (24), Sens, Paris, Herne Hill (26). For Ruskin, this journey marked the beginning of the end of his relationship with Rose La Touche, for she would die in 1875. But for Goodwin it marked the end of the beginning of his life as a landscape painter and traveller. ‘When I first went to Italy’, he wrote excitedly in his diary 35 years later, on 21 April 1909, ‘it was my firm conviction that I should never be able to afford to go again, and here I am taking once more the family not only to Switzerland but Italy!’ The tour of 1872 may have represented for Ruskin a personal failure. However, he should have considered it a success, if only in its essential contribution to making an artist of Goodwin.

ALBERT GO O DW IN RW S K E Y TO A B B R EV I ATI ONS O F EXHIBIT IO NS USED IN T HE CATALO G U E

Birmingham, 1926 ‘A Collection of Oil Paintings, Water Colour Drawings etc by Albert Goodwin RWS RWA Lent by M B Walker Esq’, City of Birmingham Museum and Art Gallery, 1926 Chris Beetles Gallery, June-July 1986 ‘Albert Goodwin, RWS 1845-1932’, Chris Beetles Gallery, 2 June-4 July 1986 Chris Beetles Gallery, May-June 1996 ‘Albert Goodwin, RWS 1845-1932’, Chris Beetles Gallery, 7 May-7 June 1996 Chris Beetles Gallery, June 2007 ‘Albert Goodwin, RWS (1845-1932)’, Chris Beetles Gallery, June 2007 Chris Beetles Gallery, March-April 2014 ‘The Long Nineteenth Century: Treasures and Pleasures’, Chris Beetles Gallery, March-April 2014 Chris Beetles Gallery, February 2016 ‘Drawn to the 19th Century’, Chris Beetles Gallery, 9-27 February 2016 Chris Beetles Gallery, February-March 2019 ‘Ruskin’s Artists’, Chris Beetles Gallery, 12 February-2 March 2019 Christopher Wood, 1981 ‘Nineteenth Century English Watercolours and Drawings’, Christopher Wood, London, 1981 Fine Art Society, December 1890 ‘A Collection of Water-Colour Drawings of Many-Sided Nature by Albert Goodwin RWS’, Fine Art Society, London, December 1890 Fine Art Society, October 1893 ‘A Collection of Paintings and Drawings by Albert Goodwin, RWS’, Fine Art Society, London, October 1893 Fine Art Society, March 1896 ‘A Collection of Pictures and Drawings of Imaginative Landscape in Europe and Asia by Albert Goodwin, RWS’, Fine Art Society, London, March 1896 Fine Art Society, December 1898 ‘A Collection of Pictures and Sketches including a Series of Whitby and “the First Christmas Dawn” by Albert Goodwin, RWS’, Fine Art Society, London, December 1898 Fine Art Society, November 1900 ‘An Exhibition of Pictures and Waterolours entitled “In Praise of All the Churches” by Albert Goodwin RWS’, Fine Art Society, London, November 1900 Fine Art Society, May 1905 ‘The Cathedrals of England, Watercolours by Albert Goodwin RWS’, Fine Art Society, London, May 1905 Fine Art Society, January 1907 ‘An Exhibition of Water-Colours of Dawn and Sunset by Albert Goodwin, RWS’, Fine Art Society, London, January 1907 Leggatt Brothers Gallery, 1908 ‘Drawings and Pictures by Albert Goodwin, RWS’, Leggatt Brothers Gallery, London, 1908

Leggatt Brothers Gallery, 1912 ’Watercolour Drawings and Paintings by Albert Goodwin RWS’, Leggatt Brothers Gallery, London, 1912 Leggatt Brothers Gallery, 1919 ‘Drawings and Pictures by Albert Goodwin, RWS’, Leggatt Brothers Gallery, 1919 Maidstone, February-March 1999 ‘A Watercolourist’s Dream. Albert Goodwin (1845-1932) & John Lewis Roget (1828-1908)’, The County Gallery, Maidstone, February-March 1999 Nunnington Hall, September-October 2010 ‘From Ilkley Moor To Scarborough Fair: 200 Years of Yorkshire Landscapes’, Nunnington Hall, Yorkshire, September-October 2010 Nunnington Hall, April-June 2013 ‘The Watercolour Tradition in Landscape’, Nunnington Hall, Yorkshire, 23 April-30 June 2013 RA Royal Academy, Summer Exhibition The Rembrandt Gallery, 1902 ‘Sunset and Colour from East and West. Drawings by Albert Goodwin, RWS’, Robert Dunthorne’s The Rembrandt Gallery, London, 1902 Royal Academy, January-April 1993 ‘The Great Age of British Watercolours 1750-1850’, Royal Academy, London, January-April 1993 RWS Royal Society of Painters in Water-Colours Salisbury, April-May 2012 ‘Albert Goodwin, RWS (1845-1932)’, Young Gallery, Salisbury, 7 April-26 May 2012 Touring exhibition, 1981-82 ‘Albert Goodwin RWS 1845-1932’, Bolton Museum and Art Gallery, August-September 1981, and touring to Canterbury, Newcastle upon Tyne, Leicester and Sotheby's Belgravia, 1981-82 Touring exhibition, May-October 1986 ‘Albert Goodwin RWS 1845-1932. 129 of His Best Works Borrowed From Private Collections’, a Museum Tour of the Royal Watercolour Society, Sheffield Mappin Art Gallery, Ruskin Gallery, Stoke on Trent City Museum and Art Gallery, May-October 1986 Vicars Brothers, March 1925 ‘Water-Colour Drawings and Oil Paintings by Albert Goodwin RWS’, Vicars Brothers, London, March 1925 Walker’s Galleries, July 1961 ‘Watercolours and Drawings by Albert Goodwin RWS’, Walker's Galleries, London, July 1961 Wolverhampton, December 1925 ‘An Exhibition of Oil Paintings, Watercolour Drawings, etc by Albert Goodwin RWS RWA Loaned by M B Walker Esq’, Municipal Art Gallery and Museum, Wolverhampton, December 1925

1. Kent, Sussex and Hampshire 1850s-1870s

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1 Bluebell Hill nr Maidstone Signed Inscribed ‘Bluebell Hill nr Maidstone painted when I was about 14 AD AG’ and ‘but amended Feb 5th 1925 when past eighty!’ on reverse Watercolour and bodycolour 5 ¾ x 9 ¾ inches Literature: Albert Goodwin RWS, 1845-1932, London: Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 2 Exhibited: Touring exhibition, May-October 1986, No 2; Chris Beetles Gallery, February-March 2019

2 Kent Signed with monogram Inscribed with title below mount Pen and ink 5 ¼ x 3 ¾ inches Exhibited: Chris Beetles Gallery, May-June 1996, No 6

1. K E NT, SUSSEX AND HAMP SHIRE

3 The Wooded Lake Signed with monogram and dated ’65 Watercolour with pen and ink 13 x 19 ½ inches Provenance: Lord Wraxall Literature: Albert Goodwin RWS, 1845-1932, London: Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 6 Exhibited: Christopher Wood, 1981, No 85; Touring exhibition, 1981-82, No 2; Touring exhibition, May-October 1986, No 6

‘There is a watercolour of a green wood, with willows and water, which might be the very drawing that was in hand when[Arthur] Hughes stumbled on him, except that it is dated 1865, when Goodwin was 20 and perhaps too old to be a ‘small weedy-looking boy’; but it reflects all that he might have learnt by that date, from Hughes and the other Pre-Raphaelites whom he met, about the intense realisation of particular natural phenomena. In the main it concerns itself with the incidents of willow trunks, the surface of dark water, the clustering of foliage or of rushes. Yet its central motif is a burst of brilliant light, seen through a tunnel of leaves ... It is an effect that might have been selected by Samuel Palmer (1805-1881) for one of his late etchings, and suddenly alerts us to Goodwin’s more personal intentions. It places the work above the common run of woodland scenes by aspirants to the Old Water-Colour Society (of which he was in due course to become a member), redirects our attention to the sparkling twigs of the foreground tree and reminds us that the whole subject is the product of an almost palpable concentration of effort. Whether Goodwin had looked at Palmer in particular or not, he aspired to Palmer’s absorption into the spirituality of nature, and knew that the inwardness that Palmer so strained after is what makes landscape painting worthwhile.’ (Andrew Wilton, see Page 16)

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4 The Medway at Maidstone Signed and dated /71 Oil on canvas 26 Â½ x 52 inches Exhibited: RA, 1871, No 398

1. K E NT, SUSSEX AND HAMP SHIRE

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5 Winchelsea Signed with monogram and inscribed with title Pen and ink with pencil 7 x 9 ¾ inches Exhibited: Chris Beetles Gallery, February 2016

6 Old Mill near Winchester (opposite) Signed with monogram and dated /75 Watercolour and bodycolour with pen and ink 8 ¾ x 12 ½ inches Literature: Albert Goodwin RWS, 1845-1932, London: Chris Beetles, 1986, Limited Edition of 1000, Plate 17; Christopher Newall, Victorian Watercolours, Oxford: Phaidon, 1987, Plate 34 Exhibited: Touring exhibition, May-October 1986, No 19; Royal Academy, London, January-April 1993, No 157; Maidstone, February-March 1999

1. KENT, SUSSEX AND HAMP SHIRE

‘it is entirely personal to Goodwin in … its distinctive composition, which is dominated not by the picturesque textures of old walls and thatched roofs, but the flat green translucency of the surface of the water which fills almost half the sheet. This bold compositional stroke owes its existence, surely, to Ruskin, who recommended and sanctioned the unwavering concentration of the eye on a single natural phenomenon. Goodwin felt justified by Ruskin’s arguments in allotting so much of his picture space to the correct rendering of weedy depths, their reflections and shadows, and the swallows that dart across them. The justification extended to the assumption that such meticulous depiction of detail could balance and complement the more explicit and picturesque variety of the old walls which seem as if pushed to the edge of our vision by the artist’s concentration on his watery foreground. But however completely observed and rendered, the compositional effect of this passage is one of deliberate emptiness, of contrast with the busier areas that border it; and in this the drawing is harbinger of a most significant feature of Goodwin’s mature style. It shows Goodwin turning Ruskin to his own ends with decided individuality.’ (Andrew Wilton, see Pages 16-17)

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7 Aylesford on Medway Signed and inscribed with title Watercolour with pencil and bodycolour 9 ¾ x 13 inches Provenance: Fine Art Society, London Exhibited: Salisbury, April-May 2012, No 1 Probably the work exhibited at the RWS, Winter 1879, as No 139, ‘Aylesford, on the Medway’

2. In France, Switzerland and Italy with Ruskin 1872

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8 Annecy (top left) Inscribed ‘Annecy, prison, clear water [/] washerwomen ... [/] ... children – soldiers, old houses – water ...’ Drawing of a view through an arch with figures in pencil and bodycolour on reverse Pencil and bodycolour on tinted paper 9 x 6 inches Exhibited: Chris Beetles Gallery, June 2007, No 7; Chris Beetles Gallery, February-March 2019

9 Chambéry, Hotel Window, Market Day (top right) Inscribed with title Pencil and watercolour 6 ½ x 6 inches Exhibited: Chris Beetles Gallery, June 2007, No 6; Chris Beetles Gallery, February-March 2019

10 On the Way to Mont Cenis; Chambéry – Cross on Mountains (left) Inscribed with title and descriptive notes Pencil with pen, ink and bodycolour 9 x 6 inches Exhibited: Chris Beetles Gallery, June 2007, No 139, (ex-catalogue); Chris Beetles Gallery, February-March 2019

2. I N F R A NC E, SW IT ZERLAND AND ITALY W IT H RUSK IN

11 Teatro Marcellus Inscribed with title and ‘Shelley’ Further drawing of Teatro Marcellus in pencil with bodycolour on reverse Pencil with bodycolour 6 x 9 inches Exhibited: Chris Beetles Gallery, June 2007, No 141, (ex-catalogue); Chris Beetles Gallery, February-March 2019

12 Narni; Rome

13 The Roman Forum

Inscribed with title and colour notes and dated ‘Sunday May 12th’ Drawing of a landscape in pencil and bodycolour on reverse Pen and ink and pencil with bodycolour on tinted paper 9 x 6 inches

Inscribed ‘The Seven Sisters’ beside the drawing of goats Drawings of goats and other figures in pencil and bodycolour on reverse Pencil with pen, ink and bodycolour 9 x 6 inches

Exhibited: Chris Beetles Gallery, June 2007, No 13; Salisbury, April-May 2012, No 6; Chris Beetles Gallery, February-March 2019

Exhibited: Chris Beetles Gallery, June 2007, No 14; Salisbury, April-May 2012, No 8; Chris Beetles Gallery, February-March 2019

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14 Figures Carrying Baskets

15 Siena

Pencil with white crayon on tinted paper 4 x 11Â˝ inches

Signed and inscribed with title Pen ink and watercolour with bodycolour 6 x 9 Â˝ inches

Provenance: The Estate of Lyndon Goodwin Harris, the son of Sidney and Polly Harris, friends of Albert Goodwin and collectors of his work

Provenance: Albany Gallery, London Exhibited: Chris Beetles Gallery, June 2007, No 17

2. I N F R A NC E, SW IT ZERLAND AND ITALY W IT H RUSK IN

16 Padua

17 Labourers and a Gentleman in a Top Hat

Inscribed with title and colour notes and dated ‘June 15th’ Pencil with bodycolour 9 x 6 inches

Pencil and coloured crayon on tinted paper 13 ¼ x 5 inches

Exhibited: Chris Beetles Gallery, June 2007, No 18; Chris Beetles Gallery, February-March 2019

Provenance: The Estate of Lyndon Goodwin Harris Exhibited: Chris Beetles Gallery, June 2007, No 46; Chris Beetles Gallery, February 2016

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18 Venetian Market Inscribed ‘afternoon with grey & blue sky.[/]swallows ... costume nondescript[/] men with red caps and sash and shoulder ... [/] crockery in foreground[/]cherries,cabbages, onions & lemons with yellow baskets[/] ...’ and dated ‘Venice June 72’ on reverse Drawings of Venice in pencil with bodycolour on reverse Pencil with bodycolour 6 x 9 inches Exhibited: Chris Beetles Gallery, June 2007, No 23; Salisbury, April-May 2012, No 9; Chris Beetles Gallery, February-March 2019

‘Goodwin looked a little shy; as we all knew him to be a singularly honest and straightforward man, we felt there was something he was afraid to tell out. The Professor, seeing it too, said, “Don't mind my dear Albert, say whatever you like. Your opinion is sure to be worth having”. At last Goodwin said, “Well Professor, if you really ask me and won't mind what I say, my first impression of the church and the domes above, and all the flags, was that it looked very like a travelling show”. The Professor burst out into a roar of laughter, in which we all joined. When he could speak, he said, “Never mind Albert, I know perfectly well what you mean, but you soon get to like it”.’ (Arthur Severn on Goodwin’s first impression of St Mark’s, Venice, extracted from James S Dearden (ed), The Professor. Arthur Severn’s Memoir of John Ruskin, London: Allen & Unwin, 1967, Page 62)

19 Venetian Fishing Boats Watercolour and pencil 9 x 6 inches Exhibited: Chris Beetles Gallery, June 2007, No 132, (ex-catalogue); Chris Beetles Gallery, February-March 2019

2. I N F R A NC E, SW IT ZERLAND AND ITALY W IT H RUSK IN

20 Near Verona I (detail) Inscribed with title and dated ‘June 20th /72’ Pencil with pen ink and bodycolour 9 x 6 inches Exhibited: Chris Beetles Gallery, June 2007, No 20; Chris Beetles Gallery, February-March 2019

21 Near Verona II Inscribed ‘Verona’ and with colour notes and dated ‘June 21st’ Pencil with bodycolour 6 x 9 inches Exhibited: Chris Beetles Gallery, June 2007, No 21; Chris Beetles Gallery, February-March 2019

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22 Conversational Groups Pencil and watercolour on tinted paper 4 ¼ x 5 inches Provenance: The Estate of Lyndon Goodwin Harris Exhibited: Chris Beetles Gallery, June 2007, No 57; Salisbury, April-May 2012, No 12

23 Man Walking (detail) Signed with initials Watercolour and pencil on tinted paper 6 ¾ x 4 ¾ inches Provenance: The Estate of Lyndon Goodwin Harris

24 White Clouds Inscribed with title and ‘in under mountain’ Slight pencil sketches on reverse Pencil with bodycolour 9 x 6 inches Exhibited: Chris Beetles Gallery, June 2007, No 136, (ex-catalogue); Chris Beetles Gallery, February-March 2019

2. I N F R A NC E, SW IT ZERLAND AND ITALY W IT H RUSK IN

25 Trees, Switzerland Pencil with bodycolour 6 x 9 inches Exhibited: Chris Beetles Gallery, June 2007, No 133, (ex-catalogue); Chris Beetles Gallery, February-March 2019

26 Lakeside Town Inscribed ‘mills. various wooden tiles wrong view’ Pencil with bodycolour on tinted paper 6 x 9 inches Exhibited: Chris Beetles Gallery, June 2007, No 134, (ex-catalogue); Chris Beetles Gallery, February-March 2019

‘for pure artistic delight, an untouched sketch of Albert Goodwin’s on the spot is better than any finished drawing [by another]’ (John Ruskin, ‘Catalogue of a Series of Drawings made for St George’s Guild under the Direction of Mr Ruskin’, 1886)

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Albert Goodwin’s pen and ink replica of The Ponte alle Grazie before its Demolition, Florence as it appeared in the catalogue of the Royal Society of Painters in Water-Colours, Summer 1886, Fig 43

27 The Ponte alle Grazie before its Demolition, Florence Signed and dated ’83 Watercolour with pen and ink 11 ¼ x 17 ¾ inches Provenance: The John Cleese Collection Exhibited: RWS, Summer 1886, No 121, as ‘The Ponte alle Grazia before its Demolition – Florence’ (illustrated in the catalogue, Fig 43)

3. Devon and Cornwall 1870s-1890s

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28 Boscastle Signed with monogram and dated 1884 Watercolour 6 ¾ x 10 inches

29 A Cavern on the Cornish Coast Signed with monogram and dated /72 Watercolour with bodycolour 6 ½ x 4 ½ inches Provenance: Boston Collection Exhibited: Chris Beetles Gallery, February-March 2019 Probably exhibited at the RWS, Winter 1872, as No 270

30 Water babies (opposite above) Signed and dated /77 Inscribed with title and artist’s address on original label on reverse Watercolour with bodycolour on paper laid on board 20 x 28 inches Literature: Albert Goodwin RWS, 1845-1932, London: Chris Beetles, 1986, Limited Edition of 1000, Plate 20 Exhibited: RWS, London, Summer 1877, No 71; Touring exhibition, 1981-82, No 41

3. DEVON AND CORNWALL

31 Children

32 Study of a Crouching Girl

Pencil and white crayon on tinted paper 10 ¼ x 7 ½ inches

Pencil and white crayon on tinted paper 4 ¼ x 7 ¼ inches

Provenance: The Estate of Lyndon Goodwin Harris

ALBERT GO O DW IN RW S

‘Of the beauties of English scenery under happy conditions of climate there is brilliant testimony in such views as those of “Bucks Mills – North Devon” ’ (Morning Post, 17 December 1890, review of Goodwin’s exhibition at the Fine Art Society)

33 Bucks Mills, N Devon Signed with monogram, inscribed with title and dated 89 Watercolour with bodycolour 7 ½ x 10 ¼ inches Provenance: Matthew Biggar Walker Esq, of Wolverhampton Literature: Hammond Smith, ‘The Poetical Landscapes of Albert Goodwin RWS’, Antique Collecting, 1981, Figure 6; Albert Goodwin RWS, 1845-1932, London: Chris Beetles, 1986, Limited Edition of 1000, Plate 44

Exhibited: Fine Art Society, December 1890, No 16; RWS, Winter 1892, as No 348, ‘Bucks Mills, North Devon’; Wolverhampton, December 1925, No 43; Birmingham, 1926, No 108; Touring exhibition, May-October 1986, No 32

3. DEVON AND CORNWALL

34 Kynance Cove Signed, inscribed with title and dated /88 Signed, inscribed with title and dated 1888 on label on reverse Oil on panel 24 x 35 Â˝ inches Exhibited: Grosvenor Gallery, London, Summer 1889, No 199; Chris Beetles Gallery, March-April 2014, No 64; Chris Beetles Gallery, February-March 2019

ALBERT GO O DW IN RW S

35 Back View of a Fisherman

36 Boy Tugging a Rope

37 The Fisherman

Pencil on tinted paper 9 ¾ x 5 inches

Pencil and white crayon on tinted paper 8 ½ x 6 inches

Pencil on tinted paper 9 ½ x 5 ½ inches

38 Thoughtful Figures Pencil and coloured crayon on tinted paper 17 x 11 inches Exhibited: Chris Beetles Gallery, June 2007, No 48

40 Kneeling and Seated Figures Provenance: Nos 35-39 are all from the Estate of Lyndon Goodwin Harris.

39 Looking Out Pencil and white crayon on tinted paper 10 x 8 ½ inches Exhibited: Chris Beetles Gallery, June 2007, No 45

Pencil with coloured crayon on tinted paper 15 ½ x 10 ½ inches Exhibited: Chris Beetles Gallery, June 2007, No 43; Salisbury, April-May 2012, No 13; Chris Beetles Gallery, February 2016

3. DEVON AND CORNWALL

41 Teignmouth Signed and inscribed with title Watercolour with bodycolour 6 ½ x 9 inches

Teignmouth The fisherman in the present watercolour appears to be in the midst of telling a tale. His gesture is reminiscent of that of the sailor in Millais’ The Boyhood of Raleigh (Tate), which was shown at the Royal Academy in 1870, as No 334. Goodwin showed By the Arun (564) and Off the Devonshire coast (565) at the same exhibition, so almost certainly saw Millais’ famous painting there.

42 Clovelly Signed and inscribed with title Watercolour, bodycolour and ink on tinted paper 9 x 11 Âž inches

ALBERT GO O DW IN RW S

3. DEVON AND CORNWALL

43 Clovelly Signed and inscribed with title Watercolour and bodycolour with pencil 11 x 15 inches

ALBERT GO O DW IN RW S

44 Morte Point Signed and inscribed with title Watercolour and bodycolour on tinted paper enclosed by an ink border 10 x 14 inches Exhibited: Salisbury, April-May 2012, No 53

Butterflies Paradise Butterflies Paradise is a work of decorative fantasy inspired by the north Devon coast. Having painted in Devon from at least as early as 1865, Goodwin moved to Ilfracombe in 1877. The landscape of the county became increasingly important to him, and informed his imaginative works as well as his topographical ones. His various local sketching tours included a stay in Lynmouth in April 1881, when the view across the bay to Countisbury Head proved particularly inspirational. He used it as a striking background to a variety of foregrounds both naturalistic and exotic.

from them technically and stylistically. It is a large-scale decorative work that emphasises flatness and verticality rather than naturalistic space. And it suggests a familiarity with Japanese art and both the English Aesthetes and French Symbolists that such art inspired, rather than the Victorian Classicists to which the versions of Ulysses may allude. The care with which it was composed was extended to its frame, which Goodwin probably designed and which was carved by his brother, Charles.

Examples of compositions with an exotic foreground that were inspired by Countisbury Head include not only the present work but also the two versions of Ulysses in the Island of Calypso, based on an episode from Homer’s Odyssey. In 1882, Goodwin produced the oil version of Ulysses that is also known as Ulysses in the Garden of Calypso (and which appeared in auction in Florida in both 2012 and 2018). A decade later, he produced the watercolour version subtitled the offer of immortality. The watercolour was exhibited as No 14 at ‘A Collection of Paintings and Drawings by Albert Goodwin’ mounted by the Fine Art Society in October 1893. It was mentioned in a somewhat facetious review of the exhibition in The Artist, which identified the setting as Lynmouth:

Goodwin was always drawn to decoration, as can be seen from the ornamental borders that he added to his watercolours, especially in his later years. This may have been informed by his experience of working in the firm of William Morris while in his early twenties. While living at Montpelier Terrace, Ilfracombe, he ‘had great fun in painting gay patterns on most of the ceilings and walls’. He did this again, from 1906, when he moved to ‘Ellerslie’, Bexhill-on-Sea, Sussex, also producing a ‘large medallion of china mosaic over the front door’. Following the death of his second wife, Alice, in 1916, he and his unmarried daughters built ‘Little Ellerslie’ in an adjoining field and moved into that. His daughters then ‘used affectionate persuasion to limit his decorations to his own room!’ (Quotations are taken from Evelyn M Pinnell, ‘Memories of a Victorian Water-Colourist’, The Sussex County Magazine, 1953, Page 20.)

The visit of Ulysses and Calypso to Lynmouth was not recorded in the local papers at the time, but ‘that remote Ogygian isle’ would appear now to be identified with Lundy Island. Butterflies Paradise certainly relates to these paintings and was possibly produced between them, in the 1880s or early 1890s. However, it differs

45 Butterflies Paradise (opposite) Inscribed with title Distemper on canvas 55 ½ x 25 ½ inches

3. DEVON AND CORNWALL

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46 Cloaked Woman Pencil on tinted paper 12 x 8 inches Provenance: The Estate of Lyndon Goodwin Harris

47 High St, Ilfracombe Signed, inscribed with title and dated '93 Coloured chalks with watercolour enclosed by a decorative border 9 Â˝ x 14 inches Literature: Albert Goodwin RWS, 1845-1932, Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 45 Exhibited: Fine Art Society, October 1893, No 91

4. Switzerland and the North 1880s-1890s

ALBERT GO O DW IN RW S

48 The Northern Lights Bergen, Norway Signed and inscribed with title Watercolour on tinted paper 5 Â˝ x 10 inches Exhibited: Salisbury, April-May 2012, No 58

4. S W IT ZERLAND AND T HE NO RT H

‘I did not paint this from Nature, but I have seen the aurora make the sky all crimson’ (Albert Goodwin in the catalogue, A Collection of Water-Colour Drawings of Many-Sided Nature by Albert Goodwin, RWS, London: Fine Art Society, May 1890)

49 The Secret of the Glacier. Discovered (opposite below)

50 The Watchers of the Arctic Night (above)

Signed and inscribed with title Watercolour and bodycolour on tinted paper 10 x 15 inches

Signed with monogram, inscribed ‘The Arctic Night’ and dated 90 Watercolour 13 ¼ x 19½ inches

Provenance: Matthew Biggar Walker Esq, of Wolverhampton

Exhibited: Fine Art Society, December 1890, No 19; Christopher Wood, 1981, No 89; Touring exhibition, 1981-82, No 105

Exhibited: Birmingham, 1926, No 22; Chris Beetles Gallery, 2014, No 23; Chris Beetles Gallery, February 2016; Chris Beetles Gallery, February-March 2019

ALBERT GO O DW IN RW S

In 1887, Albert Goodwin and his brother, Harry, visited Lucerne and the Italian Lakes. 51 The Walls of Lucerne Signed with monogram and dated /87 Pen ink and watercolour 4 ½ x 6 inches Exhibited: Chris Beetles Gallery, June 2007, No 34

52 Lucerne Signed and inscribed with title Watercolour with pen ink and bodycolour 7 ¾ x 10 ¼ inches Exhibited: Chris Beetles Gallery, February 2016 Works with this title were exhibited at the Fine Art Society, December 1890, as No 38; Fine Art Society, December 1898, as No 58; Leggatt Brothers Gallery, 1908, as No 70

4. S W IT ZERLAND AND T HE NO RT H

HARRY GOODWIN Henry Richard Goodwin (1842-1925), known as Harry Goodwin Producing landscapes and other subjects in watercolour and oil, Harry Goodwin worked in a style that is similar to that of his younger brother, Albert, though with a distinctive lightness and sense of space. Harry Goodwin was born in Maidstone, Kent, the sixth surviving child of the builder, Samuel Goodwin, and his wife, Rosetta (née Smith). The family were devout Baptists and worshipped at Bethel Chapel, Union Street, where the organist was Samuel’s brother, Thomas, an organ builder. By the age of 18, Goodwin was also working as an organ builder, probably with his uncle. It is not known whether Harry Goodwin had professional artistic training, though he grew up among talented siblings and, given the similarities in their styles, is likely to have received lessons from his younger brother, Albert. He began to exhibit at principal galleries in London in 1867, while still living in Maidstone in the family home. These included the Royal Academy of Arts, the Society of British Artists and the New Society of Painters in Water Colours. In 1868, Harry married Henrietta Lucas, the sister of Albert’s wife, Mary Ann, in Brighton, Sussex. By 1871, they were living at Maltravers Street, Arundel, and Harry was describing himself as a ‘Professor of Music’, an indication of the range of his creativity. Sadly, Henrietta died later that year.

In 1872, Harry Goodwin married fellow painter, Kate Malleson, in Croydon. During the later 1870s, they lived at Eaton Place, Brighton, and in August 1879 contributed to an exhibition at Maidstone Museum of members of the Goodwin family. In the early 1880s, they settled in Croydon, living at various addresses there into the 1890s. In 1887, W A Knight’s Through the Wordsworth Country was published with Harry’s illustrations. In the same year, Harry joined his brother, Albert, on a sketching tour of Lucerne and the Italian Lakes. By the turn of the century, Harry and Kate Goodwin had moved to Torquay, and would remain there as boarders at 4 Lisburne Crescent until Kate’s death in 1912. Though sequestered in Devon, Harry continued to take sketching tours, and exhibited the results in an ambitious series of solo shows. These included: ‘Switzerland in Sunshine and Snow’ (Dowdeswell’s, 1899), ‘Italian Cities and Swiss Mountains’ (Dowdeswell’s, 1900), ‘English Towns and Swiss Mountains’ (Dickinson’s, 1904) and ‘Watercolours’ (New Dudley Gallery, 1907). Following Kate’s death, Harry moved to Hastings, and so lived close to his brother, Albert, who was residing at Bexhill-on-Sea. His later shows included ‘Swiss Mountains and English Cathedrals’ (Dowdeswell’s, 1915) and others at Walker’s Galleries (1921, 1924). He died in Hastings in 1925. His work is represented in numerous public collections, including Maidstone Museum and Bentlif Art Gallery; and Manchester Art Gallery.

