Chris Beetles Summer Show 2019 Volume 2

the chris beetles

summer show 2019 ...

continues here in e-form but with our conventional printed catalogue layout.

All these works are for sale and will be hanging in the gallery exhibiton.

A RT H UR H ACK E R

Arthur Hacker, RA RI RP NEAC (1858-1919)

Arthur Hacker introduced a strong element of French academic realism into British exhibitions of the late nineteenth century, through scenes of historical and religious genre and also portraits.

In the first decade of the twentieth century, he changed his approach to produce atmospheric landscapes and townscapes in a Post-Impressionist style. Occasionally, he also painted exquisite still life compositions focussing on flowers.

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Arthur Hacker was born at 9 Rochester Road, Camden Town, London, on 25 September 1858, the second son of the line engraver, Edward Hacker, and his wife, Sophia (née Sidney).

Studying at the Royal Academy Schools between 1876 and 1880, he first exhibited at the Royal Academy of Arts in 1878, and would then do so regularly. In 1880, he went to Paris, and spent a year in the atelier of the academic portrait painter, Léon Bonnat, alongside Stanhope Forbes, among others.

Having absorbed the realism and the plein-air practice of French painting, he embarked on a tour of Spain, Morocco and Algeria, to research classical and religious subjects.

Soon after his return to England, Hacker helped found the progressive New English Art Club in 1886, though he established himself as a painter in the French academic manner.

Notable successes at the time included Pelagia and Philammon (Walker, Liverpool) and By the Waters of Babylon (Rochdale), both shown at the Grosvenor Gallery (in 1887 and 1888).

In 1889, he won a bronze medal at the Exposition Universelle, Paris. Becoming equally well known as a society portrait painter, he was a founder member of the Royal Society of Portrait Painters in 1891. Three years later, in 1894, he was elected an associate of the Royal Academy. In 1900, he won another medal at the Exposition Universelle, Paris, but this time a silver. He also exhibited at the Royal Institute of Painters in Oils, the British Institution and the New Gallery, and also in the provinces.

In 1898, Hacker moved from South Hampstead to Old Cavendish Street, just north of Oxford Street. Four years later, at the height of his success, he commissioned the young architect, Maxwell Ayrton, to design Hall Ingle, a country house at Heath End, Checkendon, Oxfordshire. Hacker decorated the house himself, and also painted a portrait of Ayrton’s wife, which was exhibited at the Royal Academy in 1902. In 1907, he married the miniature painter, Lilian Price, and they made their London home at 178 Cromwell Road, South Kensington. Soon after, he began to change his approach, producing atmospheric London street scenes and pastoral landscapes in a Post-Impressionist style. He was elected a full Royal Academician in 1910 and a member of the Royal Institute of Painters in Water Colours in 1918. He died at home on 12 November 1919.

His work is represented in numerous public collections, including Bromley Central Library; and the Walker Art Gallery (Liverpool).

Further reading: Simon Reynolds, ‘Hacker, Arthur (1858–1919)’, H C G Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography, Oxford University Press, 2004, vol 24, pages 390-391

122 Still Life of Flowers Signed Oil on board 17 1⁄2 x 14 1⁄4 inches

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D OROTH E A S H A R P

Dorothea Sharp RBA ROI VPSWA (1874-1955)

Dorothea Sharp was a British Impressionist known for her vibrant and spontaneous paintings of children at play in rural landscapes and on the coast.

Dorothea Sharp was born in Dartford, Kent and following an inheritance of £100, from an uncle, began her artistic training at the age of 21. She studied first in Richmond and then at the Regent Street Polytechnic under David Murray and George Clausen. It was following the encouragement of Clausen that she continued her studies in Paris. It was there that she first absorbed the Impressionist and Post-Impressionist appreciation of movement and colour that was to define her style and career. In Paris, she also discovered Claude Monet, whose work, particularly his use of colour and loose handling, had a strong influence on her work.

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Sharp never married and travelled widely. Considering she never had her own children, her paintings suggest that she delighted in the spontaneous joys and energies of youth.

Throughout her life, she lived in London and Beaconsfield but spent time particularly in St Ives, Cornwall, with her lifelong friend and fellow painter, Marcella Smith, and in 1928 was made an honorary member of the St Ives Society of Artists.

She died in London, on 17 December 1955.

Her work is represented in numerous public collections.

The biography of Dorothea Sharp is written by Sasha Morse.

Sharp exhibited her first painting, Playmates, at the Royal Academy of the Arts in 1901, and until 1948, she exhibited 54 paintings at that venue. In 1907 she was elected to the Royal Society of British Artists, and in 1922 to the Royal Institute of Oil Painters. She also exhibited at the Paris Salon and across the British Empire. Though Sharp was elected to a number of societies and was indeed prolific, she was most active as a member of the Society of Women Artists. Elected an associate in 1903, she became a full member in 1908, and served as the Vice-President for four years, exhibiting 107 paintings.

In 1933, a solo show of her work was held at the Connell Gallery. The exhibition was a great success, and she was described as ‘one of England’s greatest living women painters’

by Harold Dawkins, editor of The Artist.

123 A Vase of Anemones Signed Oil on board 14 1⁄2 x 17 1⁄2 inches

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H A L H UR S T

Henry William Lowe Hurst, RBA RI VPRMS ROI (1865-1938), known as Hal Hurst

Hal Hurst rose to fame as an illustrator on both sides of the Atlantic early in his career, before he turned to painting and particularly portraiture, as well as genre scenes. Maintaining a versatility of approach and medium, he worked in oil, watercolour and etching, and on a variety of scale, from life size to miniature. He helped found the Royal Society of Miniature Painters and served as its first Vice-President.

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Hal Hurst was born in London on 26 August 1865, the eldest son of Henry Hurst, the African traveller and publisher of the firm of Hurst & Blackett. He was educated at St Paul’s School, and implies in his entry in Who Was Who that his earliest art education was with ‘Friedlanders’ and the ‘Army and Navy Tutor, the Rev Robert Palmer’. He began his career in 1888, at the age of 23, when he visited Ireland to record the mass evictions of struggling tenant farmers in the wake of the potato famine. On the publication of the resulting drawings, he received an invitation from the Philadelphia Press to join its staff ‘at any price’. However, he soon moved from Philadelphia to New York, where he worked for several newspapers. While there, he may have studied at the Art Students League, and certainly absorbed the influence of the Charles Dana Gibson, the most famous American illustrator of his generation.

In 1893, Hurst married Florence (née Beard), and together they would have one son, Hal, and two daughters, Nora and Yvonne. A life-size portrait of his wife, shown as his first contribution to the Royal Academy in 1896, signalled his turn towards painting, and to portraiture in particular. In the same year, he helped his friend, Alyn Williams, found the Society of Miniature Painters, and became its first Vice-President, a position that he would hold until 1913. During Hurst’s tenure, King Edward VII granted the society a Royal Charter in 1904, while at the end of his tenure he was made an honorary member. In the late 1890s, he was also elected to the Royal Society of British Artists (1896), the Royal Institute of Painters in Water Colours (1898) and the Royal Institute of Painters in Oils (1900). He held an early solo show at the Modern Gallery, Bond Street, in 1899, and contributed to the Exposition Universelle, in Paris a year later. In the early 1900s, he shared a studio with Alyn Williams at 23a South Audley Street, Mayfair, and held ‘Private Classes for Ladies in Oil and Water-Colour Portrait Painting and Black-and-White for Reproduction’.

Hurst lived at various addresses in London for most of his career, and died on 23 December 1938.

On his return to Europe, Hurst spent seven months studying in Paris, at the Académie Julian, and in the studios of Pascal Dagnan-Bouveret and Benjamin Constant. Back in London, in the 1890s, he contributed to many of the leading periodicals, and illustrated books, beginning with G A Henty’s Through the Sikh War (1890).

124 Dancing Girl Signed Oil on canvas 16 1⁄2 x 13 inches

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ST E V EN S P U RR IE R

Steven Spurrier, RA RBA ROI NS PS (1878-1961)

Often inspired by his love of music and theatre, Steven Spurrier developed as a wide-ranging painter, illustrator and designer.

Steven Spurrier was born in Finsbury Park, London, on 13 July 1878, the son of a designer silversmith based in the City. During a childhood spent in South London and at the City of London School, he developed wide cultural interests, including music and theatre as well as the visual arts. The lessons that he received from a seascape painter, in Margate, Kent, instilled him with a particular fascination for the study and depiction of ships. In 1895, at the age of 17, he followed his father, in becoming an apprentice silversmith, at the same time taking evening classes at the Heatherley School of Fine Art. Two years later, he produced his first published work, a series of Christmas cards on theatrical subjects.

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In 1900, Spurrier began work as a freelance illustrator, contributing to many periodicals, including Black and White, The Royal, and The Graphic, as well as producing fashion drawings and costume designs. As he established himself, he joined the Langham Sketching Club (1906) and produced Black and White: A Manual of Illustration (1909). An admirer of Thomas Rowlandson, he carried his interest in human action and notable events from illustration into painting. He exhibited oils and watercolours at leading London societies, including the Royal Academy of Arts (from 1906), the Royal Institute of Painters in Water Colours and the Royal Society of Painters in Oils (becoming a member of the latter in 1912). During this period, he lived with his wife in Chiswick and then in North Kensington, becoming the father of two sons whom he would often use as models.

Early in the First World War, Spurrier worked as a Special Constable before joining the Artists Rifles. However, he was exempted from active service because he suffered from a weak heart. So, in 1916, he was called up instead for military intelligence work with the Dock Police in Hull, and subsequently transferred to the Navy as a dazzle officer on the Clyde; he was almost certainly responsible for camouflaging HMS Argus, the world’s first true aircraft carrier, prior to her launch in 1918.

In 1919, Spurrier began a long association with The Illustrated London News as a ‘special artist’, the visual equivalent of a top reporter. He also continued to contribute to numerous periodicals, including The Artist and Radio Times, as well as American and German titles. Turning to book work in 1934, he chose to illustrate an edition of William Wycherley’s Restoration comedy, The Country Wife. This reflected an enhanced interest in theatre and circus, encouraged by a friendship with Laura Knight, and indicated especially by much time spent with the Bertram Mills Circus. He again marked an increase in experience and expertise by writing a manual, Illustration in Wash and Line (1933), and later began to teach (Heatherley’s 1939). Between the wars, he lived at various London addresses, latterly in St John’s Wood, and also in West Wittering, his favourite Sussex coastal retreat.

