Lot Essay
George Henschel was born in Breslau, Silesia, on 18 February 1850. A precocious talent, he made his debut as a pianist in Berlin aged only twelve, and in 1866 his singing debut at Hirschberg. He continued his studies at the Leipzig Conservatory 1867-70 and from 1870 at the Berlin Conservatory. His first important appearance came at the Lower Rhine Festival held in 1874 at Colgne, where, under Brahms' conductorship, he sang in Bach's St Matthew Passion. In 1876 he came to London and made his first appearance in February 1877 to much acclaim. Two days after his arrival in London he met Alma-Tadema possibly at one of the musical evenings at the artist's home. Townshead House in St John's Wood. It was to be the beginning of a lifelong friendship.
In 1879, while singing at the Philharmonic, Henschel met his future wife, the American soprano Lillian Bailey. In the winter of 1880 they travelled to the United States where, besides several recitals, George conducted the Harvard Musical Association Orchestra in an overture of his own composition. On hearing Henschel at Harvard, Henry Lee Higginson (1834-1918) engaged him to be the conductor of his newly-created Boston Symphony Orchestra. Henschel continued for three seasons but decided to return to Britain in 1884.
From 1886 to 1888 he was Professor of Singing at the Royal College of Music, London, and in 1893 he was appointed the first conductor of the Scottish Orchestra, where he remained for two years, supplying Glasgow with a twenty-six week season. In 1901, after the death of his wife, he retired to Aviemore, Scotland, but he remarried in 1907 and returned to the concert platform in 1909. He finally gave up public singing in 1914, the year of his knighthood, and continued to conduct concerts until a few months before his death, which occurred at Aviemore on 10 September 1934.
According to Edwin Austin Abbey, the present portrait was probably inspired by a memorable party at Dr Max Schlesinger's during the spring of 1879. 'Tadema was there, as was Henschel, who beautifully sang Brahms,' 'May Night'. Sitting at the piano, he half turned round and played his own accompaninment and sang away bits of things ... [including] Schumann's 'Grenadiers' ... He uncrossed his legs and faced the piano to play that accompaniment and let his voice out to the full. I felt quivers way down in my boots.' The portrait was actually painted, however, in Tadema's studio, as we know from the inclusion of the artist's piano and Mexican onyx windows. On 3 April 1886 Alma-Tadema wrote to Henschel describing the fantastic amount of money he was receiving for his portraits: 'The price of a portrait like yours is 600, full length 800, and a finished portrait represented only a few weeks' work' (loc. cit.).
We are grateful to Professor Vern Swanson for his help in preparing this catalogue entry.
In 1879, while singing at the Philharmonic, Henschel met his future wife, the American soprano Lillian Bailey. In the winter of 1880 they travelled to the United States where, besides several recitals, George conducted the Harvard Musical Association Orchestra in an overture of his own composition. On hearing Henschel at Harvard, Henry Lee Higginson (1834-1918) engaged him to be the conductor of his newly-created Boston Symphony Orchestra. Henschel continued for three seasons but decided to return to Britain in 1884.
From 1886 to 1888 he was Professor of Singing at the Royal College of Music, London, and in 1893 he was appointed the first conductor of the Scottish Orchestra, where he remained for two years, supplying Glasgow with a twenty-six week season. In 1901, after the death of his wife, he retired to Aviemore, Scotland, but he remarried in 1907 and returned to the concert platform in 1909. He finally gave up public singing in 1914, the year of his knighthood, and continued to conduct concerts until a few months before his death, which occurred at Aviemore on 10 September 1934.
According to Edwin Austin Abbey, the present portrait was probably inspired by a memorable party at Dr Max Schlesinger's during the spring of 1879. 'Tadema was there, as was Henschel, who beautifully sang Brahms,' 'May Night'. Sitting at the piano, he half turned round and played his own accompaninment and sang away bits of things ... [including] Schumann's 'Grenadiers' ... He uncrossed his legs and faced the piano to play that accompaniment and let his voice out to the full. I felt quivers way down in my boots.' The portrait was actually painted, however, in Tadema's studio, as we know from the inclusion of the artist's piano and Mexican onyx windows. On 3 April 1886 Alma-Tadema wrote to Henschel describing the fantastic amount of money he was receiving for his portraits: 'The price of a portrait like yours is 600, full length 800, and a finished portrait represented only a few weeks' work' (loc. cit.).
We are grateful to Professor Vern Swanson for his help in preparing this catalogue entry.