Frank Spenlove-Spenlove
"I look at Nature, I go home and dream of her and I paint the dream "
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A Biography and Catalogue of his Life John Francis Spenlove - Spenlove RCA., RBA., RI., ROI., RBC., FRSA, FRGS. 1868 -1933 Alias: Frank Spenlove; Frank Spenlove Spenlove and J.F.Spenlove
Written and compiled by David Freeman
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Portrait of Frank Spenlove-Spenlove 1904 by Arthur Hacker ARA ©Family Hacker |
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^ Frank Spenlove- Spenlove in the Yellow Door Studio |
Frank Spenlove Biographic:
Frank Spenlove-Spenlove was a hugely talented, prolific and dedicated British artist and a great mentor to hundreds of young artists learning to paint. He worked in both oils and watercolour. 'Frank' John Francis Spenlove, was born in the Scottish town of Bridge of Allan, Sterlingshire, on the 24th February 1864 and died of pneumonia in Chelsea in the May of 1933. He is buried in St. Mary's Church yard, Purley on Thames in England.
The son of Captain John Francis Spenlove-Spenlove, late of the Fife Artillery and originally from Abingdon, Berkshire. His mother was Mary Sparrow. Frank had two sisters,
Susan Mary Anne born in 1861 in Merton, Surrey and Jane, born about 1862. In 1891, Frank Spenlove married Clara Florence Bostwick-Strong, a Canadian girl who came from a wealthy family, originally from London, Ontario. Clara had suffered deafness since contracting an infection in childhood and she and Frank had three children; Adelaide, Theodora and John Francis.He like his father, became an accomplished artist, choosing to live and work in Cornwall. When only a boy, Frank Spenlove and his two young sisters suddenly faced the loss of their father and Frank became the man of the household, with new and difficult challenges to face ahead.
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From a very early age, Frank Spenlove - Spenlove, not only was expected, but wanted to follow in his father’s footsteps and become an army officer, fully intending to become a soldier. The sudden death of his father was about to force Frank into other, more responsible shoes.
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Our Mr. Spenlove and becoming a man:
Financially, things at home were in an unhealthy state following the death of his father Captain John Francis, so at the age of seventeen Frank became the breadwinner and entered the commercial world as a mercantile clerk. After only two years he was earning a remarkably good living for such a young man. Frank had developed serious and adult aspirations and was facing excellent prospects of promotion, but things were about to change for him again!
In his youth, Frank Spenlove was, it can be said, a privileged lad, attending private school at St. Paul's in Hammersmith, then an independent and highly select London boys school.
Frank’s biggest claim to fame 'so he said' and one that he maintained all his life, was that he was distantly related to the British artist John Constable, primarily as his great grandfather was a namesake so surely there was a family link. But whether or not that was a sign of the practical joker in Frank Spenlove the man, we will probably never know. And something of a joker he indeed was. His grandson who I had the privilege to meet recently, recalls how one night at dinner, Frank had rigged up a small balloon under his plate. A contraption designed with a length of tube and finished with a rubber hand pump leading back to Frank's seat underneath the table. The joy and astonishment that came from the 'self rising' plate still remains in his memory to this day. Frank Spenlove is most noted as an artist for his fine atmospheric landscapes, worked in both oil paint and watercolour. Often of subjects that he painted in Suffolk and particularly on the continent in Holland, which clearly reflected in his style. He also worked extensively in Belgium and in Kent.
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^This is a photo of taken of Captain John Francis Spenlove-Spenlove Snr. of the Fife Militia, Artillery Regiment, by the late Reverend D. Cochrane at Cupar Manse, in Scotland, in 1865.
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Frank Spenlove's addresses were;
1871: Camberwell, St. Giles Camberwell, London, Surrey, England 1885: Studio - Shortlands Kent 1891: The Hermitage, Croyden Road, Beckenham. 1895; Kent House, Lansdowne Road, Notting Hill. London. 1900: Studio, 28, Conduit Street. London. Thames Court, Pangbourne. 1911: Studio, 1 - 16 Albert Mansions, Victoria Street, London 1915: Studio, 116 Victoria Street. London. And finally to; 12A, Shelly Court, Tite Street, Chelsea.
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Frank Spenlove had always followed his hobby as an artist and he asked for and eventually obtained a room which he made into his first studio. A place where; “free from others eyes, I could work in a manner dear to my artistic soul”, he wrote.
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A most fortunate meeting with William Powell Frith:
"The landscape painter must aim at the interpretation of Nature, rather than the representation of Nature." F. Spenlove-Spenlove |
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William Powell Frith | |
Now fate makes an appearance and lends a helping hand in Frank Spenlove's career. |
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One day whilst visiting Frank's mother, Mrs. Jane Ellen Panton, a writer of popular domestic and advice books and one of the daughters of the eminent British artist William Powell Frith R.A., happened to see the portrait that Frank had painted of his father and asked him for the loan of it to show the great artist. Somewhat impressed and more likely flattered, Frank happily agreed. It transpired that William Powell Frith so admired the painting that the following day he wrote to his daughter; “ It would be a pity if such a talent were to wither.” And William Powell Frith wasn't about to let that talent disappear anywhere.