Ever industrious, Spurrier continued to exhibit with leading societies, and as a result was elected as a member of the Royal Society of British Artists (1933), the National Society of Sculptors, Painters and Gravers, the Pastel Society, and the Royal Academy (ARA 1943, RA 1952). He was made a fellow of the Zoological Society of London and elected Honorary Secretary of the British Society of Poster Designers. During his later career, he had a number of solo shows, including those at the Nicholson Gallery (1940) and the Hazlitt Gallery (1946), and one at the RBA Galleries, held a year before his death in London on 11 March 1961.

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125 At the Circus Signed Oil on canvas 20 1⁄2 x 33 1⁄2 inches

RO B ERT T I MM I S Robert Timmis (1886-1960)

While Robert Timmis produced a range of paintings, including landscapes, portraits and still lifes, he is best remembered for his ambitious figure subjects of everyday Liverpool life.

Robert Timmis was born in Leek, Staffordshire, in the summer of 1886, probably the youngest of nine children of the farmer, Richard Timmis, and his wife, Harriet (née Deaville). He was educated at the Earl of Macclesfield’s Grammar School, and then studied at the Allan Fraser Art College, Hospitalfield, Arbroath. Possibly early in his career, he produced a mural decoration for the Nicholson Institute, Leek.

In 1913, Timmis took up a teaching position at Liverpool School of Art. However, his work there was soon interrupted by the outbreak of the First World War, in which he served

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first in the Royal Field Artillery and later the Labour Corps.

Returning to Liverpool, he would continue to teach at the school of art until 1950, while exhibiting paintings at the Royal Academy of Arts, in London (1929-31, 1936, 1956), and more frequently at the Walker Art Gallery, Liverpool, and elsewhere in Lancashire. For many years, he lived at 92 Archerfield Road, Mossley Hill, Liverpool.

126 The Omnibus Signed Oil on canvas 34 1⁄4 x 46 3⁄4 inches Probably the work exhibited at the Royal Academy, Summer Exhibition, 1930, no 594, as ‘Fares’

STA NL E Y A N D E R S O N

Alfred Charles Stanley Anderson, RA RE (1884-1966) The printmaker and painter, Stanley Anderson, was a major figure in the revival of line engraving between the wars. Though a long career allowed for a diverse range of subjects, his skill was displayed particularly well in a series of prints of farm workers and rural craftsmen.

Dictionary of National Biography, Oxford University Press, 2004, vol 2, pages 74-76; Martin Hardie, 'The Etchings and Engravings of Stanley Anderson', The Print Collector's Quarterly, July 1933; Robert Meyrick and Harry Heuser, Stanley Anderson: Prints: A Catalogue Raisonné, London: Royal Academy of Arts, 2015

For a biography of Stanley Anderson, please refer to Chris Beetles Summer Show, 2017, page 112.

127 The Reading Room Signed and inscribed ‘Line Engraving’ and ‘Edition 85 proofs’ Signed in plate Engraving, from an edition of 85, 6 1⁄2 x 8 1⁄2 inches Literature: Fine Prints of the Year, 1931, plate 4; Martin Hardie, ‘The Etchings and Engravings of Stanley Anderson’, The Print Collector's Quarterly, July 1933, no 134; Meyrick and Heuser, 2015, page 212, Catalogue Raisonné no 192

His work is represented in numerous public collections, including the British Museum and the V&A, and the Ashmolean Museum (Oxford) and The Fitzwilliam Museum (Cambridge).

Further reading: Paul Drury, rev Ian Lowe, ‘Anderson, (Alfred Charles) Stanley (1884-1966)’, H C G Matthew and Brian Harrison (eds), Oxford

The setting is the Hammersmith Library.

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128 The Cooper Signed and inscribed with title, ‘Line Engraving’ and ‘ed: 65’ Signed with monogram in the plate Engraving, from an edition of 65 7 1⁄4 x 6 inches Literature: Meyrick and Heuser, 2015, page 212, Catalogue Raisonné no 250

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129 Hyden, the Old Shepherd Signed and inscribed ‘ed: 65’ Inscribed with title, ‘(line-engraving)’ and ‘edition 65 prints’ below mount Signed with monogram in the plate Engraving, from an edition of 65 7 1⁄4 x 6 inches Literature: Kenneth Guichard, British Etchers, 1850-1940, London: Robin Garton 1981, plate 3; Meyrick and Heuser, 2015, page 212, Catalogue Raisonné no 251

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130 The Fallen Star Signed and inscribed with title and ‘Edition 85 proofs’ Signed in the plate Engraving, from an edition of 85 8 x 9 inches Literature: Martin Hardie, ‘The Etchings and Engravings of Stanley Anderson’, The Print Collector's Quarterly, July 1933, no 129; Meyrick and Heuser, 2015, page 212, Catalogue Raisonné no 187

131 (opposite) The Old Tinker Signed and inscribed ‘Ed: 50’ Inscribed with title below mount Line engraving, from an edition of 50 7 x 5 1⁄2 inches Literature: Royal Academy Illustrated, 1934, page 50; Meyrick and Heuser, 2015, page 212, Catalogue Raisonné no 208

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132 By-Products Signed and inscribed with title and ‘Edition, 50 proofs in ink’ Signed in plate Etching, from an edition of 50 6 x 7 3⁄4 inches Literature: Martin Hardie, ‘The Etchings and Engravings of Stanley Anderson’, The Print Collector's Quarterly, July 1933, no 93; Meyrick and Heuser, 2015, page 212, Catalogue Raisonné no 143

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133 Beer and Skittles Signed and inscribed ‘Edition 32’ Signed in plate Drypoint, from an edition of 32 7 x 8 3⁄4 inches Literature: Meyrick and Heuser, 2015, page 212, Catalogue Raisonné no 204

134 Párky and Vuřty, Prague Signed in plate Engraving, from an edition of 85 8 1⁄2 x 6 1⁄2 inches Martin Hardie, ‘The Etchings and Engravings of Stanley Anderson’, The Print Collector's Quarterly, July 1933, no 131; Meyrick and Heuser, 2015, page 212, Catalogue Raisonné no 189

140 135 Timm's Smythy, Thame Signed in plate Drypoint, from an edition of 60 9 1⁄2 x 7 1⁄4 inches Literature: Royal Academy Illustrated, 1935, page 19; Meyrick and Heuser, 2015, page 212, Catalogue Raisonné no 211

ED M U N D B L A M P I E D

Edmund Blampied, RBA RE (1886-1966)

Edmund Blampied is one of the most significant artists to have hailed from the Channel Islands.

Greatly versatile, he worked as a painter, illustrator, and occasional sculptor, though is best remembered as a printmaker and, especially, an etcher. Having been born on a farm, he produced some particularly evocative etchings of agricultural and peasant subjects. Their fluidity of line, strong sense of humanity and Gallic humour suggest a kinship with Daumier and Gavarni.

Edmund Blampied was born on a farm in the Parish of St Martin, Jersey, on 30 March 1886, the youngest of four sons of John and Elizabeth Blampied. His father died five days before he was born, and his mother brought up the family, working as a dressmaker and shopkeeper in the Parish of Trinity. His first tongue was the Norman language of Jèrriais.

Blampied left school at the age of 14, and went to work in an architect’s office in St Helier, the capital of Jersey. A year later, he exhibited some drawings at an agricultural show, and these came to the notice of Marie Josephine Klintz, who ran a private art school in the town. As a result, she gave him his first formal lessons in art. His caricatures of local politicians attracted the attention of the businessman, Saumarez James Nicolle, who offered to sponsor his art studies in England.

In January 1903, the 16-year-old Blampied left Jersey for England, and enrolled at Lambeth School of Art, in London, studying there under Philip Connard and the Principal, Thomas McKeggie. McKeggie chose him to work part-time on the staff of the Daily Chronicle, and his first illustrations appeared in its pages on 13 January 1905. In the September, he transferred to the LCC School of Photo-Engraving and Lithography at Bolt Court, where he studied under Walter Seymour and through him perfected the art of etching. While there, he made a number of friends, including Salomon van Abbé, whose sister, Marianne, he would marry in 1914. In 1911, he established his own studio, and worked there, mainly as a magazine illustrator, into the early years of the First World War. Following the introduction of conscription in Britain in 1916, Blampied returned to Jersey. Though classified as not fully fit for active service in 1917, he took up guard duties in the Royal Jersey Militia, and remained on the island until 1919, when he resumed his professional life in London.

Though Blampied had been producing etchings from as early as 1909, he only now began to establish himself as a printmaker.

In 1920, he became an associate of the Royal Society of

Painter-Etchers and Engravers, with full membership following just a year later. Also in 1920, he held a solo show of etchings and drypoints in London at the Leicester Galleries.

His first American exhibition took place at Kennedy and Company, New York, in 1922. Many other joint and solo exhibitions followed.

Experimenting with lithography from 1920, Blampied joined the Senefelder Club of lithographic artists in 1923. He took classes in the medium from Archibald Hartrick, a founder member of the Senefelder, at the Central School of Arts and Crafts in 1925, but was already sufficiently expert by that date to win a Gold Medal for lithography at the Paris International Exhibition.

During the 1920s and 30s, Blampied worked extensively as an illustrator, contributing to numerous magazines, especially The Bystander and The Illustrated London News, and illustrating a number of books, including an edition of Robert Louis Stevenson’s Travels with a Donkey in the Cevennes (1931).

His illustrations of children’s books such as the 1939 edition of J M Barrie’s Peter and Wendy, published by Hodder and Stoughton, were met with particular acclaim.

Between the wars, Blampied and his wife often travelled to France, and regularly wintered on the Riviera. In 1926, they sold their house in South London, and spent five months in southern France and Tunisia, Blampied producing a number of North African drawings and etchings.

Though he became a member of the Royal Society of British Artists in 1938, Blampied decided to return to Jersey just before the outbreak of the Second World War and stayed there, with his wife, during the German Occupation, despite the fact that she was Jewish. While he found little work as an illustrator, he received some commissions from the State of Jersey to design bank notes and postage stamps. Continuing to live on Jersey beyond the end of the war, he worked mostly in oil and watercolour during his final years. A large exhibition of his work was mounted at the John Nelson Bergstrom Art Center and Museum, Neenah, Wisconsin, in July 1954.

