John Glover

Lot Description John Glover, O.W.S. (Houghton-on-the-Hill 1767-1849 Dedington, Tasmania) A waterfall between Llanrwst and Conway, North Wales pencil and watercolour with scratching out 21 5/8 x 29 in. (55 x 73.7 cm.) Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Provenance with Abbott & Holder, London. Exhibited London, Old Water-Colour Society, 1805, no. 41. View Lot Notes › The son of a Leicestershire farmer, Glover was appointed writing master at a school in Westmorland in 1786, and eight years later became drawing master in Lichfield, Staffordshire. He was a pupil of William Payne, and in 1795 began exhibiting oil paintings at the Royal Academy, which were favourably received compared to those of Turner, much to the irritation of John Constable. In exploring new ways to capture light and atmosphere in his work Glover developed the technique of painting foliage with a split brush which can be seen in the trees and vegetation in the present watercolour. A founding member of the Old Water-Colour Society, Glover exhibited regularly before he emigrated to Tasmania in 1831. A comparable watercolour of a waterfall entitled Rhiadr Ddu, near Maentwrog, North Wales is in the Victoria & Albert Museum, London.

Lot Description John Glover, O.W.S. (Houghton-on-the-Hill 1767-1849 Deddington, Tasmania) Barren Coast and Slight Storm signed, inscribed and dated 'Barren Coast and slight storm/J Glover del t . 1794' (on a fragment of the original mount attached to the backboard) pencil, black and grey wash with scratching out on paper 10 x 14 in. (25.4 x 35.5 cm.) Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Provenance with Agnew's, London, 1998, no. 25.

John Glover, O.W.S. (Houghton-on-the-Hill 1767-1849 Dedington, Tasmania) A waterfall between Llanwrst and Conway, North Wales pencil and watercolour with scratching out 21 5/8 x 29 in. (55 x 73.7 cm.) with Abbott & Holder, London. London, Old Water-Colour Society, 1805, no. 41. The son of a Leicestershire farmer, Glover was appointed writing master at a school in Westmorland in 1786, and eight years later became drawing master in Lichfield, Staffordshire. He was a pupil of William Payne, and in 1795 began exhibiting oil paintings at the Royal Academy, which were favourably received compared to those of Turner, much to the irritation of John Constable. In exploring new ways to capture light and atmosphere in his work Glover developed the technique of painting foliage with a split brush which can be seen in the trees and vegetation in the present watercolour. A founding member of the Old Water-Colour Society, Glover exhibited regularly before he emigrated to Tasmania in 1831. A comparable watercolour of a waterfall entitled Rhiadr Ddu, near Maentwrog, North Wales is in the Victoria & Albert Museum, London.

JOHN GLOVER (1767-1849) Castel Mont Juvat, in the Val D'Aoste, Italy circa 1820 oil on canvas bears a partially legible hand written label with the following inscription 'Purchased at Christie's 17/12/34, from E.P. Freeland Sale, A Rural Scene with Figures by John Glover' verso bears Christie's stencil S63RE verso 75 x 111cm PROVENANCE Purchased in London early 1970s by Mark and Danuta Josem Thence by descent EXHIBITED Either Cat. No. 33 or Cat. No. 44, 16 Old Bond Street, London, 1820. OTHER NOTES We are most grateful to Dr David Hansen, Sotheby's Australia, for his assistance in cataloguing this work On 24 April 1820, John Glover opened a permanent exhibition of his paintings at 16 Old Bond Street, London. This marked the start of a period of great public recognition for the artist, who had returned from his second Continental ‘Grand Tour’’ late in 1817. Glover seems to have been an indefatigable traveller, and was certainly an inveterate record-keeper, keeping in his sketchbooks detailed records of what he observed. These sketchbooks provided the artist with a peerless resource to draw upon in his paintings, and certainly bear witness to a man who was a keen observer of the world around him. In fact, as one contemporary noted, “His knowledge was almost entirely derived from the Study of Nature and not from Works of Art... Nothing escaped his observation and he never lost an opportunity of noting down any thing that was worth remembering.[1] This forensic attention to detail did not overshadow aesthetic concerns, however. Glover had been steeped in late 18 th Century tradition of the Picturesque, exemplified by the work of his hero, Claude Poussin. This synthesis of observation and aesthetic form is revealed in Castel Mont Juvat . A dramatic triangle of shadow to the side of the canvas allows Glover to throw a spotlight on his protagonists; a trio casting long shadows across the rocky ground. The woman in the group stands slightly to one side, her demure posture representative of accepted social norms of the time. In the shadows, a drover is guiding cattle along a well-worn path in front of the cliff-face. The broad river shimmers under the blue summer sky, and draws the eye to the centre of the painting, where the eponymous Castel is situated. The surrounding mountains dwarf the village, and provide a misty backdrop to the scene. A decade after opening his gallery at 16 Old Bond Street, John Glover emigrated to Van Diemen’’s Land (Tasmania), arriving in 1831. The new landscape provided the energetic Glover with a stunning opportunity for observation of the diverse wildlife and flora of his new homeland, and for reflection upon the founding principles of his artistic practice. In his own words, Glover saw that his paintings "will convey a more correct idea than the mere reading of books of travel can convey". It seems that these sentiments also held sway for the artist at the earliest stages of his career, as this image of Castel Mont Juvat shows. Travel and the pursuit of beauty were also of great importance to the most recent owners of this work. Mark and Danuta Josem travelled extensively during the course of their life together, and possessed a love for scenes of great natural beauty. This painting was one of two John Glover works purchased by the couple in London during the early 1970s. [1] Hansen, D., John Glover and the Colonial Picturesque , Hobart, TMAG, 2003, p.44

Lot 81 JOHN GLOVER (1767-1849) Cattle in Water Meadows with York Minster in the Distance watercolour on paper 52.5 x 74.0 cm Provenance: Private collection, Tasmania Deutscher-Menzies, Sydney, 6 December 2006, lot 66 Private company collection, Melbourne Lawson-Menzies, Sydney, 10 December 2008, lot 274 Private collection, Melbourne Lawson-Menzies, Sydney, 16 November 2010, lot 87 Private collection, Melbourne Estimate: $ 18000 - 24000 Auction Title: Melbourne - 20 June 2012 - (Sunrise - 0058) AUCTION AUCTION Important Australian & International Fine Paintings & Sculpture 20th June 2012 6.30pm The ANZ Pavilion, Arts Centre Melbourne Level 8, 100 St Kilda Road, Melbourne VIC 3004 VIEWING SYDNEY 7-10 June 11am-6pm Menzies Gallery 12 Todman Avenue KENSINGTON NSW 2033 VIEWING MELBOURNE 14-19 June 11am-6pm, 1pm-6pm Sunday Menzies Gallery 1 Darling Street SOUTH YARRA VIC 3141 If you cannot attend the auction, you may either: Register to absentee bid on this lot Register to telephone bid on this lot Terms and Conditions Contact us regarding this lot Email a friend