Lot 27: James Archer, R.S.A. (1823-1904)

The Sancgreall, King Arthur healed of his grievous wound
signed with monogram and dated '1863' (lower centre)
oil on canvas
40 1/8 x 62 in. (101.9 x 157.5 cm.)

Art Journal, 1871, pp. 97-99, p. 98.

This important work by Scottish artist James Archer comprises the third of a series of four scenes from life of King Arthur. The first and most famous, La Morte d'Arthur (1861), is now in the collection of the Manchester City Art Gallery. The second, King Arthur obtains the mystic sword Excalibur (1862), preceded Archer's move from Edinburgh to London in 1863. The third and present picture was exhibited at the Royal Academy that same year. The last of the series, The Funeral of Queen Guinevere followed in 1868.

In his Art Journal article James Dafforne refers to the painting by its full title: The Sancgreall: King Arthur relieved of his grievous Wound in the Island's valley of Avalon, and elaborates upon this 'holy vessell [sic], borne by a maiden...therein is a part of the holy blood of our Lord' (Art Journal, 1871, p. 98).

The scene that Archer depicts is in a sense the epilogue to the Arthurian story. Following an epic battle, Arthur receives a fatal blow from his estranged son Sir Mordred. He is taken to a small chapel by the sea (visible on the horizon of The Sancgreall), and is borne away upon a dark barge, with four queens in attendance. As the king prepares for his final journey, he reassures Sir Bedivere: 'Comfort thyself...for I will into the vale of Avilon to heal me of my grievous wound: and if thou hear never more of me, pray for my soul'.

The above account, and Archer's full title, derives from Malory's Morte D'Arthur. This fifteenth century prose poem was key to artists and writers in the Victorian period as they sought to reflect the contemporary passion for legend, particularly stories of a medieval cast. Tennyson's Morte D'Arthur, published in 1842, was also critical to the Arthurian revival. Tennyson himself was to turn to Malory in the interim between his poem's first manifestation and its incorporation within the Arthurian cycle Idylls of the King (1859; as 'The Passing of Arthur'). Malory's source gave Tennyson the added impetus to build upon the Arthurian theme, weaving many more obscure strands that would strike readers anew, and earn him great acclaim.

In Archer's 1860 painting Morte D'Arthur (Manchester City Art Gallery) he depicts the dying king on land, whilst the barge that will eventually bear him away glides towards the sun-bathed isle, dark and forboding across the water. In The Sancgreall Archer employs the same dramatic colour palette; the Holy Grail itself burns with a pale restorative light that illuminates both King Arthur's face and the surrounding figures. The light also gleams upon the the hilt of Excalibur, Arthur's sword. In the poem Morte D'Arthur Tennyson tells of how Sir Bedivere is unable to dispose of the weapon, twice disobeying his master, so entranced is he by the sword's beauty. The theme of an extraordinarily beautiful object that wields spiritual power, and initiates destruction if misused or mistreated, is reinterpretted in 20^th classics such as Tolkien's The Lord of the Rings.

The phrase 'grievous wound' is of Biblical origin (Jeremiah 14:17). Interestingly, it was also adopted by Wagner for his operatic version of Tristan and Isolde (Act II). The first performance, in 1859, coincided with the publication of Tennyson's Idylls and Archer's La Morte D'Arthur. The artist's Sancgreall is therefore testament of the vitality of the Arthurian myth within Victorian culture, and to Archer's own individual vision.

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium, which is invoiced on a VAT inclusive basis.