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An invitation from Frith followed, beckoning the young Frank Spenlove-Spenlove to his London studio home, Pembridge Villas, Kensington, where we are told, the great artist was; "very kind and complimentary". The praise Frank received about the standard of his art was indeed genuine praise and coming from such a great and well admired artist, Frith urged the young Frank Spenlove-Spenlove to take a new course in life's direction and undertake a drastic career change. “I am sure you will do. I am sure you will do.”
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Frank Spenlove returned home from his meeting with William Powell Frith and told his mother about the conversation he had with the artist. Not unexpectedly, anxious that he might have been swayed, she made it very plain to Frank that she didn’t want him to make a grave mistake by throwing away the near certainty of being a success in business for the dreadful 'uncertainty' of art. Though it was to be a difficult financial pathway that lay ahead of him, Frith’s praise had sparked a new flame of ambition in Frank Spenlove's heart and an artist he became. |
St. John' Wood School of Art
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The Road Ahead:
The first step on that long and difficult road for Frank was to be a spell at the St. John’s Wood School of Art in London, founded seven years earlier. Though at the time it was more an artist's studio, nurturing fresh talent about to enter the Royal Academy Schools than it was the fully fledged art school it was to become. However, it was a fine grounding for the ambitious young artist who can be seen here in the centre of this vintage photo to the left of the statue. Though Frank rightfully used the designatory letters 'R.C.A.' after his name, this was applied for his affiliation to the Royal Cambrian Academy and not the Royal College of Art, as has been alluded to by some fine art commentators and would have been expected of him having trained at St. John's Wood.
He would do whatever part time work he could find to support his mother and sister |
From Calderon's London studio, as I have already alluded to, the next stop would normally be attendance at the Royal Academy school and in his own art school's prospectus and advertising, there are implications that he may have had a Royal College of Art affiliation. Frank would now admirably take himself off, first to Holland in order to study the methods of the Netherlands painters whom he had always admired. Then on to Belgium's Royal Academy of Fine Arts in Antwerp and finally to Paris, where we draw a blank at which studio he attended and identify artist who tutored him. In 1887 Frank was rewarded for his efforts, when the Royal Academy exhibited two of his paintings which came about as a result of this tour. First came ~ The Home of the Heron - Early morning #43, and ~ In the Stack #742.
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Abelardo Alvarez Calderon |
*But in 1889, he finally got his big break, displaying no less than seven fine paintings at the Royal Academy Summer Exhibition: Silver Morn #225 - "In the Evening, it shall be light" # 493 - In the low country - early morning #804 - L'etude #841 - Eventide after rain #921 - A Grey Morning #963 and finally; Wane of the year #1242.
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Franks Royal Academy paintings appears later
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Frank Spenlove the man
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A.C.R. Carter, in the 'Art Journal of June 1910, was not the first to note the influence on the young Frank Spenlove, exhibiting his 'Watchers' at the Royal Academy for the very first time. He mentioned obvious similarities to the Dutch artist Isaac Israels. (Amsterdam 1865-1934 Den Hague) An artist that was clearly an influence on Frank which continued throughout his artistic life, as his fluidity and captivating atmospheric and dramatic style emerged. Frank would also be the first to tip his hat to the artistic ability of the great British artist J. M. W. Turner, who he admired enormously and whose methods he applied and adopted. One observer writing of Frank tells us; "Turner, again, always worked from the slightest of sketches and rough notes and Mr. Spenlove-Spenlove thinks this undoubtedly the right method of procedure, and accordingly, in teaching landscape painting, his system is to encourage his pupils to make swift realistic studies from Nature out of doors, seizing some transitory exquisite effect, and afterwards to study the art of transforming these rough notes of a passing effect of the moment into a finished picture in the studio, both by means of individual instruction, which each one receives, on the working up of his or her own particular small sketch, and by means of his special landscape painting "demonstrations" before the assembled class." |
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Edward Biberman's Recollections of Frank: The American artist Edward Biberman (1904-86) in an interview back in 1977, recollects his meeting with Frank Spenlove Spenlove whilst he was in Cornwall holidaying. He had just painted a portrait of his daughter, which is sadly now lost. He said of 'Sir' Frank, who he thought was a knight of the realm, likely once again Franks sense of humour:
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"The English artist had a name which was fantastic. His name was Sir Frank Spenlove-Spenlove R.A. Frank Spenlov looked like a Peter Arno cartoon. The painting of his daughter, incidentally — I don't know where it is, or what happened to it. Somewhere in my moving, that painting has been lost. It just disappeared and I have no sense of what happened to it?" |