Harry Goodwin 53 The Chapel Bridge, Lucerne Signed with monogram, inscribed ‘Lucerne’ and dated 1892 Watercolour with pen ink, bodycolour and gold paint on paper laid on board 10 ¼ x 14 ¼ inches

Albert Goodwin’s pen and ink replica of Lake Lucerne, Switzerland as it appeared in the catalogue of the Royal Society of Painters in Water-Colours, Summer 1891, Fig 16

54 Basle (below) Signed, inscribed with title and dated /97 Watercolour with pen and ink 10 ¾ x 15 ¼ inches Works with this title were exhibited at the RWS, Winter 1897, No 124, and the Fine Art Society, December 1898, No 12

ALBERT GO O DW IN RW S

55 Lake Lucerne, Switzerland (opposite) Signed with monogram, inscribed with title and dated 91 Watercolour with bodycolour 17 ¼ x 10 ¾ inches Exhibited: RWS, Summer 1891, No 111, as ‘Lucerne and the Righi’ (illustrated in the catalogue, Fig 16); Chris Beetles Gallery, May-June 1996, No 51; Chris Beetles Gallery, February-March 2019

4. S W IT ZERLAND AND T HE NO RT H

ALBERT GO O DW IN RW S

56 Alpine Road Pencil with bodycolour on tinted paper 5 x 7 inches

57 Falls of the Rhine Signed, inscribed with title and dated 87 Watercolour 6 x 9 inches Exhibited: Chris Beetles Gallery, February-March 2019 Works with this subject were exhibited at the RWS, Winter 1888, as No 357, and Winter 1889, as Nos 326, 330 & 363

4. S W IT ZERLAND AND T HE NO RT H

58 Berne Signed and inscribed with title Watercolour with pen and ink 10 x 14 inches Exhibited: Chris Beetles Gallery, June 2007, No 98 Works with this title were exhibited at the RWS, Summer 1900, as No 116; Fine Art Society, November 1900, as No 52; Leggatt Brothers Gallery, 1912, as No 37; Vicars Brothers, March 1925, as No 2

ALBERT GO O DW IN RW S 59 The Righi Signed with monogram and inscribed with title Pencil on tinted paper 8 ¾ x 10 ¾ inches Exhibited: Chris Beetles Gallery, May-June 1996, No 50 Chris Beetles Gallery, June 2007, No 97

60 Engelberg Signed, inscribed with title and dated /96 Watercolour 10 x 14 ½ inches Works with this subject were exhibited at the Fine Art Society, March 1896, as No 50, ‘Autumn at Engelberg, Switzerland’; RWS, Winter 1896, as No 331, Engelburg’; Fine Art Society, December 1898, as Nos 11, Engelberg’ & 45, ‘Engelberg, Switzerland’; RWS Winter 1899, as No 109, ‘Engelburg’

4. S W IT ZERLAND AND T HE NO RT H

61 Engelberg Signed and inscribed with title Watercolour with pen ink, bodycolour and gum arabic 9 ¾ x 13 ½ inches Exhibited: Chris Beetles Gallery, February-March 2019 Works with this subject were exhibited at the Fine Art Society, March 1896, as No 50, ‘Autumn at Engelberg, Switzerland’; RWS, Winter 1896, as No 331, ‘Engelburg’; Fine Art Society, December 1898, as Nos 11, ‘Engelberg’ & 45, ‘Engelberg, Switzerland’; RWS, Winter 1899, as No 109, ‘Engelburg’

62 Storm in the Simplon Road Signed and dated 82 Watercolour with pen and ink 8 ½ x 12 ¼ inches Exhibited: RWS, Winter 1882, No 223; Chris Beetles Gallery, February-March 2019

ALBERT GO O DW IN RW S

5. England 1880s-1890s

ALBERT GO O DW IN RW S

63 Canterbury Close Signed with monogram, inscribed with title and dated /86 Pen ink and watercolour on tinted paper enclosed by a decorative border 5 ¼ x 5 ¼ inches

64 Canterbury Signed with monogram, inscribed with title and dated /86 Pen ink and watercolour on tinted paper 6 ½ x 7 inches Provenance: Dr H S Firmin Literature: Hammond Smith, Albert Goodwin RWS, Leigh-on-Sea: F Lewis, 1977, Plate 13

5. ENGLAND

‘No. 58, “Portsmouth: War’s Alarms”, is a fine piece of the romance of movement and of the contention of varied artificial lights with the moon’s rays.’ (St James’s Gazette, 30 November 1896, review of the Winter exhibition of the Royal Society of Painters in Water Colours)

65 Portsmouth Signed, inscribed with title and dated 96 Watercolour with bodycolour 13 ¼ x 16 ¾ inches Literature: Albert Goodwin RWS, 1845-1932, London: Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 54 Exhibited: Touring exhibition, May-October 1986, No 40 Probably the work exhibited at the RWS, Winter 1896, as No 58, ‘Portsmouth – “War's Alarms”’

ALBERT GO O DW IN RW S

66 Harnham Fair (above)

67 May Moon, Old Basing (opposite)

Signed, inscribed ‘Salisbury’ and dated 1893 Watercolour 14 x 20 ½ inches

Signed Watercolour with bodycolour 9 x 7 ½ inches

Literature: The Western Morning News, 21 November 1894; Albert Goodwin RWS, 1845-1932, London: Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 52

Exhibited: Touring exhibition, May-October 1986, No 27, as ‘May Moon, Basingstoke’; Chris Beetles Gallery, February-March 2019

Exhibited: Probably exhibited at Bristol Academy, November 1894

5. ENGLAND

68 Salisbury Signed and inscribed with title Watercolour with bodycolour and pencil 10 ½ x 14 ¼ inches Provenance: The John Cleese Collection; Lord Wraxall

ALBERT GO O DW IN RW S

5. ENGLAND

69 Salisbury Signed, inscribed with title and dated /92 Watercolour 11 x 14 Âź inches Exhibited: Salisbury, April-May 2012, No 22; Chris Beetles Gallery, February 2016

ALBERT GO O DW IN RW S 70 Lincoln Signed, inscribed with title and dated 1891 Watercolour with pen and ink enclosed by a decorative border 3 ½ x 5 inches Exhibited: RWS, Summer 1891, as No 201

71 St Mary Redcliffe, Bristol Signed and inscribed with title Watercolour 7 ½ x 8 ¾ inches Provenance: Matthew Biggar Walker Esq, of Wolverhampton, 1928; Frost & Reed, Bristol & London, No R9367; Sir Alfred Pugsley, of Clifton, Bristol, until 1998; Dr Philip Bulson, of Sway, Hampshire

5. ENGLAND

72 Bristol Signed and inscribed with title Pen ink and watercolour with pencil 10 Âź x 15 inches Exhibited: Chris Beetles Gallery, February 2016

ALBERT GO O DW IN RW S

73 Bristol, St Mary Redcliffes Signed with monogram, inscribed with title and dated /86 Inscribed 'Bristol' on supporting sheet below mount Watercolour and bodycolour enclosed by a decorative border 5 ½ x 7 ½ inches A work entitled ‘Bristol’ was exhibited at the RWS, Winter 1887, as No 347

5. ENGLAND

74 Bristol Signed, inscribed with title and dated /93 Watercolour 9 ¾ x 13 ¼ inches Exhibited: Chris Beetles Gallery, May-June 1996, No 55; Chris Beetles Gallery, June 2007, No 33

75 Christchurch, Oxford Signed and inscribed with title Watercolour and bodycolour 9 Â½ x 14 inches Exhibited: Chris Beetles Gallery, February-March 2019

ALBERT GO O DW IN RW S

5. ENGLAND

‘The charge to see Oxford from the top of the Radcliffe Library is twopence, and, on the whole, the visitor gets good value for his money. I do not know a more splendid vision of pinnacles and palaces.’ (Albert Goodwin in the catalogue; A Collection of Pictures and Drawings of Imaginative Landscape in Europe and Asia by Albert Goodwin RWS, London: Fine Art Society, March 1896)

76 All Souls, Oxford Signed and dated 95 Watercolour with pen and ink 9 ½ x 13 inches Literature: Hammond Smith, ‘The Poetical Landscapes of Albert Goodwin RWS’, Antique Collecting, 1981, Figure 3; Albert Goodwin RWS, 1845-1932, London: Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 51 Exhibited: RWS, Winter 1895, No 214, as ‘Oxford from the Radclyffe Library’; Fine Art Society, March 1896, No 17; Touring exhibition, 1981-82, No 24

ALBERT GO O DW IN RW S

77 Whitby Signed, inscribed with title and dated /98 Watercolour with pen ink and bodycolour 5 x 7 Â˝ inches Exhibited: Chris Beetles Gallery, March-April 2014, No 67

5. ENGLAND

78 Whitby (opposite below)

79 Whitby, Considered Decoratively (above)

Signed, inscribed with title and dated 94 Watercolour with pen and ink 5 x 8 inches

Signed, inscribed with title and dated 1900 Oil on tinted paper 14 ¼ x 21 inches

Literature: Hammond Smith, ‘Albert Goodwin, RWS (1845-1932)’, Old Watercolour Society’s Club, Volume LIV, 1979, Page 8; Albert Goodwin RWS 1845-1932, London: Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 47

Literature: Albert Goodwin RWS, 1845-1932, London: Chris Beetles Ltd 1986, Limited Edition of 1000, Plate 65

Exhibited: Touring exhibition, 1981-82, No 21 A work with this title was exhibited at the RWS, Summer 1895, No 106

Exhibited: Touring exhibition, May-October 1986, No 45

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80 Wells Carnival Signed, inscribed ‘Wells’ and dated 95 twice Oil, watercolour and bodycolour 11 x 15 ¼ inches Literature: Albert Goodwin RWS, 1845-1932, London: Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 48 Exhibited: RWS, Summer 1896, No 219, as ‘Wells’; Touring exhibition, May-October 1986, No 37

6. France and Italy 1880s-1890s

ALBERT GO O DW IN RW S

6. FRANCE AND ITALY

81 Villefranche Riviera (opposite above) Signed with monogram and inscribed with title Watercolour with pen and ink 10 x 14 ½ inches A work entitled ‘Ville Franche (Riviera)’ was exhibited in at the Fine Art Society, December 1890, as No 72

83 Amalfi (above) 82 Antibes (opposite below) Signed and inscribed with title Oil with pen ink and pencil on paper laid on board enclosed by a decorative border 9 x 11 ¼ inches A work entitled 'Antibes, near Cannes' was exhibited at the RWS, Winter 1891, as No 59

Signed, inscribed with title, and dated /93 Watercolour and pencil with pen and ink 6 ¾ x 9 ½ inches Exhibited: Salisbury, April-May 2012, No 27 Probably the work exhibited at the RWS, Summer 1893, as No 34, and the Fine Art Society, October 1893, as No 83

ALBERT GO O DW IN RW S

84 Verona Signed and inscribed with title Watercolour with pen ink and bodycolour on tinted paper 7 ¼ x 9 ½ inches Provenance: The John Cleese Collection Exhibited: Chris Beetles Gallery, February 2016

6. FRANCE AND ITALY

85 Verona Signed, inscribed with title and dated /96 Watercolour 10 ½ x 14 ¼ inches Exhibited: RWS, Winter 1896, No 300; Chris Beetles Gallery, May-June 1996, No 66; Chris Beetles Gallery, February-March 2019

ALBERT GO O DW IN RW S

86 Venice. The Tendering of the Stock Fish (detail) Signed with initials and inscribed with title Pencil on tinted paper 5 ½ x 8 ½ inches Provenance: The Estate of Lyndon Goodwin Harris Exhibited: Chris Beetles Gallery, June 2007, No 62

87 St Mark’s, Venice Signed with monogram and dated /92 Watercolour with bodycolour and gold paint 10 ½ x 14 ¾ inches Literature: Albert Goodwin RWS, 1845-1932, London: Chris Beetles, 1986, Limited Edition of 1000, Plate 43, as ‘Interior of St Mark’s, Venice’ A work with this title was exhibited in at the Fine Art Society, December 1898, as No 52a

6. FRANCE AND ITALY

88 Studies of Figures in Piazza St Mark’s, Venice Signed with initials, inscribed 'Piazza St Marks Venice’ and dated ‘Oct 81’ Pencil with white crayon on tinted paper 5 ¼ x 9 ¾ inches Provenance: The Estate of Lyndon Goodwin Harris

89 Venice Signed and inscribed with title Watercolour 8 ½ x 12 inches

ALBERT GO O DW IN RW S

Albert Goodwin’s pen and ink replica of Pisa as it appeared in the catalogue of the Royal Society of Painters in Water-Colours, Summer 1889, Fig 65.

90 Pisa Signed with monogram, inscribed with title and dated 89 Watercolour on board 8 ¾ x 13 ½ inches Exhibited: RWS, Summer 1889, No 246 (illustrated in the catalogue, Fig 65); Chris Beetles Gallery, March-April 2014, No 69; Chris Beetles Gallery, February 2016; Chris Beetles Gallery, February-March 2019 Possibly the work exhibited at the Fine Art Society, November 1900, as No 34, ‘The Domes of Pisa’

7. Egypt, India, South Africa and the West Indies 1870s-1910s

ALBERT GO O DW IN RW S

91 Pompey’s Pillar, Alexandria Signed with initials, inscribed with title and dated ‘Feb 6th’ Pencil sketch of a landscape on reverse Pencil with white crayon on tinted paper 4 x 6 ½ inches Provenance: The Estate of Lyndon Goodwin Harris A work with this title was exhibited at the Rembrandt Gallery, 1902, as No 18

7. EGY PT, I NDI A, SO UT H AFRICA AND T HE W EST INDI E S

93 The Land of Egypt (above) Signed, inscribed with title and dated 1913 Watercolour with bodycolor and ink 12 ½ x 21 inches

92 Bab El-Metwally, Cairo (opposite, below) Signed and dated /76 Watercolour with pencil on board 14 ¼ x 20 ½ inches

Bab El-Metwally, Cairo This view of Cairo shows the southern end of Sharia Al-Muizz Li-din Allah, known as Souk Kariyeh. At the right is the fifteenth century Mosque of Sultan al-Muyyad and in the distance the eleventh-century gate, Bab Zuweila (Bab El-Metwally in Goodwin's time).

ALBERT GO O DW IN RW S

94 Studies of Arab Figures

95 Arab Figure Pointing

Pencil with white crayon on tinted paper 6 ½ x 10 ½ inches

Pencil and white crayon on tinted paper 9 ¼ x 7 ½ inches

Provenance: The Estate of Lyndon Goodwin Harris

7. EGY PT, I NDI A, SO UT H AFRICA AND T HE W EST INDI E S

96 Cairo (opposite below)

97 Tombs of the Mamelukes, Cairo (above)

Signed, inscribed with title and dated 1906 Watercolour and bodycolour 10 x 14 ¼ inches

Signed and inscribed with title Watercolour with pen ink and bodycolour on tinted paper 7 ¼ x 10 ¾ inches Literature: Christopher Wood, Victorian Painting, London: Weidenfeld & Nicolson, 1999, Page 368

Exhibited: RWS, Winter 1906, No 301 Four works with the same title were exhibited at Fine Art Society, January 1907, as Nos 8, 17, 20 & 50

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99 The Land of Egypt (opposite) Signed, inscribed with title and dated 1910 Watercolour with bodycolour 17 ¼ x 21 ¾ inches

98 The Citadel, Cairo from the Mokattam Hills (above) Signed, inscribed with title and dated 1912 Watercolour with bodycolour 13 ½ x 20 ½ inches A work entitled ‘The Citadel, Cairo’ was exhibited at the RWS, Summer 1915, as No 5

Literature: Albert Goodwin RWS, 1845-1932, London: Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 121; David A Ross, ‘Albert Goodwin and Points East’, Southeast Review of Asian Studies, Volume 34, 2012, Page 174 Exhibited: Touring exhibition, May-October 1986, No 80 Possibly the work exhibited at the RWS, Winter 1910, as No 12, ‘Afterglow – Citadel, Cairo’

7. EGY PT, I NDI A, SO UT H AFRICA AND T HE W EST INDIE S

‘February 10th. Tried to get hold of some of the blue of sky as seen behind minarets and mosques of Sultan Hussan. How illusive that blue is, how difficult to get it and avoid the look of paint. In the evening went to the hills and got sight of the glory of sunset andafterglow. This time I hope will bear fruit. Still rejoicing in recovered health! … Painted a memory of the Citadel, silhouetted against afterglow: a great thing to know what you want to get. The little work I have had, face to face with nature, makes all the difference.I had begun to fumble from long work – too long – indoors. Now I feel that artistic health, as well as bodily, has to some extent come back to me.’ (The Diary of Albert Goodwin, RWS, 1883-1927, Privately Printed, 1934, Page 94, 10 February 1909)

‘Saturday. Sun and blue again! most welcome after the yellow desert fog. Painted on balcony – Cairo work – glad to find I canremember enough to bring back a little memory of some of the afterglows over Citadel and hill. I think the afterglow here in Egypt isthe one unique thing which we only see now and again in England. Often a quite ordinary pale sunset will have an astonishingly brilliant afterglow.’ (The Diary of Albert Goodwin, RWS, 1883-1927, Privately Printed, 1934, Page 96, 20 February 1909)

ALBERT GO O DW IN RW S

100 Corn in Egypt, Grain Ships at the Port of Cairo Signed and inscribed with title Watercolour 6 ¾ x 9 ¾ inches

101 The Banks of the Nile, Cairo Signed, inscribed with title and dated 1906 Watercolour with bodycolour and pencil on board 10 ¼ x 14 ½ inches Exhibited: RWS, Winter 1906, No 149

7. EGY PT, I NDI A, SO UT H AFRICA AND T HE W EST INDI E S

102 Ports of the West and East: Boulac, Cairo Signed, inscribed ‘Boulac, Cairo’ and dated 1910 Oil on paper 10 ¾ x 14 ¾ inches Literature: Albert Goodwin RWS, 1845-1932, London: Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 122 Exhibited: RA, 1910, No 577; Touring exhibition, May-October 1986, No 81

100

ALBERT GO O DW IN RW S

‘Painted this morning a sketch of a mangrove swamp. It is a loathsome thing and perhaps it’s a morbid mind that would wish to paint it, but the “Deadly Upas Tree” legend was the idea I had in my thoughts and the mangroves leading up to the great tree (which I think should be of the silk cotton-tree kind) as that, as far as I have seen, is one of the most weird and astonishing trees that the West Indies produces.’

104 Gulf of Suez (opposite above) Signed and inscribed with title Watercolour with bodycolour 10 x 14 inches

(The Diary of Albert Goodwin, RWS. 1883-1927, Privately Printed, 1934, Page 178, 2 April 1912)

105 West Indian Sunset, Barbados (opposite below)

103 The Road to the Deadly Upas Tree Signed and inscribed with title Watercolour, bodycolour, ink and pencil on tinted paper 10 ¼ x 14 ¼ inches Literature: Albert Goodwin RWS, 1845-1932, London: Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 138

Signed, inscribed with title and dated 1912 Watercolour and bodycolour on tinted paper 9 ¼ x 13 ¾ inches Provenance: The John Cleese Collection Exhibited: Leggatt Brothers Gallery, 1912, No 1; Salisbury, April-May 2012, No 20; Chris Beetles Gallery, March-April 2014, No 76

7. EGY PT, I NDI A, SO UT H AFRICA AND T HE W EST INDIE S

101

102

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106 Table Mountain, S Africa Signed, inscribed with title and dated 1917 Watercolour and bodycolour on tinted paper 10 x 14 Â˝ inches Literature: Albert Goodwin RWS, 1845-1932, London: Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 171 Exhibited: RWS, Winter 1918, No 49

7. EGY PT, I NDI A, SO UT H AFRICA AND T HE W EST INDI E S

107 Cape Town Docks Signed, inscribed with title and dated 1917 Watercolour with bodycolour and black chalk 11 ¾ x 17 ¾ inches Probably the work exhibited at the Leggatt Brothers Gallery, 1919, as No 43

103

104

ALBERT GO O DW IN RW S 108 Taj Mahal. Agra Signed and inscribed with title Pen and ink with bodycolour on tinted paper 9 ¾ x 13 ¾ inches Exhibited: Salisbury, April-May 2012, No 61

‘Monday, December 17th. Painted to-day small replica of an outline of the Taj Mahal, Agra Fort. This, when I saw it from the top of the fort overlooking the “Jasmine Tower,” I remember thinking it worth all the travail to see that alone.. I can hear still the Georgian sort of chanting that came up from the natives below who were washing the clothes of Agra in the Jumna River.’ (The Diary of Albert Goodwin, RWS, 1883-1927, Privately Printed, 1934, Page 377, 17 December 1917)

109 The Jasmine Tower, Agra Fort. & Taj Mahal Signed and inscribed with title Pen and ink with bodycolour and pencil 10 ¼ x 14 ¼ inches This is the preliminary drawing for the 1918 watercolour, bodycolour and oil, (see image opposite).

7. EGY PT, I NDI A, SO UT H AFRICA AND T HE W EST INDI E S

The Jasmine Tower, Agra Fort, 1918

110 Jama Masjid, Agra (above) Signed and inscribed ‘Agra’ Oil with pen and ink on board 12 x 15 ½ inches Provenance: Fine Art Society, London, December 1968 Works with this subject were exhibited at the Fine Art Society, March 1896, as No 56, ‘The Mosque at Agra’; Fine Art Society, November 1900, as No 5, ‘The Mosque, Agra,’ and No 31, Jumna Musjid, Agra’; Vicars Brothers, March 1925, as No 15, ‘Jama Masjid, Agra’

105

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‘What may be the ultimate result of the American Fleet’s visit to Australia and New Zealand no one can adequately conjecture; but that they will be both far-reaching and important goes without saying. Nothing approaching it in significance has ever occurred in the Eastern world; and it gives new point to the oft-quoted opinion that the contests of commerce and war will, during the present century, be fought out and determined in the Pacific instead of the Atlantic.’ (The Corowa Free Press, Tuesday 18 August 1908, Page 2, ‘The Coming of the Fleet’)

111 The Coming of the Fleet ‘Is it peace Jehu?’ Signed, inscribed with title and dated 1908 Watercolour and bodycolour 10 ½ x 14 ¾ inches Exhibited: RWS, Summer 1908, No 247

8. Subjects from the Imagination 1880s-1920s

108

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THE ARABIAN NIGHTS Prince Camaralzaman Watching the Robber of the Talisman The present work is a replica of the watercolour of the same title (see image left) exhibited at the RWS, Summer 1884, No 130, drawn to illustrate it in the accompanying catalogue.

112 Prince Camaralzaman Watching the Robber of the Talisman (below) Pen and ink on tinted paper 3 ¾ x 4 ¾ inches Illustrated: The Royal Society of Painters in Water-Colours, Summer 1884, Fig 26

113 Ali Baba and the Forty Thieves (opposite) Signed, inscribed with title and dated 1905 Signed and inscribed with title on original backboard Watercolour and bodycolour 14 ¾ x 10 ½ inches Exhibited: RWS, Summer 1905, No 237

8. S UB JECT S FRO M T HE IMAGINAT IO N

109

110

114 The Happy Isle of Serendib Sindbad in the sixth voyage relates his adventures to the Sultan Signed and dated 1905 Inscribed ‘The Happy Island of Serendib’ on label on reverse Oil on board 24 ½ x 34 inches Literature: Albert Goodwin RWS, 1845-1932, London: Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 93, as ‘The Happy Island of Salahat’ Exhibited: RA, 1905, No 126, as ‘The Happy Island of Salahat’

ALBERT GO O DW IN RW S

8. S UB JECT S FRO M T HE IMAGINAT IO N

111

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THE PILGRIM’S PROGRESS

‘Now there was not far from the place where they lay, a castle, called “Doubting Castle,” the owner whereof was Giant Despair, and it was in his grounds they were now sleeping; wherefore, he getting up in the morning early, and walking up and down in his fields, caught Christian and Hopeful asleep in his grounds. Then, with a grim and surly voice, he bade them awake; and asked them whence they were, and what they did in his grounds. They told him they were pilgrims; and that they had lost their way.’ (John Bunyan, The Pilgrim’s Progress, 1678, ‘Giant Despair’)

115 Giant Despair Discovers the Pilgrims Signed with monogram and inscribed with title Pen and ink 3 ¾ x 5 inches Illustrated: The Royal Society of Painters in Water-Colours, Summer 1884, Fig 50 Exhibited: Chris Beetles Gallery, May-June 1996, No 29

Giant Despair Discovers the Pilgrims The present work is a replica of the watercolour of the same title exhibited at the RWS, Summer 1884, No 69.

8. S UB JECT S FRO M T HE IMAGINAT IO N

ROBINSON CRUSOE

116 Robinson Crusoe & the Savages Signed, inscribed with title and dated 1912 Watercolour with bodycolour 10 x 13 ¾ inches Literature: Hammond Smith, ‘Albert Goodwin, RWS (1845-1932)’, Old Watercolour Society's Club, Volume LIV, 1979, Page 18 Exhibited: Touring exhibition, 1981-82, No 107

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THE BIBLE

8. S UB JECT S FRO M T HE IMAGINAT IO N

115

117 Hills of the Robbers (opposite above) Signed, inscribed with title and dated 1920 Oil with pen and ink on tinted paper laid on board and enclosed by a decorative border 13 ½ x 20 ½ inches The title is taken from Psalm 76; Verse iv: ‘Thou art of more honour and might: than the hills of the robbers’. Exhibited: Salisbury, April-May 2012, No 32

118 The Cities of the Plain ‘and lo, the smoke of the cities rose up, and the smoke of a great furnace’ (opposite below) Signed and inscribed with title Watercolour with pen ink and bodycolour 10 ½ x 14 ¾ inches

119 The Severance of Abraham and Lot Signed, inscribed with title and dated 1911 Watercolour and bodycolour 13 ¾ x 20 ½ inches

116

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120 The Slavers Signed and inscribed with title Watercolour 10 ¾ x 14 ½ inches Exhibited: Chris Beetles Gallery, June-July 1986, No 31 A work entitled ‘The Wreck of the Slave Dhow’ was exhibited at the Leggatt Brothers Gallery, 1919, as No 27

8. S UB JECT S FRO M T HE IMAGINAT IO N

117

‘Wednesday, March 24th. To-morrow is the last day I can have to work on the RA pictures, two done, but the last, “Sea Raiders,” owing to want of study of ships, doubtful; but I hope to end it to-morrow; happily or the reverse! There is to me a charm in the so-called imagination picture, which the mere portrait of a place does not contain. One gets free play for whatever one has of the inventive faculty, and you are not tied down to hard facts. March 26th. My two exhibitions supplied, for the RWS and the RA have now had my contributions, the last I took up to London to-day, and have only returned an hour or two ago; working in London up to the last on the larger of my three pictures, “Sea Raiders”.’ (The Diary of Albert Goodwin, RWS, 1883-1927, Privately Printed, 1934, Page 305)

121 The Sea Raiders Signed, inscribed with title and dated 1915 Oil on canvas 25 ¼ x 35 ¼ inches Literature: The Diary of Albert Goodwin, RWS, Privately Printed, 1912, entries for 24 & 26 March 1915; Albert Goodwin RWS, 1845-1932, London: Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 163 Exhibited: RA, 1915, No 164; Chris Beetles Gallery, June-July 1986, No 78

118

122 Equinox Signed and inscribed with title Watercolour and bodycolour with pen and ink 11 x 15 Â˝ inches Provenance: Lord Wraxall A work with this title was exhibited at the Royal Academy, Summer Exhibition, 1911, as No 796

ALBERT GO O DW IN RW S

8. S UB JECT S FRO M T HE IMAGINAT IO N

123 The Slave Dhows Signed, inscribed with title and dated 1921 Oil on wood 9 ½ x 13 ½ inches

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120

124 The Arrival of the Invincible Armada! Signed, inscribed with title and dated 1926 Oil with pen and ink on paper laid on board 11 Âź x 18 Âź inches

ALBERT GO O DW IN RW S

9. England 1900s

122

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125 Pevensey Castle, Sussex Signed and inscribed ‘Pevensy Castle’ Watercolour with bodycolour and pencil on tinted paper 6 ¾ x 9 inches A work with this title and size was exhibited at Walker’s Galleries, July 1961, as No 12

9. ENGLAND

126 Hastings Signed, inscribed with title and dated ‘August 1905’ Watercolour and bodycolour 10 x 14 ½ inches

123

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127 Canterbury Signed, inscribed with title and dated 1901 Oil on canvas 30 ½ x 47 ½ inches

A watercolour version of this composition was illustrated in A Lys Baldry, ‘The Art of Mr Albert Goodwin, RWS’, The Studio, March 1910, page 93, at which time in was in the possession of the Fine Art Society.

