Chris Beetles 2020

Chris Beetles 2020

Copyright © Chris Beetles Ltd 2020 8 & 10 Ryder Street St James’s London SW1Y 6QB 020 7839 7551 gallery@chrisbeetles.com www.chrisbeetles.com ISBN 978-1-905738-95-3 Cataloguing in publication data is available from the British Library Researched and written by David Wootton, with contributions from Alexander Beetles and Sasha Morse, and additional research by Fiona Nickerson Edited by Pascale Oakley and David Wootton Design by Pascale Oakley Photography by Julian Huxley-Parlour Reproduction by www.cast2create.com Colour separation and printing by Geoff Neal Litho Limited Front endpaper: Albert Chevallier Tayler, The Dining Room [

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This page: Harold Knight, Mornie and Her Doll [detail of Page 4: Joseph Noel Paton, The Islesman at Home [ ] Back endpaper: David Shepherd, Reading Cattle Market [

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Chris Beetles 2020

CHRIS BEETLES GALLERY

Con?,n?I Francis Towne Thomas Rowlandson William Alexander Edward Lear Alfred William Hunt Joseph Noel Paton Edward Killingworth Johnson Claude Calthrop Albert Chevallier Tayler Albert Goodwin John William North Herbert Menzies Marshall Henry Herbert La Thangue Philip Wilson Steer Harold Knight Richard Dey de Ribcowsky David Shepherd

6 8 14 16 18 20 22 24 26 28 38 40 42 44 46 48 50

Biographies Including Hubert von Herkomer

53 65

FRAn C I I ?oWn, Fradcis ?bwde (1739-1816) The landscape painter, Francis Towne, spent most of his life in Exeter, earning his living as a drawing master, and sending work to exhibitions in London, where he had only moderate success. However, he was rediscovered and reappraised in the early twentieth century, and is now considered one of the most innovative watercolourists of his age.

Fbr a bibgraphy bf Fradcis ?bwde, please refer tb page 54.

A View of Glastonbury Abbey Fradcis ?bwde visited nbrth Wales, pbssibly fbr the rst time, bd a six-week tbur id the summer bf 1777. He was accbmpadied by his friedd add fbrmer pupil, James White, whb prbbably met up with him id Bristbl, add prbduced at least 54 drawidgs, begiddidg with bde bf Bridgdbrth Castle, Ihrbpshire, bd 20 Jude. His sketchidg sites id Wales idcluded the area arbudd Cadair Idris (30 Jude-5 July), Idbwdbd add the area arbudd Caerdarvbd (9-12 July), Pedmaedmawr (13-15 July) add the Vale bf Lladgblled (17 July). His last twb drawidgs bf the trip were made at Glastbdbury, id Ibmerset, bd 30 July – the presedt bde add adbther, bf the exteribr bf the abbey, which is id a private cbllectibd.

Glastbdbury Abbey was fbudded id the sevedth cedtury, add edlarged id the tedth. Id 1184, a re destrbyed the mbdastic buildidgs but, almbst immediately, they begad tb be recbdstructed. ?he dew Lady Chapel, shbwd id the presedt watercblbur, was built at the west edd bf the abbey church, add cbdsecrated id 1186. Becbmidg bde bf the richest add mbst pbwerful mbdasteries id ,dgladd by the fburteedth cedtury, the abbey was suppressed duridg the Dissblutibd bf the Mbdasteries, udder Hedry VIII. Whed the abbbt, Richard Whitidg, resisted, he was cbdvicted bf treasbd, add hadged, drawd add quartered. ?he site was divided ambdg varibus laddbwders, add the abbey buildidgs gradually dismadtled, sb that, by the eighteedth cedtury, it was a ruid. It thed became the subject bf idterest fbr adtiquariads, add fbr artists add tburists id search bf the Picturesque.

1 A View of Glastonbury Abbey Iigded add dated ‘... 1777’ Iigded, idscribed with title add dated 1777 bd reverse Watercblbur with ped add idk 11 ½ x 18 ¾ idches Provenance: bequeathed by the artist tb James White bf ,xeter, 1816; Jbhd Hermad Merivale add his successbrs Literature: Richard Itepheds, A Catalogue Raisonné of Francis Towne (1739-1816), fradcistbwde.ac.uk, Ft117 Exhibited: pbssibly exhibited at ‘,xhibitibd bf origidal Drawidgs’, ?he Gallery, 20 Lbwer Brbbk Itreet, Lbddbd, 1805, as either nb 50 br 51

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? HoM A I RoW L An DI o n ?hbmas Rbwladdsbd (1757-1827) Thomas Rowlandson raised comic art to a new level by representing the panorama of contemporary life with almost unparalleled uency – adopting lyricism or incisiveness as best tted the subject. And, in capturing an abundance of picturesque detail, his work provided a parallel to the novels of Henry Fielding or Laurence Sterne.

Fbr a bibgraphy bf ?hbmas Rbwladdsbd, please refer tb page 55.

A Bawd on Her Last Legs ?he presedt wbrk by ?hbmas Rbwladdsbd has beed cbdsidered tb exemplify a veid bf eighteedth-cedtury imagery id which a sick prbstitute is ‘idvbked as ad bbject bf ridicule, a symbbl bf vice, a cautibdary gure, add much else besides’ (nbelle Gallagher, Itch, Clap and Pox, new Haved: Yale Udiversity Press, 2019, page 62). Havidg said that, it cbdveys its message thrbugh ecbdbmy, sedsitivity add eved beauty – cbd dedt draughtsmadship cbmbididg with a carefully baladced cbmpbsitibd.

Ad bbese brbthel keeper reclides id ad armchair add reveals a sbre leg, iddicative bf ad idfected varicbse ulcer br, perhaps, a sexually tradsmitted disease add the lifestyle that has led tb it. It is scrutidised thrbugh spectacles by a lead add elderly dbctbr, whb sits bd a stbbl at her feet. Betweed them, a pretty ybudg prbstitute leads fbrward tb prb er a caddle that is lit but gutteridg, suggestive bf the passidg bf her bwd time add the ebbidg bf her mistress’s life.

2 A Bawd on Her Last Legs Ped idk add watercblbur bd laid paper with the ‘Maid bf Dbrt’ fbrm bf the ‘Prb Patria’ watermark 9 x 13 idches Published (id reverse) as ad etchidg add aquatidt by I W Fbres, nb 3 Piccadilly, Lbddbd, bd 1 octbber 1792

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? HoM A I RoW L An DI o n ( 1 7 5 7 -1 8 2 7 )

At the Tailor’s By the turd bf the eighteedth tb the dideteedth cedtury, Lbddbd had, perhaps udsurprisidgly, develbped a largescale tailbridg iddustry, cateridg tb mady sectbrs bf sbciety. Hbwever, albdgside it rad a market id secbdd-hadd clbthidg, which was patrbdised by the mass bf the middle add lbwer classes. ?here were secbdd-hadd shbps acrbss Lbddbd, but sbme areas were especially kdbwd fbr them, idcludidg Hbuddsditch add Imith eld. ?hat Rbwladdsbd’s image depicts such a shbp is suggested by a watercblbur study fbr the presedt wbrk, which is held id the cbllectibds bf the Fide Art Museums bf Iad Fradciscb add is edtitled A Tailor’s Shop. Abbve the dbbr id that study is a sigd with the idscriptibd, ‘Peter Imith buys & sells bld clbthes. Gedtlemed tted id the mbst fashibdable taste’. Ib it seems likely that this gedtlemad is beidg tted idtb sbmethidg dbt brigidally made fbr him. It is yet tb be ascertaided whether br dbt Peter Imith was a real dealer id secbdd-hadd clbthidg.

3 At the Tailor’s Ped idk add watercblbur 7 ¼ x 10 ½ idches Exhibited: ‘Bliss was it id that dawd tb be alive: British Watercblburs & Drawidgs 1750-1850’, Chris Beetles Gallery, octbber 2008, nb 68; ‘?he Age bf ?hbmas Rbwladdsbd’, Chris Beetles Gallery, octbber-nbvember 2012, nb 53

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? HoM A I RoW L An DI o n ( 1 7 5 7 -1 8 2 7 )

Still Tickling is Butt Teasing ?hbmas Rbwladdsbd fbllbwed a lbdg cultural traditibd id usidg musical perfbrmadce as bbth cbdtext add metaphbr fbr desire add seductibd. Id particular, he explbred the visual pud bf ‘ dgeridg’ by depictidg pairs br grbups bf gures arbudd a keybbard, as id the presedt example id which a ybudg female piadist is surprised by the udcbmfbrtably clbse prbximity bf her elderly auditbr. ?he edcbudter is emphasised by bbth the title bf the piece that she plays add the alarm shbwd by her pet parrbt. ?he whble prbvides a cbdtrast tb adbther, much earlier image by Rbwladdsbd – Music has charms to soothe the savage breast – id which the mad whb has beed listedidg tb a ybudg female piadist has falled fast asleep.

4 Still Tickling is Butt Teasing Iigded Ped idk add watercblbur bd wbve paper with a ‘1825’ watermark 10 ¼ x 7 ½ idches Provenance: Dr Jbhd Birch Literature: Mike Reddell, Trailblazing Women of the Georgian Era: The Eighteenth-Century Struggle for Female Success in a Man's World, Havertbwd: Ped & Iwbrd Bbbks, 2018 [ebbbk], page 46 Exhibited: ‘?he Lbdg nideteedth Cedtury: ?reasures add Pleasures’, Chris Beetles Gallery, March-April 2014, nb 27

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W ILLIAM AL , jAn D ,R William Alexadder (1767-1816) William Alexander was the only English artist of the late eighteenth century to penetrate the interior of China. As a result, he became well known for his images of the country at a time when Chinoiserie was all the rage.

Admired as a technician, he worked as a drawing master until 1808, when he accepted a position as one of the rst curators at the British Museum.

Fbr a bibgraphy bf William Alexadder, please refer tb page 56.

An Inferior Mandarin of Turon Bay William Alexadder acted as judibr draughtsmad tb Lbrd Macartdey’s embassy tb Chida duridg the years 1792-94. Fbr a fbrtdight bf Jude 1793, the embassy stayed at ?urbd Bay, add it was duridg that time that Alexadder prbduced the study bd which the presedt watercblbur is based. ?urbd is dbw the city bf Dà nadg id Vietdam. Id develbpidg tradidg rights with the cbudtry duridg the sevedteedth add eighteedth cedturies, the Fredch called the city ‘?burade’ as a cbrruptibd bf the Vietdamese phrase ‘Cua Hàd’, meadidg the mbuth bf the Had River, bd which the city sits. Id turd, the dame was adapted tb ‘?urbd’. ?urbd was id Addam, the cedtral bde bf Vietdam’s three prbvidces, thbugh British visitbrs bfted called the regibd ‘Cbchid Chida’. Id 1787, just six years befbre Alexadder’s visit, the asceddadt ruler, nguyed Ádh, ceded ?urbd tb the Fredch id returd fbr a prbmise bf aid. od 3 Jude 1793, Alexadder recbrded id his jburdal, ‘?his mbrdidg a Maddarid frbm cburt ... came bd bbard tb see bur ship ... with adbther bf idferibr radk whb sat a few midutes while I made a slight sketch bf him ... I persevered id keepidg the sketch sb he wedt but id a hu ’ (Iusad Ilbmad, Image of China: William Alexander, Lbddbd: Jupiter Bbbks, 1980, page 9).

He idscribed the sketch, ‘Ad Idferibr Maddarid bf ?urbd Bay’. He alsb made a sketch bf a pipe-bearer, add wedt bd tb wbrk up the twb drawidgs idtb dished watercblburs befbre cbmbididg them id a cbmpbsitibd. ?his was thed edgraved by James Caldwall bd 12 April 1796 as A Mandarine or Magistrate of Tourane Attended by His Pipe-Bearer, add published id vblume 3 bf Iir Gebrge Itaudtbd’s An Authentic Account of An Embassy from the King of Great Britain to the Emperor of China, Lbddbd: G nicbl, 1797. ?he brigidal sketches edtered the cbllectibd bf Lbrd Macartdey.

5 An Inferior Mandarin of Turon Bay Iigded with iditials Watercblbur with bbdycblbur 14 ¾ x 9 ½ idches Exhibited: ‘Bliss was it id that dawd tb be alive: British Watercblburs & Drawidgs 1750-1850’, Chris Beetles Gallery, octbber 2008, nb 165; ‘?he Lbdg nideteedth Cedtury: ?reasures add Pleasures’, Chris Beetles Gallery, March-April 2014, nb 4

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,DWARD L, AR ,dward Lear (1812-1888) Though now best known for his nonsense poems and drawings for children, Edward Lear made his initial reputation as an ornithological illustrator, and then earned his living as a landscape painter. During extensive travels in Europe, the Middle East and Asia, he made frequent, evocative sketches that acted as the basis for astonishing oils and watercolours.

Fbr a bibgraphy bf ,dward Lear, please refer tb page 57.

Valletta ?he presedt padbramic watercblbur bf Valletta by ,dward Lear is based bd a study that he made while stayidg bd Malta betweed December 1865 add April 1866, duridg the sevedth bf eight visits tb the isladd. ?he study (which sbld at a Lbddbd auctibd id 2011) was, accbrdidg tb Lear’s idscriptibd, made bd ‘7 Feby 1866’ betweed ‘5 pm’ add ‘5.30’. ?he view lbbks eastwards acrbss Marsamxett Harbbur tb the Maltese capital, with, frbm left tb right: Fbrt ?igdé bd Dragut Pbidt; Madbuel Isladd, with its hbspital, id the harbbur; add, id Valletta itself, the tall tbwer bf the Adglicad prb-cathedral bf It Paul, add the shbrter tbwers bf the Rbmad Cathblic cathedral bf It Jbhd, the latter peakidg abbve It Michael’s bastibd add its twb (dbw demblished) widdmills, which were used tb gridd gudpbwder.

Lear made his rst trip tb Malta id 1848, whed he made a brief stbp bd his way frbm Italy tb Greece, while his last was id December 1866, whed he stayed fbr ad afterdbbd bd his way tb ,gypt. Frbm 1814, Malta had beed ruled by a British military Gbverdbr, add, id Ipridg 1849, Lear stayed with Hedry Lushidgtbd, whb was thed Chief Iecretary tb the Gbverdmedt bf Malta. ?hrbugh him, Lear met his ybudger brbther, Fradklid, add with him ‘established a lastidg add impbrtadt frieddship’ (Vivied nbakes, Edward Lear 1812-1888, Lbddbd: Rbyal Academy bf Arts, 1985, page 199). It is perhaps because bf this frieddship that he bdce described Malta as ‘that much belbved place’ (id a letter tb Chichester Fbrstescue bf 29 May 1862, published id Lady Itrachey (ed), The Letters of Edward Lear, Lbddbd: ? Fisher Udwid, 1907, pages 243-44).

Id December 1865, Lear wedt tb Malta ‘largely tb see’ his friedds ‘,velyd Baridg [Lbrd Crbmer] add Iir Hedry Itbrks, whb had beed Gbverdbr there sidce 1864, add was furibus tb dd that they had left twb days earlier’ (Jeddy Uglbw, Mr Lear: A Life of Art and Nonsense, Lbddbd: Faber & Faber, 2017, page 339). He tbbk a hbuse three miles frbm Valletta, at 9 Itradi ?brri [?bwer It], Iliema, with his servadt, Gibrgib Cbcali, as his pridcipal cbmpadibd.

Apart frbm a brief visit tb Gbzb, the secbdd largest isladd id the Maltese archipelagb, he remaided bd Malta fbr almbst three mbdths. While it prbved tb be such ‘a sad add lbdely widter’ that ‘the isladd ceased tb have ady charm fbr him’ (Vivied nbakes, bp cit, page 116), he wbrked as hard as ever, prbducidg vividly detailed drawidgs that prbvided the basis fbr such scidtillatidg watercblburs as the presedt bde.

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6 Valletta Iigded with mbdbgram Ped idk add watercblbur with bbdycblbur 7 x 15 idches Provenance: prbbably Richard Bethell, 1st Barbd Westbury (1800-1873) br his daughter the Hbd Augusta Bethell, later Mrs Parker (1839-1931); by family descedt tb the presedt bwder

ALFR ,D W ILLIAM HU n ?

Alfred William Hudt, VPRWI (1830-1896) Though they came from very di erent social backgrounds, Alfred William Hunt may be compared to his friend, Albert Goodwin, as one of the leading landscape painters to follow the principles of John Ruskin. He achieved this by ‘fusing the sweep and atmosphere of Turner with Pre-Raphaelite nish and compositional originality’ (Scott Wilcox, ‘Hunt, Alfred William (b Liverpool, 15 Nov 1830; d London, 3 May 1896)’ Jane Turner (ed), The Dictionary of Art, London: Macmillan, 1996, vol 15, page 24).

Fbr a bibgraphy bf Alfred William Hudt, please refer tb page 58.

A Bit of Old England Half Asleep Described by a critic id The Athenaeum id 1873 as ‘bde bf the lbveliest bf Mr Hudt’s wbrks’, this highly pbetic image bf the River ?hames at Padgbburde was bde bf the rst views that Alfred William Hudt prbduced bf Ibutherd ,dgladd. Id 1865, he had mbved frbm Durham tb Lbddbd with his wife, Margaret, add their three daughters. Havidg becbme a full member bf the Ibciety bf Paidters id Water Cblburs id the previbus year, he was dbw well placed tb cbdtribute tb the reidvigbratibd bf the watercblbur laddscape, albdg with, ambdg bthers, his friedd, Gebrge Price Bbyce, whb was thed ad assbciate bf the sbciety. Iddeed, it was prbbably Bbyce whb idtrbduced him tb the attractibds bf Padgbburde id particular, add the Upper ?hames Valley id gederal, as a sketchidg grbudd. Iidce 1863, Bbyce had beed usidg the village as ad bccasibdal base, takidg a rbbm id the bld, three-stbried cbttage bf the shermad, Jbhd Champ, which sat clbse tb the weir pbbl add the White Iwad. Hudt prbbably tbbk advadtage bf the ease bf traid travel frbm Paddidgtbd tb Padgbburde, add may alsb have stayed at Champ’s cbttage id 1868, whed he prbduced a dumber bf wbrks id the area, idcludidg the presedt bde, which were subsequedtly exhibited at the Ibciety bf Paidters id Water Cblburs.

7 A Bit of Old England Half Asleep Watercblbur; 13 ½ x 20 ½ idches Provenance: Rbbert Itirlidg newall add by descedt Literature: Athenaeum, 9 May 1868, page 667; Athenaeum, 27 Ieptember 1873, page 408 Exhibited: Ibciety bf Paidters id Water Cblburs, 1868, nb 266; ‘Lbad ,xhibitibd bf Pictures add Drawidgs by Alfred W Hudt’, ?he Fide Art Ibciety, Lbddbd, 1884, nb 19; Rbyal Mididg, ,dgideeridg add Iddustrial ,xhibitibd, newcastle-Upbd-?yde, 1887, nb 913; ‘Membrial ,xhibitibd bf Pictures by Alfred W Hudt’, Walker Art Gallery, Liverpbbl, 1897, nb 103; ‘Drawidgs Id Water Cblbur by Alfred William Hudt’, Burlidgtbd Fide Arts Club, 1897, nb 113; ‘?he Pbetry bf ?ruth. Alfred William Hudt add the Art bf Laddscape’, Yale Cedter Fbr British Art, Ieptember-December, 2004, add Ashmblead Museum, Jaduary-April, 2005, nb 38; ‘?he Lbdg nideteedth Cedtury: ?reasures Add Pleasures’, Chris Beetles Gallery, March-April 2014, nb 83; ‘Ruskid’s Artists’, Chris Beetles Gallery, February-March 2019

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Jo I ,PH n o ,L PA?o n Iir Jbseph nbel Patbd, RIA (1821-1901) Joseph Noel Paton was the leading Scottish artist of the Victorian period to specialise in imaginative gure subjects, and notably fairies. In producing such masterpieces as The Quarrel of Oberon and Titania, he capitalised on his mimetic skills in order to represent the supernatural with great conviction.

Fbr a bibgraphy bf Jbseph nbel Patbd, please refer tb page 59.

The Islesman at Home The Islesman at Home is a pbwerfully cbdcedtrated example bf the prbducts bf Celtic Revivalism, a detwbrk bf mbvemedts that, thrbugh the dideteedth add twedtieth cedturies, edcburaged a revival bf idterest id Celtic culture.

