About this picture
Here is a sad scene for the enthusiast of steam locomotives. I think this is an LNER locomotive being fired and prepared for its last run. The annotation on the back by Sydney Vale says that it is 'No 3 Last Run'.
There is a lt of information about Sydney Vale and the organisations of which he was a member which may not be of interest to you if you are an aficionado of steam. What may be of help though, is the image of Sydney Vale's own biography which was usually attached to the backboard of his framed pictures.
If you scroll down to the bottom of this description, there is some more information which may be helpful to you.
About the artist
SYDNEY VALE FRSA (1916-1991)
Sydney Vale was born in 1916 and died in 1991.
He was an artist of outstanding ability in all media but was particularly renowned for the atmospheric quality of his interpretations in watercolour.
He preferred to paint in the open air (en plein air).
He was elected as a Fellow of the Royal Society of Arts.
He was voted into the Wapping Group of Artists (see below) which is limited to just 25 members who specialized in painting the River Thames from its source to the Estuary.
He was also a member of the Langham Sketching Club, the Friday branch of the London Sketch Club.
His work was widely exhibited and realized prices in the upper hundreds.
Sydney Vale lived at Hawkwell, Essex and was particularly well known for his watercolours of the east coast from Norfolk to Essex.
The Wapping Group of Artists
Welcome to the website of one of the longest established societies of working artists in the country.
The Wapping Group of Artists was formally founded in 1946 and initially met to record the busy life of London’s dockland. Since then the Thames, the land either side of it, and the activity related to it have all undergone significant changes. As a result the group now meets to paint at venues anywhere between Henley and the Thames Estuary. Every Wednesday between April and September, whatever the weather, the ‘Wappers’ can be found at a chosen venue rising to the challenge and savouring the pleasures of plein-air painting. This companionable band of just 25 statutory members, all dedicated and capable painters, maintains the original group aims of fellowship and the enthusiastic recording and interpretation of London and the Thames.
On this website you can find more background and history, together with information about the current members and upcoming exhibitions; there is also a selection of images which we hope will give you an insight into the group’s working methods and objectives.
Our new website contains a Links page to the websites of individual members and a Features page where you can read and view interesting material relating to the Wapping Group. The Features page will be added to on a regular basis.
The Wapping Group had its origins in 1939, when members of the Artists Society and the Langham Sketching Club, meeting at the Prospect of Whitby pub in Wapping, decided to spend the summer months sketching together by the river Thames. Then the Second World War intervened, but the same artists met again in 1946 to found the Wapping Group formally. The first President was Jack Merriott.
The maximum number of members was set at twenty-five, and the group was dedicated to painting together outdoors, exhibitions being a secondary consideration. The painting season was to be from April to September as it is today. In early years the group was closely associated with the Port of London Authority, and held its first three annual exhibitions at the PLA headquarters before moving to the Royal Exchange Gallery, where they were held for the next thirty years.
In 1981 the venue was moved to St Botolph's Church, Aldgate, where annual exhibitions were located until 2002. Since 2003 they have been held at the Mall Galleries, SW1. Other occasional exhibitions are held elsewhere, usually at the invitation of other galleries and institutions. Such venues include The Guildhall, The Henley River and Rowing Museum, The Lincoln Joyce Fine Art Gallery, The Ox Market, Chichester, the Mine gallery in Carshalton and the Chris Beetles gallery.
Originally the
painting area was concentrated between Westminster and Gravesend, but has
steadily widened over the years. Today it ranges from Henley, up-river, through
London and out to the Rivers Medway, Crouch and Blackwater.
The Group also arranges occasional painting trips further afield, in recent
years to locations that have included Bruges, the Loire Valley, Normandy,
Brittany and Ile de Ré.
A number of traditions have developed over the years, such as the Whitebait Suppers which start and finish the painting season and the annual paintings raffle, but the Group is proud to have remained exactly what it first set out to be: a small group of fellow-artists, appreciating each other's company while painting outdoors together in all weathers.
