R.GREEN STANHOPE A. FORBES

Dublin 1857 – 1947 Cornwall

The Slip ‘We are delighted to have the opportunity to present for the third time in thirty years the iconic Newlyn painting entitled ‘The Slip’, purchased directly from a private collection’ Richard Green

This painting is for sale On view at: 147 New Bond Street, London W1S 2TS Telephone: +44 (0)20 7493 3939 Email: paintings@richard-green.com

www.richard-green.com

STA N HOPE A L E X A N DER FOR BES ra neac Dublin 1857 – 1947 Cornwall

The Slip

Signed lower right Stanhope A. Forbes Oil on canvas: 42 ½ x 34 ½ in / 108 x 87 cm In a period gilded Watts pattern frame Frame size: 52 ¾ x 44 ¾ in / 134 x 113.7 cm Painted in 1885 Provenance: Charles and Walter Dowdeswell, c. 1885 J Lahra Laird, Esq Sale, Christie’s, London, 1st May 1913, lot 29 (entitled The Slip at Newlyn, sold for 94 gns to Sampson) A Dawson Richard Green, London, 1982 The Prudential Art Collection at Holborn Bars, London, 1983 Richard Green, London, 2002 Private collection, USA, 2003 Exhibited: London, Whitechapel Art Gallery, Spring Exhibition, 1908, no. 370 London, Richard Green, Annual Exhibition of British Landscape Paintings, 1983, p. 72, no. 34, illustrated in colour p. 73 and on the cover London, Richard Green, Realism to Abstract: British Painting 1880–2003, June 2003, p. 10, no. 1, illustrated in colour p. 11 Literature: Mrs Lionel Birch, Stanhope A. Forbes, ARA, and Elizabeth Stanhope Forbes, ARWS, Cassell and Company Ltd, London, 1906, p. 32, illustrated in colour as the frontispiece (wherein dated 1884) C Lewis Hind, Stanhope A. Forbes, Royal Academician, ‘The Art Annual’, Virtue & Co, London, 1911, p. 6, illustrated in colour opposite p. 4, as A Slip at Newlyn (wherein dated 1886) Caroline Fox, Stanhope Forbes and the Newlyn School, David & Charles, Newton Abbot, 1993, pp. 26–27, illustrated in colour p. 26

On the 9th July 1885, at the end of a newsy letter to his mother, Stanhope Alexander Forbes mentions The Slip, a multi-figure composition he is currently working on. He had been dining with Frank Bodilly and his family – ‘a nice hearty fellow’ – and was critical of the current work of his rival, Walter Langley, whose ‘colour and workmanship’ was backed up with crowdpleasing ‘namby-pamby sentiment which he does not see’.1 Forbes (Fig 1) was keen to distinguish himself from this potboiler tendency. Tearful farewells and hopeless dawns were not for him. An ideologue, convinced of the rightness of his point of view, he stood alongside painters like Henry Herbert La Thangue and George Clausen as a strict proponent of Naturalism and as such he followed the rubric of Jules BastienLepage – a painter he idolized as ‘the great B-L’.2 All BastienLepage’s personages, Clausen remarked, ‘are placed before us in the most satisfying completeness, without the appearance of artifice, but as they live; and without comment … on the author’s part’ – and Forbes would have wholeheartedly agreed with the observation.3

fleet would glow with twinkling lanterns.10 Unlike Concarneau, Newlyn is built on a steep slope, and three stone slipways were constructed zig-zagging into the sandy harbour. It owes its resilience as a fishing-port to the ready availability of tough Cornish granite from the local quarries at Penlee Point and Lamorna Cove.11 These enabled the construction of a stone wharf and the dramatic modernization of the harbour during Forbes’s early years in Newlyn – with the building of new south and north piers in 1884–6 and 1893–4 respectively.12 When Forbes arrived, meetings were being held concerning the redevelopment of the old harbour in order to provide a deep anchorage for steam trawlers.13

At the time he was painting The Slip, Forbes was well established in Newlyn, the fishing port south-west of Penzance, on Mount’s Bay in Cornwall. His arrival eighteen months earlier had signalled the end of his apprentice years.