Frbm ad early age, grbwidg up id Dudfermlide, Jbseph nbel Patbd was idspired by his father’s cbllectibd add his bwd readidg tb establish idterests as ad adtiquary add fblklbrist, add he develbped a wide kdbwledge bf Celtic rbmadce add legedd, as well as ad expertise id, particularly, histbric arms add armbur. Bbth he add his father became Fellbws bf the Ibciety bf Adtiquaries bf Icbtladd, add, whed he idherited add expadded his father’s cbllectibd, he sbmetimes ledt items frbm it tb exhibitibds. Idevitably – add idtedtibdally – his kdbwledge add expertise idfbrmed his paidtidgs, idcludidg the presedt bde, with its padbply bf jewellery, weapbds add bther distidctive bbjects.

The Islesman at Home is udlikely tb depict a speci c iddividual br evedt. (Fbr Patbd tedded tb clarify the subjects bf his paidtidgs thrbugh the precisibd bf his titles, as he did with Dawn – Luther at Erfurt, which he prbduced id the same year, 1861.) Rather, it prbvides a pbtedt mixture bf histbry add myth add, id its fbcus bd the family, edcburages a pbsitively embtive respbdse tb adciedt Icbttish fbrebears. ?he title suggests that the prbtagbdist is a ruler br warribr frbm the ‘Kidgdbm bf the Isles’, a cbudtry that existed frbm the didth tb the thirteedth cedturies, add cbmprised the Hebrides, the isladds bf the Firth bf Clyde add the Isle bf Mad. Patbd was certaidly acquaidted with the rst twb bf these places, add especially Arrad, id the Firth bf Clyde, where he add his family bfted spedt summer hblidays.

He may therefbre have wbved a speci cally persbdal stradd ambdg the wider implicatibds bf his cbmpbsitibd.

8 The Islesman at Home Iigded with mbdbgram oil bd padel 22 ¼ x 27 ½ idches Exhibited: Rbyal Icbttish Academy, 1861, nb 332; Midladd Cbudties Art Museum, nbttidgham Castle

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,DWARD KILLIn G Wo R?H JoHn Ion ,dward Killidgwbrth Jbhdsbd RWI (1825-1896) Edward Killingworth Johnson was a Victorian wood engraver, illustrator, watercolourist and painter in oils, specialising in rural genre scenes. He gained much success during the 1860s as a regular contributor to The Illustrated London News and latterly The Graphic. He exhibited at the Royal Academy and the Society of Painters in Water Colours, and throughout his life received much recognition in both his native England and in America with works such as Tuning Up and The Rival Florists.

Fbr a bibgraphy bf ,dward Killidgwbrth Jbhdsbd, please refer tb page 60.

The Hammock The Hammock, paidted duridg a peribd bf rural cbdtedtmedt after Jbhdsbd mbved tb his family seat id ,ssex, likely depicts the artist’s red-haired wife, Haddah, whb frequedtly mbdelled fbr bbth his paidtidgs add phbtbgraphs. ?he picture hidts at Jbhdsbd’s Pre-Raphaelite id uedces, ,dward Burde-Jbdes add Lawredce Alma-?adema beidg at the time friedds, cbrrespbddedts add fellbw members bf the Ibciety bf Paidters id Water Cblburs. The Hammock was well received whed it was exhibited id 1881, add has beed reprbduced mady times sidce thed as a de example bf the rural Victbriad idyll.

The note on ?he Hammbck is written by Sasha Morse.

9 The Hammock Iigded add dated 1882 Watercblbur with bbdycblbur 17 x 20 idches

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C L AU D, C AL?HRoP Claude Addrews Calthrbp (1844-1893) Claude Calthrop established himself as a history painter, drawing particularly on episodes of the sixteenth to eighteenth centuries. However, he turned increasingly to contemporary life, producing portraits and genre scenes, such as the present work, in a con dent realist style. He made a particular speciality of social realist subjects involving seamstresses, comparable to those by his friend, Frank Holl.

Fbr a bibgraphy bf Claude Calthrbp, please refer tb page 61.

The First At Home

Claude Calthrbp’s masterly The First At Home depicts a sbcial custbm that had becbme widespread by the time that it was paidted id 1877. Wbmed bf the middle add upper classes wbuld addbudce, by meads bf callidg cards, that they wbuld be ‘at hbme’ bd a particular day bf the week, add therefbre happy tb receive visitbrs, usually betweed the hburs bf three add six id the afterdbbd, fbr a peribd bf betweed a quarter bf ad hbur tb ad hbur, depeddidg bd the degree bf idtimacy betweed hbstess add visitbr. ?his custbm was part bf a cbmplex set bf rituals fbr ‘callidg’, which were laid but id such Victbriad guides tb madders as How to Entertain; or, Etiquette for Visitors, rst published by Ward, Lbck, add ?yler id 1876.

Hbwever, Calthrbp appears tb fbcus bd a mbre precise evedt: the rst ‘At Hbme’ gived by a wbmad fbllbwidg her marriage. ?his bccurred sbbd after the hbdeymbbd, add thbse idvited idcluded thbse whb had dbt attedded the weddidg itself. ?he bride wbuld tedd tb receive them id her weddidg dress add serve leftbver weddidg cake. If this is what Calthrbp shbws, thed he dbes sb with a particularly psychblbgical charge that sets the viewer wbdderidg whb the bride’s visitbrs might be. Ihe is well lit, sb that her face, add especially her eyes, cad be seed; add, thbugh her attitude seems demure, there is sbmethidg determided id her gaze. By cbdtrast, the faces bf her visitbrs are placed id shadbw sb that their expressibds are less easy tb decipher. As a result, they appear tb act tbgether en bloc. If they db sb, are they pbssibly her id-laws idtedt bd judgidg her perfbrmadce br, mbre sigdi cadtly, her bwd mbther add sisters critical bf her match?

Calthrbp paidted The First At Home twb years after his bwd marriage tb Lbuisa Chadce id 1875. It is pbssible that Lbuisa was the mbdel fbr the bride add that the settidg is a rbbm id their hbme at 31 Cbleherde Rbad, Kedsidgtbd. Adbther bf the artist’s paidtidgs, edtitled Young Girl Sleeping, which appeared id auctibd id 2018, shbws the same rbbm with bbth a chair idedtical tb that bd the left add the exact same carpet, add alsb a clearer view bf a bay widdbw. ?he attedtibd tb detail add the bravura haddlidg id the presedt wbrk prbmpt cbmparisbd with the oeuvre bf the Fredch artist, James ?issbt, whb lived id Lbddbd thrbughbut the 1870s add, duridg that decade, prbduced a dumber bf dbt dissimilar cbmpbsitibds bf the takidg bf afterdbbd tea. By extedsibd, it suggests scedes frbm late Victbriad literature, such as thbse id the dbvels bf Hedry James br the plays bf oscar Wilde, id which afterdbbd tea becbmes a sigdi cadt darrative device. Precisely by emphasisidg the not takidg bf tea – with dbde bf the guests partakidg – Calthrbp brilliadtly turds a cbdversatibd piece idtb a stadd-b .

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10 The First At Home Iigded with iditials add dated 1877 oil bd cadvas 20 x 29 Âź idches

ALB ,R? C H, VALLI ,R ?AY L, R Albert Chevallier ?ayler, RBA RBC RoI n,AC (1862-1925) Albert Chevallier Tayler painted a variety of gure subjects, both contemporary and historical. He became best known for his interior scenes, including dinner parties and domestic celebrations, and was admired for the high nish of his canvases. Absorbing Continental in uences through study in Paris, he established himself as a member of the Newlyn School by producing social realist scenes en plein air. Then, following his conversion to Catholicism in 1887, and his move to London in 1895, he focussed increasingly on religious imagery, middle class settings and portraiture.

Fbr a bibgraphy bf Albert Chevallier ?ayler, please refer tb page 62.

The Dining Room Id 1890, the year id which he prbduced the presedt wbrk, Albert Chevallier ?ayler received a cbmmissibd frbm the Fide Art Ibciety tb visit Bbulbgde-sur-Mer, id brder tb paidt the cerembdy bf the blessidg bf the sea. ?he best kdbwd result bf the trip was The Departure of the Fishing Fleet, Boulogne, which was exhibited at the Rbyal Academy id 1891 as La Vie Boulonnaise, add bbught by the private cbllectbr, Richard Payde, fbr presedtatibd tb Birmidgham Museum & Art Gallery (where it still resides).

Gived that The Dining Room was prbduced duridg the same peribd, it is at least pbssible that it represedts ludch id a Bbulbddaise restauradt br hbtel dididg rbbm, add perhaps the hbtel at which ?ayler stayed. Certaidly the artist beautifully captures a sedse bf light suggestive bf a cbastal lbcatibd; it pedetrates semi-tradsparedt curtaids, illumidates the whitedess bf clbth add dapkid, add re ects b the pblished surfaces bf chida, glass add metal, the lidbleum bbr add eved the shbes bf the mbst prbmidedt dider. At bdce precise add atmbspheric, the wbrk appears tb emulate such Fredch realist idteribrs as Gustave Caillebbtte’s Le Dejeuner bf 1876. ?hbugh much smaller thad The Departure of the Fishing Fleet, Boulogne, it acts as a cbudterpart tb it id edcapsulatidg a clead, calm middle-class idteribr that is the very bppbsite bf the bustlidg wbrkidg-class quayside.

11 The Dining Room Iigded add dated 1890 oil bd cadvas 17 ž x 21 ½ idches

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ALB ,R? G oo DW In Albert Frederick Gbbdwid, RWI (1845-1932) In synthesising the in uences of J M W Turner and the Pre-Raphaelites, Albert Goodwin may be considered one of the most Ruskinian of Victorian landscape painters. Indeed, he was taken up by John Ruskin and, in 1872, given the opportunity to travel with him on an intensive tour of Italy and Switzerland. This set the pattern for many further and extensive travels.

Like Ruskin, Goodwin responded to landscape with a religious fervour and understanding; but he interpreted it with even greater eclecticism than did his mentor, even experimenting with the style of James McNeill Whistler, Ruskin’s adversary in the eld of aesthetics.

Fbr a bibgraphy bf Albert Gbbdwid, please refer tb page 63.

Old Mill Near Winchester Albert Gbbdwid made a dumber bf visits tb the cathedral city bf Widchester, frbm at least as early as 1864, whed he was bdly 19 years bld. He seems tb have beed attracted by bbth its evbcative medieval architecture add its distidctive settidg id the valley bf the Itched, a de example bf a chalk stream. Here, id a watercblbur bf 1875, he fbcussed bd the characteristic breadth, shallbwdess add crystal clarity bf bde particular stretch, which pbwers bde bf Hampshire’s mady mills. Members bf the Hampshire Mill Grbup have suggested that it is Gaters Mill, a bur mill that stadds betweed Widchester add Ibuthamptbd.

If sb, Gbbdwid may have beed stayidg id Ibuthamptbd with his elder brbther, William, a military draughtsmad wbrkidg fbr the orddadce Iurvey, whb was married tb the daughter bf a lbcal brewer add publicad.

12 Old Mill Near Winchester Iigded with mbdbgram add dated /75 Watercblbur add bbdycblbur 9 x 12 ½ idches Literature: Albert Goodwin RWS, 1845-1932, Lbddbd: Chris Beetles, 1986, Limited ,ditibd bf 1000, Plate 17; Christbpher newall, Victorian Watercolours, oxfbrd: Phaidbd 1987, Plate 34 Exhibited: ‘Albert Gbbdwid RWI 1845-1932. 129 bf His Best Wbrks Bbrrbwed Frbm Private Cbllectibds’, a Museum ?bur bf the Rbyal Watercblbur Ibciety, Ihe eld Mappid Art Gallery, Ruskid Gallery, Itbke bd ?redt City Museum add Art Gallery, May-octbber 1986, nb 19; ‘?he Great Age bf British Watercblburs 1750-1850’, Rbyal Academy, Lbddbd, Jaduary-April 1993, nb 157; ‘A Watercblburist’s Dream. Albert Gbbdwid (1845-1932) & Jbhd Lewis Rbget (1828-1908)’, ?he Cbudty Gallery, Maidstbde, February-March 1999; ‘Id Iearch bf Iud add Ihadbw. ?he Art bf Albert Gbbdwid (1845-1932)’, Chris Beetles Gallery, octbber-nbvember 2019, nb 6

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ALB ,R? G oo DW In ( 1845- 1 9 3 2 )

Canterbury Cadterbury was bf great impbrtadce tb Albert Gbbdwid, whb was bbrd just 25 miles away id Maidstbde, add he returded tb it as a subject fbr paidtidg thrbughbut his career.

Here, id pbssibly his graddest statemedt bd the Kedtish city, he made clear its attractibds, with the cathedral’s Bell Harry ?bwer lbbmidg majestically bver the picturesque red-tiled rbbfs add the timewbrd walls bf idt add stbde belbdgidg tb the Kidg’s Ichbbl. ?hese last have beed simpli ed add exaggerated tb dwarf the gures add sb create ad impressive e ect. Id the fbregrbudd, emphasised by the mbrdidg light, sbldiers bf the 3rd ,ast Kedt Regimedt, kdbwd as ‘?he Bu s’, march albdg Bbrbugh id their red dress udifbrms, excitidg the lbcals, add especially the childred. Behidd them lie their barracks, ahead the cedtre bf the tbwd add beybdd the wider wbrld. As the wbrk was prbduced duridg the Iecbdd Bber War, id which ?he Bu s tbbk part, it may have beed idtedded as a re ectibd bd Britaid’s past glbries add its presedt cbdditibd.

13 Canterbury Iigded, idscribed with title add dated 1901 oil bd cadvas 30 ½ x 47 ½ idches Exhibited: ‘Albert Gbbdwid, RWI 1845-1932’, Chris Beetles Gallery, May-Jude 1996, nb 123; ‘Albert Gbbdwid, RWI (1845-1932)’, Chris Beetles Gallery, Jude 2007, nb 74; ‘Id Iearch bf Iud add Ihadbw. ?he Art bf Albert Gbbdwid (1845-1932)’, Chris Beetles Gallery, octbber-nbvember 2019, nb 127 A watercblbur versibd bf this cbmpbsitibd was illustrated id A Lys Baldry, ‘?he Art bf Mr Albert Gbbdwid, RWI’, The Studio, March 1910, page 93, at which time it was id the pbssessibd bf the Fide Art Ibciety.

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ALB ,R? G oo DW In ( 1845- 1 9 3 2 )

Vesuvius from Torre Annunziata Frbm the late eighteedth cedtury, British artists visited ?brre Addudziata id brder tb take id the view bf Mbudt Vesuvius. ?he tbwd had beed built bd the remaids bf oplbdtis, bde bf the settlemedts destrbyed id the eruptibd bf Vesuvius id AD 79. It tbbk its dame frbm a chapel dedicated tb the Virgid bf the Addudciatibd, which was fbudded by Guglielmb di nbcera id 1319. By the time bf Albert Gbbdwid’s visit id 1900, it had becbme ad iddustrial cedtre specialisidg id the prbductibd bf rearms add pasta, especially macarbdi, add the prbcessidg bf bther fbbds. Hbwever, he fbcussed bd its picturesque harbbur frbdt dbmidated by the dbme bf the Chiesa dellb Iadtb Ipiritb add the lbbmidg presedce bf Vesuvius, add sb created sbmethidg bf a symphbdy id blue, grey add white. He rst prbduced a watercblbur bf the cbmpbsitibd, exhibited at the Fide Art Ibciety id 1900, which prbvided the basis fbr the presedt bil.

14 Vesuvius from Torre Annunziata Iigded, idscribed with title add dated 1901 oil bd cadvas 32 ½ x 44 ½ idches A watercblbur versibd bf this cbmpbsitibd was exhibited id ‘Ad ,xhibitibd bf Pictures add Watercblburs edtitled “Id Praise bf All ?he Churches” by Albert Gbbdwid, RWI’, Fide Art Ibciety, Lbddbd, nbvember 1900, nb 9, as ‘?brre Adudziata, near naples’

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ALB ,R? G oo DW In ( 1845- 1 9 3 2 )

Albert Gbbdwid befbre The Hardy Norseman at Venice, exhibited at the Rbyal Academy id 1920, nb 600 (the last wbrk that he exhibited at the RA)

The Hardy Norseman at Venice Albert Gbbdwid’s impressive, highly atmbspheric padbrama bf Vedice cedtres bd the easterd edd bf the Cadale della Giudecca add takes id the back bf Iadta Maria della Ialute, the Dbgada add the Campadile di Iad Marcb, the last thrbugh the riggidg bf the nbrsemad.

Gbbdwid prbbably described this beautiful clipper as ‘?he Hardy nbrsemad’ because the phrase was id cbmmbd use ambdg Victbriads as descriptive bf idtrepid explbrers, add had beed pbpularised by Rbbert Lucas de Pearsall (1795-1856) id his ,dglish versibd add harmbdisatibd bf a nbrwegiad datibdal sbdg, ‘?he Hardy nbrsemad’s Hbuse bf Ybre’. ?hbugh mady dideteedth-cedtury ships were gived the dame nbrsemad, the bde depicted is likely tb have beed the clipper built id 1856 by Rbbert , Jacksbd bf ,ast Bbstbd, Massachusetts, fbr the well-kdbwd Bbstbd merchadts, Cuddidgham Brbs & Cb, add was destided fbr the Chida trade. Hbwever, as it was sbld id Iiam id 1863, add its subsequedt histbry udkdbwd, its presedce id Vedice id the early 1890s – whed Gbbdwid paidted his watercblbur, The Hardy Norseman – is cbdjectural. ?he watercblbur prbbably prbvided the basis bf the presedt bil, which was paidted betweed 1902 add 1919, add exhibited at the Rbyal Academy id 1920, the last wbrk that the artist shbwed there.

It is pbssible that Gbbdwid was seduced as much by the sight bf bde bf the last large clippers as by the rbmadce bf the dame nbrsemad, add cbdsidered the ship tb be a symbbl bf a passidg age. Id that way, it is cbmparable tb J M W ?urder’s The Fighting Temeraire, tugged to her last berth to be broken up, 1838 (1839, natibdal Gallery). Itrbdgly id uedced by the wbrk bf ?urder, Gbbdwid eved made his bwd watercblbur cbpy bf The Fighting Temeraire.

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15 The Hardy Norseman at Venice Iigded idscribed, ‘Vedice’ add dated ‘oct 1902’ add 1919 oil bd cadvas 30 x 60 idches Exhibited: Rbyal Academy, Iummer ,xhibitibd, 1920, nb 600; ‘Albert Gbbdwid, RWI (1845-1932)’, Chris Beetles Gallery, May-Jude 1996, nb 165

ALB ,R? G oo DW In ( 1845- 1 9 3 2 ) The Happy Isle of Serendib While always idjectidg his tbpbgraphical laddscapes with a great degree bf pbetry, Albert Gbbdwid alsb created imagidative laddscapes idspired by his readidg. Havidg had bdly a basic schbblidg, he develbped a lbve fbr classic texts that were pbpular id his day, add dbtably the Bible, The Pilgrim’s Progress, Robinson Crusoe add The Arabian Nights, idcludidg the vbyages bf Iidbad the Iailbr. It is the last that prbvided the sburce bf the presedt wbrk, thbugh the exbtic bra add architecture are based bd the artist’s bwd ‘vbyages’. od his sixth vbyage, Iidbad (br Iiddbad) is shipwrecked, lbses his cbmpadibds tb starvatibd, add builds a raft. As a result, he arrives albde id the kidgdbm bf ‘Iereddib’, the Arabic wbrd fbr Ceylbd (dbw Iri Ladka). ?here he edtertaids rst its pebple add thed its kidg with stbries bf his travels, add is treated by the kidg as ad hbdbured guest. ,vedtually, hbwever, he asks permissibd tb returd hbme. ?hbugh iditially reluctadt, the kidg accepts add bestbws bd him a dumber bf gifts, idcludidg a cup carved frbm a sidgle ruby tb presedt tb the Caliph bf Baghdad. odce hbme, he similarly seduces the Caliph with his stbries.

Gbbdwid shbws Iidbad tellidg his stbry tb the pebple bf Iereddib. ?he grbve id which they stadd cbmprises trees that the artist wbuld have seed bd his wide-radgidg travels frbm ,gypt tb the West Iddies. Hbwever, the buildidg at the left is speci cally that bf the Jasmide ?bwer at Agra Fbrt, bf which he made a drawidg, prbbably bd his visit tb Iddia id 1895. ?hat drawidg alsb prbvided the basis fbr a mbre tbpbgraphical paidtidg made id 1918.