Almost incidentally, it has recorded the changing face of London and the river Thames for over sixty years.
The Wappers are a small and self-dependent society who by the nature of their history and stature need to be well organised. Each member willingly accepts a duty to be involved and to maintain the spirit and smooth running of the group.
The number of statutory members is limited to 25, and statutory members become senior members when they reach the age of 80. The group also has two honorary members.
Past Members of The Wapping Group - since 1946
ALDRIDGE, R de Winton, FRIBA 1976 - 1985 |
KING, Ernest 1957 - 1994 Hon. Member * Denotes Founder Member |
The Langham Sketching Club
I understand that the Langham Sketching Club was an integral part the London Sketch Club but held its meetings on Fridays.
Going into the London Sketch Club is like entering a time-warp from a hundred year's ago. It still remains one of London's best-kept secrets, and forms a link with the artists, illustrators and writers of a century ago.
The gentleman's club was a very important part of Edwardian life, not just for the wealthy and well-connected, but for members of any trade or body whose members felt the need to relax and keep in touch with others of the same leaning. The Langham Sketching Club (from which the London Sketch Club was born), was founded in 1838, and pulled together a rare and celebrated breed – the black and white illustrator.
It is difficult to imagine in these days of instant everything – from entertainment to communication through satellites and the internet – that the stars of the past worked in a medium that is no longer held in such esteem.
Looking through the club's intriguing archives, it's amazing to discover that, in those days before television or cinema, the graphic artist was regarded with much the same awe and respect as a music hall celebrity, actor or musician. The illustrated book was the entertainment centre for practically every home, and the people who produced them often became household names.
The Langham Sketching Club could boast the cream of London's artists. Every Friday night, at seven o'clock sharp, from October to May, the members, including such all-time greats as Arthur Rackham, Sir John Tenniel and George Keene would get together in their studio-cum-clubhouse-cum-dining-room and draw for two hours on any given subject.These drawings were then pinned up and a lively discussion ensued, based on the work's merit.
At nine thirty a hearty supper of bread, cheese and endless beer was served and the rest of the evening was spent in conversation or entertainment, either amongst themselves or from any of a large selection of popular entertainers who were only to pleased to be associated with such worthy company. In those pre-television and radio days, most people had developed some method of entertaining themselves and others, whether it be singing, telling fanciful monologues, playing musical instruments or even performing magic tricks.
In 1898 a ridiculous argument broke out amongst the members, as to whether the suppers should be hot or cold. Daft as it seems now, a largish group, including such luminaries as Phil May, Tom Browne and Dudley Hardy (who all wanted hot), broke away from the Langham (who wanted cold) and the London Sketch Club was born.
The inaugural meeting was held at the Florence Restaurant (now long gone) at seven o'clock on 1st April 1898, and the club closely followed the style and format of its rather disapproving mother, the Langham. The members proper were all artists but there was quite a healthy lay membership, including actors, singers, writers and well-known men-about-town. The only people who got short shrift were those ''self opinionated bumptious snobs infatuated with their own self importance.'' Some things never change.
There was no doubt that the incredible Phil May, 'the irresponsible genius', was one of the prime movers and shakers of the club. Very much on the London scene, he knew practically everyone who was anyone in the arts and wider society.
Phil could always be counted on to be seen at all the most fashionable clubs, of which there were many. It seems impossible that he managed to combine this night-time, alcohol-dependant lifestyle with such a prodigious output of top quality work, but he did.
Burning the candle at both ends, though, took its toll. Poor Phil was to die in 1903, aged only 39 – a legend within the heady world of illustration, popular journals and club society.
The club needed an exhibition to tell the world they'd arrived, and managed to organise one in their first year (1898) at the Modern Gallery in New Bond Street. The younger artists, in particular, sought publicity (frowned upon by Old Mother Langham) if they were to swim in the main stream of the illustration business. The show received glowing reviews from most of the quality papers of the day.
