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THE ART ANNUAL

 

HUBERT HERKOMER

‘ (ROYAL ACADEMICIAN)

HIS LIFE AND WORK

BY

W. L. OOURTNEY

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LONDON: .ART JOURNAL OFFICE, 26, IVY LANE, PATERNOSTER ROW
1892

HUBERT HERKOMER, RA.

THE STORY OF HIS LIFE.

HE life of Professor Hubert Herkomer, R.A., is at least
as interesting as his artistic career. Indeed the two are
presented in almost indissoluble union, and it is only for

purposes of convenience that we can attempt to separate them.

 

As told by himself, the incidents of his history are as fasci-
nating as a romance; they contain every alternation ofhope and
despair, of success and failure, of penury and affluence; they
illustrate all the contrasts of personal distress and public

Professor H crkomer, from a M onotype by H imself.

success, of keen artistic instincts and an almost entire absence
of primary education, of unfailing mental vigour and a keenly
emotional and therefore somewhat frail and treacherous organ-
ization. Full of the warmest domestic affection, Professor

Herkomer has been able to discharge to his two parents
before their death some of the debt which he owed to their
assiduous care and fondest love; he has seen his family begin
in want and end in possession of all those creature comforts

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which soften the asperities of age. His earliest recollections
are of a terrible voyage to America, a long struggle with
poverty at Southampton, a stern fight to get the actual neces-
saries of life in London ; while now, at the age of only forty-
three, he finds himself one of the foremost artists of the day,
a highly successful and popular portrait painter, the head of
a large and flourishing school at Bushey, and the possessor
ofa stately house, designed by himself, rapidly approaching

 

2 ' HUBERT HERKOMER, R.A

completion; above all, the happy owner of wife and children
who combine to make up with him a méuage at once simple
and refined, artistic, homely and lovable. To understand how

one man has been the hero of so many adventures and
vicissitudes, and to appreciate the lights and shadows of a
strikingly original character, it is necessary to recount,
however briefly and inadequately, the main events of his
life.

From an‘In-uz'tation Card to an Exhibition of Works.

I.—EARLY STRUGGLES.

UBERT HERKO-
1\lER,born in 1849 at
Waal, near Landsberg
am Lech, Bavaria, was
the only son and child of
Lorenz Herkomer and
Josephine Niggl. His
mother, from whom he
derived _ his love and
knowledge of music and
no small portion of his
sensitive nature, was the
daughter of a school-
master—one of a class
who at that time in Ger-
many helda position next
in importance to that of
the parish priest. She was
a real musician herself and came of a family of musicians. A
nephew of hers is a schoolmaster at Oberammergau with the
task assigned to him ofimproving the music at the Passion Play;
anothernephew, now dead, had a magnificent tenor voice; and
two nieces, Marie and Mathilde \Vurm, are well known in the
musical world, the former being the winner of a Mendelssohn

 

Hubert Herkomcr as the Hunchback
in “ The Idyl.”

scholarship in London. It is important to mention this mu-
sical heritage on the. mother‘s side, because, as we shall
see, it was for some time doubtful whether the youthful
Herkomer should devote himself to music or to painting.
Even at Bushey new, musical instincts are at least as strong
as artistic, a fact which all can testify who have been
privileged to witness the plays produced in the little theatre

tliere. lut llc—rkomer‘s father exercised a still more potent

influence on his son's development. He was a masterjoiner,
a great deal more than a mere craftsman, a true disciple of

 

 

 

 

 

 

From an Invitation Card to an Exhibition of Works.

an artistic ideal, to which only to a very limited extent did his

circumstances enable him to devote himself. Many probably

HUBERT HERKOMER, R.A. ' 3

have seen and admired the grand portrait of his father (p. 19)
which Herkomer exhibited some years ago in the Grosvenor
Gallery—an old man, with a massive, leonine head and ample
beard, standing at his carving bench with the tools of his
profession in his hands. Strongly marked characteristics are
to be seen in the face—a rugged strength, a dominant indi-
viduality, great tenderness, a veritable idealism of thought
and feeling. It is clearly the face of a man who has learnt
and who has suffered, who has known what it is to have his

aspirations checked and neutralised, and yet who has pre-
served through every trial the sweet afiectionateness of a
richly endowed and firmly controlled temperament. \Vhen
there was no other means of keeping a roof over the heads of
his loved ones at Southampton, he had the strength to add to
his teetotalism a resolute abstention from tobacco—a simple
act of self-sacrifice, of which probably he alone knew the cost.
Those who have seen together at Bushey old Lorenz Herkomer
and his son Hubert, will not need to be told how strong were

 

A rchibald Forbes.

the links of afi‘ection which united the pair. \Vhen the boy
was born the father said—-—“ He shall be my best friend and a
painter; ” and when the shadows of life were lengthening, it
was the lot of the son to fulfil the paternal prophecy, and to
soften by a thousand thoughtful acts the inevitable decay in
life‘s powers of one to whom more was owed than could be
expressed either in word or deed. For it was the master-
joiner who gave the painter all his aspiration and his hope,
who, through good report and evil report, kept him true to his

vocation and taught him invaluable lessons of energy and
devotion and self-denial.
The earliest pictures, without exception, record a grim

struggle with poverty and want. The curtain rises in the

'little Bavarian village of Waal, where Herkomer’s father

rebuilt the old family house, and decorated it in a style which
led his neighbours to remark that “the Herkomers never did
anything like other people.” So strong, indeed, was his

desire to give picturesque elements to his humble-abode, that

4 HUBERT HERKOMER, RA.

he wished to add a little turret, which, however, the local
feeling prevented him from executing. When Herkomer was
two years old, his parents decided to cross over to America,
at that time a veritable land of promise, because of the misery
and unsettlement which had been produced in Germany by the
revolutionary outbreak of 1848. In one of the wretched sailing
vessels of the time, father and mother, with their infant two-
year-old son, embarked for New York, and had it not been
for the forethought of Lorenz Herkomer, who provided his
wife and child with condensed milk, it is doubtful whether the
six weeks’ journey would not have ended fatally for one or
other of the somewhat delicate trio. At that period in New
York there was no Castle Gardens- to protect the new arrivals,
such as Herkomer has painted in one of his well-known
pictures (here given). The emigrants, aftera year or so in the

central city, moved to Rochester, and finally to Cleveland, Ohio.
The American visit, which lasted some five or six years, was.
emphatically not a success.
not popular among the Americans. The chances of work for
the craftsman were few and far between, and above all there
were none of those romantic elements without which the better
kind of Teutonic nature is unable to survive. “When the
love of the German pine forest,” says Professor Herkomer,
in recounting those early days, “ has entered into the soul of
the German, he cannot do without a sight ofrit for many
years; ” and though stray portraits were ordered, and now
and again great figure-heads for ships, the chances of
securing a competence rapidly faded away. Herkomer him-
self, from his fourth to his eighth year, had various crazes for
designing mechanical toys, combined with some musical

Germans, to begin with, were

 

- Pressing to the West.

exercises learnt at his mother’s knee. Then the dry and
exciting atmosphere of America began to tell its tale, and
because he felt that the very life of wife and child was being
imperilled, Lorenz Herkomer decided to leave the United
States for England. This was in May, 1857, the future artist
being at that time eight years old. ‘

In England, Southampton was chosen as the residence for
various reasons. To some extent the old country did not
fail to make appeals to the Teutonic nature, and the people of
Southampton seemed to the eyes of the strangers very rich,
as they undoubtedly dressed with a certain sumptuousness and
elegance. But here once again a long struggle with poverty
became necessary. In the little house in \Vindsor Terrace,
Josephine Herkomer taught music with the aid of her son,
while the master-joiner did what he could in the way of

carpentering and furniturework. The boy seems to have
been tolerably happy, owing to the concerts which his mother
gave with the pupils.
frequently at them, singing songs in character with dramatic
action, and playing the piano.
instrument were in six-hand pieces, in which he took the
middle part, the treble and the bass being given to girls.
Crinolines were in all their glory at the time, and each young
lady did her best to smother the child, so that nothing of him
was visible except a black head emerging from a pile of
muslin. But the really instructive part of his education took
place at his father’s bench. It was in Southampton that,
owing to the difficulty of gaining an income, Herkomer’s
father decided to live on farinaceous food, and without the
consolation of tobacco. This was done in the teeth of plentiful

He used, he tells us, to appear

His performances on this

 

 

 

Fuuazd. By permission of the Trustees of the Chantrey chuest.

6 HUBERT HERKOMER, R.A.

advice. The testimony of the Sun is emphatic as to the price-

less advantage of the example which had thus been set him. .

Herkomer himself, though abstinence was never urged upon
him, neither drinks nor smokes, and to this he attributes no
small part ofhis success in life.

A brief experience in a day school, and some few studies at
a school of Art in connection with South Kensington in his
fourteenth year, contributed in various ways to the development
But now came the serious question
It was a

of the young genius.
whether he was to be trained for Art or for music.
difficult problem for parents to decide situated in the position
of the Herkomers. The mother leant to the side of music,
partly because her whole heart was set upon her profession,
partly because all the advice of her friends induced her
to consider that painting meant only starvation. But the
father’s answer to all the abundant counsels pressed on him
by his immediate surroundings was short and almost fierce.
“No,” he said, “ my son shall be a free artist.” Though

 

everyone shrugged their shoulders and shook their heads, and
though Josephine Herkomer burst into tears, the career of the
artist was finally selected. In the spring of 1365 came variety
and change. A commission arrived from America for six
Evangelists to be carved in wood, life-size. It was determined
that father and son should go to Munich to study Art in order
to execute these figures, and. the pair crossed to Antwerp,
passing through Switzerland, Kempten, and thence to Munich.
The journey was not accomplished without dire suffering.
The boy got ill. The father had hard work both to nurse the
patient and to provide for his wants, and when the livangelists
were only half completed it was found to be necessary to
return to England to renew the passports, or else give up the
English nationality.

A new life began for Herkomer when be lodged in the \Vands-
worth Road in order to study at the South Kensington Schools.
He was not allowed to enter the life class, but with character-
istic audacity he disregarded the injunction and wandered

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A Study of Expressions.

into the forbidden room where Luke Fildes, Henry \Voods,
and John Parker were workintr. A life drawing in chalk was
at once begun, and though reprimanded for his disobedience,
the young pupil 'was allowed to remain and pursue his ambi-
tion in his own way. In 1867 came the influence that biassed
all the early work of Herkomer—the influence of Frederick
Walker. That artist’s ‘_Bathers ’ had already been exhibited
in the old Academy at Trafalgar Square, and although hung
over the line it at once heralded a new departure in
English style. To Herkomer, at all events, it meant the
commencement of a new life, and to this day there is hardly
any painter to whom he looks back with such affectionate
reverence as Frederick \Valker.
might have appeared flat,‘chalky, and ill-drawn; to Herkomer
it had the light of nature, and was, above all things, uncon-
ventional.

