Not on display
- Spencer Gore 1878–1914
- Oil paint on canvas
- Support: 533 × 432 mm
- Presented by Mr and Mrs Robert Lewin through the Friends of the Tate Gallery 1978
A label on the stretcher is inscribed in ink by Harold Gilman: ‘Painted by S.F. Gore in 1912. It is painted | from one drawing done in the Bedford music | Hall. | (a) (147)’. The reverse of the canvas has been inscribed in white chalk ‘147 59 113’, which, because of its first number, is probably by Gilman too. After Gore’s death, Gilman went through his studio and numbered the canvases on their reverse in what he believed was their order of execution, adding ‘(a)’ to those he believed to be of special interest or value.
The Bedford Music Hall was at 93–95 Camden High Street, just a few minutes’ walk from Gore’s flat in Houghton Place (figs.1 and 2).1 The original Bedford Music Hall opened in 1861, but burnt down in 1896. A very popular venue, it was rebuilt and opened as the Beford Palace of Varieties on 6 February 1899. The interior was designed in an ebullient neo-baroque style, opulently gilded, and decorated with plaster caryatids and putti and red velvet hangings. It could hold 1,100 people.2 The theatre attracted some of the most famous music-hall artists of the day, including Marie Lloyd, Little Tich and Charles Coburn, with his famous songs The Man Who Broke the Bank at Monte Carlo and Two Lovely Black Eyes . In 1912 both the actor Charlie Chaplin and singer Gracie Fields appeared there.3
See Sickert: Paintings, exhibition catalogue, Royal Academy, London 1992 (86).
‘Bankruptcy Law’, Times, 19 July 1911, p.22.
‘Music and Dancing Licences’, Times, 7 November 1908, p.12.
Reproduced in Spencer Frederick Gore 1878–1914, exhibition catalogue, Antony d’Offay Gallery, London 1983 (4).
Max Tyler, Historian of the British Music Hall Society, letter to the author, 19 December 2003.
Ernest Short, Fifty Years of Vaudeville, London 1946, p.229.
- individuals: female(1,650)