- Oil paint on canvas
- Support: 515 x 614 mm
- Presented by the Contemporary Art Society 1927
With Walter Sickert as his best man, in January 1912 Gore married Mary Johanna Kerr, known as Mollie. He gave up his bachelor lodgings at 6 Mornington Crescent and moved with Mollie to a flat at 2 Houghton Place, a short distance away, close to the mass of railway lines snaking out of Euston. At Mornington Crescent Gore had painted a great number of pictures showing the view from his window, and in his new accommodation he continued this practice. Houghton Place shows the view from the flat’s first-floor window towards Ampthill Square. The houses in Houghton Place had windows on the first floor which opened out onto a balcony, and this was evidently the level on which the Gores’ flat was located. Access to the balcony allowed him to paint views along the street at a less oblique angle than if he had had to rely on painting from the window.
1 whose foreground is occupied by a passing train. As the shortest route, it was probably along Ampthill Square and across its bridge over the railway that Gore would have walked to visit Sickert, who lived nearby at Rowlandson House on Hampstead Road (see Tate N05088). Indeed, the viewpoint of Houghton Place looks in the direction of Sickert’s art school.
Reproduced in Spencer Frederick Gore 1878–1914, exhibition catalogue, Anthony d’Offay Gallery, London 1974 (26).
Reproduced ibid., (29).
Reproduced ibid., (30).
Notebook B357, pp.26–7, Booth Collection, Archives of British Library of Political and Economic Science, London School of Economics.
Harold Gilman, letter to Lucien Pissarro, undated , Lucien Pissarro Papers, Ashmolean Museum, Oxford.
Nicholas de Grey, letter to Lucien Pissarro, June 1914, Lucien Pissarro Papers, Ashmolean Museum, Oxford.