\Ve must pass rapidly over the next few years. There was
a good deal of drawing done in black and white for London
papers and still more water-colour painting, but the stemness

To some critics his work

of the struggle to win a livelihood was by no means relaxed,
and whether in the Kensington Schools, or in the little studio
in Chelsea, there may have been high thinking but there was
excessively plain living. One scene which occurred about
this time is told by Herkomer in characteristic fashion.
Encouraged by the Dalziel Brothers, Herkomer took a little
drawing—a pretty girl dreaming among ruins—to an Art
publisher. After some delay he was ushered into the pre-
sence of one of the partners of the firm, with whom was
sitting an editor. The interview was, however, hardly satis-
factory. The publisher and editor both thought that the
drawing was deficient in strength and knowledge of anatomy,
while Herkomer was only anxious to escape without criticisms,
which both hurt and annoyed him. He felt so much the
unkindness of the treatment which he received that he has
left on record an emphatic protest: “If editors and ma-
nagers,” he says, “would only remember that they may be
dealing with men who are destined to succeed, and who
remember kindness as keenly as they do cruelty, they would

HUBERT I-IERKOMER, R.A. 7

be more courteous to strange youngr men, or at least more
cautious.”

r~ The proud, sensitive, emotional youth——he was now about
nineteen years of age—had many trials yet in store for him
before he succeeded in earning a competency. MOst of his
livelihood was gained by drawings either for Fuzz or for the
newly started Grzzjfi/u'c. Amongst other occupations, Herkomer
asked for an engagement with the Christy Minstrels, who
were performing in St. George’s Hall, as he hoped that his
accomplishments on the zither might give him an opening.
\thn this failed he did some stencilling Work at South
Kensington at ninepence per hour, which is to be seen at the
present day around the Ceramic Gallery of the Museum. The

connection with the Gulf/[fa newspaper was more happy in
its results. The first picture, ‘ Gypsies on \Vimbledon Com-
mon,’ was highly tlpproved of by Mr. \\'. l.. Thomas, and
from that time no work was lacking for the young Art student.
A visit to his parents at Southampton pleasantly varied a
record of hard and now increasingly profitable labour.
Herkomer felt himself at last able to paint a real picture.
Indeed, it was at this period that he made the first drawing
for his ‘Chelsea Pensioners in Church,’ published in the
Crap/Ht in the first instance, though afterwards destined to
a much more glorious future. The Dudley Gallery in the
spring of 1870 added much to his rising reputation. Mr.
H. S. Marks and Mr. Arthur Severn both proved friendly,

 

\ n n f»

V V w. ‘

 

God's Shrine. By [Scrnrission of Alexander Young, Esq.

and the Brothers Dalziel succeeded in persuading Mr. Strahan
the publisher to purchase the water-colour picture, hung in
the place of honour, for the sum of£4o.

The first dawn of success revived in Herkomer all the old
affectionate feelings of devotion towards his parents. As soon
as he had put by enough money, his first thought was to give
his father a holiday in the Bavarian highlands, where many
ideas of different kinds were entertained, and where the first
effort was made to paint a picture in oils. Mr. Marks, how-
ever, as soon as he saw it, strongly recommended Herkomer
not to exhibit, but withdraw it altogether, for it was done so
much in the spirit of the water-colour artist, and was, on the
Whole, so awkward in composition, that it could not have

failed to do harm to the reputation which Herkomer was now
beginning to enjoy. Then followed another tour abroad, in
which Herkomer was able to take his mother as well as his
father. Again the place selected was the Bavarian highlands,
and the determination was arrived at to produce an oil picture
six feet long, in order to make a first appearance on the walls
of the Royal Academy. The subject was entitled ‘ After the
Toil of the Day,’ and represented a street with old sunburnt
wooden houses on the one side and a river bordered with apple-
trees on the other. The old people and the children were
sitting on the benches, and the more able-bodied peasants
were returning from the fields. It is worthy of remark that in
this picture we have the last evidence of the influence of

8 HUBERT HERKOMER, R.A.

\Valker.
was thoroughly Bavarian in tone, and yet it had two strong

It was painted in Bavaria direct from nature, and

 

Study for a Figure.

points, the apple-trees and the herd of geese, both of which
indicated the hold which \Valker still possessed over
Herkomer’s mind. In those days he thought that a dry fresco-
like appearance was absolutely necessary for ‘bil painting, the
result of which was that the picture as a whole was flat, and
wanting, as Herkomer himself tells us, in “planes” and
“values.” It was a curious accident that led to its sale.
Herkomer was one day going to the Old Masters Exhibition,
and rode in the omnibus with his frame-maker. A gentleman
who overheard the conversation, showed his interest by not
only coming to see the picture, but bringing a friend with
him. The friend in his turn brought another friend, Mr.
C. \V. Mansell Lewis, who bought the picture for £500, at
the same time giving a commission for another at £250.
In 1873 ‘After the Toil of the Day’ was hung on the line
at the Royal Academy Exhibition, and was duly commented
on as being the work of an evident disciple of Frederick
\Valker.

Up to the stage which we have now reached, Herkomer’s
life, chequered with many sufferings, was on the whole a

progress, at times slow, at other times rapid, but still con-.
tinuously tending towards a triumphant success. The honour
obtained by having a picture on the line in the Academy, of
being able to open an account at a bank, and also the fact,
which Herkomer himself valued still more, of being able to
provide his parents with a home at Bushey,near VVatford, and
of relieving his mother from the drudgery of teaching music,
were greatly discounted by the commencement ofa real domes-
tic tragedy, which threatened, for the time at least, to neutralise
all the new-won advantages of his position. It is not pleasant
to touch on a subject which belongs rather to the domestic
life of Herkomer than to that public career in which alone the
artistic world ought to be interested ; but without some kind
of reference to it, any account of his subsequent toils and suc-
cesses would be clearly deficient. His first marriage was
marred by his wife’s continuous illness. Two children, a
boy and a girl, were the fruit of the union, but had it not
been for the unceasing care of Miss Griffiths, a trained
nurse, who not only attended her patient, but also super-
vised all the ordinary home lit‘e, there would have been no
chance of Herkomer executing the pictures that were in his
mind. This unfortunate state of things only ended with the
death of Mrs. Herkomer. But one of the results of the con-
fusion introduced by her ailments, was that both the parents
of Herhomer werelforced to leave Bushey, to live in a house
provided for them by their son in Landsberg am Lech, Ba-

varia, close to their early home. Herkomer subsequently

 

From an Invitation Card to an Exhibition of Works.

married Miss Grifiiths, and after her somewhat sudden death,
became a German subject in order to marry her sister. who
is now the cherished companion of his home.

 

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MISS GRANT.

By permission of Messrs. Obach 6w Co., proprietors of the copyright.

HUBERT HERKOMER, R.A. 9

II.—SUCCESS.

IN the winter of 1873-74, Herkomer stood on the threshold

of his greatest and most decisive success. Reference
has already been made to a sketch drawn for the Grain/12k
newspaper, entitled ‘Chelsca Pensioners in Church.’ The

 

 

A Chelsea Pensioner.

subject had clearly taken hold of the painter’s mind, and the

determination was now formed to make a large oil painting of
the same subject, to be exhibited in the Royal Academy
Exhibition of 1874. But never, probably, was an important
picture done in so unconventional a fashion. In the first
place, Herkomer had no real knowledge of perspective, and

- he had to trust to the correctness of his eye to get the proper

lines of the building in which his figures were to be placed.
In the second place, those of his friends whom he consulted on
the matter were tolerably unanimous in their opinion that it
was impossible to get together a composition of violently red
coats in any suitably artistic fashion. Not for the first time,
however, Herkomer proved obstinate in carrying out his
project. In his own imagination, at all events, he saw how
the distinct items, of which his picture was to be composed,
could be grouped in an effective way, and although, partly
owing to illness, partly owing to the difficulties already alluded
to of his home life, his work had to be done piecemeal, the
result was a triumphant proof of the correct judgment which
he had formed, both of his own capacities and the possibilities
of the subject. But it was a severe struggle against time.
The canvas was not stretched before January, 1874. Frequent
interruptions had to be submitted to, consequent upon hasty
visits to Bushey. As a rule two figures were sketched at once,
to see how the faces would look against one another. First
came the central dying figure and the big man on the

 

 

 

 

 

 

 

Light, Life, and Melody.

seat in front of him (see frontispiece, ‘The Last Muster’);
then was sketched the pensioner who looks into his face

alarmed, and touches his arm to see what the matter is,
and so on, apparently with nothing but detail, and only a
I D

IO

vague general idea of how the general scheme would work
out. Moreover, there was no oil-colour ground on the canvas;
it was a piece of unprepared linen, with nothing but a coating
of size, and, as Herkomer was still under the dominion of the
idea that oil-paintings should have a fresco-like appearance,
it was ultimately found necessary to soak the picture with
medium five or six times, back and front, to prevent the paint
from chipping in places. Composition indeed it could scarcely
be called; as the artist himself describes it, “ the upper half
of the picture was all architecture; the middle line of the
canvas a dense mass of heads ; after which followed a row of
hands, then a row of legs, and finally a row of boots. It had
no beginning and no end. It was a section of the chapel
congregation cut out.” Even when finished it caused keen
disappointment to its author, for no other reason than because
it was so unlike his cherished master, Frederick \Valker.

 

Arrest of a Peasant.

in the Royal Academy. We are told that when it was
brought before the Judging Committee, every member present
clapped his hands. Sir Frederick, then Mr., Leighton, and
Mr. George Richmond both wrote to the young artist, con-
gratulating him on his achievement. It seemed to indicate a
new departure in Art, as conceived by a man of vigorous, but
to some extent undisciplined eye. Unmanageable colours had
no horrors for him, for they could all be subdued to unity in
the artist’s vision, which finds poetry in everything. Nor is
it too much to say that this single picture established, once
and for all, Herkomer’s reputation. A year or two afterwards
it was sent over to the French Exhibition. There its success
was even more striking than it had obtained at home. To
Herkomer and Millais were awarded, alone out of all the
English painters, medals of honour from an International
jury, and, at one bound, Herkomer found himselfin European

HUBERT HERKOMER, R.A.

This was doubtless due in some measure to the haste with
which it was executed. Everything had to be treated in a
bold and somewhat rough fashion, and the subject itself of
course prevented the introduction of any of that feeling for
nature which was the priceless heritage from \Valker. Apart,
however, from these merely accessory circumstances, the real
truth is that Herkomer had reached a point in his develop-
ment where he had outgrown the earlier influences of his
student life. He had begun to feel his powers, and these
comprehended a far wider grasp of life and character than
any which was possible in bygone days. For from this time
Herkomer discovered in himself the capacity for painting
portraits, for seizing the “nuances” of character, and for
suggesting the tragedy which underlies commonplace figures
and commonplace lives. Most people will remember the
triumphant reception which ‘The Last Muster’ enjoyed

 

Bavarian Alps.

opinion placed on the same level as Munkacsy the Hun-
garian, and \Vauters the Belgian artist.

But the very success itself brought with it compensating
disadvantages. His admirers thought that he would go on
painting Chelsea pensioners all his life, and this he was, of
course, determined not to do. Herkomer himself was in
indifferent health, and the troubles of his domestic life no
doubt largely interfered with his devotion to his artistic career.
\Vhatever may be the cause, there is no doubt that a few of
the subsequent productions were by no means up to the same
high level. Neither ‘At Death’s Door’ nor ‘Eventide’ proved
as popular as ‘ The Last Muster.’ .

