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Walter Goodman (11 May 183820 August 1912) was a British painter, illustrator and author.

The son of British portrait painter Julia Salaman (1812–1906) and Londonmarker linen draper and town councillor, Louis Goodman (1811–1876), he studied with J. M. Leigh and at the Royal Academymarker in Londonmarker, where he was admitted as a student in 1851. Recent research has unearthed details of nearly one hundred works by Goodman. Unfortunately the present whereabouts of most these are unknown, notable exceptions being The Printseller's Window (c.1882), acquired by the Memorial Art Gallery of the University of Rochestermarker in 1998, portraits of actresses Mary Anne Keeley (also known as Mrs. Keeley At Fourscore) and Fanny Stirling (1885), both in the collection of London's Garrick Club, A Kitchen Cabinet (1882) in a private collection in USAmarker, and a Cuban scene, Home of the Bamboo, in a private collection in Swedenmarker. Several sketches, paintings and water colours, are still in the possession of Walter Goodman's descendants.

Early work

One of Goodman's earliest recorded works is his depiction of the 1858 trial of Dr Simon Bernard over the attempted assassination of Napoleon III. The painting hung in the Tavistock Squaremarker home of Goodman's uncle, Sir John Simon (1818–1897), who worked on the trial as Edwin James' junior. The same year The Liverpool Academy exhibited Doctoring The Cane, which was then exhibited the following year by The British Institution on Pall Mallmarker in Londonmarker. The British Institution also exhibited Bible Stories in 1861 .

In 1861 Goodman's painting of the Interior of The Cathedral of San Lorenzomarker, Genoamarker was exhibited at the Royal Scottish Academy .

In 1862 The Liverpoolmarker Society of Fine Arts exhibited Il Monte della Croce, San Miniato, Florencemarker and Interior of The Cathedral of San Lorenzo, Genoa).

A publication of 1859 refers to Goodman as a scene painter and goes on to describe Goodman's (and various siblings') appearance in an amateur play staged at the Baker Streetmarker, London home of another uncle, the composer Charles Kensington Salaman (1814–1901). The production received glowing reviews . A somewhat comical flyer from the same year, of a production at the Goodman family home at Mabledon Place in London, describes Goodman as a hammerteur artist (alluding to the fact that he also constructed the scenery).

Travel

Beginning in 1860 Goodman undertook extensive travel to Francemarker, Belgiummarker, Germanymarker, Switzerlandmarker, Italymarker, and Spainmarker . He spent almost three years in Florence, beginning in 1861, refining his skills by copying Old Master paintings at the Uffizimarker and Pittimarker palaces. There he met fellow artist, Joaquín Cuadras, whom he painted several times.

One of Goodman's favourite destinations was Spain - he was fluent in Spanish. He travelled with Cuadras to Barcelonamarker in 1862, where he spent almost a year, before returning alone to Englandmarker and, later, Scotlandmarker. In Edinburghmarker, he resided for a short time during 1864 with his journalist brother, Edward, then an assistant to Edinburgh Courant publisher, James Hannay, whom he painted (exhibited at the Royal Scottish Academy in 1864 ), as well as author David Smith. Another work, entitled Head was also exhibited at the Royal Scottish Academy the same year .

In 1864, now rejoined by Cuadras, Goodman travelled to Romemarker and then on to Saint-Nazairemarker in France where they set sail on a French steamer to the West Indiesmarker, arriving in Santiagomarker, Cubamarker on May 9 1864. Most of Goodman's time in the West Indiesmarker was spent in Santiagomarker and Havanamarker, Cuba, working as an artist and journalist and painting theatrical sets. He also appeared in at least one stage production, putting his fluency in Spanish to good use. Goodman and Cuadras were imprisoned for a short time in the Morro Castle in Santiagomarker. During his time in Cuba, Goodman contributed articles and letters to the New York Herald, using the nom de plume el Caballero Inglese. In this capacity he travelled to Port Royalmarker in Jamaicamarker in August 1868 in connection with the laying of the undersea cable between Cuba and Jamaica. Eventually civil unrest forced him to flee to New Yorkmarker in January 1870 on board the American steamer Morro Castle.

He spent only a few months in the United Statesmarker before returning to London in the first half of 1870 when he painted portraits of Sir Thomas Brassey MP, his wife, Lady Anna Brassey, their children, and Mr. Brassey senior. The Brassey portraits were hung at the Brassey estate at Normanhurst Court in Sussex.

In 1871 he exhibited a portrait of Evelyn, Daughter of G.J.Reid, Esq. of Tunbridge Wellsmarker at the Royal Academymarker and his portrait of his uncle, Serjeant Simon M.P. was displayed at the Royal Oak Hotel in Simon's constituency of Dewsburymarker, Yorkshiremarker. Photographic evidence exists of three portraits from 1871-1872, entitled Master Nicholls, Mr N Birkenruth, and Mrs N Birkenruth.

In 1872 Goodman contributed a piece entitled A Cigarette Manufacturer At Havana to the London Society magazine. In 1873 he published an account of his years in Cuba, entitled The Pearl of the Antilles, or An Artist in Cuba, to favorable reviews (reprinted in Cubamarker in 1986). The book was based upon a series of humorous sketches first published in Charles Dickens' periodical All the Year Round. The same year he contributed some sketches of Santiagomarker to The Graphic magazine.


