Bonhams /Jan 23, 2013
€49,242.88 - €73,864.33
Artworks in Arcadja78
Some works of Albert Chevallier TaylerExtracted between 78 works in the catalog of Arcadja
Auction: Christie's -Dec 11, 2014 - LondonLot number: 59
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Albert Chevallier Tayler (1862-1925) The Mirror signed and dated 'A. CHEVALLIER TAYLER./ 1914.' (lower right) oil on canvas 40 x 50 in. (101.5 x 127 cm.) Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. I confirm that I have read this Important Notice and agree to its terms. Please be advised that the Artist's Resale Right does not apply to the lot. London, Royal Academy, 1914, no. 11.
Auction: Shannon's -Oct 23, 2014 - MilfordLot number: 48
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Description: ALBERT CHEVALLIER TAYLOR English (1862-1925) "In the Park" oil on canvas, signed lower right and dated 1912. 14 1/2 x 22 1/4 Provenance: Alexander Gallery, New York, NY; Property of a private Midwestern collection. Condition Report: Canvas: Unlined Condition: Excellent/Very Good Restoration: Very Minor Frame: Superior Quality Reproduction
Auction: Bonhams -Jun 25, 2014 - LondonLot number: 122
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Albert Chevallier Tayler, RBC (British, 1862-1925) The letter signed and dated 'A.CHEVALLIER TAYLER. 88' (lower left) oil on canvas 39.5 x 50cm (15 9/16 x 19 11/16in). Footnotes By 1888, Stanhope Forbes (1857-1947) began to realize that the convivial Albert Chevallier Tayler, someone he described three years earlier as 'the best friend I know', had now found his métier. An early convert to the 'square brush' technique, popularly associated with the work of Henry Herbert La Thangue (1859-1929), Chevallier Tayler was, in his unsuccessful Royal Academy submission of 1885, 'just La Thangue enough, but not too La Thangue' according to Forbes. The confidence that emerged three years later was the result of two factors. The first was an extended painting expedition with Blandford Fletcher (1858-1936) in 1886, when Chevallier Tayler left Newlyn to work in the villages of Berkshire. The second, arguably more significant experience, was that of a trip to Venice, sponsored in 1887 by the dealer, Arthur Tooth. On this second trip, far from painting familiar tourist views of the bacino di San Marco, Chevallier Tayler produced a number of carefully conceived genre scenes such as the Venetian Vegetable Market, 1887 (fig 1). These revealed a mastery in the treatment of form and the manipulation of space, that came directly from Fletcher, filtered through Venetian genre painters such as Eugène de Blaas (1843-1932), Ettore Tito (1859-1941), and Chevallier Tayler's British contemporary, Samuel Melton Fisher (1859-1939). Chevallier Tayler may well have heard of this international group from Frank Bramley (1857-1915) or William Logsdail (1859-1944), but his own direct experience was crucial. Back in Newlyn by February 1888, with the Academy success of Bless, O God, these gifts to our use, 1887 (unlocated) behind him, Forbes anticipated great things from his friend. Stagey composition and stiff treatment of the figures had been replaced by a suave naturalism. Chevallier Tayler's interiors were now inhabited by gossiping girls sewing, preparing a wedding dress, or as in the present instance, seated alone at a writing bureau. One of the works from this sequence, possibly Tayler's New English Art Club picture, A Council of Three (fig 2) (sold in these rooms 23 January 2013 for £118,850), or the present example, particularly appealed to Forbes. The letter comes exactly at the moment when the Newlyn painters rose to prominence as an identifiable school, following the purchase of Bramley's A Hopeless Dawn by the Chantrey Trustees. Within a year, 'Newlyn' was being clearly identified as the location of some of the most advanced painting in Britain and referring specifically to works of the present type, Alice Meynell wrote that, 'it is in their studies of interiors no less than in their open air work that the [painters of the] Newlyn School prove their love of truth'. Bless, O God, these gifts ... she considered, was 'removed from the fictions of the studio' and such paintings showed 'all the delicate differences and subtle distances of the grey day on the surfaces of this room' (Alice Meynell, Newlyn , The Art Journal, 1889, p. 102). Meynell might almost invoke the Dutch masters in praising such works. Chevallier Tayler's probity is clearly evident in the present lot. Closely related to A Council of Three , it focuses on the writing bureau in the corner of the room. Above the desk is a model of a fishing smack one of those registered in Penzance and moored at the Gwavas Slip, at Newlyn. Beside this on the wall is an undecipherable print, and beyond that, a brown curtain covering the window. The girl, who concentrates on her writing or drawing, is one of Chevallier Tayler's regular models, seen in The Yellow Ribbon (fig 3) and in his Royal Academy picture, A Dress Rehearsal, 1888 , (Lady Lever Art Gallery, Port Sunlight) while the high-backed chair on which she sits, reappears in The House of Cards (fig 4). This formidable sequence marks Chevallier Tayler as one of the major talents in British painting of the 1880s, his success confirmed with The Departure of the Fishing Fleet, Boulogne, 1891 (Birmingham Art Gallery). When he 'folded his sketching umbrella' and stole silently 'up to Kensington' in 1895, it came as no surprise to Forbes, for Newlyn was losing ground to the 'London Impressionists' and Glasgow School painters. There is no doubt however, that for Chevallier Tayler, the year 1888 was a watershed and with paintings such as The letter , he achieved an exceptional lucidity that lifts late Victorian painting into direct comparison with that of Metsu and Terborch. We are grateful to Professor Kenneth McConkey for his assistance in cataloguing this lot.
