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Rosa Bonheur's Grand Tour of Scotland Edinburgh Research Explorer ‘Picturing the Highlands: Rosa Bonheur’s Grand Tour of Scotland’ Citation for published version: Fowle, F 2013, ‘Picturing the Highlands: Rosa Bonheur’s Grand Tour of Scotland’. in Journal of the Scottish Society for Art History. vol. 18, pp. 40-48, Palaces, Patrons and Places: the Allure of Scotland for French Artists, 1790-1900, Edinburgh, United Kingdom, 17/11/12. Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: Journal of the Scottish Society for Art History Publisher Rights Statement: © Fowle, F. (2013). ‘Picturing the Highlands: Rosa Bonheur’s Grand Tour of Scotland’. In Journal of Scottish Society for Art History. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 05. Oct. 2021 Picturing the Highlands: Rosa Bonheur’s Grand Tour of Scotland Frances Fowle n Monday 16 July 1855 the french and how successful was Gambart in his artist rosa Bonheur arrived in promotion of Bonheur and her work in olondon on a day of pouring rain, Scotland; and second, how crucial was thunder and lightning. She had been invited Scotland’s role in providing new subjects by the english art dealer ernest Gambart, and a wider circle of clients for the artist? who had newly acquired her magnum opus, in an attempt to answer these questions The Horse Fair (fig.1), which she accompa- i will examine Gambart’s strategy with nied across the english channel. Known as regard not only to The Horse Fair and the ‘french landseer’, Bonheur had already its tour of Britain, but also to Bonheur’s established a reputation in her own country journey to the highlands and the commer- as one of the greatest animal painters of her cialisation of her art through the publica- generation,1 but her work was still relatively tion of prints.3 1. rosa Bonheur, The Horse Fair, 1853–5. oil on canvas. Metropolitan Museum of Art, New York unknown outside france, and Gambart, anticipating her popularity in landseer’s The Horse Fair’s tour of Britain home country, was determined to corner the in 1853 The Horse Fair was exhibited to great market for her work in Britain. acclaim at the Paris Salon. it then toured to in his biography of the art dealer, Jeremy Ghent and Bordeaux and was on sale for Maas observed: ‘it would hardly be an exaggeration to say that rosa Bonheur and the picture to remain in france and, when her legend were Gambart’s creation.’2 But Gambart showed an interest in buying, she Bonheur was far from being the dealer’s refused to sell it for less than 40,000 francs, pawn and i will argue that she was culti- the equivalent of around £100,000 today. Gambart was prepared to pay such a rela- 1856 Gambart accompanied her on a tour of tively large sum, since his purchase included an engraver’s copy – a smaller replica, now as we shall see, Scotland played an impor- in the national Gallery, london – which tant role, not only in providing inspiration for was begun by Bonheur’s companion and assistant nathalie Micas and completed and outside france – and in producing a small signed by the artist. this copy meant that coterie of independent British dealers inter- Gambart had the potential to produce a print, ested in promoting her work. which would not only provide him with royal- the purpose of this essay is to explore ties but also disseminate Bonheur’s name two main questions: first, how strategic more widely. 40 Journal of the ScottiSh Society for art hiStory Vol.18, 2013–2014 The Horse Fair is a large painting – it meas- was on view at alexander hill’s Gallery at 67 ures 244.5 cm x 506.7 cm out of its frame Princes Street until 10 January 1857, before – and Gambart saw in this impressive work moving back to finlay’s galleries in Glasgow, the perfect marketing opportunity. in July where it was on show until 24 January.12 the 1855 he persuaded Bonheur to accompany painting then travelled to James Gilbert’s the painting on its voyage to london, and as an incentive he arranged for her to meet before returning to london.13 The Horse Sir edwin landseer, whom she held in high Fair’s grand tour had the effect of consider- esteem.4 on the evening of her arrival she was invited to a dinner, hosted by Sir charles eastlake, where landseer was present. Britain the painting spent a good six months according to lady eastlake, landseer took in