Prolific period

The February, 1874 issue of Cassell's Magazine included two articles by Goodman titled "Saved From a Wreck" and "Cuba Without a Master." In April of that year he wrote another article for the same magazine called "A Holiday in Cuba", which he illustrated with a pretty Cuban girl looking through a barred window. That winter also saw the exhibition of oil paintings titled Young Castile and Voices of the Sea at London's Dudley and French Galleries, respectively. In 1876 he exhibited a drawing, The Language of the Face at The Black and White Exhibition at The Dudley Gallery and Morning Work at the London Exhibition of Fine Arts. The latter work was probably a trompe l'oeil painting, as it is described in a publication of the day as a housemaid is cleaning a window, which the spectator is meant to be looking through. The Mail describes it as a pretty housemaid cleaning a window, and seen through the plate glass, a novel idea cleverly worked out. The painting was sold during the exhibition.

In 1877 two pages of drawings of Russian peasantry by Goodman appeared in the Illustrated London News, as well as an illustration for a Wilkie Collins story, "A Bit for Bob" in the magazine's Christmas Number, entitled "A Little Baggage." Around this time, Goodman moved to Bradfordmarker, Yorkshiremarker and lived with his sister, Alice for several years. Goodman contributed the same drawing to two books in 1879 - God is taking care of me to the Ellen Haile children's book Three Brown Boys and other Happy Children (the other main contributing artist was the renowned children's book illustrator Kate Greenaway) and Floy's first flight to The One Syllable Book. The same drawing appeared again, in 1885, as Obedient Bessie in a children's book called Little Ramblers and Other Stories. In 1877 he exhibited A Factory Girl depicting a northern Englandmarker factory girl returning home from work, at The Dudley Gallery.

That same year Goodman scored two coups involving the new Chinese diplomatic missions to Europe. Liu Hsi-Hung, Chinese minister to the Court of Berlinmarker, commissioned him to copy the National Gallerymarker's Madonna in Prayer by Sassoferrato, reputedly the first commission given by a Chinese to an English artist. The painting was subsequently dispatched to Germanymarker. He also painted His Excellency Kuo Ta-Jen (Kuo Sung-Tao), Chinese Minister to the Court of St. James (China's first such ambassador), initially exhibited in 1878 at the Royal Academymarker and later at the Walker Art Gallerymarker in Liverpoolmarker.

The same year Goodman sent another full-length portrait of a A Chinese Lady of Rank (the sitter was Kuo Tai-Tai - the wife of Kuo-Ta-Jen) to the Royal Academymarker, after first previewing a preliminary study for Queen Victoria in March 1879 at Windsor Castlemarker. Kuo Tai-Tai also featured in a group portrait by Goodman, together with her young child and child's nurse. This painting was later taken back to China by the ambassador.

Goodman's trip to Windsor might have led to The Queen's son, Prince Leopold, Duke of Albany, sitting for Goodman (The Prince never sat for another artist). His portrait was submitted to the Royal Academymarker in 1881. A court circular from Marlborough Housemarker dated July 28 1884 notes that Goodman submitted the portrait of The Duke of Albany to the Prince and Princess of Wales, from where it was currently displayed at The Guildhallmarker. The painting was purchased sometime between 1881 and 1884 by The National Hospitalmarker in Queen Square, Londonmarker. The hospital has no record of the present whereabouts of the painting.

In the summer of 1883 Goodman sold two oil paintings at J.P. Mendoza's St. James's Gallery at King Street in London - Fresh and Pure (also known as Pure and Undefiled) and Candidate For The Front Row (also known as First at the Gallery Door). Goodman was a member of London's Savage Clubmarker and in 1883 submitted a drawing of the club president, Andrew Halliday, to the club tombola.

In 1884 Goodman offered a water colour, Longing Eyes, for 10 guineas, at the Liverpool Autumn Exhibition and the same year submitted two paintings to the City of London Society of Artists - Idle Dreams and In Possession. The latter work was of the two playing children of the artist and illustrator Harry Furniss.

In a departure from painting portraits, around October 1884 Goodman moved to Chalfordmarker in the Cotswoldsmarker to paint two landscapes of the valley below from the brow of a hill at Cowcombe Woods overlooking the village. He stayed in Chalford for at least five months.

Goodman contributed at least four essays to The Theatre during 1885 and 1886, entitled An English Ballet in Spain, Art Behind the Curtain, An Englishman on the Spanish Stage, and "Box and Cox" in Spanish.

Goodman is also credited with a portrait of the then Duke of Edinburgh (Victoria's second son Alfred). His last Royal Academy submission (1888) was a portrait entitled Mrs. Keeley in her 83rd Year which is recorded as having subsequently found its way to London's bohemian Savage Clubmarker, of which the artist was a member from 1873 to 1894 and where his brother Edward was chairman of the committee. Another Keeley painting, Mrs. Keeley At Fourscore (now housed at the Garrick Club) was exhibited at Institute of Oil Painters and Bond Street's Burlington Gallery in 1885. Goodman was an admirer of Mary Anne Keeley and her acting family, publishing an appreciation in 1895 entitled The Keeleys on the Stage and at Home, which contains engravings of several of his portrait paintings. Goodman's life interest in the theatre culminated in an appearance with Mrs. Keeley in a full-scale production on the stage of the Prince of Wales theatremarker on the night of January 16, 1884. At about the same time he painted the actress, Mrs. Alfred Mellon (née Sarah Woolgar) . Another actress whose portrait Goodman painted was Amy Sedgwick. A year after her death in 1897, her third husband presented the portrait to the Garrick Club, where it remained until 1969 . Other arts-related personalities who were captured by Goodman's brush included Negro Delineator, E. W. Mackney, the dramatist Henry Pettitt and composer Sir George A. MacFarren (who also sat for Goodman's mother Julia).

