Stanhope Alexander Forbes, RA (British, 1857-1947) The Inner Harbour - Abbey slip, Penzance signed 'Stanhope A Forbes' (lower right) oil on canvas laid to board 46.3 x 57.2cm (18 1/4 x 22 1/2in).
‡ STANHOPE ALEXANDER FORBES R.A. (BRITISH 1857-1947) REFLECTIONS IN THE CANAL, VENICE signed and dated Stanhope A. Forbes. / 1927 lower left oil on canvas 76.2 x 61cm; 30 x 24in 94 x 79cm; 37 x 31in (framed) Property from an American Collection Provenance Harrods Department Store, Knightsbridge, London Purchased from the above by the parents of the present owner circa 1930
STANHOPE A. FORBES (BRITISH 1857-1947)THE GREEN SETTLE Oil on canvas Signed and dated 1911 (lower right) 65 x 54.5cm (25½ x 21¼ in.)Exhibited:London, Royal Academy, 1911, no.559Literature:Royal Academy Illustrated, 1911, p.93
Stanhope Alexander Forbes, RA, British 1857-1947 Portrait of Sir Philip Dawson, MP; oil on canvas, signed and dated 'Stanhope A Forbes / 1914' (lower left), bears brass plaque engraved 'Sir Philip Dawson M.P. / PRESIDENT 1936-38' attached to the lower stretcher bar, 128 x 102.5 cm. Note: Forbes attended the Lambeth School of Art, and later at the Royal Academy Schools, where he was taught by Sir Frederic Leighton (1830-1896) and Sir John Everett Millais (1829-1896). Forbes went on to become a founding member of the hugely influential Newlyn School, known for his 'en plein air' approach, making the present sober portrait a much rarer example of the artist's work. Philip Dawson (1866-1938) was an electrical engineer and Conservative politician, who served as the MP for Lewisham West from 1921 until his death in 1938. The instrument depicted in Dawson's hand in the present picture, which appears to be a slide rule, may well refer to his profession as an engineer, for which he was knighted by George V in 1920.
Property from a European Private Collection Stanhope Alexander Forbes, R.A. Dublin 1857–1947 Newlyn The Lantern signed and dated lower right: Stanhope A. Forbes. / 1897. oil on canvas unframed: 41 x 31 cm.; 16¼ x 12¼ in. framed: 54.5 x 45 cm.; 21½ x 17¾ in.
Stanhope Alexander Forbes, RA (British, 1857-1947) Champagne and playing cards signed, inscribed and dated 'TO MOTHER/ XMAS 1913/ STANHOPE.a.FORBES.' (UPPER LEFT) oil on board 40 x 30.5cm (15 3/4 x 12in).
STANHOPE ALEXANDER FORBES (British, 1857-1947) Lake Scene with Village House 1902 oil on canvas signed lower left: StanhopE a FORBES / -02 70 x 90cm PROVENANCE: Private collection, Melbourne
Stanhope Alexander Forbes RA (1857-1947) THE GARDEN GATE, 1925 oil on canvas signed and dated lower right h:24.25 w:20.50 in. Provenance: Adam's, 5 December 2006, lot 137; Private collection Born in Dublin, the son of an English railway manager and his French wife, Stanhope Forbes became one of the best known painters of his generation, and an important link between English and Irish artists of the period. He was educated at Dulwich College in London, where he studied art under John Sparkes who later taught at South Kensington School of Art. When his father went to work in Luxembourg and Belgium Forbes was removed from Dulwich and received private tutelage in Brussels. After the end of the Franco-Prussian War, the family returned to London. He studied at the Lambeth School of Art (now the City & Guilds of London Art School) and at the RA Schools (1874-1878) under Sir Frederic Leighton and Sir John Millais. During this period Forbes returned to Ireland to visit Dr Andrew Melville, a family friend and Queen's College professor. During his visit he painted landscapes of the Galway area. Later Forbes relocated to France spending two years in the studio of Léon Bonnat in Clichy, Paris from 1880 to 1882. He also painted in Brittany, meeting a host of other young artists including the Irishmen Walter Osborne, Joseph Malachy Kavanagh, Nathaniel Hill and Norman Garstin - all of whom were influenced by the plein air naturalism of Bastien-Lepage. A Street In Brittany, was shown at the 1882 Royal Academy Summer Exhibition and sold to the Walker Art Gallery, Liverpool. His Breton Children in an Orchard - Quimperlé, was shown at the 1884 Royal Hibernian Academy, Dublin. Two other works, Fair Measures: a shop in Quimperlé and Preparations for the Market, Quimperlé were both shown at the Royal Academy in 1884. The same year Forbes moved to Newlyn in Cornwall, where along with Garstin he became a leading proponent of the Newlyn School. The artist colony received national attention with the Royal Academy exhibition of Forbes' works in 1885. He was a founding member of the NEAC in 1899, and together with his wife - the artist Elizabeth Armstrong whom he married the same year - ran the well known Newlyn Art School. In 1910 Forbes was elected a Royal Academician, making Senior Academician in 1933 and he also became a member of the St Ives Society of Artists in 1928. After his wife's death, Forbes married friend and previous student Maudie Palmer. He died in Newlyn on 2 March 1947 at the age of 89.