It had contributions from the great John Hassall, Tom Browne and Phil May, along with many other of the big names in black and white illustration. But it wasn't just the exhibition that was attracting attention, for the club itself was becoming famous in bohemian society (and all those who aspired to it), through the writings of the popular journalists who competed to be invited as guests.
By the time of the fifth exhibition in 1900, the club was firmly established in the art world. The public loved these shows because they were so much more fun than the usual more conservative exhibitions.
In 1908 Walter Fowler became president, succeeding Tom Browne, who created the original Johnnie Walker figure in beaver hat, quizzing glasses and riding boots, which made the whisky the biggest selling blend in the world. It was the first year the Chelsea Arts Club Ball was held at the Albert Hall (the very first ball the previous year was held at Covent Garden). It was to be a golden age of illustration and cartoons. Amongst the many artists, many of whom drew for Punch and other periodicals, were H M Bateman, who was later to develop his famous series of cartoons concerning the social gaffe, ''The Man Who…''; the legendary Starr Wood; Cecil Aldin, most famous for his portrayal of dogs, horses and hunting scenes; the brilliant Frank Reynolds.
John Hassall's son, Ian, was elected to the Club at birth in 1898, and was given the same rights as other members, and actually exhibited at the age of two. The club was riding high, but the dark clouds of war were slowly gathering and about to envelope the heady cigar and pipe smoke of the Club.
In 1913 the club moved to a terrace in Marylebone Road, now rather ignominiously the site of Woolworth's head office. The entrance was through a prison door from the Old Bailey (later replaced by one from Newgate). John Hassall, in one of his incarnations as an interior designer, thought the building, a former chapel, far too sanitised and promptly lit a bonfire in the middle of the room to make it a little more like the place they had just left.
The year that the First World War broke out, the New Zealander Harry Rowntree, destined to become one of Britain's finest children's illustrators, became president. It has been said that it was his quirky little figures that set a style that can still be seen in present day comics. Another member at the time was Harold Earnshaw, a fine illustrator, who, on losing his right arm at the front, promptly learned to draw just as well with the other. Harold was married to Mabel Lucy Attwell, one of the few women to reach illustration superstardom (even without membership of the all-male Sketch Club).
The Great War might have finished, but the club was subdued, and for good reason. Many of the chaps that came back were never to be the same again, their nerves shattered and minds haunted by what they had witnessed. The new Marylebone premises served as a cosy, friendly sanctuary and a welcome contribution to their rehabilitation into civvy life.
Much more to the point, dealers and gallery owners were still queuing up before each exhibition, hoping for a bargain. It was at this time that the fabulous Robinson brothers, William Heath, Charles and Tom were members, and in 1920 William became president. While Heath Robinson was to become renowned for his brilliant, whimsical representations of impossible machines, his elder brother Charles was to do the same as one of the most popular fairy story illustrators, on a par with Arthur Rackham.
A friend of theirs, and club member, Bert Thomas, was another brilliant black and white artist, whose hugely popular and irreverent cartoon 'Arf a mo, Kaiser', had made him famous during the war. Bert donated the cartoon to a fund for supplying cigarettes for the soldiers.
The club soon became very jolly again, reflecting the heady mood of the Roaring Twenties, certainly due to the larger-than-life John Hassall, who delighted in bringing the most inappropriate guests, from MPs to sewermen, along to club dinners. The Sketch Club even threw its own lively dances and parties in the Wharncliffe Rooms at the Marylebone Hotel, to which film stars and celebrities of the day were invited.
It was around this time that the traditional life drawing sessions were started on Tuesday evenings, costing 10/- for the season, with supper at 2/-.
One of the remarkable characters of the day was the permanently inebriated Eddie Morrow. Remarkable because, according to all records, he was never known to eat – a habit which he, no doubt, frowned upon as it probably got in the way of drinking. Another was the ubiquitous and charismatic ex-president (1912) Montague Smythe – immaculate almost to dandyism, always with the prettiest girls on his arm, and still having pictures accepted at the Royal Academy at the age of 100.
