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Radnorshire Fine Arts Ltd
Tel01597 272 439Please quote Antiques Atlas.
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Non UK callers :
+44 1597 272 439
Sir James Jebusa Shannon R.A. (1862-1923)
Study for a Portrait of Lady
Oil on canvas, squared for transfer.
Displayed in a modern painted frame.
Provenance: The artist’s family by descent.
Although the identity of this unfinished portrait remains anonymous it is safe to assume the sitter is of high society.
Not until 1888 did Shannon “arrive” as an artist to be taken seriously, this was mainly as a result of two paintings shown at the Grosvenor Gallery, a venue that showed works by invitation only. The first was Henry Vigne, Master of the Epping Forest Harriers (1887, unlocated), a full- length portrait of the distinguished ninety-year-old in hunting attire, riding crop in hand. As one critic proclaimed, the picture “confirms the report that a fresh candidate is about to dispute the profits of realistic portrait painting with Mr. Sargent, Mr. Herkomer [Hubert von Herkomer, 1849–1914], and Mr. Holl [Frank Holl, 1845–1888].
The portrait later earned Shannon the status of hors concours when it was shown at the Paris Exposition Universelle in 1889. The second painting, Myrrah (unlocated) is reported to have piqued the attention of Lady Violet Manners (later the Marchioness of Granby and the future Duchess of Rutland), who paid a visit to Shannon’s studio, thus inaugurating three decades of her family’s patronage of the artist. With Violet Manners’ support, Shannon’s reputation as a portraitist was fully launched. The increasing number of commissions he received required more salubrious surroundings for his growing roster of high society clients and to that end, he took a larger space at the Alexandra Studios, Alfred Place, Kensington, located within comfortable walking distance of the Phillimore Gardens home that he shared with his wife, Florence (whom he married in 1886,) and their daughter Kitty (1887–1974). The rapidity with which Shannon’s career progressed is witnessed by his purchase of a highly desirable property in Holland Park Road, the site of the original Holland Park farm house and, what is more important, next door to Frederic, Lord Leighton (1830–1896), the estimable president of the Royal Academy.
One of the most highly sought portrait painters of his day, Shannon’s work has generally resided in institutions or in the families of many of his sitters, who were prominent members of society both in America and abroad. His subjects included such notable figures as Mrs. John D. Rockefeller, Mrs. Nora Mellon, Queen Victoria, Mrs. Henry Bourke, and Violet Manners (Marchioness of Granby and later Duchess of Rutland).
He was very well connected to the key institutions and artists of the time. Like his esteemed colleagues John Singer Sargent and James McNeill Whistler, his reputation was such that he exhibited at and was a member of various prestigious art societies and academies. He and Sargent were simultaneously members of the Royal Academy, and he exhibited at the Society of British Artists during Whistler’s presidency. Shannon also joined expatriates George Hitchcock and Gari Melchers in painting and holiday excursions to Holland. In London, he lived next door to Frederic, Lord Leighton, where his Sunday studio openings attracted the likes of Oscar Wilde and Ellen Terry.
American clients were likely to have seen his work as a result of their seasonal transatlantic crossings, highlights of which included visits to the Academy, the Paris Salon, and other important annual exhibitions. Shannon, like Sargent, had a distinct advantage over his American and European rivals because his American citizenship satisfied clients who desired a high-style portrait by an internationally acclaimed artist and yet wanted to “buy American.” Yet, buying American in this case did not mean buying on the cheap in 1907, Shannon’s fee for a full-length portrait was a comparatively staggering seven-thousand-five-hundred dollars.
James Jebusa Shannon was an Anglo-American artist born in Auburn in New York on 3rd February 1862 to Irish parents. At the age of eight he moved with his parents to Canada, then at 16 he went to London to study at the Royal College of Art in South Kensington under Edward Poynter, between 1878 and 1891. He won the gold medal for figure painting three years later. His portrait of the Hon Horatia Stopford (a Maid of Honour to Queen Victoria) attracted attention at the Royal Academy in 1881, and in 1887 his portrait of Henry Vigne in hunting attire was one of the successes of the exhibition, subsequently securing medals for the artist at Paris, Vienna and Berlin. Shannon soon became one of the leading portrait painters in London and his Holland Park Studios were in the centre of the then most fashionable part of London, where local clients could easily call in for portrait sittings with the artist.