Exhibited: Chris Beetles Gallery, May-June 1996, No 123; Chris Beetles Gallery, June 2007, No 74

9. ENGLAND

125

126

128 Rye Signed and inscribed with title Watercolour 9 x 12 ¾ inches Literature: Hammond Smith, ‘Albert Goodwin, RWS (1845-1932)’, Old Watercolour Society’s Club, Volume LIV, 1979, Page 20; Albert Goodwin RWS, 1845-1932, London: Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 131 Exhibited: Touring exhibition, 1981-82, No 10; Touring exhibition, May-October 1986, No 88

ALBERT GO O DW IN RW S

9. ENGLAND

129 Rye Signed, inscribed with title and dated ‘Sept 4th 1910’ Inscribed ‘mount on line’ below mount Watercolour and bodycolour on tinted paper laid on board 10 x 14 ¾ inches

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128

130 Waste Lands. Rye Signed, inscribed with title and dated 1908 Watercolour on paper laid on board 10 ¼ x 14 ¼ inches Provenance: Fine Art Society, London

ALBERT GO O DW IN RW S

‘Starting ... at the extreme eastern end of the county [of Sussex] we find Rye and Winchelsea ... Herbert [Menzies] Marshall and Albert Goodwin are amongst those who have made these tours their own, and amongst the latter’s most beautiful drawings must be counted some of the grey and red Cinque Port of Rye.’ (Charles Holme (ed), Sketching Grounds, London: The Studio, 1909, Page 11)

9. ENGLAND

131 Sunset, Rye Signed and inscribed with title Watercolour and bodycolour 9 ½ x 13 ¼ inches

129

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132 Westminster Abbey Signed with monogram and inscribed ‘Westminster’ Pencil with chalk 9 ¾ x 12 inches

133 Westminster Abbey Signed and inscribed ‘Westminster’ Watercolour with pen ink and bodycolour 10 x 14 ½ inches Provenance: Dr H S Firmin Literature: Hammond Smith, Albert Goodwin RWS, Leigh-on-Sea: F Lewis, 1977, Plate 22

9. ENGLAND

134 Westminster Signed and inscribed with title Watercolour, pen ink and chalk on tinted paper 7 ½ x 10 ¾ inches Exhibited: Salisbury, April-May 2012, No 17

135 St John’s, Westminster Signed and inscribed with title Watercolour with pen and ink 10 x 14 ½ inches Exhibited: Fine Art Society, London, January 1907, No 42

131

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9. ENGLAND

133

136 Winchester (opposite above) Signed and inscribed with title Watercolour with pen ink and bodycolour 9 ¾ x 14 ½ inches

137 Bosham, Sussex (opposite below)

138 Windsor

Signed Oil on board 12 x 18 inches

Signed, inscribed with title and dated 1908 Oil with pen and ink 10 ¾ x 14 ¾ inches

Provenance: Fine Art Society, London, November 1953

134

139 Bristol Signed, inscribed with title and dated 1903/4 Watercolour with pen and ink 10 Âž x 14 Âž inches

ALBERT GO O DW IN RW S

9. ENGLAND

140 The Shipbreaker’s Yard Signed and inscribed with title Watercolour with pen and ink 10 x 14 ½ inches Provenance: The Estate of Lyndon Goodwin Harris Exhibited: ‘Chris Beetles Gallery, June 2007, No 95 A work entitled ‘The Ship-Breaker’s Yard’ was exhibited at the Fine Art Society, January 1907, as No 32

135

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141 Ely Signed and inscribed with title Watercolour with pen ink and bodycolour on tinted paper 9 ¾ x 14 ½ inches A work entitled ‘Ely Cathedral – Interior’ was exhibited at the Fine Art Society, May 1905, as No 6

9. ENGLAND

142 Wells – from the Roof of the Parish Church Signed, inscribed ‘Wells from Roof of Parish Church’ and dated 1903 Watercolour with pencil 10 ¼ x 14 ¼ inches Literature: Albert Goodwin RWS, 1845-1932, London: Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 79 Exhibited: Fine Art Society, London, May 1905, No 19; Touring exhibition, May-October 1986, No 54; Chris Beetles Gallery, 7 May-June 1996, No 83; Chris Beetles Gallery, June 2007, No 79

137

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143 Whitby Signed, inscribed with title and dated 1908 Watercolour with pen and ink on board 10 x 14 Â˝ inches Exhibited: Nunnington Hall, April-June 2013 A work with this title was exhibited at the Leggatt Brothers Gallery, 1908, as No 34

9. ENGLAND

144 Whitby Signed and inscribed with title Watercolour with pencil 5 Â˝ x 9 inches Exhibited: Nunnington Hall, September-October 2010; Nunnington Hall, 23 April-30 June 2013

139

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145 Norwich Signed, inscribed with title and dated 1905 Watercolour with bodycolour and pen and ink on tinted paper 11 x 15 Â˝ inches Possibly the work exhibited at the Fine Art Society, London, May 1905, as No 37 or No 47

10. Switzerland 1900s-1910s

142

ALBERT GO O DW IN RW S 146 Fribourg Signed and inscribed with title Watercolour with pen ink and bodycolour 11 x 15 inches

147 Fribourg (Suisse) Signed, inscribed with title and dated 1910 Watercolour and bodycolour with pen and ink 10 x 14 inches Exhibited: Chris Beetles Gallery, June 2007, No 101; Salisbury, April-May 2012, No 34

10. SW IT ZERLAND

‘It is because he approaches his art from Turner’s standpoint and with much of that incomparable master’s sensitiveness that Mr Albert Goodwin has so high a place among the living painters of what can be called imaginative landscape. A follower of Turner he certainly is not, in the ordinary sense of the word; he does not imitate the technical devices of his great predecessor, and he does not try to reproduce his characteristics of manner. But Mr Goodwin’s attitude towards nature is, like that of Turner, one of receptiveness to impressions, and one of readiness to allow sentiment to have its full effect in determining the direction of his effort.’ (A Lys Baldry, ‘The Art of Mr Albert Goodwin, RWS’, The Studio, March 1910, Page 89)

148 Fribourg (Suisse) Signed, inscribed with title and dated 1910 Watercolour with bodycolour and pen and ink 10 x 14 ½ inches Exhibited: Salisbury, April-May 2012, No 35; Chris Beetles Gallery, February-March 2019 Possibly the work exhibited at the RWS, Winter 1910, as No 200, ‘The Fountain, Freybourg, Suisse’

143

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149 Lucerne Signed and inscribed with title Watercolour with pencil 4 ¾ x 6 ¾ inches Exhibited: Chris Beetles Gallery, May-June 1996, No 108; Chris Beetles Gallery, February 2016 This is a preliminary study for the finished watercolour of the same title, which was exhibited at the RWS, Summer 1910, No 103, and is illustrated in Albert Goodwin RWS 1845-1932, Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 118.

150 The Bridge of the Dance of Death, Lucerne Signed, inscribed with title and dated 1909 Watercolour with pen and ink on paper laid on board 10 ½ x 14 ½ inches

10. SW IT ZERLAND

‘The whole town is so overgrown with gigantic new and spick and span hotels that little is left, save the tower, the two old bridges and the green water to rejoice in.’ (The Diary of Albert Goodwin, RWS, 1883-1927, Privately Printed, 1934, Page 114, 23 May 1909)

151 Lucerne Signed and inscribed with title Watercolour on board 9 ¾ x 13 ¾ inches Exhibited: Chris Beetles Gallery, February-March 2019

145

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152 Spiez, Lake Thun Signed, inscribed with title and dated 1914 Watercolour and bodycolour with pen and ink 10 x 14 Âž inches Exhibited: RWS, Winter 1914, No 166; Salisbury, April-May 2012, No 38 Probably the work exhibited at Leggatt Brothers Gallery, 1919, as No 53

10. SW IT ZERLAND

‘Will there be anything more wonderful than the higher Alps in the Kingdom of Heaven? ’ (The Diary of Albert Goodwin, RWS, 1883-1927, Privately Printed, 1934, Page 371, 1 December 1917)

153 Schultz, Engadine Signed and inscribed with title Watercolour with pen ink and bodycolour 10 x 14 ½ inches Provenance: The John Cleese Collection Literature: Albert Goodwin RWS, 1845-1932, London: Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 134 A work with this title was exhibited at Leggatt Brothers Gallery, 1908, as No 29

147

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154 The Vale of Chamonix Signed, inscribed ‘The Vale of Chamounix’ and dated 1919 Watercolour and bodycolour 15 ¾ x 21 ½ inches Literature: Hammond Smith, ‘Albert Goodwin, RWS (1845-1932)’, Old Watercolour Society's Club, Volume LIV, 1979, Page 10 Possibly the work exhibited at the RWS, Spring 1920, as No 86, ‘The Afterglow, Chamonix’, or in Summer 1921, as No 185, ‘Afterglow, Chamonix’

11. Italy, Spain and North Africa 1900s-1920s

150

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155 The Pass of Stelvio Signed and inscribed ‘Selvio’ Watercolour with bodycolour on tinted paper 6 x 9 inches

156 Bormio Signed, inscribed with title and dated 1913 Watercolour with bodycolour 12 x 19 ½ inches

11. I TALY, SPAIN AND NO RT H AFRICA

157 In Tyrol Trafoi & the Ortler Signed, inscribed with title and dated 1907 Watercolour 10 ½ x 14 ¾ inches

151

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158 Venice Signed, inscribed with title and dated 1901 Watercolour with bodycolour 24 ½ x 34 ¼ inches Exhibited: RWS, Winter 1902, as No 10, as ‘Venice Before the Fall of the Tower’

11. I TALY, SPAIN AND NO RT H AFRICA

159 Venetian Butterfly Signed, inscribed with title and dated 1920 Oil on board 14 x 20 Â¼ inches

153

154

160 The Lagoons nr Chioggia, Venezia Signed, inscribed with title and dated 1917 Watercolour and bodycolour 13 Âž x 20 inches Exhibited: Chris Beetles Gallery, February-March 2019

ALBERT GO O DW IN RW S

11. I TALY, SPAIN AND NO RT H AFRICA

161 The Way to Chioggia, Venice Signed, inscribed with title and dated 1912 Watercolour 13 Â˝ x 20 inches Provenance: Richard Howarth of Blackburn Exhibited: Leggatt Brothers Gallery, 1912, No 6; Chris Beetles Gallery, February-March 2019

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156

162 The Fonte Branda, Siena Signed, inscribed with title and dated 1905 Pen ink and watercolour 10 ¾ x 14 ¾ inches Exhibited: Chris Beetles Gallery, February-March 2019

ALBERT GO O DW IN RW S

11. I TALY, SPAIN AND NO RT H AFRICA

157

‘Monday, November 14th. I have today gone back to the memory of the Venetian lagoons, as seen many years back, but still vividly present with me: and to-day in the paper is an account of Austrian aeroplanes dropping bombs on the Market Place at Verona! That wonderful medley of umbrellas, with the fruit-sellers and market-women, the splendid white oxen, which come in from the country with farm produce; and over all the huge great Clock Tower, surely the most wonderful market-place the world has! – to drop bombs on it! ’ (The Diary of Albert Goodwin, RWS, 1883-1927, Privately Printed, 1934, Page 341, 14 November 1915)

163 Verona Signed, inscribed with title and dated 1906 Watercolour 9 ½ x 13 ¼ inches Exhibited: Touring exhibition, May-October 1986, No 105; Chris Beetles Gallery, 7 May-June 1996, No 85; Chris Beetles Gallery, June 2007, No 94 A work entitled ‘Verona Market’ was exhibited at Leggatt Brothers Gallery, 1908, as No 57

158

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164 Naples Signed and inscribed with title Pencil and bodycolour on tinted paper 12 x 14 inches Exhibited: Chris Beetles Gallery, May-June 1996, No 163; Chris Beetles Gallery, June 2007, No 87

165 A Street in Naples Signed, inscribed with title and dated 1926 Watercolour with bodycolour and pen and ink enclosed by a decorative border 10 x 15 inches Exhibited: Chris Beetles Gallery, June-July 1986, No 87; Chris Beetles Gallery, May-June 1996, No 164

11. I TALY, SPAIN AND NO RT H AFRICA

166 Naples – the Eruption Signed and inscribed with title Oil on paper laid on board 10 x 14 ¼ inches

159

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167 Vesuvius Signed and inscribed with title Pen and ink with bodycolour on tinted paper enclosed by a decorative border 8 ¼ x 10 ¾ inches Exhibited: Chris Beetles Gallery, June 2007, No 83; Salisbury, April-May 2012, No 31

168 Pompei from the House of Diomede Signed, inscribed with title and dated ‘Feby 1901-6’ Inscribed 'Vesuvius from Pompei' on mount Watercolour 11 ½ x 14 inches Provenance: The John Cleese Collection Exhibited: Salisbury, April-May 2012, No 30

11. I TALY, SPAIN AND NO RT H AFRICA

169 Torre Annunziata Signed, inscribed ‘Torre Anunziata’ and dated ‘March 1900’ Watercolour with pen and ink 10 x 14 ¾ inches Exhibited: Fine Art Society, November 1900, No 9, as ‘Torre Anunziata, Near Naples’; Chris Beetles Gallery, June 2007, No 71; Chris Beetles Gallery, March-April 2014, No 70 Probably the work exhibited at Leggatt Brothers Gallery, 1908, as No 68, ‘Torre Anunziata and Vesuvius’

161

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170 Red Dawn in the Roman Road Signed and inscribed with title and ‘And from thence when the brethren heard of us they came to meet us as far as Appii Forum, and the Three Taverns whom when Paul saw he thanked god and took courage’ Watercolour with pen and ink 11 x 15 ¼ inches Provenance: The John Cleese Collection Literature: Albert Goodwin RWS, 1845-1932, London: Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 99 Exhibited: Fine Art Society, January 1907, No 82; Chris Beetles Gallery, June-July 1986, No 68

11. I TALY, SPAIN AND NO RT H AFRICA

171 Etna & Taormina Signed, inscribed with title and dated 1905 Watercolour 10 x 14 Â½ inches Exhibited: RWS, Winter 1905, No 49

163

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172 Amalfi Signed, inscribed with title and dated ‘March 20. 1900’ Pen and ink with bodycolour on tinted paper 10 x 14 ½ inches Exhibited: Salisbury, April-May 2012, No 28

173 Amalfi Signed and inscribed with title Watercolour and bodycolour 10 x 14 ¾ inches Literature: Albert Goodwin RWS, 1845-1932, London: Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 120 Exhibited: Chris Beetles Gallery, June-July 1986, No 54

11. I TALY, SPAIN AND NO RT H AFRICA

174 Palma Majorca Signed, inscribed with title and dated 1925 Watercolour and bodycolour with pen ink and pencil enclosed by a decorative border 10 x 14 Â˝ inches

165

166

175 Port Soller, Majorca Signed, inscribed with title and dated 1925 Watercolour and bodycolour 10 Âž x 15 inches

ALBERT GO O DW IN RW S

11. I TALY, SPAIN AND NO RT H AFRICA

176 Soller Port Majorca Signed, inscribed with title and dated 1925 Watercolour with pen ink and bodycolour enclosed by a decorative border 11 ¼ x 15 ¾ inches

167

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177 Algiers Signed, inscribed with title and dated ‘March 1926’ Pen and ink with pencil 9 ¾ x 14 ¾ inches Exhibited: Salisbury, April-May 2012, No 59

178 Barcelona Signed, inscribed with title and dated 1926 Watercolour and pencil with bodycolour 11 x 15 inches Provenance: The John Cleese Collection Exhibited: Chris Beetles Gallery, June-July 1986, No 86

12. England 1918-1920s

170

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‘In thinking over Albert Goodwin’s Art – the long tale of steady, careful, ingenious and very personal labours, extending now over nearly half a century – two words rise to my mind as peculiarly associated with Goodwin’s nature and with his achievement; and the one of them is the word “homeliness”, and the other “splendour.”

179 Sunset. Down the High Street. Canterbury Signed, inscribed with title and dated 1922 Watercolour and bodycolour 15 ¾ x 22 ¾ inches Provenance: Matthew Biggar Walker Esq, of Wolverhampton

Exhibited: Wolverhampton, December 1925, No 81; Birmingham, 1926, No 82; The Walker Art Gallery, Liverpool, 1927; The Atkinson Art Gallery, Southport, 1928 A work entitled ‘Canterbury’ was exhibited at RWS, Summer 1922, as No 25;

12. ENGLAND

To the everyday observer it is the “splendour” that is most visible … Sometimes the splendour is of nature’s contriving … Sometimes the splendour is of Art. A mosque at Benares, is it, or perhaps the wonder of Delhi – the Taj Mahal? … Then you are suddenly shifted from palm and temple of the South; and it is the home of an English cottager, simple and grey, or the congregated peace of a little Old World English country town’ (Sir Frederick Wedmore, ‘Albert Goodwin, RWS’, The Studio, April 1918, Page 79)

180 High Street, Canterbury Signed, inscribed with title and dated 1921 Watercolour with bodycolour on tinted paper 14 ¾ x 22 inches Literature: Albert Goodwin RWS, 1845-1932, London: Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 193 Exhibited: Touring exhibition, May-October 1986, No 125 A work entitled “Canterbury High Street” was exhibited at the RWS, Winter 1921, as No 8

171

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181 Rye Port & Rye Signed, inscribed with title and dated ‘June 1918’ Pen and ink with pencil 10 x 13 ¾ inches Exhibited: Chris Beetles Gallery, June 2007, No 109 Salisbury, April-May 2012, No 42

182 Old Hastings Signed, inscribed with title and dated 1924 Watercolour with bodycolour and ink on tinted paper 10 ½ x 14 ½ inches

12. ENGLAND

183 Cattle Market, Sandwich, Kent Signed and inscribed ‘Sandwich, Kent’ Oil, watercolour and bodycolour with pen ink and pencil on tinted paper 10 ¾ x 14 ¾ inches Exhibited: Salisbury, April-May 2012, No 41

173

174

184 Gathering for Battle, Knole Park, Sevenoaks Signed, inscribed with title and dated 1921 on board Watercolour and bodycolour 14 x 20 Â˝ inches

ALBERT GO O DW IN RW S

12. ENGLAND

185 Beachy Head Signed, inscribed with title and dated 1920 Watercolour with bodycolour 13 ¾ x 20 ½ inches Provenance: The Estate of Lyndon Goodwin Harris Exhibited: RWS, Summer 1920, No 148; Chris Beetles Gallery, June 2007, No 116

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176

186 The Tunnel. Lewes Signed, inscribed with title and dated 1926 Watercolour with pen ink and bodycolour on tinted paper enclosed by a decorative border 10 x 13 Â˝ inches Exhibited: Salisbury, April-May 2012, No 47

ALBERT GO O DW IN RW S

12. ENGLAND ‘June 6th 1918. Bosham. I am in most comfortable lodgings and have had long bike rides to Arundel, Amberley: the last place I had really never seen save in the hurried look one got from the windows of the train in passing, but one might spend with advantage a summer in its vicinity and get plenty to do. Arundel is more or less spoiled for the painter. The late Duke ruined the castle with the horrible additions he added, perfectly needlessly, to the building. Again I felt Rip Van Winkle in revisiting Arundel, seeing no soul I remembered after scouring through the place, but at the last I did meet one whom I knew when I lived in the place – then a girl engaged to be married – now a widow with a daughter (doing hospital work) whom she told me was 45. That showed me palpably of the lapse of years between.’ (The Diary of Albert Goodwin, RWS, 1883-1927, Privately Printed, 1934, Page 404)

187 The Wharf at Arundel Signed, inscribed with title and dated 1919 Watercolour 11 ¾ x 17 ½ inches Literature: Albert Goodwin RWS, 1845-1932, London: Chris Beetles Ltd, 1986, Limited Edition of 1000, Plate 189 Exhibited: Touring exhibition, May-October 1986, No 122

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188 Westminster Signed, inscribed with title and dated 1925 Watercolour, bodycolour and pen and ink on tinted paper 5 x 6 Â˝ inches Exhibited: Chris Beetles Gallery, March-April 2014, No 74

12. ENGLAND

189 Oxford from the Roof of the Radcliffe Library Signed, inscribed with title and dated 1919/21 Watercolour with pen ink and bodycolour 14 x 20 Â˝ inches Provenance: Richard Haworth, Blackburn Exhibited: RWS, Summer 1921, No 13

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180

190 Bournemouth West Signed, inscribed with title and dated 1920 Oil on paper 10 x 14 inches Exhibited: Chris Beetles Gallery, May-June 1996, No 152

ALBERT GO O DW IN RW S

12. ENGLAND

191 Salisbury Signed, inscribed with title and dated 1921 Oil and watercolour with bodycolour and pencil on paper laid on board 10 x 13 Âž inches Literature: Hammond Smith, Albert Goodwin RWS, Leigh-on-Sea: F Lewis, 1977, Plate 35

181

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192 St Mary Redcliffe, Bristol Signed, inscribed with title and dated 1926 Pen ink, oil and watercolour with pencil on paper laid on board 8 Âž x 11 inches

12. ENGLAND

193 Exeter Signed, inscribed with title and dated 1920/4 Watercolour, bodycolour and pen and ink 14 Â˝ x 22 inches Exhibited: RWS, Summer 1924, No 69; Chris Beetles Gallery, June 2007, No 118; Salisbury, April-May 2012, No 49

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194 From Morte Point, N Devon Signed, inscribed with title and dated 1917 Watercolour with bodycolour on card 10 x 14 ¾ inches A work entitled ‘Baggy Point, from Mortehoe in N Devon’ was exhibited at RWS, Winter 1917, as No 235

12. ENGLAND

185

195 Low Tide in the Taw, North Devon (opposite below)

196 Ilfracombe (above)

Signed and inscribed with title and ‘Barnstable Boats. Waiting for the Turn of the Tide’ Watercolour and bodycolour with pen and ink 11 x 15 inches

Signed, inscribed with title and dated ‘May 1925’ Watercolour and bodycolour with pen and ink enclosed by a decorative border 11 x 15 ½ inches

Exhibited: RWS, Winter 1923, No 32, as ‘Low-Tide – Barnstaple, N Devon’

186

ALBERT GO O DW IN RW S

197 Hartland Quay [I] Signed, inscribed with title and dated ‘Aug 1918’ Pencil 5 x 6 ¾ inches

‘August 21st. Have hardly got the hang of Clovelly as yet, and feeling tired of painting and remembering that no good work is done in tiredness, made the bike useful, for after all I brought it, and rode over to Hartland Quay – nought but the remains of a little bit of wall is left of the quay, an astounding place of desperate and awful rocks ever battling with the Atlantic: a place to see to shudder at, and to thank Heaven one is not obliged to live there. Wonderful it is, and with a weird beauty but far too dreadful to live with – felt glad to come back to this quiet little village.’ (The Diary of Albert Goodwin, RWS, 1883-1927, Privately Printed, 1934, Page 418)

198 Hartland Quay [II] Signed, inscribed with title and dated ‘August 1918’ Pencil 5 x 6 ¾ inches

12. ENGLAND

199 Sunset, Hartland Point Signed and inscribed with title Watercolour with bodycolour and pencil 10 x 12 Âž inches

200 Clovelly Signed, inscribed twice with title and dated 1923 Watercolour with pen ink and bodycolour 11 Â˝ x 19 inches A work with this title was exhibited at the RWS, Summer 1924, as No 25

187

188

201 Richmond Hill, Yorks Signed, inscribed with title and dated 1923 Watercolour and bodycolour with pen and ink on tinted paper 10 Â˝ x 15 inches

ALBERT GO O DW IN RW S

Exhibitions and Collections

190

ALBERT GO O DW IN RW S EXHIBIT IO NS Compiled by Sasha Morse, Philip Tite and David Wootton

The following is a list of the solo exhibitions and devoted auctions of work by Albert Goodwin that were held held during his lifetime, plus his contributions to the Royal Academy and the Royal Society of Painters in Water-Colours. It is as accurate as possible to the printed texts, and accepts their inconsistent spellings.

That’s a brave god, and bears celestial liquor; I’ll kneel to him.’ 1884

428

Royal Academy of Arts 1860

156

Under the hedge

1861

326

Spring-time

1867

741 769

On the Arun Aspen trees

1868

629

The dead woodman ‘Fear no more the heat o’ the sun, Nor the furious winter’s rages; Thou thy worldly task hast done, Home art gone and ta’en thy wages.’ – Vide Shakespeare

1870

900

Passing ‘Sorrowing most of all for the words which he spake, that they should see his face no more. And they accompanied him unto the ship.’ – Acts xx. 38 The unveiling of the Enchanted Palace. See story of the Fisherman and Genius, ‘Arabian Nights’

1885

582 690

The oncoming storm The story of the shipwreck

1887

332 472

Shipwreck: Sinbad the Sailor storing his raft Assisi – sleeping in the moonlight

1888

541

The finding of the lost sheep ‘So will I seek out my sheep, and will deliver them out of all places where they have been scattered in the cloudy and dark day.’– Ezekiel xxxiv. 12

564 565

By the Arun Off the Devonshire coast

1889

603

The passage of the Red Sea – Exodus xiv. 24

1871

398

The Medway at Maidstone

1890

506

Hastings

1872

893 1142

Washing day An anthem ‘And there shall be no more death; neither sorrow, nor crying; neither shall there be any more pain.’ – Rev xxi 4

1892

114

The City of Dis Dante, led by Virgil, passes through the infernal regions. The citizens of Dis bar their passage. These are driven back by a heavenly messenger, after which they pass on between the torments and city wall.’ – See Dante’s ‘Inferno,’ canto viii Pastoral Symphony: Guernsey

1876

468

A Devonshire fishing village

1877

509

1329

A baptism of flowers ‘Youth is full of sport, Age’s breath is short.’ The returning of the toilers

1878

142

The pastures of the higher Alps

1879

215 1391

The sixth voyage of Sindbad the Sailor The Valley of Diamonds (See ‘Sindbad the Sailor’)

1880

42 562 1487

Ivy-clad walls: Maidstone The Thames Valley at Bisham A block on the Medway

1881

122

A sermon in the hayfields: Simplon

1882

157 778

Voyage of Sindbad the Sailor The Fisherman and the Genius – ‘The Arabian Nights’

83 1521

The enchanted lake Scene from ‘The Tempest’ Caliban. ‘These be fine things an they be not sprites

1883

‘ 517 1894

385

The first Christmas dawn ‘The opened Heaven’s chancel, while the shepherds gazed in fear. Out trooped the choir of angels – ah, the blessedness to hear; And loud they sang as though the heavens were not enough to fill: Now glory be to God on high, and unto men good will.’

