Sir Lawrence Alma-Tadema, O.M., R.A. (1836-1912)
Sir Lawrence Alma-Tadema, O.M., R.A. (1836-1912)

Faust and Marguerite, Opus VII

Details
Sir Lawrence Alma-Tadema, O.M., R.A. (1836-1912)
Faust and Marguerite, Opus VII
signed and dated 'L. Alma-Tadema.1857.' (lower left)
pencil, watercolour and bodycolour on paper
18 x 20 in. (45.7 x 50.8 cm.)
Provenance
The artist, until 1912.
Catalogue of the well-known and interesting collection of antique furniture and objects d'art formed by the late Sir Lawrence Alma-Tadema, O.M., R.A. (†); Hampton & Sons, London, 9-13 June 1913, lot 676.
Anonymous sale; Sotheby's, Belgravia, 5 November 1974, lot 78, where purchased by the present owner.
Literature
M. Huish, British Watercolour Art, London, 1904.
V. Swanson, Alma-Tadema: The painter of the Victorian vision of the Ancient world, London, 1977, pp. 10, 24, 65, 129, pl. 1, illustrated.
V. Swanson, The Biography and Catalogue Raisonné of the Paintings of Sir Lawrence Alma-Tadema, London, 1990, pp.24-5, illustrated.
E. Becker & E. Prettejohn, Sir Lawrence Alma-Tadema, New York, 1996, p. 131.
Exhibited
London, Royal Academy, Memorial of Works by Sir Lawrence Alma-Tadema, 1913, no. 136.
Sheffield, Mappin Art Gallery; Newcastle-upon-Tyne, Laing Art Gallery, Sir Lawrence Alma-Tadema, 3 July-13 September 1976, no. 28.
Amsterdam, Van Gogh Museum; Liverpool, Walker Art Gallery, Sir Lawrence Alma-Tadema, 29 November 1996-8 June 1997, no. 2.

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Sarah Reynolds
Sarah Reynolds

Lot Essay


The present lot was one the first paintings executed by Lawrence Alma-Tadema at the Antwerp Academy when he was just nineteen years old, and was the earliest watercolour that he included in his list of works with an opus number. Here, Alma-Tadema has beautifully rendered the Gothic church architecture, and Vern Swanson remarks that this work ‘exemplifies his abilities as a watercolourist’ (V. Swanson, op.cit., 1977, p. 129). At the time of the watercolour’s creation, Alma-Tadema was studying German history and literature as a member of the Antwerp Cercle Artistique, which explains his choice of subject of Faust and Marguerite.

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