Shannon was one of the first members of the New English Art Club, a founder member of the Royal Society of Portrait Painters and, in 1897, was elected an associate of the Royal Academy and ‘RA’ in 1909. He was President of the Royal Society of Portrait Painters from 1910 until 1923 and was knighted in 1922. Shannon’s picture The Flower Girl was bought in 1901 for the National Gallery of British Art. He has paintings in several British civic collections including Sheffield City Art Gallery, Derby Art Gallery, Glasgow Museum and Bradford Museum. Shannon was considered by many to rival John Singer Sargent (1856-1925), but between them they were without doubt the two most sought after portrait artists of their period. He died on 6th March 1923. PAYMENT OPTIONS
PayPal /Card transactions can be processed through PayPal on our company website. We also accept payment by cheque and bank transfer. Deferred payments can be accepted over an agreed period of time whilst paintings remain with us.
CONDITION AND PRESENTATION
In our description, if a picture is shown to be framed then the frame will be included with the sale of the picture. Unless stated otherwise all unframed watercolours, drawings and prints have been mounted onto acid-free conservation board using either Japanese hinging paper or reversible wheat starch past. Unframed and mounted pictures are then wrapped in clear polyester film to protect both the picture and the mount. All conservation work has been carried out by accredited conservators.
SellerRadnorshire Fine Arts Ltd
View all stock from
Radnorshire Fine Arts Ltd
Private dealer
By appointment only
Powys
Mid Wales
Tel : 01597 272 439
Non UK callers : +44 1597 272 439
Oil on canvas, squared for transfer.
Displayed in a modern painted frame.
Provenance: The artist’s family by descent.
Although the identity of this unfinished portrait remains anonymous it is safe to assume the sitter is of high society.
Not until 1888 did Shannon “arrive” as an artist to be taken seriously, this was mainly as a result of two paintings shown at the Grosvenor Gallery, a venue that showed works by invitation only. The first was Henry Vigne, Master of the Epping Forest Harriers (1887, unlocated), a full- length portrait of the distinguished ninety-year-old in hunting attire, riding crop in hand. As one critic proclaimed, the picture “confirms the report that a fresh candidate is about to dispute the profits of realistic portrait painting with Mr. Sargent, Mr. Herkomer [Hubert von Herkomer, 1849–1914], and Mr. Holl [Frank Holl, 1845–1888].
The portrait later earned Shannon the status of hors concours when it was shown at the Paris Exposition Universelle in 1889. The second painting, Myrrah (unlocated) is reported to have piqued the attention of Lady Violet Manners (later the Marchioness of Granby and the future Duchess of Rutland), who paid a visit to Shannon’s studio, thus inaugurating three decades of her family’s patronage of the artist. With Violet Manners’ support, Shannon’s reputation as a portraitist was fully launched. The increasing number of commissions he received required more salubrious surroundings for his growing roster of high society clients and to that end, he took a larger space at the Alexandra Studios, Alfred Place, Kensington, located within comfortable walking distance of the Phillimore Gardens home that he shared with his wife, Florence (whom he married in 1886,) and their daughter Kitty (1887–1974). The rapidity with which Shannon’s career progressed is witnessed by his purchase of a highly desirable property in Holland Park Road, the site of the original Holland Park farm house and, what is more important, next door to Frederic, Lord Leighton (1830–1896), the estimable president of the Royal Academy.
One of the most highly sought portrait painters of his day, Shannon’s work has generally resided in institutions or in the families of many of his sitters, who were prominent members of society both in America and abroad. His subjects included such notable figures as Mrs. John D. Rockefeller, Mrs. Nora Mellon, Queen Victoria, Mrs. Henry Bourke, and Violet Manners (Marchioness of Granby and later Duchess of Rutland).
He was very well connected to the key institutions and artists of the time. Like his esteemed colleagues John Singer Sargent and James McNeill Whistler, his reputation was such that he exhibited at and was a member of various prestigious art societies and academies. He and Sargent were simultaneously members of the Royal Academy, and he exhibited at the Society of British Artists during Whistler’s presidency. Shannon also joined expatriates George Hitchcock and Gari Melchers in painting and holiday excursions to Holland. In London, he lived next door to Frederic, Lord Leighton, where his Sunday studio openings attracted the likes of Oscar Wilde and Ellen Terry.
American clients were likely to have seen his work as a result of their seasonal transatlantic crossings, highlights of which included visits to the Academy, the Paris Salon, and other important annual exhibitions. Shannon, like Sargent, had a distinct advantage over his American and European rivals because his American citizenship satisfied clients who desired a high-style portrait by an internationally acclaimed artist and yet wanted to “buy American.” Yet, buying American in this case did not mean buying on the cheap in 1907, Shannon’s fee for a full-length portrait was a comparatively staggering seven-thousand-five-hundred dollars.
