James Hayllar (1829-1920)
No VAT will be charged on the hammer price, but VA… Read more
James Hayllar (1829-1920)

The Village Gossip; and A Reformed Character

Details
James Hayllar (1829-1920)
The Village Gossip; and A Reformed Character
the first signed and dated 'J. Hayllar/Aug 1877.' (lower left), inscribed 'No 4/Oil Sketch/James Hayllar/Castle P[rior]y/Wa[lling]ford.' (on the backboard) and with inscription 'Mrs Mundy, the Village Gossip./I Never says nothing to nobody'/'Tisn't likely'/'No use is it?'' (on an old label attached to the backing sheet), the second signed and dated 'J. Hayllar/Aug 1977' (lower right), inscribed 'No. 8/a sketch/J. Hayllar' (on a label attached to the backboard) and with inscription 'a reformed Character/Teetotaller & Preacher/has Visions' (on an old label attached to the backboard)
oil on paper
13 3/8 x 9 7/8 in. (33.8 x 25.1 cm.)
a pair (2)
Special notice
No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis

Lot Essay

By 1877 James Hayllar had established himself as a popular painter of portraits and genre scenes, exhibiting regularly at the Royal Academy. His legacy is two-fold; he bought up his five children in the idyllic surroundings of Castle Priory, near Wallingford in Berkshire; tutored by their father, they all became professional artists. James, along with three of his daughters, was well-represented in the sale of the Forbes Collection, Christie's, London, 19-20 February 2003, (The Only Daughter, lot 100 (sold £35,000).

The Village Gossip and The Reformed Character belong to that canon of much-loved, and sometimes reviled, slightly comic English archetypes that recur in both art and literature. Hayllar's talents as an observer of individual quirks were a contributing factor to the success of his series of genre works featuring children, begun in the mid-1860s. Their popularity led to his nomination as an Associate to the Royal Academy, however he missed election by one vote. The disappointment prompted his move to the country: a move which surely facilitated his ability to wryly delineate the persons shown here.

More from BRITISH ART ON PAPER

View All
View All