One or two important portraits date from this time, the
history of which must be briefly recorded. \Ve will begin
with that of Richard \Vagner. The great German com-
poser did not seem inclined to give sittings, and sug-

HUBERT HERKOMER, R.A. l I

gested that studies might be made of him in the process
of conducting in the Albert Hall. Finding such a process
eminently unsatisfactory, Herkomer determined to draw him
from memory, and the result was so successful, that \Vagner
allowed him to complete it in an actual sitting. But there
was the most curious contrast between the expression of
the man as Herkomer designed him and that which he
saw before his eyes. The artist had made his face full of
emotion; the composer,

as he sat before him,

Royal Academy, defeating Miss Thompson, now Lady Butler,
by only a single vote. 1
The next five years, from 1879 to 1884, were crowded with
varied and diversified work. A few of the titles of the pictures
painted in this period include a landscape called ‘\Vind-
swept,’ a portrait of Lord Stratford de Redcliffe, an oil-
colour called ‘God’s Shrine’ (p. 7), a large water-colour
with the name of ‘Grandfather’s Pet,’ a wild and deso-
late picture to which
was given the title of

 

only looked pleased and
contented. As a like-
ness, however, it was
highly valued by \Vag—
ner’s family, and now it
hangs in Mrs. \Vagner’s
house at Bayreuth.
Tennyson proved an
equally difficult subject.
Herkomer was hospi-
tably received at Far-
ringford, but the poet
himself appeared to be
by no means pleased
at his visit. “I hate
your coming, I cannot
abide sitting!” This
was the unpromising an-
nouncement, but better
things were in store, and
at night, as the artist
was undressing for bed,
Tennyson invaded his
room in order to utter
the simple words: “I
believe you are honest;
good night!” The por-
trait was no less a suc-
cess than that ofRichard
\Vagner. To this must
also be added the por-
trait of John Ruskin,
in water-colours, one of
a collection of pictures
of celebrated men which
Herkomer intends to
leave to his children.
To this period also
belongs the commence-

 

ment of etching. In
this, as in nearly all his
efforts, Herkomer began
by producing long be-
fore he understood the
real process. Gradually, through actual experiments, he learned
how to expedite several of the methods practised by etchers,
and some recent lectures delivered at Oxford, entitled“ Etching
and Mezzotint Engraving,” give an interesting record of his
experiences in this department of Art. Originally he com-
menced with plates much too large. Now his studies with the
burin and the etching needle, to say nothing of his mezzotint
engraving of Millais’ ‘ Caller Herrin’,’ are deservedly famous.
In June, 1879, Herkomer was elected an Associate of the

.

 

 

321.5. ‘The Gloom of Idwal,’
, ‘Missing,’ ‘ Homeward,‘
a portrait of Archibald
Forbes (p. 3), and a
large water-colour six
feet by five (p. 9), a
veritable tour-defame,
which attracted a good
deal of attention in the
Grosvenor Gallery.
Perhaps this is a suit-
able opportunity to refer
to that many-sidedness
in Herkomer’s disposi-
tion, that versatility of
artistic creation which
distinguishes him from
his artistic brethren. It
is a common charge
urged against him that V
he is a “Jack-of-all-
trades,” that
paint both in oils and
water-colours, that he
can etch, that he can
do mezzotint engrav-
ings, that he can com-
pose music, that he can
write plays, that he can
carve in wood, and beat
out designs in iron work.
It is true that it Would
be difficult to exhaust
the various spheres of
production and design
in which Herkomer has
shown himself so profi-
cient, and to some ex-
tent, no doubt, his very
versatility has been the
cause of weakness. On
the other hand a man
must have the defects
of his qualities, and if
nature has given opportunity and liking for various kinds
of work we must not be surprised at the inevitable result.
But so far as Herkomer himself is concerned, it was a
deliberate choice which madehim attempt to excel in different
He has always been extremely anxious to

 

 

he can

H c and She.

spheres of Art.
secure the freedom of his artistic career, to prevent himself
being bound down to one form of artistic creation. Just as
after ‘The Last Muster’ he desired to paint very different
pictures, so, too, during his whole life he has attempted to

12 I-IUBERT HERKOMER, R.A.

secure liberty of hand and eye, and a constant change of
occupation. Hence it comes that of all the painters of the day
there is no one who has so large a range of facility, and whose
work, although animated by the same spirit, differs so much
in execution. Music was one of the two competing studies
between which Herkomer had to Choose, and although he has
been sometimes called an amateur in music, it must be
remembered that he was not only the child of a distinguished
musician, and came of a musical family, but that from his very
earliest years he was forced, partly to help his mother, partly
to satisfy his own instincts, to study music with the zeal of a
professional.

Meanwhile, l—Ierkomer’s domestic life was by no means free
from trouble. On Christmas-eve, 1879, his mother died at
Landsberg. In the winter of 1881 his first wife died in

Vienna, and the marriage which was subsequently arranged

 

with the elder of the two Miss Griffiths was terminated by her
somewhat sudden death only a short time afterwards. The
last was a bitter blow, for happiness seemed at length to have
dawned upon Bushey, and the loss of one who for many years
past had been the cause of whatever comfort or peace reigned
in the establishment, meant something like ruin to the artist’s
hopes. Fortunately, the second Miss Grifliths, who is now
Herkomer‘s wife, was as serviceable and as helpful as her
eldest sister, and now that she has taken her sister’s place at
Bushey no one can fail to see how deep and tranquil is the
contentment, and how happy the family group which gathers
round the painter in his country home.

Three events of great importance belong to this period.
During the winter of 188.} and the spring of 1885, the ‘White
Lady’ (facing p. 8) was painted, the first portrait ofa lady which
Herkomer had produced. Its success was at least as great as

 

 

Natural Enemies. Bypermissz'on of C. E. Fry, Esq.

that of ‘ The Last Muster,’ and numerous were the guesses as
to the identity of the picture. In reality, Miss Grant was not
an American, as most supposed, but the youngest daughter of
Mr. Owen Grant, of England, between whom and Herkomcr
The ‘ White Lady’ was
succeeded, not lonrr afterwards, by the ‘Blacl; Lady’ (known by

there had existed a close friendship.

the title ‘ Entranced,’ facing p. 2.1), equally succeszul; indeed,
amongst artistic circles even more successful, and the two
pictures taken together had certainly the effect of spreading
Herkomer‘s fame still wider as one of the most successful
portrait painters of the day.

The foundation of the Bushey School dates from 1883.
There was a gentleman in Bushey who was anxious that
Herkomer should teach a ward of his. As it was impossible
to take one pupil alone, it was suggested that a studio
should be built in Bushey for Art students, and it was
agreed that, if such a scheme could be realised, Herkomer

should superintend all the details, have the sole responsi-
bility, and carry out, or at least inspire, the curriculum of
teaching. This was the origin of one of the most popular
Art schools of our time, which commenced with the num-
ber of twenty-five in October, 1883, and which is now eight
or nine times as large. No small measure of its success is
due to the fact that there is only one master, neither committee
nor council, and the most careful supervision of the students
in accordance with rules which can be changed as occasion
requires by the responsible head. Moreover, the relations
which exist between the pupil and the master are of the
happiest kind. It was Miss Griffiths who, at the very com-
mencement, started the Sunday receptions in Herkomer’s
studio, a privilege which students keenly enjoy, and which, in
indirect fashion, gives them the greatest help in their work.
The Slade Professorship of Art at Oxford was offered to

’Herkomer, at the suggestion, principally, of Professor Max

HUBERT HERKOMER, R.A. ’ 13

Miiller and Dean Liddell of Christ Church. In the summer
of 1885, Herkomer became a Professor, and subsequently
received an honorary degree of M.A., and was made an
Honorary Fellow at All Souls College, Oxford. His lectures
were much appreciated, because in the first place he spoke
without reserve on the subjects which were dear to his heart,
and, in the second place, because, instead of being purely
theoretical, it was Clear that he was filled with an intense
practicalness. ,

Other points of interest in Professor Herkomer’s recent

Dean Liddell.

F ram

colours of Bushey and its neighbourhood, exhibited at the
. same place some years later; and the striking picture, ‘In the
Chapel of the Charterhouse’ (p. 21), which was purchased
by the Council of the Royal Academy in 1889 for the Chantrey
Bequest. To keep pace with Herkomer’s later work, since he
was made a Royal Academician, is unnecessary in this brief
history of his career, but it may just be noticed in passing that
a large picture of ‘ Our Village’ (p. 15) at Bushey attracted
considerable attention in the Academy of 1890, and a picture
with the name of ‘On Strike’ (p. 27), representing a labourer
out of work, standing at the door of his cottage, with wife and

 

career must be passed over with only scant notice. In the
case of a contemporary, who is every day adding to his Art
work and strengthening and extending in various ways the
influence and popularity he has obtained, it is obviously out of
the question to do more than glance at some of the most
characteristic episodes. Amongst these was a visit to Ame-
rica, where Herkomer painted a large number of portraits;
avisit to the Bavarian Highlands, in order to collect forty
pictures, to be exhibited at the gallery of The Fine Art Society
in New Bond Street; a subsequent collection of forty water-

tm Etching by the Artist.

Children around him, was an equally characteristic feature of
the Academy of 1891 ; while lastly, in the present year, an ex-
hibition in Bond Street of work done by Professor Herkomer
and his pupils has amply illustrated the variety, the power,
and the high artistic level reached by the Bushey School.
Herkomer’s father died in 1887, and this event, coming so
soon after the death of his second wife, seemed to fill the cup of
sorrow to the brim. There is no stronger characteristic in Her-
komer than the warmth and purity of his domestic affections,
and yet it is especially on this point that fate has wounded
his father removed the

him most severely. The death of

E

r4 ' HUBERT HERKOMER, R.A.

influence of one to whom Herkomer looked up as an ideal, and
snapped the ties, not only of family affection, but of a deep and
untiring friendship, which had bound the two together for years.

 

Study of a Dog's Head.

It is impossible, however, even in this hasty review of some
of the significant incidents of his life, to pass over Herkomer’s
ambitions as an author and manager of stage plays. At a
time when he was decidedly in ill-health, and when he was
over-working in order to get rid of the feverish anxiety which
had beset him, his boy suggested that they should have a
play at Christmas-time ; with characteristic energy, Herkomer
at once saw to the formation of a theatre, the composition of
a pantomimic play entitled T/ze Sorcerers, and' re-discovered
in himself a large capacity for musical composition. To
The Sorceress succeeded T/ze Idyl, the lyrics of which were
written by Mr. joseph Bennett, while Herkomer himself com-
posed the music, and scored it, for the orchestra, led by no
less a person than. Herr Richter himself. Then came 1727725150,
a striking little drama. by Alfred Bernlyn, in which Herkomer
sustained the chief part with admirable success. Other designs
are in prospect in this direction, for as he has a flourishing
colony of Art students, Herkomer has seen the value of sup-
plying them with amusement and occupation apart from, and
yet supplementary to, their regular work. .

No happier home-life could be led anywhere than that
which is exemplified at Bushey. Plenty of hard work, many
opportunities for rational amusement, a Charming domestic
“interior,” a father devoted to wife and children, and a
Professor beloved by those students whose energies he has
consistently directed—above all, the constant pursuit of an
ideal, always tempting to further endeavours, always giving
salutary rebukes to past performance: these and other ele-

ments contribute to form a picture which would be perhaps
hard to excel in any other portion of England. Professor
Herkomer himself has summed up in a few words the
present situation, to which, as we have seen, there had
been so stormy and troublous a prelude. “As I write this
on the 20th November, 1889, in the midst of my family, with

 

Study of a Head.

.

my boy and girl already helpful in so many ways in the
home, and proud and happy in the possession of the baby
brother that lies, just two months old, in the identical
cradle my father made for me forty years ago; I look at
him with. his likeness already so striking to my'father, at
his sweet mother, radiant with joy; I see my new house
growing apace and my colony of students around me and
my existence is summed up in the two words—Peace and
Success.”

 

Study of a Dog.

HERKOMER’S ART.

