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£2,900

Presentation: Framed
SN: 583
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.

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).

 It’s commonly believed that Paul Gauguin worked in isolation in Tahiti, living in self-imposed exile from France and far from the reach of the European avant-garde. But from 1897 to 1898 Gauguin was joined in Tahiti by a British painter, Arthur Haythorne Studd (1863 – 1919). It was Studd’s wish, as he declared in a letter to his friend James McNeil Whistler (dated 22 June, 1897), to establish a ‘Studio of the South Seas’, and his work from Tahiti includes the View from Gauguin’s House, of 1898. This paper will compare Studd’s paintings to Gauguin’s treatment of the Tahitian subject, and examine how these artists imagined the Islands for a modern European audience. It will tease out the various influences on Studd’s Tahitian work, from his Slade School and Academie Julian training, to his ties to Whistler, and an artistic circle which included the New English Art Club, French painters Degas, Picard, and Puvis de Chavannes, and Australian Charles Conder. Notwithstanding the influence of contemporary artists, Studd’s paintings will also be understood in the context of colonial modernity and the extent to which modern political, economic and cultural agendas may have impacted his treatment of the Tahitian subject. Though the focus of this paper is on Studd’s contact with Gauguin and modernist re-imaginings of the Pacific Islands, it will also begin a biography of this important British painter and collector, whose story remains to be told. (2008 paper from the University of Queensland, S Australia)

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.

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£1,100

Presentation: Framed
SN: 2779
Oil on panel
8¾ x 6¼ in. (22.2 x 15.8 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).

 It’s commonly believed that Paul Gauguin worked in isolation in Tahiti, living in self-imposed exile from France and far from the reach of the European avant-garde. But from 1897 to 1898 Gauguin was joined in Tahiti by a British painter, Arthur Haythorne Studd (1863 – 1919). It was Studd’s wish, as he declared in a letter to his friend James McNeil Whistler (dated 22 June, 1897), to establish a ‘Studio of the South Seas’, and his work from Tahiti includes the View from Gauguin’s House, of 1898. This paper will compare Studd’s paintings to Gauguin’s treatment of the Tahitian subject, and examine how these artists imagined the Islands for a modern European audience. It will tease out the various influences on Studd’s Tahitian work, from his Slade School and Academie Julian training, to his ties to Whistler, and an artistic circle which included the New English Art Club, French painters Degas, Picard, and Puvis de Chavannes, and Australian Charles Conder. Notwithstanding the influence of contemporary artists, Studd’s paintings will also be understood in the context of colonial modernity and the extent to which modern political, economic and cultural agendas may have impacted his treatment of the Tahitian subject. Though the focus of this paper is on Studd’s contact with Gauguin and modernist re-imaginings of the Pacific Islands, it will also begin a biography of this important British painter and collector, whose story remains to be told. (2008 paper from the University of Queensland, S Australia)

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.

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£2,000

Presentation: Framed
SN: 2781
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
 
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).

 It’s commonly believed that Paul Gauguin worked in isolation in Tahiti, living in self-imposed exile from France and far from the reach of the European avant-garde. But from 1897 to 1898 Gauguin was joined in Tahiti by a British painter, Arthur Haythorne Studd (1863 – 1919). It was Studd’s wish, as he declared in a letter to his friend James McNeil Whistler (dated 22 June, 1897), to establish a ‘Studio of the South Seas’, and his work from Tahiti includes the View from Gauguin’s House, of 1898. This paper will compare Studd’s paintings to Gauguin’s treatment of the Tahitian subject, and examine how these artists imagined the Islands for a modern European audience. It will tease out the various influences on Studd’s Tahitian work, from his Slade School and Academie Julian training, to his ties to Whistler, and an artistic circle which included the New English Art Club, French painters Degas, Picard, and Puvis de Chavannes, and Australian Charles Conder. Notwithstanding the influence of contemporary artists, Studd’s paintings will also be understood in the context of colonial modernity and the extent to which modern political, economic and cultural agendas may have impacted his treatment of the Tahitian subject. Though the focus of this paper is on Studd’s contact with Gauguin and modernist re-imaginings of the Pacific Islands, it will also begin a biography of this important British painter and collector, whose story remains to be told. (2008 paper from the University of Queensland, S Australia)

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.

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£1,950

Presentation: Framed
SN: 3626
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, ref 320
 (no 34).  

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).

