HAROLD CHARLES FRANCIS HARVEY (PENZANCE 1874-1941 NEWLYN)
HAROLD CHARLES FRANCIS HARVEY (PENZANCE 1874-1941 NEWLYN)
HAROLD CHARLES FRANCIS HARVEY (PENZANCE 1874-1941 NEWLYN)
HAROLD CHARLES FRANCIS HARVEY (PENZANCE 1874-1941 NEWLYN)
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HAROLD HARVEY (PENZANCE 1874-1941 NEWLYN)

The Blue Gown

Details
HAROLD HARVEY (PENZANCE 1874-1941 NEWLYN)
The Blue Gown
signed and dated 'Harold Harvey .17.' (lower left)
oil on canvas
20 x 16 in. (50.8 x 40.7 cm.)
Provenance
with Pyms Gallery, London, 1983.
Literature
C. Fox & F. Greenacre, Painting in Newlyn 1880-1930, London, 1985, pp. 39, 130, illustrated, no. 75.
K. McConkey, Edwardian Portraits: Images of an Age of Opulence, Woodbridge, 1987, pp. 226-7, no. 81, illustrated.
T. Cross, The Shining Sands: Artists in Newlyn and St Ives 1880-1930, Tiverton, 1994, p. 169, illustrated.
K. McConkey, P. Risdon & P. Sheppard, Harold Harvey: Painter of Cornwall, Bristol, 2001, pp. 23-5, 146-7, illustrated fig. 12, p. 25, no. 234.
K. McConkey, P. Risdon & P. Sheppard, Harold Harvey: Painter of Cornwall, 2nd ed., Bristol, 2024, p. 128, no. 315.
Exhibited
London, Royal Academy, 1917, no. 683.
London, Pyms Gallery, Autumn Anthology, 1983, no. 22.
London, The Barbican Art Gallery, Painting in Newlyn 1880-1930, 11 July - 1 September 1985, no. 75.

Brought to you by

Lucy Speelman
Lucy Speelman Junior Specialist, Head of Part II

Lot Essay

This is a portrait of the artist’s wife, Gertrude, dressing by the window of their bedroom at Maen Cottage, Newlyn. It is a reprise of a similar subject of the previous year, although different in colour, entitled Reflections. This is now in the Cyfarthfa Castle Museum and Art Gallery, Merthyr Tydfil. Since 1915, painting along the coast had been forbidden owing to measures taken to defend against invasion at the height of the Great War. Artists such as Harvey turned their attention to subjects indoors, painting the daily lives of `people of no consequence’, in the words of one reviewer. Nevertheless, the quiet, Vermeer-like calm that pervades the picture, the response to Cornish light, and the artist’s keen sense of colour all won Harvey many admirers. His pictures found a ready market when exhibited in London.

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