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Frank Spenlove was a Fellow of the Royal Geographical Society, elected in 1904; A member of the Committee of the British art section - Liege International Exposition of 1906, where he was awarded the Diploma of Honour and a member of the City of London Truss Society for the relief of the ruptured poor ! We are told that recreationally Frank really loved billiards and regularly held evening sessions at his central London home. He also enjoyed golf and music too and was a very 'charitable' man. Frank was acutely aware of the commercial practicalities of self promotion in his life and indeed sponsorship and leant his name to both the social good of smoking it would seem and to the medicinal benefits of Sanatogen, which he specified had cured all his ills: In so doing, Frank lent his name to newspaper advertising around the world. Appearing as here in Pall Mall Magazine and regularly in the Commonwealth press. This advert below is from the Sydney Morning Herald back in 1912: Mr. Frank Spenlove-Spenlove;B.I., F.R.G.S., says; "after trying different so-called remedies I was advised to try Sanatogen. It has worked wonders " in fact, quite overthrown the trouble." |
Frank Spenlove-Spenlove Memberships and Affiliations R.I, Royal Institute of Painters in Water Colours Membre de la Societe des Artistes Francais |
GO TO > HISTORY OF FRANK SPENLOVE-SPENLOVE'S YELLOW DOOR SCHOOL OF LANDSCAPE PAINTING
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Frank Spenlove-Spenlove and the Royal Academy
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Varnishing day at the RA ~1889 |
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Varnishing day’ at the Royal Academy was a special event in the RA's calendar. But in reality ‘Varnishing day’ had become a celebrity preview day. A time when journalists and art critics could meet and discuss the works on display, well in advance of the official opening of the exhibition to the public. That bright May day, Frank Spenlove-Spenlove was dutifully in attendance at the Royal Academy when he noticed a man staring at one of his works called “At Eventide, it shall be light”
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Recollecting for the 'Otago Witness', Issue #270, 31st. January 1906 “The Otago Witness was a significant example of the illustrated weekly newspapers that were a popular and important form of publication in New Zealand in the 19th and early 20th centuries.” |
Frank introduced himself to the man as the painter and received a fine compliment.
Obviously impressed, the great man asked Frank if he had any more works on display. With six more hanging at the exhibition for him to discuss, it was a fortunate meeting and coming from Sir John Everet Millais, the creator of ‘Bubbles’and the masterpiece ‘Ophelia’, that was a resounding compliment that had been paid to Frank Spenlove and a fine reward for all his hard work that began with all the uncertainty of a professional career in the world of art.
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1889 and Frank's 'Matter of Do or Die'. Frank personally recalled the day he met Millais in his own words, telling the story of a strange dream he had before the Royal Academy Exhibition and of the pain he felt at the destruction of one of his favourite Royal Academy paintings, just few days before entry closed: “The year 1889 was a memorable one for me he writes. In the first place I had no fewer than seven works in the Royal Academy that year, and in the second place, in connection with one of those pictures, called “At Eventide, it shall be light” I had the following remarkable experience. – at least I think it may justifiably be called remarkable. On the Sunday night before “Sending in day”, I had a strange dream, a very bad dream. I dreamt that I saw my “Eventide” on the easel as I had left it the day before, but down the centre of it ran a cascade of water which came from nowhere and in my dream I saw my picture, one on which I had spent so much thought and labour, quickly washed away. The dream was most vivid and I awoke from it feeling very nervous and upset. If my dream had in some way prepared me for calamity, it was none the less a terrible blow and for a few minutes I was quite unmanned. And then I pulled myself together, an the damage being irreparable, I posted off to town, got a new six foot canvas and set to work to re-paint my picture.
Frank Spenlove Spenlove
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SENDING IN DAY AT THE RA |
Frank Spenlove and the Mystified RA's |
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Frank Spenlove - Spenlove THE ROYAL ACADEMY PAINTINGS Frank Spenlove was nominated for Associate membership to the RA first in 1909, backed by Frederick Pomeroy, Derwent Wood, Charles Napier Hemy, Arthur Hacker, Andrew Gow, Luke Fildes and William Frederick Yeames. On the second occasion in 1920, his nomination was supported by artists Frank Dicksee, Frank Short, Henry Scott Tuke, Reginald Blomfield and David Murray. Sadly, that nomination did not carry sufficient support for Frank to be considered for inclusion. The then President of the RA was an architect called Sir Aston Webb.
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For the RA nominee, once he has achieved securing Academicians as supporters, the wait begins and politics takes over. It ends with a meeting of all the Royal Academicians casting their votes in camera for the proposed candidates.
The Latin inscription on the front of the RA ballot box reads; ‘Detur Digniori,’ Translated it means; “Let it be given to the more worthy”.
For Frank, the Academy, by his exclusion, had driven home the worst kind of insult and the row which followed with Aston Webb must have sent ominous rumbles through the building if not the Royal Academy itself.