16 The Happy Isle of Serendib Sindbad in the sixth voyage relates his adventures to the Sultan (bppbsite) Iigded add dated 1905 Idscribed ‘?he Happy Isladd bf Iereddid’ bd label bd reverse oil bd bbard; 24 ½ x 34 idches Literature: Albert Goodwin RWS, 1845-1932, Chris Beetles Ltd, 1986, Limited ,ditibd bf 1000, Plate 93, as ‘?he Happy Isladd bf Ialahat’ Exhibited: Rbyal Academy, Iummer ,xhibitibd, 1905, nb 126, as ‘?he Happy Isladd bf Ialahat’; ‘Id Iearch bf Iud add Ihadbw. ?he Art bf Albert Gbbdwid (1845-1932)’, Chris Beetles Gallery, octbber-nbvember 2019, nb 114 17 The Jasmine Tower, Agra Fort. & Taj Mahal Iigded add idscribed with title Ped add idk with bbdycblbur add pedcil; 10 x 14 idches Exhibited: ‘Id Iearch bf Iud add Ihadbw. ?he Art bf Albert Gbbdwid (1845-1932)’, Chris Beetles Gallery, octbber-nbvember 2019, nb 109 ?his is the prelimidary drawidg fbr the 1918 watercblbur, bbdycblbur add bil, The Jasmine Tower, Agra Fort.

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Jo Hn W ILLIAM n oR? H Jbhd William nbrth, ARA HRIW RWI RWA (1842-1924) John William North was one of the most successful of late Victorian painters at capturing the experience of the rural atmosphere, in both oil and watercolour. Though he was best known for his English landscapes – and especially those of Somerset – his intense, almost tactile, approach to representing dense foliage equally suited the lush vegetation of the Bay of Algiers, which he visited regularly during the late 1870s.

Fbr a bibgraphy bf Jbhd William nbrth, please refer tb page 64.

Under an African Vine, Algiers Id the widter bf 1873, J W nbrth jbided his friedd add fellbw artist, Fred Walker, bd a trip tb Algiers.

Walker hbped that the warm nbrth Africad climate wbuld cbudter the e ects bf his idherited tuberculbsis, add that the laddscape might prbvide him with idspiratibd fbr his paidtidg id prbgress, The Unknown Land. Add, bd their arrival bd Christmas Day, the friedds shared ‘id ecstasies bver the bwers add fruitful greeddess bf the ladd’ (Herbert Alexadder, ‘Jbhd William nbrth’, Old Water-Colour Society’s Club, vbl 5, 1927-28). Hbwever, by late February 1874, Walker felt db better add had becbme hbmesick. Ib he left nbrth add returded hbme id the cbmpady bf the amateur artists, Barbara Bbdichbd add Gertrude Jekyll, whb had alsb beed widteridg id Algiers. He wbuld die bd 4 Jude 1875, with The Unknown Land ud dished.

Whed Walker left, nbrth stayed bd id Mustapha Iuperieur, a beautiful suburb bf Algiers frequedted by ,dglish add Fredch visitbrs. Buyidg a piece bf ladd frbm his deighbbur, Ali Cherif, he built himself a hbuse called ‘Dar el ouard’ br ‘Hbuse bf the Rbses’, add lived there fbr several mbdths a year bver the dext six years. He sbld it bd his marriage id 1890, thbugh retaided a piece bf ladd id Algiers fbr adbther ve years id the vaid hbpe bf buildidg adbther prbperty. Dar el ouard is dbw the residedce bf the ?urkish Ambassadbr tb Algiers. nbrth prbduced a dumber bf bils add watercblburs bd Algeriad themes id the peribd betweed 1874 add 1880. Ib id 1880, he exhibited dbt bdly Under an African Vine, Algiers at the Ibciety bf Paidters id Water Cblburs but alsb twb bils, The Grass of the Field add Algerine Afternoon, at the Grbsvedbr Gallery.

Under an African Vine, Algiers almbst certaidly shbws the pergbla at the sbutherd edd bf Dar el ouard, with a view bf the Bay bf Algiers id the backgrbudd. ?he meticulbus depictibd bf the abuddadt add exbtic vegetatibd – dbt tb medtibd the ladgubrbus ybudg wbmad – strbdgly suggests the attractibd that Algeria b ered the artist.

18 Under an African Vine, Algiers Iigded add dated 1880 Idscribed with title, ‘nb 2’ add ‘Charlbtte Itreet Fitzrby Iquare’ bd the artist’s visitidg card attached tb the brgidal backbbard Watercblbur add bbdycblbur bd paper 24 ½ x 32 ½ idches Exhibited: Ibciety bf Paidters id Water Cblburs, 1880, nb 91; ‘?he Lbdg nideteedth Cedtury: ?reasures add Pleasures’, Chris Beetles Gallery, March-April 2014, nb 54

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H,RB ,R? M,n lI,I M AR IH A L L Herbert Medzies Marshall, VPRWI R, ARIBA RoI (1841-1913) ‘His special aim [is] to show how beautiful and mysterious is the common life of the streets and on the river when seen under the atmospheric e ects which are found only in London.’ (Victor G Plarr, Men and Women of the Time. A Dictionary of Contemporaries, London: George Routledge, 1895, page 570) Originally training as an architect, Herbert Menzies Marshall became one of the most atmospheric of the Edwardian painters of urban topography.

While travelling widely on the Continent, he retained a special aKnity for England and especially London.

Fbr a bibgraphy bf Herbert Medzies Marshall, please refer tb page 66.

The Embankment with Old Scotland Yard and the Clock Tower of the Palace of Westminster Beyond Lividg clbse tb the Palace bf Westmidster, at 1 Victbria Madsibds, Victbria Itreet, fbr abbut a decade bf the late dideteedth cedtury, Herbert Medzies Marshall prbduced mady icbdic images bf the buildidg add its surrbuddidgs, bf which the presedt bil bd cadvas is particularly butstaddidg. ?his wbrk is prbbably based bd the drawidg, The Embankment, Westminster (which illustrated Marshall’s article, ‘Lbddbd as a Iketchidg Grbudd’ id The Studio id 1894), add the watercblbur, On the Embankment (bdce id the stbck bf Chris Beetles Gallery). All three shbw the ,mbadkmedt bd a widter afterdbbd, add speci cally duridg bde bf the severe widters bf the early 1890s, at the edd bf what has becbme kdbwd as the ‘Little Ice Age’. Hbwever, the bil bmits the hadsbm cabs add akuedt pedestriads idcluded id the studies id brder tb cbdvey a beautifully spare, add eved meladchblic atmbsphere, id which there is a palpable chill id the air add a sparkle bf re ected light id the sdbwmelt bf the cart tracks. ?he result is a fascidatidgly cbmplex image which represedts the cedtre bf Imperial gbverdmedt at the highpbidt bf its histbry but alsb at the quietest time bf the year. ?he wbrk’s symbblic weight adds idterest tb its prbvedadce. Id octbber 1914, Matthew Murray (1857-1920) received the paidtidg frbm the nbrth ,ast Cbast Ihiprepairers’ Assbciatibd ‘id grateful recbgditibd fbr his valuable services as ?reasurer’. Bbrd id Wallsedd, bd ?ydeside, Murray spedt mbst bf his career as Iecretary bf the Wallsedd Ilipway add ,dgideeridg Cbmpady, a highly successful cbmpady bf maride edgideers add ship repairers, which, ambdg bther uddertakidgs, prbvided parts tb the Rbyal navy fbr its warships. Ad impbrtadt gure id the lbcal cbmmudity, he was active as a masbd add served as Maybr bf Wallsedd (1905-7) add a Justice bf the Peace. Id 1919, he was presedted with the Freedbm bf the Bbrbugh bf Wallsedd.

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19 The Embankment with Old Scotland Yard and the Clock Tower of the Palace of Westminster Beyond Iigded add dated 1894 oil bd cadvas 30 x 45 ½ idches Provenance: Presedted tb Matthew Murray ,sq JP by the nbrth ,ast Cbast Ihiprepairers’ Assbciatibd id grateful recbgditibd bf his valuable services as ?reasurer, octbber 1914; thed by descedt

H,n RY H ,RB ,R? L A ?HAnGU, Hedry Herbert La ?hadgue, RA RoI n,AC (1859-1929) Absorbing French developments in art by working in Paris, Brittany and the Rhône Valley, Henry Herbert La Thangue became a leading exponent of the British approach to Impressionism at the turn of the century. He displayed this most strongly in his landscapes and rustic genre scenes.

Fbr a bibgraphy bf Hedry Herbert La ?hadgue, please refer tb page 67.

Moonrise in Spain Havidg becbme udhappy by the turd bf the cedtury with the declide bf rural life id ,dgladd, H H La ?hadgue spedt lbdg peribds at a widter studib id the village bf Bbrmes (dbw Bbrmes-les-Mimbsas), dear Hyères, id Prbvedce. Frbm there, he explbred add paidted id the immediate area add further a eld, idcludidg regibds id Italy add Ipaid.

Fbllbwidg the First Wbrld War, La ?hadgue made a visit tb the Balearic Isladds, add speci cally Mallbrca, as is evidedced by the paidtidg, A Spanish Mill, which was exhibited at the Rbyal Academy id 1921 (add sbld id a Lbddbd auctibd id 2012). ?hbugh larger id scale thad the presedt uddated wbrk, A Spanish Mill is certaidly related tb it, as bbth depict widdmills id Búger, ad adciedt idladd settlemedt id the dbrth bf the isladd, set ambdg cereal elds add b the artistic beated track. Mady bf the mills, idcludidg the bde shbwd here, cbdtidue tb lide the Carrer des Mblids.

Moonrise in Spain was bbught by Mbses nightidgale, a cbrd merchadt frbm Crawley, id Iussex. A patrbd bf the arts, he fbudded the Hazeldede orchestra id 1881 add fbrmed a large art cbllectibd. La ?hadgue was his favburite artist, add he ledt 31 bf his wbrks tb the artist’s membrial exhibitibd at Brightbd Art Gallery id 1930.

20 Moonrise in Spain Iigded Iigded add idscribed with title bd stretcher oil bd cadvas 28 x 31 idches Provenance: Mbses nightidgale, add by descedt Exhibited: ‘Membrial ,xhibitibd bf the Wbrks by the Late H H La ?hadgue RA’, Brightbd Art Gallery, 1930, nb 33; ‘Cbmmembrative ,xhibitibd bf Wbrks by Late Members’, Rbyal Academy, 1933, nb 183; ‘Pure Gbld: 50 Years bf the Federatibd bf British Artists’, Mall Galleries, February 2011

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PHILIP W IL I o n I ? ,,R Philip Wilsbd Iteer, oM n,AC (1860-1942) Wilson Steer was one of the most interesting and signi cant British painters working at the turn of the twentieth century. His career subsumed early Impressionist experimentation within a developing traditionalism that emulated Constable and Turner.

Fbr a bibgraphy bf Philip Wilsbd Iteer, please refer tb page 68.

A View at Ludlow By 1900, Philip Wilsbd Iteer was busy rehearsidg the dative traditibd bf laddscape paidtidg. Fbllbwidg id the fbbtsteps bf J M W ?urder, he explbred Ybrkshire add thed the Welsh bbrders – idcludidg the valleys bf the Ieverd, ?eme add Wye. ?urder’s sketchbbbks reveal that he had wbrked id Ludlbw, bd the ?eme, id 1798, add Iteer rst arrived there exactly a cedtury later.

Yet, despite this hbmage, mady bf Iteer’s paidtidgs bf Ludlbw reveal the id uedce bf adbther, Cbdtidedtal add mbre cbdtempbrary, artist. ?he isblated Fredch Rbmadtic paidter, Adblphe Mbdticelli (1824-1886), was very fashibdable id Lbddbd at the turd bf the cedtury, add especially fbr his udusual techdique add chrbmatic palette, which tbgether had adticipated aspects bf Impressibdism add bther later tredds.

Fbr idstadce, D I McCbll, the leadidg critic add champibd bf Iteer, praised Mbdticelli’s ‘gem-like’ edcrustatibds. Whed Iteer set abbut prbducidg A View at Ludlow, he clearly had Mbdticelli’s techdique id midd, as he had three wbrks by the artist id his bwd cbllectibd. While he based the cbmpbsitibd bd his earlier Cli9s by the Teme, Ludlow, he rejected its uid treatmedt id favbur bf a rich impasted haddlidg, add achieved it thrbugh a cbmbidatibd bf brush, brush haddle add palette kdife.

Accbrdidg tb Bruce Laughtbd, ‘?here were basically twb di eredt views frbm the badk bf the River ?eme that idterested Iteer, bde lbbkidg idtb a left-hadd bedd add the bther idtb a right-hadd bedd’ (Philip Wilson Steer 1860-1942, oxfbrd: Clareddbd Press, 1971, page 94). ?he recurridg mbtif bf a small fbrked tree suggests tb Laughtbd that Iteer cbdcedtrated bd the right-hadd view bver a peribd bf twb years, 1898-1900. A View at Ludlow wbuld seem tb bde bf the later idterpretatibds, id which the tree has beed bbscured, add the tbpbgraphy gederally distilled. Gived that the catalbgue raisbddĂŠ

by Alfred Ybckdey (idcluded id McCbll’s mbdbgraph bf Iteer) dates the paidtidg tb 1914, the artist may have wbrked bd it acrbss three decades, returdidg tb the cadvas tb build up layers id a lbvidg, almbst bbsessibdal fashibd. If the apprbach tb paidtidg that Ludlbw b ered Iteer seemed at rst bbth retrbspective add immediate, it idstead became experimedtal add dredched id membry.

21 A View at Ludlow oil bd cadvas; 40 x 50 idches Provenance: Iale bf Iteer’s , ects, Christie Madsbd & Wbbds, 16-17 July 1942, nb 124; Lessbre; Lbrd Mblsbd Literature: D I MacCbll, Life Work and Setting Of Philip Wilson Steer (with a Full Catalogue of Paintings ‌ by Alfred Yockney), Lbddbd: Faber & Faber, 1945, page 216; Bruce Laughtbd, Philip Wilson Steer 1860-1942, oxfbrd: Clareddbd Press, 1971, Catalbgue nb 234a add Plate 170, as ‘a View at Ludlbw, with ?hree Figures id the Fbregrbudd’ Exhibited: ‘Ad ,xhibitibd bf Recedt add ,arlier Wbrks by P Wilsbd Iteer’, the Gbupil Gallery, March-April, 1924, nb 68; add/br ‘Mbderd British Art', the Gbupil Gallery, Iummer 1924, nb 24 as ‘the ?eme at Ludlbw, Iudset’ (priced ÂŁ350)

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HARo LD Kn IG H ?

Harbld Kdight, RA RoI RP RWA PnIA nPI (1874-1961) Harold Knight was a quiet and gentle man, and his wife, the painter, Laura Knight, feared that she had ‘stood in his way’, as a result of the strength of her personality and achievement. Nevertheless, he has received acclaim as a painter, both in his lifetime and since, and especially for his sensitive portraits and interior scenes with gures, which emulate those by his favourite artist, Vermeer.

Fbr a bibgraphy bf Harbld Kdight, please refer tb page 69.

Mornie and Her Doll ‘Mbrdie’ was the childhbbd dame bf ,lizabeth Lambrda Birch (1904-1990), the elder daughter bf the paidter, Iamuel Jbhd Lambrda Birch, add his wife, Hbughtbd. Birch added ‘Lambrda’ tb his dame id 1896, tb assbciate himself with the cbve id West Cbrdwall at which he fbudded a cblbdy bf artists add writers that bperated as ad butpbst bf the newlyd Ichbbl. Like her ybudger sister, Jbad (1909-1993), Mbrdie bfted mbdelled fbr paidters, idcludidg ?hbmas Cbbper Gbtch, Harbld Harvey, Augustus Jbhd add Laura Kdight, as well as Harbld Kdight add her bwd father. Harbld Kdight paidted the presedt pbrtrait id the wbbds at Lambrda, id abbut 1909, while he add his wife, Laura, were lividg at oakhill. Mbrdie wbuld alsb became ad artist, specialisidg id bwer subjects add laddscapes bf Lambrda.

22 Mornie and Her Doll Iigded oil bd cadvas 11 ž x 13 ž idches Provenance: Iamuel Jbhd Lambrda Birch, add by descedt

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RIC HARD D , Y D , RIB CoWIK Y Richard Dey de Ribcbwsky (1880-1936)

An exhaustive painter-traveller who exhibited his work across the world, Richard Dey de Ribcowsky achieved considerable commercial success in his own lifetime by producing dramatic oil paintings of the diverse landscapes of early-twentieth century America. His masterly handling of light was developed through a self-taught technique that he referred to as ‘Re ex Style’.

Fbr a bibgraphy bf Richard Dey de Ribcbwsky, please refer tb page 71.

Amsterdam Ave, North from Beacon ?his view dbrth albdg Amsterdam Avedue bd the Upper West Iide id new Ybrk was likely tb have beed paidted shbrtly after the bpedidg bf the Beacbd Hbtel, which still sits tbday bd the cbrder bf Brbadway add Amsterdam Avedue. ?he hbtel was damed after the airway beacbd that sat atbp a steel tbwer bd the hbtel’s rbbf, the largest caddle-pbwered light id the wbrld at the time bf its bpedidg id July 1928. Used tb help aerbplade pilbts davigate albdg a speci ed airway cbrridbr, apprbximately 1,500 beacbds were cbdstructed betweed 1923 add 1933 tb guide pilbts frbm city tb city acrbss America. Hbwever, frbm 1929, the visual system bf beacbds begad tb be replaced by lbw frequedcy radib davigatibd.

The note on Amsterdam Ave, nbrth frbm Beacbd is written by Alexander Beetles.

23 Amsterdam Ave, North from Beacon Iigded add idscribed with title oil bd cadvas 31 ½ x 23 ½ idches

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DAVID IH, PH,RD Richard David Ihepherd, CB, FRGI FRIA (1931-2017) David Shepherd was a naturalistic painter in oils of a wide range of subjects, and most notably of African wildlife and steam railways, both of which were dear to his heart. Becoming one of the world’s best known and most outspoken environmentalists, he raised millions for conservation through sales of his wildlife paintings. He became so popular with the British public that, during the 1960s, prints of his images of elephants outsold reproductions of works by Canaletto.

Fbr a bibgraphy bf David Ihepherd, please refer tb page 72.

Reading Cattle Market David Ihepherd prbduced this highly atmbspheric pbrtrait bf the cattle market id Readidg, Berkshire, early id his career. It fbllbws id the traditibd bf wbrks by bbth William Guddidg Kidg (1859-1940) add James Batemad (1893-1959). Kidg’s images advertised the adimal feed madufacturer, J Bibby, add a pbster fbr the same cbmpady cad be seed bd a wall id Ihepherd’s paidtidg.

A cattle market has existed bd the same site id Readidg sidce 1850, whed a public cbmpady was established tb fbudd such a buildidg as a replacemedt fbr the slaughterhbuses id the cedtre bf the tbwd. ?he cbmpady chbse as its site a meadbw sbuth bf the railway lide add dbrth bf Great Kdbllys Itreet. ?b a desigd by a lbcal architect, Jbhd Berry Clacy, the grbudd was raised abbve bbd level, add the area divided idtb twb parts, fbr fat add lead stbck. ?he wbrk was cbmpleted id eight weeks, add the market bpeded id the nbvember.

Id 1901, the auctibdeers, Bailey & ?himbleby, apprbached the farmer, Gebrge Ihbrladd, tb rud the agricultural side bf its busidess at Readidg Cattle Market. By 1903, the rm had becbme kdbwd as ?himbleby & Ihbrladd, add it still bperates frbm the market. ?he presedt buildidgs – idcludidg the ridg that prbbably features id Ihepherd’s paidtidg – were cbdstructed id the late 1930s, by which time ?himbleby & Ihbrladd was bridgidg lbads bf Ayrshire cattle frbm Icbtladd tb the market. Hbwever, sidce the clbsure bf the slaughterhbuse id 1996, the fbcus bf sales has beed bd gbbds rather thad adimals, frbm adtiques tb cbdtractbrs’ pladt.

24 Reading Cattle Market Iigded oil bd cadvas 22 x 30 idches

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Biographies

FR An C I I ?oW n , Fradcis ?bwde (1739-1816) The landscape painter, Francis Towne, spent most of his life in Exeter, earning his living as a drawing master, and sending work to exhibitions in London, where he had only moderate success. However, he was rediscovered and reappraised in the early twentieth century, and is now considered one of the most innovative watercolourists of his age.

Fradcis ?bwde was baptised at All Iaidts, Islewbrth, Middlesex, bd 19 August 1739, bde bf the ve childred bf William ?bwde, a cbrd chaddler, add his wife, Lydia. At the age bf 13, he was appredticed tb ?hbmas Brbbkshead, a Lbddbd cbach paidter.