A retrospective took place at the Société Jersiaise, Jersey Museum, a decade later. He died on Jersey on 26 August 1966.

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His work is represented in numerous public collections, including The Fitzwilliam Museum (Cambridge); Jersey Museum (St Helier); and Boston Public Library and the Cleveland Museum of Art (Ohio).

Further reading: Jean Arnold and John Appleby, A Catalogue Raisonné of Etchings, Drypoints and Lithographs of Edmund Blampied, St Ouen: John Appleby Publishing, 1996; Andrew Hall, Edmund Blampied. An Illustrated Life, Jersey Heritage Trust, 2010

Numbers 136-139 are all from the collection of Admiral Sir Gresham Nicholson, Lieutenant-Governor of Jersey, and by descent

136 (above) The Martello Tower Signed Watercolour on board 8 x 13 1⁄2 inches

137 Announcing the News Signed Pen ink and watercolour on tinted paper 7 x 4 3⁄4 inches

138 The Forge Signed Inscribed with title below mount Etching 4 x 6 1â „2 inches

139 Horses Among the Trees Signed Watercolour, conte and pencil 5 1â „2 x 8 inches

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C EC IL A RT HU R HU N T

Cecil Arthur Hunt, VPRWS RBA (1873-1965)

Once elected a full member of the Royal Society of Painters in Water-Colours in 1925, Cecil Arthur Hunt retired from his career as a barrister and turned his serious pastime of painting into a profession. While he had first established himself as a painter of mountains, especially the Alps and the Dolomites, he soon proved himself a master of a

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great variety of topographies. The impressive, often stark, effects that he achieved rival those associated with his friend and mentor, Frank Brangwyn.

For a biography of Cecil Arthur Hunt, please refer to Chris Beetles Summer Show, 2015, pages 38-39.

Chris Beetles has done much to revive interest in the work of Cecil Arthur Hunt. He mounted a large-scale retrospective exhibition in 1996 at his London gallery, on the exact site of the artist’s first substantial show in 1901. The retrospective was accompanied by a definitive catalogue, which is available from the gallery, as both a paperback and a limited edition hardback.

140 Vase of Flowers Signed Watercolour of mountain on reverse Watercolour and bodycolour on tinted paper 14 x 11 inches Exhibited: ‘Cecil Arthur Hunt VPRWS RBA’, Chris Beetles Gallery, October 1996, no 156

141 On the Medway Signed Inscribed with title and artists address on original backboard Watercolour and bodycolour 11 1⠄4 x 15 inches Exhibited: Coronation Exhibition, Royal Society of Painters in Water-Colours, 1952, no 29 Hunt’s 1949 sketchbook shows drawings of this Kentish view across the Medway to Rochester.

142 Priory Park, Ulverston Signed Signed and inscribed with title on reverse Watercolour and bodycolour with pencil 11 x 15 inches Exhibited: Spring Exhibition, Royal Society of Painters in Water-Colours, 1952, no 67; Retrospective Exhibition, Royal Society of Painters in Water-Colours, May 1966, no 152 (on loan from G Hopkinson)

Hunt visited the Lakes and Ulverston in 1948 and made several sketchbook studies of Priory Park.

One sketchbook also contains photographs of him and his wife Phyllis exploring the mature parkland.

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W ILL I AM T H O M A S WO O D

William Thomas Wood, VPRWS ROI NS (1877-1958)

A painter in both oil and watercolour, William Thomas Wood became particularly well known for atmospheric landscapes of Sussex, as well as flower still lifes. During the First World War, he served on the Balkan Front, both in the Royal Flying Corps and as an Official War Artist. He returned to images of aerial warfare in the Second World War, during which he served in the Home Guard.

William Thomas Wood was born in Ipswich, Suffolk, the son of the builder, Thomas Wood, and his wife, Middlesex-born, Annie (née Tighe). In Who Was Who, he listed his birth date as 17 June 1877; however, his birth was registered in the third quarter of 1878.

By 1891, the Wood family was living at Nos 1, 2 and 3 Green Man Cottages, Heath Lane, Putney, and Thomas was running his building and decorating business from the premises. William was the eldest of five siblings, with three brothers and a sister.

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Wood studied at the Regent Street Polytechnic School of Art, in London, and then in Italy. He began to exhibit frequently at the Royal Academy of Arts in 1900, while still living with his family in Putney. After staying in various lodgings in London, he settled at The Studio, 29a Oxford Road, Putney, by 1904.

In 1909, he married Berenice Knowles, the daughter of the artist, Davidson Knowles. Ten years younger than William, she attended the Regent Street Polytechnic, possibly as his student, as he returned to the school as a teacher of painting. She would become a glass painter and decorator in cut paper, specialising in floral decorations under glass domes. By 1911, they were living together with their seven month daughter, Elise, at 35 Oakhill Court, Oakhill Road, Putney. Later that year, Berenice would give birth to their son, William.

In 1910, Wood held a solo show, ‘Pictures illustrating Evening, Night and the Dawn’, at the Fine Art Society. Working in both oil and watercolour, he became an associate of the Royal Society of Painters in Water-Colours in 1913.

During the First World War, Wood served as a corporal in the Royal Flying Corps; working as an Observer of Kite Balloons in Macedonia, he was mentioned in despatches. In 1918, he became an Official War Artist on the Balkan Front, undertaking several commissions for the Ministry of Information. In the same year, the Leicester Galleries mounted a solo show of the resulting work. Then, he illustrated A J Mann’s The Salonika Front, published by A & C Black, in 1920.

By the end of the First World War, Wood was living at 61 Glebe Place, Chelsea, which would remain his home for the rest of his life. In 1918, he was elected a full member of the Royal Society of Painters in Water-Colours, and between 1923 and 1926 served as Vice President. He also became a member of the Royal Institute of Oil Painters in 1927 and the National Society of Painters, Sculptors and Printmakers (which was founded in 1930). His solo shows included two devoted to oil paintings of flowers at the Leicester Galleries, in 1924 and 1927, and another, of ‘English Landscape in Water Colour’ at the Rembrandt Gallery, in 1936. In addition to leading London venues, he exhibited in the provinces and at the Paris Salon.

During the Second World War, Wood was a member of the Home Guard. In later years, he was involved with a number of artists’ clubs, becoming Chairman of the Association of Students Sketch Clubs in 1924, and also a member of both the Arts Club and Chelsea Arts Club, and an honorary member of the Chelsea Art Society. He died in Chelsea on 2 June 1958.

His work is represented in numerous public collections, including the Imperial War Museums.

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143 Autumn Trees, Sussex Signed Signed and inscribed with title on label on backboard Watercolour and pen and ink 21 1⠄4 x 27 inches Literature: The Old Water-Colour Society’s Club, vol IV, 1926/27, plate xxxiii; Adrian Bury, Water-Colour Painting of To-Day, London: The Studio, 1937, no 118 Exhibited: Summer Exhibition, Royal Society of Painters in Water-Colours, 1926, no 76

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144 Dover Signed and inscribed with title twice, and dated 1940 and 1941 Watercolour with bodycolour 18 3â „4 x 20 inches

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145 Aeroplane Trails Signed and dated 1941 Inscribed with title on reverse Watercolour 12 x 14 inches

K A R L H AG E D O R N

Karl Adolph Hagedorn, RBA RI RSMA NEAC NS (1889-1969)

Through his work as a painter and designer, German-born Karl Hagedorn made a consciously pioneering attempt to introduce Modernism to Manchester in the early decades of the twentieth century. Later, he tempered his style so that it fitted more easily into England’s naturalistic watercolour tradition.

Karl Hagedorn was born in Berlin on 11 September 1889, and brought up in Freiburg im Breisgau. He went to Manchester in 1905 to train in textile production at the School of Technology, and also studied under Adolph Valette at the School of Art. There, he befriended local girl, Nelly Stiebel, who would become his wife, and Francis Sladen Smith, with whom he founded the art club, Der Künstler Zwei. By 1911, he was boarding with Sladen and his parents at 289 Great Western Street, Moss Side, and working as a clerk.

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His development into a Modernist was achieved in Paris, in the years 1912-13, when, working under Maurice Denis, he met a number of artists – notably Henri Matisse – and absorbed a range of avant-garde styles. On his return to England, he made a consciously pioneering attempt to introduce Modernism into Manchester through his work as both painter and designer.

As a freelance designer, he worked in the areas of commercial art, advertising, window display and textiles, and many of the cottons that bore his patterns sold in the African market.

He was the outstanding contributor to the controversial second exhibition of the Manchester Society of Modern Painters in 1913, and would continue to exhibit with the society until 1916.

Becoming a British subject at the outbreak of the First World War, in 1914, Hagedorn married Nelly in Honiton, Devon, in 1915, and she gave birth to their daughter, Elinor Anne, in Newton Abbot a year later. In that year, he became a Lance-Corporal in the Middlesex Regiment, and during active service found time to produce some landscape studies.

In Manchester, and then in Buxton, Derbyshire, during the 1920s, Hagedorn worked in a distinctive geometric manner, which applied Cubist draughtsmanship to the tradition of the English landscape watercolour. However, on holidays in France and Italy, he began to relax the degree of abstraction and

emphasised instead the element of close observation.

Following his move to Belsize Park Gardens, in London, in 1927, he befriended Randolph Schwabe, who encouraged him in this direction (though it is said that the tragic death of his only child, in 1928, also had an effect on his change of style).

Hagedorn exhibited at a number of leading galleries in London, the provinces and France, and was elected to the Royal Society of British Artists, the Royal Institute of Painters in Water Colours, the Royal Society of Marine Artists, the National Society of Artists, the New English Art Club and the Salon d’Automne.

During the Second World War, Hagedorn contributed views of Derbyshire to Sir Kenneth Clark’s Recording Britain project and four works to the War Artists’ Advisory Committee.

By the late 1940s, he and Nelly were living in a converted eighteenth-century coach house at Feltham, he was teaching part-time at Epsom School of Art. Latterly, they lived at 7, The Little Boltons, Kensington.

Karl Hagedorn died in spring 1969.

His work is represented in numerous public collections, including The Whitworth Art Gallery (Manchester).

In 1995, the Chris Beetles Gallery hosted ‘Manchester’s first Modernist’, an important retrospective exhibition of the work of Karl Hagedorn organised in conjunction with the Whitworth Art Gallery of the University of Manchester.

