Raymond McIntyre

New Zealander, b.1879, d.1933

Suzette

  • Presented by Mrs M. Good, London, 1975
  • Oil on wood panel
  • 432 x 337mm
  • 75/57
  • Circa 1914

Arriving in London in 1909, the Christchurch-born and trained Raymond McIntyre soon gained a reputation there for his small, pared-back landscapes and studies of female heads, painted in an elegant, simplified, Japanese woodblock inspired style. These three paintings were modelled on an actor and dancer who became his principal muse from 1912, sometimes mentioned in his letters home: “The girl who is sitting for me a lot now, Sylvia Constance Cavendish… has a very refined interesting pale face… I have done some very good work from her… she is quite a find.”

McIntyre died in London in 1933. Seven of his works were given by his family between 1938 and 1991.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

earlier labels about this work
  • Between 1912 and 1914 Raymond McIntyre painted a series of women’s heads. Often based on his favourite model, actress Phyllis Cavendish, these elegant and charming women represent a female ideal, rather than specific personalities. Suzette’s hair is typical of the way Breton women coiled their hair. McIntyre has combined solid masses of colour with only a little outline and has adapted the model’s features into an expressive and unified combination of formal elements. This style shows the influence of Japanese wood block prints, the work of the French artist Henri Toulouse Lautrec (1864 – 1901) and art nouveau poster design of the late 19th century. McIntyre was born in Christchurch to artistic and musical parents. He attended the Canterbury College School of Art in the late 1890s and went to London in 1909 to further his studies. By 1915 he was well established as an artist in London circles. Reproductions of his women’s ‘heads’ appeared in the art periodicals The Studio and Colour. McIntyre died in London. (Label date unknown)

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(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

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(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

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Psyche, in Greek mythology, was a mortal princess whose beauty attracted the attention of Eros, the god of love, and the jealous anger of his mother Aphrodite. The renowned Parisian sculptor Auguste Rodin worked on variations on the theme of Psyche between 1886 and 1905. This bronze is a later casting, produced by the Musée Rodin at a foundry in Paris in 1961.

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The Antwerp-born painter Jan Frans van Son was the son of the leading Flemish still life painter Joris van Son. He built a reputation with his own still life paintings in London, finding profitable patronage in England through his marriage to a niece of Robert Streater, sergeant-painter to Charles II.

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(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

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Jacopo Amigoni, who is believed to have been born in Naples or Venice, worked in Munich from 1719 as a painter at the court of Maximilian II Emanuel, Elector of Bavaria, before moving to London to paint for George II in 1729. Renowned as a pioneer of the Venetian Rococo style, Amigoni painted this sumptuous mythological scene during his stay in London. (Its hand-carved, contemporaneous ‘Carlo Maratta’ frame is also English-made, in a style inspired by Italian frames that reached England with returning Grand Tourists.) Smaller versions of Bacchus and Ariadne exist; including one once owned by a friend of Amigoni’s, the famous Italian castrato singer Carlo Broschi Farinelli, who also lived in London in this period. Patronage for artists such as Amigoni and Farinelli linked to the taste for Italian decorative art and high culture then prevalent among Europe’s elite. After returning to Venice in 1739, Amigoni spent his later years from 1747 in the court of King Ferdinand VI in Madrid.

(The Weight of Sunlight, 16 September 2017 - 16 September 2018)

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Joost Cornelisz Droochsloot Soldiers in a Village

Joost Droochsloot’s Soldiers in a Village lays out the enduring theme of the upheavals of war, with families being ejected from their homes by roving soldiers in a Dutch village in the 1640s; an ordeal commonly experienced during the Thirty Years’ War in central Europe (1618–48).

This painting was once owned by the Scottish-born, former Wellington art dealer McGregor Wright, a mayor of Woolston between 1910 and 1921 and a prominent local art supporter. Wright presented the painting to the Christchurch Technical Institute (later Christchurch Polytechnic) in 1935. In 1996 it was purchased for the collection by Gallery patrons Gabrielle and Adriaan Tasman, who also sponsored its conservation and repair.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

Collection
The Age of innocence
Alfred Drury The Age of innocence

Modelled by Alfred Drury after a friend’s daughter in fancy dress, this wistful bronze bust is one of many variations of The Age of Innocence he made between 1897 and 1918; some in white marble. It is regarded as an important work in the British New Sculpture movement, whose followers sought either greater naturalism or symbolic qualities than had been found in the prevailing neoclassical approach.