 It’s commonly believed that Paul Gauguin worked in isolation in Tahiti, living in self-imposed exile from France and far from the reach of the European avant-garde. But from 1897 to 1898 Gauguin was joined in Tahiti by a British painter, Arthur Haythorne Studd (1863 – 1919). It was Studd’s wish, as he declared in a letter to his friend James McNeil Whistler (dated 22 June, 1897), to establish a ‘Studio of the South Seas’, and his work from Tahiti includes the View from Gauguin’s House, of 1898. This paper will compare Studd’s paintings to Gauguin’s treatment of the Tahitian subject, and examine how these artists imagined the Islands for a modern European audience. It will tease out the various influences on Studd’s Tahitian work, from his Slade School and Academie Julian training, to his ties to Whistler, and an artistic circle which included the New English Art Club, French painters Degas, Picard, and Puvis de Chavannes, and Australian Charles Conder. Notwithstanding the influence of contemporary artists, Studd’s paintings will also be understood in the context of colonial modernity and the extent to which modern political, economic and cultural agendas may have impacted his treatment of the Tahitian subject. Though the focus of this paper is on Studd’s contact with Gauguin and modernist re-imaginings of the Pacific Islands, it will also begin a biography of this important British painter and collector, whose story remains to be told. (2008 paper from the University of Queensland, S Australia)

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.   The Tate own a number of similar panels by Studd.

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£1,500

Presentation: Unframed
SN: 4716
Oil on panel, paper label '311' attached to reverse 8¾ × 6¼ in. (22.2 × 15.8 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). It’s commonly believed that Paul Gauguin worked in isolation in Tahiti, living in self-imposed exile from France and far from the reach of the European avant-garde. But from 1897 to 1898 Gauguin was joined in Tahiti by a British painter, Arthur Haythorne Studd (1863 – 1919). It was Studd’s wish, as he declared in a letter to his friend James McNeil Whistler (dated 22 June, 1897), to establish a ‘Studio of the South Seas’, and his work from Tahiti includes the View from Gauguin’s House, of 1898. This paper will compare Studd’s paintings to Gauguin’s treatment of the Tahitian subject, and examine how these artists imagined the Islands for a modern European audience. It will tease out the various influences on Studd’s Tahitian work, from his Slade School and Academie Julian training, to his ties to Whistler, and an artistic circle which included the New English Art Club, French painters Degas, Picard, and Puvis de Chavannes, and Australian Charles Conder. Notwithstanding the influence of contemporary artists, Studd’s paintings will also be understood in the context of colonial modernity and the extent to which modern political, economic and cultural agendas may have impacted his treatment of the Tahitian subject. Though the focus of this paper is on Studd’s contact with Gauguin and modernist re-imaginings of the Pacific Islands, it will also begin a biography of this important British painter and collector, whose story remains to be told. (2008 paper from the University of Queensland, S Australia) 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 in oil on papel

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£900

Presentation: Unframed
SN: 4717
Oil on panel, paper label '334' attached to reverse 8¾ × 6¼ in. (22.2 × 15.8 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). It’s commonly believed that Paul Gauguin worked in isolation in Tahiti, living in self-imposed exile from France and far from the reach of the European avant-garde. But from 1897 to 1898 Gauguin was joined in Tahiti by a British painter, Arthur Haythorne Studd (1863 – 1919). It was Studd’s wish, as he declared in a letter to his friend James McNeil Whistler (dated 22 June, 1897), to establish a ‘Studio of the South Seas’, and his work from Tahiti includes the View from Gauguin’s House, of 1898. This paper will compare Studd’s paintings to Gauguin’s treatment of the Tahitian subject, and examine how these artists imagined the Islands for a modern European audience. It will tease out the various influences on Studd’s Tahitian work, from his Slade School and Academie Julian training, to his ties to Whistler, and an artistic circle which included the New English Art Club, French painters Degas, Picard, and Puvis de Chavannes, and Australian Charles Conder. Notwithstanding the influence of contemporary artists, Studd’s paintings will also be understood in the context of colonial modernity and the extent to which modern political, economic and cultural agendas may have impacted his treatment of the Tahitian subject. Though the focus of this paper is on Studd’s contact with Gauguin and modernist re-imaginings of the Pacific Islands, it will also begin a biography of this important British painter and collector, whose story remains to be told. (2008 paper from the University of Queensland, S Australia) 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 in oil on panel.

