Discoveries
JOHN WHITE OF TRELOGAS (1631- 1700)  
JOHN WHITE OF TRELOGAS (1631- 1700)

This unsigned portrait has revealed an extraordinary series of revelations.
TRELOGAS is as an old (listed) building at Cowlands near the river Fal outside Truro.
The Whites had a house in Truro and owned very extensive properties in the area- it was a surprise to discover that they even owned the land on which the Lander Gallery is built.
John White (1614- 1685) left a large fortune and among his various charitable gifts was a detailed bequest to the poor of Truro. This also involved the preaching of a sermon in Truro on September 2nd annually- for ever. The preacher was to be rewarded with twenty shillings and the clerk with three shillings and sixpence. This charity continued to operate for centuries but in recent years had been all but forgotten. As a result of the discovery of the portrait, the Dean of Truro once more preached the requisite sermon in the old Parish Church part of Truro Cathedral and was paid twenty shillings on September 2nd 2016. The town clerk received his three shillings and sixpence. The charity has also been revived with donations from the public and will once more be named as it assists young apprentices as required by John White.
 
CARLYON FAMILY PORTRAITS  
CARLYON FAMILY PORTRAITS

Brought back to Cornwall are two unique historic portraits of members of the Carlyon family of Tregrehan.
Each shows a THOMAS CARLYON.
The earlier is of considerable importance as research by the Lander gallery has established that the artist is JOHN RILEY (1646- 1691) who was court painter to William and Mary and also painted kings Charles ll and James ll as well as familiar figures such as Samuel Pepys.

The Lander Gallery is proud to offer for sale these two historic Carlyon treasures.
 
SUMMER, LAMORNA but whereabouts?  
SUMMER, LAMORNA but whereabouts?

This characteristic rural scene by John Noble Barlow is inscribed on the back with the title SUMMER, LAMORNA.
Barlow frequently painted in the Lamorna Valley; numerous canvases capture the magical light and beauty of that steeply sloping valley.
This current painting has caused discussion as it shows a wide, level open space which does not seem to correspond to the Lamorna geography.
A visitor to the Lander Gallery has identified the location as being indeed in the Lamorna Valley, but a little away from the steep narrow main road. Having been used for public events it has become known as the GALA FIELD.
 
EDITH DUNN- TRURO ARTIST  
EDITH DUNN- TRURO ARTIST

The Lander Gallery in Truro has discovered a painting by an important artist from Victorian Truro.
EDITH DUNN (born 1841) was one of the most successful women to emerge from Truro in the 19th century, though few people know about her now. She grew up in Pydar Street, where her father was a tea merchant. They were remarkably talented children: Edith’s sister became a Professor of Music and her brother Henry Treffry Dunn earned his place in history as the man who helped Dante Gabriel Rosetti paint so many Pre Raphaelite masterpieces.
When Edith was young and learning to paint, Cornwall was just beginning to attract artists and she was able to meet the skilled professionals who were discovering St Ives for the first time. When she married fellow artist Thomas Oliver Hume they moved to London and then Petersfield but she returned to Cornwall regularly and there are Cornish titles among the many works she exhibited. She also travelled to Europe and many of her scenes suggest a Dutch influence.
She painted warm sunny outdoor scenes which could be quite sentimental in the Victorian taste- and were very popular. Well over a hundred were shown in important galleries including Glasgow Institute Of Fine Arts, the Royal Society of Artists at Birmingham, The Walker at Liverpool, Manchester City Art Gallery and the Royal Scottish Academy. In London she was shown at all the most important galleries- the Fine Art Society, Royal Institute of Oil Painters, Royal Institute of Painters in Watercolours, Royal Society of British Artists and the Royal Academy. This wealth of fine paintings was a tremendous achievement for a Truro girl.
The painting which has been discovered by the Lander Gallery is full of sunshine and warmth, showing a boy playing with a toy boat in the sea. The vessel is made out of his shoe- and on the little sail you can just see he has written DAD. IN the distance real fishing boats sail past.
 