1895

337

Christian leaving the City of Destruction – Bunyan’s ‘Pilgrim’s Progress’ ‘The people that walked in darkness have seen a great light. They that dwell in the land of the shadow of Death, upon them hath the light shined.’ Judas Iscariot: ‘I have betrayed the innocent blood’ Venice

794 904 1896

130

The besieged town of Mansoul ‘It lieth between two worlds, and is said to have been built by one Shaddai, who made it for his own pleasure and delight, the mirror of Himself, the very top piece of all He made. Yea, so wonderful was it that at the

191

EXHIBIT IO NS setting up thereof the gods themselves came down to see it, and shouted for joy.’ – Bunyan’s ‘Holy War’ 1897

332 1320

The king’s garden: Sindbad entertained at the court of the King of the Indies – Arabian Nights Florence Meyringen

1898

690 928 1013

The haven under the hill Under the Roof of the World Canterbury

1899

224 258 923 1100

Benares The street of Mansoul – Bunyan’s ‘Holy War’ Indian afterglow: Agra Amsteg, St Gothard

463 575

The source of the sacred river Dawn in the Pilgrims’ Road ‘And an highway shall be there, and a way, and it shall be called The way of holiness; the unclean shall not pass over it; but it shall be for those: the wayfaring men, though fools, shall not err therein,’– Isaiah xxv. 8 Berne

1900

326

1276 1901

438 784 983 1902

203 405

978 989

Ali Baba and the forty thieves Purchased by the President and Council of the Royal Academy under the terms of the Chantrey Bequest [for 300 guineas] The phantom ship Sinbad the Sailor in the harbour of Salahat Rye Salisbury Close The end of the pilgrims’ road ‘Now I further saw that between them and the gate was a river, but there was no bridge to go over, and the river was very deep. At the sight, therefore, of this river the pilgrims were much stunned; but the men that went with them said, “You must go through or you cannot come at the gate.”’ – Bunyan’s ‘Pilgrim’s Progress’ Amalfi Abrani, near Amalfi

1903

304

The gate of the Inferno ‘Through me the way among the people lost’ – Dante’s ‘Inferno’ The Invincible Armada: ‘Man proposes, God disposes’ Durham Vesuvius in the moonlight: Torre Annunziata

1904

410 662 670

1905

126

The happy island of Salahat ‘Sinbad in the sixth voyage relates his adventures to the Sultan’

1906

3 706 946

S Giorgio, Venice The tropic night: Jamaica The poppy fields: Salisbury

1907

90 144 715

Taormina and Etna Under Vesuvius Benares

1908

939 944

The ‘Betsy Jane,’ of Whitby, going to sea The island: before the cell of Prospero ‘Miranda: Had I been a god of power I would have sunk the sea within the earth, or e’er it should the good ship so have swallowed, and all the freighting souls within her.’ – ‘The Tempest’

1909

484 574 758

Sunset in the Lagoons, Venice Sunset over the Citadel, Cairo London through the smoke rift

1910

576 577 850

Ports of the west and east: Whitby Ports of the west and east: Boulac, Cairo The Roman Campagna

1911

45 796 962

The Taj Mahal, Agra Equinox Lauterbrunnen

1912

252 1056

Lucerne and the Righi Rye, Sussex

1913

301 1075

The city of palm-trees Sunday Morning: Dover

1914

A winter’s tale: Hastings

1915

164 672 690

The sea-raiders The Taj Mahal, Agra Under the bananas

1916

913 929

Canterbury Durham

1917

620 634

Lucerne Altdorf, St Gothard

1918

394 405 454

Benares The Burning Dead, Benares Salisbury

1919

482 543

Night among the Mountains, Chamounix Pastures Green, Rye

1920

421 600

The Cloister Garden The Hardy Norseman at Venice

192

ALBERT GO O DW IN RW S

Royal Society of Painters in Water-Colours [* = illustrated in the relevant RWS catalogue; S = Summer; W = Winter] 1871 S

43 149 213 219 260 W 62 88 124

139 195 221 268 1872 S

15 50 66 70

145 161 168 W 247 270 272 1873 S

84 260 W 74 129 134 168 173 318 325 332 347 351 377

1874 S

64 81 108

167 175

203 212 W 4 64 65

Sunset – Coast of North Devon Reflections Sunset after Rain The Castle Rock, Linton Night April A Cottage Garden Fourscore Years ‘Stars silent rest o’er us. Graves under us silent.’ ‘Feeding Time’ The Derbyshire Hills May Morning Sunlight Abingdon Churchyard – Old Men going to Prayers Weed Burning The Fugitives’ Rest The Pilgrims ‘And they passed down the valley, and came to a silent river.’ Afternoon Noon ‘Yellow Meads’ The Venetian Fruit Market A Cavern on the Cornish Coast The Franciscan Convent at Assisi The Shadow of the Earth – Mont Blanc The Campo Santo, Pisa Venice Venice from the Island of San Georgio Falls of the Frassioni – Simplon Winchelsea The Paternoster Rocks, Jersey Sunset at the Fletchorn, Simplon St Brelades Bay, Jersey Flying Buttresses – Assisi Rye Notes from a Sketch Book Alpine Flowers A Swiss Homestead A Stormy Sunday, Simplon The Alpine Summer ‘They drop upon the pastures of the wilderness, and the little hills rejoice on every side,’ – Psalms Colour in Sunlight – Lago Maggiore The Alpine Rose ‘The wilderness and the solitary place shall be glad for them.’ Isaiah The Village of Simplon Descending from the Higher Pastures Market Place, Verona ‘Toilers of the Sea’ Assisi

1875 S

151 223 269 297 303 304 313 321 324 337 355 358

On the Beach San Sanoni, Verona On the Jersey Coast Castles in the Sea The Old Hospice, Simplon More Sketch Book Notes Monte Leone, Simplon ‘Little Red Riding Hood’ Sea and Sky – No 2 Sea and Sky Six Inches of Jersey Granite St Aubin’s Castle, Jersey

3 33 35 40

By the Well Winchester, from St Giles Hill The Colours carried to their Rest Dartmoor ‘The west wind always brings wet weather, The east wind wet and cold together, The south wind surely brings us rain, The north wind blows it back again.’ A Black and White Study Eastward of Eden ‘And Cain went forth from the presence of the Lord.’ ‘Before the Restoration’ The Hospital of St Cross Under the Fletchorn, Simplon ‘Work among the Bluebells’ Venetian Butterflies ‘sunning their wings’ Water Meads, Winchester St Michael’s Mount Seaweed Harvest Assisi A message from the Sea Rome

47 65

104 241 W 35 62 80 83 137 177 275 279 383 1876 S

144 150 179 187 195 W 82 90 150 162 168 298 355 357 390 396

1877 S

45 62 68 71 80 122

The Street of the Coppersmiths, Cairo Where the Phoenicians came for Tin The Siren Sea Through the City, Seaward The Sailing of the Fishing Fleet Whitby Arab Life in Cairo Mounts Bay A Certain Street in Cairo Malta The Land of Egypt Vesuvius St Michael’s Mount The Valley of the Simplon The Old Walls of Winchester An Old English town ‘Herrings in the Bay’ Veiled Sunlight ‘Water Babies’ An Arabian Night Carpet Bazaar, Cairo

193

EXHIBIT IO NS W 57 82 102 119 149 273 399 1878 S

15 31 51 63 217 261 W 1 19 25 49 160 161 170 184 241 306 316 358

1879 S

110 123 215 222 267 294 302 W 44 88 105 118 139 303 346 363 369

1880 S

108 145 155 212

219 285 W 43 56 98 101 195 211 218

Old Maidstone Sketch of an Old Man’s head Mountain Gorge near Pierrefitte The Earth taking Refreshment A Somersetshire Lane A Wild Night at Sea A Moorish Carpet Ilfracombe (before the improvements?) The fisherman’s chapel Requiem Pastoral symphony The Devonshire winter The southern side of the Alps Dartmoor Dartmoor Geneva, Chambery, and Fesano Old Maidstone bridge ‘Under the Greenwood tree’ Venice Venetian sketches In the Gulf of Spezzia Moorlands Lago Maggiore The Atlas Mountains Among the Buttercups The whortleberry gatherers Strayed from the sheepfold Heather-clad hills, Dartmoor The pastures of the higher Alps Combmartin Bay, North Devon The Old Manor House, Maidstone Ivy-clad walls, Maidstone Among the water weeds, Bisham The overgrown past – Allington Castle, Kent To market High-street, Salisbury Aylesford, on the Medway Study of a bluebell wood From the old bridge, Maidstone Landscape in Kent Still Water Wells The Ponte Vecchio, Florence The Emigrants, ‘Too narrow was their native land’ The Fisherman and the Genie – See The Arabian Nights Florence – From San Miniato Rome Salisbury Tavistock ‘And Israel saw the Egyptians Dead upon the Sea Shore’ In Dutch Waters Dordrecht Merchantmen at Dort ‘This is the rejoicing city, that dwelt carelessly, that said in her heart: I am, and there is none beside me.

240 330 379 1881 S

6 37 144 191 198 244 262 W 43 55 70 123 150 180 185 187 338 360

1882 S

36 71 76

81 111 171 W 7 25 65 195

223 240 246 292 334

368 384 1883 S

10 12 66

Now is she become an abomination a place for beasts to dwell in.’ The English Cemetery at Rome Sandsend, Yorkshire The Beguinage, Bruges Dordrecht A Summer Sea, Mounts Bay Market Morning, Dordrecht A Wedding A Christening A City Churchyard, Salisbury Winchelsea Rye – Twilight Waiting for the Express Train to come by After the Gale The Invincible Armada Hurstmonceaux Castle Beachy Head A Flemish Perspective at Damme Rye – Morning ‘High over the Full-toned Sea.’ Summer Twilight in the Higher Alps Nightfall War – the invading army Lynmouth – the proposed site for a new hotel and iron pier The way up from Lynmouth to Lynton The castle rock, Lynton The Story of the shipwreck Sunset in the Valley of the Simplon Beachy Head – Summer Noon Lucca Through the Valley of the Sea ‘And the angel of God which went before the camp of Israel removed and went behind them. And the pillar of cloud went from before their face and stood behind them. And it came between the camp of the Egyptians and the camp of Israel, and it was a cloud and darkness to them, but it gave light by night to these : so that the one came not near the other all the night.’ Storm in the Simplon Road The Monastery of St Francis, Assisi Study of a Sky The Duomo, Assisi The Returning of the Mariners ‘He maketh the storm a calm, so that the waves thereof are still. Then are they glad because they be quiet: so h bringeth them to their desired haven.’ Maidstone – Sunshine after Rain Twilight over the Gorge of Gondo, Simplon The Invicible Armada ‘Man proposes, God disposes.’ May Morning: The Swan’s Nest Bruges

194

ALBERT GO O DW IN RW S 77 100

131 235 277 W 44 59 100 179 200 210 297

319 331 343 375 400 408 424 1884 S

184 207 243 254 261 295 302 326 371

Silence ‘Here with fantastic garlands came Ophelia.’ Sunshine over the Sea, Mortehoe, North Devon A Sunset in the Manufacturing Districts ‘The heaven, even the heavens are the Lord’s: but the Earth hath He given to the children of men.’ Giant Despair discovering the Pilgrims The road by the Church – Bisham Prince Camaralzaman watching the Robber of the Talisman St David’s The River at Rest – Stratford-upon-Avon Hastings Bologna: Street of the Leaning Towers Strayed Sheep The Island of Shalot ‘Four grey walls, and four grey towers, And underneath a space for flowers; And the silent Isle embowers The Ladye of Shalot,’ – Tennyson Porloch Wier – A Glorified Puddle Clovelly, North Devon Near St David’s A Mountain Stream Still Water Fields of Meadow Sweet Street in Bologna Across Combemartin Bay Ilfracombe Harbour

68 85*

Porlock Wier Clovelly

20 62

69* 90 130* 296 W 90 92 128 132 177

1885 S

Zobeide and the Prince leaving ‘the City of the inhabitants turned to Stone’ (Arabian Nights) Sirenusae ‘Who can light on as happy a shore All the world o’er, all the world o’er? Whither away, listen and stay Mariner, mariner, fly no more.’ – Tennyson The Sole Survivor Ilfracombe Bay Fisherman’s Holiday A Sunlight Valley Under the Fletchorn Glacier A Trout Stream Venice from the Hebrew place of Burial Whitby in Sunset Light The Ponte Vecchio, Florence Great Rejoicings – ‘The Queen has commanded that no lamb shall be served in the Royal Household during the present season’ – See the Times, May, 1883 Swiss Umbrellas, Sion Perugia Assisi Boxley Abbey, Kent The Rialto, Venice The Coast Road Across an Alpine Valley

97* 183 197 W 54 174

187 189 222 317 338 350 371 1886 S

121*

156 W 22 57 183 222 228 280 326 338 353 1887 S

63 71 126*

138* 222 W 40 141 188 198

211 298 330 335

The Delectable Mountains ‘Then I saw in my dream, that in the morning, the shepherds called up Christian and Hopeful to walk with them upon the mountains : so they went forth with them, and walked awhile, having a pleasant prospect on every side.’ – See ‘Pilgrim’s Progress.’ A Suppressed Monastery ‘But now they break down all the carved work with axes and hammers.’ Abingdon, Thames Goring, Thames Ilfracombe Streatley, Thames Requiem ‘Sorrowing most of all for the words that he spoke, that they should see his face no more. And they accompanied him to the ship.’ Lincoln Minehead, Somerset Shillingford, Thames Carpet Bazaar, Cairo Fourth Voyage of Sindbad the Sailor Assisi Abingdon The Ponte alle Grazia before its Demolition – Florence Clovelly A Sunset Lucerne and the Righi La Certosa, near Florence La Certosa near Florence – Afterglow Lucerne The Reuss, as it leaves the Lake of Lucerne The Convent of the Madonna del Sasso, Lago Maggiore The Fonte Branda, Sienna Assisi A Song of the Sea Worcester Waiting for Judgement ‘And there came two angels to Sodom at even. And Lot sat in the gate of Sodom.’ Durham Clovelly Pass of the Brünig, from Alpnach Lucerne in Evening Light Altdorf, from the old Monastery The Gate of Zoar ‘The sum was risen upon the earth when Lot entered Zoar. Then the Lord rained upon Sodom and Gomorrah brimstone and fire from the Lord out of heaven, and He Overthrew those cities.’ The Old Bridge, Lucerne Rochester Bath Worcester

195

EXHIBIT IO NS

1888 S

340 347

Wells Bristol

200

70*

The Enchanted Island ‘Full fathom five thy father lies; Of his bones are coral made; Those are Pearls that were his eyes; Nothing of him doth fade But doth suffer a sea-change Into something rich and strange. Sea nymphs hourly ring his knell; Hark! Now I hear them, – Ding, dong, bell.” – The Tempest. Maidstone Lincoln Stanstadt, Lucerne Berne Pilatus, from Stanstadt, Lucerne Lucca Clovelly (Autumn) Durham Lincoln Blue Bells and Gorse from North Devon Clovelly (Summer, Noon) Falls on the Rhine Under the Righi

210

127 143* 241 253 W 38 158 168 187 205 223 247 357 378 1889 S

91 98 108*

226 246* 253 256 270 W 21 48 231 326 330 343 363 1890 S

10 94

111 114 132 179

Bridgenorth The Fisherman and the Genii – Arabian Nights The Harbour Bar ‘And the night rack came rolling up ragged and brown.’ Canterbury Pisa Lucerne Whitby Stans, near Lucerne The ‘Dance of Death’ Bridge, Lucerne Eton Clovelly Falls of the Rhine – Autumn Falls of the Rhine – Evening St David’s Falls on the Rhine – Spring Zermatt Sindbad the Sailor’s Sixth Voyage Argument :– ‘He is shipwrecked, but lands on desolate coast. Companions die of starvation. In despair he is about to destroy himself, when he sees that a river runs from the sea through cavern in mountains. Makes raft – embarks – falls asleep in darkness, to wake up in earthly paradise; well treated by natives, finally reaches his home at Bagdad.’ Lucerne and Pilatus Durham Sandwich, Kent The Monastery, Locarno ‘The life that passeth now not long will satisfy, I seek the kingdom of content.’ – ‘The Monk.’

W 20 185 192 243 1891 S

12 88 111* 114* 120 195 201 W 59 70 87 154 159 169 185 194 202 221 285 322

1892 S

23 29 92 186 208 225 W 4 25 40 44 77 89 99 115 146 158 175 191 238 348

Monte Carlo, from Monaco ‘Where every prospect pleases, And only man is vile.’ Canterbury Venice notwithstanding! Maidstone After-Glow in the Mediterranean Altdorf, Lake Lucerne The Ponte Vecchio, Florence The Springhead, Wells Rye, Sussex Lucerne and the Righi The Explorers of the Island of the Sounding Cymbals Sion – Rhone Valley The morning after the storm, Ilfracombe Lincoln Antibes, near Cannes Bristol Clovelly Wells Randa, near Zermatt Rye A Sunset Whitby The Avon at Salisbury Maidstone Dordrecht Berne Night – Faithful unto Death ‘And there was Mary Magdalene and the other Mary sitting over the Sepulchre.’ … ‘We trusted it had been He which should have redeemed Israel.’ Salisbury Close ‘Oh, the Summer’s night has a smile of light, And she sits on a Sapphire Throne.’ Wells – from the Tower of the Parish Church Windsor Abingdon Wells – ‘Saturday’s Market Day.’ Venice Zermatt A Sea-Dirge Canterbury (from the West Gate Tower) The Locarno Monastery (Lago Maggiore) The Swan Pool – Wells, Somerset Lantern Hill, Ilfracombe Lynmouth Beach, North Devon The Via Fillunger – Lucca – Italian Moonlight Oxford (from Radcliffe, looking East) Salisbury Close Salisbury Cross Oxford. (looking West from the Radcliffe Library) The Carrara Mountains Ightham Bucks Mills, North Devon

196

ALBERT GO O DW IN RW S

1893 S

34 99 198 238 W 13 154 169 209 248 1894 S

34* 101 203 216 227 W 25 29 48 94 114 137 142 155 167 246 318 338

1895 S

12 15 19 61*

106 112 189 191 W 70 119 147 158 164 179 186 188 193 214 1896 S

118 219 223 225 W 42 58 173 220 300

‘Thence came we forth to behold the stars.’ Dante, “Inferno.” Amalfi Salisbury Bridgenorth Venice Whitby Abbey Oxford, from Magdalen Tower Vesuvius, from Pompeii Sienna Study for an Illuminated Manuscript St Hilda’s Abbey, Whitby Salisbury Avignon Corfe Castle Mont St Michel Monaco Schaffhausen Clovelly Bridgenorth Lynmouth, North Devon Aylesford, on the Medway Lucerne Portsmouth St Mary Redcliff, Bristol Wells Dartmoor Prison Venice Cornish Explorers Lincoln Italian Barque unloading, Bristol A Summer Night, Florence ‘Where the Fire Flies dance.’ Whitby Sienna The Village Port, Lake Lucerne Silence over the Sea Afterglow in the Indian Ocean Twilight over the City The Taj Mahal, Agra Agra Westminster Whitby The Shadowy River Wells Winchelsea and Rye Oxford from the Radcliff Library The Cavern [‘The resurrection of the year’] Wells The Sole Survivors Benares Twilight in the Red Sea Portsmouth, ‘War’s alarms’ Salisbury Plain Pompeii Verona

316 331 1897 S

31 94 96 101 116* 150 183 198 W 73 79 99 110 124 125 132 145 195 201

1898 S

15*

88 114 116 135 W 43 120 128 132 146 148 165 170 1899 S

25 30 54 83 99*

149 189 195 W 21 66 109 116 133 141

The Kutab Minas, Delhi Engelburg Bamborough Castle Amsteg, St Gothard Spietz, Lake Thun Fluelen, Lake Lucerne The Jumma and the Taj Mahal, from Agra Fort The Pilgrims ‘Here we have no continuing city.’ Whitby Abbey Mont St Michel, Normandy Mont St Michel Oxford Sunset Light on the Mountains of Sinai Agra Basle Canterbury Clovelly Salisbury Close Amsteg, Mont St Gothard Spietz, Lake Thun The Vision of the Keepers of the Sheep [‘Then opened heaven’s chancel while shepherds gazed in fear, Out trooped the Choirs of Angels, Oh the blessedness to hear, And loud they sang as though the Heavens were not enough to fill, Now Glory be to God on high and unto men goodwill’] Tombs of the Caliphs, Cairo The Indian Winter, Taj Mahal, Agra Notre Dame, Paris Stromboli and the Lipari Isles A City Sunset Westminster Thun Oxford Canterbury Hastings Salisbury Christchurch, Hants Pastoral Symphony, Christchurch Thun Clovelley – Autumn Whitby The Cities of the Plain ‘And Lot pitched his tent toward Sodom.’ Mount St Michel – Summer The Time of the Burning Rye Elvet Bridge, Durham Holyrood Engelburg Plague stricken ‘And the cry of the city rose up to Heaven.’ Lincoln Windsor

197

EXHIBIT IO NS 142 153 268 1900 S

15 27 80 91 116 126 135 140 147 213 W 8 44 101 123 124 166 170 223

1901 S

15 28 39 105 198 211 217 W 12 30 34 41 47 62 77 114 148 155 236 258 271

1902 S

53 56 73

86 91 235 244 250 W 10 11 12 196

Bray Afterglow, Cairo Rye Lincoln Bristol Docks Windsor (from the Tree Tops) Berne – Sunset Berne Freybourg (Suisse) Cairo – Coppersmiths’ Bazaar Freybourg in Twilight Rye (in the Drought of Summer) After-glow on the Nile Taj Mahal From Milan’s Roof Cairo Freybourg, Suisse Behind the Isles of Lipari Falls of the Rhine (Pencil Outline) Salisbury Close Figure Studies Naples Pisa The Land of Egypt Wells Canterbury Durham Frybourg (Suisse) Freybourg (Suisse) Holyrood Durham Milan So ends the Day in Cairo’s Streets From Como’s Hills to Monte Rosa Chamounix Dawn over Lugano The Citadel, Cairo The Street of the Gate, Cairo Sunset from the Makalton Hills, Cairo The Procession, Cairo Atrani near Amalfi – Italian Moonlight Venice Canterbury Dante and Virgil at the Gate of the City of Dis ‘Who is this that, without death, goes through the kingdom of the people, dead?’ – See Dante’s “ Inferno” Ilfracombe Atranti, near Amalfi Boston Paris – Notre Dame Durham in the time of the white blossom Venice – before the Fall of the Tower Lincoln Cairo Reculver, Kent

1903 S

247 281 59 88 141*

146 214 215 220 221 W 50 80 92 96 153 167 241 248 15 102 111* 137 154 202 209 235 W 15 25 37 46 80 131

Fireflies – Port Antonio, Jamaica Afterglow in the Red Sea Afterglow, Venice (from the Lido) Niagara The Overthrown Cities ‘And Abraham got up early in the morning, and he looked towards Sodom and Gomorrah, and towards all the land of the plain, and lo, the smoke of the country went up as the smoke of a furnace.’ Day’s Dawn over Venice Canterbury Salisbury, from the old Chalk Pit The Piazza of St Mark, Venice (Outlined in October 1901, before the fall of the Tower) New Sarum, from the old The Citadel, Cairo The Avon, Salisbury Niagara (The Horseshoe Fall) Poppy Fields, Winchester Vesuvius Venice – Blue Twilight The Sermon Chapel, Winchester (from ‘Hardy’s Tower’)

1904 S

Dawn over San Giorgio, Venice Weedy Bay, N Devon Moonlit Silence, Pompeii Durham Clifton, Bristol. The Outward Bound ‘The land that is very far off ’ Cairo Siena Venice (from the Hebrew Cemetery) Naples Winchester Lincoln A Sea Dirge Arundel, Sussex

1905 S

Bosham, Sussex The last Act and Fall of the Curtain, Pompeii, AD 79 Grenada, West Indies Lincoln The City in the Sea La Prese, Engadine Ali Baba and the Forty Thieves Taormina Ceylon’s Isle The Taj Mahal, Agra (from the banks of the Jumna) Siena Etna and Taormina Bristol – ‘When the day’s work’s done.’ Stonehenge The Monastery at Torarno, Lago Maggiore ‘This world not long will satisfy, I seek the Kingdom of content.’ The Monk The Road to Monreale, Sicily

10 29 110 227 230 232 237 256 W 12 31 43 49 137 159 165

188

198

ALBERT GO O DW IN RW S

1906 S

10 142 167 168

218 220 237 249 W 120 149 154 156 158 164 239 285 301 333 1907 S

95 107 121 138 144 206 261 267 W 10 16 69 119 216 231 241 258

1908 S

40 80 121 124 160 206 232 247

W 76

84 98 130 178 302

Durham (in grey of dawn) Venice The Duomo, Palermo The Exile ‘And I stood on the sand of the sea’ Robinson Crusoe, ‘Friday escaping from the Savages.’ Valley of the Inn, Engadine Amalfi St Paul’s, London, ‘A Gleam through grime’ The Caravan Route, Sahara The Banks of the Nile, Cairo Sunset over the Sea The Righi from Lucerne The Night before the Battle Innspruck, Tyrol Assisi The Gorge of the Teign, Dartmoor Cairo Hereford Corfe Castle Beachy Head, Sussex Pontresina – Summer Moonlight While the Ark was preparing Portsmouth from the Sally Port Whitby Schultz, Engadine Whitby – Winter Sunset Whitby Churchyard A Nile Sunset – The Hour of Prayer Ali Baba and the Forty Thieves Siena The Abbey Garden Eton – ‘Barn’s Pool’ The Breath of the Monsoon – Agra Windsor According to St Mark – Venice Hastings Rye Lucerne Amalfi The Enchanted Lake ‘Story of the Fisherman and the Genii’ (‘Arabian Nights’) Corfe Castle The Coming of the Fleet ‘Is it peace, Jehu?’ A Gathering Storm ‘As a shepherd seeketh out his flock in the day he is among the sheep that are scattered ; so will I seek out my sheep, and will deliver them out of all places where they have been scattered in the cloudy dark day.’ – Ezekiel xxxiv. 12 Corfe Castle Clovelly St Leonard’s Wind on the Hill Stelvio Pass

1909 S

8 14 19 25 40 141 251 W 8 70 79 153 159 167 209 225

1910 S

91 97 103 144 235

260 W 12 32 195 200 376 1911 S

27 40 46 93 127 215 219 226 W 133

147 151 162 177 179 185 203 1912 S

130 140 150 152 172 192 218

The Spirit of the Storm Amalfi Canterbury Sunset off the Coast of Spain Summer eve on the River The Mosque of the Citadel, Cairo Winter in the Naples Bay Mont St Michel Cairo in January AD 33 – ‘He suffered and was buried’ Bosham, Sussex Siena Rye The Nile Ferry at Boutae – Afterglow Pallanza, Lago Maggiore The Pyramids Pallanza Lago Maggiore Lucerne The Jungle The River Road ‘Part of the host have crossed the flood and part are crossing now.’ Taormina Afterglow – Citadel, Cairo Cley Windmill, Norfolk Dover The Fountain, Freybourg, Suisse The Wilderness Dartmoor The Last Voyage of the Slave Ship The Citadel, Cairo Pevensey, Sussex Windsor Summer, under the Eiger Venice Altdorf, Lake Uri Sunset across the Plain ‘And they separated themselves, the one from the other. Abram dwelt in the land of Canaan and Lot dwelt in the cities of the plain, and pitched his tent towards Sodom.’ Thun ‘Cambridge Backs’ – a Tree Tangle Dover Docks Dover (from Shakespeare’s Cliff) Schultz, Engadine Mosque of the Citadel, Cairo Lucerne Stromboli – through the Porthole of a Liner The Jungfrau Among the Ruins In the South Seas The Way across the Desert The Castle of Chillon – Lake Geneva Whitby [No exhibits]

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35 38 43 70 80 129 159 W 49 100 184 217 232 237

1914 S

14 111 135 178 202 W 13 50 59 158 166 251 258

1915 S

5 6 30 102 139 W 2 25 57 66 74 101 126

1916 S

5 16 21 82 117 135 147 167 W 18 67 85 96 119 121

1917 S

4 20 87 92

Hastings St Albans Lincoln Durham Dartmoor Windsor The Foot of the Glacier Dawn – after the Hundred Years of Sleep Where Ganges falls to sea Nightfall – Pontresina, Engadine Dover Sunrise – La Guayra, Venezuela A London Sunset, Westminster Summer Moonrise, Hastings Sunset, Bexhill St Michael’s Mount, Cornwall Cairo Judas Iscariot – ‘He who could not forgive himself ’ Taormina Water Meads – Cambridge War Clouds Hastings Spiez, Lake Thun Lucerne King’s Parade, Cambridge The Citadel, Cairo Westward Mont Blanc London from the Tower Bridge The River Isis at Oxford, Magdalen College The Gardens, Pallanza, Lago Maggiore Taormina Moonlight on the Rosegg – Pontresina The Pyramids Head of the Traitors, Lincoln Harlech Castle That Night Westminster – from a house top The Majola Pass ‘The Backs’ – Cambridge in October St Michael’s Mount, Cornwall Taormina – in the Moonlight The Pillars of Hercules – from the Straits of Gibraltar Naples Canterbury Lighting the Beacon Fire – the coming of the Armada Rye The Winter’s Tale – Hastings Beach Windsor The Day’s End Stonecrop on the High Alps The Montauverte – from Chamonix Derelict – the last of Eastbourne’s Windmills Westminster Cairo

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‘Israel’s Deliverance’ ‘And the sea returned in his strength when the morning appeared: and the Egyptians fled against it: and the Lord overthrew the Egyptians in the midst of the sea.’ Low tide along Shore Lausanne Verona Durham Naples – Dawn Baggy Point, from Mortehoe in N Devon

1918 S

Wells The Unknown Land The Valley on Chamonix Riva Schiavoni, Venice Benares Freybourg, Suisse Table Mountain, S Africa A Dark Day – Chamonix – Aug 1914 Beachy Head Mt St Michel Canterbury Homeward before the Storm

1919 S

The House of the Circe Sunset from a City Wall Afterglow – The Tombs of the Caliphs, Cairo Clovelly Bosham, Sussex The Lights of Lauterbrunnen Etna

1920 S

The City of Dis The Afterglow, Chamonix Lauterbrunnen Beachy Head Baggy Point, N Devon The Western Glory, Hastings Pontresina Arundel’s Last Windmill Arundel from Ford Bridge

1921 S

Oxford – from the roof of the Radcliff Library Amalfi Clovelly King Solomon’s Garden Port Said Afterglow, Chamonix Canterbury, High Street Taj Mahal, Agra Venice Clovelly Grey Dawn – Lincoln Christchurch, Hants

7 16 23 68 137 211 W 77 82 86 105 148 W 154 198 218 224 236

13 29 35 43 143 185 W 8 18 94 143 149 270

1922 S

12 25 57 69

The Besieging of Hastings Castle Clovelly The Winter’s Tale – Rye The Race of the Tide –Morthoe, N Devon

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ALBERT GO O DW IN RW S 98 120 W 77 111

Canterbury The Wreck Clovelly – in the Dawning A Swiss Lake Harbour – and a Market Boat

1923 S W 13 32 76 131 154 235

[No Exhibits] The School Playground, Dedham, Essex Low Tide – Barnstaple, N Devon Littlehampton The Burning Ghats – Benares The Face in the Desert Wells in War time

1924 S

All Souls’, Oxford Exeter Worcester Winchester Clovelly Canterbury

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May 1886 Fine Art Society A Collection of Drawings in City, Town and Hamlet by Albert Goodwin, RWS Note to drawings made by Albert Goodwin These drawings and sketches of city, town, and hamlet form in the aggregate a fair and tolerably hard year’s work, for most of them were commenced in May, 1885. The motive for making them was the desire (purely selfish) of seeing something more of the England of to-day and of putting some-what of it on paper. It was at first intended to be an exhibition of cathedral cities alone, but I found it impossible to keep my hands off some of the less ecclesiastical towns, and even from such subjects as ‘Lundy Island’, the only excuse for which is in the fact of its being so delightful to go to sea after so much dwelling upon bricks and mortar. If there is an undue proportion of sketches of Whitby, its exceeding picturesqueness must plead for it; as far as I have seen there is no town in England like unto it in its wealth of colour.