HE history of Professor

Herkomer’s life, which has
been traced in the foregoing
pages, has proved many
things of no little conse-
quence to those who desire .
to estimate his position in
the artistic world. It has
shown his energy, his many-
sidedness, his belief in his
own mission, his persever-
ance, his ingenuity, his de-
votion to those ideals which,
first suggested by his father’s
example and the no less imperative claims of his artistic
ancestry, were then taken up by the young painter as part
and parcel of the serious ambition of his manhood. It

 

has revealed the fact, perhaps chief of all, that these cha-
racteristics, which make him one of the most successful
men of the day, were won at the cost of much individual
struggle with poverty and unhappiness, and were by no
means the easy boon of an indulgent fortune. It has
also proved that that which some admire in him and others
deprecate with much energy—his unbounded versatility, both
of idea and execution—was quite as much forced on him by
the arduous circumstances of his life as by the heritage of
his peculiar constitution. But in tracing the outlines of a
particularly interesting career, we have been forced to pay
attention to the sequence of distinct events rather than to the
less obvious development of those feelings and instincts and
sympathies which, with the added boon of genius, constitute
the painter’s individuality. It is necessary, therefore, to
supplement a sketch of Herkomer as a picturesque Bavarian,
who rose from a lodging-house at Southampton to the pos-

 

 

 

Our Village.

session of.an estate at Bushey, by some consideration of
Herkomer as one of the most distinguished and most popular
of English artists.

What in common estimation is the chief characteristic of
Herkomer? There are many who would at once answer the

question without hesitation by referring to the wonderful
evidences of his many-sided facility. Here is a man, they
would say, who can do with almost marvellous ease anything
to which he sets his hand. He can paint landscapes and
pictures of peasant life; he is a famous etcher; he is an

16 HUBERT HERKOMER, R.A.

admirable painter of portraits; he has won a name for himself

 

Study 0/ Figures,

in the peculiarly English art ofwater—colours. He was among
the first to preach by example the necessity for the reunion of
arts and crafts, to proclaim that the modern limi-
tation of the artist to a speciality, the modern
disdain of the painter for the craftsman, is a
symptom of feebleness not of power. He is a
theorist, and a Slade Professor of Art, who puts
his theories in practice. He is the adored auto-
crat of a school of Art which is unique of its
kind. A short time ago the pilgrims to his resi-
dence at Bushey, who were hitherto content to
scan furniture carved by himself, his father, and
his uncle, to watch the Working of the printing
press and the forge, to admire the model of the
tower erected in Bavaria to the memory of his
mother (p. 28), eagerly availed themselves of the
opportunity and privilege to witness pictorial plays
in the little theatre which he had built after his
own plans. Not only had this new Leonardo
composed the play and written a score reminding
the audience of Purcell or Arne in the songs, and
of \Vagner in the orchestration ; not only had he
made avigorous onslaught on the conventionalities
of stage-pictures by his novel illumination, his
moon, his atmospheric gauze, and his avoidance
of flat scenery; but he acted, danced, or sang in
the chief role, and his troup of actors were almost
entirely composed of his own pupils, artists even
in their hours of leisure. \Vhat greater proof
could be asked of an omnivorous versatility? To
do many things, to be Jack-of—all-trades and to
shine in all, was at once his strength and his
weakness, his foible and the chief evidence of his

thing which could be construed to be Art as his province,
and though there was thus some unavoidable diffusion of
energy, there was on the whole an astonishing success.

Yet it may be doubted whether such a view does not do
Implicitly or explicitly, it
detracts from his estimation as an artist, for it‘seems to deny to

some real injustice to Herkomer.

him the powerof concentration and singleness of aim. As a
matter of fact, his versatility is a more or less accidental attri-
Partly it
finds its explanation in the circumstances already detailed of

bute, not the essential property of his character.

'his career, which forced him to try his hand at many things;

much more, it is part of a serious and predetermined mental
discipline.
naturally caused in his youth somewhat fitful bursts of energy.
The fire burnt awhile with a clear flame of pure and spon-
taneous ardour, and then seemed to fail with the consumption

The vivacity and alertness of his disposition

of the materials on which it fed. In simple words, the young
Herkomer found himself soon tired of the immediate object of
his pursuit, because he was always livingthe life of the nerves.
But when the time came for a settled training, the only mode
of overcoming a fitfulness, which is a not unusual attribute
of highly nervous organizations, was to turn from one pursuit
to another, to excite an easily satiated interest by finding new
materials. To rest is impossible for such natures, and the
only alternative is to vary the occupation. Change of work is
the only repose which ardent spirits ever allow themselves,
and if this be taken, not in fickleness or frivolity, but as a
disciplinary tonic, the mind can revert to earlier work, and
find anew the energy for its completion. Accepted in this
way, heterogeneous studies do not necessarily mean a diffu-
sion of power, but the overflow of activities which can be

 

Sludy 0ft! Figure.

power. \Vith the single exception of sculpture, he took every- ‘ trained to do a much larger amount of work than is possible

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HUBERT HERKOMER, RA. 17

to industrious limitation to a single channel.
hesitate to say is the real explanation of Herkomer’s versa-
tility, just as it is equally the secret of no small measure of his
success. Manysidedness is, no doubt, largely congenital, but
it can be utilised as self-discipline; it is not the denial of a
paramount aim, but rather one of the means by which the
mind can be taught to fulfil its primary ideas.

If we desire to get at the inner man, external characteristics
are not so important as the implicit or instinctive sympathies.
One of the most remarkable traits of Herkomer is a strong self-
reliant individuality, another is‘ his susceptibility to influences
from other masters. Contradictory as such qualities would be
in the case of most temperaments, they meet and are harmo—

 

 

This we do not '

nized in Herkomer. He feels very strongly the example of some
work which he admires, and for a time his own hand almost
unconsciously reproduces similar or analogous effects; then
the alien influence is merged in his own character, assimilated
and subdued and worked up to other issues. It was thus
that he first fell under the influence of Frederick Walker, and
perhaps to those who know him well there are other instances
of secret admiration. But the inevitable reaction comes—
which is not so much reaction as the resolute assertion of an
overmastering individual power; and ‘After the Toil of the
Day ’ is succeeded by the ‘ Last Muster.’ There are, in point
of fact, three periods in Herkomer’s artistic career, the last
of which, unless we are much mistaken, is only just com-

 

 

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At Death’s Door.

mencing. 'We may at once define them, although, of course,
we~are speaking only of tendencies, and anything like an
accurate and precise division by years is out of the question.
It is easy, however, to recognise that an early period, up to
the time of the first striking success of the ‘ Chelsea Pen-
sioners,’ was much under the dominion of Frederick Walker,
and occupied with water-colour studies of nature in the
spirit of the English school of landscape. To this succeeds
a time when nature yields in interest to figure-drawing and
portraits. The influence‘bf Walker falls into the back-
ground, and we have Herkomer’s own genius revealed in his
strength and his robustness of manipulation. There are,
indeed, still many landscape studies, and one or two very
important water-colour pieces, but the interest is predominantly

occupied with portraiture and figures, and the scene is more
of a background and less of an independent study. It is
difficult to say when the old love of nature revived with all its
original force ; probably it never really failed. But to-day, at
all events, it exercises all its pristine fascination over Her-
komer’s mind, and whether it gains its expression through the
medium of oil or water-colour, it reigns with almost a new
force and sweetness. The third period, at all events, is different
from its predecessors in many striking ways. There is no
haste or hurry, nothing of the precipitancy which sometimes
marred much of the second period. Herkomer is in the
maturity of his powers, and seems to have regained his youth-
ful enthusiasm with all the added advantage of practice,
training, and conscious skill.

 

18 HUBERT HERKOMER. R.A.

How shall we characterize the earlier period? It is marked
throughout by an intense admiration for the English feeling
for colour. \Vhat Turner represented with such triumphant
success, what animated the earlier works of Millais, what is
found in W'alker, Mason, and North, that, too, took strong
possession of Herkomer’s youthful years. It is the feeling
for “ the gold " of nature, the subdued but ever-present glow
which underlies all the so-called greys and browns in our
English landscape. A trick of atmosphere, no doubt, the
result of humidity in the air which tones down the glare of
the sun-rays, or else the effect of the rich colours of the soil,
striking upwards through the ground, and transfusing all the
green of herbage and trees. No one, however, will deny the
graceful mellowness of an English country scene, with all
the affluent glories of the underwood, the richness of the
earth, the softness of the outline in the hills, the infinite tender-
ness of the evening sky. Contrast with this the general
effect of Continental landscape, the clearness of the air, the
hardness of the light and the shadows, the baldness, as it

 

 

 

 

were, of outline, the absence of atmospheric glamour. There
is no lack of colour—reds and yellows and vivid greens—but
there is no soft, suffusing, intermixing gold; the ground beats
up no rich lights of its own; everything is clear and naked
and brilliantly dry. \Vhat Herkomer loved in \Valker was
his vivid sense of colour, according to the view we have
attempted to expound, and when he painted ‘After the Toil
of the Day’ the scene and the figures might have been
Bavarian, but the feeling was thoroughly, undeniably English.
In the second of Herkomer’s periods the feeling was lost to
a great extent; sometimes he seems to relapse into something
akin to “blackness.” For his new passion was to draw
everything with vigorous truth, and overdrawing invariably
results in under-colouring. Bavarian studies never did him
much good, and indeed they reacted on his English studies
and tended to give them a dulness which is as far as possible
removed from the truth of English nature and from the secret
of a Turner and a Walker.

It is in the second period that we can best trace the

 

 

 

 

Carving at Bushey.

diiferences between Herkomer and his beloved master. It is
a period in which, as we have said, the chief tendency is
towards figures, and afterwards towards portraiture; but
though here too there are both water-colour drawing and oils,
the spirit of the painter becomes in a certain sense diffe-
rentiated from his first ideals. The standard of both \Valker
and Herkomer is essentially the same, their aim being to ally the
vivid inspiration of the momentary impression with a faithful,
well-reasoned and conscientious study of each detail. They
wish to steer a way between a false idealism and a crude
realism, and attain to a refined realism, admitting the presence
of a soul in things. But gradually Herkomer’s vision becomes
much less poetical and ideal than that of "Walker, more on
the border-line of prose and poetry, more term (i ferre, less
personal and more truthful. The twilight sentiment seen in
‘ The Old Gate ’ and the ‘ Harbour of Refuge ’ gives way to a
possibly more healthy but less poetic impartiality of view.

Herkomer is tender, but not with the feminine tenderness of
\Valker. He is strong, but he does not lift his peasants to
the sombre epic grandeur of a Millet. He is sensitive to
grace, but he does not discover rhythmic movements—which
we call Greek—in his peasants like Jules Breton. 1 He is no
English Theocritus, like George Mason, whose Daphnis and
Chloe are the English children whom Reynolds and Gains-
borough loved. If on the other hand he is contrasted with a
thorough-going realist like Bastien-Lepage, his affinities to
the poetical aspect of things at once become conspicuous.
He makes no doctrinal insistance on ugliness, his works ex-
hale no atmosphere of pessimism. Contrast Bastien-Lepage’s
‘ L’Amour au Village ’ with the little study of rustic lovers
‘ He and She’ (p. 1 1), shown this year in The Fine Art Society’s
rooms in the exhibition of “Professor Herkomer and his
Pupils.” In Herkomefs study the faces of the amorous pair
are both seen; there is no ugly, shapeless back of a preter-

HUBERT HERKOMER, R.A. 19

naturally stupid girl, and the lover does not pose in a gro-
tesquely awkward attitude. There is nothing repulsive or
gross, or suggestive of the Mtg lzzmmz'ne. Herkomer’s real-
ism is more like that of Frank H011, stern, cognisant of the
, grim sorrows of life and poverty, but sympathetic, as his
crowded emigrants at Castle Gardens, ‘ Pressing to the
\Vest’ (p. 4), his ‘ Eventide,’ and other pictures sufficiently
prove.
In figure-drawing and portraits, meanwhile, a characteristic
advance is being made. The art of ‘ The Last Muster’ and

 

‘The Chapel of the Charterhouse’ is essentially a portrait
art, and rapidly enough Herkomer made the discovery that
he had distinct and valuable gifts in this direction. Not all
of his work, however, is equally valuable. The enormous
number of commissions of which he was the fortunate reci-
pient, the importunity of sitters, the ceaseless claims made
upon his time and energy by the very popularity which he had
attained—these and other influences acted somewhat pre-
judicially on the quality of his production. Yet here, too, the
success is out of all proportion to the failure. The portrait of

Portrait 0/ the Artist's Father.