ARNOLD CHRISTIEN,  TRURO ARTIST  
ARNOLD CHRISTIEN, TRURO ARTIST

The Lander Gallery has discovered a painting by Arnold Christien, who was a Truro artist, teaching at the TRURO SCHOOL OF ART.
His existence was known, but his work was lost and forgotten. This current painting shows considerable talent and helps establish the reputation of this significant artisist who was in his way very influential.

Christien was not a Cornishman- he had exhibited four landscapes at an exhibition of local artists at the Merehall Art Gallery, Bolton, in 1905.

By 1911, he was an assistant art master at Truro School , and in the summer term that year he became the senior art master after W.A. Rollason, the former art master, died suddenly during the Easter holidays.

He also taught at The Truro School of Art. This was a separate establishment from Truro School.

With the coming of the Great War he enlisted in 1915 and served with the Duke of Cornwall's Light Infantry and the East Yorkshire Regiment.

He died 30 May 1918 of pneumonia while serving on the Indian Front.

His name is on the Karachi 1914-18 War Memorial in Pakistan as well as the memorial in Truro Methodist Church.

His Truro address was 3 Avondale Road, Truro (taken from a painting)

The discovery of this painting brings him back into public attention and may well lead to the disovery of further works produced in a life tragically cut short by the Great War.

 
CHARLES NAPIER HEMY PORTRAIT  
CHARLES NAPIER HEMY PORTRAIT

The Lander Gallery in Truro unveils a remarkable portrait by Mary Winifred Freeman (1866- 1961), depicting her brother- in- law Charles Napier Hemy, painted in his floating studio in 1892. Her sharply observed grisaille painting displays her accomplished artistic talent and is a fascinating documentary record of the man and his studio aboard the VANDERMEER.
Winifred Freeman was then 26, a Cornish girl who had been studying at Herkomer’s in Bushey, along with so many artists who found their way to Cornwall. Cheerfully eccentric, she wore knickerbockers and smoked cigars, lived for some time at Newlyn and exhibited paintings at the Royal Academy and elsewhere over many years. Her sister Amy married Hemy who had settled in Famouth and was already established as one of ht foremost marine painters of his time
 
PORTRAIT OF A YOUNG LABOURER  
PORTRAIT OF A YOUNG LABOURER

ENGLISH SCHOOL

Oil on canvas
17” x 14”

This sensitive portrait of a young labouring man bears no signature or clue as to the identity of the artist or the sitter.
Rural Naturalism in the last years of the nineteenth century and first of the twentieth concentrated on the of the working classes, previously either neglected or romanticised. In France and Britain there was a new interest in country life which was as remote from the industrial cities as from the salons of those who purchased the paintings. Artists such as Henry LaThangue, and George Clausen showed farm labourers ploughing the fields or tending to their animals. The Newlyn School artists carried this naturalism into the fishing communities.
The artist remains frustratingly unknown. A leading authority on Rural Naturalism suggests that the artist is British and does not show the influence of study in France. He suggests a date in the 1890s. Some see the hand and observation of a woman artist. Marjorie Mostyn has been suggested on the basis of comparison with other work.
The picture is handsomely displayed in a plain gold frame of the correct period.

The Lander Gallery would welcome any informed opinion concerning this striking portrait.

 
JOHN OPIE R.A. : DOUBLE PORTRAIT OF HIS WIFE  
JOHN OPIE R.A. : DOUBLE PORTRAIT OF HIS WIFE

DISCOVERED IN LONDON, ARTIST FORGOTTEN
This fine portrait has traditionally been known as two portraits of one woman- Opie’s beloved wife Amelia Alderson. It dates from the late 1790s or early 1800s (the artist died in 1807).
Amelia’s own cousin was told it was a double portrait so this seems likely.
By the 1950s it was felt that the portrait must show two different people, so perhaps the second figure must be Opie’s sister Elizabeth.
There were two versions of the painting. One was given by Amelia herself to her cousin and is now hanging in the Morning Room at Trerice-in a much deteriorated condition.
This present version was in Cornwall for probably well over a century. It was exhibited in the Festival of Britain Exhibition of Opie’s work at the Royal Cornwall Museum.
It was sold at Sothebys in the 1980s and taken to America. Twenty years later its identity had been forgotten, so by 2007 it was attributed to "Circle of George Romney". It was spotted in a London auction room by Viv Hendra of the Lander Gallery.
Ths painting is now in a private collection in Cornwall, not many miles from the house where it hung for so many years.
 