The social evenings blossomed in the twenties and such international stars as Charlie Chaplin were entertained and themselves entertained the members in their Marylebone premises.
The Sketch Club began to attract artists who worked, not only in different media, but outside the 'trade'. Typical was President Harry Riley, who was not only at home with water colour and oils, but lectured, wrote articles, designed his own house and entertained the Sketch Club with risqué songs. He became, much later, a personality and guest cartoonist on early television. The club, which now had a long waiting list, still insisted, however, that a prospective member must have had some work printed.
Early in 1936, a few members got together and decided it was time to have another big exhibition on the theme of 'London and the Thames'. It was to be at the Arlington Gallery on 16th April. To publicise the show, members designed their own posters and paraded them around town like sandwich-board men.
Once again, there were glowing reviews from all the big papers, except for one in The Times, which accused the work of a certain slickness. Whether this was true or not, there was never to be a public exhibition again, all further shows being held at the clubs premises.
The 'smoker nights' as they were called had become hugely popular again, to such a degree that supper had to be served in two sittings. The President in the late 30's was the irrepressible George Parlby, known as 'the last true eccentric in London.' A friend of royalty, and positively Dickensian in appearance, George was to be 'Master of Ceremonies' for many years, and loved dressing up in ridiculous outfits at every opportunity. Regular visitors at this time were entertainers Stanley Holloway, Victor MacClure and the famous Shakespearean actor Henry Oscar.
A lot of the most successful illustrators had agents, just like actors and film stars, and they would often turn up to the Friday night dinners, just to keep an eye on their investments.
When the war broke out in 1939 many of the artists joined the Artist's Rifles, while others became official war artists. Some of those who stayed behind became political cartoonists, like David Ghilchik, lampooning the horrid Hun for all he was worth, and even achieving the honour of being put on Hitler's 'black list.'
The Club had to be re-assembled after the war, sadly with some of its most beloved members missing. Still in the doldrums, the poor old Langham Club had to endure the spectacle of the London Sketch Club rising again, but there was little hard feeling – just a healthy rivalry. Quite naturally, after the bleak war years, the social side of the club took off immediately and the stars of the day, including a young Cyril Fletcher, Philip Harben (the cook), Freddie Mills (the boxer) and Max Jaffa (the musician) were happy to entertain members. One report in the Argos Weekend Magazine went as follows: ''Serious sketching and frivolous jesting are nicely balanced in this corner of London's art world''.
The Club went from strength to strength during the forties, largely under the influence of the wonderful John Hassall, who produced the memorable “Skegness is so Bracing” poster, and who seemed to get more eccentric as he got older (a splendid Sketch Club trait). As many of the founder members died, others stepped into their shoes – names like Will Owen (who drew the original Bisto ad), Terence Cuneo, Edward Bishop and Gilbert Wilkinson, who, with Bert Thomas and Phil May, ranks as one of the century's finest black-and-white artists.
Members at that time still seemed to love dressing up and they would have regular Tramp Nights, Old Soldier's Nights, Pirates Nights and Savage Nights, when they didn't behave like savages – they merely invited members of the rival Savage Club.
The sale of the Marylebone premises to the huge Woolworth's chain allowed the members to buy the studio building in Chelsea outright, and still have money in the bank. The premises could not have been more suitable, being bang in the middle of an area famous for artists past and present. But the members were getting older and there were few 'youngsters' knocking on the door. The Club became stuck in a slightly cosy rut that was to last for many years.
Throughout the sixties the club continued in the same quiet sort of way. There was still money in the bank but the membership numbers were beginning to decline.
In the early seventies The Chelsea Arts Club voted in favour of admitting women into the main body of the Club, rather than being restricted to a cramped 'ladies bar', and the Sketch Club's president, Bernard Bays, was a strong advocate of having them too. The idea was resisted and, to this day, the only women to be admitted on drawing nights are the life models.