In 1887 Goodman exhibited three portraits - Mary Anne Keeley, Fanny Stirling (both presumably loaned from The Garrick Club), and Grace Darlingmarker, at the Signor Palladiense Gallery, on Bond Streetmarker in Londonmarker. The Keeley and Stirling portraits were also exhibited in 1887 at Messrs Hennah and Kent's studios in London's Old Kent Roadmarker.

In two consecutive annual exhibitions at the Institute of Oil Painters Goodman exhibited Mr Henry Russell (1889), Mr Lionel Brough (1890), and Kathleen, the latter of which was sold at the exhibition.

The following year his portrait of The Late Mr. Wilkie Collins at the age of 56 was shown at the The Royal Society of British Artists.

In 1890 Goodman contributed at least one painting to an exhibition in New Yorkmarker. The proceeds from the sale of the paintings were to benefit the ailing Irish-born American artist Arthur Lumley (1837–1912).

On February 18 1895 his sketch Fifteen Minutes Grace was performed at The Prince of Wales Club).

The Mr Henry Russell portrait was donated to The Savage Club in 1890, and they lent it to the Exhibition of Dramatic and Musical Art at The Grafton Galleries in 1897.

The Printseller's Window

Around 1883 Goodman painted a fascinating trompe l'oeil depiction of the contents of a printseller's window (including the merchant himself, placing a figure in the display). Twelve carte-de-visite photographs are strung across the shop window, along with other photographs depicting artists and critics such as John Ruskin, Mariano Fortuny y Marsal and Augustus Sala.

The Printseller's Window (also known as The Printseller or A Print Seller's Window in The Strand) was displayed at various London galleries, including St. James's Gallery in 1883, the Burlington Gallery in Bond Streetmarker (together with Mrs. Keeley at Fourscore) from August 1885,Earls Courtmarker British and Foreign Art galleries Section, and at Imre Kiralfy's Venicemarker in London exhibition at Olympia in 1892 (where the painting was entitled The Venetian Printseller). The painting was widely reported in the London and provincial newspapers of the day.



This impressive work was also displayed provincially at various locations, including The Walker Art Gallerymarker in Liverpool in 1883. It was offered for sale at the Liverpool Autumn Exhibition the same year, but priced at 315 pounds the painting did not find a buyer, causing the artist to re-exhibit it in 1884 at the Royal Scottish Academy. Other recorded provincial exhibitions which included The Printseller's Window are Folkestone Art Treasures Exhibition (1886) (together with his portrait of Wilkie Collins), Edinburgh Academy of Arts, and Goodman's own studio at 88 Kings Road in Brightonmarker in 1891. The latest recorded date that The Printseller's Window was shown in Britain was at a show entitled 19th Century Society in 1894. The Printseller's Window was acquired by a Connecticutmarker art dealer in 1965, and eventually by the Memorial Art Gallery of the University of Rochestermarker in 1998.

The Printseller's Window is now considered an important example of its genre. The history of the painting and its ownership between the late 1890s and 1965 is unknown, and how it reached the United States is still a mystery.

The Printseller's Window was the subject of an exhibition, Walter Goodman’s The Printseller's Window: Solving A Painter’s Puzzle at the Memorial Art Gallery of the University of Rochester August 14, 2009–November 15, 2009. A catalog of the exhibition has been published.

Family

Walter Goodman was one seven children, amonsgt whom were Edward, the travel writer, author, and sub-editor of The Daily Telegraph, and Miriam, the acclaimed pianist who often accompanied Walter on his musical and dramatic stage outings.

Apart from living overseas for fourteen years, notably in Italy, Spain, Cuba, New York, and with family in Bradford and Edinburgh, Goodman lived with his parents and siblings at numerous London addresses.Around 1888 he moved from Notting Hillmarker, London, to Brighton, where he opened a studio on the premises of The Photographic Company at 88 Kings Road. The Photographic Company was the premises of the husband of his sister Alice - the photographer Edmund Passingham (represented in the National Portrait Gallerymarker). While in Sussex, Goodman acted as the Brighton correspondent for The Sunday Times.

On 10 October 1888 Goodman married Clara Isabel Blackiston(b. 1866), from Ashby de la Zouchmarker, Leicestermarker. They lived first in West Brighton (1888) then in Hove (1891).In 1892 Goodman is reported to be living in West Kensington, London, a necessity no doubt due to his appointment as press director of the International Horticultural Exhibition at Earls Courtmarker, London. In this capacity, Goodman was heavily involved in the staging of Buffalo Bill's Wild West show.

Walter and Clara had a son, Walter Russell in 1889, followed by Joaquin Sedgwick (1891), Reginald Arthur (1893), Julia Constance (1894) and Keeley John (1899).

Goodman probably left his family in Sussex and returned to live in London around 1900. The 1901 UK census lists Clara living as head of the family with the children at Henfieldmarker in Sussex. In 1911 Walter was living with his three eldest sons in Willesdon, London, whilst Clara was living in Chorleywoodmarker, Hertfordshiremarker with their two youngest children.