Stanhope Alexander Forbes RA (1857-1947) Autumn Landscape Oil on canvas on board, 29.5 x 39.5cm (11.5 x 15.5) Signed Provenance: Sale, These Rooms, 5th December 2006, lot 136
OIL ON CANVAS, "The Health of the Bride" after the 1889 painting by Stanhope Forbes (England, 1857-1947), a late 20th century copy. Illegibly signed lower right. Image measures 36" x 48". In a large wood and composite frame; 52.5" x 64.5" x 4.5" overall.
STANHOPE ALEXANDER FORBES R.A. (1857-1947) OIL ON CANVAS "The Fountain Tavern, Penzance" unsigned and with Trinity House Gallery label on reverse - ornate gilt frame with canvas slip and lefwork borders. (32cm high 43cm wide)
STANHOPE ALEXANDER FORBES, R.A. (1857-1947) LATE 19TH CENTURY NEWLYN SCHOOL OIL ON CANVAS beach scene with seated fisherman playing cards. signed - scrolled gilt leafwork frame. (39cm high 59cm wide )
Stanhope Forbes RA (British 1857-1947) Children on the beach, St Ives signed and dated 'STANHOPE A FORBES / 1886' (lower right) oil on canvas 30 x 40cm Provenance: Sold by the Executors of Roland Baker deceased Within the last two centuries, Cornwall has established an incontrovertible reputation as one of the most influential and internationally significant artists’ colonies. Prior to the early 19th century, however, the region was chiefly associated with fishing and mining; geographically remote and primarily a site of industry, the area offered very few incentives to visit. In 1809, the first comprehensive pictorial survey of the county was completed by Royal Academician, Joseph Farington, who produced 24 topographical engravings which were later published in Britannia Depicta, Part IV. Two years later, J.M.W. Turner would make the same voyage. Following the southern coastal route, Turner produced in excess of 200 pochades, many of which were reproduced in his 1814 series Picturesque views on the southern coast of England, whilst others were used as the source material for his classical masterpieces. Formerly known for its pilchard and mackerel fishing, by the late 19th century, Newlyn, the chief port of Mount’s Bay, was beginning to attract growing numbers of artists, all of whom were drawn to the dramatic landscapes and fertile opportunities for narrative realism afforded by the area. It is no coincidence that many of the artists that chose to settle in the Newlyn area had previously spent time painting en plein air in France, indeed, Stanhope Forbes described the fishing town as ‘a sort of English Concarneau.’ Stanhope Forbes settled in Newlyn in 1884 and, although he was not the first of his generation to make the move, having been preceded by Thomas Cooper Gotch, Henry Tuke, Walter Langley and Edwin Harris, the Dublin born artist soon became known as the ‘Father of the Newlyn School’. In Newlyn, Forbes was able to establish his own contemporary interpretation of the ‘picturesque’, documenting the daily lives and struggles of the local population, from the fishing communities of Newlyn to the nomadic roadside gypsies in the surrounding locale. In 1885, Stanhope Forbes received popular and critical acclaim for his work, A Fish Sale on a Cornish Beach, which was exhibited at the Royal Academy and effectively sealed both his personal reputation and the reputation of the Newlyn School. In the summer of 1886, away from the silvery tonalities and dusky light of Newlyn, Forbes’ family were enjoying a holiday staying in nearby St Ives. Having recently been connected to the 1876 rail link