Category Archives: David Dallas News

Winter Landscapes

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Have you ever stopped to wonder why, in the ‘Golden Age’ of English landscape painting (1750-1850), there are so few winter landscapes by the major practitioners of the genre. In the 18th Century there are none by George Lambert, Richard Wlson or Thomas Gainsborough and one has to rely on examples by lesser fry such as de Loutherbourg, J.C. Ibbetson and George Smith of Chichester.

In the next generation we have just a handful. ‘A Frosty Morning’ painted by J.M.W. Turner (1775-1851) of 1812, a copy of Jacob Ruysdael, by John Constable ( 1776-1837), who loved Ruysdael’s paintings and owned 4 of them and two by Francis Danby, A.R.A (1793-1861). The Danbys are ‘An Ice Slide’ of 1849, exhibited at the R.A. in 1850 and a study of children skating outside a woodman’s cottage, painted in the early 1820s.

It seems to be very odd there are so few, when one considers how many winter landscapes were painted in the Netherlands in the 17th Century and how prized by collectors and admired by artists in England such paintings were.

I think in large part it is due to studio practice in the late 18th and early 19th Centuries. Artists would go out sketching from Spring to Autumn, when the weather was relatively clement and then work up the sketches into finished easel pictures in the winter.

Constable travelled with a large and a small sketchbook everywhere he went, to record things of interest, including on honeymoon. I would like to hear from anyone who has a better explanation!

Christmas Wines

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Christmas tips from a seasoned tippler

“Any fool can serve a good wine by spending a fortune on it”, my father used to say, “but the trick is finding something delicious to drink that isn’t ruinously expensive”. He was particularly good at it and I have tried to emulate him.

With Christmas around the corner, expenditure at an annual high and entertaining on a larger scale than normal, I thought it might be helpful to share some things I have found or been introduced to by Hels, my P.A., that Serena, my wife, and I have enjoyed drinking without breaking the bank.

I am going to do this in a chronological order, starting with aperitifs, first course companions and then what to have with meat, fish and, of course, Turkey, and finally, what to drink with cheese and pudding.

I know next to nothing about spirits, so if Milk Gin is your tipple or you adore cocktails pre-prandial, forget my wine choices and go for things you like.

At times of celebration one immediately thinks of Champagne, but when it’s going to be drunk in industrial quantities, one tends to think again. Do you really want to spend between £35 and £55 a bottle for an average Champagne?.

Instead, we drink the Crémant de Bordeaux that Jane Macquitty habitually praises in The Times. It comes from M&S at £10 a bottle and has small bubbles, which I like, as I’m prone to sneezing if they get too big, and has a creamy texture. In fact, try any of the Crémants from Bordeaux, the Loire, Jura or Bourgogne. They are made the same way as Champagne but don’t come from the region so have to be called something else by French Law, and cost a fraction of the real thing.

If you don’t like fizzy drinks, you might like to try something white and light. I agree with my dear friend Ben Collins, who co-owned Bibendum and tragically died two years ago. He liked to drink thin, slightly astringent wines on an empty stomach and a more robust Chardonnay, like a white Burgundy, when accompanied by food. I like the grape varieties Sauvignon Blanc, Pinot Grigio, Torrontes, Albarino and Assyrtiko in this category, where acidity and minerality are the buzzwords.

In the under £10 price range, try Ned, a New Zealand Sauvignon Blanc from Majestic and Marques de los Zancos from Tesco, a bargain at £5.85.

Now we have arrived at the moment critique! Many of my friends have become disaffected with Turkey, as the legs (the only flavoursome bits) dry out before the breast is cooked and you can’t spatchcock a bird that is meant to be full of stuffing, they go for beef instead. Whatever meat you choose, or vegetable if you are vegetarian/vegan, try a red wine.

