T03625 The Gardens, Chelsea Embankment c. 1889
Oil on panel 11 × 10 7/16 (280 × 265)
Presented anonymously in memory of Terence Rattigan 1983
Prov: The artist's family; ...; Leicester Galleries; ... Colnaghi and Co. Ltd; sold Modern British Prints, Drawings, Paintings and Sculpture, Christie's 24 April 1964 (178, as ‘A Spring morning with the statue of Carlyle in Kensington Gardens’) 50 gns, bt G. Shankland; the donor
Exh: London Impressionists, Goupil Gallery, December 1889 (47); Twenty-Ninth Exhibition of Works of Modern Artists, Glasgow Institute of the Fine Arts, Glasgow, February–April 1890 (673); Coronation Exhibition, Goupil Gallery, June 1902 (5, as ‘Chelsea Embankment Gardens’); Water Colours by Owen Merton. Paintings of London by Paul Maitland. Paintings by J.D. Innes, Leicester Galleries, May 1928 (59, as ‘Chelsea Embankment Gardens in Spring’); First Exhibition of Paintings by Barbara Gilligan. Exhibition of Paintings by Paul Maitland, Leicester Galleries, November 1948 (14, as ‘The Carlyle Statue, Chelsea Embankment’); Clifford Hall, Recent Drawings. Felix Kelly, Paintings of America, Spain, Italy and New Zealand. Bateson Mason, Recent Paintings. Paul Maitland, An Exhibition of Little Paintings, Leicester Galleries, December 1952 (33, as ‘Carlyle Statue, Chelsea Embankment, morning’); The Leicester Galleries New Year Exhibition, Leicester Galleries, January 1962 (57, as ‘The Carlyle Statue, Chelsea’)
T03625 depicts a small strip of public gardens situated between Chelsea Embankment and Cheyne Walk, level with the intersection of Cheyne Row and Cheyne Walk. Thomas Carlyle, the writer, lived in Cheyne Row from 1834 to his death in 1881 and this statue of Carlyle, by Edgar Boehm, was unveiled in 1882. Chelsea Embankment roadway has since been widened and the garden area to the right of the wide path has been reduced to a small area of grass without trees. The railings around the gardens and around the base of the statue are no longer there. The statue of Carlyle faces the Thames with Albert Bridge to its left and Battersea Bridge to its right. It appears that the very spot at which Maitland set up his easel to paint the view shown inT 03625 also served as the place from which he painted T03635, ‘The Embankment after a Shower’. All that was necessary for this view, including Albert Bridge, was for the artist to turn to the right.
The Tate Gallery 1982-84: Illustrated Catalogue of Acquisitions, London 1986