The membership continued to drop until there were a mere handful of Tuesday night sketchers, but the Friday entertainment nights were still reasonably well attended. In 1975 the members tried to kick some life into the club (and boost the now dwindling finances) by holding another show along with their old friends - members of the Chelsea Art Club, The Langham and the Wapping Group of Painters. It was the first since 1936. Naturally it didn't get the press attention it would have received in the good old days, but those who did attend realised that the fine standards were still being clung to.
Despite the exhibition, the club continued to potter along in the same way. Mabel, the cook for many years, had gone, and her replacement Marlene seemed hell-bent on poisoning the members, something she actually managed twice. Unlike Saki's cook, she was not a good cook, as cooks go; and as cooks go, she went.
Some notable members at the time were Peter Blake RA, A R Thomson RA and Michael Foreman, the children's book illustrator, and amongst the guests to be seen on Friday nights were Gerald Scarfe, Carel Weight RA, Robert Buhler RA, the cartoonists Mac, Jak and David Langdon, the artist Freddie Deane and the inimitable Reggie Bosanquet.
Like a number of institutions, there are golden periods, and other times when things look pretty bleak. The London Sketch Club is no exception, but happily, in its centenary year, after having survived a couple of relatively quiet decades, the club is showing every sign of breaking into the bright sunlight yet again. Membership is back up to around a hundred and fifty, comprising working town, country, overseas, lay and honorary members. Attendance on Tuesday sketching nights is frequently at capacity, and the Friday evening dinners, held throughout the winter, are very often sell-outs.
The London Sketch Club is a haven in a sometimes frantic and frenetic world dominated by commercialism and flashy imagery. Painting and drawing standards are considered important, but perhaps not so important as the pure enjoyment of the atmosphere, the camaraderie and the tradition of this unique club, that has seen a number of changes and endured many ups and downs over the past hundred years.
Here's to the next hundred.
John Farman
Member of the London
Sketch Club
The club is indebted to David Cuppleditch. His book 'The London Sketch Club' provided the greater part of the material for this article.
1823
Members of emerging Artists' Society first meet in stable yard in Grays Inn
Lane
1830
Artist's Society is formally founded.
Members comprise many 'black and white' artists of the day, including such
eminent artists as Sir John Tenniel, Arthur Rackham and Charles Keene
1835
Artist's Society acquires studio off Fitzroy Square (second studio is added in
1841)
1838
Sketching section is formed within the Artists' Society. This section is later
to form the basis for The Langham Sketching Club
1854
Artists' Society moves to purpose-built studios at 1 Langham Place. Renames
itself The Artist's Society and Langham Sketching Club (now known as The
Langham)
1890s
Conversazioni and smoking parties become commonplace in London.
Founding of the club
1898
Young turks of The Langham found The London Sketch Club on April Fool's Day.
Founder members include Dudley Hardy, Phil May, Walter Churcher, Tom Browne and
Cecil Aldin
The club's first president is George Haité
The club meets at The Modern Gallery, 175 Bond Street.
Inaugural exhibition at Modern Gallery
See the Early Minutes page for meetings leading up to the club's foundation.
Early characters: Phil May, John Browne,
John Hassall
Associations and cross memberships: The Savage Club and others
1899
Boer War starts
1900s
Club divided into Fairy school and Poster school.
'Say, Watchman, What of the Night?' adopted as club song. Words from Isaiah
XXI,II, Composed by J Sargeant, published by Boosey & Co. in 1905.
1900
When news of the relief of Mafeking reached the club its President George Haité
led the members in columns of four to the celebrations in the streets outside
the War Office
1902
Boer War ends
The club meets at the The Continental Gallery, 157 Bond Street
Dinner held to commemorate King's coronation
The club leases Punch Bowl Club for meetings
1903
Death of Phil May
Club moves to permanent premises in 79 Wells Street, off Oxford Street
1904
The Poster Exhibition at The Royal Aquarium gave the poster industry a boost
and reveals the work of the Beggarstaffs
1908
Clay Thomas, baritone and the club's First Watchman, joins club.