What he previously had exhibited at the Royal Academy over the preceding 33 years was and is a genuine testimony to his genius as an artist. In time we hope with this project, to be able to secure imagery for all the titles Frank Spenlove Spenlove created. This list grows daily and with your help, will continue to do so: However many were lost in the Blitz and many more have vanished into the mists of time. |
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FRANK
SPENLOVE-SPENLOVE
Not in chronological order. Frank Spenlove-Spenloves; FUNERAILLES DANS LES
PAY BAS, UN JOUR D'HIVER Exhibited Paris Salon 1901 Awarded Gold Medal and purchased
by the French Government for the Musée du Luxemboug. |
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Frank Spenlove - Spenlove THE ROYAL ACADEMY PAINTINGS |
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^ Vespers, New Year's Eve in the Low Country
Oil on canvas, 105.4 x 151.1 cm 6' x 4' Exhibited: New Gallery, Liverpool Walker Art Gallery, Pittsburgh Carnegie Institute, Pittsburgh International Exhibition 1907 and Glasgow Institute 1906 Collection: Glasgow Museums. Purchased for the permanent collection in 1906
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"Unto This Last" - Oil on canvas Alt: Le dernier voyage - interremont du une pilote. Alt: The pilots funeral - Southwold, Winter Exh. RA 1903 72 x 48" Exh. Paris Salon 1906 Illustrated in The Sketch 1906 |
^ Too Late - 1904 Oil on Canvas Musee d'Orsay Paris Exh. RA 1904 “Too Late “ was taken to Pittsburgh by the evangelist, the Rev. W R Wedderspoon as the subject of his famous sermon preached to over 10,000 people August 23rd at the Great Auditorium of Ocean Grove, New Jersey in 1909.
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^ THE WATCHERS " TILL THE DAY BREAK" 1910 #229 Royal Academy of Arts exhibition 1910. Oil on Canvas A second painting of the same subject with several figures existed. Franks own records and images confirm same. This image is to follow. |
^ The Little White Cross Exh RA Purchased from the artist 1904
1914~At the Call of Dawn -A peasants funeral in the high Alps # 141 48 x 72"
1899~ Gold, green and grey. Picardy poplars -Autumn #389
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As yet, an incomplete list of works exhibited by Frank Spenlove at the Royal Academy Summer Exhibitions over 33 years.
1887~ The Home of the Heron - Early morning #43 1887~ In the Stack #742
1888~ The Farmers Daughter #849 1889~ Silver Morn #225 1889~ In the Evening, it shall be light # 493 Artists title: At eventide it shall be light There were two successive paintings with this title. The first torn in the studio and repainted by the artist. See Biography. 1889~ In the low country -early evening #804 1889~ L'etude #841 1889~ Eventide after rain #921 1889~ A Grey Morning #963 1889~ The wane of the year #1242 1890~ Waiting for father # 1054 1891~ Drear November #60 1891~ Her Love had gone a sailing #810 Described by the London Daily News London, England 7 Jul. 1891 as "very agreeable in its greens and greys; and a bright and cleverly composed little bit of seaside idyll." 11 x 17 Water colour heightened in white 1891~ Unto the last #1069 1892~ Ladies of the lake #1148 Exh York Summer Exh 1899 1893~ A Flemish landscape #346 1894~ After summer days #240 ( Also Exh.Tasmanian International Exhibition ) 1895~ O'er land and loch #763 1896~ A rest by the way #997 1897~ Homeward #579 1897~ April #834 1897~ Dawn of night. …”Till the moon, Milton Paradise Lost Described by the Graphic London, England 1898~ Avenues of gold. A Picardy pastoral #117 National Gallery Adelade 1899~ Gold, green and grey. Picardy poplars -Autumn #389 1899~ Storm-rivven, so rugged and wild #551 1899~ Return of the flock, November #727 1899~ Near Alkmaar Holland #752 1899~ A lowland shepheardess - morning. #953
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1900~ The hurrying storm; on the Maas, Holland #145 1900~ A winters tale; Funeral blessings Holland #177 #198 RSA 1900~ Nights awakening #644 1900~ Mending nets, Cantyre NB #750 1901~ Spring #672 1901~ Gilded pastures, an autumn day, Picardy #797 1901~ Dunwich Common, Suffolk. #886 1902~ The Homestead #206 1902~ Over the valley #224 1902~ By the loch, a summer day on the Berkshire canal #473 1903~ Unto This Last; the pilots funeral; Southwold, winter #742 1904~ Willow witches. Evening effect after the rain #93 1904~ Too Late #356 1904 ~ Darsham Vale - autumn. "Clouds that follow the storm"#885 1907~ Morning - A study in Spain #713 1907~ And the Winter shall come #155 |Lord Winterstokes Collection 1904~ Darsham Vale - Autumn. " Clouds that follow the storm" #885 1910~ BLUE AND GOLD: the dunes of Flanders #91 1910~ THE WATCHERS : " TILL THE DAY BREAK" #229 1911~ CHARITY #105 1911~ BLUE MISTS, Andalusia #481 1914~At the Call of Dawn -A peasants funeral in the high Alps # 141 1915~ A Message of Spring #362 1918~ Fog, Murk and Grime #391 1918~ For those in Peril On the coast of Flanders. #407 The Little Prayer ( Salon) ? Le Dernier Voyage Hotel de Ville Paris As the leaves fall 1907 Paris Municipal Council Autumn Afternoon - The three nuns 1922 |
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^ The Light at the Door, a January Night in Flanders (No.96) Exh Bristol April 1908
^ 'And the Winter Shall Come' RA 1907 #155
1899~ Storm-rivven, so rugged and wild #551
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^ In the Shadow of the Church, Dordrecht, Holland Painted: 1903
^Exh RA. Grey of Evening
^ The Church Porch: "The world forgetting, by the world forgot" Oil on canvas Franco British Exhibition Paris Salon (Sellosse Collection)