Miss Grant (facing p. 8), generally called ‘The White Lady,’
caused quite as much excitement as the ‘ Chelsea Pensioners ';
and the companion picture, to which has been given the name
‘Entranced’ (facing p. 24), and which is usually known as ‘Thc
Black Lady,’ gained a similar amount of popularity and re-
nown. It would be impossible amid such a mass of material
to mention nearly all the various studies of human faces and
figures which proved alike the fecundity and the facility of the
painter’s brush. But certainly among the more important
ought to be mentioned at least the following: a portrait of

Dr. Thompson, painted for Trinity College, Cambridge;
Archibald Forbes (p. 3), one of the earliest, and by no
means the least successful of Herkomer’s productions; the
grand portrait of Herkomer’s father, to which sufficient re-
ference has already been made in the history of his life;
‘Grandfather’s Pet,’ Lady Eden, a singularly graceful,
and Mrs. Agnew a remarkably happy, study; Dean Lid-
dell, of Christ Church (p. 13), exhibited in 1891; Mr. Cuth-
bert Quilter, a most “ speaking” likeness; and Lord Kelvin,
an admirable portrait. The group of directors sitting round

 

 

 

 

 

20 HUBERT HERKOMER, R.A.

their board table, which was exhibited in this year’s Aca-
demy, received some rather unfavourable comments; yet

 

 

 

 

 

Study of a Headfor ‘ The Chapel of the Charterhouse.‘

it at least proves a considerable technical mastery of most
unpromising materials, and although it ought not for one
moment to be compared with such a c/zqf-d’cezzvre as ‘The
Last Muster,’ yet in both cases alike we find examples of the
painter’s fearless manner in dealing with what on d 15772777
grounds might be considered uninviting and inartistic. To
these oil-paintings ought to be added three in water-colour—
Richard Wagner, drawn as has been already explained,
almost entirely from memory; John Ruskin, sketched at a
period before he embarrassed his friends by changing the
wonted aspect of his face, and Lord Tennyson, looking sombre
and dignified like some Spanish grandee. In these, Her-
komer is entirely at the level of his subjects, and as in the
case of ‘ Light, Life, and Melody ’ (a study, six feet by five,
representing Bavarian peasants in the bowling alley of the
mountain Bier/10215, listening to a zither-player, p. 9), he raises
the water-colour art to its highest possibilities. The series of
water-colour landscapes exhibited in Bond Street are not all
equally favourable specimens. The first was a set of Bavarian
sketches, the second a collection of studies in Bushey and the
neighbourhood, the third was that in which the work of both
pupils and master was exhibited in the course of the present
yeah

The etchings ought to have almost a separate chapter to
themselves.
usually associated with the name of \Vhistler andHaden, we
have seen the decline and fall of the old race of steel-engra~
vers, and the rise and sudden popularity of men who seek to

Since the revival of etching in England, which is

translate oil-paintings with all the completeness and manifold
detail of those workers by a different method, whom they have
replaced. But Herkomer has voluntarily restrained himself
within the limits of the art which its earliest practitioners
counselled by example. . Usually he contents himself with
painter-etchings of the true Rembrandt tradition, ‘.such as“ A
Souvenir of Rembrandt,’ and the perfect little ‘ Charterhouse
Study,’ and portraits such as those of Professor Mayor and the
Dean of Christ Church. The beautiful‘ Summer‘ (facing p. 16)

is an admirable example of the effects which fall within the
limits of the etcher’s art, while the dry-point ‘Gwendydd,’
with its lovely grace of women’s arms, proves with what a
poet’s eye the artist feels that charm of line and form, which
realists sometimes dismiss with the disparaging epithet of
"academical." Nor should it be forgotten that Herkomer
has led the way in the recent revival of the English art of
mezzotint by his exquisite reproduction of Millais’ ‘Caller
Herrin’; that he has added much to the etcher’s facility of
execution by the invention of a new white ground; and that in
his “Spongotype” he has given artists a novel and highly
interesting field for the exercise of their skill. Most of Her-
komer’s successful etchings were exhibited this year in The
Fine Art Society’s rooms in Bond Street, where also was to be
found the work of the Bushey pupils. Some curiosity was felt
in relation to this exhibition. It is generally the misfortune
of the pupil, both in Art and literature, that he reproduces the
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attainable qualities; Cynics, therefore, are apt to found their
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disciple’s exaggerations.
Street was a pleasant surprise.

 

From an Invitation Card to an Exhibition of Works.

cult, perhaps even impossible, to guess without previous
knowledge whence came the inspiration of these happy artistic
efforts. The master of the Bushey school has obviously im-
pressed on those who gather round him the necessity of
standing alone, and of developing innate gifts. It is no part
of our duty to criticise the result, or to attempt to discern the
future blossom in the bud; it is enough to point out how
earnestly Herkomer must have endeavoured to restrain imita-
tion and inspire a conviction of the duty of individuality. To
those who know something of the Herkomer school, there are
few institutions more thoroughly healthy in general tone, as
well as successful in artistic enterprise. No fees are exacted
for the tuition, and there is no sign of a commercial spirit.
There are projects still in store in connection with arts and
crafts which only the future must reveal ; but, however widely
beneficent in range the Bushey student life may yet prove to
be, it is pleasant to record the complete success of the present
régime, and the strength of those relations which unite teachers
and taught within the circle of common duties and a common
life. : Our Village’ is not only as in Herkomer’s oil-painting
a place for virile labourers, a fine tree, and '3. pretty church ; it
is also the happy home of successful industry and Art.

In the exhibition above referred to one or two of the
smaller pictures were worth attention. ‘He and She’ has
been already referred to as an example of country lovers,
neither too ugly, nor too emotional, nor too tender, nor
too poetical, but simply ‘gauches’ and bashful, as is the
way with enamoured swains in country lanes. ‘ A Study of
Expressions’ (p. 6) reveals in another fashion something of the
same fidelity to the bare truth of things. It is a representa-
tion ofa row of pigs’ heads on a butcher’s stall with a lady
leaving the shop. A humourist, playing with and perhaps
distorting the lines of porcine intelligence, revelling in variety
and exaggeration of gesture, might have made the picture
either grotesquely laughable ora brief sermon on behalf of
vegetarianism and in dispraise of omnivorous cannibalism.
The spectator’s judgment might have been expressed in the

'7' ’ ' HUBERT HERKOMER, R-A-

lady’s repugnance or in her amused disdain of the results of the
butcher’s skill. But to Herkomer’s vision the pigs’ heads do
not present themselves in poetic disguise or as
opportunities for blameless laughter. Nor yet
does the expression in the lady's face betray
7 any predominant feeling, unless it be weariness
of shoppinrr. The artist has no (17‘2‘12’2‘615871366;
he only sees correctly and truthfully. Nor again
even when he gives us an emblematic picture,
doeshe care to weave too subtle an allegory. In
the ‘ Curtain of Fate’ we have a figure with a
scythe, holding a curtain blown about in the
wind. The figure is, no doubt, Time, as he
stands on the world‘s stage before the veil
which conceals the Future. He is only a rustic,
with the air of the oldest inhabitant of Bushey,
for Time is indeed a familiar object with us all,
which we take about with us in all our journey-
ings whether in town or country. And the faintly
sketched designs on the curtain are familiar too.
There is a skull, a man with his head on his
knees, a pair of lovers exchanging a kiss. As
There

will be marrying and giving in marriage, sorrow

and joy, laughter and tears, and the inevitable

death to put an end to all our cares and hopes.
\Vhen the curtain has been drawn aside, there will be no
revelation of some strange mystery. Not the weird, nor the
mawellous, but only the eternal truths of life interest the
\Vhat has been is also that which will be.

Yet he would be a bold man who would venture to make a
similar prophecy about Herkomer’s own art. Allusion has
already been made to a third period in his career, which, per-
haps, is only just commencing. Its external conditions are
peace and the happy consciousness of success; its inner

has been the past so will be the future.

artist.

 

 

 

A Design for Spoons.

spirit is a revival of all the old enthusiasms, with something
of a newer vision of Nature. It will be interesting to watch

HUBER]? HERKOMER, ILA. 23

how the glowing tints of earth and foliage and sky in the
West of England, where Herkomer has during the year found
a temporary home, will react on his scenery and his land-
scape; perhaps it will be no less interesting to see how the
recovered powers of health and the maturity of a prosperous
manhood will express themselves in his portraits. Many
critics have discovered, or thought they discovered, signs of

haste and a too great facility of execution in some of the
pictures of past years. This precipitancy, it has been alleged,
has been prejudicial to his smaller studies, and has shown
itself in a want of finish even in his portraits. The artist has
always been a mirror which reflects faithfully, but here
and again there has been no time for a deep penetrative
sympathy, such as would suggest underlying veins of cha-

 

H Md Times.

meter, and not merely the familiar, every-day mood of the
sitter. Yet throughout Herkomer has always shown in himself
potentialities of the very highest portraiture. No one could
say that‘ Miss Grant’ and ‘ Entranced’ were not poetical,
in the best sense of that ambiguous word. And this is what
the world looks for from him in the future. Just as the ‘ Last
Muster’ and the ‘ Gloom of Idwal ’ proved him to have not

only power, facility, and truthfulness, but also the insight
and the deeper vision of one who not only saw but felt and
knew; so too, in the ampler times of leisure which await
him, we confidently expect from him both Nature and Man
treated with the poet’s sympathy, that art “ which adds to
Nature, and yet which Nature makes,” for all those children
to whom her secrets are revealed.

 

 

 

 

 

HERKOMER’S HOME AT BUSHEY.

T has been mentioned in the story of Professor Herkomer's
life that one of his earliest efforts to provide for the com-

fort of his parents, when success first seemed to smile on his
ambition, was the hiring of a cottage at Bushey. This was to
serve not only as a permanent home for Lorenz and Josephine
Herkomer, but also as a pleasant retreat for the young artist
himself, when \vearied by his work in London. From the time
referred to, Bushey, some fifteen miles out of London by the
London and NorthJVestern line, became the residence of the
family; and although both mother and father found it neces-
sary, for various domestic reasons, to leave for Bavaria— where
it will be remembered the old Mrs. Herkomerdied—Herkomer
himself grew to be more and more associated with the little

village, and learnt to make it his real home. As time went
on various additions were made to the cottage, until at last
there were gathered round the simple walls a theatre, a large
colony of students and workshops, a capacious studio for‘thc
artist professor himself, and finally the Outlines of a new and
magnificent residence, which in time to come will be adorned
by a tower similar to that erected to the mother’s memory in
Bavaria. From primitive beginnings the Herkomer school of
Bushey has blossomed forth to all its wide dimensions and
conspicuous success, though it is easy to mark the various
stages of the progress by the differences between the cottage
which was the nucleus and all its successive and imposing
accretions.

 

 

 

 

The F aster M other.

