frame: 875 x 995 x 65 mm
N03837 A SUMMER AFTERNOON (THE GREEN APPLE) 1894
Inscr. ‘Conder Vétheuil 94’ b.r.
Canvas, 24×29 (61×74).
Presented by the Contemporary Art Society 1924.
Coll: Presented to the C.A.S. by Dalhousie Young 1910.
Exh: N.E.A.C., November–December 1896 (30), as ‘A Summer Afternoon’; C.A.S., Loan Exhibition, Hull, July–September 1911 (38), as ‘The Green Apple’; C.A.S., Loan Exhibition, Manchester, winter 1911 (222); C.A.S., Loan Collection of Modern Paintings, Laing Art Gallery, Newcastle, October 1912 (209); C.A.S., First Public Exhibition in London, Goupil Gallery, April 1913 (16); C.A.S., Modern Paintings, Belfast, November 1914 (24); C.A.S., Paintings and Drawings, Grosvenor House, June–July 1923 (19); Tate Gallery, July–September 1927 (77).
Lit: Gibson, 1914, pp.45, 95 (listed twice under different names); Rothenstein, 1938, pp.83, 92–3, 259, repr. facing p.93.
Repr: Studio, IX, 1897, p.287; John Russell, From Sickert to 1948, 1948, pl.18.
Entitled ‘A Summer Afternoon’ when first exhibited, this picture was painted at Vétheuil, where Conder was staying during the summer of 1894 with the Kinsellas, the Blunts and D. S. MacColl. There were three Kinsella daughters, Louise, Josephine and Kate. Louise, the model for this picture, was a young American of great beauty who in 1894 was also sitting to Whistler in Paris. She had a love-affair with Conder but afterwards married the Marchese Presbitero and lived in Italy. A watercolour of the same title was exhibited at the Leicester Galleries, October 1904 (14).
Mary Chamot, Dennis Farr and Martin Butlin, The Modern British Paintings, Drawings and Sculpture, London 1964, I