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Woman and child in the snow. Private Collection UK Provenance: by descent from the artist
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Figures gathering outside a church Private Collection UK Provenance: by descent from the artist |
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The three nuns Autumn Afternoon - 1922 RA Oil on Canvas Prov. Family
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^ The Green Shutters, Viaticum, Belgium Exh RAFrank Spenlove-Spenlove 1910 Oil on Canvas Collection Laing Art Gallery Illustrated in The Illustrated London News 1918
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Alkmaar Watercolour
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Latest inclusion in this catalogue. Dated 1908 Oil on Reeves and Son Canvas 20 x 23" Signed and dated bottom right Frank Spenlove-Spenlove 08 A River Landscape, probably Belgium |
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^ Children Of The Ghetto - Venice - 210x120 - Oil
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Frank Spenlove: Signature 1898^ |
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^ When Autumn Leaves Have Turned to Gold -Belgium - Frank Spenlove-Spenlove Date painted: 1927 Collection: The Mercer Art Gallery, Harrogate
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Quite Moments - A Bruges Study
Also inscribed on Royal Institute of Painters in Watercolours label verso, with the title and artist's address, 29.5 x 45 cm
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^ The White Silence, Belgium |
^ Belgium, the Lowly Bow to Share a Nation's Woe Painted: 1915
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^ The Shepherdess Frank Spenlove-Spenlove, RCA, RBA, RI, ROI (British, 1868-1933) signed lower right "Frank Spenlove-Spenlove '02" oil on board. Provenance: From an Essex country house. Exhibited: The Calton Gallery, Edinburgh.
^ Frank Spenlove : Signature 1902^
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^ 'Quai Vert' Bruges, Belgium
"Quai Vert, Bruges, Belgium", Signed, oil on canvas, 24 x 34.5cm.; 9.5 x 13.5in. Frank Spenlove-Spenlove (1868-1933) |
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^ Weary Ends the day 1924 Alt:The End of a Weary Day
(Purchased originally by Lord Weymss)
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^ When Summer Leaf Is Changed to Gold, Belgium Date painted: 1925
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^ Evening Glow Oil on Millboard, 30 x 45 cm
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^ Sheep on a Hillside 12 x 16 " Oil on Canvas |
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Watercolour
Study of cows black crayon and chalk on grey paper |
L'etude 11.5 x 17.5
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Vaches: Two workings of the same scene: Private Collection UK Provenance: by descent from the artist
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^ First boats of the morning - Hoorn Holland Watercolour heightened with white and bodycolour. Signed, inscribed and dated 1901 30 x 45 cm , bears "Henry Hargreaves & Co. Ltd., Pall Mall, London" label verso
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Cloud study 1922 Watercolour |
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Unfinished watercolour.
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^ Mountain scenery with two girls sunbathing Attrib: Frank Spenlove-Spenlove Oil on Canvas 50 x 76cm |
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Venice Oil 1900 |
Untitled Private Collection UK Provenance: By descent from the artist
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Watercolour 19 x 29" signed and dated
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^ Windmill and cattle Oil on panel Signed 12.50 x 21.50cm (4.92 x 8.46 inches) |
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^ FIGURES IN A PUNT ON A REEDY RIVER, WINDMILL BEYOND Signed and dated 04, oil on canvas, 25.5 x 46cm.
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^ PaisajeOil on Canvas 35.6 x 50.9 14" x 20" Signed F Spenlove
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^ The old boathouse
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^ Still life with yellow bowl and red candlestick
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^ In Harbour
Signed and dated 89 |
^ Twilight, 1900
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^ Dutch barges on a canal, 1901 Watercolor and bodycolor |
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^ Fishermen in rowing boat casting nets
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^ Bosham, Sussex
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^ Solitude Frank Spenlove-Spenlove (British 1864-1933) Signed, watercolour. 29x44cm
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^ Frank Spenlove Spenlove signature Solitude 2 |
^ Dust Road 1895
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Frank Spenlove Spenlove - A River Landscape |
^ Teatime
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^ The fishing fleet, St. Ives
Frank Spenlove Spenlove (View of the Harbour and Town from an Elevated Position) Artist's name and title. Léon Suddaby Fine Art Gallery label verso
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^ MORNING EFFECT, CHELSEA |
^ A beach scene, Holland 1924 Soth Billingshurst 96
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Wharf on the Thames Oil on Canvas |
Weary Ends the Day 1920
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^The Light at the Door, a January Night in Flanders, 1907.