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£900

Presentation: Unframed
SN: 4703
Oil on panel, paper label '352' attached to reverse 8¾ × 6¼ in. (22.2 × 15.8 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). It’s commonly believed that Paul Gauguin worked in isolation in Tahiti, living in self-imposed exile from France and far from the reach of the European avant-garde. But from 1897 to 1898 Gauguin was joined in Tahiti by a British painter, Arthur Haythorne Studd (1863 – 1919). It was Studd’s wish, as he declared in a letter to his friend James McNeil Whistler (dated 22 June, 1897), to establish a ‘Studio of the South Seas’, and his work from Tahiti includes the View from Gauguin’s House, of 1898. This paper will compare Studd’s paintings to Gauguin’s treatment of the Tahitian subject, and examine how these artists imagined the Islands for a modern European audience. It will tease out the various influences on Studd’s Tahitian work, from his Slade School and Academie Julian training, to his ties to Whistler, and an artistic circle which included the New English Art Club, French painters Degas, Picard, and Puvis de Chavannes, and Australian Charles Conder. Notwithstanding the influence of contemporary artists, Studd’s paintings will also be understood in the context of colonial modernity and the extent to which modern political, economic and cultural agendas may have impacted his treatment of the Tahitian subject. Though the focus of this paper is on Studd’s contact with Gauguin and modernist re-imaginings of the Pacific Islands, it will also begin a biography of this important British painter and collector, whose story remains to be told. (2008 paper from the University of Queensland, S Australia) 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 in oil on panel.

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£1,250

Presentation: Unframed
SN: 4694
Oil on panel, paper label '324' attached to reverse 8¾ × 6¼ in. (22.2 × 15.8 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). It’s commonly believed that Paul Gauguin worked in isolation in Tahiti, living in self-imposed exile from France and far from the reach of the European avant-garde. But from 1897 to 1898 Gauguin was joined in Tahiti by a British painter, Arthur Haythorne Studd (1863 – 1919). It was Studd’s wish, as he declared in a letter to his friend James McNeil Whistler (dated 22 June, 1897), to establish a ‘Studio of the South Seas’, and his work from Tahiti includes the View from Gauguin’s House, of 1898. This paper will compare Studd’s paintings to Gauguin’s treatment of the Tahitian subject, and examine how these artists imagined the Islands for a modern European audience. It will tease out the various influences on Studd’s Tahitian work, from his Slade School and Academie Julian training, to his ties to Whistler, and an artistic circle which included the New English Art Club, French painters Degas, Picard, and Puvis de Chavannes, and Australian Charles Conder. Notwithstanding the influence of contemporary artists, Studd’s paintings will also be understood in the context of colonial modernity and the extent to which modern political, economic and cultural agendas may have impacted his treatment of the Tahitian subject. Though the focus of this paper is on Studd’s contact with Gauguin and modernist re-imaginings of the Pacific Islands, it will also begin a biography of this important British painter and collector, whose story remains to be told. (2008 paper from the University of Queensland, S Australia) 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 in oil on panel.

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£1,350

Presentation: Unframed
SN: 4700
Oil on panel, paper label '336' attached to reverse 8¾ × 6¼ in. (22.2 × 15.8 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). It’s commonly believed that Paul Gauguin worked in isolation in Tahiti, living in self-imposed exile from France and far from the reach of the European avant-garde. But from 1897 to 1898 Gauguin was joined in Tahiti by a British painter, Arthur Haythorne Studd (1863 – 1919). It was Studd’s wish, as he declared in a letter to his friend James McNeil Whistler (dated 22 June, 1897), to establish a ‘Studio of the South Seas’, and his work from Tahiti includes the View from Gauguin’s House, of 1898. This paper will compare Studd’s paintings to Gauguin’s treatment of the Tahitian subject, and examine how these artists imagined the Islands for a modern European audience. It will tease out the various influences on Studd’s Tahitian work, from his Slade School and Academie Julian training, to his ties to Whistler, and an artistic circle which included the New English Art Club, French painters Degas, Picard, and Puvis de Chavannes, and Australian Charles Conder. Notwithstanding the influence of contemporary artists, Studd’s paintings will also be understood in the context of colonial modernity and the extent to which modern political, economic and cultural agendas may have impacted his treatment of the Tahitian subject. Though the focus of this paper is on Studd’s contact with Gauguin and modernist re-imaginings of the Pacific Islands, it will also begin a biography of this important British painter and collector, whose story remains to be told. (2008 paper from the University of Queensland, S Australia) 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 in oil on panel.