People I Have Painted

Between 11 February and 1 July 1893 Goodman contributed a weekly essay People I Have Painted to Sala's Journal. Each essay detailed the often humorous circumstances surrounding a particular painting or series of paintings Goodman had created. The subjects of these essays were entitled:

The Emperor Of The French

Around 1859 Goodman was commissioned to produce a series of seven large (six feet by four feet) panoramic views illustrative of the Italian war of 1859, most of which would feature The French Emperor, Napoleon III. Two of these works were to be transparencies, designed to be artificially lit from behind. Goodman recorded that his cleaning lady almost ruined some of these works due to her over-zealousness and his own forgetfulness. The Emperor never sat for Goodman in person - all paintings were executed with help of the many photographs of Napoleon III that were to be found in London at the time. The paintings were intended for a Continental show and were destined to be shipped to Odessamarker. Before this, the series was privately exhibited in the apartment where they had been painted. At the time of writing, in 1893, Goodman had no knowledge of the whereabouts of the seven paintings.

Prince Leopold

In 1881, at Goodman's request, Prince Leopold sat for him at his London studio. Goodman notes that prior to the Prince's visit on February 5 1881, he requested that his cleaning lady make the studio extra tidy as he was expecting a prince. During the sitting the Prince's sister, Princess Louise, Duchess of Argyll, Marchioness of Lorne also paid a visit to Goodman's studio. Prince Leopold was in failing health and further sittings took place in the somewhat warmer surroundings of the Prince's apartments at Windsor Castlemarker. Prince Leopold died in 1884, and in that year the painting was exhibited at the The Guildhallmarker.

His Excellency Kuo Sung Tao

In 1878, Goodman was commissioned by the Chinese Ambassador to Great Britainmarker and Francemarker to paint his portrait. The minister in question's family name was Kuo Sung-Tao, and he held the official title of Kuo Ta-Jen. Goodman writes of the difficulties experienced while attempting to capture his subject's grand attire. The sittings took place at Goodman's home at Notting Hillmarker, Londonmarker, and he notes the wonder and excitement of the local inhabitants at the arrival of the ambassador's carriages and at the exotic occupants delivered to his home. By having his portrait painted, Kou Sung-Tao incurred the wrath and ridicule of his countrymen back home. To such an extent in fact that he returned the portrait to Goodman and requested his money back - which Goodman declined to do. Goodman states that he informed His Excellency if it was against the customs of his country for a mandarin to have his portrait painted, it was not less at variance with the rigid rules of the outer barbarian to return money.

A Chinese Lady Of Rank

The lady in question was one of the three wives of the Chinese Ambassador. Her name was Kuo Tai-Tai. Goodman goes to great lengths to explain her exotic appearance and that of her small child, Ying-Sung. The (eighteen) sittings took place in 1879 at the Chinese Legation at Portland Placemarker, Londonmarker (the present day Chinese Embassy). Also described is a reception held at the embassy at which the Prime Minister of the day, William Gladstone was present. The portrait was a group picture of Kuo Tai-Tai, her child Ying-Sung, and the child's nurse.

Mrs. Keeley At Fourscore

Jack Sheppard After Many Years

In the final essay he contributed to Sala's Journal, Goodman describes a 17-installment short story about a game of whist that he wrote for The Manchester Courier, entitled Romance of the Rubber.

Later years

Around 1890 Goodman painted a portrait of Brighton resident The Countess of Munster and this was exhibited in his Brighton Studio in 1891 together with The Printseller's Window and the Wilkie Collins portrait. He also exhibited a replica of his Chinese Ambassador portrait here the same year.

Also in 1891, Goodman tried to persuade The Garrick Club to purchase his portraits of Wilkie Collins and Mrs. Alfred Mellon, pledging half the proceeds to a fund to help relieve the financial difficulties of Robert Reece, who was severely ill. Presumably he failed in this effort as the whereabouts of these two paintings are unknown today.

In the late 1890s (probably 1898 ) Goodman was commissioned to travel to Poděbradymarker castle in Bohemia to paint the portrait of Prince Hohenlohe and that of his daughter Elisabeth. According to reports, both works were met with much success.

In 1901 Goodman authored a two-part article in the Magazine of Art entitled "Artists Studios: As They Were and As They Are." In the piece Goodman makes it clear that he was on familiar terms (at least enough so as to have been able to visit a number of their studios first hand) with many of the great painters of the Victorian Age, six of whom are portrayed in The Printseller's Window.

The Jewish Chronicle commissioned Goodman to draw a study of his mother, Julia Goodman on the occasion of her 90th birthday. It appeared in the 7 June 1902 edition of that publication, and in Booklover's Magazine in February of the following year.

In 1906 Goodman exhibited a portrait of his son, Keeley, at the Institute of Oil Painters in London. At the Exhibition of Jewish Art and Antiquities at the Whitechapel Art Gallerymarker, London in late 1906 he exhibited three works - The Late Sampson Lucas, Mrs Keeley in her 83rd year, and The Cuban Mulatto Girl.

From 1906 Goodman suffered from severe ill health, and was unable to continue painting. By 1908 he had fallen on hard times and in desperation wrote to the Jewish Chronicle asking for donations and financial assistance, giving his wife's Henfield address - even though by this time he had long returned to London was being card for by his three eldest sons at his final address in Priory Park Road, Willesden, London. However, in December the same year The Strand Magazine provided some welcome financial assistance by publishing his essay Drapery Figures.

