Edward Robert King
1862 - 1951
Leaving South Harting Church
Oil on canvas, signed & dated 1888
Image size: 23 x 17 inches
Original gilt frame
Edward R. King was a portrait, figure and landscape painter, the son of William Bignell King and Agnes Jane King, née Maybury. He was the brother of the painter, etcher and illustrator William Gunning King (1859-1940) and they shared an address at South Harting, near Petersfield, Hampshire.
His sympathetic treatment of gritty rural and urban subjects was admired by Vincent van Gogh. In 1888 he was elected a member of the New English Art Club in 1888, the year JW exhibited with the group.In 1889 King was amongst those proposed guests to a dinner organised by W. C. Symons to congratulate JW on becoming an Honorary Member of the Royal Academy of Munich, a dinner which was to be held at the Criterion in Piccadilly on 1 May.
However in 1925 he was committed to St James’ Hospital in Milton, Portsmouth, after suffering a breakdown following his wife’s death from consumption. although he continued to paint.
King absorbed himself in his art whilst in hospital and encouraged by staff, who recognised the importance of his art to his recovery, he became a familiar sight around the hospital farm and the waterfront at Milton Locks. He created a huge number of works during this time, and after the 1941 Blitz bombings was commissioned by the Mayor of Portsmouth to document its devastating aftermath. Now he could be seen sat painting amongst the rubble, hiding unfinished pieces within the wreckages to return to later.
Oil on board
Image size: 13 ½ x 10 ½ inches
Original gilt frame
Autumn Gold, Betws-Y-Coed
Oil on canvas, singed lower left
Image size: 24 x 13 ½ inches
John Brett was an artist associated with the Pre- Raphaelite movement, mainly notable for his highly detailed landscapes Brett was born near Reigate on 8 December 1831, the son of an army vet. His sister Rosa Brett was also an artist and during 1850 and 1851 they shared a studio. In 1853 he entered the Royal Academy schools, but was more interested in the ideas of John Ruskin and William Holman Hunt. Inspired by Hunt's ideal of scientific landscape painting, Brett visited Switzerland, where he worked on topographical landscapes.
In 1858 Brett exhibited The Stonebreaker, the painting that made his reputation. This depicted a youth smashing stones to create a road-surface, sitting in a brightly lit and brilliantly detailed landscape. The precision of the geological and botanical detail greatly impressed Ruskin, who praised the painting highly, predicting that Brett would be able to paint a masterpiece if he were to visit the Val d’Aosta in Italy. Partly funded by Ruskin, Brett made the trip to paint the location, exhibiting it in 1859, again to high praise from Ruskin, who bought the painting. Brett continued to paint carefully detailed landscape views, staying in Italy on many occasions in the 1860s. He was always keen to stress the scientific precision of his rendering of nature, but often infused it with moral and religious significance, as recommended by Ruskin.
In his later years he painted more coastal subjects and seascapes, subjects he came to know well due to his ownership of a 210-ton schooner, Viking (which had a crew of twelve), on which he travelled the Mediterranean.During summers in the 1880s Brett rented the castle at Newport, Pembrokeshire to use as a base for his large family while he painted, sketched and photographed the south and west coasts of Wales. An exhibition in 2001 at the National Museum of Wales, Cardiff entitled John Brett - a Pre-Raphaelite on the Shores of Wales brought together many of the major works from this period of his career. Brett was also a keen astronomer, having studied the subject from childhood. He was elected a Fellow of the Royal Astronomical Society in 1871. Brett was a founder member of the Art Workers' Guild and Master in 1890.
The Approaching Storm
Oil on canvas
Image size: 29 x 39 inches
John Linnell (16 June 1792 – 20 January 1882) was an English landscape and portrait painter and engraver. Linnell was a naturalist and a rival to John Constable. He had a taste for Northern European art of the Renaissance, particularly Albrecht Durer. He also associated with William Blake, to whom he introduced Samuel Palmer and others of the Ancients.