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£1,500

Presentation: Unframed
SN: 4702
Oil  on panel
6 1/2  x  8 3/4 in. (16 x 22 cm.)

Provenance: Peter Cochran;The Fine Art Society, studio ref 429
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 similar sized panels in the collection of Tate Britain, 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).

It’s commonly believed that Paul Gauguin worked in isolation in Tahiti, living in self-imposed exile from France and far from the reach of the European avant-garde. But from 1897 to 1898 Gauguin was joined in Tahiti by a British painter, Arthur Haythorne Studd (1863 – 1919). It was Studd’s wish, as he declared in a letter to his friend James McNeil Whistler (dated 22 June, 1897), to establish a ‘Studio of the South Seas’, and his work from Tahiti includes the View from Gauguin’s House, of 1898. This paper will compare Studd’s paintings to Gauguin’s treatment of the Tahitian subject, and examine how these artists imagined the Islands for a modern European audience. It will tease out the various influences on Studd’s Tahitian work, from his Slade School and Academie Julian training, to his ties to Whistler, and an artistic circle which included the New English Art Club, French painters Degas, Picard, and Puvis de Chavannes, and Australian Charles Conder. Notwithstanding the influence of contemporary artists, Studd’s paintings will also be understood in the context of colonial modernity and the extent to which modern political, economic and cultural agendas may have impacted his treatment of the Tahitian subject. Though the focus of this paper is on Studd’s contact with Gauguin and modernist re-imaginings of the Pacific Islands, it will also begin a biography of this important British painter and collector, whose story remains to be told. (2008 paper from the University of Queensland, S Australia)

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.

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£975

Presentation: Framed
SN: 4693
Oil on panel
paper label '337' attached to reverse
8¾ × 6¼ in. (22.2 × 15.8 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). It’s commonly believed that Paul Gauguin worked in isolation in Tahiti, living in self-imposed exile from France and far from the reach of the European avant-garde. But from 1897 to 1898 Gauguin was joined in Tahiti by a British painter, Arthur Haythorne Studd (1863 – 1919). It was Studd’s wish, as he declared in a letter to his friend James McNeil Whistler (dated 22 June, 1897), to establish a ‘Studio of the South Seas’, and his work from Tahiti includes the View from Gauguin’s House, of 1898. This paper will compare Studd’s paintings to Gauguin’s treatment of the Tahitian subject, and examine how these artists imagined the Islands for a modern European audience. It will tease out the various influences on Studd’s Tahitian work, from his Slade School and Academie Julian training, to his ties to Whistler, and an artistic circle which included the New English Art Club, French painters Degas, Picard, and Puvis de Chavannes, and Australian Charles Conder. Notwithstanding the influence of contemporary artists, Studd’s paintings will also be understood in the context of colonial modernity and the extent to which modern political, economic and cultural agendas may have impacted his treatment of the Tahitian subject. Though the focus of this paper is on Studd’s contact with Gauguin and modernist re-imaginings of the Pacific Islands, it will also begin a biography of this important British painter and collector, whose story remains to be told. (2008 paper from the University of Queensland, S Australia) 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 in oil on panel.

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Presentation: Framed
SN: 245
No. 477 on reverse
oil on panel 6 1/4 x 8 3/4 ins. (15.8 x 22.2 cms.)
Provenance: Peter Cochran; The Fine Art Society
Exhibited: Arthur Studd, (solo exhibition), Alpine Club, June 1911

It’s commonly believed that Paul Gauguin worked in isolation in Tahiti, living in self-imposed exile from France and far from the reach of the European avant-garde. But from 1897 to 1898 Gauguin was joined in Tahiti by a British painter, Arthur Haythorne Studd (1863 – 1919). It was Studd’s wish, as he declared in a letter to his friend James McNeil Whistler (dated 22 June, 1897), to establish a ‘Studio of the South Seas’, and his work from Tahiti includes the View from Gauguin’s House, of 1898. This paper will compare Studd’s paintings to Gauguin’s treatment of the Tahitian subject, and examine how these artists imagined the Islands for a modern European audience. It will tease out the various influences on Studd’s Tahitian work, from his Slade School and Academie Julian training, to his ties to Whistler, and an artistic circle which included the New English Art Club, French painters Degas, Picard, and Puvis de Chavannes, and Australian Charles Conder. Notwithstanding the influence of contemporary artists, Studd’s paintings will also be understood in the context of colonial modernity and the extent to which modern political, economic and cultural agendas may have impacted his treatment of the Tahitian subject. Though the focus of this paper is on Studd’s contact with Gauguin and modernist re-imaginings of the Pacific Islands, it will also begin a biography of this important British painter and collector, whose story remains to be told.