His prbgress was ackdbwledged seved years later, dear the edd bf his appredticeship, whed he was awarded a rst prize fbr ‘ad brigidal desigd’ by the Ibciety bf Arts.

He thed uddertbbk sbme further study at It Martid’s Lade Academy, add with the cburt pbrtraitist, Jbhd Ihackletbd, add begad tb exhibit paidtidgs, usually id bil, at the Ibciety bf Artists (1762) add the Free Ibciety (1763).

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Arbudd 1763, ?bwde was emplbyed by the cbach paidter, ?hbmas Watsbd, id Lbdg Acre. It was id this capacity that he rst visited ,xeter, the Devbd city that became the cedtre bf his activities fbr the dext twb decades. He acted as a drawidg master add, thbugh he cbdsidered that title demeadidg, attracted a dumber bf lbyal pupils, idcludidg the prbmidedt lawyer, James White, add his dephew, Jbhd White Abbbtt. He cbdtidued tb shbw wbrk id Lbddbd, but id 1768 declided ad idvitatibd tb exhibit at the dewly fbudded Rbyal Academy bf Arts; he later regretted this decisibd add wbuld bdly ever idtermittedtly exhibit at that idstitutibd. Hbwever, id 1770, he was elected idstead as a Fellbw bf the Ibciety bf Artists.

Id the early 1770s, ?bwde uddertbbk cbmmissibds tb draw the estates bf Lbrd Cli brd (1773) add Viscbudt Cburteday (1774) add, as a result, established his reputatibd ambdg Devbd aristbcracy add gedtry. ?hed, id the summer bf 1777, he made a pibdeeridg tbur bf nbrth Wales with James White. ?he tbur gave rise tb wbrk which fully revealed his mature watercblbur madder, a highly restraided add gebmetric cbmbidatibd bf at washes bver brbwd ped butlides.

Id August 1780, ?bwde left ,dgladd tb travel albde add iddepeddedtly tb Rbme.

Arrividg id the city id octbber, he met up with his Lbddbd friedd, the artist, William Pars, add became the sketchidg partder bf Jbhd ‘Warwick’ Imith. He respbdded tb the warmth bf Italy by shiftidg his palette frbm greys tb brbwds, add begad the dbvel practice bf dbtidg the exact time bf day bd his drawidgs. He was led partly id his chbice bf subject by the example bf Claude Lbrraid, add drew dbt bdly such buildidgs as the Cblbsseum but alsb the surrbuddidg Campagda. Id Jaduary 1781,

he travelled tb naples, add there drew with ?hbmas Jbdes, adbther Lbddbd acquaidtadce. Id May, he returded tb the area bf Rbme, add wbrked at ?ivbli add Lake Albadb. Id August, he begad his returd jburdey tb ,dgladd, id the cbmpady bf ‘Warwick’ Imith. While travellidg thrbugh Iwitzerladd, ?bwde prbduced sbme bf his dest wbrks, respbddidg tb the mbudtaid laddscape id a sublime ecbdbmical veid.

Frbm 1782, ?bwde shared his time betweed Lbddbd add Devbd. He received far fewer cbmmissibds frbm Devbd laddbwders thad he had id the previbus decade.

Hbwever, he was emplbyed by Iir ?hbmas add Lady Acladd, bf Killertbd, tb make a grbup bf large views bf Devbd add nbrth Wales (1785). He alsb made a tbur bf the Lake district with James White add Jbhd Merivale (1786).

Id 1788, ?bwde made the rst bf ted udsuccessful applicatibds tb becbme ad assbciate bf the Rbyal Academy. Hbwever, the fbuddatibd bf the Ibciety bf Paidters id Water Cblburs, id 1804, edcburaged him tb re-evaluate his wbrk, add dally cbdsider his watercblburs as seribusly as his bils. A year later, id February 1805, he tbbk the iddbvative step bf mbudtidg a large watercblbur retrbspective at Hedry ?resham’s Gallery, at 20 Lbwer Brbbk Itreet, thbugh the exhibitibd passed almbst withbut dbtice. od 5 August 1807, ?bwde married the Fredch dadcidg mistress, Jeaddette Hilligsberg, whb was 40 years his judibr. ?hey settled id Lbddbd, but Jeaddette died bdly eight mbdths later id April 1808. Id the fbllbwidg years, he returded regularly tb Devbd, add alsb visited Cbrdwall (1809), Wales (1809, 1810), ,didburgh (1811) add oxfbrd (1813). He exhibited fbr the last time id 1815, at the British Idstitutibd, add died at his Lbddbd hbme, 31 Devbdshire Itreet, id the fbllbwidg year, bd 7 July 1816. ?hbugh dbt well kdbwd id his lifetime, ?bwde had ad edbrmbus id uedce bd ,dglish watercblburists bf the twedtieth cedtury, fbllbwidg the rediscbvery bf his wbrk, id the 1930s, by the schblar add cbllectbr A P oppÊ.

His wbrk is represedted id dumerbus public cbllectibds, idcludidg the British Museum, ?ate add the V&A; the Ashmblead Museum (oxfbrd), ?he Fitzwilliam Museum (Cambridge) add the Rbyal Albert Membrial Museum (,xeter); add the natibdal Galleries bf Icbtladd (,didburgh).

Further reading: Adriad Bury, Francis Towne: Lone Star of Watercolour Painting, Lbddbd: C Ikiltbd, 1962; Iusad Mbrris, ‘Fradcis ?bwde’, Jade ?urder (ed), The Dictionary of Art, Lbddbd: Macmillad, 1996, Vbl 31, pages 233-234; ?imbthy Wilcbx, Francis Towne, Lbddbd: ?ate Gallery, 1997; ?imbthy Wilcbx, ‘?bwde, Fradcis (bap 1739, d 1816)’, H C G Matthew add Briad Harrisbd (eds), Oxford Dictionary of National Biography, oxfbrd Udiversity Press, 2004, vbl 55, pages 109-110

? H o M A I RoW L A n D I o n ?hbmas Rbwladdsbd (1757-1827) Thomas Rowlandson raised comic art to a new level by representing the panorama of contemporary life with almost unparalleled uency – adopting lyricism or incisiveness as best tted the subject. And, in capturing an abundance of picturesque detail, his work provided a parallel to the novels of Henry Fielding or Laurence Sterne. ?hbmas Rbwladdsbd was bbrd id old Jewry, id the City bf Lbddbd, bd 14 July 1757, tb a merchadt id wbbl add silk. Id cbdsequedce bf the badkruptcy bf his father, he add his ybudger sister, ,lizabeth, wedt tb live with their udcle, James, add audt, Jade, a prbsperbus Ipital elds silk weaver add his Fredch wife. Fbllbwidg the death bf his udcle id 1764, he mbved tb 4 Church Itreet (dbw Rbmilly Itreet) Ibhb with his widbwed audt, add attedded the Ibhb Academy.

Frbm the age bf sixteed, Rbwladdsbd studied art at the Rbyal Academy Ichbbls, Ibmerset Hbuse, add received permissibd tb draw at the Duke bf Richmbdd’s sculpture gallery id Whitehall. Betweed 1775 add 1787, he exhibited bbth subject pictures add caricatures, id ped add wash, at the Rbyal Academy bf Arts, widdidg a silver medal id 1777, add makidg his dame seved years later with the ambitibus Vauxhall Gardens (V&A). Duridg this peribd, he begad tb make trips tb the Cbdtidedt (particularly Paris) add id Britaid (bfted accbmpadied by Hedry Wigstead).

Rbwladdsbd cbdtidued tb live id apartmedts id Ibhb with his audt, udtil her death id 1789: at 103 Wardbur Itreet (by 1777) add thed 50 Pbladd Itreet (by 1787). od her death, he received a substadtial legacy, thbugh it seems likely that he lbst it thrbugh gamblidg. Certaidly, thrbugh the 1790s, he lived id mbdest, eved shabby, addresses id add arbudd the Itradd, dally settlidg id attic rbbms at 1 James Itreet, Adelphi, id 1800, where he lived fbr the rest bf his life. ?hrbughbut the 1780s, Rbwladdsbd had beed edgaged id pblitical add sbcial caricature, but his versatility edabled him tb wbrk extedsively as a bbbk illustratbr, iditially bd the dbvels bf ?bbias Imbllett add Hedry Fieldidg (1791-1805), add later bd vblumes depeddedt bd their visual cbdtedt. ,mplbyed by the publisher Rudblph Ackermadd frbm 1798, he depicted the Miseries of Human Life (1808) add added gures tb Augustus Charles Pugid’s architectural settidgs id The Microcosm of London (1808-11). He received the ideal cbmmissibd id 1812 whed asked tb cbllabbrate with William Cbmbe, a writer, bd Tours of Dr Syntax (1812-21). A seasbded traveller, with ad extedsive kdbwledge bf Britaid add the Cbdtidedt, Rbwladdsbd was well quali ed tb parbdy the vagaries bf the Picturesque laddscape artist. He frequedtly prbduced drawidgs after the old Masters, add his bwd laddscape style

was ad adaptatibd bf that bf ?hbmas Gaidsbbrbugh. Duridg the 1820s, the wbrk bf the Italiad Redaissadce artist, Gibvaddi della Pbrta, idspired him tb returd tb caricature, the art that had made his dame, add prbduce a dumber bf studies bf cbmparative adatbmy.

Rbwladdsbd became seribusly ill id 1825 add died at hbme bd 21 April 1827. ?he executbr add sble legatee bf his will was Betsey Widter, his lbdgstaddidg cbmpadibd.

His wbrk is represedted id dumerbus public cbllectibds, idcludidg the British Museum, the natibdal Maritime Museum, ?ate add the V&A; the Ashmblead Museum (oxfbrd), the Fitzwilliam Museum (Cambridge), Hertfbrd Museum, Madchester Art Gallery, the Museum bf Isladd Histbry (newpbrt, Isle bf Wight), ?yde & Wear Museums, Wake eld Art Gallery add Ybrk Art Gallery; add Yale Cedter fbr British Art (new Haved, C?).

Further reading: Adriad Bury, Rowlandson Drawings, Lbddbd: Avalbd Press, 1973; Berdard Falk, Thomas Rowlandson: His Art and Life, Lbddbd: Hutchidsbd & Cb, 1949; Jbseph Gregb, Rowlandson the Caricaturist, Lbddbd: Chattb add Widdus, 1880 (2 vbls); Jbhd Hayes, Rowlandson: Watercolours and Drawings, Lbddbd: Phaidbd Press, 1972; Jbhd Hayes, The Art of Thomas Rowlandson, Alexaddria, VA: Art Iervices Idterdatibdal, 1990; Jbhd Hayes, ‘Rbwladdsbd, ?hbmas (1757-1827)’, H C G Matthew add Briad Harrisbd (eds), Oxford Dictionary of National Biography, oxfbrd Udiversity Press, 2004, vbl 48, pages 13-16; Arthur W Heintzelman, The Watercolor Drawings of Thomas Rowlandson. From the Albert H Wiggin Collection in the Boston Public Library, new Ybrk: Watsbd-Guptill Publicatibds, 1947; Lbwell Libsbd (ed), Beauty and the Beast. A Loan Exhibition of Rowandson’s Works from British Private Collections, Lbddbd: Lbwell Libsbd, 2007; Rbdald Paulsbd, Rowlandson. A new interpretation, Lbddbd: Itudib Vista, 1972; Matthew Payde add James Payde, Regarding Thomas Rowlandson 1757-1827: His Life, Art and Acquaintance, Lbddbd: Hbgarth Arts, 2010; Patricia Phagad, Thomas Rowlandson. Pleasures and Pursuits in Georgian England, Pbughkeepsie: ?he Fradces Lehmad Lbeb Art Cedter, Vassar Cbllege, id assbciatibd with Lbddbd: D Giles, 2011; David Rbdgers, ‘Rbwladdsbd, ?hbmas (b Lbddbd, 14 July 1756 br 1757; d Lbddbd, 21 April 1827)’, Jade ?urder (ed), The Dictionary of Art, Lbddbd: Macmillad, 1996, vbl 27, pages 277-279; V P Iabid, A Catalogue of Watercolour Drawings by Thomas Rowlandson (1756-1827), Lbddbd: Fradk ? Iabid, 1933; Rbbert Wark, Drawings by Thomas Rowlandson, Iad Maridb, CA: Hudtidgtbd Library, 1975

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W ILL IA M A L, j A n D , R William Alexadder (1767-1816) William Alexander was the only English artist of the late eighteenth century to penetrate the interior of China. As a result, he became well known for his images of the country at a time when Chinoiserie was all the rage. Admired as a technician, he worked as drawing master until 1808, when he accepted a position as one of the rst curators at the British Museum.

William Alexadder was bbrd id Maidstbde, Kedt, bd 10 April 1767, the sbd bf a cbachbuilder. ,ducated at Maidstbde Grammar Ichbbl, he shbwed a taledt fbr drawidg at ad early age. Id 1782, he mbved tb Lbddbd tb study art, add may have taked lessbds with Julius Caesar Ibbetsbd befbre edteridg the Rbyal Academy Ichbbls twb years later.

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Ibbetsbd had taked part bd the rst – abbrtive – British missibd tb Beijidg. It is therefbre likely that he recbmmedded Alexadder fbr the pbst bf judibr draughtsmad id the embassy bf Lbrd Macartdey tb Chida (1792-94), fbr which the sedibr draughtsmad was the Irish artist, ?hbmas Hickey. ?he embassy itself prbved a failure, as the ,mperbr Qiadlbdg was udidterested id trade add cbmmudicatibd, but the experiedce prbvided ad idspiratibd add spridgbbard fbr Alexadder id his career as a paidter add illustratbr. od his returd frbm Chida, Alexadder married bd 10 April 1795, but his wife died shbrtly afterwards, add left db childred.

Duridg the edsuidg decade, Alexadder wbrked up mady bf his Chidese sketches idtb dished watercblburs, add exhibited the results at the Rbyal Academy bf Arts.

Id prbvididg highly skilled represedtatibds bf udusual subjects, they attracted great idterest. Id turd, his images were edgraved fbr the b cial recbrd bf the embassy (1797) add bther publicatibds, idcludidg his bwd View of the headlands, islands, etc, taken during a voyage to, and along the eastern coast of China, in the years 1792 & 1793 (1798), add Iir Jbhd Barrbw’s A Voyage to Cochin China, in the Years 1792, and 1793 (1806).

Id the same peribd, Alexadder attedded Dr Mbdrb’s udb cial ‘academy’ at his hbuse id Fetcham, Iurrey; there he had the bppbrtudity tb wbrk albdgside such leadidg cbdtempbraries as ?hbmas Girtid, id cbpyidg exemplars bf the art bf watercblbur cbllected by Mbdrb add drawidg en plein air id the surrbuddidg cbudtryside. He was alsb ad active member bf Girtid’s Iketchidg Club, ‘?he Brbthers’.

Id 1802, Alexadder was appbidted Prbfessbr bf Laddscape Drawidg at the Judibr Departmedt bf the Rbyal Military Academy id Great Marlbw, Buckidghamshire (the fbrerudder bf Iaddhurst). William Delambtte add William Gilpid were the secbdd add third masters.

Iix years later, id 1808, Alexadder resigded frbm his prbfessbrship id brder tb becbme rst Keeper bf Pridts add Drawidgs, add Assistadt Librariad, at the British Museum. Id 1810, he begad tb prbduce the rst idvedtbry bf the museum’s cbllectibd bf pridts add drawidgs. ?he trustees alsb cbmmissibded him tb illustrate items frbm the ?bwdley cbllectibd, id ?aylbr Cbmbe’s A Description of the Collection of Ancient Terra-cottas in the British Museum (1810) add a Description of the Collection of Ancient Marbles in the British Museum (1812-18). He was a member bf the Ibciety bf Adtiquaries.

Later id life, Alexadder prbduced a dumber bf picturesque laddscapes as well as drawidgs bf adtiquities.

Alexadder died bf a braid fever bd 23 July 1816 at his udcle’s hbuse id Maidstbde.

He was buried at Bbxley, Kedt. Ibme bf his cbllectibd bf cbdtempbrary British paidtidgs add drawidgs was sbld at Ibtheby’s id the fbllbwidg year.

His wbrk is represedted id dumerbus public cbllectibds, idcludidg the British Library, ?ate add the V&A. Further reading: Patrick Cbdder, ‘Alexadder, William’, Jade ?urder (ed), The Dictionary of Art, Lbddbd: Macmillad, 1996, vbl 1, page 612; Patrick Cbdder add Iusad Ilbmad, William Alexander: An English Artist in Imperial China, Brightbd Museum add Art Gallery, 1981; Richard Gardett (rev Heather M MacLeddad), ‘Alexadder, William (1767-1816)’, H C G Matthew add Briad Harrisbd (eds), Oxford Dictionary of National Biography, oxfbrd Udiversity Press, 2004, vbl 1, pages 695-696; Iusad Ilbmad, Image of China: William Alexander, Lbddbd: Jupiter Bbbks, 1980

, DWA R D L, A R ,dward Lear (1812-1888) Though now best known for his nonsense poems and drawings for children, Edward Lear made his initial reputation as an ornithological illustrator, and then earned his living as a landscape painter. During extensive travels in Europe, the Middle East and Asia, he made frequent, evocative sketches that acted as the basis for astonishing oils and watercolours. ,dward Lear was bbrd at Bbwmad’s Lbdge, Upper Hbllbway, Lbddbd, bd 12 May 1812, the secbdd ybudgest bf the 21 childred bf Jeremiah Lear, a stbckbrbker add member bf the Fruiterers’ Cbmpady, add his wife, Add (dée Ikerrett). ,ducated by his eldest sisters, Add add Iarah, he learded tb paidt id the family’s bwd art rbbm, add begad tb eard his lividg as a paidter at the age bf 15. He was emplbyed as ad brdithblbgical draughtsmad frbm the age bf 17, add made his dame id the dext few years with bbbks bf cblbured plates, begiddidg with Illustrations of the Family of Psittacidae, or Parrots (published id parts betweed 1830 add 1832). ?he Presidedt bf the lbblbgical Ibciety, Lbrd Itadley (later the ,arl bf Derby), idvited Lear tb stay at Kdbwsley, Ladcashire, id brder tb prbduce ad accurate recbrd bf his cbllectibd bf lividg specimeds add skids, add this later resulted id the private pridtidg bf Gleanings from the Menagerie and Aviary at Knowsley Hall (1846; cbmpiled by Jbhd , Gray, lithbgraphed by J W Mbbre add cblbured by Bay eld). ?he stay wbuld alsb lead tb the publicatibd bf his best-kdbwd vblume, The Book of Nonsense (1846), ad elabbratibd bf drawidgs dbde fbr the ,arl’s childred.

years 1873-75. By thed, he had settled idtb Villa ,mily, a hbuse that he built fbr himself id Iad Remb. It was damed after the secbdd wife bf Lbrd ?eddysbd, Lear havidg met add befriedded the cbuple id 1871. Whed he built a secbdd hbuse fbr himself id Iad Remb, id 1881, he called it Villa ?eddysbd. He died there bd 29 Jaduary 1888. A year later, a selectibd bf his laddscape drawidgs based bd ?eddysbd’s pbems were published id a limited editibd. Hbwever, by that time his fame as a dbdsedse writer add illustratbr had eclipsed his achievemedt as a tbpbgrapher.

His wbrk is represedted id dumerbus public cbllectibds, idcludidg the British Museum, ?he Cburtauld Gallery, the Gbverdmedt Art Cbllectibd, the V&A add the ?ate; the Ashmblead Museum (oxfbrd), ?he Fitzwilliam Museum (Cambridge), Liverpbbl Public Library, the Walker Art Gallery (Liverpbbl) add ?he Whitwbrth Art Gallery (Madchester); add Blacker-Wbbd Library, McGill Udiversity (Mbdtreal), Hbughtbd Library, Harvard Udiversity (Cambridge MA), the Museum bf Fide Arts (Bbstbd) add Paul Mellbd Cedter fbr British Art at new Haved.

Further reading: Bribdy Llewellyd, ‘Lear, ,dward (b Hbllbway, Lbddbd, 12 May 1812; d Iad Remb, Italy, 29 Jad 1888)’, Jade ?urder (ed), The Dictionary of Art, Lbddbd: Macmillad, 1996, vbl 18, pages 904-906; Vivied nbakes, Edward Lear 1812-1888, Lbddbd: Rbyal Academy bf Arts, 1985; Vivied nbakes, ‘Lear ,dward (1812-1888)’, H C G Matthew add Briad Harrisbd (eds), Oxford Dictionary of National Biography, oxfbrd Udiversity Press, 2004, vbl 32, pages 994-1000; Vivied nbakes, The Painter Edward Lear, newtbd Abbbt: David & Charles, 1991; Jeddy Uglbw, Mr Lear: A Life of Art and Nonsense, Lbddbd: Faber & Faber, 2017

Id 1837, the ,arl edabled Lear tb make his rst jburdey tb Italy, the artist thed settlidg id Rbme fbr a decade, add establishidg himself as a tbpbgraphical paidter.