James Jebusa Shannon was an Anglo-American artist born in Auburn in New York on 3rd February 1862 to Irish parents. At the age of eight he moved with his parents to Canada, then at 16 he went to London to study at the Royal College of Art in South Kensington under Edward Poynter, between 1878 and 1891. He won the gold medal for figure painting three years later. His portrait of the Hon Horatia Stopford (a Maid of Honour to Queen Victoria) attracted attention at the Royal Academy in 1881, and in 1887 his portrait of Henry Vigne in hunting attire was one of the successes of the exhibition, subsequently securing medals for the artist at Paris, Vienna and Berlin. Shannon soon became one of the leading portrait painters in London and his Holland Park Studios were in the centre of the then most fashionable part of London, where local clients could easily call in for portrait sittings with the artist.
Shannon was one of the first members of the New English Art Club, a founder member of the Royal Society of Portrait Painters and, in 1897, was elected an associate of the Royal Academy and ‘RA’ in 1909. He was President of the Royal Society of Portrait Painters from 1910 until 1923 and was knighted in 1922. Shannon’s picture The Flower Girl was bought in 1901 for the National Gallery of British Art. He has paintings in several British civic collections including Sheffield City Art Gallery, Derby Art Gallery, Glasgow Museum and Bradford Museum. Shannon was considered by many to rival John Singer Sargent (1856-1925), but between them they were without doubt the two most sought after portrait artists of their period. He died on 6th March 1923. PAYMENT OPTIONS
PayPal /Card transactions can be processed through PayPal on our company website. We also accept payment by cheque and bank transfer. Deferred payments can be accepted over an agreed period of time whilst paintings remain with us.
CONDITION AND PRESENTATION
In our description, if a picture is shown to be framed then the frame will be included with the sale of the picture. Unless stated otherwise all unframed watercolours, drawings and prints have been mounted onto acid-free conservation board using either Japanese hinging paper or reversible wheat starch past. Unframed and mounted pictures are then wrapped in clear polyester film to protect both the picture and the mount. All conservation work has been carried out by accredited conservators.
Price The price has been listed in British Pounds.
Conversion rates as of 17/SEP/2024. Euro & Dollar prices will vary and should only be used as a guide.
Always confirm final price with dealer. SOLD
DimensionsCanvas: 32 in x 17 in. (81 cm x 43.5 cm.)
Frame: 33 1/2 in x 18 5/8 in. (85 cm x 47.2 cm.)
Category Antique Pictures / Engravings / Art
> Antique Oil Paintings
Date c1900
1900s Antiques Material Oil Painting on Canvas
Origin English
Condition The painting has been cleaned and varnished by an accredited conservator, some strip lining has been done to support frail edges.
Item code as176a475
Status Sold
£0 
$0.00 
€0.00 
$
€
Conversion rates as of 17/SEP/2024. Euro & Dollar prices will vary and should only be used as a guide.
Always confirm final price with dealer. SOLD
Shipping information
All our prices include FREE packing and delivery within the UK.
If you live outside the UK and you wish to purchase a painting, please contact us by phone or e-mail for further details concerning shipping costs.
If you live outside the UK and you wish to purchase a painting, please contact us by phone or e-mail for further details concerning shipping costs.
Terms and conditions
Returns and Complaints
Great care and trouble has been taken to ensure that all details written for every picture are correct and the photos are of sufficient quality so that each item can be viewed in detail. If the purchaser can find a fault (by way of a photograph) as proof of damage in transit that is not present in our promotional photo i.e. a tear in the canvas, broken glass, broken frame, damage to surface of picture, then a full or part refund will be offered back to the purchaser depending on the extent of the damage. This will only apply within 24 hours of signing for the parcel.
If the parcel has arrived and appears to be damaged in some way please return the parcel to us (unopened) and we will refund the purchase price on receipt of the picture.
If the purchaser can prove with written evidence from three independent experts that our description was false or misleading in any way then a full refund will be offered back to the purchaser.
Every effort has been made to give our clients complete confidence and satisfaction when buying from our company.
Great care and trouble has been taken to ensure that all details written for every picture are correct and the photos are of sufficient quality so that each item can be viewed in detail. If the purchaser can find a fault (by way of a photograph) as proof of damage in transit that is not present in our promotional photo i.e. a tear in the canvas, broken glass, broken frame, damage to surface of picture, then a full or part refund will be offered back to the purchaser depending on the extent of the damage. This will only apply within 24 hours of signing for the parcel.
If the parcel has arrived and appears to be damaged in some way please return the parcel to us (unopened) and we will refund the purchase price on receipt of the picture.
If the purchaser can prove with written evidence from three independent experts that our description was false or misleading in any way then a full refund will be offered back to the purchaser.
Every effort has been made to give our clients complete confidence and satisfaction when buying from our company.
View all stock from
Radnorshire Fine Arts Ltd
Private dealerBy appointment only
Powys
Mid Wales
Tel : 01597 272 439
Non UK callers : +44 1597 272 439
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Flori Aerts Belgian Portrait Oil Older Gentleman
Oil Listed Artist Robert Hester Wallace 1887
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