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Presentation: Framed
SN: 467
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

 It’s commonly believed that Paul Gauguin worked in isolation in Tahiti, living in self-imposed exile from France and far from the reach of the European avant-garde. But from 1897 to 1898 Gauguin was joined in Tahiti by a British painter, Arthur Haythorne Studd (1863 – 1919). It was Studd’s wish, as he declared in a letter to his friend James McNeil Whistler (dated 22 June, 1897), to establish a ‘Studio of the South Seas’, and his work from Tahiti includes the View from Gauguin’s House, of 1898. This paper will compare Studd’s paintings to Gauguin’s treatment of the Tahitian subject, and examine how these artists imagined the Islands for a modern European audience. It will tease out the various influences on Studd’s Tahitian work, from his Slade School and Academie Julian training, to his ties to Whistler, and an artistic circle which included the New English Art Club, French painters Degas, Picard, and Puvis de Chavannes, and Australian Charles Conder. Notwithstanding the influence of contemporary artists, Studd’s paintings will also be understood in the context of colonial modernity and the extent to which modern political, economic and cultural agendas may have impacted his treatment of the Tahitian subject. Though the focus of this paper is on Studd’s contact with Gauguin and modernist re-imaginings of the Pacific Islands, it will also begin a biography of this important British painter and collector, whose story remains to be told.

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Presentation: Framed
SN: 468
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).

 It’s commonly believed that Paul Gauguin worked in isolation in Tahiti, living in self-imposed exile from France and far from the reach of the European avant-garde. But from 1897 to 1898 Gauguin was joined in Tahiti by a British painter, Arthur Haythorne Studd (1863 – 1919). It was Studd’s wish, as he declared in a letter to his friend James McNeil Whistler (dated 22 June, 1897), to establish a ‘Studio of the South Seas’, and his work from Tahiti includes the View from Gauguin’s House, of 1898. This paper will compare Studd’s paintings to Gauguin’s treatment of the Tahitian subject, and examine how these artists imagined the Islands for a modern European audience. It will tease out the various influences on Studd’s Tahitian work, from his Slade School and Academie Julian training, to his ties to Whistler, and an artistic circle which included the New English Art Club, French painters Degas, Picard, and Puvis de Chavannes, and Australian Charles Conder. Notwithstanding the influence of contemporary artists, Studd’s paintings will also be understood in the context of colonial modernity and the extent to which modern political, economic and cultural agendas may have impacted his treatment of the Tahitian subject. Though the focus of this paper is on Studd’s contact with Gauguin and modernist re-imaginings of the Pacific Islands, it will also begin a biography of this important British painter and collector, whose story remains to be told. (2008 paper from the University of Queensland, S Australia)

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.

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Presentation: Framed
SN: 584
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

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).

 It’s commonly believed that Paul Gauguin worked in isolation in Tahiti, living in self-imposed exile from France and far from the reach of the European avant-garde. But from 1897 to 1898 Gauguin was joined in Tahiti by a British painter, Arthur Haythorne Studd (1863 – 1919). It was Studd’s wish, as he declared in a letter to his friend James McNeil Whistler (dated 22 June, 1897), to establish a ‘Studio of the South Seas’, and his work from Tahiti includes the View from Gauguin’s House, of 1898. This paper will compare Studd’s paintings to Gauguin’s treatment of the Tahitian subject, and examine how these artists imagined the Islands for a modern European audience. It will tease out the various influences on Studd’s Tahitian work, from his Slade School and Academie Julian training, to his ties to Whistler, and an artistic circle which included the New English Art Club, French painters Degas, Picard, and Puvis de Chavannes, and Australian Charles Conder. Notwithstanding the influence of contemporary artists, Studd’s paintings will also be understood in the context of colonial modernity and the extent to which modern political, economic and cultural agendas may have impacted his treatment of the Tahitian subject. Though the focus of this paper is on Studd’s contact with Gauguin and modernist re-imaginings of the Pacific Islands, it will also begin a biography of this important British painter and collector, whose story remains to be told. (2008 paper from the University of Queensland, S Australia)

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.