There is little point buying cheap red burgundy (Pinot Noir) as it doesn’t taste of anything and even when you spend £100 a bottle for red wines from this region, it is easy to be disappointed. I would go for a claret, (the red wine of Bordeaux) and my favourite in the reasonable price range is Château Beaumont. It is a vast estate in the Haut Medoc, just under 280 acres and producing, on average, half a million bottles of delicious, well-made Claret every year. Your best bet is to buy it well in advance of using it, i.e. about six years. The 2020 is readily available, although not yet drinkable for £10 a bottle in bond. You then have to pay duty, currently at £2.67 a bottle and VAT at 20% on the total, to take it out of bond, but it is well worth the effort. The 2014 is drinking now and is available from Richard Kihl in Suffolk, still at £10 a bottle in bond, which works out at £15.20 a bottle delivered.

If £15.20 is beyond your budget, you could do a lot worse than buying Cote du Rhone from Lidl at £5.29 a bottle. Like the Beaumont, it will benefit from a couple of years aging so that the tannins are absorbed, otherwise, it is totally drinkable now.

Next comes the Stilton. It has such a strong flavour that it overwhelms most wines, but not the fortified ones. So, I would recommend Port with this course. A vintage port from a great year such as Fonseca 1994 will set you back £100+. From a less good year, say 2003, you are still looking at spending between £35 and £50. However, if you plump for late bottled Vintage Port, such as Taylor Fladgate’s, LBV 2016 from Wand Wines or Hard to Find Wines for £15.99, you will find a delicious round and hearty glass that punches the same weight as the cheese.

Finally, what about pudding wine? I think that most sweet things at Christmas are so sugary – Christmas Pudding, brandy butter, mince pies that to have a sweet wine with them would be cloying. Open some more Cremant!

However, if you are serving Foie Gras or a pudding that is quite tart, a Sauternes is your answer. Of course, Chateau d’ Yquem is by far the greatest of them all, arguably the finest wine from Bordeaux, but at £3-400 a bottle for a recent vintage, you need to have a big cheque book! A bottle of the 1811 was bought for £75,000, making it the most expensive bottle of white wine ever sold.

However, there is an incredibly rigorous selection policy at Yquem and the 150 pickers go through the vines picking the grapes several times, as they ripen at different speeds due to the presence or absence of Noble Rot, a fungus that weakens the skin of the grape to allow evaporation. This makes for a very sweet wine due to the percentage of sugar to liquid. In 1964 the pickers went through the vines 13 times, only for the makers to decide the grapes were sub-standard and declared a non-vintage making no Yquem at all. This doesn’t mean they make no wine in such a year. In most years only the best grapes are used and the lesser ones go into a ‘de-classified’ wine, such as “Sauternes” from Vineyards Direct, which was selling for £16 a half bottle when released. Try and find one of these.

To end on a note of thrift, Christmas is the time to search for that bottle of wine a friend brought you and you know you would hate and had put aside for the Tombola at the village fete. This is a gift that is heavensent for mulled wine, where the wine is just a vehicle for cinnamon, orange peel, cloves and nutmeg and where the heating process ruins the wine. A glass of mulled wine on a cold winter’s day is a thing of good cheer. Enjoy it and have a very Happy Christmas.

John Constable and the Stour Valley

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I can’t think of a painter who was as influenced by, or devoted to recording the landscape of his boyhood, as John Constable R.A. (1776-1837). He is famously recorded as saying: “Still I should paint my own places best; painting is with me but another word for feeling, and I associate ‘my careless boyhood’ with all that lies on the banks of the Stour; those scenes made me a painter, and I am grateful.”

He was born in East Bergholt in Suffolk and the villages of the Stour Valley were the subjects of his early work. However, as Michael Rosenthal points out in his excellent book ‘Constable, the painter and his landscape’ published in 1983, it was not all plain sailing. Despite the familiarity and love of the place, there were emotional associations that precluded Constable painting certain aspects of his childhood landscape. For instance, he was incapable of painting land owned by his father, Golding, a successful farmer, mill owner and grain merchant, until Golding came to terms with is son’s desire to become a painter. Golding wanted him to join and then run the family business, as John’s elder brother had learning difficulties. By 1799, Golding had relented to some extent, granted his son a small allowance and John then entered the Royal Academy Schools.

In 1808 Golding gave him a small grain store in East Bergholt to convert into a studio, now owned by my friend, Susan Morris. She’s the only one of my friends who has a fridge magnet of her house! Father and son were truly reconciled.

