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拍品专文
Eugene Goossens studied first at the Bruges Conservatoire, then at the Liverpool college of Music between 1904 and 1906. After a short period as a violinist with the Queen's Hall Orchestra, Goossens turned to conducting. Early in his career he worked with the Carl Rosa Opera Company, where his father and grandfather had been leading conductors before him. He was assistant to Sir Thomas Beecham and in 1923 he accepted an invitation by George Eastman (founder of Kodak) to be the first chief conductor of the Eastman-Rochester Orchestra in New York. He conducted the Minneapolis Orchestra and the St Louis Orchestra and went on to conduct the Cincinatti Symphony Orchestra in Ohio between 1931 and 1946.
In 1947 Goossens accepted a dual appointment and took over the positions of Chief Conductor of the Sydney Symphony Orchestra and Director of the New South Wales Conservatorium of Music. Goossens greatly increased the popularity of concert music in Sydney and he worked on the campaign for the construction of the new Sydney Opera House, and chose the site at Bennelong Point where it stands today. Having been made Chevalier of the Legion d'Honneur previously, he was knighted in 1955.
A scandal involving the importation of banned material on his return from a tour in 1956, however, destroyed his career in Australia and Goossens was forced to resign from his positon at the Conservatorium and then his position at the S.S.O. He returned to his native England where he made the recordings for which he is best known today.
In her forthcoming monograph and catalogue of Walter Richard Sickert's work to be published by Yale University Press in 2006, Dr Wendy Baron comments, 'Eugene Goossens (1893-1962, knighted 1955), composer and conductor, was champion of contemporary music. This study of Goossens conducting was made during the first half of the 1920s. It is related in handling, and above all in its arbitrary use of colour (the conductor's face is hot pink, his eyebrows and moustache pale green), to Sickert's stage and music hall scenes of 1920-23. The portrayal of Goossens, with his sharp nose, receding hairline and prominent but delicate ears, is close to the photographic portrait by Herbert Lambert of 1923'.
Morton Sands collected some of the finest works available by Walter Richard Sickert and his contemporaries. His son, Christopher Sands bequethed a number of oils and drawings from this remarkable collection to the Ashmolean Museum, Oxford. The Sands Gallery at the Ashmolean, which was largely funded by the Heritage Lottery Fund, was opened in 2001 by Sir Howard Hodgkin. It is not known when the present work became part of J.B. Priestley's collection.
We are grateful to Wendy Baron for her assistance in preparing the above catalogue entry.
In 1947 Goossens accepted a dual appointment and took over the positions of Chief Conductor of the Sydney Symphony Orchestra and Director of the New South Wales Conservatorium of Music. Goossens greatly increased the popularity of concert music in Sydney and he worked on the campaign for the construction of the new Sydney Opera House, and chose the site at Bennelong Point where it stands today. Having been made Chevalier of the Legion d'Honneur previously, he was knighted in 1955.
A scandal involving the importation of banned material on his return from a tour in 1956, however, destroyed his career in Australia and Goossens was forced to resign from his positon at the Conservatorium and then his position at the S.S.O. He returned to his native England where he made the recordings for which he is best known today.
In her forthcoming monograph and catalogue of Walter Richard Sickert's work to be published by Yale University Press in 2006, Dr Wendy Baron comments, 'Eugene Goossens (1893-1962, knighted 1955), composer and conductor, was champion of contemporary music. This study of Goossens conducting was made during the first half of the 1920s. It is related in handling, and above all in its arbitrary use of colour (the conductor's face is hot pink, his eyebrows and moustache pale green), to Sickert's stage and music hall scenes of 1920-23. The portrayal of Goossens, with his sharp nose, receding hairline and prominent but delicate ears, is close to the photographic portrait by Herbert Lambert of 1923'.
Morton Sands collected some of the finest works available by Walter Richard Sickert and his contemporaries. His son, Christopher Sands bequethed a number of oils and drawings from this remarkable collection to the Ashmolean Museum, Oxford. The Sands Gallery at the Ashmolean, which was largely funded by the Heritage Lottery Fund, was opened in 2001 by Sir Howard Hodgkin. It is not known when the present work became part of J.B. Priestley's collection.
We are grateful to Wendy Baron for her assistance in preparing the above catalogue entry.