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^ SUNSET IN A FOREST GLADE |
^ CHIOGGIA 1898 A village situated on a small island at the southern entrance to the Lagoon of Venice, Italy.
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^ Venice - Oil on panel 8. 5 x 5in |
^ Venetian canal. Oil on board, Signed bottom left |
Missatributed oil not in Spenlove's style or manner but bearing the same surname. The signature by comparison is totally different to that of Frank Spenlove Signature bottom left of Venetian painting^
^ Signature of Frank Spenlove-Spenlove |
The Steps Chioggia Oil on panel Exhibited: Leeds Art Gallery Spring Exhibition 1900
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Picardy Study Watercolour
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A figure in a snowy street 51 x 61 cm (20 x 24 in)
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^ BETWEEN THE SHOWERS, SURREY; THE BRIDGE
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^ 'NOCTURNE'--A DUTCH STUDY, 1922 |
^Version #1- Arab street scene in Tunis 1904 Outside The Mosque Tunis - Tunisia, North Africa Oil on Canvas
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^ Version 2 - Arab street scene 1904 Outside The Mosque Tunis, Tunisia - North Africa Oil on Canvas |
^The Garden of Allah Signed and dated 1901, 35 x 46 cm
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1904 There is an Antique Art Print' called; Outside The Mosque Tunis Tunisia North Africa A book plate exists after Frank Spenlove-Spenlove. Retrieved from the 1904 edition of The Magazine Of Art. The print / book illustration shows a group of Arab men sitting on a wall under the shade of an olive tree. Presumably based upon one of the above works in oil. |
Kismet. Oil on board. Label verso with biography of the artist and stating that the work was sold as a souvenir gift at a luncheon in aid of the Three Arts Employment Fund at the Savoy Hotel, July 6th 1915
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Figures before the Green Door - North Africa Watercolour
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Study of an Arab 03 Pen and Ink
^ Study North Africa Dated and inscribed 2.04.03 Pen and ink |
Scottish studies made in 'Skye' 1887 watercolours Inscr. Initialled and dated
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In the shadow of the church. The Groot Hoofd Dordrecht September 12. 1902 Pen and ink wash. Study for a major oil painting he was considering |
^ Still Life with candle stick Oil on Canvas |
^ Hayricks Oil on canvas
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^ Grey day on the Sheldt. Oil on Canvas
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^ Copse of silver birches Oil on Canvas |
House by a river. Oil on board Measurements:
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Lady along rail on breezy afternoon Oil on panel Measurements: |
^ 'The interiors of Rheims Cathedral' Oil on canvas, signed, 41cm x 30.5cm
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'The Ferry' Oil on canvas, signed, 29in x 40in |
The evening after the rain. Landscape with figure 1889
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The Bathers 1890 Oil on panel 6 3/8 x 9" Signed and dated LL |
Silver birches in the autumn Signed lower left 14 1/2" x 10 1/4" Watercolour
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"Stream in am Mountain landscape Oil on canvas. Signed and marked lower left. 59 1/2" x 39 1/2". |
'Study of a Tree in Woodland', Watercolour.
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Figures look out to a stormy sea 49cm x 75cm
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Frank Spenlove Spenlove - A Winter Canal Scene, with Figures and Barges Mixed Media, Signed, 4.75" x 8.25".
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Frank Spenlove-Spenlove, watercolour
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'The Red Mill, Holland watercolour Signed and dated 01, 24.3x45cm |
Fous lakeland landscape with figures Watercolour
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A view of "Ronda, Spain" |
Still life of roses Signed with initials and dated '97' (lower left) Oil on board 25 x 18cm (9 13/16 x 7 1/16in)
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'Study of a Birch Tree in Woodland'
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2 Sketchbook watercolours Holland
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Bruges sketchbook / 20.9.06 |
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Frank Spenlove SPENLOVE Oil on panel |
The Restless Sea, `L`Etude` A study of crashing waves with seagulls floating on the breeze.
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Spenlove (1866-1933) A rocky coastal scene signed oil on board 25 x 33.5cms; 10 x 13 1/4in.
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Attrib; Frank Spenlove, 1864-1933) Haymaking, oil on panel, unsigned, 15 x 33cm (6 x 8.75ins) |
Attrib: Frank Spenlove Spenlove: Habourside, oil on panel, unsigned, 13 x 22cm (5 x 8.75ins)
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Frank Spenlove- Spenlove Attrib: Watercolour on paper laid onto card, 172 x 266 |
A 'questionable' Spenlove Oil on panel 14 x 22cms Bears an old auction lot no 178 and sale date: 5/6/79 |
Winter morning (Téli reggel) Probably Bruges c. 1914 48,5 x 60,5 cm We are grateful to Laszlo Grof for bringing this image to our attention
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Study of Zeebrugge Dunes Oil on panel 15 x 22" Exhibited Royal Institute of Painters after 1917 when the Yellow Door school was registered at Victoria St> Though the work is signed and dated 1911?
