.jpg?w=1)
拍品專文
Edward Henry Corbould was one of a family of artists, and both his father and grandfather had followed the profession before him. He was very long lived, dying at the age of ninety, and these two pictures, painted when he was seventy-eight, are remarkable examples of the survival of an idiom more characteristic of the 1840s or 1850s than of the 1890s. They are also unusual for Corbould in that they are in oil, most of his work being in watercolour.
Corbould trained under Henry Sass and at the Royal Academy Schools. He made his name as an illustrator, drawing heroines for the currently fashionable 'books of beauty' and making a series of drawings of the celebrated Eglinton Tournament in 1839. Throughout his life he concentrated on literary, historical and fanciful subjects, many of them inspired by Chaucer, Spencer, Shakespeare, Scott, Tennyson, and so on. Almost inevitably, his work caught the attention of Prince Albert, who bought his watercolour of The Woman taken in Adultery in 1842. Nine years later he was appointed 'instructor in historical painting' to the Royal Family, and he held this post until 1872, some of his best works being acquired by his royal pupils. An extremely prolific artist, he showed at the Royal Academy, the British Institution and the Society of British Artists, but the bulk of his work went to the Institute of Painters in Watercolours, the so-called New Water-Colour Society. Here he showed no fewer than 241 works, exhibiting for the first time in 1837, five years after the Institute was founded, and remaining an active member until 1898.
The Germanic subjects of the present pair of paintings perhaps reflects Corbould's long association with the Royal Family. Among his patrons was Princess Frederick, Queen Victoria's eldest daughter, and two of his paintings, including a scene from German history (The Iconoclasts of Basle), are still in the imperial collection at Berlin.
Corbould trained under Henry Sass and at the Royal Academy Schools. He made his name as an illustrator, drawing heroines for the currently fashionable 'books of beauty' and making a series of drawings of the celebrated Eglinton Tournament in 1839. Throughout his life he concentrated on literary, historical and fanciful subjects, many of them inspired by Chaucer, Spencer, Shakespeare, Scott, Tennyson, and so on. Almost inevitably, his work caught the attention of Prince Albert, who bought his watercolour of The Woman taken in Adultery in 1842. Nine years later he was appointed 'instructor in historical painting' to the Royal Family, and he held this post until 1872, some of his best works being acquired by his royal pupils. An extremely prolific artist, he showed at the Royal Academy, the British Institution and the Society of British Artists, but the bulk of his work went to the Institute of Painters in Watercolours, the so-called New Water-Colour Society. Here he showed no fewer than 241 works, exhibiting for the first time in 1837, five years after the Institute was founded, and remaining an active member until 1898.
The Germanic subjects of the present pair of paintings perhaps reflects Corbould's long association with the Royal Family. Among his patrons was Princess Frederick, Queen Victoria's eldest daughter, and two of his paintings, including a scene from German history (The Iconoclasts of Basle), are still in the imperial collection at Berlin.