Richard Westall Art

Richard Westall, R.A. (1765-1836) Venus signed and dated ‘R. Westall 1794’ (lower right) pencil and watercolour, with white heightening image 11 ⅞ x 15 ¼ in. (30.2 x 38.7 cm.) frame 22 ⅛ x 26 in. (56.3 x 66.1 cm.) Provenance: Private Collection, UK. Venus (1794) was produced during a highly creative and defining period of Richard Westall’s career and artistic development, when from 1790-95 the ambitious young artist was sharing a house at 57 Greek Street, Soho, with his friend Sir Thomas Lawrence, the future President of the Royal Academy. Whilst lodging together, Lawrence became an Associate of the Royal Academy in 1791, Westall the following year, and both were elected full-members in 1794 – the year Lawrence was appointed Painter-in-Ordinary to His Majesty King George III. Westall was to become Queen Victoria’s first Drawing Master, before her ascension to the throne. It was in this very year, 1794 - as the two young artists became Royal Academicians - that the present watercolour was executed, and it is exciting to speculate that Lawrence would have examined and given his thoughts on the work. Highly comparable to The Wallace Collection’s Nymph and cupids (c.1793, cat. P757), acquired by Francis Seymour-Conway (1777-1842), 3rd Marquess of Hertford, (who hung it in his bedroom), the mid-1790s saw Westall exhibiting and returning to similar subject-matter on a number of occasions. Two works with titles that could be applied to the present picture were exhibited at the Royal Academy, in 1794 (no. 341 Nymph and Cupids) and 1795 (no. 620, A Wood–nymph and Cupids). However, a print after the watercolour, engraved by F. Screen, entitles the piece Venus. Westall is regarded as a great virtuoso watercolourist, and Venus is evidence of the young artist’s mastery of the medium. Indeed, it is unusual to find a watercolour of comparable age so well preserved, and retaining such vibrancy - the superb condition providing an insight into his exceptional brushwork and use of colour. Venus languishes luxuriously on her woodland bed, the trunk of a tree resembling a curtain, while three winged putti play beside her, seeming to gesture to someone in the woods. Cupid draws back his bow and aims an arrow of love, perhaps about to pierce the heart of a hunting nobleman, or unsuspecting woodcutter. The striking contrast between the almost luminescent nymph, with the deep, rich, luxuriant forest, gives the glade an alluring sense of mystery – perhaps an allusion to the mysteries of the heart, a pre-occupation with Romanticism, central to the emerging thought of the time. Westall can be classified as one of the great Romantic artists, and even painted Lord Byron’s portrait...

A fine watercolour study depicting a mother embracing her infant child. The artist's accomplished hand captures the fine drapery covery the woman, showing the folds of the material i...

An accomplished watercolour study depicting a woman on her knees in prayer. The piece is signed with Westall's monogram to the lower right. Presented in a part gilt frame. Label vers...

An accomplished watercolour study depicting a women reading a prayer book. The artist captures the woman's elaborate headdress and dress in fine detail. Signed with Westall's monogra...

RICHARD WESTALL, RA (1765-1836) Cupid Sleeping; from a poem of Mrs Robinson - The Duchess of Devonshire Discovers the Sleeping Cupid Watercolour on paper, oval 36 by 44.5 cm., 14 ¼ by 18 in. (frame size 55 by 66 cm., 21 ¾ by 26 in.) Exhibited: London, Royal Academy, 1792, no.448. Richard Westall was bon in Reepham, near Norwich. Initially apprenticed to a London silver engraving he began studying at the Royal Academy Schools from 1785 and exhibited regularly at the Royal Academy between 1784 and 1836. Westall became an Associate member of the Royal Academy in 1792 and a full member in 1794. Westall painted in both oil and watercolour, his works being romantic and neoclassical in style. He contributing to both Boydell’s Shakespeare Gallery and Fuseli’s Milton Gallery and was also a prolific book illustrator of both fiction and poetry including works by Sir Walter Scott and Byron, whose portrait he also painted. For a time he was also art master to the young Princess Victoria. This is probably Westall’s 1792 Royal Academy exhibit (no.448). The subject was inspired by the poem Cupid Sleeping by the poetess-actress Mary Darby Robinson, which had been published in the previous year. The poem was dedicated to Georgiana, Duchess of Devonshire and the picture show the Duchess discovering the sleeping cupid who she then relieves of his bow and arrows. Mrs Robinson was not only the Duchess’s protégée but also the first public mistress of the Prince of Wales. William Nutter’s engraving of Westall’s picture was also dedicated to the Duchess of Devonshire. Close in a woodbine's tangled shade, The blooming god asleep was laid; His brows with mossy roses crown'd; His golden darts lay scatter'd round; To shade his auburn, curled head, A purple canopy was spread, Which gently with the breezes play'd, And shed around a soften'd shade. Upon his downy smiling cheek, Adorned with many a "dimple sleek," Beam'd glowing health and tender blisses, His coral lip...