THE ART OF
JOHN CHARLES DOLLMAN
RWS, ROI, RI, RBC, FRES.
WALTER J. DOLLMAN
THESIS SUBMITTED FOR THE DEGREE OF
DOCTOR OF PHILOSOPHY IN HISTORY
SCHOOL OF HUMANITIES
UNIVERSITY OF ADELAIDE
NOVEMBER 2015
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TABLE OF CONTENTS
TITLE PAGE
TABLE OF CONTENTS
LIST OF PLATES
ABSTRACT
DECLARATION
ACKNOWLEDGEMENTS
ABBREVIATIONS
Chapter I: A PLACE IN ART HISTORY
Introduction
The Artist and his Art
Context and Form
Themes in this Research
Thesis Structure
Resources
Chapter II: J. C. DOLLMAN IN CONTEXT
Introduction
Early Days
Royal Academy Schools
Primrose Hill Studios and Bedford Park
The Graphic and Middle Years
Thoughts on Art
Later Years
Biographical Summary
Chapter III: “BLACK AND WHITE”: THE GRAPHIC’S
DRAFTSMAN, 1875 – 1990
Introduction
The Graphic
Dollman and The Graphic
The Graphic’s Influence on Dollman
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8
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Chapter IV: SOCIAL REALISM: REPRESENTING THE
DISPOSSESSED
Realism
Social Realism
Dollman and Social Realism
The Immigrants’ Ship
And Some fell by the Wayside
Am I My Brother’s Keeper
Related Works
Dollman’s Legacy to Social Realism
Chapter V. ANIMALIA: “LANDSEER’S SUCCESSOR”
Introduction
Edwin Landseer’s Successor
Dollman’s Interests in Animalia
Dollman’s Early Animal Portraits and Sentimental
Studies
Animal Subject Narrative Paintings
Allegory, Symbolism and ‘Problem’ Pictures
Animals from Literature and History
Animals in the Background
Natural history
Animalia Summary
Chapter VI: HISTORY AND NARRATIVE: “PAINTING IN THE
GRAND MANNER”
British History and Narrative Painting Overview
Dollman and History / Narrative Painting
Biblical Paintings
Dramatic Incident
Social and Political Paintings
Literature
Allegory
Mythology
History and Narrative Painting – Summary
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Chapter VII: DOLLMAN AND THE ART OF WAR: “FOR
KING AND COUNTRY”
Introduction
Boer War Painting
The Great War
Dollman’s War Paintings in Context
Dollman’s Contribution to War Art
Chapter VIII GENRE: PICTURES OF EVERYDAY LIFE
Background to Genre
Dollman and Genre
Summary
Chapter IX: LANDSCAPE PAINTING: EN PLEIN AIR ON
THE SOUTH DOWNS
Introduction
Dollman and Ditchling
English Landscape Painting
Dollman’s Sussex ‘Ideal’
Chapter X: AESTHETICS & NEO CLASSICISM: THE NEW
‘HIGH ART’
Introduction
Dollman, Waterhouse and Others
The Classical Revival Movement
Dollman’s Neo-classical Paintings
Chapter XI: CONCLUSION
Objectives
The Problem with Dollman
Dollman’s relevance
BIBLIOGRAPHY
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LIST OF PLATES 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37
CHAPTER II The Devil’s Dyke Jack O’Lantern March Past after the Review The Dandy His only friend J. C. Dollman c.1875 Dollman in his studio 12 and 14 Newton Grove, Bedford Park Some Bespoke fittings at no. 14. Bars van der Veen Immediate Family CHAPTER III A Gypsy Encampment on Putney Common Etchers at work in The Graphic studios in 1880 The Relief of Ekowe Siege of Morosi’s Mountain (1) Siege of Morosi’s Mountain (2) Defeat of Baker Pasha’s Force at Teb in its attempt to relieve Tokar, February 4 Canadian Governor General Opium den at the East End Christmas Day at the Seamen’s Hospital Detail : Friends in adversity Waiting to see the Doctor Before the Magistrate – Unfit for Work Are You Ready? Vol. I, II, III The Fox on One Tree Hill CHAPTER IV The Immigrants’ Ship Last of England Hard Times “And Some Fell by the Wayside” “Am I my brother’s keeper?” “Am I my brother’s keeper?” (WC) Study: “Am I my brother’s keeper?” Applicants for Admission to a Casual Ward CHAPTER V Monarch of the Glen The Old Shepherd’s Chief Mourner Sympathy
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38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80
Two Pointers Dash II Table d’hôte at a dogs’ home The Dog’s Refuge Les Misérables Pro Bono Publico The unknown Kismet Mowgli made leader of the Bandar-Log “For he believed in his God” - Dan. vi Daniel in the Lion’s Den, B. Rivière Daniel’s answer to the King, B. Rivière St Antony The Borrowed Plume Tigers CHAPTER VI Gold Photograph: J. C. Dollman confronting temptation The burial of the Indian Chief Up a tree The hunter Satisfactory Solution The Ravagers Photograph: Hereward Dollman as artist’s model The field of honour The Highwayman “A very gallant gentleman” Cartoon, The Times 1995 Study for “A very gallant gentleman” The stymie During the time of the Sermonses Crusoe Crusoe 1899 “Uneasy lies the head that wears the crown” “If it were done…. “ The awakening of Titania Famine The Leprechaun 1907 The ride of the Valkyries Ride of the Valkyries, W. T. Maud CHAPTER VII The Zulu War – Isandula Harvest The Reckoning “Tipperary”
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81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117
Howitzer Firing, Paul Nash Travoys Arriving with Wounded, Stanley Spencer Zonnebeke, 1918, William Orpen The creditors “Fraternité” Anno Domini 1917 The altar The silence Silence (WC) in the Queen’s doll House CHAPTER VIII La Malade Imaginaire The Ships Belle “Worse things happen at sea” London to York London to York Coach outside the Black Swan Inn No Sale Before the Magistrate, Unfit for Work Friends in adversity The Village Artist The rising generation Untitled study of Fox Hunters and Farmer Old Gentleman at his Desk CHAPTER IX Richmond Bridge Photograph: J. C. Dollman and Walter Dollman Shepherd on the South Downs Sussex 1906 Below Ditchling Beacon, South Downs Genre detail within Below Ditchling Beacon Afternoon from Fulking Down, Sussex Genre detail within Afternoon from Fulking Down, The Cloud Dew CHAPTER X Orpheus The spell The mischief god The enchantress Enchantment Circe