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VERSO ZEEBRUGGE DUNES: |
List of known Frank Spenlove works (with no illustration) yet discovered. Nos . 94
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This is an ongoing catalogue project: Please contact us if you own or know of a painting by Frank Spenlove-Spenlove that is not included in this catalogue.
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Golden Grain 1884. #1033 Forbidden Fruit 1884 66 th EXHIBITION Royal Institute of Painters in Water Colours #404
The Portal, Belgium c.1923
Provenance
BLUE AND GOLD: the dunes of- Flanders Exh: #91 Royal Academy of Arts exhibition 1910. Oil on Canvas
CHARITY Oil on Canvas Exh; #105, ROYAL ACADEMY OF ARTS IN LONDON, 1911
BLUE MISTS, Andalusia Oil on Canvas Exh; #481 ROYAL ACADEMY OF ARTS IN LONDON, 1911
A Message of Spring Oil on Canvas Exh #362 ROYAL ACADEMY OF ARTS IN LONDON 1915 - War Relief Exhibition in aid of the Red Cross and St. John Ambulance Society.
Fog, Murk and Grime. November on the work o'day Thames Oil on Canvas Exh #391 ROYAL ACADEMY OF ARTS IN LONDON 1918 - War and Peace Exhibition.
For those in Peril. On the coast of Flanders. Exh #407 ROYAL ACADEMY OF ARTS IN LONDON 1918 - War and Peace Exhibition.
Rocky cove with fisherman's cottage
Figure herding sheep into a barn - Oil on Canvas
A port at twilight - Oil on Canvas
Les bords de la Tamise à Cheyne-Walu - Oil on Canvas An autumn afternoon 1887 - Oil on Canvas
Quiet Moments Morning, a pastoral. Signed and dated
Landscape with cows grazing Oil on Canvas
Figures on a quayside Portrait of young boy wearing white costume, half length The farm road to Picardy
Her love had gone a sailing 1891 "very agree- able in its greens and greys; and a bright and cleverly composed little bit of seaside idyll." The Thames near Maidenhead 51 x 76 cm (20,1 x 29,9 in)
The water meadow Christie's sale: June 5, 1914. #395
The Grey Farm 1908 Exh Manchester 1908 New Gallery (Rothschild Collection Paris)
Chant of the golden hour 1897 ? Water Colour RBA Exh. Sorrow: 1908 Exh Aberdeen Artists Soc The Gondoliers ( A Venetian Story) 1901 Exh Aberdeen Artists Society
The Haven under the Rill (Coast of Kintyre) 1898 Exh RSBA
Murk of the morning 1900 RBA Exhibition A Hillside Pasture 1908 Exh Manchester
Grey Dawn (Old Cordoba Spain) 1908 Exh Manchester July 1908 Within - 1907 Exh Bristol 1907 Without - A winters tale Exh 1909 Manchester #78 Flowers in the fields of Arran NB 1898 Acq Bristol Fine arts academy 1899
RBA Exhibition 1899 Vestibule of numerous miniature piuctures of British and Continental scenery
When skies are blue and winds are fair 1906 Exh Feb 1907 Southport art gallery
The Lone Mill 1909 Exh Aberdeen 1909
Seville Orange Grove 1902 Exh New Gallery
A Soliloquy of Night 1899 RBA Exh The morning post described it so: "The landscape is olive- black near at hand, and of a dark blue in the distance."
Love's Herald of Spring 1898 Mentioned in Lloyd's Weekly Newspaper London, England RBA 1898 "brings delicately before us the orchard, with its white blossoms, and, above it, the luminous..."London Evening Standard London, England Lost Blessings 1894 RBA Gathering pilgrims paying homage and devotiions at a shrine. London Daily News London, England 2 Apr 1894 Landscape with figures and sheep Bukowski Stockholm 97
Whispering Daylight Shown at the Royal Society of British Artists, Has been bought at a handsome price by Mr. Read, a Glasgow art collector .