Having trained at the Royal Academy Schools from 1876, in common with many young painters of his generation, he completed his studies in Paris, where he was admitted to the teaching atelier of Léon Bonnat in 1880.4 The following summer found him at Cancale in Brittany (Fig 2) and during the next two years he worked in the heady atmosphere of the artists’ colonies at Quimperlé and Concarneau, painting highly naturalistic genre scenes. He returned from Brittany with Leghe Suthers at the end of 1883 and early in the new year followed Suthers to Cornwall.5

Numerous letters document the difficulties involved in painting such a scene on the wet sands in the open air on grey blustery days. Forbes nevertheless had great confidence in his subject and this was repaid by generally favourable

He stayed briefly at Manaccan on the eastern side of Mount’s Bay before taking his knapsack and, ‘exploring on [his] own account’, ultimately arrived in Newlyn.6 So enamoured was Forbes with the village that he famously described it as a ‘sort of English Concarneau’. Within days he had found, for a weekly rental of 15 shillings, living quarters and a studio constructed from an old sail loft.7

Fig 1 Self-Portrait, 1890 Penlee House Gallery & Museum, Penzance

Like Concarneau, Newlyn’s economy depended almost exclusively on the fishing industry – on mackerel, herring and particularly during the late summer and autumn on pilchards caught in the bay in large quantities.8 Huge shoals were dragged ashore using ‘Seine’ nets held between four, six or more vessels working in unison and manoeuvred into position by older, more experienced crew members.9 It was an activity that worked with the tides and on summer evenings from Land’s End to the Lizard, the brown sails of the fishing

In addition to Suthers, Forbes found Langley, Thomas Cooper Gotch and Ralph Todd already ensconced and within a short time he too was out sketching on the sands. By March 1884 he was producing studies for the large canvas which would eventually make his name at the Royal Academy of 1885, A Fish Sale on a Cornish Beach (Fig 3).

Fig 2 A Street in Brittany, 1881 Walker Art Gallery, National Museums Liverpool

Fig 3 A Fish Sale on a Cornish Beach, 1885 Plymouth City Museum & Art Gallery

reviews which he quoted at length in a letter to his mother. His fortunes were riding high by the summer of 1885, for although it was yet to be sold, A Fish Sale on a Cornish Beach had marked him out as an artist of great promise.14 It was in this mood of optimism that he embarked upon a more complex composition showing the waterfront as recently repaired fishing nets are taken out to the fleet, moored in the bay. Difficulties were increased because he wished to represent the scene at high tide when a rowing boat pulls up to the narrow section of stone pathway that led from the slip, northeast to Penzance.15 Forbes evidently arrived at this mise-enscène one day when he was sketching on the beach. A small double-sided panel records a boy posed on the wet sands with a sketch of what became the setting for the present work on the reverse (Fig 4).

Fig 5 The Norard Slip, Newlyn, Photographer unknown Penlee House Gallery & Museum, Penzance

This was the scene at the ‘Nor’ard’ or ‘Gwavas’ slip which lies between Newlyn and Street-an-Nowan, the motley collection of cottages at the mouth of the Coombe river. The slip is visible on the right of a contemporary photograph (Fig 5), in an illustration by W Christian Symons, in a later watercolour by William Pascoe and in two works by Harold Harvey of 1908.16 It was however the location for an important moment in the sequence of events that led to the landing of the catch.

In painting The Slip and A Fish Sale, Forbes was effectively documenting the beginning and end of a process that started with the loading of nets, supervised by the elderly fisherman he referred to as ‘the old pilot’.17 A cast of characters emerges.

The woman wearing a straw hat and tartan shawl who was inserted late into A Fish Sale reappears accompanied by a child (Fig 6). The lad in the rowing boat would also reappear in the foreground to the sequel to The Slip, an ambitious painting of a fishing boat’s departure, Off to the Fishing Grounds (Fig 7).

Fig 4 Boy on a Beach, 1884–5 Private collection

Fig 6 Detail of The Slip, 1885 Richard Green Gallery

The pivotal figure in the centre of Forbes’ composition, distinguished by his black hat, represents an experienced seaman, ‘the old pilot’ – one who can safely negotiate the hidden rocks of the Gwavas Lake (Fig 8). To the painter’s dismay, he was taken ill on one occasion during the completion of the picture and in mid-July 1885, Forbes feared he may have to be repainted.18 Nevertheless his services were retained for Off to the Fishing Ground (Fig 9) in which, having donned his ‘sou’wester’, he also occupies a central role. The ‘old pilot’ thus remained a popular model, and was probably shared with other painters – Frank Bramley for instance, in his small canvas entitled Winter, 1885.19