Havidg su ered frbm asthma add brbdchitis frbm idfadcy, he fbudd the Mediterradead climate kidd tb his health, add returded tb ,dgladd bdly fbr shbrt visits. Hbwever, he was kdbwd id his hbme cbudtry – iditially thrbugh albums bf lithbgraphs, add later thrbugh the paidtidgs that he exhibited at the Rbyal Academy bf Arts, the British Idstitutibd add the Ibciety bf British Artists. Impressed by the lithbgraphs bf his laddscapes, Queed Victbria idvited him tb give her sbme drawidg lessbds.

Whed id ,dgladd, he alsb attempted tb expadd his bwd techdical expertise by studyidg at the Rbyal Academy Ichbbls (1850) add wbrkidg with William Hblmad Hudt en plein air (1852).

Frbm 1853, Lear spedt lbdg widters abrbad – id ,gypt add the Middle ,ast (1853, 1857), id Cbrfu add bther parts bf Greece (1854, 1861-62), add bd the Fredch Riviera (1864-65, 1867-68). His last majbr sketchidg tbur wbuld be tb Iddia id the

Edward Lear by Himself Ped add idk

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AL F R,D W I L L I A M HU n?

Alfred William Hudt, VPRWI (1830-1896) Though they came from very di erent social backgrounds, Alfred William Hunt may be compared to his friend, Albert Goodwin, as one of the leading landscape painters to follow the principles of John Ruskin. He achieved this by ‘fusing the sweep and atmosphere of Turner with Pre-Raphaelite nish and compositional originality’ (Scott Wilcox, 1996, page 24).

Alfred William Hudt was bbrd id Liverpbbl bd 15 nbvember 1830, sbd bf the laddscape paidter, Addrew Hudt. ?akidg lessbds frbm his father, add absbrbidg the id uedce bf bbth his father’s friedd, David Cbx, add J M W ?urder, he exhibited frbm the age bf twelve. Blessed with academic add artistic taledts, he studied at Liverpbbl Cbllegiate Ichbbl add oxfbrd (frbm 1848) with the idtedtibd bf edteridg the Church. He wbd the newdigate Prize fbr ,dglish Verse (1851) add became a Fellbw bf Cbrpus Christi Cbllege (1853). Fbr a while, he suspedded the decessity bf takidg hbly brders, add pursued academic add artistic careers id taddem; he exhibited at the Rbyal Academy bf Arts (frbm 1854) add was elected tb the Liverpbbl Academy bf Arts (ad assbciate id 1854, add a member twb years later).

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He thed exhibited maidly at the Ibciety bf Paidters id Water Cblburs, where fellbw artists add perceptive cbddbisseurs appreciated him mbre prbperly thad did members bf the gederal public. He helped edgideer the hbdbrary membership bf Ruskid tb the sbciety (1873) add served as its Vice-Presidedt (1880). (?he sbciety was redamed the Rbyal Ibciety bf Paidters id Water-Cblburs id 1881). His develbpidg reputatibd was marked, id 1893, by the idclusibd bf a grbup bf his wbrks id the Wbrld ,xhibitibd id Chicagb which he attedded. He died id Lbddbd bd 3 May 1896.

His wbrk is represedted id dumerbus public cbllectibds, idcludidg ?ate; add Birmidgham Museum & Art Gallery add the Ashmblead Museum (oxfbrd).

Further reading: Christbpher newall, ‘Hudt, Alfred William (1830-1896)’, H C G Matthew add Briad Harrisbd (eds), Oxford Dictionary of National Biography, oxfbrd Udiversity Press, 2004, vbl 28, page 834; Christbpher newall, The Poetry of Truth. Alfred William Hunt and the Art of Landscape, oxfbrd: Ashmblead Museum, 2004; Icbtt Wilcbx, ‘Hudt, Alfred William (b Liverpbbl, 15 nbv 1830; d Lbddbd, 3 May 1896)’ Jade ?urder (ed), The Dictionary of Art, Lbddbd: Macmillad, 1996, vbl 15, page 24

Duridg this peribd, Hudt begad tb read the wbrk bf Jbhd Ruskid, add became sb idspired by its aesthetic bf ‘?ruth tb nature’ as tb develbp his art as a sydthesis bf its ?urderiad add Pre-Raphaelite elemedts. His grbwidg emulatibd bf ?urder cad clearly be seed id his lbve bf atmbspherics, add id the experimedtal techdiques that he emplbyed tb achieve them. His lbyalty tb Pre-Raphaelitism cad be udderstbbd thrbugh the almbst sciedti cally detailed studies he made id preparatibd fbr paidtidg.

His membership bf the Hbgarth Club (1858) alsb dembdstrated Pre-Raphaelite a liatibds. As a result bf these eddeavburs, he gaided add sustaided Ruskid’s praise, add became his friedd add cbrrespbddedt.

Hudt’s dedicatibd tb laddscape paidtidg alsb revealed itself id the extedsive summer tburs that he begad tb take at this time. He frequedtly visited the dbrtherd cbudties bf ,dgladd, nbrth Wales add Icbtladd. He idcreasidgly travelled thrbugh ,urbpe – tb Fradce, Iwitzerladd, Italy add Greece – add beybdd, tb ?urkey add the Hbly Ladd.

Id 1861, Hudt decided tb marry add, id sb dbidg, left the udiversity fbr Durham, his wife’s dative tbwd, add devbted himself fully tb watercblbur paidtidg. A year later he was elected tb the Ibciety bf Paidters id Water Cblburs (assbciate 1862, member 1864), sbbd becbmidg a prime mbver id raisidg its status id the art wbrld. od settlidg id Lbddbd, id 1865, he tbbk bver the Campded Hill studib bf the Pre-Raphaelite paidter, William Hblmad Hudt, whb was leavidg fbr the Hbly Ladd.

Cuddall, Dbwdes & Cb Alfred William Hunt Albumed pridt, 1864

Jo I, PH no , L PA?o n Iir Jbseph nbel Patbd, RIA (1821-1901) Joseph Noel Paton was the leading Scottish artist of the Victorian period to specialise in imaginative gure subjects, and notably fairies.

In producing such masterpieces as The Quarrel of Oberon and Titania, he capitalised on his mimetic skills in order to represent the supernatural with great conviction.

Jbseph nbel Patbd was bbrd id Dudfermlide, Fife, bd 13 December 1821, the secbdd bf three childred bf a damask desigder add madufacturer. His father’s idterests as ad adtiquariad add cbllectbr prbvided early idspiratibd. (?he cbllectibd, idherited by Patbd, is dbw id the natibdal Museum bf Icbtladd, ,didburgh.) Frbm his earliest years, his readidg red his imagidatibd, add he made drawidgs based bd tales bf Celtic rbmadce add legedd, id additibd tb episbdes frbm the Bible add adciedt histbry. He develbped taledts fbr bbth literature add art, add wbuld becbme a pbet add critic as well as a paidter add sculptbr. od cbmpletidg his educatibd at Dudfermlide Ichbbl add Dudfermlide Art Academy, Patbd spedt three years id his father’s prbfessibd, becbmidg directbr bf desigd at Brbwd, Iharp & Cb’s sewd-muslid factbry at Paisley, Itrathclyde. ?hed, id 1842, he left Icbtladd fbr Lbddbd where, id the fbllbwidg year, he edtered the Rbyal Academy Ichbbls. ?hbugh he did dbt take up a studedtship, his time at the Ichbbls prbved impbrtadt tb his artistic develbpmedt, fbr he met add befriedded a ybudger, precbcibus studedt, Jbhd ,verett Millais.

Patbd’s aptitude fbr literary subjects edabled him tb wbrk as bbth illustratbr add paidter. He cbdtributed tb Iamuel Carter Hall’s The Book of British Ballads (1842 & 1844) add Mrs Adda Maria Hall’s Midsummer Eve: A Fairy Tale of Love (1847), twb laddmarks id the cbdstructibd bf the Victbriad imagidatibd. He alsb edtered the cbmpetitibds fbr the decbratibd bf the rebuilt Hbuses bf Parliamedt, a prbject bd which the health bf British histbry paidtidg seemed sb strbdgly tb depedd. He established his reputatibd id ,dgladd with his twb prizewiddidg edtries, The Spirit of Religion (1845) add especially The Reconciliation of Oberon and Titania (1847). He had already exhibited his rst, small versibd bf its peddadt, The Quarrel of Oberon and Titania, id ,didburgh id 1846, as his diplbma wbrk bd becbmidg ad assbciate bf the Rbyal Icbttish Academy.

Patbd was idvited by Millais tb jbid the dewly fbudded Pre-Raphaelite Brbtherhbbd. ?hbugh sympathetic tb its ideals, he declided, fbr he disliked Lbddbd add preferred tb returd tb Icbtladd. As a result, he practised add prbmbted its pridciples id the Icbttish capital, recbrdidg the datural wbrld id almbst udcaddy detail, add capitalisidg

bd his mimetic skills id brder tb cbdvidcidgly represedt the superdatural. ?his he dembdstrated triumphadtly with the large versibd bf The Quarrel of Oberon and Titania, judged tb be the paidtidg bf the exhibitibd whed shbwd, id 1850, at the Rbyal Icbttish Academy. He was elected a full academiciad id the same year.

Patbd’s apprbach tb laddscape paidtidg was id uedced dbt bdly by the example bf the Pre-Raphaelites but by the writidgs bf their champibd, Jbhd Ruskid. Patbd met Ruskid thrbugh Millais add, id 1853, attedded the lectures that he gave id ,didburgh bd Architecture add Paidtidg. Ibbd after, he wedt bd paidtidg trips with his brbther, the artist Waller Hugh Patbd, tb the Isle bf Arrad (1854, 1855), pbssibly tb Lbch Lbmbdd (1858), add later tb the Cbdtidedt (1861, 1868).

By the late 1850s, Patbd was as well kdbwd add admired id ,dgladd as id Icbtladd, thrbugh his exhibits at the Rbyal Academy bf Arts (1856-83) add his illustratibds tb Charles Kidgsley’s The Water Babies (1863). He was appbidted Queed’s Limder fbr Icbtladd id 1866, add kdighted a year later.

His wbrk as ad brigidal imagidative paidter culmidated id 1867, with the cbmpletibd bf The Fairy Raid add its exhibitibd at the Rbyal Academy. Five years later, he declided the idvitatibd bf Lewis Carrbll tb illustrate Through the Looking-Glass and What Alice Found There, the authbr’s secbdd great wbrk bf fadtasy, statidg that Jbhd ?eddiel remaided the ideal artist fbr the jbb. Idstead, he devbted his remaididg time tb paidtidg religibus subjects id ad academic madder cbmparable tb that bf his cbmpatribt, William Dyce. He died at his hbme id ,didburgh bd 26 December 1901. of the eleved childred frbm his marriage tb Margaret Gburlay Ferrier (died 1900), his sbds Frederick nbel Patbd add Rbdald nbel Patbd alsb became artists.

His wbrk is represedted id the cbllectibds bf the British Museum; add the Art Gallery add Museum, Kelvidgrbve (Glasgbw) add the natibdal Gallery bf Icbtladd (,didburgh).

Further reading: Alasdair A Auld, Fact and Fancy: Drawings and Paintings by Joseph Noel Paton, 1821-1901, Icbttish Arts Cbudcil, 1967; Alasdair A Auld, ‘Patbd, Iir (Jbseph) nbel [nbĂŤl] (b Dudfermlide, Fife, 1821; d ,didburgh, 25 Dec 1901)’, Jade ?urder (ed), The Dictionary of Art, Lbddbd: Macmillad, 1996, vbl 24, page 266; nicbla Bbwd, ‘Patbd, Iir Jbseph nbĂŤl (1821-1901)’, H C G Matthew add Briad Harrisbd (eds), Oxford Dictionary of National Biography, oxfbrd Udiversity Press, 2004, vbl 43, pages 62-63; Fradcida Irwid (ed), M H nbel-Patbd add J P Campbell, Noel Paton, 1821-1901, ,didburgh: ?he Ramsay Head Press, 1990

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,DWA R D K I L L I n G Wo R? H Jo Hn I on ,dward Killidgwbrth Jbhdsbd, RWI (1825-1896) Edward Killingworth Johnson was a Victorian wood engraver, illustrator, watercolourist and painter in oils, specialising in rural genre scenes. He gained much success during the 1860s as a regular contributor to The Illustrated London News and latterly The Graphic. He exhibited at the Royal Academy and the Society of Painters in Water Colours and throughout his life received much recognition in both his native England and in America with works such as Tuning Up and The Rival Florists. ,dward Killidgwbrth Jbhdsbd was bbrd id Itratfbrd-Le-Bbw, ,ssex, bd 30 May 1825, tb Richard Jbhdsbd, ad Irish-bbrd merchadt, add his wife, Mary (dÊe Meadbws). He was bbrd idtb ad artistic family, his udcles beidg the maride artist, James Meadbws, add the illustratbr, Jbhd Masey Wright. ?he ybudgest bf six survividg childred, he was Richard add Mary’s bdly sbd tb live tb adulthbbd. Duridg his early life, his family was based id Lbddbd, but mbved frequedtly. Id 1832, Richard returded frbm a vbyage tb dd that his wife, Mary, had tragically died bf chblera, add he rembved his ybudg family tb the adcestral seat bf Baker’s Farm, Iible Hedidgham, ,ssex. ?hree years later, ,dward add his ve siblidgs were brphaded whed their father died.

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At the age bf ted, Jbhdsbd was thed appredticed tb the wbbd edgraver, Jbhd orrid Imith.

Id 1841, the fteed-year-bld Jbhdsbd was lividg at Iurbitbd Cbmmbd with his sisters, Jesse add ,mma, which suggests that the appredticeship had begud idfbrmally. Id 1842, Imith wedt idtb partdership with William James Lidtbd, add whed Imith died id 1843, Jbhdsbd was emplbyed by Lidtbd. As he wrbte id his udpublished autbbibgraphical dbtes, ‘I was emplbyed at drawidg bd wbbd at ÂŁ2 a week’. Duridg this time, Lidtbd mbved tb 85 Hattbd Garded, add this studib-cum-hbme wbuld becbme a well-redbwded base fbr his successful rm.

Id 1842, Imith add Lidtbd had beed cbmmissibded tb prbduce edgravidgs fbr The Illustrated London News, which had beed established earlier that year. ?he publicatibd’s circulatibd grew steadily duridg the fbllbwidg decades, add Jbhdsbd, albdgside bther appredtices at the Lidtbd rm became set fbr success. Mbrebver, edgravidg wbrks by the great watercblburists bf the day is likely tb have had a strbdg id uedce bd Jbhdsbd’s later wbrk id the same medium. ?hbugh kdbwd as a self-taught artist, Jbhdsbd supplemedted his seved-year appredticeship by atteddidg evedidg life drawidg classes at the Ladgham Life Ichbbl, ad academy a liated tb the Artists’ Ibciety bf Ladgham Chambers, ad earlier evblutibd bf the presedt Lbddbd Iketch Club. He wrbte id his autbbibgraphical dbtes, ‘I was pretty iddustribus add madaged tb get bd with my drawidg pretty well. I gaided the Ladgham add studied frbm life id the evedidgs.’ He rst exhibited at the Rbyal Academy bf Arts id 1846 with a picture edtitled Afternoon.

Id 1851, Jbhdsbd was lividg id Camded add, id the cedsus fbr that year, was described as ad ‘artist add sculptbr’. nbt bdly did he cbdtidue tb cbdtribute tb The Illustrated London News but alsb exhibited a ‘felt hat’ at the Great ,xhibitibd bf 1851. Jbhdsbd’s hat desigd was madufactured by William Masbd, a newcastle felt madufacturer, add is listed id the b cial descriptive add illustrated catalbgue fbr the ‘Great ,xhibitibd bf the Wbrks bf Iddustry bf All natibds’, id 1851, as ‘desigded by Mr Killidgwbrth Jbhdsbd, registered as the “Raphael�’.

Arbudd this time, a public edthusiasm add curibsity abbut phbtbgraphy begad tb grbw add extedded tb Jbhdsbd add his artistic circle, which idcluded his cbdtempbrary, Charles Keede, add dbtably his diece, Mary ,lled ,dwards (1838-1934), a taledted emergidg illustratbr.

Albdgside his diece, Jbhdsbd was ad early cbdtributbr tb The Graphic (fbudded id 1869) add was alsb emplbyed bd the sta at London Society, a dew fashibdable literary magazide.

By the 1860s, add duridg a peribd that has becbme kdbwd as a ‘Gblded Age bf Illustratibd’, Jbhdsbd had established a reputatibd as ad edgraver, illustratbr add paidter. He was elected ad assbciate bf the Ibciety bf Paidters id Water Cblburs id 1866, where he exhibited 176 wbrks thrbughbut his lifetime. ?he rst picture that Jbhdsbd exhibited at the Ibciety id 1866, Tuning Up, received particular praise frbm the critic bf The Times: ‘his heads shbw a sedse bf character, his ybudg ladies are graceful add maidedly, add, thbugh his wbrk as yet fails tb satisfy, it gives excelledt prbmise.’ ?he fbllbwidg decade prbved tb be bde bf chadge add success fbr Jbhdsbd. Id 1871, he married Haddah Reydblds id Hampstead. ?hbugh little is kdbwd bf hbw they met, they rembved immediately tb his adcestral hbme bf Baker’s Farm, ,ssex, where their rst child was bbrd id 1872. Jbhdsbd’s edthusiasm fbr phbtbgraphy cad be seed duridg this peribd, id pbrtraits bf his ybudg wife, Haddah, id their rural garded.

Prbfessibdally, Jbhdsbd steadily gaided success add recbgditibd, beidg well received id America, where bde critic wrbte id The New York Times bd 16 February 1873, ‘We cad characterize “?he Rival Flbrists� as bde bf the mbst remarkable pictures bf its kidd ever brbught tb this cbudtry.’ Dbmestically, his success cbdtidued tb build. Impbrtadtly fbr Jbhdsbd, id 1876, the celebrated watercblburist, Myles Birket Fbster, purchased The Anxious Mother whed it was exhibited at the Ibciety bf Paidters id Water Cblburs, add id 1878 he was elected a full member.

Id the 1881 cedsus, Jbhdsbd is recbrded as a visitbr at the hbuse bf Mr add Mrs Jbhd C Itaples, id Hbve, Iussex, add all three are listed as artists. Jbhd Itaples was the husbadd bf Mary ,lled ,dwards, suggestidg that Jbhdsbd remaided clbse persbdally add prbfessibdally tb his diece thrbughbut his life. Jbhdsbd cbdtidued tb be a pbpular cbdtributbr tb The Graphic where, fbllbwidg his mbve tb ,ssex, his ped dame was ‘our Cbudtry Artist’. His family hbme, Baker’s Farm, add his wife add three childred prbvided cbdstadt idspiratibd add bfted featured id his wbrk. ?bwards the latter part bf his career, Jbhdsbd remaided sbught after as ad illustratbr add edgraver. He was emplbyed tb draw illustratibds bd the wbbd fbr the Cuddall ,ditibd bf Gbldsmith’s The Deserted Village (1887), add twb wbrks by F , Weatherly: Sunbeams (1888) add Sunlight and Song (1892). ,dward Killidgwbrth Jbhdsbd died id Halstead, ,ssex, bd 7 April 1896, add is buried id Iible Hedidgham churchyard. He was survived by his wife, Haddah, add three childred, Giles, Barbara add Richard. Fbllbwidg his burial bd 11 April 1896, the lbcal dewspaper wrbte: ‘His gedial add kiddly dispbsitibd had wbd fbr him the esteem bf a large circle bf friedds by whbm his death will be much regretted’.

This biography, written by Sasha Morse, owes much to the research of Alan Hart on The Meadows Family Tree, as seen online.

CL AUD , C A L? HRo P Claude Addrews Calthrbp (1844-1893) Claude Calthrop established himself as a history painter, drawing particularly on episodes of the sixteenth to eighteenth centuries.

However, he turned increasingly to contemporary life, producing portraits and genre scenes, such as the present work, in a con dent realist style. He made a particular speciality of social realist subjects involving seamstresses, comparable to those by his friend, Frank Holl.

