£1,800

Oil on panel, 5 × 8½ in. (12.8 × 21.5 cm.)
Provenance: Peter Cochran;The Fine Art Society
Exhibited: Arthur Studd, Alpine Club Gallery, London, June 1911
£2,800

Labelled ‘no 564’ on the reverse; oil on panel, 5⅛ × 8⅜ in. (13 × 22 cm.)
Provenance: Peter Cochran;The Fine Art Society
Exhibited: Arthur Studd, Alpine Club Gallery, London, June 1911

After meeting Whistler in Paris in 1892, Studd worked with him in 1894 and
1895 in London, where they were neighbours in Chelsea for some ears.The
style of this panel, which is related to three other views of Venice by Studd on similar sized panels (Tate), is indebted to Whistler’s paintings of beaches and seascapes. Studd was also a collector, and he bequeathed three major works by Whistler to the National Gallery, London (now in the Tate Collection): Symphony in White, No. 2:The Little White Girl; The Fire Wheel; and Nocturne: Blue and Silver – Cremorne Lights).

Studd had one-man exhibitions during his lifetime at The Goupil Gallery (1896), The Baillie Gallery (1906) and The Alpine Club Gallery, London, (1911). He excelled in small plein air sketches, mostly oil on panel, such as this. Of the sixty paintings exhibited at The Alpine Club Gallery, London, in June 1911., at least twenty were views of Venice, eight under the generic title Venetian Lyric.
£3,000

Labelled ‘no 689’ on the reverse; oil on panel,
8½ × 5 in. (21.5 × 12.7 cm.)
Provenance: Peter Cochran;The Fine Art Society
Exhibited: Arthur Studd, Alpine Club Gallery, London, June 1911

A portrait of the same sitter, entitled The Mauve Hat, is in the Tate Collection (T03644). As the sitter was originally identified as Mrs Studd, the Tate painting was assumed to be a portrait of the artist’s wife. However, given that Studd remained a bachelor throughout his life, it is likely that this is the artist’s mother.

Studd had one-man exhibitions during his lifetime at The Goupil Gallery (1896), The Baillie Gallery (1906) and The Alpine Club Gallery, London, (1911). He excelled in small plein air sketches, mostly oil on panel, such as this, with titles such as La Belle Irlandaise and The Crimson Shawl. A panel entitled A Lady By the Sea was included in the 1906 Baillie Gallery show, (no 34). Tate Britain own a small number of paintings by Studd.
£1,800

Oil on panel, 8¾ × 6¼ in. (22.2 × 15.8 cm.)
Provenance: Peter Cochran;The Fine Art Society
Exhibited: Arthur Studd, Alpine Club Gallery, London, June 1911
£1,850

oil on panel
8 x 5 in (21.5 x 12.7cm)

Provenance: Peter Cochran;The Fine Art Society
Exhibited: (?)Arthur Studd, Alpine Club Gallery, London, June 1911

After meeting Whistler in Paris in 1892, Studd worked with him in 1894 and
1895 in London, where they were neighbours in Chelsea for some years. Studd was also a collector, and he bequeathed three major works by Whistler to the National Gallery, London (now in the Tate Collection): Symphony in White, No. 2:The Little White Girl; The Fire Wheel; and Nocturne: Blue and Silver – Cremorne Lights).

Studd had one-man exhibitions during his lifetime at The Goupil Gallery (1896), The Baillie Gallery (1906) and The Alpine Club Gallery, London, (1911). He excelled in small plein air sketches, mostly oil on panel, such as this, with titles such as La Belle Irlandaise and The Crimson Shawl. A panel entitled A Lady By the Sea was included in the 1906 Baillie Gallery show, (no 34). Tate Britain own a small number of paintings by Studd.

Thumbnail panels:

Arthur Studd 1863 - 1919

Painter and collector born at Hallerton Hall, Leicestershire. From a monied background he was, all his life of independent means. Studd (known as “Peter”) read history at King's College, Cambridge, 1884–87 where his peers included Roger Fry. He went on to study art under Legros at the Slade School 1888–89, and at the Académie Julian, Paris, 1889. He visited Le Pouldu in Brittany, 1890, where he befriended Gauguin and De Haan. Although strongly influenced by Gauguin, his style changed after he had worked with Whistler 1892-95. Visited Samoa and Tahiti about 1898. However, he did not become completely acquainted with Whistler until his return to London in 1894, when he became Whistler's neighbour in Cheyne Walk, Chelsea. They painted together at Lyme Regis, Dorset and in Dieppe. The subdued tone and limited range of colour of Studd's landscapes were greatly influenced by those of Whistler. Studd, a serious collector of paintings bequeathed three paintings by Whistler to the National Gallery which were ultimately transferred to the Tate Gallery. The National Gallery, London also benefited from his largesse in the acquisition of an important paintings by Pierre-Cécile PUVIS de CHAVANNES including “Death and the Maidens” Studd held a solo exhibition of his work was held at the Alpine Club Gallery, 1911. His work is in the collection of the collections of the Hunterian, Glasgow and York City Art Gallery.