Close examination of these works reveals that the two artists shared a broad and simple ‘square brush’ technique, applied across the forms to give depth and solidity. Reviewing A Fish Sale, The Magazine of Art insisted that although Forbes was aiming for ‘the natural man’s average way of looking at a scene …his handling is far from being naïve or unsophisticated. He adopts a consistent system of touch, fortunately a masterly and effective one … Undeniably Mr Stanhope Forbes possesses in a very remarkable degree an eye for nature and its subtleties of tone and value, together with a strong sense of style, and an appreciation of the sacrifices necessary to secure unity in the application of any artistic method’.20 Sacrifices were indeed necessary. Forbes must abandon all thought of romantic subject matter and eschew the creature comforts of the studio. He may even have had to commandeer a large rowing boat to paint The Slip.21 Daily he faced the magnificent prospect of St Michael’s Mount, but what attracted Turner, was not for him. ‘Our rustics’, he declared, ‘are not Greek gods, but their healthy sunburnt faces are often handsome; and though our country peasant women have not the elegance only natural to those who have led lives of ease, their unstudied action is beautiful in its way’.22

Fig 7 Detail of The Slip, 1885 Richard Green Gallery

The Newlyn School colours were nailed to the mast of ordinary, everyday experience, to ‘the rendering of a life so familiar to us – the representation of events in which we ourselves might take part’.23 Such principles, enshrined in The Slip, drove forward a monumental sequence of canvases – from The Village Philharmonic; The Health of the Bride; By Order of the Court, up to Soldiers and Sailors and The Lighthouse – all firmly based on the ‘natural man’s average way of looking’, an audacious claim that shifted the focus of British painting just as radically as the Pre-Raphaelites had done forty years before.24 And with evident delight, as The Slip progressed, Forbes registered the appearance of yet more talented painters on the Penwith peninsula. He wanted Newlyn to be recognized as the most vibrant artists’ colony and while painting the old pilot, he noted the arrival of Henry Detmold and Percy Craft, and keenly anticipated the return of Henry Scott Tuke. He was seeing much of Edwin Harris and Chevalier Tayler and was having ‘Langley to dine for a week’ while his wife was away.25 This was the new phalanx that would eventually storm the Royal Academy.

However, if The Slip was seminal, it was more so for Forbes than anyone. In later years he often returned to the waterfront to paint the Newlyn and Champion’s slipways and the railedoff harbour walk that connects them.26 Here the village folk gathered on a mild evening, as in Home-Along, Evening (Fig 10).

Fig 8 Detail of The Slip, 1885 Richard Green Gallery

It functioned like a street. All Newlyn life was there. Easy exchange. Common purpose. A congenial social microcosm that operated in the face of the elements, but found its deepest expression in the rustic civility with which a woman in tartan shawl hands a newly repaired fishing net to an old pilot.

Kenneth McConkey Emeritus Professor of Art History

Fig 9 Off to the Fishing Ground, 1886 Walker Art Gallery, National Museums Liverpool

We are grateful to Professor Kenneth McConkey for writing this essay.

Fig 10 Home-Along, Evening, 1905 Bristol City Museum and Art Gallery

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Letter dated 9 July 1885, Hyman Kreitman Archive, Tate Britain. Mrs Lionel Birch, Stanhope A. Forbes, ARA, and Elizabeth Stanhope Forbes, ARWS, Cassell and Co, 1906, p. 32 declares that The Slip was Forbes’ ‘first picture in Newlyn’, coming before A Fish Sale on a Cornish Beach. This is inaccurate, as the painter’s letter makes clear. It is likely that the painter began work on The Slip at the beginning of June 1885, see note 17 below.

Letter dated 15 December 1884, Hyman Kreitman Archive, Tate Britain, notes Bastien-Lepage’s death: ‘So the greatest artist of our age is dead? Le Page [sic]? Poor fellow, I had heard there was no hope for him. I wish I had met him at Concarneau last year. His reputation you will see will now increase in a wonderful manner – amongst artists generally there is very little lack of appreciation of his work …’

George Clausen, ‘Bastien-Lepage and Modern Realism’, The Scottish Art Review, vol 1, 1888, p. 114.

For Forbes’ early career see, Caroline Fox and Francis Greenacre, Artists of the Newlyn School, 1880–1900, exhibition catalogue, Newlyn Art Gallery, 1979, pp. 53–7; reproduced in Fox and Greenacre, Painting in Newlyn, 1880–1930, exhibition catalogue, Barbican Art Gallery, 1985, pp.