Walter Goodman died from cancer on 20 August, 1912 at a nursing home in West Hampsteadmarker. His funeral was held on 24 August and he is buried in Hampstead Cemeterymarker, North London. A small obituary appeared in the 30 August 1912 edition of The Jewish Chronicle and a more extensive obituary appeared in an unidentified newspaper, listing his notable achievements. These are the last known references to Walter Goodman in the public record.

Paintings and drawings

Title or subject Date Exhibited Present whereabouts
Doctoring the Cane Liverpool Academy (1858)British Institution, London (1859) Unknown
Trail of Dr Simon Bernard in the assassination attempt of Napoleon III Sir John Simon's house,Tavistock Square, London (1858) Unknown
Battle of Montebello, with 84th Regiment, headed by Colonel Cambuelsand General Forey, attacking the Austrians c. 1859 Private exhibition at the apartment of the artist (c.1859). Soon after shipped to an exhibition in Odessa in present-day Ukraine. Unknown
Attack and capture of the Bridge of Magenta by General Vinoy c. 1859 Private exhibition at the apartment of the artist (c.1859). Soon after shipped to an exhibition in Odessa in present-day Ukraine. Unknown
The Emperor of The French at Solferino c. 1859 Private exhibition at the apartment of the artist (c.1859). Soon after shipped to an exhibition in Odessa in present-day Ukraine. Unknown
Bivouac of French Troops at Alessandria c. 1859 Private exhibition at the apartment of the artist (c.1859). Soon after shipped to an exhibition in Odessa in present-day Ukraine. Unknown
The Emperor Visiting the Wounded in Hospital c. 1859 Private exhibition at the apartment of the artist (c.1859). Soon after shipped to an exhibition in Odessa in present-day Ukraine. Unknown
Reception of he Emperor and Count Cavour at Genoa c. 1859 Private exhibition at the apartment of the artist (c.1859). Soon after shipped to an exhibition in Odessa in present-day Ukraine. Unknown
Peace Rejoicings at Milan, with the Cathedral brilliantly illuminated c. 1859 Private exhibition at the apartment of the artist (c.1859). Soon after shipped to an exhibition in Odessa in present-day Ukraine. Unknown
Bible Stories British Institution, London (1861) Unknown
Interior of The Cathedral of San Lorenzo, Genoa The Royal Scottish Academy (1861)The Liverpool Society of Fine Arts (1862) Unknown
Il Monte della Croce, San Miniato, Florence The Liverpool Society of Fine Arts (1862) Unknown
Pancho Roblejo 1864 Unknown
Joaquin Cuadras 1864 Unknown
Don Baltasar Torrecillas (24 distemper sketches of the performer in different costumes) 1864 Unknown
The late daughter of Don Magin of Santiago, Cuba 1864–1869 Cuba Unknown
The late Don Pancho Aguerro y Matos of Santiago, Cuba 1864–1869 Cuba Unknown
Sabrina de la Torre 1868 Cuba Unknown, but a photograph exists in a private collection in England
James Hannay, Esq. Royal Scottish Academy (1864) Unknown
David Smith 1864 Unknown
Head Royal Scottish Academy (1864) Unknown
Sir Thomas Brassey (crayon) 1870 Normanhurst Court, Sussex (1870-?) Unknown
Lady Anna Brassey (crayon) 1870 Normanhurst Court, Sussex (1870-?) Unknown
The Brassey children (probably more than one portrait) 1870 Normanhurst Court, Sussex (1870-?) Unknown
Thomas Brassey Esq. senior 1870 Normanhurst Court, Sussex (1870-?) Unknown
Mr Serjeant Simon MP Royal Oak Hotel, Dewsbury, Yorkshire (1871) Unknown
Evelyn, daughter of G. J. Reid esq. Royal Academy (1871) Unknown
Master Nicholls 1872 Unknown, but a photograph exists in a private collection in England
Mr. N Birkenruth 1873 Unknown, but a photograph exists in a private collection in England
Mrs. N Birkenruth 1873 Unknown, but a photograph exists in a private collection in England
Young Castile Winter Exhibition of Cabinet Pictures in Oil, The Dudley Gallery (1874) Unknown
Voices Of The Sea Exhibition of Pictures by British and Foreign Artists, The French Gallery in Pall Mall (1874) Unknown
Morning Work (also known as Cleaning Windows) London Exhibition of Fine Arts (1876) Unknown
The Language Of The Face (drawing) The Dudley Gallery (1876) Unknown
A Factory Girl The Dudley Gallery (1878) Unknown
His Excellency Kuo Ta-Jen Royal Academy (1878)The Walker Art Gallery (1879) Unknown, but a photograph exists in a private collection in England
Madonna in Prayer (Commissioned copy of Sassofferato's work) Chinese Embassy, London (1878)Berlin, Germany after 1879 Unknown
A Chinese Lady of Rank Windsor Castle (1879)Royal Academy (1879) Unknown, but a photograph exists in a private collection in England
Portrait of a Chinese lady in native attire. (Kuo Tai-Tai - the wife of Kuo-Ta-Jen - with her new son, Ying-Sung, and the child's nurse) 1879 Taken to China by Kuo Ta-Jen soon after it was completed.Unknown
Self-portrait 1880 Walter Goodman’s The Printseller's Window: Solving A Painter’s Puzzle, The Lockhart Gallery of the Memorial Art Gallery of the University of Rochester, New York, USA (2009) Private collection in USA
HRH Prince Leopold Royal Academy (1881)The Guildhall (1884)