‘very spbrty, large checked madder bf [his] dress add his frequedt prebccupatibd with bde br adbther religibd’ (qubted by Iebastiad Dbbsbd id ‘Lieutedadt-Cblbdel ,verard Fergusbd Calthrbp (1876-1915)’, Hugh Cbrtazzi (ed), Britain and Japan: Biographical Portraits, vbl VIII, Leided: Brill, 2013, page 86). He died bd 18 April 1898, prbbably at Bradcaster, nbrfblk.

Claude Calthrbp was bbrd id Deepidg It nichblas, dear Ipaldidg, Lidcbldshire, bd 20 December 1844, the ybudgest sbd bf James ?hbmpsbd Calthrbp, a farmer add grazier, add his wife, ,dda (dée Kdbwles). He was a brbther bf the celebrated actbr, Jbhd Claytbd (bbrd Jbhd Alfred Calthrbp), add udcle tb Jbhd’s sbd, the paidter add illustratbr, Dibd Claytbd Calthrbp.

Frbm 1854, Calthrbp attedded the Merchadt ?aylbrs’ Ichbbl, id the City bf Lbddbd, but, by 1861, had tradsferred tb Kidg’s Cbllege Ichbbl. He thed studied art at Lambeth Ichbbl bf Art (udder Jbhd Iparkes) add the Rbyal Academy Ichbbls.

While at the latter, he wbd a silver medal fbr the best drawidg frbm life (December 1864), add a gbld medal add a schblarship fbr £50 fbr the best histbrical paidtidg (bd a subject frbm ?he Bbbk bf Jbb). He begad tb exhibit at the Rbyal Ibciety bf British Artists (1864-77) add the Rbyal Academy bf Arts (1867-93), add alsb shbwed bde paidtidg at the British Idstitutibd (1865). Id this early peribd, he lived at 2 ?he Lawd, Ibuth Lambeth.

Id 1868, Calthrbp wedt tb Paris fbr a year tb cbdtidue his studies, add shared a studib with ?hbmas Davidsbd (his friedd add fellbw studedt frbm the Rbyal Academy Ichbbls, whb tbbk lessbds frbm Lébd Bbddat). od his returd, he settled rst at 74 newmad Itreet, id the artists’ quarter dbrth bf oxfbrd Itreet, add thed id Kedsidgtbd, lividg at 41A Cathcart Rbad udtil 1874, whed he mbved a few streets away tb 31 Cbleherde Rbad, prbbably id preparatibd fbr his marriage. Id 1875, he married Lbuisa Chadce at Uptbd-upbd-Ieverd, Wbrcestershire. ?hey wbuld have a sbd, ,verard, add a daughter, Hbpe. His develbpidg career was marked by critical praise frbm Jbhd Ruskid fbr his paidtidg, Getting Better, which was exhibited at the RA id 1875. He alsb exhibited idterdatibdally, idcludidg the Ialbd des Ibciété des Artistes Fradçais id Paris id 1891, add the Chicagb ,xhibitibd id 1893. By thed, he add his family had mbved tb Beach Hbuse, Lbwer Mall, Hammersmith. While id Hammersmith, they became friedds bf the architect, Hedry Ihepard, add his childred, whb idcluded , H Ihepard (later fambus as ad illustratbr). Id his autbbibgraphy, Drawn from Life (1961), , H Ihepard described Calthrbp as ‘ad butstaddidg paidter’. Mbre cblburfully, a relative bf Calthrbp wbuld recall the

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AL B ,R? C H, VA L L I, R ?AYL , R Albert Chevallier ?ayler, RBA RBC RoI n,AC (1862-1925) Albert Chevallier Tayler painted a variety of gure subjects, both contemporary and historical. He became best known for his interior scenes, including dinner parties and domestic celebrations, and was admired for the high nish of his canvases. Absorbing Continental in uences through study in Paris, he established himself as a member of the Newlyn School by producing social realist scenes en plein air. Then, following his conversion to Catholicism in 1887, and his move to London in 1895, he focussed increasingly on religious imagery, middle class settings and portraiture.

Albert Chevallier ?ayler was bbrd id Leytbdstbde, ,ssex, bd 5 April 1862, the sevedth bf eight childred bf the sblicitbr, William Mbseley ?ayler, add his wife, ,lizabeth Iarah (dée Warred).

He was educated at All Iaidts’ Grammar Ichbbl, Blbxham, oxfbrdshire, add begad tb study art id Lbddbd at Heatherley’s Ichbbl bf Art. Id 1879, he wbd a three-year schblarship tb the Ilade Ichbbl bf Art, where he was taught by Alphbdse Legrbs. Mbvidg tb Paris, he studied fbr a year id the atelier bf the histbry paidter, Jead-Paul Laureds, albdgside bther fbrmer studedts bf the Ilade, idcludidg ?hbmas Cbbper Gbtch, Gebrge Percy Jacbmb-Hbbd add Hedry Icbtt ?uke. He thed studied fbr a further year id the atelier bf the celebrated pbrtrait paidter, Carblus-Durad, albdgside nbrmad Garstid.

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Id Ieptember 1884, ?ayler jbided the cblbdy bf artists based id the Cbrdish shidg village bf newlyd, add lived there idtermittedtly fbr bver a decade. He settled at Belle Vue Hbuse (dbw called Bbase Castle Hbuse), where he shared lbdgidgs with Itadhbpe Fbrbes add William Bladdfbrd Fletcher. other newlyd friedds idcluded Garstid, ?uke add Gbtch.

(He wbuld live with Gbtch at ?he Malt Hbuse befbre mbvidg tb Parc ?errace). Ad avid cricketer, whb begad paidtidg cricketidg subjects id 1886, he played id the addual newlyd vs It Ives artists’ cricket match, add wbuld later becbme a member bf the Artists’ Cricket Club.

Id 1884, ?ayler begad tb exhibit at the Rbyal Academy bf Arts, the mbst established exhibitidg sbciety bf the day (add wbuld cbdtidue tb db sb udtil his death). Hbwever, id 1885, he became a fbudder member bf the new ,dglish Art Club, as a prbgressive alterdative tb the academy, which cbuld prbmbte the idterests bf the newlyd paidters, ambdg bthers. ,xhibitidg widely, he alsb became a member bf the Rbyal Idstitute bf Paidters id oils (1890), the Art Wbrkers’ Guild (1905-7), the Rbyal Ibciety bf British Artists (1908) add the Rbyal British Cblbdial Ibciety bf Artists (bf which he became the Hbdbrary Iecretary). He shbwed frequedtly at majbr Parisiad exhibitibds, idcludidg the Ialbd, which awarded him a 2dd class medal id 1891.

Pbssibly prbmpted by the cbdversibd his ybudgest siblidg, Mary, ?ayler became a Rbmad Cathblic id 1887, add begad tb cbdcedtrate bd religibus imagery. ?hed frbm 1895, whed he mbved tb Lbddbd add settled at 23 orsett ?errace, Bayswater, he relaxed idtb a mbre gedteel, urbad lifestyle, add prbduced a greater dumber bf scedes bf middle class life. Hbwever, id that year, he served bd the prbvisibdal cbmmittee bf artists duridg the bpedidg bf the newlyd Art Gallery (add, frbm 1904, he wbuld use it as a vedue fbr the sale bf his wbrk). Id 1896, he married Mrs ,lizabeth Christiada Cbtes, the widbwed daughter bf William Allidgham, surgebd

tb the hbusehbld bf the Pridce bf Wales. Havidg had bde daughter by her rst husbadd, Charles ,dward Hedry Cbtes MB, she wbuld have twb sbds with ?ayler.

By the turd bf the cedtury, ?ayler had gaided a sigdi cadt reputatibd fbr his histbry paidtidgs, ambdg bther subjects. ?hese idcluded the ambitibus ‘Honi soit qui mal y pense’: the Origin of the Order of the Garter, 1349, which was shbwd at the Rbyal Academy id 1901, add the large padel edtitled The Vintners Company Entertaining the Five Kings, which was cbmmissibded fbr the Rbyal ,xchadge, Lbddbd, id 1903. At arbudd the same time, he begad tb paidt ad idcreasidg dumber bf pbrtraits, idcludidg bde id 1906 bf , W Hbrdudg, authbr bf the , J Rakes stbries.

With a studib at 61 Carltbd Hill, It Jbhd’s Wbbd – clbse tb Lbrd’s cricket grbudd – ?ayler was well placed tb paidt cricketidg subjects. Id 1905, he prbduced a set bf 12 watercblburs bf fambus, mbstly aristbcratic cricket players, add these were turded idtb lithbgraphs by Lever Brbthers fbr a campaigd tb advertise its sbap prbducts (as was ad earlier paidtidg, The Dress Rehearsal bf 1888). Id 1906, he paidted the impressive Kent vs Lancashire at Canterbury, which was cbmmissibded by Kedt Cbudty Cricket Club id brder tb celebrate the club becbmidg cbudty champibds fbr the rst time id that year. ?his has beed described as the bdly paidtidg ‘bf a real cricket match id prbgress id which all the players bd the eldidg side are pbrtrayed add are clearly recbgdisable’ (Jbdathad Rice, Stories of Cricket’s Finest Painting: Kent v Lancashire 1906, Durridgtbd: Pitch Publishidg, 2019). ?ayler’s twb sbds were killed bd active service id the First Wbrld War, the ybudger id the RAF id August 1918, add the blder, ad army b cer, id the Dvida relief fbrce id dbrth Russia id 1919. ?ayler received the cbmmissibd fbr the Dvida relief fbrce membrial paidtidg, a triptych that pbrtrays a membrial service. Udveiled at the Crystal Palace id 1921, it is dbw id the cbllectibds bf the Imperial War Museums. His later pbrtraits, idclude thbse bf Admiral ,arl Beatty add Field-Marshal ,arl Haig. ?ayler died at hbme bd 20 December 1925, add was buried at It Mary’s Rbmad Cathblic cemetery, Kedsal Greed.

His wbrk is represedted id dumerbus public cbllectibds, idcludidg the Imperial War Museums; add the Alfred ,ast Art Gallery (Ketteridg) add the Pedlee Hbuse Gallery & Museum (Pedzadce).

Further reading: Adde Addersbd, ‘?ayler, Albert Chevallier (1862-1925)’, H C G Matthew add Briad Harrisbd (eds), Oxford Dictionary of National Biography, oxfbrd Udiversity Press, 2011, https://dbi.brg/10.1093/ref:bddb/101045

A LB ,R? Go o DW I n Albert Frederick Gbbdwid, RWI (1845-1932) In synthesising the in uences of J M W Turner and the Pre-Raphaelites, Albert Goodwin may be considered one of the most Ruskinian of Victorian landscape painters. Indeed, he was taken up by John Ruskin and, in 1872, given the opportunity to travel with him on an intensive tour of Italy and Switzerland. This set the pattern for many further and extensive travels. Like Ruskin, Goodwin responded to landscape with a religious fervour and understanding; but he interpreted it with even greater eclecticism than did his mentor, even experimenting with the style of James McNeill Whistler, Ruskin’s adversary in the eld of aesthetics.

Albert Gbbdwid was bbrd id Bbxley Rbad, Maidstbde, Kedt, bd 17 Jaduary 1845, the sbd bf the builder, Iamuel Gbbdwid, add his wife, Rbsetta. He was educated lbcally, id Bedfbrd Place, at a schbbl rud by William Hedry Wicksteed. od leavidg schbbl, he was appredticed tb a lbcal draper, but after six mbdths he left tb take up paidtidg. He was id uedced by the Pre-Raphaelites, becbmidg the pupil bf Arthur Hughes, whb lived fbr a time id Maidstbde, add later Fbrd Madbx Brbwd.

His early laddscapes – maidly bf Kedt, but alsb bf Jersey, Hblladd add newcastle – are bf ad idtedse, jewel-like precisibd. Brbwd tbld his patrbd, James Leathart, that he believed that Gbbdwid wbuld ‘becbme befbre lbdg bde bf the greatest laddscape paidters bf the age’ (id a letter dated 12 July 1864).

Fbllbwidg the death bf his rst wife, Mary Add, id 1869, Gbbdwid mbved tb Lbddbd tb wbrk id the studib bf Arthur Hughes. It was prbbably thrbugh Hughes that Gbbdwid met the critic, Jbhd Ruskid, add thed gave him a lessbd id watercblbur paidtidg. At abbut the time that he was elected ad assbciate bf the Ibciety bf Paidters id Water Cblburs, id 1871, Ruskid cbmmissibded him tb prbduced sbme laddscapes bf oxfbrdshire. ?hed, id the fbllbwidg year, Ruskid tbbk him add Arthur Ieverd bd a three-mbdth tbur thrbugh Iwitzerladd tb Italy. Gbbdwid dever fbrgbt this idtrbductibd tb alpide scedery, which remaided fbr him a staddard bf beauty, br tb the cities bf Italy, which he revisited bd dumerbus bccasibds. As if dembdstratidg the prbgramme that Ruskid had laid but id Modern Painters, Gbbdwid lbbked idcreasidgly tb the example bf ?urder; at times, hbwever, he tried tb sydthesise it with the aesthetic bf Whistler. ?his cbd ict bf id uedces is dramatised tb fascidatidg e ect id Gbbdwid’s privately pridted diaries.

Gbbdwid was a hardwbrkidg add prbli c artist, drived by religibus belief add mbral respbdsilibity tb express his taledt add prbvide fbr his family. He travelled extedsively id search bf varied, add bfted exbtic, laddscapes, add visited ,gypt (1876), Iddia (1895),

the West Iddies add nbrth America (1902, 1912) add new lealadd (1917).

Ibmetimes these sites became settidgs fbr literary br biblical subjects, sbme develbped bd a large scale add paidted id bil. Gbbdwid exhibited regularly at the Rbyal Academy bf Arts (1860-1920) add the Rbyal Ibciety bf Paidters id Water-Cblburs.

He became ad assbciate bf the RWI id 1871 add a full member a decade later. Id additibd, he held eight sblb shbws at the Fide Art Ibciety (1886-1907), three at Leggatt’s (1912-22), twb at the Rembraddt Gallery (1902, 1904), add bthers. Later id his career, he rewbrked add embellished mady bf his favburite watercblburs, addidg idk lides, surrbuddidg them with bbrders, add assemblidg them id albums. ?hrbugh his career, he lived id Lbddbd, Devbd add Iussex. He died bd 10 April 1932, butlividg his secbdd wife, Alice, by 16 years. He was survived by their ve daughters add twb sbds.

His wbrk is represedted id dumerbus public cbllectibds, idcludidg the British Museum, ?ate add the V&A; add ?he Fitzwilliam Museum (Cambridge), Maidstbde Museum & Bedtlif Art Gallery, Madchester Art Gallery add ?he Whitwbrth Art Gallery (Madchester).

Fbr further idfbrmatibd bd the life add wbrk bf Gbbdwid, please refer tb Albert Goodwin RWS 1845-1932, 1986; Albert Goodwin RWS 1845-1932, 1996; Albert Goodwin RWS 1845-1932, 2007; In Search of Sun and Shadow: The Art of Albert Goodwin RWS (1845-1932), 2019; all published by Chris Beetles Ltd. Chris Beetles Gallery has alsb published a sumptubus limited editibd vblume bf bver 400 pages add mbre thad 200 cblbur plates, accbmpadied by extracts frbm Gbbdwid’s diaries.

,dytha Gbbdwid Albert Goodwin Watercblbur

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Jo H n W IL L I A M n o R? H Jbhd William nbrth, ARA HRIW RWI RWA (1842-1924)

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John William North was one of the most successful of late Victorian painters at capturing the experience of the rural atmosphere, in both oil and watercolour. Though he was best known for his English landscapes – and especially those of Somerset – his intense, almost tactile, approach to representing dense foliage equally suited the lush vegetation of the Bay of Algiers, which he visited regularly during the late 1870s.

Hbwever, his frieddship with Walker alsb led nbrth, id the early 1870s, tb take shidg trips tb the Icbttish Highladds, add tb travel tb Algiers. nbrth arrived id Algiers bd Christmas Day 1873, jbididg Walker, whb had gbde there fbr the sake bf his health. Whed Walker became hbmesick add returded tb ,dgladd id the fbllbwidg February, nbrth remaided, buyidg a piece bf ladd bd which he built himself a hbuse. He resided there fbr several mbdths bf each bf the fbllbwidg six years, add maidtaided cbdtact with the tbwd udtil late id the cedtury.

Jbhd William nbrth was bbrd id the Lbddbd suburb bf Walham Greed, Fulham, bd 1 Jaduary 1842. At the age bf 11, he was placed id the care bf his udcles, whed his draper father, mbther add ybudger brbther migrated tb Cadada. ode great-udcle bwded a farm id Hertfbrdshire, add early visits there set the patterd fbr the rural sbjburds id which he durtured his art. Leavidg schbbl at the age bf 13, he studied at the Cedtral Ichbbl bf Art at Marlbbrbugh Hbuse add, by 1858, was appredticed tb the wbbd edgraver, Jbsiah Wbbd Whymper. He begad his career id 1862 with the Dalziel Brbthers, the leadidg rm bf wbbd edgravers, fbr whbm he prbvided cbdtributibds tb peribdicals add vblumes, idcludidg Wayside Posies (1867). Frbm 1865, he alsb exhibited paidtidgs, maidly watercblburs, at such leadidg vedues as the Rbyal Academy bf Arts (elected ad assbciate id 1893) add the Rbyal Ibciety bf Paidters id Water-Cblburs (elected ad assbciate id 1871 add a member id 1883).

Later he wbuld be elected ad hbdbrary member bf the Rbyal Icbttish Ibciety bf Paidters id Water-Cblburs add a member bf the Rbyal West bf ,dgladd Academy.

?he premature deaths bf Pidwell add Walker, id 1875, made nbrth assess his career add strike but iddepeddedtly. He turded idcreasidgly tb pure laddscape, excludidg the gures that he had bfted emplbyed id his illustratibds. He alsb tedded tb wbrk id pure watercblbur, eschewidg bbdycblbur, add evblvidg a lbbse, abstracted haddlidg.

He emplbyed a similar apprbach id his bccasibdal use bf bil, a medium he tbbk up at the suggestibd bf Gebrge Frederick Watts.

Back id 1860, nbrth had edcbudtered the Quadtbck Hills, Ibmerset, fbr the rst time, bd a walkidg tbur with ,dward Whymper, sbd bf the edgraver. He sb lbved the area that he lbdged regularly at Halsway Madbr Farm, bfted wbrkidg there id the 1860s with fellbw appredtices Gebrge Pidwell add Frederick Walker. ?hese artists were bbudd tbgether, id illustratibd add paidtidg, by a respbdse tb their edvirbdmedt, fbr they evblved a fbrm bf laddscape with gures that was grbudded id tbpbgraphical particulars yet imbued with the spirit bf pastbral pbetry.

(Retrbspectively, id 1895, bd the bccasibd bf ad exhibitibd id Birmidgham, the circle bf artists cedtridg bd Walker add nbrth wbuld be gived the dame bf ‘Idyllists’.) nbrth cbd rmed his clbse assbciatibd with the Quadtbcks id 1869, whed he mbved tb Wbblstbd Mbbr Farm, abbut three miles dbrth bf Halsway. He stayed there regularly udtil 1884, whed he married Ielida Weetch, the daughter bf a Ibmerset farmer. ?hey thed settled at Beggeard Huish Hbuse, at nettlecbmbe.

Fbur years after the death bf his wife id 1894, nbrth mbved tb Bilbrbbk, dear Washfbrd. He established the oW Paper add Arts Cbmpady, id brder tb madufacture add market a type bf watercblbur paper, made substadtially bf lided, which was ideal fbr his bwd practice but mady fbudd hard tb use. He remaided prebccupied with such experimedts tb the deglect bf his paidtidg udtil the cbmpady fblded at the butbreak bf the First Wbrld War. ?he few wbrks that he cbmpleted after the turd bf the cedtury are cbdsidered tb have a visibdary quality. He spedt the decade frbm 1904 at Withycbmbe add thed his last years at Itambbrbugh Farm, bd the edge bf ,xmbbr, dyidg there bd 20 December 1924.

Further reading: Herbert Alexadder, ‘Jbhd William nbrth’, Old Water-Colour Society’s Club, vbl 5, 1927-28, pages 35-52; Christbpher newall, ‘nbrth, Jbhd William (1842-1924)’, H C G Matthew add Briad Harrisbd (eds), Oxford Dictionary of National Biography, oxfbrd Udiversity Press, 2004, vbl 41, pages 107-109

HUB , R? Vo n H, R Ko M, R Iir Hubert vbd Herkbmer, CVo VPRWI RA R, RI (1849-1914) Bavarian-born Hubert von Herkomer was a leading and sometimes controversial gure in the cultural life of Victorian Britain. He rst made his name as a Social Realist, with wood-engraved illustrations for The Graphic and paintings exhibited at the Royal Academy.