1925 S W 28 58 146

[No Exhibits] Blue River Banks Mortehoe, North Devon Market Day, Sandwich, Kent

1926 S

Bosham, Sussex – Dawn Beachy Head – Flints in the Chalk Exeter, from St David’s Church Glastonbury St Cross, Winchester St David’s, S Wales

1927 S 191 W

Chichester [No Exhibits]

1928 S 58 W 84

Lincoln ‘with Trumpets also and Shawms.’ Dordrecht

1929

[No Exhibits]

Albert Goodwin

1930 S W 57

[No Exhibits] The Face in the Desert, 1923

1931

[No Exhibits]

1 2 3 4 5 6 7 8 8a 9 10 11 12 13 14 15 16 17 18

44 71 82 W 53 93 178

1932 S [No Exhibits] W The late Albert Goodwin 205 Vesuvius 206 Hartland Point 207 Glastonbury

Durham is nobler in many ways, but a change one regrets is slowly coming over all these ruddy North of England towns. Whenever a tiled roof falls in or gets worn out, it is replaced by slate, the result being cold grey instead of a pleasant, warm, Venetian red. The form of evil which the modern landscape painter has to contend with in painting the towns and cities of to-day is his constant battle with ugliness, and all resources of invention are needed to hide, as much as may be, the scars and blotches which restoration and improvements have made. It is a pleasant conviction I have that all the joy and pleasure we have in the painting of our pictures is (unlike private view tickets) transferable. For the year’s work has been to me almost entirely delightful both in the doing and the seeing, and in this last I have been impressed with the wealth of loveliness that our depressed native land still holds. Perhaps the greatest temptation that comes to a painter in taking up a given subject is to ‘pot boil’ in order to fill up the space, and I suppose these ‘one man’ exhibitions will be for good or for evil in proportion to our faithfulness to the higher laws which ought to govern our art.

Norwich Rome – The Yellow Tiber The Old Walls of Winchester Canterbury Maidstone St Michael’s Mount Durham – Autumn Florence Ilfracombe Warwick Castle – A Water Vista Ilfracombe, from Hillsborough Whitby – Low Tide Boston – Twilight Hurstmonceaux Castle, Sussex Lundy Island – Collecting Sea-birds’ Eggs Hastings Abingdon Certosa, Florence Maidstone

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EXHIBIT IO NS 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73

Clovelly Whitby Dordrecht – Dutch Life on the Canal The Hospital of St Cross, Winchester (lent by Humphrey Roberts, Esq) The Medway – Going to Sea Whitby in Gloom Wells – The Bishop’s Garden Bisham Church, Thames Clifton Hampden, Thames St David’s Warwick Castle, from the Bridge Rye Boston, Lincolnshire The Miller’s Garden, Winchester Rochester – Medway Barges Falls of the Frassione, Simplon Abingdon Whitby – Low Tide in Harbour Whitby – Scotch Boats drying Nets Allington Castle, Kent Winter in Egypt – The Road to the Pyramids Abingdon – Tea on Board the Canal Boat Aylesford, Medway Abingdon Churchyard (lent by Humphrey Roberts, Esq) Dartmoor Maidstone Museum Tewkesbury Whitby in Sunglow Bridgenorth Whitby Venetian Butterflies Rhine Boats at Dordrecht Durham, at Dawn Town Mills, Winchester Bristol Tintern Abbey Lincoln Ely Whitby in Gladness Durham Abingdon Whitby Lichfield Worcester – After Rain Old Bridge, Norwich Canterbury – The Colours of The Regiment carried to their Rest (lent by Humphrey Roberts Esq) Boston Shillingford, Thames Lincoln – Grey Twilight Norwich Close Rochester Verona North Devon – Coast Road to Lynton Salisbury Santa Maria della Salute, Venice

May 1890 Fine Art Society A Collection of Water-Colour Drawings of Many-Sided Nature By Albert Goodwin, RWS ‘Preface’ The drawings in this Exhibition are for the most part the outcome of the last two years’ work, though finished mostly in the present year, and one of the principal reasons for their appearance now (apart from the question of providing for wife and children) is in the pleasant fact that the artist is his own hanger and ‘general committee of arrangement’! and can hang himself all along the line to the hurt of no ‘brother brush’. Painted as some of them have been with the knowledge that Japanese Art would be in the next room, there may have crept in unawares the hope that in landscape art the West should not play second fiddle to the East, though between Japanese and British painting there can be no question of rivalry, the points of view of each being so utterly dissimilar. It seems unquestionable that the West takes knowledge, and is able to assimilate with advantage some of the colour and decorative design of the Eastern schools; but it is a one-sided business. The advantages are to us and not to them, who seem to make shipwreck of their powers when they endeavour to engraft anything of ours into their own art. This, though, may be a matter of opinion; but it is my own impression. I am conscious of my own indebtedness both to Japanese and to Moorish art, and in this matter of indebtedness it may not be out of place to say that any good there may be in my drawings is mainly due to the kindness and help that were given to me in early life, first by Arthur Hughes, who found me stumbling in doubt and difficulty, and whose unselfish goodness brought me out of the miry clay and (artistically) set my feet upon a rock, and who, not content with this, passed me on to Ford Madox Brown, from whom I learned the need of hard work, and whose patience with a most obstinate assistant I look back at now with wonder. Last of all to John Ruskin, who took me to Italy in a most princely way and aggravated me out of the licence I had hitherto indulged myself (of colour regardless of form) and made me draw. With all these manifold advantages my shame is that the work is what it is when it ought to be so much better. If I have lost something by rushing from one subject to another, too erratically, it is too late to make moan over it. At forty-five, for good or for evil, a man’s style is formed, at least mine is, and if there are disadvantages the pleasure of enjoying the manifold wonder of the beauty of the world has been one that I have had in full. These holy scriptures of the earth and sky, having been written for our learning, I have tried to read and interpret a good many pages. It is perhaps inevitable that in doing so I should lose a little of the realism that might have been mine if I had been content with only a leaf or two. Albert Goodwin Nov 27th 1890 1 2 3 4 5 6 7 8

Buck’s Mills – Moonrise Wells, Palace Gardens St David’s Carrara (The fields were out in Red Clover when I was there in 1888) Windsor in Sunset Glow Dorchester High Street Hartland and Lundy Island Lights Thun

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20 21 22

24 25 26 27

28 29 30 31 32 33 34 35

36 37 38 39

40 41 42 43

ALBERT GO O DW IN RW S Ilfracombe, from Quay Fields Canterbury Wells Hartland Quay (At the time I am writing – November 27th – a vessel is breaking to pieces here) Hastings, from High Wickham (Painted in October) Abingdon Abbeville Part of the building is out of the perpendicular, and is not my bad drawing Buck’s Mills Sutton Courtney, near Abingdon Home Again The Watchers of the Arctic Night I did not paint this from Nature, but I have seen the aurora make the sky all crimson Saunton Sands (North Devon. The Scene of Kingsley’s ‘Three Fishers’) Bury St Edmunds Nightfall in the Simplon Three months spent at the Simplon village in 1873 enables me still to go there in spirit. This drawing was painted in this present year of 1890 from studies made some seventeen years ago The Righi Unveiling – Dawn over Lucerne This view is the one seen from ‘The Gutch’ is not idealised or composed, but is as I saw it at about 5 am in April of 1888 Canterbury Abingdon (Painted from the roof of house-boat) Windsor Burning the Tares The sky was painted from one of the wonderful sunsets which came after the earthquake at Java. In dramatic skies, such as these were, there often seems to me some definite theme suggested. Venetian Boats Iffley Mill, near Oxford Lantern Hill (Ilfracombe) Italy from Switzerland Winchelsea Fuel Gatherers, near Lucerne Valley of the Heddon Dordrecht The local colour that is so delightful in Holland seems to make one independent of the weather or sky. One of the features of the many picturesque incidents of Dordrecht is the arrival of the milk in the brass cans Storm Clearing off Simplon Aylesford Priory Lucerne Church and Monastery of the Madonna del Sasso, Locarno One of the most picturesque on the Lago Maggiore. I saw it thirteen years ago, and again when I made this drawing in 1888, without a single alteration save that it was more moss-grown and old. Big tiger lilies were growing wild out of the crevices of the rocks Cheddar Abingdon (At the back of the old Alms Houses) Winchelsea Schaffhausen

44 45 46

48 49

52 53 54 55 56 57

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60 61 62 63 64 65 66 67

68 69 70 71 72 73 74

Dordrecht Cheddar Cliffs North Devon Coast in Winter Little is known of the charm of North Devon in Winter, where the sun rises all the morning and sets all the afternoon The Maelstrom A story from Edgar Allan Poe called ‘A Manuscript found in a Bottle’ Dorchester, near Oxford (From the Market Gardens) Dordrecht, under the Old Church A pleasant stay (in lodgings over a baker’s shop) of six weeks here is one of my happiest painting memories Abingdon One of the few drawings here painted from Nature; most in this collection being done while the memory of the subject was fresh, but away from the place Salisbury Close – Twilight I do not mean to say all twilights are as blue as this, but this one was Dorchester, near Oxford (from the Earthworks) Cheddar, Mill Pond Cottage The End Clovelly (Afterglow over the Hobby) Durham Through the Bluebells Painted on the coast near Ilfracombe. The Bluebells were exceptionally lovely in the Spring of this present year at a time when the yellow gorse flamed along the hills Oxford Dordrecht Many of the great timber rafts that come down the Rhine are stored here, and the ‘Vulgar Venice’ has, in one way, the advantage over ‘The Glorious City in the Sea’ every ‘boompjee’ (quay-side) being an avenue of green and pleasant trees Sion, Switzerland A Thames Backwater September, near ‘Day’s Lock’ Tewkesbury Lucca Clovelly The woods over the waterfall Exmoor Painted at the time the heather and gorse were in their glory. From the coast-road between Ilfracombe and Trentishoe St Nicholas (Zermatt Valley) Woolacombe Sands (North Devon) At the moment of writing this (November 1890) these sands are strewn with the wreck of a timber-laden ship Goring on Thames Buck’s Mills (North Devon) From Magdalen Bridge, Oxford Lucerne Morning mists clearing off. From half way up the Gutch Ville Franche (Riviera) Warwick Windsor

October 1893 Fine Art Society A Collection of Paintings and Drawings by Albert Goodwin, RWS

203

EXHIBIT IO NS Nelson Room. Oil Paintings. Nos 1–21 1 Durham Lent by Humphrey Roberts, Esq 2 The Returning of the Toilers Lent by Humphrey Roberts, Esq 3 The Passage of the Red Sea ‘and Moses stretched out his hand over the sea: and the Lord caused the sea to go back by a strong east wind all that night, and the waters were divided’ – Exodus xiv. 4 A Baptism of Flowers ‘Youth is full of sport, Age’s breath is short’ Lent by Humphrey Roberts, Esq 5 Lincoln Lent by Humphrey Roberts, Esq 6 The Sultan and his Camp on the margin of the Enchanted Lake ‘They at length arrived at the lake; its waters were so transparent that they could see all the fish were of the same colour as those the fishermen had brought to the Palace, &c’ – see Story of The Fishermen and Genii, ‘Arabian Nights’ 7 The City of Dis Argument – Dante, led by Virgil, passes through the Infernal Regions. The Citizens of Dis bar their passage. These are driven back by a Heavenly messenger, after which they go through between the torments and the city wall. Dante’s Inferno, Canto VIII 8 A Block on the Medway (Maidstone old Lock) Lent by Robert Hoar, Esq 9 Sinbad entering the Cavern (Sixth Voyage) Lent by the Trustees of Maidstone Museum 10 The Fishermen and the Genii See ‘Tales of the Arabian Nights’ 11 Sinbad Loading his Raft (Sixth Voyage) See ‘Arabian Nights’ Lent by Henry Tate, Esq 12 The Valley of Diamonds (Second Voyage of Sinbad) Lent by The Trustees of Maidstone Museum 13 The Sultan at the Palace of the King of the Black Isles See Story of the Fishermen and the Genii, ‘Arabian Nights’ 14 Ulysses in the Island of Calypso The offer of immortality 15 The Story of the Shipwreck 16 Pastoral Symphony (Guernsey) 17 The Harbour Bar in Bideford Bay Lent by Humphrey Roberts, Esq 18 Fourth Voyage of Sinbad the Sailor 19 St Michael’s Mount, Cornwall Lent by Robert Hoar, Esq 20 Windsor Lent by Humphrey Roberts, Esq 21 The Sultan’s Camp ‘After having thus spoken, he ordered them to encamp around it; his own pavilions and the tents of his immediate household were pitched on the borders of the pond’ – History of the Fisherman Water-Colour Room. Nos 22–93 22 Mont St Michael: Sunset 23 The Old Bridge, Lucerne 24 Mont St Michael: Moonlight 25 The Stour at Canterbury

26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67

68 69 70 71 72 73 74 75 76 77

Morte Point, N Devon Mont St Michael (Normandy): Sunrise Siena: ‘Thro’ Sunshine and Rain’ The Thame at Dorchester Bristol ‘Baedeker’ at Pompeii: The Amphitheatre Sunset Dorchester, from the Bridge Wells Bristol Docks Oriel College, Oxford The Fonte Branda, Siena A Leaf from the Book of St Mark, Venice Wildersmouth Beach, Ilfracombe The Wear at Durham Dives ‘And in Hell he lift up his eyes, being in torment’ Horgheim, Romsdal Valley, Norway Bank Holiday at Ilfracombe Lausanne Grand Canal and Salute, Venice The Dawn over Lugano Tenby Whitby Abbey and Church Old Almshouses, Bray West Harnham, Salisbury Evening Sunshine, Dartmoor Christ Church, Oxford Abingdon, near Oxford Lago Lugano Clovelly Wells, from Cathedral Tower The Outgoing of the Evening, Pass of St Gothard Chambercombe Woods, near Ilfracombe Thun The Hardy Norseman ‘Forth to Battle’ The Beechwood, Score, near Ilfracombe The Avon at Salisbury The Isis at Oxford Winchelsea Chagford High Street, Dartmoor Pompeii The Lady of Shalott ‘Lying robed in snowy white, that loosely flew to left and right, the leaves upon her falling light – Thro’ the noises of the night – She floated down to Camelot’ Buck’s Mills, N Devon Grey Morning, Siena Woolacombe Sands, N Devon Mount St Michael, from the Causeway Ilfracombe The City in the Sea ‘Thence came we forth to re-behold the stars’ (See Dante’s Inferno) Choir Festival, Exeter The Mediterranean at Amalfi Bristol from Cumberland Basin

204 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93

ALBERT GO O DW IN RW S Bruges Lantern Hill, Ilfracombe Dorchester: ‘The Church and the World’ Wells, from the Tower of Parish Church Salisbury Close: The West Window Amalfi Glastonbury Maori, near Salerno Ely Atrani (near Amalfi) Twilight, Dartmoor Sunset over the Sea St Mary Redcliffe, Bristol High Street, Ilfracombe Autumn Leaves In Exeter Close

March 1896 Fine Art Society A Collection of Pictures and Drawings of Imaginative Landscape in Europe and Asia by Albert Goodwin, RWS [In the V&A copy of the catalogue there are pencilled annotations made at the time; for information these have been added in square brackets.] Explanations It has always seemed to me a hard thing that Landscape Painting should have so little latitude allowed it, save in the representation of the literal facts of Nature. A figure painter may use symbols and discourse in allegory, but for a Landscape Painter to dare venture into this domain is to be considered more or less in the light of a poacher, and warned that here ‘trespassers will be prosecuted.’ But there are so many things in Nature that speak to us in parables, that it seems like losing the full luxury of the art to leave them without some attempt to spell them out. This has been with me a struggle up the hill ‘Difficulty’ in which the hardest thing to contend against has been the snubs and hindrances that came often from one’s ‘brothers of the brush’ whose good opinion and help one looked for. As an instance, I painted, some twenty years ago, a somewhat ambitious drawing, which I called ‘The Siren Sea,’ and I remember, at the old Watercolour Gallery (where it was hung), going round with one of the best and most respected of our older water-colour men – he kindly looked it over with me, approved of much in it for its fidelity to Nature (this was the literal part), but, said he, ‘I should like it better without that,’ putting his finger on what was to me the eye of the story of the picture! I have been obstinate and gone my wilful way, but never before have I gathered so much of my own fresh ‘extravaganzas’ together as at this time. The verdict is not for me to have a voice in. I can only point out the extenuating circumstances in the case of the prisoner at the Bar, and one of my excuses is that I seldom look on a striking landscape or a dramatic sky, without somehow feeling that it tells a particular story, which with waiting and watching may be discovered and stated. I would be very far from undervaluing the pure enjoyment of painting any subject for the sake of expressing the beauty in it one feels, whether it be a beauty of form, colour, or technique; but in this I am ‘greedy of gain,’ that I want all these and more. Doubtless one of the pitfalls of such greediness is that one may lose something of each in attempting all, but this risk must be run. I know I sometimes envy the men who are more simple in

their tastes, and take what I feel to be a narrow view of their art, and who do get the one thing they make for: at the same time. I think the ideal one should at least aim at is to represent not only the body, but as much as one may suggest of soul and spirit. My ‘Bogey Pictures’ (as some of my friends call them), I am conscious, verge perhaps on the morbid, but some of the most stirring scenes one looks upon have had so much terror mixed with their beauty that there are excuses for one even here. The awfulness of the Alps, for instance, is to me a chief attraction. The picture I have called ‘the Corridors of Hell’ was painted partly in memory of a very appalling thunderstorm I once saw among them. This, joined (as seemed natural) with the sort of devilish limekiln architecture that Hindooism produces, made what seemed a consistent whole which I had either to paint, to lay the ghost that haunted, or to be kept awake at night by it! India has been to me a new inspiration, though the prevailing memory of the ‘gorgeous east’ is as of a very melancholy land. (Let me say here, by the way, that I never should have been able to get there but for the kindness of my friend, Dr G B Longstaff, who both persuaded me to go and made the way thereto easy.) But I had no idea that the heathendom of Hindooism was so full of gross darkness as it is. The holy city of Benares, with all its wonders of picturesqueness and colour, is in other respects an abomination. To have seen India is to come home with a new appreciation of my own native land. England always seems more than ever an epitome of all countries – the best of them ‘done in little’. Albert Goodwin Putney: February 27, 1896 1

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5 6 7 8 9 10 11

Hastings, from Castle Hill Hastings was my first painting ground in 1863. I had saved up five pounds, and lived on it there for five weeks. Happily the old town remains a picturesque delight still. Beckenried, Lucerne Christian and Faithful entering Vanity Fair See Bunyan’s ‘Pilgrim’s Progress’ ‘Trespassers will be Prosecuted’. A Blocked Pathway The landscape is in the neighbourhood of Ilfracombe. On a day when the sun is partly veiled in sea mist. Stately Siena Wells in Sunset Light Ilfracombe By the Rialto, Venice Tomatoes against grey stone Salisbury High Street Night in the Camp of Israel Cairo, from the Site of the Roman Babylon The mounds and hills in the foreground seem entirely made up of pottery (broken) and encaustic tiles. Vicar’s Close, Wells This was a most troublesome thing to draw; but I thought that as the look-out gave one great delight, there might be some way of conveying the same pleasure to others. The view is taken from top of the central tower of the cathedral. The Taj Mahal, Agra As literal a transcript as I could make it. When the real is so perfect there is no room for ideality. I never painted in conditions of such perfection as in these gardens – perfect temperature (January 1895), complete quiet, broken only by some

EXHIBIT IO NS

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sort of Gregorian chant of the natives. (I think all the Gregorian chants come from India, the natives have no other sort of melody). The occasional ‘globe trotter’ is the only incongruity. Mist-enshrouded Christchurch Seen from the Bridge over the Avon. [very delicate pretty effect, evening & murk] Rasselas Exploring the Subterranean Rivers Pompeii, from the outside of the Amphitheatre New College and All Souls, Oxford The charge to see Oxford from the top of the Radcliffe Library is twopence, and, on the whole, the visitor gets good value for his money. I do not know a more splendid vision of pinnacles and palaces. Bamborough: Grey Twilight Grace Darling lies buried in the Parish Churchyard. Heathendom I feel sure there is a place like this somewhere, though as yet I have not seen it. It is a most common experience to draw from one’s imagination and soon after find a real place quite if not more wonderful than the imaginary one. [wildly imaginative] Bamborough in Flaming Sunset Light I have not invented this effect, though I acknowledge it does not occur many times in the summer; but the business of the landscape painter is to watch and lay in wait for these ‘best things’. Bamborough A good deal of this was painted from nature the spring before last. And let me say here though I date my pictures at the time of their completion, I by no means would have it inferred that the whole of this exhibition has been done within the last year. Some of the subjects were begun as many as twenty years ago! Bamborough: Blue-grey Twilight One of the last sketches made by Sir Frederick Leighton was of this place. The Last Victim Out of the beaten track in India the horrors of heathendom (of which the worst and most degraded seems Hindooism), there are to be found ghastly reminders of the gross darkness that reigns. Hook-swinging is by no means abolished, though contrary to law. The religion of the country is kinder to its animals than to its human kind, the only living inhabitants of many of the deserted cities being the birds and the beasts. [fine subject] High Street, Ilfracombe The Twelve Apostle Islands, Indian Ocean The iris is mainly caused by the spray from the ‘throw-off wave’ which the ship casts aside as it ploughs its way through the liquid green hills. Assisi The main building is the monastery of St Francis, full of the frescoes of Giotto. The Three Fishermen The Lay Brother of Canterbury ‘Tomorrow will be Friday.’ The Shipyards, Appledore, N Devon Vitznau, Lucerne Ashore Chepstow The Bazaar: The Street of the Medicine Men

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205 The Christening Painted mostly from the interior of the Parish Church of Ilfracombe. Bristol Painted from an empty wagon. Mont St Michiel, Normandy Stillness after the Storm A Sunset in Bronze. Lincoln Bamborough Strand The Ganges, as seen near Benares The Sufferers In this I was thinking of those whose faith is not strong in any ‘good time coming’ in the future, rather than of those who suffer so much less because their faith enables them to look beyond these present troubles to the ‘light of the everlasting life’. Dordrecht: Study of line and local colour on tinted paper. I ought perhaps to explain that my reason for using the pen in some of my work, is in cases like this where there is little effect needed, but where one wishes to emphasize line and at same time get a certain amount of enjoyment from the merely local colour. Gathering for the Monsoon off Ceylon I saw some very awful skies, of which this was one, in the neighbourhood of Colombo. It was only a threat, and the whole had evaporated an hour after sunset. To ‘Pastures New’: Wells This part of the outskirts of the little city has been ‘improved’ away. There is no longer a dip in the road with a pretty stream at the bottom, but it has been nicely levelled up! Grey Twilight: Christchurch, Hants Surely one of the most beautifully situated old abbey churches in the kingdom. On an island where two rivers meet. Thun The City of Dis Dante’s Inferno A City Sunset, from the Tower Bridge London seems to me by sunset or twilight to be one of the most impressive of cities; but the daylight reveals too much both of the meanness of much and the griminess of all. It is like the dream of Milton: ‘I woke, she fled, and the day brought back my night.’ [beautiful drawing & tinted] Modern Portsmouth Composed (as Mr Pickwick said of Chatham) ‘mostly of Soldiers, Sailors, and Shrimps.’ Autumn at Engelberg, Switzerland Pevensey, Sussex Bristol The whole of this has been ‘improved’ away. Where the church yard was is now a bran new warehouse. The Island of Sounding Cymbals See ‘Arabian Nights’ Sinbad merely mentions the island in one of his voyages, but the title is a very suggestive one. The huge wild bees’ nests hanging from the roof of the cavern are a very common object in India. Siena in Spring Night over Wells, from the Cathedral Top The Mosque at Agra

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ALBERT GO O DW IN RW S Corfe Castle One of the most Rhine-like looking castles we have. [very pretty delicate colour] Sinbad Emerging from the Cavern I wonder sometimes whether the unknown author of these stories had any idea of the allegorical side of them. Death and the resurrection from the dead seem to be plainly indicated in this voyage. The Corridors of Hell I have attempted, I fear, too much in this; but I wanted to convey the impression that the whole of the landscape is revealed for an instant by the lurid lightning. I should not dare to paint such a subject did I not believe that Hell existed; but that the torment is a torment with a purpose to redeem. The Shore ‘Strewn with the ruined dream of Spain’ – Vide W Watson The Old Mill at Christchurch Vesuvius from Torre Annunciata Bristol Docks As in London, the twilight and the moonlight shut up the dirtiness and the blackness and let out the mystery and weirdness. The Dawn over Salisbury Winchelsea Market Place, Wells Drawn from the windows of the Coffee Tavern, and mainly for the pleasure of the pen work. Clovelly The professional painter has been driven out of Clovelly by the distinguished army of amateurs who are always in possession. The Walls of Lucerne Indian Afterglow: The Hour of Prayer ‘The holy time is quiet as a nun.’ This seemed to me the most beautiful sight of India, the nightly afterglow, some fifteen minutes after sunset, when the whole repetition of the colour flamed up again, lower in tone, but as vivid, while the earth was almost in darkness. The Sultan’s Garden Bournemouth Sea and Sky. Bay of Bengal I found studies of sea and sky from the deck of an ocean steamer somewhat full of extra difficulty. The ship is tearing east-ward, the clouds blowing west. Consequently the change of form is magical, and one can only work from shorthand notes.

December 1898 Fine Art Society A Collection of Pictures and Sketches including a series of Whitby and ‘The First Christmas Dawn’ by Albert Goodwin, RWS 1 2 3 4 5 6 7 8 9

Whitby Chichester from the Walls At ‘Gib’: ‘How Horatius kept the Bridge’ Cairo Mont St Michel, Normandy The Way of the Idolaters Salisbury Aylesford on the Medway Mont St Michel, Normandy

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Sandwich, Kent Engelberg Basle The Inner Harbour, Whitby Whitby Thun Via Crucis, San Miniato, Florence Whitby from the Old Rope Walk Whitby Mont St Michel Berrynabour, N Devon Notre Dame de Paris Cathedral Close, Chichester Clovelly The Gate of Zoar Resurgam Fluelen, Lake Lucerne Amalfi Boscastle, Cornwall Whitby Combe Martin, N Devon Sturrey, near Canterbury Spietz, Lake Thun Sunrise at Fluelen, St Gothard St Michael’s Mount, Cornwall Salisbury, from Old Sarum Fluelen Tombs of the Caliphs, Cairo Sunset over the Sea Winchester Salisbury The Haven under the Hill Sunset, Indian Ocean Amsteg, St Gothard Whitby Engelberg, Switzerland Sturrey, Canterbury Erstfeldt Long Wittenham, near Oxford Paradise Lost The Harbour, Bosham, Sussex Dartmoor Wells: Sunset St Mark’s, Venice Wells – The Swan Pool The Shipwreck Salisbury Close Fluelen, Lake Lucerne Bamburg Castle, Northumberland Lucerne The Last of the Windmills, Cairo Ightham, Kent Whitby The First Christmas Dawn ‘Then opened Heaven’s chancel while the shepherds gazed in fear; Out trooped the choir of angels; oh the blessedness to hear; And loud they sang, as tho’ the heavens were not enough to fill, “Now glory be to God on high, and unto men goodwill”’ – Old English Carol

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Windsor Whitby Thun Canterbury Meirengen Whitby St Albans, 5th November Winchester Sisikon, Lake Lucerne Notre Dame de Paris In Dock Fluelen, Lake Lucerne Chichester St Albans Bosham Whitby Bosham Winchester The Dawn, Thun Bristol Monastery at Locarno Venice The Bournemouth Cliffs Sienna Lucerne and the Righi Coast of North Devon Pompeii Santa Maria della Salute, Venice Christchurch, Oxford Thun Winchester The Roman Campagna Whitby The Desert: Late Moonrise

November 1900 Fine Art Society An Exhibition of Pictures and Watercolours entitled ‘In Praise of All The Churches’ by Albert Goodwin, RWS 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

Salisbury Close Rye Church and Town Amsteg (St Gothard) The Phantom Ship The Mosque, Agra Whitby: Evening Light behind Church and Abbey The Time of the Burning: The Harvest is over, the Summer Days are gone Hastings: The two Churches Torre Anunziata, near Naples Thun Durham Cathedral and Castle Westminster Abbey: Evensong Freybourg Cathedral and Town Lynmouth (before the Improvements!) A Prehistoric Temple, Stonehenge Canterbury: Dust, Rust, Trust Freybourg

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Durham The Jews’ House, Lincoln Rye Freybourg Towers The Churches from East Hill, Hastings Durham: After the Rain Westminster The Spires of Berne Hastings: Moonrise Cologne: The Landwehr embarking for the War, 1870. ‘Die wacht am Rhein’ Vesuvius (from Castelamare) Cologne: Sunset behind the Cathedral The Church in Asia The Message of the Preacher: ‘Come out of the midst of her, oh my people’ Jumna Musjid, Agra Atrani, near Amalfi Durham The Domes of Pisa Cairo Sunset after a Storm: Whitby Abbey Durham: Elvet Bridge Sunset over the Sea Wells (Twilight) Mount St Michel Abbey, Normandy Fluelen Fourth Voyage of Sinbad the Sailor Milan: A Festival of the Church Windsor Afterglow: Agra Windswept Spietz (Lake Thun) Fluelen: Lake Lucerne Our Procession Freybourg Dieppe Berne The Skirts of the Moor The Sultan discovers the Palace of the young King of the Black Isles (see ‘Arabian Nights’) Norwich Salisbury Close: Twilight Hastings Vanity Fair The Source of the Sacred River Porlock Weir, Somerset The Avon Ferry, Bristol The Whaler’s Last Voyage Whitby The City in the Sea Lincoln

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1902 Robert Dunthorne’s The Rembrandt Gallery, 5 Vigo Street, London W Sunset and Colour from East and West Drawings by Albert Goodwin, RWS [In the V&A copy of the catalogue there are pencilled annotations made at the time; for information these have been added in square brackets.] 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37

Bristol Dock, St Mary Redcliffe Fire-Fly Dance, Trinidad The Indian Ocean [very fine rich sunset effect] Durham. Between the lights The Euganean Hills, Venice Boston. The Ferry [very delicate grey note] Paris at rest Thun Rye, Sussex Fluelen The City in the Sea [Corrected in pencil: originally read City of the Seas] Canterbury Bologna Niagara’s Rapids [good suggestion of turbulent water] The Avon Ferry, Bristol Milan Cathedral Mont St Michel Pompey’s Pillar, Alexandria The Shipwreck [good study in tones of deep blue] Port Antonio, Jamaica Vulcan’s Smelting Works, St Vincent Chamouni Old Sarum from New St Paul’s from Southwark Banana City, Port Antonio [full of strong sunny colour] The Citadel, Cairo Salisbury Close Lincoln [very delicate dainty note] New Niagara Afterglow – Cairo Durham San Giorgio, Venice [serious low toned blue effect of twilight] The Lesser Antilles [strong blue sea] Vesuvius from San Martino Reculvers, Kent [fine dramatic sunset] Clovelly Lincoln

1904 Robert Dunthorne’s The Rembrandt Gallery, 5, Vigo Street, London W A Collection of Water-Colour Drawings by Albert Goodwin, RWS [In the V&A copy of the catalogue there are pencilled annotations made at the time; for information these have been added in square brackets.] 1 2

Canterbury – Autumn Sunset Sunset in the Mediterranean

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Naples, from the Hill over San Martino Old Sarum [good evening effect] The Caravan Route Dawn in the Mediterranean Salisbury Close A Dartmoor Stream [pretty study] Bristol Edinburgh Windsor The Nile Pisa, from the Marshes Durham Stromboli and the Lipari Islands St Mary Redcliffe, Bristol Capri, from Torre del Greco Rye Durham Vesuvius, from the Custom House Quay, Naples Lugano [delicate colours] Canterbury Palermo in January Winchester – The Close Mells, Somerset [good dignified quick drawing] Sunset in the Bristol Channel The Gorge of the Teign, Chagford, Devon The Weirs, Winchester Holyrood The Waits, Knowle, Kent Dartmoor [admirable sketch, broad and strong but delicate] Durham ‘Half Church of God, half castle ’gainst the Scot’ Etna from Taormina St Paul’s Bristol Docks ‘When the day’s work is done’ ‘San Giorgio, Venice’ Bosham [good evening effect] Reculvers, Kent Capri [purple and blue scheme – very good] Poppy field, Salisbury Salisbury – Entrance to the Close Sandwich, Kent The Gardens, Palermo [good composition, strong and well drawn] The Salute, Venice Bristol Drawbridge

May 1905 Fine Art Society An Exhibition of Water-Colours of the Cathedrals of England by Albert Goodwin, RWS [In the V&A copy of the catalogue there are pencilled annotations made at the time; for information these have been added in square brackets.] NB It is proposed to issue a volume reproducing in colour facsimile the Water Colours in this exhibition. For this purpose the Society will require to borrow most of the sold drawings. Particulars with specimen plate will be furnished on application. [according to the records of the Fine Art Society this was never completed or published]

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Worcester – from the South-West Ely Cathedral Norwich – Sunset Exeter Cathedral – West Front Winchester Ely Cathedral – Interior Lincoln from the South Westminster Abbey – Evening Lincoln Cathedral – from the North-West Peterborough Cathedral – West Front York Minster – from the North Lichfield – Sunset Ripon – Twilight Lichfield [Excellent, strong light] St Albans Westminster Abbey – Interior Westminster Abbey from Vauxhall Pevensey Wells – from the Roof of the Parish Church Gloucester Wells – the Parish Church Canterbury – Spring Morning Rochester – Sunset Salisbury – West Front Durham Gloucester Cathedral – Evening Durham Cathedral – Interior Winchester Cathedral St Chad’s, Lichfield Rochester – Moonrise from the Castle St Paul’s Cathedral from Southwark Bridge Wells Cathedral Magdalen College – Oxford Worcester – from the Severn Bristol Peterborough Norwich Durham Cathedral Salisbury by Moonlight St Albans [distant view, charming colour effect] Oxford from Christchurch Meadows York Minster from the Walls Hereford Cathedral – Interior Gloucester – Sunset Exeter from the River Durham from the Railway Station Norwich St Albans – Moonlight St Albans Hereford Exeter – from the Docks Chichester – from the North-West Durham – Twilight on the River Hereford – Sunset Lichfield Rochester Canterbury Cathedral – North Entrance Salisbury Close Wells – Sunrise Salisbury – Canal

May 1906 Turner House Penarth, Wales Exhibition of Works by Albert Goodwin, RWS (alongside sculpture by W Goscombe John)

[No catalogue has been traced.]