\Ve will assume that the visitor to this artistic retreat has
accepted an invitation to be present at one of Herkomer’s
periodical dramatic performances at his Bushey theatre. He
has probably come by a special train, and when he alights at
the station he finds that for himself and other guests a string
of carriages are waiting to take him to his destination at
“ Dyreham.” Through a pleasant country road-he makes his
way, stopping, perhaps, when he has reached Bushey itself to
see the scene of the well—known picture of ‘ Our Village ’ (p. 15).
There on his right stands the little church a few paces back
from the road; there is the fine tree which I-Ierkomer has
placed in the very centre of his canvas ; there, too, may very
likely be found one or two of those stalwart rustics who, in the

picture, are wending their way homeward, pipe in mouth, in
the evening light; while the little shop on the left, with the
buxom matron standing at the door and the children playing
in the village street, and all the varied incidents which make
up the usual routine of rustic life, are to be seen very much as
the artist has depicted them, save that the mid-day sun is
shining and casting deep shadows across the road, and there
are no quiet mellow lights round the horizon. A few yards
farther on the carriage stops at the little house which bears
conspicuously on its walls the name of “ Dyreham ” ; the visi-
tors step through a garden, and if there is time to spare before
the performance commences, they can proceed by a passage,
open on one side to the air, to the studio. The host himself is

 

 

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’16

By fiermz'ss

 

HUBER’I‘ HERKOMER, RA. ‘

not visible at present; he is understood to be engaged in the
mysteries of his dramatic toilet, together with those of his
students who are to bear him company in the play. But we
are allowed to wander by ourselves and inspect what the
studio contains. Probably the first things which attract atten-
tion are the wood-carving, the fine writing-table, the chairs, the
settees, the mixture of oak and twisted ironwork on the walls,
and all the varied evidences of the industry of the elder Herko-

mer and his brother, as well as of his son. The designs on the
wooden panels are Gothic-at all events, in the scrolls; but
the figures have all the grace and suppleness of outline which
are modern rather than mediazval. There are no books to be
seen, but there are all sorts of cunning doors set in the walls,
behind which Herkomcr’s favourite books are to be found—
Emerson’s Essays, perhaps, or Seymour Haden’s study of
Rembrandt Etchings, or possibly Thomas Hardy’s “ Tess of

 

The Poqclter's Fate.

the D’Urbervilles.” If we turn to the pictures, we see facing
us the celebrated ‘Black Lady ’—the picture known as
‘ Entranced ’—-while on the right are one or two portraits of
men: Professor Villiers Stanford, the celebrated Cambridge
musical composer, an academic dignitary, an African ex-
plorer, John Ruskin, or some other celebrity, designed by
the Professor to serve as materials for a portrait gallery
for his children. On the easels are resting some of the
work which is to appear at the next Academy, the profile of

a head, a delightful bit of scenery in the neighbourhood of
Bushey, a large composition of figures and faces, yet in the
infancy of their artistic life. Everywhere there are plentiful
signs of perpetual industry; even physical activities are not
disdained, for in one corner is a strange and wonderful
American machine, in which a man may exercise his muscular
power with the largest expenditure of energy and in the
shortest possible time; while in the courtyard outside stands
a tricycle, on which many an expedition is undertaken through
H

 

 

 

 

country lanes. It is a large and spacious studio, in which a
man has room to “ spread himself abroad,” and find inspira-
tion for wide thoughts without any sense of limitation and
constraint. Probably our host would find himself uncomfort-
able in a small studio, for it is said that when during last
summer he lived for a while in Somersetshire, he at once set
himself to erect a stately workshop in his grounds, which
served as a landmark round the country-side for miles.

It is time, however, to betake ourselves to the theatre, if
we wish to see the raising of the curtain. Curtain, in-
deed, is in this case somewhat of a misnomer, for there are
a pair of curtains, which do not slowly rise into the air, dis-
closing first the feet of the performer, and then gradually
revealing his whole person, until at last the face is clearly
seen, but which are drawn back from either side of the
A
short time ago Herkomer delivered a lecture on “Scenic

Art” atthe Avenue Theatre, on the invitation of Mr. Henry

proscenium, according to improved German methods.

HUBERT HERKOMER, R.A.

Arthur Jones, in which be liberated his. whole sou1.on
theatrical appurtenances. One of the first objects of his
attack was the ordinary act-drop; then came the turn of the

footlights, the conventional scenery, the fitful irruptions of

the lime-light, the entire absence of atmOSpheric effects in the '
sky. Much has been done in the Bushey Theatre to remedy
these and similar defects. There are no footlights, which, as
is well known, cast upideep shadows on the faces of the
actors, but only side-illumination—of course by electricity.—
placed at some little distance from the stage.‘ There is no
visible orchestra, for the musicians are placed in a well in
front of the stage; the conductor, however, can see the per-
formers, and accurately regulate his music by their actions.
Moreover, instead of flat scenery we have objects modelled in
perspective, giving a marvellous sense of verisimilitude, and
suggesting much more depth than the stage really afi‘ords';
and at the back is arranged a screen of grey gauze, through
which admirable effects of cloud and light can be managed,

 

 

 

 

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Eventide.

as the action of the piece changes from morning to afternoon
and evening. Nor ought we to forget Herkomer’s celebrated
moon, kept in a box, and composed of two or three jets of
electric light, which in one of his plays travelled across the
scene, to the wondering admiration of his audience. It is no
business of ours to explain the mystery of its working, but it
is “ on view” after the performance is over, and if the visitor
does not at once comprehend its machinery, the fault lies
with him and not with its designer. The theatre itself is not
of the orthodox shape, for it is not built in semicircular tiers;
but it has straight walls, with a small gallery at the end,
overlooking straight rows of seats on the ground level.

But what of the play we are asked to witness? Both last
year and this year it was a pretty little poetical drama, with
the title of Fz'lzjépo, which was also produced by Mr. Wil-
lard at the Shaftesbury Theatre. The scene is laid in a
Continental village, where there is a maker of violins, together
with his two pupils and his daughter. One ofthe apprentices,

who has all the genius and technical skill which renders him the

favourite of the master, is a hunchback ; the other, who has
not received from Nature the same mental gifts, is far better
favoured in form and feature, and succeeds in winning the
affections of the daughter of the house. But Filippo, the
hunchback, also loves the girl, though he has never told his
love, and in allhis aspirations for triumph and fame, he unites

' in thought his own future with that of his master’s pretty child.

Of course an éclaz'rcz'ssemem‘ of the situation is inevitable, and
it is brought about through the competition for a prize for the
best violin offered by the local authorities. There is little
doubt that Filippo will be the successful competitor, but in the
discovery that his fellow-pupil is the accepted lover of the girl,
all the joy of anticipated victory has left him. Meanwhile his
successful rival is particularly keen to get the prize himself,
especially as the master intends to bestow his daughter’s
hand on the winner, and in a moment of irresistible temptation
he exchanges the violin of his own construction with that of

“
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On Strike.

Filippo’s because he sees no other means of securing his object.
Filippo himself, however, had made up his mind, after a long
struggle with his own feelings, that his fellow-pupil should be
victorious, and without discovering the trick that had been
played upon him, he again changes the violins, unconsciously
replacing his own in its case, and innocently defeating his
rival’s plots. Consequently the prize is assigned to him after
all, and he is publicly proclaimed the winner, amidst the accla-
mation ofhis friends. But the proud, sensitive youth cannot thus
accept the hand of the girl who, as he knows, loves another in
preference to him. \Vhile the bells are ringing for his victory

2‘81"” ' ’ HUBERT HERKOMER, R.A. .

he bids farewell to his master’s home with rapt face, and
leaves the lovers to the happiness in which he feels he has no
share.

The character of Filippo naturally gives Herkomer op-
portunities of which he is not slow to avail himself. Through-
out the whole drama he makes the deformed hero supremely
interesting, and at the various crises of his fate, his hearing
and movements are full of a genuinely poetical pathos. He is
not, of course, a trained actor, but he has decided capacity for
the stage, and both in play of feature and action he is at once
natural and forcible, sympathetic and versatile. There is not

 

 

 

 

 

 

 

Tower at Lmzdsberg, Bavaria, erected to the Memory of the Artist's Mother.

for a moment a doubt of the success of the play, and the en-
thusiastic acknowledgments of the audience testify to the keen
interest and pleasure with which they have watched the efforts
of their host and his little band of amateur artists. Mrs. Her-
komer has no part in 1717226150, but she appeared, as has been
already mentioned, in an earlier piece composed by Herkqmer,
as the “ Sorceress,” forming the picturesque centre in a play
without words which attracted considerable notice a few years
ago, and first revealed the artist’s histrionic propensities as
well as his musical gifts. Reference has elsewhere been
made to another dramatic sketch called Z718 Idyl, also per—
formed at the Bushey Theatre, and it is the Professor’s

intention during the course of the present year to put a fourth
piece, entitled Time‘s Rezrezzges, on the boards.

\Vhen the performance is over, and the actor-manager has ‘
received the felicitations of his friends, everyone streams out
into the afternoon sunshine to carry on further explorations on
the Herkomer estate. Some go on a tour ofinspection to the stu-
dents’ quarters, others pass through the studio into the garden
at the back of the house. Here everything is left in a pictu-
resque savagery of its own. The grass is long, the trees are
untrimmed, the paths have no prim formalism of gravel and
border. In the centre is a long irregular pond crossed by a little
bridge. There is a fountain at one end, and at the other and

HUBERT HERKOMER, R.A. 29

larger end, the fish are rising as though they knew nothing of

MW ’5\\

 

the predatory instincts of the angler. At one side of the garden

are workshops where wood is prepared for all the wonderful

 

 

 

The Reward of Life. Wood Carving at Bus/my.

designs of the carver, while at the farther extremity a new

 

 

 

 

 

 

 

Carving to a Cabinet.

interest is to be found in the yet incomplete house, of which

our host is at once architect, decorator, and future inhabitant.
I

“ O fortunati quorum jam moenia surgunt! ” _Herkomer is
“able to survey with pride the walls of his stately home, “ the
lofty pleasure house” which he is building for himself, and
which he hopes to see finished and habitable in the course of
the next twelve months. It certainly will be a remarkable
structure when it is completed, utterly un-English in style,
although it surveys a characteristically English landscape of

a;

   

:-.. ..: s ‘ 2 HUBERT HERKOMER, R-A-

fat pastures and undulating plain. In the centre is to rise
the tower, the “ Mother’s Tower,” somewhat after the fashion
ofthat which has already been erected in memory of Josephine
Herkomer in Bavaria. Round the base may be seen large slabs
of peculiar tufa-stone in which the very “ form and pressure ”
of leaves and twigs amongst which it came into being are
yet visible. The general design is that of a sort of me-

   
  
   

    
  
 

 
   

   
  
   
   

      
 

     

   
 
  

  

 

  

 

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diaaval castle, with its tower standing four-square to all the
winds that blow. A model is to be found within, from
which the visitor can form a very good idea of the com-
pleted edifice. But perhaps it is the internal arrangement
of which Herkomer is most proud. The kitchen, with its
separate entrance, is raised high from the ground, with tiled
walls and lift communicating with the dining-room below.
The drawing-room, panelled in oak..will be a magnificent

The West Front.

apartment, with a very fine carved mantel-piece and ingle
nook, carrying elaborate designs of figures and tracery. At
one end of the room is a raised chamber reached by a
winding stair, in which musicians can be placed to discourse
sweet sounds for Herkomer’s assembled guests. Then there
is the picture-room and studio, with artful arrangements of
light and shade, and a special means of lifting or lowering
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32 HUBERT HERKOMER, R.A.

of the same capacity as the other sitting-rooms, although it, The past, though one of steadily-increasing success, has not
too, is of ample dimensions. Herkomer does not care to been devoid. of its painful struggles against ill-health,
limit his guests as the old Roman counsel of perfection against trouble and misfortune, and against a mass of work
suggested—not less than the Graces and not more than the which even Herkomer’s stout shoulders were at times almost
Muses—but he, too, feels no desire for dinner-parties of unable to bear. The future seems to promise a more peaceful
chaotic size, where the host’s influence cannot be felt at the period, when not only the fruits of past effort will be garnered,
limits of the assemblage. When the new home is finished, but great tasks will be 'begun and carried through, destined,
the artist of Bushey will realise that a distinct and important we may well hope, to spread still farther the fame and popu-
stage has been reached in his life’s history, marking, as it larity which Bushey and its painter have already won in many
were, the end of an old order and the beginning of a new. fields of artistic enterprise.
W. L. COURTNEY.