It was accompanied by an illustrated biographical catalogue.

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146 Bulls, Algarve, Portugal Signed and dated 38 Inscribed with title on reverse Pen ink and watercolour 10 3â „4 x 17 1â „4 inches

C H AR L ES K N I GH T

Charles Knight, VPRWS ROI (1901-1990)

The Sussex landscape painter, Charles Knight, channelled the tradition of English watercolour painting in order to produce his own original contribution. As a result, he became a pillar of the Royal Society of Painters in Water-Colours and received acclaim, from William Russell Flint, as the ‘star turn’ of the Recording Britain scheme.

Charles Knight was born in Hove, Sussex, on 27 August 1901, into a family which had long farmed in the area. His father, employed by a firm of Brighton publishers, remained a keen naturalist and artist, and took the young Charles on walking and sketching trips, so initiating a love of Sussex. His gift for drawing was further encouraged by trips to France with a childhood mentor, Canon Elliott. Studying first at Brighton School of Art (1919-23), in 1923 he won a scholarship to the Royal Academy Schools and, though commuting from the South Coast, became exposed to many new influences. His discovery of the work of John Sell Cotman was particularly seminal, for it determined his concentration on watercolour,

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and directed his travels, as well as affecting his early style.

As a student of the Royal Academy Schools, he won the Landseer Scholarship, and the Turner Medal for his oil of the Cotmanesque subject, Llangollen. Shown at the Royal Academy of Arts in 1926, it was soon bought for the Tate Gallery by Sir Joseph Duveen. The publicity led to the membership of both the Royal Institute of Painters in Oils (1933) and the Royal Society of Painters in Water-Colours (ARWS 1933, RWS 1936, VPRWS 1961).

From 1925, Knight taught at Brighton School of Art, first as a full-time lecturer, and later as a visitor. Following his marriage in 1934, he moved to nearby Ditchling in the heart of the Sussex countryside. The 40 drawings of the county which he produced for Sir Kenneth Clark’s Recording Britain were dubbed the ‘star turn’ of the project by William Russell Flint.

During the Second World War, he was reserved by the teaching profession, and returned to full-time teaching at the college, but also worked as a night telephone operator for the Civil Defence and a member of the Home Guard. In 1944, he

was asked by the Queen Mother to give Princess Margaret lessons in watercolour painting; his appointment lasted for three years. He continued to teach at Brighton School of Art, and in 1959 became both Vice-Principal and Head of the Drawing and Painting Department. Though he retired from teaching in the mid-sixties, he continued to paint and exhibit a wide variety of confident watercolours until the end of his life.

He died on 15 May 1990.

147 (opposite) Incoming Tide, Spekes, Devon Signed Watercolour and bodycolour with pencil on tinted paper 11 x 15 inches Exhibited: Royal Society of Painters in Water-Colours, Spring 1970, no 141

In 1997, the Chris Beetles Gallery hosted ‘…More Than a Touch of Poetry’, an important retrospective exhibition of the work of Charles Knight, organised in conjunction with the Towner Gallery, Eastbourne and Hove Museum and Art Gallery. It was accompanied by an illustrated catalogue.

148 The Butterwalk, Totnes Signed Watercolour with bodycolour and pencil on tinted paper 11 x 15 1⁄2 inches Literature: Michael Brockway, Charles Knight RWS ROI, Leigh-on-Sea: F Lewis 1952, plate 34

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ROWL A N D HI L D E R

Rowland Frederick Hilder, OBE PRI RSMA (1905-1993)

A highly fluent watercolourist, Rowland Hilder became synonymous with the Kent countryside that he painted for much of his life. However, he was a wide-ranging painter and illustrator, who tackled cityscapes, marines and figure subjects with equal confidence and success.

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The son of British parents, Rowland Hilder was born on 28 June 1905 at Great Neck, Long Island, New York. He was first educated in Morristown, New Jersey. Following the return of his family to England in 1915, he lived in New Cross, South London, and attended Aske’s Hatcham School. In 1921, he entered the etching class of Goldsmiths’ College School of Art, but soon fell under the spell of E J Sullivan, an influential teacher of illustration. He was also influenced by Muirhead Bone and Frank Brangwyn. However, he was most interested in becoming a marine painter, and so tried to follow the example of W L Wyllie, teaching himself the art of watercolour. Working as an illustrator from 1925, his status was boosted a decade later, in 1935, when he took the place of Sullivan at Goldsmiths’ College. In the same year, he established his reputation as a watercolour painter of British landscapes with his first solo show at the Fine Art Society. He also exhibited at the Royal Academy of Arts and other London venues and, in 1938, was elected to the membership of the Royal Institute of Painters in Water-Colours (RI). During the Second World War, he worked first as a camouflage officer and, later, as an artist in the Central Office of Information.

In the post-war period, Hilder devoted an increased amount of time to painting. He set up the Heron Press to market his prints and Christmas cards, and by 1951 ‘was the most popular landscape artist of the time’ (Alan Horne, The Dictionary of 20th Century British Illustrators, Antique Collectors’ Club, 1994, page 247). He worked with his wife, Edith, on the Shell Guide to the Flowers of the Countryside (1955), and produced paintings for the Shell Guide to Kent (1958), the first in the series of volumes devoted to counties. In 1960 the printing and publishing company of Royle took over the stock of the Heron Press and acted as distributor, while Hilder continued to produce many paintings for reproduction.

In 1963, Royle took over the Heron Press completely, and Hilder became its consultant art adviser. His career as a commercial illustrator virtually ended and ‘he devoted his time to painting for painting’s sake; the fact that much of his work was reproduced [being] almost incidental’ (Horne, 1994: 247).

He was elected as President of the RI in 1964 and published a number of manuals, including Starting with Watercolour (1966) and Painting Landscapes in Watercolour (1983). In 1986, he was awarded the OBE. He lived at Blackheath in London for many years and died at Greenwich on 21 April 1993. He had a son, Anthony, and a daughter, Mary.

Further reading: John Lewis, Rowland Hilder: Painter of the English Landscape, Woodbridge: Antique Collectors’ Club, 1988

149 The Barn in Winter Signed and dated 38 Black chalk, ink and watercolour with bodycolour 12 x 15 3⁄4 inches Exhibited: Fine Art Society, March 1945

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STAN L E Y ROY B A D M IN

Stanley Roy Badmin, RWS RE AIA FSIA (1906-1989) Throughout his career, S R Badmin used his great talents – as etcher, illustrator and watercolourist – to promote a vision of the English countryside and thus of England itself. By underpinning his idealism with almost documentary precision and detail, he was able to produce images that appealed to all, and could be used for a great variety of purposes, from education through to advertising. The wellbeing suggested by each rural panorama is all the more potent, and pleasing, for the accuracy of each tree and leaf, and the plausibility of the slightest anecdotal episode.

Stanley Roy Badmin was born at 8a Niederwald Road, Sydenham, London, on 18 April 1906, the second of three sons of Charles James Badman, a teacher, and his second wife, Margaret (née Raine). He was educated at Sydenham School, where he adopted the surname ‘Badmin’ on the insistence of his father in the vain hope that it would divert ‘jeers & insults’.

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Badmin studied at Camberwell School of Arts & Crafts (1922-24), before winning a studentship to the Royal College of Art, initially to study painting, though he later transferred to the design school (1924-27). In 1925, he married Margaret Colbourn, known as ‘Peggy’, and soon settled with her at Aleroy, 45 Thorpewood Avenue, Sydenham, a house built for them by his father. Together they would have two children: Patrick (born 1936) and Joanna (born 1939).

Badmin began his career by contributing illustrations to The Graphic (1927) and The Tatler (1928), and holding his first solo show, at the Twenty-One Gallery (1930). Further solo shows would take place at the Fine Art Society (1933 & 1937). Having taken further courses at the RCA and Camberwell, he qualified as a teacher in 1928, and supplemented his income by teaching part-time at Richmond School of Art (1934) and St John’s Wood School of Art (1936). However, he worked increasingly as an etcher and watercolourist, and was soon elected to the Royal Society of Painter-Etchers and Engravers (ARE 1931, RE 1935) and the Royal Society of Painters in Water-Colours (ARWS 1932, RWS 1939). He was also a member of the Artists’ International Association (from 1936).

In 1935, Badmin received a major commission – from the American magazine, Fortune – to depict various towns in the United States; the results were exhibited at M A McDonald in New York, in spring 1936. An important development in Badmin’s illustrative style was marked soon after his return to England by Highways and Byways of Essex, a collaboration with F L M Griggs (published in 1939). Even before the Second

World War, he made a mark as an educational illustrator and was particularly admired for his accurate depiction of trees.

Before working in the war, for the Ministry of Information and the Royal Air Force, he made a major contribution, in 1940, to Sir Kenneth Clark’s Recording Britain – a term that might well be applied to his work as a whole.

From 1945, Badmin worked increasingly as a commercial artist, designing advertisements and posters, and producing illustrations for greeting cards and calendars. Equally in demand as an illustrator of books and periodicals, he published Trees for Town and Country (1947) and contributed to Radio Times.

Divorcing his first wife in 1948, he would marry the widow, Rosaline Flew (née Downey), in 1950, and bring up her daughter, Elizabeth, with his children. In 1951, Rosaline gave birth to their daughter, Galea Rosaline.

Only from the mid 1950s was Badmin able to paint two or three major pieces for each RWS exhibition, and hold a show at the Leicester Galleries (1955). Even then, he found time to embark on projects for Shell: Geoffrey Grigson’s The Shell Guide to Trees and Shrubs (1958) and four volumes of the series of ‘Shell Guides to the Counties’. In 1959, he and his family moved to Bignor, near Pulborough, West Sussex, from where he continued to paint and exhibit. He held a further solo show, at Worthing Art Gallery in 1967. His achievement was honoured by the RWS in devoting a part of its Autumn Exhibition to his work in 1984, and by the Chris Beetles Gallery, in mounting a major retrospective in 1985 and subsequent exhibitions. He died at St Richard’s Hospital, Chichester, West Sussex, on 28 April 1989.

See also page 103 and no 98 of the printed section of the Chris Beetles Summer Show 2019 catalogue.