January 1907 Fine Art Society An Exhibition of Water-Colours of Dawn and Sunset by Albert Goodwin, RWS [In the V&A copy of the catalogue there are pencilled annotations made at the time; for information these have been added in square brackets.] 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38

Dover Castle Westminster Venice – Three Sketches Salisbury Plain – Sunset – with Stonehenge in the distance The Gorge of the Teign, Dartmoor Hastings Rye from the River Cairo Durham Salisbury Sunset over the Sea Fribourg Chichester St. Alban’s The Ending of the Day Niagara Cairo The Cathedral, Palermo Chichester Cairo Rye Hurstmonceaux The Indian Ocean The Ferry, Spanish Town, Jamaica Sandwich, Kent The Parish Church, Salisbury La Grève [fine sunset] Lichfield Taormina Whitby [strong & effective] Siena The Ship-Breaker’s Yard York Clifton – Bristol Cairo by Night Salisbury – Poppies Venice Hastings

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ALBERT GO O DW IN RW S St Chad’s, Lichfield Hastings St Alban’s [charming sketch] St John’s, Westminster Salisbury, from Old Sarum The Tiber, near Rome [good strong sunset] Dorchester on Thame Lichfield May Moon – Nunney, Somerset Verona The Port of Rye [strong sketch, sunset] Cairo Georgetown, Demerara Vesuvius from Naples Mont St Michel The Coral Strand, Barbadoes Durham (Pastel) Clifton – Bristol [very tender and delicate] Dover Dawn in the Pilgrims’ Road (Oil) Fribourg Beachey Head Stromboli Durham (Pastel) Greenwich Dover Cliffs Mont St Michel – The Castle at Night The Parish Church, Rye Beachey Head Sunset – The Pyramids Trafoi – Engadine Clifton, Bristol – The Outward Bound Nymegen – The Rhine The Citadel, Cairo Windsor Lichfield (Oil) Sunrise and Calm [beautiful with rising sun over sea] In The Tyrol Palermo Horse-shoe Fall, Niagara Lincoln Corfe Castle The Sultan and his Camp by the Enchanted Lake – ‘Arabian Nights’ (Oil) Red Dawn in the Roman Road Dover Harbour Works St Alban’s Whitby

1908 Leggatt Brothers Gallery, 30 St James’s Street, SW Drawings and Pictures by Albert Goodwin, RWS [The catalogue is not actually dated but is Library stamped Oct 1908.] Explanatory In the water-colours exhibited here my attempt has mainly been to make a compromise between light and colour, and this has been more difficult

because my liking is for deep-toned colour, and the result of painting this as deep as it seems, though in a measure right in the clear air of the country, is comparative darkness in a London atmosphere; and so it is with regret that the painter has to ‘hedge’ and to abate a little of his love to the one for the sake of the other. Then there is form, which will have (or should have) its say. To be faithful to these three, and to make them dwell in his picture as a trinity in unity is, I think, the landscape painter’s business. For surely he is the best impressionist who, looking at all the beauty of a natural scene, endeavours to give, not a one-sided version of one of its features, but tries to get some of the essentials of each. I risk this explanation of method knowing full well that he who tries to explain himself generally ‘gives himself away,’ leaving an opening for his critics to get in under his guard; but these and other confessions are written less for the critics than for those who, knowing the artist only in his work, may sometimes wish to know the why and wherefore of it. Albert Goodwin 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

Lincoln The Bürgenstock and Lake Lucerne Abingdon The Old Bridge and Tower, Lucerne Windsor – Dawn The Taj Mahal, Agra Monreale Cathedral, Sicily Rye – Storm Ely Cologne Venice, from the Mainland St Gothard, near Amsteg Canterbury – ‘Dim Religious Light’ Corfe Castle Ely Lauterbrunnen Westminster, from the tower of Lambeth Church Rye and a Ditch Story of the Fisherman and the Genie (‘Arabian Nights’) Exhibited at the Royal Academy, 1882 ‘The Sultan ordered his whole court to accompany him while the Fisherman served as a guide. They all ascended the mountain and on going down on the other side, they were much surprised at the appearance of a large plain which no one had ever before remarked. They at length arrived at the lake which they found situated exactly among four hills as the Fisherman had reported. Its water was so transparent that they could see that all the fish were of the same colours as those the Fisherman had brought to the Palace.The Sultan halted at the side of the lake and paused in astonishment and said to his troops: “Hath any one of you before seen this lake in this place?” They all answered “No”. Then said the King: “By Allah, I will not enter my city nor sit upon my throne until I know the true history of this lake and its fish.”’ The unclad fisherman is seen pointing out, in an ‘I told you so’ manner, the fish who behave so strangely in their cooking. The Sultan is receiving the fish on a salver, in wonderment, looking on them as fish only… but his cat, knowing them to be men under the enchantress’s spell, is in visible and arched-back terror. The Chief of the Eunuchs (man in black) is giving his lame explanation, serving as so many explanations do to

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complicate matters still more. The ladies are the favourite wife and the others; in the middle distance are the tents of the Sultan and his ministers. The place is in the ‘Land of Nowhere,’ as all such enchanted places must be, but the materials for its building are gathered from actuality – AG Lausanne Sandwich, Kent Lucerne – Dawn Beechy Head– The Coastguard’s Story The Garden of the Moor, and the Birthplace of a River, Dartmoor Ravallo, near Amalfi The Ending of the Road Exhibited at the Royal Academy, 1902 The painter has not yet seen this place, but confidently expects to: as a small boy it very much impressed him: but a sky suggested the painting of it. Switzerland had a hand in it, in the upward slope of the white causeway on the other side. The inadequacy of a black black enough for the blackness of the river was much regretted, but anything is inadequate in ideal subjects, and he who ventures into this realm must be content to be labelled as one of the ‘Fools who rush in where Angels fear to tread.’ Sunday in the Vale of Bormio, Tyrol Lago Maggiore, over Baveno Schultze, Engadine Meran La Prese, Grisons, Suisse, Bernina Alp Lambeth Palace – Summer Twilight Scarborough Whitby Windsor Dartmoor – The Peat Cart Under the Roof of the World Exhibited at the Royal Academy, 1898 ‘Is an epitome of my memory of the beauty and mystery of India. I have no right to an opinion, as I was so short a time there, but what I saw and heard of Hindooism left an impression upon me that there could be no good word to say for it whatever it may once have been, its present state seemed an abomination – I meant the picture to be taken in the form of an Allegory (that thing so hateful, I know, to many), but it seemed the only way to convey what I saw altogether of the East Indies. It is “Diana of the Ephesians” at the foot of the Himalayas with all the darkness of one of the darkest places on earth. Hookswinging is going on in the background. And in darkness at the foot of black cliffs the people worship their darkened images. A Preacher of the Gospel is calling to them to come out from the midst of these idols withstood by the eastern prototype of Alexander the Coppersmith. These are the main outlines though there are plenty of side is sues which those who have eyes can see. There are paths leading upward to the light, that one day this great people, I am persuaded, will make use of, and that day smiles and laughter will make glad the saddest race I have ever seen.’ The House Beautiful, see ‘Pilgrim’s Progress’ Canterbury Freybourg, Switzerland The Deadly Upas Tree of Java Tombs of the Caliphs, Cairo – Sunset

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211 Sixth Voyage of Sinbad the Sailor Exhibited at the Royal Academy, 1879 Sinbad is relating his adventures after he has escaped on his raft and passed through the river that runs from the sea through the dark mountains. ‘They took me to their king, who was the king of Sarundub and acquainted him with what had happened, whereupon he saluted me and welcomed me and asked respecting my state and the events that had happened to me. I therefore acquainted him with all my story and what I had experienced from first to last, and the king wondered at this narrative extremely and congratulated me on my safety.’ The studies for this were made both in the East and West Indies. Westminster The Righi – Dawn Venice, Sunset Gate of the Inferno ‘We to the place have come, where I have told thee Thou shalt behold the people dolorous Who have forgotten the good of Intellect. ‘My Son’ the courteous Master said to me, ‘All those who perish in the wrath of God Here meet together out of every land’ – Dante’s ‘Inferno’ Exhibited at the Royal Academy, 1903 ‘I think I had more trouble in developing this, than any picture I have painted, but the agony (and some one has said somewhere, nothing good without agony) had its reward. There is great joy in creating even if it is the counterfeit presentment of so awesome a place. Some of the prisoners have carved on the walls of this prison-house as they entered, words which speak of more merciful things that Dante wrote of. It is from that wide point of view, I think, that Hell becomes as reasonable as Heaven. Some parts of India and some of the Cyclopean rock-carving of Upper Egypt gave me the impression for the foundation of the haunting subject. They seemed the nearest I had seen to the dreadfulness of this Dante story.’ Wonderland ‘We were the first that ever burst, into that silent sea’ – Ancient Mariner Corfe Castle Chelsea Appledore, N Devon Folkestone Harbour Boston Lincoln Sketch Peterborough The Backs, Cambridge Verona Market Bexhill, Sussex Iffley Clovelly The Lake, La Prese, Grisons Siena The Burning Bush The Lost Sheep Fluelen Freybourg Sketch Lucerne Sketch Torre Anunziata and Vesuvius

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ALBERT GO O DW IN RW S Sunset over the Sea Lucerne Pallanza, Lago Maggiore Bucks Mills Clovelly

1912 Leggatt Brothers Gallery, 30 St James’s Street SW Water-Colour Drawings and Paintings by Albert Goodwin, RWS 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49

West Indian Sunset, Barbados Morning Grey – Rye Salthouse, Norfolk – Sunday Martinique, East Indies The Windmill The Way to Chioggia, Venice Old Hastings Naples in January A Swiss Funeral, near Interlaken A Saint’s Day, Freybourg – Suisse Valley of Silvaplana, Engadine The Walls of Thun A Disturbance at a Theatre, Pompeii, BC75 Ely The Niesen from Oberhoven Cloud Land under the Jüngfrau Lauterbrunnen Valley The Pyramids Scarborough A Coolie Wedding, Trinidad Rye Milan In the Caribbean Sea After the Storm Pevensey Castle Across Lake Thun Low Tide in the Lagoons, Venice Night under the Jüngfrau, Lauterbrunnen The Taj Mahal, Agra Lincoln The Last Gleam on the Jungfrau Dartmoor Spiez and Lake Thun The Bocas, Trinidad Windsor from the Meadows Mosque of Mahomad Ali, Citadel Cairo Berne Sunset across the Plains ‘And Lot pitched his tent towards Sodom’ Pallanza, Lago Maggiore Postchiavo, Grisons, Suisse Trafalgar Square, Barbados Rye – Evening Windsor – Noon The Jungfrau from Isenflue Summer Sunset, Westminster The Backs, Cambridge The Rigi at Dawn Eton The Carnival at Carácas, Venezuela

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High Street, George Town, Demarara Staubach, Lauterbrunnen Rochester St John’s, Cambridge The Devil’s Punch Bowl, Hindhead Capel Curig, N Wales Barmouth Estuary Rye, Sussex Saturday Night King’s Parade, Cambridge The Citadel, Cairo The Summer Storm, Locarno, Lago Maggiore Gloucester Broad Street, Oxford The Nile The Coral Strand, Barbados

1919 Leggatt Brothers Gallery, 30 St James’s Street SW Drawings and Pictures by Albert Goodwin, RWS [In the catalogue, all pictures are marked ‘oil’ or ‘water-colour’. Here only the oils are indicated, all other works being watercolours.] 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

Old Interlaken (Oil) Fairy Cups – Devonshire Woods The Taj Mahal Durban, South Africa Isola Piscatore – Lago Maggiore Afterwards (Oil) Futtipur Sikri Agra – The Monsoon School of Porpoises off the Coast of South Africa Thun ‘And Lot sat in the Gate of Sodom’ – The City of the Plains On Board a Troop Ship – ‘The Captain shows a magic-lantern’ ‘The Madness of the Carnival’ – Caracas, Venezuela King’s College, Cambridge The Gardens, Pallanza, Lago Maggiore The Ganges The Banks of the Nile (Oil) Lake Lucerne (Oil) Taormina The Caravan in the Sahara Desert The Cape of Good Hope Silvaplane, Engadine (Oil) Sunset – Near Chichester Clovelly – The Sailor’s Wedding Ouchy, Lausanne (Oil) Clovelly The Ending of the Day The Wreck of the Slave Dhow Port of Spain, Trinidad Morte Point, North Devon ‘Hills’, Winchester Rye Neuchâtel Thun (Oil) Pilatus and Stanstadt, Lake Lucerne

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Ewelme Sea Mist, Hartland Point Orvieto HMS Kent – Night at Cape Town The Mill Pond, Sturry, Canterbury (Oil) Gloucester Bosham, Sussex Salvage from the Wreck Cape Town Docks Canterbury Arundel Castle ‘The White Man’s Grave’ – Sierra Leone Dover (Oil) The Taj Mahal, Agra (Oil) ‘At Flores in the Azores’ – Sir Richard Grenville’s Last Fight Moonlight Hartland Point ‘The Idle Lake’ – vide Spenser’s ‘Fairy Queen’ (Oil) Maidstone, 1878 Spiez, Lake Thun Eton Christchurch, Hants The College, Winchester Pevensey Castle, Sussex (Oil) The Dance of the Fireflies, Jamaica The Wharf, Arundel Tewkesbury (Oil) Taormina (Oil) Rye (Oil) Rain on the Rhigi (Oil)

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Sunset, Bexhill Lundy Island, from Gallantry Bay Chamounix Huelen, Lake Lucerne The Theatre, Pompeii Arundel Rye Pevensey Castle, Sussex The Night before the Battle The Jungle Clovelly

1921 Frost & Reed Clare Street, Bristol Water-colours by Albert Goodwin, RWS

[No catalogue has been traced.]

1922 Leggatt Brothers Gallery 30 St. James’s Street, SW Drawings and Pictures by Albert Goodwin, RWS [In the catalogue, all pictures are marked ‘oil’ or ‘water-colour’. Here only the oils are indicated, all other works being watercolours.] Explanatory

November 1920 The Collector’s Gallery, 11 Pavilion Road, Knightsbridge SW1 An Exhibition of Works by Albert Goodwin, RWS

The pictures and drawings now exhibited should have been shown two years ago, but for various reasons it was expedient to postpone the Exhibition.

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I have been long enough in the field to apologize for so many as I thought ‘last appearances’, but life is full of surprises and I get one every morning when I awake to find myself alive; and to become a patriarch is to me one of the greatest novelties, one that I think I shall never get accustomed to. The danger of living and painting all the time for so long a period as sixty years is that of vain repetition. I am conscious that I am partly guilty in this but the excuse is that it is inevitable. The only justification being in the fact that all the first stage of a painter’s life he is groping his way to expressions, and if he stays long enough his groping is more or less rewarded.

The Piazza, Venice The Abbey Garden Cairo Dover After the Storm Durham Lago Maggiore Isola Piscatore, Lago Maggiore Rye, Sussex Barracane Bay, N Devon Watermeads, Winchester Winchester The City of Dis Cley, Norfolk Dieppe Clovelly Rye, from Cumber Castle Mount St Michael Salisbury Winchester College Bettws-y-Coed Bridge Abingdon Taormino

Most of the drawings and sketches have been painted within the last three or four years – some go back to forty or more.

I have been fortunate to survive until now, and have thought it wise with the knowledge gained by maturity deliberately to do the things I have done before, avoiding the pitfalls and places of stumbling which I generally fell into. I may be mistaken in thinking I have had a little success in this, but the ‘show’ must be my judge for better or for worse. I have had continual pleasure in doing them. The ever-changing aspect of the world, openings of fresh astonishments, and wonders to the landscape painter, the longer he lives making his art to be ever renewing its youth, and discovering to him that even in Bolshevism there may be something of truth, if only it teaches him what to avoid. Albert Goodwin

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ALBERT GO O DW IN RW S The Shipyards, Rye (Oil) May-Moon, Amberley, Sussex Sunday – Salthouse, Norfolk (Oil) The Rescue – Clovelly (Oil) Whitby (Oil) The Pied Piper of Hamelin City Sturry, near Canterbury Farleigh on the Medway Venice Pisa Arundel Hastings Whitby Lincoln The Port of Rye Back Slums at Baveno, Lago Maggiore Rye The Burning of the Tares St Michael’s Mount (Oil) Bosham, Sussex Lynmouth, North Devon (Oil) Catsfield, near Bexhill Israel in the Wilderness (Oil) Clovelly – Herrings Futtiphor Sikri (Oil) High Street, Salisbury The Fisherman and the Geni (Oil) Whitby (Oil) Salisbury Close (Oil) The Eiger, near Murren Bosham North Devon Coast Norwich (Oil) Amalfi Canterbury Hartland Point Dawn at Vevy St Swithin at Canterbury Beachy Head Lynmouth Bar, N Devon (Oil) Venetian Fruit Market (Oil) Arabian Night, Cairo (Oil) Winchester College Lincoln Silvaplana, Engadine Lincoln Dawn at Baveno Lago Maggiore (Oil) St Paul’s Departure Old Hastings – Stormbound Wells – Light at Eventide Vesuvius (Oil) A Sail in Sight (Oil) The Walls of Jericho (Oil) Arundel Naples (Oil) Folkestone (Oil) Dartmoor Dordrecht (Oil) Old Town, Hastings (Oil)

March 1925 Vicars Brothers, 12 Old Bond Street, London W1 Water-Colour Drawings and Oil Paintings By Albert Goodwin, RWS Albert Goodwin, RWS, is undoubtedly one of the most notable living members of the Royal Society of Painters in Water-Colour. He has shown numerous works at the Royal Academy throughout the last forty years, and has also been a consistent exhibitor at the Royal Water-Colour Society, of which he is a full member. Mr Goodwin has certainly been inspired by Turner, but is in no way a copyist; he shows, however, the same vision and breadth of outlook in approaching his subject. His works are to be seen in public galleries all over the country, including the Tate Gallery, the Victoria and Albert Museum, Birmingham, Manchester, also at Melbourne and Sydney. Many of the best judges believe that in the future he will take his place as one of the great exponents of his art of this generation. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29

Beverley Minster Berne Sea Mist at Dawn Afterglow from Boulac, Cairo Winchester Venice. Dawn (oil) Venice Hereford Cathedral Barracane Bay, North Devon (oil) Abingdon Benares Windsor Arundel Castle (oil) Venice (oil) Jama Masjid, Agra Westminster Wells Cathedral Winchester (oil) Autumn, Battle Arundel. The Church and the World The Jungfrau from Lauterbrunnen Windsor. Dawn Thun Old Sarum St Mark’s, Venice Chichester The City of Dis The Phantom Ship Woody Bay, North Devon

December 1925 Municipal Art Gallery and Museum, Wolverhampton An Exhibition of Oil Paintings, Water Colour Drawings, etc by Albert Goodwin, RWS, RWA, Loaned by M B Walker Esq

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The Gate of the Inferno ‘Through me the way among the people lost’ (Dante’s Inferno) Exhibited at The Paris Salon; the Toronto Exhibition, 1910 The Dance of the Fireflies, West Indies Painted in Jamaica Lynmouth, N Devon Sinbad Entertained at the Court of the King of the Indies (Arabian Nights) A Sermon in the Hayfields, Simplon Painted while spending three months at the village of Simplon; The Parish Priest used to give a practical evidence of Christianity by working in the fields with his Parishioners. The Old Chalk Pit, Arundel The Castle of Enchantments (Arabian Nights) Saint Michael’s Mount Judas Iscariot ‘What shall a man give in exchange for his soul.’ Venice. Before the fall of the Campanile The Hardy Norseman The City of Glittering Light ‘And Lot pitched his tent towards Sodom’ Exhibited at the New Gallery, Summer Exhibition, 1909 The Coral Strand ‘I will make the place of my feet glorious’ The Bazaar. Street of the ‘Medicine Man’ Desert Dust, Cairo Dawn on the Pilgrims Road ‘And a highway shall be there and a way, and it shall be called the way of holiness; the unclean shall not pass over it; but it shall be for those, the wayfaring men, though fools shall not enter therein’ The Betsy Jane of Whitby going to Sea The Island of the Sounding Cymbals (See ‘Arabian Nights’) The Island Miranda: ‘Had I been any god of power I would have sunk the sea within the earth, or e’er it should the good ship have swallowed, and all the fighting souls within her’ (The Tempest) Moonlight over the Monastery of St Francis, Assisi The Devil Worshippers Children of the Artist at St Michael’s Mount The Unveiling of the Enchanted Palace (The Fisherman and the Genius, Arabian Nights) Exhibited at the Royal Academy The Corridors of Hell ‘A land of darkness, as darkness itself, and of the Shadow of Death; without any order, and where the light is as darkness’ Lynmouth Bay, N Devon The Enchanted Lake ‘They at length arrived at the lake, its waters were so transparent that they could see that all the fish were of the same colour as those the fisherman had brought to the palace. The Sultan commanded them to encamp around, his own pavilion and the tents of his immediate household being pitched upon its borders’ (The history of the Fishermen. Arabian Nights) Exhibited at the Irish International Exhibition, 1907 and the Royal Academy The Arctic Night Under the Roof of the World ‘I intended this to epitomise my impression of India where beauty and horror seem always to “jostle” each other. A missionary is

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seen preaching the Gospel. Near him the while, hook-swinging and other frightfulness is in progress, and his preaching is derided. “Alexander the Coppersmith” holds up his idols in opposition, while the people look on with indifference. Parabolically there is a way “up and out” if the people will only see it and use it, up and out to a better country.’ AG The Dark Fir Wood The Streets of Mansoul (Bunyan’s Holy War) Along Shore Temper – Portrait Passage of the Red Sea ‘And the angel of God, which went before the camp of Israel, removed and went behind them, and the pillar of the cloud went from before their face and stood behind them. And Moses stretched out his hand over the sea, and the Lord caused the sea to go back by a strong east wind all that night, and made the sea dry land, and the waters were divided.’ Exhibited at the Royal Academy Equinox Torre Anunciata In digging for a water supply for the town, Pompeii was discovered The City of Dis ‘Then we arrived at the moats profound that circumnavigate that disconsolate City, the walls appear to me to be of iron. Who is this that without death goes through the kingdom of the people of the dead’ (– Longfellow’s translation – Dante’s Inferno) Exhibited at the Irish International Exhibition, 1907; the London Guildhall Loan Exhibition, 1897; and the Royal Academy The Vision of the Keepers of the Sheep ‘Then opened heaven’s chancel while shepherds gazed in fear, Out trooped the Choirs of Angels, Oh the blessedness to hear, And loud they sang as though the Heavens were not enough to fill, Now Glory be to God on high and unto men goodwill’ (A replica of the same subject was presented by the Artist to New Zealand, and is now hung in the Gallery of Art, Auckland, NZ.) Windsor The End of the Pilgrims Road ‘Now I further saw that between them and the gate was a river; but there was no bridge to go over and the river was very deep. At the sight, therefore, of this river, the Pilgrims were much stunned, but the men that went with them said “you must go through or you cannot come to the gate” ’ (Bunyan’s Pilgrims Progress) Exhibited at the Royal Academy

North Room 40 Fribourg 41 View from Ruskin’s House, Coniston (Experiment to illustrate pen and ink and water colour) 42 Sinbad the Sailor 43 Bucks Mills, N Devon 44 The Lizard from Kynance Cove 45 The Righi, Dawn 46 Circé and the Swine 47 Outside the Amphitheatre, Pompeii 48 The Invincible Armada 49 Oxford 50 Among the Icebergs

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ALBERT GO O DW IN RW S Fribourg (Suissa) Circé and the Swine Fire Edinburgh Castle Ely Cathedral Lantern Hill, Ilfracombe The Arctic Night ‘We Re-beheld the Stars’ (Dante’s Inferno) Barry Harbour N Devon Night in the Camp of Israel The Sentinel Study of Doorway Ilfracombe Study for The Heavenly City The Lost Fishermen Three Studies Venice The Tropic Night, Port Antonio, Jamaica Rejoicings at Arundel Canterbury, Dawn From Glastonbury Tor Glastonbury Worcester Exeter The Gum Diggers’ Land, New Zealand Windsor Caudebec Siena Westminster Venice Sunset down the High Street, Canterbury Glastonbury Beachy Head Corfe Beachy Head Mont Blanc The Abbey Church, Christchurch Summer Noon, Wells A South Sea Sunset The Taj Mahal from Agra Fort In the South Sea Islands

1926 City of Birmingham Museum and Art Gallery A collection of oil paintings, water colour drawings etc By Albert Goodwin, RWS, RWA Lent by M B Walker Esq 1 2 3 4 5 6 7 8 9

Cowdray, Sussex. Haunted Battle Abbey The Churchyard Wall, Bridgnorth Old Basing Rye Salisbury Sydney Harbour Salisbury Chester

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Canterbury Rye Port Lincoln Abingdon Bristol Docks, Moonlight Worcester The Harbour, Ilfracombe Over Edinburgh, from Salisbury Crags Taormina, April Rain, under the Righi Summer Storm Clouds The Approach to Lauterbrunnen The Secret of the Glacier, Discovered Fireflies, Jamaica Teignmouth, Bank Holiday Boston Pencil study for Boston The Last of the Windmills, Canterbury Morte Hoe, N Devon The Hollow Tree Hartland The Cross Roads Hartland Quay Rye from Camber Castle Salvage Clovelly Morte Point, N Devon Windsor Stonehenge Norwich Sunset, Barbados, West Indies Sunset, Rye Exeter Morte Point, N Devon Sunset, Blakeney Marshes, Norfolk Bordighera, Auto da Fé From Woolacombe, N Devon The Wreck Verona ‘The floods lift up their voices’ Sunset. The Dragon Stonehenge Beachy Head Hastings, Sunset Sunset. Across the South Downs Rye Dartmoor The Jungfrau Chichester from the Bishop’s Garden St Leonard’s from Galley Hill, Bexhill Hastings, Moonrise The Fruit Market, Venice Corfe Castle Oxford, Oriel College and St Mary’s Church Fribourg Barry Harbour, N Devon A South Sea Sunset In the South Sea Islands Summer Noon, Wells