Linnell was born in Bloomsbury, London. His father was a carver and gilder and Linnell was brought into contact with artists from an early age, and was drawing and selling portraits in chalk and pencil at the age of 10. His first artistic instruction was received from Benjamin West, and he spent a year in the house of John Varley the water-colour painter, where he had William Hunt and William Mulready as fellow-pupils, and made the acquaintance of Shelley Goowdin and other men of mark.
In 1805 he was admitted a student of the Royal Academy, where he obtained medals for drawing, modelling and sculpture. He was trained as an engraver, and executed a transcript of Varley's "Burial of Saul." By 1808, Linnell moved into the house of painter William Mullready, whose wife had accused him of infidelity with both other women and boys. It appears Linnell's association with Mulready caused the breakup of Mulready's marriage.
In later life Linnell occupied himself with the burin, publishing, in 1833, a series of outlines from Michelangelo's frescoes in the Sistine Chapel, and, in 1840, superintending the issue of a selection of plates from the pictures in Buckingham Palace, one of them, a Titian landscape, which he engraved in mezzotint.At first he supported himself mainly by miniature painting and execution of larger portraits. Several of his portraits he engraved in line and mezzotint. He painted many subjects like the "St John Preaching," the "Covenant of Abraham," and the "Journey to Emmaus," in which, while the landscape is usually prominent the figures are of sufficient importance to supply the title of the work. But it is mainly in connexion with paintings of pure landscapes that his name is known. His works commonly deal with some scene of typical uneventful English landscape, which is made impressive by a gorgeous effect of sunrise or sunset. They are full of true poetic feeling, and are rich and glowing in colour.
Linnell commanded large prices for his pictures, and about 1850 he purchased a property at Redhill, Surrey, where he lived till his death on 20 January 1882, painting with unabated powers until within the last few years of his life. He devoted himself to painting landscapes notably of the North Downs and Kentish Weald. His leisure was occupied with a study of the Bible in the original, and he published several pamphlets and treatises of Biblical criticism.
Linnell was one of the best friends and kindest patrons of William Blake. He gave him the two largest commissions he received for single series of designs—£150 for drawings and engravings of The Inventions to the Book of Job, and a like sum for those illustrative of Dante Aligheri.He was a friend of the painter Edward Thomas Daniell. A blue plaque commemorates Linnell at Old Wyldes' at North End, Hampstead.The plaque mentions that William Blake stayed with Linnell as his guest.
Portrait of a Lady
Crayon on paper
Image size: 10 x 16 inches
Pre-Raphaelite style frame
John George Sowerby
1849 - 1914
Watercolour, signed lower right
Image size: 9 x 11 ½ inches
Royal Academy in 1883 number 978
Edward Clark Haslam, JP, Newcastle
Thence by family descent
Attributed to William Blake Richmond KCB, RA, PPRBSA
1848 - 1921
Oil on canvas
Image size: 20 x 28 inches
This Pre Raphaelite influenced work depicts a guardian angel holding the hand of a sleeping woman in a cave at night. Next to her lies unravelled scrolls, telling some important news or perhaps her shopping list for tomorrow.
Probably a sketch for a painting, often artists would have to produce a sketch to show a client first to get his approval. The sketch depicts strong outlines of the figures and lacking the final glazes to harmonise them as a finished work would.
Obviously by a well trained artist, the loose, spontaneous character of the sketch and the clearly visible, personal brush strokes give it a strong vigour. The artist creates a fresh and powerful subject, such as the deep sleep of the woman and the thoughtful gaze of the angel.
Angels are often thought to guide people in their sleep and release them from their worldly troubles.
The eighth child and second son of the portrait painter George Richmond, William Blake Richmond was named after his father’s great idol and mentor William Blake, while his godfather was the elder Richmond’s close friend Samuel Palmer. William entered the Royal Academy School in 1857, and in 1860 made the first of several visits to Italy.
The following year he began exhibiting at the Royal Academy. Between 1866 and 1869 Richmond lived and worked in Rome, where he met the Italian landscape painter Giovanni (‘Nino’) Costa, whose studio on the Via Margutta had become a meeting place for English painters visiting the city. Costa became the head of an informal group of English landscapists - including Richmond, George Howard and Matthew Ridley Corbet - who called themselves ‘The Etruscans’, and who found inspiration in sketching trips into the Campagna, guided and encouraged by Costa.