150 Henham, Essex Signed Inscribed with title and ‘copyright with Macmillans’ on reverse of original backboard Pen and ink, 5 x 8 inches Illustrated: Clifford Bax, Highways and Byways in Essex, London: Macmillan and Co, 1939, page 74 Exhibited: Fine Art Society, January 1940, no 1

151 Wendens Ambo, Essex Signed Inscribed with title below mount Inscribed with title and ‘copyright with Macmillans’ on reverse of original backboard Pen and ink, 5 x 8 inches Illustrated: Clifford Bax, Highways and Byways in Essex, London: Macmillan and Co, 1939, page 122 Exhibited: Fine Art Society, January 1940, no 2

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His etchings are represented in numerous public collections, including the British Museum; the Ashmolean Museum (Oxford); Aberystwyth University School of Art; and the Herbert F Johnson Museum of Art, Cornell University (NY).

152 Ide Hill, Kent Signed and inscribed ‘Ide Hill’ Numbered 2/3 and dated 1931 Signed with initials in plate Etching From an edition of 3 4 1⁄2 x 8 1⁄4 inches Literature: Chris Beetles, S R Badmin and the English Landscape, London: Collins, 1985, page 57, Catalogue Raisonné no 29

Chris Beetles has been the leading authority on S R Badmin for the last 30 years, since he mounted a large-scale exhibition and published S R Badmin and the English Landscape (1985). In 2015 he presented a further major exhibition of over 200 unseen works, mostly from the Badmin Estate. This was accompanied by the catalogue, S R Badmin RWS: Paintings, Drawings and Prints, which includes a second edition of Chris Beetles’ catalogue raisonné of the prints, a newlyresearched chronology, bibliography and a list of exhibitions. Both the original book and the new catalogue are available from the gallery.

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153 Woolwich Ferry Signed and signed with initials, and inscribed with title Inscribed ‘copyright by Macmillan’ on reverse Pen and ink 3 1⁄4 x 5 inches Illustrated: Clifford Bax, Highways and Byways in Essex, London: Macmillan and Co, 1939, page 130 Exhibited: LSA Exhibition, 1944

Numbers 154-156 are all illustrated in Radio Times, Learn While You Listen and Look Supplement, 16 January 1959, [Unpaginated], ‘The World of Nature’.

154 Mountainside.

Life under harsh conditions – mountain flowers and plants on Ben Lawers, Scotland Signed with initials Signed and inscribed ‘Mount Lawers & district’ below mount Pen and ink with bodycolour 2 1⁄4 x 3 3⁄4 inches

155 Rocky Shore.

Offshore waters, rocks, and rock-pools In Cornwall Signed with initials Inscribed ‘sea shores’ below mount Pen and ink with bodycolour 2 1⁄4 x 3 3⁄4 inches Illustrated: Radio Times, 17 April 1959, page 40, ‘The World of Nature: Rocky Shore’.

156 Nature In Miniature.

The rich animal and plant communities to be found in the trunk and crown of a pollarded willow near Flatford, Suffolk Signed with initials Signed and inscribed ‘pollarded willow’ below mount Pen and ink with bodycolour 2 x 3 3⁄4 inches

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JA MES M C IN TO SH PAT R I CK

James McIntosh Patrick, OBE RSA ARE ROI (1907-1998) James McIntosh Patrick established himself as an accomplished landscape artist early in his career, initially as an etcher and then as a painter. His carefully detailed, highly naturalistic scenes of the Scottish countryside, mainly that around his native Dundee, became highly popular with both collectors and the general public.

James McIntosh Patrick was born at 9 Muirfield Crescent, Dundee, Angus, on 4 February 1907, the youngest of four children of the architect, Andrew Graham Patrick, and his wife, Helen (née Anderson). He began to draw seriously while he was attending the Morgan Academy and, at the age of 14, took up etching. Indeed, his skills were so advanced that, by the time that he arrived at Glasgow School of Art, in 1924, he was admitted immediately into the second year of the four-year course. Working under Maurice Grieffenhagen and Charles Murray, he proved a very successful student, winning many prizes and, in 1926, beginning to exhibit at the Royal Scottish Academy.

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From the outset, Patrick focussed on producing detailed panoramic landscapes. For instance, in the summer of 1927, he made a number of drawings on a visit to Provence, the first of regular trips to France and Italy (trips that would include further study in Paris). Inspired by his love of the Quattrocento, the drawings would provide the basis for his first published series of etchings. On his return to Glasgow, he began a year’s postgraduate diploma study, supported by a scholarship. Etchings based on the Scottish Highlands followed those of France.

Patrick’s etchings soon came to the attention of the London dealer and publisher, H C Dickins, who offered him an important contract for editions of prints, and issued them between 1928 and 1935. However, following the Wall Street Crash of 1929, the print market collapsed, and Patrick needed to diversify. In turning to oil painting, he rehearsed the subjects of his etchings, as in Les Baux, Provence, his first exhibit at the Royal Academy, shown in 1928. He also produced occasional portraits. As an illustrator, he provided images of local landmarks for both postcards and periodicals, including the Dundee Courier, and designed posters for London Transport and railway companies. And, from 1930, for 30 years, he taught part-time at Dundee College of Art. Nevertheless, he retained a reputation as an etcher and, in 1932, was elected an associate of the Royal Society of Painter-Etchers and Engravers.

On 4 July 1933, Patrick married Janet (née Watterston). They would have two children: Andrew, who would join the Fine Art Society and became its managing director, and Anne, who

would become a painter. The Fine Art Society became his dealer in 1934, and remained so for the rest of his life, regularly showing his Scottish landscapes. In his early phase, he produced the landscapes in the studio, often idealising the topography. His continuing success, including receipt of the RSA’s Guthrie Award in 1935, enabled him late in the decade to buy a Georgian house: The Shrubbery, 67 Magdalen Yard Road, Dundee.

In 1940, Patrick was called up for active service, and trained initially as a tank driver. Later, he served in the Camouflage Corps, in North Africa and Italy, and became a Captain.

During the war he produced many watercolours which, in 1946, were exhibited with great success at the Fine Art Society. This experience, coupled with the visual stimulus of an exhibition of Van Gogh, held in Glasgow in 1948, led him to paint regularly en plein air, usually within a twenty-mile radius of his home. In that year, the Fine Art Society mounted a second solo show of his work, entitled ‘Scotland and Elsewhere: Recent Water-colours’. In 1949, he was elected both a member of the Royal Institute of Oil Painters and an associate of the Royal Scottish Academy. (He would be elected a full member of the RSA in 1957).

A number of popular solo shows were held through his later career, at Dundee City Art Gallery in 1967, at the Fine Art Society in 1973, and again in Dundee in 1987 (the last of which toured to Aberdeen and Liverpool). Further exhibitions were held to celebrate his ninetieth birthday, in 1997, at both the Scottish National Gallery of Modern Art, in Edinburgh, and in Dundee. He also received honorary doctorates from the universities of Dundee (1973) and Abertay (1995), and fellowships from the Duncan of Jordanstone College of Art, Dundee (1987) and Glasgow School of Art (1994). He was created OBE in the 1997 new year honours list.

James McIntosh Patrick died at home, The Shrubbery, on 7 April 1998.

His work is represented in The Fleming Collection, and numerous public collections, including the British Museum; and Dundee Art Galleries and Museums, Perth & Kinross Council and the University of Dundee Fine Art Collections.

Further reading: Peyton Skipwith, ‘Patrick, James McIntosh (1907–1998)’, H C G Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography, Oxford University Press, 2004, vol 43, pages 81-82

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157 A Country Road Signed Oil on canvas 24 1⁄2 x 29 1⁄2 inches

K EN H OWA R D

James Kenneth Howard, OBE RA RWS HRBA ROI RWA PNEAC HSGFA (born 1932) Ken Howard is one of Britain’s best-loved artists, his light-filled landscapes and studio scenes being always greatly anticipated by visitors to the Royal Academy Summer Exhibition.

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In 1962, Ken Howard also married Annie Popham, a dress design student at Harrow, and they took a flat in the King’s Road, Chelsea, before settling in Hampton Hill, Richmond.

During this period, he produced illustrative work for a range of clients, and exhibited at the Royal Academy of Arts, and with dealers, including Wildenstein and the John Whibley Gallery (holding solo shows at the latter in 1966 and 1968). As a result of his winning first prize in the Lord Mayor’s Art Award, in 1966, he was invited to join the Royal Institute of Oil Painters.

Beyond London, Plymouth Art Gallery held a retrospective in 1972. In 1974, his marriage to Annie was dissolved.

Ken Howard was born in London on 26 December 1932, the younger of two children of Frank Howard, a Lancashire-born mechanical fitter, and his Scottish wife, Elizabeth (née Meikle), who took in lodgers and worked as a domestic cleaner. He spent his earliest years in Alder Grove, Cricklewood, and then in Review Road, Neasden. As a child, he determined to become a painter, and received support from Robert Whitmore, his art master at Kilburn Grammar School. Whitmore encouraged him to study at Hornsey College of Art, where, between 1949 and 1953, he arguably became the star of his year. As a result, he applied early for the Royal College of Art, and received a place. However, first he had to undertake two years of National Service, in which he served with the Royal Marines at Plymouth, in Devon. During this time, he attended life classes at Plymouth Arts Centre, and its organisers, recognising his talents, offered him his first solo show. Consisting mainly of portraits of Royal Marines, his exhibition sold well and received some national press coverage. Consequently, he received a number of commissions, including one by the Royal Marine barracks for a portrait of the wife of General Cornwall.

However, he arrived at the Royal College of Art, in 1955, with too much of a reputation, and was initially singled out for criticism. He also felt that his social realist approach to painting was greatly in contrast to the interest shown by many fellow students in Abstract Expressionism. The situation improved in the second year, when the more supportive Carel Weight took over as Professor of Painting, and he was better able to respond to the teaching, including that of his tutor in drawing, Rodney Burn. In his third year, he succeeded in gaining an Italian government scholarship, which allowed him, on finishing at the RCA in 1958, to study in Florence. During his time in Tuscany, sharing a studio in the village of Viuzzo di Monteripaldi, he met the German student, Christa Köhler. She was his first love and, much later, his second wife (by which time she was an established artist known as Christa Gaa).