In 1816 he married Maria Bicknell, whom he had known since 1809. Their love was a source of great comfort to Constable, but the union was not approved of by Maria’s grandfather, Dr Rhudde, rector of East Bergholt, who threatened to disinherit her. He thought the Constables were socially inferior. However, Golding and Ann Constable died in quick succession and John inherited one fifth of the family business, which eased the financial pressure.

Now with several children to support, he embarked on an ambitious plan to enhance his reputation by producing large canvases for exhibition in both London and Paris. He returned to his beloved Stour Valley for these and produced a series of ‘six footers’ (the size of the canvas), of which the most famous is ‘The Hay Wain’.

It was exhibited at the Paris Salon in 1824, where it caused a sensation, because of its vibrant technique and colour and its truth to nature. It was awarded a gold medal by Charles X. Delacroix repainted the background of his ‘Massacre de Scio’, as a result of seeing it.

By the early 1820s, Maria was showing signs of tuberculosis and Constable took lodgings in Brighton for her health. He made numerous drawings of the South Downs and Coast, and produced a marvellous oil painting of the ‘Chain Pier, Brighton’, which was exhibited in 1827. Sadly, the sea air did not save Maria and after the birth of their seventh child, Maria died in November 1828. Constable was distraught. He wrote to his brother, also called Golding, ‘hourly do I feel the loss of my departed angel…the face of the world is totally changed for me’.

The period following Maria’s death was a profoundly melancholic one for Constable. He dressed in black and was prone to anxiety. I always think that Hadleigh Castle sums up Constable’s state of mind at this time. A lonely figure and his dog stand beside the ruined castle, whilst a storm approaches from the sea, with just two shafts of light to suggest some source of hope. The palette is subdued but the brushwork vigorous, the product of a troubled mind.

On a less sombre note, there is a charming story that Constable relates to his friend Archdeacon Fisher of Salisbury. He was travelling in the 1820s in a carriage from Ipswich to London with two strangers. By way of making conversation, he pointed out of the window and remarked “Don’t you think this is a beautiful landscape?” One of the strangers said “yes I do, Sir, but you should remember this is Constable country.”

Old Master Sales, July, London

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The Old Master Sales in London last week proved once again that freshness to the market and condition are key to paintings achieving spectacular prices. The perfect example of this was the beautiful Artist’s Studio with a Seamstress by the enigmatic Flemish painter Michael Sweerts (1618-1664), which came up at Christie’s.

This was painted in Rome sometime between 1646-1652 and was unknown to scholars having spent most of its life in a Belgian castle. It had never been cleaned or lined in its almost 400 year history and sold for an astonishing £12.6M (including premium), 6 times the previous world record for the artist! Christie’s also had a pair of recently re-discovered portraits by Rembrandt (1606-1669) which hadn’t been seen since 1824. Despite being on tiny oak panels measuring just 8 ½ x 6 ½ ins they made a well-deserved £11.2M (including premium).

One of the stars of Sotheby’s evening sale was the panel of the Pentecost by the unidentified 15th Century Bruges Painter, known as The Master of the Baroncelli Portraits. Despite appearing as recently as 2010 at Christie’s, where it sold for £4.19M, its beautiful execution and almost pristine condition helped it soar to £7.9M.

Sotheby’s also had a distinguished re-discovery in the form of a Saint Sebastian by Sir Peter Paul Rubens (1577-1640). This canvas was probably painted in Rome around 1608 for the Spinola family of Genoa, but had spent most of the last 100 years in St Louis, Missouri, USA undetected. It had appeared at an auction there in 2008, catalogued as attributed to Laurent de la Hire (sic). With its new attribution, it sold for £4.9M.

The week of sales totalled well over £100M, the best result for 6 years with Christie’s evening sale generating £53.9M, while Sotheby’s came in at £39M. The day sales, of lesser fry, were much quieter with slightly higher BI rates. Sotheby’s sale totalled £911,000, Bonhams £1.35M and Christie’s just over £2M. On average, 70% of the lots offered found buyers on the day and more will have sold subsequently suggesting that although Old Masters are not as fashionable as contemporary paintings, there is still a market for them.