Les derniers reflets. L'Exposition internationale de Bruxelles. Beaux-arts 1897 # 142. Light of the West Listed in "Modern and Pictorial Art" ( Its teachings and philosophy)
The pool and idyl
Watercolour on paper mounted on card (Roberson's Aquarelle Tablet), depicting a river landscape with castle on the horizon, 183 x 270mm (7.2 x 10.6ins) Sold at Dominic Winter Auctions 06 Oct 2016. NO Image
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Fishermen's Wives, Belgian Coast Signed and dated 1915, bears a typed label on the backboard Watercolour heightened with white and gum Arabic 37 x 51cm
PREPARING CUT FLOWERS Signed with initials and inscribed "sketch Alkmaar" (Holland) Watercolour 35,5 by 25cm
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Clovelly Harbour from the east
A Sunny Afternoon Signed "Frank Spenlove Spenlove" lower center Oil on canvas Study of tree, 1920 Signed & dated
Signed.75x50 oil on canvas
Village square with figures Signed, oil on board, 12.5 x 20.5cm
Still life with bowl of flowers. Oil on canvas, 20in x 24in, inscribed verso
Mountainous lakeland landscape with figure Signed verso, 11x19.7cm
Heathland, Landscape with Birch Trees. Signed 'Frank Spenlove-Spenlove'; Watercolour, 10 x 7ins 25.4 x 17. 8cm
The Groote, Diest, Belgium, 1909 Oil/panel 9x5 inches (22x13 cm) signed & dated 18.9.-09.
'Morning', a female goatherd, in an extensive landscape Signed and dated '99 Bears Royal Institute label verso. 30 x 50ins. Oil Painting
A Rocky Cove with Fisherman's Cottage Oil on canvas; signed lower right 15.5in x 23.5in - 39 x 60cm. Waterfall in heathland
A river landscape with a Windmill and farm- buildings Signed and dated, 'Frank Spenlove-Spenlove '01' Watercolour heightened with white, 9.5 x 17.5in Coastal meadow
L’etude, cattle grazing The Upland Road 1908
Rural landscape with cattle grazing under cloudy summer sky A RIVER SCENE
with all kind wishes on the 18th July 1905 from Frank Spenlove Spenlove' Oil on board
The Shepherdess Signed and dated lower right Frank Spenlove-Spenlove 02 Sunlight and Shadow Newmarket Art Gallery
The garden of Allah Dunedin New Zealand art gallery
Corner House - Malines ( Holland) 1921 Alt: The Corner House ( A bit of old Holland) Bristol Corporation
Old Belgium Royal Collection
Falling Leaves -Belgium + Windsor Meadows Royal Collection
As they watch by the shore - Belgian Fishwives Fishermens Wives Tempera Doncaster Art gallery
Bright and breezy Suffolk day 1897 Alt: Suffolk Common Royal Soc British Artists
Suffolk Common Morning 1897 Exh Royal Soc Brit Artists
Avenues cold 1897 Exh feb 1898 Leeds Art Exhibition #538 A winter study 1893 or 4 Watercolour Exh Water colour society of Ireland March 1894 Underhill 1907 Discussed in Yorkshire post 12.02.08 Spring Blossoms 1900 Exh Worcester Victoria Institute Sept.1900 On the north Holland canal 1898
The daylight dies 1899 Exh Bristol November
The Passing Storm: Scheveningen 1895 RBA Exh. A spacious sea-coast picture On the Sands at Scheveningen 1893 RBA Exh (224) Summer Clouds 1893 RBA Exh
An Autumn Harmony 1893 3 works: RBA 1893 Morning Post London, England 24 Mar 1893 Evening grey - Landscape with trees Watercolour 1931 Height: 14.8215 in, Width: 21.0625 in The Twilight Hour 1927 Exhibitied at the Royal British Colonial Society of Artists Adelaide " A fascinating scene in a Berkshire Lane" 'The News Adelaide 27.10.27
The Lone Mill— Moonlight on the Belgian Sand Dunes Exh: # 200 - ROYAL BRITISH COLONIAL SOCIETY OF ARTISTS Galleries of the Art Association, Montreal, from Nov. 9th to Dec. 4th, 1909
Mentioned in (6. The art treasures of London. At Autumns Close
RBA Exh 1906
Gouache displayed at the annual summer exhibition at Doncaster Museum in 1921 ( Purchased by Paris Municipal Council – 1909 )
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Clubs: Arts, London Sketching Club, United Arts, Chelsea Arts
Frank Spenlove-Spenlove exhibited many of his fine works of art in his career including at the following venues;
Paris Salon 1901 - 6 ~ Gold medal winner- Medaille de troisiemme classe. Royal British Colonial Society of Artists British Pavillion, Venice Exhibition 1910 ~ 1914 ~ 1922
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Bibliography:
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© David Freeman: 2015
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Key: Frank Spenlove-Spenlove, Frank Spenlove, Frank Spenlove-Spenlove R.A., Franck Spenlove, Franck Spenlove-Spenlove, John Francis Spenlove, John Spenlove, John Francis Spenlove-Spenlove, Biography, Catalogue Raissone, Images, artist, landscape, portrait, Royal Society of British Artists, RA. complete works, complete works of frank spenlove, paintings by Frank Spenlove, Oil paintings, watercolours, watercolors, Frank Spenlove-Spenlove RA. Complete works of art.
Frank Spenlove-Spenlove, Frank Spenlove, Frank Spenlove-Spenlove R.A, artist, landscape, portrait, Royal Society of British Artists, RA. complete works, complete works of frank spenlove, paintings by Frank Speenlove, Oil paintings, watercolours, watercolors, biography, drawings, |