A rare opportunity to acquire this exquisite and superbly executed watercolour of an interior scene attributed to John Frederick Tayler, president of the Royal Watercolour Society from 1858 to 1889. He is one of the most pre-eminent watercolour artists that this country has ever produced, admired by the likes of John Ruskin. 

So sought-after an artist was he, that even Queen Victoria purchased several of his paintings. 

Painted circa 1850, it depicts a rather portly gentleman, seated at a kitchen table (or possibly a tavern table) being served by the mistress of the house, and dressed in a great coat, but looking like he’s trying to get warm next to the pot boiling in the fireplace. In his hand is a knife which he’s using to cut what looks like a piece of cheese…which would explain what the woman is serving from her tray. Books, a tankard and a jug, and other assorted bric-a-brac are strewn around…but each captured in precise detail by the artist  

From the look on the man’s face, as he looks confidently back at the viewer, with a slight smirk on his face, we can only speculate why he is there…is he the master of the house? Or visiting to collect the rent, for example.? Or maybe he’s there for a less innocent reason...

It’s a painting which reveals something new every time you look at it….but without answering any of our questions directly. 

However, what it does do is provide a magnificent snap shot of life as it was back in early Victorian times

About the artist - John Frederick Tayler 1802 – 1889

(John) Frederick Tayler was a 19th-century English landscape watercolour painter, and president of the Royal Watercolour Society.

He was born in Boreham Wood, Hertfordshire and educated successively at Eton College and Harrow School, and destined for the church. He soon, however, showed his strong artistic bent, and, in spite of domestic opposition, determined to become a painter.

After studying at Sass's school and at the Royal Academy he went to Paris, and worked for a time under Horace Vernet, also frequenting the studio of Vernet's son-in-law, Paul Delaroche. From France he passed into Italy, where he spent some time, chiefly in Rome. While still a lad he met Richard Parkes Bonington at Calais, and a friendship sprang up between the two painters, who for a time shared a studio in Paris.

Tayler's fondness for water-colour was no doubt encouraged by Bonington, and though he made his début in the academy of 1830 with an oil-picture, ‘The Band of the 2nd Life Guards,’ he did not long hesitate in his choice of a medium. In mature life he occasionally turned his ambition towards oil, and even took some friendly lessons in Mr. W. P. Frith's studio (Frith, Autobiography). It was, however, as a painter of ‘elegant’ sporting and pastoral scenes in watercolour that he achieved the popularity which was maintained throughout his long career. 

In February 1831 Tayler was elected an associate of the Royal Watercolour Society (the so-called "Old Watercolour Society"), and in June 1834 he became a full member. He contributed in all about five hundred drawings to the society's exhibitions, about half of which appeared during Copley Fielding's presidency (1831–1855). A dozen of these were painted in collaboration with the younger George Barret (d. 1842), and one, ‘The Favourites,’ with Thomas Miles Richardson.

He won Gold Medals at the Paris Exhibition of 1855, Bavaria 1859, and Vienna in 1872.

In February 1858 Tayler was unanimously elected president of the Royal Watercolour Society. He filled this position for over twelve years, and retired in June 1871. He continued to send drawings to the society's exhibitions down to the time of his death. This took place at West Hampstead on 20 June 1889. He was buried in Hampstead cemetery. His drawings and sketches were sold at Christie's on 15 February 1890. Tayler married, in 1837, Jane Parratt, and left several children, one of whom, Norman Tayler, followed his father's profession, and became an associate of the Watercolour Society in 1878.

Condition Report
This watercolour is in very good condition, with strong colours. There is a very faint line running across the top of the painting presumably from a previous mounting, although this is barely noticeable and in no way detracts from the overall aspect. It is framed, mounted and glazed to a professional standard in a gilt frame, which is also in very good order. All in all, a visually impressive piece which would make a most eloquent accompaniment to any interior, both period or contemporary. It would also make the perfect gift for anyone with a love of early Victorian English watercolours, or indeed anyone who is a collector of the works of John Frederick Tayler.

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