Brought from England to Christchurch for the 1906–07 New Zealand International Exhibition, it was purchased by the Canterbury Society of Arts, and presented to the city in 1932 to become part of the Robert McDougall Art Gallery’s founding collection.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

Collection
A View in Cologne with St. Gereon's Basilica
Gerrit Adriaenszoon Berckheyde A View in Cologne with St. Gereon's Basilica

Gerrit Berckheyde’s contribution to the Dutch Golden Age of painting was as an exponent of the cityscape, which became a new genre from the mid seventeenth-century. Berckheyde was Haarlem-based, and began producing paintings of Cologne in about 1670, from sketches made in the 1650s. He painted a series of works depicting St. Gereon’s Basilica, a large and distinctive Romanesque style church completed in the thirteenth century.

This painting was purchased through a significant bequest made in 1953 from an insurance settlement from the estate of William Ballantyne (1864–1934), whose art collection had been largely destroyed in the 1947 Ballantyne’s department store fire.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

Collection
Brigadier-General Alexander Walker of Bowland
Sir Henry Raeburn Brigadier-General Alexander Walker of Bowland

The 55-year-old Alexander Walker (1764–1831) and his wife Barbara (née Montgomery, 1770–1831) commissioned Scotland’s leading portraitist, Henry Raeburn, to paint their portraits in 1819. They had married eight years earlier; shortly after Alexander’s retirement from over thirty years’ service with the East India Company – mostly in India – and had two young sons. Alexander had one final Company role before him, that of Governor of St. Helena from 1823–28.

Two of their grandsons, William Campbell Walker and Alexander John Walker, immigrated to New Zealand in 1862 to farm in Canterbury; William later became Minister of Education. These impressive ancestral portraits were presented by descendants in 1984.

(Treasury: A Generous Legacy, 18 December 2015 – 27 November 2016)

Collection
Panier de Raisins
Henri Fantin-Latour Panier de Raisins

Every June from 1878 onwards, once the clamour of the Paris Salon had subsided, Henri Fantin-Latour and his wife Victoria (née Dubourg) closed their Paris apartment and headed to the countryside, a small house with a garden at Buré, Lower Normandy, where they painted until the summer’s end. From Paris, Fantin-Latour shipped his most successful new fruit and flower paintings to art dealer friends in London, Edwin and Ruth Edwards, whose records show that they sold this work (likely to its donor’s parents). Edwin Edwards had supported Fantin-Latour when Paris was in turmoil in 1871 at the close of the Franco-Prussian war, clearing his studio of still-life paintings and drawings to find buyers in England. Subsequent demand from English collectors offered a regular income for Fantin-Latour, whose still-life paintings – now his most prized works – remained all but unknown to his countrymen. As the painter Jacques-Émile Blanche complained in 1919, ‘For too long, they were not found in France; Fantin was revealed to us only through rare portraits and fantasies.’

(The Weight of Sunlight, 16 September 2017 - 16 September 2018)

Notes
Belgian Refugees by Frances Hodgkins

Belgian Refugees by Frances Hodgkins

This article first appeared in The Press on 28 February 2007

Belgian Refugees is one of the first oil paintings that Frances Hodgkins ever exhibited, although at the time she was already well accustomed to showing her watercolours. Working in oils and tempera on canvas, she used an experimental technique in this work that gained much from her experience with watercolour. Believed to have been first shown as Unshatterable, in October 1916 at the International Society's Autumn Exhibition in London, the choice of title would suggest a greater sense of resilience than is actually conveyed by this family group. Here only the baby is oblivious to trouble, while his nursing mother seems devoid of expression, and the older children tense with anxiety or fear. Behind the group, a gap in the swirling grey suggests the fact of a missing father, and this steam and smoke speaks of displacement, the atmospheric backdrop of a train station or the symbolic clouds of war. Within the wall of monochrome, intense colour is reserved for mother and child, who also remind of one of Hodgkins' favourite early choices of subject matter in watercolour.