How to look after paintings

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Pictures, like small children, prefer consistency of treatment. In the case of paintings and watercolours this means no violent fluctuations in temperature or humidity.

If you have a damp room a de-humidifier can bring the relative humidity down to around 40%-60%, above this level and there is a possibility of mould growing on surfaces and this can stain the paper on which watercolours, drawings and prints have been worked, irrevocably. Some moisture in the air is good, especially for inlaid furniture and panel pictures. I was in the Pinacoteca in Bologna 40 years ago, where there was about zero relative humidity and the great wooden altarpieces were groaning like ships’ timbers, as they dried out and moved. It’s not like that now!

water damage - caring for paintings

Hanging paintings above radiators or chimney breasts is to be avoided as the paint layer dries out and becomes brittle and if the painting is on a panel it can warp. The same applies to furniture.

Direct sunlight is a no-no, especially for watercolours. I remember seeing a large pair of watercolours by Turner hanging in a lightwell. They had been there since 1800 when the owner’s forbear had bought them at Christie’s. I tracked the sale. Instead of being worth £200,000 (they were obviously very early ones) they were worth about £5,000 as curiosities. All the colour had been bleached out – no blues, no greens, just pale pink and brown smudges. What a tragedy!

light damage on a painting

Whether light travels in waves or pulses, it equals heat and this will damage anything subjected to it. Ultra violet inhibiting strips can be put on windows, but they are only about 60% effective and should not be exclusively relied upon. Old-fashioned velvet curtains, with brass rods stretched through the bottoms are an ideal way of protecting watercolours in daytime and can, be turned back at night.

Artificial lighting can be harmful too, although it lacks the sun’s power, so low energy bulbs should be used and try to avoid picture lights on brass arms attached to the frame of an oil painting. They are too close to the surface of the painting and can cause stress to an old carved and gilded frame.

The cleaning of all paintings must be left to well-trained professional conservators. It is a highly complex procedure requiring in-depth knowledge of chemistry. Never use a damp cloth to clean the gilding on a frame. If it is water-based gilding, as opposed to oil, it will dissolve. A feather duster is preferable to a cloth duster as it is less likely to snag the carving and pull it off. You can dust the surface of an oil painting, very gently, with a cloth duster.

caring for paintings - feather duster

Lastly, never dust the glass on a pastel, it can cause static electricity to build up and the pastel (powdery chalk), which was never treated with a fixative in the 17th, 18th and 19th Centuries, will jump off the paper and adhere to the inside of the glass!

Some things you just have to live with such as houseflies whose poo can stain an oil painting and can only be removed with a scalpel (don’t try this yourself!).

Thunderflies, in high summer, can find their way under the tightest-fitting glass and litter the surface of a watercolour or drawing. Wait until autumn and take the backing off the work on paper, dust them out and reseal. Silverfish are a menace. If they get into a Victorian watercolour they can munch their way through the pigments, which have been impregnated with gum Arabic (the substance that Osama Bin Laden’s family fortune was based on) leaving patches of bald paper. Try to keep on top of silverfish by regular hoovering.

It is a very good idea to have your paintings regularly valued, which will involve keeping a good photographic record. This could prove very useful to a conservator and loss adjuster should you have the misfortune to have water or fire damage.

The Nude

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For the next in my series of articles on what inspires artist to paint, I have chosen The Nude. This is such a vast subject, that I intend to look at Western Art, exploring only paintings from the Renaissance to the present day. Of course sculpture has a very important part to play in the history of The Nude, but for the most part, I am going to ignore it for brevity’s sake.

Sir Kenneth Clark, as he was then, in his brilliant book “The Nude”, (published by John Murray 1956), begins chapter one thus:

“The English language, with its elaborate generosity, distinguished between the naked and the nude. Naked is to be deprived of our clothes and the word implies some of the embarrassment which most of us feel in that condition. The word nude, carries, in educated usage, no uncomfortable overtone. The vague image it projects into the mind is not of a huddled and defenceless body, but of a balanced, prosperous and confident body: the body re-formed.”