Auction: Bonhams -Jan 23, 2013 - LondonLot number: 96
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Albert Chevallier Tayler, RBC (British, 1862-1925) The council of three signed 'A.CHEVALLIER TAYLER. 1888' (lower left), inscribed with artist's address on a fragment of an old label on the reverse oil on canvas 66.5 x 97.5cm (26 3/16 x 38 3/8in). PROVENANCE: Purchased by the father of the present owner in the 1930s Thence by descent EXHIBITED: London, Dudley Gallery, New English Art Club Exhibition , 1888, no.56 The present work is an important re-discovery. A spectacular example of Tayler's early use of a square-brush technique, A Council of Three is characteristic of many of the naturalist ambitions of the Newlyn School. Tayler was born in Leytonstone, into a family of modest means, and won a scholarship to the Slade in 1879. Like many of his contemporaries, he furthered his education at the famous Paris ateliers of Laurens and Carolus Duran. Tayler arrived in Newlyn in September 1884, taking lodgings at Bellvue, where Stanhope Forbes and Blandford Fletcher were already settled. He came and went over the next ten years, with Forbes' letters noting with sadness each departure, and greeting each return with excitement. Tayler was clearly a popular and gregarious member of the community: Forbes described him as 'a ray of sunshine in the house' while Frank Bourdillon noted 'Tayler is much occupied in Penzance and has the faculty of making himself so popular that he is out nearly every evening'. 1 Tayler showed his first work at the Royal Academy in 1884, his first critical success coming with Bless, O God, these gifts to our use (RA, 1887), a work reminiscent of Bramley's Hopeless Dawn . Forbes was a great champion of the work, believing Tayler had finally found his direction, and that perhaps now he would be more successful in selling his work. 2 By 1888, the year in which the present lot was painted, there was a significant increase of critical interest in the group, following a number of successful Royal Academy exhibitions, most notably Stanhope Forbes' A Village Philarmonic , Frank Bramley's iconic A Hopeless Dawn and Tayler's own A Dress Rehearshal . By this time Tayler had established himself as a leading exponent and 'sympathetic observer of the wives and children of Newlyn fishermen' 3 . A Council of Three can be closely related to a number of the artist's other interiors from the late 1880s, such as The house of Cards (1888, Christie's New York, 22 October, 1997, lot 138), the aforementioned A Dress Rehearsal -the success of which, Kenneth McConkey suggests, may have influenced Forbes to paint Health of the Bride (RA 1889) 4 - and Confidences (RA 1889) Tayler chose to exhibit The Council of Three at the third annual exhibition of the New English Art Club, which had been founded in 1886, in opposition to the Royal Academy. The Club, whose manifesto cited '50 Members, who are more or less united in their art sympathies' 5 was a forum for the growing number of advocates of French naturalism (indeed one of the early suggested names for the club was 'Society of Anglo-French Painters'). Tayler's technical methods - notably his use of a square-brush to apply paint in a systematic manner- were concordant with many of the other paintings shown in the early years of the NEAC. The early exhibitions included works such as La Thangue's In the Dauphine and George Clausen's The Stone Pickers , and as McConkey comments 'For La Thangue, as for Stanhope Forbes, Frank Bramley, Albert Chevallier Tayler, Tuke and Clausen, a set of technical procedures had become a way of re-enforcing solidarity 6 . This would be Tayler's last NEAC exhibit, however; by 1888, with the Club's sympathies moving towards the Impressionists (both with loans of French Impressionist paintings, and with an influx of artists from the Society of British Artists, such as Walter Sickert) works such as The Council of Three and Clausen's Gathering Potatoes would look increasingly out of place 7 . Indeed, Tayler's own style moved away from the pure naturalism of the Newlyn artists, and the subjects of his exhibited works increasingly reflected his Roman Catholic beliefs. By 1895, Tayler had left Newlyn and 'silently stolen up to Kensington' 8 . He continued to exhibit at the RA until his death in 1926. 1 Caroline Fox & Francis Greenacre, Painting in Newlyn 1880-1930 Exhibition catalogue, p. 71 2 Ibid 3 Kenneth McConkey, Note to auction catalogue, Christie's New York, 22 October, 1997, lot 138. 4 . Ibid 5 Kenneth McConkey, The New English , London, 2006, p. 32 6 .) Ibid, p. 29 7 Ibid, p.47 8 Caroline Fox & Francis Greenacre, Painting in Newlyn 1880-1930 Exhibition catalogue, p. 71
Auction: Sotheby's -Apr 2, 2008 - LondonLot number: 92
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signed and dated 'A.Chevallier Tayler.94.' (lower right) oil on canvas 70x 46cm(27 9/16x 18 1/8in). Place Bid or Track Lot View all Items in the SaleContact the Specialist Email: Laura Turnbull Tel: 0207468 8337 To order a Printed Catalogue quote ref: 15902 Tel: +44(0) 1666 502 200 Footnote: The present lot is a wonderful example of Chevallier Tayler's Newlyn period paintings, embodying the methods and sympathies of the plein air movement which he was instrumental in establishing. For a similar composition, see 'Awaiting the boats' (1892), Sotheby's London, 19 June, 1996, lot 9.