Sylvia Gosse

Walter Richard Sickert had an extraordinary facility for acquiring a loyal following of students and disciples, particularly younger women, who not only assimilated his teachings on art but provided a constant support network for the erratic, dominating, often demanding, but nevertheless charming artist. These admirers, whom the Parkin Gallery described in an exhibition of 1974 as the ‘Sickert women and Sickert girls’, included, in addition to Sylvia Gosse, who was the eldest, Thérèse Lessore (1884–1945, who married Sickert as his third wife in 1926), Wendela Boreel (1895–1985), Marjorie Lilly (1891–1980) and Christina Cutter (1893–1969). Boreel recalled how Sickert singled her out one day from the other students at the Slade in around 1911: ‘“Your drawing is far too good for here. I’ll install you in a studio in Mornington Crescent where you will paint each morning and then come to me in the afternoons”. So I became Sickert’s “petit nègre” [literally, little negro, meaning servant], to do all, and to be at his beck and call.’1 The most devoted of all of Sickert’s pupils was Gosse, whom Sickert’s first biographer Robert Emmons described in 1941 as the painter’s ‘firm friend and guardian angel’.2

Gosse first met Sickert in about 1908 at her family home in London. Her father was the eminent poet, author and critic Sir Edmund Gosse (1849–1928), and Sickert was one of a number of distinguished figures who frequented the house in Hanover Terrace, Regent’s Park. Sylvia Gosse hero-worshipped Sickert, who was twenty years her senior and already a well-established artist. In turn he was genuinely impressed by the quality of Gosse’s painting and took an interest in her development, encouraging her to study etching and eventually inviting her into partnership with him at his art school at Rowlandson House. For the rest of his life she supported him practically, emotionally, artistically and at times even financially, purchasing his work anonymously when he was especially short of funds. Whether he was working in Camden Town, Bath or Dieppe she chose to live close to him. In 1920 she helped to nurse Sickert’s frail wife, Christine, and after the latter’s death she bore the brunt of Sickert’s grief and depression. In later years she was one of the organising members of a fund to alleviate Sickert’s financial distress, and she helped Thérèse Lessore to look after the ageing artist until his death in 1942. She very often assisted in the studio, and prepared Sickert’s canvases, transferring the design from sketches or photographs and laying in the ‘camaieu’ under-painting in two or three shades of a single colour.