Lot 85: Edward Mathew Ward, R.A. (1816-1879)

Grinling Gibbons' First Introduction to the Royal Court signed and dated 'E.M Ward/1860' (lower left) oil on canvas 34 x 39 in. (86.4 x 99 cm.) PROVENANCE with Frost & Reed, Ltd., Bristol. Dr. Edward Kaplan, New York. LITERATURE Times, 1869, May 15. Art Journal, 1869, p. 166. EXHIBITION London, Royal Academy, 1869, no. 144. NOTES Grinling Gibbons was an important wood carver in England during the 17th century. John Evelyn, the diarist, recorded how he introduced Gibbons to Court: Mar: 1. I caused Mr. Gibbon to bring to Whitehall his excellent piece of Carving where being come, I advertised his Majestie who asked me where it was, I told him, in Sir R: Brownes (my F. in Laws) Chamber, & that if it pleased his Majestie to appoint whither it should be brought (for 'twas larged, and though of Wood, yet heavy) I would take care for it: No says the King: shew me the Way, Ile go to Sir Richards Chamber: which his Majestie immediately did, walking all along the Enteries after me as far as the Ewrie til he; came up into the rome when I also lay: & so sooner was he entred, & cast his eye on the Worke but he was a stonish'd by the curiositie of it, & having considred it a long time, & discours'd it with Mr. Gibbon, whom I brought to kisse his hand; he commanded it should immediately carried to the Queenes side to shew her Majestie, so it was carried up into her bed-chamber, where she and the King looked on & admired it againe, the King thus leaving us with the Queene now being called away, I think to Council, believing that she would have bought it, it being a Crucifix: but when his Majestie was gon, a French pedling woman, one Madame de boord, that used to bring peticates & fanns, & baubles out of France to the Ladys, began to find faults with severall things in the worke, which she understood no more than an Asse or Monkey; so as in a kind of Indignation, I caused the porters who brought it, to carry it to the Chamber againe, finding the Queene so much govern'd by an ignorant french woman: and this incomparable Artist (had) the labour onely for his paines, which not a little displeased me; so he was faine to send it downe to his cottage againe, though he not long after sold it for 80 pounds, which was realy, (even without the frame) worth an hundred... (E.S. de Beer, The Diary of John Evelyn, London, 1959, pp. 551-2.) Ward has perfectly captured the expressions of the characters as described by Evelyn and when the picture was exhibited at the Royal Academy in 1869 it was well received by the critics. They seemed to be unanimous in their praise for his technique. The Times critic commented: 'This is just the subject for Mr. Ward, and he has found all his old forced of effect and brightness of colour under its inspiration. The figure of Evelyn is excellent, refined to high breeding, even in the visible struggle of indignation with the courtliness; and the mortification of the artist, the glib assurance and affectation of the peddling Frenchwoman, in her black and orange mantua, and the docility of the poor little nose-led Queen are capitally hit off.' The Art Journal also praised Ward: 'Mr. E.M. Ward, R.A., takes his place in this room of honour by a work which in great measure belongs to his happiest manner: 'Ginling Gibbons' First Introduction at Court' (144) is graphically described in 'Evelyn's Diary.' Here we see the great carver in wood presented in Whitehall, His reception is not quite as warm as he might have wished...The ladies naturally form the most brilliant part of the picture: they have the advantage of considerable charms; the faces are enchanting, and so, too, are the dresses; and both faces and dresses the artist has painted to perfection.' The critic for the Athenaeum concurred with this admiration: 'Mr Ward returns in no small degree to his earlier and better style in the execution of this painting; the face of the young queen is full of expression, that of the meddling pedlaress is extremely apt and original. The figure of Evelyn, who looks as much disgusted as he dares to show, is first-rate in its way; the details of the table near the queen, the costumes and lighting of the picture are worthy of the artist.'.