1910
Death of Tom Browne
1911
London Sketch Club, Chelsea Arts Club and The Royal Institute of Painters in
Watercolours jointly hold the Three Arts Ball
1913
Club moves to new premises at 246a Marylebone Road
Silhouettes of members started
Introduction of Tuesday nights
Club holds first London Sketch Club Ball
1914
WW1 begins
Club remains open throughout the war
Club characters: Tom Browne, John Hassall
Members eminent in other fields: Robert Baden-Powell and Sir Arthur Conan Doyle
Famous visitors: Charlie Chaplin and GK Chesterton
Entertainers: Clay Thomas, Harry Hemsley
1914-18
First World War
1914
Collapse of the illustrated book market
1920s
Drawing sessions on Tuesday evenings started
Club characters: John Hassall, George Parlby
Entertainers: Clay Thomas, Stanley Holloway, Harry Hemsley
1934
Club holds public exhibition in Mall Galleries
1936
Whole club invited to visit Empress of Britain liner to view Heath Robinson's
mural
1939-45
Second World War
Club remains open throughout the war
1939
Collapse of the illustrated magazine market
1940
Bomb demolishes Langham Chambers, home of The Langham
1945-?
Julian Kimble gives singing lessons at club
1947
Edward Swann pioneers weekend drawing trips with Galleon Holidays
Artists of 30s: Sidney Strube, Harrison, Terence Cuneo Beauvais
Artists of 40s: David Langdon, Arthur Ferrier, Ley Kenyon
Club characters: George Parlby
Members eminent in other fields: Sir Arthur William Tedder
Entertainers: Clay Thomas, Stanley Holloway, Harry Hemsley
1957
Club moves to new premises at 7 Dilke Street
1970's
Club suspends dinners co-hosted with the Chelsea Arts Club
1975
'The Sketch Pad', the official organ of the London Sketch Club launched. Its
first editor is Deric St Julian-Bown
1976
Club holds last joint exhibition with The Langham
Club holds first public exhibition since 1934, again in Mall Galleries.
Member's income from painting holidays offsets lack of commissioned magazine work
Edward Swann launches Galleon World Travel
1983
Don Blake takes over editorship of The Sketch Pad
Key personalities: John Seabrook and Don Blake in 70's, Gathorne Butler in 80s
Regular sketchers of 70s: Adrian Bury, Rudolph Benesh, Charles Skilton amongst others
Sketchers of 80s: Peter Blake, Michael Forman amongst others
Entertainers: Clay Thomas, Stanley Holloway, Leslie Sarony, Henry Oscar
1998
Club holds Centenary Dinner to commemoratie the founding of the club
Exhibition of archives
Public Exhibition in Physic Garden
1998
Hiring of part-time barman
Recruitment of younger artist members, including architects, graphic designers
2000
Club launches its internet site
2002
Club pioneers monthly open drawing sessions
Club reinstates dinners co-hosted with the Chelsea Arts Club
Arts and Craft's style bar installed.
2009-10
The interiors of this Victorian studio were conserved and re-furbished. The
main studio room was redecorated and a new, more flexible, lighting system was
installed. On the ground floor a new club archive room was established, with an
adjoining suite of secure archival storage for the club's historic collections.
There are two volumes, one dating from 21st February 1898 and the other dating from 14th February 1908 (ten years later), the latter book running up to 9th October 1925.
The minutes are handwritten in leather-bound books of lined paper, the earlier one being an account book supplied by W Straker, commercial stationers in Ludgate Hill. Looking through them, one is immediately struck by the varying neatness of the writing. The minutes start off in neat traditional hand of George Haité, our first president. This contrasts with the hurried scrawl of later entries, some by George Haité himself.
As one might expect, the recorded proceedings are matter-of-fact and formal, lacking the humour associated with the characters mentioned in the pages. They not only give a detailed account of how the club was started, but also record when members joined and left and the organisation of exhibitions, conversazioni, dinners and other club activities.