between Penzance and Paddington, St Ives was rapidly becoming a popular seaside holiday destination, particularly amongst those who espoused the curative properties of sea-bathing. During the months between mid-July and September of 1886, Stanhope Forbes was known to frequently make the nine-mile journey over Paul Hill to join his family on the north coast, where he executed the present lot, together with a smaller study of a comparable composition, now held in Bristol Museum and Art Gallery. Painted at Porthminster Beach, both works show small clusters of children playing on the sand, alongside bathing tents and lines of towels and swimming costumes drying in the breeze. Differing from the smaller pochade held at Bristol Museum, the present lot shows the peninsula sweeping into the left-hand side of the canvas, the distant twin piers delicately balanced against the horizontal clothes line in the foreground. In contrast to his Newlyn works, the present lot has a resolutely modern character. Painted in situ with a flat-ended brush, Forbes was seemingly experimenting with technique, composition, and palette. Whilst the Newlyn school valued temperate and, arguably, more authentic tonalites, in St Ives, Forbes made use of more vociferous harmonies, contrasting the sun-flashed sand against the cerulean ocean. Similarly, the high horizon and audacious expanse of sand and sky in the foreground of the image demonstrates a departure from Forbes’ more traditional compositions.
OIL ON CANVAS, "The Health of the Bride" after the 1889 painting by Stanhope Forbes (England, 1857-1947), a late 20th century copy. Illegibly signed lower right. Image measures 36" x 48". In a large wood and composite frame; 52.5" x 64.5" x 4.5" overall.
ALFRED WREN (ACT.1907) AFTER STANHOPE ALEXANDER FORBES (1857-1947) ALFRED WREN (ACT.1907) AFTER STANHOPE ALEXANDER FORBES (1857-1947) The lighthouse, Newlyn harbour signed and dated 1907 (lower right) oil on canvas 90 x 60 cm
Antique Painting Oil on Canvas by Stanhope A. Forbes, Irish (1857-1947). "St. Ives Cornwall". Signed Lower Left in Original Frame. Condition: Appears to be in Very Good Condition. Minor Creases Due to Frame. Dimensions: Sight-18.25" x 11.5". Frame-26.5" x 20". Provenance: From a Long Island, NY Home. Please note the absence of a condition report does not imply that there are no condition issues with this lot. Please contact us for a detailed condition report.
STANHOPE ALEXANDER FORBES, R.A., N.E.A.C. (BRITISH, 1857-1947) The Runaway Knock signed and dated ' STANHOPE A FORBES./1888 .' (lower left) oil on canvas 20 x 13 1/4 in. (50.8 x 33.5 cm.) ,
Stanhope Forbes R.A. (British 1857-1947) Study for An Old Cornish Manor, 1936 signed and dated (lower right), oil on canvas on board (34.5cm x 22.5cm (13.6in x 8.8in)) Footnote: This is a study for An Old Cornish Manor , which sold at Christie's, London on 20 November 2018 (Lot 22). The larger work was exhibited at the Royal Academy in 1936. Provenance: Private Collection, UK. Possibly a direct gift to the paternal grandfather of the current vendor, who was known to have corresponded with Stanhope Forbes, and other local Cornish Artists. The current vendors grandparents were noted Cornish artists, each having exhibited their work in 1936 at the Newlyn Art Gallery in Cornwall.
STANHOPE ALEXANDER FORBES, R.A. (BRITISH, 1857-1947) Where the river bends signed and dated 'Stanhope A. Forbes/1932' (lower right) oil on canvas 243⁄8 x 30 in. (61.3 x 76.2 cm.)