Scotland, and that it returned to Glasgow to the french artist immediately and was ‘full for a second showing.14 it is not altogether of impudence’. he even sent her a proposal surprising, therefore, that during this period of marriage, asserting that he would be only the artist herself chose to travel to the land of ‘too happy to become Sir edwin Bonheur’.5 Sir Walter Scott. two days later, on 18 July, lady eastlake took Bonheur to landseer’s studio and recorded The tour of the Highlands in her journal that the artist was ‘in a state of quiet ecstasy’ at the sight of landseer’s paint- While The Horse Fair was on the Birmingham ings, ‘studies without end of deer, horses, stage of its tour, Gambart invited Bonheur highlanders, tops of Scotch mountains, etc’.6 for a second, more extended stay in Britain. this experience almost certainly opened her arrival was carefully timed: on 21 July Bonheur’s eyes to the potential of highland 1856 the dealer announced the publica- subject matter and may have given her the tion of thomas landseer’s engraving after idea of returning to Britain for a second trip. the replica, which he dedicated to Queen Meanwhile, The Horse Fair remained Victoria. in the same year Gambart & co. on show throughout august at Gambart’s published f. lepelle de Boise-Gallais’s galleries at 20–21 Pall Mall.7 there was wide Biography of Rosa Bonheur, which had been press coverage, since the combination of the translated into english by James Parry and sheer scale of the work and the fact that it included an appendix of newspaper reviews, had been painted by a woman was a source illustrating the enthusiastic reception that the of constant curiosity. according to the critic painting had received in london the previous John forbes-robertson, ‘the artists and year from the english press. connoisseurs of this country could scarcely accounts of this second trip and realise the fact that they were looking on the Bonheur’s subsequent tour of Scotland vary work of a woman’ and as a consequence, in the precise details of the itinerary. the despite the one shilling admission fee, the following account of the route draws on gallery ‘was crowded daily for months’.8 several sources: Gambart’s own memoir; on 6 September 1855 the painting the artist frederick Goodall’s personal embarked on a carefully orchestrated tour of Reminiscences (1902); the 1908 biography the major towns and cities of Britain, begin- by anna Klumpke (rosa Bonheur’s lover ning with Glasgow.9 and constant companion from 1889 until venue carefully, since Glasgow was then her death); and theodore Stanton’s 1910 the fastest growing industrial city in Britain, Reminiscences; as well as letters from offering a rich seam of potential buyers. Bonheur to her brother and from nathalie the picture was exhibited at finlay’s ‘fine Micas to her mother.15 art Gallery’ at 119 St Vincent Street from according to Klumpke, it was Bonheur’s 12 September for over four months. on 11 ‘passion for unspoiled nature’ and ‘weak- September finlay arranged a private view, to ness for Walter Scott’ that motivated her which he invited a selection of prospective to undertake the second long voyage to buyers.10 like Gambart, he saw the potential Britain.16 Stanton, too, recalls that as a young for selling the print, and the following month girl Bonheur produced ‘a mass of drawings the local press announced the forthcoming based on the tales of Walter Scott’ and that engraving by thomas landseer.11 ‘it was this early passion for the great novelist in february 1856 the painting continued that had much to do with pushing her steps on to liverpool; and thereafter to Manchester to north Britain’.17 like most foreign visitors and Birmingham. in December it travelled of this period, her highly romanticised vision north again, this time to edinburgh, and of Scotland was coloured by Scott, whose Vol.18, 2013–2014 Journal of the ScottiSh Society for art hiStory 41 2. frederick Goodall, Rosa Bonheur Painting in the Scottish Highlands 1856–8. oil on panel. Indiana University Art Museum, Morton and Marie Bradley Memorial Collection, 98.170 novels and poetry were widely read in france. joined the party. they then took the in particular Scott’s novels Rob Roy and steamer from liverpool to Glasgow via Waverley and his poems The Lady of the Greenock.
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