PROFESSOR HERKOMER’S PRINCIPAL PICTURES.

Of the immense number of Portraits, the following are
IN OIL- the most important:
‘ Dr. Thompson.’

LANDSCAPES.
‘ Archibald Forbes.’ (Illustrated p. 3.)
‘ Found.’ (Illustrated 13. 5-) . ‘ ‘ Portrait of my Father.’ (Illustrated p. 19.)
‘ Homeward.’ ‘ Miss Grant.’ (Facing p. 8.)
i‘ The Gloom of Idwal.’ ‘ Entranced.’ (Facing p. 24.)
‘ \Vindswept.’ . ‘ Lady Eden.’
‘ God’s Shrine.’ (Illustrated p. 7.) ‘ Mrs. Agnew.’
‘ Dean Lidclell.’ (Illustrated p. 13.)
‘ Lord Kelvin.’
COMBINATION OF FIGURES AND LANDSCAPE. .- Portrait Group of Ten Directors.’

‘ Our Village.’ (Illustrated p. 15.) IN WATER-COLOUR
‘ Hard Times.’ (Illustrated p. 23.) '

. At Death’s Door.’ (Illustrated p. 17.) _ Professor Herkomer has produced an enormous number of
water-colours. To the earlier period belong :

‘ Fairy Symphony.’

‘The Poacher’s Fate.’ (Illustrated p. 25.)

‘ Light, Life, and Melody.’ (Illustrated p. 9.)

FIGURE SUBJECTS. . ,
‘ John Ruskin.’

‘ Der Bittgang.’ (Illustrated p. 20.)

‘ The Last Muster.’ (Frontispiece.) ‘ Richard Wagner.’

‘ Eventide.’ (Illustrated p. 26.) ‘ Lord Tennyson.’

‘ Missing.’ . A
‘ Pressing to the ‘Nest,’ or ‘ Castle Gardens.’ (Illustrated p; 4.) LATER PERIOD—THREE SERIES“

‘ Natural Enemies.’ (Illustrated p. 12.) - 1. ‘ Life and Labour in the Bavarian Highlands.’
‘ The Chapel of the Charterhouse.’ (Illustrated p. 21). 2. ‘ Around my Home.’ (Bushey.)

‘ On Strike.’ (Illustrated p. 27.) 3. ‘ Exhibition with my Students.’

 

PRINTED BY J. S. VIRTUB AND CO., LIMITED, CITY ROAD, LONDON.

v THE ART ANNUAL ADVERTISER, 1892. 1
SBOTTISH w , PRBVIDENT INSTITUTIBN.

EDINBURGH—~43, St. Andrew Square.
LONDON OFFICE—17, King William Street, E.C.

OOOOOOOQOOOQOOOQOOOO¢¢¢¢

 

 

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those by whose early death there is a loss. Large additions have thus been, and will be, made to the policies of
those who participate, notwithstanding the lowness of the premiums.

The .SORPLUSOat last Investigation (1887) was £1,051,035, which, after reserving one-third, was divided among
9,384 Pohcies entitled to participate. First additions (with few exceptions) ranged from 18 to 34 per cent, according
to age and class. Other policies were increased in all 50 to 80 per cent.

he NEW ASSURANCES completed in 1891 were £1,208,287.
PREMIUMS in year £609,292. Total INCOME £936,723.
The CLAIMS (including Bonus additions) were £368,000.

Over 60 per cent. Of the amount Of these Claims was paid in respect of Policies which had participated in the Surplus—the Bonus Additions averaging almost
50 per cent. of the original Assurances.

The FUNDS now exceed £8,000,000.
EXAMPLES OF PREMIUMS FOR ASSURANCE OF £100 AT DEATH—WITH PROFITS.

 

Age. l Payable for Life. 21 Payments. H Age. Payable for Life. 21 Payments. 1“ Age. lPayable for Life. l 2'1 Payments. i

l
25 £1130 £2126 3.5 £2610 £302'451£359 £3176
,30. 216* 2154- 40 214 9 3751‘ E 50 , 417 4121
[The usual non-participating hates ditfer little n-om these Premiums.)

' A person of 30 may secure £1000 at death, by a yearly payment, during life of £20 : 15s. This premium would o°enerall r elsewhere secure '
£1,000- OR’ he may secure £1000 by 21 yearly payments 0f 2327 : 13 :,4-—being thus free of Payment after alleb50. ) £800 only, Instead Of

1' At a, e 40 the Premium ceasmg at age 60, is. for £1000 £33: 14: 2 —about the same as most Offices re uire durino the h 1 t ' ..
Pregmiums have ceased the Policy will have shared in at least one division of profits. q 0 W 0 e erm 0f hfe' Befo. e the

To Professional Men and others, whose income is dependent on continuance of health, this limited payment is specially recommended.

ALL POLICIES (not seafaring or military risks for which special arrangements may be made) are WORLD-WIDE and free from restrict' '
years—provided the Assured has attained the age of 30. D , ions on resxdence after five

. REPORTS with full information may be lead on application.
J. MUIR LEITCH, London Secretary. JAMES GRAHAM WATSON, flfanager.

THE ANNUAL

EXH * 0N 0F 0 Pll NT N08

IS NOW OPEN

 

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J, BARNARD 86 SON, ILLUSTRATED
MANUFABTURING ARTISTS’ OOLGURMEN, CATALOGUE

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THE ART ANNUAL ADVERTISER.

NERVOUS EXHAUSTIO

   

IMPAIRED VITALITY, BRAIN FAG, SLEEPLESSNESS, RHEUMATISM, GOUT, SCIATICA,
LUMBAGO, INDIGESTION, CONSTIPATION, NEURALGIA, HYSTERIA, LADIES’
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EU

 

 

FOB SOIENTIFIO
. PROOF

Call and see the Belts

tested with the Gal-

vanometer, or write

for special pamphlet.

 

 

 

'mn. EDWARD LLOYD

England's Greatest Tenor,
writing to Mr. HARNESS, July
4, 1892, says: “ Will you send
me another ElectropathicBelt.
the same strength as before ’t
Probably you would like to
know my opinion and expe-
rience of your appliances.
~Under the advice of a friend,
who has a thorough know-
ledge of your invention, I
ordered my first belt with
very little faith, havin pre-
viously tried the or “nary
medical remedies without any
result. I commenced to wear
your belt prior to my visit to
America, and felt better from
the first day. All through
my tour I was remarkably
well, and I now feel that I
have completely regained my
health. I am convinced that
this result was achieved by
your belt alone. I wish the
Electropathic Institution over
which you preside every suc-
cess, and can conscientiously

C5

is GOQL AND INVIGORATIN

T .

’

--ORAMP AND OHILLS PREVENTE

 

recommend your appliancesto
my friends—Yours faithfully
(Signed),EDWARD LLOYD.”

I

UVOUS EXHAUSTION.

JOHN H. DAVIS, Esq., Probus, Cornwall, writes :
“Having worn your Electropathic Belt and Spine
Band for a fortnight, I beg to say that I have
experienced great benefit from the same, especially
‘with regard to my head, which has felt much
clearer and stronger since.”

EMANUEL,

GENERAL DEBILITY. Esq" ,6,

Portland Street, Southampton, writes: "Some
six months ago I suffered from a pain in my
side and from general debility. On the recom-
mendation of a friend I called at your estab-
lishment in Oxford Street, and your Consulting
Officer advised me one of your full-power Electro-
pathic Belts. Since wearing it I am pleased to
say that I feel better in health, and the pain in
my side has entirely gone.”

JosAs J.

 

 

 

-| 'OONSIILTATION FREE.

MEDICAL BATTERY co. L

NOTE ONLY ADDRESS,
and call or write '
at once.

 

. my profession in the water.

a ,H ,
TR 01,45?ch “min " zannr-

This genuine appliance is light and comfortable in wear, and may be relied upon to speedily and
permanently invigorate the debilitated constitution, assist digestion and assrmrlation, give strength to every
nerve and muscle of the body, and effectually prevent chills and rheumatic pains. . . .
simple remedy; but it is, nevertheless, a most reliable one, and the number of unsolimted conv1ncmg
testimonials we have received from all classes of society amply prove that we do not exaggerate when we
say that HARNESS’ ELECTROPA’l‘HIC BELTS have completely cured thousands of men and women
in all parts of the world, most of whom have obtained no relief from medicine, and, In fact, had been given
up by their physician as “hopeless.”

 

Professor MARCH, Putney Baths. writes : “ Please allow me
a to add my testimony to the value of using your Electro-
pathic Belt, which has not only kept me from taking any
chill, but also prevented all cramp and night sweats this season in my work, as a professional swimmer, being constantly in
I can thoroughly recommend. and only wish I had used one in previous seasons.
also that the use of same great’y strengthens the spinal and Cerebral vertebrw, in point of fact, it invigorates the whole frame.” ‘

 

g, 1339’!

President of the Institute. and the
other oflicers of the Company may
be consulted Free of Charge,either

 

Mr. c. B. HARNESS,

52,0XFORD ST:

personally or by letter, on all mat-
ers relating to He ilth and the ap-
plication of Curative Electricity.

 

It seems, and is, a

.QLONDONw.

 

t FOR PRAOTIOAI.
PROOF

Call and see the Ori-
ginals of Thousands of
Medical and other con-
vincing Testimonials,
or write for copies.

 

 

 

MISS JESSIE BOND

The celebrated Actress of the
Savoy Theatre, writes to Mr.
Hsaxsss as follows : “ I think
it duly right I should tell you
how much I feel I have bene-
fited by the careful and in-
telligent treatment I under-
went at the Erncrnomrmc
ANDZANDER Iss'rrw'ra. I was
in a very low state of health .
when I put myself into your
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since, and it was, as you
know, only with great diffi-
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my work at the Savoy
Theatre, even under the be st
medical ad vice. I have never,
I think, been stronger, or felt
better than I do now, not-
withstanding recent rehear-
sals, and singing, playing and
dancing nightly in comic
opera. Wishing the Insti-
tute every success, Yours
sincerely (Signed), JESSIE
BOND.”

'\
M M 31svraosw00 9‘ L

8V3

I believe

Enwmn Cox,
R HEUMATI O GOUT Beam, Alex-
' ander Road,
Bamsgate, writes : “I am pleased to state that since
wearing your Electropathic Belt for the above
diseases, my health has gradually improved. I
\ am now feeling much better, and after three years’
illness, can resume work.”

CONSTIPATION AND *
LOW SPIRITS.

A. C. Lame, Esq., Lodmoor House, Weymouth,
writes: “ I purchased your Electropathic Belt
and Spine Band in May last, and have constantly
worn the appliances, except when playing foot-
ball or cricket. The Constipation is completely
cured. The headaches are not so frequent as for-
merly, and am able to do more intellectual work.”

 

 

PAMPHLETS FREE. |

 

TDj. Electropathic and lander Institute,

Cheques and Postal Orders
should be crossed

. “ LONDON AND COUNTY
BANK.”

 

I

THE LARGEST ELECTRO-MEDICA

L INSTITUTE IN THE WORLD.

 

”1

 

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With 254 Illustrations and 12 Steel and Coloured Plates. Imperial 8vo, 21s.

 

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CHARLES CIIIPIEZ. With 452 Illustrations. 2 vols. Imperial 8vo, 42s.

 

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Containing 616 Engravings, drawn after the Original, or from Authentic Documents. In 2 vols. Imperial 8vo, 42S.

 

CHAPMAN & HALL, LIMITED, LONDON.

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.THE ART ANNUAL ADVERTISER.