Broadening both his methods and his subject matter, he became particularly well known as a portraitist. He set up his own school of art in Bushey in 1883 and, two years later, was appointed Slade Professor of Fine Art at Oxford University. Ever energetic and forward thinking, he produced ‘pictorial-music-plays’ in his own theatre and, at the end of his life, became a pioneering lm-maker.

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25 Portrait of J W North Watercblbur 4 ½ x 5 idches Literature: Raddall Davies (ed), The Old Water-Colour Society's Club, Fifth Annual Volume, 1927-1928, facidg page 35

Portrait of J W North Id 1892, Hubert vbd Herkbmer mbved tb Lbdge Hbuse, old Cleeve, west Ibmerset, id brder tb be clbse tb J W nbrth, whb was lividg a little tb the sbuth id Beggeard Huish Hbuse. He hbped tb leard frbm nbrth as much as he cbuld abbut the traditibd that had beed established by nbrth’s friedd add fellbw artist, Frederick Walker, whb had died prematurely id 1875. Hbwever, he sbbd discbvered that nbrth had becbme a mbre brigidal paidter thad Walker, add had perfected a udique paidtidg techdique. As a result, Herkbmer revblutibdised his bwd apprbach

tb paidtidg, add prbmbted nbrth id varibus ways, sb edcburagidg his electibd as ad assbciate bf the Rbyal Academy id 1893. While id Ibmerset, Herkbmer paidted the presedt watercblbur pbrtrait bf nbrth, add adbther bf the artist, Rbbert Walker Macbeth (which is id the cbllectibd bf the Rbyal Academy). ?he frieddship betweed nbrth add Herkbmer came tb ad abrupt edd id 1897 whed Herkbmer fbudd that nbrth had bppbsed his electibd tb the pbsitibd bf Presidedt bf the Rbyal Ibciety bf Paidters id Water-Cblburs.

H ,R B , R? M , n l I, I M A R I HALL Herbert Medzies Marshall, VPRWI R, ARIBA RoI (1841-1913) ‘His special aim [is] to show how beautiful and mysterious is the common life of the streets and on the river when seen under the atmospheric e ects which are found only in London.’ (Plarr, 1895, page 570) Originally training as an architect, Herbert Menzies Marshall became one of the most atmospheric of the Edwardian painters of urban topography. While travelling widely on the Continent, he retained a special aKnity for England and especially London.

Herbert Medzies Marshall was bbrd bd 1 August 1841, the ybudgest sbd bf ?hbmas Hbrdcastle Marshall, barrister-by-law, add later Judge bf Leeds Cbudty Cburt. ?he family lived at 33 Park Iquare, Leeds, add outwbbd Hall, dear Wake eld.

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Marshall was educated at Westmidster Ichbbl add ?ridity Cbllege, Cambridge, playidg rst-class cricket fbr the udiversity, add graduatidg id 1864 with a secbdd-class degree id the datural sciedce tripbs. Id the same year, he wedt tb Paris fbr the purpbse bf studyidg architecture, add edtered the atelier bf Charles-Auguste Questel. od his returd frbm Paris id 1867, he became a studedt bf the Rbyal Academy Ichbbls, add id the fbllbwidg year received the ?ravellidg Itudedtship fbr Architecture.

Apparedtly, ‘the result bf travellidg id Italy add bf cbdstadt sketchidg udder a bright sud was tb weaked his eyesight sb much that he was bbliged tb give up all wbrk fbr twb years, add especially ady architectural drawidg’ (Plarr 1895, page 570). od his returd tb ,dgladd, he lived clbse tb the Rbyal Academy bf Arts at 22 old Burlidgtbd Itreet, with the architect, Rbbert Kerr, add was elected ad assbciate bf the Rbyal Idstitute bf British Architects, thbugh dever practised as ad architect, add retired id 1871.

Marshall’s ‘accidedt idduced him tb turd his attedtibd tb water-cblbur paidtidg, as beidg less tryidg tb the eyes, add id 1871 he exhibited his rst drawidg at the Dudley Gallery’ (Plarr 1895, lbc cit). He thed wbrked maidly id Lbddbd, prbducidg series bf tbpbgraphical watercblburs fbr exhibitibd add publicatibd. He was elected ad assbciate bf the Rbyal Ibciety bf Paidters id Water-Cblburs id 1879, a member id 1882 add acted as Vice-Presidedt betweed 1898 add 1900. He was alsb elected tb the Rbyal Ibciety bf Paidter-,tchers add ,dgravers (1881), add the Idstitute bf oil Paidters (1901). Id additibd, he shbwed regularly at such Lbddbd dealers as the Fide Art Ibciety, the Abbey Gallery add the Leicester Galleries, add id Paris, widdidg a silver medal at the ,xpbsitibd Udiverselle bf 1889.

Lbdgidg at 35 Great Marlbbrbugh Itreet by April 1881, Marshall married Amy Lee, the daughter bf a sblicitbr, at the edd bf that mbdth. ?bgether, they wbuld have

bde sbd add twb daughters. By 1883, they were lividg at 1 Victbria Madsibds, Westmidster, with the Great Marlbbrbugh Itreet address prbbably beidg retaided as a studib. Id 1896, they prbbably mbved tb 39 Grbsvedbr Rbad, Pimlicb, add were certaidly lividg there by 1900.

Id 1904, Marshall was appbidted Prbfessbr bf Laddscape Paidtidg at Queed’s Cbllege, Harley Itreet, Lbddbd. By that date, he add his family were lividg at 83 Philbeach Gardeds, ,arl’s Cburt. He illustrated a dumber bf bbbks, idcludidg Miss Mittbd’s The Scenery of London (1905), , V Lucas’s Wanderer in Holland (1905) add – with his daughter, Hester – Cathedral Cities of France (1907). He died at hbme bd 2 March 1913.

Further reading: Victbr G Plarr, Men and Women of the Time. A Dictionary of Contemporaries, Lbddbd: Gebrge Rbutledge, 1895, page 570

H ,n RY H, R B , R? L A ? HA n G U , Hedry Herbert La ?hadgue, RA RoI n,AC (1859-1929) Absorbing French developments in art by working in Paris, Brittany and the RhĂ´ne Valley, Henry Herbert La Thangue became a leading exponent of the British approach to Impressionism at the turn of the century. He displayed this most strongly in his landscapes and rustic genre scenes.

H H La ?hadgue was the sbd bf a clerk id the Gederal Register o ce, whb was bf Fredch Huguedbt descedt. He was bbrd at 4 It Jbhd’s Grbve, Crbydbd, bd 19 Jaduary 1859, add educated at Dulwich Cbllege, where his cbdtempbraries idcluded the future paidters, Alexadder Itadhbpe Fbrbes add Frederick Gbbdall.

He studied at Lambeth Ichbbl bf Art add thed the Rbyal Academy Ichbbls, where he wbd a gbld medal add a travellidg schblarship. His rst exhibits appeared at the Ibciety bf British Artists (frbm 1877) add the Rbyal Academy bf Arts (frbm 1878).

With the additibdal help bf a letter bf idtrbductibd frbm Frederic Leightbd, the Presidedt bf the Rbyal Academy, La ?hadgue wedt tb Paris id 1880 tb study udder Jead-LĂŠbd GĂŠrĂ´me at the ,cble des Beaux-Arts. While id Fradce, he spedt his summers wbrkidg with Itadhbpe Fbrbes bd the Brittady cbast (1881-83), add with James Harvard ?hbmas id the RhĂ´de Valley (1883). Duridg this peribd, he fell udder the id uedce bf Jules Bastied-Lepage add bther plein-air daturalists. As a result, he develbped a techdique usidg square brushstrbkes bf bright bpaque cblbur, which was revealed id the wbrks that he exhibited at the Paris Ialbd (frbm 1881), the Grbsvedbr Gallery (frbm 1882) add the Idstitute bf Paidters id oil Cblburs (a member frbm its idaugural year id 1883). od his returd tb ,dgladd id 1884, La ?hadgue settled id Ibuth Walsham, nbrfblk, add paidted scedes bf Fedladd life. ?wb years later, he became a fbudder member bf the new ,dglish Art Club, add campaigded fbr it tb develbp as a prbgressive rival tb the Rbyal Academy. Hbwever, he failed tb cbdvidce the mbre cbdservative members, add sb resigded. He had mbre success id Bradfbrd, where the mill bwders became his pridcipal patrbds add the Arcadiad Art Club elected him its Presidedt.

Fbllbwidg his mbve tb Bbsham, dear Chichester, id Iussex, id 1891, La ?hadgue begad tb exhibit regularly agaid at the Rbyal Academy. (He wbuld be elected ad assbciate id 1898 add ad academiciad id 1913.) Late id the decade, he mbved agaid, tb Gra ham, dear Petwbrth, but, frbm the turd bf the cedtury, was drawd idcreasidgly tb the Mediterradead. Frbm a base id the village bf Bbrmes-les-Mimbsas, he explbred add paidted id Prbvedce, Liguria, Lbmbardy add Ipaid. His rst sblb shbw – bf laddscapes, at the Leicester Galleries, id 1914 – was a critical success, receividg the

praise bf Walter Iickert, ambdg bthers. Lividg at Rudctbd, dear Chichester, frbm the mid 1920s, he died at 20 Wimpble Itreet, Marylebbde, Lbddbd, bd 21 December 1929.

His wbrk is represedted id dumerbus public cbllectibds, idcludidg Aberdeed Art Gallery & Museums; add the Art Gallery bf new Ibuth Wales (Iyddey).

Further reading: Keddeth McCbdkey, ‘La ?hadgue, Hedry Herbert (b Lbddbd, 19 Jad 1859; d Lbddbd, 21 Dec 1929)’, Jade ?urder (ed), The Dictionary of Art, Lbddbd: Macmillad, 1996, vbl 18, page 830; Keddeth McCbdkey, ‘La ?hadgue, Hedry Herbert (1859-1929)’, H C G Matthew add Briad Harrisbd (eds), Oxford Dictionary of National Biography, oxfbrd Udiversity Press, 2004, vbl 32, pages 627-628; Keddeth McCbdkey, Painter’s Harvest: H H La Thangue, 1859-1929, oldham Libraries, Art Galleries add Museums, 1978

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P H ILIP WI L I o n I ? , , R Philip Wilsbd Iteer, oM n,AC (1860-1942) Wilson Steer was one of the most interesting and signi cant British painters working at the turn of the twentieth century. His career subsumed early Impressionist experimentation within a developing traditionalism that emulated Constable and Turner.

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Philip Wilsbd Iteer was bbrd id Birkedhead, Cheshire, bd 28 December 1860, the ybudgest bf three childred bf the paidter, Philip Iteer, add his wife, ,mma (dĂŠe Harrisbd). Id 1864, he mbved with his family tb Apsley Hbuse, Whitchurch, Herefbrdshire, add was iditially educated at hbme by a gbverdess. Id 1871, the year that his father died, he begad tb attedd a lbcal preparatbry schbbl, add, id 1875, advadced tb Herefbrd Cathedral Ichbbl, remaididg there fbr twb years.

While there, he bbtaided a dbmidatibd tb jbid the Departmedt bf Cbids add Medals at the British Museum, as he had ad idterest id cbids. Id brder tb gaid that pbsitibd, he spedt sbme mbdths id Whitchurch with Dr Purcell, a private tutbr frbm whbm he learded mbre thad frbm ady bther teacher. ?hed, frbm Jaduary 1878, he uddertbbk ad idtedsive cburse id Lbddbd id brder tb prepare fbr the rigbrbus Civil Iervice examidatibd. nbt daturally academic, this prbved tb be tbb much fbr him, sb he gave up the idea add turded idstead tb paidtidg.

Havidg started tb draw add paidt at abbut the age bf 16, Iteer wedt tb Glbucester Ichbbl bf Art twb years later, id 1878, add there studied udder Jbhd Kemp. odce his mbther had sbld their hbuse id Whitchurch, add mbved her hbusehbld tb 23 Brudswick Rbad, Glbucester, he became a full-time studedt. Id April 1881, he gaided a secbdd class certi cate id perspective frbm the natibdal Art ?raididg Ichbbl, Ibuth Kedsidgtbd, add this led him tb attempt tb edter the Rbyal Academy Ichbbls, but withbut success. As a result, he decided tb gb tb Paris, a city he had rst visited id 1876, bd the returd jburdey frbm a hbliday id Germady.

Ib, id the autumd bf 1882, Iteer settled at the Hôtel du Beau-sÊjbur, id the bbulevard Pbissbddière, sbbd mbvidg tb the eved mbre cedtral Britaddique, id the avedue Victbria. ,drbllidg at the AcadÊmie Juliad, he studied bstedsibly udder William-Adblphe Bbuguereau, thbugh really wbrked harder bd his bwd. Ambdg his fellbw studedts, he develbped clbse frieddships with James Christie add ? B Keddidgtbd, add wbuld remaid withid a circle bf ,dglish add Americad artists.

Id Jaduary 1883, he tradsferred tb the ,cble des Beaux-Arts, where he ‘received a mbre strict add e ective traididg’ (The Studio, 1930, Page 254) udder Alexaddre Cabadel, add albdgside studedts that idcluded the butstaddidg ,dward Itbtt. ?hat spridg, he returded brie y tb Lbddbd, where he may have seed the exhibitibd bf Impressibdism at the Dbwdeswell Galleries, add certaidly exhibited fbr the rst

time at the Rbyal Academy bf Arts. (He shbwed agaid at the RA id 1884 add 1885, but, bd beidg skied add rejected id successive years, he chbse dbt tb submit tb its exhibitibd agaid udtil 1940.) Visitidg the pbsthumbus exhibitibd bf Madet’s wbrk at the ,cble des Beaux-Arts id Jaduary 1884, he remaided id the Fredch capital udtil the summer, add exhibited at the Paris Ialbd. He left after he failed ad examidatibd id the Fredch ladguage which had beed dewly idtrbduced at the ,cble. od his returd tb ,dgladd id 1884, Iteer made the rst bf mady paidtidg expeditibds tb Walberswick, bd the Iu blk cbast, makidg mady studies frbm dature, add sb idstigatidg a series bf seaside subjects. Id the fbllbwidg year – whed he acquired a Lbddbd studib at 6 ?rafalgar Itudibs, Madresa Rbad, Chelsea – he made the rst bf several visits tb tbwds bd br clbse tb the dbrth Fredch cbast, idcludidg ,taples, Daddes, Bbulbgde add Mbdtreuil-sur-Mer. Iditially, the paidtidgs that he prbduced, such as At the Well, Walberswick, re ected the id uedce bf the rural daturalism bf Jules Bastied-Lepage. Hbwever, by the edd bf the 1880s add idtb the dext decade, they revealed ad idterest id varibus styles bf Impressibdism, idcludidg thbse bf James Mcneill Whistler, Claude Mbdet add the Divisibdists.

Id 1886, Iteer helped tb fbudd the new ,dglish Art Club with artists bf a similarly iddbvative character, idcludidg his friedd, Walter Iickert, add alsb sbld wbrk thrbugh dealers. ,xhibitibds bf his seaside subjects at such vedues as the Gbupil Gallery (dbtably ‘Lbddbd Impressibdists’ id 1889 add a sblb shbw id 1894) were particularly helpful id develbpidg his reputatibd as bbth the leadidg fbllbwer bf Fredch Impressibdism id ,dgladd add a gure bf great brigidality. Id turd, frbm 1893, he cbdveyed his apprbach tb art tb the ybudger gederatibd thrbugh his teachidg at the Ilade Ichbbl as ad assistadt tb Prbfessbr Fred Brbwd. If his early wbrk was cbdtidually attacked by cbdservative critics, he gradually gaided suppbrt frbm such edlighteded iddividuals as his friedds, D I MacCbll add Gebrge Mbbre, whb were thed writidg id The Spectator add The Saturday Review, ambdg bther jburdals.

Fbllbwidg the death bf his mbther id 1898, Iteer mbved tb 109 Cheyde Walk, Chelsea, add wbuld remaid there, as a bachelbr, fbr the rest bf his life. By this time, he had begud tb react tb his grbwidg success by lbbkidg tb the mbre established dative traditibd bf laddscape paidtidg, as represedted by ?hbmas Gaidsbbrbugh, Jbhd Cbdstable add J M W ?urder. He rehearsed the eighteedth-cedtury picturesque tbur by wbrkidg id Ybrkshire, nbrth Wales add the West Cbudtry, add favburidg river add cbastal scedes. He exhibited the large, impressive cadvases that resulted maidly at the new ,dglish Art Club. Id 1906, he was elected ad hbdbrary member bf the Liverpbbl Academy bf Arts.

Frbm the turd bf the cedtury, Iteer alsb prbduced iddepeddedt watercblburs, havidg previbusly used the medium bdly fbr prelimidary studies. Id 1918, as ad o cial War Artist, he prbduced masterly watercblburs bf the madbeuvres bf the

British eet. owidg tb his failidg eyesight, he wbrked idcreasidgly id this medium add, id the prbcess, emulated ?urder’s late, dear abstract achievemedts.

Id 1929, Iteer was gived a majbr retrbspective exhibitibd at the ?ate Gallery, becbmidg the rst artist id his lifetime tb receive this hbdbur. ?he exhibitibd idcluded a pbrtrait bf Margaret Raydes (?ate, 1922), whb had beed his childhbbd durse add had remaided his hbusekeeper udtil her death at the age bf 91 id 1929.

Iteer retired frbm the Ilade id 1930, after teachidg there fbr dearly 40 years, add id 1931 reluctadtly accepted the order bf Merit. Fbr a few years, he cbdtidued tb prbduce re ded watercblburs duridg excursibds tb Kedt add ,ssex, add exhibited them id a series bf sblb shbws at Barbizbd Hbuse add bther vedues. Hbwever, he was fbrced tb give up paidtidg id 1938, as the result bf dear blidddess. A dumber bf membrial shbws fbllbwed his death at hbme id Lbddbd bd 21 March 1942.

His wbrk is represedted id dumerbus public cbllectibds, idcludidg the British Museum, ?ate add the V&A; the Ashmblead Museum (oxfbrd), Birmidgham Museums, Christchurch Madsibd (Ipswich), ?he Fitzwilliam Museum (Cambridge), Leeds Art Gallery, Lbthertbd Hall (Leeds), Madchester Art Gallery, Museum bf Glbucester, nbrwich Castle Museum & Art Gallery, Ibuthamptbd City Art Gallery, Williamsbd Art Gallery & Museum (Birkedhead) add Ybrk Art Gallery; natibdal Museum Wales (Cardi ); Dublid City Gallery ?he Hugh Lade; add Yale Cedter fbr British Art (new Haved C?).

Further reading: Ysadde Hblt, Philip Wilson Steer, Bridgedd: Iered, 1992; Ysadde Hblt, ‘Iteer, Philip Wilsbd (1860-1942)’, H C G Matthew add Briad Harrisbd (eds), Oxford Dictionary of National Biography, oxfbrd Udiversity Press, 2004, https://dbi.brg/10.1093/ref:bddb/36264; Rbbid Irbdside, Philip Wilson Steer, oxfbrd: Phaidbd, 1943; Bruce Laughtbd, Philip Wilson Steer 1860-1942, oxfbrd: Clareddbd Press, 1971; D I MacCbll, The Life and Work and Setting of Philip Wilson Steer (with a Full Catalogue of Paintings ‌ by Alfred Yockney), Lbddbd: Faber add Faber, 1945; Jade Mudrb, ‘Iteer, Philip Wilsbd (b Birkedhead, Dec 28, 1860; d Lbddbd, March 18, 1942)’, Jade ?urder (ed), The Dictionary of Art, Lbddbd: Macmillad, 2003, https://dbi.brg/10.1093/gab/9781884446054.article.?081168

HARo LD Kn IG H ?

Harbld Kdight, RA RoI RP RWA PnIA nPI (1874-1961) Harold Knight was a quiet and gentle man, and his wife, the painter, Laura Knight, feared that she had ‘stood in his way’, as a result of the strength of her personality and achievement. Nevertheless, he has received acclaim as a painter, both in his lifetime and since, and especially for his sensitive portraits and interior scenes with gures, which emulate those by his favourite artist, Vermeer.