Stanhope Alexander Forbes (British, 1857-1947) Portrait of F. Dudley Docker signed and dated 'Stanhope A. Forbes/1913-' (lower right) oil on canvas , unframed50 x 401⁄4 in. (127 x 102.2 cm.)
Stanhope Alexander Forbes, RA (British, 1857-1947) The Morning Room signed and dated 'Stanhope A. Forbes./1913.' (lower right) oil on canvas 76.2 x 61cm (30 x 24in). For further information on this lot please visit the Bonhams website
Stanhope Alexander Forbes, RA (British, 1857-1947) Sir Walter Raleigh's House at Mitchell, Cornwall signed and dated 'Stanhope A. Forbes/1932.' (lower right); additionally dated '1941.' (lower right) oil on canvas 51 x 63.5cm (20 1/16 x 25in). For further information on this lot please visit the Bonhams website
STANHOPE ALEXANDER FORBES (BRITISH 1857-1947) Chyenhall Moor, Cornwall signed and dated Stanhope A Forbes/1920 (lower right) oil on canvas 53 x 54 cm (20 3/4 x 21 1/4 in) Provenance: H Fisher & Son, Christ Church, New Zealand Piano Nobile, London Exhibited: Royal British Colonial Society of Artists, Dominions and States Exhibition, 1918
Stanhope Alexander Forbes RA (1857-1947) - 'Cancale', a Breton fisherman and his daughter seated on a harbour wall mending nets, oil on canvas, signed lower right, inscribed and dated 1891, 70 x 56 cm, the reverse with remnants of paper label detailing 'Summer Exhibition 1892' Note: Stanhope Forbes was the founding member of the Newlyn School of artists
Stanhope Alexander Forbes, RA (British, 1857-1947) Sir Walter Raleigh's House at Mitchell, Cornwall signed and dated 'Stanhope A. Forbes/1932.' (lower right); additionally dated '1941.' (lower right)oil on canvas51 x 63.5cm (20 1/16 x 25in). Provenance: Private collection, UK Exhibited: London, Royal Academy, 1933, no. 597.Bournemouth, Russell Cotes Art Gallery, Exhibition of Works by Eminent Living Artists, March - June 1945. Literature: Royal Academy Illustrated, 1933, p. 56 (with 1932 date only).Homes & Gardens, front cover, Volume 15, 1933, & discussed on p. 286.
Stanhope Alexander Forbes, RA (British, 1857-1947) Evening on the highway signed and dated 'Stanhope A. Forbes./1938.' (lower right)oil on canvas61 x 76.5cm (24 x 30 1/8in). Provenance: Private collection, UK. Exhibited: London, Royal Academy, 1939, no. 412. Literature: Royal Academy Illustrated, 1939, p. 22.
Stanhope Alexander Forbes, R.A. (1857-1947) Chyenhall Moor, Cornwall signed and dated 'Stanhope. A. Forbes./1920.' (lower right) and further signed and inscribed 'Chyenhall Moor/Cornwall/by Stanhope A Forbes R.A.' (on an exhibition label attached to the reverse) oil on canvas 21 x 25 ½ in. (53.3 x 64.8 cm.)
Stanhope Alexander Forbes, RA (British, 1857-1947) A view along the coast with a cottage in the distance signed 'Stanhope Forbes' (lower right)oil on panel32.4 x 23.5cm (12 3/4 x 9 1/4in).
