Oil on canvas
Image size: 30 x 25 inches
Signed and inscribed indistinctly
Thomas Cooper Gotch RBA RI
1854 - 1931
Death the Bride
Graphite on paper
Image size: 44 x 34 inches
Hand made gilt frame
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.
Attri: Henry Treffry Dunn
Portrait of a Lady
Crayon on paper
Image size: 10 x 16 inches
Pre-Raphaelite style frame
Henry Treffry Dunn (1838–1899) was Dante Gabriel Rossetti’s assistant and a painter in his own right. Dunn was the son of a tea merchant. He was born in 1838 in Truro and trained at Heatherley’s School of Fine Art in Chelsea.
Dunn's memoirs are a valuable source for the lives of the Pre-Raphaelites. He was paid to be Rossetti's factotum and to create copies of Rossetti's paintings. It has been said that the painting Lady Lillith in the Metropolitan Museum of Art was actually painted by Dunn and only "touched up" by Rossetti.
Dunn's paintings are influenced by Rossetti and in some cases he would make preliminary studies and copies for Rossetti. His painting style was described as "more solid than graceful". Dunn recounted that he was given the position after successfully creating a copy of Rossetti's work. Rossetti used his assistant frequently to create copies which he would complete and at one stage Dunn complains at having to create a third copy of the same painting. Some have said that some of Rossetti's paintings were in fact almost entirely created by Dunn.
Dunn was not only an artist's assistant, but also a secretary and friend. It was Dunn who first arranged for Rossetti to get a bank account, as Rossetti would keep his money in a drawer where he, and others, could freely help themselves. Dunn worked as Rossetti's assistant for many years, but they quarreled and Rossetti refused to pay him. The quarrel continued until Dunn returned to his native Cornwall in 1880, leaving Rossetti's household in chaos. Rossetti then replaced Dunn with another companion; the author Hall Caine. The lost salary remained in dispute until after Rossetti's death. When Rossetti died Dunn was very helpful to William Rossetti in his role as executor, though he considered Dunn to be an alcoholic. Dunn eventually obtained the considerable sum of money that was owed to him from Rossetti's estate.
At the end of his life he was taken in by the critic and poet Theodore Watts-Dunton who had earlier saved Swinburne from alcoholism. The three of them lived together at Watts-Dunton's house until Dunn died in 1899. Dunn's watercolours and his other paintings are in collections in Cornwall and other British galleries.
1833 - 1886
Aesthetic Movement Ebonised Wood Jacobean Armchair
(H)83 x (W)49 x (D)47 centimetres
Ebonised Wood and Padded Seat
He moved to London in 1865 and between 1867 and 1871 designed Dromore and Glenbegh (Glenbeigh) castles in Ireland. Godwin’s later architectural work was on a smaller domestic scale and included houses for artists at Bedford Park, and the White House (c. 1877) in Chelsea, London, which he produced for his artist friend James McNeill Whistler.
From 1865 he designed furniture, textiles and wallpapers for commercial production and private clients. Because of his association with the actress Ellen Terry, with whom he lived for six years, he was greatly interested in all aspects of the theatre. This theatrical interest was also shared by their two children, both of whom Terry reared: Edith Ailsa Craig (1869–1947), who was an active theatre director and costumier, as well as a suffragette, and Edward Gordon Craig, a noted stage designer.