51–4; Caroline Fox, Stanhope Forbes and the Newlyn School, David and Charles, 1993, pp. 11–16.

Marion Hepworth Dixon, ‘Stanhope Forbes ARA’, The Magazine of Art, 1892, p. 181 asserts that Forbes received letters from Langley and WJ Wainwright commending Newlyn and encouraging him to go there.

Frederick Dolman, ‘Illustrated Interviews LXXXI – Mr Stanhope Forbes ARA’, The Strand Magazine, vol xxii, November 1901, p. 484. Wilfrid Meynell, ‘Mr Stanhope Forbes ARA’, The Art Journal, 1892, p. 66, asserts that the painter arrived in Newlyn in the spring of 1884. Forbes’ early mythologizing of his arrival in Newlyn ‘one spring morning’, in ‘A Newlyn Retrospect’, The Cornish Magazine, vol 1, 1898, p. 92, quoted in Mrs Lionel Birch, 1906, p. 25, should be handled with caution.

Letter dated 25 January 1884, Hyman Kreitman Archive, Tate Britain. Forbes was staying c/o Mrs Tonkin, Gwavas Terrace, Newlyn at this point.

See for instance, Percy Craft’s Tucking a School of Pilchards on the Cornish Coast, 1897 (Penzance Charter Trustees) and Charles Napier Hemy’s Pilchards, 1897 (Tate Britain).

Ben Batten and Eric Richards, ‘A Short History of Newlyn’, in Fox and Greenacre, 1979, pp. 43–4.

Forbes was of course to paint The Seine Boat (Private collection) for the Royal Academy in 1904.

The best account of netting the pilchard shoals is provided in Daphne Du Maurier, Vanishing Cornwall, Virago Classics, 1967 (ed. 2012), pp. 159–163. Since Seine nets were vast and required several men to lift them, it is likely that the woman in The Slip is passing a smaller ‘tucking’ net into the rowing boat.

Anon, A Pictorial and Descriptive Guide to Penzance and West Cornwall including Newlyn, St Ives, Land’s End, Scilly Isles, n.d. [c.1920], Ward Lock & Co. , 12th ed., revised, p. 20.

Forbes was to paint The Quarry Team, in 1894 and in later years he sketched the Penlee Point quarry.

Batten and Richards, 1979, pp. 39, 47.

This took several years to complete and was depicted in Forbes large canvas, The Lighthouse, 1893 (Manchester Art Gallery).

He quotes at length from the Telegraph, and mentions The Illustrated London News and The Magazine of Art. Forbes was hoping that the sympathetic dealers, Charles and Walter Dowdeswell

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would buy The Fish Sale for 125 guineas (letter dated 31 May 1885, Hyman Kreitman Archive, Tate Britain) and it is clear that he regarded their gallery at 133 New Bond Street as a good showcase. When painting The Slip, he also refers to ‘the Dowdeswell painting’ and it seems likely therefore that the first owner of the present picture was the Dowdeswell Gallery. Dowdeswell was of course the dealer for James McNeill Whistler and staged two exhibitions of his work in May 1884 and May 1886.

This was the only direct access from Penzance to Newlyn at high tide, previous roads along the coastline having perished in storms. Only after 1906 was a new more permanent road opened, 100 yards inland from the shore.

Caroline Fox, 1993, p. 26, first suggested that the slip represented here is that at the point where Newlyn joins the parish of Street-an-Nowan to the north-east. There are in fact three slips – the ‘Nor’ard’ or ‘Gwavas’, ‘Champion’s’ and ‘Newlyn’ – all of which brought carts down into Newlyn harbour to take away the catch. Unlike the other two, the present slip faces towards Penzance, ensuring that craft which are launched from it, avoid the rocks which lie close to the surface at high tide in what is known locally as the Gwavas Lake. Havery’s two versions of The Old Slip, Newlyn showing this slipway were sold Bonhams, 20 October 1994 and Christie’s, 5 June 2008 respectively. Following the construction of the north pier, the building of boatsheds on a lower modern wharf in the twentieth century and the development of the modern marina, this area has been much altered.

Forbes first mentions ‘the old pilot’ in a letter dated 7 June 1885, Hyman Kreitman Archive, Tate Britain, and it may well be the case that this was his original title for the present work.