Stanhope Alexander Forbes, RA (British, 1857-1947) The Smith's Workshop signed and dated 'Stanhope A. Forbes/1917' (lower left); signed and inscribed 'BRITISH EXHIBITION/The Smiths Workshop/by/Stanhope A. Forbes./Higher Faugan/Newlyn Penzance' (on a remnant of canvas attached to the stretcher)oil on canvas153.3 x 118cm (60 3/8 x 46 7/16in). Provenance: David Messum, London, circa 1985.Joe Marchman Collection, Texas (acquired from the above). Anon. sale, Sotheby's, London, 23 November 1994, lot 7.Private collection, UK (acquired from the above). ExhibitedLondon, Royal Academy, 1917, no. 189.Liverpool, Walker Art Gallery, Autumn Exhibition, 1938. Pittsburgh, Carnegie Institute.LiteratureRoyal Academy Illustrated, 1917, p. 15 (as The Wheelwright).The Cornishman and Cornish Telegraph, 5 April 1917, p. 7.'Khaki Academy ...' Pall Mall Gazette, 5 May 1917, p. 8.'The Royal Academy ...', Birmingham Daily Post, 5 May 1917, p. 4.'The Royal Academy – Westcountry [sic] Artists', Western Morning News, 12 May 1917, p. 5.'Penzance', The Cornishman and Cornish Telegraph, 17 May 1917, p. 2.Elizabeth Knowles, Stanhope Forbes/Father of the Newlyn School, 2017, Sansom & Company, Bristol and Penlee House Gallery & Museum, Penzance, p. 117, titled The Forge (aka The Wheelwright) (illustrated p. 84).Following his recent election as Associate of the Royal Academy in 1892, Stanhope Forbes was interviewed by the ageing writer, Philip Gilbert Hamerton, and describing the casual way in which his compositions were arrived at, he recalled a 'stroll into the village foundry about some odd job', that led to his recent exhibition-piece, Forging the Anchor, (Ipswich Museums Service).1 None of his monumental canvases strayed from the principle that art should be found in ordinary, everyday experience. It was a conviction he maintained throughout his long career. Even at the height of the Great War, when others were resorting to heroic symbolism, he returned an old workshop to record the activity of two wheelwrights, John Read Trenwith and Jimmy Chinn.That original experience in the village foundry, twenty-four years earlier had however effected a change in his working practices. Early canvases had all been painted on-the-spot, but now, when cramped conditions dictated, Forbes found it more convenient to paint large canvases from studies. Accordingly, at the Ash Coach Builders' forge at Newlyn before Christmas 1916, a swift study of the two wheelwrights was made.2 The present canvas was then completed and although a local 'show day' was not arranged in 1917, the picture was reported in advance and the figures identified. Forbes, reviewers noted, was returning to a subject that had made him famous, 'by reason of the remarkable display of genius in the treatment of the natural and artificial lights'.3 When finally displayed in London, the picture was 'pleasing and accomplished' and expressed 'a large measure of power'.4 It was probably Forbes's evident mastery of foundries that had encouraged George Baker and family, owners of Sheffield and Rotherham cutlery and tool factories, quickly converted to shell manufacturing, to commission canvases of their steel works and 'munitions girls' (Science Museum, London). Here again the artist worked mostly from on-the-spot sketches.5 These, and the present canvas, were among the last monumental canvases painted by Forbes – inter-war village scenes tending to be produced on a smaller scale, and their drama reduced to wayside encounters. We are grateful to Professor Kenneth McConkey for his assistance in cataloguing this lot. 1 Philip Gilbert Hamerton, 'The Lighthouse painted by Stanhope A Forbes ARA', Scribner's Magazine, vol. 15, no. 6, June 1894, p. 691. Forbes painted two further 'blacksmith' subjects in 1894, The Smithy (RA 1895, no. 372, unlocated); and The Little Smithy, (National Museum of Wales, Cardiff). 2 Sold Sotheby's 11 May 1988, lot 10, which was gifted by the artist at 'Xmas 1916' to John Read Trenwith, the older of the two men. 3 The Cornishman and Cornish Telegraph, 5 April 1917, p. 7. 'Show days', when works destined for the Royal Academy were first unveiled had been the convention in west Cornwall. 4 'The Royal Academy ...', Birmingham Daily Post, 5 May 1917, p. 4; 'The Royal Academy – Westcountry [sic] Artists', Western Morning News, 12 May 1917, p. 5. 5 See Caroline Fox, Stanhope Forbes and the Newlyn School, 1993 (David & Charles), pp. 88-90.
