£1,500
Coloured chalks on dark brown paper, 11S X 7S ins. (29 X 18.2 cms.)
Provenance: with the artist's widow until 1957; Robert J. Smith, 1959
This drawing is similar to, and shares the same provenance as, a pastel drawing of the artist's daughter in the collection of the Tate (presented by Robert J. Smith in 1960). Evangeline, the artist's daughter, was born in 1897.
It is curious that although Livens regularly exhibited oils and watercolours he rarely showed his pastels. They count amongst his most distinctive work, especially in his bold use of colour. In 1886 Van Gogh wrote to Livens: 'Since I am here in Paris I have very often thought of yourself and work. You will remember that I liked your colour, your ideas on art and literature and I add, most of all your personality .... I felt sure at the time that you are a thorough colourist and since I saw the impressionists I assure you that neither your colour nor mine, as it is developing itself, is exactly the same as their theories.'
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Signed and dated; oil on board, 10S X 18A ins. (26 X 46.3 cms.) Provenance: The Judge Evans Collection; Count William de Belleroche; private collection.
Exhibited: London, Whitechapel Art Gallery, Twenty Years of British Art, 1910; The Goupil Gallery, June 1918 (86), The Judge Evans Collection.
Livens referred to himself as a 'painter of poultry', titling his etched self-portrait of 1905 'The Old Fowler'. In his depiction of fowl he was greatly influenced by Japanese prints and paintings with ' their suggestion of space, as well as exquisite colour, being a constant guide' (letter to Wedmore, quoted Belgrave Gallery, Horace Mann Livens, 1978, p. 7). According to his Times obituary, Livens, 'who once enjoyed a singular reputation. did not, like the late Joseph Crawhall, subject his cocks and hens to the discipline of style, but painted them more or less naturalistically. with special attention to their response to the effects of light and atmosphere.' A painting of the same subject, size and date is in the collection of the National Gallery of Canada (acquired 1912). Judge Evans, to whom this work belonged, was an important collector in the early decades of the twentieth century, especially as a patron of Sickert and the Camden Town Group.
We are grateful to Peyton Skipwith for his assistance.
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Unframed
Coloured chalks on brown paper
11 1/2 x 10 1/2 in. (29.2 x 26.7 cm.)
Provenance: with the artist's widow until 1957; Robert J. Smith, 1959
It is curious that although Livens regularly exhibited oils and watercolours he rarely showed his pastels. They count amongst his most distinctive work, especially in his bold use of colour. In 1886 Van Gogh wrote to Livens: 'Since I am here in Paris I have very often thought of yourself and work. You will remember that I liked your colour, your ideas on art and literature and I add, most of all your personality .... I felt sure at the time that you are a thorough colourist and since I saw the impressionists I assure you that neither your colour nor mine, as it is developing itself, is exactly the same as their theories.'
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Unframed
Coloured chalks on brown paper
11 3/8 x 7 3/8 ins. (29 x 18.2)
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Unframed
Coloured chalks on dark brown paper
29 x 18.2 cm
Provenance: with the artist's widow until 1957; Robert J. Smith 1959
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Unframed
Colour chalk on buff paper
6 1/2 x 6 3/4 ins. (16.5 x 17.2 cm.)
Provenance: with the artist's widow until 1957; Robert J. Smith, 1959
Livens referred to himself as a 'painter of poultry', titling his etched self-portrait of 1905 'The Old Fowler'. In his depiction of fowl he was greatly influenced by Japanese prints and paintings with ' their suggestion of space, as well as exquisite colour, being a constant guide' (letter to Wedmore, quoted Belgrave Gallery, Horace Mann Livens, 1978, p. 7). According to his Times obituary, Livens, 'who once enjoyed a singular reputation. did not, like the late Joseph Crawhall, subject his cocks and hens to the discipline of style, but painted them more or less naturalistically. with special attention to their response to the effects of light and atmosphere.'
This drawing is similar to, and shares the same provenance as, a pastel drawing of the artist's daughter in the collection of the Tate (presented by Robert J. Smith in 1960).
It is curious that although Livens regularly exhibited oils and watercolours he rarely showed his pastels. They count amongst his most distinctive work, especially in his bold use of colour. In 1886 Van Gogh wrote to Livens: 'Since I am here in Paris I have very often thought of yourself and work. You will remember that I liked your colour, your ideas on art and literature and I add, most of all your personality .... I felt sure at the time that you are a thorough colourist and since I saw the impressionists I assure you that neither your colour nor mine, as it is developing itself, is exactly the same as their theories.'
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