Manchester Institution (1884)

Malborough House (1884)

Prince Leopold Wing of The National Hospital in London (1884 - ?)
Unknown
A Kitchen Cabinet 1882 Walter Goodman’s The Printseller's Window: Solving A Painter’s Puzzle, The Lockhart Gallery of the Memorial Art Gallery of the University of Rochester, New York, USA (2009) Private collection in USA
Home of The Bamboo c. 1882 Walter Goodman’s The Printseller's Window: Solving A Painter’s Puzzle, The Lockhart Gallery of the Memorial Art Gallery of the University of Rochester, New York, USA (2009) Private collection in Sweden
The Printseller's Window c. 1882 St. James's Gallery, London (1883)The Walker Art Gallery (1883)

Liverpool Autumn Exhibition (1883)

Royal Scottish Academy (1884)

Burlington Gallery, Bond Street (1884)

Folkestone Art Treasures Exhibition (1886)

Edinburgh Academy of Arts (c. 1886)

Goodman's Studios at 88 Kings Road, Brighton (1891)

British and Foreign Art Galleries Section, Earls Court (1891)

Venice in London Exhibition, Olympia (1891)

19th Century Society Exhibition (1894)

Tillou Gallery, Connecticut, USA (1965)

Newport, Rhode Island, USA (arr. Tillou) (1965)

Alexander Gallery, New York, USA (1969)

Masco Corporation, Taylor, Michigan, USA (1986)

The Art Museum of Western Virginia, Roanoke, Virginia, USA (1986)

The American Spirit: 19th Century Masterpieces from the Masco Collection (1994)

Sotheby's, New York, USA (1998)

Permanent collection of the Memorial Art Gallery of the University of Rochester, New York, USA (1998)

National Gallery of Art, Washington DC, USA (2002-2003)

Walter Goodman’s The Printseller: Solving A Painter’s Puzzle, The Lockhart Gallery of the Memorial Art Gallery of the University of Rochester, New York, USA (2009)
Memorial Art Gallery of the University of Rochester, New York, USA
Fresh and Pure (also known as Pure and Undefiled) St. James's Gallery, London (1883) Unknown
Candidate For The Front Row (also known as First at the Gallery Door) St. James's Gallery, London (1883) Unknown
Andrew Halliday (drawing) 1883 Savage Club, London (1883) Unknown
Idle Dreams City of London Society of Artists (1884) Unknown
In Possession City of London Society of Artists (1884) Unknown
Longing Eyes Liverpool Autumn Exhibition (1884) Private collection in England
Mrs. Alfred Mellon 1884 Goodman's Studios at 88 Kings Road, Brighton (1891) Unknown
Mrs. Keeley at Fourscore 1884 Institute of Oil Painters (1885)Burlington Gallery, Bond Street (1885)

Presented to The Garrick Club (1886)

Signor Palladiense Gallery, London (1887)

Hennah and Kent's Studio, Old Kent Road, London (1887)
The Garrick Club, London
Mrs. Keeley at Fourscore (drawing for Pall Mall Gazette) 1885 Unknown
The Golden Valley (landscape of Chalford valley) 1884-1885 Unknown
The Golden Valley (second landscape of Chalford valley) 1884-1885 Unknown
Mr G. Holloway (drawing) 1884 Unknown
Untitled painting of the 2 year old baby in the stage production My Sweetheart 1886 Sent to California after completion Unknown
Fanny Stirling Presented to The Garrick Club (1886)Signor Palladiense Gallery, London (1887)

Hennah and Kent's Studio, Old Kent Road, London (1887)
The Garrick Club, London
Grace Darling Signor Palladiense Gallery, London (1887) Unknown
Louise Williams c. 1887 Unknown
Mrs. Keeley in her 83rd year(also known as The Academy Keeley) Goodman's Studios at 88 Kings Road, Brighton (1888)

Royal Academy (1888)

The Savage Club (1888 or later)

Exhibition of Jewish Art and Antiquities, The Whitechapel Art Gallery, London (1906)
Unknown
Mr Henry Russell (also known as Henry Russell at 77) Institute of Oil Painters (1889)Presented to The Savage Club (1890)

Exhibition of Dramatic and Musical Art, The Grafton Galleries, London (1897)
Unknown
Amy Sedgwick 1889 Presented to The Garrick Club (1897), deaccessioned in 1965 Unknown
Mr. Lionel Brough Institute of Oil Painters (1889) Unknown
Kathleen Institute of Oil Painters (1889) Unknown
His Excellency Kuo Ta-Jen (replica of original) Goodman's Studios at 88 Kings Road, Brighton (1891) Unknown
Countess of Munster Goodman's Studios at 88 Kings Road, Brighton (1891) Unknown
Untitled children in black and white (drawing) Goodman's Studios at 88 Kings Road, Brighton (1891) Unknown
Untitled children in black and white (second drawing) Goodman's Studios at 88 Kings Road, Brighton (1891) Unknown
Benvenuto Barovier 1891 Unknown
The Late Mr. Wilkie Collins at the age of 56(also known as Wilkie Collins) Folkestone Art Treasures Exhibition (1886)The Royal Society of British Artists (1890)

