Henry Stacey Marks, R.A., R.W.S. (1829-1898)
The Dudley Collection (Lots 50-69)‘We were the last romantics – chose for themeTraditional sanctity and loveliness’ Yeats When discussing this collection, it seems very fitting to quote from the introduction to the ground-breaking exhibition The Last Romantics, held at the Barbican Art Gallery, London, in 1989. The exhibition brought together a swathe of artists who were inspired by the romantic tradition and carried the poetic legacy of the Pre-Raphaelites well into the 20th Century. Many of the artists included in this collection featured in the show. They never formed a coherent group but common themes run through both. The medieval world is represented by the work of Arthur Hughes, Eleanor Fortescue Brickdale and Henry Meynell Rheam, and studies by Edward Poynter, Frederic, Lord Leighton and Herbert Draper reflect the Classical. Symbolism is seen in Herbert Gustave Schmalz’s Eve in Exile and Henry John Stock’s Fire and Sea. This collection has been put together over the last four decades, from a time when the renowned Victorian art dealer and writer Christopher Wood commented that ‘Victorian art was like a huge submerged continent waiting to be rediscovered’, by a collector who believes that "…great art must show skill, beauty and imagination. The late Victorians and Edwardians were wonderfully skilful draughtsmen, producers of moving and sometimes erotic beauty, and purveyors of magical fantasy. The collector can be at once impressed by their skill, bewitched by their beauty and spellbound by their fantasy".
Henry Stacey Marks, R.A., R.W.S. (1829-1898)

The Welcome

Details
Henry Stacey Marks, R.A., R.W.S. (1829-1898)
The Welcome
signed with initials and dated 'H.S.M. 1870' (lower right)
oil on canvas, unframed
32 x 83 1/8 in. (82 x 211 cm.)
Provenance
Commissioned by Sir William Robert Edis.
Anonymous sale; Bearne's, Exeter, 5 September 1984, lot 172 (as part of a set of 3).
Literature
H. Stacy Marks, Pen and Pencil Sketches, London, 1894, vol. I, p. 210.

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Clare Keiller
Clare Keiller

Lot Essay

From 1862 Stacy Marks was a member of the St John's Wood Clique, a group of young artists who derived many of their often romantic subjects from historical genre, both literary and imaginative, chiefly from the Middle Ages. The seven members, including Philip Hermogenes Calderon, David Wilkie Wynfield, William Frederick Yeames and George Dunlop Leslie, followed the maxim that ‘The better each man’s picture, the better for all’ (Marks, loc. cit., p. 147). Later in his career he focussed on bird subjects, for which he is now better known.

The present work was commissioned by Sir Robert William Edis, an architect who lived at 14 Fitzroy Square. Marks noted that ‘For my friend R.W. Edis’s dining room in Fitzroy Square I painted figures of Fish, Flesh, Fowl, Wine, Beer, and Tobacco – the banquet, arrival and departure of the guests. In the front drawing-room are fanciful garden scenes with female figures. In the room beyond, conventional birds disport themselves.’ (Marks, op. cit., p. 210).

Marks received a number of commissions for friezes: on the exterior of the Albert Hall, London; those of the Virtues from Lord Crewe for the library at Crewe Hall; for Birket Foster of Shakespeare’s Seven Ages for his house in Witley (sold in these Rooms, April 1894); the Four Seasons for Alma-Tadema’s house; and Chaucer’s Pilgrims for the Duke of Westminster’s house Eaton Hall.

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