Stanhope Alexander Forbes, RA (British, 1857-1947) A family picnic signed 'Stanhope.A.Forbes' (lower left)oil on canvas 76.8 x 101.6cm (30 1/4 x 40in). Provenance: Private collection, UK.A family picnic depicts the same three figures as Forbes's 1915 oil titled Three Generations, sold Sotheby's, London, 23 November 1994, lot 8. Both paintings are set in a woodland landscape; the present lot however, presents the figures seated, the eldest figure appearing to unpack a picnic basket. Forbes expertly captures the dappled sunlight falling on the figure group as they take a moment to break from their toil, suggested by the harvesting tool resting on the woman's shoulder in the companion piece. The present lot introduces a moment of peace, in the often hard life of members of the rural community.
Stanhope Alexander Forbes, RA (British, 1857-1947) The Bridge signed and dated 'STANHOPE A FORBES/1888.' (lower right)oil on canvas61 x 76.5cm (24 x 30 1/8in). Provenance: Possibly John Maddocks Esq. Collection, Bradford1.Private collection, UK. ExhibitedLondon, New English Art Club, 1889, no. 95.LiteraturePall Mall Gazette 'Extra', 1889, p. 91 (illustrated).'New English Art Club', The Academy, 27 April 1889, p. 294.'The New English Art Club', The Daily News, 16 April 1889, p. 3.'Our Ladies' London Letter', Irish Society, 27 April 1889, p. 269.'Art in May, Exhibitions of the Month', The Magazine of Art, p. xxix.'In the Picture Galleries', The World, 24 April 1889, n. p. Butler Wood, 'The Maddocks Collection at Bradford', The Magazine of Art, 1891, p. 306.Wilfrid Meynell, 'Mr Stanhope Forbes ARA', The Art Journal, 1892, p. 65 (illustrated p. 69).Mrs Lionel Birch, Stanhope A Forbes ARA and Elizabeth Stanhope Forbes ARWS, 1906, Cassell & Co, p. 36.C Lewis Hind, Stanhope Forbes RA, 1911, Art Journal Christmas Number, p. 11 (illustrated p. 13).Elizabeth Knowles, Stanhope Forbes, Father of the Newlyn School, Sansom & Company, Bristol, Penlee House Gallery & Museum, Penzance, 2017, p. 114.Boys and girls are fishing on the old bridge at Street-an-Nowan between Penzance and Newlyn as an angler adjusts his line. A carthorse crosses the bridge and a sailor in uniform, home on furlough, is talking to a woman – his presence, a reminder that the sons of fishermen from little coastal towns like Newlyn supplied a goodly proportion of the country's naval ratings. This microcosm of daily life was however, less serene than it appears. As he was painting the picture in July 1888, Stanhope Forbes reported in a letter that there were, '... fishermen getting up a fight nearby when I was working and I had all the village round me. My picture blew over in the mud and an angler caught 3 fine trout right under my nose as I was struggling with my bridge'.2 Despite these upsets, his composition was eventually completed and set aside for the forthcoming spring when it would be shown at the New English Art Club. It was a crucial exhibition for him. In 1888 he was perplexed about the direction the club appeared to be taking and was appalled at the prominence given to Walter Sickert's 'tawdry, vulgar' music-hall subject matter. 'Unless' he wrote, 'the Whistler influence is stamped out the club will go to the bad'.3 His worst fears were confirmed when The Bridge appeared in a show, the reviews of which were dominated by Sickert's Collins Music Hall, Islington Green, N (destroyed). Even though The Bridge was a picture that was 'broadly handled ... in which the figures are naturally grouped, and the stonework and reflections in the water are finely rendered', it would be his last submission to the club.4 Forbes's hostility to what he regarded as the more outrageous tendencies in British painting was based on a conviction that the artist should seek for beauty in the ordinary. In a recent manifesto, on 'The Treatment of Modern Life in Art', he had declared that a painter's 'best endeavour' was 'the representation of events in which we ourselves might take part' and while the folk he found in Cornish villages were 'not Greek gods', they were 'often handsome', and worthy of representation.5 The record of