Letter dated 16 July 1885 Hyman Kreitman Archive, Tate Britain, notes ‘Principal model is ill with a carbuncle, I fear I shall have to do it again …’ There were also occasions when models would suddenly disappear to help, when necessary, with the landing of a large catch.

Winter may have been painted shortly after Bramley’s arrival in Newlyn in the winter of 1884–5, ie as Forbes was completing A Fish Sale on a Cornish Beach.

Anon, ‘Current Art’, The Magazine of Art, 1885, p. 467.

Fox, 1993, p. 26, suggests that Forbes may have found it necessary to work on a boat – as he must have done in the case of Off to the Fishing Ground. However this would not be strictly necessary since the surrounding beach is exposed at low tide.

Stanhope A Forbes, ‘The Treatment of Modern Life in Art’, in Transactions of the National Association for the Advancement of Art and its Application Industry, Birmingham Meeting MDCCCXC, 1891 p. 126.

Ibid.

The Village Philharmonic, 1888 (Birmingham Art Galleries and Museums) The Health of the Bride, 1889 (Tate Britain), By Order of the Court, 1890 (National Museums Liverpool, Walker Art Gallery), Soldiers and Sailors, 1891 (Private collection), Forging the Anchor, 1892 (Ipswich Museums) and The Lighthouse, 1893 (Manchester City Art Galleries).

Letters dated 21 June, 29 June, 14 July and 24 July 1885, Hyman Kreitman Archive, Tate Britain.

See for instance The Slipway, Newlyn, 1900; At their Moorings, 1906 (Ferens Art Gallery, Kinston-upon-Hull); Newlyn Harbour, c. 1906; The Quayside Newlyn, 1907 (formerly Arthur Grogan); Newlyn Harbour, 1910, and other works.

STA N HOPE A L E X A N DER FOR BES ra neac Dublin 1857 – 1947 Cornwall

Frequently described as the ‘father of the Newlyn School’, Stanhope Forbes was perhaps more accurately assessed as ‘the centre and rallying point of the colony’ by the Art Journal in 1896. His artistic talent, matched by a strength of personality and charisma of character, certainly justified his position as the focus of their shared attitudes and ideals.

Born in Dublin, Forbes was the son of railway manager William Forbes and nephew of James Staat Forbes, a distinguished collector of contemporary paintings. His French mother, Juliette de Guise, proved a vital influence on his development by encouraging and supporting his career.

Forbes was educated at Dulwich College, where he first studied drawing under John Sparkes, an exceptional teacher who went on to teach at the Lambeth School of Art where Forbes later trained. In 1876, Forbes completed his studies at the Royal Academy Schools and spent the summer vacation of 1877 in Ireland painting various portrait commissions. The following year he made his debut at the Royal Academy, and continued to exhibit there regularly, becoming an Associate in 1892, and a full member in 1910.

Following in the footsteps of many British artists at this time, Forbes went to Paris in 1880, accompanied by his friend Arthur Hacker, and attended Léon Bonnat’s studio. Influenced by Jules Bastien-Lepage and committed to the concept of plein-air painting, Forbes spent the summer of 1881 with his colleague Henry Herbert La Thangue in Brittany, where he was to return on several occasions to paint. His first important painting in this vein, A Street Scene in Brittany, 1881, was purchased by the Walker Art Gallery in 1882, encouraging him to continue his plein-air works.

Returning from Brittany, and in search of new sketching ground, Forbes visited Cornwall in 1884 and decided to settle in Newlyn, which he described as a sort of ‘English Concarneau’. His first major painting to be completed there, A Fish Sale on a Cornish Beach (Plymouth City Museum & Art Gallery) proved a great success at the Royal Academy of 1885 and resulted in widespread recognition of the Newlyn School.

Forbes continued to paint the local life of Newlyn where he considered ‘every corner was a picture’. In 1889, he married a Canadian artist, Elizabeth Armstrong, and together they founded the Newlyn School of Painting in 1899, giving rise to the second generation of Newlyn artists. To the students, Forbes advocated his adherence to plein-air painting, inspiring their belief in an undiluted vision of nature and providing an unsurpassable precedent with his own paintings.