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Exeter French Beans, Caudebec, Normandy The Western Tower, Lincoln Canterbury Worcester Canterbury, Dawn The Abbey Church, Christchurch Exeter Glastonbury Beachy Head From Glastonbury Tor Beachy Head Caudebec The Taj Mahal from Agra Fort The Tropic Night, Port Antonio, Jamaica Sunset, down the High Street, Canterbury Siena Westminster Venice Windsor Fire Mont Blanc Glastonbury The Gum Diggers’ Land, New Zealand Corfe Castle. Inscribed ‘Painted on seventy-eighth birthday’ Rejoicings at Arundel Canterbury Outside the Amphitheatre, Pompeii The Dance of the Fireflies, West Indies Painted in Jamaica Circe and the Swine Fribourg (Suissa) Ely Cathedral Night in the Camp of Israel The City of Dis ‘Then we arrived at the moats profound that circumnavigate that disconsolate City, the walls appear to me to be of iron.’ (Longfellow’s translation) (Dante’s Inferno) Exhibited: the Royal Academy, 1892; the London Guildhall Loan Exhibition, 1897; the Irish International Exhibition 1907. Venice Before the fall of the Campanile The Island Miranda: ‘Had I been any god of power I would have sunk the sea within the earth, or e’er it should the good ship have swallowed, and all the fighting souls within her’ (The Tempest) Moonlight over the Monastery of St Francis, Assisi Equinox The Arctic Night The Hardy Norseman Sinbad entertained at the Court of the King of the Indies (Arabian Nights) Exhibited at the Royal Academy, 1897 Bucks Mills, N Devon ‘We re-beheld the Stars’ (Dante’s Inferno) The Life Boat off the old Chain Pier, Brighton A Sermon in the Hayfields, Simplon

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217 Painted while spending three months in the village of Simplon. Where the Parish Priest used to give a practical evidence of Christianity by working in the fields with his Parishioners. Exhibited at the Royal Academy, 1881 The Betsy Jane of Whitby going to Sea The Enchanted Lake ‘They at length arrived at the lake. Its waters were so transparent that they could see that all the fish were of the same colour as those the fisherman had brought to the palace. The Sultan commanded them to encamp around, his own pavilion and the tents of his immediate household being pitched upon its borders’ (The History of the Fishermen. Arabian Nights) Exhibited at the Royal Academy, 1883; the Irish International Exhibition, 1907 The Coral Strand ‘I will make the place of my feet glorious’ The Sentinel Saint Michael’s Mount The Unveiling of the Enchanted Palace (The Fisherman and the Genius – Arabian Nights) Exhibited at the Royal Academy, 1884 The old Chalk Pit, Arundel The Devil Worshippers The Arctic Night Torre Anunciata In digging for the water supply for the town, Pompeii was discovered The End of the Pilgrims’ Road ‘Now I further saw that between them and the gate was a river; but there was no bridge to go over, and the river was very deep. At the sight, therefore, of this river, the pilgrims were much stunned, but the men that went with them said “You must go through or you cannot come to the gate” ’ (Bunyan’s Pilgrim’s Progress) Exhibited at the Royal Academy, 1902 The Gate of Victory, Futtiphar Sikri, India Sinbad the Sailor Circe and the Swine The Streets of Mansoul (Bunyan’s Holy War) The Gate of the Inferno ‘Through me the way among the people lost’ (Dante’s Inferno) Exhibited at the Royal Academy, 1903; The Paris Salon; the Toronto Exhibition, 1910 The Castle of Enchantments (Arabian Nights) Windsor The Vision of the Keepers of the Sheep ‘Then opened heaven’s chancel while shepherds gazed in fear. Out trooped the Choirs of Angels, Oh the blessedness to hear, And loud they sang as though the heavens were not enough to fill, Now glory be to God on high and unto men goodwill’ (A replica of the same subject was presented by the Artist to New Zealand, and is now hung in the Gallery of Art, Auckland, NZ.) Dawn on the Pilgrims’ Road ‘And a highway shall be there and a way, and it shall be called the way of holiness; the unclean shall not pass over it; but it shall be for those, the wayfaring men, though fools shall not enter therein’ Exhibited at the Royal Academy, 1900

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ALBERT GO O DW IN RW S The Corridors of Hell ‘A land of darkness, as darkness itself, and of the Shadow of Death; without any order, and where the light is as darkness’ The Invincible Armada Exhibited at the Royal Academy, 1904 The Island of the Sounding Cymbals (See Arabian Nights) The Bazaar Street of the ‘Medicine Man’ Under the Roof of the World ‘I intend this to epitomise my impression of India where beauty and horror seem always to “jostle” each other. A missionary is seen preaching the Gospel. Near him the while, hook-swinging and other frightfulness is in progress, and his preaching is derided. “Alexander the Coppersmith” holds up his idols in opposition, while the people look on with indifference. Parabolically there is a way “up and out” if the people will only see it and use it, up and out to a better country’ – AG Exhibited at the Royal Academy, 1898 Venice Among the Icebergs Edinburgh Castle The Lost Fishermen The Passage of the Red Sea ‘And the angel of God, which went before the camp of Israel, removed and went behind them, and the pillar of the cloud went from before their face and went behind them. And Moses stretched out his hand over the sea, and the Lord caused the sea to go back by a strong east wind all that night, and made the sea dry land, and the waters were divided.’ Exhibited at the Royal Academy, 1889 Lynmouth, N Devon Children of the Artist at St Michael’s Mount Lynmouth Bay, N Devon The City of Glittering Light ‘and Lot pitched his tent towards Sodom’ Exhibited at the New Gallery, Summer Exhibition, 1909 The Lizard from Kynance Cove Along Shore, N Devon Desert Dust, Cairo Temper. A Portrait The Dark Fir Wood Study of a Doorway The Righi, Dawn Three Studies Lantern Hill, Ilfracombe Judas Iscariot ‘What shall a man give in exchange for his soul’ Ilfracombe Market Day, Sandwich, Kent Exhibited at the Royal Water-colour Society, 1925 Study for The Heavenly City View from Ruskin’s House, Coniston (experiment to illustrate pen and ink and water colour)

Friday 9 March 1928 at one o’clock precisely Messrs Christie, Manson & Woods Catalogue of The Collection of Works by Albert Goodwin, RWS, RWA The Property of Matthew Biggar Walker, Esq, of 1 Park Crescent, Wolverhampton [In Christie’s own archive copy of the catalogue there are inked annotations made at the time; for information these have been added in square brackets.] The Collection has been exhibited at the City Art Gallery, Birmingham, 1926; the Walker Art Gallery, Liverpool, 1927, and recently at the Atkinson Art Gallery, Southport. In addition, many of the Pictures and Drawings were shown in 1925 at the Wolverhampton Art Gallery. Drawings [23 Ep Mr Biggar Walker] 1

[to go] The Vision of the Keepers of the Sheep ‘Then opened heaven’s chancel while shepherds gazed in fear, Out trooped the Choirs of Angels, oh, the blessedness to hear, And loud they sang as though the heavens were not enough to fill, Now glory be to God on high, and unto men goodwill’ 24 in by 39 in

[J Ward 5/5/-]

Venice Before the Fall of the Campanile Pastel – 21 ½ in by 31 in

[Heather 27/6/-]

Equinox (1911-25) 19 ½ in by 29 ½ in

[J Ward 10/10/-]

Fire: A conflagration near St Paul’s Cathedral (1914) 15 ½ in by 22 ½ in

[disc dx/-/-]

[S: 13/13/-]

Westminster (1922) 15 in by 22 in

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[G Clark 11/11/-]

Sunset, Down the High Street, Canterbury (1922) 15 in by 21 ½ in

Canterbury (1921) 14 ½ in by 22 in

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[G Clark 10/10/-]

Caudebec (1921) 14 ¾ in by 21 ¾ in

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[Thompson 14/14/-]

The Hollow Tree (1920) 14 in by 20 ½ in

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[S: 7/7/-]

‘We re-beheld the Stars’ (1892) Dante’s Inferno 13 ¾ in by 20 in

[S: 25/4/-]

[G Clark 5/5/-]

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EXHIBIT IO NS 11

The Gum Digger’s Land, New Zealand (1917) 13 ½ in by 20 ½ in

[disc ds/-/-]

[9 gs]

The Hardy Norseman 13 ½ in by 20 ¼ in

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[S: 15/15/-]

Rejoicings at Arundel (1921) 13 ½ in by 20 in

[G Clark 8/8/-]

Circe and the Swine 13 ½ in by 20 in

[Owen 2/2/-]

Beachy Head (1922) 13 in by 20 in

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[Leggatt 19/19/-]

Worcester (1923) 12 ¾ in by 20 in

[os/-/-]

[17 gs]

The Abbey Church, Christchurch (1921) 12 ¾ in by 20 in

[ds/-/-]

[Whitehouse 15/15/-]

Corfe Castle (1924) Inscribed, ‘Painted on Seventy-eighth Birthday’ 12 ¾ in by 19 ¾ in

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[G Clark 8/8/-]

From Glastonbury Tor 12 ½ in by 19 ¾ in

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Canterbury (1920) 12 ¾ in by 19 ½ in

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Summer Noon, Wells (1922) 11 ¼ in by 19 in

Beachy Head 11 ½ in by 18 ¾ in

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[Leggatt 16/16/-]

A South-Sea Sunset (1923) 11 ¾ in by 18 ½ in

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[J Ward 14/14/-]

Glastonbury (1921) 11 ¾ in by 18 ½ in

[ds/-/-]

[13 gs 12/wad]

Salvage 11 ½ in by 18 ½ in

[dx/-/-]

[Leggatt 30/9/-]

Glastonbury (1923) 11 in by 18 ½ in

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[Michaelmore 10/10/-]

Rye, from Camber Castle (1918) 11 ¼ in by 18 in

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[Vicars 21/-/-]

[Thompson 14/14/-]

The Last of the Windmills, Canterbury (1921) 11 ¼ in by 18 in

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[Whitehouse 9/19/6]

Hartland 11 ½ in by 17 ½ in

[Whitehouse 9/9/-]

Hartland Quay 11 ½ in by 17 ¼ in

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Bristol Docks: Moonlight 11 in by 14 ¾ in

[Heal 4/4/-]

Rye 10 ¾ in by 15 in

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[Leggatt 17/17/-]

Windsor (1923) 10½ in by 15 in

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[Leggatt 37/16/-]

Siena 10 ½ in by 15 in

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[Thompson 25/4/-]

‘Dolce Acqua’ near Bordighera 10 ¼ in by 14 ¾ in

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[J Ward 11/11/-]

[=]

46 Salisbury 10 in by 14 ¾ in [If Lot 29 NOT bot oo gns. Mortimer]

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[14 gs]

The Secret of the Glacier – Discovered 10 in by 14 ¾ in

[to go]

[Whitehouse 3/13/6]

Verona ‘the floods lift up their voices’ 10 ½ in by 14 ½ in

Exeter 12 ½ in by 19 ½ in

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[Leggatt 23/2/-]

Night in the Camp of Israel (1895-6) 12 ½ in by 19 in

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[Owen 5/15/6]

The Cross Roads (1921) 12 ½ in by 19 in

[Whitehouse 17/6/6]

The Western Tower, Lincoln 12 in by 19 ¼ in

[G Clark 12/12/-]

Canterbury: Dawn (1922) 12 in by 19 in

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[Vicars 23/2/-]

French Beans, Caudebec, Normandy 12 in by 19 in

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[S: 13/13/-]

Morte Point, N Devon 11 ¾ in by 19 ¼ in

[=]

29 Teignmouth: Bank Holiday 11 ½ in by 19 ¼ in [ot gns Mortimer]

[Whitehouse 8/8/-] [disc dx/-/-]

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Clovelly (1923) 11 ½ in by 19 ¼ in

[G Clark 12/12/-]

Exeter (1923-4) 12 ½ in by 19 ½ in

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[Mortimer 15/15/-]

[do 16/16/-]

[Whitehouse 22/1/-]

[Clark 9/9/-]

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The Tropic Night, Port Antonio, Jamaica [disc (1900); and Summer Storm Clouds – (two) dx/-/-] 9 ½ in by 14 ½ in

[Leggatt 12/12/-]

Old Basing 9 ¼ in by 14 ½ in

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[Clark 9/9/-]

Exeter (1922) 10 ¼ in by 14 ¼ in

[Hayward 15/15/-]

Hastings: Sunset (1914) 9 ½ in by 14 in

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[S: 10/10/-]

Canterbury 10 ¼ in by 14 ¼ in

[S: 15/15/-]

The Fruit Market, Venice (1872-88) On blue paper – 9 ½ in by 14 in

[dx/-/-]

[Hayward 11/-/6]

Corfe Castle (1917) 10 ½ in by 14 ¼ in

[Davidson 5/5/-]

The Harbour, Ilfracombe (1921) 10 ¼ in by 14 ½ in

[S: 15/15/-]

The Approach to Lauterbrunnen (1915) 10 in by 14 ½ in

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[S: 14/14/-]

Taormina: April 9 ¾ in by 13 ¾ in

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[do 17/17/-]

Lincoln 10 in by 14 ¼ in

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[S: 14/14/-]

Sunset: Barbados, West Indies 9 ¾ in by 13 ¾ in

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[Courteney 8/8/-]

Fribourg, Switzerland (1919) Pastel 10 in by 14 ¼ in

[Whitehouse 3/13/6]

[=]

[disc ds/-/-]

[Meatyard 15/15/-]

Oxford: Oriel College and St Mary’s Church (1893) 10 in by 14 ¼ in

[Whitehouse 8/18/6]

72 Sunset: The Dragon; and Rye Port – (two) 9 ¾ in by 13 ¾ in [j/di/t Drake]

The Wreck; and Venice – (two) 9 ¾ in by 13 ¾ in

[ds/-/-]

[Thompson 13/13/-]

57 Study for the ‘Heavenly City’; and Ilfracombe (1892) – (two) 10 in by 14 ¼ in [j/do/t Drake]

[Whitehouse 6/6/-]

Cowdray, Sussex: Haunted 9 ½ in by 13 ½ in

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[J Ward 3/13/6]

75 Beachy Head (1921) 10 in by 14 in

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Over Edinburgh, from Salisbury Crags 9 ½ in by 13 ½ in

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[11 gs]

76 Chester ‘Youth is full of sport, Age’s breath is short’ 10 in by 14 in

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Worcester 9 ½ in by 13 ½ in

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[Meatyard 14/14/-]

Chichester, from the Bishop’s Garden (1919) Pastel– 9 ½ in by 13 ½ in

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Norwich (1923) 10 in by 14 in

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[=]

[disc ds/-/-]

[Whitehouse 19/8/6]

Salisbury 10 in by 13 ¾ in

[dx/-/-] [Clark 10/10/-]

78 St Leonard’s from Gallery Hill, Bexhill; and Sunset, Rye – (two) 9 ½ in by 13 ½ in [j/do/t Drake]

[=]

62 Sunset: Across the South Downs (1913); [ds/-/-] and From Woolacombe, North Devon – (two) 9 ¾ in by 14 ½ in [u/do/t Drake]

Hastings (1916) 9 in by 13 in

[dx/-/-]

[Meatyard 9/19/6]

[=]

80 Market Day, Sandwich, Kent (1925) 6 ½ in by 9 ¼ in [ox gns Blackwell]

[ds/-/-]

[Blackwell 21/-/-]

[=]

81 Lantern Hill, Ilfracombe (1890); Berry Narbor, North Devon – (two) [j/di/t Drake]

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[Whitehouse 12/12/-]

View from Ruskin’s House, Coniston – experiment to illustrate pen and ink and water colour; and Fribourg – (two)

[=]

[Clark 9/9/-]

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[Whitehouse 18/18/-]

Sydney Harbour (1923) 9 ¾ in by 14 ½ in

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The Churchyard Wall, Bridgnorth 9 ¾ in by 14 ¼ in

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[8 gs]

Stonehenge (1925) 9 ½ in by 14 ½ in

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[Whitehouse 9/16/6]

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EXHIBIT IO NS 83

The Taj Mahal, from Agra Fort; and Rain under the Righi – (two)

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[Polak 9/19/6]

Abingdon (1918); and Stonehenge – (two)

[9 gs]

Fireflies, Jamaica; and Dartmoor – (two)

[disc ds/-/-] [ds/-/-]

[=]

86 Battle Abbey; and Windsor (1923) – (two) [j/di/t Drake]

[ds/-/-]

[Thompson 15/15/-] [S: 28/7/-]

Sunset, Blakeney Marshes, Norfolk (1909); [ds/-/-] and Morte Point, N Devon (1918) – (two)

[Mrs Troyer 15/15/-]

The Jungfrau; and Rye – (two)

Boston (1907), and a pencil study for the same – two in one frame; Three Studies of Figures – in one frame; and A Crayon Drawing of the Righi: Dawn – (three)

[Vicars 25/4/-] [Whitehouse 8/8/-]

Pictures 90 The City of Dis Dante, led by Virgil, passes through the infernal regions. The citizens of Dis bar their passage. These are driven back by a heavenly messenger, after which they pass on between the torrents and the city wall. 48 ½ in by 80 ½ in Exhibited at the Royal Academy, 1892 Exhibited at the Guildhall, 1897 Exhibited at the Irish International Exhibition, 1907

[s/-/-]

[to go]

[J Ward 6/6/-]

The King’s Garden: Sindbad entertained at the Court of the King of the Indies (1897) – Arabian Nights 48 ½ in by 80 ½ in Exhibited at the Royal Academy, 1897

[Hayward 21/-/-]

The End of the Pilgrim’s Road (1902) ‘Now I further saw that between them and the gate was a river; but there was no bridge to go over, and the river was very deep. At the sight, therefore, of this river the pilgrims were much stunned, but the men that went with them said “You must go through or you cannot come to the gate” ’ – Bunyan’s Pilgrim’s Progress 42 ½ in by 56 ½ in Exhibited at the Royal Academy, 1902

[J Ward 7/7/-]

[to go] The Passage of the Red Sea (1888) ‘And the angel of God, which went before the camp of Israel, removed and went behind them, and the pillar of the cloud went from their face and stood behind them. And Moses stretched out his hand over the sea, and the Lord caused the sea to

[J Ward 8/8/-]

go back by a strong East wind all that night, and made the sea dry land, and the waters were divided.’ Exodus xiv, 24 [and framed photograph] 42 ½ in by 56 in Exhibited at the Royal Academy, 1889 Exhibited at Bristol, 1911 94

Judas Iscariot ‘What shall a man give in exchange for his soul?’ 42 in by 56 ½ in

[J Ward 9/9/-]

Dawn in the Pilgrims’ Road (1897) ‘And a highway shall be there and a way, and it shall be called the way of holiness; the unclean shall not pass over it; but it shall be for those, the wayfaring men, though fools shall not enter therein.’ 41 ½ in by 56 in Exhibited at the Royal Academy, 1900

[Hayward 35/14/-]

The Gate of the Inferno ‘Through me the way among the people lost’ – Dante’s ‘Inferno’ 56 in by 41 ½ in Exhibited at the Royal Academy, 1903 Exhibited at the Paris Salon Exhibited at Toronto, 1910

[J Ward 5/5/-]

Under the Roof of the World (1897-8) 56 ½ in by 41 ½ in Exhibited at the Royal Academy, 1898

[Hayward 42/-/-]

The Dark Fir Wood (1920) 41 ½ in by 56 in

[J Ward 5/5/-]

The Enchanted Lake ‘They at length arrived at the lake. Its waters were so transparent that they could see that all the fish were of the same colour as those the fisherman had brought to the palace. The Sultan commanded them to encamp around, his own pavilion and the tents of his immediate household being pitched upon its borders’ ‘The History of the Fishermen’ – Arabian Nights 39 ½ in by 56 ½ in Exhibited at the Royal Academy, 1883 Exhibited at the Irish International Exhibition, 1906

[J Ward 5/5/-]

100

The Unveiling of the Enchanted Palace ‘The Fisherman and the Genius’ – Arabian Nights 38 ½ in by 56 in Exhibited at the Royal Academy, 1884

[to go]

[J Ward 5/5/-]

222 101

[=]

103

ALBERT GO O DW IN RW S The Monastery of Saint Francis, Assisi: Asleep in the Moonlight 37 ½ in by 56 in Exhibited at the Royal Academy, 1887

[Whitehouse 6/16/6]

102 The City of Glittering Light (1908) [With‘And Lot pitched his tent toward Sodom’ – drawn] Gen. xiii, 12 37 ½ in by 43 ½ in Exhibited at the New Gallery, Summer Exhibition,1909 [not less oxs gns buy for Wolverhampton Art Gallery]

113

Torre Annunciata 18 ½ in by 23 ¾ in

[Meatyard 16/16/-]

114

St Michael’s Mount, Cornwall (1921) 18 ¼ in by 23 ½ in

[Golding 11/-/6]

115

Circe and the Swine 17 ½ in by 23 ¾ in

[Ward 2/12/6]

116

The Sentinel (1921) 17 in by 23 in

[Brockbank 2/2/-]

117

Lynmouth Bay, North Devon 16 ½ in by 24 ½ in

[Davis 5/15/6]

118

Along Shore, North Devon (1921) 16 ½ in by 24 ½ in

[Brockbank 3/3/-]

119

Lynmouth, North Devon On panel – 16 ½ in by 24 ½ in

[J Ward 3/3/-]

120

The Lizard, from Kynance Cove 16 ½ in by 24 in

[Ward 2/2/-]

A Sermon in the Hayfields under the Flitchorn, Simplon 32 in by 43 ½ in Exhibited at the Royal Academy, 1881

[Walker 5/5/-]

The Dance of the Fireflies, West Indies (1903) 31 in by 43 ½ in

[Hayward 14/14/-]

The ‘Betsy Jane’ of Whitby, Going to Sea (1908) On panel – 24 ½ in by 36 in Exhibited at The Royal Academy, 1908

[Whitehouse 7/7/-]

[=]

121 The Gate of Victory, Futtiphar, Sikri, India 16 ½ in by 24 in [dc gns Chaundy]

[disc ox/-/-]

[Davis 19/19/-]

The Coral Strand (1921) ‘I will make the place of my feet glorious’ On panel – 24 ½ in by 34 ½ in

[S: 19/19/-]

122

The Castle of Enchantments – Arabian Nights 16 ½ in by 24 in

[to go]

[Day 10/10/-]

Desert Dust, Cairo 22 ½ in by 33 ½ in

[S: 5/5/-]

[=]

[disc ds/-/-]

[Longstaff 15/15/-]

108

The Lost Fisherman (1894) 20 in by 36 in

[Whitehouse 2/2/-]

123 Children of the Artist at St Michael’s Mount 16 ½ in by 24 in [os gns Longstaff]

109

The Island: before the Cell of Prospero (1908) Miranda: ‘Had I been any god of power, I would have sunk the sea within the earth, or e’er it should the good ship so have swallowed, and all the fraughting souls within her’ The Tempest, Act I, Scene ii 21 ¼ in by 30 ¾ in Exhibited at the Royal Academy, 1908

[Michaelmore 17/17/-]

124

The Devil Worshippers 16 ½ in by 23 ¾ in

[to go]

[Simpson 1/1/-]

125

Venice 17 ¼ in by 22 in

[Leggatt 22/1/-]

126

[Walker 2/2/-]

The Old Chalk Pit, Arundel 21 in by 29 ½ in

[Walker 5/5/-]

The Corridors of Hell (1895) ‘A land of darkness, as darkness itself, and of the Shadow of Death; without any order, and where the light is as darkness.’ 16 in by 20 ¼ in

127

Temper: A Portrait 20 in by 15 in

[Brockbank 2/2/-]

128

The Arctic Night (1900-13) 15 ¾ in by 19 ¾ in

[do 1/1/-]

129

The Lifeboat: from the Old Chain Pier, Brighton 17 in by 18 ½ in

[Whitehouse 1/11/6]

104

105

106

107

110

[to go]

111

Sinbad the Sailor 18 ½ in by 28 in

[Day 3/3/-]

112

The Streets of Mansoul (1899) See Bunyan’s ‘Holy War’ 18 ¾ in by 23 ¾ in

[J Ward 18/18/-]

EXHIBIT IO NS 130

The Island of the Sounding Cymbals (1895) – Arabian Nights 14 in by 20 ½ in

[Hayward 3/3/-]

131

Morte Hoe, N Devon (1924) 14 ½ in by 20 in

[J Ward 5/5/-]

132

Outside the Amphitheatre, Pompeii (1896) 13 ½ in by 20 ¼ in

[Morse 3/3/-]

133

Ely Cathedral, 1896 13 ¾ in by 20 in

[Hayward 5/5/-]

134

The Bazaar (1895) 13 in by 19 ½ in

135

The Invincible Armada ‘Man proposes, God disposes’ 11 ½ in by 20 ½ in Exhibited at the Royal Academy, 1904

[Hayward 8/8/-]

136

Among the Icebergs 13 ½ in by 16 ½ in

[Hayward 2/2/-]

137

Windsor (1889) On panel – 12 ½ in by 19 in

[Hayward 6/6/-]

138

In the South Sea Islands 11 ½ in by 18 ¼ in

[Leggatt 11/11/-]

139

Buck’s Mill, N Devon On panel – 10 ½ in by 15 in

140

Edinburgh Castle On panel – 10 ½ in by 14 ¾ in

141

The Arctic Night On panel – 9 ½ in by 17 in [pastel]

[√√]

[Simpson 10/6/-]

142

Mont Blanc 9 ½ in by 13 ¾ in

[disc dx/-/-]

[Haward 10/10/-]

143

Study of a Doorway On panel – 12 ¾ in by 7 ½ in

[to go] [√]

[Simpson 10/6/-]

Finis

[to go]

[√]

[Newman 9/9/-]

[Courteney 2/2/-] [Leggatt 27/6/-]

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ALBERT GO O DW IN RW S PR EL I M I NA RY CHECKLIST O F WO RKS IN PUBLIC A ND OTH E R INST IT UT IO NAL CO LLECT IO NS

Each entry lists dated works chronologically followed by undated works alphabetically. [bc = bodycolour; wc = watercolour] 1. United Kingdom Aberystwyth, Ceredigion: National Library of Wales Seaweed Gatherers, Freshwater West Bay, Angle, Pembs, wc, 1875

Undated: Baggy Point, North Devon, chalk Bath, Somerset: Victoria Art Gallery Wells, Somerset, wc, circa 1904 Whitby Abbey, Yorkshire, oil, 1910 Bedford, Beds: The Higgins Art Gallery & Museum On the South Downs, wc & bc, 1879 Eton, wc & bc, 1907 Beverley, East Yorkshire: Beverley Art Gallery & Treasure House Westminster, sunset, oil, 1900 Birkenhead, Merseyside: Williamson Art Gallery & Museum Paris, wc, 1901 Birmingham, W Midlands: Birmingham Museum & Art Gallery Derwentwater from Falcon Crag, wc, 1889 Beachy Head, wc, 1907

Undated: The Grave of the Coaster, wc Blackburn, Lancs: Blackburn Museum & Art Gallery The Piazza, Venice, wc, 1891-93 The Nile, wc & bc, 1901 Mont St Michel, wc, 1906 Clovelly, wc & bc, 1907

Undated: Bavino Lake Maggiore, wc Durham, wc Glastonbury, wc Lighting of the Beacon, wc Lucerne, wc Notre Dame, Paris, wc Their Last Haven, wc Pallanza from Bavino, wc Pallanza, Lake Maggiore, wc Sunset across the Sands, wc Windsor, wc Bolton, Greater Manchester: Bolton Museum Hastings, wc & bc, 1907 Bristol: Bristol Museum & Art Gallery Bristol [from Brandon Hill], wc Bristol Docks [by Moonlight with the ‘Sierra Cadena’], wc & bc Bristol Harbour, wc

Burnley, Lancs: Towneley Hall Art Gallery and Museums Jungfrau, wc, 1913

Undated: Righi, wc Cambridge, Cambs: The Fitzwilliam Museum Elvet Bridge, Durham, wc, 1899

Undated: Berne, wc & chalk Cologne by Night, wc, bc & chalk The Night before the Battle, wc & bc Salisbury, wc & pastel A View of Pisa from the Maremma Marshes, wc & chalk Canterbury, Kent: Canterbury Museums and Galleries The Shrimper, oil, 1880 Canterbury from the River Stour, wc, 1890 Reculver, Kent, oil, 1904 Canterbury Cathedral [from Green Court with Choir Processing], wc & bc, 1908 Bosham, Sussex, oil & bc, 1928

Undated: Canterbury: The Cathedral from the Water Meadows, charcoal and chalk Nightfall, oil Sturry, near Canterbury, charcoal Cardiff: National Museum Wales Sandwich, wc & bc, 1884 Tewkesbury, wc, 1885 Durham, wc & bc, 1888 Bridgenorth, wc & bc, 1889 Dorchester, Oxfordshire, wc, 1890 Monaco, wc, 1890 The Monastery, Locarno, wc & bc, 1890 Lincoln, wc, 1891 Taj Mahal, wc & bc, 1896

Undated: Sunset at Whitby, wc & bc Coniston, Cumbria: Brantwood Sunrise over the Sea, oil Dartmouth, Devon: Britannia Royal Naval College The Invincible Armada, oil, 1904