Goodman's Studios at 88 Kings Road, Brighton (1891)
Unknown
Prince Hohenlohe Late 1890s Poděbrady, Bohemia Unknown
Prince Hohenlohe's daughter, Elisabeth Late 1890s Poděbrady, Bohemia Unknown
Julia Goodman (drawing) 1902 Private collection in England
Young Keeley 1905 Institute of Oil Painters (1906) Private collection in England
The Late Mr. Samson Lucas Exhibition of Jewish Art and Antiquities, The Whitechapel Art Gallery, London (1906) Unknown
The Cuban Mulatto Girl Exhibition of Jewish Art and Antiquities, The Whitechapel Art Gallery, London (1906) Unknown
Mary Anne Keeley Private collection in England
Untitled portrait of a young womanpossibly entitled Beguiling Eyes Private collection in England
Untitled portrait of a young womanin period clothes with ruff Private collection in England
Untitled portrait of a young boy Private collection in England
Untitled portrait of a young girl Private collection in England
Alfred, Duke of Edinburgh Unknown
E. W. Mackney Unknown
Benvenuto Salviati Unknown
Don Baltasar Torrecillas Unknown
Henry Pettit Unknown
Sir Thomas Sowler Unknown
Lady Sowler Unknown
Miss Mabel Sowler Unknown
George Macfarren Unknown
Julia Goodman Unknown
Louise Keeley(Mrs. Montague Williams, Q.C.) Unknown


Dates specified are the earliest recorded date the work was displayed, or in some cases the year it was completed.

Books

Walter Goodman wrote these books:
  • Pearl of The Antilles or An Artist in Cuba, London: H.S.King & Co. 1873 (reprinted in 1986 as Un Artista en Cuba. Letras Cubanas (Col. Testimonio). La Habana.) Available here at gutenberg.org
  • The Keeleys On Stage and At Home, London: Bentley and Son 1895


Other publications

Walter Goodman is known to have contributed to many books, periodicals, and publications. These have so far been identified:
  • A Cigarette Manufacturer At Havana, London Society (1872)
  • Sketches of Santiago, The Graphic (1873)
  • Various sketches and stories, All The Year Round, (1873)
  • Saved From a Wreck, Cassell's Magazine (1874)
  • Cuba Without a Master, Cassell's Magazine (1874)
  • A Holiday in Cuba, Cassell's Magazine (1874)
  • Tomasso Salvino (cover engraving), Pictorial World (1875)
  • The Pictorial World (cover drawing The Language of the Face) (1876)
  • Russian Peasantry, Illustrated London News (1877)
  • A Little Baggage, Illustrated London News (1877)
  • God is taking care of me, Three Brown Boys and Other Happy Children - Ellen Haile (1879)
  • Floy's first flight, The One Syllable Book - Emma E. Brown (1879)
  • Mrs. Keeley at Fourscore (drawing) Pall Mall Gazette, July 29 1885
  • Obedient Bessie, Little Ramblers and Other Stories. By favorite American authors (Cassell) (1885)
  • An English Ballet in Spain, The Theatre (1885)
  • Art Behind the Curtain, The Theatre (1886)
  • An Englishman on the Spanish Stage, The Theatre (1886)
  • Box and Cox in Spanish, The Theatre (1886)
  • Untitled drawing of children Cassell's Magazine (c. 1888)
  • People I Have Painted, Sala's Journal (1893)
  • Artists Studios: As They Were and As They Are, Magazine of Art (1901)
  • Julia Goodman (drawing), Jewish Chronicle, June 7 1902
  • Julia Goodman (drawing), Booklover's Magazine, February 1903
  • Drapery Figures The Strand Magazine (1908)
  • Romance of the Rubber, The Manchester Courier (date unknown)