Since classical antiquity, the human body has been central to art. We are mostly familiar with sculpture, as so little painting has survived. During the Renaissance, excavations of ancient sites in Rome, Naples and elsewhere unearthed a vast treasure trove of naked gods and goddesses.

These antiquities invited scholars, collectors and artists alike to embrace a classical notion of ideal beauty and Diana, Venus, Danae, Sea Nymphs and various other creations of Greek and Roman mythology became a rich seam for admirers of the nude to mine. Gods and goddesses seldom wore clothes!

The Bible, too has a store of subjects involving the nude from Adam and Eve in the garden of Eden to Lot and his daughters and Bathsheba.

The obvious potential for eroticism, was reduced by certain conventions in depicting the nude. The bodies, although adult, were hairless and had the look of polished marble rather than flesh – the look of a classical statue, as opposed to a “page 3” girl. This anodyne look, with a few subtle variations, lasted until the mid-19th Century.

There was a convention that allowed little boys to be painted completely naked and they are, frequently, as Cupid and Putti (winged cherubs). Little girls, however, have their lower abdomens covered by draperies. Sometimes adult females are draped too but the folds in the draperies often merely accentuate what is hidden.

The 17th Century ushers in a new aesthetic in Western painting. The dramatic light and shade of Caravaggio’s art in Italy found its way to the North of Europe, via Utrecht artists who worked in Rome. Rembrandt was one who embraced this new realism. When he painted his mistress, Hendrikje Stoffels, as “Bathsheba at Her Bath”, she is very much a woman of flesh and blood. Rembrandt records her rather large feet and hands and slightly tubby torso. He also includes the lump in her left breast, which may have been the cause of her death, aged 39, but her death may have been caused by the Plague, which killed thousands in Amsterdam in 1663. In any event, she is nothing like the classical ideal nude of a century earlier.

With the painting of François Boucher in 18th Century Paris, we return to a notion of ideal beauty. Against a background of political and social turmoil, Boucher depicts a world where elegant and beautiful gods and goddesses float and frolic blissfully.

In the 19th Century painters had a new and potentially devastating invention to contend with, photography. What could a painter do, that a photograph could not? The answer is, interpret the object in front of it, rather than merely record it, which is why, nearly 200 years after the invention of photography we still have war artists.

Édouard Manet’s “Olympia”, exhibited at The Paris Salon in 1865, is partly a return to the ideal, with Olympia’s marmoreal body, but it is also a snapshot of the moment her maid arrives with a bunch of flowers.

In England, three decades after Olympia, John William Godward is painting Campaspe as a living sculpture. She is not as pale as Olympia, but she is definitely statuesque and conventional, to conform with Victorian sensibilities. It is worth remembering that some Victorians draped the legs of their pianos, as legs were suggestive – of what I wonder? Furthermore, librarians separated books by male and female authors, lest they jostle against one another on the bookshelves – I think I know what they are getting at, the possibility of two books turning into a library.

Now we come to the 20th Century, when, as we all know, the rule book is thrown out of the window. There is no norm. Whilst Amadeo Modigliani, is painting an ideal nude, inspired by Italian Renaissance painting, Picasso is producing Cubist nudes in strokes of muted grey and Egon Schiele is producing sexually explicit nudes, which still have the power to shock profoundly and are the subject of censorship in many parts of the world. I’m not going to illustrate one!

Surrealism, of course, has its own take on the nude and Rene Magritte’s “Attempting the Impossible” of 1928 has the artist wearing a brown suit painting a living female nude model in 3-D, standing in the same space that he occupies. It is a witty take on Art imitating Art. The model is little more than a painted statue.

No Study of The Nude is complete without an in depth look at the work of Lucian Freud, a man obsessed with the nude, although he hated the word. In his maturity, he possessed a technique which uses thick impasto (paint) with light scumbles (like light washes) over the top to create a sense of the colour and texture of living flesh. Freud’s sitters are as far removed from the ideal as it is possible to be. The men often appear vulnerable and awkward, as do many of his women.