everyday lived experience was an ideal derived from Jules Bastien-Lepage, an artist idolized by Forbes as 'the great B-P'.6 Indeed his championship of the French painter obliged him to set Naturalism and 'democratic' legibility against the emerging trend towards Neo-Impressionism. While he was not exclusively anti-modernist, his allegiance to these ideals had recently been confirmed by a visit to the Exposition Universelle in Paris during the time The Bridge was on show in the New English.7 He declared to a reporter that Lepage was, in his opinion,'...absolutely the greatest of all modern painters – a faith too, which daily gains ground. I am just back from Paris, from seeing, from worshipping, his glorious Jeanne d'Arc'.8 We need look no further than The Bridge for the exemplification of these ideals. They express themselves in strict tonal control across the entire picture plane, sharp delineation of space and the structures that define it, and breadth in the handling of forms. Although unstated in 1889, Forbes must have been convinced that his fortunes lay elsewhere than with the rebel group. His main effort was concentrated on The Health of the Bride (Tate), currently one of the centre-pieces of the Royal Academy. It was widely reported that had Henry Tate not got there first, this picture would have been purchased by the trustees of the Chantrey Bequest for the National Gallery of British Art.9 Within a short time the leader of the Newlyn School would become an Associate of the Royal Academy. Thereafter the bridge at Street-an-Nowan became a favoured motif, Harold Harvey painting it on at least two occasions when the buildings had been redeveloped, and Forbes himself returning to it in 1925 (fig 1). Undoubtedly these are fine examples of later Newlyn styles, but neither is so tightly orchestrated as their predecessor. In the present lot>, the eye follows its line but is conscious that it is punctuated by the ducks on the bank at the left and the sailor on the right. For all its 'naturalness', throughout Forbes's entire oeuvre there is not a more remarkable composition. Mr Maddocks, the picture's first owner, had obtained a masterpiece.10We are grateful to Professor Kenneth McConkey for his assistance in cataloguing this lot. 1 Mrs Lionel Birch 1906, p.36 indicates that the small 'delightful little picture' of 'boys fishing from the parapet' of the bridge at Street-an-Nowan was sold to 'Mr Maddocks'. The picture does not however appear in the Maddocks sale on 30 April 1910 and may have been sold at the time of his move to London c. 1900; see note 10.2 Letter dated 23 July 1888, Hyman Kreitman Archive, Tate.3 Letter dated 31 March 1888, Hyman Kreitman Archive, Tate4 'The New English Art Club', The Daily News, 16 April 1889, p. 3. 5 Transactions of the National Association for the Advancement of Art and its Application to Industry, Birmingham Meeting MDCCCXC, 1891, (London, 22 Albemarle Street), pp. 126-7 6 Letter dated 23 October 1881, Hyman Kreitman Archive, Tate. 7 He did share common ground with Sickert in his admiration for Degas, but his hostility to Whistler may in part have been motivated by his wife's admiration for the American expatriate. 8 Anon, 'The Newlyn School – An Interview with Mr Stanhope Forbes', Western Morning News, 7 June 1889, p. 59 Ibid; Tate's acquisition made it possible for the Chantrey trustees to turn their attention to Henry Scott Tuke's All Hands to the Pumps 1889 (Tate). 10 See note 1; Butler Wood (Magazine of Art, 1891, p. 306) refers to the picture as The Anglers and comments on its 'quiet key' and 'soft brushwork', concluding that 'as a piece of good outdoor effect it is very satisfactory'.
STANHOPE ALEXANDER FORBES, RA (BRITISH, 1857-1947) Portrait of a lady wearing a bead necklace signed and dated ‘Stanhope A.Forbes/1930’ (lower right) oil on canvas 33 x 24.2cm (13 x 9 1/2in).
CIRCLE OF STANHOPE ALEXANDER FORBES, RA (IRISH, 1857-1947) Newlyn School, late nineteenth-century Animated village street scene, Oil on board Winsor & Newton label, verso Enclosed in a decorative gilt frame 12.25 x 9.75 inches (31 x 25 cm.)
