T00118 LYTTON STRACHEY 1914
Canvas, 96 1/4×70 1/4 (244·5×178·5).
Chantrey Purchase from J. L. Behrend 1957.
Coll: J. L. Behrend 1914–57.
Exh: Alpine Club Gallery, 1922 (15); on loan to the Tate Gallery, 1922–32; British Painting since Whistler, National Gallery, 1940 (175); on loan to Southampton, 1950–7; The Camden Town Group, Southampton, June–July 1951 (93); R.A., 1957 (224).
Lit: James Laver, Portraits in Oil and Vinegar, 1925, pp.175–6, repr.
Repr: Kennedy, 1924, pl.9; John Rothenstein, Modern English Painters: Lewis to Moore, 1956, pl.5; Royal Academy Illustrated, 1957, p.64.
The painting has considerably darkened. It was completed in 1914 and is a large version of the portrait painted in 1912 in the artist's studio in the Vale of Health, Hampstead Heath, and now in the possession of Lord Cottesloe (repr. Painter and Sculptor, 11, No.1, 1959, p.8). A red chalk drawing of the head and shoulders was sold at Christie's, 4 July 1958 (34), bought Shields, and a pencil drawing of the figure, seated in the chair, is in the V. & A. (C. 417–1962). An oil sketch related to the background, called ‘Hampstead Heath from the Vale of Health’, belongs to Richard Carline (exh. Leicester Galleries, December 1961 (7), as painted in 1914). Other portraits of Lytton Strachey, head and shoulders only, are in the possession of Mrs Vinogradoff and the Fitzwilliam Museum, Cambridge.
Giles Lytton Strachey (1880–1932), the critic and biographer and an important member of the ‘Bloomsbury Group’, sat for this imposing portrait some years before he became famous with such books as Eminent Victorians, 1918, Queen Victoria, 1921, and Elizabeth and Essex, 1928.
Mary Chamot, Dennis Farr and Martin Butlin, The Modern British Paintings, Drawings and Sculpture, London 1964, I