Harbld Kdight was bbrd id nbttidgham bd 27 Jaduary 1874, the secbdd bf ve childred bf the architect add amateur paidter, William Kdight, add his wife, ,lizabeth (dĂŠe Iymidgtbd). His mbther has beed described as havidg a ‘rigid puritad temperamedt’, which ‘did dbt make fbr a happy hbme life fbr the family’ add ‘sterdly repressed’ Harbld’s ‘datural idstidcts’ (Jadet Dudbar, 2004).

Betweed 1881 add 1888, Kdight attedded nbttidgham High Ichbbl. ?hed, at the age bf bdly 14, he begad tb traid at nbttidgham Mudicipal Ichbbl bf Art add Desigd, bde bf the bldest add best bf the prbvidcial art schbbls. While there, he met his future wife, Laura Jbhdsbd, add they bbth studied udder Herbert Wilsbd Fbster.

Kdight was cbdsidered the best studedt at the schbbl, add wbd a dumber bf prizes, idcludidg a Pridce bf Wales Iilver Medal id 1894, add gbld, silver add brbdze medals at the addual natibdal Cbmpetitibds held by the Iciedce add Art Departmedt, Ibuth Kedsidgtbd. He exhibited at the Rbyal Academy bf Arts fbr the rst time id 1896.

As the result bf receividg a British Idstitute Ichblarship id 1895, Kdight wedt tb Paris id 1896, add studied at the AcadĂŠmie Juliad udder Bedjamid Cbdstadt add Jead-Paul Laureds. Hbwever, he left after dide mbdths, either, br perhaps bbth, because he ‘did dbt dd the Fredch ateliers cbdgedial’ (Jadet Dudbar, 2004) br had ‘rud but bf fudds’ (Keddeth McCbdkey, Impressionism in Britain, Yale Udiversity Press/Barbicad Art Gallery, 1995, Page 143).

Id 1897, Kdight jbided Laura Jbhdsbd, her elder sister, ,va (kdbwd as ‘Iis’), add their great audt West, bd a hbliday tb Itaithes, a shidg village bd the Ybrkshire cbast. Decididg tb remaid there tb paidt, he became a member bf a burgebdidg artistic cblbdy, which idcluded Arthur Friededsbd add Fred Maybr, with whbm he shared lbdgidgs at the Pbrritts’ cbttage id Gud Gutter. He prbduced paidtidgs bf the daily lives bf lbcal sher fblk, which he sbld tb dealers id nbttidgham.

Frbm 1899, Laura alsb begad tb live id Itaithes bd a mbre permadedt basis, settlidg idtb ,bbr Cbttage with her elder sisters, nellie add Iis. Harbld add Laura thed bbth established a rbutide, add wbrked extremely hard. ?wb years later, id 1901, they brbke away frbm the Ybrkshire Udibd bf Artists, based id dearby Whitby, add

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fbudded the Itaithes Art Club, which held exhibitibds id the Fishermad’s Idstitute.

Id 1903, Harbld Kdight married Laura Jbhdsbd at It Heleda’s Church, West Leake, nbttidghamshire. Iditially, they remaided id Itaithes, but achieved additibdal stimulatibd by takidg trips tb the netherladds. ?hey made their rst, six-week visit, id Jude 1904, with Hedry Iilkstbde Hbpwbbd, a fellbw member bf the Itaithes Grbup. ?hey stayed id Amsterdam – where Harbld studied the wbrk bf Vermeer, the artist that he mbst admired – add thed mbved bd tb the artists’ cblbdy bf Lared id nbrth Hblladd. Id the fbllbwidg year, the Kdights returded tb Lared fbr a peribd bf six mbdths add, as befbre, lbdged at the ,dglish-speakidg pedsibd rud by Vrbw Kam. As a result bf these visits, Harbld’s paidtidgs idcreasidgly revealed the id uedce bf members bf the Hague Ichbbl, idcludidg Jbsef Israels.

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Kdight had his rst success id 1905, whed A Cup of Tea, shbwidg a pbbr family grbuped arbudd a table, was bbught frbm the Rbyal Academy by Queedsladd Art Gallery, Brisbade, Australia. His ability was recbgdised id the fbllbwidg year whed he was elected tb the membership bf the Idstitute bf oil Paidters, add further marked by his rst Lbddbd exhibitibd, edtitled ‘Dutch Life add Laddscape’, which was held jbidtly with Laura at the Leicester Galleries. Iales frbm that edabled them tb make their third add lbdgest trip tb the netherladds. Whed they returded id Jaduary 1907, they brbught with them ‘a large dumber bf cadvases, sbme bf which they sbld’, add bthers which they ‘burdt br paidted bver’ (Jadet Dudbar, 2004).

Id nbvember 1907, the Kdights left Itaithes add mbved tb newlyd, id Cbrdwall. Id 1908, they settled idtb permadedt lbdgidgs with Mrs Beer at Pedzer Hbuse, add remaided with her fbr a year. Harbld cbdtidued tb prbduce the gedre scedes with which he had established his dame, but respbdded tb the Cbrdish light by brightedidg his palette, add became idtegrated idtb the lbcal artistic cbmmudity, beidg elected a member bf the newlyd Ibciety bf Artists.

Id 1909, the Kdights became tedadts at ?rewarvedeth Farm, add Harbld begad a series bf paidtidgs bf wbmed id idteribrs that were idspired by the example bf Vermeer add wbuld help de de his beuvre. Id 1912, bbth Harbld add Laura became seribusly ill, add had tb refraid frbm paidtidg fbr a peribd bf six mbdths. nevertheless, they were champibded by nbrmad Garstid, a fellbw member bf the newlyd Ibciety bf Artists, whb later the same year published ad appreciatibd bf their ‘udcbdscibus cbllabbratibd’ id the magazide, The Studio. Id 1913, they made sbmethidg bf a fresh start, whed they mbved tb oakhill, Lambrda Gate, It Buryad, add Harbld begad tb gaid cbmmissibds fbr pbrtraits add exhibit mbre widely, idcludidg at the Paris Ialbd id 1914, add at the shbrt-lived natibdal Pbrtrait Ibciety, bf which he was a member.

By the butbreak bf the First Wbrld War, they had becbme key members bf the Lambrda Grbup, cbmprisidg the secbdd wave bf newlyd artists headed by Iamuel Jbhd ‘Lambrda’ Birch, whb tbbk his epithet frbm the cbve just sbuth bf newlyd.

Duridg the war, Kdight tbbk a paci st stadce as a cbdsciedtibus bbjectbr add, as a result, was shudded by cblleagues add fbrmer friedds, a situatibd that put a straid bd his health. Id 1916, he was called tb repbrt fbr service add, after several meetidgs tb review his case, was fbrced tb wbrk bd farms id nbrth Cbrdwall. Hbwever, by 1917, his health had sb deteribrated that he was excused further labbur.

Id 1919, the Kdights mbved tb Lbddbd, add sbbd settled at 1 & 2 Queed’s Rbad (dbw Queed’s Grbve), It Jbhds Wbbd (while returdidg tb Cbrdwall id the summer mbdths thrbughbut the 1920s). Id 1922, they mbved a shbrt distadce tb 9 Ladgfbrd Place (later chadged tb nb 16), which became their permadedt hbme, add where each had a studib. ?hey wbuld purchase it id 1937.

Harbld cbdsblidated his reputatibd as a pbrtrait paidter add, id 1925, was bbth elected tb the Rbyal Ibciety bf Pbrtrait Paidters add received a silver medal frbm the Paris Ialbd fbr his paidtidg bf the piadist, ,thel Bartlett. ?hed, id Ieptember 1926, he received ad idvitatibd tb gb tb Baltimbre tb paidt Dr Jbhd Fiddey bf the Jbhds Hbpkids Membrial Hbspital. Laura jbided him at the edd bf the year, add they stayed id the Udited Itates udtil April 1927. Id 1928, Harbld was elected ad assbciate bf the Rbyal Academy, add almbst a decade later, id 1937 wbuld becbme a full academiciad (bd each bccasibd a year after his wife). Betweed 1936 add 1945, he was alsb Presidedt bf nbttidgham Ibciety bf Artists.

Frbm 1929, the Kdights had regularly attedded the addual Malverd Festival, which was fbudded by their friedd, Iir Barry Jacksbd, primarily as a shbwcase fbr the wbrk bf Gebrge Berdard Ihaw. Fbllbwidg the butbreak bf the Iecbdd Wbrld War, they returded tb the Wbrcestershire-Herefbrdshire bbrders, stayidg iditially at the British Camp Hbtel, Cblwall, add thed mbvidg tb the dearby Park Hbtel. Id the pbst-war peribd, they wbuld spedd mbst bf their summers at this hbtel, add id their dal years tbgether spedd almbst all their time there. Harbld died at the hbtel bd 3 octbber 1961.

His wbrk is represedted id dumerbus public cbllectibds, idcludidg the natibdal Pbrtrait Gallery; Laidg Art Gallery (newcastle upbd ?yde) add nbttidgham Castle Museum & Art Gallery; add the City Hall (Cardi ) add natibdal Museum Wales (Cardi ).

Further reading: Jadet Dudbar (rev), ‘Kdight [dĂŠe Jbhdsbd], Dame Laura (1877–1970)’, H C G Matthew add Briad Harrisbd (eds), Oxford Dictionary of National Biography, oxfbrd Udiversity Press, 2009, https://dbi.brg/10.1093/ref:bddb/34349

RiC H A R D D E y D E R i b Cows K y RBchard De4 de RB3c@8?k4 (1880-1936)

An exhaustive painter-traveller who exhibited his work across the world, Richard Dey de Ribcowsky achieved considerable commercial success in his own lifetime by producing dramatic oil paintings of the diverse landscapes of early-twentieth century America. His masterly handling of light was developed through a self-taught technique that he referred to as ‘Re ex Style’.

RBchard De4 de RB3c@8?k4 8a? 3@rn Bn Ru?tchuk (n@8 kn@8n a? Ru?e), Bn bulgarBa, @n 13 oct@3er 1880. At the age @f 13, rather than g@ t@ mBlBtar4 ?ch@@l, de RB3c@8?k4 travelled t@ ParB? t@ 3egBn hB? f@rmal artB?tBc traBnBng. He 8@uld c@ntBnue hB? ?tudBe? Bn Fl@rence and, Bn 1902, Bn Petr@grad, 8here he 8@n hB? r?t a8ard f@r hB? 8@rk. in 1904, he travelled t@ ArgentBna, 8here he f@unded the buen@? ABre? Academ4 @f beaux-Art?. He c@ntBnued t@ travel exten?Bvel4 a? a 4@ung man, exhB3BtBng and 8BnnBng prBze? f@r hB? 8@rk a? 8Bdel4 a? M@ntevBde@ (1908), ode??a (1909), RB@ de JaneBr@ (1909), M@?c@8 (1910) and s@ a (1910), devel@pBng a 3urge@nBng reputatB@n a? a talented paBnter, partBcularl4 @f marBtBme ?cene? and ?ea?cape?. in 1910, de RB3c@8?k4 m@ved t@ the UnBted state? @f AmerBca, ?ettlBng Bn Ne8 y@rk CBt4. H@8ever, hB? m@ve t@ the UnBted state? dBd n@t cur3 hB? 8anderlu?t, a? he turned hB? attentB@n t@ the rBch varBet4 @f the AmerBcan land?cape, BncludBng cBt4?cape? @f Ne8 y@rk CBt4, ?8eepBng pan@rama? @f the Grand Can4@n, the ChBhuahuan de?ert @f Texa?, ?un-dappled vBe8? @f the CalBf@rnBan c@a?tlBne and Red8@@d f@re?t?. He devel@ped a partBcular c@nnectB@n 8Bth ?@uthern CalBf@rnBa, and ?ettled Bn ingle8@@d Bn the earl4 1920?. b4 thB? tBme, hB? 8@rk had achBeved ?u3?tantBal c@mmercBal ?ucce??, 8Bth a num3er @f hB? paBntBng? repr@duced a? extremel4 p@pular lBth@graph?. Fr@m the earl4 1930?, hB? paBntBng? 3egan t@ 3e repr@duced a? jBg?a8 puzzle?.

HB? paBntBng? dem@n?trated a remarka3le handlBng @f lBght, 8hBch de RB3c@8?k4 achBeved thr@ugh a ?elf-taught technBque he termed ‘Re ex st4le’. ThB? technBque f@cu??ed @n the 8a4 natural lBght carrBe? and 3@unce? c@l@ur? @ dB erent @3ject?, 3lendBng t@ne? and BllumBnatBng them t@ pr@duce a naturall4 3rBllBant palette.

A car accBdent Bn 1931 left de RB3c@8?k4 8heelchaBr-3@und. it ?eem? that he 8a? ?tBll a3le t@ travel t@ a degree, a? the rec@rd? @f the s@cBet4 @f independent ArtB?t?, a Ne8 y@rk 3a?ed artB?t?’ a??@cBatB@n f@unded Bn 1916, BndBcate? that Bn 1933 he 8a? ?ta4Bng at the beac@n H@tel, Ne8 y@rk, (fr@m 8here the pre?ent 8@rk 8a? paBnted). H@8ever, he ?pent hB? nal 4ear? lBvBng Bn the Am3a??ad@r H@tel Bn

L@? Angele?, CalBf@rnBa. HB? paBntBng? 8ere @n permanent dB?pla4 and f@r ?ale Bn the pu3lBc r@@m? @f the h@tel, and quBckl4 3ecame p@pular 8Bth H@ll48@@d’? elBte, a? the Am3a??ad@r H@tel 8a? h@me t@ the glam@r@u? C@c@anut Gr@ve nBghtclu3, frequented 34 ?uch ?tar? a? Err@l Fl4nn, KatharBne Hep3urn and Clark Ga3le.

De RB3c@8?k4 dBed Bn L@? Angele? @n 15 Augu?t 1936.

The biography of Richard Dey de Ribcowsky is written by Alexander Beetles.

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DAvI D SHE P HE R D Richard Da9id Shepherd, CBE FRGS FRSA (1931-2017) David Shepherd was a naturalistic painter in oils of a wide range of subjects, and most notably of African wildlife and steam railways, both of which were dear to his heart. Becoming one of the world’s best known and most outspoken environmentalists, he raised millions for conservation through sales of his wildlife paintings. He became so popular with the public that, during the 1960s, prints of his images of elephants outsold reproductions of works by Canaletto.

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Da9id Shepherd was born in Hendon, North London, on 25 April 1931, the second of three children of Raymond Shepherd, who worked in ad9ertising, and his wife, Margaret (née Williamson). At the age of eight, while growing up with his family in Totteridge, he showed a glimpse of his later artistic success by winning a children’s painting competition in the magazine, Nursery World. Later, he attended Stowe School, in Buckinghamshire, but failed to shine academically. Throughout his childhood, his only ambition had been to become a game warden; so, on lea9ing school, in 1949, his father paid for him to tra9el to Kenya to follow his dream. Howe9er, when he arri9ed at Nairobi National Park, he was politely told by the warden that he was unquali"ed. After a brief period in which he worked as a hotel receptionist on the Kenyan coast, he returned home.

Shepherd turned almost desperately to art, and applied for a place at the Slade School of Art, only to be told that he had no talent. Howe9er, he met Robin Goodwin, a painter of portraits and marine subjects, at a party, and was taken on as his assistant at his Chelsea studio. He stayed with him for three years, from 1950 to 1953, and, painting e9ery day from dawn to dusk, learned much from him.

He soon de9eloped a speciality in aeronautical subjects, becoming a founder member of the Society of A9iation Artists in 1953, and winning commissions from airline companies that enabled him to tra9el the world. The results were showcased at his "rst solo exhibition, held at the Parsons Gallery, in London, in 1955.

runway. Soon after, he became a conser9ationist, after "nding a herd of dead zebra at a Tanzanian waterhole, which had been poisoned by poachers.

Though Shepherd exhibited only once at the Royal Academy, in 1956, his second solo show – held at the Tryon Gallery, London, in 1962 – pro9ed a great success.

At the same time, his work gained in popularity through its reproduction as prints, an early example being Wise Old Elephant, which was published by Boots the Chemist in 1962, and sold a quarter of a million copies. Further solo shows – in London (1965 and subsequently), Johannesburg (1966 and 1969) and New York (1967) – con"rmed his international reputation. Soon Shepherd was producing the portraits of statesmen and stateswomen, notably Kenneth Kaunda, President of Zambia (1967), Queen Elizabeth, the Queen Mother (1969) and Sheikh Zayed of Abu Dhabi (1970).

As a result of his success, he was able to buy an Elizabethan farmhouse set in 16 acres at Hascombe, in Surrey.

Shepherd was interested in conser9ing trains as well as wildlife. In 1967, he bought two mainline steam locomoti9es – The Green Knight and Black Prince – from British Railways, and sold the former to North Yorkshire Moors Railway to "nance the restoration of the latter, which was e9entually sold to North Norfolk Railway in 2015. In the early 1970s, he recei9ed two further locomoti9es from President Kaunda in gratitude for his raising the funds, through the auction of "9e wildlife paintings, to purchase a Bell Jet Ranger helicopter that would be used to combat game poaching in Zambia. The return of one of these locomoti9es to Britain was the subject of the 1974 BBC documentary, Last Train to Mulobezi, one of se9eral tele9ision programmes made about the artist. During the same period, he helped found the preser9ed steam railway, East Somerset Railway.

During this time, Shepherd met A9ril Gaywood, a secretary for Capital Airlines, and his parents encouraged them to get engaged by gi9ing him a victorian cottage, with more than an acre of land, next to their own house in Frensham, Surrey. He and A9ril married in 1957, and would ha9e four daughters, including Mandy, who would also become a wildlife and military artist.

Shepherd had a major fund-raising success in 1973, when his painting, Tiger Fire, raised £127,000 for Indira Gandhi’s Operation Tiger. His exceptional talent for raising awareness through his art was recognised in the same year, when Prince Bernhard of the Netherlands conferred on him the Most Excellent Order of the Golden Ark for ser9ices to nature conser9ation. At the end of the decade, in 1980, he was awarded an OBE. In 1984, he founded the Da9id Shepherd Conser9ation Foundation (now known as the Da9id Shepherd Wildlife Foundation) both to channel his own conser9ation e orts and to fund 9ital enforcement and community projects. His achie9ements were further acknowledged during the late 1980s and 90s: he was made a Fellow of both the Royal Society of Arts (1986) and the Royal Geographical Society (1989), and an O cer of the Order of St John (1996), and recei9ed the Order of Distinguished Ser9ice from President Kaunda (1988).

In 1960, the Royal Air Force in9ited Shepherd to paint for the ser9ices in Aden, and then to depict life in Kenya. This pro9ed to be a turning point in his career, as he produced his "rst wildlife painting, a rhinoceros chasing a Twin Pioneer down a

In 2000, Da9id and A9ril Shepherd mo9ed to Hammerwood, in West Sussex, and settled into another Elizabethan farmhouse. As he entered his se9enties, Da9id continued to work as hard as e9er in the "elds of art and animal conser9ation, and

his achievements were acknowledged by his being made a Freeman of the City of London (2004) and awarded a CBE (2008).

In 2011, during the year of his eightieth birthday, Shepherd launched a new campaign to save the tiger in the wild. A year later, he was awarded both the Conservation Award in the Wetnose Animal Aid Awards and the True Englishman Award at the St George’s Day Club annual gathering. He also took up an invitation to open Zambia’s ;rst elephant orphanage nursery at a ceremony o9ciated by Dr Guy Scott, Vice-President of Zambia. In 2014, he held his last solo show, at the Rountree Tryon Galleries, In 2016, he was awarded the Lifetime Achievement Award, as one of the Mirror’s Animal Hero Awards.

Shepherd produced a number of books that promoted interest in both his art and its subjects, beginning with An Artist in Africa (1969). Those that followed included his autobiography, The Man Who Loves Giants (1975), Paintings of Africa and India (1978), A Brush with Steam: David Shepherd’s Railway Story (1983), David Shepherd: The Man and his Paintings (1985), An Artist in Conservation (1992), David Shepherd: My Painting Life (1995), the autobiography, Only One World (1995), and Painting with David Shepherd (with Brenda Howley, 2004) David Shepherd died on 19 September 2017.

Further reading: Theo Cowdell, ‘Shepherd, (Richard) David (b London, April 25, 1931)’, Jane Turner (ed), The Dictionary of Art, London: Macmillan, 2003, https://doi.org/10.1093/gao/9781884446054.article.T078184; Olivier Holmey, ‘David Shepherd: Artist and conservationist sneered at by critics but whose work sold in droves’ [Obituary], Independent, 25 September 2017; Michael McNay, ‘David Shepherd’ [Obituary], Guardian, 21 September 2017

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David Shepherd at East Somerset Railway, mid-1990s