Studio: international art — 29.1903

Seite: 176
DOI Heft: DOI Artikel: DOI Artikel: DOI Seite: Zitierlink:
Lizenz: Creative Commons - Namensnennung - Weitergabe unter gleichen Bedingungen Nutzung / Bestellung
1 cm
Mr. Watts Portraits at Holland House


His energetic, far-seeing and vigorous development little idea of the important works which are to be
of a method he has consistently believed in and found in Holland House and which we are able,
laboured for is worthy of the success he has already by the courtesy of Lord Ilchester, to reproduce
achieved, and of the golden opinions of all virtuosi with this article.

and of those who love to see their favourite books Mr. Watts' connection with Holland House and
so nobly clothed in garments of permanent and its owners is of very long standing, dating from the
changeless beauty—truly a joy for ever ! year 1843, when he went to Florence with an intro-

Here is given unlimited opportunity for the duction to the third Lord Holland, at that time
artist, while his work remains unassailable from the Minister at the Court of the Grand Duke of Tus-
point of view of the binder as a craftsman. cany. Lord Holland, who had a real devotion to

H. Granville Fell. art and literature and an inherited talent for

gathering around him all that was gifted and in-
R. G. F. WATTS' PORTRAITS teresting, invited the young painter to spend a few
AT HOLLAND HOUSE. BY days at Casa Ferroni, then the British Legation.
MRS STEUART ERSKINE The invitation was accepted, and from four or five

days it was extended to something like four years,
Those who are well acquainted with Mr. Watts' and, indeed, went on for some time indefinitely, for
exhibited work — with the large collection in the Mr. Watts, after the above-mentioned visit, always
Tate Gallery, the incomparable portraits in the had a room kept for him at Holland House, and
National Portrait Gallery, the pictures in the he accompanied the Hollands to Paris in 1856.
annexe to his studio in Melbury Road—have very Holland House is a name to conjure with. It

is not only the actual charm of the
old red-brick and stone house, with
its terraces and formal garden, its
cedars bordering green lawns where
water-lilies lie in .silent pools and
where the sound of running water is in
the air—an island of verdure, as it
were, set in the great sea of London—
but the charm of association is there
too. London and the twentieth cen-
tury disappear behind the great iron
gates designed by Inigo Jones which
stand at the entrance to the avenue
leading up to the house. Up this
avenue the wit and talent and beauty
of succeeding generations have passed,
in coaches and sedan chairs, on foot
and on horseback, and the echo of
ghostly footfalls is almost audible.
Inside the house there is the same
wealth of association. Room after
room hung with ancient damask,
adorned with pictures and china and
valuable books and antique furniture
are there, and it is in this setting
of ancient and mellow beauty that we
go to see the works of a modern
master. It is surely a tribute to Mr.
Watts' greatness that his work holds
its own so completely, for here, rarely
enough, the present sits enthroned on

; vellucent " binding designed by h. granville fell the PaSt and We Can PaSS fr0m 0ne

executed by cedric chivers century to another without breaking

loading ...