Sue Tilley, the model for one of his most famous nude portraits, “Benefits Supervisor Sleeping”, became a muse for him in the 1990s. The painting of her asleep on a sofa in Freud’s studio is a masterpiece of observation, empathy and reportage. She is seen from above, lying on his sofa, and the sense of her volume and the space she occupies is breathtaking. She sold at Christie’s for $33.6M, which, at the time, was the world record for a living artist.

The Nude has provoked much thought and inspired the spilling of litres of ink over the centuries. The Guerilla Girls, a group of anonymous American female artists produced a poster of Ingres’ “Grande Odalisque”, a white-skinned female nude seen from behind, with a gorilla’s head and in bold type posed the question: “Do women have to be naked to get into the Met. Museum?” It went on to say “Less than 5% of the artists in the Modern Art Sections are women, but 85% of the nudes are female”.

Through all the convulsions and twists that art has taken from the Renaissance, through Abstraction to the modern day, it is interesting to reflect that Life Classes, drawing the human body using a live model, still go on in every corner of the globe. There are three within a five mile radius of where I live ! To be able to draw the human form is clearly the starting point of all art.

World record prices at auction for the artists mentioned:

Lucas Cranach £9.43M
Cavaliere d’Arpino £325,000
Rembrandt van Rijn £20.2M
François Boucher $2.4M
Édouard Manet $65.126M
John William Godward £1.3M
Amadeo Modigliani $170M
Pablo Picasso $179M
Rene Magritte £59.4M
Lucian Freud $86.2M

New York Leads the Way in Old Masters

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The recent Old Master Sales in New York, at the end of January, were in marked contrast to the December results in London. For a start, there were many more sales, three of them single owner catalogues, but then there are probably more serious collectors of Old Masters in the New York and Boston areas, than the rest of the world put together!

The combined sales of Christie’s and Sotheby’s totalled $171.5M (£139.4M), beating the previous New York record of $133M (£97.1M), achieved in 2021 and dwarfing the £51.05M for London in December.

Apart from the huge number of good collections and collectors in the Eastern Seaboard of the USA, a minor contributing factor to the success of that arena, is that New York is the favoured destination for UK dealers to place their “sleepers” (discoveries), which, like all paintings, will forfeit 20% of their gross profit if sold in the UK. The USA is treated as an export sale and, therefore, is exempt for dealers operating under “The Special Scheme” for art and antiques.

I have chosen three pictures from these sales to illustrate, because they are the three I would most like to take home, perhaps in my next life.

The continued strengthening of prices for Old Masters means that anyone who owns one should consider having it revalued.

A review of the December Old Master Sales in London

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December is an exciting month, not just because Christmas is coming, it is also the last hurrah for the Old Master Painting season in London. Sotheby’s had the better pictures and therefore, the better of the results. Their Day Sale (lesser fry) at a total of £3.34M was roughly three times the value of Christie’s at £1.185M. Furthermore, Christie’s had a large total of lots unsold on the day, 40 out of 104 lots.

The Evening Sale (the top lots) followed a similar pattern with Sotheby’s sale to talling £32.72M, with Christie’s coming in at a more modest £13.14M. In fact, Sotheby’s top lot, Titian’s ‘Venus and Adonis’, at £11.1M made almost as much, on its own, as Christie’s whole sale.

They had a beautiful still life by the Haarlem painter Floris van Dijck, very similar in composition to the painting in the Rijksmuseum and one of my favourite pictures in that collection. This made £2.09M against a pre-sale estimate of £600,000-£800,000.

Also estimated at £600,000 – £800,000 was a dramatic seascape by Ivan Konstantinov Aivazovsky titled ‘The Wrath of the Seas’. I was particularly interested to see what happened to this painting, by a 19th Century Russian artist, bearing in mind what is going on in Ukraine. On the day it made a very healthy £1.729M, proving that Aivazovsky has an international reputation and is not just for local consumption!

During the view at Christie’s, I was intrigued to speculate what would happen to two portraits, in particular. The first was a portrait of Erasmus by Hans Holbein the Younger, court painter to Henry VIII and the second was, to my mind, a very beautiful portrait of Henrietta Maria, by Sir Anthony van Dyck, court painter to Charles I.