The first few minutes are fascinating as they record the very first meetings held before the club was formed. A first 'preliminary' meeting (21st February 1898) was held at Frank Jackson's studio of in Bedford Park 'to consider the advisability of forming a new Sketching Club for Professional Men only (the gentlemen present that the formation of this would in no way affect any othr club nor was it intended to oppose any existing club' [a reference, of course, to the Langham Sketching Club]
Those present at the meeting were Dudley Hardy, Robert Sauber, Cecil Aldin, Walter Fowler, Lance Thackerey, George Haité and, of course, Frank Jackson himself. Interestingly Tom Browne was not present. He was probably otherwise engaged. Phil May rarely attended club events, let alone meetings, so it would not be out of character for him to not attend a meeting such as this one.
Generally it was proposed [at the meeting] that Mr Fowler & Mr Jackson should call and see Mr Freeman on Thursday with a view to renting The Modern Gallery, 175 Bond St. for the Sessions 1st Frid[ay] in October to last Friday in May and for two exhibitions each of one week and one conversazione.'
This pattern of activities very much matched that of the Langham Sketching Club, the club the artists were planning to leave. A further meeting was held at George's studio on 3rd March. This meeting led to an 'Agreement on officers and members' financial guarantees, 'a sum not exceeding £10 to cover expenses if necessary'.
There was another meeting held at George's studio on 10th March to agree rental amounts and other matters and another held on 21st March when the arrangements for the 'first meeting' day were agreed. 'A Meeting was called at the president's [George Haité's] Studio (23rd March) to meet the Hon Solicitor W. Sanders Fiske Esq.' Agreement to 'arrange the constitution of the Club under the original form of guarantee of £10 per member. The Club to be called ''The London Sketch Club'' & be composed of Members, Associates, Lay Associates, Hon & Hon Literary Associates,''
Four days later on 27th March 'The President & Secretary went to Café d'Italie but the proprietor regretted he could not accommodate us on Friday April 1st.' On 29th March, 'Mr Jackson arranged with the Hotel Florence to supper.'
On the same day 'At an extraordinary meeting held to go into the banking matters, it was resolved that an account be opened at the City Bank, Richmond Branch in the Club's name.' On 1st April 'Opening meeting held at the Gallery and afterwards supper at the Hotel Florence.'
Chris
Lumgair
August 2000
This article covers the minutes leading up to the formation of the club on 1st April, 1898
Founded in 1910, The Chelsea Art Society is the oldest and sole survivor of the many art groups that blossomed in the area around that period. Rossetti and Turner began the trend to settle in Chelsea in the mid 19th Century, followed by Whistler, Sickert, Augustus John and John Singer Sargent. Amongst the group was Sir James Dromgole Linton, a frequent exhibitor at the Royal Academy and an Honorary member of the Scottish Water Colour Society. He chose Chelsea as the place to found an art group to exhibit annually.
History of the Society |
|
Founded in 1910, The Chelsea Art Society is the oldest and sole survivor of the many art groups that blossomed in the area around that period. Rossetti and Turner began the trend to settle in Chelsea in the mid 19th Century, followed by Whistler, Sickert, Augustus John and John Singer Sargent. Amongst the group was Sir James Dromgole Linton, a frequent exhibitor at the Royal Academy and an Honorary member of the Scottish Water Colour Society. He chose Chelsea as the place to found an art group to exhibit annually. |
The Chelsea Art Society flourished and even survived the disruption of two World Wars, revived in 1946 by Alfred Egerton Cooper RBA. |
Its current President is Luke Martineau. There are currently around 100 members and artists are invited to join the Society through having shown exceptional work at the exhibition over a three year period. The majority of exhibitors tend to be residents of the Royal Borough of Kensington and Chelsea but are free to apply from all over the UK. |
Traditionally, the Mayors of Chelsea have always been patrons of the Society. Other past patrons have included Lord Olivier, Joyce Grenfell, Lord Thornycroft and Lord Rawlinson of Ewell QC. Present patrons include The Earl Cadogan DL. There are also distinguished honorary members, including Ken Howard OBE RA RWS NEAC. |
TITLE:
PRICE / BEST OFFER: £149.99 - Including P&P and insurance. I
think these pictures are worth at least £149.99, but as usual, if you do not
agree with my estimation of value, please make an offer.