In the early 1980s, having regained contact, Christa Gaa joined Ken Howard in London. When he won first prize in the Hunting Group Award, in 1982, they spent the prize money on a painting trip to India. The results included a solo show in Delhi in 1983. In the same year, he was elected to the membership of the Royal Society of Painters in Water-Colours and – of particular importance to him – as an associate of the Royal Academy. He became a full Royal Academician in 1991. While exhibiting regularly at the societies of which he was a member through the 80s and 90s, he also held numerous solo shows, including several at the St Helier Gallery, Jersey, Lowndes Lodge Gallery, London, and the Brian Sinfield Gallery, Burford. He married Christa in 1990, though sadly she died in 1992. In the year 2000, he married Dora Bertolutti.

On his return to London, in 1959, Ken Howard taught almost full-time for a year across four art schools: Ealing, Berkhamsted, Harrow and Walthamstow. He then kept on his days at Harrow and Walthamstow, particularly enjoying the calibre of students at the latter, which included Ian Drury, Peter Greenaway and Bill Jacklin. The head of Walthamstow, Stuart Ray, encouraged him to exhibit at the New English Art Club, and he became a member in 1962 (serving as President from 1998 to 2003).

Between 2002 and 2017, Ken Howard was represented by Richard Green, and held solo shows at his gallery almost annually. He has also garnered a number of honours, including election as the Royal Academy Professor of Perspective (2004), appointment as Freeman of the City of London and a Liveryman of the Worshipful Company of Painter-Stainers (2007), election as Senior Royal Academician (2008) and awarded an OBE for his services to Art (2010).

From 1971, Ken Howard was represented by the New Grafton Gallery, and held 15 solo shows there over a period of two decades, as well as others internationally. In 1973, he was asked by the Imperial War Museum to work in Northern Ireland, the first such commission made by the museum since the Second World War. For about a decade, he would work on and off with the British Army in the province and internationally.

Among his many major paintings of the period, Ulster Crucixion won a prize at the John Moores exhibition, in Liverpool, in 1978. He also worked independently on landscapes. While retaining his London studio, in South Bolton Gardens, he spent more time at his other studios in south-west England: in Sampford Spiney, on Dartmoor, and Mousehole, in Cornwall. In 1981, he was elected to the Royal West of England Academy.

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The author of several books, Ken Howard published his autobiography, Light and Dark in 2011. His work is represented in numerous public collections, including the City of London Corporation and the Imperial War Museum, and Plymouth Museum and Art Gallery.

158 Wren's City Churches: St Mary Le Bow, St Paul's Cathedral and St Magnus Martyr Oil on hardboard 11 1â „2 x 10 1â „2 inches

PI E TRO AN N IG ON I Pietro Annigoni, RP (1910-1988)

‘Annigoni is not only the greatest artist of the [twentieth] century, but also able to compete on the level of the greatest artists of all time.’ (Bernard Berenson) The Italian artist, Pietro Annigoni, worked with supreme skill in the old master tradition, as draughtsman, painter and engraver. Among a broad range of subjects, including religious themes, he produced many self portraits, which charted his development and essayed his skills. He moved to Britain after the Second World War, having decided that the British would be particularly sympathetic to his approach to art. He became world famous, in 1956, when he painted Queen Elizabeth II.

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Pietro Annigoni was born in Milan on 7 June 1910, the son of Ricciardo Annigoni, a mechanical engineer. He was educated at a local primary school, the Ginnasio Giuseppe Parini gymnasium and the Collegio Calchi-Taeggi. When he moved with his family to Florence, in 1925, he attended the Collegio Padri Scolopi. At the same time, he attended classes in life drawing at the Circolo degli Artisti and at the Accademia di Belle Arti. In 1927, he entered the Accademia as a full-time student, and took courses in painting (under Felice Carena), sculpture (under Giuseppe Graziosi) and engraving (under Celestino Celestini). He based his style on Italian old masters, and learned from their techniques, while also receiving advice on oil tempera from the Russian artist, Nikolai Lokoff.

Annigoni exhibited for the first time with two other artists, in 1930, at the Galleria Cavalensi e Botti. In the following year, he won the Domenico Trentacoste award. Then, in 1932, he held his first solo show at the Bellini Gallery in the Palazzo Ferroni, which attracted the attention of the artist, Giorgio de Chirico, and the art critic, Ugo Ojetti, who featured him in the arts section of Corriere della Sera. In 1935, he was given international exposure when selected to participate in the ‘Exposition d’Art Italien Moderne’ at the Jeu de Paume in Paris.

A further exhibition at the Casa d’Artisti, in Milan, in 1936, brought him particular acclaim, and led to the important commission to produce frescoes in the Convent of San Marco, Florence. At the same time, he travelled widely, finding inspiration in the paintings that he studied, and producing a series of landscape watercolours. In 1937, he married Ann Giuseppa Maggini; they would have a son and a daughter.

The open opposition of Annigoni to the fascism of Mussolini led to his ostracism from the cultural establishment within Italy until the end of the Second World War. But conditions so changed from 1945 that he was able to produce some of his

greatest and most characteristic works. In 1947, he founded the Gruppo dei Pittori Moderni della Realtà, with six other painters, including Gregorio Sciltian and the brothers, Antonio and Xavier Bueno, and together they signed a manifesto.

However, the group folded in 1949, and Annigoni was alone among its members to remain true both aesthetically and ethically to its opposition to abstraction.

Late in the 1940s, Annigoni decided that the British public would be particularly sympathetic to his approach to art; and indeed he paralleled such Neo-Romantic contemporaries as Michael Ayrton. From 1949, he began to exhibit at the Royal Academy of Arts (showing a self portrait) and, in the following year, held the first of several successful solo shows in London (at Wildenstein), which led to international fame. Living in London for six months a year, he received many commissions, particularly for portraits, including several of members of the royal family, and was the subject of solo shows in Paris, New York, San Francisco and, of course, Italy. In 1954, the Fishmongers Company requested a portrait of Queen Elizabeth II, and the result proved phenomenally popular when it was exhibited in 1955 at the Royal Academy. While a second version, painted for the National Portrait Gallery in 1969, was less well received, Annigoni remained a prominent artistic personality through his later years. His first wife dying in 1969, he married Rosella Segreto, one of his favourite models, in 1976. During the late 1960s, he returned to religious works for various Italian churches, the most significant being those for the abbey of Montecassino (1978-80) and the Basilica del Sant’Antonio in Padua (1985). He died in Florence of kidney failure in hospital, on 28 October 1988, having failed to recover from a perforated ulcer earlier in the year.

A major retrospective took place in Florence, at the Palazzo Strozzi, in 2000.

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His work is represented in numerous public collections, including the National Portrait Gallery; the Museo Pietro Annigoni (Florence); and Indianapolis Museum of Art (IN).

Further reading: C R Cammell, Pietro Annigoni, London: B T Batsford, 1954; C R Cammell, Memoirs of Annigoni, London: Allan Wingate, 1956; Philip Core, ‘Annigoni, Piero (b Milan, 7 June 1910; d Florence, 29 Oct 1988)’, Jane Turner (ed), The Dictionary of Art, London: Macmillan, 1996, vol 2, page 123; Robert Wraight, Pietro Annigoni: An Artist’s Life, London: W H Allen & Co, 1976 For a list of the extensive publications about Pietro Annigoni in Italian, see http://www.annigoni.info

159 The Vale of Health, Hampstead Heath Signed, signed with monogram, inscribed ‘London’ and dated XLIX Watercolour 13 x 19 inches

M I CH AE L AY RTON

Michael Ayrton, RBA (1921-1975)

Michael Ayrton was a veritable twentieth-century Renaissance man, whose relatively short career encompassed a wide range of creative achievements.

He was a painter, illustrator, sculptor and stage designer, and also a novelist, critic and broadcaster.

His varied output reveals a fascination with mythological subjects, and especially those concerning flight, mazes and mirrors.

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Michael Ayrton was born in London on 20 February 1921, to the writer Gerald Gould and the Labour politician Barbara Ayrton; extremely ambitious, he adopted his mother’s name at the time of his father’s death in order to appear high in the alphabetical lists of mixed exhibitions. Though his formal schooling – at Abinger Preparatory School – was broken by long periods of illness, he spent much time in private study and in travel, including a year in Vienna. He studied art at Heatherley School of Art (1935), St John’s Wood School of Art, and in Paris where he shared a studio with John Minton (1938); both studied under Eugène Berman, with Ayrton occasionally working in the studio of de Chirico.

During the Second World War, Ayrton and Minton were given leave from the Royal Air Force in order to design and supervise the sets and costumes for John Gielgud’s production of Macbeth (1940-42). The designs were shown at the Leicester Galleries (1942), but the RAF considered Ayrton a malingerer, and so he was ‘invalided out’. He soon found a position as a teacher of drawing and stage design at the Camberwell School of Art (1942-44). During the 1940s, he assimilated the influences of John Piper and Graham Sutherland in a number of Neo-Romantic landscapes. He made contact with Sutherland in Pembrokeshire (1945-46) and succeeded Piper as art critic on The Spectator (1944-46). He also became known for his radio broadcasts on art and as a regular participant in the BBC’s Round Britain Quiz.

Endlessly stretching his talents as an artist and writer, Ayrton continued to develop as a stage designer and began to work as an illustrator, first in pen and ink, later employing lithography.

He contributed illustrations to Radio Times during the late 1940s. His first visit to Italy, in 1947, resulted in paintings influenced by painters of the Quattrocento, while further travels in Italy (1956-57) and Greece (1958) inspired a passionate interest in the related myths of Icarus, Daedalus and the Minotaur. From 1951, he was based at Toppesfield, Essex, where he began to work as a sculptor. Taking technical advice from Henry Moore, he soon became as proficient in three as in two dimensions, and found himself able to work through his ideas with great success in almost any medium. He died on 17 November 1975.

His work is represented in The Ingram Collection of Modern British and Contemporary Art and numerous public collections, including the Arts Council Collection (Southbank Centre), the British Council, the Government Art Collection, the National Portrait Gallery and Tate; and the Fry Art Gallery (Saffron Walden), Keele University Art Collection and the University of Essex.