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Presentation: Framed
SN: 943
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 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).

 It’s commonly believed that Paul Gauguin worked in isolation in Tahiti, living in self-imposed exile from France and far from the reach of the European avant-garde. But from 1897 to 1898 Gauguin was joined in Tahiti by a British painter, Arthur Haythorne Studd (1863 – 1919). It was Studd’s wish, as he declared in a letter to his friend James McNeil Whistler (dated 22 June, 1897), to establish a ‘Studio of the South Seas’, and his work from Tahiti includes the View from Gauguin’s House, of 1898. This paper will compare Studd’s paintings to Gauguin’s treatment of the Tahitian subject, and examine how these artists imagined the Islands for a modern European audience. It will tease out the various influences on Studd’s Tahitian work, from his Slade School and Academie Julian training, to his ties to Whistler, and an artistic circle which included the New English Art Club, French painters Degas, Picard, and Puvis de Chavannes, and Australian Charles Conder. Notwithstanding the influence of contemporary artists, Studd’s paintings will also be understood in the context of colonial modernity and the extent to which modern political, economic and cultural agendas may have impacted his treatment of the Tahitian subject. Though the focus of this paper is on Studd’s contact with Gauguin and modernist re-imaginings of the Pacific Islands, it will also begin a biography of this important British painter and collector, whose story remains to be told. (2008 paper from the University of Queensland, S Australia)

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.

Send image Biography Sold


Presentation: Framed
SN: 2778
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
 
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).

 It’s commonly believed that Paul Gauguin worked in isolation in Tahiti, living in self-imposed exile from France and far from the reach of the European avant-garde. But from 1897 to 1898 Gauguin was joined in Tahiti by a British painter, Arthur Haythorne Studd (1863 – 1919). It was Studd’s wish, as he declared in a letter to his friend James McNeil Whistler (dated 22 June, 1897), to establish a ‘Studio of the South Seas’, and his work from Tahiti includes the View from Gauguin’s House, of 1898. This paper will compare Studd’s paintings to Gauguin’s treatment of the Tahitian subject, and examine how these artists imagined the Islands for a modern European audience. It will tease out the various influences on Studd’s Tahitian work, from his Slade School and Academie Julian training, to his ties to Whistler, and an artistic circle which included the New English Art Club, French painters Degas, Picard, and Puvis de Chavannes, and Australian Charles Conder. Notwithstanding the influence of contemporary artists, Studd’s paintings will also be understood in the context of colonial modernity and the extent to which modern political, economic and cultural agendas may have impacted his treatment of the Tahitian subject. Though the focus of this paper is on Studd’s contact with Gauguin and modernist re-imaginings of the Pacific Islands, it will also begin a biography of this important British painter and collector, whose story remains to be told. (2008 paper from the University of Queensland, S Australia)

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.

Send image Biography Sold


Presentation: Framed
SN: 3627
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

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).

 It’s commonly believed that Paul Gauguin worked in isolation in Tahiti, living in self-imposed exile from France and far from the reach of the European avant-garde. But from 1897 to 1898 Gauguin was joined in Tahiti by a British painter, Arthur Haythorne Studd (1863 – 1919). It was Studd’s wish, as he declared in a letter to his friend James McNeil Whistler (dated 22 June, 1897), to establish a ‘Studio of the South Seas’, and his work from Tahiti includes the View from Gauguin’s House, of 1898. This paper will compare Studd’s paintings to Gauguin’s treatment of the Tahitian subject, and examine how these artists imagined the Islands for a modern European audience. It will tease out the various influences on Studd’s Tahitian work, from his Slade School and Academie Julian training, to his ties to Whistler, and an artistic circle which included the New English Art Club, French painters Degas, Picard, and Puvis de Chavannes, and Australian Charles Conder. Notwithstanding the influence of contemporary artists, Studd’s paintings will also be understood in the context of colonial modernity and the extent to which modern political, economic and cultural agendas may have impacted his treatment of the Tahitian subject. Though the focus of this paper is on Studd’s contact with Gauguin and modernist re-imaginings of the Pacific Islands, it will also begin a biography of this important British painter and collector, whose story remains to be told. (2008 paper from the University of Queensland, S Australia)

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.   The Tate own a number of similar panels by Studd.