Although Richmond’s lifelong passion for landscape is reflected in the informal oil sketches that remained a constant production of his later career, it was as a portrait painter that he made his mark on his return to England.
One of the finest portrait painters of the Aesthetic movement, Richmond received numerous significant commissions for portraits, notably of William Gladstone and his niece Lady Frederick Cavendish and nephew Lord Lyttelton, Charles Darwin, the Duke of Argyll and the Princess of Wales, among others. He also produced several more informal portraits of such friends as William Holman Hunt, Robert Louis Stevenson, William Morris and Robert Browning.
Demand for his portraits continued throughout his career, and his success as a fashionable portrait painter earned him considerable renown. (Despite these accomplishments, the artist seems to have preferred painting large mythological subject pictures or small landscape oil sketches.
Richmond exhibited at both the Royal Academy and the newly-established Grosvenor Gallery, and in 1879 was appointed Slade Professor of Art at Oxford. He was also active both as a sculptor and designer of stained-glass windows, while throughout most of the 1890s he was engaged on the decoration of the apse and choir of St. Paul’s Cathedral in London with mosaics; arguably the most significant mosaic commission ever received in England.
Reflecting the artist’s close study of Byzantine mosiacs in Rome, Florence, Ravenna and Palermo, the mosaic decoration of St. Paul’s (for which Richmond also designed the stained-glass windows, lost or destroyed in the Second World War) was begun in 1891 and largely completed by 1896, although the last elements were not finished until 1904. In 1900 a major retrospective exhibition of Richmond’s paintings, drawings and sculptures, numbering almost five hundred works, was held at the New Gallery in London.
Alfred Clint RBA
Oil on canvas, signed & dated 1860
Image size: 15 x 22 inches
Clint, Alfred was the fifth and youngest son of George Clint ARA (1770–1854), painter and engraver, and his first wife. He was born in Alfred Place, Bedford Square, London, on 22 March 1807. A pupil of his father, Clint also studied from life with a society of students meeting first in Drury Lane and later at the Savoy. He was also at one time a member of the Clipstone Street Artists' Society, a sketching club. Ottley states that Clint initially painted portraits, as did his father, but that an unstated health problem compelled him to take up landscape painting, in which he was self-taught.
Clint exhibited for the first time in 1828 at both the Society of British Artists' galleries in Suffolk Street, London, and the British Institution. In the following year his Study from Nature was accepted for exhibition at the Royal Academy. By the close of his career he had exhibited in excess of 400 landscapes and coastal views at these three institutions and others, by far the majority having been shown at Suffolk Street. Clint proved a capable administrator: he was elected a member of the Society of British Artists in 1843 and for some years held the office of secretary. He succeeded Frederick Yeates Hurlstone as president in 1869 and on retiring in 1881 was made honorary president. With others, he instigated both the Artists' Amicable Fund and the short-lived Institute of Fine Arts.
Clint is now best-known as a marine painter, especially of views taken on the south coast of England and the Channel Islands. He also painted views of the British countryside, accompanying the actor George John Bennett on the second of his Welsh journeys, and contributed twenty etchings to Bennett's The Pedestrian's Guide through North Wales, published in 1838. Paintings bearing Welsh titles were exhibited at Suffolk Street and the Royal Academy in 1839 and 1840. His Hampstead from the South-East (c.1852–3) is in the Tate collection, and Morning: London from Highgate of 1841 is in the Walker Art Gallery, Liverpool. These two London scenes are quiet and contemplative in mood, but frequently the groups of figures included by Clint animate the landscapes, while shipping and rough seas enliven the coastal views.
In 1855 Clint wrote Landscape from Nature, being the second part of John Samuelson Templeton's The Guide to Oil Painting in a series published by George Rowney & Co., suppliers of artists' materials.
For the last five years of his life Clint was forced to give up painting owing to failing eyesight. He died at his home, 54 Lancaster Road, Westbourne Park, London, on 22 March 1883, his seventy-sixth birthday. He was buried in the same grave as his father in Kensal Green cemetery and his remaining works were sold by Christies in February 1884.