Notes

  1. Jewish Chronicle July 2nd 1897. Page 21
  2. R v. Bernard [1858] 8 St. Tr. N.S. 887, (1858) 1 F&F 240
  3. The Liverpool Academy and Other Exhibitions of Contemporary Art in Liverpool 1774 - 1867. Edward Morris & Emma Roberts. Liverpool University Press and National Museums and Galleries on Merseyside (1998). Page 262.
  4. Wood, Christopher. Victorian painters. 3rd ed. Woodbridge: Antique Collectors' Club, 1995. Pressmark: Ref 759.2 WOO
  5. Baile de Laperrière, Charles, ed. The Royal Scottish Academy exhibitors 1826–1990. Calne: Hilmarton Manor, 1991. Pressmark: Ref 709.2GB
  6. Jewish Chronicle May 13th 1859. Page 8
  7. Dr. Hermann Alex. Müller, Verlag des Bibliographischen Instituts, Leipzig, 1882
  8. The Theatre November 1st 1885. Page 241
  9. Jewish Chronicle April 21st 1893. Page 17
  10. Jewish Chronicle October 17th 1873. Page 483
  11. Pearl of The Antilles or An Artist in Cuba, London: H.S.King & Co.1871 Chapter 1
  12. The Theatre January 1st 1886
  13. Pearl of The Antilles or An Artist in Cuba, London: H.S.King & Co.1871 Chapter 8
  14. The Jamaica Guardian August 7th 1868
  15. Jewish Chronicle February 5th 1875. Page 18
  16. Pearl of The Antilles or An Artist in Cuba, London: H.S.King & Co.1871 Chapter 30
  17. Goodman's own notes in a scrapbook covering this period
  18. The Herald and Observer September 24th 1870
  19. Jewish Chronicle November 24th 1871. Page 14
  20. Yorkshire Post November 13th 1871
  21. Literature April 6th 1874
  22. Court Circular October 31st 1874
  23. The Mail April 29th 1876
  24. Jewish Chronicle June 16th 1876. Page 170
  25. Daily Telegraph May 26th 1877
  26. Leeds Daily News December 28th 1877
  27. Pictorial World December 8th 1877
  28. Jewish Chronicle December 7th 1877. Page 6
  29. Daily Telegraph January 17, 1878
  30. Daily Telegraph May 28th 1878
  31. Jewish Chronicle March 21st 1879. Page 12
  32. Irish Daily News March 22nd 1879. Page 12
  33. Sala's Journal March 11th 1893 Page 237-238
  34. The Times July 29th 1884. Page 9
  35. Jewish Chronicle November 27th 1891. Page 16
  36. Sala's Journal 1893
  37. Daily News July 10th 1883
  38. Liverpool Autumn Exhibition Catalog 1884
  39. Stroud News October 24th 1884
  40. The Stroud Journal November 8th 1884
  41. New York Times June 22nd 1879. Page 2
  42. Sunday Times July 26th 1885
  43. A Catalogue of Pictures in the Garrick Club compiled by C K Adams & published by the Club 1936
  44. Jewish Chronicle June 10th 1887. Page 5
  45. Brighton Gazette November 24th 1887
  46. 1889 catalog of the annual exhibition of the Institute of Oil Painters
  47. 1890 catalog of the annual exhibition of the Institute of Oil Painters
  48. Brighton Society October 25th 1890
  49. Johnson, Jane. Works exhibited at the Royal Society of British Artists 1824–1893 and the New English Art Club 1888–1917. Woodbridge: Antique Collectors' Club, 1975. Pressmark: Ref 709.2GB BRA
  50. New York Times October 21st 1890
  51. The Era Almanack, 1895, Page 62
  52. "The Stage" Cyclopaedia; a bibliography of plays, 1909, Reginald Clarence and H.J.Eldredge
  53. The Sunday Times November 2nd 1890
  54. Jewish Chronicle June 21st 1897
  55. The Times May 15th 1897 Page 14
  56. Northwestern Gazette May 12th 1883
  57. The Times June 1st 1883. Page 4
  58. Goodman's notation on the rear of a 19th century photograph of The Printseller's Window
  59. Evening News MArch 29th 1892
  60. Daily Chronicle May 22nd 1886
  61. Brighton Society April 18th 1891
  62. The Star, 12th November 1892
  63. Sussex Daily News March 9th 1888
  64. http://www.spartacus.schoolnet.co.uk/DSindex.htm
  65. The Times October 25th 1888
  66. The Morning September 6th 1892
  67. Sala's Journal February 11th 1893. Page 134
  68. Sala's Journal February 25th 1893. Page 186
  69. Sala's Journal March 4th 1893. Page 199-200
  70. Sala's Journal March 11th 1893. Page 237-238
  71. Sala's Journal March 18th 1893. Page 247-248
  72. Sala's Journal March 25th 1893. Page 272-273
  73. The Daily Telegraph June 19th 1891
  74. The Sunday Times June 1891
  75. Piccadilly June 25th 1891
  76. Goodman's passport for travel to The Continent, was issued this year
  77. Jewish Chronicle December 7th 1906. Page 32
  78. 1906 catalog of the annual exhibition of the Institute of Oil Painters (Pressmark: 200.B.292)
  79. Catalog of the Exhibition of Jewish Art and Antiquities, Nov. 7 to Dec. 16, London (1906)
  80. Jewish Chronicle June 12th 1908
  81. Census of England and Wales, 1911
  82. Obituary in unidentified newspaper, August 1912
  83. The Stroud News and Gloucestershire Advertiser February 6th 1885
  84. The Topical Times February 20th 1886
  85. Jewish Chronicle January 1st 1907. Page 12
  86. The Keeleys On Stage and At Home, London: Bentley and Son 1895


References

Walter Goodman is often incorrectly identified in contemporary publications as an American artist.
  • Brown, Peter Ogden (2009) Walter Goodman's The Printseller's Window. Memorial Art Gallery. University of Rochester. ISBN 9780918098
  • Rosenberg, Pierre (2006) Only in America: 100 European Masterpieces in American Museums: Skira. ISBN 8876246622
  • Moneta, Howard (2005) Davenport's Art Reference & Price Guide: Gold Edition. LTB Gordonsart, Inc. ISBN 1933295074
  • Dunbier, Lonnie Pierson (2005) The Artists Bluebook 2004: 32,000 North American Artists, 16th Century through July 2004. AskART
  • Falk, Peter Hastings (1999) Who Was Who in American Art : 1564-1975. Sound View Press; Rev Enl edition. ISBN 0932087574
  • Opitz, Glenn B.(1986) Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers. Dealers Choice Books; 2 Sub edition. ISBN 0938290045
  • Mallett, Daniel Trowbridge (1940) Supplemet to Mallett's Index of Artists: International-Biographical. R. R. Bowker, New York
  • Mallett, Daniel Trowbridge (1935) Index of Artists: International-Biographical. R.R. Bowker, New York


External links




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