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    Sale 7635

    British Art on Paper

    10 December 2008, London, King Street

  • Lot 57

    Albert Goodwin, R.W.S. (1845-1932)

    The flower market in the Piazza delle Erbe, Verona, Italy

    Price Realised  

    Albert Goodwin, R.W.S. (1845-1932)
    The flower market in the Piazza delle Erbe, Verona, Italy
    signed 'Albert Goodwin.' (lower right) and inscribed 'Verona' (lower left)
    pencil, pen and ink, watercolour and bodycolour, with gum arabic
    14½ x 21¼ in. (37.9 x 54 cm.)


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    Goodwin visited Verona in 1872 in the course of a three-month artistic tour of Italy organised by John Ruskin (1819-1900). Goodwin had been introduced to Ruskin a few years earlier, probably in 1869, and had also become close friends with Ruskin's cousin Joan and her husband Arthur Severn, who were the other members of the 1872 touring party. They visited Verona towards the end of their tour, when they had already travelled from Switzerland down through Pisa and Florence to Rome, and were in the process of journeying back up through the Italian peninsula towards Venice.

    The Piazza delle Erbe has always been the focal point of the city of Verona, standing as it does on the site of the Roman forum. The piazza gains its name from the herbs which have been sold for hundreds of years in its market, alongside fruit, vegetables and the flowers after which Goodwin's watercolour is titled.

    Special Notice

    No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.


    Provenance

    John Edmondson.
    with Richard Haworth, Blackburn.


    Pre-Lot Text

    ALBERT GOODWIN, R.W.S. (1845-1932)
    Lots 57 - 61

    Goodwin showed himself to be an artist with a unique vision from an
    early age, exhibiting his first picture at the Royal Academy when he
    was just fifteen years old. He grew up during a period that saw the
    foundation of the Pre-Raphaelite Brotherhood, whose beliefs in 'truth
    to nature' and their promotion of colour and working from nature
    became highly influential characteristics of Goodwin's work. He
    remarked in a Diary entry of 1909 that he felt he had 'suffered all my artistic life from having started under Pre-Raphaelite superlatives in colour. They emphasised the need of scenery and painting and
    rejoicing in colour' (H. Smith, Albert Goodwin R.W.S., 1845-1932,
    Leigh-on-Sea, 1977, p. 36).

    At the end of the 1860s Goodwin met John Ruskin (1819-1900), through
    his mentors Ford Madox Brown (1821-1893) and Arthur Hughes (1832-1915), who was to have an equally, if not more, significant effect on his
    technique and composition. In 1872 Ruskin invited Goodwin to join him
    on an expedition to Italy, and Goodwin continued to travel throughout
    the continent and further afield, until his death in 1932. It was
    Ruskin who 'bellyragged [Goodwin] into love of form when [he] was
    getting too content with colour alone;....the pleasure that is to be
    found in lines which should string a drawing together is almost an unknown quantity in these days of paint and paint only' (Smith, op.
    cit.
    , p. 24).

    Much of Goodwin's later work takes on an increasingly ethereal quality as the combination of his use of pen and wash, together with breadth
    and detail, so repeatedly achieve a quite magical unity.

    Property from an Estate


    Exhibited

    Blackburn, Corporation Art Gallery, Exhibition of Pictures, April, 1920, no. 101.
    Burnley, Town Hall Art Gallery, Exhibition of Pictures, June - September, 1922, no. 27.