WILLIAM LIONEL WYLLIE, RA (1851-1931) THE RIVER OF GOLD Bears (strengthened?) signature, bears inscription W L Wyllie/ Hoo Lodge/ Rochester/ No 2 on new lining, oil on canvas 86.5 x 118cm. Exhibited: London, The Royal Academy, 1887, no.1507. Wyllie was elected ARA in 1887. Provenance: Beaconsfield, David Messum, 1976 * From his large home, Hoo Lodge, just above the Medway, Wyllie enjoyed observing the relentless business of the vessels on the river below. In his wish to observe them as closely as possible, Wyllie navigated the Medway and the Thames in his own small boat, Ladybird, and produced his career-defining masterpiece, `Toil, glitter, grime and wealth on a flowing tide` in 1883. Encouraged by its immediate approval and eager purchase by the Chantrey Bequest, Wyllie focused upon industrial river scenes for much of the rest of the 1880's. His training in illustration (he worked for the Graphic from the early 1870's) and his effortless draughtsmanship steered Wyllie more naturally towards the energetic production of watercolours and etchings. Wyllie's essays in oil were apparently more technically demanding for him and he would work in small sections upon a canvas that could be scraped off if judged unsatisfactory. Harry Barnett in The Magazine of Art noted that "[his] oils were inclined to be leathery in tone and texture and heavy in colour" but by the mid-1880's Wyllie was working less laboriously in the medium and Barnett praised his "originality of view" and "manly individuality of method". In this impressive panorama, evidently painted from studies made `on the water`, Wyllie paints a scene of great activity offset by the calming and serene light of eventide. His skill at painting the subtle surge of a tidal river is equally impressive. Barnett again, writing in 1884: "[Wyllie] is in the front rank of English painters of sky and water, he has scarcely a rival as an exponent of the fact and wonder of our glorious Thames.." Compare with , a similar subject in etched line.
WILLIAM LIONEL WYLLIE, RA (1851-1931) THE RIVER OF GOLD Bears (strengthened?) signature, bears inscription W L Wyllie/ Hoo Lodge/ Rochester/ No 2 on new lining, oil on canvas 86.5 x 118cm. Exhibited: London, The Royal Academy, 1887, no.1507. Wyllie was elected ARA in 1887. Provenance: Beaconsfield, David Messum, 1976 * From his large home, Hoo Lodge, just above the Medway, Wyllie enjoyed observing the relentless business of the vessels on the river below. In his wish to observe them as closely as possible, Wyllie navigated the Medway and the Thames in his own small boat, Ladybird, and produced his career-defining masterpiece, `Toil, glitter, grime and wealth on a flowing tide` in 1883. Encouraged by its immediate approval and eager purchase by the Chantrey Bequest, Wyllie focused upon industrial river scenes for much of the rest of the 1880's. His training in illustration (he worked for the Graphic from the early 1870's) and his effortless draughtsmanship steered Wyllie more naturally towards the energetic production of watercolours and etchings. Wyllie's essays in oil were apparently more technically demanding for him and he would work in small sections upon a canvas that could be scraped off if judged unsatisfactory. Harry Barnett in The Magazine of Art noted that "[his] oils were inclined to be leathery in tone and texture and heavy in colour" but by the mid-1880's Wyllie was working less laboriously in the medium and Barnett praised his "originality of view" and "manly individuality of method". In this impressive panorama, evidently painted from studies made `on the water`, Wyllie paints a scene of great activity offset by the calming and serene light of eventide. His skill at painting the subtle surge of a tidal river is equally impressive. Barnett again, writing in 1884: "[Wyllie] is in the front rank of English painters of sky and water, he has scarcely a rival as an exponent of the fact and wonder of our glorious Thames.." Compare with , a similar subject in etched line.
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