Undated: The Phantom Ship, oil Downe, Kent: Down House, The Home of Charles Darwin The Old Walls of Winchester, wc, by 1876 Down House, wc, 1880

Undated: Down House, wc Dudley, West Midlands: Dudley Museum and Art Gallery Landscape, oil Eton, Berks: Eton College

PUBLIC AND OTHER INSTITUTIONAL COLLECTIONS Barnes Pool, Eton, wc, 1907 Exeter, Devon: Royal Albert Memorial Museum Wells Cathedral, wc, 1896 Glasgow: Glasgow Life Folkestone, wc, 1907 Halifax, West Yorkshire: Calderdale Museums Amalfi, oil, 1900 Hastings, E Sussex: Hastings Museum & Art Gallery Reculver, Kent, wc & bc, 1902/1917 Hastings, wc & pastel, 1909 At Sea, wc, 1910 Eastbourne Windmill, wc, 1915 The Monkey Temple, Sydney Zoo, wc & bc, 1917 The Old Town, Hastings, wc, 1917 The Old Town, Hastings, wc, 1917 Appledore, North Devon, wc, 1918 Morte Point, North Devon, wc, 1918 Rye, wc & pastel, 1918 Down End, North Devon, wc, 1920 Morthoe, sunset and evening star, wc, 1920 Bosham, Sussex, wc & pastel, 1921 Autumn in Old Hastings, wc & pastel, 1924 Old Hastings, pastel & ink, 1926 Barracane, North Devon, wc, 1927

Undated: All Saints, Hastings, wc Appledore, North Devon, wc Arundel, wc Arundel, wc Barmouth, North Wales, wc The Bobby, York, wc Bosham, Sussex, wc Camber Castle, wc Canterbury, wc Canterbury, wc Canterbury, wc Caudebec, Normandy Clovelly, wc Clovelly, wc Clovelly, wc Durham, wc & bc Eastbourne, wc Edinburgh, the lost sheep, wc From the Hangman Hill, North Devon, wc Glastonbury, wc The Happy Valley, wc Hartland, wc Hartland, wc Hartland & Lundy Island, wc Hartland Point, wc Hastings, wc Hastings Beach and Old Town, wc In the Gardens, Trinidad, wc

The Jolly Sandboys, mixed media Lincoln, wc Pevensey Road, Westham, wc & pastel Pevensey, Sussex, wc Pontrisina Queen’s Park, Trinidad, wc Rye, wc Rye Port, wc St Michael’s Mount, Cornwall, wc St Michael’s Mount, Cornwall, wc Storm over the Hangman Hill, North Devon, wc The Thunderstorm, Old Hastings, wc & bc Venice, wc Vesuvius, pen & ink View looking towards All Saints Church, pencil Winchelsea, oil Winchelsea and Rye, wc York, ancient history, wc Herne Bay, Kent: Herne Bay Museum & Gallery Reculver, Kent, oil, 1904 Lancaster, Lancs: City Museum The Tower of London, oil, 1897 Lancaster, Lancs: University of Lancaster, Ruskin Library Ramparts, Genoa, pen, pencil & bc, 1872 Ponte Vecchio, Florence, wc, 1880 Ilfracombe, Lantern Hill, bc, 1890 Ilfracombe, crayon & pencil, 1892 Oxford, wc, 1893 Beachy Head, wc, 1921

Undated: Abingdon: Cloisters and Graveyard of St Helen, wc & bc Berrynarbor, N Devon, wc Coniston Lake from Brantwood, wc Falmouth Harbour, wc (attributed) Hartland Quay, wc & bc Interior of St Mark’s, Venice, wc & bc The Righi, pencil Sunrise over the Sea, oil The Sunset of the Glacier, wc We rebeheld the stars, from Dante’s Inferno, pastel Leeds, West Yorkshire: Leeds Art Gallery Amalfi, wc, 1902

Undated: Boscastle Harbour, wc Lincoln, Lincs: The Collection Lincoln Cathedral, wc, 1871 Schaffhausen, wc, 1884 Lincoln, wc, 1899 Lauterbrunnen, wc, 1914 Liverpool, Merseyside: Walker Art Gallery Canterbury, wc

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ALBERT GO O DW IN RW S

Whitby Harbour, wc & chalk London: British Museum Maidstone, wc, 1891 Bristol, wc, 1901 Dawn over St Giorgio, Venice, wc, 1903 Wilton nr Salisbury, wc & bc, 1903 Hastings, pen ink & chalk, 1905 Naples, pencil & chalk, 1908 Fribourg (Suisse), wc, 1910 Engelburg, wc & bc, 1911 Moonrise Hastings, wc & bc, 1911 Plane tree. Lauterbrunnen, chalk, 1911 Study of a young walnut, wc & bc, 1911 Boats at Dutch Guiana, chalk with wc & bc, 1912 Sunset, Dartmoor, wc & bc, 1912 Hastings, wc & bc, 1916 Littlehampton, wc & bc, 1919

Undated: The Early Worms, Worcester, wc & bc The Eiger from Mürren, wc & bc Lauterbrunnen, pen ink & chalk Mt St Michel, wc & bc Palm Tree, wc & bc Richmond, Yorks, wc London: Government Art Collection An Arabian Night, Cairo, oil, wc & bc, 1876 London: Guildhall Art Gallery The Toiler’s Return, oil, 1877 Venice, before the Campanile fell, wc, 1903 Durham – Half church of God, half castle against the Scot, wc & bc,

1903/1904 Locarno, Lago Maggiore, wc, 1905 Westminster by Night, wc, 1905 Woody Bay, North Devon, wc, 1905 Boston, wc, 1907 HMS ‘The Victory’ at Portsmouth, wc & bc, 1907 Venice – the City in the Sea, wc, 1908 The Towers of Silence, wc, 1909 Cley, Norfolk, wc, 1910 The Lagoons, Venice, wc, 1910 Venice, Dawn, wc & bc, 1910

Undated: Stanstadt and Pilatus, wc London: Royal Watercolour Society The Afterglow, Venice, wc, 1902 Glastonbury, wc, 1924-25 London: Tate Shipwreck: Sinbad the sailor storing his raft, oil, 1887 Torre del Greco and Capri, wc & bc 1900/1904 Ali Baba and the forty thieves, oil, 1901 Folkestone Harbour, wc, 1907 Ely Cathedral, wc & bc, 1908

Undated:

The Gate of the Pass, Maloja, wc & bc Salisbury, wc London, V&A Near Maidstone, wc, 1865 Pool at Whitby, wc, 1866 A Pleasant Land, wc, 1875 Allington Castle, near Maidstone, Kent, wc, 1879 View in Palestine, wc, 1887 (V&A catalogue: artist unknown;

identified by Hammond Smith) Fireflies, Trinidad, wc & bc, 1907 The Backs, Cambridge, wc, 1908 Citadel Cairo, wc, 1910/1911 Sunrise, Demerara, wc & bc, 1912 Undated: Assisi, pen, pencil & chalk (V&A catalogue: artist unknown; identified by Hammond Smith) Barbados. A shore and seascape, chalk Canterbury, wc Landscape – A Woodland Scene, chalk Winchester College, wc & oil Maidstone, Kent: Maidstone Museum & Bentlif Art Gallery The Old Bridge, Maidstone, evening effect, wc, 1864 Allington Castle, Maidstone, Kent, oil, 1865-68 Owl Composition, bc, 1866 Samuel Goodwin, oil, 1868 The Artist’s Father, Samuel Goodwin, oil, 1868-70 Nightfall in the Higher Alps – The Simplon Pass, wc, 1872 The Conservatory from ‘The Water Babies’ by Charles Kingsley, wc, 1874 Cain; Eastward of Eden, wc, 1875 A Baptism of Flowers, oil, 1877 Veiled Sunlight – Sandsend, near Whitby, wc, 1877 Dartmoor – A Passing Storm, wc, 1878 The Old Bridge at Maidstone, Kent, Looking North, oil, 1878 The Old Bridge at Maidstone, Kent, Looking South, oil, 1878 Sinbad’s 2nd Voyage: In the Valley of Diamonds, oil, 1878 All Saints’ Church and Archbishop’s Palace, Maidstone, oil, 1879 Sinbad’s 6th Voyage: Sinbad Entering the Cavern, oil, 1879 The Canal, Bruges, wc, 1880 The Canal, Dort, wc, 1880 Canal, near Dort, wc, 1880 Dordrecht, wc, 1880 Dordrecht or Dort, Holland, wc, 1880 Dort – Sunshine after Rain, wc, 1880 Hastings, The Old Town, oil, 1880 Rye from the Marshes, wc, circa 1880 Rye, Sussex, wc, 1880 Shipping on the Canal, Dort, wc, 1880 Sunset at Bruges, wc & bc, 1880 Blue Water in Mounts Bay, Cornwall, also known as Summer Sea, oil, 1881 View of a River and Cows near Arundel, West Sussex, oil, 1881 View on the Lyn near Watersmeet, North Devon, oil, 1881 The Friars, Aylesford, near Maidstone, wc, 1881 Lynmouth: The Story of the Shipwreck, oil, 1882 Lynmouth, The Story of the Shipwreck, wc, 1882

PUBLIC AND OTHER INSTITUTIONAL COLLECTIONS View on a Canal, Dort, wc, 1882 Ilfracombe, Devon, Looking Towards Hillsborough, wc, 1885 The Medway at Maidstone, with All Saints’ Church and the Archbishop’s Palace,

wc, 1885 The Brienz Pass, on the Road from Alpnach to Thun, Switzerland, wc, 1887 The Last of Old Buckland House, Maidstone, wc, 1887 Salisbury Cathedral, wc, 1890 Hastings from High Wickham, wc, 1892 Thun, wc, 1898 Agra, India, oil, 1906 St Albans, wc, 1906 High Street, Georgetown, Demerara, wc & bc, 1912 Tipperary, bc, 1913 The Osterley. On board the troopship; the Captain’s Magic Lantern Display,

bc, 1917 Canterbury, wc, 1918 French beans from Caudebec, Normandy, wc & bc, 1922 Exeter Cathedral, wc & bc, 1922 ‘A tangle-wood tale’. Wells in May, bc, 1922 The River Way, Westward, wc, bc & chalk, 1922-23 Richmond, wc & bc, 1923 Worcester, wc & pastel, 1923/1924 Corfe Castle, wc & bc, 1924 Arundel, wc & bc, 1925 Glastonbury Fair, wc & bc, 1925 Morthoe, North Devon, wc & bc, 1925 Mont St Michel, bc & oil, 1926 Soller, Majorca, bc, 1926 Worcester, wc, 1927 York: Ancient History, wc & bc, 1927 Autumn at Clovelly, wc & bc, 1929 Canterbury, Dawn, wc & bc, 1932

Undated: Agra and a Pilgrim, wc Alcudia Bay, Majorca, wc Antibes, bc April in Baveno, Lago Maggiore, in a back street, wc & bc The Archbishop’s Palace, Maidstone, oil Arundel, wc Autumn Glow, also known as River Scene with Boat, Woman and Child and Dog, wc Avignon, bc Aylesford on the Medway, wc The Backwater, also known as A Thames Backwater, wc & bc Barges, wc The Battle of Aylesford, AD455, wc Baveno, pen ink & pencil Baveno, pen ink & pencil Beachy Head, Goblin Moonlight, Flints in the Chalk, wc Bexhill-on-Sea, wc Bewdley on Severn, bc Boscastle, Cornwall, wc Boston, bc Bridge, pencil The Burning Ghats, oil

The Burning Ghats, Benares, bc & oil Caen, Normandy, pencil Camber Castle, wc Canterbury, bc Canterbury, wc Canterbury Cathedral, pastel Canterbury, Kent, wc Canterbury, Stone Walls do not a Prison make, wc Carnival! ‘in the smoke of its torment’, wc & bc The Castle of Enchantments, oil Caudebec, Normandy, wc La Certosa, Florence, wc Christchurch, wc & bc Clovelly, wc Clovelly, wc Como, wc The Convent Ferry, wc Corfe Castle, bc Corfe Castle, bc Corfe Castle, May Morning, wc Corfe Castle, in the happy blossoming time, wc Corfe Castle, Rainbow, wc Cowdray House, Midhurst, bc, wc & chalk Crisbrook Mill, Loose Valley, near Maidstone, wc Dog and Snake, oil & bc Domo d’Ossola, wc Dover Cliffs, wc Eton, wc Eton, wc Falls of the Rhine, bc & oil Festival, Simplon, wc Fireflies, Demerara, bc Fishing Boat, wc Fishing Boat 57 BX, wc & bc Florence, near Fiesole, bc Flying Buttresses, Mont St Michel, Normandy, bc Hastings, wc Hastings, wc & bc Holy Road, bc Holyrood, wc Huntsman and Hounds, wc Lago Como, pen & ink Lago Garda, wc Lago Maggiore, wc Lake Maggiore, wc Lake Orta, wc Lake Orta, St Francis points the way, wc Lenno, Lake Como, wc Lincoln, wc Littlehampton, wc Lucerne, bc Lucerne, wc Lucerne, pen & ink Lynmouth, oil Lynmouth, wc

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ALBERT GO O DW IN RW S

Lynmouth: The Story of the Shipwreck, oil Magdalen College, Oxford, wc Maidstone, wc Mediterranean Pines, bc Milking Time, Cowdray, Midhurst, Sussex, bc Mist across Salisbury Crags, Edinburgh, wc & bc Monaco, wc Mountains, pencil Mouth of the Ganges, bc & chalk Mullernery, wc The Niessen, Thun, wc North Wales, wc Norwich, wc Norwich, wc Oberhofen, wc Orta, wc Palm Tree, wc & bc Paris, pencil Pevensey, Love Among the Ruins, bc & oil Pompeii, wc Portrait of a female, pastel The Rapids, wc & bc Rhine, wc Richmond, pencil & ink Richmond, wc Richmond, wc Richmond, wc & bc Richmond, Study Piece, pencil Riverside, Ripon, wc Robin Hoods Bay – Coast of Yorkshire, wc Robinson Crusoe, bc St Albans, wc St David’s Head, Wales, wc St David’s, Wales, pencil & wash St Michael’s Mount, Cornwall, oil St Michael’s Mount, Cornwall, pen ink & pencil Sandwich, Kent, bc Shipwreck, bc & oil Shipwreck, wc Sketch of hills and valley, pencil Sketch of Kneeling Boy and Sketch of Young Girl, also known as Fisher Girl and Kneeling Boy, wc & bc Sketch of trees in summer, pencil Soller, Mallorca, bc Staircase, pencil The Story of the Shipwreck from Robinson Crusoe, bc Study of Two Trees, wc Sturry, near Canterbury, wc & bc A Sussex Road, Richmond, wc Talloires, near Annecy, bc Trees, pencil Trinidad, wc Trinidad, wc Under the Citadel, Cairo. Pilgrims gathering for Mecca, bc Venice, wc

Vesuvius, oil View of Arundel, wc View of Arundel, wc View of Snowdon, wc The Village of …, wc The Walls of Lucerne, wc A Wedding Party, Winchelsea Church, Sussex, wc Wells, Somerset, wc York, wc Manchester: Manchester Art Gallery The Siren Sea, wc, 1876 The Invincible Armada, wc, 1882 The Caravan Route, wc, 1903 Venice, Cemetery Island, wc, 1903 Assisi, 1905 The Venetian Lagoons, wc, 1906

Undated: Lincoln, wc & bc Manchester: Town Hall The Central Executive Cotton Famine Relief Committee, oil, 1869

(with Arthur Hughes; based on a design by Frederic James Shields) Manchester: Whitworth, University of Manchester Barge on the Arun, oil, 1866 Piazza del Erbe, Verona, wc, 1873 The Seafront, Bexhill, Sussex, wc, 1898 Dorchester on Thames, wc & bc, 1903

Undated: Engelberg, Switzerland, wc Lichfield Cathedral, Staffordshire by Moonlight, wc & bc St Mark’s, Venice, wc & bc Nottingham, Notts: Castle Museum St Michael’s Mount, Cornwall, wc, 1875 Oldham, Greater Manchester: Gallery Oldham Whitby, wc Oxford, Oxon: Ashmolean Museum A Farm near Abingdon, wc, 1871 Ferry Hinksey Church, wc, 1871 Lugano, pen and ink, 1892 Agra Fort at Sunset, wc, 1897 Taj Mahal, Agra, Seen from the River Jumna, wc, 1898 A Street Scene in Cairo, wc & bc, 1901 Etna from Taormina at Dawn, wc & bc, 1906 Chamonix, chalk, 1914

Undated: Boston Stump, Sunset, wc & bc Part of the South West Transept, Canterbury Cathedral, chalk & charcoal The Taj Mahal, Agra, p&i, chalk & pencil Three Monks on a Cathedral Roof, wc Preston, Lancs: Harris Museum and Art Gallery Florence, evening, oil, 1896 Fribourg, wc, 1901

PUBLIC AND OTHER INSTITUTIONAL COLLECTIONS Rye, E Sussex: Rye Art Gallery Rye – The Winter’s Tale, wc, 1920 Venice, oil, 1920

Undated: Lincoln, wc River and Canal, Oxford, wc Rye from Rock Channel, wc Salford, Greater Manchester: Salford Museum and Art Gallery Mote House, Lytham, Kent, oil Salisbury, Wilts: Salisbury Museum Salisbury Cathedral, wc, 1900

Undated: St Anne’s Gate, Salisbury Cathedral, pencil Sheffield, South Yorkshire: Museums Sheffield Maidstone, wc, 1882 A London Flower Girl, oil, 1892 or 1902 (according to Sheffield

catalogue; however, this is unlikely to be by Goodwin) Lincoln, oil, 1902 Pevensey Castle, oil, 1919 Rye from Camber Castle, oil, 1919 Scene from Shakespeare’s ‘The Tempest’, oil, 1920 Shrewsbury, Salop: Shrewsbury School Wells, wc, 1891 Clovelly, wc, 1894

Winchester, oil York, North Yorkshire: York Art Gallery York from the Walls, wc & bc, 1904

Undated: The Vision of the Keepers of the Sheep, pen & ink 2. Australia Adelaide: Art Gallery of South Australia Clovelly, wc, 1899 Melbourne: National Gallery of Victoria Lucca, wc Sydney: Art Gallery of New South Wales The Sultan and his Camp by the Enchanted Lake, oil, 1888 Bury St Edmunds, watercolour, 1890 Cheddar, watercolour, 1890 3. New Zealand Auckland: Auckland Art Gallery The First Christmas Dawn, oil, 1894 Wellington: Museum of New Zealand Canterbury, wc, 1885

Undated: Autumn at Braunston, North Devon, wc 4. United States of America

Southport, Merseyside: Atkinson Art Gallery La Prise, Grisons, Switzerland, wc Tyne & Wear: Tyne & Wear Archives & Museums Street Scene, Newcastle upon Tyne, wc & bc, 1864 (T&W catalogue:

artist: A F C; identified by Hammond Smith) Wells Cathedral, oil, 1889 Whitby – The Abbey of St Hilda, wc, 1893 Amalfi, wc, 1905/1907 And the veil of the Temple was rent in twain, wc & bc, 1909 Pallanza, Lago Maggiore, ‘Still by the wayside sit the beggars blind’,

Boston, MA: Museum of Fine Arts Rye, wc Cambridge, MA: Harvard Art Museums Siena, wc & bc, 1872 Three Views of Turin, pen ink, pencil & chalk, 1872 New Haven, CT: Yale Center for British Art The River at Dusk, wc & bc, 1865

Undated: Evening with a Process of Choir Boys Walking Towards Westminster Abbey,

wc & bc, 1909

wc & bc

Durham Cathedral, oil, 1910

Off Hastings, wc Twilight, wc

Undated: Kepier Hospital, Durham City, pastel Winter in the Bay of Naples, wc Warrington, Cheshire: Warrington Museum Niagara, wc & bc, 1902 Winchester, Hants: Winchester College Logie by Cloisters, Winchester College, wc, 1874 Moberly Court, Winchester College, wc, 1874 St Cross Courtyard, Winchester, wc, 1874 View of St Catherine’s and St Cross, Winchester, wc, 1874 Wolverhampton, West Midlands: Wolverhampton Art Gallery The Sermon in the Hayfield, Simplon, oil, 1881 The city of the glittering light, oil, 1905

Undated:

San Marino, CA: The Huntington Library Winchester, wc & bc, 1873 San Diego, CA: The San Diego Museum of Art Westminster, charcoal, chalk & pencil, 1912 Wichita KS: Wichita Art Museum Requiem, wc, 1885 Williamstown, MA: The Clark The Bristol Channel from Ilfracombe, oil, 1890s Naples, wc, circa 1910 Afterglow on the Nile, wc & bc, 1911 Sindbad the Sailor, bodycolour, 1929 Providence, RI: Rhode Island School of Design Museum Dawn, Windsor, wc, 1910

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ALBERT GO O DW IN RW S S EL ECT B I B L I O GRAP HY AND ACKNOW LEDGEMENTS Maidstone 1994 Albert Goodwin RWS 1845-1932: a Maidstone artist, Maidstone Borough Council, 1994 (with contributions from Veronica Tonge)

1. PRIMARY LITERATURE Goodwin 1912 The Diary of Albert Goodwin, RWS, Privately Printed, 1934

Touring 1981 Albert Goodwin 1845-1932, Bolton Metropolitan Borough Arts Department, 1981 (with contributions from Elizabeth M M Hancock and Hammond Smith) [catalogue for touring exhibition]

Harris 1918-42 Unpublished correspondence between Sidney Harris and Albert Goodwin, Olive Goodwin, Arthur Foord Hughes and others, 1918-42

Touring 1986 Albert Goodwin RWS 1845-1932. 129 of His Best Works Borrowed From Private Collections, London: Royal Society of Painters in Water-Colours, 1986 (with contributions from Godfrey Barker, Hammond Smith and Andrew Wilton) [catalogue for touring exhibition]

2. SECONDARY LITERATURE 2a. Books Beetles 1986a Albert Goodwin RWS, 1845-1932, London: Chris Beetles, 1986, Limited Edition of 1000

2c. Articles and Essays

Smith 1977 Hammond Smith, Albert Goodwin, RWS, 1845-1932, Leigh-on-Sea: F Lewis, 1977

Baldry 1910 A Lys Baldry, ‘The Art of Mr Albert Goodwin, RWS’, The Studio, March 1910, Pages 86-97

2b. Auction and Exhibition Catalogues

Ross 2012 David A Ross, ‘Albert Goodwin and Points East’, Southeast Review of Asian Studies, Volume 34, 2012, Pages 171-185

Barnstaple 2015 A visionary in the west: Albert Goodwin in Devon and Cornwall, Museum of Barnstaple & North Devon, 2015 (with contributions from Peter Wise) Beetles 1986b Albert Goodwin RWS 1845-1932, London: Chris Beetles Ltd, 1986

Smith 1979 Hammond Smith, ‘Albert Goodwin RWS’, Old Water-Colour Society’s Club, Volume LIV, 1979, Pages 8-23

Beetles 1996 Albert Goodwin, RWS 1845-1932, London: Chris Beetles Ltd, 1996 (with contributions from Godfrey Barker and David Wootton )

Smith 1981 Hammond Smith, ‘The Poetical Landscapes of Albert Goodwin RWS (1845-1932)’, Antique Collecting, September-October 1981, Pages 28-30

Beetles 2007 Albert Goodwin, RWS (1845-1932), London: Chris Beetles Ltd, 2007 (with contributions from Godfrey Barker, Hammond Smith and David Wootton)

Wedmore 1918 Sir Frederick Wedmore, ‘Albert Goodwin, RWS’, The Studio, April 1918, Pages 79-90 Wootton 2000 David Wootton, ‘Painter and Professor: the response of Albert Goodwin to the aesthetics of John Ruskin’, in Robert Hewison (ed), Ruskin’s Artists: Studies in the Victorian Visual Economy, Aldershot: Ashgate, 2000, Pages 205-219

Christie’s 1993 A Collection of Watercolours by Albert Goodwin, RWS, London: Christie’s, 1993 [The Property of the late Mrs J M Maude-Roxby, sold on 5 November 1993] Maidstone 1988 Albert Goodwin’s Maidstone and Kent, Maidstone Museum & Art Gallery, 1988 (with contributions from Veronica Tonge)

This publication has been greatly enhanced by the assistance given by the following people: Megan Berrisford (Collections Manager, The Salisbury Museum), Angela Clare (Collections Officer, Calderdale Museums Service), Grace Conium (Collections & Learning Assistant, Canterbury Museums & Galleries), Dr Laura Claveria (Assistant Curator of Fine Art (Works on Paper), Leeds Art Gallery), Trevor Coombs (Fine Art Documentation, Bristol Museum & Art Gallery), Alison Cooper (Assistant Curator, Towneley Hall, Burnley), Helena Cox (Curator, Beverley Art Gallery), Edith Dormandy (Archivist, Royal Watercolour Society, London), Damian Etherington (Museum and Cultural Development Officer, Hastings Museum & Art Gallery), Megan Griffiths (Collections Manager, Brantwood Trust), Colin Harrison (Senior Curator of European Art, Ashmolean Museum, Oxford), Rebecca Hill (Exhibitions and Collections Coordinator (Art), Gallery Oldham), Sally Jackson (Business Support Assistant, The Collection & Usher Galleries, Lincoln), Peter N Ogilvie (Collections Manager, Salford Museum & Art Gallery), Melanie Polledri (Curator: Art Collections Management and Access), Pernille Richards (Collections Officer, Maidstone Museum & Bentlif Art Gallery), Jim Riseley (Museum Exhibitions Assistant, Victoria Art Gallery), Stephanie Seville (Art Curator, Blackburn Museum & Art Gallery), Colin M Simpson (Principal Museums Officer, Wirral Museums Service), Philip Tite, Stephen Whittle (Museum & Gallery Manager, The Atkinson, Southport) and Andrew Wilton.

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TOPOGRAPHICAL INDEX TOPOGRAPHICAL INDEX BY CATALOGUE NUMBER The spellings in this index are those as currently used. ALGERIA ALGIERS EGYPT ALEXANDRIA Pompey’s Pillar CAIRO Bab El-Metwally Banks of the Nile Boulaq Citadel Gulf of Suez Tombs of the Mamelukes

177 93 91 96 92 101 100, 102 98, 99 104 97

ENGLAND BERKSHIRE Windsor 138 BRISTOL 72, 74, 139 St Mary Redcliffe 71, 73, 192 CAMBRIDGESHIRE Ely: Cathedral 141 CORNWALL 29 Boscastle 28 Kynance Cove 34 DEVON Bucks Mills 33 Clovelly 42, 43, 200 Exeter 193 Hartland 197, 198, 199 Ilfracombe 47, 196 Morte Point 44, 194 Taw, River 195 Teignmouth 41 DORSET Bournemouth 190 HAMPSHIRE Old Basing 67 Portsmouth 65 Winchester 6, 136 KENT 2 Aylesford on Medway 7 Bluebell Hill 1 Canterbury: Canterbury: Cathedral 63, 64, 127, 179, 180 Canterbury: High Street 179, 180 Maidstone: Maidstone: Medway 4 Sandwich: Cattle Market 183 Sevenoaks: Knole Park 184 LINCOLNSHIRE Lincoln 70 LONDON Westminster 134, 188

Westminster: Abbey 132, 133 Westminster: St John’s 135 NORFOLK Norwich 145 OXFORDSHIRE Oxford 189 Oxford: All Souls 76 Oxford: Christchurch 75 SOMERSET Wells 80 Wells: Parish Church 142 SUSSEX Arundel: Wharf 187 Beachy Head 185 Bosham 137 Hastings 126, 182 Knole Park 184 Lewes: Tunnel 186 Pevensey Castle 125 Rye 128, 129, 130, 131, 181 Winchelsea 5 WILTSHIRE Harnham 66 Salisbury 68, 69, 191 YORKSHIRE Richmond 201 Whitby 77, 78, 79, 143, 144

Roman Forum 13 Teatro Marcellus 11 SIENA 15 Fonte Branda 162 STELVIO 155 TAORMINA 171 TORRE ANNUNZIATA 169 VENICE 18, 19, 86, 88, 89, 158, 159 Lagoon 160, 161 Piazza San Marco 88 San Marco 87 VERONA 20, 21, 84, 85 Piazza delle Erbe 163

FRANCE ANNNECY ANTIBES CHAMBERY MONT CENIS VILLEFRANCHE

SWITZERLAND 25 BASLE 54 BERNE 58 CHAMONIX 154 ENGADINE 10 ENGELBERG 60, 61 FALLS OF THE RHINE 57 FRIBOURG 146, 147, 148 LUCERNE 52, 55, 149, 151 Bridge of the Dance of Death (Spreuerbrücke) 150 Chapel Bridge (Kapellbrücke) 53 Walls 51 ORTLER 157 RIGI 59 SCHULS 153 SIMPLON 62 SPIEZ 152 THUN 10 TRAFOI 157 TYROL 157

INDIA AGRA Fort Jama Masjid Taj Mahal ITALY AMALFI BORMIO CHIOGGIA ETNA FLORENCE Ponte alle Grazie NAPLES Vesuvius NARNI PADUA PISA POMPEII ROMAN CAMPAGNA ROME

8 82 9, 10 10 81

109 110 108, 109

83, 172, 173 156 160, 161 171 27 164, 165, 166 167 12 16 90 168 170 12

NORWAY BERGEN SPAIN BARCELONA MAJORCA Palma Port Soller SOUTH AFRICA CAPE TOWN Docks TABLE MOUNTAIN

WEST INDIES BARBADOS DEMERARA

178 174 175, 176

107 106

105 103