Ref: 20160831017 - BWO
SHIPPING - The shipping costs INCLUDE
INSURANCE.
Whilst if the picture is framed, it is likely that the frame is not perfect but
may be acceptable to you.
If present, the frame is NOT sold as part of this
item.
I would suggest that this is an opportunity to have the picture re-mounted and
framed to compliment the room in which you wish to hang it to optimise on its
effect.
Make the most of your art!
INTERNATIONAL BUYERS
If you are a buyer who is not in the United Kingdom:
PLEASE DO NOT PAY UNTIL YOU RECEIVE AN INVOICE FROM ME.
I will calculate the shipping for your individual item.
Wherever possible I will combine shipping to optimise on the cost of shipping for you.
If you pay too much for the shipping, I will refund the excess to you.
I have recently withdrawn from eBay’s Global Shipping Programme because I think I can provide a more economical option for buyers.
I do not aim to make a profit on the shipping.
To make my listings available to international buyers, I need to estimate the cost of shipping.
I have done this in two categories,
Large Letter 35.3 cm x 25 cm x 2.5cm – 750 g
Parcel up to 90cm x 60cm x 60cm – 2 kg
If you would like to know the accurate shipping cost for an item, please use the ‘contact seller’ to ask me.
I will always do whatever I can to help you to have the pictures you would like.
THE SHIPPING COST DOES NOT INCLUDE THE FRAME if
the picture is framed.
Please tell me if you would like the fame and I will send an invoice to include
it in the shipping.
That being said, I can't insure for damage to the glass or frame.
Usually, If I buy a framed picture at auction, I would expect to have to pay
around £50 to someone like Mail Boxes Etc for shipping, but that includes
collection, packing and shipping.
Frequently the cost of shipping is nearly as much as the picture itself, but
does include a margin for commercial profit.
I do not aim to make a profit on the shipping costs.
SPECIFICATION:
MEDIUM: WATERCOLOUR ON WATERCOLOUR BOARD
APPROXIMATE SIZE:
Painting: 338mm high x 488mm wide 13 1/4" high x 19 1/4" wide
Board overall: 542mm high x 689mm wide 21 3/8" high x 27 1/8" wide
Signed Sydney Vale lower right
Annotation: No 3 Last Run in Sydney Vale's hand.
The image of Sydney Vale's biography is for information only and does not appear on the back of this picture.
This watercolour seems to be in good condition.
The frame is not included in this offer. Itis not in very good condition.
Please remember to tell me if you would like to have it and I will send an ammended invoice for the additional shipping costs if that is necessary.
PLEASE NOTE:
I do my
best to find out as much as I can about my paintings and the artists who made
them.
I also try to give you a little extra information about the subjects shown in
my paintings.
I believe that the information above is accurate.
Let me apologise for any errors or typos you may find - they are wholly my own.
Please tell me if my memory has failed me as it sometimes does, I have made a stupid mistake, or if something I have written is inaccurate.
Any
images posted with this description form part of the description.
Please ensure you look very carefully at all images and details to make sure
that you REALLY REALLY WANT the picture BEFORE you buy or bid.
I do NOT offer free returns unless I have misdescribed a picture.
I take great care when packing pictures for shipping.
In my experience, returns are seldom packed with as much care and frequently
arrive damaged.
Please
ask if you have any questions or would like to see more detailed images of the
picture.
I will try to help as ever I can.
Thank you
for looking at my picture.
Please look at my other listings, my eBay name is ceffylmor.
Keep safe and well,
Best wishes,
Dai.
E&OE – Errors and Omissions Excepted