Further reading: Peter Cannon-Brookes, Michael Ayrton: an illustrated commentary, Birmingham City Museums and Art Gallery, 1978; Justine Hopkins, Michael Ayrton: a biography, London: André Deutsch, 1994; T G Rosenthal, ‘Ayrton [formerly Ayrton Gould], Michael (1921–1975)’, H C G Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography, Oxford University Press, 2004, vol 3, pages 43-46

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160 Eroded Silver Signed and dated 2.8.64 Watercolour with bodycolour 15 1â „2 x 19 inches

161 Portrait of C P Snow Signed and inscribed ‘for Kingsley/from/Michael April 1964’ and dated ‘7.4.6’' Pen and ink and pencil, 16 x 19 1⁄2 inches Provenance: Kingsley Martin

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163 (opposite) The Acrobats Signed and dated ’56 Pencil, watercolour and bodycolour 19 1⁄2 x 13 1⁄2 inches Exhibited: ‘Exhibition of Works

by Michael Ayrton’, The Leicester Galleries, London, March 1957, no 20

162 C P Snow Signed and dated 30.3.1963 Ink 19 1⁄2 x 25 1⁄2 inches

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R EG I N AL D B R I LL

Reginald Charles Brill (1902-1974)

Reginald Brill was best known for his large-scale figure subjects of men engaged in manual labour.

The combination of monumentality and homeliness, even humour, in these and other compositions bear witness to the artist’s central place within our native figurative tradition.

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Reginald Brill was born Reginald Brüll in Hither Green, London, on 6 May 1902, the son of a Polish tailor father and an English mother. During his childhood, he moved with his family to Bath and then Harrogate, though domestic harmony was disrupted on the outbreak of the First World War, when his father was interned as an alien. Nevertheless, his artistic studies developed considerably during his father’s absence; winning a scholarship to Harrogate School of Art at the age of 13, he managed to gain a certificate in art teaching only two years later. Moving to London, in 1917, he took clerical jobs – in the City and Fleet Street – so as to afford evening classes at St Martin’s School of Art. Then, in 1920, he received a scholarship which enabled him to attend the Slade School of Art as a full-time student under Henry Tonks. While there, he produced murals for Christopher Hatton Turnor at Stoke Rochford Hall, meeting his future wife in the process.

Brill married fellow artist, Rosalie Clarke, in Fulham on 12 October 1925. He began his career in the same year by contributing illustrations to Lansbury’s Labour Weekly. Yet, in 1927, he substantially widened his horizon by winning the Rome Prize in Decorative Painting; for he spent two years at the British School in Rome and – among other achievements – painted its Director, Bernard Ashmole. And, though he began to teach at Blackheath School of Art on his return to England in 1929, he went abroad again in the following year, painting in Egypt for six months at the invitation of the government.

While there, he met Major Robert Gayer-Anderson, who would prove a friend of great significance. He also held his first solo show, in Cairo in March 1930, which was successful enough to allow him to take a long route back to England, via Greece and Italy. His first solo show in Britain was held at the Leicester Galleries, London, in April 1933, by which time he was teaching in several art schools. Though he used it to demonstrate his equal skill as a painter of portraits, landscapes and still life compositions, he would subsequently become best known for his large-scale figure subjects.

Brill set the pattern for much of his later career in 1934, when he took an appointment as Head Master of Kingston School of Art and, in the same year, embarked on a programme of substantial paintings on the theme of ‘the Martyrdom of Man’.

He would do much for the development of Kingston as an institution. In 1939, he oversaw its move to new purpose-built premises while, three years later, he began discussions with Robert Gayer-Anderson and his brother, Thomas, over the possibility of them bequeathing their family home of Little Hall, Lavenham, Suffolk, to Surrey County Council for use by the school. His own status and achievements as an artist, writer and broadcaster also helped the promotion of the school, and sealed its relationship with the surrounding community. So he involved staff and students in his design for a model seaside promenade for the Festival of Britain (1951), took on the role of official painter to the Borough of Kingston (1952), and encouraged the Borough Council to commission artists to paint local views (1955).

Following the death of Colonel T G Gayer-Anderson in 1960, Brill successfully negotiated the transfer of Little Hall, Lavenham, from his sons to Surrey Council. Two years later, he retired from Kingston, and he and Rosalie became Little Hall’s resident married wardens when it opened as a hostel for art students. Though the hostel closed in 1969, Brill remained at Little Hall until his death on 14 June 1974. A retrospective of his work had opened at the Phoenix Gallery, Lavenham, three weeks before.

Further reading: Judith Bumpus, Reginald Brill, Aldershot: Scolar Press, 1999

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164 Onlookers Signed Signed and inscribed with title on reverse Watercolour, pen ink and pencil on paper laid down on board 27 1â „2 x 32 inches Exhibited: Royal Academy, Summer Exhibition, 1972, no 190

EDWAR D SE AGO

Edward Brian Seago, RWS RBA (1910-1974)

One of Britain’s best loved and most widely collected twentieth-century artists, Edward Seago painted fresh and vigorous oils and watercolours of a variety of subjects, including portraits and, especially, landscapes.

The son of a coal merchant, Edward Seago was born in Norwich, Norfolk on 31 January 1910. He was educated at Norwich Grammar School and South Lodge Preparatory School in Lowestoft, but childhood illness meant that his schooling was frequently broken. As a result, he spent much time painting scenes from his bedroom window. Though given little encouragement by his parents, he received advice on art from Alfred Munnings and some instruction from Bernard Priestman. At the age of 14, he won a special prize from the Royal Drawing Society.

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About the age of 18, Seago joined Bevin’s Travelling Show, and subsequently spent much time touring with circuses across Europe. He recorded these experiences in books and included a number of the illustrations in his first London solo show at the Sporting Gallery. In 1936, some 42 of his paintings were used to accompany John Masefield’s poems in The Country Scene, and he later worked with Masefield on Tribute to the Ballet (1937) and A Generation Risen (1942).

In 1953, Seago was appointed one of the Official Artists of the Coronation, and three years later was invited by the Duke of Edinburgh to join the Royal Yacht, Britannia, on a round-theworld tour. The results of that trip were displayed at St James’s Palace in 1957. While a keen traveller and sailor, he remained attached to East Anglia and lived at Ludham in Norfolk for many years. Following his death in London of a brain tumour on 19 January 1974, a memorial show was held at Marlborough Fine Art. His work is represented in numerous public collections, including the Government Art Collection; and Anglesey Abbey (National Trust) and Norfolk Museums Service.

Further reading: Jean Goodman, Seago – A Wider Canvas: The Life of Edward Seago with Writings by his Brother, John, Banham: Erskine Press, 2002; Ron Ranson, Edward Seago, Newton Abbot: David & Charles, 1987; Ron Ranson, Edward Seago: The Vintage Years, Newton Abbot: David & Charles, 1992; James W Reid, Edward Seago: The Landscape Art, London: Philip Wilson Publishers, 1991; James Russell, Edward Seago, London: Portland Gallery/Lund Humphries, 2014

During the Second World War, Seago served with the Royal Engineers (1939-44) and spent much of his time in Italy painting with Field-Marshal Lord Alexander. An exhibition of his war paintings at Colnaghi’s, in 1946, instigated a series of solo shows with that dealer. He enjoyed unprecedented success, with queues forming outside the gallery long before the doors opened: every exhibition sold out within an hour of opening. In addition, he submitted work regularly to exhibiting societies and was elected to the membership of the Royal Society of British Artists (1946) and the Royal Society of Painters in Water-Colours (ARWS 1957, RWS 1959). His autobiography, A Canvas to Cover, was published in 1947.

165 Young Man Reading in an Interior Oil on board 17 1⁄2 x 15 1⁄2 inches

Young Man Reading in an Interior Edward Seago produced a number of paintings of young men relaxing in interior or exterior settings. Sitters included Flight-Lieutenant Bernard Clegg, the actor, Jeremy Spenser and, most frequently, his assistant, the artist, Peter Seymour. The present work may show Seymour in a room at Seago’s home, The Dutch House, Ludham.

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N EIL F O R ST E R

Neil Andrew Forster (1939-2016)

‘I can’t think of any more talented pastel portraitist, either of people or of animals, since the Second World War. His gifts were sublime.’ (Chris Beetles, quoted in The Sherston Cliffhanger, May 2016, page 14) The figurative artist, Neil Forster, developed a particular talent for pastel portraiture of humans, horses and dogs.

Neil Forster was born in Calcutta on 29 January 1939, the eldest of four children, the father of whom worked for a tea plantation group. At the end of the Second World War, Forster and his siblings left India for Sussex with their mother, while their father stayed on in India until his retirement.

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Forster showed early promise as an artist while attending Hurst Court Preparatory School for Boys, in Ore, Sussex. He won a junior painting prize, which was sponsored by the Royal Academy of Arts, and his reward was lunch with Sir Alfred Munnings, the Academy’s President. He went on to Bradfield College, Berkshire, where he developed a love of cricket and won a scholarship to the Byam Shaw School of Art, in London.

However, his studies there were cut short by a serious road accident, which, after months in hospital, left him with one leg shorter than the other and persistent back pain.

Between 1960 and 1968, Forster exhibited at the Royal Academy. In 1963, he held a solo show in Midhurst that encouraged him to devote himself full-time to his art. So he settled at a studio-apartment in Glebe Place, Chelsea, and supplemented his income as an artist with work as a bartender.

In 1966, he went to the South of France to help launch the gallery of a friend, and stayed on for a year. This led him to begin a nomadic pattern of life, in which he travelled between houses in Spain, France and Ireland, painting portraits of his hosts and the surrounding landscapes. He was also commissioned by a member of the Kuwaiti royal family to paint camels, horses and hawks.

Forster fell in love with Julia, the second wife of Sir Nicholas Nuttall, while he was painting her portrait. They settled in Norfolk together and then, in 1974, moved near Ronda, in Spain. However, their relationship soon came to an end, and Forster took up residence on the coast, where he painted portraits and murals for almost a decade.

On his return to England in the early 1980s, Forster lived again in Norfolk. In 1985, he moved to Sherston, in Wiltshire, where he rented Home Farm from the Earl of Suffolk. Eight months later, he bought both a house and a barn in the village, converting the latter into a studio. There he got to know Prince Charles, who lived nearby at Highgrove, and gave him lessons in watercolour and accompanied him on painting holidays to Scotland. In turn, his royal patron gave him generous support. Significant among his exhibitions at this time was at solo show held at Chris Beetles Gallery in 1990.

In the year 2000, Forster married Penny Mitchell, and they lived happily until his death on 24 February 2016.

Further reading: [obituary], Daily Telegraph, 17 June 2016

In 1967, Forster began a close friendship with Mark Birley, the son of the painter, Sir Oswald Birley, and the founder of Annabel’s night club. Birley became his most loyal patron, and commissioned portraits of almost every dog his family owned up until his death in 2007.