In the event, they both disappointed with the Holbein making £1.12M against an estimate of £1-1.5M and the Van Dyck limping away at £2.44M against an estimate of £2-4M. The highest price was £2.92M (estimate £2-3M) for ‘Reading Party’ by the French Rococo artist Jean Francois de Troy.

These sales told us nothing new about taste for Old Masters, but they did reinforce what I said in July and that is that there is keen interest in paintings by good hands, fresh to the market and in good state. Selling lesser things, which have been seen before, is a struggle.

Winslow Homer

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I went to the Winslow Homer exhibition at the National Gallery last week and strongly recommend it to you. It is the first time his work has been shown en masse in the UK and there are no paintings by him in British Public Collections, despite his being a household name in the USA.

He started life painting scenes from the American Civil War and much of his work describes conflict, racial tensions, and other social problems. He also had a real obsession with the sea and spent nearly two years on the Northumbrian coast at Cullercoats, observing and recording the activities of the local fishing community and its struggle with the sea. For Homer, the sea was a source of pleasure, livelihood and terror depending on its mood. He painted numerous scenes of people being rescued from the tempestuous ocean.

I was very struck by a painting executed in 1904, which shows three men wearing sowesters and waterproofs in a rowing boat where the swell is so immense you can’t see the boat , and its title is ‘Kissing the Moon’. It reminded me of a passage in Joseph Conrad’s novella ‘Typhoon,’ where the waves are so great the characters in the boat see the moon disappear below the horizon and when it returns to view, appears to be dripping water. I wondered if this book could have had an influence on Winslow, so I googled it! Conrad began the novel in 1899 and it was subsequently serialized in Pall Mall Magazine between January and March 1902. It was first published in book form by Putnam in New York in 1902, two years before Winslow Homer painted the picture. I think I have answered my own question.

Winslow Homers don’t come up for auction very often, only 68 in the last 35 years. The world record for him (at auction ) was achieved in November 2014, by Sotheby’s in New York, when Mrs Paul Mellon’s ‘Watching the tide go out’, a tiny canvas, just over 12 x 16 in , made $4.5m.

Reflections on Her Majesty

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At this time of national mourning, I think it is important to reflect on the many happy moments in the life of Her Majesty. My younger sister, Amanda, has a sweet photograph of her late and much-lamented husband, taking The Queen to inspect the Guard at Balmoral. They are laughing as they chat.

The year is 1982 and Major (as he was then) Ian Chant-Sempill, my brother-in-law, was on his second stint at Balmoral, one of the cushiest three month postings in the army! The Guard is always drawn from Highland Regiments, in Ian’s case, The Gordon Highlanders. He became their last Colonel before they amalgamated with the Queen’s own Highlanders to form The Highlanders. The officers of the Guard were invited stalking, shooting on the estate and to fish the River Dee. Ian was a very good fisherman and caught 27 salmon during his tour of duty, which I believe is a record.

One night at dinner at Balmoral, poached salmon was on the menu. The Queen leant across the table and said: “ I think this is one of yours, Ian”. Amanda sat next to Prince Andrew, who had just returned from the Falklands, and Koo Stark was there, too. Charles and Diana were newly-weds and the days seemed carefree.

Note: My dear brother-in-law, Ian, had very good Artworld credentials. He was the Great Grandson of Sir John Lavery, R.S.A., R.A., R.H.A. Christie’s currently holds the world record for a Lavery at auction, with “The Croquet Party”, sold on March 22nd this year, for £2.922m (inc. premium).

Footnote: Amanda and Ian also dined on several occasions with HM The Queen Mother at Birkhall, her residence on the Balmoral estate.

On one famous occasion they were asked to arrive early for drinks and sat down promptly at 8pm for dinner in the dining room, which contained no fewer than nine grandmother clocks! At 8.19pm, having consumed three courses, the Queen Mother said “shall we have coffee in the sitting room?” She didn’t want to miss the start of “Dad’s Army”! She turned to Amanda and said “I do so love Arthur Lowe”.

When the programme was over, they all played racing demon on the floor.