 

 

 

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[LL US TRA TED BY

J. M. W. TURNER,

Edition limited to 500 Copies,
With Plates printed on India Paper.

THE SOUTHERN COAST
OF ENGLAND.

A SERIES OF FORTY LINE ENGRA V/NGS
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RICHMONDSHIRE.

A SERIES OF TWENT 1’ LINE ENGRA VINGS
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9‘ Printed on India Paper from the original Plates. \Vith descriptive letterpress by MRS. ALFRED HUNT, and an
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> Large folio, handsomely bound 2'72 half morocco, gilt top, g 3 3.9.

V/ EDITION LIMITED TO 500 NUMBERED COPIES.

E

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A SERIES OF SIX TY- ONE LINE ENGRA VIN GS
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Printed on India Paper from the original plates. ‘With Introduction and descriptive letterpress by
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Large folio, half morocco, gilt top, £4 4:.

 

 

J

5 Edition limited to 500 Copies, of which only a. few Copies are still unsold.

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ART WA§E FLOWER Contains : . CLOCK.

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MR. T. FISHER UNWIN’S LIST OF GIFT Boa/(s.

PABLO DE SEGOVIA: THE ADVENTURES OF A SPANISH SHARPER.

, By FRANCISCO DE QUEVEDO. Illustrated with over 100 Drawings by DANIEL VIERGE.
With an Introduction on ‘ Vierge and his Art,’ by JOSEPH PENN ELL. and ‘ A Critical Essay on Quevedo, and his Writings,’ by H. E. WATTS.

Super-royal 4to, bound in parchment, old style (limited Edition only), £3 133. 6d. net.
Also Ten copies, numbered and signed, with India proof Illustrations, £15 158. each.

OLD ITALIAN MASTERS.’ ENGLISH CATHEDRA'LS.

, . BY W- J- STILLMAN- Described by Mrs. VAN RENSSELAER, and illustrated by JOSEPH PENVELL.
Engravmgs and Notes by T. COLE- Royal 8vo, cloth elegant, Price £2 29.

Also an Edition de Luxe, in Two Portfolios, size 13 in. by 18 in. ; printed on India Paper. text

 

Royal 8vo, cloth elegant, 25s.

bound separately, hand-pulled proofs of the 68 Illustrations from the Original Wood Also an Edition de Lame, in TWO vols., Twenty Sets only being for sale in England. Size 10 in.
Blocks, printed on Japan paper and mounted on thick Japan mat paper, and signed by by 14 in., printed on fine plate paper, the Illustrations from the Original Wood Blocks,
the Engraver and Printer ; the Illustrations have outline at foot, showing tale of Picture. the full-page ones and the Seals of the Cathedrals (printed in appropriate colours) on
Price £30. _ This Edition is limited to 125 copies, 12 only being for sale in England. separate sheets, each copy signed. Price £6 65. each.

 

THE LIFE OF WILLIAM COWPER.

.By THOMAS WRIGHT (Principal of Cowper School, Olney). Author of “ The Town of Cowper,” &e.
With 21 Full page Illustrations. Demy 8vo, cloth, 218.
Also an EditiOn do lune (the number of which is strictly limited), printed on Dutch hand-made paper, and bound in parchment. Price 305. nett.
This work aims to be the most complete Life of Cowper ever published. It will contain numerous illustrations and reproductions, and fac-similes of papers and places and scenes of
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PLAY IN PROVENCE. THE BOOK OF THE HUNDRED RIDDLES
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This volume is principally devoted to describing the games and religious festivals of the Prof us ely lllustrated. Demy 16mo, paper, 13.; cloth, 28.

r l . There are cha ters on “The Bull-Pi ht,” "The Water Tournament," , ‘_ . . _ _ _ . _ _ , _ .
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Also an Edition de Lure, limited to 100 copies, with an Original Drawing by Mr. LELAND, numbered and signed. Price £1 11s. 6d.

 

 

 

BY REV. DR. JESSOPP. NEW EDITION, REVISED AND AUGMENTED.
STUDIES BY A RECLUSE: THREE GENERATIONS OF ENGLISHWOMEN:
In Cloister, Town, and Country. Memoirs and Correspondence of MRS. JOHN TAYLOR, MRS. SARAH AUSTIN,
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THE ADVENTURE SERIES. THE STORY OF THE NATIONS.

New Volumes. Each Illustrated. Large crown Svo, red cloth, gold lettered, 58. New Volumes. Each with Maps, Illustratiiclmtst, anal gndex. Large Cl'OWn 8vo, fancy cloth,
FRIENDS - or The Adventures of. a Danish Emi ant in - got e ere , s.
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F AND ADVENTURES OF JAMES P. B - " ' “““N'
THWEOU‘R'I‘HF Mountaineer, Scout, Pioneer, and Chief of the Crow Nation of IndianECliigw T H E T USCAN A ND GENOA R EPU BLIC S . BY BELLA
Edition. Edited, and with 8. Preface, by CHARLES G. LELAND. , DUFFY. '3

 

LONDON: T. FISHER 'IINWIN, PATERNOSTER SQUARE, E.C.

14

THE ART ANNUAL ADVERTISER.

 

 

    

 
    

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V

THE HONEY or WISDOM!!!

We gather the Honey of Wisdom from THORNS, not from FLOWERS.
N()BILI'I‘Y OF _LIFE.
WHO BEST CAN SUFFER, BEST CAN DO.—M’flt0n-

The Victorian Reign is unparalleled in the History of Great Empires for its Purity,
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EXPERIENCE -—Lord Lyme.

“'1 0- ENO- QUEEN’S HEAD HOTEL, NEWCASTLE-UPON-TYNE, June 4, 1877.
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1'

THE ART ANNUAL ADVERTISER. 15

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With such “things of beauty” as remain a joy for ever.

Autotype, the pioneer and exponent of permanent photography: distinguished for Book I llus-
trations, for its perfected process of Photogravure, repeatedly medalled, and for its manufacture
of Autotype Permanent Printing Materials known throughout Europe and America.

 

THE AUTOTYPE COMPANY, 74, NEW OXFORD STREET, W.C.

SAUNDERS’S FACE POWDER,
BLOOM OF NINON,

Retains its superiority over all other cosmetics for preserving the Beauty and Freshness of the Complexion. It is of a delicate roseate hue and perfectly harmless.
Price 6d., 18., and 2s. 6d.; free by post for 7, 13, or 33 stamps. I

 

Also prepared without colour as SAUNDEns’s Pure White Face Powder, and for Brunettes of a Jaune or Cream tint. Price Is. or 25. 6d. ; free for 13 or 33 stamps.

To avoid the substitution {of the many Worthless imitations of this world-renowned article, observe the name and address,

a. TOUZEAU SAUNDERS, 312, OXFORD STREET, LONDON, w.

Sold by all Chemists and Perfumers throughout the World.

THE HllYAl HOSPITAL Ellll IHBUHABLES,

WEST HILL, PUTNEY HEATH, S.W.

SEASIDE HOUSE, ST. LEONARDS-ON-SEA-.
OFFICES—106, QUEEN VICTORIA STREET, E.O'.

 

 

PATRON-HIS ROYAL HIGHNESS THE PRINCE. OF WALES, K.G., 81c.

 

’Qlireasurrr—JOHN DERBY ALLCROFT, Esa, F.R.A.S.

 

THE ROYAL HOSPITAL FOR INCURABLES was established to relieve and to cherish, during the remainder of life, persons above the pauper
class, suffering from incurable maladies, and thereby disqualified for the duties of life.

The Institution carries on the work of the general hospitals, its action commencing where theirs necessarily ceases.
For persons needing a home an asylum is provided; medical attendance, nursing, and domestic comforts are supplied, and the endeavour
is made to alleviate‘suffering, and to cheer the life from which health has departed.

To persons having a. home, but Without the means of support, a pension of £20 a year is given ; thus the family circle is unbroken, and the
invalid is relieved from the pain of dependence.

The Institution is supported by voluntary contributions. -

Candidates are admitted by Election, by the Governors. The Elections are Half-yearly-on the last Friday in e months of May and
November.

Persons subscribing at least HALF- A- GUINEA annually, or FIVE GUINEAS at one time, are Governors, and am entitled to votes in proportion
to the amount. ,

Theie are at present 215 Inmates and 542 Pensioners.

The Institution 13 open every week- day for the inspection of subsc1ibers and friends between the hours of Twelve and Six.

Inmates’ Visiting Days, Tuesdays, Thursdays and Saturdays, from TWO to Six.

Banke1s—Messrs. GLYNN, MILLS, CURRIE & Co., 67, Lombard Street, E. C.; Mess1s. COUrrs & Co., 59, Strand, W. C.

Money Orders payable to the SecIeta1y, at Queen Victoria Street. Subscriptions will be thankfully received, and information

promptly,supplied.
' ' FREDERICK ANDREW, Secretary.

16 THE ART ANNUAL ADVERTISER.

 

GEORGE ROWNEY & Cons
SUPERFINE WATER comuns.

Prepared in Cakes, Half-Cakes, and
Quarter-Cakes; Moist in Pans, Half-Pans, Tubes,
and Half-Tubes.

 

GEORGE ROWNEY & Co’s
SUPERIOR on. COLOURS.

Ground Extra Fine, in Patent Metallic Tubes.

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ESSRS. G. R. & CO. feel assured the Oil Colours ground by their
improved process will be found to be finer, brighter, loss oily, and to dry
quicker than any others at present manufactured; and that their WATER
COLOURS, prepared by the same process, will prove to be finer, brighter, and to
float more easily without granulation than any other colours hitherto produced.
MEssns. ROWNEY & Co. have great satisfaction in knowing that their efforts
to improve Artists’ Pigments are appreciated and acknowledged by many of the
most eminent Artists of the day.
TO BE OBTAINED AT ALL ARTISTS’ COLOURMEN AND STATIONERS.

 

 

These are a few specimens out of many thousands of Healthy

RETAIL DEPARTMENTS:
Children reared on MELLIN’S’FOOD.

 

 

 

 

64, Oxford Street, and Prince’s Hall, Piccadilly, London, W.
manufacturers to @121: Earliest);

; r

     
   

ROWN&POLSON’S
HAS 35 YEARS’ WORLD-WIDE REPUTATION

As a Food for Children and Invalids (boiled with Milk); for Delicious Table Delicacies,
Blane-Mange, Custards, Cakes, &0.

AND AS THE BEST THICKENING FOR SOUPS AND SAUCES.

   

 

Ask for anowm a POLSON’S corm- FLOUR.

Ready about Christmas. Price 38. 60’.

THE YEAR’S ART, 1893,

By MARCUS B._HUISH, Editor of-the Art Journal,

TUNING.-
PIANOS FOR HIRE.

REPAIRING.
WAREHOUSIN G.

an n The Pianos'for the Refined.”
S. & P. ERARD’S

 

PIANOFORTES AND HARPS

GRAND, ARE 1N USE
runes m
AND ROYAL

COTTAGE PIANOFORTES A N D

 

 

“ KEYNO'L‘E, LONDON.”

PALACES.

For Cash or on the Hire-purchase System. HABPS

3. & P. ERARD, 18, Great Marlborough St, London, W.

 

Containing a concise Epitome of all matters relating to
the Arts 0 Painting, Sculpture, and Architecture which
have occurred during the year l892, together with
Information reSpecting the events of the year r893.
With Portraits of Prominent Outsiders, and including
the names and addresses of about 4,500 Artists.

“As a book for reference, ‘The Year’s Art’ is both clear and
accurate.”—-Saturday Review. ‘ -

“ The work is indispensable.’-’—Glasyow Herald.

LONDON: J. S. VIRTUE & 00., LIMITED, 26, Ivy Lane.