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拍品專文
Spencer Frederick Gore, a founder member of the Fitzroy Group in 1907, of the Camden Town Group in 1911 (of which he was the first President), and of the London Group in 1913, was a leading contemporary artist and Neo-Impressionist until his death from pneumonia in March 1914.
He was a close friend of the Camden Town Group's most famous member, Walter Richard Sickert (1860-1942), and the two artists often worked together during the period in which Gore painted his 'Mornington Crescent' series of paintings, between 1909 and 1912. Gore rented a studio at 31 Mornington Crescent but often used Sickert's studio which was situated at 6 Mornington Crescent. Gore's use of the views across the Crescent and the central Crescent Gardens seen from these windows recalls the French Impressionists' concept of a series, first developed by Monet in the 1870s and redefined by Camille Pissarro around the 1900s.
The present work looks directly across the Crescent Gardens towards Mornington Crescent Tube Station from the window at 31 Mornington Crescent. Here the artist focusses on the lush greenery of the gardens while playing with the contrast of the bricks of the buildings seen between the leaves of the trees. The central gardens no longer exist and were occupied in 1928 by a building modelled on an ancient Egyptian temple housing the Carreras 'Black Cat' cigarette factory.
The artist's Mornington Crescent paintings are in the collections of the Museum of London; the National Museum of Wales, Cardiff; the City Art Gallery and Temple Newsam House, Leeds; the Tate Gallery, London; the British Council, London; Auckland City Art Gallery, New Zealand; Johannesburg Art Gallery, South Africa; and Boston Museum of Fine Arts, U.S.A. (see M. Galinou, London in Paint Oil Paintings in the Collection at the Museum of London, London, 1996, p. 358).
He was a close friend of the Camden Town Group's most famous member, Walter Richard Sickert (1860-1942), and the two artists often worked together during the period in which Gore painted his 'Mornington Crescent' series of paintings, between 1909 and 1912. Gore rented a studio at 31 Mornington Crescent but often used Sickert's studio which was situated at 6 Mornington Crescent. Gore's use of the views across the Crescent and the central Crescent Gardens seen from these windows recalls the French Impressionists' concept of a series, first developed by Monet in the 1870s and redefined by Camille Pissarro around the 1900s.
The present work looks directly across the Crescent Gardens towards Mornington Crescent Tube Station from the window at 31 Mornington Crescent. Here the artist focusses on the lush greenery of the gardens while playing with the contrast of the bricks of the buildings seen between the leaves of the trees. The central gardens no longer exist and were occupied in 1928 by a building modelled on an ancient Egyptian temple housing the Carreras 'Black Cat' cigarette factory.
The artist's Mornington Crescent paintings are in the collections of the Museum of London; the National Museum of Wales, Cardiff; the City Art Gallery and Temple Newsam House, Leeds; the Tate Gallery, London; the British Council, London; Auckland City Art Gallery, New Zealand; Johannesburg Art Gallery, South Africa; and Boston Museum of Fine Arts, U.S.A. (see M. Galinou, London in Paint Oil Paintings in the Collection at the Museum of London, London, 1996, p. 358).