SEL EC T BI BL IOGR A PH Y Norman Garstin, ‘The work of Stanhope A. Forbes, ARA’, The Studio, vol. 23, 1901, pp. 81–8 Mrs Lionel Birch, Stanhope A Forbes ARA and Elizabeth Stanhope Forbes ARWS, 1906 C Lewis Hind, Stanhope A. Forbes, Royal Academician, ‘The Art Annual’, Virtue & Co, London, 1911 Caroline Fox and Francis Greenacre, Artists of the Newlyn School 1880–1900, exhibition catalogue, Newlyn Orion Galleries, Newlyn, Cornwall, 1979 Caroline Fox and Francis Greenacre, Painting in Newlyn 1880–1930, exhibition catalogue, Barbican Art Gallery, London, 1985 Caroline Fox, Painting in Newlyn 1900–1930, exhibition catalogue, Newlyn Orion Galleries, Newlyn, Cornwall, 1985 Laura Wortley, British Impressionism – A Garden of Bright Images, The Studio Fine Art Publications, 1987 Christopher Wood, Paradise Lost: Paintings of the English Country Life and Landscape 1850–1914, Barrie & Jenkins, London, 1988 Kenneth McConkey, British Impressionism, Phaidon Press, Oxford, 1989 Caroline Fox, Stanhope Forbes and the Newlyn School, David & Charles, Newton Abbot, 1993 Tom Cross, The Shining Sands: Artists in Newlyn and St Ives 1880–1930, Tiverton, 1994 David Tovey, Creating a Splash: The St Ives Society of Artists, Tewkesbury, 2003

CON TAC T I N FOR M AT ION & FORT HCOM I NG E V EN T S 2012

Richard Green

Jonathan Green

Matthew Green

Executive Chairman

Deputy Executive Chairman

Deputy Managing Director

Tel: +44 (0)20 7493 3939

Tel: +44 (0)20 7499 4738

Tel: +44 (0)20 7499 4738

richardgreen@richard-green.com

jonathangreen@richard-green.com

matthewgreen@richard-green.com

Penny Marks

John Green

Director

Director

Tel: +44 (0)20 7493 3939

Tel: +44 (0)20 7493 3939

pennymarks@richard-green.com

johngreen@richard-green.com

Edward Seago

Master Paintings Week

XXVI Biennale des Antiquaires

Sir Alfred Munnings

13th June

29th June – 6th July

14th – 23rd September

14th November

147 New Bond Street,

147 New Bond Street,

Grand Palais

147 New Bond Street,

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Avenue Winston Churchill, Paris

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R IC H A R D GR EEN Richard Green has assisted in the formation and development of numerous private and public collections

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

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

FRANCE Compiègne: Musée National du Château GERMANY Berlin: Staatliche Kunsthalle Darmstadt: Hessisches Landesmuseum Hannover: Niedersachsisches Landesmuseum Karlsruhe: Staatliche Kunsthalle Speyer am Rhein: Historisches Museum der Pfalz HOLLAND Amsterdam: Joods Historisch Museum Rijksmuseum Utrecht: Centraal Museum SOUTH AFRICA Durban: Art Museum SPAIN Madrid: Real Academia de Bellas Artes de Sun Fernando Museo Thyssen-Bornemisza Museo Nacional del Prado SWITZERLAND Zurich: Schweizerisches Landesmuseum THAILAND Bangkok: Museum of Contemporary Art

DENMARK Tröense: Maritime Museum EIRE Dublin: National Gallery of Ireland

Photographic Acknowledgements Fig 1 Stanhope Alexander Forbes, Self portrait, 1890 Penlee House Gallery & Museum, Penzance The Bridgeman Art Library

Fig 5 The Norard Slip, Newlyn, Photographer unknown, Postcard Penlee House Gallery & Museum, Penzance

Fig 2 Stanhope Alexander Forbes, A Street in Brittany, 1881 © Walker Art Gallery, National Museums Liverpool The Bridgeman Art Library

Fig 9 Stanhope Alexander Forbes, Off to the Fishing Ground, 1886 © Walker Art Gallery, National Museums Liverpool The Bridgeman Art Library

Fig 3 Stanhope Alexander Forbes, A Fish Sale on a Cornish Beach, 1885 From the collections of Plymouth City Council (Museums and Archives) © The Bridgeman Art Library

Fig 10 Stanhope Alexander Forbes, Home-Along, Evening, 1905 © Bristol City Museum and Art Gallery, UK The Bridgeman Art Library

Fig 4 Stanhope Alexander Forbes, Boy on a beach, 1884–5 Private collection Photograph © Bonhams, London, UK The Bridgeman Art Library

Published by Richard Green © 2012 All rights reserved.

Photography by Sophie Drury.

Graphic Design by Chris Rees.

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