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ABSTRACT
This research argues the relevance of John Charles Dollman Jnr (1851
– 1934) to late Victorian and early 20th-century British art. Dollman was a
Royal Academy trained artist who painted for fifty years, primarily from his
large home in London but also from a country studio in rural Sussex. Little has
been written on Dollman in the context of his art, time or place. This is despite
the popularity of a number of his significant paintings that remain on
permanent display throughout the Anglo-world. A high level objective of this
thesis is to remedy this paucity of knowledge surrounding Dollman, and so
provide the “primary context” to any appreciation of his works.
Studying Dollman reveals a number of aspects to his art that make him
special. His abundant output and his equal competence in both oils and water
colours are two. But it is his brilliance as an animalier that makes him
distinctive. It is a contention of this thesis that Dollman was the natural late
19th–century successor to Edwin Landseer. Dollman was also competent in
all the traditional genres. He could paint history, dramatic narrative, war,
social realism, animalia, mythology, allegory, genre, neoclassicism, sport,
portrait, still life and landscape. Apart from this versatility, what made him
singular was how he applied his skills as a painter of animals across all these
styles. It is also argued that this versatility is the very reason that he has been
largely forgotten.
Dollman was financially secure and personal interests informed much
of his work. He was sensitive to social issues and their consequences, and
passionate about natural history, entomology, anthropology and sport. His
scientific and objective studies were widely published. Dollman continued
painting in the traditional genres, especially the classical revival style, well
after the golden period of Victorian painting. He was amongst the remaining
few traditional artists to resist the inroads of modernism, his paintings being
regularly selected for exhibition by the Royal Academy up until his death in
1934.
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DECLARATION
I certify that this work contains no material which has been accepted for the
award of any other degree or diploma in my name in any university or other
tertiary institution and, to the best of my knowledge and belief, contains no
material previously published or written by another person, except where due
reference has been made in the text. In addition, I certify that no part of this
work will, in the future, be used in a submission in my name for any other
degree or diploma in any university or other tertiary institution without the prior
approval of the University of Adelaide and where applicable, any partner
institution responsible for the joint award of this degree.
I give consent to this copy of my thesis, when deposited in the University
Library, being made available for loan and photocopying, subject to the
provisions of the Copyright Act 1968.
I also give permission for the digital version of my thesis to be made available
on the web, via the University’s digital research repository, the Library Search
and also through web search engines, unless permission has been granted by
the University to restrict access for a period of time.
27 November 2015
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ACKNOWLEDGEMENTS
I am deeply grateful to my supervisor Dr Robert Dare for his invaluable
support, guidance, enthusiasm, and unfailing encouragement throughout my
research.
I also thank the many who have given assistance and enabled me
access to archival documents, registers, images, catalogues, as well as
paintings and drawings in reserve vaults and private collections around the
globe. In particular, I am indebted to the curatorial, archival and library staff
at the Royal Academy, Victoria and Albert Museum, London Natural History
Museum, Museum of London, Brighton Art Gallery, Brighton Pavilion Library,
Brighton and Hove Library, Cavalry & Guards Club, London, Zwolle Art
Gallery (Netherlands), Queen Victoria Museum and Art Gallery (Launceston,
Australia), South African National Gallery,
I am very appreciative of the assistance received from a number of
individuals. They include Brenda Roberts for discussions and perspectives on
war paintings, Guy Dollman for photographs and family records, and Chris
Collier for images of paintings. Also, the current owners of Primrose Hill
Studios in Regents Park, Hove House in Bedford Park and Hove Cottage in
Ditchling, for both access to the properties and information relevant to this
study.
Finally, my thanks are due my family for their support and
understanding.
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ABBREVIATIONS
B
FIN
FLS
FRES
FRIBA
LEI
RBC
ROI
RI
RWS
RA
WC
Royal Society of Artists, Birmingham
Fine Art Society
Fellow of the Linnaean Society
Fellow Royal Entomological Society
Fellow Royal Institute of British Architects
Leicester Gallery
Royal British Colonial Society of Artists
Royal Institute of Oil Painters
Royal Institute for Painters in Water Colour
Royal Society for Painters in Water Colour
Royal Academy
Water Colour
References to paintings exhibited are in the form:
Institution, Catalogue Number, Year.
Eg., RA 172 1909
Where there is an ambiguity with the title, it is also included.
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