This early 20th-century oil painting by British artist William Arthur Breakspeare RBA RBSA ROI (1855-1914) depicts an upstanding self-assured cavalier with his arms folded.
Breakspeare was a distinguished painter of figures, genre scenes and portraits. Hailing from Birmingham, his cunning observational humour became a trademark characteristic of his finely rendered works. From an early age, young Breakspeare was surrounded by creative endeavour. His father, John Breakspeare, was employed as a ‘japanner’, which involved applying a Japanese-style finish to furniture or metalwork. Undoubtedly, he helped his son to develop a keen eye for detail and hone his draughtsmanship.
During his formal education, he received numerous awards, including at least two national prizes for life studies. These were impressive achievements and indicated his emerging talent for drawing. A work from 1872, ‘Waiting For Her Lover’ demonstrates his advanced handling of posture and colour. It depicts a young continental lady resting her left elbow on a mossy bank at the edge of a wood while gazing wistfully into the yonder. She’s been there for an eternity and her expression speaks of quiet resignation. It’s rendered finely akin to a tale of exalted romance yet carries a sharp wit. The edges are softened, yet the message is direct.
This blending of precise lines, radiant colours and subtle humour underpins many of Breakspeare’s works. His subjects are playful and often appeal on two levels. When he describes courtship, his women are all-knowing rather than subservient. Radiant ladies look towards the viewer with a raised eyebrow, while gentlemen flounder, besotted, and confused. One can imagine such works decorating the windows of high-end London galleries, popular with female buyers.
Perhaps the only males to get off lightly were burly, chest-out, cavaliers, dressed to the nines in sparkling doublets and breeches. He produced various self-portraits dressed in this manner so probably owned the outfits. Although, even his cavaliers carried a certain ‘tongue-in-cheek’ humour. Examine their expressions and you might discover conceit and an inflated ego.
During the late 1870s, he moved to Belgium to study at Charles Verlat's Academy in Antwerp. Verlat was a master - producing exquisitely detailed scenes and Royal commissions. He also spent time in Paris and became influenced by Thomas Couture (1815-1879).
A sociable character, he ultimately settled in London and lived at the famous Mall Studios in Hampstead for many years. He was good friends with Edwin Harris (1855-1906), a fellow ‘Brummie’, and one can imagine the anecdotes extending well into the night.
William Arthur Breakspeare exhibited at the Royal Academy, Royal Scottish Academy and regularly at the Royal Society of Artists in Birmingham where he was a member. He’s represented at the Ashmolean Museum, Manchester Art Gallery, and Russell-Cotes Art Gallery.
Signed in the lower left and held within a gilt frame, which is probably original.
Learn more about William Arthur Breakspeare in our directory.
Medium: Oil on canvas
Overall size: 18” x 25” / 46cm x 63cm
Year of creation: c. 1900
Provenance: Private collection, UK.
Condition: Assessed and approved by our conservator. Cleaned.
Artist’s auction maximum: £26,000 for ‘A Stranger in the Village’, Oil on canvas, Christie’s, Fine Victorian Pictures, Drawings And Watercolours, London, 1995 (lot 376).
Our reference: BRV1832