LOST HENRY SCOTT TUKE PORTRAIT  
LOST HENRY SCOTT TUKE PORTRAIT

AMBROSE ROUFFIGNAC IN NEWLYN
LOST PORTRAIT REDISCOVERED
In the autumn of 1883, Tuke was just twenty five years old, a young artist from Falmouth keen to see Newlyn where so many of his fellow artists were finding their inspiration.
He had been studying in Paris but was brought back to Cornwall by the early death of his brother. Now that he was back in Cornwall he wanted to meet up with Forbes, Langley Wainwright, Edwin Harris and the rest .He was particularly friendly with the Gotches.
He stayed there for three months painting various Newlyn Scenes-in the Newlyn School manner.

He found lodgings in Trewarveneth Street, in the heart of the picturesque fishing port, in a house belonging to Philip Harvey who was a sail maker.
The house had a sail-loft, used to store sails and other equipment. It was a shadowy, atmospheric place. There was a long bench and Tuke noticed interesting effects in the light that shone through a window to the left - it would be a perfect background for a painting.
Ambrose Charles Rouffignac was a thirteen year old lad from a nearby house who used to appear in the sail loft, probably earning money by helping out.
He would make a good model for a picture.
Ambrose was persuaded to sit on the bench, in an entirely natural pose of a boy eating a working person’s picnic dinner .He holds a knife and some food.
Tuke enjoyed conversations with Ambrose-he was fascinated by the boy’s accent-and the boy must have found Tuke intriguing also. Ambrose could talk about his sister Mary and his brothers William and Francis. His father, like most men in Newlyn,
was a fisherman. No doubt Tuke heard how his mother had died the previous May.
Tuke could see the potential in the boy; he told a friend: “If you got so grand to keep a tiger (groom) he would do very well, he is very paintable and has a nice Cornish accent.”
Tuke painted a sensitive portrait of the boy, who sits unselfconsciously on a bench surrounded by sails and ropes. His food has been wrapped in a bright red cloth, whose bright colour catches the attention like a flame in the shadowy dimness of the scene. The light from the left illuminates the boy’s face.
Tuke painted DINNER TIME using the same scene, but in the latter work the boy is at the right hand of the canvas and an equal area to the left shows the bundled sails and equipment.

Tuke left Newlyn that November to live and work in Falmouth and became increasingly known for his portraits of male figures and boating subjects.

Ambrose developed his capability with sails and boats, becoming a master mariner.
In 1895 he married a Newlyn girl called Caroline Bodinnar Trahair.The wedding was in Cardiff. They moved up the hill from Trewarveneth Street to ‘Carn Dhu’ in the village of Paul. They had 5 children.
By the outbreak of the First World War Ambrose Charles Rouffignac was a captain in the Merchant Navy.
In August 1916 he was captain of the SS ANTELOPE. While in the Mediterranean, en route from Marseilles, the ship was stopped by an Austrian submarine. All the crew- which included his own son- were allowed to take to the lifeboats before the ship was sunk by gunfire.

The following year on May 28th 1917, he was on the SS ANTINOE, a defensively armed merchant ship of 2,396 tons. They were 150 miles west of Bishop Rock when the ship was torpedoed without warning and sunk. 21 lives were lost- including Ambrose Rouffignac himself.

His name is listed on Tower Hill Memorial, London, on a headstone in Paul Cemetery and in the Penzance Book of Remembrance. Perhaps the his most enduring monument is this sensitive portrait of a rather cheeky boy eating his dinner in a sale loft, totally at home amidst the equipment which is to shape his future, looking up for a moment with the steady, cheerful confidence which will make him a captain of ships.

Ambrose Charles Rouffignac 1870 – 1917.
 
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