166 Nude with the Pink Towel Signed Pastel 17 x 13 inches

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O LW Y N B OW E Y

Olwyn Bowey, RA HRBA HRWA (born 1936)

In turning from portraiture to the natural world, Senior Royal Academician Olwyn Bowey found an ideal subject for her approach to painting. In particular, she records the interiors of greenhouses both mimetically and dynamically, so conveying their appeal to all the senses.

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Olwyn Bowey was born in Stockton-on-Tees, County Durham, on 10 February 1936, to James Bowey, an industrial chemist, and his wife, Olive (née Williams). She was educated at William Newton School, Stockton-on-Tees, and then, from 1955, attended West Hartlepool School of Art. Moving to London, she studied at the Royal College of Art, where she received a First Class Diploma, a continuation scholarship and a David Murray Landscape Scholarship. Her teachers included Carel Weight, who became a friend and Putney neighbour, and with whom she worked and exhibited. She began to exhibit at the Royal Academy of Arts in 1960, and in the same year held a joint show, with Sonia Lawson, at the Zwemmer Gallery.

Through the 1960s, she also showed at the Leicester Galleries and the New Grafton Gallery. She was elected an associate of the Royal Academy in 1970, and a full Royal Academician in 1975. During the same period, she was a tutor at Waltham Forest School of Art.

Olwen Bowey initially focussed on portraiture, and numbered L S Lowry, Harold Pinter, Woodrow Wyatt – and Carel Weight – among her sitters. Becoming increasingly interested in landscape and still life, she concentrated on these subjects from the mid 1970s, when she took a cottage at Barlavington, south of Petworth, in West Sussex. She subsequently settled in Midhurst, later moving to Petworth. She now always draws and paints on the spot, either outdoors or, most often, in her greenhouse. Working in the tradition of the artist plantsman, she has said that ‘I still don’t think of myself as an artist. I always wanted to be a naturalist’. Elected a Senior Royal Academician in 2011, she is also an Honorary Member of both the Royal West of England Academy and the Royal Society of British Artists.

Her work is represented in numerous public collections, including the Royal Academy.

167 Forget-Me-Not Signed Oil on board 22 1⁄2 x 20 inches

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PAM E L A K AY

Pamela Kay, RWS RBA NEAC (born 1939)

As a painter and draughtsman, Pamela Kay considers herself to work in the French tradition of Chardin, Ingres and Fantin-Latour. She is best known for still life subjects that often open out to include interiors and gardens, though she also produces landscapes and portraits. In addition, she has worked as a designer, illustrator, teacher and writer on art.

Pamela Kay was born on the Isle of Sheppey, Kent, the daughter of Sidney Kay and his wife, Ivy (nĂŠe Savage). She studied at Canterbury College of Art for four years under Christopher Alexander, Alec Vickerman and Eric Hurren. During her time there, she worked part-time for two years as a studio assistant to John Ward, and he proved to be her mentor and most influential teacher. Her tasks for Ward included modelling for

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the figures in his illustrations to Laurie Lee’s Cider with Rosie (which was published in 1959). In 1960, while still at Canterbury, she exhibited at the Royal Academy of Arts for the first time.

Though painting was her main focus at Canterbury, Pamela Kay also studied textile design, winning a Sanderson wallpaper competition and showing work at the Design Centre. She went on to study design for three years at the Royal College of Art, and won a Cotton Board Design Award and travel scholarships. In 1963, she married Anthony Bryan, and they settled at 15 Castle Hill Avenue, Folkestone, Kent. Their children include the studio potter, Victoria Bryan.

On graduating, Pamela Kay launched a freelance practice, producing paper and fabric designs, which were produced by Tibor Reich, David Whitehead, The Irish Linen Mills, Liberty and John Lewis, among others. She was appointed Head of the Design

Production Department at John Lewis, but decided not to take the position, preferring to concentrate on painting from the mid 1970s, by which time she was living at 19 Northdown Avenue, Cliftonville. She was eventually elected to the Royal Society of Painters in Water-Colours (ARWS 1983, RWS 1986), the Royal Society of British Artists (1984) and the New English Art Club (1985). From that time, she held regular solo shows with London dealers, first the Medici Gallery (1985 & 1986) and then Chris Beetles Gallery (1987 & 1988). From the late 1980s, she also illustrated books, notably for children, including editions of Edith Nesbit’s The Railway Children (1989) and Frances Hodgson Burnett’s The Secret Garden (1991).

From 1990, Pamela Kay exhibited with the Catto Gallery, Hampstead, and the Richard Hagen Gallery, Broadway, Worcestershire. She has held other major solo shows at the

168 (opposite) Wild Daisies and Two White Poppies Signed Watercolour with bodycolour 20 x 28 inches

169 Strawberries and Jam Tarts under the Apple Tree Signed Watercolour with bodycolour 22 x 18 inches

Bankside Gallery (1993 & 2000) and in Durham (1997) and Canterbury (1998), the last as the Festival Artist for the Canterbury Festival. She has travelled widely – including the Mediterranean, the Baltic, the Middle East and Asia – and has exhibited the resulting watercolours.

As an educator, Pamela Kay has taught part-time at the School of Architecture, Canterbury, has written regular articles for Leisure Painter and The Artist, and has published Pamela Kay – A Personal View – Gouache (1995).

Further reading: Michael Spender, Pamela Kay, Newton Abbot: David & Charles, 1993

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PAme l A KAy 170 The Lawn, River Test Signed Oil on canvas 20 x 24 inches

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JE NNY WH E AT L E Y

Jenny Wheatley, RWS NEAC (born 1959)

Jenny Wheatley has been producing ambitious oils and watercolours for more than 35 years. Working in both the field and the studio, she employs colour emotively to convey a personal response to places and events that have been important in her life.

Jenny Wheatley trained at West Surrey College of Art and Design, gaining a BA Hons in Fine Art Painting and Printmaking in 1981. She has exhibited widely, including at the Royal Academy of Arts, the Royal Scottish Academy, the Royal West of England Academy, in the provinces and internationally. She was winner of the Elizabeth Greenshields Foundation Award, Canada, in 1983.

Jenny Wheatley held her first solo shows at the New Ashgate Gallery, Farnham (1982 & 1984), and others regularly at the Nevill Gallery, Canterbury; the Bohun Gallery, Henley; the Bourne Gallery, Reigate; the Llewellyn Alexander Gallery, London; and the Russell Gallery, Putney. Chris Beetles Gallery held a solo show in 1993. She is a member of the Royal Watercolour Society and the New English Art Club.

Jenny Wheatley has undertaken international painting trips, including two that were sponsored. In 1987, she joined a British and Indian Army expedition through Rajasthan, Kashmir and into Ladakh. Then a year later, she was sponsored by CCA to travel through the South Seas recording transition in the outer islands from Polynesia into Melanesia.

As an educator, Jenny Wheatley has taught on various courses, acted as a Painting Expert on Channel Four’s Watercolour Challenge (in both 2000 and 2001) and published Adventurous Watercolours (2011).

Having lived in Margate, Kent, for many years, Jenny Wheatley is now based in Portloe, on the south coast of Cornwall.

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171 Floral Display Signed and dated ’93 Watercolour and pencil 36 x 38 inches Exhibited: ‘Jenny Wheatley’, Chris Beetles Gallery, February – March 1994, no 1

CO MB IN ED IN D E X Summer Show 2019 Allan, Robert Weir

57-58

Anderson, Robert

67

Anderson, Stanley

133-140

Annigoni, Pietro

164-165

Ayrton, Michael

166-169

Badmin, Stanley Roy Barton, Rose Blampied, Edmund Bland, Emily Beatrice Booth, Raymond Bowey, Olwyn Brabazon, Hercules Brabazon

103 & 156-159 69-71 141-143 68-69 98-102 176-177 77-78

Brill, Reginald

170-171

Butler, James

120-121

Carelli, Gabriele

50-52

Cotman, John Sell

24-29

Cotman, Miles Edmund

30-31

Crouch, William

182

This index includes artists from both the printed catalogue and this e-catalogue.

32

de Ribcowsky, Richard Dey

86-87

Dobson, William Charles Thomas

38-39

Dunstan, Bernard Fisk, William Henry Forster, Neil Foster, Myles Birket

106-111 43-45 174-175 66

Fulleylove, John

56-57

Glover, John

15-17

Goodwin, Albert

74-76

Goodwin, Harry

59

Green, Anthony

114-115

Hacker, Arthur

124-125

Hagedorn, Karl

150-151

Harpley, Sydney

116-118

Hay, James Hamilton

80-81

Hilder, Rowland

154-155

Hill, James John

36-37

Howard, George Howard, Ken Hunt, Alfred William

46-47 162-163 60-61

Hunt, Cecil Arthur

144-145

Hurst, Hal

128-129

Jackson, John Kay, Pamela

33-35 178-180

Knight, Charles

152-153

Lear, Edward

48-50

Le Blanc, Lloyd

119

McCoy, Ann Wyeth

90-91

Miller, William Rickarby

84-85

Nicholson, Francis

14-15

Owen, Samuel

18-19

Parsons, Alfred Patrick, James McIntosh

64-65 160-161

Pickersgill, Frederick Richard

42

Richards, John Inigo

12-13

Robertson, Charles

62-63

Rowe, Ernest Arthur

72-73

Rowlandson, Thomas

4-11

Seago, Edward

172-173

Sharp, Dorothea

126-127

Simmons, John

40-41

Simpson, William

52-55

Spurrier, Steven

130-131

Swanwick, Betty

104-105

Taylor, Leonard Campbell

82-83

Timmis, Robert

132

Tunnicliffe, Charles Frederick

92-97

Varley, John

22-24

Ward, John

112-113

Wheatley, Jenny

180-181

Whorf, John

88-89

Williams, Grecian

20-21

Wimperis, Edmund Morison

62-63

Wood, William Thomas

146-149

Woodlock, David E-Catalogue Copyright © Chris Beetles Ltd 2019 8 & 10 Ryder Street, St James’s London SW1Y 6QB 020 7839 7551 gallery@chrisbeetles.com • www.chrisbeetles.com Researched and written by David Wootton, with contributions from Sasha Morse and Fiona Nickerson Edited by Fiona Nickerson, Pascale Oakley and David Wootton Design by Fiona Nickerson Photography by Julian Huxley-Parlour

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